#granvarones

[granvarones]

The early 1990s were a pivotal era in popular culture, significantly marked by the escalating AIDS epidemic. For Queen, one of the most celebrated rock bands of the 20th century, the impact of AIDS was deeply personal.

By the release of "Innuendo," Queen's fourteenth studio album, Queen had established itself as one of the world's most iconic and enduring rock. With a string of hits and groundbreaking albums throughout the 1970s and 1980s, the band had garnered a reputation for its eclectic musical style, theatrical performances, and Mercury's charismatic stage presence.

However, this was a period of transformation and challenge for the band. Mercury's declining health due to AIDS complications, though a closely guarded secret until near the end of his life, became a subject of speculation and media scrutiny, reflecting the stigma and fear surrounding the disease at the time.

Released in the US on September 5, 1991, on Mercury's 45th birthday, "These Are The Days of Our Lives" served as the 4th single from "Innuendo." Written by band member Randy Taylor, the song evokes a melancholic sense of nostalgia and longing for days gone.

The accompanying music video for "These Are the Days of Our Lives," released as his health deteriorated, featured a frail Mercury and accentuated the song's emotional impact. It was one of the last times Mercury appeared on camera, making the video a haunting yet graceful farewell from the beloved artist.

In the closing scene of the music video, Mercury delivers the line, "I still love you," with a direct gaze into the camera, and for many, it felt like a personal message from him.

Freddy Mercury's death on November 25, 1991, marked the end of an era for Queen and the music world. His loss also brought significant attention to the AIDS crisis and played a crucial role in raising awareness and fostering a more compassionate public discourse.

"These Are the Days of Our Lives" is a testament to Freddy Mercury's profound impact on music and his ability to connect with audiences through his artistry and humanity. The song remains beloved in Queen's discography, symbolic of their reach, impact, and legacy.

[cyclistazine]

Black trans lives are not just an afterthought, their lives demand just as much righteous anger and outrage. Prior to being murdered by cops, Tony shared that that he was beaten up by five men for being trans. He sought vengeance and was brutally shot by cops on the eve of pride month. Black trans and queer people face the same state violence Black cis people do and also have to deal with anti-trans antagonism and violence. They deserve our safety, protection and outrage. . Please sign the petition in link in bio to help seek justice for Tony McDade... http://chng.it/gkP4yS977t . If folks have any information on ways to seek justice, who to contact, who to donate to, please share in comments. . Repost from @granvarones . tony mcdade. we speak your name. . tony mcdade, a black trans man, was murdered by police in tallahassee, florida on thursday, may 28, 2020. the media outlets, which have been very few, covering his murder, have mis-gendered him. . according to a news report, the murdering officer has been placed on administrative leave. this is NOT enough. we demand justice. . tony mcdade, we speak you name. we will always remember and rage for you and all those killed by the violence of the police state. https://www.instagram.com/p/CAy1JLFFuwU/?utm_medium=tumblr

[fosterreisz]

#BlackTransLivesMatter #StopTheHate! ・・・ #Repost @granvarones ・・・ Her name was Dominique “Rem’mie” Fells. Dominique, a 27 year old Black trans woman, was found murdered on June 9, 2020 in Philadelphia. Rest in power, Dominique. We speak your name. We shout in rage. We will riot for you! Black Trans Lives Matter! Update: GoFundMe to support family with funeral costs can be found in our bio. Please donate and share widely. (at Philadelphia, Pennsylvania) https://www.instagram.com/p/CBXoyE1DItF/?igshid=12kg8eclmjtav

[naijaboi]

#Repost @granvarones (@get_repost) ・・・ tony mcdade. we speak your name. . tony mcdade, a black trans man, was murdered by police in tallahassee, florida on thursday, may 28, 2020. the media outlets, which have been very few, covering his murder, have mis-gendered him. . according to a news report, the murdering officer has been placed on administrative leave. this is NOT enough. we demand justice. . tony mcdade, we speak you name. we will always remember and rage for you and all those killed by the violence of the police state. #blacklivesmatter #blacktranslivesmatter #endpoliceterror #tonimcdade https://www.instagram.com/p/CA28UgKAG0U/?igshid=vfafk9b5bg33

