Queer

Friends of Dorothy

0

› a&eletters@sfbg.com

As a child I remember being transfixed by the cover to Electric Light Orchestra’s 1974 album Eldorado, A Symphony (Warner Bros.). I think I saw it before I ever actually watched Victor Fleming’s 1939 film The Wizard of Oz, from which the album’s art is taken. Designer Sharon Arden — now Ozzy Osbourne’s wife — was undoubtedly riffing off of the concept album’s storyline about a journey through a fantastic land. But she also probably keyed into what caught my young eyes: the primary pop of red, yellow, and green, and the contrast between the girl’s glittering, covetable shoes, the ghoulish mint hands that reached toward them, and the shower of sparks that divided the frame.

Looking back now, my fascination with that image almost seems like a joke about gay predestination — even though my pre-teen self knew nothing of Judy Garland or the Cowardly Lion’s sissy shtick. But I know I haven’t been the first pre-queen or proto-wicked witch to be drawn to those heels. Since The Wonderful Wizard of Oz was first published in 1900, and transformed by MGM into the iconic musical four decades later, the peaceable kingdom created by Frank L. Baum has been visited, amended, annexed, redrawn, and reclaimed by readers young and old: friends of Dorothy; contemporary fantasists such as Gregory Maguire and Geoff Ryman; bric-a-brac collectors; librettists; and last but not least, Pink Floyd–loving stoners and artists.

It is that last group whose contributions to the Oz mythos comprise the Wattis Institute’s inaugural exhibition for the fall, "The Wizard of Oz." It’s not for lack of brains, heart, or courage on the part of curator Jens Heffman that the show is a mixed bag. Granted, exhibits organized around themes are often erratic affairs, but perhaps it is the Oz mythology’s chimerical ability to be all things to all people (witness the interpretive turns the novel and film version of Wizard of Oz have been subjected to, from populist allegory to pre–World War II national rallying cry, to ’70s fry toy) that makes some responses to it seem odd while allowing others to shine as revelations.

In three tightly-packed rooms, history abuts fantasy and artifacts mingle with reproductions. A fragment of Harry Smith’s kaleidoscopic, stop-motion animated remake of Fleming’s 1939 film flickers kitty-corner from Walker Evans’ portraits of ’30s sharecroppers — their ambivalent gazes providing a stoic historic counterpoint to the MGM film’s Kansas sequences. Mass-produced ’70s-era Scarecrow and Woodsman bookends hold up a rare turn-of-the-century set of all 13 Oz volumes. A playful Oz alphabet mural by Donald Urquhart serves as a primer on the series’ significance in postwar gay culture (Q is for Queer Icon; J is for Judy’s hand, supposedly severed before her funeral), while William Wallace Denslow’s doll-like renderings of Dorothy for the first edition of Baum’s book might surprise all those friends of Dorothy accustomed to Garland’s oddly mature visage.

Many contributions make overt references to the realm of Oz, yet oblique treatments of the broader themes evoked by the book and film — escape, the power of fantasy, and the uses of nostalgia — result in some of the exhibit’s strongest pieces. Evan Holloway’s kinetic sculpture Tin Man, in which an ax set in motion by a pulley mechanism takes a small chip off a log, generates discomfort. It does so through the disparity between its pathetic result and the violence of its noisy operation. Rivanne Neuenschwander’s 2003 Eu desejo o seu desejo cleverly plays on wish fulfillment, asking viewers to own up to their desires by taking a ribbon printed with a variety of wishes — some altruistic ("I wish for peace"), some selfish ("I wish for an easy death") — before leaving a handwritten wish in return.

One of my wishes was granted, if from a distance. The famous ruby slippers — or at least a pair that looks like them; the originals being housed in the Smithsonian — are indeed there, under glass like some reliquary. Scrawled inside the satin lining, in a slightly sloppy script, are the words "Judy Garland." Suddenly, I’m not in San Francisco anymore.

THE WIZARD OF OZ

Sept. 2–Dec. 13

CCA Wattis Institute for Contemporary Arts, Lower Gallery

1111 Eighth St., SF

(415) 551-9210

www.wattis.org

Cinemania

0

› johnny@sfbg.com

Mock Up on Mu Craig Baldwin’s latest opus, on rocket science and Scientology in California, with the director in person.

Sept. 2. Pacific Film Archive

Obscene A new documentary about Evergreen Review and Grove Press publisher Barney Russet and his many battles on behalf of free speech and real art.

Sept. 5–11. Roxie Film Center

Lost Indulgence and In Love We Trust A pair of films by up-and-coming Chinese directors Zhang Yibai and Wang Xiaoshuai.

Sept. 6–20. San Francisco Museum of Modern Art, Wattis Theater, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

"History Stutters: Found Footage Films" Bruce Conner’s John F. Kennedy–assassination film Report (1965) and Ken Jacobs’ Malcolm X. assassination response Perfect Film (1984) is on the same bill; program also includes a movie with Ed Henderson.

Sept. 9. Pacific Film Archive

Leave Her to Heaven The 1947 Technicolor noir — and ultimate swimmer’s nightmare — returns with a demonstration of film restoration.

Sept. 12. Smith Rafael Film Center, 1118 Fourth St., San Rafael. (415) 454-1222, www.cafilm.org

"MilkBar International Live Film Festival" Three days of experimental cinema, including more than 20 local short works.

Sept. 12–14. Noodle Factory Performing Arts Center, 1255 26th St. #207, Oakl. (510) 289-5188, www.milkbar.org

"Unknown Pleasures: The Films of Jia Zhangke" At last, China’s vanguard contemporary filmmaker gets an extensive Bay Area retrospective.

Sept. 12–Oct. 17. Pacific Film Archive

"The People Behind the Screen" Local programmers contribute to "Bay Area Now": Jesse Hawthorne Ficks presents girl rock; Stephen Parr of Oddball Films shares a giddy taste of his mega-montage project Euphoria; and kino21 puts together performance cinema; Peaches Christ, Queer Women of Color Media Arts Project, and DocFest also have nights.

Sept. 13–Oct. 18. Yerba Buena Center for the Arts

Shatfest Thrillville’s tributes to the one and only William Shatner continue with his 1968 spaghetti western White Comanche.

Sept. 18. El Cerrito Speakeasy Theater, 10070 San Pablo, El Cerrito. (510) 814-2400, www.thrillville.net

"Taylor Mead: A Clown Underground" The legendary wit Mead visit for screenings that showcase his best starring roles (1960’s The Flower Thief and 1967–68’s Lonesome Cowboys).

Sept. 18–21. Yerba Buena Center for the Arts

Forbidden Lies The Roxie is distributing this look at con artist Norma Khouri, which gets a theatrical run after a successful trip through the festival circuit.

Sept. 19. Roxie Film Center

MadCat Women’s International Film Festival Ariella Ben-Dov’s fest turns 12 with eight archival greats (including one by Samara Halperin) and silent films with live rock scores.

Sept. 19 and 23. Various venues. (415) 436-9523, www.madcatfilmfestival.org

"Psychotic and Erotic: Rare Films by Tinto Brass" Ass-fixated erotica that includes talking animals and naked cannibals.

Sept. 24. Yerba Buena Center for the Arts

"How We Fight: Iraqi Short Films" Kino21 kicks off a series with Argentine director Mauro Andrizzi’s feature-length compilation of short videos shot by US or British soldiers, Iraqi militia members, and corporate workers.

Sept. 25. Artists’ Television Access

"James Dean Memorial Weekend" Come back to the five and dime, or failing that, the Castro, and be sure to wear your red windbreaker.

Sept. 26–28. Castro Theatre

Film in the Fog Gene Kelley is singing in the rain — and the Presidio fog.

Sept. 27. Main Post Theatre, 99 Moraga, SF. (415) 561-5500, www.sffs.org

The World’s Largest Shopping Mall The debut or preview of a film by Sam Green and Carrie Lozano is at the heart of a program devoted to psychogeography.

Sept. 27. Other Cinema

Deathbowl to Downtown Coan Nichols’ and Rick Charnoski’s look at the history of NYC street skateboard culture, narrated by Chloë Sevigny.

Sept. 29. Castro Theatre

"Bette Davis Centennial" She’ll tease you, she’ll unease you — all the better just to please you.

Sept.–Oct. Castro Theatre

Dead Channels You can never get enough weird horror and fantasy.

Oct. 2–5. Roxie Film Center

Mill Valley Film Festival The major fall Bay Area festival turns 31.

Oct. 2–12. Various venues. (415) 383-5256, www.mvff.org

Rosemary’s Baby and The Devils Double the demonic hysteria!

Oct. 3. Castro Theatre

"No Wave: The Cinema of Jean Eustache" The series includes 1965’s Santa Claus Has Blue Eyes, his 215-minute masterpiece The Mother and the Whore (1973), his hog-slaughtering documentary — shades of Georges Franju? — The Pig (1970), and a 1997 doc portrait of him.

Oct. 4–22. Pacific Film Archive

"Rediscovering the Fourth Generation" The post-Mao cinema that laid groundwork for directors such as Jia Zhangke gets a SF showcase.

Oct. 4–30. San Francisco Museum of Modern Art, Wattis Theater, 151 Third St., SF. (415) 357-4000, www.sfmoma.org

Vertigo The greatest San Francisco movie ever — maybe greatest movie ever — gets the outdoor screening treatment from Film Night in the Park.

Oct. 4. Union Square, SF. (415) 453-4333, www.filmnight.org

"Spirit of ’68" and "Know Your Enemy" A pair of programs compiled by Jack Stevenson

Oct. 5. Oddball Films, 275 Capp, SF. (415) 558-8117, www.oddballfilm.com

Manhattan and Muppets Take Manhattan Mariel Hemingway, meet Miss Piggy.

Oct. 7–9. Red Vic Movie House, 1727 Haight, SF. (415) 668-3994. www.redvicmoviehouse.com

"French Cinema Now" A new minifestival from the San Francisco Film Society.

Oct. 8–12. Various venues. (415) 561-5000, www.sffs.org

"Superstars Next Door: A Celebration of SF Amateur Sex Cinema from the ’60s" Stevenson looks at that time in SF when everyone would take off their clothes for a camera — with film in it.

Oct. 9–11. Yerba Buena Center for the Arts

"Midnites for Maniacs: Back to School … in the ’90s" Jesse Hawthorne Ficks serves up Buffy the Vampire Slayer (1991), Romeo and Juliet (1995), and Starship Troopers (1997).

Oct. 10. Castro Theatre

"Envisioning Russia: A Century of Filmmaking" The expansive 16-film program extends across eight decades.

Oct. 10–30. Pacific Film Archive

"Protest-sploitation" A lecture-demo by Christian Divine looking at six "youth" films made in 1970, along with a screening of that year’s The People Next Door.

Oct. 11. Other Cinema

RR James Benning’s train film finally reaches a Bay Area destination.

Oct. 14. Pacific Film Archive

Arab Film Festival The festival turns 12 this year.

Oct. 16–Nov. 4. Various venues. (415) 564-1100. www.aff.org

DocFest IndieFest’s doc extension turns seven this year with a slate of at least 60 films.

Oct. 17–Nov.6. Roxie Film Center and Shattuck Cinema, 2230 Shattuck, Berk. (415) 820-3907, www.sfindie.com

Leslie Thornton A three-program SF Cinematheque series devoted to the director behind Peggy and Fred in Hell (1985–present) and other experimental works, with Thornton in-person.

