hivequal.org
Trans Men: The Invisible Battle With HIV :: HIV Equal
The risk factors for trans gay men are the same as the behavioral risk factors of gay men, because – big surprise – we are gay men.

So there I was, sitting there in a room full of the world’s top HIV researchers, uncomfortably under-dressed in my Mr. Friendly t-shirt but not letting that stop me from asking the question I need answered.

Medicine should never have been privatized in the first place. The concept of profiting off of human desperation and the need for life-saving medicine is, philosophically, intrinsically, and morally wrong both as a fundamental concept and in practice. The fact that Martin Shkreli was ever able to buy an AIDS drug and increase its price 5000% is indicative of a problem even bigger than a truly evil, despicable, and selfish human being; it is indicative of the problem of the current system of for-profit pharmaceuticals with obviously inadequate price regulation.

rawstory.com
Ex-hedge funder buys rights to AIDS drug and raises price from $13.50 to $750 per pill

A former hedge fund manager turned pharmaceutical businessman has purchased the rights to a 62-year-old drug used for treating life-threatening parasitic infections and raised the price overnight from $13.50 per tablet to $750.

According to the New York Times, Martin Shkreli, 32, the founder and chief executive of Turing Pharmaceuticals, purchased the rights to Daraprim for $55 million on the same day that Turing announced it had raised $90 million from Shkreli and other investors in its first round of financing.

Daraprim is used for treating toxoplasmosis — an opportunistic parasitic infection that can cause serious or even life-threatening problems in babies and for people with compromised immune systems like AIDS patients and certain cancer patients — that sold for slightly over $1 a tablet several years ago.  Prices have increased as the rights to the drug have been passed from one pharmaceutical company to the next, but nothing like the almost 5,500 percent increase since Shkreli acquired it.

This is absolutely monstrous. He’s like a parody of a capitalist from a Marxist propaganda film. Jesus H. Christ what a piece of trash.

Spread his face around. Don’t let him be anonymous. Let everyone know his name and what he looks like so that he’ll never, ever be able to go about in public again without being utterly terrified.

storify.com
Beyond Blame: A Feminist Dialogue on Criminalisation of HIV Transmission, Exposure and Non-disclosure at AIDS 2016
This workshop "examines the range of laws criminalizing exposure, transmission and/or non-disclosure, using feminist analysis to explore the role of power and inequality in their application. While some have argued in favour of laws criminalizing HIV exposure, transmission and/or non-disclosure as protective of women, they in fact leave women more vulnerable to persecution and increased violence in their public and private lives.
theguardian.com
A generation of artists were wiped out by Aids and we barely talk about it
A new film about the photographer Robert Mapplethorpe is a shocking and brilliant reminder of the devastation HIV and Aids wreaked – and still does
By Suzanne Moore

Yet there was a time when you could walk around London or New York and see these gaunt faces, marked with sarcomas, and everyone you hung out with was dying. The official culture was in denial. Sometimes it was easier to be. I remember seeing Derek Jarman at a play. At that point he was blind. I didn’t want to see him like that. And then my friend was queer-bashed on the way home. Freddie Mercury died. Keith Haring died. Eazy- E from NWA died. Denholm Elliott died. Rock Hudson died. Fela Kuti died. And my uncle who wasn’t famous or even my actual uncle died. One of my friends lost seven people who were all under 30.”

8

Gran Fury was an artistic collective active in New York between 1988 to 1995 that operated in tandem with ACT UP, the AIDS advocacy group founded in the city in 1987. The organizations’ graphical material, in particular its iconic SILENCE=DEATH design, eventually disseminated beyond the city and beyond activist circles into national discourse and popular culture. Named for a line of Plymouth cars used by the police department, Gran Fury’s tactics embraced advertising techniques - bold aesthetics and graphic design, the exploitation of public spaces, emphasis on wide distribution. At the same time, its members remained wary of the branding of its art as trendy “convenient product” and consistently emphasized the limitations of art and importance of direct action, exemplified by the recurring slogan “Art is not enough”.

Our first projects were poster sniping (illegal wheat-pasting of posters on vacant signage), and Xeroxed flyers, a working method which grew out of an ACT UP aesthetic and our limited funds. After about a year, our tactics changed as we questioned whether postering was the most effective means of reaching a large general audience. 

As Gran Fury received increasing art world support, we did so with the condition that we receive the greatest possible public access to our work, in most cases exhibiting outside the art space itself. We decided not to produce work for the gallery market. Art institutions provided us with access to public spaces a group such as ours would otherwise never have had the resources to acquire; they profited through supporting AIDS work by an activist group which met their aesthetic standards and which was willing to observe certain boundaries of wheat was and was not allowable-explicit obscenity or critique of their sponsors.

…At the same time, our work began to feel like a signature style, a convenient product for the art world to use to fulfill its’ desire to “do something” about the AIDS crisis. Gran Fury’s status as flavor of the month in the American art world was over; interest in our work had shifted to Europe where we consistently felt handicapped by attempting to understand their specific issues, as well as by our inability to use colloquial slogans. In 1992 we designed a campaign for Montreal which utilized the symbols of Quebecois sovereignty to draw attention to AIDS issues – specifically a warning to conduct research and design programs that would apply to the Canadian situation. The project backfired because the icon we chose to use was too potent – some did not recognize it as an AIDS campaign. In general, we found that we could only produce the most general messages, otherwise we ran the risk of misreading a local situation or creating something that would fail in translation.

