› marke@sfbg.com You’d think that amid all of the bell tolling and hand-wringing about DIY online media proliferation, professionally produced gay porn would have gone the way of the floppy disk and dial-up modem long ago. (Remember waiting 20 minutes for free stud-muffin bitmaps to download, pixel by aching pixel, onto your 10-inch monitor? Ah, AOL blue balls. Whither the ’90s?) But no – gay porn is the new fireplace. You can hardly turn around in most finer homo homes and gardens without some two-dimensional boy butter spattering your delicate cheekbones. Gooey! And every edgy hetero is at least partially versed in the extensive oeuvres of quasi-professional online sites like Bait Bus or His First Huge Cock, if only because sticky fingers often click too quickly on flickering banner ads. Gay porn’s also big business, of course, and an especially homegrown one. Almost all of the most profitable studios are based in San Francisco – a rare case of several giants of an industry being located within mere blocks of one another. SoMa has become the Wall Street of Crisco. The reasons behind this multimillions-generating clusterfuck are myriad: mainly, the local economic advantages, cultural environment, and plethora of scruffy multiculti boys (all the rage among a rapidly globalized audience) make SF a much more fertile gay porn hot spot than the traditionally down-and-dirty San Fernando Valley. Also, many big studios are the bastard children of SF’s Falcon Studios, the granddaddy purveyor of male video erotica headed by the late, irascible Chuck Holmes, for whom our groundbreaking Charles M. Holmes LGBT Community Center was affectionately named. And it doesn’t hurt that Silicon Valley is a whip flick down the freeway. Gay porn studios have been aggressively savvy about riding the online wave to solvency, even if lately that’s meant a hilariously regrettable spate of behind-the-scenes blogs and vids that feature pec-implanted gym queens sashaying nude around Palm Springs pools and fussing over which pair of snakeskin trousers go with which Tony Lamas. Decisions. Yet despite the buttloads of profit, cornered markets, community accolades, and extensive and rabid fan bases, gay porn studios – like cuddly-wuddly gay porn stars themselves – have massive inferiority complexes. They want recognition, dammit! Thus the annual Golden Globes of filmed homosexual obscenities, the GayVN Awards, presented by venerable gay porn insider news source GayVN (recent headline: "Jock Itch in the Can!"). Last year’s awards presentation at the Castro Theatre — open to the public – was a raucous, substar-studded affair featuring MC Kathy Griffin and more fashion nightmares than you could shake a spangled man boa at. This year’s awards show expands to the Giftcenter Pavilion – because, really, doesn’t this celebration require an entire pavilion? – and although no D-list host has been announced, fan tickets are being snatched up at a robo-thrusting pace. A quick and gleeful scan gleans from among the 2008 nominees: Gaytanamo for Best Leather Video (when, oh when, will someone make Fahrenheit 9"x11"?); Tiger’s Eiffel Tower: Paris Is Mine!, Gunnery Sgt. McCool, and Rocks and Hard Places for Best Video; the mathematically challenging Bottom of the Ninth: Little Big League 3 for Best Direction, and, inevitably, Buckback Mountain (Best Specialty Release) and Bi Pole Her (Best Bisexual Video, duh). There are awards for Best Box Cover Concept, Best Music, and the always bracingly racist Best Ethnic-Themed Video: (Arabian Tales 1-2? Spilling the Tea? Queens Plaza Pickup 2, surprisingly not about migrant-worker prostitution? Only the judges can decide. But most enticing of all, barring any prerecorded acceptance speeches — and despite the writer’s strike – there will be actual humans in attendance, the real faces behind the fornication, in all of their fleshy solidity, crossing their powder-encrusted pinkies and gazing hopefully, hazardously into the glare of their peers’ applause or opprobrium. The meltdowns will be spectacular! GAYVN AWARDS Feb. 16, 6 p.m., $100 Giftcenter Pavilion 888 Brannan, SF (415) 861-7733
LGBT
A hard line on 55 Laguna
EDITORIAL In spring 2007, Assemblymember Mark Leno talked to Ruthy Bennett, the point person on the A.F. Evans proposal to build a major housing development on the old University of California at Berkeley Extension campus in San Francisco. Bennett was running into some problems: the site’s neighbors didn’t think the project included enough community mitigations. And Evans was looking for ways to fund a much larger community center and possibly some affordable housing.
Leno was interested in the project in part because it included plans for 80 units of housing for queer seniors. Open House, a local nonprofit, had been trying to find a site for an LGBT retirement complex for some time, and Evans had agreed to make that part of its project. The assembly member had a friendly relationship with the chancellor of the UC, which owned the land, and he told Bennett he might be able to intercede and help reduce the lease amount the UC wanted to charge the developer. Leno brought Sup. Bevan Dufty, whose district includes part of the site, to the meeting.
Leno told us he made some progress: the UC had wanted $20 million, but he talked the chancellor down to $18 million. "With that $2 million, we were able to substantially increase the size of the community center," he said.
But at the same time, UC representatives apparently walked away from the table thinking they had a final, done deal — that representatives of the city and the state had signed off on a price, which was now set in stone. "Unfortunately, UC’s position is predicated on a deal that doesn’t work well for moving this project forward," Sup. Ross Mirkarimi told us. Now that Mirkarimi is demanding greater affordability in the housing — which is largely high-end rentals — Evans is saying it needs a break from the UC, and the UC won’t budge an inch.
And somebody needs to budge, or this deal needs to be scrapped altogether — because it’s not good for the city.
Remember: this is public land that’s been used for public educational purposes for a century. Now the UC and Evans want to turn it into a private, for-profit housing complex. And only a minimal amount of that new housing will be available at a price that’s affordable to the vast majority of San Franciscans.
