A Reason For PRIDE:

The Oral Histories of the AIDS Crisis

The voices of artists and activists illuminate the human experience behind the AIDS epidemic.

From a photograph of David Wojnarowiczโ€™s audio cassette tapes, 1987-89 and undated inย Voice=Survival, 2017 viaย JSTOR

By:ย Liz Traceyย 

When approaching recent historical events, where the scope of destruction and loss can be unfathomable in scale, oral history can bring both connection and immediacy through individual stories of loss, grief, rescue, or triumph that would otherwise disappear in the grand sweep of โ€œGreat Men and their Deeds.โ€

Scholar Indira Chowdhury describes the approach:

[T]he method enables the documentation of certain aspects of historical experience that are often missing from other kinds of historical sources. Oral historians not only interview and engage in conversation with living sources, they also find themselves challenged in a unique wayโ€”the historian is transformed into a protagonist in the dialogue. Oral history is perhaps the only field where the sources talk back to the historian, confronting, disputing, disrupting, and sometimes resisting the historianโ€™s understanding of the past (Frisch 1990; Shopes 2012). Oral history works with the interviewee as a partner in dialogue and the verbal form historical truth can take is always co-constructed (Cook and Goodall 2013; Goodall and Cadzow 2009; Portelli 1991).

Some of the most effective (and affecting) projects using this approach concern communities that may be far outside of the audienceโ€™s experience, whether due to time, geography, or identity. Works like Shoah by Claude LanzmannHard Times by Studs Terkel, and Boots of Leather, Slippers of Gold by Elizabeth Lapovsky Kennedy document their subjects through the voices of those who lived through specific moments and events that can be overwhelming or remain unknown without a more interpersonal method.

โ€œMany of the best works about this disease have been produced by people at various stages of HIV infection.โ€

The history of the HIV/AIDS epidemic has recently become the subject of numerous oral history projects, where the stories of survivorscaregiversactivists, and health care professionals have been collected and made available online, traditionally published, and edited into documentaries.

One such collection, Visual Arts and the AIDS Epidemic, was begun in 2015 by the Smithsonian Archives of American Art after receiving a grant from The Keith Haring Foundation. Haring founded the foundation in 1989, a year before his death from HIV-related illness, to maintain his artistic and philanthropic legacy. The project interviewed forty artists about their lives, their work, and how the AIDS crisis intersected and permeated both.

The interviews in the Visual Arts and the AIDS Epidemic collection cover wide ranges of personal and creative history, ranging from insider gossip and โ€œname-droppingโ€ to theoretical discussions of method and art history. They benefit from interviewers who bring their own experience as artists, art scholars, and historians to the conversation, with questions and insights that make this collection a rich multifaceted history of AIDS, the arts, and activism.

In his 1990 article, journalist Richard Goldstein wrote about the deep relationship between art about AIDS and its creators. โ€œOne senses in much art about AIDS a sense of familiarity with its subject,โ€ Goldstein writes,

as if the artist were immersed in dealing with the epidemicโ€”as so many are. Many of the best works about this disease have been produced by people at various stages of HIV infection. Perhaps they have lost a lover, nursed a dear friend, or attended a dozen funerals at a young age, and feel themselves to be, in every sense, set apart by the experience. They are implicated. Their art signifies a collective traumaโ€”mass death in the midst of life.

Reveal Digital, an initiative โ€œto amplify important, long-overlooked voices of the twentieth century,โ€ has made these histories, and more, available in their developing open access collection HIV, AIDS and the Arts. 

Artists in The Early Years of the Epidemic

โ€œI still canโ€™t believeโ€”I still donโ€™t believe that AIDS even existed and wiped out our community in the โ€™80s, just wiped off our community from the history. Itโ€™s unbelievable to me. Everybody who held myโ€”who carried my history is dead.โ€ โ€”Nan Goldin

The initial public responses by the US government to the first years of the epidemic were jokes at the expense of the ill at press conferences. President Reagan didnโ€™t publicly say the word โ€œAIDSโ€ until 1985, four years after the first reported cases and two months after family friend Rock Hudson died of AIDS-related complications. That same year, Ryan White, a hemophiliac teenager with AIDS in Indiana, was prevented from returning to school after his diagnosis, and his family had to move after someone shot into their home.

One year later, William F. Buckley published a New York Times op-ed calling for HIV-positive people to be tattooed on the upper arm and buttocks to protect others (assuming that would protect both future sexual partners and intravenous drug users who might share needles).  News reports about the disease largely focused on fear of contagion, the promiscuity and danger of gay men, and the threat of HIV to โ€œnormalโ€ Americans.

Information about treatments for the many opportunistic infections that HIV made people vulnerable to was gathered in the early years by those under threat. Newsletters like โ€œAIDS Treatment Newsโ€ were photocopied and sold at LGBTQ bookstores, and buyers clubs imported potential treatments not yet approved by the Food and Drug Administration or available in the US. These groups and others, working with health care providers, had to become experts and educators at a time when US Congress was successfully prohibiting the use of funding from the Centers for Disease Control for education and prevention materials that would โ€œpromote or encourage, directly or indirectly, homosexual activities.โ€

In the interviews gathered in the Visual Arts and the AIDS Epidemic collection, artists describe how they first became aware of AIDS: from a loved one diagnosed after an illness; from hearing of a friendโ€™s passing after not seeing them for a while; from a doctor telling them to stay with a partner because โ€œthereโ€™s something going aroundโ€; or by learning of their own diagnosis. Friends were lost to the disease, and surviving family members denied the illness or sometimes actively excluded partners from funerals.

(To Read More Of These Pages Following, Click Through To The Article, Then Click On The Page Images.)

Sur Rodney (Sur), a New York City-based writer, gallery co-director, and archivist, relates that the late artistย David Wojnarowiczย would go to his local bodega in New York City where the clerks returned his change in a paper bag, out of fear. He describes his own anxieties when stepping in after a friendโ€™s death to help save and archive their artworks and collections so they wouldnโ€™t be destroyed (before there were nonprofit organizations to do so).

