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divinefem · 2 years

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a list of feminine names i’ve adored and complied over years . please note the names are from a variety of origins and it’s best to research , in accordance to naming your character appropriately .

A ⸻ alaia . aliya . adèle . adella . adely . adira . aellai . aera . aimée . alessia . alice . alisha . amal . amara . amina . amor . anais . angelique/angie . anita . antonia . anya . arden . arnela . arya . asia . aspen . audrey . aurelia . aurora . avery .

B ⸻ bella . bianca . blair . blanca . briar . brielle . brigitte . bristol . bruna .

C ⸻ calliope . calista . camille . carina . carmel . carmen . carmine . cassia . cataline . chantal . charlène . chelsea . cher . chérie . cheryl . cheyenne . chiara . chiasa . cindy . cecelia/celia . celina . céline . cipriana . clara . clare . claudia . cleo . clover . colette . cordelia . cornelia .

D ⸻ dahlia . daisy . danika . davina . delaney . denise . devon . diana . diane . dione . dominica . donata . donatella/donna . dulce .

E ⸻ eden . elara . eleonora . elle . elliana . éloise . emory . erica . esha . esmé . estela . ester . eve . evangeline .

F ⸻ faith . faiza . fallon . farrah . faye . fenna . florentina . francesca . francia .

G ⸻ gabriela . genevieve . giada/gia . giovanna . giselle . giulia . garcelle . grace . graziella . gwen .

H ⸻ hadiya . hafsa . halle . halima . harley . hazel . helen . hélène . hermosa . honey . hiba . hina .

I ⸻ iffat . iman . imani . imogen . inara . inaya . indiana/india . ines . irina . iris . isadora . isabel . isla . isra . italia . italina . ivory . ivonne . ivy .

J ⸻ jade . jamila . jasmine . joanna . jocelyn . joelle . jolie . jordana . jordan . josephine . jovi . juliet .

K ⸻ kajal . kalila . karina . katia . kennedy . kenya . kimberly .

L ⸻ labani . lacey . lavender . lavinia . leona . liberty . lisette . livia . london . lourdes . lilliana . lucia/luciana . luna . lydia .

M ⸻ mabel . madelaine . madeline . madina . maeve . mahima . malia . maisha . maiya . mariana . marisa . marisol . meghana/megan . melina . mercy . mia . milan . minka . monica . monique . montana . marjorie . michelle .

N ⸻ nadia . nadine . naisha . nannette . naomi . nara . naressa . natalya . natascha . naya . neelam . nisa . nikita . noelle . noemi . nyla . nicolette .

O ⸻ odette . onima . oparna . orion . olivia . olympia . ophelia . opal .

P ⸻ paloma . pandora . paola . pari . peony . pareesa . paris . paula . paulina . pearl/pearla . petra . peyton . piera . poppy . prairie . priscilla . priya/priyanka .

R ⸻ raquel . ravenna . rayne . regina . renata . renee . rhea . rima . rita . rochelle . romana . romina . romy . rosa/rosalia . rosella . rosie . rowan . ruby . river .

S ⸻ sabelia . sabine . safiya . sahar . santana . saorise . sasha . saskia . savia . saya . sayena . scarlet . selene . serena . serenity . shelby . sheridan . shannon . sienna . sita . sloane . sofia . soléa . soleil . sonia . soraya . sorcha . surina . sutton . svea . sylvia . summer . suzanne .

T ⸻ tahira . tamara/tamar . taryn . telese . trishna . thalia . thea .

V ⸻ valentina . valencia . vanessa . venice . venus . vera . verona . veronica . vienna . violet . vitöria . vivian/vivienne .

W ⸻ wahida . winona . whitney . wren .

Y ⸻ yadira . yael . yalina . yara . yasmina . yesenia . yuliana . yuri . yvette . yvonne .

Z ⸻ zahra . zaria . zhenya . zoya .

#*#* ── 🐝 𝐆𝐔𝐈𝐃𝐄 . ⁞ writing.#writing help #name help #female name masterlist #name masterlist #rph #rpt #resources

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rapeculturerealities · 3 months

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Indiana anti-abortion lobby targets IUDs in new bill

A seemingly mundane bill to expand access to birth control has become the latest battleground for anti-abortion advocates who have previously lobbied for lawmakers to conflate some forms of contraception with abortion.