Of the 420 units, only 16 percent (roughly the legal minimum) will be affordable. None of the 80 LGBT units will be rented at anything but market rates unless Open House can raise the money to subsidize them. That’s not acceptable: building high-end apartments for the rich does nothing to help the city’s housing crisis, and while we agree there’s a need for supportive community housing for LGBT seniors, middle-class and poor queers need a place to retire too — and this will do nothing for them.
The project was on the fast track until state senator Carole Migden squeezed the UC and forced a delay until late January. The city has plenty of leverage here: not only does the site require rezoning, but the supervisors would also have to sign off on a plan to hand over a piece of Waller Street to the developer.
At this point city officials need to take a hard line: either Evans and the UC up the affordability level to, say, 40 or 50 percent and guarantee that some of the senior units will be subsidized, or the project dies. Period.
We agree with the neighbors of 55 Laguna who say the site has been empty for too long, is an eyesore, and attracts crime. It’s 5.8 acres of land in a central part of the city, and it shouldn’t remain a crumbling ghost of a former college. But the UC and a private developer can’t set all the terms here either — and the city can do a whole lot better than the deal on the table right now.
Leno cries over spilled Milk
The big Harvey Milk LGBT Democratic Club endorsement vote for State Senate is tonight, as you’ve probably already heard way too much about if you’ve been following the Carole Migden-Mark Leno slugfest. Frankly, the whole situation has gotten downright ridiculous, with each side alleging dirty tricks and using whatever tactics they can muster to win this supposedly influential endorsement.
But the topper is now coming from Leno himself, who has concluded that Migden has it sewn up and has decided to essentially boycott the vote, saying he’s not going to show up and urging his supporters to also stay home. In other words, he’s taking his ball and going home, or crying over spilled milk, or whatever metaphor you prefer.
Why can’t he just lose gracefully, congratulate his opponent, and keep his dignity? After all, Leno’s people engineered early endorsements from the Alice B. Toklas LGBT Democratic Club and the San Francisco Young Democrats, both times using confederates to essentially rig the game. And now he cries foul when a similar episode goes against him. Puh-leeze!
Remembering Harvey Milk Tonight
One of the good things about email is that items often pop up that jog my memory. The latest example was the news flash just now from the Harvey Milk Club about its annual Harvey Milk Memorial Concert and Candelight March tonight, starting at 5:30 p.m. at Harvey Milk Plaza and marching to the site of his camera store down the street.
The news reminded me of the last words I heard Harvey say, a snapshot of his humor and his politics. Harvey came into the Guardian office on the Friday before Dan White assassinated him and Mayor Moscone in their City Hall offices on Monday, Nov. 27, 1978.
This was one of our regular City Hall update chats. The Guardian had been a critical early endorser and supporter of Harvey, and we supported his progressive and gay rights agenda as the strong innovative supervisor of his era. And so Harvey would come around and fill us in and tell us how he was faring.
On this Friday, he was a bit disconsolate. He was losing some friends and supporters on key votes. He was hoping Moscone would appoint a strong liberal supervisor to replace White as supervisor, who had resigned. He said there was so much to do and he was worried that he wouldn’t be able to do enough to fulfill the agenda that he had been elected to do. So he said, in wonderful Harvey Milkese, that he would keep on truckin’ but that he would also pay more attention to the Guardian in terms of keeping us informed and on top of his progressive agenda.
“I want to be your Deep Throat in City Hall,” he said.
I said we needed one, we shook hands, and Harvey headed off to City Hall. B3
PRESS Release: Harvey Milk Memorial March: TONIGHT Nov 27 5 PM
Harvey Milk Memorial Concert & Candlelight March on November 27 Remembering Harvey Milk and Celebrating His Life
The Harvey Milk Club invites you to join us for the annual Harvey Milk
Memorial March. This year, in addition to the candlelight march from Harvey Milk
Plaza to the site of Milk’s former camera shop down the street, there will
also be performances to celebrate his life. This occasion kicks off a year-long
series of events leading up to the 30th anniversary of Milk’s assassination
on November 27, 1978. The Harvey Milk LGBT Democratic Club was founded by
Harvey Milk, and renamed in his honor.
WHEN: Tuesday November 27th 5:30 PM
WHERE: Harvey Milk Plaza (corner of Castro & Market)
FEATURING:
Holly Near
SF Gay Men’s Chorus
Dance Brigade
Shawna Virago
Keith Hennessy
Melania DeMore
SPEAKERS:
Hon. Carole Migden
Hon. Mark Leno
Hon. Tom Ammiano
Cecilia Chung,Transgender Law Center
John Newsome, And Castro For All
– Presented by the Harvey Milk LGBT Democratic Club –
Krissy Keefer, Event Producer
Obama’s moment
› news@sfbg.com
Barack Obama came to San Francisco with some pretty heavy baggage Nov. 14. His speech at the Bill Graham Civic Auditorium was swarmed by a diverse crowd of about 7,000, with most of those we interviewed hungry for an answer to the big question: is Obama the one who can take this troubled country in a new direction?
The Illinois senator had just gotten a bump from a cover story in the Atlantic, "Why Obama Matters," which posits that he is the only candidate capable of moving our country past the divisive culture-war paradigms and into a period when fundamental change is possible.
But time is running out for Obama to take the Democratic presidential nomination from front-runner Hillary Clinton, who has locked up moderates and most women. And some progressives, including labor unions, are behind John Edwards. To win the nomination, Obama must find a way to quickly rally the left — including urban voters and the antiwar, social justice, LGBT, and labor movements — into an energized voting block.
And that, some progressives say, means he’s got to stop playing it safe.
Guardian photo by Lane Hartwell
Days before the speech, former California state senator and 1960s radical Tom Hayden sent Obama a letter taking issue with the latter’s comment that Democrats are paralyzed by Vietnam-era fights — and in particular, his response, "That’s just not my framework."
Hayden argued that Obama was squandering his advantage as the sole credible antiwar candidate by running a safe campaign that equally repudiates both political extremes — even though progressives have been far closer to the truth on issues of war, civil rights, economic equity, and the full range of traditional Democratic planks.