[herownbeat]

#Repost @hannahabonner ・・・ #Repost @granvarones ・・・ tony mcdade. we speak your name. . tony mcdade, a black trans man, was murdered by police in tallahassee, florida on thursday, may 28, 2020. the media outlets, which have been very few, covering his murder, have mis-gendered him. . according to a news report, the murdering officer has been placed on administrative leave. this is NOT enough. we demand justice. . tony mcdade, we speak you name. we will always remember and rage for you and all those killed by the violence of the police state. https://www.instagram.com/p/CA0KeDZp2PG/?igshid=uqqcte3n0vwt

[granvarones]

Jesús Ociel Baena Saucedo was a significant figure in Mexican LGBTQ+ politics, known for their pioneering role and activism in the community. Born on December 9, 1984, Baena Saucedo’s life and career were characterized by groundbreaking achievements and a dedication to advocating for non-binary and LGBTQ+ rights.

Baena Saucedo made history in Latin America by becoming the first non-binary magistrate on October 1, 2022. They served as an electoral magistrate at the State Electoral Court of Aguascalientes, marking a significant milestone in representing non-binary individuals in Latin American judiciary systems.

As a leading LGBTQ+ rights activist, Baena Saucedo was a prominent figure in advocating for the rights and recognition of LGBTQ+ communities. They were known for their judicial role and gained popularity as a TikTok content creator, focusing on electoral, political, and LGBTQ+ liberation.

Tragically, Baena Saucedo’s life was cut short at the age of 38 on November 13, 2023. They were found dead in their residence in Aguascalientes, under circumstances that remain surrounded by mystery. The cause of death was uncertain, but reports noted that Baena Saucedo and their romantic partner, who was also found dead, had received death threats related to Baena Saucedo’s gender identity.

Jesús Ociel Baena Saucedo’s contributions to the LGBTQ+ community and the broader push for social and political rights in Mexico cannot be overstated. Their pioneering role as the first openly non-binary magistrate in Latin America and their advocacy for recognizing LGBTQ+ people in Mexican politics will continue to inspire the fight for equality and representation.

Jesús Ociel Baena Saucedo’s life and untimely death highlight the ongoing struggles and dangers faced by LGBTQ+ activists. Their legacy lives on in the continued efforts towards equality and recognition of LGBTQ+ individuals in all spheres of society.

[granvarones]

Cecilia Gentili was a trans activist.

Cecilia Gentili was a mother.

Cecilia Gentili was a friend.

Celicia Gentili was an icon.

Celicia Gentili was here.

Cecilia navigated an often unkind world with a disarming and empowering grace. Her journey from Argentina to the heart of New York City was not merely a search for sanctuary but a quest to make the invisible seen, the silenced heard, and the marginalized celebrated. Her activism was her art, and her art was a form of activism. Cecilia painted vivid pictures of resilience, struggle, and triumph through her storytelling. She brought to life the experiences of the trans community, advocated the decriminalization of sex work, and supporting those living with HIV/AIDS. Cecilia's voice was a clarion call for justice, echoing in the corridors of power and the streets, demanding change, equity, and love.

Cecilia was a force.

Cecilia's legacy is not only in the many movements she helped shape or the policies she influenced, but also in the lives she touched. She mentored many, sharing her wisdom, warmth, and wicked sense of humor, oh so generously. To be loved by Cecilia was to be seen in your entirety, embraced for who you were, and inspired to become who you might be. I know this from personal experience. Her capacity for love was boundless, and she gave it freely, fiercely, and without reservation.

Cecilia was a healer.

