Just in time for Valentine’s Day some enterprising street artist has posted reminders to all of us in the Montrose to love. Look for these signs scattered around the neighborhood next to the various exhortations to stop and yield.
Yes, Yes… I know… plenty of gay men enjoy football, are fans even, and there are lots of LBT fans as well, but if you’re like me you greet all the hoopla over the Super Bowl with a resounding “meh.”
So if you’re looking for a way to avoid a (morning) afternoon (and evening (seriously, how long are football games supposed to be?)) of indecipherable sports jargon, over-hyped commercials and disproportionate passion for the accomplishment of moving dead pig parts 300 feet here are some alternatives with a decidedly queer bent you might enjoy (don’t worry, you can Tivo Madonna’s half time show):
1. ¡Women Art Revolution at The Museum of Fine Arts
Starting from its roots in 1960s in antiwar and civil rights protests, the film ¡Women Art Revolution details major developments in women’s art through the 1970s. The Contemporary Arts Museum of Houston presents this documentary at 5 pm on Sunday at the The Museum of Fine Arts’ Brown Auditorium Theater (1001 Bissonnet). Artist Lynn Randolph and U of H art history professor Jenni Sorkin will be on hand to provide insight into the film
!W.A.R. features Miranda July, The Guerilla Girls, Yvonne Rainer, Judy Chicago, Yoko Ono, Cindy Sherman, and countless other groundbreaking figures. Tickets are $7 and are available at mfah.org.
2. The Rape of Lucrecia at Houston Grand Opera
Written by gay composer Benjamin Britten and scored by Ronald Duncan, The Rape of Lucrecia is set during the decline of the Roman Empire. When a group of soldiers unexpectedly returns home to Rome they find that their wives have all been unfaithful, with the excpection of Collatinus’ wife Lucretia. Later that night the king’s son, Prince Tarquinius, accepts a drunken dare to seduce Lucretia. After she rebuffs his advances Tarquinius forces himself on her spurring Collatinus to rebellion against the king.
The dialogue of the Opera (which is in English by the way) is punctuated by two choruses, one male and one female, who engage the audience in the emotional responses of the male and female characters respectively.
The Rape of Lucretia plays at the Houston Grand Opera (510 Preston) at 2 pm on Sunday. Tickets start at $38 and may be purchased at HoustonGrandOpera.org.
4. The Drunken City at the Rice University, Department of Visual and Dramatic Arts
“The city’s like a monster, like a sleeping dragon or some dark creature in the night that cracks open an eye, and whispers dark dangerous dark ideas into your ear.”
The Drunken City is populated by thoroughly unpleasant people, the kind of loud sequin-wearing party girls who can immediately turn a hip bar passe and the men who hunt them. Marnie, the alpha-female and soon-to-be bride, has taken her co-worker bridesmaids out on the town for a ladies night. Seriously inebriated, they soon run into Frank and Eddie. Frank quickly takes a shine to Marnie, despite her girlfriends objections. Eddie, on the other hand, isn’t interested in any of the girls but seems to know their shared boss quite well (if you catch my drift). The play is sprinkled through with warnings about human desire and the dangers of consumption.
The Drunken City is presented by the Rice University College of Visual and Dramatic Arts at Hamman Hall on the Rice Campus (6100 Main) at 3 pm. Tickets are $10 and are available at the door or by calling 713-348-PLAY .
Steve Bullitt as Hay and Mitchell Greco as Gernreich
4. The Temperamentals at Barnvelder Movement/Arts Complex
The off-Broadway hit The Temperamentals, by Jon Marans, explores the events surrounding the founding of the Mattachine Society, one of the first “gay rights” groups in America (although the Society for Human Rights has it beat by a quarter of a century). The story centers on Harry Hay (Steve Bullitt), a communist and Progressive Party activist and his lover Rudi Gerneich (Mitchell Greco), a Viennese refuge and costume designer. Set in the early 1950′s in Los Angeles, the play is an intimate portrayal of two men who created history and the epic struggle they overcame.
