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I’ll be here for a long time,’ ” he said. “She’s gotta be lookin’ over at Trump, like, ‘You’re a renter in this land. “ ‘We’ll let you in-proportionally!’ ” He took a photo of the Statue of Liberty in the distance. “At least they were trying to mask it with a quota,” Black said. In the early twentieth century, some twelve million immigrants were inspected and given landing cards there, before the quota laws of the nineteen-twenties kicked in. Now, as if to mark the shift in the city’s mood, we boarded a ferry to the neighboring Ellis Island. “We were here to attend what we thought would be Hillary’s victory party,” Black said.
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When we met, he had just flown in to New York from Los Angeles for a press screening of “When We Rise.” He had last been in the city on Election Day, when he and his fiancé, the twenty-two-year-old British Olympic diver Tom Daley, travelled to Liberty Island together.
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“We’re living in a time when I think we need to say, plainly, ‘This is how you create change in this country,’ ” Black said.īlack, who is forty-two, has alpine cheekbones and pale skin he looks not so much young as ageless. These characters’ intersecting fights-against H.I.V./ AIDS and trans homelessness, for citywide health care and marriage equality-form a panorama that is at once chaotic and propulsive and didactic, much like activism itself. One of the most poignant narratives is that of Ken Jones, a black naval officer (Jonathan Majors) who later becomes a community organizer (Michael K.
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The young Roma Guy, famous for co-founding the Women’s Building in the Mission District, is played by Emily Skeggs, with wide eyes and a bowl cut, and later by a world-weary Mary-Louise Parker. McKenzie and Guy Pearce-actors are swapped out halfway through-transforms from a cherubic high-school student into a social-justice provocateur. In the series, Jones, played by Austin P. It follows three characters over more than forty years, beginning in 1971.
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The conversation is also dramatized in the opening scene of Black’s latest work, a four-part, eight-hour ABC docudrama called “When We Rise.” (The series takes its name from Jones’s memoir.) Black describes the show-the third episode airs tonight-as the first mainstream history of American gay rights. The opera never happened, but Black describes the conversation as having inspired him to write the screenplay for “ Milk,” the bio-pic from 2008 starring Sean Penn and James Franco. “And that’s when Cleve leaned in and said, ‘What’s it like to be part of the first generation in this country with no purpose? And what are you going to do about it?’ ” “I sat in a folding chair and put a cassette into my recorder and asked Cleve about Harvey,” Black said. Black seized the opportunity to talk to Jones. A composer friend of Black’s had the idea to make a rock opera about the quilt, and asked Black to write the libretto. Jones had also conceived of the AIDS Memorial Quilt, which since 1985 has come to include tens of thousands of panels. “I paid for my chicken and potatoes at the fund-raisers.” But he was interested in meeting Jones, who had been a key aide to Harvey Milk, a mostly forgotten San Francisco city supervisor when Milk was elected, in 1977, he became the first openly gay man to win public office in the United States. “All the stuff you do if you have a good job, I did,” he said the other afternoon. One weekend in 2006, the screenwriter Dustin Lance Black drove from Los Angeles to Palm Springs, to visit the gay-rights activist Cleve Jones at his home. At the time, Black was thirty-one and a staff writer on “ Big Love,” HBO’s show about a polygamous Mormon family in Utah.