In the last edition of POZPLANET, I talked about IAS 2024 and some of the sessions I attended and took part in. What struck me at this conference is that space was made by several organizations, particularly, REALIZE in their Silver Zone, to talk about HIV and Aging. If you don’t know about the Silver Zone, it is a place where the issues of HIV and Aging and what is going on around this issue is put front and centre.
During the conference itself I was part of 3 diHerent presentations where I talked about HIV and aging. The first one was for the International Labour Organization in REALIZE’s Silver Zone as part of a panel of people aging with HIV from around the world. We talked about how aging impacts us as people living with HIV. My takeaway from this was that people who are aging with HIV around the world are remarkably similar in our concerns: how are we going to stay healthy and who is going to look after us? However, the social safety net that exists elsewhere in the world is very diHerent if someone is living in a country that has minimal resources. Often caregiving falls to family and people are worried about the burden this will place on their families who are often also living in poverty. It made me reflect on the privilege I have living in Canada and having some choice around where I am looked after when the time comes, in spite of living in poverty. I may live in poverty, but we have a social safety net so that I have an income, albeit a very low one, to be able to look after myself and access supports as I age.
The next session I took part in was also in REALIZE’s Silver Zone as part of a CPPN panel discussion. Four community members took part in person. Bob Leahy (a POZPLANET correspondent) sent in a video about what aging with HIV means to him. It was an aHirming experience; I felt seen as a woman living with HIV who is aging.
The panel talked a lot about what sex looks like for people aging with HIV. People living with HIV were told in the 90s when we were younger that it wasn’t ok for us to have sex. We were seen as, and felt like, vectors of transmission. Many of us avoided having sexual
relationships because we were afraid of transmitting HIV to our partners. Then U=U came along, and we realized that we are not vectors of transmission. In fact, if our viral load is undetectable then we cannot transmit HIV to our sexual partners! Now, as we age, we are once again being told that we shouldn’t be having sex. We’re old people. We don’t have sex. Or at least that’s what the attitude of the general population is toward us. Yet, we are living in the age of U=U. We are having sex. Some of us are having a lot of sex. And that is great! This was one of the messages of our session and I am so here for it!
We also talked about what aging with HIV looks like for people who are marginalized. people of colour, people from the African, Black and Caribbean, people who are Indigenous, people who are living in poverty: so many people who are not included in the supports that people living with HIV are receiving. When someone is marginalized, the support landscape looks bleak.
The final session was a CPPN session at the Canada Pavilion that was a mixed group of people living with HIV. My part in this group was to talk to people about what it is like aging with HIV and encouraging people to “Ask me about Aging and HIV”. Unfortunately, there were not a lot of people at the pavilion at the time. S o I didn’t get asked about aging by anyone. I wonder if there had been people there if they would have wanted to know about HIV and aging? I certainly hoped so.
The best part of the opportunities I had at the conference was to be able to talk openly and honestly about aging with HIV. It is about time that this issue was front and centre in the conversations we are having. CPPN will be having a webinar on this topic coming up. I’m looking forward to have the opportunity to talk more about what aging with HIV is like for this old lady. If you are aging with HIV or a person living with HIV who wants to know more, please add CPPN on Facebook or reach out to our Executive Director, Breklyn Bertozzi at ed@cppn-rcps.ca
I can’t exactly remember which summer in the early 1990s I was unfortunately raped by another man who I thought was a heterosexual while a student renting a room in the local YMCA in Paterson, NJ. Yet, the shocking thing is that I had previously asked him to tell his male cousin to stop flirting or hitting me; this male cousin of his made me feel uncomfortable. (They both were fellow residents.) During the previous spring, I was leaving the community bathroom/shower area on my floor to return to my room when I passed this guy. I faintly (but clearly) heard him under his breath utter, “Ummm!” I froze because I thought my ears were playing tricks on me. Months later, I sat outside the building with other residents, preparing to watch the entertainment show Amateur Night at the Apollo. Before it started, I ran back upstairs for a quick shower to cool oU from the summer heat. I never made it back down. After leaving the shower, I heard a knock on my room door while preparing to dress. It was the guy from months before who was tipsy from drinking. I had only time to put on a T-shirt and was in my underwear; he was just another guy, and I didn’t think anything of it. He needed a favor. He wanted me to write a letter to someone for him.
I quickly grabbed some paper and a pen. As he began dictating the letter, I realized it was a love letter to his crush. Cluelessly, I teasingly asked him who the lucky girl was. He responded, “Girl?” The lightbulb went on in my head. He looked at me, and I became so nervous. He said it was for me and that he had had a crush on me for eight months. Before I realized it, he was on top of me; he was built like a bodybuilder. It was useless for me to try to fight. When he was done, he left, and I lay on my bed in shock. I went to sleep, woke up the following day, and one of my friends knocked on my door because I had never come downstairs the night before. I told them what happened, and they said they would handle it.
