Podcast appearances and mentions of Harry Hay

In this episode, historian Ben Miller chats with Bryan Lowder about the surprising ways white gay men have romanticized the idea of the 'primitive' in their search for utopia. Ben shares stories about key figures like Harry Hay and the radical gay activism of the 70s that centered a 'back to the land' fantasy that relied on racialized fantasies of the past. Together, they explore how these fantasies shaped identities and political movements, revealing the strange allure of these ideas and their lasting impact on queer culture today. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, historian Ben Miller chats with Bryan Lowder about the surprising ways white gay men have romanticized the idea of the 'primitive' in their search for utopia. Ben shares stories about key figures like Harry Hay and the radical gay activism of the 70s that centered a 'back to the land' fantasy that relied on racialized fantasies of the past. Together, they explore how these fantasies shaped identities and political movements, revealing the strange allure of these ideas and their lasting impact on queer culture today. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, historian Ben Miller chats with Bryan Lowder about the surprising ways white gay men have romanticized the idea of the 'primitive' in their search for utopia. Ben shares stories about key figures like Harry Hay and the radical gay activism of the 70s that centered a 'back to the land' fantasy that relied on racialized fantasies of the past. Together, they explore how these fantasies shaped identities and political movements, revealing the strange allure of these ideas and their lasting impact on queer culture today. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, historian Ben Miller chats with Bryan Lowder about the surprising ways white gay men have romanticized the idea of the 'primitive' in their search for utopia. Ben shares stories about key figures like Harry Hay and the radical gay activism of the 70s that centered a 'back to the land' fantasy that relied on racialized fantasies of the past. Together, they explore how these fantasies shaped identities and political movements, revealing the strange allure of these ideas and their lasting impact on queer culture today. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, historian Ben Miller chats with Bryan Lowder about the surprising ways white gay men have romanticized the idea of the 'primitive' in their search for utopia. Ben shares stories about key figures like Harry Hay and the radical gay activism of the 70s that centered a 'back to the land' fantasy that relied on racialized fantasies of the past. Together, they explore how these fantasies shaped identities and political movements, revealing the strange allure of these ideas and their lasting impact on queer culture today. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this start to a new series on the history of the 20th Century gay rights movement, Harry examines the overlooked figure Harry Hay, his organisation the Mattachine Society, and Hay's lifelong association with NAMBLA.

First, Adam is joined by Senior Director of Outreach for PragerU, Sabrina Kosmas. They open by talking about using Waze and an autistic boy who was slapped for touching a driver's hood ornament. Then they discuss some news including stories about the benefits of cold showers and the flawed concept of universal basic income. Next, Adam welcomes comedian Rachel Feinstein to the show to discuss her new Netflix special, her mother's tendency to overshare, and the 1970s films about racial injustice that Adam's mom forced him to watch. Lastly, Adam welcomes actor & author Brett Gelman (Stranger Things), they talk about John Cusack going insane, dating on Raya, and Brett's new book “The Terrifying Realm of the Possible: Nearly True Stories.” For more with Rachel Feinstein: ● INSTAGRAM: @rachel feinstein_ ● WEBSITE: rachel-feinstein.com For more with Brett Gelman: ● Buy his new book: The Terrifying Realm of the Possible: Nearly True Stories ● INSTAGRAM: @brettgelman ● TWITTER: @brettgelman ● TIKTOK: @brettgelman Thank you for supporting our sponsors: ● http://OReillyAuto.com/Adam

The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show and independent media, you can make a donation at Radiotopia.fm/donate.  I have recently launched a newsletter. You can subscribe to it at thememorypalacepodcast.substack.com. This episode was originally released in 2016 in the days after the shooting at the Pulse nightclub in Orlando. It is re-released every year on the anniversary of the incident. A note on notes: We'd much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don't suggest looking into the show notes first.Notes and Reading:* Most of the specific history of the White Horse was learned from "Sanctuary: the Inside Story of the Nation's Second Oldest Gay Bar" by David Olson, reprinted in its entirety on the White Horse's website.* "Gayola: Police Professionalization and the Politics of San Francisco's Gay Bars, 1950-1968," by Christopher Agee.* June Thomas' series on the past, present, and future of the gay bar from Slate a few years back.* Various articles written on the occasion of the White Horse's 80th anniversary, including this one from SFGATE.Com* Michael Bronski's A Queer History of the United States.* Radically Gay, a collection of Harry Hay's writing.* Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30's multiple times because it's amazing.Music* We start with Water in Your Hands by Tommy Guerrero.* Hit Anne Muller's Walzer fur Robert a couple of times.* Gaussian Curve does Talk to the Church.* We get a loop of Updraught from Zoe Keating.* We finish on Transient Life in Twilight by James Blackshaw

The Red Scare that engulfed the U.S. in the years immediately after World War II ruined many careers, and any affiliation with the Communist Party was enough to get you blacklisted. So it was that popular novelist Howard fast found himself suddenly a pariah because of his membership in the Communist Party USA. In this 1990 interview Fast reflects on his career, the blacklist, and why he left the Communist Party. Get Being Red by Howard FastAs an Amazon Associate, Now I've Heard Everything earns from qualifying purchases.You may also enjoy my interviews with Harry Hay and William Kunstler For more vintage interviews with celebrities, leaders, and influencers, subscribe to Now I've Heard Everything on Spotify, Apple Podcasts. and now on YouTube #communism #1950s #blacklist

The LGBTQ History Project maintains that Don Kilhefner is the most dangerous gay activist alive in America. For over 50 years, he has fought to secure civil rights for LGBTQ people. Without a doubt, the fruits of his work have changed the world. He was a founding member of the Gay Liberation Front in 1970, one of the first organizations to bring gay rights to the general public's attention.  He co-founded the Los Angeles LGBT Center, which has become the model of all LGBTQ Centers around the world with a $172 million yearly budget and nearly 800 employees. In 1978, he co-founded the Radical Faeries, a counter-culture network and movement that explores queer consciousness and queer spirituality and is alive and well today all around the world. He has dedicated the second chapter of his life to the exploration of queer consciousness and his community-based psychology practice.We start this interview by discussing the importance of intergenerational connections in the LGBTQ community. Next, we get into a juicy conversation addressing how heterosupremacy defined who we are based on sex, and now it's time to re-envision who we are and what it means to be gay beyond sex. We explored the possible purpose and roles of LGBTQ folks from a historical and anthropological perspective. Two possible roles we identified are the altruistic impulse, and the cooperative principal which Don describes. Don then shares the origin story of the radical faeries and the part he played in starting the radical faerie movement along with Harry Hay. Delightfully we get to learn some of the beautiful details from the very first radical faerie gathering. We end with Don sharing his thoughts on what our community's biggest challenges. This included a concept called "elite capture" meaning we've moved from a grassroots community-based movement to a movement where the elite have monopolization the LGBTQ community and it's fight for rights. This shift is failing, and Don and I consider what needs to change.This is a pretty epic interview with a very epic figurehead of the LGBTQ history!Support the show

To be queer and communist at a time when the Communist Party in the U.S. banned LGBT people was tricky and often perilous. In her new book Bettina Aptheker profiles Lorraine Hansberry (who famously penned the play “A Raisin in the Sun”), Harry Hay (best known for founding the Mattachine Society), and other figures with radical sensibilities and closeted sexualities. (Encore presentation.) Bettina Aptheker, Communists in Closets: Queering the History 1930s-1990s Routledge, 2023 The post Hansberry and Hay appeared first on KPFA.

To be queer and communist at a time when the Communist Party in the U.S. banned LGBT people was tricky and often perilous. In her new book Bettina Aptheker profiles Lorraine Hansberry (who famously penned the play “A Raisin in the Sun”), Harry Hay (best known for founding the Mattachine Society), and other figures with radical sensibilities and closeted sexualities. Bettina Aptheker, Communists in Closets: Queering the History 1930s-1990s Routledge, 2023 The post Queer Communists appeared first on KPFA.

