The Bridge
Scrappy, campy and unabashedly queer, public access TV series of the 1980s and 1990s offered a rare glimpse into LGBTQ+ life
Last Updated on March 10, 2026 by Daily News Staff
“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
Author
New hybrid event aims to give grieving audiences meaningful holiday viewing, with films from more than 25 countries and a mission centered on love, loss, and emotional truth.
A new film festival debuting in late 2026 is taking a different approach to holiday entertainment. Grief Fest™: The Grief Film Festival, created by My Grief Angels Inc., is being introduced as what organizers believe is the world’s first film festival dedicated entirely to grief, remembrance, resilience, and healing.
The hybrid festival will run in two segments: November 25–29, 2026, during Thanksgiving week, and December 24, 2026, through January 3, 2027, during Christmas and New Year’s. Top Honors films will be announced on December 31, 2026.
Organizers say the timing is intentional. Research cited in the announcement shows that grief and loneliness are major holiday stressors for many Americans, making the season especially difficult for people coping with loss. In that context, Grief Fest™ is positioning itself as an alternative to the flood of traditional feel-good holiday programming.
The festival is open to short films, features, documentaries, experimental work, AI-generated projects, and VR experiences. It is described as inclusive, non-religious, and LGBTQ+ friendly, with submissions already received from more than 25 countries. All films will be presented in English, either spoken or subtitled.
Grief Fest™ will be available both in person and virtually through Film Festival Plus, making it accessible to audiences worldwide. The launch of GriefFest.com also includes Lumen, a multilingual AI guide designed to help filmmakers and attendees navigate the festival in their preferred language.
Rather than focusing on industry prestige, organizers say the festival is centered on community and emotionally honest storytelling. For audiences who feel unseen during the holidays, Grief Fest™ is aiming to offer something rare on the seasonal screen: recognition.
Source: PR Newswire
Related Reading
- Grief Fest: Official festival site
- My Grief Angels Inc.: About the nonprofit behind the festival
- Film Festival Plus: Virtual access platform
Catch the latest in movies, TV, music, pop culture, and live events in STM Daily News’ Entertainment section.
Space and Tech
Astronaut Victor Glover is the latest in a long line of Black American explorers − including York, the enslaved man who played a key role in the Lewis and Clark expedition
Last Updated on April 10, 2026 by Daily News Staff
Craig Fehrman, Indiana University
Astronaut Victor Glover
In April 2026, four astronauts are scheduled to fly around the Moon. As part of NASA’s Artemis II mission, they will become the first humans to do so in half a century. One crew member, pilot Victor Glover, will become the first Black astronaut to ever orbit the Moon.
Glover’s achievement is worth celebrating. But it’s also worth remembering that he belongs to a long and underappreciated history. America’s first Black explorer didn’t fly an Apollo rocket or sail with the U.S. Exploring Expedition. He traveled with Lewis and Clark, and he was known by a single name: York.
I’m a historian who spent five years writing a book about Lewis and Clark, and I found new documents that show York was one of the most important people on their expedition. Even in a party that could number as many as 45 men, York stood out – for his courage, his skill and his sacrifices that helped the famous captains reach the Pacific Ocean.
York’s life as a slave
York was born in Virginia around 1770. Growing up, he was a creative and sociable child, unusually tall with dark hair and a dark complexion – “black as a bear,” a contemporary noted.
He was also enslaved by the Clarks. William Clark, who was around the same age, was also unusually tall, though his hair was a rusty red, and sometimes the boys played together. But the playing stopped once York turned 9 or 10. That’s when he joined the adult slaves in working full time. That’s also when he began to note the differences between his life and William’s – differences that became only clearer once William started ordering him around.
In the 1780s, the Clark household headed to Kentucky. York met a Black woman there and married her. He also became William’s “body servant.”
A body servant was a slave who stayed close to his owner and prioritized his comfort, laying out his clothes and serving his meals. When Meriwether Lewis asked Clark to join his expedition, in 1803, Clark ordered York to accompany him.
Perhaps York was excited for this adventure. Perhaps he was not – it would be punishing, and he would be separated from his wife.
Either way, York didn’t have a choice.
The Corps of Discovery
York proved his worth from the start. Once they reached St. Louis, the soldiers, later known as the Corps of Discovery, rushed to raise winter quarters. Working in hail and snow, York and the others built log huts. They needed rough planks for their tables and bunks, but the carpenters had only a single whipsaw to make them. They chose two men to operate this crucial tool. One of them was York.
On May 14, 1804, the corps began ascending the Missouri River. York helped row and tow the party’s barge, which was the size of a semi-truck trailer. He carried a rifle and hunted – according to the expedition’s journals, he was only the fifth named member to bring down a buffalo. York cooked for the captains. He collected scientific specimens. He nursed the sick, including several soldiers and, later on, Sacagawea, a Shoshone woman who would also prove essential to the expedition’s success.
The soldiers were not always kind in return. During this period, officers rarely brought along enslaved body servants. York’s race probably made some of the men angry or uncomfortable. One day, someone threw so much sand in his face that it nearly blinded him. Clark claimed it was “in fun,” but he also wrote that York was “very near losing his eyes,” and no one else got cruelly sprayed with sand.
That fall, during councils with Native leaders, York played a surprising and vital role. The Arikara, Mandan and Hidatsa all crowded in to see him and to touch his skin. They had never met a Black person before, and York showed off his strength and played with the Native children. Later, the Arikara said York was “the most marvelous” thing about the corps.
