Podcast appearances and mentions of Christopher Street

Working with Julia was a genuine pleasure. She is one of those people that is so entrenched in the NYC storytelling scene that Facebook has been suggesting we know each other for years. You can learn more about Julia's work by following her on Insta. Or you can follow the links get more info about Happy Hour Story Hour every Monday at the Duplex (60 Christopher Street) and Top Shelf Stories at UCB, NYC (this month's show includes TVK alumni Adam Wade and Jeff Simmermon). Side note, were you aware that Tom's Diner is an actual place? It's actually called Tom's Restaurant and it is most famous as the "exterior shot" of Monk's Cafe in Seinfeld. The more you know.Make sure you follow The Volume Knob on Twitter, Instagram, and Facebook .And if you have a story about the song that saved your life be sure to send it to me at volumeknobpod@gmail.com.And don't forget to sign up for the TVK Mailing List. To continue to hear the latest and greatest regarding Keith's live shows and other fun stuff.

Direct from engagements in Buenos Aires and Rio de Janeiro, Shane Baker and Miryem-Khaye Seigel sat down with "The Shmooze" to talk about their latest collaboration, "BASHEVIS'S DEMONS." The performance includes three short stories by legendary Nobel Prize winner Isaac Bashevis Singer. It makes its official Off-Broadway bow at Theatre 154, 154 Christopher Street (between Greenwich and Washington Streets), with performances beginning December 18, 2024, through January 5, 2025. "BASHEVIS'S DEMONS" will be presented by the Congress for Jewish Culture in association with Out of the Box Theatrics and ChaShaMa. Tickets are available at https://congressforjewishculture.org/bashevisdemons. Episode 385 December 11, 2024 Amherst, MA

Direction New York, dans le quartier de Greenwich Village. Plus précisément au 53, Christopher Street. Il y a un bar. En vitrine est accroché un néon qui indique que nous sommes au Stonewall Inn. Un lieu mythique à Manhattan puisque c'est ici qu'ont commencé les émeutes de Stonewall en juin 1969. Ecoutez L'Amérique dans tous ses états avec Arnaud Tousch du 14 août 2024.

DBS#48 - Andreas Suchanek: Autor von "Pride began on Christopher Street"

DBS#48 - Andreas Suchanek: Autor von "Pride began on Christopher Street"

In the Summer of 1992, the scorching temperatures in Manhattan were of little concern to Marsha P. Johnson. Her days didn't truly start until long after the sun had gone down. Fresh from the Pride Parade, Marsha made plans the evening of July 4th, 1992 to meet her friend Miss Kitty at The Anvil, one of the many gay bars lining Christopher Street in Greenwich Village. They were supposed to rendezvous at midnight. Only …Marsha never showed. Two days later, on July 6th, a passerby spotted something floating just off the Hudson River Pier shortly after sunrise. It was Marsha. The LGBTQ rights activist was dead at 46. Given Marsha's notoriety as an outspoken supporter of gay and trans rights, friends immediately suspected foul play. The NYPD and medical examiner saw things differently, quickly declaring Marsha's death a suicide by drowning. Those who knew the transgender pioneer well dismissed the notion that Johnson took her own life. Her history of substance abuse and depression notwithstanding, Marsha had never given any indication she was suicidal. Over 30 years have passed and still, Marsha P. Johnson's death remains shrouded in mystery.  Follow Jami on Instagram & TikTok @JamiOnAir and join the Serial Streamers true crime TV club! Subscribe to Jami's YouTube channel: https://www.youtube.com/@jamionair Sponsors Mint Mobile: Visit MintMobile.com/MURDERISH to get a new 3-month of premium wireless for $15/month. Greenlight: Visit Greenlight.com/MURDERISH to get your first month free. City Beauty: Visit citybeauty.com and use code MURDERISH for 15% off sitewide. Sono Bello: Visit SonoBello.com/MURDERISH to give yourself the gift of a full body reset. Gabb Wireless: Visit gabb.com/MURDERISH for $25 off any new device to new customers. Dr. Marty's: Visit FoodForPups.com/MURDERISH to watch Cesar Millan's new video. Dirty Money Moves: Women in White Collar Crime - Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/dirty-money-moves-women-in-white-collar-crime/id1619521092. Lipstick & Lies - Listen on Apple Podcasts: https://podcasts.apple.com/us/podcast/lipstick-lies/id1704189120?i=1000625570159 Research and writing by: K. Brant Want to advertise on this show? We've partnered with Cloud10 Media to handle our advertising requests. If you're interested in advertising on MURDERISH, please send an email to Sahiba Krieger sahiba@cloud10.fm and copy jami@murderish.com.  Visit Murderish.com to learn more about the podcast and Creator/Host, Jami, and to view a list of sources for this episode.  Listening to this podcast doesn't make you a murderer, it just means you're murder..ish. Learn more about your ad choices. Visit megaphone.fm/adchoices

In ihrem historischen Roman „Pride began on Christopher Street“ verknüpfen Christian Handel und Andreas Suchanek die dramatischen Ereignisse, auf die der Christopher Street Day zurückgeht, mit einer tief bewegenden queeren Liebesgeschichte. Veit Georg Schmidt spricht mit den beiden Autoren in einer Audio-Schaltung wie der 28. Juni 1969 im Roman für Jake und Finn zum Schicksalsmoment für ihre Liebe wird – und in der Realität dieser Tag Geschichte schrieb: Der Stonewall-Aufstand in der Christopher Street wird zum Wendepunkt der LGBTQIA⁺-Bewegung im Kampf um Gleichbehandlung und Anerkennung.

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Jake und Finn lernen sich im Stonewall Inn 1969 kennen. Jake ist im Undercover-Einsatz der New Yorker Polizei, um Schwule in Situationen zu bringen, wegen derer sie angeklagt werden können. Doch Jake lässt Finn laufen

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Eine Razzia in einer New Yorker Kneipe eskalierte in tagelangen Straßenkämpfen. Homosexuelle wehrten sich zum ersten Mal gegen Polizeiwillkür.

Wir sprechen in der neuen Folge mit Kerstin Thost, seit Oktober 2022 Pressesprecher*in beim Lesben- und Schwulenverband (LSVD), über 55 Jahre „Christopher Street“. Im Juni 1969 begann etwas, das bis heute von großer Bedeutung für den Kampf gegen Diskriminierung und Exklusion ist – die Anerkennung von sexuellen Minderheiten wurde weltweit sichtbar erstritten. Im Juni, dem sogenannten „Pride Month“, wird an die Ereignisse vor 55 Jahren erinnert. Doch der weltweite Trend ist queerfeindlich. Deutschland gehört zu den wenigen Ländern, in denen die gesellschaftliche Akzeptanz weiter steigt: Drei von vier Deutschen sprechen sich in einer aktuellen Umfrage (Ipsos) für Antidiskriminierung und gleiche Rechte aus. In der CDU hat die LSU sich diesem Kampf verschrieben. Im Vorstand des Bürgerrechtsverbandes LSVD sitzt seit März 2024 mit Alexander Vogt der langjährige Mitgründer und Vorsitzende der LSU. Mit Kerstin sprechen wir darüber, was der #PrideMonth für die Community bedeutet, der mit vielen verschiedenen Events gefeiert wird: Wie groß ist die Bedrohung durch Rechtsextremismus, insbesondere in Zeiten, in denen die LGBTIQ+ Community ihre öffentliche Sichtbarkeit verteidigt? In Deutschland und Europa ist der politische und gesellschaftliche Rückhalt für LGBTIQ+ nicht durchgehend gegeben, teilweise sogar stark eingeschränkt. Was erhofft sich der LSVD von den diesjährigen Wahlen zum Europaparlament? Noch schwieriger ist die Situation in illiberal geprägten Ländern, in denen die Community verfolgt wird, CSD-Veranstaltungen regelmäßig verboten und die Teilnehmer mit Gewalt durch die Repressionsorgane brutal misshandelt werden. Ganz extrem ist die Situation zum Beispiel in Uganda, wo – wie in über 60 weiteren Ländern – sexuelle Vielfalt nicht nur strafbewehrt ist. Zusätzlich wurde dort 2023 sogar eine mögliche Todesstrafe für LSBTIQ* eingeführt. Was fordert der LSVD? Diese und viele weitere spannende Themen erwarten euch in der 55. Folge des Podcasts "Menschenrechte nachgefragt" der Politischen Meinung und der Konrad-Adenauer-Stiftung – hört rein – überall, wo es Podcasts gibt! Save the date: In der nächsten Folge 56 sprechen wir mit Stefan von Raumer, DAV-Vizepräsident und Vorsitzender der Menschenrechtsausschüsse des Deutschen Anwaltsvereins (DAV), über die Bedeutung von 70 Jahren Europäische Menschenrechtskonvention (EMRK).

Can life's toughest battles shape our deepest truths? Join me, Micah Bravery, as I navigate the complex intersections of trauma, identity, and healing. This episode kicks off by acknowledging the significance of Pride Month and Men's Mental Health Awareness Month, exploring how they intertwine. I share candid updates about my second book and the challenges of balancing life and work while facing a cancer diagnosis. Through my journey, I emphasize the necessity of setting boundaries and prioritizing self-care, and I offer support for those who cannot openly be themselves due to fear or danger.Listen as I recount how a life-threatening battle with cancer forced me to embrace my identity as a gay man. I'll take you through the emotional landscape of celebrating Pride while confronting societal threats and my family's concerns for my safety. We dive into the complexities of intimacy influenced by past traumas and the guilt of wanting to prioritize my own well-being after years of being the rock for others. This chapter also sheds light on the unique challenges of navigating a predominantly white work environment as a light-skinned, educated person of color and the balance between giving and preserving one's well-being.Reflecting on past Pride celebrations, especially the vibrant parades on Christopher Street in New York City during the early 2000s, we explore the duality of partying and protesting. Recognizing the importance of honoring past struggles for LGBTQ+ rights, we find moments of joy amidst ongoing global challenges. The episode concludes with an invitation to explore resources at www.traumasexpensive.com, underscoring the costs of trauma and the transformative journey toward healing. It's a heartfelt call for resilience, empowerment, and living fully, appreciating the progress made while continuing the fight for equality and justice. #PodcastLife #PrideMonth #MensMentalHealth #TraumaHealing #LGBTQCommunity #CancerSurvivor #SelfCare #IdentityJourney #Intersectionality #PrideAndProtest #LGBTQRights #MentalHealthAwareness #Resilience #Empowerment #HealingJourney #BookUpdate #BalancingLife #SettingBoundaries #SupportAndStrength #LivingFully #EqualityAndJustice 

DBS#47 - Christian Handel - Autor: "Pride began on Christopher Street"

DBS#47 - Christian Handel - Autor: "Pride began on Christopher Street"

DBS#47 - Christian Handel - Autor: "Pride began on Christopher Street"

Christian Handel, Martin Krauß, Christoph Ruf und Andreas Suchanek: Von Athen bis zur Christopher Street, von der Bundesliga bis zum Outing! In schöner Regelmäßigkeit gibt´s den  Hashtag booksandsports, der bis zur Ausgabe #90 diesen Podcast schmückte, noch, wenn in der Sportstunde sprengerspricht. Ausschließlich über Sportbücher. Natürlich spielt der Sport auch im Original immer Mal wieder eine Rolle, schließlich arbeitet der Host seit vielen Jahren als Journalist in dem Metier,  genauer und vor allem im Fußball. Klar, dass der  dann zum Ende der drei Profiligen in den Fokus gerät. Klar aber auch: natürlich anders. So wie immer werden spannende Gäste ins Gespräch gebracht und ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

Christian Handel, Martin Krauß, Christoph Ruf und Andreas Suchanek: Von Athen bis zur Christopher Street, von der Bundesliga bis zum Outing! In schöner Regelmäßigkeit gibt´s den  Hashtag booksandsports, der bis zur Ausgabe #90 diesen Podcast schmückte, noch, wenn in der Sportstunde sprengerspricht. Ausschließlich über Sportbücher. Natürlich spielt der Sport auch im Original immer Mal wieder eine Rolle, schließlich arbeitet der Host seit vielen Jahren als Journalist in dem Metier,  genauer und vor allem im Fußball. Klar, dass der  dann zum Ende der drei Profiligen in den Fokus gerät. Klar aber auch: natürlich anders. So wie immer werden spannende Gäste ins Gespräch gebracht und ...Du möchtest deinen Podcast auch kostenlos hosten und damit Geld verdienen? Dann schaue auf www.kostenlos-hosten.de und informiere dich. Dort erhältst du alle Informationen zu unseren kostenlosen Podcast-Hosting-Angeboten. kostenlos-hosten.de ist ein Produkt der Podcastbude.Gern unterstützen wir dich bei deiner Podcast-Produktion.

Einfach mal organisieren: Im Gespräch mit Jasmin Gräwel über den CSD Leipzig, ein ungewolltes Coming-Out und die Schwierigkeit, allein auszugehen.

