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Idiot Christian couple pledges to divorce if gay marriage is legalized
06.10.2015
12:11 pm

Topics:
Belief
Politics
Queer
Sex

Tags:


 
The director of a conservative policy institute in Australia has announced that he and his wife of 10 years will divorce if the Australian state recognizes the legality of gay marriage. On the surface Nick and Sarah Jensen appear to be happily married, are in love, have children—the move would be a response to the changing nature of marriage as defined by the Australian state.

Millions of married couples have watched gay marriage enter their communities and not file for divorce, mainly because they recognize that the extension of marriage to apply to homosexual couples does not threaten their own marriages as such.

It would take the director of a think tank to make a stand such as this—in other words, Nick Jensen is grandstanding in order to make a political point. It is interesting that Sarah Jensen is nowhere quoted on the subject, it would be interesting to hear more from her. Or their children.

You can also read his statement, which ran in the Canberra City News. On this page from the Sydney Morning Herald you will find snippets of an interview with Nick Jensen in which he explains his reasons for getting divorced (it was not possible to embed the video). It runs like this:
 

Well, once you say that marriage is detached from children and is just about love, then when three people come to the state and say, “We’re all in love,” then the state has no grounds, except on just discrimination, to say why they can’t get married. So when it becomes detached from a child’s right to a mother and a father, and the sacred institution that it is, then suddenly it becomes meaningless, and those boundaries can’t be put back into place.

When we got married all those years ago, we made an agreement with the state—when we signed that marriage certificate—and that was an agreement about what marriage was and what we were entering into, and that was, as husband and wife, as a fundamental order of creation, part of God’s intimate story with human history, man and woman, for the sake of children, faithful and for life. And so if, later on in the year, the state does go ahead and potentially change the definition of marriage or change the terms of that contract, then we can no longer partake in that new definition, unfortunately.

I think states should have a role in marriage if it is affirming what is good about marriage. I can understand why some people might be upset, but our intention isn’t to hurt anyone or focus on any individual, but really our intention is for discussing at a deeper level what marriage actually is.

 
Opponents of gay marriage have long trotted out “slippery slope” arguments identical to the ones Jensen uses here—Senator John Cornyn famously speculated about a marriage between a man and a box turtle. Obviously such arguments are oblivious on the subject of the way marriage has been redefined over the centuries, from a system scarcely distinguishable from organized rape and kidnappings to suit political ends to one based far more on consent. Furthermore, the inclusion of homosexual couples in the kingdom of marriage doesn’t have any relation to marriages involving three people or involving a person and a bear. (Also, there have been cultures that permitted polygamy, it’s not a gross contradiction in terms or anything, society continued to function.)

Jensen invokes these spectres because he has no good arguments and because he wants to scare his fellow citizens into supporting measures to protect “traditional” marriage.

Whenever the subject of gay marriage would come on the news, my atheistic mom would cry out to my agnostic dad—in complete facetiousness—”Oh no! Don’t you see—the gays, they’re threatening the sanctity of our marriage!!!” In this mutual joke they were both affirming the silliness of any political position that relies heavily on “sanctity” or any “sacred” quality.
 
via Death and Taxes

Posted by Martin Schneider | Leave a comment
‘Girlfriend’: Austere portraiture of spectacular 90s drag queens
05.25.2015
12:59 pm

Topics:
Queer

Tags:


Lady Bunny
 
Photographer Michael James O’Brien‘s Girlfriend exhibition—now showing at Liverpool’s international photography festival—is an absolutely captivating array of vintage 90’s queer aethetics. While his subjects explode with life (and are ostensibly color people), the drag queens featured in his work have been captured in black and white, in front of nothing but a simple back-drop. This stark, austere composition has become his trademark, an artistic strategy to reveal the both the humanity of the queens alongside of their glamour. He’s been recording drag for 30 years, and his work stands out as a subtle look at a sensational art form.

O’Brien’s work was also featured in Girlfriend: Men, Women, and Drag a 1999 book by former New York Times Magazine style editor Holly Brubach. O’Brien actually took pictures of drag all over the world for the project, and though some are street photography and/or in color, the stark staging of the pictures obviously bear his sensibilities.
 