Episode 164 of A History of Rock Music in Five Hundred Songs looks at "White Light/White Heat" and the career of the Velvet Underground. This is a long one, lasting three hours and twenty minutes. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-three minute bonus episode available, on "Why Don't You Smile Now?" by the Downliners Sect. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Errata I say the Velvet Underground didn't play New York for the rest of the sixties after 1966. They played at least one gig there in 1967, but did generally avoid the city. Also, I refer to Cale and Conrad as the other surviving members of the Theater of Eternal Music. Sadly Conrad died in 2016. Resources No Mixcloud this week, as there are too many songs by the Velvet Underground, and some of the avant-garde pieces excerpted run to six hours or more. I used a lot of resources for this one. Up-Tight: The Velvet Underground Story by Victor Bockris and Gerard Malanga is the best book on the group as a group. I also used Joe Harvard's 33 1/3 book on The Velvet Underground and Nico. Bockris also wrote one of the two biographies of Reed I referred to, Transformer. The other was Lou Reed by Anthony DeCurtis. Information on Cale mostly came from Sedition and Alchemy by Tim Mitchell. Information on Nico came from Nico: The Life and Lies of an Icon by Richard Witts. I used Draw a Straight Line and Follow it by Jeremy Grimshaw as my main source for La Monte Young, The Roaring Silence by David Revill for John Cage, and Warhol: A Life as Art by Blake Gopnik for Warhol. I also referred to the Criterion Collection Blu-Ray of the 2021 documentary The Velvet Underground.  The definitive collection of the Velvet Underground's music is the sadly out-of-print box set Peel Slowly and See, which contains the four albums the group made with Reed in full, plus demos, outtakes, and live recordings. Note that the digital version of the album as sold by Amazon for some reason doesn't include the last disc -- if you want the full box set you have to buy a physical copy. All four studio albums have also been released and rereleased many times over in different configurations with different numbers of CDs at different price points -- I have used the "45th Anniversary Super-Deluxe" versions for this episode, but for most people the standard CD versions will be fine. Sadly there are no good shorter compilation overviews of the group -- they tend to emphasise either the group's "pop" mode or its "avant-garde" mode to the exclusion of the other. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript Before I begin this episode, there are a few things to say. This introductory section is going to be longer than normal because, as you will hear, this episode is also going to be longer than normal. Firstly, I try to warn people about potentially upsetting material in these episodes. But this is the first episode for 1968, and as you will see there is a *profound* increase in the amount of upsetting and disturbing material covered as we go through 1968 and 1969. The story is going to be in a much darker place for the next twenty or thirty episodes. And this episode is no exception. As always, I try to deal with everything as sensitively as possible, but you should be aware that the list of warnings for this one is so long I am very likely to have missed some. Among the topics touched on in this episode are mental illness, drug addiction, gun violence, racism, societal and medical homophobia, medical mistreatment of mental illness, domestic abuse, rape, and more. If you find discussion of any of those subjects upsetting, you might want to read the transcript. Also, I use the term "queer" freely in this episode. In the past I have received some pushback for this, because of a belief among some that "queer" is a slur. The following explanation will seem redundant to many of my listeners, but as with many of the things I discuss in the podcast I am dealing with multiple different audiences with different levels of awareness and understanding of issues, so I'd like to beg those people's indulgence a moment. The term "queer" has certainly been used as a slur in the past, but so have terms like "lesbian", "gay", "homosexual" and others. In all those cases, the term has gone from a term used as a self-identifier, to a slur, to a reclaimed slur, and back again many times. The reason for using that word, specifically, here is because the vast majority of people in this story have sexualities or genders that don't match the societal norms of their times, but used labels for themselves that have shifted in meaning over the years. There are at least two men in the story, for example, who are now dead and referred to themselves as "homosexual", but were in multiple long-term sexually-active relationships with women. Would those men now refer to themselves as "bisexual" or "pansexual" -- terms not in widespread use at the time -- or would they, in the relatively more tolerant society we live in now, only have been in same-gender relationships? We can't know. But in our current context using the word "homosexual" for those men would lead to incorrect assumptions about their behaviour. The labels people use change over time, and the definitions of them blur and shift. I have discussed this issue with many, many, friends who fall under the queer umbrella, and while not all of them are comfortable with "queer" as a personal label because of how it's been used against them in the past, there is near-unanimity from them that it's the correct word to use in this situation. Anyway, now that that rather lengthy set of disclaimers is over, let's get into the story proper, as we look at "White Light, White Heat" by the Velvet Underground: [Excerpt: The Velvet Underground, "White Light, White Heat"] And that look will start with... a disclaimer about length. This episode is going to be a long one. Not as long as episode one hundred and fifty, but almost certainly the longest episode I'll do this year, by some way. And there's a reason for that. One of the questions I've been asked repeatedly over the years about the podcast is why almost all the acts I've covered have been extremely commercially successful ones. "Where are the underground bands? The alternative bands? The little niche acts?" The answer to that is simple. Until the mid-sixties, the idea of an underground or alternative band made no sense at all in rock, pop, rock and roll, R&B, or soul. The idea would have been completely counterintuitive to the vast majority of the people we've discussed in the podcast. Those musics were commercial musics, made by people who wanted to make money and to  get the largest audiences possible. That doesn't mean that they had no artistic merit, or that there was no artistic intent behind them, but the artists making that music were *commercial* artists. They knew if they wanted to make another record, they had to sell enough copies of the last record for the record company to make another, and that if they wanted to keep eating, they had to draw enough of an audience to their gigs for promoters to keep booking them. There was no space in this worldview for what we might think of as cult success. If your record only sold a thousand copies, then you had failed in your goal, even if the thousand people who bought your record really loved it. Even less commercially successful artists we've covered to this point, like the Mothers of Invention or Love, were *trying* for commercial success, even if they made the decision not to compromise as much as others do. This started to change a tiny bit in the mid-sixties as the influence of jazz and folk in the US, and the British blues scene, started to be felt in rock music. But this influence, at first, was a one-way thing -- people who had been in the folk and jazz worlds deciding to modify their music to be more commercial. And that was followed by already massively commercial musicians, like the Beatles, taking on some of those influences and bringing their audience with them. But that started to change around the time that "rock" started to differentiate itself from "rock and roll" and "pop", in mid 1967. So in this episode and the next, we're going to look at two bands who in different ways provided a model for how to be an alternative band. Both of them still *wanted* commercial success, but neither achieved it, at least not at first and not in the conventional way. And both, when they started out, went by the name The Warlocks. But we have to take a rather circuitous route to get to this week's band, because we're now properly introducing a strand of music that has been there in the background for a while -- avant-garde art music. So before we go any further, let's have a listen to a thirty-second clip of the most famous piece of avant-garde music ever, and I'll be performing it myself: [Excerpt, Andrew Hickey "4'33 (Cage)"] Obviously that won't give the full effect, you have to listen to the whole piece to get that. That is of course a section of "4'33" by John Cage, a piece of music that is often incorrectly described as being four minutes and thirty three seconds of silence. As I've mentioned before, though, in the episode on "Papa's Got a Brand New Bag", it isn't that at all. The whole point of the piece is that there is no such thing as silence, and it's intended to make the listener appreciate all the normal ambient sounds as music, every bit as much as any piece by Bach or Beethoven. John Cage, the composer of "4'33", is possibly the single most influential avant-garde artist of the mid twentieth century, so as we're properly introducing the ideas of avant-garde music into the story here, we need to talk about him a little. Cage was, from an early age, torn between three great vocations, all of which in some fashion would shape his work for decades to come. One of these was architecture, and for a time he intended to become an architect. Another was the religious ministry, and he very seriously considered becoming a minister as a young man, and religion -- though not the religious faith of his youth -- was to be a massive factor in his work as he grew older. He started studying music from an early age, though he never had any facility as a performer -- though he did, when he discovered the work of Grieg, think that might change. He later said “For a while I played nothing else. I even imagined devoting my life to the performance of his works alone, for they did not seem to me to be too difficult, and I loved them.” [Excerpt: Grieg piano concerto in A minor] But he soon realised that he didn't have some of the basic skills that would be required to be a performer -- he never actually thought of himself as very musical -- and so he decided to move into composition, and he later talked about putting his musical limits to good use in being more inventive. From his very first pieces, Cage was trying to expand the definition of what a performance of a piece of music actually was. One of his friends, Harry Hay, who took part in the first documented performance of a piece by Cage, described how Cage's father, an inventor, had "devised a fluorescent light source over which Sample" -- Don Sample, Cage's boyfriend at the time -- "laid a piece of vellum painted with designs in oils. The blankets I was wearing were white, and a sort of lampshade shone coloured patterns onto me. It looked very good. The thing got so hot the designs began to run, but that only made it better.” Apparently the audience for this light show -- one that predated the light shows used by rock bands by a good thirty years -- were not impressed, though that may be more because the Santa Monica Women's Club in the early 1930s was not the vanguard of the avant-garde. Or maybe it was. Certainly the housewives of Santa Monica seemed more willing than one might expect to sign up for another of Cage's ideas. In 1933 he went door to door asking women if they would be interested in signing up to a lecture course from him on modern art and music. He told them that if they signed up for $2.50, he would give them ten lectures, and somewhere between twenty and forty of them signed up, even though, as he said later, “I explained to the housewives that I didn't know anything about either subject but that I was enthusiastic about both of them. I promised to learn faithfully enough about each subject so as to be able to give a talk an hour long each week.” And he did just that, going to the library every day and spending all week preparing an hour-long talk for them. History does not relate whether he ended these lectures by telling the housewives to tell just one friend about them. He said later “I came out of these lectures, with a devotion to the painting of Mondrian, on the one hand, and the music of Schoenberg on the other.” [Excerpt: Schoenberg, "Ode to Napoleon Buonaparte"] Schoenberg was one of the two most widely-respected composers in the world at that point, the other being Stravinsky, but the two had very different attitudes to composition. Schoenberg's great innovation was the creation and popularisation of the twelve-tone technique, and I should probably explain that a little before I go any further. Most Western music is based on an eight-note scale -- do, re, mi, fa, so, la, ti, do -- with the eighth note being an octave up from the first. So in the key of C major that would be C, D, E, F, G, A, B, C: [demonstrates] And when you hear notes from that scale, if your ears are accustomed to basically any Western music written before about 1920, or any Western popular music written since then, you expect the melody to lead back to C, and you know to expect that because it only uses those notes -- there are differing intervals between them, some having a tone between them and some having a semitone, and you recognise the pattern. But of course there are other notes between the notes of that scale. There are actually an infinite number of these, but in conventional Western music we only look at a few more -- C# (or D flat), D# (or E flat), F# (or G flat), G# (or A flat) and A# (or B flat). If you add in all those notes you get this: [demonstrates] There's no clear beginning or end, no do for it to come back to. And Schoenberg's great innovation, which he was only starting to promote widely around this time, was to insist that all twelve notes should be equal -- his melodies would use all twelve of the notes the exact same number of times, and so if he used say a B flat, he would have to use all eleven other notes before he used B flat again in the piece. This was a radical new idea, but Schoenberg had only started advancing it after first winning great acclaim for earlier pieces, like his "Three Pieces for Piano", a work which wasn't properly twelve-tone, but did try to do without the idea of having any one note be more important than any other: [Excerpt: Schoenberg, "Three Pieces for Piano"] At this point, that work had only been performed in the US by one performer, Richard Buhlig, and hadn't been released as a recording yet. Cage was so eager to hear it that he'd found Buhlig's phone number and called him, asking him to play the piece, but Buhlig put the phone down on him. Now he was doing these lectures, though, he had to do one on Schoenberg, and he wasn't a competent enough pianist to play Schoenberg's pieces himself, and there were still no recordings of them. Cage hitch-hiked from Santa Monica to LA, where Buhlig lived, to try to get him to come and visit his class and play some of Schoenberg's pieces for them. Buhlig wasn't in, and Cage hung around in his garden hoping for him to come back -- he pulled the leaves off a bough from one of Buhlig's trees, going "He'll come back, he won't come back, he'll come back..." and the leaves said he'd be back. Buhlig arrived back at midnight, and quite understandably told the strange twenty-one-year-old who'd spent twelve hours in his garden pulling the leaves off his trees that no, he would not come to Santa Monica and give a free performance. But he did agree that if Cage brought some of his own compositions he'd give them a look over. Buhlig started giving Cage some proper lessons in composition, although he stressed that he was a performer, not a composer. Around this time Cage wrote his Sonata for Clarinet: [Excerpt: John Cage, "Sonata For Clarinet"] Buhlig suggested that Cage send that to Henry Cowell, the composer we heard about in the episode on "Good Vibrations" who was friends with Lev Termen and who created music by playing the strings inside a piano: [Excerpt: Henry Cowell, "Aeolian Harp and Sinister Resonance"] Cowell offered to take Cage on as an assistant, in return for which Cowell would teach him for a semester, as would Adolph Weiss, a pupil of Schoenberg's. But the goal, which Cowell suggested, was always to have Cage study with Schoenberg himself. Schoenberg at first refused, saying that Cage couldn't afford his price, but eventually took Cage on as a student having been assured that he would devote his entire life to music -- a promise Cage kept. Cage started writing pieces for percussion, something that had been very rare up to that point -- only a handful of composers, most notably Edgard Varese, had written pieces for percussion alone, but Cage was: [Excerpt: John Cage, "Trio"] This is often portrayed as a break from the ideals of his teacher Schoenberg, but in fact there's a clear continuity there, once you see what Cage was taking from Schoenberg. Schoenberg's work is, in some senses, about equality, about all notes being equal. Or to put it another way, it's about fairness. About erasing arbitrary distinctions. What Cage was doing was erasing the arbitrary distinction between the more and less prominent instruments. Why should there be pieces for solo violin or string quartet, but not for multiple percussion players? That said, Schoenberg was not exactly the most encouraging of teachers. When Cage invited Schoenberg to go to a concert of Cage's percussion work, Schoenberg told him he was busy that night. When Cage offered to arrange another concert for a date Schoenberg wasn't busy, the reply came "No, I will not be free at any time". Despite this, Cage later said “Schoenberg was a magnificent teacher, who always gave the impression that he was putting us in touch with musical principles,” and said "I literally worshipped him" -- a strong statement from someone who took religious matters as seriously as Cage. Cage was so devoted to Schoenberg's music that when a concert of music by Stravinsky was promoted as "music of the world's greatest living composer", Cage stormed into the promoter's office angrily, confronting the promoter and making it very clear that such things should not be said in the city where Schoenberg lived. Schoenberg clearly didn't think much of Cage's attempts at composition, thinking -- correctly -- that Cage had no ear for harmony. And his reportedly aggressive and confrontational teaching style didn't sit well with Cage -- though it seems very similar to a lot of the teaching techniques of the Zen masters he would later go on to respect. The two eventually parted ways, although Cage always spoke highly of Schoenberg. Schoenberg later gave Cage a compliment of sorts, when asked if any of his students had gone on to do anything interesting. At first he replied that none had, but then he mentioned Cage and said “Of course he's not a composer, but an inventor—of genius.” Cage was at this point very worried if there was any point to being a composer at all. He said later “I'd read Cowell's New Musical Resources and . . . The Theory of Rhythm. I had also read Chavez's Towards a New Music. Both works gave me the feeling that everything that was possible in music had already happened. So I thought I could never compose socially important music. Only if I could invent something new, then would I be useful to society. But that seemed unlikely then.” [Excerpt: John Cage, "Totem Ancestor"] Part of the solution came when he was asked to compose music for an abstract animation by the filmmaker Oskar Fischinger, and also to work as Fischinger's assistant when making the film. He was fascinated by the stop-motion process, and by the results of the film, which he described as "a beautiful film in which these squares, triangles and circles and other things moved and changed colour.” But more than that he was overwhelmed by a comment by Fischinger, who told him “Everything in the world has its own spirit, and this spirit becomes audible by setting it into vibration.” Cage later said “That set me on fire. He started me on a path of exploration of the world around me which has never stopped—of hitting and stretching and scraping and rubbing everything.” Cage now took his ideas further. His compositions for percussion had been about, if you like, giving the underdog a chance -- percussion was always in the background, why should it not be in the spotlight? Now he realised that there were other things getting excluded in conventional music -- the sounds that we characterise as noise. Why should composers work to exclude those sounds, but work to *include* other sounds? Surely that was... well, a little unfair? Eventually this would lead to pieces like his 1952 piece "Water Music", later expanded and retitled "Water Walk", which can be heard here in his 1959 appearance on the TV show "I've Got a Secret".  