Sunday’s curtain for the Celebration Theater produced play is at 3 pm at the Barnvelder Movement/Arts Complex. Tickets are $30 and may be purchased at buy.ticketstothecity.com.
5. Closing Night of Bring It On: The Musical at Theater Under the Stars
Bring It On: The Musical finishes up its run at the Hobby Center for the Performing Arts (800 Bagby Suite 300) on Sunday. Theater Under the Stars (TUTS) presents this musical re-imagining of the 2000 film with a matinee at 2 pm and an evening showing at 7 pm.
Two rival cheer-leading squads are out for the national championship, and neither is going to give up without a fight. The ensemble for the show features some of the nation’s most skilled competitive cheerleaders led by Taylor Louderman and Adrienne Warren as the leaders of the rival squads.
Tickets start at $24 and are available on-line at TUTS.com, by phone at (713) 558-TUTS (8887), or in person at the Theatre Under The Stars Box Office (800 Bagby).
The Gender Book is an effort to try to bring together, in one resource, a discussion of the wide array of gender expressions and identities that fall under the transgender umbrella. It’s creators are holding a brainstorming session next Thursday evening, December 8, to get public input and allow the community at large to become a part of the project.
“We sort of just made the Gender Book out of a need that we felt,” says Mel Reiff Hill, one of the collaborators on the project, along with Boston Bostian and Jay Mays. Hill says that the creators of the Gender Book searched for resources to help them talk about gender, but were unable to find anything that met their needs. “I had a boyfriend who had to pay a therapist to attend training on gender so that he could get the care he needed,” says Hill “the resources just weren’t out there.”
“At the time we were all living in the same house and we had a writer and an artist and a fundraising person and an enteprenuer. All of us were under the transgender umbrella in one way or another and all of us had friends and lovers who are as well,” and thus the Gender Book was born.
Hill describes the brainstorming session as “an interactive community party.” “We’re the first to admit that we can’t represent everyone,” says Hill, recognizing the limitations of any author writing on such a diverse topic. “We’ll have surveys for people to fill out and snacks and coloring book versions for people to fill out”
The coloring book pages are the result of Hill’s process in illustrating the book. Hill first draws pages in pencil then outlines the drawings in pen and erases the pencil, finally scanning the drawing and coloring it by computer. “I presented a workshop with some high schoolers and I was showing one of them my binder of papers looking through it one of them saw the original pen drawings,” says Hill. “He was like ‘you should give these to high schoolers, they love coloring it’s very zen-like for them.'” Hill says that the coloring pages have proved a hit at subsequent workshops and a great way to open up conversations about gender.
The brainstorming session, coloring pages included, is next Thursday, December 8, at the Lawndale Art Center (4912 Main). Attendees are asked to RSVP through Facebook.
More information on the Gender Book is available through their website, TheGenderBook.com.
The DMA’s exhibit on the fashions of Jean Paul Gaultier exudes sex appeal with a big dose of flamboyance
DRESSED TO KILL IT | Gay fashion pioneer Jean Paul Gaultier oversees his own exhibit (Below) as an Animatronic mannequin, a fascinating technology that only accentuates the brilliance of the designs. (Photography by Arnold Wayne Jones/Dallas Voice)
For a man best known for creating the Valkyrie-like conical breastplate that shot Madonna into the pop culture stratosphere, Jean Paul Gaultier is a surprisingly humble person. While he’s clearly delighted to have his fashions on display — as they are at the Dallas Museum of Art in the traveling exhibit The Fashion World of Jean Paul Gaultier: From the Sidewalk to the Catwalk, which runs through February — he makes one thing plain: He does not consider fashion “art.”
“My work is not art,” he says flatly. “My job is to make clothes that have to be worn. My role is not to create in the abstract but to be inspired by the needs and desires of the people. So I am in service to that. Art is art — it is a personal vision of the artist.” He pauses, then adds with a smile, “My collections are my babies, though.”