Butch Queens in Chanel
 

Ming Vauze
 

Billy Beyond and Sister Dimension
 
More after the jump…

Posted by Amber Frost | Leave a comment
Vintage photos of ‘drag queens’ before it was safe to be out and proud
05.22.2015
11:20 am

Topics:
Fashion
History
Queer

Tags:


Brigham Morris Young
 
Here’s a collection of historical “drag queens” dating back to the 1800s and then onwards. The reason I’m using “drag queen” in double quotes is because I’m not entirely sure if these people were transgender, cross-dressers, dressing up as women for theatrical purposes or just for the of fun it. The information is very limited for each image. Either way, they’re all gorgeous and seem quite comfortable with themselves in front of a lens during a time when society looked down on such self-expression.


 

 

 

Frederick Park and Ernest Boulton AKA “Fanny and Stella.”
 
More after the jump…
 

Posted by Tara McGinley | Leave a comment
Lights, camera, SLEAZE: Marc Almond, this is your life
05.11.2015
01:01 pm

Topics:
Books
Music
Queer

Tags:


 
First Third Books, the London and Paris-based publisher of deluxe coffee table books devoted to counterculture (like Sheila Rock’s Punk +) and extremely in-depth celebrations of particular groups and performers (Felt, Saint Etienne, Genesis Breyer P-Orridge) are coming out with another of their beautiful monographs in June—this volume concentrating on the life and career of the great Marc Almond.

Marc Almond will be limited to 1300 copies worldwide, hand numbered and bound in purple fabric. There will be 300 copies of the standard edition priced at £40 and 1000 copies of a limited special edition for £60 that includes unreleased songs on a 7” single. The first 500 copies sold of the limited edition will also be signed by Marc.

Back in March, when the book was first announced, Almond remarked:

“Putting a book like this together is very difficult because it brings up all kind of emotions. But it’s important to me to paint an honest picture, which means that as well as the many wonderful memories, working on the book has also forced me to resurrect certain things I’d rather hoped had been consigned to history. But that’s great. It would be too easy to fall into the comfort zone of nostalgia. The book goes much further than that. The whole process has been bittersweet and yet cathartic. I’ve really enjoyed working on it and it looks fantastic.”

It does. It’s the ultimate Marc Almond coffee table book and the perfect companion to his hilariously bitchy autobiography, Tainted Life (Ever the diva, Almond settles a score in every chapter! Highly recommended if you like pop star tell-alls.)

As longtime readers of this blog know, I am a massive Marc Almond fan—I have been since I saw my father fuming mad after Soft Cell ruined his Saturday night by performing “Tainted Love” on the Solid Gold TV show—so I’m thrilled to be able to offer a selection of photos from this amazing book, along with Marc’s own captions, and some related videos.
 

Youth: In 1964, I was seven. The world was still in black-and-white, still very much post-war, still austere, with poor street lighting and simple foods. But much of my world revolved around television pop shows like Ready, Steady, Go!, Thank Your Lucky Stars and Juke Box Jury. One of my first pop memories was seeing Sandie Shaw barefoot on RSG! singing ‘(There’s) Always Something There To Remind Me’. I was always singing that song. I loved pop from a very early age.

 

Photo: Peter Ashworth

Non-Stop Subversion: This was our preferred cover for Non-Stop Erotic Cabaret but the record company thought it too menacing and subversive. Dave looks quite convincing in the role of switchblade-carrying psychotic!

“Martin” live on ‘The Tube’ in 1983

 
Much more Marc, after the jump…

Posted by Richard Metzger | Leave a comment
Radical queer photographer documents S & M culture in ‘family photos’
04.30.2015
01:28 pm

Topics:
Queer

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Photographer Kevin Warth does queer family photography… sort of. His work is actually a re-imagining of the family within the BDSM scene. I sense a tongue-in-cheek diss to the bourgeois gay politics of the day—if you’re not looking to adopt or get married, does the mainstream LGBTQ movement really offer you anything?

From his artist’s statement:

In the series “Boy and his SIR: BDSM and the Queer Family”, I photograph constructed realities in which BDSM practices coexist with domestic and familial rituals. This body of work stems from my disidentification with moderate gay politics, which primarily concerns itself with the legalization of gay marriage and adoption. In response, I question if this normative family structure is a desirable goal for queer relations, or if other modes of kinship are more suitable.