I was ashamed and afraid to go to the local police station because I didn’t think they would believe me or take me seriously. A few days later, one of the guys came to me to check on me and let me know that they made my rapist leave the building. A few weeks later, he came back to apologize to me. I forgave him. His cousin found out that he raped me and let me know that he felt bad because he was only teasing me before. At the time, many of my friends were HIV+, and I was a nervous wreck. Luckily, he wasn’t HIV+ and managed to use a condom. In the United States (U.S.), sexual violence occurs in startling numbers and can have a catastrophic eUect on the mental health of survivors. Nearly one-third of males and more than half of women have experienced violent sexual contact at some point in their lives, according to the Centers for Disease Control and Prevention (CDC) (CDC, 2022). Comparably, almost half of the respondents in a sizable study of transgender adults in America (including transgender women, transgender men, and nonbinary people) reported having been sexually assaulted at some time in their lives (James et al., 2016). Research that has already been conducted has also revealed that LGBTQ+ youth experience disproportionately high rates of sexual violence in comparison to their heterosexual and cisgender classmates (Atteberry-Ash et al., 2022). A history of forced sexual relations is linked to a higher risk of experiencing other types of sexual victimization among young individuals in the general U.S. population (Baiden et al., 2021). Furthermore, like other trauma types, sexual violence is linked to worse mental health outcomes, such as increased rates of depression and suicidality in survivors (Dworkin, 2020; Dworkin et al., 2022). Additionally, research has shown links between sexual assault and an increased risk of depression and suicidal thoughts, particularly in young LGBTQ+ people (Atteberry-Ash et al., 2022).
How do you prepare your mind as a rape victim to be tested for any sexually transmitted diseases following a rape assault? PEP stands for postexposure prophylaxis, which is the use of medication to prevent HIV following a potential exposure. PEP might be necessary to stop HIV infection following a possible exposure, like a sexual assault. However, for PEP to be successful, a person needs to start taking it as soon as feasible and consistently within 72 hours after potentially being exposed. Every hour matters! Advocates for victims, experts in public health and policy, medical professionals, and anybody aUected by sexual assault ought to be aware of all the resources available to assist victims of sexual assault, including PEP. We implore all medical professionals those working in emergency rooms, urgent care centers, community wellness centers, and primary care oUices to become knowledgeable about PEP and ready to care for survivors in the appropriate period. Getting survivors quickly connected to mental and physical health support services is essential to their recovery from sexual assault. Some survivors may be discouraged from seeking
medical attention or expert assistance due to stigma. As PEP must be implemented within a specific timeframe to be eUective, we must collaborate to foster a culture that responds quickly to the needs of survivors and builds communities in which they feel comfortable accessing assistance and medical care.
We stand with survivors, victim advocates, medical professionals, and everyone else lifting their voices to stop sexual violence as we work toward a future free of sexual, domestic, and interpersonal violence.
About the author,
Aron Prince is a New York City-based spoken word recording artist and writer.
Instagram: @aron. prince
iTunes: Aron Prince
Do you know anyone who should be recognized for their work or volunteering for the HIV+ Community? Well, now is your opportunity to nominate them for a Casey Award. Anyone in Canada will be considered Sept 4th to Oct 11th.
Visit: https://caseyhouse.ca/news/the- casey-awards
Do you know what Casey House is?
Casey House is a specialty hospital in Toronto, Ontario, Canada that cares for people living with and at risk of HIV. Casey House provides inpatient and outpatient services and is located in the downtown area, at the corner of Jarvis and Isabella streets. Founded in 1988 by a group of volunteers, journalists, and activists, it was the first specialized facility of its kind in Canada.[1] It is named after Casey Frayne, whose mother June Callwood was one of the principal volunteers whose eHorts brought about the founding of the hospital.[2]
Back in 2018, our featured person for this interview was honored with the Person Of The Year Award for his work in entertainment and for being an example of perseverance as a person living with HIV. I have gotten to know this person over the years and even worked on one of his film projects. After many years and conversations, I felt it was time that I introduced him to our readers.
I welcome Allen Legacy to center stage...
JE: Mr. Legacy....thank you so much for doing this. How are you today?
AL: Hi Jade, I'm doing well. Great in fact. Just received a notice from the "Fade In Screenplay Competition" in LA, that my feature script, "Crime of the Century" has made it into the semi-finals, as well as being submitted to a number of Studios in LA and London, England. Although, I've been down this road before with "Immortalis Essentia", a feature script about a gay couple. Unfortunately, with the big budget gay film "Bros", being a huge financial and critical flop, LGBT+ films are not quite a 'Hot Property' right now. Studios are afraid to take the risk after such a huge loss, but, with "Crime of the Century" - Fingers Crossed.
JE: You've read a few of these columns...I'm sure you know the drill. Here's where I ask you about your background. Where are you from? Are you a native to Toronto? Could you share a little about your beginnings in life?