Hayden wrote, "The greatest gift you have been given by history is that as the elected tribune of a revived democracy, you could change America’s dismal role in the world. Because of what you so eloquently represent, you could convince the world to give America a new hearing, even a new respect. There are no plazas large enough for the crowds that would listen to your every word, wondering if you are the one the whole world is waiting for. They would not wait for long, of course. But they would passionately want to give you the space to reset the American direction."
Many attendees of Obama’s SF speech shared similar sentiments. "I’m interested in what he’s been saying in his books, but he’s become a kind of politician, so I want to hear what he has to say tonight," Jeremy Umland, 33, a third grade teacher from Oakland, said as he was waiting in line. "I think he had a lot of brave ideas in the past, and I’d like to see him get back to that."
Umland, who is white and gay, stood with his partner, Terrence Marks, 34, who is black. The couple are in the process of adopting a child and wanted to hear Obama call for legalizing gay marriage or for a health care plan that doesn’t involve insurance companies.
"I’d like to see him address it in a way that doesn’t evade this issue," Marks said. "I want to hear him talk not like a politician, but a real person."
Inside, Obama gave voice to many of those same themes.
"Running the same old textbook, by the numbers, Washington campaign just won’t do it…. The triangulation and poll-tested positions because we’re afraid of what Mitt [Romney] or Rudy [Giuliani] will say about us just won’t do it," Obama said, adding, "If we’re going to seize the moment, then we can’t live in fear of losing."
He said we are in "a defining moment in our history," when Americans need to grapple with war, a planet in peril, economic insecurity, and a political system that seems corrupt and incompetent. "We’ve lost faith that our leaders can or will do anything about it," Obama said.
Over and over again, Obama said he is running to deal with the most difficult issues: living wages, universal health care, human rights and dignity, racial harmony, honest foreign diplomacy, and a return to the principles of the New Deal. "I’m running for president of the United States because that is the party that America needs us to be right now.
"I am in this race," he said, "because of what Dr. King called the fierce urgency of now."
Good stuff, but is it too late? "I don’t see it happening, but it’s still possible that Hillary Clinton will slip in Iowa. She’s not invincible," Hayden told us.
In fact, a new ABC–Washington Post poll shows Obama taking the lead over Clinton in Iowa, 30 percent to 26, with Edwards at 22 percent.
"Seeing him through the eyes of my 34-year-old son and his wife, I could see there was a lot of new excitement among the younger generation and that it would be a shame if that just dissipates," Hayden told us. "The thing Obama needs most is what he steers around: he need a new social justice movement similar in strength to what we had in the ’60s."
Donald Fowler, a San Francisco resident and Democratic Party campaign consultant who ran John Kerry’s Michigan campaign in 2004 and Al Gore’s field operation in 2000, said Obama has suffered for trying to communicate detailed positions through an intense media filter.
"You get into the danger of running a government when you should be running a campaign," Fowler told us.
He and Hayden each said that particularly on the Iraq war issue, where Obama is strongest, he should have projected his stance more boldly, something he may now be starting to do.
"My guess is they have decided to be strong, state things clearly, and take back the discussion," Fowler said. Listening to Obama discuss this moment, that assessment seems likely.
"It’s because of these failures that people are listening intently," Obama said. "We have the chance to come together to form a new majority." *
To hear Barack Obama’s speech and read the Atlantic article and Tom Hayden’s letter, visit www.sfbg.com.
Editor’s Notes
› tredmond@sfbg.com
I called labor activist Robert Haaland a few days after the election to chat about what the victory of Proposition A meant, and I wound up interrupting his vacation in Maui. I shouldn’t feel so bad — anyone who takes his cell phone on vacation and returns calls from political reporters has nobody to blame but himself … but still, I wanted to get off the phone quickly and let him get back to his sun and sand and Bikram yoga.
It wasn’t happening. Even from Hawaii, even with all of us in a celebratory mood over the way the progressives stomped Don Fisher, Haaland had a somber note to share.
"Queer progressives were missing in action on Props. A and H," he told me. "I think they were spending all their time fighting over Mark and Carole."
What he meant, of course, was that people active in the LGBT community spent their energy these past two months in organizing (and bickering over) the Harvey Milk Lesbian, Gay, Bisexual, Transgender Democratic Club’s endorsement for the June 2008 State Senate race. The two candidates, Assemblymember Mark Leno and incumbent Carole Migden, are both, generally speaking, progressive politicians. They both have active, loyal groups of LGBT supporters, and they have both poured considerable effort into getting the Milk club endorsement, which puts a stamp of progressive legitimacy on the winner.
But if you’ve followed the whole mess on the www.sfbg.com politics blog, you know it’s been nasty and bitter. The meeting at which the club decided (or maybe didn’t decide) when to schedule its formal endorsement vote was a mess of procedural questions, shouting, alleged violations of Robert’s Rules of Order, utter confusion at the end, and recriminations afterward. A lot of people who used to like one another are still steaming about it, using epithets we typically save for the Republicans in Washington DC.
I’ve said this before, and I’m going to do it again, as loud as I can:
Knock it off. All of you.
Look: Leno is running against Migden. You can think that’s a bad and divisive political idea or you can think that he has every right to seek office in a democracy and hold an incumbent accountable. It doesn’t matter; the race is on. Next June we’ll all be voting for one or the other.
And five months later control of the San Francisco Board of Supervisors will be in the balance, and we will desperately need a united progressive front to make sure that Gavin Newsom’s allies don’t win. We can’t afford to be mad at one another. We can’t afford an ugly progressive split. We can’t afford to let the Leno-Migden race devolve into personal attacks. We can’t be demonizing one another.
Don’t start with your he-did-it-first-she-did-it-first stuff either. Nobody’s completely innocent here; both sides have said and done things that have inflamed the situation.