Okay, so that’s pretty thick with post-structural academic influence for a series with ball-gags, Saran wrap and a K-Mart photo studio tableaux, but I think there’s a sense of humor here I really like! Plus, in this era of 50 shades of fan fiction, it’s really refreshing to see some average faces and bodies being kinky in a domestic setting.
 

 

 

 

 

 

 

 
Via Juxtapoz

Posted by Amber Frost | Leave a comment
America’s religious ‘leaders’ make fools of themselves in the ‘Reefer Madness’ of anti-gay docs


And they all think you’re a dick, Mike…

With the Supreme Court hearing arguments today on gay marriage, it seemed like the perfect time to post this extended trailer from Light Wins, a goofball anti-gay rights documentary produced by Janet Porter, who is a weekly columnist for WorldNetDaily and the author of the demurely titled book, The Criminalization of Christianity (Gee, I wonder what that’s about?). Porter is a believer in “dominion” theology, the idea that Christians are duty bound to wrest complete control from non-believers over every aspect of political life. To bring about the return of Christ, of course!
 

 
I absolutely could spend the next 45 minutes coming up with all manner of insulting epithets and nasty things to say about the fucking idiots—including GOP presidential contenders Mike Huckabee and Rand Paul—who took part in this… thing—and it might even be fun, but it would also be utterly pointless. These people discredit themselves and the American/Republican form of Christianity they practice with every second of their onscreen time. It’s wall-to-wall DUMB. They don’t need me, or anyone else, to point out how ridiculous they are.
 

 
But I will say this: If you could go back in time to the Salem witch trials and do a documentary about what happened, it would be assholes just like David Barton, Louie Gohmert and Phyllis Schlafly who would be clamoring to inflict their stupidity on your audience (luckily they can’t burn anybody at the stake in these more enlightened times.). Clearly these folks do not realize how much they BOOST the cause of gay civil rights EVERY TIME they open their mouths! Not like there’s a snowball’s chance in Hell that level of self-awareness would shut any of ‘em up, I’m just sayin’...
 

Phil Robertson, thinking…
 
Yep. If these people are what America’s version of Christianity sees as its moral leaders… in a sense, all I can say is “Hey… great!” Ten years ago, it used to be that the sight of someone like Tony Perkins on TV made me steaming mad, but the distance from the Bush administration to today seems very, very vast. Today Perkins is scarcely even shown respect on these shows, just last weekend, Bob Schieffer (who’s retiring and hilariously called it exactly like he saw it) took careful pains to make sure that the Face the Nation viewership knew that he just didn’t like this guy very much or have any respect for him. At one point Tony Perkins and his icky ilk held the power, now he and they, just look like yesterday’s bigots.
 

‘memba her?

Light Wins, of course, casts this matter as a fight of good against evil. In doing so, it makes itself the perfect unintentional time capsule of the moment we’re living in. No really, it sums up everything about America at this pivotal moment in our history, not just the gay civil rights and persecuted Christianist angles, but how America truly is turning into two nations. Not a Christian vs. secular nation, or merely conservative vs. liberals either. It’s something greater than that, what I like to think of as “the Great IQ stratification.” Smart people vs. dumb people. What’s really going on is becoming starkly obvious at this point, don’t you think?

The participants in Light Wins will not be seen very kindly by history and no one in it is ever going to become President, either.

Here’s the nine-minute long trailer. (If you can’t get enough, there’s also the half-hour version.)
 

Posted by Richard Metzger | Leave a comment
The Terminal Bar: ‘New York’s most notorious watering hole’
04.15.2015
02:00 pm

Topics:
Drugs
Movies
Pop Culture
Queer

Tags:


The notoriously scuzzball Terminal Bar, as seen in Martin Scorsese’s ‘Taxi Driver.’

Though I may yearn for the rents of the 1970s, the “grit” of “old New York” can be heavily over-romanticized. Yes, it was cheaper, and the arts were more vibrant and the population more varied. There was shitloads of violent crimes, parts of the city were really dirty and dilapidated, and other parts just looked like some one had dropped a bomb on them.
 