AL: Yes, I was born in the Toronto area in 1956. I was an extremely shy, quiet kid that kept to myself, hardly said a word to anyone. I was born with a number of medical problems, asthmas, bad allergies, two thumbs on my left hand (a Legacy family trait with the first-born male child) a heart deformity (bi- cuspid aortic valve, same problem that killed John Ritter), and both my legs were badly twisted with extreme club feet. According to the story, my mother was informed by a doctor- "He'll never be able to walk." My Grandmother sitting with my mother at the time apparently said- "My daughter isn't getting stuck with a fucking cripple!" and oa to Sick Kids Hospital they went and I started treatment.
My Grandmother was an extremely well educated, out-spoken woman with two degrees; English Lit and Political Science. She had an opinion on everything and didn't hold back expressing it. My grandfather was one of the only two Master Pipe Organist in Ontario, and also played Piano with the Hamilton Philharmonic Orchestra.
Around age 6 or 7, I wouldn't do my routine leg exercises as per the doctors orders, but my mother noticed my fascination with the old musicals on TV, Judy Garland, Mickey Rooney, Fred Astaire, etc, so, oa to Tap classes I went and I took to Tap like a duck to water. By the time I approached my very early teens, Modern Dance and Jazz had been added to the mix.
I was also a huge bookworm, read furiously, consumed 2 to 3 books a week, and skipped Grade 5, so, of course, I was the youngest in my class from Grade 6 and on, and reading beyond my grade scale, which caused problems at school. My grandmother always oaered to go and speak to the teachers, but my mother insisted on going instead, more so to protect the teachers from my grandmother, I think. I spent most of my weekends at my Grandparents home, and as a result was exposed to a lot, more than my parents probably would have liked.
My grandparents sort of had an open- door policy, which meant there was always a variety of diaerent and very interesting people at their home, discussing politics, literature, science, theatre, films, Art Exhibits, diaerent cultures, cultural events, music and diaerent countries, and I sat in the middle of every discussion listening.
My grandparents encouraged my reading habits and my artistic interests and abilities. They bought me my first paint set and charcoal set, encouraged me to draw, which was another interest of mine. They exposed me to Art via the local galleries, Theatre (Musicals, Comedy and Dramas), Movies, and numerous Concerts, they took me everywhere.
By Grade 8, I was doing well in school, but I was extremely bored, and one teacher became aware of this fact. She tested my IQ and suggested to my parents that I should be sent to Sir John A. MacDonald Institute for gifted teenagers with high IQ's, especially since she thought I was artistically gifted as well. She was aware that I had won a National Art Competition in 1967, held by the Federal Government for kids of various ages depicting Canadian Historical Moments to celebrate the coming Canadian Centennial. I submitted a charcoal sketch of the "Stoney Creek Battle" during the 'War of 1812' with the United States. I won 100 bucks, and my artwork was displayed with other kids work on the 1967 CANADIAN NATIONAL CENTENNIAL TRAIN, a traveling Museum that traveled from coast to coast, stopping at every city and town that year during the Centennial. I put the money in my bank account, I was a saver at a young age.
As for going to a High School for gifted teenagers, my parents left that decision for me to make. My grandparents were ecstatic when I decided to go. When I started high school, I had just turned 13, and during that previous summer, I became very aware that I was diaerent from other boys and I was nervous as hell going to a diaerent school without the few friends that I had. Had I made a mistake?
On my first day, I saw two older teenage girls kissing out front, and later, two older teenage boys holding hands as they walked down the hallway between classes. I knew I was going to be ok here. This was a completely liberating, openminded, totally accepting school, with
one goal; to broaden their students minds by exposing them to anything and everything. Needless to say, I loved high school.
I now know my grandparents were aware of my sexual orientation back then, but never said anything, they just let me be me. Unfortunately, my grandfather died of cancer during my first year in high school, and that had a profound eaect on me. I felt I had lost one of my allies and supporters, but not without a small and final talk before his passing. I think he thought it was important that 'someone' tell me- "Never be ashamed of who you are. Never be afraid to do what you want to do. And don't let anyone else set the standard by which you live your life."
I excelled in the subjects that interested me the most, English Lit, Film Studies, Theatre, Art, Architectural Design, Drafting, and Philosophy. Going to this school, I didn't have the same experiences that my gay friends had in school. I was never mistreated, or called "Faggot", as my friends would tell my many years later. As a result, I was never in the closet, and didn't feel awkward, embarrassed or ashamed of my orientation as a teenager. My shyness drifted away in high school as I became very involved in many extracurricular activities.
This school had an extensive Theatre programme with a fully loaded, professionally equipped Theatre, and I was in every school theatre production (musicals, comedy and variety shows). I directed my first play, "This Property is Condemned" while in high school for the Collegiate Drama Festival, and my production won- Best Actress, Best Supporting Actor and Best Director.
Having an extensive Film Programme with a well- equipped studio, I also Wrote and Directed my first short film, "A Space Oddity", a Sci-Fi film about an astronaut marooned in space.
After a Phys-Ed teacher saw how high I could leap in a dance number in a musical, I found myself on the Track Team for one season. It didn't work out though, I would show up at practice with a coaee and a cigarette, although, being an excellent swimmer, I was on the school Swim Team. My specialty, the Butterfly. In Grade 13, I was elected Student Body President, my slogan, "Vote for me, and we'll have fun!"
