Queer

“A Trip Down (False) Memory Lane”

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PREVIEW The Lexington Club is an underground landmark of San Francisco. If you’re queer, and especially if you’re a lesbian, the bar has probably played a role in your life at one point or another, and something important probably went down there, by the jukebox or in a graffiti-lined bathroom. In "A Trip Down (False) Memory Lane," curator Jessica Silverman of Silverman Gallery taps into the Lexington’s importance and its history through an ambitious but also human-scale group show that’s been more than a year in the making.

The Lexington has hosted some excellent art at times (I’ve seen paintings by Alicia McCarthy there, for example), though you might not know it. "About a year ago, I was there and I asked [some bar-goers] what show was up, and they didn’t know," says Silverman. "No one was looking at the art. That was bothersome to me. I also wanted to do a show that addressed the space."

Silverman has brought together an array of local and international artists — including Susanne Winterling, Bruce LaBruce, and Slava Mogutin — to create individual works for the exhibition and smaller works for a limited 50-edition box set. Some people, such as New York’s Daphne Fitzpatrick, have never been to the Lexington, even if they have friends who work there — in such cases, they create works that imagine the site, or forge a connection to it. I’m looking forward to seeing Luke Butler’s collages, photographer Job Piston’s sculptural piece, and Tammy Rae Carland’s c-print. Some other potential highlights: Brandon Herman’s jewelry box containing a lighter — which overtly plays off of the ritual of smoking a cigarette in front of the bar — and a postcard invitation from Danny Keith.

A TRIP DOWN (FALSE) MEMORY LANE Reception: Tues/13, 7–9 p.m. 3464 19th St., S.F. (415) 863-2052, www.atripdown-false-memorylane.blogspot.com

Reel leaders

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MIDNITES FOR MANIACS CURATOR JESSE HAWTHORNE FICKS’ TOP TEN (AND THEN SOME):

1 Downloading Nancy (Johan Renck, USA) People were literally running out of the Sundance screening of this brutally honest exploration of a couple’s complacent relationship. Maria Bello and Rufus Sewell bare all, while Christopher Doyle’s camera traps them in the year’s coldest blue harshness.

2 Vicky Cristina Barcelona (Woody Allen, Spain/USA) After 2007’s Cassandra’s Dream, another tiny gem from the greatest living filmmaker.

3 Wendy and Lucy (Kelly Reichardt, USA) Quiet and haunting, this follow-up to Reichardt’s wonderful Old Joy (2006) is a perfect antithesis to Sean Penn’s overly romanticized Into the Wild (2007).

4 Summer Hours (Olivier Assayas, France) I cried throughout this unique family drama and immediately called my parents as soon as it was over. Yasujiro Ozu’s Tokyo Story (1953) is the closest thing I can think of.

5 JCVD. (Mabrouk El Mechri, Belgium/Luxembourg/France) Jean-Claude Van Damme is a genuine genre actor and this deconstructive meta-film lovingly proves it.

6 CJ7 (Stephen Chow, Hong Kong) Overlooked by adults and kids alike, this little Furby comedy is insanity at its most brilliant!

7 Happy-Go-Lucky (Mike Leigh, UK) Leigh’s loving tribute to teachers is a dark and lonely place. En-Ra-Ha.

8 Redbelt (David Mamet, USA) Mamet does martial arts: the metaphors are limitless.

9 Funny Games (Michael Haneke (USA/France/UK/Austria/Germany/Italy) Mean, lean and totally gene!

10 Rambo (Sylvester Stallone, USA/Germany) Sly captures American destruction and cynicism in half the time as PT Anderson’s meandering There Will Be Blood (2007).

Favorite actor: Mickey Rourke, The Wrestler (Darren Aronfsky, USA) Ignore Aronfsky’s overly sentimental tendencies and Rourke will blow your mind. Then go watch Tsui Hark’s Double Team (1998) for the ultimate ’90s rumble: Rourke vs. Van Damme!

Favorite actress: Emmanuelle Béart, Vinyan (Fabrice Du Welz, France/Belgium/UK) Wealthy white tourists will stop at nothing to colonize every corner of this planet. Watch Béart and husband Rufus Sewell (see Downloading Nancy) go absolutely nuts as they battle each other and creepy jungle kids in this hypnotic hybrid of The African Queen (1951) and Don’t Look Now (1973).

Favorite animated movie: Wall*E (Andrew Stanton, USA) This unofficial remake of Silent Running (1972) should win the Oscar for Best Picture.

Favorite mumblecore film: Baghead (Duplass Brothers, USA) The brothers continue to nail their jokes hilariously and earnestly.

Favorite trailer: The Class (Laurent Cantet, France) Tears well up every time I see the trailer for this Cannes Golden Palm winner (due in early 2009). Can’t wait.

MICHELLE DEVEREAUX’S "ANTIDOTES TO BROMANCE" LIST

Best pluck: Sally Hawkins, Happy-Go-Lucky (Mike Leigh, UK)

Worst pluck: Angelina Jolie, Changeling (Clint Eastwood, USA)

Best train wreck: Anne Hathaway, Rachel Getting Married (Jonathan Demme, USA)

Worst train wreck: Marianna Palka, Good Dick (Marianna Palka, USA)

Best tween vampiress: Lina Leandersson, Let the Right One In (Tomas Alfredson, Norway)

Worst teen vampire groupie: Kristen Stewart, Twilight (Catherine Hardwicke, USA)

Worst mother in an awful movie: Julianne Moore, Savage Grace (Tom Kalin, Spain/USA/France)

Worst mother in a good movie: Debra Winger, Rachel Getting Married

Best outlaw: Anamaria Marinca, 4 Months, 3 Weeks and 2 Days (Cristian Mungiu, Romania, 2007)

Worst outlaw: Angelina Jolie, Wanted (Timur Bekmambetov, USA/Germany)

Best Princess Diana impression: Keira Knightly, The Duchess (Saul Dibb, UK/France/Italy)

Better than a Princess Diana impression: Marisa Tomei, The Wrestler (Darren Aronofsky, USA)

ERIK MORSE’S TOP TEN:

1 My Winnipeg (Guy Maddin, Canada)

2 Let the Right One In (Tomas Alfredson, Sweden)

3 The long-awaited DVD release of Stranded in Canton (William Eggleston, USA, 1974)

4 The Man From London (Béla Tarr, France/Germany/Hungary)

5 Man on Wire (James Marsh, UK/USA)

6 Tell No One (Guillaume Canet, France)

7 The Bank Job (Roger Donaldson, UK)

8 Alexandra (Alexander Sokurov, Russia/France)

9 In Bruges (Martin McDonagh, UK/USA)

10 The Wrestler (Darren Aronofsky, USA)

HEIDI ATWAL’S TOP TEN:

1 Towelhead (Alan Ball, USA)

2 The Dark Knight (Christopher Nolan, USA)

3 Milk (Gus Van Sant, USA)

4 Slumdog Millionaire (Danny Boyle, UK/India)

5 Pineapple Express (David Gordon Green, USA)

6 Encounters at the End of the World (Werner Herzog, USA, 2007)

7 Rachel Getting Married (Jonathan Demme, USA)

8 Reprise (Joachim Trier, Norway, 2006)

9 Gomorra (Matteo Garrone, Italy)

10 Vicky Cristina Barcelona (Woody Allen, Spain/USA)

JIM FINN’S TOP 10 MOVIES LOVED AT 2008 FILM FESTIVALS AROUND PLANET EARTH

1 The Headless Woman (Lucrecia Martel, Argentina)

2 Liverpool (Lisandro Alonso, Argentina)

3 Lion’s Den (Pablo Trapero, Argentina)

4 Gomorrah (Matteo Garrone, Italy)

5 On the Assassination of the President (Adam Keker, USA)

6 United Red Army (Koji Wakamatsu, Japan, 2007)

7 Fengming: A Chinese Memoir (Wang Bing, China, 2007)

8 Observando el Cielo (Jeanne Liotta, USA, 2007)

9 Brilliant Noise (Semiconductor, USA, 2006)

10 Outer Space (Peter Tscherkassky, Austria, 1999)

Jim Finn’s films include The Juche Idea, La Trinchera Luminosa del Presidente Gonzalo, and Interkosmos.

ROSS LIPMAN’S TOP 10

As I’m usually absorbed in restoration and production, my film viewing is erratic, and I’m hopelessly unable to keep up with all the films I’d like to see. Thus this list is not so much a critical 10 "best" list as it is a list of new works which, having somehow cut through the clutter and pulled me to the theater, struck me as excellent — each one in a unique way. I’ve allowed it to include "film events" of 2008, enabling notable restorations and experimental works to stand alongside conventional releases.

In alphabetical order:

Absurdistan (Veit Heimer, Germany/Azerbaijan)

Four Nights with Anna (Jerzy Skolimowki, Poland/France)

Happy-Go-Lucky (Mike Leigh, UK)

Man on Wire (James Marsh, UK/USA)

Once Upon a Time in the West restoration (Sergio Leone, Italy/US, 1968)

The Orphanage (Juan Antonio Bayona, Mexico/Spain, 2007)

Quiet Chaos (Antonio Luigi Grimaldi, Italy/UK)

Song of Sparrows (Majid Majidi, Iran)

Think of Me First as a Person restoration (George Ingmire, USA, 1975)

Untitled film projector performance (Sandra Gibson, Luis Recoder, and Olivia Block, USA)

Ross Lipman’s recent film restorations include Killer of Sheep, The Exiles, and Kenneth Anger’s Magick Lantern Cycle.

MICHAEL ROBINSON’S TOP 10

1 Silent Light (Carlos Reygadas, Mexico/France/Netherlands/Germany, 2007)

2 Body ÷ Mind + 7 = Spirit (Shana Moulton, USA, 2007)

3 Happy-Go-Lucky (Mike Leigh, UK)

4 Origin of the Species, (Ben Rivers, UK)

5 La France, (Serge Bozon, France, 2007)

6 False Aging (Lewis Klahr, USA)

7 Paranoid Park and Milk (Gus Van Sant, USA, 2007 and 2008)

8 Lost, season four (Jack Bender and others, USA)

9 Singing Biscotts (Luther Price, USA)

10 The Fall (Tarsem Singh, India/UK/USA)

Michael Robinson’s films include Light Is Waiting and The General Returns From One Place to Another.

MATT WOLF’S TOP 10

1 Milk (Gus Van Sant, USA)

For the fake political ephemera; the meticulous reconstruction of Harvey’s camera shop; DP Harris Savides’ recurring visions of San Francisco; and Sean Penn’s queer, Jew-y affectation.

2 RR (James Benning, USA, 2007)

A hypnotic structural film about railroads and the romantic landscapes they traverse, devoid of signs from contemporary life.

3 The Order of Myths (Margaret Brown, USA)

A lovingly crafted documentary about Mardi Gras traditions and race in Mobile, Alabama.

4 Happy Go-Lucky (Mike Leigh, UK)

For Sally Hawkins’ stellar performance as a recklessly childlike schoolteacher, who transforms into a fearless adult.

5 Maggie in Wonderland (Mark Hammarberg, Ester Martin Bergsmark, and Beatrice Maggie Andersson, Sweden)

Swedish documentary about an African immigrant, Maggie, which mixes her poignant video diary with savvy reenactments. A fertile cross between Lukas Moodysson and Spencer Nakasako.

6 Tearoom (William E. Jones, USA, 1962/2007)

An evocative resurrection of archival police footage from the 1960s of public sex crackdowns in the Midwest.

7 Derek (Isaac Julien, UK)

Tilda Swinton’s absorbing monologue about queer-punk filmmaker Derek Jarman thrusts his radical work into the present.

8 Reprise (Joachim Trier, Norway, 2006)

A bombastic film about the literary ambitions of a group of post-punk boys in Oslo.

9 Wendy and Lucy (Kelly Reichardt, USA)

The sobering alternative to the pre-recession revelry of Sex and the City: The Movie.

10 A Mother’s Promise: Barack Obama Bio Film (David Guggenheim, USA)

Romantic Barack-oganda screened during the DNC.

Matt Wolf is the director of Wild Combination: A Portrait of Arthur Russell.

BARRY JENKINS’ TOP 10

1 Still Walking (Hirokazu Kore’eda, Japan)

Perfection.

2 Synecdoche, New York (Charlie Kaufman, USA)

One of the most unbridled films ever funded by Hollywood coffers. Thank you, Sidney Kimmel.

3 Useless (Jia Zhangke, China, 2007)

Yerba Buena Center. You know, they show films there. And usually, they’re pretty fuckin’ crucial.

4 Flight of The Red Balloon (Hou Hsiao-hsien, France, 2007)

A dream.

5 Phone Banking for Obama @ Four Barrel Coffee

Not cinema, but visual storytelling nonetheless: when Jeremy Tooker brought ironing boards and voter rolls into his glittering café for a few exemplary weeks, we glimpsed a version of San Francisco where shiny new things brought us together rather than separated us.

6 The Website Is Down: Sales Guy vs. Web Dude (Josh Weinberg, USA)

My favorite short of the year. Truly independent "cinema."

7 Waltz With Bashir (Ari Folman, Gemany/France/Israel/USA)

Animation is the ideal medium for the recollection of memories. This film proves it.

8 Che (Steven Soderbergh, Spain/France/USA)

Someday, we’ll look upon Soderbergh’s effort for the sum of its parts: RED.

