The Bridge
Scrappy, campy and unabashedly queer, public access TV series of the 1980s and 1990s offered a rare glimpse into LGBTQ+ life
“Hello to all you lovely lesbians out there! My name is Debbie, and I’m here to show you a few things about taking care of your vaginal health.”
So opens the first “Lesbian Health” segment on “Dyke TV,” a lesbian feminist television series that aired on New York’s public access stations from 1993 to 2006.
The half-hour program focused on lesbian activism, community issues, art and film, news, health, sports and culture. Created by three artist-activists – Cuban playwright Ana Simo, theater director and producer Linda Chapman and independent filmmaker Mary Patierno – “Dyke TV” was one of the first TV shows made by and for LGBTQ women.
While many people might think LGBTQ+ representation on TV began in the 1990s on shows like “Ellen” and “Will & Grace,” LGBTQ+ people had already been producing their own television programming on local stations in the U.S. and Canada for decades.
In fact my research has identified hundreds of LGBTQ+ public access series produced across the country.
In a media environment historically hostile to LGBTQ+ people and issues, LGBTQ+ people created their own local programming to shine a spotlight on their lives, communities and concerns.
Experimentation and advocacy
On this particular health segment on “Dyke TV,” a woman proceeds to give herself a cervical exam in front of the camera using a mirror, a flashlight and a speculum.
Close-up shots of this woman’s genitalia show her vulva, vagina and cervix as she narrates the exam in a matter-of-fact tone, explaining how viewers can use these tools on their own to check for vaginal abnormalities. Recalling the ethos of the women’s health movement of the 1970s, “Dyke TV” instructs audiences to empower themselves in a world where women’s health care is marginalized.
Because public access TV in New York was relatively unregulated, the show’s hosts could openly discuss sexual health and air segments that would otherwise be censored on broadcast networks.
Like today’s LGBTQ content creators, many of the producers of LGBTQ+ public access series experimented with genre, form and content in entertaining and imaginative ways.
LGBTQ+ actors, entertainers, activists and artists – who often experienced discrimination and tokenism on mainstream media – appeared on these series to publicize and discuss their work. Iconic drag queen RuPaul got his start performing on public access in Atlanta, where “The American Music Show” gave him a platform to promote his burgeoning drag persona in the mid-1980s. https://www.youtube.com/embed/hab5HrnfEZk?wmode=transparent&start=0 RuPaul appears on a 1985 episode of ‘The American Music Show.’
The producers often saw their series as a blend of entertainment, art and media activism.
Shows like “The Gay Dating Game” and “Be My Guest” were tongue-in-cheek satires of 1950s game shows. News programs such as “Gay USA,” which broadcast its first episode in 1985, reported on local and national LGBTQ news and health issues.
Variety shows like “The Emerald City” in the 1970s, “Gay Morning America” in the 1980s, and “Candied Camera” in the 1990s combined interviews, musical performances, comedy skits and news programming. Scripted soap operas, like “Secret Passions,” starred amateur gay actors. And on-the-street interview programs like “The Glennda and Brenda Show” used drag and street theater to spark discussions about LGBTQ issues.
Other programs featured racier content.
In the 1980s and ‘90s, “Men & Films,” “The Closet Case Show” and “Robin Byrd’s Men for Men” incorporated interviews with porn stars, clips from porn videos and footage of sex at nightclubs and parties.
Skirting the censors
The regulation of sex on cable television has long been a political and cultural flashpoint.
But regulatory loopholes inadvertently allowed sexual content on public access. This allowed hosts and guests to talk openly about gay sex and safer sex practices on these shows – and even demonstrate them on camera.
The impetus for public access television was similar to the ethos of public broadcasting, which sought to create noncommercial and educational television programming in the service of the public interest.
In 1972, the Federal Communications Commission issued an order requiring cable television systems in the country’s top 100 markets to offer access channels for public use. The FCC mandated that cable companies make airtime, equipment and studio space to individuals and community groups to use for their own programming on a first-come, first-serve basis.
The FCC’s regulatory authority does not extend to editorial control over public access content. For this reason, repeated attempts to block, regulate and censor programming throughout the 1970s, 1980s and 1990s were challenged by cable access producers and civil liberties organizations.