 
Nonetheless, historical records of the all-too-recent period of NYC brutality are in high demand. Terminal Bar was most certainly an “old New York” institution. The infamously sleazy Port Authority-adjacent saloon opened in 1972, catering first to working class Irish-American toughs, then more for pimps, pushers, prostitutes, down-and-out drunks and drug addicts, finally attracting a primarily gay, black and male clientele before closing in 1982. During its ten-year run, bartender Sheldon “Shelly” Nadelman (the son-in-law of the bar’s owner Murray Goldman) documented his patrons and the area around the bar with a keen eye, and his collection, Terminal Bar: A Photographic Record of New York’s Most Notorious Watering Hole continues to engross those of us with a taste for the louche.
 

 
Calling himself a “half-assed artist,” Nadelman mainly worked in portraiture of his regulars—beautiful black and whites of usually overlooked and often avoided faces. In 2002 his son Stefan made a small documentary, Terminal Bar, that took the 2003 Sundance Jury Prize for short film—you can now watch it in its entirety (and in HD!) below.
 

 
In a combination of interview, narration and slideshow, you get a taste of just how wild—and how alive—one little bar could be. The Renzo Piano-designed New York Times building now stands where the Shelly Nadelman once took his customers’ portraits.
 

Posted by Amber Frost | Leave a comment
The all-drag version of ‘The Facts of Life’
04.10.2015
09:29 am

Topics:
Queer
Television

Tags:


 
If you’re of “a certain age” (or older), you surely remember and quite possibly even loved the show The Facts of Life, which ran on NBC for quite a while along with its somehow-related show Diff’rent Strokes.

The Oasis, on 298 11th Street in San Francisco, is a cabaret that offers “the best of gay culture and an unforgettable San Francisco nightlife experience in our 6,000 square foot venue.” At Oasis the performers have a healthy sense of pop culture: the venue’s calendar features tributes to Madonna and Beyoncé and elsewhere on the site are references to drag versions of Sex and the City, Friends, and Roseanne.

Starting April 23, and playing most Thursdays, Fridays, and Saturdays until May 16 is The Facts of Life Live!, which is an all-drag version of the Reagan-era sitcom staple The Facts of Life, which they identify as “the longest running sitcom of the 1980s.” (It ran from 1979 to 1988, which is very impressive.)

The Facts of Life was about four teenage girls who attend “Eastland School,” a boarding school, and Edna Garrett, often called “Mrs. G,” who is the housekeeper of the space where the girls live. (It never really occurred to me before, but the device of the boarding school allowed them to have a “family” sitcom with anyone being related to each other.) To its credit, The Facts of Life was one of the more obviously feminine, not to say feminist, sitcoms of the era and also served as a launching pad for the careers of talents as diverse as Molly Ringwald and George Clooney. Also just like X-Men, it was set in Westchester County, N.Y. (in this case Peekskill, about a fifteen-minute drive from the town in which I grew up).
 

 
The Facts of Life Live! is directed by D’Arcy Drollinger, who co-founded Oasis and also plays Blair Warner (original actress: Lisa Welchel). Tamale Ringwald plays Natalie (Mindy Cohn), Daft-nee Gesuntheit plays Jo (Nancy McKeon), and James Arthur M. plays Tootie (Kim Fields). The show consists of two episodes.

Continues after the jump…

Posted by Martin Schneider | Leave a comment
Remembering John Sex, East Village icon: ‘A hustler, a hooker, a honcho, a hero, a dyke and a queen’
04.08.2015
02:11 pm

Topics:
Art
Pop Culture
Queer

Tags:

image
 

From the Dangerous Minds archive, a post about John Sex on what would have been his 59th birthday.

John Sex was a New York City-based performance artist, male stripper and disco singer who was a standout personality of the East Village art scene of the 1980s. He’d sing schmaltzy Vegas numbers in glittery smoking jackets, shiny Ziggy Stardust-esque zip-up jumpsuits, 10-inch platform heels, and assless leather pants. His trademark was his bleached-blond hair which stood straight up on his head in an exaggerated pompadour which he said was held aloft by “a combination of Dippity-do, Aqua Net, egg whites, beer, and semen.” He also had a pet python, named “Delilah,” and a suit made of 500 light bulbs. In his X-rated version of the Sinatra standard “That’s Life,” he’d sing “I’ve been a hustler, a hooker, a honcho, a hero, a dyke and a queen.”