As originally written, House Bill 1426 by Rep. Rita Fleming, D-Jeffersonville, would have required hospitals to offer long-acting reversible contraceptives — IUDs and arm implants — to Medicaid-covered women after they give birth. The legislation is meant to help women in vulnerable situations and potentially save the state billions of Medicaid dollars spent on unintended pregnancies.

But now the bill is drawing criticism from some Democrats and medical professionals after an anti-abortion group successfully lobbied legislators to exclude IUDs from the bill — falsely claiming the birth control devices cause abortions. IUDs would still be covered by Medicaid, but hospitals would not be required to offer them.

#Indiana #iud #reproductive rights #reproductive health #Hb1426

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below-average-fangirl · 2 years

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I'm halfway through Tom Cruise's filmography, and one aspect of his acting which stood out to me is that he's unafraid to show vulnerability on screen, be it fear, silliness, or embarrassment, i.e.

- Jerry Maguire face-planting onto the floor when he rushes back into the office after being fired.

- Ethan Hunt in Fallout after the bathroom fight when Ilsa tells him he doesn't know what he's involved with. "I don't know what I'm involved in. I don't know what I'm involved in... What am I involved in?"

- Ethan Hunt in Rogue Nation when he attempted to jump over the hood of the car, slipped and face-planted onto the floor.

- Bill Cage when he is wiped out by a car while running to Rita in Edge of Tomorrow.

- Jack Reacher looking at the knife when he has to face off with the bad guys who have assault rifles.

I couldn't help but think of Harrison Ford. It’s been said somewhere by someone that one of the great traits Ford has as a screen actor is the ability to show fear without undermining his hero status, and I think Tom Cruise shares this trait, as well as humor. Their characters are funny and they will often lean into the humor without undercutting it, and that makes them more relatable. However, despite those similarities, the way I respond to them as an audience member is very, very different.

Harrison Ford is an actor I grew up watching, and Star Wars and Indiana Jones were the main staples. While I did enjoy those films, even as a kid, there was an energy Ford brought to the screen which felt dangerous. Thankfully, this is all brilliantly examined by Pop Culture Detective in this video, and jumping off the back of that, I want to talk about the power dynamics between Tom's characters and the female leads in his action films.

Let’s start with Nick Morton in The Mummy, who is an adventurous type in a similar vein to Indiana Jones. Both characters go around stealing artifacts. Although Indiana Jones would claim he’s preserving them by putting them in a museum, he's still stealing them from the indigenous culture. Nick is more honest with himself about being a thief. Another distinction between Nick Morton and Indiana Jones is how they interact with their respective heroines. Our first introduction to Jenny Halsey in The Mummy is when she, without hesitation, slaps Nick across the face and calls him out for stealing some papers from her. Nick plays dumb because he thinks she won’t want to admit that they slept together. However, Jenny is not at all embarrassed by this and instead uses it to get in a dig about Nick’s prowess in bed. In response to this, Nick makes a quip that she didn't complain the night before about his performance. The key difference between what you would see from a character like Indiana Jones in this scene is that at no point during this exchange does Nick get in Jenny’s face or manhandle her to try and intimidate her physically to reassert his masculinity.

Then there's Bill Cage in Edge of Tomorrow, who, like Nick Morton, is a morally ambiguous character. Cage is a coward who finds himself a safe job far away from the fighting, but is suddenly stripped of his rank and thrust onto the frontline after the attempted blackmail of an army general backfires. When he first comes across Rita Vrataski on the beach, he is lying on his belly, out of his depth in battle and looking up at her with bewilderment and awe, the Angel of Verdun. Rita is then immediately killed by a rocket blast right in front of him. The second time Cage meets Rita on the beach, he saves her life by pushing her out of the way of the rocket and getting hit instead. This is where we see Rita’s determination and single-minded focus to win the war; she does not stop to mourn or thank the man who saved her life; instead, she steals Cage’s power back and leaves him for dead on the beach. This ruthlessness does not deter Cage from seeking her out again on the battlefield. He knows Rita is his way off this beach. Once Rita understands that he has the power to reset the day, this is where Cage’s purpose changes from trying to save himself to serving Rita. We witness this with the scene at the farmhouse where he is kneeling at her feet serving her coffee.