These personal experiences unfolded within the larger context of governmental indifference, active discrimination against people with the disease (or belonging to groups that were deemed โ€œat riskโ€), and a growing consciousness of the political landscape of the epidemic. Robert Vasquez-Pacheco, a member of ACT UP and Gran Fury, recounts,

as I was becoming more and more politically aware, I became more and more pissed off, you know, because I was seeing. I was beginning to understand how women were being treated. I had an understanding, a firsthand understanding, of how people of color are treated, you know, because I knew that. But then I started to understand the institutional stuff and all of that, and consequently, as a gay man. So I started to put all of this stuff together and I was just super pissed off.

Some version of this process, repeated for many of the subjects, led people to activism, whether through art, volunteer work, protest, or sometimes all three. Nancy Brooks Brody (1962-2023), a visual artist and member of the fierce pussy collective, describes the progression in her interview.โ€œBecause when people were dying,โ€ she explains,

we just kept going. [โ€ฆ] You went to a funeral, and then you were out on the streets. Or you were at a meeting, and then you went to a hospital to take care of someone and feed them. Feed someoneโ€™s cats, walk their dog, help someone move. You know? These things justโ€”we didnโ€™t have anyโ€”I didnโ€™t have any room or perspective on it. It was just what was happening.

The meetings she, and others, refer to were those of ACT UP New York (The AIDS Coalition to Unleash Power), which began in 1987 at a community meeting where Larry Kramer asked, โ€œHow long does it take before you get angry and fight back?โ€ Kramer, a playwright and essayist who had been covering AIDS since the beginning through journalism, had co-founded the non-profit Gay Menโ€™s Health Crisis in 1982. His play The Normal Heart, an impassioned call to action, spurred members of the audience to meet and subsequently take part in one of the most significant and effective activist movements of the twentieth century.

Creating Art in an Epidemic

The artistic works of those interviewed are diverse, both in media and approach: photographing people living with AIDS, using dรฉtournement to turn existing works into calls to action via graphic design, or using their body to confront audiences with the existence of the disease through performance. In some cases, their illness became an essential component of their art: John Dugdale, a former commercial photographer, began using nineteenth-century methods to capture and produce his work after HIV-related retinitis and a stroke left his sight significantly impaired. Ron Athey, one of the NEA Four, used his own HIV-positive body to create work exploring sex, trauma, and desire. The place of the artist within (or outside) a community could become a contentious issue, especially at a time when representation of people with AIDS was so fraught.

Rosalind Fox Solomon, whose 1988 show Portraits in the Time of AIDS featured photographs of the subject alone or with loved ones, some with visible lesions or in the hospital, relates that her project was critically panned and called โ€œexploitativeโ€ at the time.

As another โ€œoutsiderโ€ to the communities she photographed, Nan Goldin reports that she encountered similar criticism for her exhibition The Ballad of Sexual Dependency, despite her immersion in the cultures she documented. In the book of the collected photographs, she writes, โ€œIโ€™m not crashing; this is my party. This is my family, my history.โ€

Some of the most vibrant, and now iconic, images of AIDS were created as (and for) protest: Silence = Death, the work of the Silence = Death Collective (and not ACT UP, as Avram Finkelstein relates in his interview) became the primary pictorial representation of ACT UP and a rallying slogan for the fight against the disease. Keith Haring did his own take on it for a poster, adding โ€œIgnorance = Fearโ€ to a โ€œSee No Evil, Hear No Evil, Speak No Evilโ€ scene.

Collectives like Gran Fury and fierce pussy, which organized inside the ACT UP activist group, created posters for wheat-pasting that served as art, education, and calls to action around AIDS, homophobia, health care, and visibility. Whether newsprint works of textguerrilla-installed bus station โ€œads,โ€ or rolls of stickers of bloody hands announcing โ€œOne AIDS Death Every 10 Minutes,โ€ the art of AIDS activism used any means available to communicate the urgency of the crisis.

The Visual Arts and the AIDS Epidemic collection demonstrates the power of oral history to preserve not just historical events, but what it felt like to live in the moment and survive it when so many people did not. Together with Reveal Digitalโ€™s HIV, AIDS, and the Arts archive, the collection ensures that these voices, experiences, and creative histories continue to be available to inform and educate future generations.

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This is how I am going to address ANTI-LGTBQ+ Christiansโ€ฆ

I really enjoy how well someone who knows the bible and the meaning of the words of Jesus can turn the bible bashers arguments around on them to show support for the oppressed minorities.ย  Hugs

‘We do not accept it’: Family reacts to acquittal in fatal shooting of 14-year-old Cyrus Carmack-Belton

This is pure racism and entitlement.ย  The boy put the bottles of water back.ย  But even if he had not does stealing bottles of water rate or equate to a death penalty performed by a civilian?ย  This is clearly an extra juditiacal killing.ย  No judge or jury just a store owner and his son angry thinking a kid stole from them deciding to end his life.ย  This automatic killing of Black people with no evidence has to stop.ย  ย Black Lives Matter. Hugs


 

https://abcnews.com/US/accept-family-reacts-acquittal-fatal-shooting-14-year/story?id=133533029

Chikei Rick Chow shot the 14-year-old in the back in May 2023.

June 2, 2026, 8:41 PM
Gas station owner charged in shooting death of 14-year-oldRick Chow, 58, has been charged with murder after allegedly killing Cyrus Carmack-Belton in Columbia, South Carolina, on Sunday, police said.