Like her activism, her art reflected her soul—bold, beautiful, and transcendent. Cecilia used her creativity as a tool for advocacy; her performances and storytelling were not just entertainment but powerful statements on identity, society, and the human condition. Through her art, she challenged systems, questioned injustices, and oriented communities in the discipline of hope.

Cecilia was a teacher.

Cecilia Gentili leaves behind a world forever changed by her presence. She showed us that change is possible, that love is powerful, and that living one's truth is the ultimate form of resistance. Let us honor her memory by supporting one another with compassion, living our truths, and building the world she knew we all deserved.

Cecilia is now an ancestor.

Rest in power, Cecilia. Your journey here has ended, but the love you left us is everlasting. We love you, miss you, and will never forget you.

[granvarones]

Today, we honor and celebrate the life and legacy of Hydeia Broadbent, a beacon of hope, courage, and relentless advocacy in the fight against HIV/AIDS. Hydeia was a warrior whose spirit and determination transformed the landscape of awareness and compassion for those of us living with HIV/AIDS.

From a very young age, Hydeia stood in the glaring spotlight of public attention, not for fame or recognition, but to challenge the stigma and misconceptions surrounding HIV/AIDS. Diagnosed with HIV at three years old, Hydeia was not expected to survive past age five. In 1987, almost a decade before the introduction of effective HIV treatment, this prognosis was pretty accurate for children battling opportunistic infections brought on by HIV.

Hydeia’s mother immediately became a fierce advocate and enrolled Hydeia in clinical trials to prolong her life. It was an extraordinary win during a time when HIV clinical trials did not include women, young people, and people of color.

A chance meeting with the late HIV advocate Elizabeth Glaser in 1988 at the National Institute of Health, where they were both receiving treatment, led to Hydeia becoming a public speaker. After telling her story worldwide, including on a TV special for Nickelodeon with Magic Johnson, 20/20, Good Morning America, and becoming one of the most memorable guests of the Oprah Winfrey Show, Hydeia had become the face of not just pediatric aids but the first generation of children born with HIV.

Hydeia’s powerful and unwavering voice broke through barriers of fear and ignorance. She spoke at schools, appeared on national television, and collaborated with organizations worldwide, sharing her story to educate others about the reality of living with HIV/AIDS. Her message was clear: HIV/AIDS does not define a person, and everyone deserves love, respect, and compassion.

Hydeia changed this world! She helped shape how we advocate for young people and Black women living with HIV. She changed hearts and minds, pushing society towards greater acceptance and understanding. She inspired countless individuals to get tested, to speak openly about their status, and to fight against the stigma that continues to surround HIV/AIDS.

As we remember Hydeia Broadbent today, let us honor her memory by continuing her work. Let us be advocates for change and champions for accessible treatment for all people living with HIV, especially young Black women. Hydeia’s fight is our fight, and in her memory, we pledge to keep the flame of her legacy burning bright.

Hydeia, rest in peace. Your legacy, a tapestry woven with threads of hope, love, resilience, and unyielding commitment to all people living with HIV, will continue to guide us until there is a cure.

Hydeia Broadbent

June 14, 1984 – February 20, 2024

[granvarones]

the roots of queer clubs can be traced back to the early 20th century. many of these spaces existed in secrecy, then in the aftermath of the stonewall uprising against police violence in june 1969, queer clubs began to emerge from the shadows. the uprisings served as catalyst for transformation of queer nightlife.

in the 1970s and 1980s and throughout the 1990s, clubs continued to serve a profound role personal and collective liberation. these venues provided a space that offered a sense of freedom and refuge from homophobia and discrimination and music played a pivotal role. the songs , which often times could only be heard in queer spaces - months before they crossed over to mainstream pop radio, were a sonic invitation for everyone to come out to dance and be free on the dance floor.

below are a few of the songs that soundtracked the celebration of coming out to and/or inviting people into your world. may we all find a dance floor to move and be with abandon as we sing, or lip sync, to our favorite songs!