I’m an idealist and an optimist; that’s how I survive. I actually believe that this city, and this movement, is mature enough politically to have a race like Migden vs. Leno without leaving lasting scars that will hurt all of our causes for years to come.
But when I mentioned to a downtown operative the other day that I was worried that people like Debra Walker and Howard Wallace will wind up hating each other, he told me gleefully that "Don Fisher would happily pay money to see that."
Think about it.
Leno vs. Migden: A meditation
By Tim Redmond
The Harvey Milk LGBT Club is all tied in knots over this race. A lot of progressives are arguing that it’s split the community. A lot of people don’t even know how to approach it – two queer community leaders with progressive politics are fighting it out, and in the end, we all have to pick sides (or at least vote for one of them and not the other).
It’s tough: Both have been right sometimes and wrong sometimes. Leno used to be more associated with the moderate side of queer politics, and Migden with the more progressive side, but that’s not entirely accurate today: Leno has moved to the left (in part, no doubt, because that’s easier to do in Sacramento) and has become one of the most accessible, hard-working politicians in town. He’s proven himself trustworthy (although his political consulting firm, BMWL, is involved in some of the worst and sleaziest pro-downtown stuff in the city.
Migden, meanwhile, endorsed the more conservative Steve Westly over the more liberal Phil Angelides for governor. She’s done a few truly embarrassing things, like promoting for state school board a downtown Republican who wants to privatize public schools.
A lot of people say there’s no ideological difference between the two today, that the race is all about style (Migden brash, confrontive, an insider deal-making pol; Leno friendly, conciliatory, able to work well with others). Some say the criticisms of Migden’s style are sexist.
Over the next few months, as this gets more and more competitive and (I fear) ugly, there will be lots of trash talked about both of them. The two candidates will talk about history, records, and (maybe) positions on the few issues on which they don’t agree. They’ll both argue – and they can both make a case – that they will be more effective in Sacramento, better advocates for progressive causes and the city’s needs.
I’d like to offer a different lens.
Milk Club tonight — Leno and Migden
The harvey Milk LGBT Democratic Club meets tonight to consider a parliamentary procedure that could lead to an an early endorsement for state Sen. Carole Migden, who faces a challenge in next June’s primary from Assemblymember Mark Leno. Not surprisingly, the sleaze is flying
We haven’t endorsed in this race, and we won’t until next spring, but I have said, repeatedly, that both sides ought to play fair and keep it clean and try to avoid doing long-term damage to the progressive community. If Migden manages to disenfrancise Leno supporters at Milk, it will be one of those ugly moves that hurts the club’s credibility.
Everyone tries to pack club endorsements. The Milk Club rules are designed to block that, and this may be an unintended consequence. But there are plenty of people who are clearly legit, long-term members of the Milk Club, and if there’s any question about who gets to vote, it ought to be decided in a way that is as democratic as possible.
Migden’s a former club president, and has a lot of strong Milk allies. She’s been a Milk person for years, and Leno has been much more closely allied with the more moderate Alice B. Toklas Club. Migden doesn’t need to play any games here; Leno’s the underdog for this endorsement anyway.
By the way, perhaps the Milk Club members could ask Sen. Migden why she’s so fond of Republican Don Fisher,, and whether she will take the $7,200 he’s given her campaign and turn it over to the Yes on A/ No on H campaign.
And to keep the debate lively, they can ask Assemblymember Leno why he’s so supportive of Mayor Gavin Newsom.
No compromise on ENDA
EDITORIAL The move by US Rep. Barney Frank (D-Mass.) to remove protections for transgender people from a landmark antidiscrimination bill has set off a remarkable furor in the queer community nationwide. The condemnation of the Frank move by even fairly mainstream lesbian and gay organizations is a sign of how far trans people have come — and the fact that Frank, the first openly gay man to serve in Congress, isn’t budging is a sign of how far the political establishment still has to go.
But the full bill, without the cuts, is still very much alive, and House Speaker Nancy Pelosi (D–San Francisco) needs to move it to the floor and bring it to a vote.
HR 2015 has been a priority of the Human Rights Campaign and other national LGBT groups for years. The bill, also known as the Employment Non-Discrimination Act, or ENDA, in its original version would have outlawed employment discrimination based on sexual orientation or gender identity. The second part of that phrase is critical, not just to transgender people but to queer workers in general: as the American Civil Liberties Union points out in a legal analysis of the changes, the gay and lesbian people most likely to face discrimination in the workplace are those who don’t hew to traditional male and female roles. Effeminate men and butch women are far more at risk than, say, a gay man who can easily pass as straight. "The more masculine a gay man is or the more feminine a lesbian is, the less the likelihood of discrimination," the ACLU notes. As the Lambda Legal Defense Fund writes, "This new bill also leaves out a key element to protect any employee, including lesbians, gay men and bisexuals who may not conform to their employer’s idea of how a man or woman should look and act. This is a huge loophole through which employers sued for sexual orientation discrimination can claim that their conduct was actually based on gender expression, a type of discrimination that the new bill does not prohibit."
But the politics are more difficult. Frank argues that Congress might pass a stripped-down version of the bill, but the votes aren’t there for anything that can be described as protecting transgender people. Some protection for some lesbians and gays, he argues, is better than none at all.
That ignores the reality, which is that George W. Bush is going to veto any bill that protects queer people from discrimination anyway. The fight over HR 2015 is largely symbolic; the bill won’t become law until there’s a Democrat in the White House. And if the gender-identity language isn’t in the bill this time, it will be much harder to add it in later.
All civil rights advances seem hopeless at first. The first marriage-equality bill in the California Legislature faced strong opposition, but Assemblymember Mark Leno (D–San Francisco) kept bringing it back — and every time it came up, it got more votes. ENDA’s got the same prospects.
