Reina Gossett is a visionary and her work deserves prestige and compensation.
As a writer and an organizer, I get a warm flush a few times a month when I get a shout out on social media from my many peers and colleagues in queer feminist POC networks. The last one that gave me real pause was the incomparable make-up artist Umber Ghauri of Brown Beauty Standards who let the world know that I did one of my usual backstage hook-ups for a great campaign celebrating trans women’s beauty for the End Violence Against Women campaign. Reina Gossett is a historical researcher, writer, filmmaker and activist who has been receiving the antithesis of the aforementioned warm treatment that comes from community solidarity and compassionate collaboration. She’s been done real dirty in the furore which has surrounded the Netflix documentary film “The Death and Life of Marsha P. Johnson”. If you are unfamiliar with what I am talking about, Gossett accused David France, the director, of capitalizing on her years of research and ideas for the film. I spoke with David France, just to get a measure of the man. I was not interested in the pernickety back and forth of accusations, allegations, defensiveness and labored partial truth seeking. The expansion of digital media has enlarged the court of public opinion exponentially to an extent that would boggle the minds of television watchers. In this era where many are concerned about the not-that-new phenomenon of 'fake news', the thoroughness of journalistic endeavor hasn't been diluted across the board. It seems that David France believes that because he had "trans and gender non-conforming people from the very top of our production to the bottom of our production” that it could exempt him from criticism of his cisgender white gaze and perhaps even invalidate Reina’s claims that her labor was exploited.