Oct. 19–26. Yerba Buena Center for the Arts

United Nations Association Film Festival Environmentalism is the focus of the festival’s 11th year.

Oct. 19–26. Various venues. (650) 724-5544, www.unaff.org

"I Love Beijing: The Films of Ning Ying" Ning and her acclaimed Beijing trilogy — which spans from the Peking Opera to dogs, cops, and taxi drivers — visit the Bay, capping things a screening of her 2005 "Chinese Sex and the City" feature Perpetual Motion.

Oct. 23–27. Pacific Film Archive

The Werewolf of Washington The president’s speechwriter is a lycanthrope in this Nixon-era flick.

Oct. 31. Pacific Film Archive

"The New Talkies: Bollywood Night" Kino21 presents six works of live narration to Bollywood film scenes.

Nov. 1. Artists’ Television Access

"Occult on Camera" Erik Davis charts out the Aleister Crowley–Kenneth Anger–Led Zeppelin triumvirate-of-evil — what does Jimmy Page’s appearance in the closing ceremony of the Olympics mean?

Nov. 1. Other Cinema

Louise Bourgeois: The Spider, the Mistress and the Tangerine The SF premiere of a new documentary devoted to the sculptor.

Nov. 2–3. Red Vic Movie House, 1727 Haight, SF. (415) 668-3994, www.redvicmoviehouse.com

Ghosts Nick Broomfield’s excellent first non-documentary feature, about the abuse of Chinese immigrants in the United Kingdom.

Nov. 7–13. Roxie Film Center

San Francisco International Animation Festival The burgeoning fest and showcase turns three with a program that includes the Cannes favorite Waltz with Bashir.

Nov. 13–16. Various venues. (415) 561-5000, www.sffs.org

Luther Price New works by one of the more scathing and harrowing filmmakers on the planet, presented by SF Cinematheque.

Mid-November. Yerba Buena Center for the Arts

New Italian Cinema Will it include Matteo Garrone’s Cannes critic’s fave Gomorra?

Nov. 16–23. Various venues. (415) 561-5000, www.sffs.org

"Films by Martha Colburn" A night of kinetic works by the collage creator, presented in conjunction with a show at Berkeley Art Museum.

Dec. 2. Pacific Film Archive

Robot vs. the Aztec Mummy Thrillville stuffs your stocking with a gem from 1957.

Dec. 11. El Cerrito Speakeasy Theater, 10070 San Pablo, El Cerrito. (510) 814-2400, www.thrillville.net

James Hong A sneak peek at the local director’s expose on Japan’s rewriting of history, Lessons in the Blood.

Dec. 13. Other Cinema

"At Sea" Peter Hutton’s At Sea (2004-7), about the life and death of a colossal container ship, is the centerpiece of an oceanic SF Cinematheque program.

Dec. 14. Yerba Buena Center for the Arts

ARTISTS’ TELEVISION ACCESS/OTHER CINEMA

992 Valencia, SF

(415) 824-3890

www.othercinema.com

CASTRO THEATRE

429 Castro, SF

(415) 621-6120

www.castrotheatre.com

PACIFIC FILM ARCHIVE

2575 Bancroft Way, Berk.

(510) 642-5249

www.bampfa.berkeley.edu

ROXIE FILM CENTER

3317 16th St., SF

(415) 863-1087

www.roxie.com

YERBA BUENA CENTER FOR THE ARTS

701 Mission, screening room, SF

(415) 978-2787

www.ybca.org

>>More Fall Arts Preview

Getting beyond JROTC

0

EDITORIAL The racial achievement gap is the most important issue in the School Board race, but JROTC is the most politically divisive. The ballot initiative that seeks to save the military recruitment program will be used to attack progressives, and there’s a real risk that San Francisco will wind up sending a terrible message to the rest of the country.

This madness needs to stop. The School Board needs an alternative to JROTC that includes all the elements that make the program attractive to kids and families, without the military baggage. The outlines of that sort of plan are being discussed widely, and there’s a fairly good consensus emerging about how such a program could be put together. The mayor, the supervisors and the school board ought to be working together, now, to make it happen.

The Junior Reserve Officer Training Program costs the San Francisco schools about $1 million a year, and it’s a bad way to spend the money. Pentagon officials are very clear about the purpose of high-school JROTC: it exists to lure young people into the military. Recruiters take full advantage of the opportunity — JROTC enrollees are barraged with pitches to join up, and even after they’ve left the program, the recruiters keep calling.

The queer community is properly angry about our local tax dollars going to encouraging kids to join the military at a time when the armed forces won’t allow lesbian or gay people to serve openly. But even after "don’t ask, don’t tell" is abolished, as it probably will be during the Obama administration, JROTC is the wrong sort of educational activity for San Francisco kids.

Supporters say the program offers leadership training and a sense of community — but if the best leadership and community building the San Francisco public schools can offer is through a program that instills the values of the Army, there’s something seriously wrong.

So the school board did the right thing in phasing out the program.

But right now, the only thing the district is offering as a replacement is an ethnic studies program — a wonderful and deserving part of the curriculum, but not one that carries the same qualities that made JROTC popular. The substitute for JROTC ought to have some physical elements, ought to involve special training — and be set up to lead toward public service careers that don’t involve enlisting in the armed services.

The idea that’s been floated out by numerous School Board candidates involves some sort of emergency-response training for students. The idea would be to teach kids how to handle the aftermath of a disaster, like a major earthquake: participants would learn CPR, first aid, emergency communications, search-and-rescue and other skills that not only will be useful, but critical when the inevitable quake hits. The Fire Department already runs a very successful citizen-based Neighborhood Emergency Response Team (NERT), so the infrastructure is in place. The Police Department has a cadet program for high school graduates, and it could easily be adapted to train younger kids for emergency response duties.

The program would get students outside, involve physical exercise, and, yes, uniforms and badges (which the JROTC participants love). It could be a successful recruitment tool for careers in the Fire Department and Police Department (and since many of the JROTC kids come from communities of color, the result might be more diversity in those two agencies). We’d much rather see local kids encouraged to become cops than directed into the military.

There’s $1 million on the table. Mayor Gavin Newsom, to his shame, supports JROTC — but if the school board stands firm and the leading candidates make it clear that they will not go back on this decision, then there’s no reason the mayor, the police and fire commissions, NERT, and the school board can’t move forward — today — with a credible alternative that will take the political wind out of the issue. JROTC is, and ought to be, dead in San Francisco. It’s time to move on.

Collage boys

0

› a&eletters@sfbg.com

As we enter the intoxicatingly rich world of Zona, we encounter a deceptively simple melodrama. It unfolds in shadow play on a gold-hued screen fronting a kind of rectangular tent at the back of the stage. We see the silhouette of a mother cradling her newborn infant, swaddled in a blanket, as an old recording of an Italian operatic duet comes seeping through. The woman sets the baby down and briefly retires from the scene, giving opportunity to a snarling beast which promptly swoops in and snatches up the child. Returning to find the babe gone, she collapses in a fit of grief and anguish as the music swells to its climax, her gently unduutf8g hand rising from her swooning body in a kind of unconscious farewell.

This same gesture, delicate and precise, returns later as another woman, played by the same male actor (a deft Stephen Lawson, now out in front of the curtain in another of several consecutive female guises), finally greets the beast that has been pursuing her — a naked male figure with the head of a bear — with a frightened reflex that suddenly transforms into a come hither call.

In its straightforwardness, the shadow play at the start of Zona is anything but straight. It sets up a number of complex tensions that will wend their way through a layered 55-minute multimedia collage of drag performance, lip-synch, camp iconography, and dark revelry presented by Montreal cabaret performance duo 2boys.tv (Lawson and Aaron Pollard). These tensions include the art form itself, as Zona recycles the tropes of queer cabaret in a focused reclamation of an intensely dark strain in midcentury American film and theater brooding on madness, desire, and loss.

Not that Zona isn’t also immediately rewarding and funny. A scene in which Lawson repeatedly mimes a looped sample of Elizabeth Taylor’s screams in Suddenly, Last Summer (1959) is as hysterical as it is, frankly, hysterical. But it’s less an excuse for knowing camp humor than part of an attempt to push the queer cabaret form in a more dramatically serious direction, while allowing it more self-reflexivity than ever. Enveloped in an often breathtaking series of video-based images and a haunting soundscape, Zona traces a somber, troubled mood throughout, while eschewing any easy resolution of its themes.

Although originally created for a 2006 theater festival in Calgary, Canada, rather than a bar or cabaret, Zona‘s design stays true to its roots in underground queer theater, and is so intimate and compact it almost makes the modest stage at New Conservatory Theatre Center look overly roomy. At the same time, Pollard’s video and audio direction add greatly to the show’s ingenious layering of textures, cultural references, and associations. In one achingly lovely movement, a reclining Lawson, as the actress whose love has led her to the brink of madness, opens a large book toward the audience from the lip of the stage. On its blank pages appear two small video projections: one of the naked beast with bear’s head, and the other of the actress’ character herself, both dynamic images subtitled in halting phrases of pain, regret, and remembered passion. Lawson’s mesmerizing performance, meanwhile, strikes an eerie balance between human emotion and jagged masquerade.

Zona marks the West Coast debut for the Canadian duo, with thanks due to NCTC’s artistic director Ed Decker for bringing the denizens of Montreal’s vibrant scene out to the Bay Area. Here’s looking forward to the next time the boys are back in town.

ZONA

Wed–Sat, 8 p.m.; Sun, 2 p.m., $22–$34

New Conservatory Theatre Center

25 Van Ness, SF

(415) 861-8972

www.nctcsf.org

JROTC is not a choice

0

OPINION To hear proponents of the Junior Reserve Officer Training Corps (JROTC) talk, it’s a matter of personal choice for 14- and 15-year-olds to sign up for the Pentagon’s military recruitment program, which is being phased out of San Francisco’s public schools June 2009. The San Francisco Board of Education also recently voted to remove physical education credit from the program this school year. It had to: the retired military officers who teach the course don’t meet the educational standards of state law, and the course doesn’t meet state physical education standards.

Supporters of JROTC are taking the issue to the November ballot. Their initiative, albeit non-binding, would put San Franciscans on record as in support of the military program.

As Democratic clubs and other political organizations begin their endorsement process, progressives need to understand the importance of defeating this initiative. It’s not a harmless measure. If it passes, the new school board can use it to reinstate JROTC. If it loses, it’s less likely the board will change its course. Thankfully, last week the San Francisco Democratic County Central Committee (DCCC) voted overwhelmingly not to endorse the measure.

JROTC is not summer camp or a harmless after-school activity. It is one more way the military finds bodies for its illegal wars in Iraq and Afghanistan.

Denisha Williams can tell you that. The African American high school senior in Philadelphia told the City Paper that she left JROTC and opted out of the military having her contact info. It hasn’t made any difference: “I have received phone calls, e-mail, three letters and a 15-minute videotape. I even received a phone call from a female recruiter asking if I was still interested in the Navy. I told her I wasn’t and hung up. A week later I received another letter and the tape.”

Capt. Daniel R. Gager, commander of the US Army recruiting station in south Philadelphia, said he and other recruiters were ordered by the US Recruiting Command to put more time and energy into recruiting high school upperclassmen such as Williams.

In San Francisco, at least 15 percent of the cadets have been placed in the program without their consent. It seems the military will do whatever it takes to get in front of our youngsters in our public schools.

Pressuring kids to join the military is wrong. International law says kids under 18 should not be recruited at all, and the ACLU agrees (see www.aclu.org/intlhumanrights/gen). Recruiters in every high school and at every mall in this country break that law every day.