While the designer himself may not consider his work product “art” in an academic sense, there are probably few who would agree with him. More so than most fashion designers, Jean Paul Gaultier’s style is instantly recognizable, even without seeing the label.
He almost single-handedly moved the bustier from the boudoir to the arena stage, cladding Madonna in a corset for her Blonde Ambition tour in 1990, immediately making legends of them both.
It’s not just brassieres, but lace bodysuits, silk leotards, men in skirts — Gaultier takes fashion rules and sets them on their heads, turning out wearable art (there, we said it) that is both old-fashioned, even classical, and futuristic — but always oozing sex.
“My love for fashion belongs to the fact I saw a movie from the 1940s when I was 12,” he says. “In the movie, they did a beautiful description of couture.” (Now, when he works with a film director — as he did recently with Pedro Almodovar on The Skin I Live In, or Luc Besson on several films — “it is like I return to that [moment]”.)
But really, the germ of his style was started by what a pre-teen Jean Paul found in his grandmother’s wardrobe.
“I was fascinated by the whole world of my grandmother’s closet — it was beautiful and different,” he says. “It was underwear that could be worn as outerwear. I stole my ideas from her.”
Though not just her. Gaultier was inspired by television, by old movies, by showgirls — anything that offered a view of beauty he could re-imagine on the runway.
“My definition of beauty — there’s not one type. Beauty is beauty — you can find it in different places,” he says.
It’s a keystone not only of his design style, but of the DMA’s astonishingly exciting exhibit. (Anyone who doesn’t think a Gaultier gown deserves formal museum treatment obviously hasn’t seen the show.) In just a handful of rooms, we move from camp to punk — with many, many visits to edgy haute couture.
In the first gallery, visitors are introduced to Gaultier himself, talking about his fashions via a quasi-Animatronic mannequin that captures his actual face and voice, projected with unnerving authenticity. That happens with a lot of the mannequins, some of whom seem to look back, even judge you. (One Mohawk’d man in tights and a codpiece seemed to be flirting with me; I bet he does that with all the boys.) Lanky sailor boys in striped Apaché T-shirts look as if they leaped from a Tom of Finland drawing; that cone bra is also unmistakable.
Walk further, and the second room oozes the dark romance of a bordello, approximating (with its window-like display cases) the red-light district of Amsterdam. “I think when you exit this room, they should give you a cigarette,” I told another patron. She didn’t disagree.
Another room shows the movement of the pieces, sort of, with a moving catwalk that is like a time machine of Gaultier runway fashions, including representative designs from his famous Men in Skirts that took MOMA by storm some years ago. That’s only the most obvious example of the genderbending that is a Gaultier hallmark — and a central theme of the sexual forthrightness of the DMA’s exhibit.
“Androgyny is part of the thing that interests me,” he says, “that moment when the young can pass to adolescence [and] their beauty is between feminine and masculine at the same time. I use it to show in reality how [both sexes] can assume [the identity of the other sex]. In Scotland, you will see me in kilts and they are very masculine — it’s not feminine to wear a skirt [in that context].”
That, Gaultier says, is the essence of freedom, showing that “men can cry just as well as women can fight.”
And this exhibit shows that a designer can be an artist with a bold sense of sex — even if he doesn’t think so.
Visit DallasVoice. com/ category/ Photos to see more of the Jean Paul Gaultier exhibit at the DMA.
This article appeared in the Dallas Voice print edition November 18, 2011.
Say what you want about their news channel and their leadership, but Sunday night on the Fox broadcast network was about as gay as TV gets.
It started, of course, with The Simpsons, one of the most gay-friendly shows on TV (though Sunday night’s was only gayish — it dealt with foodies). Also on deck was Family Guy — again, a tres gay series with a queer little baby who wants to take over the world and characters who break out into Broadway production numbers at the drop of a hat. We’re used to that.
But it reached new heights of homophilia with Allen Gregory and American Dad.