9 Craig Baldwin interview with SF360 Movie Scene

The most exciting four minutes of local film-speak in all of ’08.

10 There Will Be Bud (P.O.T. Anderson, USA)

Old-school spoofing done right.

Barry Jenkins is the director of Medicine for Melancholy.


>>More Year in Film 2008

Best in show

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YEAR IN REVIEW The time is right to pay tribute to the Bay Area’s artists and galleries. Without further ado, here’s an alphabetical guide to 2008’s delights.

A is for the amazing SF art opening section at www.artbusiness.com; and for Ryan Alexiev, whose "Land of a Million Cereals," at Mission 17, hit Larry King and Damien Hirst with sugary comedy

B is Todd Bura, whose "Misfits" at Triple Base used minimalism to make one see things anew; Jonathan Burstein, whose "Visage" at Patricia Sweetow Gallery turned museum recycling into the year’s best portraiture; and Luke Butler, whose "Invasion," at [2nd floor projects] tickled with Spock landscapes and Republican presidential beefcake

C is for Victor Cartagena, "The Invisible Nation," at Galeria de la Raza; Julie Chang, "Ox-herding," at Hosfelt Gallery; Ryan Coffey, "Recent Works," at Adobe Books Backroom Gallery

D is for Lauren DiCioccio, threading through the death of the newspaper era in "Lauren DiCioccio, Aliza Lelah," at Jack Fischer Gallery; and Emory Douglas, making his own activist news in "The Long Memory: Works Past and Present," at Babylon Falling

E is for David Enos, Frank Haines, and Wayne Smith, pronouncing "Zen With a Lisp," at [2nd floor projects]; and 871 Fine Arts, the Bay’s best art books, now at a new site.

F is for Matt Furie and his "Heads," at Adobe Books Backroom Gallery; and "Nature Freak," at Jack Fischer Gallery

G is for the Great Tortilla Conspiracy, who — with help from a Paris Hilton Endowment for the Tortilla Arts — served up "Tortilla Art for the 21st Century," at SomArts Gallery

H is for Jay Howell, who teamed up with Matt Furie for Receiver Gallery’s "Return to Innocence," and brought curatorial goodness to 111 Minna

I is for inventiveness

J is for Bill Jenkins, whose self-titled show at Jancar Jones Gallery was the understatement of the year; and Ian Johnson, whose "Other Voices/Other Rooms" turned jazz into color bursts at Park Life

K is for the brother duo George and Mike Kuchar, presenting dinosaur and dog love via "paintingsdrawingspaintingsdrawingspaintings," at [2nd floor projects]

L is for Ruth Laskey, and the amazing intricacy of her "7 Weavings," at Ratio 3; and Frank Lyon and David Wilson, "Enter the Center," at Eleanor Harwood Gallery

M is for Dave Muller, " Medium (Six Times,)" at Anthony Meier Fine Arts

N is for nothing

O is for Open Studios

P is for Nathan Phelps, turning a corner from white to black with "The Neti Project," at 20 GOTO 10 Gallery

Q is for Queen’s Nails Annex, which saw the future with Maximo Gonzalez’s "Recession: The Alternative Economies of Maximo Gonzalez."

R is for onetime Bay Area queer punk Gwenaël Rattke, bringing collage back with "Nouveau Système," at Ping Pong Gallery; and Lordy Rodriguez, blasting us with color in "201 Drawings," at Hosfelt Gallery

S is for Bott Scarry, tweaking op art and his name with "Weezing the Juice," at CCRider

T is for David Tomb, heeding the call of the wild with the beautiful paintings of "Birds of the Sierra Madre," at Electric Works

U is for underground art that you keep at home and show only to friends

V is for Jacques Villegle, whose "Decollage from 1965-2006" brought the art of torn posters to Modernism Gallery

W is for William T. Wiley, turning ecology into pinball at Electric Works’ "Punball — Only One Earth"; and Michael Wolf, whose "The Transparent City" eyed city-of-now Chicago, at Robert Koch Gallery

X marks the spot

Y is for Will Yackulic, "A Prompt and Perfect Cure," at Gregory Lind Gallery

Z is for "Zebulun," by Goldie winner Kamau Patton, at Queen’s Nails Annex; and for all the zzzs needed to rest up before the barrage of Bay Area art in 2009.

Picks, pans, and a top 10

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CHUCK MOBLEY, CURATOR AT SF CAMERAWORK


Pan: SF Art Institute’s furlough

A humble proposal to those laid off for a month: exchange your individual voice for a collective one and begin intervening by employing the crafty tools of activism as an artful device of communication in order to effect positive change for your institution. As culture workers you are bound to succeed.
Pick: The Size Queens, Magic Dollar Shoppe (Bitter Stag)

A lineup of Bay Area all-stars have produced a multi-layered disc of anti-globalization, anti-pop culture anthems filled with pathos and wit. By turns literary, cheeky, melancholic, and celebratory, this music is the perfect accompaniment to a protest or a Naomi Klein lecture.

XYLOR JANE, ARTIST


Pick: P&H 2 (Behemoth), 2007, oil on canvas, 84" x 92", from "Amy Sillman: Third Person Singular,"

at Tang Museum, Saratoga, NY

This painting stares you down and sizes you up. I lock a gaze. I’m a little scared. I can hear and smell every single thing near me. IT makes you bristle, puff, straighten and square the challenge, feet planted for a tussle. The hot center smokes and glows blood fire, breathes through clamped jaws, "What the fuck are you?". Turns a thick neck and swings an armored tail. THWACK. Hit, jolted, burnt? Part of me melts away, Oh, just my outers, clothes and skin. Hair.

LAWRENCE RINDER, DIRECTOR OF BERKELEY ART MUSEUM AND PACIFIC FILM ARCHIVE


1. Odetta at Hardly Strictly Bluegrass Festival
2. Donal Mosher and Michael Palmieri’s documentary film October Country
3. Conspiracy of Venus at Adobe Books
4. "Ajit Chahuan: Milky Way of Breeding Stallions That Roll, Ejacuutf8g By Themselves," at Adobe Books Backroom Gallery
5. "Paul Schiek: the thing about you is that you will end up like me," at Stephen Wirtz Gallery
6. Leah Marks’ senior show at California College of the Arts
7. Jennifer Blowdryer
8. Andy Goldsworthy’s The Spire in the Presidio
9. Brontez at Dog Eared Books
10. Frederic Rzewsky, solo piano at Mills College

WILLIAM E. JONES, FILMMAKER


Pick: Odires Mlászho

At São Paulo’s Galeria Vermelho this fall, I saw the sexy and cerebral, disciplined and dissipated work of Mlászho for the first time. He juxtaposes ordinary mortal faces and Roman portrait sculptures with geometric rigor in his collage series "A Fossil Dig Full of Hooks." He cunningly cements pages of reference books together in his sculpture Enciclopédia Britânica. His most powerful works (from a series called "Butchers and Master Apprentices") involve elaborate collage rearrangements of male nudes that manage to look at once disemboweled and bloodless. Diaphanous yet strong, a body becomes a deconstruction of a flesh-colored Herman Miller lamp.

AVA JANCAR, CO-OWNER OF JANCAR JONES GALLERY


Pick: The current Berkeley Art Museum

A few months ago I found a pamphlet-like publication at an antique shop in Alameda, its cover austere, reading simply University Arts Center. Detailed within were the elevation plans of the elegantly modern yet utilitarian Mario Ciampi design for the Berkeley Art Museum’s current site. Opened in 1970 and constructed in a brutalist manner, with fanning interior cantilevers around an airy core, the concrete building is to be replaced soon with a design by international architect Toyo Ito. My past year of visits to the museum has been colored by this knowledge, and I’ve begun to mourn its impending loss. In spite of the current structure’s seismic instability, it remains baffling to me that a community is so quick to dispose of this local icon, not yet 50 years old. "The richness of this building will arise from the sculptural beauty of its rugged major forms," an awards jury wrote in 1966 regarding Ciampi’s plan. "We believe [it] can become one of the outstanding contributions to museum design in our time."

HENRY URBACH, CURATOR OF ARCHITECTURE AND DESIGN AT SAN FRANCISCO MUSEUM OF MODERN ART


Pick: "Lautrec in Leather: Chuck Arnett and the Birth of the San Francisco Scene," at the GLBT Historical Society

If you missed the show, you can still see Arnett’s rendition of Michelangelo’s David in full leather gear (on view in the Historical Society’s exhibition on 18th and Castro), or you can make an appointment to visit the organization’s extensive queer archive.

Pick: The Federal Office Building by Morphosis, Renzo Piano’s Academy of Sciences Building, and Toyo Ito’s design for the Berkeley Art Museum

These buildings point the way to a new civic architecture.

Pick: The Hunky Jesus contest in Dolores Park on Easter Sunday

Street theater at its finest.

Pick: Nice Collective’s "Voix de Ville" Collection

How fortunate we are to have these brilliant designers among us.

Pan: Proposition 8

MATT FURIE, ARTIST


Pick: "One-Thousand Twenty-Six Eyes," at Hamburger Eyes Photo Epicenter

One thousand twenty-six eyes is a lot of eyes and it’s also the name of an awesome group show I saw this year at Hamburger Eyes. I like eyes. The show featured a ton of cool photos from the kids at Space 1026 in Philly. The best thing there was a large glowing geodesic dome with tie-dyed pillows all around it. I sat on a pillow and discovered a little peephole with a tiny photo inside. Turned out this structure was lined with tons of little viewfinders and each hole had a different pic! They also had a great merch booth in the back with a bunch of handmade prints, zines, t-shirts and stuff. I bought an awesome hamburger-with-eyes t-shirt there by artist Chris Kline. He rules.

DARIN KLEIN, PROGRAMS COORDINATOR AT THE HAMMER MUSEUM AND CURATOR


Pick: Fag School #3

Naked men (Jewish Jason, Bob the Handyman, and My Best Friend’s Weiner), hilarious cruising reviews, mortifying blackout reviews, advice columns by Telfar and Allison Wolfe, interviews with New Bloods and Billy Cheer. All of this and more, created with scissors, markers, glue, and a manual typewriter. Nothing fancy, experimental or tricky about this project. Just rants, raves, and snapshots, served up hottt by San Francisco’s very own Brontez in glorious black and white photocopy. The price is right at just $3.50. Warning: Playing the weird Lovewarz DVD that comes with this zine could ruin a preppy gay birthday party!

Prop 8: Stonewall 2.0?

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By Marke B.

pickets650a.jpg
Photo by Max Whittaker of Sacramento protestors

Did you call in gay to work today? I’m one of those fortunate few whose job it is to actually be as gay as possible — I fought long and hard for it, sweetz, lemme tell ya — so here I am in my fuzzy pink gorilla slippers and hot oil treatment blogging away for you. I’m fixing myself up to look pretty for tonite’s rally:

SF DAY WITHOUT A GAY RALLY & MARCH
Weds/10, 6pm, 24th and Mission, SF
www.daywithoutagay.org
protest8sf.wordpress.com

Protesting is hottt.

ALSO: Great piece in the New York Times today on how a new generation of queer activists was awakened by Prop 8. They’re calling it Stonewall 2.0, which is kind of like “duh,” but it’s great to read about and be inspired by the youth and their crazy internetz.

This quote, in particular, brought a tear to my eye:

“We’re a gay couple in West Hollywood, neither of us involved in activism, but we just wanted to help,” said Sean Hetherington, 30, a stand-up comic who was the first openly gay contestant ever to do battle, however briefly, in the Gladiator Arena. “And we were amazed at what happened.”

From arena to gay-rena, hunky sister-man.

But maybe more on-target would be this:

Superblastered

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› superego@sfbg.com

SUPER EGO Blue! Red! Yellow! Green! Indigo Girls! (Ew.) This column is on a serious ’90s flashback trip lately — as is the city’s nightlife: witness delightfully grungeful monthly Debaser’s climb to the top of the club charts (www.myspace.com/debaser90s) — dipping its toes into the perilous VH-1 waves of Clintonia. But hardly that icky! My last installment caught up with primal ravers Tribal Funk, and this time around I’m jumping with joy in my silk-tasseled plaid bolero jacket for the 13th anniversary celebration of protean party promoters Blasthaus at Mighty, with techno heartthrob headliners Matthew Dear and Ryan Elliot, a supporting cast of stellar local talent including my DJ crush of the mo’ Nikola Baytala (call me!) a bouncy castle, a sushi bar, and a foot-washer.

Yep, foot-washer.

"His name’s Shrine, and he likes to wash feet. So why not?" breathy Blasthaus Supreme Commander — actual title — Monika Bernstein told me over the phone. That’s a little burner for Blasthaus, whose parties tend to focus more on a dedicated dance vibes than sideshow shenanigans, but no one said they ain’t got dirty sole.

When I think of Blasthaus, I feel the swirly suck of 1998 and its raucous PoP all-nighter at the San Francisco Museum of Modern Art, inaugurating the neon-sprawling Keith Haring retrospective there. I popped three shitty e’s too many and somehow got locked upstairs in the darkened galleries while thousands raged in the atrium below. I don’t remember much beyond that, but Keith says "hi." Also the Watchmen are real.

