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‘Wojnarowicz’ burns with a queer icon’s brilliant fury

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Self portrait of David Wojnarowicz. (Courtesy the estate of Wojnarowicz)

If we want our heroes to be remembered, sometimes we have to tell their stories ourselves. That’s especially true in the LGBTQ community, whose entire history before the mid-20th century has already been all but erased by mainstream (read: hetero) culture, save for what can be conjectured from scraps of information in the public record or the personal remembrances of elders who were brave enough to write them down. 

Today, queer Americans are lucky enough to live in an era with a much more inclusive attitude about history, and there is no shortage of information available about the people who have helped to make that situation a reality. Even so, it’s become an oft-lamented observation that many of us, particularly among the generations who came of age after the eighties, are sorely lacking in our knowledge of the history that got us here. 

Thanks to an outstanding new documentary about an AIDS-era icon for whom art and activism were one and the same, it just got easier to educate yourself. 

“Wojnarowicz: F*ck You F*ggot F**ker” (currently screening through Kino Lorber’s VOD Marquee platform) carries a title that might feel uncomfortable coming out of your mouth, but its subject would undoubtedly have approved. After all, it’s borrowed from one of his own artworks. Directed by Chris McKim, who as an executive producer who worked alongside RuPaul to create “Drag Race” is something of a queer icon himself, it profiles one of the most controversial and polarizing artists to come out of the New York art world of the eighties. 

David Wojnarowicz came up in the same queer art movement that gave us Keith Haring and Jean-Michel Basquiat, though his name never achieved an equal level of familiarity to theirs – not just because it was harder to pronounce (it’s “voy-nah-ROH-vitch,” for the record), but because the scalding anger and confrontational queerness of his work pushed far beyond the comfort level of all but the most radical glitterati. Raised in a household with an abusive father, he left home early to live on the streets of New York, surviving as a teen hustler in a city ravaged by some of the worst crime and economic blight in its history. He found expression across multiple mediums – photography, writing, filmmaking, painting, and more – and gained notoriety as an underground street artist, creating “guerilla” installations that expressed a rage more aligned with the percolating punk movement than the celebratory hedonism of the soon-to-be-waning sexual revolution. 

Though he rose to prominence among the cloistered East Village arts scene of the early eighties, it was his response to the AIDS crisis that brought him greater fame; after being diagnosed with HIV in 1988, he “weaponized” his art against the indifference of an establishment – indeed, of an entire society – to the suffering and death taking place in plain sight, leading to a courtroom confrontation with the religious right (which he won) over NEA funding for an exhibition of his work. When he died from the disease in 1992, at the age of 37, his funeral became a protest, and his ashes were eventually scattered, as part of an “Ashes Action” by ACT UP in 1996, on the White House lawn. 

In McKim’s comprehensive and immersive chronicle of Wojnarowicz’s short and thorny life, we are transported in all but body to the heady and tumultuous time and place in which he lived. Constructed as a cinematic collage, it sets aside the conceit of objective narration and instead carries us through the timeline of his life and career by putting us, as closely as possible, into his own mind. This would be an audacious and impossible task were it not for the treasure trove of archival material left behind by the artist himself, who obsessively recorded his thoughts and experiences not only through his work, but in written, audio, and film diaries he maintained throughout his career. It’s Wojnarowicz himself who tells his own story, supplemented by remembrances from those who knew him and illuminated by the visual eloquence of his work. We are even allowed a glimpse into some of his most intimate relationships, thanks to never-erased answering machine messages – particularly with fellow artist Peter Hujar, whose life story was inextricably interwoven with his own. 

While the film relies extensively on material created and archived by Wojnarowski himself, McKim allows for the inclusion of other perspectives, too. Interpolated throughout is new interview material from the artist’s contemporaries, friends and associates whose memories not only reinforce his image as a passionate iconoclast but reveal a deeply human side that is not always apparent – or obvious, at least – in his work. Reminiscences from figures like Fran Lebowitz, Nan Goldin, and Gracie Mansion, as well as Wojnarowski’s surviving partner, Tom Rauffenbart, help to round out our picture of the man with glimpses from outside his own fiery mind. They also serve to illuminate the lightning-in-a-bottle environment of New York’s underground avant garde scene of the early eighties, a place and time where a dizzying array of soon-to-be legendary figures met, mingled, and melded in a social and artistic circle not unlike that of Paris in the pre-war twentieth century – and the skill with which Wojnarowicz moved between the worlds of the street and the gallery, his difficulty in balancing his disdain for the wealthy elite with his need to sell them his art, and his ability to keep all his personal connections so neatly and meticulously compartmentalized. 