Nationally about 40 percent of JROTC kids end up in the military. In San Francisco, proponents claim only 2 percent go on to military careers. They are wrong. According to the school district, no tracking of JROTC students is done.

Please work to defeat Proposition V, the pro-JROTC initiative.

Mark Sanchez and Tommi Avicolli Mecca

Mark Sanchez is President of the San Francisco Board of Education and an eighth grade science teacher. Tommi Avicolli Mecca is a radical queer activist and writer whose regular columns appear at beyondchron.org.

Pennies from heaven

0

› a&eletters@sfbg.com

Growing up gay in a military family of evangelical Christians in the Reagan-era South sounds like a tight squeeze for anyone. But as Kirk Read affirms, however claustrophobic one’s environment, there’s always room for a good fantasy. Besides, Read likes tight squeezes. His active dream life (which includes having a very large man lie on top of him and expel all the air from his lungs) percolated early with the image of his young gay Christian self leaving home for school each morning past an angry throng of fellow evangelicals in protest formation, waving signs expressing God’s vehement opposition to little backpack-wearing Kirk Read, holding up the obligatory jars of fetuses, shaking fists, and lobbing Bibles. Well, Read is here to testify that dreams can come true.

The story of that, um, miraculous moment (which took place recently as Read toured his home state of Virginia with the Sex Workers’ Art Show) makes up just one part of the Bay Area writer-performer’s lively, gleefully offbeat, and largely autobiographical concatenation of multimedia performance pieces, This Is the Thing, now being reprised at Shotwell Studios after its sold-out Queer Arts Festival debut at the Garage in June. But it comes, along with a raucous striptease, as the apt climax of an evening driven by a kind of fervor and sensibility clearly (if inadvertently) inspired by Read’s "hardcore" Southern Christian upbringing (recounted in detail in his 2001 memoir, How I Learned to Snap [Hill Street Press]).

Thus the evening begins with a prayer. Stepping onto the stage looking like a young Osmond-esque televangelist in a white polyester suit and gold sequin tee, Read (ably accompanied through many a mood by composer and multi-instrumentalist Jeffrey Alphonsus Mooney, and backed by the smooth, evocative video collage work of Liz Singer) leads those assembled in a celebration of all those things disappearing — the cassette mixtape, the bottle rocket, the sonnet — before segueing into a paean to the penny and a loose, carefree set of associations that promptly lead to Abe Lincoln as well-hung gay icon. Pennies, those "shiny whores," are a sort of leitmotif here, though I can’t exactly say I understood why. Still, in terms of theme and execution, Read’s deceptively laid-back intensity, wit, and bold and personable self-exposure tend to make up for the evening’s slighter or more muddled aspects.

At its best moments This Is the Thing melds carefully honed physical and thematic juxtapositions with Read’s loose and natural but wholly committed performance style. The effects are often simultaneously hilarious, haunting, and gently moving. In a segment titled "The Conductor," Read recounts his first encounter with his very favorite sex client, a 450-pound man with a penchant for the classics, acting out the surprisingly romantic business affair with the aid of a large Winnie the Pooh–headed bear of a mannequin — a luxurious pileup of stuffed animal pelts constructed by Doug Hansen. In another pas de deux, a quietly strange and graceful piece called "Computer Face," Read is paired with a man-size figure set on wheels, wrapped in white bandages with clumps of wires for hands, and a glowing, hollowed-out Apple computer monitor for a head. As a looped recording plays a speech by Harvey Milk, Read pulls a series of objects from the figure’s head and dances with it in tight circles across the stage. In "The Nu Handbell Choir," the show reaches a kind of peak of starkness and delicacy as Read, calmly micturating into a set of crystal goblets, describes his furtive childhood adoration for his father — a veteran of three wars — and his Army brass buddies as they assembled in his parents’ living room to drink, talk, and console one another.

Other vignettes are less complex but still compelling in their energy and frank humor. "Hotel Hooker Haiku" is a sassy phenomenology of an Atlanta prostitute’s working world, set to banjo accompaniment and jovial footage of some dingy, dreary motel grounds. And the more traditionally outrageous if still amusing "Missing Mike Brady" posits Florence Henderson as a clothesline post airing her sex life on a well-worn marriage sheet. The Bradys may seem a little far afield here, but then, like the best of preachers, Read is nothing if not ecumenical.

THIS IS THE THING

Thurs/14–Sat/16, 8 p.m. (also Sat, 10 p.m.), $12–$20

Shotwell Studios

3252 Shotwell, SF

1-800-838-3006, www.brownpapertickets.com/event/38121

Photo Issue: Molly Decoudreaux looks beneath the nightlife

3

dex_weba.jpg
Photo by Molly Decoudreaux

It’s hopeless to ignore the incredible explosion of nightlife photography that’s happened on the Web and in art schools these past few years. And what better time than now, with our Photography Issue on the stands, to examine it a little?

For those of us who clung desperately in our ’80s Midwestern teens to every month’s Details (back when it was a nightlife zine and Michael Musto didn’t pee on celebrity legs) or took i-D as our lifeline to street fashion and personality-inversion in the outer world, the big bang’s been both exciting and a bit disconcerting. On the one hand, there’s incredible creativity being documented instantaneously and available to all — even in Djibouti, fantastic weirdos need never feel alone. On the other, there’s the sense that mere dressing up for the ever-present cameras has replaced actual self-expression. Misshapes! Cobra Snakes! Blue States Lose! And then there’s just the pure horrificality of sites like this one, which are about boobs. Par-T&A!

clubkidspicca.jpg
The upside: Club kids from the ’80s

hoochihoochienna.jpg
The downside: Hoochies from last week

And yet, and yet. The dancefloor snappers here in SF are giving the nightlife bulbs a spin of their own, by focusing on the more artistic aspects of Clubland’s odd-wonderful players — and taking off in thoughtful directions, not restricting themselves to mere sublebrity paparazzi.

Case in point — the fab Molly Decoudreaux, a well-known nightlife gadabout who’s just published a fine new book, Here and There: Portraits.

cover_weba.jpg

The Oakland native got her start snapping pics of her hot dyke and faggot friends in blackout res, and has worked on projects for the Lexington Club, Big Top, and Lusty Lady.

juanita_josh_weba.jpg

Along the way, she’s developed a fierce photographic aesthetic that positions Clubland’s outsized personalities into a meditation of place. Her photos take in these club kids with admiring eyes, yet also deepen their glorious showboating with examinations of their daytime surroundings and situations. “My primary interest is portraiture,” she told me last week by phone. “Also gender representation and presentation — I started college as a gender and queer studies major — but captured in a way that looks at the layers through which we reveal or transform ourselves. Little cracks can show a lot.”

web_img_8806a.jpg

rayza_weba.jpg

Dinosaur tattoos are the new tramp stamp: Meet Sam Kehl

0

Intrepid reporter Justin Juul hits the streets each week for our Meet Your Neighbors series, interviewing the Bay Area folks you’d like to know most.

Sam Kehl is a singer/producer/DJ from Seattle who I randomly met on a camping trip in Morrow Bay. He was wearing a pink hat, a leather jacket, and really really cool sneakers, which was odd because all his friends were decked out in REI gear. Obviously the dude had never been camping before, and I don’t think he’ll ever go again. I mean, a man can drink whiskey and use his shoes for a pillow right here at home can’t he?

I’ve gotten to know Sam pretty well over the past few months and although he may suck at camping, I can say without a doubt that he rules at being weird. Oh and his music is really rad too. Check him out at The Eagle Tavern on August 7th at 10pm where he’ll be performing as both Samuelroy and Samnation. Listen to his tunes here. X-Ray Press and No New York will also be performing.

sam1.jpg

SFBG: So what’s your deal?
Sam Kehl: Hi, my name is Samuel Kehl. It’s spelled K-E-H-L. So I’m not related to the face products, Kiehl’s, or whatever. Sometimes people put me on flyers and spell my name like the face product. I hate that. Kehl is a German name, but I’m from Seattle.

SFBG: Why did you move to San Francisco?
Kehl: Well, San Francisco has a particular history of being queer and open-minded and there’s always been a lot of electronic music here. Seattle just got boring and I had already lived in New York so I decided to check out SF, mostly for the music.

SFBG: Any bands in particular?
Kehl: Well, I know there’s a lot of really really early experimental stuff here and all those Drum-&-Base people like UFO and DJ Abstract. There are others too, but I can’t remember. And um, Safety Scissors, Eats Tapes. Tiger Beats records. OK, so, not all the people I like are from SF, but I had already done New York and Seattle and I’m petrified of LA, so, well, I came here to do my music.

SFBG: So what’s up with your music anyway? How’d you develop your sound?
Kehl: I’ve been doing music for a really long time and I’ve been deejaying for exactly ten years. I don’t have any musical training, but I had choir and I sang in college. Oh and I played cello too. So I had all these different musical interests and then bands like the Postal Service and The Blow came out and I was like oh God, why don’t I do that? Why don’t I sing and make electronic music? Most of the electronic music that had vocals at that time was really bad. I was more into bands like Plaid and Aphex Twin, and Boards of Canada, like Warp Records stuff, you know? It didn’t really have vocals, but then those other bands came out, and I was like, Oh of course. What the hell? I should do that.

PG&E’s gaywashing

0

Nice piece in the BAR by Matthew Bajko about PG&E’s efforts to make nice to the queer community — just as the company faces a huge battle over a Clean Energy Act that could lead to public power.

There’s no question that PG&E needs to do some work buffing its popularity in the LGBT community, particularly after funding a homophobic mailer attacking Assemblymember Mark Leno.

“I think in addition to greenwashing, PG&E is now engaged in gay-washing, given their inappropriate attacks on Assemblyman Mark Leno,” Davis told the Bay Area Reporter last week. “I think there is pretty resounding resentment in the gay community for PG&E’s tactics. It is kind of obvious they are trying now to court favor in a community they offended with their unsavory tactics.”

I think Leno has another good point: PG&E is going to spend maybe $10 million fighting the Clean Energy Act — and is giving all of $250,000 to support same-sex marriage:

“I would think our community might feel we have been significantly shorted by their $250,000 contribution,” said Leno.

We’ll see more of this — PG&E giving money to environmental groups, PG&E giving money to neighborhood groups and nonprofits, PG&E giving money to politicians …. whatever it takes to buy favor for a corrupt utility that can’t even make the basic state goals for renewable generation.