We are thrilled to be back with a new episode of the Hyperallergic podcast. For our one hundredth episode, we spoke with legendary collage and mixed media artist Tommy Lannigan-Schmidt. His works, made from crinkly saran wrap and tin foil, emulate the gleam of precious metals and jewels in Catholic iconography. They reference his upbringing as a working class kid and altar boy in a Catholic community in Linden, New Jersey, where tin foil was an expensive luxury they could rarely afford. But they also hold memories of where he found himself as a teenager: the LBGTQ+ street life and art community of New York City, which led to his participation in the 1969 Stonewall Uprising. Lanigan-Schmidt is as much a visual artist as he is a storyteller. We climbed up to his fourth floor walk-up in Hell's Kitchen, where, surrounded by teetering piles of books and artwork, he regaled us with tales about artists like Jack Smith and Andy Warhol, his decision to leave his hometown as a penniless teenager, his steadfast identity as a working class artist, his conversion to Russian Orthodox Christianity, what changed for gay artists in New York between the 1960s and today, and of course, his recollection of that historic night at the Stonewall.We know you'll enjoy this artist's sparkling humor and singular vision as he shares reflections on his life and this critical moment in history.We also talked with Ann Bausum, author of Stonewall, Breaking Out in the Fight for Gay Rights, about the significance of the uprising. She also shared some of her own first-hand recollections of segregation in 1960s America. The music in this episode was written by Garen Gueyikian, with the exception of one track by Dr. Delight, courtesy of Soundstripe. A selection of Thomas Lanigan-Schmidt's work will be on display at a show titled Open Hands: Crafting the Spiritual at Saint Louis University's Museum of Contemporary Religious Art until May 19, 2024. (00:00) - Intro (02:31) - Ann / Hrag (13:58) - Intro to Tommy (15:49) - Tommy / Hrag (01:30:05) - Outro Related Links:Thomas Lanigan-Schmidt's 2012-2013 solo show at MoMA PS1, Tender Love Among the JunkLanigan-Schmidt's work at Pavel Zoubok Fine ArtGay and Proud, the 1970 film which documented a demonstration on Christopher Street on the first anniversary of the Stonewall Uprising, excerpted in this episode starting at 14:39Stonewall: Breaking Out in the Fight for Gay Rights by Ann BausumWatch Flaming Creatures by Jack SmithDr. Wendy Schaller on Feast of St. Nicholas by Jan SteenAndy Warhol's portrait of Holly SolomonMario Banana, an Andy Warhol film with Mario Montez—Subscribe to Hyperallergic NewslettersBecome a member

Perched right on Christopher Street in the West Village, you'll find J. Mueser, the namesake bespoke tailor that's been featured in GQ, Vogue, and WM Brown Magazine, just to name a few. We chat a lot about the usual suspects, like his vinyl and watch collection, but we also talk about the nuance behind collecting and how it relates to bespoke tailoring, and J. Mueser specifically. Jake touches on how the design process and collecting share a lot of the same attributes, and in this case, all in good taste. If you've ever felt unsure about your decision to own multiple iterations of the same item, this ones for you. Alright, please enjoy, Jake Mueser, for Collectors Gene Radio.- J. Mueser - https://jmueser.com/

This is the first of a three-part program paying tribute to legendary Broadway director and producer Harold “Hal” Prince, known for among many other shows, WEST SIDE STORY, FIDDLER ON THE ROOF, and SWEENEY TODD. Celebrating Prince's 55th birthday, this episode features music from his iconic shows, including WONDERFUL TOWN, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, EVITA, THE PAJAMA GAME, DAMN YANKEES, and NEW GIRL IN TOWN.  Featured songs: “CHRISTOPHER STREET,” “PRETTY LITTLE PICTURE,” “BUENOS AIRES,” “RACING WITH THE CLOCK,” “WHATEVER LOLA WANTS,” and “SUNSHINE GIRL.” Originally produced and broadcast in 1983. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway's Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

This month, taking a cue from the sultry, sensual heat of summer, Outward examines the venerable queer practice of cruising—for sex and sex work—in public space. First, hosts Christina Cauterucci, Jules Gill-Peterson, and Bryan Lowder make eyes at Park Cruising, a new essay collection on cruising in parks, which explores the pleasures, politics, and complexities of that gay pastime. Author Marcus McCann joins the hosts to discuss those themes. Then they head down to Christopher Street with the trans women of The Stroll, a new HBO documentary streaming on Max, as they revisit a time when New York's now-gentrified Meatpacking District was rich with a unique and affirming form of sisterhood. Co-director Kristen Lovell stops by to discuss the making of the film. The hosts end the show, as always, with some new additions to the Gay Agenda. Items discussed in the show: “The Real Story of 303 Creative v. Elenis,” by Mark Joseph Stern in Slate Outward's Times Square billboard A provocative chant at NYC Drag March Park Cruising: What Happens When We Wander Off the Path, by Marcus McCann The Stroll The Lady and the Dale Sylvia's Place Sylvia Rivera, Marsha P. Johnson, and STAR Gay Agenda Christina: Rock Hudson: All That Heaven Allowed from HBO Jules: Hari Nef's interviews about her role in Barbie  Bryan: Taylor Mac's 24-Decade History of Popular Music (see also Hugh Ryan on the show's history) This podcast was edited by Emily Charash and produced by June Thomas. Please send feedback, topic ideas, and advice questions to outwardpodcast@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

This month, taking a cue from the sultry, sensual heat of summer, Outward examines the venerable queer practice of cruising—for sex and sex work—in public space. First, hosts Christina Cauterucci, Jules Gill-Peterson, and Bryan Lowder make eyes at Park Cruising, a new essay collection on cruising in parks, which explores the pleasures, politics, and complexities of that gay pastime. Author Marcus McCann joins the hosts to discuss those themes. Then they head down to Christopher Street with the trans women of The Stroll, a new HBO documentary streaming on Max, as they revisit a time when New York's now-gentrified Meatpacking District was rich with a unique and affirming form of sisterhood. Co-director Kristen Lovell stops by to discuss the making of the film. The hosts end the show, as always, with some new additions to the Gay Agenda. Items discussed in the show: “The Real Story of 303 Creative v. Elenis,” by Mark Joseph Stern in Slate Outward's Times Square billboard A provocative chant at NYC Drag March Park Cruising: What Happens When We Wander Off the Path, by Marcus McCann The Stroll The Lady and the Dale Sylvia's Place Sylvia Rivera, Marsha P. Johnson, and STAR Gay Agenda Christina: Rock Hudson: All That Heaven Allowed from HBO Jules: Hari Nef's interviews about her role in Barbie  Bryan: Taylor Mac's 24-Decade History of Popular Music (see also Hugh Ryan on the show's history) This podcast was edited by Emily Charash and produced by June Thomas. Please send feedback, topic ideas, and advice questions to outwardpodcast@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

This month, taking a cue from the sultry, sensual heat of summer, Outward examines the venerable queer practice of cruising—for sex and sex work—in public space. First, hosts Christina Cauterucci, Jules Gill-Peterson, and Bryan Lowder make eyes at Park Cruising, a new essay collection on cruising in parks, which explores the pleasures, politics, and complexities of that gay pastime. Author Marcus McCann joins the hosts to discuss those themes. Then they head down to Christopher Street with the trans women of The Stroll, a new HBO documentary streaming on Max, as they revisit a time when New York's now-gentrified Meatpacking District was rich with a unique and affirming form of sisterhood. Co-director Kristen Lovell stops by to discuss the making of the film. The hosts end the show, as always, with some new additions to the Gay Agenda. Items discussed in the show: “The Real Story of 303 Creative v. Elenis,” by Mark Joseph Stern in Slate Outward's Times Square billboard A provocative chant at NYC Drag March Park Cruising: What Happens When We Wander Off the Path, by Marcus McCann The Stroll The Lady and the Dale Sylvia's Place Sylvia Rivera, Marsha P. Johnson, and STAR Gay Agenda Christina: Rock Hudson: All That Heaven Allowed from HBO Jules: Hari Nef's interviews about her role in Barbie  Bryan: Taylor Mac's 24-Decade History of Popular Music (see also Hugh Ryan on the show's history) This podcast was edited by Emily Charash and produced by June Thomas. Please send feedback, topic ideas, and advice questions to outwardpodcast@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

This month, taking a cue from the sultry, sensual heat of summer, Outward examines the venerable queer practice of cruising—for sex and sex work—in public space. First, hosts Christina Cauterucci, Jules Gill-Peterson, and Bryan Lowder make eyes at Park Cruising, a new essay collection on cruising in parks, which explores the pleasures, politics, and complexities of that gay pastime. Author Marcus McCann joins the hosts to discuss those themes. Then they head down to Christopher Street with the trans women of The Stroll, a new HBO documentary streaming on Max, as they revisit a time when New York's now-gentrified Meatpacking District was rich with a unique and affirming form of sisterhood. Co-director Kristen Lovell stops by to discuss the making of the film. The hosts end the show, as always, with some new additions to the Gay Agenda. Items discussed in the show: “The Real Story of 303 Creative v. Elenis,” by Mark Joseph Stern in Slate Outward's Times Square billboard A provocative chant at NYC Drag March Park Cruising: What Happens When We Wander Off the Path, by Marcus McCann The Stroll The Lady and the Dale Sylvia's Place Sylvia Rivera, Marsha P. Johnson, and STAR Gay Agenda Christina: Rock Hudson: All That Heaven Allowed from HBO Jules: Hari Nef's interviews about her role in Barbie  Bryan: Taylor Mac's 24-Decade History of Popular Music (see also Hugh Ryan on the show's history) This podcast was edited by Emily Charash and produced by June Thomas. Please send feedback, topic ideas, and advice questions to outwardpodcast@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

This month, taking a cue from the sultry, sensual heat of summer, Outward examines the venerable queer practice of cruising—for sex and sex work—in public space. First, hosts Christina Cauterucci, Jules Gill-Peterson, and Bryan Lowder make eyes at Park Cruising, a new essay collection on cruising in parks, which explores the pleasures, politics, and complexities of that gay pastime. Author Marcus McCann joins the hosts to discuss those themes. Then they head down to Christopher Street with the trans women of The Stroll, a new HBO documentary streaming on Max, as they revisit a time when New York's now-gentrified Meatpacking District was rich with a unique and affirming form of sisterhood. Co-director Kristen Lovell stops by to discuss the making of the film. The hosts end the show, as always, with some new additions to the Gay Agenda. Items discussed in the show: “The Real Story of 303 Creative v. Elenis,” by Mark Joseph Stern in Slate Outward's Times Square billboard A provocative chant at NYC Drag March Park Cruising: What Happens When We Wander Off the Path, by Marcus McCann The Stroll The Lady and the Dale Sylvia's Place Sylvia Rivera, Marsha P. Johnson, and STAR Gay Agenda Christina: Rock Hudson: All That Heaven Allowed from HBO Jules: Hari Nef's interviews about her role in Barbie  Bryan: Taylor Mac's 24-Decade History of Popular Music (see also Hugh Ryan on the show's history) This podcast was edited by Emily Charash and produced by June Thomas. Please send feedback, topic ideas, and advice questions to outwardpodcast@slate.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Florence Ashley & Sam Sanchinel, “The Saint of Christopher Street: Marsha P. Johnson and the Social Life of a Heroine” (2023) 134 Feminist Review 39–55 Abstract: This article analyses the legacy of Marsha P. Johnson as a heroine through the notion of labour, emphasising how heroine narratives are both a product of labour as well as a form of labour. After offering a short account of Marsha P. Johnson's role in the Stonewall riots and STAR, we explore the development of trans communities' ability to create, sustain and disseminate heroine narratives, emphasising Tourmaline's pivotal archival role in establishing Johnson's legacy. Then, we elucidate the role of heroine narratives in creating and sustaining a collective identity. We argue that community attachment to Marsha P. Johnson reclaims the place of trans communities in LGBTQ+ history but is often done in a manner that obscures the whiteness of mainstream trans advocacy. We suggest that the recent increase in interest towards the life-sustaining labour of STAR House reflects the evolution of trans collective identity in the post-visibility era. (⁠Link to article⁠)

BYSK is once again kicking off PRIDE month with one of our previously aired, but absolutely ESSENTIAL PRIDE Broads - MARSHA "Pay It No Mind" JOHNSON! Marsha was one of the figureheads in the fight for LGBTQ rights and a true legend. She was (allegedly) at the Stonewall Inn on the night the riots broke out, kicking off the LGBTQ revolution. She also helped organize the first Pride Parade and founded STAR house, a home for abandoned or homeless LGBT children and young adults to keep them off the streets (her story inspired the hit show “Pose” on FX!). She always wore her flower crowns, but her life was far from glamorous. From life on the streets and sleeping under flower tables, to jail cells, to fighting for drag queen respect in the gay community, and eventually her untimely and tragic death, Marsha was a Queen who deeply understood you only have one life, and you've got to live it to it's fullest, brightest and most beautiful. — A Broad is a woman who lives by her own rules. Broads You Should Know is the podcast about the Broads who helped shape our world! 3 Ways you can help support the podcast: Write a review on Apple Podcasts Share your favorite episode on social media / tell a friend about the show! Send us an email with a broad suggestion, question, or comment at BroadsYouShouldKnow@gmail.com — Broads You Should Know is hosted by Sara Gorsky. IG: @SaraGorsky Web master / site design: www.BroadsYouShouldKnow.com — Broads You Should Know is produced by Sara Gorsky & edited by Chloe Skye

Dominik Hoffmann und Sainey Sawaneh haben die FTI Kollegen Christian Schulz und Patrick Käfer zu Gast. Beide sind die Anlaufstelle bei FTI für das Thema Pride. Die Themen: Orient und Kanaren; Vorbildliche Laufbahnen; Öffnungen in den Emiraten; Religiöse und kulturelle Unterschiede; Verhalten und Einstellung; Event Pride Saison; Erste Gay Pride in Christopher Street in NY; FTI am CSD in München am 24. Juni; Winter-Pride auf Gran Canaria im November Dir stehen folgende Informationsquellen und Kontaktmöglichkeiten zur Verfügung: https://www.fti.de/service/reisehinweise.html https://www.fti.de/blog/reiseberichte-und-tipps/expertentipps/urlaub-corona-einreisebestimmungen/ Schreib uns deine Fragen, Reiseerlebnisse und Reisetipps an heroproductions@wieheldenreisen.de