I don't exactly know why, but this school along with the standard Female Cheering Team, we also had a Male Cheering Team for the many sports events, and I was on the Male Cheering Team. Our cheers were diaerent from the female team, my favourite cheer was"Rooty-toot-toot. Rooty-toot-toot. We are the boys from the Institute. We're not rough, we're not tough, but boy are we sexy!" Attending the many sports games was a lot of fun.
JE: I actually didn't know a lot of what you just shared. But what I do know is that you are a fighter. You were born with some complications and went on to become a dancer. Then you evolved into a screen and playwright. What are some of the projects that you were in or wrote?
AL: In Grade 11, I started auditioning for professional productions, mostly theatre, but I auditioned and was cast in a Principal Role for a TV series, "Grasshoppers!" produced by CHCH TV. My professional name is "Talen Legacy", Talen was a nickname that my Grandparents gave me. I believe it is Allen in Gaelic, we were Irish, I began using Talen professionally. I missed classes while shooting, but school said it would be a good experience, I hated the sitting around though, waiting for the Set-ups, and was glad when the show was canceled midseason 2. It was a TV show the public wasn't quite yet ready for in the early 70's. "Grasshoppers!" was exactly the same premise as "Degrassi" some 15 years later, when the public was ready to watch a show about teenagers dealing with real social issues.
One of my dance teachers, Len Gibson, was approached by a friend, a choreographer for the National Ballet (I can't remember his name). He was choreographing a production of "Coppelia" and having problems choreographing a comical number in the Ballet with the resident Dancers. He was looking for Dancers for the comical number. Len suggested me along with a few other Dancers. So, being a person who a doctor proclaimed would never walk, I was a Featured Dancer in a production with the National Ballet, starring Karen Kain and Frank Augustyn. It was a lot of fun.
A close male friend had a huge crush for Frank Augustyn, and his birthday was shortly after "Coppelia" closed. I gave him his present at a birthday party, he opened it up and was shocked to see what he thought was an unusual Jock Strap. He was completely confused, until I told him it was Frank Augustine's Dance Belt. I swiped it on closing night, and never washed it. He as ecstatic, probably still has it.
In theatre I started in the Chorus of many musicals, "Once Upon A Mattress", "Oklahoma", "South Pacific", "Anything Goes". A Director, Peter Hamilton, who directed "Once Upon A Mattress" cast me as the Scarecrow in the "Wizard of OZ". I had auditioned for the Cowardly Lion, but he said he needed a strong, limber dancer for the Scarecrow. It was my first Supporting Role, as opposed to Chorus. I would eventually be cast as Tulsa in "Gypsy", and Henrik in "A Little Night Music", by Peter.
I graduated High School in 1974, and left for New York City, I had auditioned for Bob Fosse's School of Dance (now called Fosse Masterclass), and was accepted. I was also accepted into the Theatre Program of NYU, as well as taking acting classes at the Actor's Studio. I
spent five years studying and performing in plays oa Broadway, or even smaller theatres and partying late into the night on weekends at Studio 54, (I left Canada with fake ID for the bars). I was having the time of my life. In 1979, a Director, Robert Buck, saw me in a production of "The Zoo Story" and oaered me the role of Alan Strang in "Equus". "Equus" was a huge hit in London, England, and on Broadway, and I was cast for the Toronto production. I knew of the play, but hadn't seen it, so I wasn't aware of the size of the role. I assumed it was a supporting role, since I didn't audition or do a reading for him. So, back to Canada I went.
Rehearsals began immediately and I realized on the first day that Robert had cast me in the Lead without an audition. "Equus" was a huge hit here in Toronto, and I did the role for a year. Robert Buck was a genius in the theatre community, and our working collaboration involved approximately 20 theatre productions spanning over 30 years.
After "Equus", as a favour to Robin Phillips, then the Artistic Director at Stratford, I accepted a supporting role in "The Wars", a Canadian film he was directing. I later did another Canadian film, "The Great Train Robbery" for another film Director friend, Eugene Beck. After doing the two films, I wasn't much interesting in acting in films anymore. Again, I hated the waiting around during the Set-ups, and never accepted or auditioned for a film again.
I began writing Plays in the mid 1980's. "Lovelife", a musical (music by Dawn McPhail), was my first, followed by "A Swell Party", a musical tribute to Cole Porter.
"A Swell Party" was a three hander with myself performing as well as writing and directing. The show was put together so quickly. Working night and day, we didn't have time to think as to what worked or didn't work. What was suppose to be a filler, a show to replace another show that wasn't selling at Garbo's Theatre, was a huge hit. It was suppose to run a month while the theatre looked for another show to bring in, but it sold out for months in advance, and "A Swell Party" ran for well over a year.
A third play I wrote, "Cycles" was directed by Robert Buck, about three generations of a family living in the same house, each generation dealing with the same social issues; unwanted pregnancy, drug addiction, alcoholism, homophobia, Human Rights, etc, but how the issues are dealt with diaered depending on the decade.
