Category Archives: Culture

Asylum….NOW!

Iran_gays The Netherlands’ highest court on Tuesday rejected a Gay Iranian’s last-ditch appeal to avoid deportation to Britain, where he fears authorities will send him back to Tehran and possible execution.

Mehdi Kazemi, 19, traveled to Britain to study in 2005 and applied there for asylum after learning that his male lover in Iran had been executed for sodomy. After British authorities rejected Kazemi’s application, he fled and applied for asylum in the Netherlands.

Upholding a ruling by the Dutch government, the Council of State said Britain is responsible for Kazemi’s case because he applied for asylum there first. European Union rules say the member state where an asylum seeker first enters the bloc is responsible for processing that person’s claim.

"There should be some political leadership," he said in an interview. "I hope in Britain they will do it, and otherwise we should take the boy."

Because of Iran’s persecution of Gays, the Netherlands typically relaxes its tough asylum rules when considering applications by Gay Iranians — virtually guaranteeing asylum to any who apply here. However, because Kazemi had already applied for asylum in Britain and been rejected, the Dutch government refused to consider his case, insisting he return to Britain.

Britain’s Home Office has declined comment, saying it does not discuss individual asylum applications.

However, Britain’s Border and Immigration Agency has issued a statement that could give Kazemi hope: "We examine with great care each individual case before removal and we will not remove anyone who we believe is at risk on their return."

Beebo Is Back!

Beebo_brinker BEEBO BRINKER!…in the form of the Beebo Brinker Chronicles, a wonderfully realized play by Kate Moira Ryan and Linda Chapman based on the estimable Ann Bannon‘s series of books (who. by the by, will be honored along with Malcolm Boyd and Mark Thompson at the Lammies this May in Los Angeles) …IS BACK!

That’s the good news. The bad news is it’s only around for ten weeks and this time it is live on stage at the 37 Arts Theater, 450 West 37th Street. Tickets are available here. Or you can call 212-307-4100 from 9:00 am to 5:00 pm.

This is a delicious evening of theater and LGBT history all rolled into fantastic performances and beautiful bodies. 01big_2 It’s sexy smart and fun. You may recall we wrote about this when we first saw it last October. Since then it’s been nominated for a GLAAD award.

All I can say is…nothing’s changed…it’s just gotten better!

ALL: A James Broughton Reading…

Broughton_all_cover For readers in the Bay Area, KPFA radio host, Jack Foley, and his wife, Adelle, will be giving a reading of  ALL: A James Broughton Reader, a White Crane Book, along with poet Katherine Hastings, at A Different Light in San Francisco, this Wednesday, March 5 at 7:30pm.

Hastings recently wrote of the book: ALL: A James Broughton Reader is an important book and offers us a unique experience, for it is, as Foley claims, “the very first book to allow the various aspects of Broughton’s complex personality to ‘sing’ to one another.” James Broughton was so vastly talented and led such an extraordinarily interesting life that one comes away from this gorgeous and excellently structured book wondering how we did without it. If you are familiar with James Broughton’s work, you already know you must have this book. If you have not experienced Broughton’s poetry, film or journals, treat yourself—you’re in for  “Big Joy.”

The Restless Yearning Towards My Self

SUNDAY MARCH 16, 2008 @ 3PM
Announcing the World Premiere of

The restless yearning

towards my Self

A Musical Collaboration
and a Transformative Work in Healing the Heart


“I see it as I am rowing on the dark waters

towards a rock, large and bright—like a moon,

rigged, distant, rising at the end.
It is that marker, moorage, beckoning;
I dreamed of it in the cold, my body rolled,

amphibian-soft, primitive as defense….”

from The Restless Yearning Towards My Self, Perry Brass.

Most people take many detours in the course of their lives, as they follow their goals and ambitions, often finding themselves detracted by a confusion of byways and misleading directions.

But at the center of their actions (and themselves), lies a psychic/emotional core, that they often lose sight of but the loss of which leaves them with an almost indelible sense of its absence. So, instead of re-discovering this core, they erect “impostors,” stand-ins for their real selves: bright, glowing public figures, of significance, certainly, to them and much of the outside world—while the real “Self,” that almost physical realization of the inner soul, still waits, until some moment of starkest Self recognition, which brings with it an almost uncontainable feeling of contentment and a much longed for, blessed unity.
   