Of course, there’s a larger issue here: compromising on civil rights is always unacceptable. And as writer Wayne Besen puts it, "A minority as small as the trans community will never have the political clout to go it alone, nor will they have the funds to wage a credible fight in Congress unless Bill Gates wakes up tomorrow and decides to have a sex change. To put it bluntly, their only chance at legal protection is under the gay and lesbian banner."
The HRC has been awfully weak, refusing to pull its support for the watered-down bill, but most other LGBT groups nationwide are urging Congress not to accept the Frank proposal. We agree. The fate of HR 2015 is in the hands of Pelosi, who can simply bring the original bill to the floor. That’s what activists should push her to do.
Gay times
› a&eletters@sfbg.com
A series of slide projections cycling through a gamut of theater posters greets audiences taking their seats at Theatre Rhinoceros’s 30th season opener. Ranging in design from the openly trashy to the quietly tony, many of these posters offer eye-catching portions of skin and equally intriguing titles: Cocksucker: A Love Story, Deporting the Divas, Pogey Bait, Show Ho, Intimate Details, Barebacking, and Hillbillies on the Moon. It adds up to a hefty if scantily clad body of work that owes its existence to a good extent to the advent of Theatre Rhinoceros. Begun in 1977 by Alan Estes in a SoMa leather bar with a production of Doric Wilson’s The West Street Gang, the Rhino today is the longest-running LGBT theater in the country.
Thirty years like these call for a moment of reflection, and the Rhino’s lasts a brisk and enjoyable 70 minutes. Conceived and directed by John Fisher, who became artistic director in 2002, Theatre Rhinoceros: The First Thirty Years takes a jaunty look back at a raucous, at times traumatic, but overall remarkable theatrical career intimately tied to the social and political history of the queer community. While making no attempt to be exhaustive, or exhausting, Fisher’s swift, celebratory pastiche (with dramaturgy by actor and associate artistic director Matt Weimer) neatly suggests the range of artistic output and the sweep of events and personalities that have gone into defining the theater and its times.
The bulk of the show comprises a choice selection of scenes and songs from productions past (with some original compositions and arrangements by Don Seaver and snazzy choreography by Angeline Young), put on by a capable five-person ensemble, all but one veterans of previous Rhino shows. Sporadically introduced by Fisher — who as MC strikes the right note at once, with a deadpan motorized entrance onto a stage decked out (by designer John Lowe) in a shimmering red glitter curtain worthy of Cher or Merv Griffin — the selections progress more or less chronologically, though the cast leads off with a rendition of "Dirty Dreams of a Clean-Cut Kid," from the musical of the same name by lyricist Henry Mach and composer Paul Katz, which was a hit for the Rhino in 1990. It’s an apt piece to introduce part one of the show, "Coming Out/Living Out," the first of four sections charting the development of the theater and its audience.
Other highlights include a scene from Theresa Carilli’s Dolores Street, an early lesbian-themed play that marked the Rhino’s (at the time somewhat controversial) turn to more inclusive queer programming. It’s a still tart and funny comedy about the relationships in a young lesbian household in San Francisco, at least judging by the scene expertly reproduced by Laurie Bushman and Alice Pencavel.
The live sequences come interspersed with videotaped interviews of Rhino founders and associates, including Lanny Baugniet, P.A. Cooley, Donna Davis, and Tom Ammiano. The cast also reads excerpts from letters to the theater from subscribers and some well-known playwrights, most offering praise and thanks, others caviling at the quality of a specific production, expressing indignation over liberties taken with a script, or offering resistance to the changes in programming that opened the stage to lesbian themes and, eventually, many other queer voices. (It’s indicative of how far things have come that a letter like this last one, which pointed to once serious divisions in the larger gay community, elicited only comfortable laughter from the opening night’s audience.)
In part two, "AIDS," the ensemble re-creates highlights from the Rhino’s historic long-running revue, The AIDS Show: Artists Involved with Death and Survival. A collaborative venture between 20 Bay Area artists and an unprecedented, defiantly upbeat response to the terrifying onset of the AIDS crisis, the show took aim at the still largely repressed issue of safe sex through such numbers as Karl Brown and Matthew McQueen’s cheeky sizzler "Rimmin’ at the Baths" and their equally clever and forthright "Safe Livin’ in Dangerous Times" (both beautifully rendered by the full cast of Theatre Rhinoceros), as well as the terrible toll in drastically foreshortened lives (seen here from the perspective of a mother, affectingly played by Bushman, in Adele Prandini’s "Momma’s Boy"). The AIDS Show, which went on to tour the country and put the Rhino on the national map, premiered to packed houses in 1984, the year its creator and Rhino founder Estes died of the disease.
This show’s parts three and four deal with the growing diversity of voices and issues in the years of relative liberation and mainstream exposure for the LGBT population. A scene from Brad Erickson’s Sexual Irregularities (played by Weimer and Kim Larsen) broaches the conflict between homosexuality and religion, a theme increasingly explored in new work for the stage, while one from Guillermo Reyes’s Deporting the Divas (played by Larsen and Mike Vega) points to the increasing presence of minority voices, reporting on the gay experience from the perspectives of particular ethnic subcultures.
In the postmodern micropolitics of sexual identity characteristic of the new millennium (and spoofed hilariously by Weimer, Larsen, and Vega in a scene from Fisher’s Barebacking), queer theater is characterized by increasingly hybrid categories and a plethora of voices from all sectors of experience. The cast sums up the road thus far with a characteristically proud and wry glance at the possibilities ahead in the show’s final, original number, "The Rhino" (by Seaver, with lyrics by Weimer). But, to invoke an older song, anything goes.