I WAS BORN THIS WAY • CARL BEAN

defiant in its profound message about gay pride, self-acceptance, and self-affirmation, “i was born this way” was initially released in 1975 by motown recording artist valentino. two years later, in 1977, carl bean, also on motown, covered the song and made it an anthem on and off the dance floor. bean’s version was remixed and re-released as the “better days” remix. it ignited dance floors again - almost a decade later.

I’M COMING OUT • DIANA ROSS

written by the prolific producer nile rodgers, “i’m coming out” was inspired after nile saw multiple diana ross drag performers in a bathroom at a new york queer club in 1979.

although the term “coming out” had been used to describe self-disclosure around sexual orientation and gender identity since the turn of the 20th century, ross was surprisingly unaware of the concept until nile told diana, “..this song is gonna be your coming-out song. we think of you as our black queen…”

I AM WHAT I AM | GLORIA GAYNOR

“i am what i am” was initially written for the 1983 broadway musical “la cage aux folles.” gloria gaynor, first lady of disco, released a dance version later that year. “i am what i am,” became a global queer anthem during a time when “coming out” was fiercely encouraged to build community and organize around the still unfolding AIDS crisis.

I’M COMING OUT OF HIDING | PAMALA STANLEY

philadelphia-born and raised pamela stanley scored a string of dance hits in the early 1980s. Her most notable song was the Hi-NRG classic “coming out of hiding.”

released nationally in 1984, “coming out of hiding” became a massive club hit, reaching #4 on billboard’s dance chart, and became an anthem among gay men during the onset of the AIDS crisis. a time when severe homophobia threatened to chase LGBTQ folks back into the closet.

NEW ATTITUDE | PATTI LABELLE

by the release of “new attitude” at the end of 1984, patti labelle had already cemented herself as a queer icon for her fashion, performance style, and resilience. she was also one of the first recording artists to support and perform at AIDS benefits.

if a jolt of energy could be a timeless self-empowering anthem, it would be “new attitude.” the song’s uplifting message of self-confidence, transformation, and embracing one’s connection with queer audiences.

COME INTO MY HOUSE | QUEEN LATIFAH

“welcome into my queendom, come one, come all…,” the opening line of the first verse of queen latifah’s 1990 hip-hop/house track “come into my house” is an invitation into her world, extended to those of us who were either exiled from or denied entry into kingdoms that valued hyper-masculinity and conformity. and visitors are greeted with the song’s refrain, “give me body!,” an invitation into her world and community.

GO WEST | PET SHOP BOYS

originally recorded and released by queer disco group the village people in 1979, “go west” is an unapologetic rallying cry about gay freedom and migration to san francisco. english synth-pop queer duo pet shop boys’ 1993 cover was hopeful and reflective in its yearning for acceptance and community. a theme that resonated emotionally during immense loss during the height of the AIDS crisis.

FREE HAPPY & GAY | THE COMING OUT CREW

in the 1990s, as LGBTQ+ culture continued to gain mainstream visibility, the coming out crew’s 1995 exuberant dance track “free, gay and happy” captured the unwavering power of queer joy and hope. written and performed by renowned vocalist sabrina johnston, “free, gay and happy” became a club hit in both the US and UK.

[granvarones]

Today we celebrate Trans Day of Visibility, a day to honor and uplift the resilience, strength, and achievements of transgender and gender nonconforming people around the globe. It’s a reminder to stand in solidarity and recognize the vibrant and incredible contributions of the trans community to our universe. As we reflect on the journey towards equity and freedom, let’s also acknowledge the challenges that remain. Today is about visibility, not just in the sense of being seen, but complete freedom, equity and valued for the fullness of who we are.