Blasthaus is anything but stuck in the era of dial-up modems, though, staying true to founder William Linn’s forward-thinking production intent when he named the nascent collective after Weimar-era German fine-art factory Bauhaus, with a hands-in-the-air wink. The company now employs 30 staffers — "We’re like a buzzing virtual hive of little party elves," Bernstein said, laughing — and not a week’s gone by this past year without a Blasthaus shindig bringing in big underground and not-so-underground names. Glitch Mob, Modeselektor, Ellen Allien, Sascha Funke, and Richie Hawtin have all brought sparkly star-fire to its gigs, as well as longtime party partners — break out the Internet boom bubbly — Thievery Corporation, who’ll be headlining the Haus’ New Year’s Eve blast at the Concourse.

"We bring in who we listen to," Bernstein said, "so we’re just as excited about our parties as the people attending them. And a big part of our aesthetic is the art aspect" — Blasthaus has run several galleries, from Joypad to Rx to BoCA, and there’s something arty on the horizon for 2k9 — "so we think of our parties as forms of expression, not just bottom lines. Otherwise, why bother?" They could just bring in DJ Tiësto and retire.

BLASTHAUS 13TH ANNIVERSARY BLOWOUT

Fri/12, 9 p.m., $15 advance

Mighty

119 Utah, SF

(415) 762-0151

www.partyeffects.biz

************

CLASH AND CARRY ON

Holy crap, dubstep’s still happening. In fact, it’s getting bigger, like a blimp on laughing gas, but with polka-dotted clown feet. Which is surely how anyone who’s heard Coki’s 2007 low-frequency smash "Spongebob" has felt, me included. Coki and Mala, a.k.a. Digital Mystikz, will be melting the woofers at Dubclash Volume II, the excellent all-star dubstep clusterfuck (in a very good way) with "US Ambassador of Dubstep" Joe Nice, Sgt. Pokes, and other up-to-the-nanosecond bass purveyors. This is a heart-pounding chance to get a West Coast taste of Brixton, UK’s much-buzzed positivity-centric DMZ party by way of our very own Surefire dubstep crew. Volume II at Mezzanine is an upgrade on this year’s capacity Dubclash parties at Jelly’s, with much more bounce to the ounce.

Sat/13, 9 p.m., $15–$25. Mezzanine, 444 Jessie, SF. (415) 625-8880, www.mezzaninesf.com, www.sfdubstep.com

***********

POKE ‘EM IF YOU GOT ‘EM

I write so much about gay stuff that you’d think my keyboard’s made of fuschia Spandex, and yet the big queer story of 2008 was all the vibrant lesbian nightlife. In particular, the Diamond Daggers, an all-queer-women troupe of vaudevillians, has been putting on spectacularly entertaining offbeat affairs. Grab your golden lasso and get ho-ho happy at their Holiday Roundup, which invites all "Calamity Janes, ranch hands, bronco busters, and rodeo queens" to a Wild West-themed hoedown, with DJ Fairy Butch, live ruckus from the Whoreshoes, and more kooky cowpoke drag and cabaret performers than you can spur on without messing your spangles.

Sat/20, 9 p.m., $12–$20 sliding scale. Fat City, 314 11th St., SF. (415) 525-4676, www.diamonddaggers.com

Super Ego: Trans Am effs off

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By Marke B.

A sad week — possibly, see below — for queer punks and their admirers: beloved monthly Trans Am, which has torn up the floor of Club 8 (and confused quite a few Korean tourists expecting a campy tranny floorshow) for two whole years is calling it quits. Dangit!

trans_am_poster_1208-1a.jpgCharlie Horse and Trans Am promoters Bill Picture and DJ Dirty Knees’s other monthly joint Chrome, but Trans Am booked a ton of live talent that wouldn’t have gotten as much exposure without them. Plus, there were always a few hot boys.

I asked Picture about the club’s tearjerking demise and plans for the future (drag ball!). His comments after the jump:

Editor’s Notes

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› tredmond@sfbg.com

I was out of town the day Tom Ammiano appeared at his final meeting as a San Francisco supervisor. Too bad; I would have gone, no matter how busy I was, just to be a part of history.

I know that sounds silly. The Barack Obama inauguration will be part of history. The election of Harvey Milk was part of history. Ammiano’s last day? Hey, the guy’s moving on to Sacramento. Take a bow, everyone says thanks, and another local politician takes another political job. History?

Well, yeah, actually. Because when the history of progressive politics is written in this town (and I hope some other poor sucker takes on that job so I don’t have to) Tom Ammiano will go down as a central figure in the movement that turned San Francisco around.

It’s worth noting that the movie Milk, celebrating the life of the gay pioneer, opened around the same time Ammiano was clearing out his City Hall office. The connection goes deeper than the fact that they were both queer men fighting for basic human rights and dignity at a time when that was a huge uphill struggle.

Milk was part of an urban movement that came out of the 1960s and came of age in the 1970s that sought to wrest control of San Francisco from a cadre of military and big business leaders who had been running it since World War II. The agenda of the crew that we collectively refer to as "downtown" was turning the sleepy port city of the 1930s into the financial headquarters for Pacific Rim trade. They wanted San Francisco to be another Manhattan; they laid plans, they put the machinery in place — and they never asked the people who lived here whether that was the future we wanted.

Because all that downtown development meant higher rents, more evictions, gentrification, budget deficits, too many cars, the death of small businesses … and by the mid-1970s, the activists had figured out how to fight back. It started with electing supervisors by district so that big money didn’t always carry the day.

Milk was elected supervisor as part of the progressive push that put George Moscone in the Mayor’s Office. And if Moscone and Milk had lived, it’s possible that the tide could have turned right then. But the assassinations derailed district elections, turned the city back over to downtown, and sentenced the San Francisco left to more than 20 years of tough political dark ages.

Ammiano got elected in that era, when the developers called all the shots, when tenants and environmentalists and neighborhood people were lucky to get two or three votes on the Board of Supervisors. His pro-tenant and anti-development proposals never even reached the desks of mayors who would have vetoed them anyway.

But he didn’t give up, and in 1999, in the bleak days of the dot-com boom, he took on a long-shot campaign for mayor that, in one six-week period, reenergized the San Francisco left. With his help, district elections came back; and with his leadership, a decidedly progressive board took office in 2001. Living wage, sick pay, universal health care, bike plans, real estate transfer taxes, tenant protections … these are all products of that change.

Ammiano was an odd sort of leader, someone with a sense of humor who didn’t take himself anywhere near seriously enough. He would be the first to credit the movement, not the man — and he’d be right. But when we needed him, he was there.

Milk and blood: Visions of St. Harvey

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By Marke B.

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This week, as part of our Milk Issue, dedicated to the political memory of Harvey Milk, I take a look at some of the ways Harvey has been transformed into an icon of queer martyrdom — for good or ill. I cheekily reference the extremely moving 2004 “Saint Harvey: The Life and Afterlife of a Modern Gay Martyr” show at the GLBT Historical Society, which will also open a temporary exhibit about Harvey on the Castro beginning November 26, in conjunction with the nationwide release of the Milk movie.

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From “Saint Harvey: The Life and Afterlife of a Modern Gay Martyr.”

I also talk about influential young photographer Leo Herrera from queer collective Homochic‘s appropriation of the suit that Harvey was shot in. He displayed his impressionistic shots of that precious relic in his 2007 “San Francisco: Sex & Icons” show at Magnet in the Castro, and also assembled them in a short film titled My Name is Harvey Milk, whose soundtrack is Harvey’s recording of his own will right before he was murdered. I asked him to share some of his thoughts via email from his temporary base in NYC about his show, about Harvey as icon, and also Harvey’s “martyrdom” status.

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Harvey suit image (and all images below) by Leo Herrera

Leo Hererra: Basically I went to the Martyr exhbit at the GLBT Historical Society in ’04 and saw the suit for the first time with my brother Allan and my mother. I was completely floored not only by the way the suit was exhibited but also by the humble surroundings of the Historical Society itself. I approached them and told them that I wanted to work with them in any capacity that they needed, and they let me know that they could use a lot of help, especially from people my age. I told them I wanted to do a series of images based on gay culture and they arranged for me to shoot whatever I wanted.

Allan and I arrived and shot a lot of the relics that they have there, and I finally got the balls to ask them to shoot the suit.*

Soooo, imagine Allan and I opening up the box and there it was. The whole thing is really scary because the box had all of what he was wearing the night of his assassination, including his socks and tie. I shot some images but they weren’t coming out right, and our hands were shaking the whole time. Finally I told Allan that if we were going to do this right, we better not be afraid to touch it and we finally picked it up. And flakes of gore came off of it because it’s so bloody and gory and they fell on our arms and it went downhill from there, but I remember feeling this really intense creativity and really the spirit of gay culture in many ways.

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We laid the suit on top of a light box and the bullet holes from the shots that went through his back shone through, we also put a lamp behind where his heard would be, and did all sorts of arty shit. The funny part was, I really didn’t relate to the images as I shot them and didn’t understand them because I was using a very different aesthetic. I put the images away for a couple of years and when I pulled them out, I realized that the aesthetic of the images was really something more sophisticated than I was used to at the time and that it really matched what I was working with now, they were somehow more mature. So in a way, I had shot the images to be used four years after the fact.

It was all real arty hipster shit.

Hot flash gallery

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> johnny@sfbg.com

It was the summer of 1974, when shy, skinny, cute Daniel Nicoletta first stepped through the doors of Castro Camera into adulthood and history. His parents were snapshot enthusiasts. In his words, he had grown up "surrounded by Instamatic moments." But he was about to enter the time of his life. "I stopped in to determine where I would be developing my Super 8 film," he remembers. "I couldn’t get over how friendly the two guys [Harvey Milk and Scott Smith] were. I was 19 years old — I had no idea what cruising was at that point. Of course, within two months I was completely up to speed."

Nicoletta immediately captured the speed of life. His vérité photos of Milk, Smith, and San Francisco from the mid-1970s onward are often great and sometimes iconic. He soon sold his first photo out of Boys in the Sand (1971)and Bijou (1972), filmmaker Wakefield Poole’s hair salon-toy store-art gallery Hot Flash. A regular "Mr. Multimedia," Nicoletta was as interested in half-inch Portapak video as he was in still photography. In 1977, using Castro Camera as one of his chief meeting spots, he worked with David Waggoner and Marc Huestis to found the Gay Film Festival of Super 8 Films, an event now popularly known as the Frameline festival.

Nicoletta’s role in Milk’s life and role in queer film history provide some of the subtler facets of Gus Van Sant’s new film Milk. Those viewers familiar with Van Sant’s earlier work know of his focus on the photographic process: for example, a significant sequence within his 2003 film Elephant is spent in the darkroom, observing the efforts of a young photographer who may as well be a 21st century version of the young Nicoletta. "Even though I don’t say a lot, Lucas [Grabeel, who plays Nicoletta in the film] is a constant presence throughout Milk," Nicoletta notes, when asked about the interplay between his life and Van Sant’s moviemaking. "Gus keeps me there in the film as a cultural observer. In life, Gus has an eye for the role of still photography in culture, and he used my entity as a way of cross-referencing that."

Some of Nicoletta’s photos of Milk and Smith inform or inspire the look of particular scenes in Milk, such as a pie fight between Smith and Milk. "The art department was immersed in stills of all kinds," says Nicoletta, who switched to digital photography to document the making of the film. "I was impressed with all the things pinned up to their walls — the checkerboard analysis was lovely to look at." Nicoletta also lent his copy of the August 1974 San Francisco issue of the barely-subtextual gay culture magazine After Dark — a publication partly defined by the studio portraiture of East Coast gay photographers such as Ken Duncan and Jack Mitchell — to Milk‘s costume designer, Danny Glicker. "He [Glicker] creamed himself over that," Nicoletta says with an affectionate laugh. "There’s a postage stamp-sized photo of Victor Garber [who plays George Moscone in Milk] in it. I’d never noticed, but it took Danny Glicker a second to zero in on that. It was hilarious."

The Milk crew’s devotion to verisimilitude extended to Nicoletta’s camera — and to one of Milk’s two main cameras, one of the first Nikons ever made, which Nicoletta now owns. "They literally had me take jpgs of my camera and Harvey’s camera so they could cast those instruments to the letter," he says. "Harvey’s camera has his name engraved on the bottom. Scott’s [Smith] mom gave it to me when Scott passed away. It’s a real treasure. I never use it, but I saw him use it. Harvey and Scott also had a second Nikon that was their primary camera, and I did use that one quite a bit. We both passed film through the same camera, which was kind of cool — kind of incestuous."

This radical sense of brotherhood informed both Nicoletta and Milk’s photography. "Harvey took great joy in photographing people," Nicoletta observes, noting that a chance to take aerial photos of Christo’s Running Fence was one of Milk’s artistic and free-spirited moments as his political duties increased. "If you look at Harvey’s body of work, one thing that comes through with political potency is that a presiding aesthetic in his life was male-to-male love. You can then zoom out even further and say that the stimulus for his political activism was the sanctification and preservation of male-to-male love."

It’s characteristically modest of Nicoletta to turn an interview about his photography into a discussion of Milk’s endeavors with a camera — everything he says about Milk’s photos is true of his own work, which captures Milk and Smith’s relationship, for instance, with great warmth. He gives vivid background to some of his best-known Milk photos, such as an image of the inaugural walk to City Hall in January 1978. "We were just arriving at the steps," he remembers. "What’s great about that photo is that it’s just one of so many details of the history of the queer community that have unfolded on those very steps. I think I could do a whole book on the steps of City Hall at this point."