I wrote the play, "Beyond The Rainbow", a coming of age play about a gay man dealing with his sexuality and homophobic father, set against the backdrop of the tumultuous Gay Rights Movement In Canada and Unite States.
I wanted Robert Buck to direct the play, but he would only do it on the condition that I perform. It ran at Buddies in Bad Times Theatre in 2005, for four weeks (I think, a limited
run), and it was a huge hit. "Beyond The Rainbow" would be produced in Ottawa, Calgary, NYC, San Francisco, Chicago, and London, England. The thing I remember most about the production was the number of young gay men and lesbians that would approach me after each performance, enquiring if all the Gay Rights Events presented in the play, actually happened. We lost a whole generation to HIV/AIDS, so the important stories weren't being passed down to the next generation. This was the sole reason why I wrote "Beyond The Rainbow".
Robert got sick with Parkinson's Disease shortly after that play, and succumbed to the disease in 2012. He had a huge impact on me, everything I know about theatre and film I learned from this man. He was a great Director, Mentor and a very dear Friend, and I miss him every day. His wife asked me to give the Eulogy, it was the hardest thing I had ever done.
Over the years, I've performed in numerous Musicals, Comedy and Dramas- Cabaret, Oliver, The Odd Couple, The Glass Menagerie, Ghost (Ibsen play), Julius Caesar, The Rocky Horror Show, The Lark, School Daze, Ye Gods!, Lucky Lady, The Mousetrap, The Little Hut, Cocktails N' Cabaret, mostly working with my collaborator Robert Buck.
As a director and/or choreographer, I worked on- Hot OL The Press, The Magicians Nephew, Alice, The Fantastiks, This Property is Condemned (a second time), Sky's The Limit, Pippin, and a production of my own play, "Beyond The Rainbow" for World Pride in 2014. I also Choreographed three Spumante Bambino commercials, and two Planter's Peanuts commercials.
I have since moved on into film, both writing and directing, I lost interest in Theatre (to some degree) after Robert's passing. I love writing and directing film, it's a completely diaerent experience behind the camera, than being in front of it. Films I wrote and directedYou and Me, Delerium, Diaspora, Time and The Egg. As an editor I worked on Cryptogram, Hearne, Toronto Sessions (TV series), Sport Zone (TV series) and Urban Aboriginal (TV series - Golden Sheaf Award nomination).
JE: From what I understand in a few of our conversations, your diagnosis of being HIV+ was not a direct one. Could you elaborate on what it was like when you got tested and how that aaected you?
AL: I was diagnosed HIV+ in June of 1996. In May of 96, I went with a number of friends to IML (International Mr. Leatherman) in Chicago. We went every year beginning sometime around 1990. IML coincided with Canada's Victoria Weekend.
In Chicago of ‘96, I was drugged and raped by someone I barely remember. He drugged my drink in a gay bar and whisked me away under the guise of me being too drunk and was
taking me home. He later dumped me on the doorway of my Hotel, unable to communicate what had happened. The Doorman recognized me, found my key in my pocket and the front desk called my room and friends. I became sick immediately and my friends cancelled our weekend and took me home asap.
Initially I received a negative result, but I insisted I was positive, as I could feel something was wrong with my body. A dancer is trained to pay attention to their bodies, and how it feels while dancing. What feels right and what feels wrong, and my body felt wrong.
Ultimately, a test, which would become the norm for HIV testing was done, and it was apparent that I was actually seroconverting as the tests were being done. The Doctor's also
quickly realized that something about my immune system was also keeping the disease at bay. I quickly became part of a study trying to understand what or how my immune system was able to keep the HIV disease under control.
Being positive didn't have a huge, traumatic aaect on me. I was always a person who dealt with things instead of panicking and becoming emotional. Probably a result of dealing with health issues all my life, I took things in stride. I did immediately educate myself about HIV and very quickly had a clear understanding how to deal with the disease.
When HIV first hit the papers in December of 1981, I read everything I could, but there wasn't a lot of information available, and what was available didn't make sense to me. Everyone was in a panic over the disease, a gay disease, a gay cancer, GRID (Gay Related Immune Disorder). Gay Men were dying everywhere.
That Christmas in 81, I went to a party held by a director friend and his partner who happened to be a Doctor with Toronto General Hospital. Even though it was a large party, with a lot of Doctors and Nurses who worked with my director friend's partner, it was a very quiet party, everyone discussing GRID, the gay disease. Since there was a lot of Doctor's at this party, I engaged with a few of them. I questioned how could a disease- A. Know the gender of the host it is attacking? and B. How could a disease know the sexual orientation of that host? These well- educated doctors looked at me stunned, and one quietly, finally said- "It can't." So, therefore, I stated- "How can it be a gay disease?" The response was "It's not." I stuck to my interpretation of the known facts and most friends thought I was not only crazy but irresponsible, until a few years later, when the disease was renamed HIV/AIDS and it became known that anyone could contract the disease.