Episode Reading List:* From Queer to Gay to Queer, James Kirchick* How Hannah Arendt's Zionism Helped Create American Gay Identity, Blake Smith* When the Pope Hits Your Eye Like a Big Pizza Pie, That's Ahmari, James Kirchick* Eve Kosofsky Sedgwick's Big Fat Nonbinary Mistake, Blake Smith* Are Conservatives the New Queers?, Blake Smith* Wesley Yang, The Souls of Yellow Folk, John PistelliI have a working hypothesis that no one has suffered a more dramatic decline in a certain kind of social status, as a result of changes in left-liberal elite culture and politics, than white gay men. Less than a decade ago they were at the vanguard of social progress, having led a gay rights movement that achieved an extraordinary series of legal, political, and cultural victories. Now they're perceived as basically indistinguishable, within certain left-liberal spaces, from straight white men. In some activist circles they may be even more suspect, since they're competing for leadership roles and narrative centrality where straight men wouldn't presume (or particularly desire) to tread. My hypothesis, if it's accurate, is interesting on its own terms, as part of a much longer history in America of ethnic and other minority groups rising and falling in relative cultural, intellectual, and literary status. It's also interesting, however, for what it tells us about the recent evolution of left and liberal politics, as they've shifted and reshaped themselves in reaction to both great victories, like the legalization of gay marriage, and to depressingly intractable problems like the persistent racial gaps in wealth, health, incarceration, and crime.I'm less interested in the justice or injustice of this shift in standing (though I'm somewhat interested) than I am in the facts of it and its implications. Why has it happened? What does it feel like for the people who have experienced it? What are its implications? Will there be a backlash? To assist me in thinking through what it all means, I invited to the podcast Blake Smith and Jamie Kirchick. Jamie is a columnist for Tablet magazine, a writer at large for Air Mail, and the author of last year's New York Times bestseller, Secret City: The Hidden History of Gay Washington. He has long been an outspoken critic of some sectors of the gay left and what he perceives of as their desire to subordinate the project of achieving full civic and political equality for gay people to a more radical, revolutionary project to tear down conventional bourgeois ideas of gender, sexuality, marriage, family, monogamy, and identity. In a recent essay in Liberties, “From Queer to Gay to Queer,” Jamie compares the liberal tenets of the gay rights movement to the radical aspirations of what he calls “political queerness”: With its insistence that gay people adhere to a very narrow set of political and identitarian commitments, to a particular definition that delegitimates everything outside of itself, political queerness is deeply illiberal. This is in stark opposition to the spirit of the mainstream gay rights movement, which was liberal in every sense — philosophically, temperamentally, and procedurally. It achieved its liberal aspirations (securing equality) by striving for liberal aims (access to marriage and the military) via liberal means (at the ballot box, through the courts, and in the public square). Appealing to liberal values, it accomplished an incredible revolution in human consciousness, radically transforming how Americans viewed a once despised minority. And it did so animated by the liberal belief that inclusion does not require the erasure of one's own particular identity, or even the tempering of it. By design, the gay movement was capacious, and made room for queers in its vision of an America where sexual orientation was no longer a barrier to equal citizenship. Queerness, alas, has no room for gays. The victory of the gay movement and its usurpation by the queer one represents an ominous succession. The gay movement sought to reform laws and attitudes so that they would align with America's founding liberal principles; the queer movement posits that such principles are intrinsically oppressive and therefore deserving of denigration. The gay movement was grounded in objective fact; the queer movement is rooted in Gnostic postmodernism. For the gay movement, homosexuality was something to be treated as any other benign human trait, whereas the queer movement imbues same-sex desire and gender nonconformity with a revolutionary socio-political valence. (Not for the first time, revolution is deemed more important than rights.) And whereas the gay movement strived for mainstream acceptance of gay people, the queer movement finds the very concept of a mainstream malevolent, a form of “structural violence.” Illiberal in its tactics, antinomian in its ideology, scornful of ordinary people and how they choose to live, and glorifying marginalization, queerness is a betrayal of the gay movement, and of gay people themselves. In the podcast I refer to Jamie as “a man alone.” This isn't quite true. He has comrades out there, in particular older gay writers like Andrew Sullivan and Jonathan Rauch, who share many of his commitments and critiques. Generationally, however, Jamie seems more alone than they do, without a cohort of gay intellectuals of roughly his age who share his intellectual reference points, his liberalism, and his very specific experience of coming of age as a gay man and journalist in America when he did, at his specific point of entry to AIDS, the decline of print and rise of online journalism, and the political advance of gay (and more recently trans) rights. He's a man alone but also, if the premise of this podcast is accurate, a man alone who has been publicly articulating a set of feelings and arguments that is shared by many of his gay male peers, of various generations, but hasn't yet taken shape in the form of a political or intellectual reaction.Blake Smith is my first return guest to the podcast, having recently joined me to discuss Pulitzer Prize-winning essayist and critic Andrea Long Chu (the “it girl of the trans world,” as I called her). He is a recent refugee from academia, now living and working as a freelance writer in Chicago, writing for Tablet magazine, American Affairs, and elsewhere. At 35 he is only a few years younger than Jamie, but is the product of a very different set of formative biographical and intellectual influences. Raised in a conservative Southern Baptist family in a suburb of Memphis, Blake's big coming out, as he tells the story, was less as a gay man than as the kind of academically credentialed, world-traveling, city-based sophisticate he has become. If Jamie's sense of loss is maybe something in the vicinity of what I proposed at the top of this post–that he went from being in the ultimately victorious mainstream of the gay rights struggle to being seen as a member of the privileged oppressor class, at best a second-class “ally” and at worst an apostate to the cause –than Blake's experience is less about any personal or political loss of status or standing than it is a variant of the venerable intellectual and literary tradition of pining for a scene or scenes from eras prior to your own. Think Owen Wilson's character in Woody Allen's Midnight in Paris, who was magically transported back to Paris in the 1920s, the scene he'd always romanticized, only to fall in love with a woman from that era who herself romanticizes and eventually chooses to abandon him for another, earlier cultural moment, the Belle Époque scene of the 1890s. For Blake, the key era, maybe, was the brief post-Stonewall period before AIDS superseded all other concerns––so the 1970s, more or less– when gay male life was sufficiently out of the closet for a gay male public to come into existence and begin to define itself and understand how it related, or didn't relate, not just to the straight world but also to feminism, women, Marxism, black civil rights, and other left-wing and liberal movements. In a recent piece in Tablet, Blake writes about the magazine Christopher Street, founded in 1976, and its project of helping to bring into existence a coherent intellectual and cultural community of gay men:In its cultural politics of building a gay male world, Christopher Street featured poetry and short stories, helping launch the careers of the major gay writers of the late 20th century, such as Edmund White, Andrew Holleran, and Larry Kramer. It also ran many essays that contributed to an emerging awareness that there was a gay male canon in American letters, running from Walt Whitman and Hart Crane to John Ashbery and James Merrill.Christopher Street was by no means the only venue for the construction of a gay world, but [editor Michael] Denneny and his colleagues were perhaps the sharpest-minded defenders of its specificity—their demand that it be a world for gay men. In a debate that has now been largely forgotten, but which dominated gay intellectual life in the 1970s, Denneny's Arendtian perspective, with its debts to Zionism, was ranged against a vision of politics in which gay men were to be a kind of shock force for a broader sexual-cum-socialist revolution.For Blake, what's been lost or trumped is less the liberal politics that Jamie champions and that Christopher Street more or less advocated than the existence of a gay male world of letters that had fairly distinct boundaries, a relatively private space in which gay men–who may always remain in some way politically suspect, even reviled, by the mainstream–can recognize and talk to each other.  As he writes in another recent essay in Tablet, maybe half-seriously, “One should, …know one's own type (Jew, homosexual, philosopher, etc.) and remain at a ‘playful distance' from those outside it, with ‘no expectation of essential progress' toward a world in which the sort of people we are can be publicly recognized and respected. No messiahs, and no end to paranoias and persecutions—but, in the shade of deft silences, the possibility of cleareyed fellowship with one's own kind.”Jamie, Blake, and I had what I found to be a really exciting conversation about all these issues and more. Give it a listen.Eminent Americans is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Eminent Americans at danieloppenheimer.substack.com/subscribe

Have you ever heard of or experienced the magic of ley lines? Ley lines are an ancient and mysterious concept that Xandra recently discovered and today, she's going to share her findings with you.In this episode of Soul Essence, Xandra breaks down the spiritual and historical significance of ley lines and how it ties into her upcoming travels to England.Ley lines have been defined as a straight alignment drawn between various historic structures and prominent landmarks. Ley line believers have argued that these alignments were recognized by ancient societies that deliberately erected structures along them. Ley lines have a special connection to England that's changing the entire energy of Xandra's voyage. Listen in to find out how!Topics Discussed:·      The fascinating origin story of ley lines.·      Xandra's plans for traveling around England.·      Why ley lines are spiritually and energetically significant.·      The healing powers of ley lines.·      How I get better at listening to my intuition.Remember, connecting with your intuition doesn't have to be a pressured process. Letting your intuition guide you can be fun, playful, and full of wonder!“I'm going to walk these sacred, ancient ley lines with intuition, with joy, with curiosity, with rootedness, and see what comes up, see what shows me things.” – Xandra HawesRecommended Resources:Learn more about Alfred Watkins & Ley Lines: https://en.wikipedia.org/wiki/Ley_lineThe Old Straight Track by Alfred Watkins: https://amzn.to/3WoLVhoLondon's Ley Lines: Pathways of Enlightenment by Christopher Street: https://amzn.to/4317LdmMystical England London Guide Book by Paul McCarthy: https://amzn.to/42WeWDrListen to the Soul Essence podcast on Spotify, Apple Podcasts, Google Podcasts, or our website! SHARE this episode with a friend & leave us a RATING/REVIEW if you enjoyed it!Connect with us! Psychic Readings & Intuitive Classes w/ Xandra Soul Essence Psychotherapy w/ Xandra Connect w/ Xandra on Instagram Connect with Xandra on Facebook Enroll in Xandra's Root Medicine Course About the Host:Xandra Hawes, MA, LPC is a Contemplative Psychotherapist & Psychic-Medium in private practice, as well as the creator of Soul Essence Wellness Center. Using her background in Buddhist psychology as the foundation for teaching, Xandra helps sensitive and empathic people discover their spiritual gifts, learn transformative energy healing practices, and live with more confidence, self-trust and joy.