[granvarones]

my brother nicholas was born on christmas day in 1979. this is why our mother chose the name nicholas - in honor of saint nicholas who is believed to be the inspiration for santa claus aka “saint nick.” this is probably the only time my mother acknowledged saints that were not divas like diana ross, princess diana and tina turner.

nicholas was three years younger than me and a lot of what i witnessed, experienced, and survived as a child, was done with him by my side. he was my first audience. he’d watch me lip sync and dance to songs by the mary jane girls, janet jackson, en vogue, the good girls and paula abdul well into our teen years.

nicholas loved hip-hop. when he was just 10 years old in 1991, he purchased vanilla ice’s debut album. something i am sure he’d deny. but ya know, i recently heard “ice ice baby” and no shade, vanilla kinda snapped with that flow. but i digress.

nicholas’ favorite rapper was kool g rap. he loved driving. he loved having a car. he was driving at age 12. he was funny as hell. he’d punch anyone who dared call me a “faggot” in the face. and he loved being a father.

my brother nicholas was murdered on may 9, 2001. he was 22 years old.

we didn’t grow up celebrating birthdays, but those were spent together. there were no birthday cakes, but we did have tasty cakes. we had each other even when we didn’t think that was something worth having.

i remember almost everything. i refuse to forget. sometimes i feel i have a lack of evidence of our lives together because we don’t pictures together during our teen years. but i refuse to forget. it is the sharing of our stories that i document his existence.

today, i am wishing the biggest and happiest heavenly birthday to brother nicholas. i will speak your name over and over and over. i love you.

[granvarones]

i have always believed in pop music.

i have always believed in the beat.

pop music, in its infinite power, was my only religion.

and it was the patron saint pop divas like saint janet

that i pray for sanctuary, for deliverance.

as a young queer person in the late 1980s, the adults in my life were sick with homophobia. aunts, uncles, neighbors, and teachers were all transformed into monsters to me, to themselves, because of the sickness of homophobia. I heard their wishes for me to talk differently, walk differently, and stop dancing to "girl" music.

as a child, my need for the approval of these adults could have devoured me had it not been for pop music and Janet Jackson, a patron saint of pop music.

In 1989, my world was riddled with poverty, AIDS, addiction, and abuse, but people would still tease me for being me. but Janet, her music, performances, and existence, offered a vision of the world not as it was but as it could be—a world where adults were not the monsters beneath my bed but were like Janet, a source of power, a reflection of love and not shame.

on this #janetjacksonappreciationday, as i continue to navigate the complexities of my healing and acceptance in my ever-evolving world, the legacy of pop music and its divas like janet jackson endure. they are my constant reminder of the transformative power of art, the importance of visibility, and the enduring need for connection and understanding. pop music, in its glorious, unabashed celebration of everything in all its forms, continues to be a sanctuary for me and the child in me whom the pop divas saved every day.

this is my testimony.

this is why i have always believed in the religion of pop

music and the patron saint janet jackson.

[granvarones]

Today is the 6th annual #TransphobiaIsASincampaign. As we witness the continued attack on trans people, Join @theblacktransprayerbook in reminding the world of trans people’s right to thrive.

Who:

The Co-Editors of @TheBlackTransPrayerBook (@jmaseiii & @ladydanefe) are hosting the 6th annual #TransphobiaIsASin campaign

Why:

to call attention to, and disrupt the religious violence Trans people experience every day, (especially those of us who are Black/Brown/Indigenous.)

When:

Today, January 15th and we want your support!

1. Take a photo of yourself with a sign saying one of the following lines: “Transphobia is a Sin”, “Transphobia is Haram”, “Trans People are Divine”, or “Trans People Exist Because Our Ancestors Existed”

2. Use the hashtag #TransphobiaIsASin

3. Post on social media today, January 15th

pic one: black & white photo of jaymie (he/him) holding a sign that reads “trans people are divine.”

pic two: louie (he/they) holding a sign that reads “transphobia is a sin”

