Dallas gets $1.28M HUD grant for HIV/AIDS

Officials with the U.S. Department of Housing and Urban Development have announced the allocation of nearly $9 million in grants to projects in seven states that provide permanent and transitional housing and support services to people with HIV/AIDS.

Of that total, $1,287,500 will be allocated to the city of Dallas’ Housing and Community Services Department, the only city or agency in Texas to receive one of the seven HUD grants. The money will be used to provide transitional housing support to 60 ex-offenders over the next three years. According to the HUD press release, the Housing and Community Services Department will be working with the city’s Project Reconnect and the Department of Justice’s Second Chance Act in providing the housing and services.

And the city has committed to “creating an Integrated HIV/AIDS Housing Plan through a comprehensive community planning effort that involves 20 local partners operating in the eight county Dallas Metropolitan Statistical Area,” according to HUD. No word yet on whether those partners will include AIDS Services of Dallas, which is located in Oak Cliff and provides housing for as many as 225 men, women and children impacted by HIV/AIDS through 125 units in four complexes.

The largest of the grants, $1,375,000, is going to the Los Angeles County Commission on HIV. The city of Portland, Ore., gets the second-largest total with $1,365,900. River Region Human Services Inc. in Jacksonville, Fla., is getting $1,353,743, and the Corporation for AIDS Research Education and Services Inc. in Albany and Rochester, N.Y., gets $1,344,375.

Dallas is next on the list, followed by Justice Resource Institute Inc. in Boston, which gets $1,223,377. Rounding out the recipient list is the Frannie Peabody Center, a statewide organization in Maine, that is receiving $930,909.

The seven recipients were chosen “through a national HOPWA competition to identify special projects of national significance that will help advance understanding and improve the delivery of housing and care for persons with HIV,” according to HUD.

—  admin

DOMA ruled unconstitutional by bankruptcy court

A federal bankruptcy court in California on Monday ruled that Section 3 of the Defense of Marriage Act is unconstitutional.

The U.S. Bankruptcy Court for the Central District of California in Los Angeles ruled that it is discriminatory to prevent a legally married same-sex couple from filing for joint bankruptcy.

The couple, Gene Balas and Carlos Morales, filed a joint chapter 13 petition. They were married in 2008 in California and remain legally married.

In his ruling, the judge wrote: “This case is about equality, regardless of gender or sexual orientation, for two people who filed for protection under Title 11 of the United States Code (Bankruptcy Code).”

It is “undisputed that the Debtors are a lawfully married California couple,” the judge wrote, adding that the couple came to the court to restructure and repay their debt following extended illnesses and long periods of unemployment.

The U.S. trustee for the case filed a motion to dismiss on the grounds that two men cannot file jointly for bankruptcy. The judge ruled the trustee did not ask for dismissal based on one of the 11 causes listed in bankruptcy law to dismiss, but simply because the couple are two men.

The judge said the trustee filed no relevant case law supporting his position and said the couple should not be singled out for discriminatory treatment. He cited the Obama administration’s position that DOMA is unconstitutional and ruled that, indeed it is.

—  David Taffet

‘¡Gaytino!’ tonight at Latino Cultural Center

Latin flair

Growing up gay and Latino can be a tough hand to play. In a culture that revels in religion and machismo — hell, the word “machismo” is Latino — coming out poses pitfalls.

But Dan Guerrero lucked out. With some artsy upbringing by a musician dad and a not-so-practicing Catholic background, Guerrero’s closet was easy to open. In fact, it was harder for him just to be Hispanic.

“Los Angeles never made me feel like I was good enough,” he says. “I fell in love with musicals in junior high. I wanted to hear Julie Andrews in Camelot! Who gives a rat’s ass about mariachi?”

His dad might have given one. He was famed musician Lala Guerrero, the father of Chicano music who popularized the Pachuco sound in the 1940s (the beats most associated with Zoot suits and swing dancing).

“The main reason I did the show is, I wanted to know more about my dad and my best friend. I was already fabulous,” he laughs. “So I don’t think of this as my story. I wanted to embrace his legacy and celebrate him and our lives, but also tell of being a born-again Hispanic.”