By this point in the film, Cage is as well trained as Rita, but his authority never supersedes hers; he is only ever subservient. He does try to deter her from the mission by not admitting that they have been at the farmhouse before. He already knows that no matter what he does, he can’t save her, he can’t get her past this point, and what gives him away is three sachets of sugar. That one caring act of being prepared to make her coffee as she likes it is enough for Rita to realize that he’s lying, that they have been at this farmhouse multiple times. Here is where something shifts in Cage, because after witnessing Rita’s death this time, instead of telling her in the next loop that he can reset the day, he decides to find the omega on his own, knowing that if he succeeds, Rita will be dead.

"I’m a soldier. Why does it matter what happens to me?"

Cage is learning that in war you can’t save everyone, something Rita knew when in one loop she unceremoniously took his power pack after saving her. This is when he begins to be on an equal footing with Rita, demonstrated in the scene where they both realize, and agree without words, that they have to break into Whitehall to steal the transponder. While they had been a team before, Cage is now fully onboard with the job of finding and killing the omega. They then only have one shot left at succeeding, because Cage has lost the ability to reset the day anymore, but Rita trusts Cage to do it. This finally shows that they are equals.

In contrast to Nick Morton and Bill Cage, there’s Ethan Hunt, a morally good character who is intelligent, highly capable, and most importantly, empathetic. I won't go through all six Mission Impossible films, but instead, solely focus on the dynamic between Ethan and Ilsa. Ilsa saves Ethan on multiple occasions in Rogue Nation.

The first time the audience and Ethan meet Ilsa is at a moment when Ethan is incredibly vulnerable. He just witnessed the murder of a fellow IMF agent before being gassed and kidnapped, where he wakes up tied to a pole in a basement under threat of torture. It is only because of Ilsa that Ethan makes it out alive. The second time they cross paths is after the opera in Vienna, where we learn that Ilsa is an MI6 agent who is deep undercover.

Slowly, the film is building a connection between Ilsa and Ethan, but one that doesn’t override either one's main objective. As much as Ilsa has a sense of loyalty to an agent from an allied country, and saves Ethan again from the water tank, to escape from Ethan in the bike chase, she steps into his path suddenly, causing him to fall off and skid into the dirt. In any other film, this would be a humiliating moment for the main character, and there would almost certainly be a scene to balance it out and give the upper hand back to the male hero, but not in Rogue Nation.

There is not one scene where Ethan tries to reassert control or dominance over Ilsa, like the kind you would see in a Harrison Ford film where he gets into the personal space of a woman to sexually intimidate her. Instead, it is established that Ilsa, throughout the film, is Ethan's equal, and his masculinity is not threatened by this; nor is he humiliated in being rescued by her; and he feels no need to try and assert his dominance.

This is something which continues into Fallout, where once again Ilsa saves Ethan, and once again they are starting from opposite objectives. Ethan has to break Lane out, Ilsa has to kill him, and the essence of their relationship is distilled beautifully by Christopher McQuarrie.

There is emotional maturity and understanding between the two of them that elevates their relationship above what you would normally find in this genre of film between two spies of the opposite sex.

However, the character who is the most interesting to look at in terms of male/female power dynamics is Jack Reacher, as he is probably the most traditional action hero Tom Cruise has played. Reacher is a gruff, no-nonsense man of few words, and as the book outlines, his philosophy is: Hit early, hit hard. Kill with the first blow. Get your retaliation in first. This man is dangerous. Yet, at no point do I feel that the female characters are in danger around Reacher simply because they are women.

First off, the waitress who clears away Reacher’s table. It’s a small but, I think, important interaction. All Reacher does is give her a "fancy it" kind of look, but there's nothing aggressive or leary about it, and when she rejects him, he's disappointed but quickly moves on.

Secondly, the dynamic between him and Sandy in the first scene at the bar; he is being tough on her, but we know that he’s seen her argue with some guy before coming to sit at his table, so he’s probing. He’s trying to work out what her angle is. He’s mean, but he’s never intimidating. Then later, when he goes to Sandy's work, he’s pissed that she tried to set him up, but at no point do I ever feel Sandy is in danger, and at no point does Reacher try to exert information out of her by getting into her personal space. He never uses the threat of sexual violence to get that. His whole attitude is much more that of a disappointed dad. When he understands what is going on with her, and that she is a victim too, he softens toward her because she is just a kid.