The Supreme Court has continually struck down laws that attempt to censor cable access programming on First Amendment grounds. A cable operator can refuse to air a program that contains “obscenity,” but what counts as obscenity is up for interpretation.
Over the years, producers of LGBTQ-themed shows have fiercely defended their programming from calls for censorship, and the law has consistently been on their side.
Airing the AIDS crisis
As the AIDS crisis began to devastate LGBTQ+ communities in the 1980s, public access television grew increasingly important.
Many of the aforementioned series devoted multiple segments and episodes to discussing the devastating impact of HIV/AIDS on their personal lives, relationships and communities. Series like “Living with AIDS”, “HoMoVISIONES” and “ACT UP Live!” were specifically designed to educate and galvanize viewers around HIV/AIDS activism. With HIV/AIDS receiving minimal coverage on mainstream media outlets – and a lack of political action by local, state and national officials – these programs were some of the few places where LGBTQ+ people could learn the latest information about the epidemic and efforts to combat it.
The long-running program “Gay USA” is one of the few remaining LGBTQ+ public access series; new episodes air locally in New York and nationally via Free Speech TV each week. While public access stations still exist in most cities around the country, production has waned since the advent of cheaper digital media technologies and streaming video services in the mid-2000s.
And yet during this media era – let’s call it “peak public access TV” – these scrappy, experimental, sexual, campy and powerful series offered remarkable glimpses into LGBTQ+ culture, history and activism.
Lauren Herold, Visiting Assistant Professor of Gender & Sexuality Studies, Kenyon College
This article is republished from The Conversation under a Creative Commons license. Read the original article.
The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
https://stmdailynews.com/category/the-bridge
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STM Blog
Lucas Museum: Celebrating Narrative Art in LA
“Discover the captivating world of narrative art at the Lucas Museum in LA, founded by George Lucas and Mellody Hobson.”
The Lucas Museum of Narrative Art is a remarkable addition to the vibrant cultural landscape of Los Angeles, California. Established by acclaimed filmmaker George Lucas and his wife Mellody Hobson, the museum is poised to become a pivotal hub for visual storytelling across diverse artistic forms.
Lucas Museum
Nestled in Exposition Park, the museum features an extensive collection encompassing myriad artistic mediums. From striking paintings and evocative photography to intricate sculptures and compelling illustrations, the Lucas Museum is dedicated to celebrating the transformative power of narrative art, engaging audiences, and conveying profound messages through its exhibitions. As the museum evolves, it continues to enrich the conversation around art and storytelling, inviting visitors to experience narratives that resonate on multiple levels.
One of the standout features of the Lucas Museum of Narrative Art is its unwavering commitment to inclusivity and diversity. The museum aims to celebrate art from a multitude of cultures and backgrounds, giving voice to underrepresented narratives and perspectives. This focus on inclusivity is not only manifested in the museum’s eclectic collection but is also vividly reflected in its thoughtfully crafted programming and community outreach initiatives. By engaging with local communities and diverse artists, the museum fosters a rich dialogue that honors different traditions and storytelling techniques.
Designed by the acclaimed architect Ma Yansong of MAD Architects, the museum’s stunning building is a work of art in itself. Its unique and innovative architecture seamlessly integrates with the surrounding environment, creating a harmonious space that invites visitors to immerse themselves in the diverse world of storytelling. The dynamic design features flowing forms and open spaces, allowing natural light to play a crucial role in enhancing the overall aesthetic experience. This architectural masterpiece not only serves as a physical shelter for art but also symbolizes the fluid nature of narrative.
The museum’s website, lucasmuseum.org, offers a captivating glimpse into its vision and future exhibits, generating palpable excitement among art enthusiasts and fans of George Lucas’s cinematic legacy alike. It serves as a vital platform for engaging with the museum’s mission and provides ongoing updates about various programs and events that aim to foster a sense of community and anticipation leading up to its grand opening.
The Lucas Museum of Narrative Art stands as a testament to the profound power of storytelling to inspire, educate, and unite people from all walks of life. It embodies George Lucas’s passion for narrative and creativity, creating a space where art can be experienced, appreciated, and understood in its many forms. The museum will not only display art but also offer educational workshops, lectures, and events that will enrich the visitor experience and promote a deeper understanding of narrative as a vital component of human experience.
