August 18th, 2014
TODAY’S AGENDA is brought to you by:
So, the Elmhurst area of Queens has the most unusual street addressing scheme I’ve come across in the U.S. After a bit of hunting, I was finally able to find the location, an old wedge-shaped building at the corner of Broadway and 77th Street across the street from Elmhurst Hospital.
TODAY IN HISTORY:
► President George H.W. Bush Signs the Ryan White CARE Act: 1990. Since the earliest days of the AIDS epidemic, the nation’s response to the deadly disease was chronically and woefully underfunded. Much of the resistance to increased funding stemmed from open hostility to the diseases two of the main risk groups; gay men and intravenous drug users. If there was any sympathy toward the disease, it was reserved almost exclusively for hemophiliacs, who were infected by tainted blood products. They were deemed the only “innocent” victims of the disease, and Indiana teenager Ryan White was their most visible symbol. By 1990, the first of the most meaningful treatments, AZT, became available, but its cost of $10,000 per year (over $19,000 in today’s dollars) made it beyond the reach of all but the most wealthy patients.
In hearings held in early 1990, the House Budget Committee heard testimony in Los Angeles and San Francisco about the challenges in providing care. Mervyn Silverman of the American Foundation for AIDS Research, warned that up to one million HIV-positive Americans were at risk of becoming ill with full-blown AIDS. Others declared that it was finally time to treat AIDS like any other natural disaster. By the spring, members of the House and Senate were gearing up to prepare major legislation to help pay for treatment. The legislation would provide block grants to states to provide testing, counseling and early low-cost treatment to those with HIV who had no other ways to pay for it. It also would provide additional finds for urban centers where health care systems were already strained by the epidemic, and provide medical care for expectant mothers with HIV.
Different versions of the legislation passed the House and Senate, but they were far apart in the specifics. When the final version was hammered out in conference, it went back to both chambers for approval. During the House debate, the White House signaled its opposition to the bill, saying “The bill’s narrow approach, dealing with a specific disease, sets a dangerous precedent, inviting treatment of other diseases through similar arrangements.” By then, the bill had been named the Ryan White CARE Act after the teen died the previous April and his mother, Jeanne White, testified on Capital Hill.
North Carolina bigot Jesse Helms led the opposition in the Senate, but his filibuster threat was thwarted when the bill arrived on the Senate floor with sixty-six co-sponsors, more than enough to end debate. Both houses voted overwhelmingly for the bill’s final passage in voice votes between July 31 and August 4. Sensing that any White House veto would be quickly overridden, President Bush quietly signed it on Saturday, August 18, 1990.
► Marcel Carné: 1906-1996. A major figure in poetic realism, French filmmaker Marcel Carné bgan working in silent film as a camera assistant. In the mid-1930s, he went to England to work on Alexander Korda’s Knight Without Armour (1937) while also directing Jenny (1936), which was the start of Carné longtime collaboration with surrealist poet and screenwriter Jacques Prévert. Carné had the misfortune of being in France during Germany’s invasion, where he continued working in Vichy.
Filmmaking is always a complicated enterprise, doing so in wartime under a repressive dictatorial regime added another set of difficulties when Carné began work on what became his most highly acclaimed film, Les Enfants du Paradis (Children of Paradise). He had to work around Vichy restrictions, shooting the film in two parts to comply with Vichy’s 90-minute limit. Starving extras made off with food before banquet scenes were shot. Some of those extras were Resistance fighters, who used the cover of daylight filming to allow them to meet together. Set designer Alexandre Trauner and music composer Joseph Kosma, both Jews, had to work in secrecy. The main quarter-lile long set was destroyed during a storm, electricity was as intermittent as the funding, film stock was rationed, key personnel were reassigned to other projects by authorities, and production was suspended following the Allied landing at Normandy. After Paris was liberated in 1944, production resumed, but one of the actors was sentenced to death by the Resistance for collaborating with the Nazis; all of his scenes had to be re-shot with a replacement. When Children of Paradise was finally released as a single three-hour film (and without an intermission), it became an instant success, remaining at the Madeleine Theater for the next 54 weeks.
Children of Paradise would be the pinnacle of Carné’s career. Riding on the success of Children of Paradise, Carné’s next film, Les Portes de la Nuit was given the largest budget in the history of French film. It flopped, and it would be Carné’s last collaboration with Prévert. In the 1950s, Carné was eclipsed by the French New Wave, and his films, except for 1958’s Les Tricheurs were typically panned by critics. Openly gay, Carné often cast his partner, Roland Lesaffre, in many of his films. Carné made his last film in 1976. But Children of Paradise was never forgotten. It was voted “Best Film Ever” in a poll of 600 French critics and professionals in 1995, and was restored and re-released on Blu-ray in 2012. Carné died in 1996.
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And feel free to consider this your open thread for the day. What’s happening in your world?
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Prologue: Why I Went To “Love Won Out”
Part 1: What’s Love Got To Do With It?
Part 2: Parents Struggle With “No Exceptions”
Part 3: A Whole New Dialect
Part 4: It Depends On How The Meaning of the Word "Change" Changes
Part 5: A Candid Explanation For "Change"
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And don‘t miss our companion report, How To Write An Anti-Gay Tract In Fifteen Easy Steps.
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