[granvarones]

camp challenges conventional notions of what is “tasteful” and “beautiful.” some proclaim that camp celebrates the “tacky” by subverting social norms. and yes, that’s why we live for it! i think camp requires an unabashed courage to be theatrical and humorous in an approach to fashion, art, and culture. and one performer who employed all this and so, so much more is the legendary puerto rican icon that is iris chacón.

lovingly regarded as “la bomba de puerto rico,” iris chacon rose to fame as a singer, dancer, and television personality in the 1970s and 1980s. her extravagant stage outfits, elaborate headdresses, and provocative choreography propelled her to stardom across latin america and captured the imagination of LGBTQ+ fans.

as the host of her top-rated variety show “el show de iris chacón,” which aired for 15 years until 1985, chacón challenged traditional gender expectations that loomed large within the social climate of the 1970s with her boundary-pushing stage presence. her performances were often tongue-in-cheek and punctuated by male backup dancers who exuded queer sensibilities.

before “breaking the internet” and “going viral” was a thing, iris chacón accomplished the 1982 equivalent when her feature in a 30-second television commercial for amalie coolant, a heavy-duty motor oil, made waves with its play on words (coolant sounded similar to “culo,” the spanish world for ass). the ad was so impactful it landed chacón on the front page of the wall street journal and remains a hallmark of 80s pop culture in puerto rico.

chacón was able to parlay her international notoriety into sold-out concerts at radio city music hall in new york, one of the first latino artists to do so. she also broke ground stateside and helped introduce puerto rican culture to the mainstream with memorable guest spots on the merv griffin show, the joan rivers show and several appearances on the david letterman show.

in 1989, the latin-freestyle music movement was at its zenith. chacón not only had a prominent role in the campy-as-hell freestyle music movie “an eastside story,” which starred a marc anthony, but chacón also released the cooing sergio george-produced freestyle track “am i a tease.”

as the 1980s ended, so iris chacón’s bid for mainstream success. after starring in movies, hosting her variety TV show, and playing to sold-out crowds worldwide, chacón stepped out of the public eye in the late 1990s. she has re-emerged for the occasional performance at gay pride parade in puerto rico.

in june 2023, puerto rican drag icon jessica wild impersonated iris chacón during the “snatch game of love” challenge on the fifth episode of the eighth season of “rupaul’s drag race all stars.

[granvarones]

On December 10, 1989, a significant event in New York City would set the stage for Ray's remarkable journey. Thousands of activists, many living with AIDS themselves, gathered for the "Stop The Church" demonstration outside St. Patrick's Cathedral. Their target: Cardinal John O'Connor, an influential Catholic authority whose statements on homosexuality, abortion, and AIDS had sparked outrage. O'Connor, despite being appointed to Ronald Reagan's AIDS commission in 1987, controversially claimed that condoms were only 50% effective at preventing HIV transmission.

Led by AIDS Coalition to Unleash Power (ACT-UP) New York, the "Stop the Church" direct action made international headlines and introduced the activist group to mainstream consciousness. Amidst this historic event, a queer, HIV-positive visionary named Ray Navarro boldly declared, "Make sure the second coming is safe - use condoms!"

Ray Navarro's became a member of ACT UP New York in 1988. Known for their bold, innovative, and powerful organizing in demanding greater attention, research, and resources for people living with AIDS, ACT UP marked the beginning of Ray’s tireless advocacy for those affected by HIV/AIDS.

For the 1989 "Stop the Church" protest, Ray masterfully incorporated performance art by dressing as Jesus Christ. He reclaimed this religious figure, which had been weaponized against queer and HIV-positive people by Cardinal O'Connor, as a radical savior who believed in safer sex and HIV prevention.

Ray was also a founding member of DIVA TV (Damned Interfering Video Activists), a collective of artists who used multimedia to document the work and history of ACT UP. They ensured that police violence during protests, often ignored by mainstream media, was captured and preserved.

Ray's dedication extended to the Latinx LGBTQ+ community, where he recognized the unique challenges faced by individuals affected by AIDS. His bilingual activism bridged gaps and ensured that vital information and support reached this community.