The family of Cyrus Carmack-Belton expressed their indignation towards a South Carolina juryโ€™s decision on Tuesday to acquit Chikei Rick Chow in the 2023 fatal shooting of the Black 14-year-old.ย 

โ€œYesterday a jury watched our 14-year-old boy run away from two grown men on video. They knew one of them shot him in the back and they still said no one is to blame,โ€ the family said in a statement first released to ABC News. โ€œWe are heartbroken. We do not accept it. Cyrus stole nothing. He was a child, and he was running for his life. Our son mattered.โ€

Chow, a 61-year-old store owner, shot the 14-year-old in the back outside of his Columbia, South Carolina, store in May 2023. He and his son were seen chasing Carmack-Belton outside of the store in video leading to the incident. Chow was charged with murder and denied bond multiple times before his acquittal.ย 

PHOTO: An image of Cyrus Carmack-Belton is displayed in court during the murder trial against his shooter, Chikei Rick Chow, a convenience store owner accused in the 2023 fatal shooting of the 14-year-old, on June 1, 2026, in Columbia, S.C.
An image of Cyrus Carmack-Belton is displayed in court during closing arguments in the murder trial against his shooter, Chikei Rick Chow, a convenience store owner accused in the 2023 fatal shooting of the 14-year-old, on June 1, 2026, in Columbia, S.C.
Erik Verduzco/AP Photo

Prosecutors alleged that Chow acted out of a false belief that Carmack-Belton had shoplifted four bottles of water from his store. The defense claimed that Chow acted to protect his son, after allegedly seeing Carmack-Belton point a gun at him.

“On behalf of the Chows, we’re very pleased at the jury’s deliberations and their verdict,” attorney Jack Swerling said in a statement to ABC News. “We think it was the appropriate verdict in this case, although it was a difficult decision to come to, because you have two different stories, two extreme differences.”

Video obtained by ABC News shows that Carmack-Belton returned the bottles of water in question and did not steal anything from the store. A 9mm pistol was found next to Carmack-Belton, with prosecutors saying it was in his possession during the chase, and it had fallen to the ground at some point.

In this June 1, 2023, file photo, mourners stop by a memorial to Cyrus Carmack-Belton, in Columbia, S.C.
Jeffrey Collins/AP, FILE

As the verdict was read in the courtroom, members of the Carmack-Belton family and the audience were seen breaking into sobs.ย 

In their statement Tuesday, Carmack-Beltonโ€™s family drew a connection between their case and a larger history of violence against the Black community. โ€œBlack families have stood right here too many times โ€” burying our children and then being told the law sees nothing. We feel every bit of that today,โ€ the family said.

PHOTO: Troy Belton, center, father of Cyrus Carmack-Belton, reacts after a not guilty verdict against Chikei Rick Chow, accused in the 2023 fatal shooting of his 14-year-old son, during a murder trial, on June 1, 2026, in Columbia, S.C.
Troy Belton, center, father of Cyrus Carmack-Belton, reacts after a not guilty verdict against Chikei Rick Chow, a convenience store owner accused in the 2023 fatal shooting of his 14-year-old son, during a murder trial, on June 1, 2026, in Columbia, S.C.
Erik Verduzco/AP Photo

โ€œTo everyone hurting with us: honor Cyrus in peace. We will not stop. Weโ€™re taking this fight to civil court, and we will not rest until our sonโ€™s life is given the dignity this verdict denied him,โ€ the family added.

According to family attorney Todd Rutherford, the family filed a civil lawsuit against Rick Chow in Richland County, which was put on hold until the conclusion of the criminal case.ย 

ABC News’ Ben Stein contributed to this report.

Somebody Did It-No One Has To Walk Alone ! ๐Ÿณโ€๐ŸŒˆ

An Archive of Queer Catholic Histories Didn’t Exist. So I Made One

By Emma Cieslik

When I was coming out of the closet, I was looking for someoneโ€”anyoneโ€”to share about their experience of coming out as a queer woman raised Catholic.

Any stories I found about reconciling queerness and Catholicism came from the perspective of gay white men. I could not find any accounts of Catholic women, nor could I find stories about deconstructing purity culture as a queer Catholic. But I knewโ€”or rather, had faithโ€”that I couldnโ€™t be alone. So in 2021, I reached out to Bernie Schlager, executive director of the Center for LGBTQ & Gender Studies in Religion at the Pacific School of Religion, and asked if there were any archives, projects, or books that shared my own experience. 

Schlager confirmed my suspicions: No such archives existed. But he invited me to begin the work of making an archive. I jumped at the suggestion. After all, I felt a need to find and hear other peopleโ€™s stories, and I also had the skill set to conduct these interviews, having worked on oral history projects in the past. Maybe it was my calling to create an archive of queer and trans people grappling with their identity and how it related to Catholicism. 

In 2022, I founded the Queer and Catholic Oral History Project. The purpose of this project is to record stories of queer and trans people who have some connection to Catholicismโ€”whether they were born into it, converted to it, left it, or returned to it. So far, Iโ€™ve recorded over 100 interviews with LGBTQ+ clergy and laypeople who are proud to let the Catholic Church know that they exist, even if the church continues to bar them from being full members of the faith.

And as Iโ€™ve discovered, I am not alone in searching for queer Catholic stories as a way to find and affirm my place within this tradition. 

As Justin Telthorst, a gay Catholic man who runs the LGBTQ+ Catholic ministry Empty Chairs, shared with me after his interview, many people reached out to him seeking stories of LGBTQ+ Catholics, but he didnโ€™t know where to direct them until he learned about my project. 

Theyโ€™re not alone. Philip Calabro, a gender-fluid Catholic drag queen and employee of PFLAG, an LGBTQ+ advocacy organization, explained his own search for representation in his interview: โ€œOne thing I find myself doing pretty consistently is looking for other queer Catholics who are existing as queer Catholics because I want to know how they do it,โ€ Calabro said. โ€œBecause I know it is possible. I can feel it.โ€

Like me, Calabro had faith that we were not the only ones navigating these identities. And what I will say after working on this project for five years is that learning how other people hold these two identities together only strengthens my belief in the importance of recording our histories and the transformative power of an all-inclusive gospel. 

Often, anti-LGBTQ+ Christians claim that queer and trans people did not exist before the 20th century, or that modern LGBTQ+ inclusion or theology is shallow because it is rooted in cultural trends rather than the deep wells of the Christian tradition. But itโ€™s less a matter of us not existing, or of there being no evidence that we have always been part of religious communities, than of certain terms only coming into use as societyโ€™s understanding of gender and sexuality expanded.