The prospect of a Nicoletta monograph is something to savor, even if he jokes that his friends "all roll their eyes to the back of their head and say, ‘There she goes again about her book’," whenever he mentions the prospect. As a documentarian of history, Nicoletta understands the necessity and gravity of a book of his work. He has other excellent ideas, such as an era-based collection that would bring in stylized images by Steven Arnold — like him, one of the chief people to visually capture queer artistic forces such as the Cockettes and Angels of Light. "I loved working with Reggie [of the Cockettes] because the first photo I ever saw of him was in Gilles Larrain’s [1973] Idols," Nicoletta says. "That book just rocked my world. I thought, ‘Who are these people, and where can I find them?’ And I found them."

Nicoletta found those people — the evidence is in books such as Gay by the Bay and Adrian Brooks’ new Flights of Angels (Arsenal Pulp Press, 224 pages, $24.95), and in the photo collection of the San Francisco Public Library. As a chronicler of gay life, he can be seen as a West Coast public counterpart to East Coast photographers such as Peter Hujar, Mark Morrisroe, and David Armstrong, and Nan Goldin. "In a sense I’ve sort of stayed provincial. That’s a little bit self-preservationist," he says, after mentioning the direct influence of the Bay Area studio photographer Crawford Barton on his work. "It’s so great to have a 30-year arc and be mindful of where you are and grateful for things like the mentorship of people like Harvey Milk and Scott Smith, and the inspiration of people like the Angels of Light. I’m for slow growth."

>>Back to the Milk Issue

Political Theater

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› kimberly@sfbg.com

Pair an effusive and extroverted, larger-than-life politico like Harvey Milk — complete with community-forging charisma, panoramic outlook, and labyrinthine City Hall machinations — with a reserved, perpetually-outside-looking-in independent, à la director Gus Van Sant? That feature-film odd-coupling might have understandably strained some brains in Hollywood. Making the seldom-seen moments of otherwise-secret or neglected lives visible has seemingly been Van Sant’s calling, and his most memorable films — 1985’s Mala Noche, 1989’s Drugstore Cowboy, 1991’s My Own Private Idaho, 2003’s Elephant, and even the Oscar-gathering 1997 Good Will Hunting — have relied on his coolly unblinking, surprisingly cerebral yet gently empathetic eye, whether focused on Mexican immigrants, ’70s-era oblivion-seekers, Northwestern hustlers, a hidden savant, or disaffected teenagers.

Still, those leitmotifs — entwined with Van Sant’s terrible, tangible sense of romance with his outsiders, artists, and lost souls, as well as the way his camera seems to fall head over heels for his characters — made Van Sant a natural to make Milk, after Oliver Stone’s aborted feature-film attempt to tell the slain San Francisco supervisor’s story. "There is always that question: why I haven’t done a film like this earlier," Van Sant confessed, clearing his throat for the umpteenth time while agreeing that he hasn’t ever quite done a film like Milk. "Yeah, I hadn’t done a big movie, so there were people around who were like, ‘Can you handle it? Can it be done?’ They think that way. Since there was no business model, they were like, ‘No, he can’t, because he makes these scruffy, little movies. Too big a gamble, you know.’

"That’s a part of Hollywood, but it’s kind of like safe bets: it can make bad stuff happen as easily as good stuff, and it has its own closed policies like the old conservative City Hall-type policies. ‘New supervisors who haven’t handled the job before are incapable and they’re screwing things up.’"

Thankfully the gamble paid off and the tale of California’s first openly gay politician has been told with elegance, poetry, and not a little heart-stirring, inspirational grace, by the man whom biographer James Robert Parish describes as "the standard bearer of America’s ‘queer cinema’" — one who fuses extreme close-ups, handheld shots, and found footage in a collaborative, textural approach that lends a Kodachrome pop-culty feel to his films. The process makes for "beautiful pictures every time," as a windblown Sean Penn put it at a Ritz Carlton press conference after Milk‘s Oct. 28 world premiere at the Castro Theatre.

Seated at the middle of a long table between Penn and Josh Brolin, who portrays Milk’s killer Dan White, as they traded friendly jabs, Van Sant remained mostly silent — physically at the center, but an observer apart at the same time. Later in a hotel suite, face to face with a single interviewer, the director seemed equally out of place, folded uncomfortably into a plush chair, arms tightly crossed over a tan jeans jacket sporting a "No on 8" sticker, with a small, nylon, bright-blue dollar-store-style backpack by his side. He more closely resembles a 56-year-old teacher or elder-care worker than a Hollywood insider.

The latter role is evidently still alien to him. His first brush with Milk came in 1978 while he was driving across the country and heard on the radio that the supervisor was shot. Though he later saw the 1984 documentary The Times of Harvey Milk, it never occurred to him to make a film about the politician. "It seemed like a very big story," Van Sant said. Mala Noche and Drugstore Cowboy "were stories that were devised to be made with really low budgets, like $20,000. So it was never like, ‘Oh, we can make a story about City Hall with $20,000.’ I guess I was always coming at filmmaking from not really being in the business, but knowing that I could get a hold of or save up my own money to the point where I’d have $20,000 and I could actually make a feature."

In the process of making Milk, the filmmaker admitted that he had to leave out many details that "I really like and things that sort of explain the situation. We suggest things. We explain this new law that enabled people to elect their supervisors from their districts, but we didn’t explain that the people up to that point that had to run city-wide resembled a different and maybe more antiquated type of politician. They were more, I guess, conservative. They were more business-oriented."

If San Francisco is palpable as a character in Milk, then City Hall is that elegantly shambolic figure’s brain, and Van Sant effectively used the Beaux Arts space, which harks back to classical forms, to his own dramatic ends. A down-the-rabbit-hole corridor leading to supervisors’ chambers becomes a pulsing nerve center visually rhyming with the characters’ stratagems. The sweeping staircase and balconies become the backdrop for Milk’s and White’s clashing trajectories, and the building itself becomes the spotless stage for Milk’s political birth and death.

"What I usually try and do, in general, is to connect the characters to a timeless quality, so it’s not necessarily situated in the specific time they’re in," said Van Sant. "So if they’re in City Hall and there’s a beaux-arts classical relief on the ceiling, if you frame it correctly, they can kind of look like Roman senators. You can get this timeless quality of people trading votes and betraying each other for as long as there’s been a forum and a senate.

"There were certain things in the script and in Harvey’s life — the famous line is ‘How do you like my new theater,’ which is what he says to Cleve [Jones, played by Emile Hirsch]: ‘Always take the stairs, never dress up, never blend in, make a show of it, use the whole space.’ I thought of that as a centerpiece of the whole film. That scene is one of my favorites because it was kind of like Harvey, who was a stage manager and was in theater. This was his new forum, his new theater, his new proscenium, with which to create new stuff — in this case, gay rights and other things that he thought were important, like education and help for minorities and seniors."

The question that arises so often among those who care about gay rights is: Why wasn’t Milk released before the Nov. 4 election, when it might have energized voters to shut down Proposition 8, a battle so similar to Milk’s charge against Proposition 6? As Milk screenwriter Dustin Lance Black said, "I didn’t know this [movie] would be about Prop. 8, but I don’t think this fight is over."

"I don’t really decide when movies should come out," said Van Sant. "The distributors came up with that." He spelled out some of the thoughts behind the Nov. 26 theatrical release: worries included "whether or not the elements of the story were so like the political moment that the film wouldn’t have a life after the election," and "whether people are too busy with the election to go see the movie. Are people overtaxed with politics to go see a political movie?" As a compromise, the late-October Castro Theatre premiere was arranged to get Milk and its overall message into the media eye, while still opening it into November through January, the Academy campaign season.

"Yeah, I didn’t make the call," repeats Van Sant, somewhat regretfully and shedding perhaps a smidge of that cherished detachment. "Harvey would have opened it in October."

Milk opens Wed/26 at the Castro Theatre, with additional Bay Area openings Fri/28 and Dec. 5.


>>Back to the Milk Issue

The apathy and the ecstacy

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› marke@sfbg.com

“OMG! Marriage is the new AIDS!” a friend screeched to me through her cell phone after witnessing West Hollywood’s cop-clashing response to the passage of Proposition 8. She meant, of course, the unexpected, exhilarating, and somewhat clumsy reemergence of queer protest energy that has overtaken many a civic center and public park since the November election and its attendant LGBT letdown.

Folks are dusting off their framed ACT-UP poster collections, those old-time “When do we want it? Now!” chants are filling gay air space, and former Queer Nation, Gran Fury, and Boy with Arms Akimbo enthusiasts like myself are feeling nostalgic sensations in their radical nether regions that have suddenly freed us, however temporarily, from the tyranny of approaching middle age. The spirit is back! Let’s tear some shit up.

Much has been made of this “Great Gay Awakening” in the homoblogosphere. Is it heading toward long-overdue political organization or a White Night Riots reprise? How can it be effectively harnessed? What the heck should one wear? And some interesting things have already resulted from it. Gay issues have once again taken the national stage, and everyone’s looking for leadership. The “great national conversation on race” has exploded in the gay community, with some prominent hotheads blaming the African American community for Proposition 8’s win, and many queers of color finding their own voice in response.

But let’s hit the snooze on the “awakening” for quick drag minute and consider one of the thorniest questions floating around. Where was all that energy when it could have done some freaking good? “I felt totally apathetic about gay marriage until it was taken away,” another friend said. And at a recent rally I overheard “Why did it take losing something to get us out on the streets? Haven’t we learned anything from the past?”

In terms of past-learning, it’s not as if Harvey Milk and the Milk movie haven’t been the omnipresent topic on everyone’s cocktail-pickled lips all year. Were we too busy ogling Milk actor James Franco’s hip knit neckwear to co-opt Harvey’s winning strategy of inclusivity, outreach, and preemptive rallying against the infamous Briggs Initiative? People have pointed fingers until they’re blue in the wrist at the various perceived missteps of the No on 8 campaign. But a campaign is only as good as its participants — if the queer community can organize a 300-city mass protest around a viral e-mail, as we did Nov. 15, then why didn’t Harvey’s lessons on how to effect political change sink in earlier?

Of course I have a theory. I think we’re obsessed with Harvey’s martyrdom, paralyzing him in the glistening amber of legend rather than the actively engaging him in the now. His tragic mortification makes a great story, an epic drama for us eager drama queens. It sells screenplays in Hollywood. Milk, for all the good that may come of its release, would never have been green-lighted without Dan White. Harvey Milk the haloed icon — the beatified victim whose presence can only be summoned in times of gay grief — has been elevated in queer culture above Harvey Milk the canny tactician, the voluble freak, the erring human with restless hands and solid instincts.

Reflecting on Harvey’s sacrifice is important. “Saint Harvey: The Life and Afterlife of a Modern Gay Martyr” was the title of an extremely moving 2004 display at the GLBT Historical Society, one that presented the supervisor’s personal effects in various reliquaries, the bullet-riddled suit in which he was murdered suspended as if from a crucifix. Inspired by “Saint Harvey,” artist Leo Herrera displayed graphic, impressionistic photographs of the suit in 2007 as part of his “San Francisco: Sex & Icons” series, recontemporizing Harvey the martyr for San Francisco’s young alternaqueer population.

Both those shows were beautiful — and helped keep Harvey’s story in play. Milk, however hagiographic, will probably do the same. That’s great, and if it inspires the community to finally fund the Historical Society enough to establish a queer history museum here — a sickening absence in San Francisco, of all places — we may be able to at last live and learn from the past rather than just light a candle to it.

For most queers now, though, the thought of Harvey Milk brings only grave tears and intimations of tragedy. Maybe the current emergency will finally break the glass around St. Harvey and inspire us to take the practical examples he left us seriously.

>>Read an interview with artist Leo Herrera and view images of Harvey as icon

>>Back to the Milk Issue

Politics behind the picture

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› news@sfbg.com

The new Harvey Milk movie, which opens later this month, begins as a love story, a sweet love story about two guys who meet in a subway station and wind up fleeing New York for San Francisco. But after that, the movie gets political — in fact, by Hollywood standards, it’s remarkably political.

The movie raises a lot of issues that are alive and part of San Francisco politics today. The history isn’t perfect (see sidebar), but it is compelling. And while we mourn Milk and watch Milk, we shouldn’t forget what the queer hero stood for.

Milk started out as something of a pot-smoking hippie. “The ’70s were a hotbed of everything,” Sup. Tom Ammiano remembered. “Feminism, civil rights, antiwar.” Milk’s early campaigns grew out of that foment. “Sure, he wanted to be elected,” Ammiano told us. “But the main ingredient was courage. He was fighting with the cops when they raided the bars … what he did was dangerous.”

Milk never would have been elected supervisor without district elections — and the story of district elections, and community power, ran parallel to Milk’s own story, for better and for worse.

Milk tried twice to win a seat on the at-large Board of Supervisors and never made the final cut. But in the mid-1970s, a coalition of community leaders, frustrated that big money controlled city policy, began organizing to change the way supervisors were elected. The shift from an at-large system to a district one in 1976 was a transformational moment for the city.