The “character” of John Sex was not all that much off from the “real” John Sex, but more of a mythical version of himself as an omnisexual rockstar parody or phallocentric version of Tom Jones. He couldn’t turn it off if he wanted to, which I can assure you, he did not. He would often claim that his parents were immigrants who “Americanized” their original Irish surname “Sexton” to “Sex” so they would fit in better, then adding “and if you believe that one…”  The real story is that during a period of “rampant promiscuity,” Joey Arias and Klaus Nomi renamed art student John McLaughlin, the nice Catholic boy from Long Island who was everything his mother never wanted him to be, “Sex” and for obvious reasons, I think the name just stuck!
 
imageJohn Sex with Ann Magnuson, early 1980s
 
John Sex was a smart, super creative, fun, funny and endlessly inventive guy. Everyone loved him. There was absolutely no reason not to. John was a total sweetheart, a great raconteur and he always had the best showbiz stories and gay gossip you ever heard. He is one of the funniest people I’ve ever met. There was constant laughter when he was around. You can see a little bit of what John Sex was like in this clip shot by video artist Nelson Sullivan. John and his friend Craig Vandenberg (who often played John’s washed-up showbiz loser father in shows they’d do together) trade lines in the basement of the Pyramid Club, warming up before a performance there. His boyfriend, Willfredo, the guy with sunglasses, is seen taking pictures about 2:45 in. You can see the performance itself here.
 

 
With his female backing singers, The Bodacious TaTa’s (Wendy Wild, April Palmieri, Micki French, Myra Schiller and others) and wearing his exaggerated showbiz finery courtesy of his friend (and sometime TaTa) fashion designer Katy K, John Sex played to nightclub audiences at venues like Club 57, the Pyramid Club, Danceteria, Limelight, The Palladium and The Saint. Many of his shows would end with him stripping down to a glittery jock strap, or beyond, during a song called “Jet Set.” Some of his other notable numbers were “Hustle With My Muscle” (see clip below), “Sex Appeal,” “Bump and Grind It” and “Rock Your Body,” a song he did with noted hip hop producer Man Parrish, that I made a music video for in 1988 (see bottom clip).
 

“Hustle With My Muscle” directed by Tom Rubnitz, This was shot at the Area nightclub in 1986 when the theme of the decor was something like “rednecks” or “trailer trash.”

 

More after the jump…

Posted by Richard Metzger | Leave a comment
‘Bennett’ lets off some steam about his ‘Commando’ character’s sexuality: A chat with Vernon Wells
04.06.2015
05:56 am

Topics:
Movies
Queer

Tags:


 
Mark Lester’s 1985 film Commando, starring Arnold Schwarzenegger, is arguably the greatest action film of the ‘80s—or more arguably “the greatest film of all time,” depending on how many drinks you’ve had.

Commando brought us one of the most unusual villains in action cinema, “Bennett,” played by ultimate ‘80s bad guy, Vernon Wells, who was previously known for his portrayal of “Wez” in The Road Warrior and “Lord General” in Weird Science.
 

The transition from playing “Wez” to playing “Lord General” was quite a stretch.
 

The Bennett character is Wells’ most notorious role, due to the fact that he seemed such an improbable foil for Arnold Schwarzenegger’s “John Matrix.” Any discussion of Commando usually leads to a discussion of Bennett’s look, which was described by Andy McDermott in Hot Dog Magazine as “Freddie Mercury Casual.”

His silver mesh tank top, worn with a belt over, black leather pants, bike chain necklace and pornstar mustache give him more of the appearance of a Tom of Finland character than your typical action antagonist.
 

Commando costuming director’s inspiration for Bennett’s look?
 

Perhaps it’s the character’s visual presentation, or something more, that has caused speculation for 30 years over Bennett’s sexual orientation—whether or not he was homosexual, and whether or not he was secretly in love with John Matrix.

IMDB devotes an entire section of their Commando FAQ to an examination of Bennett’s sexuality. Much of this discussion is fueled by McDermott’s Hot Dog article:

McDermott goes on to argue that whilst Bennett always calls Matrix by his first name, suggesting affection and familiarity, Matrix always calls Bennett by his surname, suggesting distance. This leads him to hypothesize that perhaps Bennett was kicked out of the unit by Matrix, because Matrix discovered that Bennett had become sexually attracted to him; “all he wanted was a little love, and instead he got fired. No wonder he’s mad.” McDermott also attaches great metaphorical significance to Matrix’ line at the end of the film, “Put the knife in me. Look me in the eye and see what’s going on in there when you turn it. Don’t deprive yourself of some pleasure. C’mon, Bennett. Let’s party.” The image of one man putting something in another man and then turning it, McDermott argues, has obvious homosexual connotations. He also points out the significance of the fact that Matrix’s knife is bigger than Bennett’s, thus causing “knife envy” in Bennett, prompting him to attack his “love/hate object”. McDermott also comments on the irony inherent in the fact that although Bennett seemed to be in love with Matrix (and presumably wanted to have sex with him), it is Matrix who penetrates Bennett at the end of the film, albeit with a steel pole in the chest. Which probably wasn’t what Bennett had in mind.

 

“What’s wrong, Bennett? Can’t take the pressure?”
 
McDermott’s article sums up the character’s vibe thusly:

Bennett is a walking, talking, stereotypical embodiment of the macho, puritanical Reagan era’s utter terror of homosexuality, gripped with the fear that the slightest chink in the masculine armor will instantly result in a trip to the YMCA and a purchase of a pair of chaps and a tube of KY jelly.

Commando director Mark Lester, however, flatly denies that Bennett is gay, stating in the DVD commentary:

I don’t know what people are saying when they say that to me. He seems to me like the most macho soldier or person you could think of.


Others who worked on the film have suggested that they aren’t so sure. In the 2007 DVD featurette, “Commando: Let Off Some Steam,” screenwriter Steven E. de Souza mentions that “the wardrobe on Vernon Wells has led to a lot of conjecture that Vernon had a crush on Arnold’s character,” and Commando co-star Rae Dawn Chong is upfront about the homosexual undercurrent:

They’re like lovers. The outfit they had on him, I mean, HELLO, he looks like one of the Village People. Arnold is the ideal, and you know, if you can’t be it and can’t love it, you want to kill it. That really confusing sexuality comes through and it manifests in violence.

 

 
The Wookie Wednesday blog chimes in on the debate:

There’s plenty to point to that suggests that Bennett and Matrix had a relationship deeper than friendship. For example, this line: “I really love listening to your little pissant soldiers trying to talk tough. They make me laugh. If Matrix was here, he’d laugh too.” The part of the quote in bold is delivered by Bennett with a sigh, as if he was a lovesick teenager.

In the film’s climax, Bennett warns Matrix: “I’m not going to shoot you between the eyes, I’m going to shoot you between the balls!” Is it reading too much in to think that Bennett may have wanted to destroy the one part of Matrix’s anatomy he was most upset over being denied?
 

“I’m going to shoot you between the balls!”
 
We recently had a chance to sit down with Vernon Wells, Bennett himself, and ask some burning questions about his Commando character.

Wells tells us that he was originally rejected for the role, but was called back in from Australia, six weeks into Commando production, as a replacement. He further explains that, with the production being under-the-gun, he was not afforded a proper costume fitting and that his costume was a bit small for him. We’re not sure that that explains the leather daddy look, but it might explain why he appears a bit out of shape—the clothes were ill-fitting!

On the topic of being in shape, we noted that many have suggested Wells seemed a bit mis-matched against the massive Schwarzenegger, an insinuation which Wells quickly dashed, claiming he was “perfectly matched” against his opponent. He relates a story about the beginning of Commando shooting where he was holding back in rehearsals and Schwarzenegger suggested to producer, Joel Silver, that Wells was “a bit of a wuss” and that he was no good for the character; but when the cameras rolled, Wells gave a performance so maniacal, stating “I was virtually up his butt with this knife,” that Schwarzenegger recanted, telling Silver, “nevah give him a real knife!”
 

“The first scene I did was where I had him tied to the table and had the knife to his throat, telling him what I wanted to do to him… and we did the scene and I was virtually up his butt with this knife…”
 
We asked Wells if Bennett had a first name, because THAT’s a thing we’ve always wanted to know: “I’m sure he did but nobody ever told me.”

Curious about character motivations, we asked what the motivation was behind Bennett’s wardrobe. Wells diplomatically replied that Bennett “liked to be different” and was an “individual” and his dress reflected that. When asked if Bennett may have been a Freddie Mercury fan, Wells speculated that Mercury was looking down on Bennett, shaking his head and saying “oh my God.”
 
Continues after the jump…

Posted by Christopher Bickel | Leave a comment
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