It's a piece for, amongst other things, a flowerpot full of flowers, a bathtub, a watering can, a pipe, a duck call, a blender full of ice cubes, and five unplugged radios: [Excerpt: John Cage "Water Walk"] As he was now avoiding pitch and harmony as organising principles for his music, he turned to time. But note -- not to rhythm. He said “There's none of this boom, boom, boom, business in my music . . . a measure is taken as a strict measure of time—not a one two three four—which I fill with various sounds.” He came up with a system he referred to as “micro-macrocosmic rhythmic structure,” what we would now call fractals, though that word hadn't yet been invented, where the structure of the whole piece was reflected in the smallest part of it. For a time he started moving away from the term music, preferring to refer to the "art of noise" or to "organised sound" -- though he later received a telegram from Edgard Varese, one of his musical heroes and one of the few other people writing works purely for percussion, asking him not to use that phrase, which Varese used for his own work. After meeting with Varese and his wife, he later became convinced that it was Varese's wife who had initiated the telegram, as she explained to Cage's wife "we didn't want your husband's work confused with my husband's work, any more than you'd want some . . . any artist's work confused with that of a cartoonist.” While there is a humour to Cage's work, I don't really hear much qualitative difference between a Cage piece like the one we just heard and a Varese piece like Ionisation: [Excerpt: Edgard Varese, "Ionisation"] But it was in 1952, the year of "Water Music" that John Cage made his two biggest impacts on the cultural world, though the full force of those impacts wasn't felt for some years. To understand Cage's 1952 work, you first have to understand that he had become heavily influenced by Zen, which at that time was very little known in the Western world. Indeed he had studied with Daisetsu Suzuki, who is credited with introducing Zen to the West, and said later “I didn't study music with just anybody; I studied with Schoenberg, I didn't study Zen with just anybody; I studied with Suzuki. I've always gone, insofar as I could, to the president of the company.” Cage's whole worldview was profoundly affected by Zen, but he was also naturally sympathetic to it, and his work after learning about Zen is mostly a continuation of trends we can already see. In particular, he became convinced that the point of music isn't to communicate anything between two people, rather its point is merely to be experienced. I'm far from an expert on Buddhism, but one way of thinking about its central lessons is that one should experience things as they are, experiencing the thing itself rather than one's thoughts or preconceptions about it. And so at Black Mountain college came Theatre Piece Number 1: [Excerpt: Edith Piaf, "La Vie En Rose" ] In this piece, Cage had set the audience on all sides, so they'd be facing each other. He stood on a stepladder, as colleagues danced in and around the audience, another colleague played the piano, two more took turns to stand on another stepladder to recite poetry, different films and slides were projected, seemingly at random, onto the walls, and the painter Robert Rauschenberg played scratchy Edith Piaf records on a wind-up gramophone. The audience were included in the performance, and it was meant to be experienced as a gestalt, as a whole, to be what we would now call an immersive experience. One of Cage's students around this time was the artist Allan Kaprow, and he would be inspired by Theatre Piece Number 1 to put on several similar events in the late fifties. Those events he called "happenings", because the point of them was that you were meant to experience an event as it was happening rather than bring preconceptions of form and structure to them. Those happenings were the inspiration for events like The 14 Hour Technicolor Dream, and the term "happening" became such an integral part of the counterculture that by 1967 there were comedy films being released about them, including one just called The Happening with a title track by the Supremes that made number one: [Excerpt: The Supremes, "The Happening"] Theatre Piece Number 1 was retrospectively considered the first happening, and as such its influence is incalculable. But one part I didn't mention about Theatre Piece Number 1 is that as well as Rauschenberg playing Edith Piaf's records, he also displayed some of his paintings. These paintings were totally white -- at a glance, they looked like blank canvases, but as one inspected them more clearly, it became apparent that Rauschenberg had painted them with white paint, with visible brushstrokes. These paintings, along with a visit to an anechoic chamber in which Cage discovered that even in total silence one can still hear one's own blood and nervous system, so will never experience total silence, were the final key to something Cage had been working towards -- if music had minimised percussion, and excluded noise, how much more had it excluded silence? As Cage said in 1958 “Curiously enough, the twelve-tone system has no zero in it.” And so came 4'33, the piece that we heard an excerpt of near the start of this episode. That piece was the something new he'd been looking for that could be useful to society. It took the sounds the audience could already hear, and without changing them even slightly gave them a new context and made the audience hear them as they were. Simply by saying "this is music", it caused the ambient noise to be perceived as music. This idea, of recontextualising existing material, was one that had already been done in the art world -- Marcel Duchamp, in 1917, had exhibited a urinal as a sculpture titled "Fountain" -- but even Duchamp had talked about his work as "everyday objects raised to the dignity of a work of art by the artist's act of choice". The artist was *raising* the object to art. What Cage was saying was "the object is already art". This was all massively influential to a young painter who had seen Cage give lectures many times, and while at art school had with friends prepared a piano in the same way Cage did for his own experimental compositions, dampening the strings with different objects. [Excerpt: Dana Gillespie, "Andy Warhol (live)"] Duchamp and Rauschenberg were both big influences on Andy Warhol, but he would say in the early sixties "John Cage is really so responsible for so much that's going on," and would for the rest of his life cite Cage as one of the two or three prime influences of his career. Warhol is a difficult figure to discuss, because his work is very intellectual but he was not very articulate -- which is one reason I've led up to him by discussing Cage in such detail, because Cage was always eager to talk at great length about the theoretical basis of his work, while Warhol would say very few words about anything at all. Probably the person who knew him best was his business partner and collaborator Paul Morrissey, and Morrissey's descriptions of Warhol have shaped my own view of his life, but it's very worth noting that Morrissey is an extremely right-wing moralist who wishes to see a Catholic theocracy imposed to do away with the scourges of sexual immorality, drug use, hedonism, and liberalism, so his view of Warhol, a queer drug using progressive whose worldview seems to have been totally opposed to Morrissey's in every way, might be a little distorted. Warhol came from an impoverished background, and so, as many people who grew up poor do, he was, throughout his life, very eager to make money. He studied art at university, and got decent but not exceptional grades -- he was a competent draughtsman, but not a great one, and most importantly as far as success in the art world goes he didn't have what is known as his own "line" -- with most successful artists, you can look at a handful of lines they've drawn and see something of their own personality in it. You couldn't with Warhol. His drawings looked like mediocre imitations of other people's work. Perfectly competent, but nothing that stood out. So Warhol came up with a technique to make his drawings stand out -- blotting. He would do a normal drawing, then go over it with a lot of wet ink. He'd lower a piece of paper on to the wet drawing, and the new paper would soak up the ink, and that second piece of paper would become the finished work. The lines would be fractured and smeared, broken in places where the ink didn't get picked up, and thick in others where it had pooled. With this mechanical process, Warhol had managed to create an individual style, and he became an extremely successful commercial artist. In the early 1950s photography was still seen as a somewhat low-class way of advertising things. If you wanted to sell to a rich audience, you needed to use drawings or paintings. By 1955 Warhol was making about twelve thousand dollars a year -- somewhere close to a hundred and thirty thousand a year in today's money -- drawing shoes for advertisements. He also had a sideline in doing record covers for people like Count Basie: [Excerpt: Count Basie, "Seventh Avenue Express"] For most of the 1950s he also tried to put on shows of his more serious artistic work -- often with homoerotic themes -- but to little success. The dominant art style of the time was the abstract expressionism of people like Jackson Pollock, whose art was visceral, emotional, and macho. The term "action paintings" which was coined for the work of people like Pollock, sums it up. This was manly art for manly men having manly emotions and expressing them loudly. It was very male and very straight, and even the gay artists who were prominent at the time tended to be very conformist and look down on anything they considered flamboyant or effeminate. Warhol was a rather effeminate, very reserved man, who strongly disliked showing his emotions, and whose tastes ran firmly to the camp. Camp as an aesthetic of finding joy in the flamboyant or trashy, as opposed to merely a descriptive term for men who behaved in a way considered effeminate, was only just starting to be codified at this time -- it wouldn't really become a fully-formed recognisable thing until Susan Sontag's essay "Notes on Camp" in 1964 -- but of course just because something hasn't been recognised doesn't mean it doesn't exist, and Warhol's aesthetic was always very camp, and in the 1950s in the US that was frowned upon even in gay culture, where the mainstream opinion was that the best way to acceptance was through assimilation. Abstract expressionism was all about expressing the self, and that was something Warhol never wanted to do -- in fact he made some pronouncements at times which suggested he didn't think of himself as *having* a self in the conventional sense. The combination of not wanting to express himself and of wanting to work more efficiently as a commercial artist led to some interesting results. For example, he was commissioned in 1957 to do a cover for an album by Moondog, the blind street musician whose name Alan Freed had once stolen: [Excerpt: Moondog, "Gloving It"] For that cover, Warhol got his mother, Julia Warhola, to just write out the liner notes for the album in her rather ornamental cursive script, and that became the front cover, leading to an award for graphic design going that year to "Andy Warhol's mother". (Incidentally, my copy of the current CD issue of that album, complete with Julia Warhola's cover, is put out by Pickwick Records...) But towards the end of the fifties, the work for commercial artists started to dry up. If you wanted to advertise shoes, now, you just took a photo of the shoes rather than get Andy Warhol to draw a picture of them. The money started to disappear, and Warhol started to panic. If there was no room for him in graphic design any more, he had to make his living in the fine arts, which he'd been totally unsuccessful in. But luckily for Warhol, there was a new movement that was starting to form -- Pop Art. Pop Art started in England, and had originally been intended, at least in part, as a critique of American consumerist capitalism. Pieces like "Just what is it that makes today's homes so different, so appealing?" by Richard Hamilton (who went on to design the Beatles' White Album cover) are collages of found images, almost all from American sources, recontextualised and juxtaposed in interesting ways, so a bodybuilder poses in a room that's taken from an advert in Ladies' Home Journal, while on the wall, instead of a painting, hangs a blown-up cover of a Jack Kirby romance comic. Pop Art changed slightly when it got taken up in America, and there it became something rather different, something closer to Duchamp, taking those found images and displaying them as art with no juxtaposition. Where Richard Hamilton created collage art which *showed* a comic cover by Jack Kirby as a painting in the background, Roy Lichtenstein would take a panel of comic art by Kirby, or Russ Heath or Irv Novick or a dozen other comic artists, and redraw it at the size of a normal painting. So Warhol took Cage's idea that the object is already art, and brought that into painting, starting by doing paintings of Campbell's soup cans, in which he tried as far as possible to make the cans look exactly like actual soup cans. The paintings were controversial, inciting fury in some and laughter in others and causing almost everyone to question whether they were art. Warhol would embrace an aesthetic in which things considered unimportant or trash or pop culture detritus were the greatest art of all. For example pretty much every profile of him written in the mid sixties talks about him obsessively playing "Sally Go Round the Roses", a girl-group single by the one-hit wonders the Jaynettes: [Excerpt: The Jaynettes, "Sally Go Round the Roses"] After his paintings of Campbell's soup cans, and some rather controversial but less commercially successful paintings of photographs of horrors and catastrophes taken from newspapers, Warhol abandoned painting in the conventional sense altogether, instead creating brightly coloured screen prints -- a form of stencilling -- based on photographs of celebrities like Elvis Presley, Elizabeth Taylor and, most famously, Marilyn Monroe. That way he could produce images which could be mass-produced, without his active involvement, and which supposedly had none of his personality in them, though of course his personality pervades the work anyway. He put on exhibitions of wooden boxes, silk-screen printed to look exactly like shipping cartons of Brillo pads. Images we see everywhere -- in newspapers, in supermarkets -- were art. And Warhol even briefly formed a band. The Druds were a garage band formed to play at a show at the Washington Gallery of Modern Art, the opening night of an exhibition that featured a silkscreen by Warhol of 210 identical bottles of Coca-Cola, as well as paintings by Rauschenberg and others. That opening night featured a happening by Claes Oldenburg, and a performance by Cage -- Cage gave a live lecture while three recordings of his own voice also played. The Druds were also meant to perform, but they fell apart after only a few rehearsals. Some recordings apparently exist, but they don't seem to circulate, but they'd be fascinating to hear as almost the entire band were non-musician artists like Warhol, Jasper Johns, and the sculptor Walter de Maria. Warhol said of the group “It didn't go too well, but if we had just stayed on it it would have been great.” On the other hand, the one actual musician in the group said “It was kind of ridiculous, so I quit after the second rehearsal". That musician was La Monte Young: [Excerpt: La Monte Young, "The Well-Tuned Piano"] That's an excerpt from what is generally considered Young's masterwork, "The Well-Tuned Piano". It's six and a half hours long. If Warhol is a difficult figure to write about, Young is almost impossible. He's a musician with a career stretching sixty years, who is arguably the most influential musician from the classical tradition in that time period. He's generally considered the father of minimalism, and he's also been called by Brian Eno "the daddy of us all" -- without Young you simply *do not* get art rock at all. Without Young there is no Velvet Underground, no David Bowie, no Eno, no New York punk scene, no Yoko Ono. Anywhere that the fine arts or conceptual art have intersected with popular music in the last fifty or more years has been influenced in one way or another by Young's work. BUT... he only rarely publishes his scores. He very, very rarely allows recordings of his work to be released -- there are four recordings on his bandcamp, plus a handful of recordings of his older, published, pieces, and very little else. He doesn't allow his music to be performed live without his supervision. There *are* bootleg recordings of his music, but even those are not easily obtainable -- Young is vigorous in enforcing his copyrights and issues takedown notices against anywhere that hosts them. So other than that handful of legitimately available recordings -- plus a recording by Young's Theater of Eternal Music, the legality of which is still disputed, and an off-air recording of a 1971 radio programme I've managed to track down, the only way to experience Young's music unless you're willing to travel to one of his rare live performances or installations is second-hand, by reading about it. Except that the one book that deals solely with Young and his music is not only a dense and difficult book to read, it's also one that Young vehemently disagreed with and considered extremely inaccurate, to the point he refused to allow permissions to quote his work in the book. Young did apparently prepare a list of corrections for the book, but he wouldn't tell the author what they were without payment. So please assume that anything I say about Young is wrong, but also accept that the short section of this episode about Young has required more work to *try* to get it right than pretty much anything else this year. Young's musical career actually started out in a relatively straightforward manner. He didn't grow up in the most loving of homes -- he's talked about his father beating him as a child because he had been told that young La Monte was clever -- but his father did buy him a saxophone and teach him the rudiments of the instrument, and as a child he was most influenced by the music of the big band saxophone player Jimmy Dorsey: [Excerpt: Jimmy Dorsey, “It's the Dreamer in Me”] The family, who were Mormon farmers, relocated several times in Young's childhood, from Idaho first to California and then to Utah, but everywhere they went La Monte seemed to find musical inspiration, whether from an uncle who had been part of the Kansas City jazz scene, a classmate who was a musical prodigy who had played with Perez Prado in his early teens, or a teacher who took the class to see a performance of Bartok's Concerto for Orchestra: [Excerpt: Bartok, "Concerto for Orchestra"] After leaving high school, Young went to Los Angeles City College to study music under Leonard Stein, who had been Schoenberg's assistant when Schoenberg had taught at UCLA, and there he became part of the thriving jazz scene based around Central Avenue, studying and performing with musicians like Ornette Coleman, Don Cherry, and Eric Dolphy -- Young once beat Dolphy in an audition for a place in the City College dance band, and the two would apparently substitute for each other on their regular gigs when one couldn't make it. During this time, Young's musical tastes became much more adventurous. He was a particular fan of the work of John Coltrane, and also got inspired by City of Glass, an album by Stan Kenton that attempted to combine jazz and modern classical music: [Excerpt: Stan Kenton's Innovations Orchestra, "City of Glass: The Structures"] His other major musical discovery in the mid-fifties was one we've talked about on several previous occasions -- the album Music of India, Morning and Evening Ragas by Ali Akhbar Khan: [Excerpt: Ali Akhbar Khan, "Rag Sindhi Bhairavi"] Young's music at this point was becoming increasingly modal, and equally influenced by the blues and Indian music. But he was also becoming interested in serialism. Serialism is an extension and generalisation of twelve-tone music, inspired by mathematical set theory. In serialism, you choose a set of musical elements -- in twelve-tone music that's the twelve notes in the twelve-tone scale, but it can also be a set of tonal relations, a chord, or any other set of elements. You then define all the possible ways you can permute those elements, a defined set of operations you can perform on them -- so you could play a scale forwards, play it backwards, play all the notes in the scale simultaneously, and so on. You then go through all the possible permutations, exactly once, and that's your piece of music. Young was particularly influenced by the works of Anton Webern, one of the earliest serialists: [Excerpt: Anton Webern, "Cantata number 1 for Soprano, Mixed Chorus, and Orchestra"] That piece we just heard, Webern's "Cantata number 1", was the subject of some of the earliest theoretical discussion of serialism, and in particular led to some discussion of the next step on from serialism. If serialism was all about going through every single permutation of a set, what if you *didn't* permute every element? There was a lot of