The next year, the expedition crossed the Rockies and the Continental Divide. York’s most important – and most overlooked – contributions came soon after. On the Columbia River and its tributaries, the party had to dig out five new canoes and then paddle them through treacherous rapids.
Lewis and Clark allowed only their best rivermen on these foaming, rock-riven waters. One of them was almost certainly York. During my research, I found an unpublished letter in which Clark praised York’s ability to “manage the boats.”
Just as important, York was a strong swimmer, a rare thing in an era when many people never learned to swim.
York’s life as an explorer
On the Columbia River, the corps survived a series of terrifying choke points – soggy hazards they referred to as the “Long Narrows” and the “Great Chute.” After that came the ocean. They had traveled together for more than 4,000 miles (6,400 kilometers), and when the captains asked the men to vote on where to put their final winter quarters, they made sure to ask York, too.
It was the latest sign that his role had changed during this epic journey. But those changes began with York. In the West, he found ways to make choices and assert himself. He sent a buffalo robe to his wife in Kentucky. When Clark told him to scale back his performances for Native people, York ignored him – because he wanted to, and because he could.
York’s vote was also evidence that, like Victor Glover today, he was an official American explorer, a key member of a sprawling, federally funded mission. From 1804 to 1806, the government devoted a larger percentage of its budget to the corps than it devotes to NASA today.
Part of that money was earmarked for York. The Army gave officers who brought along their slaves a monthly ration or its cash equivalent. When the corps made it home, the government paid US$274.57 for York’s labor, a sum similar to what the privates received. But that money didn’t go to York. It went to Clark.
The hidden history of Black explorers
There have been many Black explorers in American history. Thomas Jefferson launched other expeditions besides Lewis and Clark’s, and those expeditions also included enslaved people, though their names have not survived. Isaiah Brown served on the Wheeler Survey, which mapped the West in greater detail after the Civil War. Matthew Henson accompanied Robert Peary on his Arctic expeditions, which received some federal support. More recently, NASA has depended on Black astronauts such as Guy Bluford, Mae Jemison and Jeanette Epps, among others.
York and Victor Glover are, for now, the first and most recent examples of this inspiring tradition. But their contributions go beyond that. When the captains asked York to vote on the winter quarters, they were acknowledging in some small way that he’d proven he was more than a body servant.
Of course, York had always been more than that. It just took 4,000 miles for Lewis and Clark to see it.
Craig Fehrman, Adjunct instructor at the Media School, Indiana University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
🧠 Forgotten Genius Fridays
A Short-Form Series from The Knowledge by STM Daily News
Every Friday, STM Daily News shines a light on brilliant minds history overlooked.
Forgotten Genius Fridays is a weekly collection of short videos and articles dedicated to inventors, innovators, scientists, and creators whose impact changed the world—but whose names were often left out of the textbooks.
From life-saving inventions and cultural breakthroughs to game-changing ideas buried by bias, our series digs up the truth behind the minds that mattered.
Each episode of The Knowledge runs 30–90 seconds, designed for curious minds on the go—perfect for YouTube Shorts, TikTok, Reels, and quick reads.
Because remembering these stories isn’t just about the past—it’s about restoring credit where it’s long overdue.
🔔 New episodes every Friday
📺 Watch now at: stmdailynews.com/the-knowledge
🧠 Now you know.
As the United States moves toward the 250th anniversary of its independence, a new public storytelling project is asking Americans to answer a big question: what does the American Dream mean today?
McCourt Entertainment has launched America-Dreams.com at SXSW as a digital platform designed to collect video submissions from people across the country. The goal is ambitious: gather one million voices reflecting on hope, opportunity, and what Americans want the future of the country to look like.
The initiative is tied to AMERIGO, an upcoming documentary presented by South Florida PBS and distributed by American Public Television. The film, which will be available to PBS stations nationwide beginning in June as part of 2026 programming tied to the nation’s 250th anniversary, explores the past, present, and future of the American Dream through conversations with people across the United States.
According to the project team, selected user-submitted videos may become part of the broader AMERIGOstorytelling effort, turning the campaign into more than a promotional rollout. Instead, it is being framed as a living archive of public voices gathered during a milestone moment in American history.
South Florida PBS President and CEO Dolores Fernandez Alonso said the goal is to make the anniversary feel inclusive and participatory.
“To celebrate the 250th anniversary of America’s independence, we wanted to do something truly remarkable and invite all Americans to share their hope for the American Dream at America-Dreams.com,” Alonso said. “We are extremely proud of the cross-section of voices from across our nation and we want to capture these stories, experiences and perspectives so that people feel included in this historic national conversation.”
Emmy Award-winning producer David McCourt said the project builds on the documentary team’s nationwide reporting.
“As the United States approaches its 250th anniversary, this project asks a simple but powerful question: ‘What is your hope for the American Dream?’” McCourt said. “We want to hear directly from people across the country.”
The campaign arrives at a moment when interactive documentary projects and audience participation are becoming a larger part of public media storytelling. With AMERIGO, the combination of a PBS documentary and a nationwide video submission initiative gives the project a broader cultural footprint than a traditional film release.
Submissions are now open at America-Dreams.com. A trailer for AMERIGO is also available on Vimeo.
For entertainment audiences, the project stands out less as a conventional documentary launch and more as a large-scale invitation to participate in a national media moment ahead of America’s semiquincentennial.
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