Sister Eva Lynn Goode, a nonbinary and Catholic Sister of Perpetual Indulgence, shared the following with me in their interview: โ€œI come from a long line of queer people in church history, and I am blessed to continue that tradition.โ€ They are not wrong. As I dig into contemporary queer Catholic histories, Iโ€™ve learned that there are many saints throughout church history whom people today consider queer and trans. These saints are recognized by the institutional church, but their queerness is not. Although they would not have known or claimed these terms, modern queer historians identify these saints as queer and trans ancestors who lit the way for LGBTQ+ people living today. 

Perhaps the best example is queer Catholic author, teacher, and medievalist A.W. Strouse, who believes that their queerness cannot be separated from their spirituality. In fact, as they shared in their interview, being queer is a spiritual vocation.

โ€œI donโ€™t really see them as being distinct,โ€ Strouse explained. โ€œI think that being queer just saturates everything, and being a believer also saturates everything. And I know many people would find this sacrilegious, but I think that being gay for me is a spiritual vocation. I think that itโ€™s my mission to love other queer people. And I mean, talk about loving your neighbor. If thereโ€™s anyone more destitute and in need, it is other queer people.โ€

LGBTQ+ Catholic lay minister and lawyer Yunuen Trujillo agreed that her visibility is an urgent testament to and a call to return to the gospel teachings of love and inclusion in her interview. โ€œI think God made me an LGBTQ person for a reason, and I think that reason was to call the church back to its roots and to be able to show the church that weโ€™re not supposed to be a church of power and dominance and exclusion, but weโ€™re supposed to be a church of love and care,โ€ she explained. โ€œI think they fit perfectly, even though the church might not agree.โ€

For some people, their faith is only deepened by their identities. As they came to understand themselves more fully, they grew spiritually. In finding queer and trans spiritual ancestries, they realize and affirm the divinity and dignity in themselvesโ€”and connect more deeply with Catholicism. 

In her interview, Madeline Marlett, a trans Catholic woman and board member of the LGBTQ+ Catholic organization DignityUSA, explained that she returned to the faith after stepping away from the church for a period of time. โ€œIt wasnโ€™t until part of the way through transitioning that I felt like I wanted to reconnect with my faith,โ€ she explained, โ€œso that kind of brought me back into Catholic spaces, helped me find dignity.โ€

Itโ€™s one of the reasons many queer and trans Catholics I speak to are often very literate in church dogma and the catechism. After fighting against bigoted members of the church to live how they want and love whomever they want, they have a fuller understanding of gospel teachings and Catholic theologies of the body

For transmasculine Catholic artist Elliott Barnhill, who creates icons of queer saints online, learning about the fields of queer theology and queer biblical studies was critical. โ€œItโ€™s really important for me in my coming out experience, my own acceptance of Catholicness in myself,โ€ he said in his interview. โ€œI have a very strong interest in the way that this fits together, that queer lives and deaths can be found in Catholic history and the way that echoes back to the present day. I believe that this history is a form of good news, and is a form of Gospel.โ€

Itโ€™s important to note that not all of the people I interviewed are still Catholic or align themselves with the Roman Catholic Church. The project is a testament to the diverse experiences of many queer and trans people raised in Catholic homes, communities, and cultures. 

Documenting our queer religious histories and educating the Catholic church about its queer members is, on the one hand, a way to resist the homophobia in our tradition and, on the other hand, a way to honor the LGBTQ+ ancestors and contemporaries who have and are charting pathways forward inside and outside of the church. Their testimony brings attention to the harm that the church has caused, but it also brings attention to the fact that there are people committed to the church even if it rarely loves them back. For those who choose to stay, they live the gospel truth just by showing up as themselves. 

Ultimately, my hope is that the Queer and Catholic Oral History Project will offer future queer Catholics what I didnโ€™t have when I was coming out: an archive of stories to remind queer Catholics that we can change things and that we have always and will always exist.

Emma Cieslik

50 Years Ago In Pride History

50 Years Ago, Dykes on Bikes Rode to the Front of Pride. Their Engines Are Still Hot

We ride along with the legendary, leather-clad lesbians โ€” and take a trip through their history.

By Ana Osorno

The first sound you hear at San Franciscoโ€™s annual Pride Parade is the revving of hundreds of motorcycles. Atop them the most glorious dykes youโ€™ve ever seen, bedecked in leather. They slowly coast down Market Street, as joyful as they are queer, waving to thousands of spectators as they kick off the procession. But that wasnโ€™t always the case.

In 1970, San Franciscoโ€™s first-ever Pride celebration took place on Polk Street, with a small group of LGBTQ+ people organizing to mark the first anniversary of the Stonewall Riots in New York City. What began as a small word-of-mouth event grew rapidly, turning into the Christopher Street West celebration by 1972 โ€” which drew some 2,000 participants and 15,000 spectators โ€” and then the Gay Freedom Day Parade.

But in 1976, something magical happened that would forever change the trajectory of queer history. During the Gay Freedom Day Parade, a group of brave, motorcycle-riding lesbians made a seemingly inconsequential and impromptu decision to move their bikes to the front and claim their space.

โ€œThere were some women on motorcycles and they were in the middle of the parade, behind a bunch of men, and they wanted to be at the front,โ€ current Dykes on Bikes president Kate Brown, who uses she/they pronouns, tells me. โ€œIt was that movement of just being up and in front and loud and proud. And it was a moment of courage and lesbian dignity and owning that. Somebody coined the name Dykes on Bikes and our paper, theย San Francisco Chronicle, picked it up and ran with it. And we have been known as Dykes on Bikes ever since.โ€

Their faces reflected in the motorcycle mirror under a Pride flag, a pair of women in the ‘Dykes on Bikes’ group wait, in the Castro District, for the start of the International Lesbian & Gay Freedom Day Parade, San Francisco, California, June 26, 1988. (Photo by Bromberger Hoover Photography/Getty Images)Bromberger Hoover Photography/Getty Images

Today, the San Francisco Pride has grown far beyond its humble beginnings, with an estimated one million people celebrating, protesting, and marching in 2025. The rainbow Pride flag โ€” the global symbol of LGBTQ+ joy and resistance โ€” flies over all the proceedings, first raised by creator Gilbert Baker in 1978 in this very city and now ubiquitous around the world. The Dykes on Bikes have multiplied as well.