“I think that San Francisco doesn’t always appreciate the sea change that district elections brought,” Cleve Jones, a queer activist and friend of Milk who helped Dustin Black write the script for Milk, told us. “It wasn’t just important to the various communities that had been locked out of power at City Hall — it was the glue that began to grow the coalitions.”

Milk was elected as part of what became the most diverse board in the city’s history, with Asian, black, and gay representatives who came out of community organizations. The board, of course, also included Dan White, a conservative Irish Catholic and former cop. And it was the assassination of Milk and Mayor George Moscone by Sup. White — and the civic heartbreak, chaos, and confusion that followed — that allowed downtown forces to repeal district elections in 1980. That gave big money and big business control of the board for another 20 years, a reign that ended only when district elections returned in 2000.

Milk was a gay leader, but he was also a tenant activist, public power supporter, advocate for police reform, supporter of commuter taxes on downtown workers, and coalition-builder who helped bring together the labor movement and the queer community. It started, ironically, with the Teamsters.

“Those of us who came out of the antiwar movement remembered that the Teamsters supported Richard Nixon until the very last moment,” Jones said. “And they were seen as one of the most homophobic of all the unions.”

But in the 1970s, the Teamsters were at war with the Coors Brewing Company, and trying to get San Francisco bars to stop serving Coors beer. Allan Baird, a Teamsters leader who lived in the Castro District, saw an opportunity and contacted Milk, who agreed to help — if the Teamsters would start hiring gay truck drivers.

“It wasn’t just San Francisco and California,” Jones recalled. “We got Coors beer out of every gay bar in North America.” And gays started driving beer trucks.

Today, the queer-labor alliance is one of the most powerful, effective, and lasting political forces in San Francisco.

Milk was never popular among the wealthier and more established sectors of the gay community; he believed in a populist brand of politics that wasn’t afraid to take the fight to the streets — and beyond San Francisco. A central theme of the film is the fight against Proposition 6, a 1978 measure by conservative state Sen. John Briggs that would have barred homosexuals from teaching the public schools.

Milk, defying the mainstream political strategists, insisted on debating Briggs in some of the most right-wing parts of the state. He refused to downplay the gay-rights issues. And when Prop. 6 went down, it was the end of that particular homophobic crusade.

Milk was always an outsider, and he ran for office as a foe of the Democratic Party machine. “His campaign for state Assembly was all about Harvey vs. the machine,” former Sup. Harry Britt told us. “His main supporter was [Sup.] Quentin Kopp. He didn’t run as the liberal in the race; he ran against the machine.” And for much of the next 20 years, progressives in San Francisco found themselves fighting what became the Brown-Burton machine, controlled by Willie Brown and John Burton.

It’s too bad the movie wasn’t released early enough to have had an impact on Prop. 8, the anti same-sex marriage measure that just passed in California. Some critics of the No on 8 campaign say the message was far too soft, and that a little Harvey-Milk-style campaigning might have helped.

But for us, one of the most striking things about the movie is the fact that Milk and his lover, Scott Smith, were able to leave New York with very little money, arrive in San Francisco, rent an apartment on their unemployment checks, and open a camera store. That wouldn’t be possible today; the Harvey Milks of 2008 can’t live in the Castro — and many can’t live anywhere in San Francisco. The city is too expensive.

In fact, for all the victories Milk won, for all the successes of the movement he helped to build, much of his agenda is still unfulfilled, even in his hometown.

The first time Harvey Milk gives a public speech in the film, he’s standing on a soapbox … literally. He brings out a box with “soap” written on the side; a funny gag, but a serious and telling moment for him and San Francisco.

The issues that Milk spoke so passionately about in that speech included police reform, ending the war on drugs, protecting tenants and controlling rents, and improving parks and protecting people’s rights to use them liberally — all issues with as much resonance today as they had back then.

The movie leaves us with a painful question. For all the celebration of Milk’s legacy by San Franciscans of various political stripes, why have we made so little progress on some of his signature issues? We celebrate the martyr — but often forget what the man really advocated.

Support for gay rights is de rigueur for anyone who aspires to public office in San Francisco. But a quarter of city residents still voted to take away same-sex marriage rights in this election. Many older gay men today are barely able afford their AIDS medication and rent. And transgender people and other nontraditional types are still ostracized, unable to get good jobs, and sometimes treated contemptuously when they seek help from their government.

Sure, marijuana is supposedly legal for medical uses in California and pot clubs proliferate around San Francisco. But even these sick patients are still targeted by the federal government and its long arms in San Francisco, including former US Attorney Kevin Ryan, whom Mayor Gavin Newsom named his top crime advisor and who is now seeking to crackdown on the pot clubs. Why, 30 years after Milk was shot, does one have to claim an ailment or illness to smoke a joint in this town?

Two-thirds of city residents are renters, a group Milk championed with gusto, but we barely beat a state initiative in June that would have abolished rent control. Housing is getting steadily more expensive. And in this election, Newsom and his downtown allies opposed Proposition B, an affordable housing measure, and Proposition M, a common sense measure to prohibit landlords from harassing their tenants. Such harassment is a common tactic to force tenants from rent-controlled units, even though the City Attorney’s Office is currently suing the city’s biggest landlord, Skyline Realty, for its well-documented history of harassment. Newsom may be the champion of same-sex marriage, but when it comes to issues like tenants’ rights, we suspect that Milk would be appalled at Newsom’s gall.

Ted Gullicksen of the San Francisco Tenants Union noted that in the wake of Milk’s death and before the repeal of district elections, San Francisco established rent control and limits on condo conversions. The tenant movement has grown steadily stronger and more sophisticated, he said, as it had to in order to counter increasing economic and political pressures and creative gambits by landlords.

“The city has gentrified phenomenally since that time, and that’s put tremendous pressure on tenants and on condo conversions,” Gullicksen told us. “It continues to be a real struggle.”

Police reform was also a huge issue for Milk and his gay contemporaries, who suffered more than most groups from the behavior of thuggish cops protected by weak oversight rules and a powerful union. And today, the Police Officers Association is stronger and meaner than ever, but the oversight has improved little, as both the Guardian and San Francisco Chronicle have explored with investigations in recent years.

And in our public parks, San Francisco officials in recent years have banned smoking cigarettes, drinking alcohol, playing amplified music, and even gathering in large numbers without expensive, restrictive permits. Even in the Castro, where Milk and his allies took it as a basic right to gather in the streets, Newsom and the NIMBYs unilaterally cancelled Halloween celebrations and used police to chase away citizens with water trucks.

Is this really the city Harvey Milk was trying to create? In the film, he talks about transforming San Francisco into a vibrant, tolerant beacon that would set an example for the rest of the country, telling his compatriots, “We have got to give them hope.”

Well, with hope now making a comeback, perhaps San Francisco can finally follow Milk’s lead on the issues he cared about most.

>>Back to the Milk Issue

Pics: No on 8 Impact rally brings chills, tears

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Text by Marke B., photos by David Schnur

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Some thousands of amped-up queers hit the streets last Saturday for the huge No on 8 “Join the Impact” rally in the Civic Center, and subsequent march up Market Street. “Join the Impact” — started by a lowly viral email from one friend to another in Seattle — fabulously grew to encompass hundreds more cities, and brought out the crem de la creme of queer intelligentsia. Several speakers highlighted the diversity of the movement, including the controversial Rev. Amos Brown, who brought the crowd to tears and chills with an incredibly stirring call to solidarity between the gay and African American communities — and Carole Migden who, in a slightly insane rant, called for California to be split in two, one part for queers and the other for bigots. I think she was joking, but who the hell knows? Anyway, it was a beautiful day. The next “Join the Impact” action will be Wednesday, December 10’s “Day Without a Gay” — call in “gay” to work to show the world the biggest bad hair day EVER.

Also, there were lots of hot boys there. You really need to go to the next rally if you missed this one. Total radical yummy. Another also: I know we’re angry, and I’m the last one to say chill out when christianist freaks come into the neighborhood, but the alleged violence in the Castro this weekend, if it happened (I wasn’t there), isn’t very helpful.

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Clubs: Diamond Daggers — disco turkey basters

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By Marke B.

It occurs to me — your nightlife numbskull, your good-times guide — that my Super Ego column this week and its bloggy follow-up, which focussed on some of my fave queer clubs, was a tad phallocentric. Dykes are HOTTT! Including the invisible ones. Here’s an especially lovely lesbian hoedown coming up, with more dyke nightlife delights to come.

Diamond Daggers Disco Thanksgiving

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The enormously talented and flexible all-queer-women burlesque troop Diamond Daggers blew naughty minds at the Castro Street Fair and have been perfoming monthly at Fat City lately. Who can deny their death-defying feats of daring dykeness? Not me. This time around, on Sat Nov. 22, they’re presenting a “Disco Thanksgiving” for all you polyester turkeys stuffed with shards of mirror ball and platform giblets.

Oh yes, there’s an especially all-star lineup for this one as well: dark god Vinsantos, “princess of pork” drag superstar Glamamore, fabulously nimble SF Boylesque troupe, local cabaret starlet and “Oakland’s Chocolate Kisses of Burlesque” Alotta Boutte, drag king singer Leigh Crow aka Elvis Herselvis, and many, many more than listable in this infinite webspace. The disco part will be provided by girl-about-town DJ Campbell and the mysterious C’est Jille. C’est chic! Let’s freak!

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Diamond Daggers Disco Thanksgiving
Sat/22, doors 9pm, show 10:30pm
$12-$20 sliding scale
Fat City
314 11th St., SF.
www.myspace.com/DiamondDaggersBurlesque

The people’s election

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› news@sfbg.com

By midnight Nov. 4, the drama was long over: John McCain had conceded, Barack Obama had delivered his moving victory speech — declaring that “change has come to America” — and the long national nightmare of the Bush years was officially headed for the history books.

But in San Francisco, the party was just getting started.

Outside of Kilowatt, on 16th Street near Guerrero, the crowd of celebrants was dancing to the sounds of a street drummer. In the Castro District, a huge crowd was cheering and chanting Obama’s name. And on Valencia and 19th streets, a spontaneous outpouring of energy filled the intersection. Two police officers stood by watching, and when a reporter asked one if he was planning to try to shut down the celebration and clear the streets, he smiled. “Not now,” he said. “Not now.”

Then, out of nowhere, the crowd began to sing: O say can you see /By the dawn’s early light …

It was a stunning moment, as dramatic as anything we’ve seen in this city in years. In perhaps the most liberal, counterculture section of the nation’s most liberal, counterculture city, young people by the hundreds were proudly singing The Star Spangled Banner. “For the first time in my life,” one crooner announced, “I feel proud to be an American.”

Take that, Fox News. Take that Sean Hannity and Rush Limbaugh and Sarah Palin and the rest of the right-wing bigots who have tried to claim this country for themselves. On Nov. 4, 2008, progressives showed the world that we’re real Americans, too, proud of a country that has learned from its mistakes and corrected its course.

President Obama will let us down soon enough; he almost has to. The task at hand is so daunting, and our collective hopes are so high, that it’s hard to see how anyone could succeed without a few mistakes. In fact, Obama already admitted he won’t be “a perfect president.” And when you get past the rhetoric and the rock star excitement, he’s taken some pretty conservative positions on many of the big issues, from promoting “clean coal” and nuclear power to escautf8g the war in Afghanistan.

But make no mistake about it: electing Barack Obama was a progressive victory. Although he never followed the entire progressive line in his policy positions, he was, and is, the creature of a strong progressive movement that can rightly claim him as its standard-bearer. He was the candidate backed from the beginning by progressives like Supervisors Chris Daly and Ross Mirkarimi (a Green). And only after his improbable nomination did moderates like Mayor Gavin Newsom and Sen. Dianne Feinstein jump on the bandwagon.

From the start, the young, activist, left wing of the Democratic Party was the driving force behind the Obama revolution. And while he has always talked to the Washington bigwigs — and will populate his administration with many of them — he would never have won without the rest of us. And that’s a fact of political life it will be hard for him to ignore, particularly if we don’t let him forget it.

For a few generations of Americans — everyone who turned 18 after 1964 — this was the first presidential election we’ve been able to get truly excited about. It was also the first presidential election that was won, to a significant extent, on the Internet, where progressive sites like dailykos.com raised millions of dollars, generated a small army of ground troops, and drove turnout in both the primaries and the general election. The movement that was built behind Obama can become a profound and powerful force in American politics.

So this was, by any reasonable measure, the People’s Election. And now it’s the job of the people to keep that hope — and that movement — alive, even when its standard-bearer doesn’t always live up to our dreams.

The evidence that this was the People’s Election wasn’t just at the national level. It showed up in the results of the San Francisco elections as well.

This was the election that would demonstrate, for the first time since the return of district elections, whether a concerted, well-funded downtown campaign could trump a progressive grassroots organizing effort. Sure, in 2000, downtown and then-Mayor Willie Brown had their candidates, and the progressives beat them in nearly every race. But that was a time when the mayor’s popularity was in the tank, and San Franciscans of all political stripes were furious at the corruption in City Hall.

“In 2000, I think a third of the votes that the left got came from Republicans,” GOP consultant Chris Bowman, who was only partially joking, told us on election night.

This time around, with the class of 2000 termed out, a popular mayor in office and poll numbers and conventional wisdom both arguing that San Franciscans weren’t happy with the current Board of Supervisors (particularly with some of its members, most notably Chris Daly), many observers believed that a powerful big-money campaign backing some likable supervisorial candidates (with little political baggage) could dislodge the progressive majority.