discussion in the late fifties in music-theoretical circles about the idea of invariance. Normally in music, the interesting thing is what gets changed. To use a very simple example, you might change a melody from a major key to a minor one to make it sound sadder. What theorists at this point were starting to discuss is what happens if you leave something the same, but change the surrounding context, so the thing you *don't* vary sounds different because of the changed context. And going further, what if you don't change the context at all, and merely *imply* a changed context? These ideas were some of those which inspired Young's first major work, his Trio For Strings from 1958, a complex, palindromic, serial piece which is now credited as the first work of minimalism, because the notes in it change so infrequently: [Excerpt: La Monte Young, "Trio for Strings"] Though I should point out that Young never considers his works truly finished, and constantly rewrites them, and what we just heard is an excerpt from the only recording of the trio ever officially released, which is of the 2015 version. So I can't state for certain how close what we just heard is to the piece he wrote in 1958, except that it sounds very like the written descriptions of it I've read. After writing the Trio For Strings, Young moved to Germany to study with the modernist composer Karlheinz Stockhausen. While studying with Stockhausen, he became interested in the work of John Cage, and started up a correspondence with Cage. On his return to New York he studied with Cage and started writing pieces inspired by Cage, of which the most musical is probably Composition 1960 #7: [Excerpt: La Monte Young, "Composition 1960 #7"] The score for that piece is a stave on which is drawn a treble clef, the notes B and F#, and the words "To be held for a long Time". Other of his compositions from 1960 -- which are among the few of his compositions which have been published -- include composition 1960 #10 ("To Bob Morris"), the score for which is just the instruction "Draw a straight line and follow it.", and Piano Piece for David  Tudor #1, the score for which reads "Bring a bale of hay and a bucket of water onto the stage for the piano to eat and drink. The performer may then feed the piano or leave it to eat by itself. If the former, the piece is over after the piano has been fed. If the latter, it is over after the piano eats or decides not to". Most of these compositions were performed as part of a loose New York art collective called Fluxus, all of whom were influenced by Cage and the Dadaists. This collective, led by George Maciunas, sometimes involved Cage himself, but also involved people like Henry Flynt, the inventor of conceptual art, who later became a campaigner against art itself, and who also much to Young's bemusement abandoned abstract music in the mid-sixties to form a garage band with Walter de Maria (who had played drums with the Druds): [Excerpt: Henry Flynt and the Insurrections, "I Don't Wanna"] Much of Young's work was performed at Fluxus concerts given in a New York loft belonging to another member of the collective, Yoko Ono, who co-curated the concerts with Young. One of Ono's mid-sixties pieces, her "Four Pieces for Orchestra" is dedicated to Young, and consists of such instructions as "Count all the stars of that night by heart. The piece ends when all the orchestra members finish counting the stars, or when it dawns. This can be done with windows instead of stars." But while these conceptual ideas remained a huge part of Young's thinking, he soon became interested in two other ideas. The first was the idea of just intonation -- tuning instruments and voices to perfect harmonics, rather than using the subtly-off tuning that is used in Western music. I'm sure I've explained that before in a previous episode, but to put it simply when you're tuning an instrument with fixed pitches like a piano, you have a choice -- you can either tune it so that the notes in one key are perfectly in tune with each other, but then when you change key things go very out of tune, or you can choose to make *everything* a tiny bit, almost unnoticeably, out of tune, but equally so. For the last several hundred years, musicians as a community have chosen the latter course, which was among other things promoted by Bach's Well-Tempered Clavier, a collection of compositions which shows how the different keys work together: [Excerpt: Bach (Glenn Gould), "The Well-Tempered Clavier, Book II: Fugue in F-sharp minor, BWV 883"] Young, by contrast, has his own esoteric tuning system, which he uses in his own work The Well-Tuned Piano: [Excerpt: La Monte Young, "The Well-Tuned Piano"] The other idea that Young took on was from Indian music, the idea of the drone. One of the four recordings of Young's music that is available from his Bandcamp, a 1982 recording titled The Tamburas of Pandit Pran Nath, consists of one hour, thirteen minutes, and fifty-eight seconds of this: [Excerpt: La Monte Young, "The Tamburas of Pandit Pran Nath"] Yes, I have listened to the whole piece. No, nothing else happens. The minimalist composer Terry Riley describes the recording as "a singularly rare contribution that far outshines any other attempts to capture this instrument in recorded media". In 1962, Young started writing pieces based on what he called the "dream chord", a chord consisting of a root, fourth, sharpened fourth, and fifth: [dream chord] That chord had already appeared in his Trio for Strings, but now it would become the focus of much of his work, in pieces like his 1962 piece The Second Dream of the High-Tension Line Stepdown Transformer, heard here in a 1982 revision: [Excerpt: La Monte Young, "The Second Dream of the High-Tension Line Stepdown Transformer"] That was part of a series of works titled The Four Dreams of China, and Young began to plan an installation work titled Dream House, which would eventually be created, and which currently exists in Tribeca, New York, where it's been in continuous "performance" for thirty years -- and which consists of thirty-two different pure sine wave tones all played continuously, plus purple lighting by Young's wife Marian Zazeela. But as an initial step towards creating this, Young formed a collective called Theatre of Eternal Music, which some of the members -- though never Young himself -- always claim also went by the alternative name The Dream Syndicate. According to John Cale, a member of the group, that name came about because the group tuned their instruments to the 60hz hum of the fridge in Young's apartment, which Cale called "the key of Western civilisation". According to Cale, that meant the fundamental of the chords they played was 10hz, the frequency of alpha waves when dreaming -- hence the name. The group initially consisted of Young, Zazeela, the photographer Billy Name, and percussionist Angus MacLise, but by this recording in 1964 the lineup was Young, Zazeela, MacLise, Tony Conrad and John Cale: [Excerpt: "Cale, Conrad, Maclise, Young, Zazeela - The Dream Syndicate 2 IV 64-4"] That recording, like any others that have leaked by the 1960s version of the Theatre of Eternal Music or Dream Syndicate, is of disputed legality, because Young and Zazeela claim to this day that what the group performed were La Monte Young's compositions, while the other two surviving members, Cale and Conrad, claim that their performances were improvisational collaborations and should be equally credited to all the members, and so there have been lawsuits and countersuits any time anyone has released the recordings. John Cale, the youngest member of the group, was also the only one who wasn't American. He'd been born in Wales in 1942, and had had the kind of childhood that, in retrospect, seems guaranteed to lead to eccentricity. He was the product of a mixed-language marriage -- his father, William, was an English speaker while his mother, Margaret, spoke Welsh, but the couple had moved in on their marriage with Margaret's mother, who insisted that only Welsh could be spoken in her house. William didn't speak Welsh, and while he eventually picked up the basics from spending all his life surrounded by Welsh-speakers, he refused on principle to capitulate to his mother-in-law, and so remained silent in the house. John, meanwhile, grew up a monolingual Welsh speaker, and didn't start to learn English until he went to school when he was seven, and so couldn't speak to his father until then even though they lived together. Young John was extremely unwell for most of his childhood, both physically -- he had bronchial problems for which he had to take a cough mixture that was largely opium to help him sleep at night -- and mentally. He was hospitalised when he was sixteen with what was at first thought to be meningitis, but turned out to be a psychosomatic condition, the result of what he has described as a nervous breakdown. That breakdown is probably connected to the fact that during his teenage years he was sexually assaulted by two adults in positions of authority -- a vicar and a music teacher -- and felt unable to talk to anyone about this. He was, though, a child prodigy and was playing viola with the National Youth Orchestra of Wales from the age of thirteen, and listening to music by Schoenberg, Webern, and Stravinsky. He was so talented a multi-instrumentalist that at school he was the only person other than one of the music teachers and the headmaster who was allowed to use the piano -- which led to a prank on his very last day at school. The headmaster would, on the last day, hit a low G on the piano to cue the assembly to stand up, and Cale had placed a comb on the string, muting it and stopping the note from sounding -- in much the same way that his near-namesake John Cage was "preparing" pianos for his own compositions in the USA. Cale went on to Goldsmith's College to study music and composition, under Humphrey Searle, one of Britain's greatest proponents of serialism who had himself studied under Webern. Cale's main instrument was the viola, but he insisted on also playing pieces written for the violin, because they required more technical skill. For his final exam he chose to play Hindemith's notoriously difficult Viola Sonata: [Excerpt: Hindemith Viola Sonata] While at Goldsmith's, Cale became friendly with Cornelius Cardew, a composer and cellist who had studied with Stockhausen and at the time was a great admirer of and advocate for the works of Cage and Young (though by the mid-seventies Cardew rejected their work as counter-revolutionary bourgeois imperialism). Through Cardew, Cale started to correspond with Cage, and with George Maciunas and other members of Fluxus. In July 1963, just after he'd finished his studies at Goldsmith's, Cale presented a festival there consisting of an afternoon and an evening show. These shows included the first British performances of several works including Cardew's Autumn '60 for Orchestra -- a piece in which the musicians were given blank staves on which to write whatever part they wanted to play, but a separate set of instructions in *how* to play the parts they'd written. Another piece Cale presented in its British premiere at that show was Cage's "Concerto for Piano and Orchestra": [Excerpt: John Cage, "Concerto for Piano and Orchestra"] In the evening show, they performed Two Pieces For String Quartet by George Brecht (in which the musicians polish their instruments with dusters, making scraping sounds as they clean them),  and two new pieces by Cale, one of which involved a plant being put on the stage, and then the performer, Robin Page, screaming from the balcony at the plant that it would die, then running down, through the audience, and onto the stage, screaming abuse and threats at the plant. The final piece in the show was a performance by Cale (the first one in Britain) of La Monte Young's "X For Henry Flynt". For this piece, Cale put his hands together and then smashed both his arms onto the keyboard as hard as he could, over and over. After five minutes some of the audience stormed the stage and tried to drag the piano away from him. Cale followed the piano on his knees, continuing to bang the keys, and eventually the audience gave up in defeat and Cale the performer won. After this Cale moved to the USA, to further study composition, this time with Iannis Xenakis, the modernist composer who had also taught Mickey Baker orchestration after Baker left Mickey and Sylvia, and who composed such works as "Orient Occident": [Excerpt: Iannis Xenakis, "Orient Occident"] Cale had been recommended to Xenakis as a student by Aaron Copland, who thought the young man was probably a genius. But Cale's musical ambitions were rather too great for Tanglewood, Massachusetts -- he discovered that the institute had eighty-eight pianos, the same number as there are keys on a piano keyboard, and thought it would be great if for a piece he could take all eighty-eight pianos, put them all on different boats, sail the boats out onto a lake, and have eighty-eight different musicians each play one note on each piano, while the boats sank with the pianos on board. For some reason, Cale wasn't allowed to perform this composition, and instead had to make do with one where he pulled an axe out of a single piano and slammed it down on a table. Hardly the same, I'm sure you'll agree. From Tanglewood, Cale moved on to New York, where he soon became part of the artistic circles surrounding John Cage and La Monte Young. It was at this time that he joined Young's Theatre of Eternal Music, and also took part in a performance with Cage that would get Cale his first television exposure: [Excerpt: John Cale playing Erik Satie's "Vexations" on "I've Got a Secret"] That's Cale playing through "Vexations", a piece by Erik Satie that wasn't published until after Satie's death, and that remained in obscurity until Cage popularised -- if that's the word -- the piece. The piece, which Cage had found while studying Satie's notes, seems to be written as an exercise and has the inscription (in French) "In order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand, and in the deepest silence, by serious immobilities." Cage interpreted that, possibly correctly, as an instruction that the piece should be played eight hundred and forty times straight through, and so he put together a performance of the piece, the first one ever, by a group he called the Pocket Theatre Piano Relay Team, which included Cage himself, Cale, Joshua Rifkin, and several other notable musical figures, who took it in turns playing the piece. For that performance, which ended up lasting eighteen hours, there was an entry fee of five dollars, and there was a time-clock in the lobby. Audience members punched in and punched out, and got a refund of five cents for every twenty minutes they'd spent listening to the music. Supposedly, at the end, one audience member yelled "Encore!" A week later, Cale appeared on "I've Got a Secret", a popular game-show in which celebrities tried to guess people's secrets (and which is where that performance of Cage's "Water Walk" we heard earlier comes from): [Excerpt: John Cale on I've Got a Secret] For a while, Cale lived with a friend of La Monte Young's, Terry Jennings, before moving in to a flat with Tony Conrad, one of the other members of the Theatre of Eternal Music. Angus MacLise lived in another flat in the same building. As there was not much money to be made in avant-garde music, Cale also worked in a bookshop -- a job Cage had found him -- and had a sideline in dealing drugs. But rents were so cheap at this time that Cale and Conrad only had to work part-time, and could spend much of their time working on the music they were making with Young. Both were string players -- Conrad violin, Cale viola -- and they soon modified their instruments. Conrad merely attached pickups to his so it could be amplified, but Cale went much further. He filed down the viola's bridge so he could play three strings at once, and he replaced the normal viola strings with thicker, heavier, guitar and mandolin strings. This created a sound so loud that it sounded like a distorted electric guitar -- though in late 1963 and early 1964 there were very few people who even knew what a distorted guitar sounded like. Cale and Conrad were also starting to become interested in rock and roll music, to which neither of them had previously paid much attention, because John Cage's music had taught them to listen for music in sounds they previously dismissed. In particular, Cale became fascinated with the harmonies of the Everly Brothers, hearing in them the same just intonation that Young advocated for: [Excerpt: The Everly Brothers, "All I Have to Do is Dream"] And it was with this newfound interest in rock and roll that Cale and Conrad suddenly found themselves members of a manufactured pop band. The two men had been invited to a party on the Lower East Side, and there they'd been introduced to Terry Phillips of Pickwick Records. Phillips had seen their long hair and asked if they were musicians, so they'd answered "yes". He asked if they were in a band, and they said yes. He asked if that band had a drummer, and again they said yes. By this point they realised that he had assumed they were rock guitarists, rather than experimental avant-garde string players, but they decided to play along and see where this was going. Phillips told them that if they brought along their drummer to Pickwick's studios the next day, he had a job for them. The two of them went along with Walter de Maria, who did play the drums a little in between his conceptual art work, and there they were played a record: [Excerpt: The Primitives, "The Ostrich"] It was explained to them that Pickwick made knock-off records -- soundalikes of big hits, and their own records in the style of those hits, all played by a bunch of session musicians and put out under different band names. This one, by "the Primitives", they thought had a shot at being an actual hit, even though it was a dance-craze song about a dance where one partner lays on the floor and the other stamps on their head. But if it was going to be a hit, they needed an actual band to go out and perform it, backing the singer. How would Cale, Conrad, and de Maria like to be three quarters of the Primitives? It sounded fun, but of course they weren't actually guitarists. But as it turned out, that wasn't going to be a problem. They were told that the guitars on the track had all been tuned to one note -- not even to an open chord, like we talked about Steve Cropper doing last episode, but all the strings to one note. Cale and Conrad were astonished -- that was exactly the kind of thing they'd been doing in their drone experiments with La Monte Young. Who was this person who was independently inventing the most advanced ideas in experimental music but applying them to pop songs? And that was how they met Lou Reed: [Excerpt: The Primitives, "The Ostrich"] Where Cale and Conrad were avant-gardeists who had only just started paying attention to rock and roll music, rock and roll was in Lou Reed's blood, but there were a few striking similarities between him and Cale, even though at a glance their backgrounds could not have seemed more different. Reed had been brought up in a comfortably middle-class home in Long Island, but despised the suburban conformity that surrounded him from a very early age, and by his teens was starting to rebel against it very strongly. According to one classmate “Lou was always more advanced than the rest of us. The drinking age was eighteen back then, so we all started drinking at around sixteen. We were drinking quarts of beer, but Lou was smoking joints. He didn't do that in front of many people, but I knew he was doing it. While we were looking at girls in Playboy, Lou was reading Story of O. He was reading the Marquis de Sade, stuff that I wouldn't even have thought about or known how to find.” But one way in which Reed was a typical teenager of the period was his love for rock and roll, especially doo-wop. He'd got himself a guitar, but only had one lesson -- according to the story he would tell on numerous occasions, he turned up with a copy of "Blue Suede Shoes" and told the teacher he only wanted to know how to play the chords for that, and he'd work out the rest himself. Reed and two schoolfriends, Alan Walters and Phil Harris, put together a doo-wop trio they called The Shades, because they wore sunglasses, and a neighbour introduced them to Bob Shad, who had been an A&R man for Mercury Records and was starting his own new label. He renamed them the Jades and took them into the studio with some of the best New York session players, and at fourteen years old Lou Reed was writing songs and singing them backed by Mickey Baker and King Curtis: [Excerpt: The Jades, "Leave Her For Me"] Sadly the Jades' single was a flop -- the closest it came to success was being played on Murray the K's radio show, but on a day when Murray the K was off ill and someone else was filling in for him, much to Reed's disappointment. Phil Harris, the lead singer of the group, got to record some solo sessions after that, but the Jades split up and it would be several years before Reed made any more records. Partly this was because of Reed's mental health, and here's where things get disputed and rather messy. What we know is that in his late teens, just after he'd gone off to New