I always practiced "Safe Sex" and had a clear understanding of HIV. What aaected me more was "HOW" and "WHY" I became positive. HOW could someone do such a thing to another person? WHY would someone abuse another person this way?
Rape and child abuse is a subject I now and always will have an emotional response to, when brought up. I try to avoid the subject. Not because it "triggers" me, I hate that word, and won't give anyone any power who uses it. Nor will I be held responsible for someone else's emotional response or state to anything, as I don't hold anyone responsible for my emotions, but because I can't comprehend the HOW or WHY?
JE: Like you I just knew that had seroconverted before I even got tested. I was scared to actually confirm what I already knew. But I'm curious if your diagnosis ever played a part in holding you back or stopping you from doing the work that you do?
AL: No, I never allowed my status to aaect what I wanted to do. If it had any aaect on any aspect of my life it was indirectly and out of my control. I have always been up front about
my status when questioned. I never went around advertising it, but at the same time I never denied it either.
I have been single most of my life since being diagnosed, and that's because when told the men I dated, they couldn't deal with it, probably out of fear and ignorance. I never let it aaect me, it was their loss. They were allowing a disease they had not been diagnosed with dictate how they lived their lives. I felt sorry for them at best.
JE: As I explained to you the other day, the reason POZPLANET Magazine has no sponsors is because we want this to remain a space where our community can speak freely and openly about what is going on. You have often been outspoken about a few of the AIDS organizations and the evolution of treating HIV. Would you share some of your thoughts with us?
AL: Certainly. I realize organizations such as PWA, PFLAG, Casey House, etc, have a very much needed purpose in our community. Especially, since when HIV/AIDS first hit, gay men could and would be turned away for services needed by various organizations, Doctors and Hospitals. Let's face it, when the AIDS Pandemic hit in the 80's, it was a horrific tragedy for everyone, and gay men didn't know where to turn to for help. Thank God for the Lesbians, they stepped up to the plate to help their gay brothers. These organizations were quickly formed for a purpose, and I do believe they helped.
Personally, my experience with one of them is not good. I can't remember why, but my Psychiatrist and my doctor wanted me to register with PWA. Honestly, I can't remember what was happening in my life at that time, and therefore I can't remember why they wanted me to go to PWA. It might have been when I was diagnosed with Bone Cancer in 2000, life got a bit scary for me then. Radiation Treatment, surgeries, etc. I almost died at one point, lost approximately 45 lbs, was hospitalized for wasting. I went from looking like a muscular gym bunny to a walking skeleton of death. It was a lot to deal with.
Anyway, I went to PWA, registered had a couple of meetings and then nothing. Nothing! Lines of communication went dead. No responses to voice messages left, nothing. I don't really know what happened there, I just know they did absolutely nothing for me.
Just a few years ago after I turned 65, I received a call from someone at PWA and they explained to me, that being a senior, I was entitled to a number of benefits and programs. The women put me in touch with a Rep at PWA, we chatted once on the phone, and then again, all lines of communication went dead. No responses to my voice messages…nothing. I won't bother with PWA. but at the same time, I won't discourage anyone from seeking help from PWA, and I do wish them "Good Luck!"
JE: So, before I let you go...with all that you know and have experienced with being positive, as a long-term survivor - what advice would you give to a newly diagnosed person?
AL: My advice is DON'T PANIC! Especially now, since HIV is a manageable disease. I know, it's not a disease anyone would want, but it is manageable, if you're smart. I would advise to read anything and everything you can about the disease, educate yourself as well as a doctor would on the subject and even more. Don't ever, ever be afraid to ask questions, or be afraid to dictate what you are willing or unwilling to do when consulting a doctor for treatment. Take care of yourself, stop smoking, drink in moderation, avoid the party drugs, Pot is good, but again in moderation, and be upfront and honest with yourself. Realize what your habits are and weakness are. You're the one who's going to pay the price with your health if you've done something you shouldn't. Never try to trick yourself, or bargain with yourself, put yourself first above all things, and first and foremost, always take care of yourself.
JE: And this is why you were honored with the Person Of The Year back in 2018. Your strength and perseverance are inspiring. Thank you again for your time. I'm sure you are busy working on some new project, and we look forward to seeing what that becomes. Do have anything else you'd like to say before you go?
AL: I can't think of anything at the moment, and I think I've said enough. My answers to your question seem to be long winded. It was a pleasure doing this interview and it brought back a lot of memories for me. Things I hadn't thought of in years, and that's always good.
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Fall is slowly creeping our way and the there’s lots of new music and remixes on the horizon! We've got twenty-four tracks and five LGBT artists to discuss. I have a feeling that we are in for a busy season of new releases!
We’ve got a lot to cover. So, let’s get started shall we…
We start this month’s mix with a collaboration between Megan Thee Stallion and Yuki Chiba. It’s called “Mamushi”. If there’s one thing I can say about Megan is that she is always expanding. Rather than starting feuds and badmouthing other female she is getting endorsements and building her following internationally. Although I had to speed this up a little to make it work for this set, this is a hot track! And now I wanna find out more about this Japanese rapper and singer, Yuki Chiba (who used to go by KOHH).