As the museum prepares to open its doors, the anticipation continues to build, with Los Angeles eagerly awaiting the opportunity to explore the rich world of narrative art. The Lucas Museum promises to become a cultural landmark—an inspiring venue where imagination and creativity converge. It aims to be a place where the stories that shape our lives are not just preserved, but celebrated and explored, ensuring that the legacy of narrative art endures for generations to come.
The museum is set to open in 2025…
For more information please visit: https://lucasmuseum.org/
https://stmdailynews.com/category/entertainment/
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Lifestyle
National Recycling Day: Easy, Fun and Good for the Environment
How to make every day recycling day
(Family Features) With so many mixed messages, recycling can feel confusing, but the truth is simpler than you might think. Recycling isn’t just for today – it’s a year-round commitment to a healthier planet.
In honor of National Recycling Day, consider these facts about recycling from the experts and tips to make a difference.
Recycling Is Real
Americans recycle more than 6 billion pounds of plastic every year. Among the plastics recycled, polyethylene terephthalate (PET) remains a responsible material choice. PET is the world’s most recycled plastic, with more than 1.8 billion pounds of PET bottles and containers recovered in the U.S. annually. Since PET bottles can be made from 100% post-consumer recycled content, each recycled bottle contributes to a circular economy where materials are continuously reused instead of wasted.
Recycling PET Plastic is Better for the Environment
Countless others from academics, researchers and industry experts show plastics, such as PET specifically, often have a lower environmental impact. In fact, glass bottles produce three times the greenhouse gas emissions compared to PET bottles, and making an aluminum can produces twice the emissions, according to Life Cycle Assessment studies. Producing PET also uses less energy and water and lowers acid rain and smog potential. Using and recycling PET is a more responsible, more eco-friendly choice than banning plastic outright.
Recycling Saves Energy
Recycling PET bottles requires less energy than producing new glass bottles or aluminum cans. Every PET bottle you recycle helps conserve resources and supports a more responsible production cycle.
Not All Plastics are Created Equal
PET is a superstar among plastics because it can be recycled repeatedly without losing strength or quality. It’s also an inexpensive, lightweight and shatter-resistant package that preserves and protects the food and medicine people place in their bodies.
Recycling Can be Easy
Recycling services can be accessible, with many communities across the U.S. offering easy ways to recycle. Today more than 73% of all U.S. households have access to recycling, according to The Recycling Partnership.
By staying informed, choosing packaging that’s easily recyclable and recycling consistently, you can help build a more sustainable future every day. Visit recyclecheck.org to find out where you can recycle in your community.
5 Recycling Tips
- Know your plastics. Look for the No. 1 recycling symbol – inside three arrows forming a triangular shape – to identify polyethylene terephthalate (PET), helping ensure your recycling efforts are impactful.
- Recycle PET plastic packaging over bans. Choose products packaged in PET bottles where possible, as recycling PET reduces reliance on resource-heavy materials and greenhouse gas emissions.
- See recycling as energy conservation. PET bottle recycling uses significantly less energy compared to producing new glass bottles or aluminum cans.
- Think of recycling as an investment. Every PET container you recycle contributes to a circular economy and more sustainable world.
- Get involved within your community. Connect with local recycling programs and stay updated on your area’s recycling guidelines by visiting recyclecheck.org.
Photo courtesy of Shutterstock
SOURCE:
Amcor Rigid Packaging
Our Lifestyle section on STM Daily News is a hub of inspiration and practical information, offering a range of articles that touch on various aspects of daily life. From tips on family finances to guides for maintaining health and wellness, we strive to empower our readers with knowledge and resources to enhance their lifestyles. Whether you’re seeking outdoor activity ideas, fashion trends, or travel recommendations, our lifestyle section has got you covered. Visit us today at https://stmdailynews.com/category/lifestyle/ and embark on a journey of discovery and self-improvement.
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College Life
Campus diversity is becoming difficult to measure as students keep their race and ethnicity hidden on college applications
When the Supreme Court struck down race-based admissions at American colleges and universities just over a year ago, many predicted U.S. campuses would become much less diverse. But in part due to students who decide not to disclose their race or ethnicity, coupled with universities’ selective use of statistics, it is not clear how much the decision has affected diversity on campus.