In his new book, THE FIFTIES: An Underground History, JAMES GAINES asks who laid the groundwork for the '60s - and then celebrates a few solitary, brave, stubborn individuals who pioneered the radical gay rights, feminist, civil rights, and environmental movements. Their courage and genius changed what it was possible to imagine. As early as the mid-1940s, Harry Hay said “Gay is good.” Pauli Murray laid legal paths for Thurgood Marshall and Ruth Bader Ginsburg. Black vets of WWII and Korea said enough is enough. Silent Spring's Rachel Carson and MIT's Norbert Wiener warned of potential man-made environmental destruction.

In his new book, THE FIFTIES: An Underground History, JAMES GAINES asks: Who laid the groundwork for the '60s - and then celebrates a few solitary, brave, stubborn individuals who pioneered the radical gay rights, feminist, civil rights, and environmental movements. Their courage and genius changed what it was possible to imagine. As early as the mid-1940s, Harry Hay said “Gay is good.” Pauli Murray laid legal paths for Thurgood Marshall and Ruth Bader Ginsburg. Black vets of WWII and Korea said enough is enough. Silent Spring's Rachel Carson and MIT's Norbert Wiener warned of potential manmade environmental destruction. You'll be inspired and you'll learn a lot. I did.

We continue our journey into the intersections of gay liberation and the neopagan movements with a discussion o fEddie Buczynski  a young witch, brought under the wing of famed gay witch Leo Martello, who founded the Minoan Brotherhood--combining what he believed to be ancient goddess worship with a new mystery cult for gay men. We then discuss the pagan turn of Arthur Evans, formerly the strategist for the Gay Activist Alliance, with the 1978 publication of Witchcraft and the Gay Counterculture. Finally, we dive into the Radical Faeries, organized by gay rights pioneer Harry Hay, who sought to create a new, gay spirituality. We also our joined by Lisa Grimm of the Beer Ladies Podcast to talk about Margaret Murray and the witch cult hypothesis.SourcesMargot Adler, Drawing Down the MoonMichael Lloyd, Bull of Heaven: The Mythic Life of Eddie Buczynski & the Rise of the New York PaganArthur Evans, Witchcraft and the Gay CounterculturePeter Hennen, Faeries, Bears, and Leathermen: Men in Community Queering the MasculineStuart Timmons, The Trouble With Harry Hay: Founder of the Modern Gay MovementSupport the show

E şcinsellik ideolojisinin büyük ve asıl hedefinin çocuklar olduğunu, artık bir ekosistem inşa ettiklerini yüksek sesle konuşmanın zamanı geçiyor. Din, örf, adet ve kültürel değerlere dair aşılmaz tüm bariyerleri aşıp, eşcinsel bir dünyanın kapılarını aralamaya başladılar. Gözlerimizi açalım artık. Okullar, çizgi filmler, oyunlar, dijital platformlar, sosyal medya aracılığı ile dünyanın her bir noktasında çocuklar ile ebeveynleri arasında büyük bir uçurum inşa ediliyor. Yeni Şafak'ın ikinci LGBT dosyasında eşcinsellik propagandasının en büyük hedefinin çocuklar olduğunu anlatmaya çalıştık. Arkadaşımız Şefika Debreli yine aylarca çalıştı ve alanında uzman isimlerle konuşarak görüşlerine dosyada yer verdi. Birazdan detaylarını aktaracağım. Korka korka okuyacağınız bilgiler vereceğim. Dosyaya hazırlanırken şunu bir kez daha anladık. Eşcinselliğin günümüzde çocuklara indirgenmesi ve dayatılması yeni bir durum değil. Yard. Doç. Mücahit Gültekin, “Algı Yönetimi ve Manipülasyon” kitabında, eşcinsellik aktivizminin tarihsel sürecini aktarırken, ilk LGBT organizasyonu olan Mattachine Society'nin kurucusu Harry Hay'in aynı zamanda bir pedofili olduğuna dikkat çekiyor. Harry Hay, LGBT'yi savunan açık manifestosunu da Alfred Kinsey'in araştırmasını yayınladığı 1948'de ilan ediyor. Bugün LGBT lobisinin bilimsel safsatalarını

Adam and Dr. Drew open the show talking about Adam's grandmother's (then Hellen Johnson) friend Harry Hay, a celebrated leader in the early gay movement. They also roll the tape on her appearance in Adam's construction TV show 'The Adam Carolla Project' and examine some of the quotes from that appearance. Adam also recounts a time that he got sucked into a conversation about The Feast Of San Gennaro only to have his grandmother drop a massive Bon Jovi Uno reverse card on him and totally sucking the wind out of Adam's sails. Please Support Our Sponsors: Babbel.com/ADS TenThousand.cc/ADS Cigora.com use code SHOW10 BlindsGalore.com let them know we sent you

Adam remembers his ‘Take a Knee' interview with Terry Crews before learning more information about the role his grandmother played in the life of gay rights activist, Harry Hay. The gang takes a look at some ‘Liked Tweets' including a Dutch tunnel being constructed in days, Newsom decriminalizing jaywalking and Joy Reid's comments about Ron DeSantis and looting. Jake Paul calls in the show to talk about his upcoming boxing match against Anderson Silva and explains how to take a punch. PLUGS: Watch Jake Paul's match against Anderson Silva on SHOWTIME PPV October 29th or get your tickets to see it live Anf follow Jake on Twitter and Instagram, @JakePaul Read William Shatner's new book ‘BOLDLY GO: Reflections on a Life of Awe and Wonder' available wherever you find books THANKS FOR SUPPORTING TODAY'S SPONSORS: Geico.com Con-Cret.com/PODCAST SimpliSafe.com/ADAM JoinCrowdHealth.com enter Adam The Jordan Harbinger Show

Adam takes a deeper dive into the life of gay rights activist, Harry Hay, and finally figures out how his grandmother came into the picture. The gang takes a look at Joe Biden's gaffe where he looked for a deceased congresswoman at a press event. Finally, in honor of the heat in Southern California becoming slightly more bearable, the gang plays a round of ‘The Rotten Tomatoes Game' with a desert theme. PLUGS: Read Bill O'Reilly's new book ‘KILLING THE LEGENDS: The Lethal Danger of Celebrity' wherever you find books THANKS FOR SUPPORTING TODAY'S SPONSORS: Business.LandsEnd.com/ADAM and enter ADAM Geico.com Keeps.com/ADAM The Jordan Harbinger Show

From Nancy Schaeffer, a two-time Georgia state senator, to Father Alfred Kunz, both likely murdered, to the demise of Anita Bryant and the destruction of the Boy Scouts of America, Russ Winter details in granular fashion how they were taken out for exposing child trafficking and pederasty, thus revealing a vast network of abuse and child exploitation.

Comedian Ali Kolbert gives the gang come insight into the lesbian experience from being in a sorority to convincing men you're not into them. They talk about the deiniteion of ‘queer' and look into the status of Miley Cyrus, Harry Hay, and Andy Bell from Erasure. Ali talks about getting engaged and having her eggs frozen before questioning Adam's fertility. Gina Grad reports the news of today including: Walt Disney World closing due to Hurricane Ian, Dave Chappelle performing 'Creep' with the Foo Fighters', a chess cheating scandal, and Alec Baldwin welcoming a 7th child. PLUGS: Listen to Matt Bilinsky's ‘The Prevailing Narrative' wherever you find podcasts And follow him on Twitter: @MattBilinsky See Ali Kolbert live at the Improv in Los Angeles on October 20th And for more dates go to AliKolbert.com Listen to ‘The Ali Kolbert Show' wherever you find podcasts And follow her on Twitter and Instagram: @AliKolbert THANKS FOR SUPPORTING TODAY'S SPONSORS: Con-Cret.com/PODCAST SimpliSafe.com/ADAM Keeps.com/ADAM Geico.com

On this show, I dig a little bit deeper into the The Mattechine Society in it's modern incarnation, fronted by the radical, gay, communist, activist, Harry Hay and how he/they were on the vanguard of the radical gay rights movement, including the conflation with both gay and civil rights as part of Hay's legacy, which also includes support for NAMBLA. When looking into Mattechine, past and present, we also get to clearly see how programming takes place both with the individual and society; Sanitizing the past and synthesizing the present.

Rudi Gernreich created the uniforms for the crew of Space 1999, and accentuated the unisex, brown, proletariat look.  Rudi was also lovers with Harry Hay, won of the founders of NABMBLA and that's just the start.

On this episode, Janey is taking us to Finland to aggressively make fun of men who think they're entitled to wife-servants, and Max is going to ask us to "take off our heteronormative frog skins and dance to a lesbian/gay spirit." Hope you brought your dancing shoes!Starting a podcast of your own? Try Buzzsprout and get a $20 Amazon gift card!Janey's sources:“The Maid of the North: Feminist Folk Tales from Around the World” by Ethel Johnston PhelpsMax's sources:"The Frog Princess," Georgian tale by Marjory Wardrop, from "Georgian Folk Tales," free text available"The Frog Princess," Russian tale, free text available Obituary for Harry Hay, official founder of the Radical Faerie movement "Radical Faeries Have Been Pushing Queer Boundaries for More Than 40 Years," article by Matt Baume for Hornet, Twitter thread that inspired this story choice: 

In the last 20 years the LGBTQ movement has made enormous social and political strides, but what we sometimes forget is that enormous strides begin with baby steps. More than seven decades ago, a man who took many of those first baby steps and established the modern gay rights movement was a man named Harry Hay.  Hay knew something about organizing unpopular political movements because as early as the 1930s Hay was a communist -- and this was at a time when the Communist party was very homophobic. Hay married a woman and was married for several years before finally acknowledging that he was gay. 

The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show and independent media, you can make a donation at Radiotopia.fm/donate. This episode was originally released in 2016 in the days after the shooting at the Pulse nightclub in Orlando. It is re-released every year on the anniversary of the incident. A note on notes: We'd much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don't suggest looking into the show notes first. Notes and Reading: * Most of the specific history of the White Horse was learned from "Sanctuary: the Inside Story of the Nation's Second Oldest Gay Bar" by David Olson, reprinted in its entirety on the White Horse's website. * "Gayola: Police Professionalization and the Politics of San Francisco's Gay Bars, 1950-1968," by Christopher Agee. * June Thomas' series on the past, present, and future of the gay bar from Slate a few years back. * Various articles written on the occasion of the White Horse's 80th anniversary, including this one from SFGATE.Com * Michael Bronski's A Queer History of the United States. * Radically Gay, a collection of Harry Hay's writing. * Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30's multiple times because it's amazing. Music * We start with Water in Your Hands by Tommy Guerrero. * Hit Anne Muller's Walzer fur Robert a couple of times. * Gaussian Curve does Talk to the Church. * We get a loop of Updraught from Zoe Keating. * We finish on Transient Life in Twilight by James Blackshaw

As the festival season hits full gear in the US, OutCasting Overtime queer youth broadcaster Shoshana is heading for New York City with a couple of parades and some helpful lessons already under her belt (produced by Marc Sophos). Mattachine Society and Radical Faerie founder Harry Hay and International Gay and Lesbian Archives founder Jim Kepner explore the beginnings queer theory looking through what they call “the gay window” in a classic 1975 conversation. And in NewsWrap: Jerusalem Pride organizers and supportive government officials parade despite credible death threats, Florida Senator Marco Rubio burns an army base library's Pride Month plan for Drag Queen Story Time, South Africa's Robben Island puts Pride where the infamous political prison was, Australia's new Labor-majority government boasts a record number of female Cabinet members and eight out MPs, and more international LGBTQ news reported this week by Lucia Chappelle and David Hunt (produced by Brian DeShazor). All this on the June 6, 2022 edition of This Way Out! Join our family of listener-donors today at http://thiswayout.org/donate/

Selebritas Dukung Eljibiti, Fakta Bobroknya Sekularisasi Oleh. Hesti Andyra (Pemerhati Sosial, Malang) Voice over talent: Dewi Nasjag NarasiPost.Com-Induk negara sekuler, Amerika Serikat, adalah negara pertama yang memberi ruang bahkan payung hukum bagi kaum gay dan homoseksual. Dimulai dari organisasi Society for Human Rights yang diinisiasi oleh Harry Hay pada tahun 1924 di Chicago. Kelompok ini menuntut penerimaan sosial dan dukungan untuk komunitas eljibiti. Sejak saat itu, kampanye masif tentang hak kaum eljibiti semakin digencarkan. Berbagai dukungan dari organisasi dan selebritas berpengaruh turut andil dalam penyebarluasan gerakan ini. Sampai saat ini, tercatat sekitar 31 negara yang melegalkan perkawinan sesama jenis. Kampanye pun tak lagi disampaikan secara sembunyi-sembunyi. Di berbagai platform media sosial, komunitas ini terang-terangan menunjukkan keberadaannya. Dilansir dari situs wikipedia, film tentang gay pertama kali diproduksi Hollywood di tahun 1895 berjudul Dickson Experimental Sound Film. Seabad kemudian, Disney, salah satu perusahaan film terkenal mulai menyisipkan karakter-karakter gay di film anak-anak buatannya. Sampai tahun 2021 tercatat 13 karakter tokoh gay muncul di berbagai film kartun produksi Disney. Sebuah upaya untuk mencuci otak generasi muda sejak dini. Naskah selengkapnya: https://narasipost.com/2022/05/18/selebritas-dukung-eljibiti-fakta-bobroknya-sekularisasi/ Terimakasih buat kalian yang sudah mendengarkan podcast ini, Follow us on: instagram: http://instagram.com/narasipost Facebook: https://www.facebook.com/narasi.post.9 Fanpage: Https://www.facebook.com/pg/narasipostmedia/posts/ Twitter: Http://twitter.com/narasipost

Oh boy, it's poem night at Q4Q. Join the party for some of the most mournful, raunchy, and yearning iambic pentameter pieces this show has ever seen. Haley and their special guest, Ash, set out to ask some important questions–When did “snowflake” become a thing? Did Emily Dickinson date women? Will men EVER stop quoting Neitzche? Listen to us on Spotify, Stitcher, Apple Podcast, or wherever you listen to your tunes!Interested in being on the show? Contact us at Q4QPodcast@gmail.com or find us on Twitter @Queerpersonals and Instagram @Queerpersonalspodcast.Music strummed by Omar Nassar. Cover art by Bekah Rich. SourcesFifth Freedom, 1 December 1983 (Buffalo, NY)Leather Archives and Museum Instagram post, April 9, 2022--posted from First Hand's Manscape Magazine, a Gay Adult Digest MagazineFocus Point (Minneapolis, Minnesota), 17 November 1994.Philadelphia Gay News, 17 October 1980. JStor, Reveal DigitalOutweek, 22 August 1990Outweek 8 September 1990Laura Knowles, “Drenched in words: LGBTQ poets from US history,” Oxford University Press Blog, published June 26, 2018. Accessed May 7, 2022 Tim Hawken, “WTF is Will to Power,” Medium, February 16, 2015. Accessed May 7, 2022. Wild nights - Wild nights! (269) , Emily Dickinson, Poetry Foundation.orgKaufmann, Walter A. (1974). Nietzsche: Philosopher, Psychologist, Antichrist (4th ed.). Princeton University Press. pp. 317–319Will to power - Wikipedia Bronski, Michael (November 7, 2002). "The real Harry Hay". The Phoenix. Archived from the original on May 30, 2009.Jonathan Katz, Gay American History. Crowell Publishers, 1976Support the show

As this weekend marks the 20th anniversary of “Hedwig & The Angry Inch” hitting cinemas, here's my 2019 chat with John Cameron Mitchell. The Craig & Friends Hedwig Movie Club (featuring Mike Potter, Stephen Trask, Frank DeMarco & Tranna Wintour) is coming soon

Political activism of queer people in the United States started long before the Stonewall riots in 1969. One surprising place that queer people found a home for their activism was in the Communist Party. The Communist Party of the United States was established in 1919, and from the 1920s to the 1940s the Party was influential in American politics, at the forefront of labor organizing and opposition to racism. It was the first political party in the US to be racially integrated. Some queer folks embraced the radical politics of the Party and found it to be a place where they could agitate for radical sexual politics as well.  One of the first national gay rights organizations in the United States, The Mattachine Society, was founded in 1950 by prominent Communist Harry Hay and a group of friends in Los Angeles. However, in the early 1950s as Joseph McCarthy and others publicly linked homosexuality and Communism as threats to the 'American way of life,' homosexuals began to distance themselves from the Left to gain acceptance, and the previous links between homosexuals and the Communist Party were lost or suppressed. In 1953 Harry Hay was ousted from the Mattachine Society in part because of his Communist affiliation, which by then was considered a liability. In this episode, Kelly  tells the history of homosexuality and the Communist Party in America in the early 20th Century and interviews Associate Professor of American Studies at the University of Massachusetts Boston Aaron Lecklider, author of Love's Next Meeting: The Forgotten History of Homosexuality and the Left in American Culture. Our theme song is Frogs Legs Rag, composed by James Scott and performed by Kevin MacLeod, licensed under Creative Commons.  Episode image: Members of Marine Cooks and Stewards Union. Courtesy Black Heritage Society of Washington State. Public domain.Transcript available at: https://www.unsunghistorypodcast.com/transcripts/transcript-episode-5Sources: Love's Next Meeting: The Forgotten History of Homosexuality and the Left in American Culture, by Aaron Lecklider, 2021 "Despite Everything, Queer Leftists Survived," by Scott W. Stern, Jacobin Magazine, June 2021. "Milestones in the American Gay Rights Movement," PBS "Communist Party USA History and Geography," Mapping American Social Movements Project, University of Washington "Homophiles': The LGBTQ rights movement began long before Stonewall," by Ben Kesslen, NBC News, June 10, 2019 Support the show (https://www.buymeacoffee.com/UnsungHistory) Learn more about your ad choices. Visit megaphone.fm/adchoices

For this LGBTQ+ Pride Sunday: "A Prayer of Queer Thanksgiving." A chance encounter on Pride parade day calls forth a rainbow revelation, a great cloud of witnesses--and martyrs, and a vision of chosen family in the kin-dom of God. Rev. John MacIver Gage shares a poem-slash-prayer originally offered by Rev. Micah Bucey.Here are all the names mentioned in the poem. Give yourself a little Pride Week homework and look up all the ones you don't know: Marsha P. Johnson; Sylvia Rivera; Christine Jorgensen; Marlene Dietrich; Sylvester; David Bowie; Billy Tipton; Langston Hughes; Lorraine Hansberry; James Baldwin; Oscar Wilde; Octavia Butler; Larry Kramer; José Esteban Munoz; Eve Kosofsky Sedgwick; Michel Foucault; Divine; Candy Darling; Andy Warhol; Hibiscus; Alvin Ailey; Alan Turing; Bayard Rustin; Harvey Milk; Audre Lorde; Michael Callen; Harry Hay; Gilbert Baker; Edie Windsor; Jane Addams; Dick Leitsch; Troy Perry; Pauli Murray; Leonard Bernstein; Howard Ashman; Sister Rosetta Tharpe; Michael Bennet; Willi Ninja; Frida Kahlo; Keith Haring; Jean-Michel Basquiat; Rita Hester; Matthew Shepard; Brandon Teena; Roxana Hernandez; Upstairs Lounge (1973: New Orleans); Pulse Nightclub (2016: Orlando)The Congregational Church of Needham strives to be a radically Inclusive, justice-seeking, peace- making, love-affirming congregation of the United Church of Christ in Needham, MA. Find us on the web at www.NeedhamUCC.org and follow us on Instagram @NeedhamUCC.