“The restless yearning towards my Self” is about realizing this search, and finally achieving its goal, when the Self after years of denial recognizes and claims you; when the deepest part of you speaks to you, and offers you that genuine feeling of achievement and unity most of us seek. It is this great recognition that in many ways powers the most lasting of the Arts, and we have brought to life once more this recognition of the Self by merging the text of a starkly moving poem by poet/novelist Perry Brass (“The restless yearning towards my Self”) to music by opera composer Paula M. Kimper, scored for counter-tenor and string quartet.


This premiere will be part of

THE DISTAFF SIDE: WOMEN AT WORK:

DOWNTOWN MUSIC PRODUCTIONS
mimi stern-wolfe, artistic director
EAST VILLAGE CONCERT SERIES
St Marks in the Bowery  10th street and 2nd avenue
SUNDAY MARCH 16 @ 3PM
Restless Yearning will feature counter tenor Marshall Coid, and a string quartet. This piece lasts approximately 26 minutes.
Also on this program will be MADELEINE DRING (Trio for oboe, flute & piano); MARY CAROL WARWICK (premiere) (Viola Sonata); (Song: (Imagination) (Ilsa Gilbert ) Dan Strba (vla);  & Mimi Stern-Wolfe, piano.
MEIRA WARSHAUER (Aecha)  with Downtown Chamber Trio  A. Bolotowsky, fl;; Jeffrey  Hale, oboe; LAURA WOLFE, vocals and guitar with DAVE EGGAR:, cello; (Original songs); MIRA SPEKTOR, (Turn Around) ;Songs:  Maeve Hoglund, soprano.
Suggested donation: $10, 15;  information: dmpmimi@msn.com;; www.downtownmusicproductions.org; 212 477 1594

Equal Treatment

Michigan Interesting the lengths to which institutions that don’t want to discriminate have to go to provide the same coverage to same-sex couples. This circuitous (to avoid actually saying they’re providing this to Gay couples), and admirable language, from the University of Michigan’s personnel policy, was sent to me by my brother who is on the medical faculty there.

I have to say, what’s even more admirable is his note that accompanied it:

"I wondered whether you’d be intrigued by how the U of M is maintaining its commitment to provide employee benefits to same sex domestic partners while remaining "legal" under the recently adopted Michigan law prohibiting this. Mind you, I’m not proud of Michigan’s law governing this issue, but I am pleased that my employer has come up with a way around it.  Screw the evangelicals if they don’t like this.  I’d like to see their faces when they find that their attempt to create a sexual-orientation-apartheid failed."

ELIGIBILITY CRITERIA

“Other Qualified Adult”

All of the following eligibility criteria must be met:

1. Employee and Other Qualified Adult currently share a primary residence and have

shared a residence for at least 6 months.

2. Other Qualified Adult is not eligible to inherit from the employee under the laws of

intestate succession in the state of Michigan*;

3. Neither Employee nor Other Qualified Adult is legally married in Michigan.

4. At least one of the following is true:

– Employee and Other Qualified Adult have a joint checking account; or

– Employee and Other Qualified Adult have a joint savings account; or

– Employee and Other Qualified Adult have a joint credit account.

5. At least one of the following is true:

– Employee and Other Qualified Adult have durable power of attorney for

health care for the other; or

– Employee and Other Qualified Adult have durable power of attorney for

financial management for the other.

6. The Other Qualified Adult has been designated as the primary beneficiary for at least

one of the following:

– A life insurance contract held by Employee; or

– The Employee’s will; or

– A retirement contract (including IRA, 401 (k), 403(b), or pension plan)

held by the Employee.

7. Other Qualified Adult and Employee cannot legally marry each other in Michigan.

*The following individuals do not fall within the eligibility criteria for Other Qualified

Adult:

· Spouse

· Children and their descendents (i.e. children, grandchildren)

· Parents

· Parents’ descendents (i.e. siblings, nieces, nephew)

· Grandparents and their descendents (i.e. aunts, uncles, cousins)

Ennis del Mar is dead – RIP Heath Ledger

Ennisledger Heath Ledger is dead.

The story is still breaking and the reasons or causes still unknown. I’m sure we’ll know more as the news media does it’s work of uncovering what can be uncovered.

My partner called me up to tell me the news. Feeling shocked I looked online while we talked to confirm what was true. Then I called Bo up and we talked about the loss. He told me the television stations in New York had broken in with the news.