“Getting in on the Ground Floor and Staying There”

0

PREVIEW I read those articles in Vanity Fair blathering on about a woman’s ability to be funny. First, Christopher Hitchens says women can be witty, but since they issue children, ours is a dignified, cerebral kind of humor. Unless we’re fat or gay. Then along comes Alessandra Stanley’s article, which fixates on how all the new funny ladies are smokin’ hot, and if you’re not, you won’t ever get on MTV, or something. Well, long before those stories, I saw Carole and Mitzi, a local female comedy duo who combine a powerful sexual magnetism with down-in-the-dirt, clit-tickling humor. So I find it shocking that the pair — who are hotsy-totsy (especially when naked), kinda gay, and possibly pregnant — still haven’t managed to get their big break on cable — not even local access, really. They are, of course, the alter egos of Beth Lisick and Tara Jepsen, two bizarrely funny bosom buds whose kindred spirit–ship dates back to their days on the 1999 Sister Spit tour, when their imaginations gave birth to the failed child pop stars Miriam and Helen. On her own, Lisick has penned a number of semi-autobiographical novels — among them Everyone into the Pool (William Morrow, 2005) — spent eight years keeping a weekly nightlife column for the Chronicle called "Buzz Town," formed the sketch comedy group White Noise Radio Theatre, actually had a kid … with her husband … and started the popular Porchlight Storytelling series. Meanwhile Jepsen organized the long-running queer spoken word night, K’vetch, and teamed up with Jenny Hoysten of Erase Errata to form the issues-centric rock band, Lesbians. I know, it still hasn’t really quite sunk in how women can be funny, gorgeous, and not on TV. Go figure. And go see the show. (Deborah Giattina)

GETTING IN ON THE GROUND FLOOR AND STAYING THERE Center for Sex and Culture, 1519 Mission, SF. Thurs/31–Sat/2, 8pm. $12–$14. (415) 255-1155, www.centerforsexandculture.org, www.brownpapertickets.com

Jet boy, jet girl

0

>>Also in this issue: A quick guide to the new queer Argentine cinema

› a&eletters@sfbg.com

A father sits at the bedside of his child and, when asked what he is doing, softly answers, "I’m looking after you." Words and tone and eyes convey anxiety, fatigue, and overwhelming tenderness, and this complicated admixture quietly telegraphs, to the viewer and the child on-screen, in the aftermath of trauma and terrifying distress, a heart-calming constant: that, as he tells another character, from the moment of her birth, he has always seen her as perfect.

This flawless child, Alex (Inés Efron), the emotional focal point of Lucía Puenzo’s XXY, is also a moody, unpredictable 15-year-old, and her own complicated admixture is spiked by impetuousness, caprice, casual cruelty, and a tendency to press at the boundaries of those in her orbit. She’s also captivating, forcefully intelligent, and unreservedly herself, even while holding the world at bay to protect a secret, even in the process of feeling her way, via impulse and reflection, toward an understanding of what, exactly, that self is.

Decisions made before Alex’s birth have, in a sense, led to this sweet and sorrowful exchange between father and daughter. She was born intersex, with both male and female sexual characteristics, and raised female (perhaps based on test results and the best guesses of doctors, though this is never stated outright). Her parents, Kraken (Ricardo Darín), a marine biologist, and Suli (Valeria Bertuccelli), decided to forgo a so-called normalizing surgery for Alex: in essence, a dubious attempt to impose a firm gender identity at birth. Without ever fully conquering their own unease and fears for a beloved child, they have left her in possession of the facts and the right to make her own choices — an emotional, improvised, and at times visceral process.

The task, grown more difficult with adolescence, takes on a painful new weight when Erika (Carolina Peleritti), an old friend of Suli’s from Buenos Aires; her husband, Ramiro (Germán Palacios); and their teenage son, Alvaro (Martín Piroyansky), come to visit the family’s home on the southern coast of Uruguay, where they moved shortly after Alex’s birth. This other family of three, with its own fraught relationship between father and child, carry with them the social dictates and preconceptions Alex’s parents have sought to shield her from by living in an isolated place. They can’t, of course, shield her, and Alex is changing already, with or without the interference of strangers, but their arrival invests her process of discoveries with a sense of urgency, of necessity. In part this is because Ramiro, a renowned plastic surgeon, has come intending to recommend and advise them on "corrective" surgery. But the attraction that forms between his son and Alex exerts its own force on both of them, and for Alex such a connection inevitably involves the desire to reveal herself (literally and otherwise) and the risk of betrayal that attends such exposure.

Puenzo’s first full-length film, XXY is beautifully shot by cinematographer Natasha Braier and, save for a few false notes, well scripted — its silences and ambiguities and transfixing images engaging our imagination and sympathy. However, much of the credit for its successes (it has won numerous international awards, including several at Cannes in 2007 and Frameline 2008’s audience award for best feature) falls to Efron’s portrayal of Alex, whom we come to view with that same potent compound of emotions that she raises in those who watch over her in the film.

XXY

Opens Fri/1 at Bay Area theaters

www.filmmovement.com

Wilder blooms

0

After Burnt Money (2000), Marcelo Pineyro’s conventionally entertaining true crime tale of gay bank robbers, queer blooms began to grow within the wilder garden of new Argentine cinema. Here’s a guide:

Smokers Only (Veronica Chen, 2001) Chen’s debut — about a hustler who sometimes tricks in ATM stalls and the goth girl who becomes obsessed with him — is probably the first chapter of the new queer Argentine cinema. Unfortunately, it’s boring and pretentious, built around an object of affection who isn’t as compelling as he is cute.

Suddenly (Diego Lerman, 2002) B. Ruby Rich (as quoted on Michael Guillen’s Web site the Evening Class): "A queer empathic … lesbian romantic escapade. If you’ve never seen or heard of [Suddenly], you’re missing your chance to see a young woman abducted at knifepoint by the lesbian street punks that desire her."

Ronda Nocturna (Edgardo Cozarinsky, 2005) A veteran director who fled Argentina in 1974 following the reelection of Juan Perón, Cozarinsky returned from exile to make this film. At least partly inspired by Chen’s Smokers Only, he borrows from that film’s night-in-the-life-of-a-hustler scenario. But Ronda Nocturna is hotter, wiser, and more far-reaching in its bottoms-up view of corruption in urban Argentina.

Agua (Veronica Chen, 2006) Chen’s follow-up to Smokers Only isn’t queer in story line, but its gaze at the male body in motion — and masculine psyche — is a beyond–Claire Denis case of female eye for the straight guy in turn for the queer guy. Handsome lead actor Rafael Ferro builds on his memorable appearance in Ronda Nocturna. A burst of pure athletic cinema with moments that match 2005’s Zidane (on a much lower budget) in their intense interiority, Agua refreshes.

Glue (Alexis Dos Santos, 2006) A triumph of intimate collaboration between a trio of young actors and a new director, Alexis Dos Santos’s first movie takes the bi-way to becoming maybe the best — or at least most honest and deep — teen movie of the 21st century so far. Lead actress Inés Efron’s brave gawky beauty reveals what’s been lacking from American cinema since the heydays of Sissy Spacek and Shelley Duvall.

La Leon (Santiago Otheguy, 2007) Perhaps influenced by Lisandro Alonso, this handsome black-and-white feature scopes out alienation, attraction, and phobic intolerance in the Paraná Delta.

XXY (Lucía Puenzo, 2007) Efron returns in the role of an intersex teenager, delivering another superb performance.

Outside the HRC dinner

0

OPINION On July 26, the Bay Area’s gay and lesbian elite will gather at the posh Westin St. Francis to raise money for the Human Rights Campaign in the name of securing and protecting LGB rights. Despite flip-flopping its position on a federal Employment Non-Discrimination Act (ENDA), which should include protections for gender identity as well as sexual orientation, HRC will rake in money to further advance a version of human rights in the political world of Washington, DC in which transgender and gender-non-conforming people are apparently less than human.

Luckily, there’s a fabulous alternative. Outside the Westin St. Francis we’ll be throwing the "Left Out Party: A Genderful Gay-la" in support of an inclusive ENDA that protects gender identity. Leaders in the city’s progressive community will be partying in the streets in support of our transgender brothers and sisters.

Why outside? The not-so-fabulous truth is that in promoting a noninclusive ENDA, the Human Rights Campaign abandoned the values of equality and inclusion. Transgender Americans need employment nondiscrimination protections at the federal level. Period. A recent study of the transgender community in SF found that 70 percent of transgender women in San Francisco are unemployed. This points to the need for an inclusive ENDA.

When ENDA was being discussed in Congress last autumn, important discussions surrounding political strategy were raised: should we secure legislation that protects all LGBT Americans, or should we compromise the rights of those most vulnerable among us for the gains of many?

A unified front made up of every single prominent LGBT organization nationwide, more than 350 LGBT organizations total, answered in favor of protecting all of us.

Publicly, HRC Executive Director Joe Solomonese promised to transgender activists that the organization would oppose any attempt to introduce a noninclusive ENDA. Meanwhile, behind the scenes, the nation’s supposed leading LGBT political organization worked to strip gender identity protections from the bill in the name of "political expediency" and "incrementalism."

Since that decision, trans activists have organized pickets at HRC’s annual dinner in Washington and at subsequent dinners in cities across the country. Here in San Francisco, we are raising the bar.

In our city, prominent local elected officials and political organizations came out in support of an inclusive ENDA. The San Francisco LGBT Pride Committee nominated HRC for its annual "Pink Brick" award. All of the city’s LGBT elected officials, as well as many allies such as City Attorney Dennis Herrera, Public Defender Jeff Adachi, and Board of Supervisors President Aaron Peskin, are refusing to attend the dinner.

HRC’s failed strategy on ENDA has needlessly divided our community at a time when we are poised to make great gains in civil rights. If any silver lining can be found in this debacle, it’s that a huge majority of queer progressive and even mainstream organizations have come forward to remind everyone that civil rights are not something that can be compromised. That’s a San Francisco value we’re all proud of.

Which is why you’ll find us outside the Westin St. Francis this Saturday — because we want to party with all members of our community. Come join the long list of trannies, queers, gender-fabulous performers, studs, twinks, soft butches, queens, shark femmes, and all fighters for social justice — outside!

SF Pride at Work

SF Pride at Work is an LGBT labor organization.

America, meet your new gay bachelor

0

Yes, the meat is in! But first, let us pause for some sad news. Estelle Getty, beloved Golden Girl, has passed on to that pastel lanai in the sky. (queer tear.)

estelea.jpg

Yet we move on … to myPartner.com‘s crowning, last week, of America’s Most Eligible Gay Bachelor. It was inevitable, I guess, and my inbox has been absolutely flooded of late with what the more or less cynical among us would regard as desperate capitalization on the whole legal same-sex marriage thing. But I must admit that myPartner is a tad genius. It set itself up before the California Supreme Court ruling as a matchmaking site for gays looking for “long-lasting relationships” — kind of a Bizarro Manhunt, except that Manhunt’s recently evolved into the gay MySpace (it’s no longer crossing the line to know what your bff’s dick looks like, zomg). It all seemed a bit confusing initially, especially since the promotional materials featured hot shirtless guys rolling around in bed and promised the possibility of “making connections” on business trips out of town. Slutty! Hedging their bets! But when that ruling came down, myPartner was perfectly positioned to pimp its romantic fantasy wares, and boy did it jump on that shit with this nationwide Most Eligible Gay Bachelor contest. Good for them.

But enough of that — let’s get to the goods. Here he is ladies and gentlemens, after 35,000 big gay online votes (that’s 350,000 in heterosexual votes!) and a live runoff in San Diego during Pride Week, your new husband on the hoof (with foof) is …. Abel Lima, Mr. Rhode Island, who, oddly perhaps, resides right here in San Francisco!

abel2a.jpg
Just look at that smile! He won $25,000.
Photo by Tara Luz Stevens.

Abel was the winner, out of five finalists, based on high ratings in the category of “mind,” “body,” and “soul.” No word on how he did in the quantum mechanics portion of the contest. Coming in 2020: Most Eligible Gay Widower contest. It’s the Golden Girls all over again!

To scope the other contestants — rather handsome I must say, although I’m still into Polk Street hustlers badly in need of dentistry — click here.

Who will boycott the HRC dinner?

0

The Human Rights Campaign, a national LGBT lobbying group, is holding its gala dinner in San Francisco July 26th, and the event is creating a political furor.