THEATRE RHINOCEROS: THE FIRST THIRTY YEARS
Through Oct. 14
Wed.–Sat., 8 p.m.; Sun., 3 and 7 p.m.; $15–$35
Theatre Rhinoceros
2926 16th St., SF
(415) 861-5079
Trans discrimination sparks fight
By Amber Peckham
One of the first waves of protest over the move in Congress to remove transgender people from an anti-discrimination bill came from the labor movement. Members of Pride at Work, an LGBT-focused labor coalition and the newest member of the AFL-CIO, held a press conference Sept 28 to announce they are withdrawing their support from the ENDA bill, and encouraging other LGBT advocacy groups to do the same.
The advocacy is having an impact – already, more than 20 LGBT organizations have come out against the move, and it’s entirely possible that the one-time landmark workplace-discrimination bill will lose almost all of queer community support.
“The need for gender provisions in this bill doesn’t apply only to those who are transgender, but also to, say, effeminate gay men, or lesbians who are ‘too butch’” said Robert Haaland, a representative of Pride at Work. “By picking and choosing who to include in their non-discrimination bill, these legislators are discriminating. It’s self-contradicting.”
“With the transgender community as arguably the most marginalized part of the LGBT community, they are really the ones who need the support of this bill the most,” added Masen Davis, a board member of the Transgender Law Center board. “Over 60% of transgenders in San Francisco are unemployed.”
Davis also expressed gratitude for the support of the labor community.
“If anyone is familiar with the ‘divide and conquer’ tactics being used on the LGBT community right now, it’s the labor movement.” he said. “It really heartens me to hear this voice of support from the labor community, because it means that maybe the bill won’t have to be divided, it can stay one, unified proposition.”
Pride at Work is calling on Pelosi to withdraw her support for the bill if transgender provisions are removed before ENDA is voted on, and is holding a vigil outside her office. If she were to do so, it is likely the bill would not pack the punch required to make it through a Congressional vote, and none of the LGBT community would benefit.
“That’s how the labor movement works; if you injure one, you injure all.” said Haaland. “And it looks like that’s how this bill is going to end up working as well.”
Matt and Jason on “Chuck and Larry”
Guardian film critics Matt Sussman and Jason Shamai have a few things they wanna say about the new film I Now Pronounce You Chuck and Larry. Let’s listen in!
Matt Sussman’s review, as published in the Guardian: Despite passing marks from FireFLAG/EMS of the Fire Department of New York, “the nation’s oldest and largest LGBT firefighter organization,” and GLAAD assuring us that I Now Pronounce You Chuck and Larry is not merely an excuse to trot out tired gay stereotypes and that beneath the disarming and broad humor is a strong message of tolerance, this sophomoric comedy starring Adam Sandler and Kevin James as straight firemen who pretend to be gay to gain domestic-partner benefits isn’t so much homophobic as baldly misogynistic and thoroughly unentertaining. Sure, dismissing a Sandler comedy as sophomoric is stating the obvious, but in films such as Punch-Drunk Love, he has proved that he can set aside the flatulence and fat jokes, sit at the adult comedians’ table, and still make us laugh. So let’s add regressive (along with racist, thanks to an extrapainful Rob Schneider) to our list of modifiers. While one could argue that the film sends up regular straight dudes as much as it milks laughs from the standard chain of gay signifiers, this failed reverse La Cage aux Folles doesn’t realize the extent to which it exposes the rickety scaffolding that precariously separates straight buddy love from flaming faggotry. Or maybe that’s the anxiety the film is really trying to allay by declaiming any homophobic culpability. Whatever — I’ve already spent too much brain power thinking over a frat house skit-night sketch that somehow became a film. Someone get me a cock.
Jason Shamai responds, after the jump.
The Queer Issue: Flaming creators
By Johnny Ray Huston
They’ve got passion to burn, whether there’s 100 percent pride or a potent dose or two of critical shame in their game. They’re the dozen-plus-one LGBT artists who constitute this year’s lineup of flaming creators — individuals and groups adding radical perversity, butch dyke glitter, b-boy funk, punkified monkey love, dandified bear flair, and more to the Bay Area. It seems apt to pun off the title of Jack Smith’s still-revelatory 1963 film Flaming Creatures in uniting this wildly varied group: all of them ignore or defy the conformist strains of mainstream gay culture to blaze new trails of truth and fantasy. As part of our Queer Issue, we pay tribute to them.
NAME Keith Aguiar
WHAT I DO Currently, I am photographing a community of queer artists who continue to resist assimilation and express themselves freely without compromise to both hetero and homo normative values that have imprisoned so many of our generation. I want the viewer to enter my world of rich color, texture, and chaos to find the intricate beauty that comes from reconnecting with more primitive forms of expression. More recently my work has been progressing to include portraits, erotic photography, and even a few landscapes. I’m currently seeking funds for my next show and have started to do commissioned work on the side.
MOTTO Create your own reality. Live your own myth. Be your own God.
MORE KeithAguiarPhotography@gmail.com
www.flickr.com/photos/untamedvessels
NAME Dreamboat, Where Are You? (Carrie Baum and Jessica Fudim)
WHAT WE DO We’re a punk pop duo with choreographed vaudevillian antics and a penchant for monkeys, monsters, and Yiddish innuendos. We’ve been described as "the Buzzcocks meet the Muppets." We’ll be leading a Dancers’ Group Rock Theater workshop July 21, and we also have our own projects: Carrie’s Exit Sign: A Rock Opera and Jessica’s dance show Please Feed My Animal will both be previewing at CounterPULSE’s "Rock 4 Art" benefit Aug. 4. (Carrie also runs Big Star Printing; Jessica is a certified Pilates trainer.)
MOTTO Be sure to share your cookies.
A real dialogue on trans issues
OPINION What I love about the queers in this town is just how messy and offensive we allow one another to be in our unified goal of relentlessly trying to strengthen our community. In some circles, the evolution of dyke space into a multigender population of transsexuals, genderqueers, femmes, tg-butches, bisexuals, lesbians, and men of all birth sexes has led to tension about queer visibility and discussions about misogyny, privilege, and appropriation. I am frequently pissed but never lacking for a group of people who will continue to engage the issues and attempt imperfect solutions no matter how hurt they have become in the process.
