Arts & Entertainment
Origins of an epidemic
New HIV book well researched but academic and heavy
‘Virus Hunt’ by Dorothy H. Crawford. (Image courtesy Oxford University Press)
‘Virus Hunt: The Search for the Origin of HIV’
By Dorothy H. Crawford
Oxford University Press
$27.95
244 pages
Some things are easy to track down. Others take years, even decades.
In the new book “Virus Hunt” by Dorothy H. Crawford, you’ll see how scientists discovered the roots of HIV.
In 1981, doctors in California began noticing “rare infections … and an unusually aggressive tumor” in certain patients. Soon, the same was reported in New York, Florida and elsewhere around the country. By 1982, the disease was called AIDS.
The risk of catching AIDS seemed at first to be limited to sexually active gay men, particularly those with multiple partners. Within weeks, heroin users and hemophiliacs were added to the at-risk group, then doctors discovered that infected mothers could pass it to their children. “Fear of AIDS” became “a disease in its own right.”
By 1984, the “causative virus was identified [as human immunodeficiency virus]… and shortly thereafter the genome was sequenced …”
But where did HIV come from?
Soon after the first description of AIDS was released in 1981, Boston researchers noticed that their captive macaque population was affected with something that sounded similar. Four years later, scientists at that research facility isolated a simian immunodeficiency virus (SIV) that had spread and mutated as animals were “unwittingly” shipped around to other facilities.
That led to the discovery that some SIVs are “closely related” to certain strains of HIV and share “between 62 and 87 percent” of their genetic sequences. It didn’t take much to see how the virus mutated, or how it leaped from animal to human, possibly via Africa’s sooty mangabey monkeys (a “natural host of the virus”), which were sometimes hunted for food.
But the question of where HIV came from needs to go back even further than 1981. A man from Memphis experienced AIDS-like symptoms back in 1952. SIVs were discovered in Icelandic sheep in 1949. Scientists, in fact, believe that SIVs are “ancient parasites” and that HIV has been “circulating in the African population since near the start of the 20th century.”
At the beginning of this book, author Dorothy H. Crawford indicates that the search for the beginnings of HIV is somewhat like a mystery. She’s absolutely correct. It is, but you need a Sherlockian PhD to understand it all.
That’s not to say that “Virus Hunt” is a bad book — that’s not the case at all. What readers will want to know, however, is that it’s very academic and heavily steeped in genetics, epidemiology and laboratory-level research. That’s great for anyone employed in those fields. For the layperson, this mystery’s not unreadable but it’s as far from relaxing entertainment as you’ll ever get.
Tackle this book, therefore, but give yourself some time to absorb it. Without that kind of consideration and careful contemplation, “Virus Hunt” will be hard to appreciate.
The Petal Release Party and Drag Show was held at Spark Social on Friday, July 31. Performers included Tiara-Missou, Labianna and Darcy de la Cuadra.
(Washington Blade photos by Landon Shackelford)
Celebrity News
Madonna headlines World Pride Music Festival in Amsterdam
Kylie Minogue made surprise appearance alongside gay icon
AMSTERDAM — Madonna on Sunday headlined the final night of the World Pride Music Festival in Amsterdam.
The gay icon took the stage shortly before 2:30 a.m. local time (8:30 p.m. ET on Saturday) during Club Confessions, a set that MISTR, a telehealth platform that offers free access to PrEP, Doxy PEP, STI testing, and long-term HIV care, organized.
“Mother is here and this is gay heaven,” said Madonna when she took the stage inside Amsterdam’s AFAS Live concert hall that can hold up to 6,000 people.
Stuart Price, who produced Madonna’s 2005 “Confessions on a Dance Floor” album and “Confessions II,” which debuted on July 2, DJed the set.
Kylie Minogue made a surprise appearance. She and Madonna performed a new remix of “Love Sensation” from “Confessions II.”
(Washington Blade video by Michael K. Lavers)
“Throughout my career, I’ve always supported efforts to fight HIV and AIDS, and that fight begins with education and access,” said Madonna in a MISTR press release. “With MISTR, (CEO) Tristan (Schukraft) is expanding access to HIV prevention and sexual healthcare for everyone. Through this work, he’s helping preserve and strengthen LGBTQ+ spaces while investing in the communities and culture that have long sustained us.”
Minogue in an Instagram post thanked Madonna, Price, Schukraft, and MISTR.
Madonna appeared at The Abbey in West Hollywood, Calif., in April. Madonna in June celebrated Pride month with a pop-up performance in New York’s Times Square.
Jake Resnicow and Insomniac produced the World Pride Music Festival that also featured Bebe Rexha and Paris Hilton, among others.
“Pride has always been about bringing our community together,” said Resnicow. “At a moment when too many people are being told to hide or make themselves smaller, gathering openly, joyfully, and without apology matters more than ever. I couldn’t be prouder of what this festival brought to life in Amsterdam — one dance floor, completely free.”
Theater
Reggie White relishing first season as artistic director of Woolly Mammoth
First five shows a reminder that ‘pressure is a privilege’
Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.
White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.
A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.
White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?”
Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor.
“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.”
WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?
REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real.
BLADE: Are you curating the upcoming 2026–2027 season?
WHITE: Yes, I am. It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard.
I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work.
These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV.
Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.
BLADE: As a queer artistic director, what makes you unique?
WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.
I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].
BLADE: Will we see familiar faces?
WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work.
BLADE: How do you think queer audiences will receive the season?
WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.
Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.
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