The first time I ever glimpsed a group of queer women on bikes โ€” whom I would later learn were affiliated with The Sirens MC โ€” was in June 2025, but to say that I โ€œsawโ€ them would be an understatement. I was attending the Brooklyn Pride parade with friends when a group of older butches on motorcycles rolled up, engines humming, and invited younger lesbians to hop on the back of their bikes. It was thrilling to witness.

But you donโ€™t just see Dykes on Bikes. No, you hear and feel them throughout your entire body. Itโ€™s an all-consuming experience. The noise of the engines fills your ears, and your legs feel like jelly beneath you as they make the ground shake through their sheer numbers. โ€œYou can’t look away, itโ€™s so powerful,โ€ Brooke Oliver, the lawyer for Dykes on Bikes, says. And then thereโ€™s the joy radiating off both the riders and the spectators who are lucky enough to be in their presence โ€” a pure feedback loop of mutual admiration. As someone who had grown up desperately wanting to ride a motorcycle when she was older โ€” thanks in large part to childhood joyrides around my uncleโ€™s neighborhood โ€” I was immediately in awe.

Little did I know that this would be the start of a thrilling adventure which would eventually lead to me sitting on the back of Big Butchโ€™s bike, coasting over the Golden Gate Bridge. But Iโ€™m getting ahead of myself.

That night in June of last year, as I was riding the subway home after the Brooklyn Pride Parade, still coming down from the exhilaration of the evening, I pulled my phone out, and like any good journalist would, began doing research. I learned that Dykes on Bikes would be celebrating its 50th anniversary in 2026 โ€” a major milestone packed with so much history, including a legal battle over the use of the term โ€œdykeโ€ that made it all the way to the Supreme Court.

โ€œIt’s incredible history, and I think every time we ride, whether itโ€™s in a Pride parade or whether weโ€™re putting our jacket with its patch on, it just resonates with us what that group of small women did,โ€ Brown says. โ€œTwenty Dykes on Bikes just moved to the front and said, โ€˜Weโ€™re here. Weโ€™re not going anywhere. Iโ€™m a dyke and Iโ€™m riding this motorcycle and nobodyโ€™s going to tell me I canโ€™t ride it.โ€™โ€ (snip-MORE, and it’s a Great read!)

Winning Elections Against Autocrats

Opinion M. Gessen

This Is the Formula That Defeated Orban. It Would Defeat Trump, Too.

By M. Gessen

Visuals by Mรกtรฉ Bartha

M. Gessen, an Opinion columnist, and Mr. Bartha reported from Budapest.

  • May 29, 2026

Leer en espaรฑol

Starting early in the morning on the second Saturday of May, first hundreds and then thousands of people gathered in the square in front of Hungaryโ€™s majestic Parliament building to celebrate the start of a new political era. This was the square where tens of thousands gathered in 1956 and 1989 to demand an end to the Soviet occupation and in 2006 to protest a discredited government. It was the square on which Prime Minister Viktor Orbanโ€™s regime imposed a major redesign more than a decade ago โ€” with traffic rerouted away, a large reflecting pool and raised beds installed, narrow pathways laid down โ€” apparently to ensure that no such mass gathering could take place again. Today it was the square where Peter Magyar, a former Orban loyalist, would be sworn in, promising a rebirth of democracy and liberty after 16 years of autocratic control.

Squeezing into the available spaces and gradually filling up nearby cafes and streets, the crowd absorbed people of all ages: young people who didnโ€™t remember a time before Orban and who had voted in unprecedented numbers; aging intellectuals who didnโ€™t think theyโ€™d ever celebrate their country again; multigenerational families who had arrived by bus after seeing Magyar in their hometowns and villages. During his campaign, Magyar had traveled to an estimated 700 locations, turning many of them into โ€œTisza islandsโ€ โ€” outposts of support for his party. By the end, Magyar was holding five or more rallies a day.

It had looked like an impossible quest. Orban and his cronies dominated the media, persecuted and smeared opposition politicians and changed election laws to benefit his party, Fidesz. Orban had seemed to achieve what the Hungarian sociologist and political theorist Balint Magyar (no relation) calls โ€œautocratic breakthroughโ€ โ€” the point after which itโ€™s impossible to unseat an autocrat using elections. Illiberal politicians from other countries made pilgrimages to Hungary to learn from Orban; CPAC, the gathering for American national conservatives, started staging an annual convention there; and Vice President JD Vance visited Budapest in advance of the election, in a show of support for Orban. And yet Hungarians handed Tisza not just a victory but a constitutional majority, enough power to reverse Orbanโ€™s changes to Hungarian laws and institutions. The triumph was stunning โ€” unique in our era of democratic backsliding โ€” and it holds clear lessons for the United States.

One obvious lesson of Peter Magyarโ€™s success lies in the scale, reach and relentlessness of his organizing network. โ€œThey had 2,000 Tisza islands with between 30,000 and 50,000 volunteers,โ€ Balint Magyar told me, in evident awe. โ€œJust in their call centers, they had 3,000 to 4,000 people in the last week of the campaign.โ€ We talked two days before the swearing-in ceremony, at his office in the spectacular but largely empty building of Central European University. In 2018, Orbanโ€™s government forced most of the universityโ€™s operations into exile amid an antisemitic scare campaign focused on the Hungarian American philanthropist George Soros, the C.E.U.โ€™s founder and principal funder. Some of Orbanโ€™s many other scare campaigns targeted migrants, โ€œthe Brussels elitesโ€ and L.G.B.T.Q. people. During the latest election campaign, billboards and A.I.-generated social media posts warned Hungarians they were in danger of being overtaken by Ukraine and only Orban could protect them. It should have seemed absurd โ€” it was absurd โ€” but outlandish xenophobic and antisemitic propaganda had served Orban well for years. It didnโ€™t work against Peter Magyar โ€” probably because so many Hungarians got to see him in person, many of them repeatedly. This is another lesson of his success: Old-fashioned in-person politics can be a powerful antidote to media fearmongering.