And yet, during Pride season there will be countless potentially offensive voices we will not hear. The ex-gay and right-wing Christian movements — arguably homosexual communities in their own right — will not be given unchallenged space at our events, and there won’t be an uproar that these views should be included for the purpose of "fostering dialogue." As many journalists and artists can attest, ensuring the free exchange of ideas often means knowing what to leave out.
Still, it was predictable that supporters of lesbian director Catherine Crouch’s film The Gendercator would claim censorship and blame transgender community allies for "silencing dialogue" when the Frameline International LGBT Film Festival decided last month to pull this film from its June schedule. It was a setup; victims could either remain silent during an attack or speak up and "prove" that they have malicious intentions to take over the world.
For those unfamiliar with The Gendercator, a quick look at Crouch’s film summary and deliberately defamatory director’s note says it all: Trans people are the product of "distorted cultural norms" who uphold antigay values and change their sex "instead of working to change the world." Male-identified trans people are altered lesbians, despite the fact that many have never held that identity. And not even the femme dykes are safe, considering Crouch’s tomboy-or-else definition of acceptable queerdom.
Crouch says the film comes from her anxiety about what she perceives as the loss of gender-variant women and the rise of binary gender norms. But the film itself strikes a different note, depicting trans bodies as sci-fi horrors and trans characters as coercive perpetrators of nonconsensual body invasions — all the familiar rhetoric used to justify antitrans violence and deny basic civil rights.
If there’s a dialogue to be had about our community’s valid anxieties surrounding the spike in sexual reassignment surgeries, it certainly wasn’t raised in Crouch’s The Gendercator. Unlike the creators of other films that have been controversial in the trans community, Crouch is disinterested in the lives of the people she portrays in this work. Imagine making a film alleging an inherent pedophilia in gay people to "spark dialogue" about gay culture’s obsession with eternal youth. As Rae Greiner, a queer woman who launched the Frameline letter-writing campaign, points out, "You can’t foster genuine discussion when you demonize your subjects or when you intentionally forego nuance in favor of stereotypes, false accusations, and outdated perceptions."
In fact, The Gendercator provoked very little dialogue at all until San Francisco activists protested it. Far from trying to silence it, they aimed to call attention to the film and create an actual conversation. They distributed flyers with Crouch’s position and responded with the truth about trans people’s lives: trans people are often queer social-justice activists with a nuanced and feminist view of identity.
The reason nontrans gay people have not seen blatantly antigay or antilesbian films yanked from their festivals is that such movies don’t make it past the selection committee. To decry the ban on The Gendercator is thus disingenuous, particularly when many of the "anticensorship" and "nonbinary" voices support events that ban trans people from attending based on the presence or absence of a penis.
Yet there are some important messages about this film that should not be lost.
First, if our community artists are going to claim dialogue as justification for blatant attacks, then they should expect to have that dialogue. Some of the questions the queer community has posed in its discussion of the film are: Why does Crouch think her views are nonbinary? How do femmes, bisexuals, butches of color, nonop male-identified trans people, and dykes who choose breast cancer reconstruction fit into her limited view of sex and gender? How does the glorification of masculinity in lesbian circles and the sexism in butch and genderqueer communities contribute to this perceived pressure to transition to male?
Most important, if gays and lesbians feel that the growing transgender population means they are under attack, how can we come together to make sure this concern is heard and validated without demonizing one another? Several events exist in San Francisco to deal with such tensions, but perhaps they aren’t reaching the smart and articulate people whose need for real dialogue has been reduced to lamenting the loss of a 15-minute monster movie.
Opposing the inclusion of a deliberately divisive and dialogue-stopping film in an event designed to build community was something we did not do because we don’t want to have a community conversation, but because we do. *
Zak Szymanski
Zak Szymanski is the producer and editor of the short film The Wait.
Flaming creators
› johnny@sfbg.com
They’ve got passion to burn, whether there’s 100 percent pride or a potent dose or two of critical shame in their game. They’re the dozen-plus-one LGBT artists who constitute this year’s lineup of flaming creators — individuals and groups adding radical perversity, butch dyke glitter, b-boy funk, punkified monkey love, dandified bear flair, and more to the Bay Area. It seems apt to pun off the title of Jack Smith’s still-revelatory 1963 film Flaming Creatures in uniting this wildly varied group: all of them ignore or defy the conformist strains of mainstream gay culture to blaze new trails of truth and fantasy.
NAME Keith Aguiar
WHAT I DO Currently, I am photographing a community of queer artists who continue to resist assimilation and express themselves freely without compromise to both hetero and homo normative values that have imprisoned so many of our generation. I want the viewer to enter my world of rich color, texture, and chaos to find the intricate beauty that comes from reconnecting with more primitive forms of expression. More recently my work has been progressing to include portraits, erotic photography, and even a few landscapes. I’m currently seeking funds for my next show and have started to do commissioned work on the side.
MOTTO Create your own reality. Live your own myth. Be your own God.
MORE KeithAguiarPhotography@gmail.com; www.flickr.com/photos/untamedvessels
NAME Emerson Aquino
WHAT I DO I’m cofounder and executive artistic director of the nonprofit professional dance company Funkanometry San Francisco. In 2005, I helped establish the Funksters Youth Dance Company through summer camps and dance-intensive programs. I’ve trained and danced with groups such as 220, Anarchy, Culture Shock Oakland, and SWC and showcased my choreography with Funkanometry SF in the Bay Area, Los Angeles, Chicago, San Diego, and Bogotá, Colombia. My most recent project is an all-male performing group called Project EM, featuring 12 principal dancers.
MOTTO Life’s not about how much money you make; it’s about the number of people you inspire.