Then there’s the main relationship between Jack and Helen. From the get-go, there’s an attraction but also competitiveness. Two very intelligent and competent people who are good at what they do spend the first half of the film trying to get a handle on one another and their motives. But in terms of sexual power dynamics between the two, I think there is one part where the film has Reacher lean into an action film trope, but then pulls away from it.

It’s the scene with Helen in the hotel, where Reacher is shirtless and says they need some sleep. He reaches across her, and for a moment, Helen thinks he’s suggesting sex, but instead he puts her keys in her hand. I think that was Reacher playing with her a bit, teasing her about something possibly happening to see how she would react, but it never feels threatening. He doesn’t linger in her personal space because he knows that nothing can happen between them. He will leave town once the mystery is resolved. The one scene where they do get close, where they linger and lock eyes, is the moment in the lobby where Helen gives Reacher the address to the gun range. That scene feels very different to what you would normally see in this kind of film. They feel very much like equals, like they’ve come to understand one another at last, and while they both feel the attraction, Reacher is never dominating.

To me, it feels like Reacher is thinking about more than sex between them. To me, there is a hint that he’s thinking he could have a different kind of life and that if he wasn't who he was, he could have a normal life with her.

TL:DR: Ultimately, what I find reassuring about Tom Cruise’s characters in action films and how they relate to the heroine is that they avoid the standard trope of sexual banter or intimidation. There may be sexual tension between them, but it’s not the dominating force in their interactions. The films respect the abilities and agency of the heroine and never tell us that the male hero is emasculated for being rescued or held accountable by a woman.

Thank you to @indifferentvincent for letting me ramble in the DMs and helping me make this coherent.

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fashionbooksmilano · 2 months

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Seta. Potere e glamour

Tessuti e abiti dal rinascimento al XX secolo

Roberta Orsi Landini

Autori dei saggi: Marie Bouzard, Marina Carmignani, Andreina d’Agliano, Franco Franceschi, Dominique Charles Fuchs, Sofia Gnoli, Susan Miller, Roberta Orsi Landini, Maria Pia Pettinau Vescina

SilvanaEditoriale, Cinisello Balsamo 2009, 192 pagine, 120 ill.a colori, 10 ill. bianco e nero, 23x28cm, brossura, ISBN 978883661492

euro 35,00

email if you want to buy [email protected]

Sfarzo, raffinatezza e seduzione. Questi sono gli argomenti affrontati nel volume, dedicato alla storia di un materiale tanto antico quanto prezioso: la seta.

Pubblicato in occasione dell’omonima mostra, il catalogo – che inaugura la collana del CeSAC - Centro Sperimentale per le Arti Contemporanee di Caraglio – sottopone all’attenzione del pubblico tre momenti storici in cui la seta, soprattutto attraverso le vesti, ha assunto un ruolo significativo nella storia del costume e della produzione: il Rinascimento, gli anni a cavallo fra Seicento e Settecento, e la prima metà del secolo XX. Il boom della seta, che vede la realizzazione di veri e insuperati capolavori tessili – manifestazione di ricchezza dei ceti più potenti – è il Quattrocento, quando alcuni centri italiani, come Venezia, Firenze o Genova, ne diventano i più importanti produttori europei. Una produzione pregiata che viene accresciuta, fra Seicento e Settecento, dagli scambi con il lontano Oriente: decorazioni bizzarre e fantastiche, ispirate alla cultura figurativa turca, indiana, cinese e giapponese, fioriscono su fondi dalle cromie nuove e brillanti. Il Novecento, con il diffondersi dell’industrializzazione, vede mutare ancora l’aspetto e il significato dell’abbigliarsi in seta. Questa diventa un tessuto di appannaggio quasi esclusivamente femminile, mentre nuovi generi tessili, come crêpes e chiffons, favoriscono l’affermazione di una nuova moda, tutta giocata sulla seduzione. In catalogo, introdotti da saggi critici, sono documentati alcuni capolavori tessili provenienti dal Museo del Bargello di Firenze e dal Centro di Studi di Storia del Tessuto e del Costume di Venezia, nonché abiti di sartorie o creatori famosi – Fortuny, Poiret, Schiaparelli, Capucci – e capi appartenuti a importanti dive o personalità: Rita Hayworth, Mirna Loy e Soraya Esfandiary.