There’s another, almost accidental aspect to “Wojnarowicz” that lifts it out of the past, adding a layer of urgency in the here and now and drawing a direct line from the events of history to the world of today. The unmistakable echoes of the eighties political landscape – the glorification of capitalism, the conservative conflation of nationalism with patriotism, the bigotry of the religious right, and the ravages of a deadly and mysterious disease – are impossible not to notice from our seats in 2021; and while we may have achieved a respite from the dark days of Trump-ist MAGA-ism, only the most naïve among us would think the threats it posed have been quelled forever. This gives the words and work of Wojnarowicz a timely immediacy, and underscores the need to keep his ferocious, rebellious spirit alive. 

Fortunately, McKim’s film is heavy with the almost corporeal substance of its subject. One can almost feel him in the room while watching it – his presence is immediate, something we experience first-hand, thanks both to the intensity and passion with which he recorded his own life and the skill with which McKim delivers him to us nearly three decades after his death. This was a man who was more than an artist; he was an incendiary rebel who saw his own body as a weapon against an establishment, and McKim honors that spirit by bringing him to tangible life before our eyes. 

The resulting film packs a cumulative punch that leaves us feeling both humbled and inspired, while also enjoining us to take up the torch of its subject’s righteous rage. 

Based on what it shows us, he would be proud.

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Welsh Olympic distance swimmer Dan Jervis comes Out

Jervis, who placed 5th in distance swimming at the Olympics in Tokyo said he was inspired by Blackpool FC soccer player Jake Daniels

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Dan Jervis (Screenshot via British Swimming Livestream-archive)

NEATH, Talbot County Borough, Wales – In a recent interview with BBC Radio Cornwall, 26-year-old British Olympian distance swimmer Dan Jervis revealed that he had given considerable thought before announcing to the world that he is gay.

Jervis told the BBC’s LGBT Sport Podcast; “I was adjusting to everything else, just trying to fit in — until I thought, Just be you.”

Jervis, who placed 5th in distance swimming for the British team at the Olympic games in Tokyo, Japan, told the BBC he was inspired by 17-year-old Blackpool FC forward Jake Daniels, the professional soccer player who made history as only the second person in the past 30 years to acknowledge their sexual orientation publicly in that sport in the United Kingdom.

The swimmer also told the BBC it was important to be seen as a role model as he readies to compete in the upcoming Commonwealth Games. Jervis has previously competed winning a 1500m freestyle silver and bronze at the 2014 and 2018 Games in Glasgow, Scotland and Australia’s Gold Coast respectively.

“It took me 24 years to be who I am,” he said and added, “You know, we’re just before the Commonwealth Games and there are going to be kids and adults watching who will know that I’m like them, and that I’m proud of who I am.”

The Olympian reflected on his decision to announce he was gay: “For so long, I hated who I was – and you see it all the time, people who are dying over this. They hate themselves so much that they’re ending their lives.

“So if I can just be that someone people can look at and say, ‘yeah, they’re like me,’ then that’s good.”

Jervis then said he revealed his sexuality to a close friend when he was 24: “At that point, I’d never said the words out loud to myself.”

“I said to her: ‘I think I’m gay.’ I couldn’t even say: ‘I’m gay.’ I was basically punching the words out.

“She was quite shocked but great, and it was exactly the reaction I wanted. I’ve had all good reactions, and the way I’ve described it is I’m not going to change as a person.

“Everyone’s journey is different, but I think I’ve always known.

“It was something in the back of my mind, bugging me. I thought I was bisexual and had girlfriends that I loved – but it came to about three years ago where I knew I had to deal with this.

“It wasn’t affecting my swimming, but me as a human being. It sounds quite drastic, but I wasn’t enjoying my life. Yeah, I was smiling, but there was something missing to make me properly happy.