Kevin Heffernan is 1/5 of the comedy group Broken Lizard and has made cult classics like Super Troopers, Beerfest, Club Dread, and the upcoming Quasi out on Hulu on 4/20. Kevin is also the Showrunner of the hit sitcom Tacoma FD on TruTV and streaming on HBOMax.Show NotesKevin Heffernan on Instagram - https://www.instagram.com/heffernanrules/Kevin Heffernan on IMDB - https://www.imdb.com/name/nm0373571/Michael's Online Screenwriting Course - https://michaeljamin.com/courseFree Screenwriting Lesson - https://michaeljamin.com/freeJoin My Watchlist - https://michaeljamin.com/watchlistAuto-Generated TranscriptKevin Heffernan:That meeting that we first had with you guys. Yeah. And we, we were at Dave, we were at we were at the three Arts offices. Yep. AndAnd I remember this cuz I was like, you know, let me and I, and you know, maybe you've come to realize this, but let, and I were, were a little bit more insecure about our knowledge about how to make a TV show cuz we hadn't done it before. Right. And and I remember I kept in the meeting, we would have conversations like, he would keep saying things like well I don't know. Cause we only make movies, you know, I don't know. Cause he's gonna make movies. Right. I kept saying that. And what I was trying to say was, I don't know anything about tv. Right. But your partner Sivert, he, he threw that back in my face at one point. He does. He said, but I don't know. Cause I only make TV, you know. Oh my God. Thought was the funniest fucking thing. I thought it was so fucking funny. Michael Jamin:Oh, thank God he didn't take the meeting.You're listening to Screenwriters Need to Hear This with Michael Jamin.Hey everyone, it's Michael Jamin. Welcome back to Screenwriters Need to Hear This, the podcast. I got another great guest for you everyone. Hope everyone's sitting down. It's Kevin Heffernan. He's also my boss, so I'm gonna be extra nice for this. But IKevin Heffernan:Like to think we're coworkers, Mike. Well,Michael Jamin:He likes to say that, but meanwhile he makes him, makes me bring him lunch. I like to and rub his feet while he eats it. I like toKevin Heffernan:But then you get somebody, you get somebody younger to bring you lunch to bring Correct. Isn't that the way it works?Michael Jamin:And rub my feet. Yes. Right. Just kickKevin Heffernan:It down.Michael Jamin:Fine. Kevin, let me give you a proper introduction for those. Okay. Who never, ever heard of you. First of all, he's the star and showrunner of Tacoma fd. We're in season four. We just finished season four right now. But also you may know him from from a million million movies. Supert Trooper. Supert Trooper Two Club, dread Slam and Salmon Beer Fest. Quai he's one of the founding members of, and I'm of Broken Lizard, which is a comedy troop. And he's also an actor. Everyone, please welcome to the show, Kevin Heffernan. Ron, can I applaud? You should definitely applaud, dude. Thank you so much. I, I have to say, and I've said this to you many times publicly, but I gotta say it, that everyone is listening. I always give you and Lemi a lot, so much credit for what you guys have done because like, the way I see my career, I feel like, I guess I'm like a Hollywood insider in the sense that I got hired by someone to be on a show and then I rose up the ranks. And then about halfway through my career, I noticed I was no longer working for Hollywood Insiders. I was working for basically Hollywood outsiders. People who made their own career and made themselves so desirable that Hollywood came to them and said, Hey, will you do stuff for us? And that's what I feel like you guys have done.Kevin Heffernan:Well, it's a little bit like I guess that's part of the, in front of the camera thing that gives you a little extra allure, I guess. I don't know. Or so, or a way to it does made,Michael Jamin:I think so. But when you started broken, you know, when you guys did your first broken lizard movie, you were just, you know, you guys did it on your own. Yes.Kevin Heffernan:Yeah.Michael Jamin:I mean, talk about that. How did you make that happen? You guys were just nobody's.Kevin Heffernan:Yeah, I mean, well we, we were a, you know, a group that was, I guess we were kind of self-contained. You know, a lot of people, they get out of school, whatever it is, and they, they kind of join some other entity whether it's, you know, some performance thing like the Groundlings or they go to a film school or whatever it is. And we just did it. Our, you know, we had five, well we had more, at the time it was like eight or nine folks. And then after we graduated from Colgate University, we went to New York and we started doing live shows and, and just doing everything soup to nuts. You know, we would, did did the acting and then directing, they're producing the editing and the writing and that, that's how kind of we cut our teeth in order to, you know, and then it was just kinda like, you know, Hey, let's make some short films. Let's, you knowMichael Jamin:Where were you showing these films?Kevin Heffernan:Yeah. And then we would show the films during our live shows. So we would do, you know, sketch shows, you know, in New York City and the Village or whatever. And we'd haul this like 800 pound you know, 32 inch tv into the room. And, and then we would just shoot these short videos. And they're essentially designed to show while we were able, you know, gives us a chance to change costumes and stuff, you know what I mean? It was, oh, it was a chance for us to have a, have a costume change and then we would start showing these videos. And then those were the things that always seemed to be really popular.Michael Jamin:And these were in like, small venues, like how big, how many seats?Kevin Heffernan:Yeah, I don't know. 80, you know, would,Michael Jamin:And how would you get people to show up?Kevin Heffernan:Well, we, you know, we went to Colgate, which is kind of a, kind of a big drinking school. And so and a lot of people migrate, you know, when they, it's in upstate New York, so they'll graduate and they'll, they'll move down to New York City. So there was this network of people from our school who were kind of big drinkers and, and young and, and we just kind of put out the word and all the friends would come, you'd get, you know, 50 people in the room. And I remember after the first weekend, the, the place, we were doing a place called the Duplex, which I think is still there. It's in like Christopher or Sheridan Square or something like that. Christopher Street. And the show would end and the bar, the guy who owned the club would walk in and the table would be full of empty beer bottles just full . And and he'd be so happy. And he kept offering us more, you know, gigs more nights or whatever. And it was basically cuz our friends came and they drank beer and they had laughs and, and were youMichael Jamin:Hitting the door? Or how, how were you charging?Kevin Heffernan:Yeah, yeah. We, well probably, we probably got some real shitty deal. You know, we probably had some horrible deal. I mean, it was like we were begging for stage time around town, you know? And and these guys, you know, let you start on a Monday night, you know, or whatever, whatever shitty time is, or, you know, Monday at 10 o'clock or whatever, you know, Uhhuh and do the show. And, and we'd get our friends to come and then it was Wednesday night, and then it was Friday night, and then it's, you know, Hey, you're doing the whole weekend. You know, and it kind of, kind of grew that way, but, and that was, and we learned to write sketches mm-hmm. when we were doing that, you know? And then did youMichael Jamin:Kind of, did you kind of learn in college though, when you were, you were writing sketches in college though?Kevin Heffernan:Yeah, we, we kind of self-taught. We, we, it was kind of later towards the end of our college careers where we started this comedy group. And my buddy Jay Chen Sekar, who's, you know, still in the,Michael Jamin:There he is. Oh, we're gonna plug that Quasi is the movie plugKevin Heffernan:That, but that's him. That's Jay ChenMichael Jamin:Important. That's the most important one. I've left that one out.Kevin Heffernan:Yeah. But that's him. And then he had had some background in Chicago at the IO in Second City and things like that, doing improv. And always wanted to do a show at Colgate. And so he had gotten the opportunity through some student theater group. There was a guy who was like, Hey, why don't you put up a show? And he was like, ah, I don't wanna do it. I don't wanna do it. And then ultimately, I think they gave him like 500 bucks, Uhhuh . And he decided to put together a group of people, and he and I were very close friends. And he knew that I was interested in something like that. And so we put together this group of folks, and it was probably like 15 people at that point in time and, and just started this comedy group. And we didn't know, like we didn't know how to do improv. We didn't know how to write sketches, we know any of that stuff. And it was just, JayMichael Jamin:Took one class, basically, and he's like, I'll, I'll teach you guys how to doKevin Heffernan:It. Well, he, he didn't, he wasn't even the teacher, you know, like he did. Yeah. Like, he did a, a summer, like likeGuys. Yeah. And he's like, yeah, I'll try this. And we were miserable. I mean, we were horrible. But the, the thing in, in colleges and, and you probably have the same thing, it's like, you know, I think a lot of comedy is, is is the, you have to laugh out of shared experience, right? So the audience says, Hey, I know that happened to me. You know, that's why they laugh, right? So at college, it's a very insular world that you can do that. So you can make fun of that professor and that security guard and that, you know, fraternity, sorority, whatever it is. And, and that's the thing that you learn to write and that everyone laughs at. And so that's how we started where you would just, you'd make fun of people on campus and people love it. And then you, in that way, you learn how to write and, and do characters and whatever, and Right.You know, whatever. We were all fans of Saturday Night Live and Monty Python and whatever. And I think, you know, the idea was let's just try to do that. And it was very simple because it was a, it's like given a wedding toast, you know? It's like, you know, everyone's on your side, right? Everyone wants to laugh together, the same thing. And, you know, we started doing these shows there, and they were just super popular because there was nothing like it there. And people were, were happy to see us make fun of, you know, that professor or that, butMichael Jamin:Then at some point though, you had to branch out to a larger audience, though.Kevin Heffernan:Well, that's the, that's the, the terrifying thing is we got to, we moved to New York City afterwards and realized you couldn't make fun of the dean or the professor or whatever. You had to figure out what the things are that more people would laugh at. And I think, you know, that's the little of a learning curve. But we did that, and then you just start writing sketches and, and we started making these videos. ButMichael Jamin:Then how did you still, how do you make this jump from, you know, selling tickets to friends, to selling tickets to strangers, basically?Kevin Heffernan:Yeah. I, it's just, I guess it's just word of mouth is, is the way, is the way it happens. Where it's like, I, I, I remember, you know, people would bring their friends, you know, from high school and their other friends and whatever it is, and then all of a sudden you have a group of people who are into it, you know? And and then you'd have, you know, agents start to come and industry people start to show up. And really, theyMichael Jamin:Were trying to show up. You, they weren't, this is fascinating to me. So you didn't even invite them, they would just show up.Kevin Heffernan:Yeah, well, you know, I mean it was kind of a fun time in New York at the time where there was kind of these two, there are different movements that were kind of happening. And one of 'em was the independent film movement, which was, you know, big. It was the Kevin Smith and, and you know, that kind of stuff where you, everyone was making, you know, low budget films. And then it was also, you know, kind of the growth of the comedy group. Again, I guess, you know, where U C B was just, just starting up in New York. And there was another group called The State that was doing stuff in they were outta nyu and they were doing shows. And so there were different kind of like, there was kind of a lot of burgeoning kind of comedy groups that were kind of in that same era. And, you know, people catch on. There was a, you know, M T V wanted to make a sketch comedy show, and they started scouting all these comedy groups, and they picked this group, the state, and they made the, they made their comedy show. So there was a, you know, there were a lot of people out there that had an appetite for, for this kind of thing. And, and you know, we were trying to capitalize on him.Michael Jamin:And the whole time you str all you guys were struggling, but you, you were also attending law school at the sameKevin Heffernan:Time? I did. I went to law school. I, I I I was working at a law firm for, for a couple years out of school. And then, yeah, I went, I ended up gonna law school during the day. Right. And then we would do these comedy shows at night. And they never, they're very different worlds, you know, like, but I remember one time we were taking a tour of the courthouse with my law school class, Uhhuh . And somebody walked up to me who had seen the live show, Uhhuh , who was like, Hey, you are the comedian Kevin hen, da da da da. Not that I was famous anyway, but this guy just happened to be in, and everyone in my law school class has looked at me and like, who the fuck are you ? Like, they had no idea that I was, had that other thing going on. So. AndMichael Jamin:Did that change the way they looked at you after? Like, they,Kevin Heffernan:I think a little bit. I mean, I was, you know, I, I was not a, a great participant in the law school world. I was kind of a back bencher. I'd sit in the back row and I didn't really, I might crack a joke here and there. And so, but then, yeah, I think, I think they probably got a feeling of like, oh, maybe this is not his his highest priority, this law school thing. DidMichael Jamin:You, well, did you pa take the bar?Kevin Heffernan:I did, yeah. I took the bar. Yeah, I did. I we took the bar. Well, I graduated from law school, and then we made our, I graduated from May, and we were preparing to shoot the first feature film we ever made. We were preparing to shoot it in June. And so I started studying for the bar and I realized, oh, I can't do this. I can't do this stuff. And so I went to my dad and I was like, I'm not gonna take the bar exam. And he's like, what? Are you crazy? And I was like, you know, he goes, you get all, you're gonna get all through law school and you're not gonna take the party time. I was like, well, I'm gonna take it, but I'll take it, you know, six months from now or a year from now. Right. You're not gonna do that. And I said, I will, I will. And he said, you know, he said, that's insane. You don't take the ball down to the goal line and not cross into the goal. You know, youMichael Jamin:Do it, you figure you're in the New York Jets. That's how they,Kevin Heffernan:That's, that's right. You know, there's some people who just don't get in the end zone . And so I, and so we did it. So, but so we made the movie and then six months later I went back and I took the bar exam and I passed it. So,Michael Jamin:See, you're a good boy now, but how did you raise the money for the movie?Kevin Heffernan:Well, that, like I was saying before, that was that era of like, people were bankrolling movies on credit cards, you know, and it was like you know, Kevin Smith or whoever it was, they, you know, made clerks for $30,000 or whatever it was, you know what I mean? So we at the time, j Chan Sacar had taken a couple N Y U film classes, and he was very much into it. He also had got started working with this guy as a, as an intern at this office of this lawyer. His name was John Slots, who had went on to become this huge, you know, independent film, you know, movie producer, icon type of a guy. And he represented all those guys, the link laters and, you know, the Kevin Smiths and Rodriguez, all these guys are making these kind of, you know, el mariachi, you know, they're making these movies, you know. And so he got into his head like, let's try to do this. And so basically we went around and we charged, I think the movie we made was called Puddle Cruiser, which was about 250,000 bucks. And most of it was charged on credit cardsMichael Jamin:Between the five of you.Kevin Heffernan:Well, well, Jay did most of it. And then some of us did some stuff in, and then some, and people got like, some of their families kicking, you know, five grand here or whatever. But the thing with Jay was that, his name is Jay Chanter Sekar. And his parents were doctors. And for some reason, the credit card companies started to thought that maybe he was a doctor and they started sending him, they would send him these credit cards and, you know, he was a day, right? You'd get a credit card in the mail, you know what I mean? And you'd be like, ah, whatever. And you use it. And so he u you know, he just charged him up and but he,Michael Jamin:And he wasn't worried about like ever paying it back. I mean,Kevin Heffernan:You know, I, I think ultimately he probably was, but that's just what everybody was doing. Like, they were just putting the stuff on credit cards and that's what we did. And we, you know, charged the camera package on credit cards and we did all that stuff. HeMichael Jamin:Needed that much. That's a lot of money. I'm surprised you couldn't do for less.Kevin Heffernan:Well there are a couple things to it. Like, number one, we shot on 35 millimeter, right? Which was unusual. Cause that's a very expensive film format. And at the time, people were shooting 16 millimeter and other things, something called Super 16. They're shooting all these things. And but we wanted shoot on 35 just cuz we thought we could ha make the movie have more commercial appeal. Right. And so we did that. And and then also it's just, you know, a lot of those movies were kind of like the adventure of one man or whatever. And we had like, you know, we al it's always been our problem. We have five storylines with five guys and whatever. So the movie's always kind of expanded a little bit. But yeah, so we went up to Colgate University we had written a, a, a, a romantic comedy like set in a college.And we went up to Colgate University and we said, Hey, can we shoot this film? And we went, we made a big pitch to the dean, you know, former students, you know, doing this thing. And he said, Nope. And then he said, you're, you're not, you're, we're not gonna let you do it. And we said that, but that's crazy. He said, look I'm the guy who puts my name on this thing, and you know, you're gonna come here up here and make an animal house and then we're gonna look like assholes. And then, and so we're like, but we would never do that. You can read the script, blah, blah, blah. And so essentially what we did we went back and, and we told our friends, it's like, like I said earlier with the people we're all drinking, it's a very networky school.And we just reached out to everyone and we said, please reach out to this dean and tell 'em you support alumni's you know in the arts. You, you support alumni in the arts and that kind of thing. And it was the, it was the age of the fax machine. Mm-Hmm. . And they just, we gave out this guy's fax number and he just started getting, he got probably like a thousand fax from faxes from you know, alumni and wow. And finally he caved. He's like, okay, all right. You can do it. Just don't have the school's name anywhere in, in in the movie. Like, okay, what about insurance? You have to worry about that. Who, who is you? Yeah. Yeah. That's part, I mean, that's part of film. You know, you, you buy insurance. Okay. You paid for that wasn't, wasn't called.Okay. No, well, they wouldn't let us. They were very adamant about us, you know, using as little of their facility as possible. They, you know, we were hoping we, they would give us a dorm for us to stay in. They wouldn't do that. And we couldn't house anybody on the campus or any of that kind of stuff. So, but it's so what I, it's just so scrappy of you guys. It really is. It's just, yeah. Yeah. No, I I, it's totally scrappy and I, I give chance se a lot of credit for that. He, you know, he was very much in that camp of like you know, let's go make a movie however we can. And and we did. And, and you know, we didn't no idea what we were doing. And, and we didn't know where to put the camera.We didn't know any of that stuff. And we had, you know, we had some professional crew folks that came that we hired, you know, from New York City, and they came up there and, you know, the DP and the Grip and the gaffer were guys who were a little bit more experienced than we were. And and, and we just shot this thing. And then we didn't even know how to edit it. We've never, you know, edited a movie before and you just learned as you did it, man. And we did. So what we did, then we came back, we were and our buddy was a NYU film student. We would, he would sneak us in at night to the NYU film department, and we would use the edit machines. And at the time, at the beginning it was Steam Back. So it was like literally the film, you would put the film and cut the film. You know what I mean? Yeah. I mean, don't do that anymore. But that, that, that was the end of that era. But we started cutting our films that way. And then, and then we turned, you know, on this particular movie called Puddle Cruiser, we moved over to computer editing, which was just starting then.Michael Jamin:So, wow. See what I, well, and I wanna talk about Quasi, which by the way, so Quasi Drops, this is your latest movie. It drops on four 20 on Marijuana Day Yeah. On Hulu. And everyone should go sit your, you know, whatever. It's, make sure you watch this movieKevin Heffernan:Marijuana Day,Michael Jamin:But, well, I saw, I don't even know how much you changed cuz I went to a, a screening of it, what was it, a year ago? How long was that?Kevin Heffernan:It was yeah, it was March. It was March. Wow. Of of 20 21, 2 20 22.Michael Jamin:And maybe there was, was there maybe a couple hundred people who went to that? Who Yeah,Kevin Heffernan:We, we you know, we like to do that, to do the test screens to see where the laughs are or whatever. And we got about 200 folks. We did a screening room, screening Room, Warner Brothers, and then and itMichael Jamin:Went great. Every, I mean, everyone was laughing, everyone. So I'm, yeah. I don't even know howKevin Heffernan:Much, which is terrifying because you know, that the movie, and you saw that version is, that's the, like, that was like the two hour plus cut. Right. You know, and that's when you just, you know, you throw it out there and just see what hits what sticks, you know, andMichael Jamin:And aKevin Heffernan:Lot did it with that one. And then since that version you saw mm-hmm. , you know, we've been through doing test screenings. We get notes from everybody at the studio, all that kind of business, and we've whittled away another half an hour.Michael Jamin:Do you, do you find the Oh, really took a half hour? You finding you have more notes the more, the bigger the budget or No?Kevin Heffernan:No, I don't think so. I mean, there's more fear, there's no question about that. You know, we, we, we, but we've never kind of like really kind of moved in that world a little bit. You know, we, we, we were very, we made, we remade the Dukes of Hazard, we did the Dukes of Hazard movies for Warner Brothers. That was like the biggest thing that we did budget wise, where that's like, you're spending 60, 70, 80 million and then all the decisions become very precious and, and very much my committee. But for us, I think the beauty is we've always functioned at a budget level where people kind of leave you alone. Right. You know, like, they might get adamant about something or whatever. You know, we, we had a few things on this movie that they were, they felt very strongly about. And we, you know, we'll go back and forth, but for the most part, you know, we've never been in that horrible situation of, youMichael Jamin:Know, t Sibert and I, we, we prefer the world of low budget for that reason. Yeah. Do you guys feel the same way?Kevin Heffernan:Yeah. I mean, you, you just kind of fly under the radar screen. You know, it's like you know, when, when we made the movie Beer Fest, you know, we made it at Warner Brothers and at the same time they were making like the first like, huge Superman reboot and, you know, the budget of our movie was like a week of catering, you know? Yeah. On that Superman movie. And they were so worried about that stuff that they don't, they don't care. Not they don't care, but they just, you're not a high priority. So like, they do yourMichael Jamin:Thing. Bigger problems. Yeah. One of the fun things that I love, I I by watch 'em all your movies and it's, I, I don't know if you know, if you think about this, but to me it's like fun to see the same guys playing different roles, often two different parts in the same movie. And it's just, I don't know, do you, are you aware of how much like joy that gives Keep people?Kevin Heffernan:Yeah, no, I mean, we love it cuz like, we'll do that too. Like when we would go from movie to movie and intentionally try to put guys into different kinds of characters, Uhhuh, , you know, and, and, and that was the reason why. Cause we thought it was so fun to see guys do different things. I mean, this movie's a great example because we do play multiple parts and guys play different kind of characters. But after we shot Supert Troopers, like for example like Jay Chanter Sekar who directed it, you know, and it was a hard thing. It's a hard thing to direct a movie, you know, it was just kind of for a million bucks and whatever, and you're always, you know, fighting the clock and you're always fighting whatever. And so he would always kind of get dower at times, you know, and, and we'd have to remind him in his performance, Hey man, pick it up.You know, we're doing a comedy, don't worry about that. Put that shit behind you. Whatever. Uhhuh . And so after Supert Troopers, you know, his character is a very straight kind of guy. We made a movie called Club Dread, and it was like, let's go in the opposite direction. And we intentionally wrote Jay as like a Ponzi, British raaf, Farian tennis player, Uhhuh . And so with the intention of like, let's give him a character that's completely opposite of what he was. Right. And it ends up having the effect of being very cool, I think for people who like the movies cuz they see people play different kinds of characters, you know,Michael Jamin:But how do you guys even do that with five, because you have five equal partners writing. Like how do you decide who comes, is one person pitching an idea? How do you get five people on board to do anything?Kevin Heffernan:It's, it's pretty hard. I think it's, I think we're lucky that we started doing it together in college. Probably like, if, if we had been assembled like in, you know, at age 35 or whatever, never fucking made, it was like, you know, it's like putting a like a, like a like the monkeys together or something, or whatever, you know what I mean? I, I don't know that we would ever have been able to do that. Cuz yeah, there's fights and whatever, but I I I think it's really always come out of making each other laugh. And if, and if the rest of the guys laugh, then you're like, oh, okay. I I think that's, and you know, and, and the cra fights, you know, from casting point of view, we started getting into this practice and we did it from Super Troopers on where, for the most part, we don't cast the movie when we're writing it. And we don't cast the movie till way later in the game because you, you find out that, you know, if you know what the part you're playing, then you kind of start writing for yourself and your own part. But if you don't know, then you write for everybody. Right?Michael Jamin:Oh, is that right? So, yeah.Kevin Heffernan:And so we made a very conscious effort early on that we would push, like, there, there are sometimes now like movie quasi, you know Lemi, we knew Lemi was gonna be the title character, but I think most of our movies, it's like we wait till later in the game after the script has gone through multiple drafts, and then we cast it. AndMichael Jamin:Then how do you decide who, I mean, how do you, what if I wanna be theKevin Heffernan:Whatever that happens too. I mean, we, we I remember Super Troopers, you know, we wrote it, we wrote Mel multiple drafts. It was with many different companies and there are many different places, and we never really cast it. And then we decided we would sit down and we, the five of us, we sat down at a table and everyone read the different parts. And then it was a conversation. It's like, you know, I think, I think you're that guy, you know? And and luckily there was never a, a big fight. And then now it's like, you know, like in the movie quasi, there's a couple characters and it was like, Hey, I thought, you know, soda, you should be that guy and Jay should be this guy. And they were like, nah, no, you know, I think he'd be much better at that guy. You know, and they were right. You know, so it was like, it kind of, it's the mindset of what's doing best for the movie, which is nice. Right. right. And so we've never really gotten into those big fights because we just cast it later, you know? Is thereMichael Jamin:A procedure though, when you guys do? Is there like a vote? Or like, how do you, how do you agree to settle shit?Kevin Heffernan:Yeah, I mean, I think like, usually it's, I guess it's the director who's kind of settles it, but it, it, no, it's just, it's just by side who's the director by democracy , becauseMichael Jamin:You guys have also also, you know, swapped sometimes, you know, you direct sometimes, you know, sometimes Jay directs andKevin Heffernan:Yeah. I mean, I guess we've done like seven seven kind of proper broken legend movies and he's directed five of them. Yeah. And I've done two of themMichael Jamin:Now. Since you've done two, I don't know why you do two. Isn't it exhausting? I mean it's, it's exhaust, it's a full-time job being a director, but then to also act Yeah. It's, it's twice as exhausting.Kevin Heffernan:Yeah. It's, it's, it is kind of exhausting. And you know, the funny thing on this movie I played two characters. We all played two characters, right? Mm-Hmm. . And there's, there was some days where my two characters were having scenes with each other. Yeah. And like, you're standing there and you're like, you're acting against yourself and you're directing the thing. Yeah. And it was just like, you're like, what the fuck? Like, your head's gonna fucking explode. You're like, what am I doing here? ? And like, the beauty of it is we have these five guys, we have the support thing. And so Lemi will be there, Chan Sa I'll be there and they'll be like, Hey, you know, you should look, look out for this or whatever. You know, there's a good support group where Right. Luckily you're not, you're not hanging out there alone.Michael Jamin:And you've directed many episodes of Tacoma FD Do, how much do you, you know, what do you, what do you think, do you, what is your, what do you prefer writing, directing, acting? Do you have a preference?Kevin Heffernan:I don't know. I, I always think of it as like as like the seasons, you know, it's like whenever it's winter you want it to be summer, or whenever it's summer you wanna be winter. Yeah. Like, I always feel that way. Like whenever I'm doing one of the jobs, I'm like, God, I wish I was writing right now. Yeah. . But I mean, I think that's the beauty of the, the hyphen thing. It's like, you know, it's like you know, I just got through the editing process, right? And then which is a whole thing. And, and, and then by the, we've been doing six months and then by the end of that you're like, Ugh. And now you know, we're working on a project with you mm-hmm. , and we're working on a project with the Republican lizard guys. And you start moving back into the writing mode and you're like, oh, thank God this is fucking great. Right? Yeah. Yeah. And then whatever, three months from now they're like, God, I wish I was shooting. You know, ,Michael Jamin:It's a shooting is ex especially being directory is exhausting. You gotta be the first one there and the last one out.Kevin Heffernan:Yeah. And then you gotta prepare for the next day. You gotta prepare. You should, at least you should, you know.Michael Jamin:Yeah.Kevin Heffernan:You know, but a again, like, you know, part of it that's nice is the all-encompassing kind of thing of it where it's like I don't necessarily have to expend all the director energy directing an actor mm-hmm. , because I'm doing it. And I don't have to spend, I don't spend a lot of energy translating between a writer and a director and an actor. Which also is a, I think a lot of a director's job is these kind of like interpersonal mm-hmm. , you know, figuring out how to do that because we kind of do it all, you know, so there's something kind of nice to that, you know.Michael Jamin:Yeah. Well, I guess, I mean, and I, again, I give you a lot of credit. It's cuz it'sKevin Heffernan:Well, but like, when you, when you're having a problem on the set, for example, right? Mm-Hmm. and then you know, some scenes not working or whatever it is, and you're in the middle of it as the actor writer and the director, you just kind of cart blanche to, to try to fix it. You know what I mean? Yeah. It's not like you have to bring a committee together to try to fix something, you know? Right. There's something nice to that there's something nice to that.Michael Jamin:Do you, now, this Tacoma was pretty much your first was your, was it was your first TV venture, but now, you know, I know, I, I knowKevin Heffernan:How it was. Yeah. I mean, it was the first one that went, you know, like Yeah. The thing is that Lemy and I, you know, for many years, and you know, this, I mean, for many years we, we had been making TV or developing TV shows and selling scripts and Yeah. And you can go there. I mean, I think we sold a different script, like something like eight years in a row mm-hmm. Into, into TV season, you know what I mean? Right. And they just don't go, they don't go, they don't go for whatever reason. You know, like I remember one year we sold one to I think it was B, c and we were so excited about it, and then we found out that they bought 80 scripts. Oh, . Yes. And they're, and they're gonna shoot three of them. Right. Right. And what we found out was that these networks a lot of times will just kind of preemtively buy scripts Yeah. In order to be able to control the market. And, and it doesn't cost them a lot just to have a bunch of things you know, options. Yeah. And then, you know, you're, oh fuck. So I, I think as time went on, we were trying to figure out like, what's, how do you get to the next step? Like how do you write the TV script that they're gonna shoot?Michael Jamin:Yeah.Kevin Heffernan:You know? Mm-Hmm.Michael Jamin:, what did you figure out? I mean,Kevin Heffernan:Well, it, it's partly who you do business with. So like when we pitched com, we pitched everybody, we pitched the big networks and the little networks and you know, the one that they were the most excited about and the most that you got the vibe that this, they're gonna shoot, this thing was true tv.Michael Jamin:Right.Kevin Heffernan:And, you know, we could have sold it to Fox or whoever it is, but we knew that those people were gonna shoot it. And that's the battle.Michael Jamin:They told you that. I mean, some orKevin Heffernan:Essentially, I mean, it's like we, you can also know, like, you can say, you can find out how many they buy. Right. And out of those, how many they shoot, and out of those, how many get on the air and, and somebody like True who's a smaller network, they can't go out and buy 80 scripts. You know what I mean? Right. So what they do is they'll, they'll buy three scripts and you know that you have a damn good chance if it's three scripts, you know,Michael Jamin:We would, when we sold shows back on network, you'd be optimistic at first, and then you'd read in the trades what someone else sold the show, maybe with some actor attach or director. And you'd go, all right, that's one less slot. You, you just knew it, you just knew that's one less thought to buy. Yeah.Kevin Heffernan:Yeah. And then you get to things like, let me and I were talk about this morning, we were like trying to remember, there was a a, we sold a script one year about stay-at-home dads. Right. I think it was called Kept Men and the Stay-Home Dads. And our wives had great jobs and we, we would just stay at home, take care of the kids, whatever. And it's an idea that everyone has had. And I remember we, we sold it somewhere, I can't remember, it was N B C or B ABC or whatever it was. And then we found out, I think it was B nbc, we found out that there were three other stay-at-home dads scripts that had sold Uhhuh to nbc. And then we found out that like, you know, one of the producers was Jimmy Fallon, one of the producers was Ellen, you know, one of the, it was, you know, whoever. And you knew then that your fortunes are getting, you know, less favorable. Yeah. And then ultimately they pick one of those, you know, they're an nbc they're gonna pick the Jimmy Fallon project mm-hmm. . Cause Jimmy Fon is one of their superstars. And, and, and, and you know, so your, your discouragement kind of goes down as he gone. But that was always the thing was like, how do you get from the point where you sell that script to you make that script, which is really why we're in this business.Michael Jamin:Yeah. Right. And and your eyes are higher. Well, it's, it's, so, it's, I was, I would, I was gonna say your eyes are higher up getting a TV show made than a movie, but you've gotten a movies made. So what am I doing? Yeah.Kevin Heffernan:I mean, I, I guess it depends on what the market has been. I mean, they're just, sometimes, I, I only say that because I feel like it's shifting a little bit again now, but there's certainly, you know, when the streamers came in on top of the broadcast people, there were more opportunities, I feel like mm-hmm. . And at that point the films were shrinking for a number of reasons, just that it's so expensive to put a movie out. Yeah. you know, that, that as the movie companies get bigger they will not take chances on certain comedies. You know, like we, when we made Beer Fest at Warner Brothers, we were like, why don't you guys just make a shitload of, you know, 15 million comedies and try to make a lot of money outta 'em? And then cuz they said, cuz we'll make one Harry Potter and it'll make more money than 115 million comedies. Right. Everyone'sMichael Jamin:Swinging for theKevin Heffernan:Home run. Yeah. And, and that's why, and that's what we'll do. And so there was a lot of that vibe. So I think that's part of why, you know, we were like, you know, let's take a shot at tv. There's a, there's a better home for comedy. You know, at that point, I think. Yeah. and it, and it was, you know, and, and when we sent up for True tv, you know, their, their motto has kind of changed. But at the time they were trying to build a comedy network and they had Andrea Savage and Amy Sedaris and, you know, Bobcat Golf Weight and all these guys had shows. Yeah. And they were, that they were trying to make these comedy shows. So it seemed like a good, a good fit for us.Michael Jamin:And I had a question, I just now now I just lost it, but, oh, I was gonna say. So, but you also have acted on other, you've guest art on plenty other, on other shows, Goldberg, but Yeah. Do you, but do you prefer, like, do you have a preference even, I don't know, doing other people's material, your material? Do you care at all?Kevin Heffernan:I, I, I don't mind people's material, but I love writing our material and doing our material. You know, it's like, it's like the, it's like the standup thing. It's like, you know, the beauty of doing standup is that you can write a joke and then perform the joke and get the reaction from the crowd. I, I kind of feel the same way about performing our own material, you know?Michael Jamin:But I know you and you guys used to do a lot of performing standup, but you don't, you haven't done that in quite a while and you don't, what's the plan? Do you miss that at all or what?Kevin Heffernan:Sometimes I do. Sometimes I do. You know, I think it was something that we I mean some of the guys in our group have a background like, you know, chance Sakar has, you know, stand background or whatever. But I had never had it really. And then it was that last, it was the last writer strike whatever, 2008, 2009, whatever was that, when was that? Like,Michael Jamin:It was 2008. What? Yeah. What did you guys do during that?Kevin Heffernan:Well, we were, you know, we had made our movie of Slam and Salmon and we had to make it independently cuz no studios were buying. And then, you know, nobody's making a TV shows. We couldn't sell anything. We couldn't write anything. And so we had one of these kind of live standup agents who was like, look, you guys have notoriety now. You can go around and do a show, you know? Yeah. And, and make money. You know. And so it was like, oh, okay. And so we put together this show in, I think it was 2008 or 2009, you know, come in, in the strike. And we went on tour and we did whatever, I, I can't remember, we did like 20 or 30 show cities or whatever it was. And and it was like it, it, it, it kind of morphed over time.But it was like, you know, we would put our Supert Troopers uniforms on and go do a supert trooper sketch mm-hmm. . And then a guy would do, you know, 10 minutes of standup and then we'd do a beer fest sketch and then guys would do 10 minutes of standup and then whatever. And so I think that was when the vibe for live comedy for us kind of really grew. We were like, oh, this is great. This is cool. And there's an audience. Like there's a, there are fans of ours. It's not like we have to go Yeah. TheyMichael Jamin:Come see you. Yeah.Kevin Heffernan:Yeah. Like we used to go and, you know, walk around Washington Square Park and hand out fucking postcards. Come see our show, come see our show come now. We don't have to do that. You know? So Isn't that amazing? That was nice. And so then that's why we got into standup cuz cuz we started doing that. And then I, I had never really done standup and I had a blast. And then it got to be the end of that tour. And then it was, the agent was like, does any of you guys, you guys still wanna go do some standup? I'll book you. And then lemme like, yeah, we'd love to. Let's do it. And so we went probably for eight or nine years we traveled.Michael Jamin:Now when you were doing this, were you literally on the road? Were you on the road the whole time? Were, were you fly back and forth to California?Kevin Heffernan:No, no. We were like you know, 40 year old guy standups, you know, it's like if we were the 20 year old standups, we would be like in a car driving around, but we would No, you'd go out, you'd do two weekends a month or whatever, you know, and you'd go out and you'd do, you know, a Thursday, Friday, Saturday showsMichael Jamin:And then flyKevin Heffernan:Back. And then fly back. Yeah. Yeah. And so but you know, probably eight or nine years we did it, you know, we would do, you know, I don't know, maybe 20 weekends in a year.Michael Jamin:Hey, it's Michael Jamin, if you like my videos and you want me to email them to you for free, join my watch list. Every Friday I send out my top three videos. These are for writers, actors, creative types. You can unsubscribe whenever you want. I'm not gonna spam you and it's absolutely free. Just go to michaeljamin.com/watchlist.It's, it's so interesting. I again, cuz you guys are just like, when I hear so many times, you're like, people are like, well, how do I sell my screenplay? And my voice is always, you don't and just do what you're, build it yourself, do it. Stop asking for permission, and that's exactly what you guys did. You just did it.Kevin Heffernan:Yeah.Michael Jamin:You know?Kevin Heffernan:Yeah. I mean, that's the same advice that we give people too. It's like, you know, and whatever the, the, the kind of the world changes a little and you know you know, there are different ways to do your own thing. You know, I mean, when we started, people didn't have camera phones or Right. , you could haveMichael Jamin:Made that movieKevin Heffernan:Equipment or you know,Michael Jamin:You instead of 250,000 you could have made that movie Yeah. For a fraction of that. Right?Kevin Heffernan:Yeah. Yeah. And, and so people, I think people do have that opportunity and, and, you know, they can go shoot a movie on their phone or whatever it is. And I mean, in that way, you, you at least learn how to write and act and where to put a camera and how maybe how to light something or whatever. Its Right. Right. but that, that's what we always say to people is, is do that. You know, write your own stuff and go do it.Michael Jamin:Do you find, because I mean, I'm jumping around here, but you ob you collaborate a lot either with five or four other guys, or sometimes you work with Lemy or with the writing set. Is it, you know, do you find that you don't, that you know, you don't really get to use your voice that you're always, it's, it's more collaborative? Do you miss or do you crave doing something just with your own voice or anything?Kevin Heffernan:I don't know. I never thought about that. No, I don't think so. No. I like, I like the collaboration thing. Right. I, I don't, I mean, whatever we've worked together for, what, four years now? I don't, I'm not super precious. I, I, and I, I I'm not like a dig my heels in guy I don't think. Maybe I am, maybe you'll tell me differently. But I think, you know, I think I, I, I like, I love getting, you know, seeing other people write some good jokes and whatever. Right, right. It's a, and I think it's probably born out of the fact that I've always been in a group, you know, and I've always been with these five, you know, I was with these five guys and, you know, you learn the value of having other people's perspectives and whatever. So I, I don't know. I, you know, I like standup. I, I, I really enjoyed it and it was fun and it was fun to go and tell stories and whatever, but I, you know, I don't know if there's something I I like more about, probably about the TV or movie worldMichael Jamin:Because even directing, like as a showrunner, you could, you still have ultimate the final say on anything. So if you had someone else direct, you do, I know you have other people direct episodes, but I wonder like, you know, why, I guess why, you know, what's the, what's the appeal of doing it yourself when you still have ultimate control anyway?Kevin Heffernan:Right. Right. You mean like, why not have more people?Michael Jamin:Yeah, I mean I, no, I, IKevin Heffernan:Just think, well that's, that's, youMichael Jamin:Know, exhausting. It is. That's,Kevin Heffernan:That's O C D and control and control issues, Michael.Michael Jamin:Oh, so that's why you, cuz you really want, you just want to get it done. YouKevin Heffernan:Well, no, that's what my kids will say. They'll say that I have control issues. That's right. May, that may be the case that I, I like to do things myself, but,Michael Jamin:Oh, well. But, but, but that's what that kind of speaks to what I'm talking about is like, okay, well you're do you are getting your voice across cuz you ultimately making, well, you know, so many decisions. But yeah. And so I don't know what, what advice do you have for, for young people breaking in? Do you, you know, are you getting swarm by this? You know?Kevin Heffernan:Yeah. It, I mean, you know, it happens. I mean, you get it right? You get people and they wanna send you. IMichael Jamin:Get it. But you, I'm, I think you might get different questions from me. You're, you're, well, IKevin Heffernan:Guess, I guess other, you know, I mean, yeah, I get other questions.Michael Jamin:You get recognize you walk on the street and people know who you are andKevin Heffernan:So Yeah. How do I become an actor, you know, and get that. Yeah. And, you know and it's hard. Like I, you know, I try to help people out, but I, you know, you know, there's not, there's like a, some sort magic bullet. Like, you know, guys in this industry, I mean, no matter how long you've been there, you me, every day we try to figure out how to keep our careers going. Mm-Hmm. You know what I mean? , it's like, yeah. It's like I got enough trouble, you know, trying to get what I, you know, I don't know what my next project is, you know? Right. And, and it's and every, it's a fight. I don't care if you're Martin Scorsese or whatever, it's always a fucking fight. Yeah. And so, you know, you try to impress it on people, but you don't wanna be, you know, the doom and gloom guy.You know, I, I, I did a, our buddy who's a producer, rich Perlo, who produced these our movies, he teaches a class at Columbia and, you know, LUMY and I zoomed into the class the other day and there's a lot of those questions, you know, and, and I, we got off and I was trying, I said to him, God, I'm to Rich who teaches the class. I said, I'm really sorry. I hope we didn't come across as these doom and gloom guys. Cuz we, you know, our point was it's very hard and you gotta work hard and nobody's gonna give it to you. Mm-Hmm. , you know, there's like all these kind of like, you know, myths of you know, being discovered this, that, the other thing. But it's like, you know, we've been pushing the rock up the hill for, for many, many years. Yeah. And it's just accumulation of relationships and experiences and whatever that kind of get you going that way. You know,Michael Jamin:It's, it's, yeah. Sometimes people say to me though, they wanna send me scripts. I, I'm not the guy, I I'm not the gatekeeper. I'm not the guy. I'm, I'm the same guy as you are. Try Kevin Heffernan:Trying to Yeah. You want me to do, you know, I mean, and, and you know, like you can't read their script cuz then you do violate various kind of legal things, you know?Michael Jamin:Yeah. I'm not doing that. Yeah.Kevin Heffernan:Yeah. And I remember the first time we ran into that, I think we we had just gone to college and Jay and I wrote like all these spec jokes and sent 'em to the Letterman show. Mm-Hmm. . And they just, and you, like four days later you get the envelope back unopened. Yeah. with a return to sender thing on it. And there's a, a form letter, it says, we do not read unsolicited material, you know? Yep. Oh,Michael Jamin:That's, that's the end ofKevin Heffernan:That. And so that's, you can't even, you can't do it that way. So you just have to work. And I, I tell these guys also, you know, you think about some of the people who work with us, like in our writer's room, right? It's like we have this great woman Hannah who she, you know, wants to be a writer and she wants, or at least wants to work in the industry. And, and you know, we said, well, you know, you can start, you know, at the bottom. That's how, that's how you do it. You know. And so she came and she was, you know, an intern unpaid for a while, and then she was a pa and she worked right up and da blah da. And then, you know, she got to do some stuff in our writer's room, you know, essentially the secretarial elements of it, you know, which she did last year. And and that's the way you do it. You know, you start at the grunt level and then you make relationships and you keep going, , you work yourMichael Jamin:Way, right? People wanna start at the top, Mike, you don't get to start at the top. You gotta start. No.Kevin Heffernan:And you meet all the people on the way up. You know, the guy who is my, now my, my PR guy, my PR agent, who's a pre reputable guy in the business now. He's like, I don't know if you remember, I met you, you know, many years ago. And I was like, is that right? And he goes, yeah, I was an assistant on the desk of this producer mm-hmm. that you guys are doing a project with. And you would come to the office and you'd like, oh. And he said, you're very nice to me. And I, I was like, oh, glad, I'm glad to hear that. Yes. and . Now here's that guy. He's, you know, this big PR guy who, you know is very successful in the business, you know? So it, it's just, you know, there's no way that people are gonna put their script in there and become this, you know, the next Oscar winner until they work theirMichael Jamin:Right pe people are gonna think that you have listened to me talk on social media. And I know for a fact you haven't because you're saying that I've already said, which is Oh, okay. You know, I told a story as well where I was, I can't, we were going to pitch a show and the person we're meeting with is young executive. He goes, you know, we, we've met before. And I'm like, oh no. I'm like, cause I don't remember the guy. And I'm like, already, I just tanked the meeting. And he goes, yeah, I was a, I worked on a desk and you were nice to me. And I was like, oh, thank God. You know, you gotta be nice to people cuz they, you've gotta be nice to people cuz they're not gonna stay in that deskKevin Heffernan:Correctly. That's why I tell everyone, you wanna know the key to Hollywood, be nice to the assistance. Yes. Because they're, they are the gatekeepers and then ultimately they will move on to other jobs. Yeah. So they benefit you in many different ways, but if you're just a nice personMichael Jamin:Yeah, I say that as well. Don't kiss my ass, kiss the ass of the assistant. They're the ones I'm gettingKevin Heffernan:The door.Michael Jamin:Yeah. I'm not gonna help you. But they might help you.Kevin Heffernan:But then it's all, you know, whatever. It's all relationships. We, you know, I, like you said, I didn't do a, we'd never made a TV show before, you know? And we relied on certain people like you to help us do that. SoMichael Jamin:Now, and now you don't need us anymore. But don't, don't.Kevin Heffernan:Well I, I like to, I like to have you though.Michael Jamin:You like to have my little nap, littleKevin Heffernan:Laptop. No. You know, it's funny, I, I vividly remember that meeting that we first had with you guys. Yeah. And we, we were at day, we were at we were at the three arts offices. Yep. And and I remember this cuz I was like, you know, let me and I, and you know, maybe you've come to realize it, but lemme and I were, were a little bit more insecure about our knowledge about how to make a TV show cuz we hadn't done it before. Right. And and I remember I kept in the meeting, we would have conversations like, he would keep saying things like well I don't know cause we only make movies, you know, I don't know. Cause we gonna make movies. I kept saying that. And what I was trying to say was, I don't know anything about tv. Right. But then your partner Sievert, he, he threw that back in my face. . At one point he said something he said, but I don't know cause I only make tv, you know. Oh my God. That's the funniest fucking thing. I thought it was so fucking funny. Michael Jamin:Oh, thank God he didn't tank the meeting.Kevin Heffernan:No, no. I mean, I, I thought it was hysterical because that's exactly how it sounded. Uhhuh . But but we all knew what we were really saying to each other. You know what I mean? Right, right. But good cause you know, he, he made a joke of it and I thought that was very funny. I I always remember that. I alwaysMichael Jamin:Think about that. Oh, that's so funny. Cause he, he'd be embarrassed. I think if you, if you mentioned that we had a meeting once, I don't wanna say what it was, but it was not a, it was on a Disney show and you know, and he didn't want the job, but it was a job. And and he tanked. Siver tanked. He didn't mean to, he just kept on putting his foot what wasn'tKevin Heffernan:Intentional tanking.Michael Jamin:Right. He was not intentional tanking . And, and actually thank God he did. Because after that we got What did he do?Kevin Heffernan:Like what did you do to tank it? Like what was it, was he just saying bad shit?Michael Jamin:He was trying to, he was trying to be not, he was basically saying, how do you know if this is funny? Like, he's basically saying, none of this is funny to me. How do you know if it's funny?Kevin Heffernan:Okay.Michael Jamin:That's coming out. And it was just the funniest thing. And he was trying to cover up and, and I was trying to help him dig outta this hole. And it was just getting worse . And afterwards he felt terrible. He felt, cuz it's not what he was trying to do, he just felt terrible about it. But it worked out for the best.Kevin Heffernan:And you clearly did not get the job.Michael Jamin:We did not get the job. No one, only an idiot would hire after that job. But and I, I didn't make him feel bad. He felt terrible. But I was like, don't, don't worry about it. This is not the job for us.Kevin Heffernan:. . See, you don't want it. Like, if they don't get, you know, you don't wantMichael Jamin:Yeah, it was, it was a, it was very awkward. But we doKevin Heffernan:That in a lot in our careers though. Like, I feel like there was certainly, and certainly in that time period I talked about where we were just selling, you know, TV scripts. You re you think about like, I I just want to, I just need to make some money. I need to do this. I need you going to get this door and whatever. And then, I don't know, there, I think that point in time where we started doing standup and whatever, I was just like, ah, fuck, fuck it man. I can't, we had been hired so many times to write scripts for people and, and you know, it didn't go anywhere that they, you're like, what the fuck, who the fuck is this person giving me comedy notes? Mm-Hmm. . And finally you're like, Ugh, I don't wanna do that anymore. Yeah, yeah. I just wanna make a TV show.Michael Jamin:Yeah. And, and, and, and you get, you know, it's actually, I I think it's, it's more gra I don't know, I say this never having made a movie, but I don't know. It's like you get to shoot it, you write it and then you shoot it and then it's up in the air in a matter of months. And they get Yeah. You could do work in film, not you guys, but most people work in film and they never get a, you know, anything shot. They can have aKevin Heffernan:. Yeah. I mean that's the Yeah. But that, that's, that's also the weird thing about movies too. And, well, it's a little different when these movies now this, this streaming stuff is just a little bit different. It's, it is a little bit more in the TV world, but movies are kind of like gotta, I don't wanna sound like a, I'm shitting on it or whatever, but I, it's, I love it. But there is like this thing with this, this buildup and you've worked on this thing for years and then it gets to that first weekend and then that's it. Whether it's, you know, successful or not successful, you're done.Michael Jamin:It's all about opening weekend.Kevin Heffernan:Yeah. It's over. Like, you know, like, there's not like a, and I'm not saying that in a bad way, I'm just saying it's like, it's like, it's like kinda stepping off a cliff, you know what I mean? And then you're done. Like tv, the beauty of like Tacoma 13 weeks in a row, you got in something new story that's coming out.Michael Jamin:Right. And it can buildKevin Heffernan:And it can build and it's a new thing. ButMichael Jamin:Never whatKevin Heffernan:Understood that finite thing, you know?Michael Jamin:But I never understood that with a box office. If you tank on your opening weekend, like, well why can't it build, grow? Like why can't it grow in the second weekend? Why can't, the word of mouthKevin Heffernan:Why can, and it does at times, but it doesn't ma like the, the metric the bar is, is how you do in that first weekend. So like,Michael Jamin:That's what you're measured up. But why don't they consider the overall gross? I mean, I don't, you know.Kevin Heffernan:Yeah. I, it just, it doesn't know. I don't know. Cause it, it just, it's all pushed by that opening weekend. You know, like our, like our movie like Super Troopers. It did, you know, it did okay. It did nothing. Nobody who we were. But you know, it was at the height of the kind of DVD era, which is they were, you know, printing money in that era. This movie studios were. Yeah. And we would see, you know, quarterly reports for, you know, Fox or whatever and Super Troopers would be listed in them cuz it would be making so much money for them. Yeah. Not in theatrical, but on the DVD market. Right. And you're like, well, why aren't we though? You know, the guys that you sing about. And it's, it's cuz it's still the industry still driven by opening weekend.Michael Jamin:It's so Still is. Yeah. Because it became a cult hit. I mean, you guys are, you know, you really have a, a cult following. I mean, and then loyal, you know, they, they show up you're fans.Kevin Heffernan:Yeah. And so that, that was the great thing. So this trailer came out and in the first 24 hours at 8 million views.Michael Jamin:Is that right? Yeah. How did, how did that now where did they drop where? Okay. How does that work when they drop a trailer on the, we&#