Good Luck…Miss You ~ Gran Fury

We want the art world to recognize that collective direct action will bring an end to the AIDS crisis. And that collective direct action can mean a whole lot of things across a whole lot of communities: we have already been co-opted, we are complicit with the art world’s institutions in what we hope are strategic ways. We do not only act as an irritant, we also point to what’s going on in society at large. 

Whenever we can, we steer the art world projects into public spaces so that we can address audiences other than museum-going audiences or the readership of art magazines…

Our main beat isn’t with the art world, it’s with the United States government’s lack of response and the political crisis that underlies the medical crisis of AIDS. If we can use the art world as a tool to broadly articulate concerns, then we are glad for that support. My fear is that the heavy emphasis on the cultural analysis of AIDS distances us from the fact that this is a living, breathing crisis in which lives are at stake right at this moment.

BOMB: Gran Fury by Robert Gober

NYPL

youtube

Cecil Baldwin talks openly about HIV for the first time. I love him, and I’m so incredibly proud of him. Honored to call him a friend, my fictional podcast boyfriend, and a stigma-ending badass.

towleroad.com
Mike Pence  wanted to use HIV/AIDS money to fund conversion therapy
Mike Pence, Indiana Governor and Donald Trump’s running mate, said in 2000 that he was in favor of sending money allocated to care for people with HIV/AIDS to organizations that provide conversion therapy.

Reason #523750 Not to Vote For Donald Trump: His newly-announced running mate, Indiana Gov. Mike Pence, staunchly opposes LGBT rights, much more so than your average Republican politician.

In addition to advocating for religious-based discrimination against LGBT people in his state, he also advocated for funds allocated for HIV/AIDS services to go instead to conversion therapy. And, as you’ll remember, conversion therapy is actually a part of the GOP platform this year. 

During his first successful run for Congress in 2000, now-Indiana Gov. Mike Pence wrote on his website in a section on LGBT issues that money from a program to help those with HIV/AIDS should go to organizations “which provide assistance to those seeking to change their sexual behavior.”

That section on LGBT issues was called, “Strengthening the American Family.” It read:

Congress should oppose any effort to put gay and lesbian relationships on an equal legal status with heterosexual marriage.

Congress should oppose any effort to recognize homosexual’s as a “discreet and insular minority” entitled to the protection of anti-discrimination laws similar to those extended to women and ethnic minorities.

Congress should support the reauthorization of the Ryan White Care Act only after completion of an audit to ensure that federal dollars were no longer being given to organizations that celebrate and encourage the types of behaviors that facilitate the spreading of the HIV virus. Resources should be directed toward those institutions which provide assistance to those seeking to change their sexual behavior.

This man does not belong anywhere near any kind of public office, let alone the vice presidency. Please. Do. Not. Vote. Republican. 

4

The graying of AIDS – Stories from an aging pandemic

Wherever people have access to lifesaving treatment, what was once thought impossible has become increasingly common: people with HIV/AIDS are living into their 50s, 60s, and beyond. As of 2015, half of all people living with HIV in the United States are age 50 or older, and by 2020 that percentage is expected to rise to 70%. More than 3 million people age 50+ are thought to be living positive in Sub-Saharan Africa alone, a number that could triple by 2040.

Ageist beliefs about who is at risk for HIV regularly get in the way of potentially life-saving information being shared with so-called “older adults.” (When tracking HIV/AIDS statistics, The Centers for Disease Control and Prevention defines people over age 50 as “older adults.”) Here in the U.S., people age 50 and older are more likely to be diagnosed with HIV later in their disease progression towards AIDS than their younger counterparts; as a result, older adults often start treatment late and regularly suffer from more HIV-related health problems. Again, ageism plays a role: whether because of lack of training or cultural taboos and social discomfort, health care providers are less likely to ask their older patients about their sex lives or substance use, and are less likely to test those patients for HIV.

Around the world, HIV/AIDS data collection often stops at age 49, so the numbers we have are often estimates based on projections grounded in data gathered on younger positive adults. What we know with certainty is that the need for aging-related HIV/AIDS services will continue to grow as future generations have the opportunity to age with the virus. But there are a lot of questions that need answers: What new medical challenges will arise from decades of living with HIV/AIDS, prolonged use of antiviral medications, and aging itself? What kind of support will HIV-positive older adults need in the long-term? What are we doing to prevent new HIV transmissions among adults later in life? And how can we best take advantage of the wealth of experience, passion, and insights this pioneering generation has to share?

______________________

The Graying of AIDS is a collaborative documentary project created by visual journalist Katja Heinemann and health educator Naomi Schegloff. For five years the team has worked to create media stories, multimedia art installations, innovative public health awareness campaigns with NGO partners, and educational materials that engage diverse audiences. The on-going “Stories from an Aging Pandemic” project is a participatory documentary installation and online archive. The Graying of AIDS team works with HIV-positive adults aged 50+ in a pop-up photo studio and interview station, creating a collective portrait of the first generation of adults able to grow “old” with HIV/AIDS. Thus far, more than 100 people representing 17 countries and 4 indigenous nations have participated in the project at the last two biennial International AIDS Conferences in the U.S. and Australia; the team hopes to travel to the next conference in South Africa in 2016 to complete the series for the 20th anniversary of HAART (highly active antiretroviral therapy), the multi-drug antiretroviral therapy that made aging with HIV a possibility for so many.

Photography by Katja Heinemann/Interviews by Naomi Schegloff

See more images from The graying of AIDS and our other slideshows on Yahoo News!