In his inaugural speech to Parliament, broadcast on giant screens set up around the square, Peter Magyar said that voters had handed him a mandate โ€œnot just to change the government, but to change the system. To start over.โ€

Magyar enumerated the ways in which Orban had damaged Hungary: a stalled economy in which a third of the population lives in poverty, inadequate health care, low-quality schools, child welfare institutions plagued by abuse, an atmosphere of hatred and fear. Orbanโ€™s regime had โ€œstolen from the common good of the Hungarian nation โ€” from the pockets of the Hungarian people, and from the tables of Hungarian children and the elderly,โ€ Magyar said, โ€œan estimated 20 trillion Hungarian forints,โ€ or some $65 billion, over the last decade and a half.

Previous opposition politicians had described Orbanโ€™s regime as โ€œcorrupt,โ€ a relatively mild term suggesting some aberration from the governmentโ€™s intended function. Peter Magyar made no such accommodation. Borrowing a term coined by Balint Magyar, he has called it a mafia state โ€” a fundamentally criminal enterprise. Third lesson: Donโ€™t mince words.

Instead of shrinking away from direct confrontation, he fortified himself against it. By getting elected to the European Parliament, in 2024, he secured immunity from prosecution in Hungary. When rumors circulated of an intimate video that would be used to blackmail him, he went on the offensive, accusing Orban of using โ€œRussian-style kompromatโ€ (no video was released). Knowing that he would probably be blocked from registering a new political party, he took over one that had become dormant. Even more important, instead of trying to build coalitions among other parties, he focused on conscripting as many actual people as possible, from across the political spectrum, ultimately building a giant organization capable of taking down Orbanโ€™s political monopoly.

One could say โ€” and some have โ€” that Magyar won at least in part because he was a former insider of Orbanโ€™s Fidesz party. But my interlocutors in Hungary emphasized that Magyarโ€™s credibility lay in the fact that he was not a member of the old opposition, whose policies had led to the discontent that made Orbanโ€™s rise possible and whose timidity had helped perpetuate Orbanโ€™s power. Thatโ€™s a lesson, too: The person best positioned to break the power of Donald Trump would not be an anti-Trump Republican but an outsider to the Democratic establishment, someone who can credibly claim that Trump didnโ€™t happen on his watch โ€” a Graham Platner rather than a Thomas Massie.

For all his tireless work over the last two years, Magyar did not create his political machine from scratch. Like Zohran Mamdani, Magyar excelled at converting potential supporters into campaign volunteers. An existing news distribution service provided an initial skeleton of the organizing network. A panoply of grass-roots protest movements joined, too. On the day of Magyarโ€™s inauguration, a parallel, smaller commemoration organized by the city of Budapest celebrated those organizations. One by one, people took the microphone to give a short speech about their cause and their part in the electoral victory: teachers who had organized against a unified state-dictated curriculum; a young man who spoke up against abuses in the child care system; a high school student persecuted for reciting an anti-Orban poem; organizers of Budapestโ€™s L.G.B.T.Q. Pride celebration. The speakers stayed onstage, gradually forming a crowd of the kind โ€” the many kinds โ€” of ordinary Hungarians who had ended the Orban era.

Thatโ€™s a fifth lesson: Grass-roots organizations that have little or no connection to electoral politics โ€” in the United States, that might be the networks formed by the No Kings rallies, ICE-resistance groups and so on โ€” can matter as much as or more than those already focused on winning votes.

Another lesson lies in the issues that motivated Magyarโ€™s voters. Hungaryโ€™s economy is a mess, but post-election polling by Median, an organization that had predicted election results with uncanny accuracy, shows that voters saw corruption as the most important issue by far. Asked why they thought Orban had lost, 49 percent cited corruption, and only 18 percent thought it was the โ€œworsening economic situation, rising cost of living.โ€ The next three reasons cited were โ€œliesโ€ (15 percent); โ€œfearmongering, war rhetoricโ€ (11 percent); and โ€œpeople got fed upโ€ (10 percent). In other words, Hungarians seemed to see the damage that Orbanism had done to the nation as more important than any harm they felt they had suffered as individuals. They were united by a sense of moral outrage โ€” โ€œvalue choices,โ€ as one person close to the incoming government described it to me.

Polls have consistently shown that even Fidesz voters generally want Hungary to stay in the European Union. Some surely just want the ease of travel and residency, but others probably have in mind the loftier ideals of the E.U., such as the rule of law, human rights and the essential purpose of the E.U., which is peace.

Hungary is one of the poorer countries in the union, and in the early years of his regime, Orban was able to use E.U. membership to secure funding, and thereby power, even as he railed against the Brussels bureaucracy. But in 2022, the European Union started withholding funding, citing corruption. And in 2024, after Hungary ignored a European Court of Justice ruling that compelled it to process asylum applications, the court ordered Hungary to pay 200 million euros and imposed a daily fine of 1 million euros. (When Orban refused to pay, Brussels deducted the money from E.U. funds earmarked for Hungary.) These actions didnโ€™t just hurt the Hungarian economy โ€” they also allowed Magyar to draw a causal connection between Orbanโ€™s policies and the well-being of ordinary voters. One of his major campaign promises was to unlock E.U. funding.