Ray's performance art, challenged stereotypes and misconceptions surrounding AIDS and LGBTQ+ identity. In 1990, after losing his vision to AIDS-related illness, Ray collaborated with artist Zoe Leonard to create the photographic series "Equipped." This project centered on disabled people, shedding light on the complexities of disease, race, class, and sexuality.

Ray Navarro died from complications due to AIDS in November 1990 when he was just 26 years old. His passing was a devastating loss to the LGBTQ+ community and the broader AIDS activist movement. However, his legacy endures through his art, performances, and activism, inspiring subsequent generations of activists and artists.

Ray Navarro's life, art, and activism challenged stigma, demanded justice, and helped change the trajectory of the AIDS crisis. Today, we remember him not only as an AIDS activist but also as a pioneering artist and a fearless advocate for LGBTQ+ rights and visibility so that someone like myself could exist, breathe and thrive. His legacy testifies to the resilience and strength of all people living with HIV and AIDS.

[granvarones]

2025 will mark the 40th anniversary of Dionne Warwick’s cultural milestone single, “That’s What Friends Are For.” The one-off single, featuring the equally iconic Gladys Knight, Elton John, and Stevie Wonder, “That’s What Friends Are For,” was released as a charity single in October 1985 to support AIDS research. The song achieved monumental success and cemented Warwick’s legacy as not just a music icon but a significant figure in the history of AIDS advocacy.

Dionne Warwick emerged as a groundbreaking performer in the 1960s, her voice becoming the medium for the poignant lyrics of the songwriting duo Burt Bacharach and Hal David. With hits like “Walk On By” and “Say a Little Prayer,” she became synonymous with a refined pop and R&B style. As musical styles changed in the 1970s and 1980s, Warwick adapted to the changing musical landscape, dominated by Disco and the advent of MTV-oriented superstars.

The genesis of “That’s What Friends Are For” lies in its initial recording by Rod Stewart for the 1982 comedy movie “Night Shift.” Stewart’s version was in concert with the schmaltzy ballad sound that dominated pop radio at the time and went relatively unnoticed. Written by Burt Bacharach & Carole Bayer Sager, Warwick’s 1985 version was a rallying cry in the fight against AIDS and catapulted the song into music and AIDS history.

Featuring Gladys Knight, Elton John and Stevie Wonder and billed as Dionne & Friends, “That’s What Friends Are For” was released in October 1985, just a few weeks after the AIDS-related death of Rock Hudson, a beloved American Hollywood Legend. Hudson’s death marked a significant shift in America’s understanding of AIDS and song’s poignant message of friendship and unconditional love resonated with music listeners during a pivotal time.

The proceeds of the platinum-selling “That’s What Friends Are For” were donated to the American Foundation for AIDS Research (AmFAR). Co-founded by Elizabeth Taylor in September 1985, one of AmFar’s first donations was a gift of $250,000 from Rock Hudson shortly before his death a month later. This gift, along with the amplification and monetary support by “That’s What Friends Are For,” AmFar has contributed to numerous breakthroughs that have extended and saved lives worldwide.

Dionne Warwick’s AIDS advocacy was not limited to this song. She became a vocal and visible advocate for AIDS research, education, and compassion. In March 1990 “That’s What Friends Are For” was performed by Warwick and her cousin Whitney Houston as the finale at the AIDS benefit That’s What Friends Are For: Arista Records 15th Anniversary Concert at Radio City Music Hall in New York City. The historic event, later televised on CBS, raised Over $2.5 million for various AIDS organizations.

Dionne Warwick’s dedication to AIDS advocacy continued for years, making her a significant figure not only in music history but also in the history of social activism. Her efforts helped shift public perception of AIDS and brought greater awareness and resources to combat the crisis. Her career is a testament to the power of music not just to reflect the times but to shape them.

Dionne Warwick is an enduring icon in both music and social activism. Praise her!