07/04/24

#Seta #Potere e Glamour #Textiles exhibition catalogue #CeSAC #Fortuny #Poiret #Schiaparelli #Capucci #Rita Hayworth #Soraya #Mirna Loy #fashion books #fashionbooksmilano

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homomenhommes · 2 months

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THIS DAY IN GAY HISTORY

based on: The White Crane Institute's 'Gay Wisdom', Gay Birthdays, Gay For Today, Famous GLBT, glbt-Gay Encylopedia, Today in Gay History, Wikipedia, and more … April 3

1895 – The libel trial instigated by Oscar Wilde begins, eventually resulting in his imprisonment on charges of homosexuality.

1924 – Marlon Brando, American actor born. (d.2004); Academy Award-winning American actor whose body of work spanned over half a century. Widely regarded as one of the most influential actors of modern time, Brando is best known for his roles as Stanley Kowalski in A Streetcar Named Desire and Terry Malloy in On The Waterfront, both directed by Elia Kazan in the early 1950s, but mostly for his Academy-Award winning performance as Vito Corleone in The Godfather. He also portrayed Colonel Walter Kurtz in Apocalypse Now, the latter two directed by Francis Ford Coppola in the 1970s. Brando was also an activist, lending his presence to many issues, including the American Civil Rights and the American Indian Movement. He was named the fourth Greatest Male Star of All Time by the American Film Institute.

Brando's sexuality has been a matter of debate. Not only did he have numerous affairs with women (such as actress Rita Moreno, who reportedly attempted suicide after they broke up), but he is also alleged to have enjoyed sex with men. In his 1976 biography The Only Contender by Gary Carey, Brando was quoted as saying, Homosexuality is so much in fashion it no longer makes news. Like a large number of men, I, too, have had homosexual experiences and I am not ashamed. I have never paid much attention to what people think about me.

He would appear to have had many such experiences and his name has been linked with many including Cary Grant, Rock Hudson, Farley Granger, Montgomery Clift, John Gielgud and James Dean.

Brando and Wally Cox

He also appears to have had a long-term relationship with fellow actor Wally Cox, who was also his best friend since their childhood days. Brando is quoted as saying: "If Wally had been a woman, I would have married him and we would have lived happily ever after."

After Cox died in 1973, Brando kept his ashes for 30 years; they were eventually scattered with his own. Cox's third wife only discovered he possessed them after reading an interview in TIME Magazine where Brando was quoted as saying: "I have Wally's ashes in my house. I talk to him all the time." She wanted to sue, but her lawyers would not accept the case.

Another alleged lover was the French actor Christian Marquand, after whom Brando named his son.

During the filming of Streetcar (1951), in the garden of Vivien Leigh's's mansion, David Niven discovered Brando and Laurence Olivier swimming in the pool. Olivier was kissing Brando. "I turned my back to them and went back inside to join Vivien. I'm sure she knew what was going on, but she made no mention of it. Nor did I. One must be sophisticated about such matters in life."

In a recent biography Brando Unzipped, Darwin Porter, (2006) details the alleged affairs with Grant, Hudson, and Granger. The book also features an alleged picture of Brando performing fellatio on a male lover. The validity of the photograph has yet to be substantiated.

James Dean And William Bast

1931 – William Bast was an American screenwriter and author living in Los Angeles. In addition to writing scripts for motion pictures and television, he is the author of two biographies of the screen actor James Dean.

Bast was born in Milwaukee, Wisconsin. When his family moved to Los Angeles, enrolled at UCLA, where he majored in Theater Arts, rooming with a fellow Theater Arts student from Indiana named James Dean. In 1952 he moved to New York to join Dean and pursue a career in radio and television. There, he initially worked in the Press Relations department at CBS and subsequently, in 1953, wrote his first scripts for the NBC television sitcom The Aldrich Family.

After the death of Dean in an automobile accident in 1955, Bast chronicled his five year relationship with the actor in James Dean: a Biography. After moving to London, Bast wrote The Myth Makers for Granada Television, a fictionalized drama inspired by Dean's funeral, which Bast perceived as grotesque and publicity-driven, with a shattering effect on Dean's rural-American family and his hometown of Fairmount, Indiana. In the United States, the script was produced again by NBC's Dupont Show of the Month and aired under the title The Movie Star.

In 1975, Bast produced and scripted James Dean: Portrait of a Friend for NBC, a movie for television based upon his first James Dean biography.

