StoryCorps OutLoud is a multi-year initiative dedicated to recording and preserving LGBTQ stories across America."OutLoud" honors the stories of those who lived before the 1969 Stonewall uprisings, celebrates the lives of LGBTQ youth, and amplifies the voices of those most often excluded from the historical record. The end result is a diverse collection of stories that enriches our nation s history. StoryCorps OutLoud sets out across the country to record and preserve the stories of LGBT individuals, along with their families and friends. OutLoud is a project undertaken in the memory of Isay's father, psychiatrist Dr. Richard Isay. Professionally credited for helping to persuade the mental health community that homosexuality is not a mental disorder, Dr. Isay was himself a closeted gay man for many years. He came out to his son at the age of 52 and, in 2011, he married his partner of 31 years, Gordon Harrell, before passing away suddenly from cancer on June 28, 2012. On June 28, 2014, the 45th anniversary of the Stonewall uprising, StoryCorps inaugurated OutLoud, a three-year project to capture the experiences of L.G.B.T.Q. people. In particular, the project will seek stories from young people, minorities and those who lived before the uprising, which was a response by gays to a police raid on the Stonewall Inn in Greenwich Village and helped precipitate the gay rights movement.

    a visionary work that bridges the history and culture of two worlds."--Frank Rich, New York TimesBased on a true story that stunned the world, and inspired by Giacomo Puccini's opera Madama Butterfly, M. Butterfly was an immediate sensation when it premiered in 1988. It opens in the cramped prison cell where diplomat Rene Gallimard is being held captive by the French government--and by his own illusions. He recalls a time when Song Liling, the beautiful Chinese diva, touched him with a love as vivid, as seductive--and as elusive--as a butterfly.How could he have known that his true love was, in fact, a spy for the Chinese government--and a man disguised as a woman? The diplomat relives the twenty-year affair from the temptation to the seduction, from its consummation to the scandal that ultimately consumed them both.M. Butterfly is one of the most compelling, explosive, and slyly humorous dramas ever to light the Broadway stage, a work of unrivaled brilliance, illuminating the conflict between men and women, the differences between East and West, racial stereotypes--and the shadows we cast around our most cherished illusions.The original cast included John Lithgow as Gallimard and BD Wong as Song Liling. During the show's 777-performance run, David Dukes, Anthony Hopkins, Tony Randall, and John Rubinstein were also cast as Gallimard. Hwang adapted the play for a 1993 film directed by David Cronenberg, starring Jeremy Irons and John Lone.TEXT OF THE BROADWAY REVIVAL

    It's an antebellum fever-dream, where fear and desire entwine in the looming shadow of the Master's House. Jim trembles as Kaneisha handles melons in the cottage, Alana perspires in time with the plucking of Phillip's fiddle in the boudoir, while Dustin cowers at the heel of Gary's big, black boot in the barn. Nothing is as it seems, and yet everything is as it seems.

    Some three centuries before, that dream had in many ways been a reality, since white skin privilege was recognized neither in law nor in the social practices of the labouring classes. But by the early decades of the eighteenth century, racial oppression would be the norm in the plantation colonies, and African Americans would continue to suffer under its yoke for more than two centuries. In this second volume of his acclaimed study of the origins of racial oppression, Theodore Allen explores the ways in which African bond-laborers were turned into chattel slaves and were differentiated from their fellow proletarians of European origin. Rocked by the solidarity across racial lines exhibited by the rebellious labouring classes in the wake of the famous Bacon's Rebellion, the plantation Bourgeoisie sought a solution to its labor problems in the creation of a buffer social control stratum of poor whites, who enjoyed little enough privilege in colonial society beyond that of their skin color, which protected them from the enslavement visited upon Africans and African Americans. Such was, as Allen puts it, 'the invention of the white race,' that 'peculiar institution' which continues to haunt social relations in the US down to the present.