Is this story right for a blog about Gay Wisdom?

Yes. I believe it is. Ledger wasn’t Gay but he was so successful in providing the film-watching world with one of the most nuanced, aching portrayals of a very real Gay man dealing with living openly and claiming his life — a portrayal we had never seen on the screen before on such a level. With that alone he may have singlehandedly (and with Jake Gyllenhall) provided a powerful service to the larger public about the realities of the homophobic, hetero-orthodoxy LGBT people live in day in and day out.

Beyond all the Brokeback jokes that flooded over us during the movie’s historic run and trophied success, there remained that simple story of these two men who found themselves in love, two men who struggled in a difficult period and place to carve out a loving space for themselves. This was the story that writer Annie Proulx had created to speak of the quiet lives of Gay ranchers she met while living in Wyoming. The critics raved:

"Both Mr. Ledger and Mr. Gyllenhaal make this anguished love story physically palpable. Mr. Ledger magically and mysteriously disappears beneath the skin of his lean, sinewy character. It is a screen performance, as good as the best of Marlon Brando and Sean Penn."  the film, critic Stephen Holden

"Ledger’s magnificent performance is an acting miracle. He seems to tear it from his insides. Ledger doesn’t just know how Ennis moves, speaks and listens; he knows how he breathes. To see him inhale the scent of a shirt hanging in Jack’s closet is to take measure of the pain of love lost."  the Rolling Stone’s, Peter Travers

In our 2006 White Crane interview with the writer Jeff Mann,:

I will remember Brokeback Mountain as one of the great films of my life. I don’t think any other mainstream movie has ever captured so many of my issues, my passions, and my fears. Most Gay [themed] films are about the urban experience, to which I can only partially relate. The fact that this film dealt with small town and rural experience really resonated with me, since I’ve spent most of my life in such settings. I thought the movie was beautifully filmed and finely acted, and I sympathized very strongly with both of the male protagonists.

Sure, one could look at Brokeback as yet another Hollywood Gay tragedy story, but I always felt it was an honest telling of a past (and for the majority of Gay people still trapped in less free places) and present reality we never see in the movies. And I can’t imagine a more heartwrenching portrayal of such an honest story.

I could go on and on about the portrayal but I think Andrew Hudson, who wrote a really amazing reflection on the movie for our 2006 Cowboy issue, nailed so much of the importance of the film and of Ledger’s amazing portrayal of Ennis.

A few excerpts then from Hudson’s writing:

One night in an upstate Wyoming bar, Annie Proulx noticed how a poor ranch hand in his late sixties looked with longing at the young cowboys playing pool. She wondered if he might be “country Gay,” and conceived “a story of destructive rural homophobia,” the tale of a love between two men shaped, forced by the mountain landscape’s “isolation and altitude,” by homophobic antipathy and denial. She rewrote her story over sixty times in the next months, as she got into a dialogue with her characters, determinedly hunted down the right words.

= = =

We end with the two shirts, but now Jack’s is enclosed inside Ennis’s, to say he lives on in Ennis’s heart. (This reversal was the brainchild of Heath Ledger, who to Annie Proulx “knew better than I did how Ennis felt and thought.”) As [the screenwriter] Larry McMurtry has said: when Ennis visits Jack’s parents, hears what Jack’s father says, finds the shirts in Jack’s room, it becomes a great movie, a tragedy — for he then realizes what he’s missed. We have seen his deep emotional turmoil, but he’s failed to grasp (what we have also seen): Jack’s enormous love for him (even during Jack’s unfaithfulness). We’ve heard Jack’s tender “it’s all right, it’s all right,” repeated in their second lovemaking; said in response to Ennis’s agony when he falls to his knees at the crux of their argument. We’ve felt Jack’s heart.

from Andrew Hudson’s "The Art of Brokeback Mountain", White Crane #68, Spring 2006.

Ancestors – One and the Supremes

January 15th is a red letter date in GLBT history, and particularly in the history of Gay publishing (blogger Jim Burroway has a very nice remembrance of this at Box Turtle) and in light of the recent passing of Mattachine assimilationist, Kennith H. Burns in Los Angeles it seems even more trenchant.