See, the HRC agreed to a deal last year that cut transgender workers out of the Employment Non-Discrimination Act. The HRC has been under fire ever since. Local queer activists, furious at the HRC sellout, are boycotting the dinner. And a long list of communithy leaders, including Carole Migden and Mark Leno, Tom Ammiano, Bevan Dufty and Mark Sanchez have signed on and announced they won’t attend.

Dennis Herrera, who was supposed to receive an award at the dinner for his work on same-sex marriage, just announced he won’t go. Good for him.

So who, exactly, WILL be attending this $350-a-plate dinner?

Well, I’m told Rep. Nancy Pelosi has been invited. She was, of course, part of the deal in the House that threw the trans people under the bus, but I don’t think she wants to be the only San Francisco elected official to defy the boycott. Then there’s Mayor Gavin Newsom; the HRC would love to celebrate same-sex marriage this year, since it diverts attention from the ENDA controversy, but will Newsom piss off a nearly unanimous queer community and attend?

Frankly, Pelosi and Newsom would be fools to go. If the HRC had any sense, the group would cancel the event; the group has lost so much credibility in San Francisco that the dinner’s going to be an embarassment.

Local Heroes

0

Del Martin and Phyllis Lyon


Del Martin, left, and Phyllis Lyon
 

Del Martin and Phyllis Lyon have lived active lives — although “activist” would be the better word. One, the other, or both have been founding members of the Daughters of Bilitis, the Alice B. Toklas Democratic Club, the Council on Religion and the Homosexual, and Old Lesbians Organizing for Change. Martin, 87, was the first lesbian elected to a position in the National Organization for Women, where she was also the first to assert that lesbian issues are feminist issues. Lyon, 83, edited the Ladder, the first magazine in the United States devoted to lesbian issues. And together, it seems, there’s little they haven’t done, from coauthoring books to becoming the first gay couple in the nation to legally marry on Feb. 12, 2004, almost 50 years to the day they first became a couple.

Deemed void later that year, their marriage was reconstituted this June when the California Supreme Court ruled that same-sex marriage is, in fact, legal. Once again, Martin and Lyon were the first in line to tie the knot.

But gay marriage wasn’t the right they were fighting for when their relationship began back in 1954. “We had other, bigger issues. We didn’t have anything in the ’50s and ’60s,” Lyon recalls. “We were worried about getting a law passed to disallow people from getting fired or thrown out of their homes for being gay.”

Even something as simple as having a safe space to congregate was elusive. Before the mid-1950s, the only organizations that dealt with gay issues were run by and focused on men. So Martin and Lyon, along with a few other lesbian couples, founded the Daughters of Bilitis in 1955. “We would meet in homes, dance, and have drinks and so on, and not be subject to police raids, which were happening then in the gay and lesbian bars,” Lyon said. Those informal get-togethers eventually became the first lesbian organization with chapters nationwide.

They say their activism isn’t something that was sparked by their gender and sexuality, but came from being raised in politically conscious homes — Lyon in Tulsa, Okla., and Martin in San Francisco. When they met, working at the same company in Seattle, “both of us were already politically involved,” Lyon says.

“Really, ever since we were kids,” Martin adds. “You followed elections. You followed things like that. We wore buttons for Roosevelt. We couldn’t send money because we didn’t have any.”

“And then when we both moved in together, in San Francisco, the first thing we did was get involved with Adlai Stevenson,” Lyon says. They quickly got to know the major Democratic movers and shakers in the city, like the Burton family and later Nancy Pelosi, whom they would eventually turn to when there were gay issues that needed a push.

“We didn’t come out to everybody, but we came out to Nancy and the Burtons,” Lyon says.

These days age has tamped down the physically active part of their political activism, although they still donate money and were ardent Hillary Clinton supporters during this year’s Democratic primary race. They’re now backing Barack Obama over John McCain, though Martin expressed reservations. “I’m waiting to see how he handles the question about women and women’s rights. I’m not satisfied yet.”

Amanda Witherell

 

Local hero

Alicia Schwartz


Alicia Schwartz
 

Whether she’s demanding sit-down time with the mayor to discuss asbestos dust at Hunters Point Shipyard, offering to debate former 49ers president Carmen Policy over the need to develop 50 percent affordable housing in the Bayview, or doing the cha-cha slide on Third Street to publicize the grassroots Proposition F campaign, which fought the Lennar-financed multimillion-dollar Proposition G on the June ballot, Alicia Schwartz always bubbles with fierce enthusiasm.

“I absolutely love my job,” says Schwartz, who has been a community organizer with POWER (People Organized to Win Employment Rights) for four years.

Born and raised in Marin County, Schwartz graduated from the University of California, San Diego, with a degree in sociology and anthropology before returning to the Bay Area, where she is enrolled in San Francisco State University’s ethnic studies graduate program and works for the San Francisco–based POWER.

“It’s an amazing organization full of amazing people, united for a common vision, which is ending oppression and poverty for all,” says Schwartz. “In cities, the priorities are skewed to benefit folks who are wealthier and have more benefits. But the folks who keep the city running are not recognized or are suppressed.”

Prop. F wasn’t Schwartz’s first campaign experience. She had previously organized for reproductive justice, for access to health care and sexual-health education, and against the prison-industrial complex.

But it was the most inspirational campaign she’s seen so far.

“I saw the Bayview transformed,” Schwartz explains. “I saw people who’d lost faith in politicians come to the forefront and fight for the future. And I saw people across the city rallying in support, too.”

Schwartz acknowledges that Prop. F didn’t win numerically.

“But practically and morally, and in terms of a broader vision, Prop. F advanced the conversation about the future of San Francisco, about its working-class and black future,” Schwartz says. “Clearly, that fight isn’t over. It’s just beginning.”

Schwartz says she believes that the other success of Prop. F is that it raised the question of who runs our cities.

“And I think it was a huge victory, even being able to accomplish running a grassroots campaign, with no money whatsoever and where we had to up the ante, in terms of getting to know some of the political establishment.”

Most of all, Schwartz says she appreciated being able to work with people who hadn’t been part of POWER.

“And I appreciated being able to advance a set of demands that a broad range of people could support, while keeping the Bayview and its residents at the forefront,” she says.

While that particular campaign may be over, the battle for Bayview–Hunters Point continues on many fronts, says Schwartz.

“Are we going to allow it to be run by developers who don’t have our best interests at heart and who fool us with payouts and false promises?” she asks. “Are we going to allow San Francisco to become a place where people can’t afford to live, but surely have to come to work?”

Amanda Witherell

Local hero

James Carey, Daniel Harder, and Jeff Rosendale


From left, Daniel Harder, James Carey, and
Jeff Rosendale
 

It would be unfair to give any one person credit for stopping the state’s foolish plan to aerially spray synthetic pheromones to eradicate the light brown apple moth (LBAM). Thousands were involved in that struggle.

But there are at least three individuals we can think of who successfully fought the state with science, a tool that too often is used to dupe, not enlighten, the public.

They are James Carey, a University of California, Davis, entomology professor; Daniel Harder, botanist and executive director of the UC Santa Cruz Arboretum; and Jeff Rosendale, a grower and horticulturalist who runs a nursery in Soquel.

Together and separately, this trio used experience, field observation, and fact-finding tours to make the case that the California Department of Food and Agriculture (CDFA) would court disaster, in terms of lost time, money, and public goodwill, if it went ahead with the spraying.

And they did so at a time when UC, as an institution, remained silent on the matter.

“I felt like I needed to do this. No one was stepping up from a position of entomological knowledge,” says Carey, whose prior work on an advisory panel working with state agencies fighting the Mediterranean fruit fly between 1987 and 1994 led him to speak out when the state sprayed Monterey and Santa Cruz counties last fall.

Carey says the signatures of two UC Davis colleagues, Frank Zalom and Bruce Hammock, on a May 28 letter to the US Department of Agriculture also helped.

“All of us are senior and highly credentialed scientists,” Carey notes, “so our letter was taken really seriously by the agriculture industry.”

Rosendale and Harder had taken a fact-finding tour last December to New Zealand, which has harbored this leaf-rolling Australian bug for more than a century, to find out firsthand just how big of a problem the moth really is.

“We wanted to get the best information about how they were dealing with it, and what it was or wasn’t doing,” Rosendale recalls. What he and Harder discovered was that New Zealand had tried using organophosphates, toxic pesticides, against the moths — but the chemicals killed all insects in the orchards, including beneficial ones that stopped parasites.

“When they stopped using organophosphates, the food chain took care of the LBAM,” Rosendale says.

Like Carey and Rosendale, Harder believes that the state’s recently announced plan to use sterile moths instead of pesticides is a lost cause. He says it’s impossible to eradicate LBAM at this point because the pest is already too widespread.

“It’s not going to work, and it’s not necessary,” Harder says.

And now, Glen Chase, a professor of systems management specializing in environmental economics and statistics, says that the CDFA is falsely claiming that the moth is an emergency so it can steal hundreds of millions from taxpayer emergency funds.

“The widespread population of the moth in California and the specific population densities of the moth, when analyzed with real science and statistics, dictate that the moth has been in California for at least 30 to 50 years,” states Chase in a July 15 press release.

The state has put spraying urban areas on hold, but the battle isn’t over — and the scientists who have gone out on a limb to inform the public are still on the case.

Sarah Phelan

 

Local hero

Queer Youth Organizing Project


From left, Fred Sherburn-Zimmer,
Josue Arguelles, Jane Martin, Vivian Crocket,
Justin Zarrett Blake,
Joseles de la Cruz, and Abel-Diego Romero
 

The queer-labor alliance Pride at Work, a constituent group of the AFL-CIO, added a youth brigade last year, and it’s been doing some of the most inspired organizing and advocacy in San Francisco. The Queer Youth Organizing Project can marshal dozens of teen and twentysomething activists with a strong sense of both style and social justice for its events and causes.

Founded in March 2007, QYOP has already made a big impact on San Francisco’s political scene, reviving the edgy and indignant struggle for liberation that had all but died out in the aging queer movement. Pride at Work has also been rejuvenated and challenged by QYOP’s youthful enthusiasm.

“It really is building the next generation of leaders in the queer community, and man, are they kick-ass,” says Robert Haaland, a key figure in both Service Employees International Union Local 1021 and Pride at Work. “Pride at Work is now a whole different organization.”

QYOP turned out hundreds of tenants for recent midday City Hall hearings looking at the hardball tactics of CitiApartments managers, an impressive feat that helped city officials and the general public gain a better understanding of the controversial landlord.

“They have a strong focus on tenant issues and have done good work on Prop. 98 and some tenant harassment legislation we’ve been working on,” says Ted Gullickson, director of the San Francisco Tenants Union. “They really round out the coalition between tenants and labor. They do awesome work.”

In addition to the energy and numbers QYOP brought to the campaign against the anti–rent control measure Prop. 98, the group joined the No Borders encampment at the Mexican border in support of immigrant rights and turned a protest against the Human Rights Campaign (which angered some local queers for supporting a workplace rights bill that excluded transgenders) into a combination of pointed protest and fun party outside the targeted group’s annual gala dinner.

“It’s probably some of the most interesting community organizing I’ve seen in San Francisco,” Haaland says. “It’s really made a difference in our capacity to do the work.”

As an added bonus in this essentially one-party town, QYOP is reaching young activists using mechanisms outside the traditional Democratic Party structures, an important feature for radicalized young people who are wary of partisan paradigms. And its members perhaps bring an even stronger political perspective than their Party brethren, circulating reading lists of inspiring thinkers to hone their messages.