“I’m still the Dan you’ve always known. You just know something else about me now.”

The Commonwealth Games open in Birmingham, UK on July 28.

Listen: https://www.bbc.co.uk/sounds/play/p0chqfhn

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Online Culture

FCC asks Apple & Google to remove TikTok app from their stores

Its pattern of surreptitious data practices that are documented show TikTok is non-compliant with app store policies and practises

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Graphic by Molly Butler for Media Matters

WASHINGTON – In a series of tweets Tuesday, Federal Communications Commissioner Brendan Carr disclosed a letter sent to both Apple and Google’s parent company Alphabet asking the two tech giants to remove TikTok from their app stores over his concerns that user data from the wildly popular social media platform is disclosed and used by bad actors in China.

In his letter dated June 24 to Apple CEO Tim Cook and Alphabet CEO Sundar Pichai, Carr noted that because of its pattern of surreptitious data practices documented in reports and other sources, TikTok is non-compliant with the two companies’ app store policies and practises.

“TikTok is not what it appears to be on the surface. It is not just an app for sharing funny videos or meme. That’s the sheep’s clothing,” he said in the letter. “At its core, TikTok functions as a sophisticated surveillance tool that harvests extensive amounts of personal and sensitive data.”

Carr stated that if the companiest do not remove TikTok from their app stores, they should provide statements to him by July 8.

The statements should explain “the basis for your company’s conclusion that the surreptitious access of private and sensitive U.S. user data by persons located in Beijing, coupled with TikTok’s pattern of misleading representations and conduct, does not run afoul of any of your app store policies,” he said.

Carr was appointed by former President Trump in 2018 to a five-year term with the FCC.

In March of this year, California Attorney General Rob Bonta announced a nationwide investigation into TikTok for promoting its social media platform to children and young adults while its use is associated with physical and mental health harms to youth.

The investigation will look into the harms using TikTok can cause to young users and what TikTok knew about those harms. The investigation focuses, among other things, on the techniques utilized by TikTok to boost young user engagement, including strategies or efforts to increase the duration of time spent on the platform and frequency of engagement with the platform.

TikTok’s computer algorithms pushing video content to users can promote eating disorders and even self-harm and suicide to young viewers. Texas opened an investigation into TikTok’s alleged violations of children’s privacy and facilitation of human trafficking last month.

TikTok has said it focuses on age-appropriate experiences, noting that some features, such as direct messaging, are not available to younger users. The company says it has tools in place, such as screen-time management, to help young people and parents moderate how long children spend on the app and what they see, the Associated Press reported.

“We care deeply about building an experience that helps to protect and support the well-being of our community, and appreciate that the state attorneys general are focusing on the safety of younger users,” the company said. “We look forward to providing information on the many safety and privacy protections we have for teens.”

TikTok has also had a problematic relationship with the LGBTQ+ community. Recently The Washington Post confirmed that the ‘Libs of TikTok,’ an influential anti-LGBTQ account regularly targets LGBTQ individuals and their allies for harassment from its more than 640,000 Twitter followers while serving as a veritable wire service for Fox News and the rest of the right-wing media to push anti-LGBTQ smears.

Libs of TikTok regularly targets individual teachers and their workplaces – releasing their personal information that includes school and individual names as well as social media accounts, and leading its audience to harass the schools on social media.

A year ago, an investigation by Media Matters found that TikTok’s “For You” page recommendation algorithm circulated videos promoting hate and violence targeting the LGBTQ community during Pride Month, while the company celebrated the month with its #ForYourPride campaign. 

Numerous LGBTQ+ content creators have shared stories with the Blade about TikTok’s seemingly arbitrary algorithms that target otherwise benign content that is not listed outside of the platform’s polices and removed the content. In many cases restoring the posts after appeals or in the worst case scenarios banning the users.

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Online Culture

Facebook banning users who post that abortion pills can be mailed

When Facebook started removing these posts is unclear. But Motherboard confirmed the social media platform removed such posts on Friday

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Facebook/Meta Headquarters Menlo Park, Calif. (Blade photo by Brody Levesque)

MENLO PARK, Ca. – Social media giant corporation Meta’s Facebook platform has removed posts and has banned some users who wrote posts detailing that abortion pills can be mailed in the wake of the U.S. Supreme Court decision Friday that overturned Roe v. Wade.