—  Rich Lopez

Latin flair

comedy
MUY FUNNY | Dan Guerrero works for laughs while being gay and Latino in his one-man show.

Before he could write ‘¡Gaytino!,’ Dan Guerrero first had to find his roots

rich lopez  | Staff Writer
lopez@dallasvoice.com

Growing up gay and Latino can be a tough hand to play. In a culture that revels in religion and machismo — hell, the word “machismo” is Latino — coming out poses pitfalls.

But Dan Guerrero lucked out. With some artsy upbringing by a musician dad and a not-so-practicing Catholic background, Guerrero’s closet was easy to open. In fact, it was harder for him just to be Hispanic.

“Los Angeles never made me feel like I was good enough,” he says. “I fell in love with musicals in junior high. I wanted to hear Julie Andrews in Camelot! Who gives a rat’s ass about mariachi?”

His dad might have given one. He was famed musician Lala Guerrero, the father of Chicano music who popularized the Pachuco sound in the 1940s (the beats most associated with Zoot suits and swing dancing). While Guerrero appreciated his father’s legacy, he established his own identity by moving to New York to become an actor. That didn’t work out so much, but becoming an agent did.

“It was kind of by accident, but I ended up being an agent for 15 years,” he says. “I got into producing and I loved it.”

Although he stepped away from performing, Guerrero finds himself back onstage Friday and Saturday at the Latino Cultural Center with ¡Gaytino! The autobiographical one-man show is part comedy, part cabaret, with Guerrero recounting in lyrics and punch lines his experiences growing up gay and Latino, life with father … and having to rediscover his roots after moving back to L.A.

“The main reason I did the show is, I wanted to know more about my dad and my best friend. I was already fabulous,” he laughs. “So I don’t think of this as my story. I wanted to embrace his legacy and celebrate him and our lives, but also tell of being a born-again Hispanic.”

In L.A., Guerrero rediscovered his heritage. While still working in entertainment, he noticed a lack of Latinos behind the scenes. He started a column in Dramalogue to change that, interviewing actors like Jimmy Smits and Salma Hayek and producing shows that spoke to Latin audiences.

And then came ¡Gaytino!

“Well, the word itself hit me first so I trademarked it. Then it was madness as I set about writing it,” he says.

When the show debuted in 2005, Guerrero hadn’t performed in 35 years. He was a different man, no longer a young buck with nothing to lose and untarnished optimism. He was a behind-the-scenes producer and casting agent. He was — gasp! — older.

“I remember thinking, ‘What am I gonna do? What if I forget my lines?’ I’m an old codger,” he says. “But I got onstage and it was like I had did it the day before. Performing is just part of who I am.”

With his successful day job (he once repped a young Sarah Jessica Parker), a healthy relationship (32 years this November) and irons in many other fires, why bother with the daunting task of writing a show and carrying it alone?

“It still feels like I’m breaking into show business. At least when you’ve been around as long as I have, you can get the main cheese by phone,” he answers. “But really, I had something I wanted to say and I love doing it. I’ve been lucky to stay in the game this long but it’s not by accident; it’s all been by design.”

What he loves isn’t just doing his show, but how it pushes positive gay Latino images. He’s dedicated this chapter in his life to that. Guerrero now feels parental toward the younger generation — maybe because he has no children of his own.

“I do feel a responsibility and not just to younger people, but to all,” he says. “For ¡Gaytino!, I first want them entertained, but I hope audiences will leave more educated about some Chicano culture and history and Gaytino history.”

……………………………………

QUEER CLIP: ‘BEGINNERS’

screen

 

Beginners is such a dreadfully forgettable and generic title for what is the year’s most engaging and heartfelt comedy, you feel like boycotting a review until the distributor gives it a title it deserves.

Certainly the movie itself — a quirky, humane and fantastical reverie about the nature of love and family, with Ewan McGregor as a doleful graphic artist who, six months after his mother dies, learns his 75-year-old dad (Christopher Plummer) is gay and wants to date — charts its own course (defiantly, respectfully, beautifully), navigating the minefield of relationships from lovers to parent/child with simple emotions. It’s not a movie that would presume to answer the Big Questions (when do you know you’ve met the right one? And if they aren’t, how much does that matter anyway?); it’s comfortable observing that we’re all in the same boat, and doing our best is good enough.