Die internationale Schwulenbewegung begann 1969 mit dem sogenannten Stonewall-Aufstand in der Christopher Street in New York. Als Auslöser der Bewegung im deutschsprachigen Raum gilt der Film von Rosa von Praunheim "Nicht der Homosexuelle ist pervers, sondern die Situation, in der er lebt" von 1970/71. Es bilden sich homosexuelle Aktionsgruppen, 1972 findet in der Bundesrepublik die erste Schwulen-Demo statt, 1979 der erste Christopher Street Day. Doch bis zur weitgehenden rechtlichen Gleichstellung gleichgeschlechtlicher Partnerschaften ist es ein langer Weg. Hintergründe: Unter der Regenbogenfahne: Beginn der Bewegung http://www.ndr.de/geschichte/chronologie/schwulenbewegung100.html Von der Stonewall-Demo zum CSD in Hamburg https://www.ndr.de/geschichte/chronologie/csdgeschichte102.html Als Rosa von Praunheim Prominente outete https://www.ndr.de/geschichte/chronologie/audio304918.html Gewalt gegen Schwule in den 90ern https://daserste.ndr.de/panorama/archiv/1997/-,panorama15524.html "Homo-Ehe": Heirate mich - zumindest ein bisschen https://www.ndr.de/geschichte/chronologie/lebenspartnerschaftsgesetz100.html Homosexuelle in der DDR: Unsichtbar im Osten https://www.ndr.de/geschichte/homosexualitaet212.html Wie Schwule in Hamburg verfolgt wurden https://www.ndr.de/geschichte/homosexuellenverfolgung101.html