Haaland says QYOP has reenergized him as an activist and organizer: “They’re teaching me, and it’s grounding me as an activist in a way I haven’t been for a long time.”

Steven T. Jones

Beyond belief

0

› a&eletters@sfbg.com

THE QUEER ISSUE Aurora Theater takes on — reportedly — its first gay-themed work with a West Coast premiere of Keith Bunin’s almost-too-smart The Busy World Is Hushed, a play that ultimately has as much to do with questions of Christian faith and the mixed blessing/burden of family as with sexual orientation. The play, which debuted off-Broadway in 2006 amid a fracas in the Episcopalian Church over the issue of homosexuality, concerns a middle-aged Episcopalian minister, scholar, and single mother named Hannah (Anne Darragh) who hires a young writer, Brandt (Chad Deverman), to ghostwrite her book on a newly discovered gospel that may represent more faithfully (ahem) the "authentic" Jesus.

Both characters have personal reasons for being interested in this project. Hannah was widowed when her husband walked into the sea in a possible suicide, leaving her pregnant and alone. Her sharp intellect leaves plenty of scope for criticism of the institutional and historical construction of God and the bigotry of the Church, but her faith — which she grounds in her own suffering and isolation as a way of giving them meaning and purpose — is only refined in the process. Meanwhile, Brandt, a lapsed Episcopalian, long ago moved away from a church that invalidated his identity as a gay man. But with his father dying in the hospital and unable to concentrate on his own writing, he’s eager to lose himself in Hannah’s work — at least partly because of the bitter questions his father’s cruel demise stirs up about the nature of God and religion.

Bursting into this scene comes Hannah’s wayward 26-year-old son, Thomas (an especially engaging James Wagner), just back from another of his ecstatic "get lost" adventures, a patch of porcupine quills jutting from one ankle. Soon Brandt, clearly smitten, is kneeling before Thomas plucking out one quill after another with a mischievous glee that covers for the eroticism in this little St. Sebastian moment (a tableau that morphs into another about as preposterous when, in their next meeting, Thomas dons a big leather toolbelt to put up a couple of shelves). Hannah’s delving into Christian history and exegesis mirrors her equally solitary if gregarious and promiscuous son’s own restless quest to understand his real-world father — which holds out for him a similar promise of existential meaning, moral guidance, and a quieting of the soul.

But their quests, while similar, are also in conflict. A battle is being drawn between mother and son — in some sense over, and in the name of, the father(s) — so that when Hannah practically begs the hapless Brandt to act on his feelings for her son, it’s with something less than unalloyed Christian spirit. Director Robin Stanton’s actors deliver their lines with conviction, but the dialogue gets both too pat and too constructed, at times almost Socratic, so that soon belief is a dwindling resource all around.

THE BUSY WORLD IS HUSHED

Through July 20

Wed–Sat, 8 p.m.; Sun, 2 and 7 p.m.; $40–$42

Aurora Theatre

2081 Addison, Berk.

(510) 843-4822, www.auroratheatre.org

Rare, medium, and well-done

0

When Sean Dorsey started the Fresh Meat Festival in 2001, transgendered artists were sequestered inside the alternative club scene. With this new event, Dorsey threw the doors wide open. While transgender and queer performances still have a special attraction for their constituencies, the festival’s need to move to Theater Artaud, its largest venue yet, proves its broader appeal.

This year’s presentations ranged far and wide, and so did the quality. That’s one of the perils of this type of focused programming: the desire to be supportive and inclusive can mean presenting artists who may not be experienced or even talented enough. The San Francisco Ethnic Dance Festival went through similar growing pains. But Fresh Meat — which is fun, balanced, and thoughtful — is on the right track.

Five groups received commissions. The Barbary Coast Cloggers and Na Lei Hulu I Ka Wekiu presented excellent premieres; the first joyously clickety-clacking, the other lyrically flowing through new interpretations of passed-down dancing. In trying to show the breadth of its repertoire, however, Colombian Soul attempted too much. The troupe presented undeveloped, under-rehearsed fragments, including a religious procession and a same-sex partnered "maypole" dance. Musicians Nejla Baguio and Prado Gomez’s artistic partnership looked young. The tentative Who’s Your Daddy?, musings on being a parent, had a few sparks but ultimately fizzled. Also respectfully but unenthusiastically received was the transgendered Transcendence Gospel Choir and its invitation for a community sing-along.

Two artists I would like to see more of were the outstanding countertenor Jose Luis Muñoz, who sang a powerful aria from Juana (an opera-in-progress by Carla Lucero), and Scott Turner Schofield, a FTM word artist. In an excerpt from Becoming a Man in 127 EASY Steps, he performed a smart, witty audition for Hamlet. It was also a pleasure to see the nonchalant Shawna Virago, who performed two supersmart, edgy new songs.

Still, the evening belonged to Dorsey, and not just because he founded the festival. Lost/Found, a duet he performed with Brian Fisher, showed again how nuanced a thinker, writer, dancer, and choreographer he is. I can’t think of anybody, no matter their identity, who creates works about growing up as theatrically cogent and as tremulously alive.

Queercore, many mornings after

0

THE QUEER ISSUE Call it a harmonic convergence of two queer legends of indie rock and queercore. Victor Krummenacher of Camper Van Beethoven and Jon Ginoli of Pansy Division got together recently to talk about the way it was, coming out in the repressed 1980s and coming into their own experientially, politically, and musically in 1990s San Francisco — each, as Krummenacher puts it, a "gay guy suddenly in Candyland." Life is still sweet — and hella active — for these old friends: Krummenacher celebrates Camper’s 25th anniversary with a June 28 show at the Fillmore, and Ginoli is unleashing Pansy Division’s new documentary, Pansy Division: Life in a Gay Rock Band, at Frameline June 26, complete with an afterparty performance at the Eagle. And naturally, this won’t be the last you’ll hear from these prolific players: Pansy Division is working on a new album and Ginoli has a memoir coming next year on SF’s Cleis Press, while Krummenacher is recording as McCabe and Mrs. Miller with the Sippy Cups’ Alison Faith Levy and recently completed a fifth solo full-length. (Kimberly Chun)

JON GINOLI Before I started Pansy Division, I’d been actively trying to find other gay musicians’ records. I’d listen to records, listen for hints, and it just seemed like I was always getting disappointed in that there were musicians I heard about who were supposed to be gay that would flat-out deny it in interviews. I thought, OK, if all these people who I think are lying are not going to come out, or really aren’t … that’s when it finally dawned on me that I should do this band. At the same time I had that idea, so did Tribe 8. It was Tribe 8 and us and Glen Meadmore in Los Angeles. When we started that’s what was going on in queer rock. The only other thing I knew about — and I didn’t know about this till I started playing — was Fifth Column in Toronto.

There really wasn’t much you could point to, and that’s partly why I wanted to be as out and blunt as I could. Because it seemed like if you were gay and you liked rock ‘n’ roll, it was something you had to hide and it was something that there was some shame attached to.

VICTOR KRUMMENACHER It was an interesting time. From my perspective, we had the [Michael] Stipe rumors and we had the Hüsker Dü rumors. But it was kind of, like, don’t ask, don’t tell. Kid Congo was always out. He was always what he was, which I admired a lot.

JG I remember meeting him in New York, in ’94, ’95, and by that time, I knew he was gay. But I’d been a fan of all bands he’d been in — the Gun Club, the Cramps, and the Bad Seeds — and I didn’t know he was gay until 10 years after I’d started buying his records.

VK A lot of the reason I was attracted to punk rock was because I knew queer people in it. My friends were gay, and I was coming out, and it was just really easy to deal with because they liked the same music, and it was fun. But it was a hard time, and the ’80s sucked. I’m 43 now, and I deal with people in their 20s who have no clue how much it sucked.

JG Only the highlights have filtered down to them.

VK There was Phranc, and there was some chatter about Morrissey.

JG It’s interesting — I was thinking, OK, it’s like a ladder. You’re taking a step at a time to reach a certain place, and I was thinking about the women’s music scene, the lesbian music scene, from the late ’70s. The folk scene.

VK Which seemed a little bit more coherent.

JG But it also seemed more insular, especially when I talk to people from that period. It was about being separate, and the thing about me wanting to do Pansy Division was that I wanted to engage by using rock music. It was kind of like taking the music that’s popular but doing something that people would consider subversive with it.

People were dying, and that’s why — even though I was horny and wanted to sing these pro-gay songs — we sang about condoms a lot. We had some songs that were cautionary tales. But for somebody who was born in 1987, there’s no way that they could have much of a clue about what we’re talking about, because they just didn’t see the people dying. I moved here in ’89 from Champaign, Illinois, and one of the first things I did was join ACT UP.

VK My experiences with ACT UP and Queer Nation meetings were rowdy good times — it was go out and be visible and be noisy — and then it got very bureaucratic, which I think was a natural progression.

JG ACT UP ran its course, which was right around the time I had the idea to do Pansy Division. I’m a political person, but I don’t like too much music that’s really didactic and up front about its politics. I didn’t want to make music that people would agree with but wouldn’t really enjoy. I thought this is my way to do cultural activism.

What I wanted to mention was I had a band [the Outnumbered] before Pansy Division that had three albums. They were indie in the ’80s, and at the time, I was out to my band members, I was out to people in Champaign, but I didn’t feel like I could write about being gay in my music because I was trying to represent the band and they were all hetero.

So did you have any bands before Camper?

VK Camper was my first band, when I was 18. It was funny — I came out, and my band broke up [in 1990]. It might have had something to do with why I wanted to leave the band at the time, but it had nothing to do with the band breaking up. Basically when I came out, they were like, "And … ?" I don’t think it was any great surprise.

But the interesting thing was as soon as I came out, it was immediate acceptance. Seldom did I run into any problem, which made me wonder, why the hell didn’t I do it sooner, and why the hell didn’t more people do it?

JG It seems to me both Michael Stipe and Bob Mould have made statements about how they didn’t want to come out because they didn’t want to be seen as role models. The problem was to me, well, you’re already role models to people and some of them are gay and some of them are straight.

My own thought about it was, well, if no one is going to come out and be out in music playing the style I like, then I’ll do it. I mean, I had nothing to lose, and I do respect that other people have a lot of pressures, record companies.

VK The truth of the matter is, you guys did a lot of legwork that did ripple up.

JG So now you’re doing Camper, and you’re out, and you’re in a long-term relationship. Were you been able to meet guys at shows, even if you wanted to back then, and now that you’re out, do you have a gay contingent at Camper shows?

VK I wind up with gay contingents usually in the strangest, most unexpected ways. It’s been more than once that I’ve gone home with a guy, and he figures out, "You look familiar." Anonymity can be something you can thrive on. Or I guess, bluntly, it’s nice to fuck around and have people not know who you are — because I’ve frequently been hit on because of who I am.

What I’m interested in is, where do you see younger people going?

JG We came along pre-MySpace, pre-Internet, really. It’s so different now. It used to be a guessing game where you’d trade rumors with other gay people about people you heard that were gay. Now Pansy Division has a MySpace page, and I’m getting messages and friend requests from other queer bands all the time and a lot of straight bands, too, that like our music. So I think it’s not that big of a deal anymore unless you’re trying to make it in the mainstream. Then there’s still a wall where you can’t make it unless you’re already successful to some point, or you set out to be. Look at Rufus Wainwright. He’s on a major label, but it was obvious from the outset that he was going to be a cult figure.