Hungary joined the European Union in 2004. The E.U. flag โ€” 12 gold stars on a blue background โ€” adorned the facade of the Hungarian Parliament building alongside the nationโ€™s red, white and green standard. But Orbanโ€™s politics, like the politics of most autocrats, was the politics of grievance. Under his regime, the E.U. flag was removed and replaced with the flag of the Szekelys, a Hungarian minority that found itself living in Romania when World War Iโ€™s victors redrew the regionโ€™s borders. Orbanโ€™s symbolic gesture helped fan resentment against the E.U. and what he claimed were a new generation of attacks on Hungarian sovereignty.

Peter Magyar scheduled his inauguration for Europe Day โ€” the 76th anniversary of the declaration that created the road map for a united continent. Before he was sworn in, the European flag was raised again. But the Szekely flag remained, signaling that Magyar seeks to represent all Hungarian citizens, including those who supported Orban. In some U.S. coverage, Magyar has been labeled centrist or right-of-center. What his politics actually are โ€” and this is another lesson of his victory โ€” is pluralist. (snip-MORE)

More For Pride:


Jessica Kellgren-Fozard
6 hours ago

Happy Pride Month lovely people! ๐ŸŒˆ

https://www.youtube.com/post/UgkxzqP2DqFtvQK9iQBY8IblzyZ3IS6B7Kso


There is a great deal of peace & justice history for June 1, that includes Sojourner Truth, the Greenwood massacre, Nazis, Sen. Margaret Chase Smith, The Lord’s Prayer in public schools and SCOTUS, and even more; here for PRIDE I’m featuring Henry Gerber. The link for the entire date’s history is beneath.

June 1, 1932
Gay rights organizer Henry Gerber published an article inย Modern Thinkerย magazine attacking the view that homosexuality is a neurosis.

In 1924, Henry Gerber, a postal worker in Chicago, started the Society for Human Rights, America’s first known gay rights organization.
“The Society for Human Rights is formed to promote and protect the interests of people who are abused and hindered in the legal pursuit of happiness which is guaranteed them by the Declaration of Independence, and to combat the public prejudices against them.”
After having created and distributed a newsletter called โ€œFriendship and Freedom,โ€ Gerber was arrested and held for 3 days without a warrant or being charged with any infractions. Upon release he lost his job for “conduct unbecoming a postal worker.โ€

Following the last of his three trials, in which the charges were ultimately dismissed, Gerber moved to new York City and re-enlisted in the U.S. Army, serving another 17 years. He lived until 1972, passing away at the the U.S. Soldiers’ and Airmen’s Home in Washington, D.C., living long enough to see the Stonewall Rebellion [seeย June 28, 1969], the beginning of the modern gay rights movement.
ย More on Henry Gerberย  (2 links; I’m including the 2d one because it’s a National Parks Services page, but it’s “in progress,” as we would expect in light of Exec. Orders…)

https://www.peacebuttons.info/E-News/peacehistoryjune.htm#june1

This Month In History,

Carson McCullersโ€™s debut novel,ย The Heart is a Lonely Hunter,ย โ€‹is published.

On June 4, 1940, the day her debut novel The Heart is a Lonely Hunter was published, 23-year-old Carson McCullers was alone in New York City. Sheโ€™d come with her husband to promote the book, but he was off sailing with a friend. โ€œShe knew almost no one in New York except the kindly older woman acquaintance who had found her the room,โ€ writes Mary V. Dearborn.  
“She was nearly penniless, but she had to scrape together enough money to buy something to wear to a meeting with her editor the next week. June 4 was a pause. On one side were Carsonโ€™s years growing up in provincial Columbus, Georgia, and the succession of Southern towns to which her husbandโ€™s job had called them. On the other side, she assumed, would be the exciting life of an author, living glamorously in New York City, meeting the writers, artists, and musicians who had peopled her fantasies.”
The Heart is a Lonely Hunterย was hotly anticipated, despiteโ€”or because ofโ€”its strangeness. โ€œIt did not fit any of the accepted and expected categories of mainstream fiction,โ€ Dearborn explains. โ€œIt was neither a love story nor a bildungsroman, it did not have characters whom readers could recognize as like themselves, it did not have a happy ending, and it did not have a single strong narrative line.โ€ It was a book about misfits, written by a misfit. But, importantly, McCullers was aย youngย misfit, and publishing has always loved nothing better than a wunderkind.ย โ€œReaders were flabbergasted to learn that this tour de force was the work of someone so young and, despite her gender-ambiguous name, a woman,โ€ writes Dearborn. โ€œIt was hard to believe she knew so much about the โ€˜lonely heartsโ€™ of others, said one critic. She seemed sui generis, unique, and as it turned out, as odd as some of her characters.โ€ Richard Wrightย compared her favorablyย to William Faulknerย andย Sherwood Andersonย andย Ernest Hemingway, and wrote that โ€œwhether you will want to read the book depends upon the extent to which you value the experience of discovering the stale and familiar terms of everyday life bathed in a rich and strange meaning, devoid of pettiness and sentimentality.โ€ย A lot of people wanted to read it. The novel became a bestseller, and McCullers, at least for a time, was offered entry into the artistโ€™s life of her dreams. โ€œI became an established literary figure overnight and I was much too young to understand what happened to me or the responsibility it entailed,โ€ she said later. โ€œI was a bit of a holy terror.โ€ Itโ€™s hard to hold it against her, though. By the age of 30 she would have had two major strokes; she died much too young, at 50, after a brain hemorrhage, leaving behind years of literary potential along with her enduring classics.ย 

ย Read an excerpt ofย The Heart is a Lonely Hunterย here.