MODERATOR : John M. Brett He/Hym/Hys AKA Rev Bené DictionPrograms - Spiritual Care, San Francisco, CAIrReverend. High Priest of Fabulous. Poetry Fool. Connector of People & Organizations for Good. Street Chaplain. Artistic Dilettante. Host of Drag Eucharist in the streets of the Castro through hys role as Minister for San Francisco Night Ministry's Faithful&Fabulous Program.Panelist : Revel "revel dreams of a world where the fullest embodiment of self is inherent. they seek to invite others to meet themselves where ever they are. as a disabled and mad massage therapist, death and grief doula, transition support coordinator, lover, world builder, super model, vulture, storyteller, medium, medicine maker, they are a continuous student of the many ancestral modalities that can bring us closer to ourselves. flux believes that leaning into multiplicity and the shifting nuance that is being is absolutely overwhelming and a deep practice of surrender and liberation. revel identifies as alive and lives from the pronouns we, they, and flux. they are Black, decedent of stolen african bodies, matrilineally italian, and decedent from white colonial settlers."Panelist : Rev. Diana Wheeler, AKA Rev. Anita Prayer, is the Founding Magistra of the Companions of Dorothy the Worker, dedicated to accompanying & advocating for the LGBTQ+ community outside & inside the church. She's also a member of the Third Order of the Society of Saint Francis and a deacon in the Episcopal Church, Diocese of California.Spiritual companioning of folx who long for a connection with God and the Church but haven't felt wanted or safe is her passion. Her joy is promoting ethical ministry in & witnessing to the church about the sacredness of the queer community.An early childhood educator, she is the mother of 3 adult children and occasionally gigs as a clown. She's blessed to be a saint of the motherhouse of the Sisters of Perpetual Indulgence, a member of the Ducal and Imperial Councils of San Francisco and to work with many other community groups to promote safety in our neighborhoods and raise money and awareness for small nonprofits that serve the communities she loves.Panelist : Zoe (she/they) Zoe is a nonbinary influencer/artist from Michigan. At 22 years old, she has set aside her pentecostal upbringing to explore all corners of life & learning. Zoe is also incredibly passionate about giving back to the community through her artistry; she found that the community is what you get after the gig and who the gig gets after you…so she views any opportunity to pour good energy into the world as a “MAJOR slay”. Zoe looks forward sharing the room with everyone in attendance and encourages everyone to wholeheartedly & unapologetically choose love!Panelist : Rev. Mark Erson Rev. Mark Erson recently retired as minister from Saint John's Lutheran Church on Christopher Street in NYC. A playwright, actor, & teacher, his creative vision was perfectly suited to host the weekly Saturday night gospel drag service a stones-throw from Stonewall.