The Memory Palace is a proud member of Radiotopia from PRX. Radiotopia is a collective of independently owned and operated podcasts that's a part of PRX, a not-for-profit public media company. If you'd like to directly support this show and independent media, you can make a donation at Radiotopia.fm/donate. This episode was originally released in 2016 in the days after the shooting at the Pulse nightclub in Orlando. It is re-released every year on the anniversary of the incident. A note on notes: We'd much rather you just went into each episode of The Memory Palace cold. And just let the story take you where it well. So, we don't suggest looking into the show notes first. Notes and Reading: * Most of the specific history of the White Horse was learned from "Sanctuary: the Inside Story of the Nation's Second Oldest Gay Bar" by David Olson, reprinted in its entirety on the White Horse's website. * "Gayola: Police Professionalization and the Politics of San Francisco's Gay Bars, 1950-1968," by Christopher Agee. * June Thomas' series on the past, present, and future of the gay bar from Slate a few years back. * Various articles written on the occasion of the White Horse's 80th anniversary, including this one from SFGATE.Com * Michael Bronski's A Queer History of the United States. * Radically Gay, a collection of Harry Hay's writing. * Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30's multiple times because it's amazing. Music * We start with Water in Your Hands by Tommy Guerrero. * Hit Anne Muller's Walzer fur Robert a couple of times. * Gaussian Curve does Talk to the Church. * We get a loop of Updraught from Zoe Keating. * We finish on Transient Life in Twilight by James Blackshaw

Harry Hay was the start of one of the first secret society's for gay men, the Mattachine Society who protested and empowered gay men. Glady Bentley taught us that big girls do it better, especially when they're also in a suit. Sorry for the background static noise. We didn't notice it while recording. 

Artist, musician, & performer John Jarboe (she/her), the founder & artistic director of the Bearded Ladies Cabaret, joins Wesley (he/him) to talk about: + John's process of changing her pronouns + Problematic gender icons like James Bond + Cannibalism as Gender (wtf?!) & Wesley shares more of his gender journey, too You can find out more about The Bearded Ladies Cabaret at www.beardedladiescabaret.com You can follow John on instagram @johnjarbeard or @beardedladiescabaret To watch the music video for "Rose: a true story & song" commissioned by Works & Process at the Guggenheim: https://www.youtube.com/watch?v=Bme6-PUkDaY For more on Harry Hay, co-founder of the Mattachine Society and the Radical Faeries: https://en.wikipedia.org/wiki/Harry_Hay Sign up for Wesley's monthly mailing list & learn more about his work at wesleyflash.com For more podcast content, follow @howsyourgender on instagram & you can find Wesley @flashreads Special thanks to our producer, Oliver Slate-Greene (he/him), Emily Bate (she/her) for the perfect theme song and Charley Parden (he/they) for writing the iconic lyrics. If you or anyone you know is struggling with your gender, we encourage you to contact Trans Lifeline US (877) 565-8860 Canada (877) 330-6366

On this week's bonus episode Chat Room, I tell a story of my introduction to and experience with the radical faeries, a queer liberation group that was founded by gay activists including Harry Hay in the 1970s. Episodes 6-9 guests and myself share association with the radical faeries, so take a listen before diving in to these conversations. Leaving a review for I Miss You on Apple Podcasts helps others find our little show! ❤️ Find me on Instagram @imissyoupodcast Support this podcast

Does the LGBT community hide or support pedophilia? Why yes! Tune in for the explanation --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/p-will/support

Episode 101: From 1950 to 1954, as a part of his rabid anti-Communist crusade, a notorious liar and habitually drunk Senator from Wisconsin, Joseph McCarthy, led a crusade against homosexuals in the American government that would influence anti-gay policy all the way up until the 1990s. What was the Lavender Scare, why did it happen, and what does it say about the nature of propaganda?Hidden History Patreon: LinkSources and Further ReadingU.S. Sen. Joseph R. McCarthy Speaks in Wheeling: LinkThe Reagan administration's unbelievable response to the HIV/AIDS epidemic: LinkThe Lavender Scare: The Cold War Persecution of Gays and Lesbians in the Federal Government: LinkAmerica’s Cold War Empire: Exporting the Lavender Scare: LinkCommunist and Homosexual: The FBI, Harry Hay, and the Secret Side of the Lavender Scare, 1943–1961: LinkJoe McCarthy and the Press: LinkFifties Feds, Fags, and Femmes: LinkPERVERTS CALLED GOVERNMENT PERIL; Gabrielson, G.O.P. Chief, Says They Are as Dangerous as Reds--Truman's Trip Hit Gabrielson Warns Industry: Link

From 1993: Deb Price’s syndicated column changed attitudes back when printed newspapers actually did shape public opinion; two LGBTQ movement legends, Harry Hay and Jim Kepner, got together in 1975 to discuss the beginnings of what came to be called “queer theory” — listen through this “gay window”; capped by her live reading of a classic poem by Pat Parker! (“NewsWrap” returns on our week of 11 January 2021 show. Happy New Year!)

Mid-season finale: an ethical homosexual culture overwhelms the Movement. • Bonus episodes! I’ll still be releasing new episodes of Forgotten Fairy Tales regularly during the break! It’s an exclusive Patreon podcast series of standalone queer history episodes, and it only costs a little gayola. $3! This week’s episode explores the Mattachine Society’s relationship to gay pen pal clubs. Hear it at patreon.com/queerserial Also on my Patreon: cute buttons! Mugs! Archival research photos! Helen Branson’s book GAY BAR published in the Mattachine offices! Join me on Patreon at patreon.com/queerserial.If you’re enjoying the show, please rate and review it on Apple Podcasts to help new listeners find the show! Thank you for your support. :)Wanna put faces to the names? Follow the show in photos on Instagram and Twitter @queerserial.Teachers, message me for transcripts of the episodes! queerserial@gmail.comResources, donations, and the full voice cast for the podcast can be found at queerserial.com.This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters.Music is by Blue Dot Sessions, and Kevin MacLeod at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET.Back soon! xoxo

Whom Should We Tell? And who won’t find out once the biggest scandal in homophile history breaks? • Bonus episodes! Hear an exclusive series of standalone queer history episodes called Forgotten Fairy Tales on my Patreon. Also, cute buttons! Mugs! Archival research photos! Join me on Patreon at patreon.com/queerserial. Next week’s bonus episode takes place in the Mattachine Society offices at San Francisco headquarters. If you’re enjoying the show, please rate and review it on Apple Podcasts to help new listeners find the show! Thank you for your support. :) Wanna put faces to the names? Follow the show in photos on Instagram and Twitter @queerserial. Teachers, message me for transcripts of the episodes! queerserial@gmail.com Resources, donations, and the full voice cast for the podcast can be found at queerserial.com. This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters. Music is by Blue Dot Sessions, and Kevin MacLeod at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening, sweet darling! Next week: Episode 9, “The Twilight Woman”

Historian Eric Marcus interviews Wendell Sayers, an attorney, the first Black assistant attorney general for the state of Colorado, and one of few Black members of the Mattachine Society. He attended the 6th annual Mattachine convention in 1959, a dramatic event which will be featured in this week’s episode!This audio is used courtesy of Making Gay History. Find the Making Gay History podcast on all major podcast platforms and at www.makinggayhistory.com.Music is by Kevin MacLeod at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET.

How long have transgender, intersex, and gender-nonconforming humans existed? This week we’ll explore some of our known genderqueer history, from ancient Sumer to 1959. • Bonus episodes! Listen to my exclusive series of standalone queer history episodes called Forgotten Fairy Tales on my Patreon. Also, cute buttons! Mugs! Archival research photos! Join me on Patreon at patreon.com/queerserial. Among many scripted history episodes, you can also hear my recent interview with founding Radical Faerie, and voice of Mattachino Elver Barker on this podcast, Joey Cain! If you’re enjoying the show, please rate and review it on Apple Podcasts to help new listeners find the show! Thank you for your support. :) Wanna put faces to the names? Follow the show in photos on Instagram and Twitter @queerserial. Teachers, hit me up for transcripts of the episodes! queerserial@gmail.com Resources, donations, and the full voice cast for the podcast can be found at queerserial.com. This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters. Music is by Kevin MacLeod at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Next week: Episode 8, “Peddled Like Pornography”

Flyers, magazines, television — how should we tell the public that we’re organizing? • Bonus episodes! Listen to my exclusive series of standalone queer history episodes called Forgotten Fairy Tales on my Patreon. Also, cute buttons! Mugs! Archival research photos! Join me on Patreon at patreon.com/queerserial. For this week’s bonus episode I’m interviewing founding Radical Faerie, and voice of Mattachino Elver Barker on this podcast, Joey Cain!If you’re enjoying the show, please rate and review it on Apple Podcasts to help new listeners find the show! Thank you for your support. :) Wanna put faces to the names? Follow the show in photos on Instagram and Twitter @queerserial. Teachers, hit me up for transcripts of the episodes! queerserial@gmail.com Resources, donations, and the full voice cast for the podcast can be found at queerserial.com. This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters. Music is by Kevin MacLeod at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Next week: Episode 7, “A Useful Citizen”

Andrew talks about LA's extensive role in the history of the LGBT rights movement. Seth still manages to make fun of Andrew a lot. Andrew wrote this preview.Email us at yonopod@gmail.comFollow us @yonopod on Twitter and @yourenotgonnalikethispod on InstagramSourceshttps://lalgbtcenter.org/images/OutForSafeSchools/Los-Angeles-LGBT-Center-October-Coming-Out-Handouts.pdf - Covers Mattachine Society, ONE Inc, and the Daughters of Bilitis in detail https://www.nytimes.com/2002/10/25/us/harry-hay-early-proponent-of-gay-rights-dies-at-90.html - NYT Obituary of Harry Hay https://www.pbs.org/wgbh/americanexperience/features/stonewall-milestones-american-gay-rights-movement/https://www.lamag.com/citythinkblog/before-stonewall-gay-pride-history/ - Article with extensive detail of the Black Cat Tavern raid and resulting protest https://thepridela.com/2016/09/los-angeles-cooper-donuts-gay-riots-sparked-revolution-10-years-stonewall/ https://la.curbed.com/2017/2/8/14554806/black-cat-silver-lake-lgbt-gay-rights-protesthttps://la.curbed.com/maps/mapping-los-angeless-groundbreaking-role-in-lgbt-history - Map of some of the LA's locations mentioned in the episode

Who are our allies on the outside? Who are our enemies on the inside? •Bonus episodes! Listen to my exclusive series of standalone queer history episodes called Forgotten Fairy Tales on my Patreon. Also, cute buttons! Mugs! Archival research photos! Join me on Patreon at patreon.com/queerserial. This week’s bonus episode features real archival audio from KPFA’s 1958 “The Homosexual In Our Society,” a 1958 radio program featuring Mattachine Society Publications Director Hal Call, Dr. Blanche Baker, attorney Morris Lowenthal (featured in previous episodes), and Dr. Karl Bowman. Next week’s episode is an interview with a founding Radical Faerie!If you’re loving the show, please rate and review it on Apple Podcasts to help new listeners find the show! Thank you for your support. :)Wanna put faces to the names? Follow the show in photos on Instagram and Twitter @queerserial.Teachers, hit me up for transcripts of the episodes! queerserial@gmail.comResources, donations, and the full voice cast for the podcast can be found at queerserial.com.This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters.Check out “The Cockettes,” “We Were Here,” and other films by David Weissman at davidweissmanfilms.com. I also recommend the many queer projects by Matt Baume, including “The Sewers of Paris” and “Culture Cruise” (especially his queer Frasier analysis episodes!) at mattbaume.com.Music is by Kevin MacLeod at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET.Thanks for listening! Next week: Episode 6 “Faces Behind the Names”

How could you possibly tell they were queer? • Bonus episodes! An exclusive series of standalone queer history episodes called Forgotten Fairy Tales is available on my Patreon. Also, cute buttons! Mugs! Archival research photos! Join me on Patreon at patreon.com/queerserial. This week’s bonus episode is features real archival audio from KPFA’s 1958 “The Homosexual In Our Society,” a 1958 radio program featuring Mattachine Society Publications Director Hal Call, Dr. Blanche Baker, attorney Morris Lowenthal (featured in previous episodes), and Dr. Karl Bowman.If you’re loving the show, please rate and review it on Apple Podcasts to help new listeners find the show! Thank you for your support. :)Wanna put faces to the names? Follow the show in photos on Instagram and Twitter @queerserial. And follow me, the creator of the podcast on Instagram and Twitter @devlyncamp!Teachers, hit me up for transcripts of the episodes! queerserial@gmail.comJoin the newsletter for periodic updates!Resources, donations, and the full voice cast for the podcast can be found at queerserial.com.This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters.Music is by Kevin MacLeod at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET.Thanks for listening! Next week: Episode 5 “In the Library Lounge”

When police crack down, how do we respond?Bonus episodes! A whole exclusive series of standalone gay history episodes called Forgotten Fairy Tales is available on my Patreon. Also, cute buttons! Mugs! Archival research photos! Join me on Patreon at patreon.com/queerserial. This week’s bonus episode is about Bilitis and ONE journalist Stella Rush.Love the show? Please rate and review it on Apple Podcasts to help new listeners find the show! Thanks for your support. :)Wanna put faces to the names? Follow the show in photos on Instagram and Twitter @queerserial.Teachers, hit me up for transcripts of the episodes! queerserial@gmail.comResources, donations, and the full voice cast for the podcast can be found at queerserial.com.This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters.Music by Kevin MacLeod is at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET.Thanks for listening! Next week: Episode 4 “The Fairy Project”