Allen Gregory is the new series from Jonah Hill. The premise of the show is already inherently queer: Two gay dads, pictured, rear their pretentious little 7-year-old Allen Gregory. There have been, in the previous few outings, several jokes per episode about gay sex between the pompous dad Richard (voiced by French Stewart) and his butch, derided partner Jeremy. But last night, not only were the dads central characters, the plot was all about a school dance where all the students in the elementary school were expected to ask same-sex partners to the dance. This is edgy stuff for established cable shows, but for “family night” on a freshman series?! Wow. The episode was not only funny (I’m already a huge fan of the series), but also witheringly insightful about perceptions of gay people. And the attempted seduction of Jeremy by Richard (including dropped towel) was hilarious.
That was followed by American Dad — again, well-established with a gay history, from the out couple across the street to the fey alien Roger who lives in the attic. But Roger finally met someone romantic … and it turned out the be Ricky Martin. The episode included Ricky and Roger kissing on a couch (and they were really going at it). You gotta love that!
I hope the ratings for both shows are good, and they are certainly worth a Hulu.com (here forAmerican Dad, here for Allen Gregory) visit. Enjoy!
Photographer Bob Munro takes a different look at the world. With a nod to spiritual and sacred tones, he captures nature in inspired ways. His latest work comes by looking at The Wisdom of Angels which will exhibit tonight at the Garden Cafe. along with a wine tasting. The out artist will also be present to discuss his work and sign copies of his 2012 calendar by the same name.
DEETS: The Garden Cafe, 5310 Junius St. 5 p.m. SacredPause.net.
Dallas Voice, Wisby – Smith Fine Art Gallery and Hudson Ferus Vodka present an extraordinary collection of works by Artist Michael Godard. Michael Godard, is known as the explosive “Rockstar of the Art World”, and global top selling artist!
His world of art invites us into his lighthearted perspective of life surrounding us, with animated olives, grapes and, dancing strawberries. His unique portrayal of fun is an exciting combination of imagination and subtle humor, which evoke the creative side in “Olive” us right down through our souls. He has redefined art as we know it with a new definition and of course a punch line. Come meet Michael Godard at this very special event and enjoy complimentary beverages.
The night is also a fundraiser. Ten percent of proceeds from art sales will benefit Lone Star Ride Fighting AIDS!
DEETS: Wisby-Smith Fine Art Gallery, 500 Crescent Court. 6 p.m. For more information, click here.
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’
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.
SuZanne Kimbrell made major tweaks to this latest edition of Twist Dallas. First and foremost, the event moves to Thursday nights, and while this show continues at Lakewood Bar & Grill, she expects that the July show will be in a different venue.
Also, the lineup here is tighter with four performers on the bill (Kimbrell included), but she’s pulled together another eclectic group of performers. Guitarist Natalie Velasquez, David Siuba from Santa Fe and the sultry soul and slick guitar rock of Robinson Hall led by queer vocalist Jackie Hall.
Visual artist Sylwester Zabielski will have his photography and film work on display.
DEETS: Lakewood Bar and Grill, 6340 Gaston Ave., on May 19 at 8 p.m. $10. TwistDallas.com.
Lovers has five albums under its belt, and through rotating members, the touchstone has always been Berk. But this current incarnation of the band seems to find Lovers at its best self. Berk, Kerby Ferris and Emily Kingan have produced a confident album with Dark Light, and after a decade of doing this, Berk feels this is the band at its strongest.
“When we came together, it felt very egalitarian and feminist and comfortable,” she says. “I hadn’t experienced that level of confidence and there are a lot of benefits to having our kind of connection. I felt like this was a really great place to be creatively.”
This confidence has taken Berk to new levels, as an artist and a person. All three members identify as queer, and for Berk, that offers a comfort in writing her music. Although she starts the song on her acoustic guitar, the others chime in for a group dynamic.
At 32, her personal growth over these 10 years has manifested differently in Dark Light than it has on any of the previous releases. She’s out of the closet, but this album shows Berk coming out of her shell.
“I feel like I sort of went from being an artist who was working mostly to exorcise personal demons to someone who, with time, is able to looking more outward,” she says. “This is the most extroverted album Lovers has ever had.”