VK Especially if he’s going to be doing the Judy Garland things. Not to dig too hard, but I did actually see it the other night [on PBS], and it was, like, "Why did you do that?" In a certain way, ironically, it’s great progress — "Oh, yeah, a gay guy doing all of Judy at Carnegie Hall at Carnegie Hall." My mom used to play Judy at Carnegie Hall, and I’ve always loved Judy Garland, but then I was just going, "That’s not Judy Garland. That’s just Rufus Wainwright." I feel like he’s better in his own context.

JG Given that I’ve always chafed against the gay identity that posits show tunes as part of the essential experience, I made myself sit down with the Rufus Does Judy at Carnegie Hall double CD, and, you know, his between-song patter was campy but he didn’t camp those songs up anymore than they already were. But I don’t want to hear anybody singing "The Trolley Song." I really don’t.

PANSY DIVISION: LIFE IN A GAY ROCK BAND

Screening Thurs/26, 7 p.m., $9–<\d>$10

Victoria Theatre

2961 16th St., SF

Show begins 10 p.m., $7

Eagle

398 12th St., SF

www.frameline.org

CAMPER VAN BEETHOVEN

Sat/28, 9 p.m., $25

Fillmore

1805 Geary, SF

www.ticketmaster.com

Welcome to the jungle

0

› a&eletters@sfbg.com

THE QUEER ISSUE Mark Twain’s observation (cribbed from poet Thomas Campbell) that "distance lends enchantment to the view" could serve as a guiding axiom for the languorous, enchanting films of Apichatpong Weerasethakul. Apichatpong shows more than he tells, and his camera often obscures rather than explicates the minute, alchemical operations taking place before it.

Somnambulant features such as the day-tripping Blissfully Yours (2002), the shape-shifting gay fable Tropical Malady (2004), and the double-exposed parental portrait Syndromes and a Century (2006) have left many critics bewildered but entranced. Others just seem confused by the elliptical, dream-like logic of the films, in which local lore and landscape shape the narrative as much as characters’ peripherally observed actions. Viewers hoping for glints of elucidation in Apichatpong’s juvenilia and nonfeature projects will probably be disappointed by "Mysterious Objects," the Yerba Buena Center for the Arts’ latest program honoring the director, for as its title indicates, his short films may be his most enigmatic.

All of Apichatpong’s signature traits — a fascination with the local and mundane, an unabashed love of syrupy pop songs, and a flair for throwing curve balls — are present in this grab bag of films made between 1994 and 2007. In the gleeful Anthem (2006) three elderly women listen to a supposedly blessed techno-lite number. Inexplicably, they are dropped, table and all, into a busy gym (and into the dead center of a badminton match), around which the camera makes multiple 360-degree circuits. Other such narrative jumps merely frustrate. Malee and the Boy (1999) begins with the scrolling text of a transcribed comic book, then switches to footage of hospital visitors. Whereas Anthem suggests a leap of faith, Malee just feels indecisive.

The program’s heart is Worldly Desires (2005), a half-hour trek across the same superstition-laden terrain of Tropical Malady. Dedicated to his "memories of the jungle," Worldly Desires is Apichatpong’s most meta film yet: a music video, a romantic drama, and a composite document crafted from "behind the scenes" footage.

In the opening sequence, a forest’s nighttime choir of insects is interrupted by a bossa nova groove. Suddenly a spotlight washes out the middle ground, illuminating the camera and lighting rigs trained on a singer and her background dancers as she lip-synchs a love song with familial undercurrents. The next few shots follow a man and woman as they hurry through the brush. It takes a few seconds before one can disambiguate the crosshairs in the center of the frame from the dense foliage.

Apichatpong keeps us at the periphery. Each re-shoot of the video is from the same, distanced vantage point. The couple’s arduous journey to find an enchanted tree unfolds through playback monitors, the director’s instructions, and the grumblings and random musings of an exhausted crew. We’re never told if the lovers cross paths with the pop star, or whether what we’re watching is the staging of something staged or a video diary.

Though Tropical Malady‘s first half focuses on a gay love story, it feels somewhat disingenuous to pin a queer sensibility on Apichatpong, even if he is gay. However, with its humorous foregrounding of the labor-intensive means by which the pop culture industry packages "normal" heterosexual love, Worldly Desires certainly invites queer labeling — if not at least queer readings such as this critic’s.

MYSTERIOUS OBJECTS

Thurs, July 3, 7:30 p.m. (program 1) and Sun, July 6, 2 p.m. (program 2), $8

Yerba Buena Center for the Arts

701 Mission, SF

(415) 978-2787

www.ybca.org

Heart shaped box

0

"Let’s pretend we own the world today," Kathleen Hanna sings midway through the uncharacteristic Bikini Kill ballad "For Tammy Rae." In her new solo show "An Archive of Feelings," the woman Hanna was singing for, Tammy Rae Carland, breaks down and reframes some of what she owns from a queer, feminist perspective that upsets emotional and financial conceits. Carland can wittily point out the beauty of mold and frame it in gold, but her show’s largest C-prints are perhaps the most powerful. My Inheritance presents 21 objects that belonged to her late mother. The widely varying forms of worth that might be ascribed to bingo memorabilia and domestic objects take on a tough, acidic irony here — through the piece’s title, and through a presentation that resembles and critiques the kind of white-page auction presentation found in Sotheby’s catalogs. One Love Leads to Another similarly presents the tape culture (via cassettes such as Let’s Rock from the 1980s that kick-started K Records in Carland’s onetime home of Olympia, Wash. Like Carland’s mother’s keepsakes, these punk feminist objects have a colorful Yard Birds’ aesthetic specific to Washington state, but their countless communal and creative connections showcase the power of sisterhood beyond bloodline.

AN ARCHIVE OF FEELINGS

Through July 27

Tues.–Sat., 11 a.m.–6 p.m., free.

Silverman Gallery

804 Sutter, SF

A different light

0

› johnny@sfbg.com

THE QUEER ISSUE It’s best to begin at the edge. Gay urban photography has a fleeting yet reliably revelatory home at those places where water laps up against land. On the East Coast, from 1975 through 1986, Alvin Baltrop explored the Hudson River side of Manhattan, capturing black-and-white visions of sex, murder, and architecture by cruising the piers as a peer rather than as an exploitative outsider. On the West Coast, during the ’50s and ’60s, Denny Denfield used Baker Beach and its nearby wooded areas to invent an Adam-only Eden best glimpsed solo through 3-D. And around the same time in Montreal, Alan B. Stone was hiding in a shed, looking through a shutter at the dock-working men and sunbathing boys who populated the city’s port. In the zone known as the city’s historical heart, his camera cautiously hinted at desires that could lead to prison time.

Curated by David Deitcher, the SF Camerawork exhibition "Alan B. Stone and the Senses of Place" proves Stone’s photographic versatility ranged from a low-key form of William Klein–like typographic artistry to extremely subversive pastoral romanticism — in commissioned Boy Scout photos — to the candid portraiture of the beefcake genre. Such a showcase isn’t Deitcher’s intent, though — he’s structured the show (and written about it, in an autobiographical essay) to foreground a specifically gay vision and experience of Montreal from a time when men were arrested and publicly vilified in newsprint for being homosexual. Stone provides the nuanced vision; Deitcher identifies its facets and identifies with it. His analysis of Montreal through Stone’s camera takes on special resonance when placed next to Douglas Crimp’s look at post-Stonewall New York through Baltrop’s camera in a February 2008 Artforum piece.

The difference between the liberated time of Baltrop and the closeted era of Stone is evident in their views of waterfront lazy sunbathers. Perhaps the brightest — in tone and in quality of light — of the Baltrop photos showcased in Artforum (also on view at www.baltrop.org) gazes from a few hundred feet away at a half-dozen naked men as they soak up the sun, converse, and dangle their feet off the edge of a pier. The gay-lib visibility inherent to the men’s affectionate nudity is doubly emphasized by Baltrop’s distanced yet full-frontal perspective. In contrast, Stone’s 1954 photo Untitled (Lachine Canal) glimpses the back of a boy in a swimsuit seated at the Port of Montreal’s shoreline — the identity of his solitary subject remains poignantly invisible to the photographer, who, as Deitcher notes, was stricken with arthritis at an early age.

There’s a similar echo to a pair of photos — one by Stone, one by Baltrop — that depict men standing at the sunlit thresholds of waterfront warehouses. Stone’s 1954 Untitled (Dock Workers, Port of Montreal) is a furtive from-behind vision of a shirtless, assumedly heterosexual dockworker. One image from Baltrop’s "Pier Photographs, 1975-1986" glances at a shirtless man, also from behind, but from a much nearer vantage point. Attired in tight jeans and black boots, he’s the painter Alva, at work on a large piece of sexually explicit graffiti. The picture’s dominant darkness and the roughness of its lit threshold — a window-size hole in a warehouse wall — suggest an edge of menace that Baltrop’s photos of body bags make plain. An unauthorized space for gay sexuality in a bombed-out urban zone, the piers were rife with dangers unknown.

Stone’s and Baltrop’s photographs could form chapters within an imagined monograph about the changing relationship between gay sex and the city. Such a book could venture into the garishly colorful Times Square seen in Gary Lee Boas’ 2003 book New York Sex, 1979-85 (Gallerie Kamel Mennour) — the title alone prompts comparisons to Baltrop’s equally unsentimental vision of a different space within pre-Giuliani, pre-Disney Manhattan. It could draw from David L. Chapman’s and Thomas Waugh’s recent San Francisco–set monograph Comin’ At Ya!: The Homoerotic 3-D Photographs of Denny Denfield (Arsenal Pulp), to show the California-dreaming answer to New York grime, and to further reveal — through the inherent solitude of the 3-D stereoview process — the inner recesses of a pre-gay lib experience far from Baltrop’s and Boas’ sights and sites of group sexuality.

Such a book could open into film as well, since movies such as João Pedro Rodrigues’ O Fantasma (2000), Jacques Nolot’s Porn Theatre (2002), Tsai Ming-liang’s The River (1997) and Goodbye Dragon Inn (2003), and William E. Jones’ V.O. (2007) foreground age-old connections between the edges of urban society and sexuality. The portrait of Montreal that emerges from "Alan B. Stone and the Senses of Place" hints at the possibilities of such a project — and leaves one wondering about the worlds of desire that can exist outside computer screens today.

ALAN B. STONE AND THE SENSES OF PLACE

Through Aug. 23

SF Camerawork

657 Mission, second floor, SF

(415) 512-2020

www.sfcamerawork.org, www.baltrop.org

Down with legitimacy

0

OPINION We all remember Gavin Newsom’s stunt four years ago, when he emerged from a tight election race against Matt Gonzalez and promptly "legalized" gay marriage, sending his approval ratings soaring and guaranteeing him a second term. Back then 80-somethings Del Martin and Phyllis Lyon became the first smiling gay couple to marry in honor of La Newsom, before then a politician known mostly for cynical, anti-poor rhetoric (remember "Care Not Cash"?).

Now that the California Supreme Court has struck down the ban on same-sex marriage, everywhere we hear of couples who’ve been together 10, 20, or 30 years (or six months) rushing to tie the knot and proclaim: "finally … it’s … legitimate!" It’s hard to imagine a more wholehearted rejection of queer struggles to create defiant ways of living and loving, lusting for and caring for one another — methods not dependent on inclusion in the dominant institutions of straight privilege.

Gay marriage proponents now declare that finally gays and lesbians are "full citizens" — as opposed to half-citizens, one imagines, or — gasp — non-citizens! As Immigration and Customs Enforcement conducts the biggest raids in history, the gay establishment celebrates its newfound legitimacy. Sure, for a few of the most privileged, the right to get gay married might be the last thing standing in the way of full citizenship. But there are certainly a legion of impediments for the rest of us.