The Memory Palace is a proud member of Radiotopia, from PRX, a curated network of extraordinary, story-driven shows. Learn more at radiotopia.fm Notes and Reading: * Most of the specific history of the White Horse was learned from “Sanctuary: the Inside Story of the Nation’s Second Oldest Gay Bar” by David Olson, reprinted in its entirety on the White Horse’s website. * “Gayola: Police Professionalization and the Politics of San Francisco’s Gay Bars, 1950-1968,” by Christopher Agee. * June Thomas’ series on the past, present, and future of the gay bar from Slate a few years back. * Various articles written on the occasion of the White Horse’s 80th anniversary, including this one from SFGATE.Com * Michael Bronski’s A Queer History of the United States. * Radically Gay, a collection of Harry Hay’s writing. * Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30’s multiple times because it’s amazing. Music * We start with Water in Your Hands by Tommy Guerrero. * Hit Anne Muller’s Walzer fur Robert a couple of times. * Gaussian Curve does Talk to the Church. * We get a loop of Updraught from Zoe Keating. * We finish on Transient Life in Twilight by James Blackshaw

Queer bars shutter across the Bay as homophile organizations rise. How did we get here? Put a pin in that and follow me back to San Francisco 1821.Bonus episodes! Cute buttons! Cute mugs! Cute archival research photos! Gorgeous PDFs! No really, there are gorgeous PDFs. Join me on Patreon at patreon.com/queerserial. Next week’s bonus episode follows a Bilitis leader who self-identified as a “bisexual ki-ki sonofab*tch butch/femme, oh boy!”Enjoying the show? Please rate and review it on Apple Podcasts to help new listeners find the show! Thanks for your support. :)So many stories packed into this episode! Visuals might help! Follow the show in photos on Instagram and Twitter @queerserial. And join the Queer Serial newsletter here!Teachers, hit me up for transcripts of the episodes! queerserial@gmail.comResources, donations, and the full voice cast for the podcast can be found at queerserial.com.This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters.You can hear Beverly Shaw’s entire fabulous album at queermusicheritage.com/jun2004bs.htmlAlso, check out the @lgbt_history Instagram. The guys behind it, Matthew Reimer and Leighton Brown, voice the San Francisco Chronicle reporter and the judge in this episode.Music by Kevin MacLeod is at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET.Thanks for listening! Next week: Episode 3 “Resort for Sex Perverts”

Would you like to be part of a group of women like us? The Daughters of Bilitis office hours are open.Bonus episodes! Cute buttons! Cute mugs! Cute archival research photos! Join me on Patreon at patreon.com/queerserial. This week’s bonus episode is also a true queer history story called “A Murder in Midtown.” It’s a wild tale.Love the show? Please rate and review it on Apple Podcasts to help new listeners find the show! Thanks for your support. :)Wanna put faces to the names? Follow the show in photos on Instagram and Twitter @queerserial.Teachers, hit me up for transcripts of the episodes! queerserial@gmail.comResources, donations, and the full voice cast for the podcast can be found at queerserial.com.This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters.TONS more about Edythe Edye (A.K.A. Lisa Ben) at queermusicheritage.com/viceversa.html!Music by Kevin MacLeod is at incompetech.com. Licensed under Creative Commons by attribution 4.0. Music by Edythe Eyde courtesy of Making Gay History. Find the Making Gay History podcast on all major podcast platforms and at www.makinggayhistory.com. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET.Thanks for listening! Next week: Episode 2 “Disorderly Establishment”

Check out the podcast on Instagram @queerserial to see the FULL visual trailer!Season 2 picks up in 1954, right where we left off. (But you don’t need to hear season 1 to follow along.) A secret organization of lesbians forms under the FBI's watchful eye as the national Mattachine Society crumbles. A political revolution is launched by a drag queen. Police raid gay spaces and street queens fight back.The conservative gays who commandeered the movement in Season 1 push against the queers who don't conform to suits and skirts. The masks come off and a militant minority is rising.Mattachine: A Queer Serial is told in serialized episodes. Created by Devlyn Camp.Bonus episodes! Cute buttons! Cute mugs! Cute archival research photos! Join me on Patreon at patreon.com/queerserial. Our first bonus episode (June 1!) is also a true queer history story called “A Murder in Midtown.” It’s a wild tale.Love the show? Please rate and review it on Apple Podcasts to help new listeners find the show! Thanks for your support. :)Resources, donations, and the full voice cast for the podcast can be found at queerserial.com.This season is also brought to you in part by the Sisters of Perpetual Indulgence, San Francisco! We love the Sisters.Music by Kevin MacLeod is at incompetech.com. Licensed under Creative Commons by attribution 4.0. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET.

Historians Joey Cain and Will Roscoe join Daniel to share an intimate portrait of their close friend, the ‘Father of Gay Liberation', Harry Hay.

They boys remember Harry Hay and Leonard Matlovich and celebrate Hillary Clinton.

A brief introduction to a series exploring the life and work of major figures connected to Stanford University. Expert guests will join host Daniel Rey to discuss John Steinbeck, Sally Ride, Edith Head, Harry Hay, Eunice Kennedy Shriver, Alexander Kerensky and Martin Luther King. 

Whenever Harry Hay was referred to as the Godfather of the Modern Civil Rights Movement, he would say he preferred the title Lascivious Uncle of the Gay Civil Rights Movement. Either way, his contributions began in the 1950's and resulted in some of the prominent gay rights organizations that are still creating change today. On an April 7th afternoon, in Silverlake, California the Cove Street Steps were dedicated to Harry Hay and the Mattachine Society for their contribution to journey for equality. I attended the event and where I was surrounded by Radical Faeries, Billies, distinguished political representatives and members of the Silverlake community. Come with me on this journey and you will feel like you are there with us experiencing all the love and hope that is Harry Hay. Speakers include the following: Mark Thompson, Malcolm Boyd, David Edward Byrd, Eric Garcetti and more!

In 2017 Jack Davis retired from being an office worker, which means that he can now devote as much time as he wants to being a visual artist, a witch and a radical faerie. His most recent visual art show, called FAGGOTS, was at the Center for Sex and Culture in San Francisco in January 2019. In December of 2018 he created the dancers' costumes for Winter Circle X, a ritual/performance piece instigated by Keith Hennessy in collaboration with Snowflake Towers. Episode Highlights Jack tells how he first started studying art and education in college, and then got a masters degree in textiles. He started making crocheted penis shapes as his own way of glorifying sexuality during the sexual revolution of the 70's. He shares the history of the word faggot, and about his exploration and usage of “faggots” in his artwork as part of queer liberation. We discuss the public's response to his art, and how censorship and exclusion of his art has been part of that response. Jack uses performance art and ritual activism, such as in "Faggots around the Labyrinth," in San Francisco prior to the 2016 presidential election to protect queer youth. He gives us a brief history of the Radical Faeries, starting in 1979 with a gathering of gay men who were anti-assimilationist, who believe that gay men are different and have a special purpose. Now Radical Faerie community is co-created in cities and sanctuaries around the world, with gatherings that are open to all gender identities. Jack got involved in '82 and eventually became the treasurer of a local division. He was also part of the support team to care for two of the founding members (Harry Hay and John Burnside) at the end of their lives. He offers his ideas about how and why the Radical Faerie communities have been, and continue to be, so influential in queer culture. Jack shares how he uses pagan prayer beads, which have been a significant part of his spiritual daily practice.   Contact Jack Davis Contact Jack by email here. Visit the Queer Spirit episode page to view some of Jack's art.  

In this episode, Abby Dees delves into the Transgender Military Ban and the actual memo in the Honest Tea! Also, we... …Dip into a bit of history we thought we lost! Gay Rights Pioneer Harry Hay speaks with Steve Pride …Revel in the origins of “The Radical Faeries” with Don Kilhefner and Charlie Vaughn …talk with Scott Turner Schofield, Transgender Activist and Actor Please Subscribe and Rate! IMRU Radio on Podcast. You're welcome! --- Send in a voice message: https://anchor.fm/imruradio/message

Join me and Joey Cain live at the GLBT Historical Society in San Francisco this April! We’ll be playing season 1 of Mattachine over three nights, along with visuals of the early LGBTQ movement and discussions about the homophile movement. (Joey was a friend of Harry Hay’s!) We’ll also be chatting about how the podcast was produced and what’s ahead in season 2. CAN YOU HANDLE?Come ask questions, say hello, tell me who you’re rooting for on Drag Race. Whatever! Tickets are available here: Night 1, April 4: Dawn of the Movement Night 2, April 11: To Be Accused Night 3, April 18: Cracks in the Foundation Every night will be a different topic and different discussion. Tickets are $5 or free for Historical Society members.Join the Mattachine mailing list for cute, periodic updates about the show here: http://eepurl.com/dAp89XFollow the show’s production process on Instagram and Twitter @queerserial. I can’t wait to meet all of you! xoxo Devlyn Camp they/them

Harry Hay had a vision, and that vision led to the founding of the first sustained gay rights organization in the United States—the Mattachine Society, in 1950. Mattachine (and Harry's) first task—establishing a gay identity. Visit our episode webpage for background information, archival photos, and other resources. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Harry Hay had a vision, and that vision led to the founding of the first sustained gay rights organization in the United States—the Mattachine Society, in 1950. Mattachine (and Harry’s) first task—establishing a gay identity. Visit our episode webpage for background information, archival photos, and other resources.

Our fourth season is about beginnings. So we're going to start at the beginning and hear from the activists and visionaries who got the ball rolling for LGBTQ civil rights. In this episode, meet some of the trailblazers who will guide us from 1897 in Germany to the eve of the Stonewall uprising, including Magnus Hirschfeld, Harry Hay, Ernestine Eckstein, Bayard Rustin, and Martha Shelley. To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices

Our fourth season is about beginnings. So we’re going to start at the beginning and hear from the activists and visionaries who got the ball rolling for LGBTQ civil rights. In this episode, meet some of the trailblazers who will guide us from 1897 in Germany to the eve of the Stonewall uprising, including Magnus Hirschfeld, Harry Hay, Ernestine Eckstein, Bayard Rustin, and Martha Shelley.

Gay Pride Month is coming to a close, and our three part series devoting episodes to LGBTQ stories is also wrapping up. In this third and final episode, we bring the focus to Los Angeles. My guest this week is Garrett McKechnie, bartender and co-owner of the award winning Bar Mattachine, a gay bar in downtown Los Angeles that has successfully merged gay bar culture and history with craft cocktails. We discuss Garrett's evolution working in gay bars in both NYC and LA, the significance of LA's role in the story of American gay rights, how the scene has evolved, and where we are today.  This week’s featured cocktail is Bar Mattachine's signature cocktail named after the leader of the Mattachine Society in Los Angeles, Harry Hay. Harry Hay 2 Oz Rittenhouse 100 proof Rye 1/4 Amargo Angostura Vallet Liqueur 1/2 Oz Dolin Rouge Vermouth 1/4 Oz Maraschino Liqueur Stir all ingredients over ice until chilled. Strain into a cocktail glass. Flame a lemon peel over glass and discard. Garnish with a brandied cherry links:  Bar Mattachine Instagram Twitter Facebook   One Archives Foundation Mattachine Society   Bit by a Fox: blog: http://bitbyafox.com instagram: https://www.instagram.com/bitbyafox/ facebook: https://www.facebook.com/BitByAFox/ twitter: https://twitter.com/bitbyafox   music: https://www.humanworldwide.com

In 1990 Harry Hay blessed Andrew Ramer as “a younger elder of the tribe.” Mark Thompson interviewed him for his 1994 book Gay Spirit along with fifteen other writers, healers, teachers and visionaries. Andrew's own books include Two Flutes Playing: A Spiritual Journeybook for Gay Men, Queering the Text: Biblical, Medieval, and Modern Jewish Stories, and Revelations for A New Millennium. He was born in Elm-hurst, New York, across the street from an amusement park called Fairyland, and he now lives in Oak-land, California up the street from an amusement park called Fairyland. You can read more about him and his work at andrewramer.com    Episode Highlights We discuss the sacred role queer men have as guardians of the trees, and the connection to the environment as a whole. The role of gay men in the world, and as consciousness scouts. “Now is the time for us to own who we are.” Andrew's experience of hearing voices which guided him through out his life and guided his writing. The essential spiritual practice of mentoring queer youth, and the challenge of cultivating inter-generational queer family. The difference between “crazy” and mysticism. Cultivating queer community through commonality and kinship. Meeting Harry Hay and Malcolm Boyd at Gay Spirit Visions early on his queer spiritual path. His new book, “Deathless,” about a 3000+ year old lesbian living in Venice beach, re-telling stories of the bible from a queer perspective. Resource links AndrewRamer.com His writings on White Crane Institute Gay Spirit Visions retreat CrazyWise documentary film

When the Mattachine's founder is called to testify, when ONE Magazine is seized by the post office, and when the FBI begins to interrogate activists, how does the movement continue to fight? Please rate and/or review the show on iTunes! Click here: apple.co/2jLJe8q Or support the show at patreon.com/mattachinefiles. Editorial advising by Paul Di Ciccio and Albert Williams. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for free transcripts of the episodes along with our resources. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Please continue to share our history.

Do we moderate our queer behavior in an assimilated world? What happens when Mattachine goes public? Or when the culturalists move forward with militant queer identity? "Can Homosexuals Organize?" "How Clean Can A House Get?" "Why Try to Organize a Bunch of Queers Anyway?" "Quo Vadis, Mattachine Society?" Please rate and review the show on iTunes! Or support the show at patreon.com/mattachinefiles. Editorial advising by Paul Di Ciccio and Albert Williams. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for free transcripts of the episodes along with our resources. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Please continue to share our history.

Why do assimilationists reject queer culture? Hear the season from the point of view of the Mattachine's rising leader.Please rate and review the show on iTunes! Or support the show at patreon.com/mattachinefiles. Editorial advising by Paul Di Ciccio and Albert Williams. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for free transcripts of the episodes along with our resources. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Please continue to share our history.

Are you a culturalist or an assimilationist? What are the pros and cons of each side, and what would you do to fight for yours? No one will be the same after this week's Mattachine meeting. Please rate and review the show on iTunes! Or support the show at patreon.com/mattachinefiles. Editorial advising by Paul Di Ciccio and Albert Williams. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for free transcripts of the episodes along with our resources. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Please continue to share our history.

When an organization splinters into alliances, will the community they're organizing splinter, too? Welcome to the secret society's first constitutional convention. Please rate and review the show on iTunes! Or support the show at patreon.com/mattachinefiles. Editorial advising by Paul Di Ciccio and Albert Williams. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for free transcripts of the episodes along with our resources. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Please continue to share our history.

How will political pressure from the lavender scare cause cracks in the Mattachine Foundation? If we are "moral risks," then what is our moral code? Please rate and review the show on iTunes! Or support the show at patreon.com/mattachinefiles. Editorial advising by Paul Di Ciccio and Albert Williams. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for free transcripts of the episodes along with our resources. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Please continue to share our history.

How and when did homophobia begin in the United States? How did the government weaponize it against us? Please rate and review the show on iTunes! Or support the show at patreon.com/mattachinefiles. Editorial advising by Paul Di Ciccio and Albert Williams. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for free transcripts of the episodes. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Please continue to share our history.

Why was Dale Jennings arrested? What purpose does ONE Magazine serve? How is queer culture defined by our community? -Miss Jean Dempsey, Treasurer Please rate and review the show on iTunes! Or support the show at patreon.com/mattachinefiles. Editorial advising by Paul Di Ciccio and Albert Williams. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for free transcripts of the episodes. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Please continue to share our history.

Who is the Mattachine Foundation? What do they want?Please rate and review the show on iTunes! Or support the show at patreon.com/mattachinefiles.Editorial advising by Paul Di Ciccio and Albert Williams. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for free transcripts of the episodes.The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET.Thanks for listening! Please continue to share our history.