In 2006, Barricade Books (USA) published Surviving James Dean, a second, more candid book by Bast about his relationship with Dean; which featured material that Bast did not include in his earlier account due to personal trepidations and social mores of the 1950s. In Surviving James Dean Bast describes Dean in a compassionate light; how they met at UCLA, shared an apartment in Santa Monica, dated the same woman, and also had a sexual relationship. He also describes the events that happened to him after Dean's death, largely as a result of having written his first book.

In the late 1950s, Bast adapted Jean Giraudoux's play Tiger at the Gates for Granada Television, and wrote scripts for the BBC and Independent Television, including episodes of the classic series The Prisoner. Back in the States he wrote episodes for Combat!, Perry Mason, Ben Casey, The Outer Limits, Alfred Hitchcock Presents, Honey West, and Dr. Kildare, among other series.

He died on May 4, 2015 at the age of 84; he had Alzheimer's disease.He was partnered in work and life to Paul Huson, actor and author.

1942 – Tony DeBlase (d.2000), one of the great innovators and leaders of the leather community and creator of the Leather Pride Flag was born. Throughout his life Tony DeBlase contributed to the leather community in a variety of ways.

He used the two aliases of Fledermaus and Richard W. Krousher for his fictional work which focused on leather and S and M. Of his many awards "the one DeBlase said he treasured most was the coveted Caligula Award from Chicago Hellfire Club for service to Inferno". DeBlase joined the Chicago Hellfire Club shortly after its inception. "What's more, DeBlase was a major factor in the development of Inferno and in exporting the lessons learned and formulas tested there to other, less experienced SM clubs".

In 1969 DeBlase, a gay man, got married and moved to Chicago. He describes the situation, "I got married in [19]69. The woman had been my secretary while I was museum directory. She had polio as a child and was confined to a wheel chair. Told her I was gay. I loved her very much. We had several good years together"In 1982 he published a collection under his alias Fledermaus which have become “imitated classics of the genre”. He chose the name because of his work outside of leather and S&M. "Its a German word for bat. … Since I was doing my dissertation on bats, and the story was set in a German castle, it seemed like an appropriate name"

By 1986 DeBlase had divorced and he and his male partner moved to San Francisco and bought the Drummer family of magazines.

In 1989 in Chicago he presented a 'proposed' idea for a pride flag for the leather community, which was widely adopted. He presented the flag at International Mr. Leather. The flag was originally created by DeBlase because wanted a symbol for the community.

He died peacefully in Portland, Oregon, on July 21, 2000, after an extended illness, largely involving liver failure. He was survived by his lover of more than 24 years, Dr. Andrew Charles.

1955 – The American Civil Liberties Union announces it will defend Allen Ginsberg's book Howl against obscenity charges.

1959 – David Hyde Pierce is an American actor, best known for his role as psychiatrist Dr Niles Crane on the sitcom Frasier.

Pierce was born in Saratoga Springs, New York. He moved to New York City, where he worked several menial jobs (including selling ties at Bloomingdales and working as a security guard) while acting in the theatre during the late 1980s and early 1990s.

Pierce's first big television break came in the early 1990s in a sitcom that was cancelled after a brief run despite promising reviews. His career would soon, however, take off with a role on another sitcom. Because of his resemblance to Kelsey Grammer, the role of Niles Crane on the Cheers spin-off Frasier was created for him.

Pierce also acts in movies from time to time. He appeared alongside Meg Ryan in Sleepless in Seattle, with Jodie Foster in Little Man Tate and alongside Ewan McGregor in Down With Love. Pierce has a distinctive voice and, like his Frasier co-star Kelsey Grammer, is often called upon to provide voice work.

In 2005, he joined Tim Curry and others in the stage production of Spamalot. In August/September 2006, he starred in Curtains, winning him a 2007 Tony Award for Best Performance by a Leading Actor in a Musical.

Pierce's father and grandfather suffered from Alzheimer's Disease, resulting in him being very active in fighting for research into the disease. He is also a regular supporter of AIDS charities as well as gay and lesbian causes.

After years of media speculation about his sexuality, Pierce came out in 2007. Pierce's longtime life partner is TV writer/director/producer Brian Hargrove. He and Hargrove were married in California on October 24, 2008, just before Proposition 8 was adopted as law, banning same-sex marriages in the state. They live in New York and Los Angeles.

1963 – Colorado repeals its ban on voting by anyone convicted of sodomy.

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