As late as the week before the election, polls showed that the three swings districts — 1, 3, and 11 — were too close to call, and that in District 1, Chamber of Commerce executive Sue Lee could be heading for a victory over progressive school board member Eric Mar.

And boy, did downtown try. The big business leaders, through groups including the Committee on Jobs, the Chamber, the Association of Realtors, Plan C, the newly-formed Coalition for Responsible Growth, and the Building Owners and Managers Association, poured more than $630,000 into independent expenditures smearing progressive candidates and promoting the downtown choices. Newsom campaigned with Joe Alioto, Jr. in District 3 and Ahsha Safai in District 11. Television ads sought to link Mar, John Avalos, and David Chiu with Daly.

Although the supervisors have no role in running the schools, the Republicans and downtown pushed hard to use a measure aimed at restoring JROTC to the city’s high schools as a wedge against the progressives in the three swing districts. They also went to great lengths — even misstating the candidates’ positions — to tar Mar, Chiu, and Avalos with supporting the legalization of prostitution.

And it didn’t work.

When the votes were counted election night, it became clear that two of the three progressives — Avalos and Chiu — were headed for decisive victories. And Mar was far enough ahead that it appeared he would emerge on top.

How did that happen? Old-fashioned shoe leather. The three campaigns worked the streets hard, knocking on doors, distributing literature, and phone banking.

“I’ve been feeling pretty confident for a week,” Avalos told us election night, noting his campaign’s strong field operation. As he knocked on doors, Avalos came to understand that downtown’s attacks were ineffective: “No one bought their horseshit.”

A few weeks earlier, he hadn’t been so confident. Avalos said that Safai ran a strong, well-funded campaign and personally knocked on lots of doors in the district. But ultimately, Avalos was the candidate with the deepest roots in the district and the longest history of progressive political activism.

“This is really about our neighborhood,” Avalos told us at his election night party at Club Bottom’s Up in the Excelsior District. “It was the people in this room that really turned it around.”

The San Francisco Labor Council and the tenants’ movement also put dozens of organizers on the ground, stepping up particularly strongly as the seemingly coordinated downtown attacks persisted. “It was, quite literally, money against people, and the people won,” Labor Council director Tim Paulson told us.

Robert Haaland, a staffer with the Service Employees International Union and one of the architects of the campaign, put it more colorfully: “We ran the fucking table,” he told us election night. “It’s amazing — we were up against the biggest downtown blitz since district elections.”

The evidence suggests that this election was no anomaly: the progressive movement has taken firm hold in San Francisco, despite the tendency of the old power-brokers — from Newsom to downtown to both of the city’s corporate-owned daily newspapers — to try to marginalize it.

Political analyst David Latterman of Fall Line Analytics began the Nov. 5 presentation at the San Francisco Planning and Urban Research Association election wrap-up by displaying an ideologically-coded map of San Francisco, drawing off of data from the Progressive Voter Index that he developed with San Francisco State University political science professor Rich de Leon. The PVI is based on how San Francisco residents in different parts of the city vote on bellwether candidates and ballot measures.

“Several of the districts in San Francisco discernibly moved to the left over the last four to eight years,” Latterman told the large crowd, which was made up of many of San Francisco’s top political professionals.

The two supervisorial districts that have moved most strongly toward the progressive column in recent years were Districts 1 (the Richmond) and 11 (the Excelsior), which just happened to be two of the three swing districts (the other being District 3–North Beach and Chinatown) that were to decide the balance of power on the Board of Supervisors this election.

Latterman said Districts “1, 3, and 11 went straight progressive, and that’s just the way it is.”

In fact, in many ways, he said this was a status-quo election, with San Francisco validating the progressive-leaning board. “A lot of people in the city didn’t see it as a chance for a drastic change citywide.”

In other words, keeping progressives in City Hall has become a mainstream choice. Whatever downtown’s propaganda tried to say, most San Franciscans are happy with a district-elected board that has brought the city a living-wage law and moved it a step toward universal health insurance.

The fate of the local ballot measures was another indication that Newsom, popular as he might be, has little ability to convince the voters to accept his policy agenda.

Voters rejected efforts by Newsom to consolidate his power, rejecting his supervisorial candidates, his Community Justice Center (as presented in Measure L), and his proposed takeover of the Transportation Authority (soundly defeating Proposition P) while approving measures he opposed, including Propositions M (protecting tenants from harassment) and T (Daly’s guarantee of substance abuse treatment on demand).

Asked about it at a post-election press conference, Newsom tried to put a positive spin on the night. “Prop. A won, and I spent three years of my life on it,” he said. “Prop B. was defeated. Prop. O, I put on the ballot. I think it’s pretty small when you look at the totality of the ballot.” He pointed out that his two appointees — Carmen Chu in District 4 and Sean Elsbernd in District 7 — won handily but made no mention of his support for losing candidates Lee, Alicia Wang, Alioto, Claudine Cheng, and Safai.

“You’ve chosen two as opposed to the totality,” Newsom said of Props. L and P. “Prop. K needed to be defeated. Prop. B needed to be defeated.”

Yet Newsom personally did as little to defeat those measures as he did to support the measures he tried to claim credit for: Measures A (the General Hospital rebuild bond, which everyone supported) and revenue-producing Measures N, O, and Q. In fact, many labor and progressives leaders privately grumbled about Newsom’s absence during the campaign.

Prop. K, which would have decriminalized prostitution, was placed on the ballot by a libertarian-led signature gathering effort, not by the progressive movement. And Prop. B, the affordable housing set-aside measure sponsored by Daly, was only narrowly defeated — after a last-minute attack funded by the landlords.

All three revenue-producing measures won by wide margins. Prop. Q, the payroll tax measure, passed by one of the widest margins — 67-33.

Latterman and Alex Clemens, owner of Barbary Coast Consulting and the SF Usual Suspects Web site, were asked whether downtown might seek to repeal district elections, and both said it didn’t really matter because people seem to support the system. “I can’t imagine, short of a tragedy, district elections going anywhere,” Latterman said.

Clemens said that while downtown’s polling showed that people largely disapprove of the Board of Supervisors — just as they do most legislative bodies — people generally like their district supervisor (a reality supported by the fact that all the incumbents were reelected by sizable margins).

“It ain’t a Board of Supervisors, it is 11 supervisors,” Clemens said, noting how informed and sophisticated the San Francisco electorate is compared to many other cities. “When you try to do a broad-based attack, you frequently end up on the wrong end (of the election outcome).”

We had a bittersweet feeling watching the scene in the Castro on election night. While thousands swarmed into the streets to celebrate Obama’s election, there was no avoiding the fact that the civil-rights movement that has such deep roots in that neighborhood was facing a serious setback.

The Castro was where the late Sup. Harvey Milk started his ground-breaking campaign to stop the anti-gay Briggs Initiative in 1978. Defying the advice of the leaders of the Democratic Party, Milk took on Briggs directly, debating him all over the state and arguing against the measure that would have barred gay and lesbian people from teaching in California’s public schools.

The defeat of the Briggs Initiative was a turning point for the queer movement — and the defeat of Prop. 8, which seeks to outlaw same-sex marriage, should have been another. Just as California was the most epic battle in a nationwide campaign by right-wing bigots 30 years ago, anti-gay marriage measures have been on the ballot all over America. And if California could have rejected that tide, it might have taken the wind out of the effort.

But that wasn’t to be. Although pre-election polls showed Prop. 8 narrowly losing, it was clear by the end of election night that it was headed for victory.

Part of the reason: two religious groups, the Catholics and the Mormons, raised and spent some $25 million to pass the measure. Church-based groups mobilized a reported 100,000 grassroots volunteers to knock on doors throughout California. Yes on 8 volunteers were as visible in cities throughout California as the No on 8 volunteers were on the streets of San Francisco, presenting a popular front that the No on 8 campaign’s $35 million in spending just couldn’t counter — particularly with so many progressive activists, who otherwise would have been walking precincts to defeat Prop. 8, fanned out across the country campaigning for Obama.

“While we knew the odds for success were not with us, we believed Californians could be the first in the nation to defeat the injustice of discriminatory measures like Proposition 8,” a statement on the No on Prop. 8 Web site said. “And while victory is not ours this day, we know that because of the work done here, freedom, fairness, and equality will be ours someday. Just look at how far we have come in a few decades.”

San Francisco City Attorney Dennis Herrera, joined by Los Angeles City Attorney Rocky Delgadillo and Santa Clara County Counsel Ann C. Raven, filed a legal challenge to Prop. 8, arguing that a ballot initiative can’t be used to take away fundamental constitutional rights.

“Such a sweeping redefinition of equal protection would require a constitutional revision rather than a mere amendment,” the petition argued.

“The issue before the court today is of far greater consequence than marriage equality alone,” Herrera said. “Equal protection of the laws is not merely the cornerstone of the California Constitution, it is what separates constitutional democracy from mob rule tyranny. If allowed to stand, Prop. 8 so devastates the principle of equal protection that it endangers the fundamental rights of any potential electoral minority — even for protected classes based on race, religion, national origin, and gender.”

That may succeed. In fact, the state Supreme Court made quite clear in its analysis legalizing same-sex marriage that this was a matter of fundamental rights: “Although defendants maintain that this court has an obligation to defer to the statutory definition of marriage contained in [state law] because that statute — having been adopted through the initiative process — represents the expression of the ‘people’s will,’ this argument fails to take into account the very basic point that the provisions of the California Constitution itself constitute the ultimate expression of the people’s will, and that the fundamental rights embodied within that Constitution for the protection of all persons represent restraints that the people themselves have imposed upon the statutory enactments that may be adopted either by their elected representatives or by the voters through the initiative process.

As the United States Supreme Court explained in West Virginia State Board of Education vs. Barnette (1943) 319 U.S. 624, 638: ‘The very purpose of a Bill of Rights was to withdraw certain subjects from the vicissitudes of political controversy, to place them beyond the reach of majorities and officials and to establish them as legal principles to be applied by the courts. One’s right to life, liberty, and property, to free speech, a free press, freedom of worship and assembly, and other fundamental rights may not be submitted to vote; they depend on the outcome of no elections.'”

As Board of Supervisors President Aaron Peskin told the Guardian later that week: “Luckily, we have an independent judiciary, because the voters of California have mistakenly taken away a class of civil rights.”

But if that legal case fails, this will probably wind up on the state ballot again. And the next campaign will have to be different.

There already have been many discussions about what the No on 8 campaign did wrong and right, but it’s clear that the queer movement needs to reach out to African Americans, particularly black churches. African Americans voted heavily in favor of Prop. 8, and ministers in many congregations preached in favor of the measure.

But there are plenty of black religious leaders who took the other side. In San Francisco the Rev. Amos Brown, who leads the Third Baptist Church, one of the city’s largest African American congregations, spoke powerfully from the pulpit about the connections between the civil rights struggles of the 1960s and the fight for same-sex marriage.

The next time this is on the ballot, progressive and queer leaders will need to build a more broad-based movement. That is not only possible, but almost inevitable.

The good news — and it’s very good news — is that (as Newsom famously proclaimed) same-sex marriage is coming, whether opponents like it or not. That’s because the demographics can’t be denied: the vast majority of voters under 30 support same-sex marriage. This train is going in only one direction, and the last remaining issue is how, and when, to make the next political move.

The progressives didn’t win everything in San Francisco. Proposition H, the Clean Energy Act, was taken down by one of the most high-priced and misleading campaigns in the city’s history. Pacific Gas and Electric Co. spent more than $10 million telling lies about Prop. H, and with the daily newspapers virtually ignoring the measure and never challenging the utility’s claims, the measure went down.

“This was a big, big, big money race,” Latterman said. “In San Francisco, you spend $10 million and you’re going to beat just about anything.”

But activists aren’t giving up on pushing the city in the direction of more renewable energy (see Editorial).

Latterman said the narrow passage of Prop. V, which asked the school board to consider reinstating JROTC, wasn’t really a victory. “I would not call this a mandate. I worked with the campaign, and they weren’t looking for 53 percent. They were looking for 60-plus percent,” Latterman said. “I think you’ll see this issue just go away.”

Neither Latterman nor Clemens would speculate on who the next president of the Board of Supervisors will be, noting that there are just too many variables and options, including the possibility that a newly elected supervisor could seek that position.

At this point the obvious front-runner is Ross Mirkarimi, who not only won re-election but received more votes than any other candidate in any district. Based on results at press time, more than 23,000 people voted for Mirkarimi; Sean Elsbernd, who also had two opponents, received only about 19,000.

Mirkarimi worked hard to get Avalos, Chiu, and Mar elected, sending his own volunteers off to those districts. And with four new progressives elected to the board, joining Mirkarimi and veteran progressive Chris Daly, the progressives ought to retain the top job.

Daly tells us he won’t be a candidate — but he and Mirkarimi are not exactly close, and Daly will probably back someone else — possibly one of the newly elected supervisors.

“It’s going to be the most fascinating election that none of us will participate in,” Clemens said.

The danger, of course, is that the progressives will be unable to agree on a candidate — and a more moderate supervisor will wind up controlling committee appointments and the board agenda.

One of the most important elements of this election — and one that isn’t being discussed much — is the passage of three revenue-generating measures. Voters easily approved a higher real-estate transfer tax and a measure that closed a loophole allowing law firms and other partnerships to avoid the payroll tax. Progressives have tried to raise the transfer tax several times in the past, and have lost hard-fought campaigns.