What is Mattachine? Why are they anonymous? Our case opens with a postal worker in 1920s Chicago. Please rate and review the show on iTunes! Or support the show at patreon.com/mattachinefiles. Editorial advising by Paul Di Ciccio and Albert Williams. Harry Hay's voice by Steve Camp. Follow us on Facebook, Twitter, and Instagram @mattachinefiles. School teachers, email me at ourhistorypod@gmail.com for (clean) transcripts of the episodes. The original Mattachine Society jester logo and audio clips of Harry Hay are courtesy of ONE Archives at the USC Libraries. Audio clips from The Rejected are licensed by Thirteen Productions and WNET. Thanks for listening! Please continue to share our history.

Episode#55 - William Ramsey returns (PIZZAGATE) https://www.amazon.com/William-Ramsey/e/B008JIFCTO https://www.wprpn.com/2017/04/10/get-a-20-discount-on-william-ramseys-books/ What's in a name? CROWLEY 5min - PIZZAGATE / PEDOGATE 7min - Skeptics & debunkers abound e.g. Anon US Radio 8min - Dead giveaways, cover your tracks 9min - "Avant-garde" artiste Marina Abromavic, Hollywood's alumni, OTO, Kenneth Anger, Children of the Beast 10min - Comet PINGPONG, Haitian Sauce?, ALEX JONES 13min - Pirate Larry's mysterious abscence 15min - Kinsey's Pedophiles, Zoology 16min - Lawyers, Kids, & Pizza, IVANKA TRUMP 18min - The Freemason connexion, coincidence? 20min - Antinus, Hadrian, Comet Pingpong's James Elfantus, NAMBLA, Harry Hay 21min - MILO, George Takei pedophilia vs. sex w/ minors https://www.youtube.com/results?search_query=milo+pedophilia+nambla https://www.youtube.com/results?search_query=geroge+takei+pedophilia+nambla 24min - Harvey Milk, Jonestown https://duckduckgo.com/?q=harry+hay+nambla 26min - Symbolism, significance of "COMET Pingpong", LOLITA, Arthur C. Clarke Smiling psychopaths, HUMINT, DYNCORP 31min - X-MEN ( Avengers ) Director Brian Singer, Corey Feldman, Corey Haim (RIP) CHARLIE SHEEN HIV 34min - Operation Mockingbird 35min - DC's Missing Women & Children (2017) https://www.brit.co/more-than-500-girls-missing-from-dc-in-2017/ https://duckduckgo.com/?q=missing+children+women+dc+2017 38min - Mohammed the PEDOPHILE, religious ROLE MODEL 40min - Korea's KILLING ROOM? The Pizzagate connexion https://www.youtube.com/watch?v=hPErGxSmCr8 https://www.amazon.com/William-Ramsey/e/B008JIFCTO 41min - Protocols of the Learned Elders of Zion https://duckduckgo.com/?q=the+learned+protocols+of+the+elders+of+zion 48min - Belgium's Detroux Affair, BESTA ( BEAST ) Pizza https://duckduckgo.com/?q=the+dutroux+affair https://www.youtube.com/watch?v=aSY4GDGPZCE 52min - https://duckduckgo.com/?q=brietbart%27s+last+tweet+podesta+pizzagate https://duckduckgo.com/?q=breitbart%27s+coroner+poisoned+to+death 53min - Tom deLonge BLINK 182, Peter Levenda, The Necronomicon 56min - Satanic Panic, skepticism & professional debunking, disinformation artists, SRA 57min - 100,000 missing in the USA every year 58min - MORE re: Alex Jones, Tila Tequila & Erica Wulfe 1hr - David Seaman 1hr3min - REDDIT censorship, CEO a self-professed cannibal? 4 CHAN Stompy makes it into the crowsnest! ( for the last few minutes ) News presenter's son kidnapped & ritually abused, high-powered psychopaths 1hr11min - Seasoned street fighting kid kicks some pervert Aussie's ass 1hr13min - High profile biker disappears, Dorothy Killgallen, Marilyn Monroe https://www.podomatic.com/podcasts/space-pirate-radio/episodes/2017-01-27T04_16_07-08_00 1hr16min - Illuminati trading one's SOUL for fame, David Geffen, Keanua Reeves early career as a "TWINK" boy-toy 1hr17min - Senator Nancy Schaefer, Barney Frank's HOME based underage male prostitution services, VERY "chummy" with Comet Pizza's owners 1hr18min - Freeman Fly, DYNCORP, Clinton Foundation, Haiti 1hr19min - 20% discount with purchase of William's books via http://occultinvestigations.com ( Code Word - PIRATE RADIO ) 1hr20min - Best regards to "Squeaky" Emanon & her new hubby

Tune-in at 6pm EST / 3pm Pacific for a talk on what makes America great again - LOVE! We'll be talking about the current astrological weather, magical tips for sav(or)ing the the things we love and cherish, and gay pioneer and activist Harry Hay (April 7, 1912 – October 24, 2002). Broadcasting the voices of the land and the deceased, hosts Khi Armand and Paige Zaferiou of GreenwoodConjure.com weave together history, ethnography, and spiritual experience to explore the unique promises and challenges of our time. Connect with the stories, people, and landscapes that make us human in this unique, interdisciplinary show featuring guests from a wide variety of fields and backgrounds sharing their expertise on topics of biography, history, and places that matter. Tune in every other Wednesday to On Sacred Ground at 6pm EST / 3pm PT online, call in to listen by phone 657-383-0525, or 'Click-to-Talk' via a computer interface. Join in chat using a registered BlogTalkRadio account.

The third episode of Faerie Visions, a podcast series about the Radical Faeries, a global movement of queer spiritualists. I dive into the history of the Radical Faeries and try to figure out: how the faeries came to be, what Harry Hay has to do with it all, and how faeries have grown into the global movement they are today.

The Memory Palace is a proud member of Radiotopia, from PRX, a curated network of extraordinary, story-driven shows. Learn more at radiotopia.fm Notes and Reading: * Most of the specific history of the White Horse was learned from "Sanctuary: the Inside Story of the Nation's Second Oldest Gay Bar" by David Olson, reprinted in its entirety on the White Horse's website. * "Gayola: Police Professionalization and the Politics of San Francisco's Gay Bars, 1950-1968," by Christopher Agee. * June Thomas' series on the past, present, and future of the gay bar from Slate a few years back. * Various articles written on the occasion of the White Horse's 80th anniversary, including this one from SFGATE.Com * Michael Bronski's A Queer History of the United States. * Radically Gay, a collection of Harry Hay's writing. * Incidentally, I watched this interview with Harry Hay from 1996 about gay life in SF in the 30's multiple times because it's amazing. Music * We start with Water in Your Hands by Tommy Guerrero. * Hit Anne Muller's Walzer fur Robert a couple of times. * Gaussian Curve does Talk to the Church. * We get a loop of Updraught from Zoe Keating. * We finish on Transient Life in Twilight by James Blackshaw

THE ATTACK FROM THE LEFT This is how the left engages in its assault on the fabric of the civil society.  They look for the "soft spots" and then pick a fight.  Men have been dressing as women and passing for them since dirt was new.  It's hardly an issue for a male passing himself off as a woman in dress and demeanor, to use a woman's rest room.  Who would even notice? In their effort to undermine the civil society, the Left chooses its targets wisely.  The question is first posed to the public narrowly: Should transgender people be permitted to use public restroom facilities they identify with, rather than be limited to the restroom of the gender they were born to?   THE TYRANNY OF THE MINORITY It seems almost ridiculous to be having the conversation for a number of reasons.  To begin with, what is the legal definition of transgender?  Is the controlling factor in this definition, the gender the individual identifies with or the one they were born to?  Is no consideration to be given to their anatomical and genetic circumstance?  Is transgender, at least for some, really more of a behavioral, rather than a physical condition?  Moreover, how many people are we really talking about here?  This is an important consideration, given the fact that 99.7% of all Americans who don't identify as transgender will be compelled to accommodate 3 out of every 1,000 people who at least call themselves, "transgender." The most recent data from surveys including the 2006-2008 National Survey of Family Growth, the 2009 California Health Interview Survey and federal data such as the Decennial Census or the American Community Survey were analyzed by Gary Gates, a distinguished scholar at the Williams Institute of the UCLA School of Law.  Those surveys state that about 0.3% of the American population "identifies as transgender".  Here's the problem with that:  it's a subjective determination and the number of people who truly are transgender is likely to be much lower. Without a clear, legal definition of what is transgender, how could we possibly know who is transgender?  In its efforts to dictate federal policy to the states regarding so called transgender people, the Obama Administration has not only politicized the use of bathrooms, but they have issued rules that will now place school children at risk.  The risk is not necessarily with a person who is genuinely transgender.  Rather, the risk derives from the consequence of not having an objective definition of what a transgender person actually is.  Until now, all the discussions have centered on how the individual identifies themselves, leaving that definition entirely in their hands. SEXUALIZING SCHOOLCHILDREN As a practical matter, public school officials will have no way to prevent a male high school senior from showering with a 14 year old freshman female, provided the male declares himself as "identifying as a female."  On what basis could that ever be challenged?  It also creates conditions where rape and statutory rape are more likely.  How will school administrators and faculty police the school showers when they know the blunt instrumentalities of the federal government are arrayed against them?  The likely outcome is that school officials will not risk a legal battle that results in the draining of resources from the school system.  This will create even more chaos in the school system than already exists. HOMOSEXUALIZING SCHOOLCHILDREN The current controversy over rest rooms and showers in public facilities and schools should come as no surprise.  Since he was first elected in 2008, Barack Obama has unleashed the most militant and radical pro-homosexual agenda on Americans.  It began surreptitiously in the school system. Early in his first administration, Barack Obama appointed a "Safe Schools Czar" named Kevin Jennings.  The title "Safe Schools Czar" is very misleading.  Most would look at the term and feel comforted that the President cares about making schools safe for children.  But that isn't what the Safe Schools Czar was tasked to do.  His job was to make schools safe for lesbian, gay, bisexual, and transgenders.  It was part of Obama's pro-homosexual agenda that was hiding in plain sight and ignored by the mainstream media. Kevin Jennings himself has quite an "interesting" background.  A transcript from a 1997 speech shows Office of Safe Schools chief Kevin Jennings in the U.S. Department of Education expressed his admiration for Harry Hay, one of the nation’s first homosexual activists who launched the Mattachine Society in 1948, founded the Radical Faeries and was a longtime advocate for the North American Man-Boy Love Association, NAMBLA. Obama appointed the most radical person anyone could have ever imagined into a position, the Congress wasn't required to approve.  Kevin Jennings had a past that was so completely off the charts radical, it's almost impossible to overstate.  Kevin Jennings was outspoken in his support of NAMBLA and the repeal of laws governing the age of sexual consent. In 2002, after the death of Harry Hay, Jennings said, "NAMBLA’s record as a responsible gay organization is well known. NAMBLA was spawned by the gay community and has been in every major gay and lesbian march. … NAMBLA’s call for the abolition of age of consent is not the issue. NAMBLA is a bona fide participant in the gay and lesbian movement. NAMBLA deserves strong support in its rights of free speech and association and its members’ protection from discrimination and bashing,” he said. Remember, this was Obama's first appointee for "Safe Schools Czar." Kevin Jennings was the founder of  the Gay, Lesbian, and Straight Education Network (GLSEN) organization of Massachusetts.  GLSEN held its 10 Year Anniversary conference at Tufts University in 2000. This conference was fully supported by the Massachusetts Department of Education, the Safe Schools Program, the Governor’s Commission on Gay and Lesbian Youth, and some of the presenters even received federal money. During the 2000 conference, workshop leaders led a “youth only, ages 14-21” session that offered lessons in “fisting” a dangerous sexual practice, where the hand is forced into another person's anus.  Fisting kits were distributed to children by Planned Parenthood, another participant in the event (pictured here). There was a heightened sense of security with many Tufts campus police being highly visible in order to stop parents from seeing what occurred at the conference.   All  of this was the handiwork of Kevin Jennings, the man Barack Obama appointed.  Fury erupted in Congress and eventually Jennings was forced to resign his position, but today's actions by the Obama Justice Department and Department of Education are clear indications that Obama's agenda to promote homosexuality in American society has not abated. OBAMA'S RADICAL HOMOSEXUAL AGENDA   The Obama administration will send a letter to every public school district in the country telling them to allow transgender students to use bathrooms and locker rooms that match their gender identity as opposed to their birth certificate. The letter, first obtained by The New York Times, is signed by officials at the Justice Department and Department of Education. It will be sent out to the districts on Friday. While the letter does not have the force of law, it does warn that schools that do not abide by the administration’s interpretation of civil rights law may face lawsuits or a loss of federal aid, The Times reported. "There is no room in our schools for discrimination of any kind, including discrimination against transgender students on the basis of their sex," Attorney General Loretta Lynch said in a statement. “No student should ever have to go through the experience of feeling unwelcome at school or on a college campus,” Education Secretary John B. King Jr., said in his own statement. “We must ensure that our young people know that whoever they are or wherever they come from, they have the opportunity to get a great education in an environment free from discrimination, harassment and violence.” Under the guidance, schools are told that they must treat transgender students according to their chosen gender identity as soon as a parent or guardian notifies the district that that identity "differs from previous representations or records." There is no obligation for a student to present a specific medical diagnosis or identification documents that reflect his or her gender identity, and equal access must be given to transgender students even in instances when it makes others uncomfortable, according to the directive. Status of "Bathroom Bill" Legislation | InsideGov "As is consistently recognized in civil rights cases, the desire to accommodate others' discomfort cannot justify a policy that singles out and disadvantages a particular class of students," the guidance says. The administration is also releasing a separate 25-page document of questions and answers about best practices, including ways schools can make transgender students comfortable in the classroom and protect the privacy rights of all students in restrooms or locker rooms. The move was cheered by Human Rights Campaign, a gay, lesbian and transgender civil rights organization, which called the guidelines "groundbreaking." "This is a truly significant moment not only for transgender young people but for all young people, sending a message that every student deserves to be treated fairly and supported by their teachers and schools," HRC President Chad Griffin said in a statement. Earlier this week, the Justice Department and the state of North Carolina filed dueling lawsuits over the state’s controversial “bathroom” law, with the Obama administration answering an early-morning lawsuit filed by Republican Gov. Pat McCrory with legal action of its own. In their suit, the DOJ alleged a “pattern or practice of employment discrimination on the basis of sex” against the state over the law requiring transgender people to use bathrooms that correspond with the sex on their birth certificate. McCrory, in his lawsuit, accused the administration of a “baseless and blatant overreach” in trying to get the policy scrapped. "This is an attempt to unilaterally rewrite long-established federal civil rights laws in a manner that is wholly inconsistent with the intent of Congress and disregards decades of statutory interpretation by the Courts," the state’s suit, filed in U.S. District Court in the Eastern District of North Carolina, said. The Associated Press contributed to this report.

Kate Raphael talks with gay activist and historian Joey Cain about the radical roots of the modern gay liberation movement and its founder, Harry Hay. And we also hear an interview with Michelle Reed, who turned getting laid off into an opportunity to follow her dream by opening a plant store in San Francisco's Mission District. After broadcast, segments and links will be available at http://kpfawomensmag.blogspot.com. The post Women's Magazine – June 11, 2012 appeared first on KPFA.