It's kinda hard to believe that Ice Spice is just now dropping her debut album, Y2K! I mean…she’s been around on the charts for the past two years and has even been featured on a Taylor Swift song. But here we are. And her latest single is “Phat Butt”. Now, if I had
to describe her stage presence it would be – back to the audience and wiggling her but over and over again. Honestly…that would be her talent. Her flow is just okay…not that outstanding. But she seems to be da flava of the month and everyone wants to work with her.
Our third selection is “Freaky Deaky” by Enchanting featuring Coi Leray. I’m sorry but I have grown real tired of these sexually explicit lyrics for no reason. No story. No build up. Just pull it out and let erry-body see! Not impressed.
The fourth track is interesting because it’s a pretty great mashup of Tems x Notorious BIG x Sean Paul on the Sefu Remix of “Burning”. Nice vocals and a clever use of samples. The next selection is by the newly crowned Princess of Afro Beat, Tyla. The KARYO Remix of “Jump” is just FIYAH!!! Can’t wait for some Afro House remixes!
I have to confess that whenever I see the name “Baby” for a rapper I still pause to make sure it’s not Da Baby. Thank goodness it’s not him this time. This is “Leave Em Alone” by Layton Greene featuring Lil Baby. This track has “HIT” written all over it! I could totally hear this in a bangin’ Hip Hop set with the crowd goin’ crazy!
So, one night my husband and I were watching a Late Night with Stephen Colbert repeat and the musical guest was a kinda sexy Latino guy singing a rather boring ballad and I was curious who he was and how did he get booked. I looked him up and he turned out to be an out LGBT artist named Omar Apollo. Then I listened to a few of his tracks. I found his latest one from the spring called “SPITE”. It sorta sounded like it could be a hit, but I felt it needed a little bit more of a Hip Hop edge. So, I took the instrumental of “Ain’t No Fun” by Snoop Dogg and created a Relentlessly Touched Vocal.
And I guess I must have been in a mood because I didn’t care for the new Lady GaGa & Bruno Mars. I just hate that it feels like everyone is jumping on the Country bandwagon! It almost seems like Pop artists are trying to caudle Right Wing Conservatives. And I expected something completely diXerent from both of these artists. And the original of “Die With A Smile” was just not gonna work in this set. So, I found a rhythm that I liked and created another Relentlessly Touched Vocal. Now, if you are looking for a more Club speed remix, check out the Samuel Soares Remix or the Brett Brisbois & Danny Morris Remix.
When I read the name of one of the featured artists on our ninth selection I wondered if the term “Box OEice Poison” applies. Cuz’ YS couldn’t have expected having Kanye West on his record to be a good idea. Ain’t nobody tryin’ to use Miss West right now! Huh crazy ass and her doormat wife really are not a good look! So, I other than playing this track to set an example, I will not be playing “SLIDE” which also features Ty Dolla $ign.
Now…if you know me you know I love a good reboot or mashup of a past hit. And this mashup of Shaggy & Paul Russell for “It Wasn’t My Boo Thang” by ASIL is genius! Although it really should have had “Best Of My Love” by The Emotions in the title and line up.
And for our eleventh selection the Angelo The Kid “Be My Baby” Edit is an excellent reboot of Notorious BIG’s “Big Poppa”. Totally reinvents the song and breathes a new life into it!
There was a moment when I though Kesha was really going to comeback strong after her problems with her ex-producer. And I was hoping that “Joyride” would do her justice like her early hits. But I’m just not seeing it in the cards for her. The way the industry is going you don’t even get 15 seconds let alone 15 minutes of fame these days. And the way the kids drop the word “legend” makes it meaningless. So, Pop artists like her, Britney & GaGa are just names of yesterday’s hits.
As someone who has been a DJ since 1980, I believe I have earned my right to an opinion on music. Afterall, I have spun in all kinds of clubs and spaces. I’ve been a radio DJ, Club DJ, Corporate DJ, Stripper Club DJ, Country Line Dance DJ and a House Party DJ.
So, our thirteenth track is the DJ Dark Mixshow Edit of “Gata Only” by Floyymenor featuring Cris MJ. I had no idea who either of them were. And when I looked up the original, I was not impressed. The way I feel about a lot of Reggae Riddims and Afro Beat tracks is the same way I feel about Reggaeton and Moombahton. It all starts sounding the same. The production works on Pop songs and other genre(s) but the actual sound is just too repetitive. So, I have to say that this remix is a breath of fresh air and totally reinvents it. And even though I don’t speak Spanish.