MORE emerson@funkanometrysf.com; www.funkanometrysf.com; www.myspace.com/project_em
NAME Dreamboat, Where Are You? (Carrie Baum and Jessica Fudim)
WHAT WE DO We’re a punk pop duo with choreographed vaudevillian antics and a penchant for monkeys, monsters, and Yiddish innuendos. We’ve been described as "the Buzzcocks meet the Muppets." We’ll be leading a Dancers’ Group Rock Theater workshop July 21, and we also have our own projects: Carrie’s Exit Sign: A Rock Opera and Jessica’s dance show Please Feed My Animal will both be previewing at CounterPULSE’s "Rock 4 Art" benefit Aug. 4. (Carrie also runs Big Star Printing; Jessica is a certified Pilates trainer.)
MOTTO Be sure to share your cookies.
MORE www.myspace.com/dreamboatwhereareyou
NAME Edie Fake
WHAT I DO Food fetish zines (Foie Gras), dirty comics (Gaylord Phoenix, Anal Sex for Perverts, Rico McTaco), apprentice tattoos, perv-formance art, rare appearances, desert adventures, and general feminism.
WORDS OF WISDOM Someone was yelling on the bus the other day that anal sex produces no children.
But that is false!
Anal sex produces
ILLEGITIMATE GOLDEN CHILDREN
and they grow up to become
THE PERVERT SAINTS OF THE CATACOMBS.
NAME James Gobel
WHAT I DO Paint, serve as a member of the California College of the Arts faculty, chub 4 chub.
WORDS OF WISDOM I hope my paintings make people want to be big, bearded, and queer. I could be wrong, but I think it was fellow whiskered gay chubby chaser and one-time San Franciscan Alice B. Toklas who said, "I loves ’em tubby, and so should you!"
MORE www.heathermarxgallery.com; jamesgobel@hotmail.com
NAME David King
WHAT I DO I make collages, which often syncretize the camp and the spiritual. Some of my work can be seen at Ritual on Valencia during June.
WORDS OF WISDOM I don’t have words of wisdom. I have dissertations of wisdom, to which I subject only my most tolerant friends, who have other reasons to love me.
NAME Torsten Kretchzmar
WHAT I DO Present good old electropop music with a German twist.
MOTTO My motto is "I know what girls like." I really do! With the hip music of the Men of Sport, I present this old Waitresses song in my three new video clips. The DVD release party will be Aug. 5 at Club Six, and I expect a lot of guys to show up to find out about my secret.
NAME Dolissa Medina
WHAT I DO Experimental films mostly, but I plan to move into more multimedia and installation work at UC San Diego, where I’ll be starting an MFA program this fall. I’m interested in San Francisco history, Latino and queer experiences, and mapping urban space through mythologized storytelling. Last year I produced Cartography of Ashes for the 100th anniversary of the 1906 earthquake; we projected the film onto the side of a fire station in the Mission District. My film 19: Victoria, Texas will also be on display at Galería de la Raza this August and September.
MOTTO Viva la caca colectiva!
MORE mercurious3@yahoo.com
NAME Lacey Jane Roberts
WHAT I DO I make large-scale, site-specific knitted installations that often involve guerrilla action. My work, which is knitted by hand and on children’s toy knitting machines, aims to traverse boundaries of art and craft, the handmade and the manufactured, as well as categories of gender and class, through fusing seemingly contradictory materials, methods, and contexts. Additionally, my work seeks to illuminate the connections between craft and queerness and shift this position into one of agency and empowerment.
MOTTO I don’t really have a motto, but I would like to thank my friends for always showing up and helping me install, especially in places where I am not supposed to.
NAME Erik Scollon
WHAT I DO I try to queer up our ideas about what art can do by remaking and repurposing functional objects. At the same time, I’m trying to retell new histories in old languages. I want to make objects that exist in between the sculptural and the functional in an effort to insert art back into everyday life.
WORDS OF WISDOM Art objects are useless; craft objects are utilitarian.
MORE www.erikscollon.net
NAME Jonathan Solo
WHAT I DO Draw, eat, sleep, sex, draw, dance, laugh, cry, scream … not in that particular order. I roam the city and its late-night haunts with my beautiful, crazy, talented friends, protected by a black rose on my chest and my custom Jobmaster 14-hole oxbloods. I have a piece in a current group show at Catharine Clark Gallery and a solo show there next year. I also have contributed to the Besser collection at the de Young, opening this October.
WORDS OF WISDOM I observe the beauty and decay of humanity. Aren’t the strange the most interesting, powerful, and telling of who we are? I’m fascinated by the amount of energy we use to oppress our true selves. I say fuck ’em! Own who you are and walk forward boldly — it’s made me a more sensitive artist, lover, friend, son, and brother.
MORE www.cclarkgallery.com; (415) 531-3376
NAME Matt Sussman
WHAT I DO I am a freelance film writer, and I DJ under the moniker Missy Hot Pants. My friends and I run a party in Oakland called Dry Hump. Our sets include everything from Gui Boratto to Baltimore club remixes to Ethel Merman doing disco. We’re playing Juanita More’s Playboy party at the Stud on June 30, so come work off your post-Pride hangovers.
MOTTO "Make visible what, without you, might perhaps never have been seen." Robert Bresson.
MORE www.myspace.com/thedryhump
NAME Jamie Vasta
WHAT I DO Working with glitter and glue on stained wood panels, I create "paintings" of figures exploring dark, dazzling landscapes. I am interested in predatory beauty and the balance (or imbalance) between nature and culture. My work is currently on view in the group show "Stop Pause Forward" at the Patricia Sweetow Gallery. I’ll be having a solo show there in mid-October.
WORDS OF WISDOM Glitter connotes an image of cheapness made glamorous — the superficial, the frivolous. But to dazzle is to have power — this is something drag queens have known all along.
MORE www.jamievasta.com; www.patriciasweetowgallery.com *