That may mean that the anti-tax sentiment in the city has been eclipsed by the reality of the city’s devastating budget problems. And while Newsom didn’t do much to push the new tax measures, they will make his life much easier: the cuts the city will face won’t be as deep thanks to the additional $50 million or so in revenue.

It will still be a tough year for the new board. The mayor will push for cuts that the unions who supported the newly elected progressives will resist. A pivotal battle over the city’s future — the eastern neighborhoods rezoning plan — will come before the new board in the spring, when the recent arrivals will barely have had time to move into their offices.

Obama, of course, will face an even tougher spring. But progressives can at least face the future knowing that not only could it have been a lot worse; for once things might be about to get much better.

Amanda Witherell and Sarah Phelan contributed to this report.

Hank Wilson, queer activist, has died

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By Tim Redmond

Hank Wilson, longtim e queer activist and overall wondeful guy, died yesterday of lung cancer. There’s a memorial for him tonight (Monday, Nov. 10) at 18th and Castro starting at 6 pm.

I always liked Hank; he was so upbeat, so full of energy.

A lot of people may not remember, but Hank was was also the one who started the amazing Tom Ammiano mayoral write-in campaign in 1999, when Ammiano agreed at the last minute to take on Mayor Willie Brown. Hank was the one standing in the Castro — all alone, at first — with the posterboard getting signatures; he was the one who really convinced Ammiano to run. I never forget him calling me the day Tom agreed to be a candidate and saying, with his usual excitement: “It’s real, it’s real, it’s going to happen.”

And that campaign — and the activists it brought out and the movement it helped spark — was as the heart of many of the progressive victories we’ve won since then.

“It’s a cliche, but with him they broke the mold,” Amminano just told me. “He was really one of a kind.”

We’ll all miss him.

Prop 8: Gays vs. blacks?

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RuPaul says: “Chill out! All of yous!”

Look — **high horse alert** — I’m as exhausted and disappointed by the blechy Prop 8 win as anyone with an ounce of humanity in their body. And I’m a queer radical who was kind of against this whole struggle to begin with, until I saw how happy it made my friends. Heck, I was even considering popping the question to the big bf on his birthday next year. And yes, I will probably follow up this post with a few hot satirical jabs at the ign’nt homophobes that are driving around in SUVs yelling “faggott” and blaring awful hip-pop while celebrating their “victory.”

But something needs to be addressed right now: The latest blogospheric trope of trying to suss out the no on Prop 8 failure in terms of racial breakdown. I understand we’re angry. Did I make jokes all last week about burning down Oakland if Prop 8 wins? Yes, I did. But let’s stop. Let’s get some perspective.

I’m not saying that there isn’t anything there if you look at the numbers. Blacks supported Prop 8 by 69% — and Latinos by 51% — according to (risky) exit polls. And many flamboyant black preachers came out for Prop 8. And the conventional wisdom, the bitter conventional wisdom, seems to be coming to a consensus that if we hadn’t tried so hard to get out the black vote for Obama, we wouldn’t have been defeated in the polls. Those wily negroes didn’t do what we wanted them to do! We helped them, why didn’t they help us?

But what appear to be the facts aren’t always the truth, duh.

Yes on 8 people backing Safai?

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By Tim Redmond

Tommi Avicolli Mecca, a longtime queer/housing activist, just called me to say that he saw a truck driving around with Yes on 8 signs and Safai for Supervisor signs. Kinda scary — not that Safai supports Prop. 8 (he doesn’t, and his campaign isn’t promoting yes on 8 by any means, and he has the backing of Gavin Newsom, who is pretty much the No on 8 poster boy these days.) And no candidate can ever controll all of his or her supporters. (Fog City Journal caught an Alioto supporter standing in front of City Hall shouting Yes on 8.

But if bigots who want to take away basic civil rights think Ahsha Safai is a good candidate for local office, you have to wonder. I hope he denounces them, quick.

(I called the Safai office and a volunteer answered the phone and said “as far as we know, none of our supporters carried Yes on 8 signs.” But she said she a campaign spokesperson would get back to me with a formal statement. I haven’t heard from them yet. I also left a message on Safai’s cell phone. I’ll let you know if he calls back.)

By the way: Is this a photo of Safai hanging out with Rodrigo Santos, the Republican head of the downtown-backed Coalition for Responsible Growth? CRG is putting money into a lot of supes races, but isn’t supposed to be directly coordinating with any candidates.

Certainly looks that way, and people who know Santos better than I do confirm that’s him in the pic.

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Queer eye on Sarah Palin

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Today’s Ammianoliner:

Queer eye on Sarah Palin’s $150,000 wardrobe. Hate your politics, love your shoes.

(From the home answering machine of Sup. Tom Ammiano on Friday, Oct. 24, 2008.)

The Chronicle manufactures a crisis

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OPINION “Illegal Alien.” “Drug-dealing illegal immigrant youth.” “Criminal youth.”

How many times have these dehumanizing words appeared in the San Francisco Chronicle in the last few months? Through unbalanced and sensationalist coverage of this handful of youth, the Chronicle is manufacturing a crisis in San Francisco. Writers like right-wing Chronicle columnist Cinnamon Stillwell and others are creating a mob mentality that is driving city policy and aims to distort and gut the intent of the Sanctuary City laws, which exist to preserve public safety in face of the challenging consequences of globalization.

Globalization has shown us that our world is a web of dynamic relationships. The consequences of the economic decisions made by governing bodies around the world include both the facilitation of movement for goods and services across national borders and the increased policing when that movement involves people; access to inexpensive products due to exploitative labor practices; and the exacerbation of global poverty, a form of systemic violence.

As we locally tackle the challenges imposed on us, we need to speak out against fearmongering journalism. Demonizing youth will not bring justice to families who have experienced loss from the actions of documented (or undocumented) individuals. That pain is real and cries out for redress. Individuals are accountable for their actions. While the Juvenile Courts are not perfect, they are where minors accused of committing crimes are held accountable.

The city needs to return authority over these children to the appropriate courts, which are legally mandated to consider the circumstances of each minor on a case-by-case basis to make a ruling, which may include placement in foster care, in a group home, release to a local family, or return to a family out of the country — and if the young person is found guilty of a felony, a transfer to federal immigration officials.

The unhappy reality is that there are undocumented, unaccompanied children in our community who resort to drug sales or other unsafe, illegal activities to survive and help support their families. The way in which queer youth seek sanctuary here from homophobic families parallels the struggles for survival of undocumented youth. The LGBTQ community recognizes our shared everyday struggle with immigrants, our right to exist in healthy, loving families, and as individuals with a healthy sense of self and dignity, even when those rights come under assault through the acts of individual, societal, and governmental bigotry, discrimination, and intervention.

The LGBTQ community recognizes that true justice requires that we transform social conditions. We call on all San Franciscans to stick to the ideals that underlie the democracy we so cherish, and call on our city officials to reassert our commitment to Sanctuary City and human rights.

Implementing the municipal ID program is a positive step. Any delays in its implementation undermine the public safety goals our city is attempting to achieve. As we seek to establish order in this mess — brought about through the criminalization of people’s movements — let’s stick to our principles, with the fullest regard for equal rights and due process for all of our youth.

Robert Haaland is a labor organizer with Pride at Work. Sofia Lee Morales works with the Queer Youth Organizing Project.

 

XXX queer cartoonists gear up for Folsom

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Too Hard to Swallow!
Drawing by Justin Hall

Dip your pen in: SF-based queer comics impressario Justin Hall of All Thumbs Press and the Hard to Swallow series (and who keeps chasing down that bitch-queen Glamazonia the Uncanny Super Tranny for us) and Hard to Swallow partner Dave Davenport are popping our corks and celebrating the release of their new sticky-fingered tome Hard to Swallow #4 at Isotope Comics this Friday from 7-11pm — raunchy comics, booze, loose men and brash women, weak-willed sexy cartoonists, and the saucy tunes of DJ Bearzbub, they promise! Not only that, but the new 72-page Hard to Swallow features “skater boy ghosts and pushy werewolves.” I’m drooling already.
Hard to Swallow #4 release
Fri/26, 7pm-11pm, free
Isotope Comics
326 Fell
www.isotopecomics.com

THEN: Catch Justin, Dave, and a slew of other totally NSFW comics artists at the Folsom Street Fair‘s Erotic Artist’s Alley on Sunday on 10th St. between Folsom and Harrison for a truly delectable selection of naughty output. Last year I totally scored this awesome print of a lacrosse team raping each other with their sticks. That was subversive on ’07! What will be subversive this year? I’m guessing Moose forced-fellatio revenge.

justincomix2a.jpg
Pushy werewolves!
From Hard to Swallow #4

Kink dreams

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› molly@sfbg.com

When it comes to BDSM porn peddlers Kink.com, apparently size does matter. At least, that’s how it seems now that the steamy studio has purchased the 200,000-square-foot San Francisco Armory. Suddenly, everyone wants to know: What’s the carnal concern going to do with all that space?

The answers are more diverse and ambitious than one might expect — ranging from creating a racy reality show to starting a perfectly PG-13 public community center. And thanks to the lascivious and lucrative imagination of Kink.com founder Peter Acworth, it might all be possible.

CONCEPTION AND CONTROVERSY


Though Kink.com has been producing independent niche fetish sites like Hogtied.com, WiredPussy.com, and FuckingMachines.com for the Folsom Street Fair crowd for more than 10 years — first from Acworth’s rented Marina District apartment and then from the Porn Palace on Fifth and Mission streets — it wasn’t until Acworth purchased the historical landmark in the Mission District, and was met with opposition, that the provocative porn empire really made it onto the public’s radar screen.

The armory, which was a training ground for the National Guard prior to its decommissioning 30 years ago, has been the center of controversy before. But that was mostly in-fighting between potential developers. Stringent zoning requirements and necessary but cost-prohibitive renovations discouraged buyers, leaving the Moorish behemoth on 14th and Mission streets vacant and outside public scrutiny.

But everything changed when Acworth got involved. His intended commercial use, for shooting scenes for all of Kink’s Web sites, complied with planning codes. And he didn’t need to do expensive renovations before he could start using, and profiting from, the building: what could be more perfect for bondage shoots or movies about women fucking machines than dungeons in disrepair? The only thing more ideal than the structure itself, according to Acworth, was its location in the heart of America’s most fetish-friendly city. "You couldn’t have dreamt up a more perfect place than a castle in the middle of San Francisco," says Acworth, who purchased the armory for $14.5 million in 2007 and started operations in January of this year. "It’s like divine intervention."

Acworth had to contend with a different kind of intervention — from a neighborhood group called the Mission Armory Community Collective, which opposed Kink.com as a potential neighbor. Though careful not to condemn porn per se, the group said it feared that the company’s presence in an already troubled neighborhood would introduce more problems. Even the Mayor’s Office, potentially bending to pressure, issued the following statement: "While not wanting to be prudish, the fact that kink.com will be located in the proximity to a number of schools give [sic] us pause."

But the sale quietly went through, and even as protesters stood outside, Kink was already filming new scenes for its subscription sites. Since then, the protests have largely died down. As the company removed graffiti from the brick facade of the armory, fixed windows, and generally improved the appearance of its stretch of Mission Street, neighbors began stopping by to congratulate Acworth — or to ask for a tour. (Incidentally, the public is invited to tour the armory on second Fridays. E-mail info@kink.com for an appointment.)

On a September afternoon, the building — mostly nondescript from the sidewalk except for the castlelike rooftop — seems quiet and innocuous. Three boys skateboard on the steps outside, stopping to talk to a woman walking her dog. The only people entering the doors, which are always locked and manned by a security guard, look as though they could’ve been going to the grocery store or the gym, wearing shorts, T-shirts, and sandals. In fact, on first glance inside, the place is almost disappointingly tame.

Acworth himself hardly looks like a porn kingpin. He’s sweetly attractive in an unmenacing, mainstream way, with an easy smile and casual style. His office, a room near the entrance to the armory, is large and comfortable, but bears no hint of his livelihood save for one tasteful bondage statue. Next to his desk are water and food bowls for the armory’s two live-in cats: Rudy and Lala. His assistant, a young girl in a minidress, leggings, and hoop earrings, looks like she could be working at American Apparel. Even the desktop pattern on Acworth’s Dell computer screen is vanilla: rolling green hills beneath a blue, blue sky. This sense of normalcy seems to be Kink’s main point.

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Van Darkholme, Peter Acworth, and Princess Donna in the Armory boiler room. Photo by Pat Mazzera

Acworth remembers getting turned on as a child in England by scenes in movies where women were tied up — and wondering if this signaled violent tendencies within himself. It wasn’t until adolescence that he discovered the relief (and release) of bondage porn. At the same time, he was already a burgeoning entrepreneur, a child who grew vegetables behind his house and tried to sell them to his parents. By the time he read a magazine article about a man making millions from Internet porn, as a Wall Street–bound doctoral student in a Columbia University finance program, it seemed almost inevitable that Acworth would find a way to marry his two lifelong interests: bondage and business. When he founded Kink.com in 1997, the idea was not only to jump on the dot-com money train, but also to demystify and promote fetish porn as an acceptable form of sexual stimulation.