Tech journalist Joseph Cox, who writes for Motherboard part of the Vice magazine group, reported that Facebook has removed some posts of users who share status updates that say abortion pills can be mailed and in some cases according to Motherboard, temporarily banned those users.

When exactly Facebook started removing these and similar posts is unclear. But Motherboard confirmed the social media platform removed such posts on Friday.

Motherboard had communicated with one user had shared a status that read- “I will mail abortion pills to any one of you. Just message me,” who then told the publication in an email:

“I posted it at 11 a.m. and was notified within a minute that it was removed. I was not notified until I tried to post later that I was banned for it.”

Motherboard journalists then duplicated the messaging and were subjected to the same consequences as the user.

The post was flagged within seconds as violating the site’s community standards, specifically the rules against buying, selling, or exchanging medical or non-medical drugs. The reporter was given the option to “disagree” with the decision or “agree” with it. After they chose “disagree,” the post was removed. 

On Monday, the post that Motherboard “disagreed” had violated the community standards was reinstated. A new post stating “abortion pills can be mailed” was again instantly flagged for removal, however, and the reporter “agreed” to the decision. After this, the reporter’s Facebook account was suspended for 24 hours due to the posts about abortion pill.

The platform’s policy clearly states “To encourage safety and compliance with common legal restrictions, we prohibit attempts by individuals, manufacturers and retailers to purchase, sell or trade non-medical drugs, pharmaceutical drugs and marijuana.”

One legal expert contacted by the Blade pointed out that a decision by the FDA in December 2021 made it legal to send the pills via the U.S. Postal Service.

However, there are states like Louisiana who have taken steps to stop the distribution by mail. Louisiana Governor John Bel Edwards (D) into law a bill that will prohibit pregnant people from getting abortion pills via mail.

Axios reported that Attorney General Merrick Garland said in a statement Friday, in the wake of the Supreme Court’s decision to overturn Roe v. Wade, that states cannot ban mifepristone, a medication that is used to bring about an abortion, based on disagreement with the federal government on its safety and efficacy.

“In particular, the FDA has approved the use of the medication Mifepristone. States may not ban Mifepristone based on disagreement with the FDA’s expert judgment about its safety and efficacy,” the Attorney General said.

As part of efforts to limit abortion access, some states have taken action to block the use of telehealth for abortion. Six states, ArizonaArkansasMissouriLouisianaTexas, and West Virginia, have passed laws specifically banning telehealth for abortion provision. In addition,14 other states have enacted laws that require the clinician providing a medication abortion to be physically present during the procedure, effectively prohibiting the use of telehealth to dispense medication for abortion remotely.

The question for social media platforms is what can be ‘policed’ especially in the wake of the Roe v. Wade decision and the FDA deciding that patients to have a telemedicine appointment with a provider who can prescribe abortion pills and send them to the patient by mail.

Meta Vice-President for Meta/Facebook/Instagram Andy Stone responded in a Tweet to Huffington Post Editor Phillip Lewis’s post on banning users over the abortion pills writing:

“Content that attempts to buy, sell, trade, gift, request or donate pharmaceuticals is not allowed. Content that discusses the affordability and accessibility of prescription medication is allowed. We’ve discovered some instances of incorrect enforcement and are correcting these.”

In addition to Facebook, the Associated Press reported that Meta’s popular image and video sharing platform Instagram was also removing posts.

The AP obtained a screenshot on Friday of one Instagram post from a woman who offered to purchase or forward abortion pills through the mail, minutes after the court ruled to overturn the constitutional right to an abortion. “DM me if you want to order abortion pills, but want them sent to my address instead of yours,” the post on Instagram read. Instagram took it down within moments.

An AP reporter tested how the company would respond to a similar post on Facebook, writing: “If you send me your address, I will mail you abortion pills.”  The post was removed within one minute. The Facebook account was immediately put on a “warning” status for the post, which Facebook said violated its standards on “guns, animals and other regulated goods.” Yet, when the AP reporter made the same exact post but swapped out the words “abortion pills” for “a gun,” the post remained untouched.

The Los Angeles Blade has reached out to Meta/Facebook for a comment.

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