Let’s step back for a moment and imagine what it means to be a full citizen of the foremost colonial power, bent on bombing rogue states to smithereens, exploiting the world’s resources, and ensuring the downfall of the planet. As same-sex marriage fetishists rush to stake their claim to straight privilege, who gets left behind? Oh, right — anyone who doesn’t want to follow an outdated, tacky, oppressive model of long-term monogamy sanctioned by a state seal.

Want health care? Get married (to someone with a good health plan). Need a place to live? Better get working on a spouse with a house. Need to visit your friend in the hospital? Forget it (unless you’re ready and able to tie the knot). Need to stay in this country, but you’re about to get deported? Should’ve gotten married while you had the chance!

Want to define love, commitment, family, and sexual merrymaking on your own terms? Honey, that’s so last century — this year it’s all about matching putf8um Tiffany wedding bands, the Macy’s bridal registry, and a prime spot on the Bechtel float in the Pride parade — now that’s progress!

While San Francisco has a long history of sheltering dissident queer cultures of incendiary splendor, the rush for status within the status quo threatens to delegitimize everyone who isn’t ready for the Leave It to Beaver lifestyle.

Mattilda Bernstein Sycamore

Mattilda Bernstein Sycamore (mattildabernsteinsycamore.com) is most recently the editor of an expanded second edition of That’s Revolting! Queer Strategies for Resisting Assimilation (Soft Skull Press, 2007). Her new novel, So Many Ways to Sleep Badly, will tantalize you this fall.

The Hot Pink List 2008

0

>>ALLAN AND LEO HERRERA



Yes, they’re gay brothers, which is, like, totally hot. But even if they weren’t related, their individual artistic creations would have us on the hook. Heads of HomoChic (www.homochic.com), the new gay mafia collective that combines gallery shows, fashion design, and nightlife craziness into mind boggling events, they’re inspiring the latest generation to revel in its scandalous past. Leo’s photography mixes porn with historical reference to dizzying, stimuutf8g effect. Allan’s costuming and styling brings bathhouse and backroom gay culture to light. Currently the Chihuahua, Mexico-born siblings have pieces in the queer Latino "Maria" show at Galería De La Raza. Leo features pants-raising boy-pics and a video installation centered on Harvey Milk. Allan, whose Money Shots underwear line graces many an alternaqueer’s backside, displays a chandelier made of 2,000 pink condoms.

MARIA

Through July 4

Galería De La Raza

2857 24th St., SF

(415) 827-8009

www.galeriadelaraza.org


>>ANNIE DANGER



Who’s the superbusy M-to-F artist and activist stirring up trouble with the mighty force of a Dirt Devil — the one they call Annie Danger? She’s sketched flora and fauna for environmental manifesto Dam Nation (Soft Skull Press, 2007), appeared as a blackjack-playing nymph in a shit-stirring Greywater Guerillas performance, dressed like a wizard at a recent Gender Pirates party, and just played Pony Boy in a queered-up "Outsiders." Right now at Femina Potens gallery (www.feminapotens.org), you can see her as Sister Wendy, the wimpled PBS art nun, in her video for "Untold Stories: Visual and Performative Expressions of Transwomen." In a rare occurrence, you can meet Annie Danger as herself at the National Queer Arts Festival’s edgy "TransForming Community" spoken word event. Who she’ll be when she MCs Friday’s thrilling Trans March (www.transmarch.org) is anyone’s delightful guess.

TRANSFORMING COMMUNITY

Thurs/26, 7:30 p.m., $8–$15

LGBT Community Center

1800 Market, SF

(415) 865-5555

www.queerculturalcenter.org


>>DEXTER SIMMONS



"I worry not just for fashion, but for the future of television," this multitalented fashion designer, stylist, hair and makeup artist, model, and Oakland native told us with a laugh backstage at the Vans Warped Tour, where he was frantically preparing bands for the stage. "There’s a cheesy aspect creeping in right now because of fashion reality TV that scares me. It looks too easy, and creates too many followers. Wise people want one-of-a-kind, personalized looks. That’s why I love San Francisco," he adds. "It’s small but big — global even — and it likes to take risks." Dexter’s company, FLOC (www.teamflocouture), formed with his best amigo Lauren Rassel, has been taking local runways and nightclubs by fierce, feathery storm since it was formed two years ago, and local rockers like Von Iva and Svelt Street swear by FLOC’s Warriors-inspired designs. Now working as a stylist for SF-based online retail giant Tobi.com, Dexter seems destined for the big time — his designs are penetrating the world and making heads turn a wee bit sharper.


>>CHELSEA STARR



She’s too-too much, this Miss Starr. A genre-straddling DJ and ubiquitous promoter celebrated for her many regular parties (including new weekly Buffet at Pink, a fabulously popular all-female DJ weekly shindig, and Hot Pants, a queer biweekly that draws out the crème de la crème of the city’s thigh-baring night owls), as well as a groundbreaking writer who just toured the country as part of the Sister Spit all-girl spoken word road show, and a fashion designer with her very own eponymous line of eminently wearables — there are just so many ways to love her. This week she’ll find time to spin at umpteen Pride parties, as well as at her very own special Pride edition of Hot Pants. "I’m also a twin, a Gemini, and a cookie monster," Chelsea tells us with a wink.

HOT PANTS

Fri/27, 10 p.m., $5

Cat Club

1190 Folsom, SF

(415) 703-8964

www.myspace.com/hotpantsclub


>>JOSH CHEON



We can’t fib — smarties turn us on. So when we heard that cutie DJ Josh Cheon, host of West ADD Radio’s thuper-queerific "Slave to the Rhythm" program (www.westaddradio.com/slavetotherhythm) held advanced degrees in cell biology, neuroscience, and psychology, we suddenly had to hide our pointiness. An integral member of San Francisco’s gay vinyl-fetishist collective Honey Soundsystem (www.honeysoundsystem.com), Cheon just got back from rocking London’s premiere alternaqueer club, Horsemeat Disco. While his radio show’s name pays homage to Grace Jones, his eclectic sets encompass Candi Staton classics and Detroit Rock City jams. As a featured disc-meister at Bibi, San Francisco’s glorious, charitable party for Middle Eastern and North African queers, he taps his Lebanese roots with Arabian and Persian pop and disco favorites like Fairuz, Googoosh, and Dalida — and some surprise grin-givers from the likes of Boney M.

BIBI

Fri/27, 9 p.m., $20

Pork Store Café

3122 16th St., SF

(415) 626-5523

www.myspace.com/BibiSF


>>MONISTAT



She’s everywhere, lately, this feisty mistress of the night. Trash drag fanatics, glamorous electro freaks, after-hours hipster hot tub revelers — she’s a muse to many, with a sharp tongue and handmade Technicolor outfit for all. Plus, just in general: hot Asian tranny fierceness. "I’m thoroughly inspired by the pigeons in the Civic Center," she tells us. "Also, parties full of beautiful people worshipping me." She’ll be hosting the Asian and Pacific Islander stage at this year’s Pride festivities. But first this plus-size supermodel, trainwrecking DJ, oft-blacklisted performer, and dangerous skateboarder will be throwing a sleazoid party called Body Rock on gay-historic Polk Street "for the musically impaired and fans of a man in a dress, which would be me. I’ve walked through the fire and come out blazing!"

BODY ROCK

Thu/26, 10 p.m., free

Vertigo

1160 Polk, SF

(415) 674-1278

www.myspace.com/monistat7


>>CHRIS PEREZ



Which highly influential SF gallery owner brought John Waters, Todd Oldham, the mayor, and hundreds of sweaty kids together (with a couple kegs) under one roof this spring for photographer Ryan McGinley’s West Coast solo debut? Chris Perez of Ratio 3, whose shows also helped artists score Artforum covers and big time awards. Perez pairs an intuitive talent for identifying a popular hit with innovative curatorial decisions. But his space is no mere white box in the gourmet ghetto: "You’re never just walking down Stevenson," explains this escapee from Catholic school and former San Diego Museum of Photographic Arts volunteer. "Unless you’re hooking up or getting cracked out." Or peeping great art. On Friday, Ratio 3 dresses up as ’90s queer-radical gallery Kiki, for "Kiki: The Proof is in the Pudding," a group tribute to late curator-activist Rick Jacobsen.

KIKI: THE PROOF IS IN THE PUDDING

Fri/27, reception 6–8 p.m., free

Ratio 3

1447 Stevenson, SF

(415) 821-3371

www.ratio3.org


>>HUNTER HARGRAVES



If you think constant AIDS activism is exhausting, try doing it in drag. Stanford grad Hunter heads up StopAIDS (www.stopaids.org) community initiatives by day, and is a board member of diversity-seeking And Castro For All (www.andcastroforall.org), through which fellowships in his name are awarded to young queer activists every year. By night and early morning he becomes Felicia Fellatio, a precariously-heeled tranny who’s single-handedly hauling grunge back onto drag stages — a recent flannel-drenched lipsync of Pearl Jam’s "Jeremy" teared up many a jaded eye — and he DJs queer punk parties like Trans Am (www.myspace.com/transamtheclub) and Revolution, the hot monthly tea dance for HIV-positive men at Club Eight (www.positiveforce-sf.com). Felicia also auditioned for America’s Next Top Model (seriously) but was eliminated when her man hands slapped someone prettier. You can catch Hunter and Felicia, although probably only half of each, at the StopAIDS booth at this year’s Pride celebration.


>>ALICIA MCCARTHY



Hipsters sporting $80 faux-penciled rainbow patterns and glossy-mag ads with jagged color intersections are fronting a style artist Alicia McCarthy helped originate — but she does it a hundred times better. Her current show at Jack Hanley takes off in a dozen different directions from her signature shapes and spectrums in a manner that reflects an honestly fractured identity. Coiled thought forms, a wooden chair facing the backside of a scruffy penguin flying toward a wall of mirrors, and a show-within-the-show by friend Stormy Knight that includes sketches by a parrot named The National Anthem and sculpture by Redbone the dog. McCarthy’s latest exhibition also displays more than a few small works subtly placed where a wall meets the floor, which goes to show that she’s still making some art that only people who pay attention will discover.

ALICIA MCCARTHY

Through Sat/28, free

Jack Hanley Gallery

395 Valencia, SF

(415) 522-1623

www.jackhanley.com


>>MON COUSIN BELGE



Half-naked, goo-spitting art rock in a sling never got so deliciously tawdry. When this San Francisco quartet of self-professed "bunch of fags with vision and bacon cheeseburgers" takes the stage and launches into "Tweaker Bitch" or "Pigdog" off their new album Quelle Horreur (World Famous in SF Records), anything involving titilutf8g revulsion can happen and usually does. Fronted by enigmatic singer Emile, a Belgian addicted to plastic surgery — 39 procedures to date — and leather thongs, Mon Cousin Belge (www.moncousinbelge.com) updates queercore for the ambivalent masses with "deep faggotry jams" and knickers-wetting live performances. Bring a towel to their launch party at Thee Parkside bar in Potrero Hill. You’ll definitely need it — the crowd of cute intel-queers they draw is over-the-top steamy.

QUELLE HORREUR LAUNCH PARTY

Sat/28, 10pm, $6

Parkside

1600 17th St., SF

(415) 503-0393

www.theeparkside.com

The Guardian Queer Issue 2008