McGregor’s placid befuddlement over how he should react to things around him — both his father’s coming out and a flighty but delightful French actress (Melanie Laurent) who tries to pull him out of his shell — is one of the most understated and soulful performances of his career. (His relationship with Arthur, his father’s quasi-psychic Jack Russell, is winsome and winning without veering into Turner & Hooch idiocy.) But Plummer owns the film.

Plummer, best known for his blustery, villainous characters (even the heroic ones, like Capt. Von Trapp and Mike Wallace), exudes an aura of wonder and discovery as the septuagenarian with the hot younger boyfriend (Goran Visnjic, both exasperating as cuddly). As he learns about house music at a time when his contemporaries crave Lawrence Welk, you’re wowed by how the performance seethes with the lifeforce of someone coming out and into his own. His energy is almost shaming.

Writer/director Mike Mills’ semi-autobiographical film suffers only being underlit and over too quickly. It wouldn’t be a bad thing to spend more time with these folks.

—Arnold Wayne Jones

Rating: Four and half stars
Now playing at Landmark’s Magnolia Theatre.

This article appeared in the Dallas Voice print edition June 10, 2011.

—  Kevin Thomas

Los Angeles LGBT Center Wins $13M Federal Grant To Help Gay Foster Kids

We needed this kind of great news today, we really did. Via press release:

Today the L.A. Gay & Lesbian Center was awarded a landmark .3 million, five-year grant from the Federal Department of Health & Human Services (HHS) Administration on Children, Youth and Families to create a model program that will provide life-saving support for lesbian, gay, bisexual, transgender and questioning (LGBTQ) youth in the foster care system. Following a highly competitive review process, six grants were awarded—the Center’s grant is the only one specifically to support LGBTQ youth and the only grant that did not go to a government agency or academic institution. It’s also the largest federal grant ever awarded to an LGBT organization.

The need for services for LGBT youth in foster care is dire. According to a 2001 (Feinstein) study, 78% of LGBTQ foster youth were forced to leave their foster placements due to hostility related to their sexual orientation or gender identity. In a 2001 study from the National Center for Lesbian Rights, 70% reported physical violence and 100% reported harassment in their group home. Gay and Lesbian Adolescent Social Services (GLASS), the only group home for LGBTQ foster youth in Los Angeles, closed its doors in 2008 (with its displaced residents turning to the Center for much-needed support).

Stand by for the wingnut screaming. Which will be delicious.

Joe. My. God.

—  John Wright

Gay Marriage Sculpture Vandalized At Los Angeles Museum

A pro-marriage equality sculpture that is part of an exhibition at The Craft and Folk Art Museum in Los Angeles was vandalized earlier this week. The piece featured a pair of male grooms on top of a wedding cake. 

The vandalism took place on Tuesday, so we know that it at least wasn't
a response to this week's Prop 8 ruling which came down on Wednesday. 

The LA Times reports:Cake

"The two guys were unfortunately torn off and thrown about the gallery
along with some other embellishments,” says Eilen R. Stewart, the
museum's exhibitions and publicity coordinator. “Whether this was done
by someone who had heard that the judge’s ruling was coming or someone
who was just expressing their anger, we don’t know."

A group of high schoolers had visited the museum that day but it is unclear if they had anything to do with the indicent.

Artist Susan Tibbles originally made the assemblage, consisting of found objects, as an illustration for a 2008 L.A. Times opinion piece by Nancy Polikoff, “Marriage Isn’t the Half of It." The artwork reached the Craft and Folk
Art Museum as part of a group show, “Some Assembly Required: Race,
Gender and Globalization.”

The museum plans to ship the work back to the artist for
repair, hoping it can go back on view before the show closes on Sept.
12. In the meantime, the artist and museum both are still trying to
make sense of the violent act. “I was surprised this happened,” says Tibbles. “It’s just a sweet
little cake with a little message on it–well, a big message I think.
For me the upsetting thing is thinking that it might be an 18-year old
who did this. It makes you wonder what we are teaching our kids.”


Towleroad News #gay

—  John Wright