As higher education institutions begin reporting the racial makeup of the class of 2028 – the first to be affected by the 2023 decision – the data is hard to interpret, confusing and inconclusive.
As a sociologist who has studied how institutions of higher education collect and report data on race and ethnicity, I have identified some factors that contribute to this lack of clarity.
Students don’t identify with choices given
Some students may not select a racial or ethnic category because they don’t believe any of the categories really fit. For example, before multiracial students could select “one or more,” an option that became widely available in 2010, they were more likely to decline to identify their race or ethnicity. Some even boycotted checkboxes entirely.
Other students don’t view their race as important: 67% of the students who choose “race and ethnicity unknown” are white. Of these students, 33% say race and ethnicity are not a relevant part of their identity, a researcher found in 2008.
The number of students who don’t respond to questions about race or ethnicity – and are listed in the “race unknown” category – is increasing. At Harvard University, for example, the percentage of “race-unknown” undergrad students doubled from 2023 to 2024.
As the number of “race unknown” students grows, it not only becomes harder to determine a student body’s ethnic and racial diversity but also the impact of the ban on race-conscious admissions.
Fearing discrimination, students don’t disclose race
Some students believe their race or ethnicity will harm their chances of admission.
This is particularly true at many selective institutions, which have higher nonresponse rates than less selective institutions, about 4% compared with 1% to 2%.
My research shows that students are even more likely to pass on identifying race or ethnicity at selective law schools, where race and ethnicity could be used among a variety of criteria for admissions before the Supreme Court ruled against that practice. An average of 8% of students at those schools chose not to identify, compared with 4% at less selective law schools.
‘We’re very diverse’: University decisions distort statistics
What a university chooses to report will also affect the student body demographic data the public sees. Harvard, for example, does not report its proportion of white students.
Some institutions use statistics strategically to appear more diverse than they are. These strategies include counting multiracial students multiple times – once for each race selected – or including international students as a separate category in demographic pie charts. The greater the number of different-colored slices on the chart, the more demographically “diverse” an institution appears to be.
Impact of Supreme Court ruling: Clearer picture coming soon
While universities may not all report their student demographics the same way in their own materials, they all have to report it the same way to the federal government – namely, to its Integrated Post Secondary Education Data System, better known as IPEDS. The next IPEDS report on characteristics for the 2024 enrollment class is expected to be released in spring 2025. Once that data is available, a better picture of how the Supreme Court’s decision has affected diversity in college enrollment should emerge.
That clearer picture might not last long. In 2027, the federal government will require colleges and universities to make changes to how they report student race and ethnicity. Among the changes is the addition of a Middle Eastern and North African category. Under the current standard, Middle Eastern and North African students are counted as white. As a result, white enrollment at some colleges and universities will appear to decline after 2027.
The new standards will also change the way universities treat Hispanic or Latino ethnicity on enrollment forms. Today, if students self-identify as Hispanic and white, they will be categorized as Hispanic. If students select Hispanic and white in 2027, they will be categorized as multiracial. The revised categories will muddy the impact of the Supreme Court’s decision. A drop in the number of Hispanic students reported could be due to the court’s ruling. Or it may result from the new way students will be counted.
Until universities and colleges adjust to the new guidelines about collecting and reporting race – and as long as students decline to provide their racial identities – the full effect of banning consideration of race in college admissions will remain a cloudy picture at best.
Karly Sarita Ford, Associate Professor of Education and Sociology, Penn State
This article is republished from The Conversation under a Creative Commons license. Read the original article.
The Bridge is a section of the STM Daily News Blog meant for diversity, offering real news stories about bona fide community efforts to perpetuate a greater good. The purpose of The Bridge is to connect the divides that separate us, fostering understanding and empathy among different groups. By highlighting positive initiatives and inspirational actions, The Bridge aims to create a sense of unity and shared purpose. This section brings to light stories of individuals and organizations working tirelessly to promote inclusivity, equality, and mutual respect. Through these narratives, readers are encouraged to appreciate the richness of diverse perspectives and to participate actively in building stronger, more cohesive communities.
https://stmdailynews.com/the-bridge
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