Iconic photographer Stanley Stellar, 77, has been documenting queer life and male nudes since 1976. When he began, most media outlets wouldn't even feature images of men with their clothes on. Best known for his street photography, Stanley was present and shooting during many milestones in gay history, including the Christopher Street piers, gay pride marches, the HIV epidemic, Mr. Leather competitions, etc. Listen as he traces society's reaction to the male body and how censorship today is beginning to resemble what he experienced decades ago.

Jim Fouratt, former actor, gay rights activist, and one of the founding members of the Gay Liberation Front which was formed on the third night of the Stonewall Riots (also called the Stonewall Uprising), discusses what happened on 28 June 1969, leading to six days of protests and violent clashes with law enforcement outside the bar on Christopher Street. Speakng to the many fictions that have circulated in recent years, perpetuated largely by the transgender lobby, Fouratt historicises the era as well as the class and race issues prevalent in the late 1960s within New York City's gay and lesbian community. Fouratt details how what he calls the Stonewall Rebellion was most definitely not a political protest that involved the sic “transgender community,” noting that Marsha P. Johnson was not even present and that drag queens barely figured into the venue of the Stoewall Inn much less the rebellion. Describing the political, policing, and social milieu at the time, Fouratt delves into how and why Stonewall took place, elaborating the social dynamics of various generations within gay culture as he vituperates the rewriting of gay and lesbian history by the transgender lobby that attempts to whitewash and erase gay men and lesbians from their own movement. Get full access to Savage Minds at savageminds.substack.com/subscribe

The UP Notable Book Club presents author Raymond Luczak speaking about his book Once Upon a Twin. The Crystal Falls Community District Library in partnership with the U.P. Publishers & Authors Association (UPPAA) presents author events with winners of the UP Notable Book List.  Make sure to like and subscribe so you don't miss any future UP Notable Book Club speakers! For more information please visit the links below www.UPPAA.org www.UPNotable.com www.raymondluczak.com www.youtube.com/deafwoof RAYMOND LUCZAK (pronounced with a silent "c") is perhaps best known for his books, films, and plays. He was raised in Ironwood, a small mining town in Michigan's Upper Peninsula. Number seven in a family of nine children, he lost much of his hearing due to double pneumonia at the age of eight months. After high school graduation, Luczak went on to Gallaudet University, in Washington, D.C., where he earned a B.A. in English, graduating magna cum laude. He learned American Sign Language (ASL) and became involved with the deaf community, and won numerous scholarships in recognition of his writing, including the Ritz-Paris Hemingway Scholarship. He took various writing courses at other schools in the area, which culminated in winning a place in the Jenny McKean Moore Fiction Workshop at the George Washington University. In 1988, he moved to New York City. In short order, his play Snooty won first place in the New York Deaf Theater's 1990 Samuel Edwards Deaf Playwrights Competition, and his essay "Notes of a Deaf Gay Writer" won acceptance as a cover story for Christopher Street magazine. Soon after Alyson Publications asked him to edit Eyes of Desire: A Deaf Gay & Lesbian Reader, which, after its appearance in June 1993, eventually nabbed two Lambda Literary Award finalist nominations (Best Lesbian and Gay Anthology, and Best Small Press Book). He hasn't stopped since! In 2005, he relocated to Minneapolis, Minnesota, where he continues to write, edit, and publish.

An diesem Wochenende feierte Frankfurt 30 Jahre Christopher Street Day. Was damals begann, in Erinnerung an den Protest homosexueller Amerikaner gegen eine willkürliche Polizeirazzia im Stonewall Inn in der Christopher Street in New York, ist heute eine selbstbewusste bunte Parade geworden. Was aber hat dieses Straßenfest, das vielen zu kommerziell auftritt, mit der Wirklichkeit queeren Lebens zu tun? Wie einfach wird einem heute die sexuelle Orientierung gemacht? Und wie sieht es im Vergleich zum außereuropäischen Ausland aus? Wir schauen einmal genau hin, was es bedeutet heute in Deutschland nicht einer heterosexuellen Norm zu entsprechen.