Cataloguing Carson McCullers’ Clothes: Long Coats, Vests, and Gender Fluidity

Jenn Shapland on What She Found in the Writer’s Archives

(click through on here or the title/hyperlink just above to read more)

White Lion – When The Children Cry (Official Music Video)

I hate the YouTube algorithm and and myself more for giving into it and saving all the hateful abuse videos I get.ย  I am crying now trying not to alert Ron who is in the next room with the door between us open.ย  I had two open windows.ย  In one I had so many tabs of abuse that the algorithm pushed them to me because I occasionally watch them.ย  I deleted 8 of them before switching to the other open window.ย  What does YouTube think I need to see / hear after all that deleting and not watching all those videos?ย  The two videos below.ย 

Am I the one to blame but if so what does that say about all the vulnerable children who are led down hate rabbit holes?ย  At least the harm happening here is to me done myself aidded by the shit pushed into my feeds and I am so stupid that I click on them and leave the tab open while I try to move onto something else.ย  But eventually I end up coming back to the ones that hurt me so much.ย  Who is to blame?ย  As always in my life, as in my childhood … I am, and I have always been according to those that hurt me.ย  ย Goodnight.ย  Scottie.ย  Hugs

 

Looking At The Week Ahead With Joyce Vance

The Week Ahead

May 24, 2026

Joyce Vance

Itโ€™s 1984 again.

We have read George Orwell since the beginning of Trumpโ€™s first administration. Studied him through the eyes of experts like Ruth Ben-Ghiat, whose scholarship is in the field of authoritarianism. But nothing makes his relevance as plain as living through history in 2026.

โ€œEvery record has been destroyed or falsified, every book rewritten, every picture has been repainted, every statue and street building has been renamed, every date has been altered. And the process is continuing day by day and minute by minute. History has stopped. Nothing exists except an endless present in which the Party is always right.โ€

โ€• George Orwell, 1984

On Friday, NBCโ€™s Ryan J. Reilly and Kyla Guilfoil reported that โ€œThe Justice Department has removed press releases detailing the charges against hundreds of individuals who participated in the Jan. 6, 2021 Capitol riot from its website.โ€

DOJ was not ashamed of the reporting on this development; instead, they responded to a tweet claiming they were โ€œquietlyโ€ deleting the information by bragging:

Nothing โ€œquietโ€ about it.



We are proud to reverse the DOJโ€™s weaponization under the Biden administration. We will do everything in our power to make whole those who were persecuted for political purposes. This includes stripping DOJโ€™s website of partisan propaganda.

As acting Attorney General Todd Blanche continues his long, slow audition to get the nomination for the permanent job, there is apparently no service the Justice Department he leads will refuse Donald Trump. That includes the effort Trump launched on day one of his second term in office to erase the insurrection. It began with theย pardonsย of Rudy Giuliani and the fake slates of electors. As Ed Martinย put it, โ€œNo MAGA left behind.โ€ It went on to include virtually everyone who was present at or involved with the January 6 attack on the U.S. Capitol,ย includingย those charged with insurrection, some of whom received clemency because even Trump, apparently, didnโ€™t believe he could get away with outright pardons.

Blanche was in place at DOJ as Pam Bondiโ€™s number two, overseeing the firing of prosecutors and agents assigned to work cases and leads in the January 6 investigation. Then, as we discussed last week, he signed off on Trumpโ€™s $1.776 billion โ€œanti-weaponization fund,โ€ the repurposing of taxpayer dollars Congress allocated to DOJโ€™s judgment fund as reward payments to Trump friends and allies who โ€œsuffered weaponization and lawfare.โ€

Blanche declined to exclude even defendants convicted of violent offenses in connection with January 6 from eligibility for payment out of Trumpโ€™s slush fund. The crescendo of outrage that began with Democrats swelled to include a handful of Republicans. But not all of them. In a mark up meeting before they left town for Memorial Day, every Republican member voted against a measure proposed by California Democrat Mike Levin that would have excluded members of Congress from filing to receive a payout from the fund.

Lawsuits have been filed, and we will be watching to see how quickly the federal judiciary might move to block the payouts from going into effect. Among the lawsuits so far:

  • A lawsuit filed by Citizens for Responsibility and Ethics in Washington (โ€œCREWโ€), which alleges that โ€œThe Slush Fund is a jaw-dropping act of presidential corruption. And it is brazenly illegal. Unlike prior victim compensation funds, it was not authorized by Congress. Nor was the Fund the product of a judicially approved, armโ€™s length legal settlement.โ€ The complaint isย here.
  • A lawsuit alleging that the โ€œanti-weaponizationโ€ fund discriminates against a group of plaintiffs who were mistreated by Republican officials, because it only permits redress of conduct by the Biden administration. You can read the complaintย here.
  • A lawsuit filed by current and former Washington, D.C., police officers who defended the Capitol on January 6, arguing the plan should be enjoined because the payouts are illegal and could potentially finance violent insurrectionists and paramilitary groups. You can read the complaintย here.

The success of Trumpโ€™s effort to rewrite history is not a foregone conclusion. But pushback will require our focus. In January of 2025, the Brennan Centerโ€™s Michael Waldman, author of The Briefing with Michael Waldman wrote, โ€œIt was an insurrection. Pardoning the perpetrators wonโ€™t change that.โ€

On Friday, former Attorney General Pam Bondi will testify before the House Oversight and Government Reform Committee. Although the topic at hand is her mishandling of the release of the Epstein Files, Bondi could easily face questioning about the origins of the slush fund plan and will undoubtedly be asked about Trumpโ€™s single-minded effort to rewrite history to repaint his own efforts to take down democracy.

Itโ€™s up to us to make sure Trump doesnโ€™t get away with rewriting our true history. This is an important awareness to carry with us into the weeks and months ahead, especially as we approach the 250th Anniversary of the day the Declaration of Independence was signed, this July 4. In the words of Orwell, โ€œWho controls the past controls the future. Who controls the present controls the past.โ€

As I wrote to you last week on the day we first learned about Trumpโ€™s creation of a slush fund he could use to divert taxpayer funds into rewards for his friends, we are at a crisis point. Itโ€™s a crisis for many reasons, among them the presidentโ€™s comfort with outright abuse of public funds and his partyโ€™s unwillingness to step in and outlaw their use in the absence of a congressional designation of them for this purpose. Trump, the would-be autocrat, is again trying to enlarge the circle of presidential power he can exercise and it will be up to the judicial branch to tell him no, for now, and the voters to do it resoundingly in November. Itโ€™s time to pay close attention to developments this week.

Weโ€™re in this together,

Joyce