And they kind of like floated down like snowflakes in a blizzard... GOLDIN: Exactly. At some point, Nan - we talked about sex work. Laura came every week during the second round of COVID to interview me about my sister, about AIDS, about my friends, about my politics. It's Lucinda Williams singing "Unsuffer Me. GOLDIN: It's the same as so many photos of my history.
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Exuse Me This Is My Room Raw Chapters
Most women, at least in those days, something like 90% of women, went back to the men who battered them. And it became, you know, like untenable. It's the most important question on my mind, frankly, was what I'm going to wear. And she was like, no, no, no, we just didn't care.
You would walk in - if Nan hadn't stood up, I'm confident that the Sackler name would still be on the museums. I got addicted very quickly to oxy after it was prescribed. Exuse me this is my room raw chapters. I think the representation of queer identity, queer sexuality, you know, it's just all groundbreaking. Read: The Ultimate ADD Accommodation — Ending the Systemic Oppression That Leaves Me Unbelieved, Untrusted, Unsupported. GOLDIN: So this is, you know, a film made by two very strong women who've always had final cut of their own work.
And I think when we were in New England for 20 years together, they got tired of writing the same story. And it was - for me, it was a no-brainer. Excuse me this is my room raw 77. GOLDIN: I was afraid to be around a group of men, a crowd of men. And it was one of the most dangerous places in the world. Like, normative society was not interesting to us. It's about Goldin's life and work and her campaign to get museums and galleries to remove the Sackler name from their walls.
Exuse Me This Is My Room Raw Deal
And the company went bankrupt. And you became a bartender there. And then we happened to have a chance meeting. I cannot count the number of times I've been at the receiving end of comments about my lack of rhythm or inability to dance. I wanted - they wanted to be - they were my supermodels. GROSS: And I just want to mention - when you refer to P. N., you're referring to the group P. Exuse me this is my room raw deal. N., the activist group that you founded, Nan. GROSS: This is FRESH AIR. GROSS: So this has been a pretty heavy conversation, talking about, you know, very personal and very political subjects. I'd seen him throw, so he definitely wasn't playing quarterback. GROSS: Laura, as somebody who directed the film and didn't participate actively in the protests other than filming them, how much do you attribute the success of taking down the Sackler name from many major museums to the work of Nan Goldin and her group, P. N.?
And she told me that she was looking for other people to join the project. GROSS: I want to thank you for talking with us. And I thought that Times Square was real life because it wasn't classist and there were people who were really struggling to survive. And now, like - I mean, you've been outspoken through your photographs for years, but now you are, you know, literally outspoken. A Visible Minority with Undiagnosed ADHD. To Goldin, it was a way of laundering blood money. GROSS: You took very, like, intimate photos of your friends, including, you know, in bed with or without a partner, sometimes having sex. My sister was an outcast from the beginning. And my mother didn't understand my sister at all. The Audio of Brady Dunking on the Media Who Tried to Drive Him and Belichick Apart is Sweet, Sweet Music | Barstool Sports. It's a miracle Brady didn't jump ship out of Foxboro the first chance he got, as soon as his rookie contract was up. She is a very intense interviewer.
But can you talk a little bit about that process of mutually deciding what should be revealed in the film, what had larger meaning and what was just, like, too personal and maybe didn't have the larger meaning and should just be kept personal? It was the beginning of people starting to go to galleries. GOLDIN: No, I - my brother told me. He's about 18 months away from collecting $35 million a year of Foxbucks. There were moments that were, you know, never intolerable. Every time some ESPN reporter published some hatchet job loaded with factually inaccuracies, no one ever tried to verify a word of it. I just put a camera on a tripod and took pictures. And I didn't want him to play quarterback. And I felt it was important to add those images. The stigma for the AIDS phobia and the stigma was incredible for people living with AIDS.
Excuse Me This Is My Room Raw 77
She started documenting the protests. My last work has been videos that I've made either from my archive and another piece called "Sirens, " which is from films. I mean, where do you even start? You were - the people from your group, P. N., were on the upper levels of the atrium and started dropping these prescriptions into the center of the Guggenheim.
Nan Goldin, Laura Poitras, thank you. And somebody sold me something that I thought was heroin, and it was fentanyl. They had interpersonal disagreements like every great partnership does, but they never were at odds. You want to know people. Everybody stigmatized them. So riddle me this: Why is this being said now? It naturally followed that we'd soon get audio, and that it would be better than anything ever to ever emerge from the pens of a Shakespeare, a Bronte, or a Thornton. GOLDIN: No, I never did anything like that. You reconfigure the narratives of your slideshows. And my father, coming from a conservative Jewish background, but having rejected that, still wanted a son as his first child, which is an old Jewish kind of custom. GROSS: So now, like, you know who you are and other people do, too, 'cause they've seen your work.
She founded the group P. A. I. N., an acronym for Prescription Addiction Intervention Now, which led anti-Sackler die-ins and other protests at museums. It's an acronym for Prescription Addiction Intervention Now. And there's a sort of relationship that, actually, you can see and you can feel in the images representing, you know - I mean, Nan and I would have these conversations. And then our signs were ripped down. But I called for criminal charges against them. She loves to get dressed up for them. I mean, there's - investigative journalists like Patrick Radden Keefe and Barry Meier, who've been reporting about the Sackler family and the scourge of OxyContin for so many years, and yet nothing was really happening in terms of accountability for the Sacklers themselves. We actually were always trying to go in the same direction. And he just asked me to quarterback. And you're invisible, which I kind of like. And the best part about football is, coach says it a lot, 'Do your job. ' So I'm going to ask you something that is not in that category.
GOLDIN: First of all, I took those pictures. And I think that had a lot of power in the board meetings. It's Charles Aznavour singing "What Makes A Man. " And like Laura said, it's - the way people respond to the work is very important to me. It was Times Square when Times Square was Times Square, before it became Disneyland. GOLDIN: So that I wouldn't go back to him. I mean, they look like performance pieces.
And they couldn't have her in the house and sent her to a reform school in a mental hospital. It's a really remarkable film. GROSS: It's getting late (laughter) in terms of... GOLDIN: Tell me about it. And there is no better real world example of this true, abiding love between two opposite people united by a common goal that the dual GOATs, Tom Brady and Bill Belichick. GROSS: Did you bring your camera to the bar? GROSS: Nan Goldin's life, art and protests against the Sackler family are the subjects of the new Oscar-nominated documentary "All The Beauty And The Bloodshed. " It was just not, you know, a sense of self in the world had become damaged and the world was risky. GROSS: After we take a short break, John Powers will review another documentary that's nominated for an Oscar called "All That Breathes. " The kind you only experience in one of the truly great love stories of our time. NAN GOLDIN: Yeah, they're very performative and sexy. GOLDIN: The other thing is we were - after that - thanks, Laura. Unwet my head with your sweet kiss. As a matter of fact, he'd probably engender more goodwill if he denied Belichick's very existence, given the fact the whole country has spent two years saying the "Brady vs. Belichick" debate he referenced is over, and it was Brady all along. This is him setting the record straight.
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