June is Pride Month, when the world's LGBTQ communities come together and celebrate the freedom to be themselves. Pride gatherings are rooted in the arduous history of minority groups who have struggled for decades to overcome prejudice and be accepted for who they are. The original organizers chose this month to pay homage to the Stonewall uprising in June 1969 in New York City, which helped spark the modern gay rights movement. On a hot summer's night in New York on June 28, 1969, police raided the Stonewall Inn, a gay club in Greenwich Village, which resulted in bar patrons, staff, and neighborhood residents rioting onto Christopher Street outside. Among the many leaders of the riots was a black, trans, bisexual woman, Marsha P. Johnson, leading the movement to continue over six days with protests and clashes. The message was clear — protestors demanded the establishment of places where LGBT+ people could go and be open about their sexual orientation without fear of arrest. So, in today's conversation we will give space to amazing and pioneering women who are pushing for equal rights and treatment of individuals within the LGBTQ+ community.

Knits and Blip finish hacking the CyberDead Solution mainframe and then join Sylvia (aka Christopher Street) and Z.OUS! with the enemies in the street. They find something strange about the bodies in the street and Christopher Street helps the other two don disguises. They meet a stranger that may be able to help them.Support us on Patreon and get ad free and bonus content. For the Binge tiers you get the full seasons of new shows on the premiere date if you don't want to wait for weekly episodes. (https://www.patreon.com/CreativeTypo)---------------------------------------------------------------------------CastTisha as Sylvia RiveraNico as KnitsRichard Collins as Z.OUS!Adam Culbertson as your Game Masterand Ria Nichols as the Yogsonik Dynamics AISocial MediaTwitter @creative_typo (https://twitter.com/creative_typo)Instagram (https://www.instagram.com/creative_typo_entertainment)Creative Typo Discord Invite (https://discord.gg/creativetypo)---------------------------------------------------------------------------Music brought to you in part by: Nicolas Jeudy of DARK FANTASY STUDIO, Karl Casey at White Bat Audio, and Aim To Head---------------------------------------------------------------------------DreadTek Inc. is in no way affiliated with Wizards of The Coast or Petersen GamesIf you are interested in checking out the source book we are using for this world, it's The Technomancer's Textbook. It is for free and receives updates from the creator, Mogrit. To get the most recent update go to their discord at (https://discord.gg/u4KSSAUtwF)

This is a four part series for Pride Month called, "Be Curious, Not Judgmental". On June 28, 1969  New York City police raided the Stonewall Inn, a gay club located in Greenwich Village in New York City. The raid sparked a riot among bar patrons and neighborhood residents as police roughly hauled employees and patrons out of the bar, leading to six days of protests and violent clashes with law enforcement outside the bar on Christopher Street, in neighboring streets and in nearby Christopher Park. The Stonewall Riots served as a catalyst for the gay rights movement in the United States and around the world. In Volume One of our series we chat with Nicole Verdes (She/They) about what's going on in the Queer community. Nicole is the Board President of Lambda Archives–the first nonbinary person to hold this position. At Lambda Archives, she has been successful in using her passion for social justice, arts and culture, and cultural preservation to create policies that center equity and access to the arts. In the conversation, Will asks for Nicole to explain the significance, and importance, of using pronouns, which Will admits he hasn't thought much about them until this series began. The gang then switches gears and talk about the significance of Pride Month, mainly the Stonewall riots, and the monumental SCOTUS decision that allowed her and her wife to be lawfully married.  Learn more about Lambda Archives: https://lambdaarchives.orgGuest Bio:Nicole has been living and working in San Diego since 2002, when she relocated from San Bernardino for work. She is a passionate community leader with six years of experience in nonprofit management and board governance and more than twenty years of experience in the financial services industry. She is well-versed in client account management, budget development, tax laws and reporting, and conflict resolution. Nicole holds a Bachelor's Degree in Sociology and a Master's Degree in Sociological Practice from Cal State San Marcos. She enjoys volunteering in the Queer community, most recently as the Board President of Lambda Archives–the first nonbinary person to hold this position. At Lambda Archives, she has been successful in using her passion for social justice, arts and culture, and cultural preservation to create policies that center equity and access to the arts. In addition to her role at Lambda Archives, she has served on the Executive Committee of the San Diego LGBT Community Centers' Young Professionals Council, Board Treasurer for Volunteer With Cheli, and a member of the Steering Committee for Rising Arts Leaders San Diego. She has presented on topics such as Youth Archival Futures at the ALMS Conference in Berlin and has served on a grant panel for the California Arts Council's Administrators of Color Fellowship program.  Support the show

BYSK is kicking off PRIDE month by revisiting one of our favorite previous Broad episodes - MARSHA "Pay It No Mind" JOHNSON! Marsha was one of the figureheads in the fight for LGBTQ rights and a true legend. She was (allegedly) at the Stonewall Inn on the night the riots broke out, kicking off the LGBTQ revolution. She also helped organize the first Pride Parade and founded STAR house, a home for abandoned or homeless LGBT children and young adults to keep them off the streets (her story inspired the hit show “Pose” on FX!). She always wore her flower crowns, but her life was far from glamorous. From life on the streets and sleeping under flower tables, to jail cells, to fighting for drag queen respect in the gay community, and eventually her untimely and tragic death, Marsha was a Queen who deeply understood you only have one life, and you've got to live it to it's fullest, brightest and most beautiful.

Episode 729 - Jason interviews Neil Kleid and Andrea Mutti as they talk about The Panic, a comixology original https://www.amazon.com/Panic-Comixology-Originals-Coffin-ebook/dp/B09V5R7HMC Neil Kleid: @neilkleid Andrea Mutti: @andreamutti9The Panic is a dark psychological thriller Written by Neil Kleid Art by Andrea MuttiMoments ago Annie Delgado was commuting into NYC via the PATH train to Christopher Street. Then the train derailed and her best friend died. Trapped beneath the Hudson River, without signs of help or a working phone, Annie and a group of strangers decide to put aside their differences, survive the night and stay alive. That is, until they discover one of their fellow commuters wasn't on the train before the crash.Get 20% OFF @manscaped + Free Shipping with promo code C4FAP at MANSCAPED.com! #ad #manscapedpodSupport Our Patreon Unlock More C4FaP Bonus Content https://www.patreon.com/comicsfunprofit Shop Kowabunga's Exclusive Variants https://shopkowabunga.com/shop/ Donations Keep Our Show Going, Please Give https://bit.ly/36s7YeL Get on the Kowabunga (Deep Discount Comics) FOC and Preorder list http://eepurl.com/dy2Z8D Email us at: Comicsforfunandprofit@gmail.com - questions, comments, gripes, we can't wait to hear what you have to say. Follow us on twitter.com/ComicsFunProfit & instagram.com/comicsforfunandprofit Like us on Facebook.com/ComicsForFunAndProfit Subscribe, rate, review on itunes, Spotify, Stitcher, YouTube. Thank you so much for listening and spreading the word about our little comic book podcast. https://comcsforfunandprofit.podomatic.com/ 

Chug Burger! The group wraps up their fast food run before running into a biker gang called The Phantoms. Sylvia puts on her first alter ego, Christopher Street.Support us on Patreon and get ad free and bonus content. For the Binge tiers you get the full seasons of new shows on the premiere date if you don't want to wait for weekly episodes. (https://www.patreon.com/CreativeTypo)---------------------------------------------------------------------------CastTisha as Sylvia RiveraNico as KnitsRichard Collins as Z.OUS!Adam Culbertson as your Game Masterand Ria Nichols as the Yogsonik Dynamics AISocial MediaTwitter @creative_typo (https://twitter.com/creative_typo)Instagram (https://www.instagram.com/creative_typo_entertainment)Creative Typo Discord Invite (https://discord.gg/creativetypo)---------------------------------------------------------------------------Music brought to you in part by: Nicolas Jeudy of DARK FANTASY STUDIO, Karl Casey at White Bat Audio, and Aim To Head---------------------------------------------------------------------------DreadTek Inc. is in no way affiliated with Wizards of The Coast or Petersen GamesIf you are interested in checking out the source book we are using for this world, it's The Technomancer's Textbook. It is for free and receives updates from the creator, Mogrit. To get the most recent update go to their discord at (https://discord.gg/u4KSSAUtwF)

In this episode of Talk Sex With Dick, Sex Therapists Dr. Richard Mills and Asa Scott talk about taxes, filing taxes, and “taxes” as code for sex. They chime in with the Good Gay Guidance for one listener struggling with a lover who cried out another man's name in bed, and another who cheated and if they should confess.   Music for today's episode is brought to you by Chauncey Dandridge (AKA DJ Chauncey D) and Van Hechter “53 Christopher Street,” available on Spotify.   If you have a burning question to ask a Sex Therapist or would like to be a guest on Talk Sex With Dick and talk with Dr. Richard Mills, feel free to Contact Us!

Actors and Real Life Boyfriends Michael Urie (Ugly Betty, Chicken & Biscuits) & Ryan Spahn (Daniel's Husband) stop by Baring It All with Call Me Adam for an open, honest and lively conversation about: Starring together in the new Off-Broadway play Jane Anger What it's like to be boyfriends and work together in the same show Their Love Story Tips for Actors and Playwrights Jane Anger plays at the New Ohio Theatre in NYC (154 Christopher Street) through the recently extended date of March 26! Click here for tickets! Connect with Michael: Facebook Twitter Instagram Connect with Ryan: Twitter Instagram Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me @callmeadamnyc on Facebook, Twitter and Instagram Visit https://callmeadam.com for more interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva, Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Adam Rothenberg Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Michael: Broadway: Chicken & Biscuits, Grand Horizons, Torch Song, How To Succeed... Off Broadway: Buyer & Cellar, Government Inspector, Angels in America, The Temperamentals TV: Ugly Betty, Younger, Modern Family, Good Wife/Fight, Hot in Cleveland. Movies: Single All The Way, Swan Song, Lavender, Decoy Bride, Beverly Hills Chihuahua, He's Way More Famous Than You. Michael has played Shakespeare's Hamlet, Mercutio, Roderigo, Saturninus, Flute, Boyette, Horatio, Hastings, Benvolio, Demetrius, Chiron and now the Bard himself!  More on Ryan: Off-Broadway: Lessons in Survival, Mr. Toole, How To Load A Musket, Moscow x6, Daniel's Husband, Summer and Smoke, Still at Risk, Exit Strategy, Gloria. Film: The Raging Heart of Maggie Acker, Shirley, Abducted, Nora Highland (writer/director), He's Way More Famous Than You (co-writer), Grantham and Rose (writer), Woven (co-writer). TV: Chicago P.D., Modern Love, The Bite, The Blacklist. Ryan's been published by Rotten Tomatoes, IntoMore, Talkhouse, Metro Weekly, American Theatre Magazine and USA Today. P.S. This interview was originally presented on Instagram Live Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey Everyone! This week we have a very special guest! We have Michael Venturiello, founder of Christopher Street Tours, a walking tour in NYC all about Queer History and the importance of education of the folks who pathed the way for the gays! This is extremely important! You can sign up for tours at www.christopherstreettours.com.You can also follow on social media!Instagram and Facebook: @christopherstreettoursFeeling generous?Venmo: @christopherstreettours and online www.christopherstreettours.com/donateYou can also follow Michael on Instagram; @mventreeyellowAs always, we want to hear from you!Instagram: @qi_podFacebook: @qinsightpodEmail us: qinsightpod@gmail.com

James quizzes Aaron on his literary loves through the song titles of Cher. Then the homosexuals play Knockout: The Contemporary Poets Edition. Please consider supporting authors and independent bookstores. You can purchase books by authors we discuss at Loyalty Bookstores, a black-owned indie bookseller in Washington, DC.1) Dorianne Laux. The poem we reference in What We Carry is called "The Lovers"2) Timothy Liu "In the Outhouse" from Burnt Offerings (Copper Canyon, 1995; ISBN 1556591047)3) Word of Mouth: An Anthology of Gay American Poetry (Talisman House, July 1, 2000; ISBN: 1584980060)4) Marie Howe5) Cher and the Elephant6) Tim Dlugos was born in Springfield, Massachusetts and grew up in Arlington, Virginia. From 1968 to 1970, he was a Christian Brother at LaSalle College in Philadelphia. He left LaSalle and moved to Washington, DC, where he participated in the Mass Transit poetry readings. In the late 1970s, he moved to New York City and was active in the Lower East Side literary scene, where he was a contributing editor to Christopher Street magazine and on the Poetry Project staff. After learning that he was HIV positive, Dlugos studied at Yale University Divinity School to become an Episcopalian priest. He died of AIDS-related complications in 1990. A Fast Life: The Collected Poems of Tim Dlugos edited by David Trinidad (Nightboat Books, May 10, 2011;  ISBN: 0984459839)8) Linda Gregg: "Asking for Directions"9) Louise Gluck: "Marina"10) "Hate Poem" by Julie Sheehan11) James calls Cher's "Main Man" a B-side, but it was actually released as a single for the album Cher. The B-side was "Hard Enough Getting Over You."

Mother and daughter team Barbara Anderson and Jackie Graham's response to the pandemic, the shuttered stores, barren windows and deserted neighborhoods was to create an on-street social initiative to support local artists and bring life back to the streets. Turning New York's Columbus Avenue's empty storefronts into a gallery space, Art on the Ave reimagines street art and democratizes art spaces and access. Their second exhibition launches in the West Village and run from April through May. In one year Art on the Ave has established itself as an organization that spotlights the work of under-represented artists. After over 150 submissions to their latest exhibition, their curated works will be displayed along Bleecker Street, Christopher Street and Hudson Street, creating what Barbara calls the West Village wander Through organization like Art on the Ave and collaborations with initiatives like Back The Neighborhood, we can reimagine what a neighborhood is, and build common-unity Links Website Instagram Twitter