As the Country takeover continues, more and more Country artists are getting remixes for their singles. Our latest installment is the Lincoln Balo My Mind Edit of “Austin” by Dasha. Didn’t care for the original and this remix didn’t do anything for me either. And you can say that tribalism has tainted my view but why wouldn’t it have. The 45th president of the United States brought out all of the worst things in North America. He literally was quoted in People Magazine back in 1998 as saying “If I were to run, I’d run as a Republican. They’re the dumbest group of voters in the country. They believe anything on Fox News. I could lie and they’d still eat it up. I bet my numbers would be terrific.” And here we are! The stereotype of a racist and the Republican Party ran the country into the ground for a term and then blamed the Democrats for where we are now. So yeah…I’m not using very much Country Music right about now.
Just as I was beginning this article, Sabrina Carpenter released a new single. So, it seems like me reviewing “Please Please Please” now might seem irrelevant. But I was kinda waiting for a remix that I would play. And the Stormby Mix would be that version. By the time the October issue comes out “Taste” will be old news and she’ll probably have dropped two more singles. It’s a race to maintain an internet presence if you’re a recording artist these days. You gotta have a new TikTok dance clip, a scandalous rumor on X and date another celebrity to stay in the news. The only thing that makes my review relevant is her love interest in the music video is Barry Keoghan from the movie “Salt Burn” (who Sabrina is currently dating as of the publishing of this issue). Yes, that guy with the huge…uh…personality in the final scene.
While I was vacationing in Florida the week of my birthday, I kept hearing “Lose Control” by Teddy Swim all over Black Radio. It seems my relatives didn’t have a clue that he was not black. Our sixteenth track is the CYRIL Remix of Teddy’s “The Door”. I can’t deny he is a good vocalist, but this one sounds a lot like the last one despite being remixed.
Okay…if you wondered what happen to heartthrob Shawn Mendes, he’s back and he movin’ into his manly stage with facial hair and that toned body. I listened to the original but the Sefu Remix of “Why Why Why” worked better for this set (probably with because I recognized the Bronski Beat sample on this version). Will it be a big hit? Probably not but
I’ll enjoy watching the video.
The eighteenth track in our mix is another Pop Country song…”Midnight Ride” by Orville Peck featuring Kylie Minogue & Diplo. And even though I always try to support our LGBT artists and I really want to see Diplo with a hot guy, the Dirty Disco Eagle Houston Remix didn’t make me like this one. I mean…it is better than the original and if I had to play it as a request I would definitely reach for this version.
All the DJs I’ve been talking to seem to be really lovin’ anything that Chappell Roan puts out. I have listened to several remixes of “Hot To Go!” and was not impressed. But then again all of them were around 70 BPMs. The mix I found that I would play is the Danny Morris Remix. At least it is at a Club speed that I can work with. Still not understanding this obsession with young lesbian music. Every song I have heard sounds like a teenaged girl discovering her sexuality.
As promised from last month’s article, here is my review of “HOT UPTOWN” by Camila Cabello featuring Drake. I stand by my earlier comment about “Box OEice Poison”. Even though Drake didn’t really start the feud with Kendrick Lamar, I haven’t really felt like playing any of his music after Kendrick dragged him so hard on “Not Like Us”. So even though there is a Starjack Remix, I have no aspirations of playing this. Not sure if Camila
and Shawn Mendes are on again or oX again, but she just isn’t making any impressions right now. Her track with Lil Nas X was too slow with the remixes and never got any traction.
Our twenty-first song is something I am most definitely going to play. This is a young teenaged girl discovering her sexuality track that I will play! It’s “Guess” by Charli XCX featuring Billie Eilish and as Billie says “Charli likes boys but I’d still hit it”. And just as I began to write this article, my newfound friend in Australia, Shawn King (not that Shaun King) did a fantastic mashup of “Guess” with the Armand Van Helden Mix of “Professional Widow ” by Tori Amos! I had already programed my other friend’s mix by Brett Brisbois. I will be playing both of these mixes.
With the continued popularity and the chart topping of “A Bar Song (Tipsy)” by Shaboozey, I knew it would only be a matter of time before someone would dig up “ Tipsy” by J-Kwon and do something with it. And that something was to mash it up with “ This Is You” by PAX. Definitely gonna play this one!
Our twenty-third selection is a really bad extended edit of “I’m The Drama” by Bebe Rexha. I included this one to show an example of obviously not having rhythm and not being able to count. There are some people who work as DJs who don’t have an ear to count how many beats or cannot hear that their edit is oX beat. And I find it funny that they release or post their mixes and think that no one will notice. Or maybe they don’t hear their mistakes at all. This is a cute track but an edit like this would make it sound like you made a mistake in your mix.
And to close out our mix is my mashup of the new Adam Lambert called “CVNTY” and the 90s Ballroom classic, “Cunty” by Kevin Aviance. Back in June Adam performed several of his new songs for West Hollywood Pride. There were plenty of videos taken from the event and edits started circulating in VJ groups. I liked “CVNTY” but it was a little too fast. And then I got the idea to slow it down and mix it with Kevin’s track. You’re definitely gonna hear this in my sets!
Don’t forget to get your free download of the video version of this mix. The link is at the beginning of the article. And here is a link to some an extra mix: BODY OF WORK #26
https://hearthis.at/djrelentlesstoronto/body- of-work-26