Now, each of Kink.com’s Web sites is geared toward a particular fetish, run by a Webmaster who’s not only an expert on that particular kink but also has an interest in it, just as Acworth started Hogtied.com, which features women tied up, and Fuckingmachines.com, which showcases women having sex with machinery, because that’s what turned him on. These Webmasters act as director, producer, human resources manager, and often participant as well as Web developer.

"It’s hard to guess what people want," he explains, pointing out that it’s easier to make what you know.

Which means models aren’t actors. Just as directors are expected to be interested in the fetish they’re promoting, so are participants expected to enjoy the scenes they’re in. This isn’t about fake-breasted women pretending to like a face full of come. In fact, Acworth has had trouble in the past working with models from Los Angeles, trying to get them not to act. Kink’s sites feature actual people enjoying a private play party that just happens to be taped. Videos are intimate, personal, and disarmingly real — models talk to each other before, during, and after their sessions, just the way they would in their own bedrooms. They’re encouraged to smile on camera. Whether it’s shocking a woman with electric instruments or forcing a man to eat from a dog bowl, you get the sense that these people would be playing out these scenarios anyway — Kink just provides a salary, benefits, and a really nice location.

THE KINK CASTLE


As for the building itself, Kink has just begun to scratch the surface of its possibilities. The first floor, perhaps the most institutional-looking of the four, houses offices for Acworth, the marketing team, the production team, and the break room, which features a pool table, a disco ball, an espresso machine, a drum set, and a DJ booth (all for parties as well as employee use). Directly opposite the front doors is the Drill Court, a monstrous space that looks something like an airplane hangar crossed with a European train station. This is the space Acworth hopes will become the Mission Armory Community Center (which would unintentionally bear the same acronym as one of the groups that protested Kink.com’s purchase of the armory), a public venue available for sporting events, educational seminars, film festivals, and someday maybe a Folsom Street Fair party. According to MACC coordinator David Klein, a developer who has no affiliation with Kink.com, that dream is a long way off — with plenty of renovations, public meetings, and applications standing between here and there. In the meantime, the Drill Court serves as an occasional event site (such as for the Mission Bazaar craft fair earlier this year) and an employee parking lot. Currently, the most public location is the Ultimate Surrender room, where small numbers of members are invited to sit in bleachers and watch women wrestle each other to the ground on large mats — the winner, of course, gets to fuck the loser.

The armory’s basement is by far the most interesting area. "It’s a wonderland of sets," says Acworth, and it’s hard to argue with him. Some rooms seem perfect as is, such as a former gymnasium whose floor has long since been removed to reveal gothic-looking structural planks punctuated by intimidating bolts. All it took was adding a platform in the center of the expansive room and a pulley above it to make it a perfect bondage set. Next door is an army-style communal bathroom, another favorite as-is set. Other rooms on this floor are a completely furnished 1970s New York loft; a padded cell with an observation room connected by a one-way mirror; a former hermetically sealed gunpowder room that’s been outfitted with all sorts of rings, hooks, and rope pulleys; an office connected by a cage to the "Gimp Room," where ceiling chains hang like some kind of Donkey Kong homage; a hallway storage room chock-full of expected (whips, chains, clamps) and unexpected (mops, long-handled brushes with hard bristles, small boxes with smaller holes in them) toys; the large prop room, where human-shaped cages, monstrous doghouses, and machines like the back breaker and water-torture wheel are kept; the laundry room, where shelves are lined with douches, enemas, latex gloves, and sanitized sex toys; and the former shooting range, which has a Pirates of the Caribbean feel, complete with a river running through it.

And that’s just the start of it. Just when you think every nook and cranny has been used — including an oddly shaped corner off the production gallery that looks like a 19th-century psychiatric ward — you’ll discover a hallway that’s virtually untouched. Hardly any construction has been done on the third or fourth floors, including the officers’ quarters, which occupy one turret. Even the roof, with its castle-y details and flags, seems like a perfect potential shooting location.

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Kink’s porn palace, the San Francisco Armory. Photo by Pat Mazzera

Kink already has plans for several new sets: the military clean room, a stark ’50s-era space, slated for FuckingMachines; an abandoned electrical equipment room for WiredPussy, where dead vintage electrical equipment will line the walls; an Alcatraz-esque prison gallery for BoundGods.com; and an expanded DeviceBondage.com room, which will be clad with cultured stone to look like the basement of an old castle.

Reps won’t say just how much it costs to maintain the armory or to shoot a scene, but Acworth told 7×7 magazine last year that profits were upward of $16 million. And spokesperson Thomas Roche says that the cost of a shoot, including sets, makeup, wardrobe, video and still photo staff, and editing, would be prohibitive if Kink weren’t doing lots of them. Luckily, the armory allows for a volume of shoots that makes it feasible — sometimes four or five in a single day. And it’s good variety for viewers too, who get used to seeing the same sets over and over in various porn films — even ones by different companies.

FLIRTING WITH THE FUTURE


Perhaps the most advantageous thing about moving into the armory, though, has been the increased possibilities for Kink’s growth. With so much space, an almost infinite number of sets can be created without tearing any old ones down. Since multiple shoots can go on at once, multiple sites can be developed and maintained. And buying the building has started attracting directors, models, and Web developers on a scale Acworth hasn’t seen before.

"It was initially difficult to find people," says Acworth, who conjectures that it’s not just the publicity from the building but also the exciting prospect of working there that’s turned the tide. "Now they’ve started to approach us."

One of those who approached Acworth was Van Darkholme, a Shibari rope bondage expert, a porn performer, and the proprietor of fetish film studio Muscle Bound Productions, who was living in LA. Darkholme saw an article about Acworth and the armory in a magazine and contacted him immediately, hoping to get involved. The Vietnam-born Darkholme, who seems almost starstruck by Acworth’s genius, was shocked not only to hear back from Acworth himself, but to be offered a job at the helm of Kink’s new gay bondage site: BoundGods.com.

"What Peter does is so avant-garde and so fresh, I just wanted to come in and mop the floor," says Darkholme, who moved to San Francisco in April and launched his new site Aug. 1.

Darkholme’s BoundGods takes Kink’s principles of intimate, conversational, playful, and mutually enjoyable interactions and applies them to his particular brand of gay sexuality: lean, muscled studs. In one video, a man is tied up in the army-style bathroom at the armory while another fucks him with a large black dildo. In a similar scene, anal beads are gradually pulled from the bound, naked man — much to both participants’ obvious pleasure (though interestingly, neither are hard). Darkholme makes appearances in many of the videos, often as the dominant character — a striking contrast to the camo-shorts-and-T-shirt-wearing, somewhat shy individual I interview at the armory.

He’s clearly proud of the product, not only because it’s well produced but also because there’s almost no competition in the gay market.

"I hate to generalize, but most of what I see out there falls into this trap of gay men putting on leather and grunting and groaning," says Darkholme. "It’s visual, but doesn’t have as much dialogue. What we do is very real and very intimate, with a realness in what they’re saying."

The site marks Kink’s first serious foray into the gay market — a step the company couldn’t quite take while limited by space and resources at the Porn Palace. But set builders are already hard at work constructing an Alcatraz-esque prison gallery for new Boundgods shoots. And the creation of a sub-brand, KinkMen.com, promises more gay-focused fetish sites to come. (Incidentally, Kink tried a gay site several years ago with Butt Machine Boys, which is still online at www.buttmachineboys.com but not listed on the main Web site. Acworth said the site never took off, partly because of lack of budget and partly because, unlike Darkholme, the director wasn’t speaking to his personal interests.)

For now, though, Darkholme has his hands full with BoundGods. His immediate goal is to find and train 12 new dommes for the Web site — a tougher feat than might be expected. "Femme dommes can dish it out and can really take it," he says. "There’s a small percentage of men that can do that." In fact, during some of his first shoots, filmed in Budapest, his bevy of gay models and porn stars were shocked when Darkholme finally opened up his bag of toys.

"They looked at me like the circus had come to town, or like I was going to make one of the Saw movies. Their hands were shaking," he says.

So when Kink sets up its demonstration booth at Folsom Street Fair (Sept. 28, www.folsomstreetfair.com), Darkholme will have two purposes: recruiting talent (both people he can train and experts who have something to teach him) and publicizing his new brand.

"I want to say, ‘We’re here, we’re queer, we want to be part of your community!’" he laughs.

But Darkholme won’t be alone at his booth. Among other popular Kink stars like Isis Love, new director Lochai, expert rigger Lew Rubens, and porn stars LaCherry Spice and Natassia Dream will be WiredPussy.com creator Princess Donna, who’s launching her new pet product, PublicDisgrace.com, next month. The site will feature blatant public bondage, punishment, erotic humiliation, and explicit sex between models and, potentially, passersby.

The veteran domme is filming most scenes in Europe, where attitudes (and therefore laws) about sex are more lax. In fact, while shooting a scene on a public street in Berlin, the crew was stopped by a couple of motorcycle cops who said only, "If you cause an accident, you’ll be liable," before going on their way. In the shoot, a half-naked girl is tied to a park bench, made to carry a dog bowl while on a leash, fondled by her female master, and fucked by a man.

"It’s the adrenaline rush of potentially getting caught," says Acworth, explaining the site’s appeal and recipe for success. The site will also feature a slew of new faces. Plus, it’s the perfect time of year to launch a new fetish site. "Sales pick up when the kids go back to school," Acworth says.

There also plenty of developments in the works that don’t follow the start-a-new-fetish-site model. For starters, Kink is moving to a Flash format, where the delay is only 2 seconds instead of 20. The new technology means that users can actively participate in scenes via chat rooms, where they can give instructions to dommes and watch their demands be carried out. Members of Kink.com can already do this on DeviceBondage.com, but Acworth hopes to switch to a per-minute billing system so even more viewers can participate. At the moment, the site is structured so you must be a member of a particular site in order to watch videos; Acworth would like to move to a single-sign-on system where you can join Kink.com and have access to any of its member sites.

Perhaps the most ambitious technological plan for Kink’s future, though, is the development of an online Web community that will be called Kinky.com. Following the Web 2.0 trend of user-based content, Kinky.com will allow members and models to maintain user profiles, interact with one another on message boards, blog, and even date. Yes, it’s a way to stay up-to-date with Internet trends and to provide an experience that pirated video sites can’t, but Acworth says it’s also a natural outgrowth of the kind of porn he creates.

"In contrast with straight porn, which people want to consume in private, this is a community people want to be a part of," he says.

Which leads us to the project closest to Acworth’s heart: the reality show.

THE REAL WORLD: KINK.COM


In the spirit of community and BDSM as a lifestyle, Acworth wants to transform the armory’s top floor into a series of Victorian/Georgian-inspired rooms where couples will live and fuck on camera 24-7. Participants will be given hierarchical positions — from maid to master of the house — and live according to the rules of domination and submission. Acworth’s already started designing the grand dining room, inspired by the sets in Remains of the Day, including candelabras, elaborate draperies, and, of course, a long, long table. "I consider it the pinnacle of where everything comes together," he says.

The dream is still at least a year off: he’ll have to figure out payment and subscription details, renovate the nearly untouched top floor, and recruit couples who want to live their kinks on camera. But he’s hoping he’ll soon have more time to devote to the project. With more than 100 employees and a huge building to maintain, Acworth’s role has shifted from almost entirely creative to almost entirely administrative. He misses the early days, when he found models on Craigslist, tied them up in his rented Marina apartment, interacted with them himself, and then posted the shoots. (You can still see these early shoots online.) Soon he’ll promote an employee to chief operating officer, which will allow him to back off the business side and devote himself to the reality show.

So did he ever imagine his little project would get so big? Absolutely not, Acworth says. If he’d had any inkling, he adds, "I would’ve been terrified." But it only seems natural that the little English boy who used to try to sell his parents’ own vegetables back to them would eventually have an eye for business — and that his interest in fetish porn would lead his business instincts here.

As for how his parents feel about his chosen profession, Acworth says they’re not exactly vocally supportive, but they don’t condemn him either. His mom, a sculptor, has started creating pieces that feature couples in coital or bondage positions, and may start to sell them on the site. His dad, a former Jesuit preacher, says only, "As long as no one’s getting hurt and there are no animals, I guess it’s all right."

Tailing the Fringe: more plays to catch

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By Rob Avila

Here are a few plays especially worth checking out at the San Francisco Fringe Festival, but premiering too late for review: For more, see “Knuckballin’.”

Exit Sign: A Rock Opera
SF musician and songwriter Carrie Baum’s autobiographical flight, glimpsed over the weekend, has some sentimental aspects but is frequently inspired, tuneful, heartfelt, and good fun. Showcasing a solid band headed up by Baum and her Gibson SG, two charming backup singers, and good acting-singing performances in the lead roles of a cool couch-potato father (a winningly down-to-earth Steffanos X) and his queer daughter (a sure and impressive Jamie Ben-Azay) on a TV-mandated mission to find “It” before an untimely death makes for one of life’s inevitable detours.

The Evelyn Reese Show
If Amy Sedaris were from Toronto, the town might not be big enough for her and Susan Fischer, whose character, the irrepressible Evelyn Reese, is a pitch-perfect social monster of hilariously garish proportions. At the same time, the skillful Fischer keeps her character solidly grounded in the most realistic idiosyncrasies; it’s hyperbolic but never anything but believable. And that’s what’s so terrifying.