Fifty years ago, a Supreme Court unsullied by religion and right-wing fundamentalism ruled in One Inc. v Oleson that a magazine for Gays and Lesbians could be sent through the mail and not be seized as pornography, per se. To be entirely accurate, One Inc. v. Oleson was on the docket for the Court when they decided Roth v. United States, which vaguely held that "pornography" could have "no sociably redeeming value" and the court went on to issue a one sentence per curiam i.e. "by the court" with no assigned findings included, — much as Gore v. Bush was decided, incidentally — that the lower court ruling against One Inc. was inconsistent with Roth so it could, indeed, be published and mailed.

Under the  editorial leadership of Martin Block, Dale Jennings, Don Slater and Donald Webster Cory, ONE magazine was a first class product, a dramatic departure from the underground, mimeographed and stapled sheets which were more common at the time. In the throes of McCarthyism, the sophisticated and slickly produced one reached the astounding readership of 2,000 (more, sad to say, than this magazine reaches, now, 50 years later).

One_magazine_cover_aprilmay_1956 ONE’s  tone was bold and unapologetic, covering politics, civil rights, legal issues, police harassment (which was particularly harsh in One’s hometown of Los Angeles), employment and familial problems, and other social, philosophical, historical and psychological topics. Most importantly, ONE quickly became a voice for thousands of silent gays and lesbians across the U.S., many of whom wrote letters of deep gratitude to ONE’s editors.

Other founders were Merton Bird, W. Dorr Legg, and Chuck Rowland. Jennings and Rowland were also Mattachine Society founders.

In January 1953 ONE, Inc. began publishing ONE Magazine, the first U.S. pro-gay publication, and sold it openly on the streets of Los Angeles. In October 1954 the U.S. Postal Service declared the magazine ‘obscene’. ONE sued, and finally won in 1958, as part of the landmark First Amendment case, Roth v. United States. The magazine continued until 1967.

ONE also published ONE Institute Quarterly (now the Journal of Homosexuality). It began to run symposia, and contributed greatly to scholarship on the subject of same-sex love (then called "homophile studies").

ONE readily included women, and Joan Corbin (as Eve Elloree), Irma Wolf (as Ann Carrl Reid), Stella Rush (as Sten Russell), Helen Sandoz (as Helen Sanders), and Betty Perdue (as Geraldine Jackson) were vital to its early success. ONE and Mattachine in turn provided vital help to the Daughters of Bilitis in the launching of their newsletter The Ladder: a lesbian review in  1956. The Daughters of Bilitis was the counterpart lesbian organisation to the Mattachine Society, and the organisations worked together on some campaigns and ran lecture-series. Bilitis came under vicious attack in the early 1970s for ‘siding’ with Mattachine and ONE, rather than with the new separatist feminists.

In 1965, ONE separated over irreconcilable differences between ONE’s business manager Dorr Legg and ONE Magazine editor Don Slater. After a two-year court battle, Dorr Legg’s faction retained the name "ONE, Inc." and Don Slater’s faction retained most of the corporate library and archives. In 1968, Slater’s faction became the Homosexual Information Center, a non-profit corporation that survives today.

In 1996, ONE, Inc. merged with ISHR, the Institute for the Study of Human Resources, a non-profit organization created by transgendered philanthropist Reed Erickson, with ISHR being the surviving organization and ONE being the merging corporation. The organization also merged with Jim Kepner’s International Gay and Lesbian Archives. The current organization entitled the ONE National Gay and Lesbian Archives onearchives.org is the world’s largest gay and lesbian archives. It is located in Los Angeles near the campus of the Uuniversity of Southern California. It holds the archives of ONE Magazine, ONE INC., and many leaders of the early gay movement including Dorr Legg, Pat Rocco, Morris Kight, and the LA Gay Center, as well as numerous audio and video tapes of ONE INC and other early gay panels and programs.

White Crane stands in awe and respect of those who went before us.

Edward II

I had the immense pleasure of seeing an amazing play recently. What makes the pleasure all the more thrilling is that the play was written more than 400 years ago, by an ancestor who was nothing less than Shakespeare’s chief competition! As we plan the spring issue of White Crane on Ancestors, it was deeply satisfying to see this production made possible by no less than three major Gay allies or ancestors, Christopher Marlowe, Garland Wright and Edward II himself (kudos to the still with us — and with it! — Red Bull Artistic Director, Jesse Berger, too, of course!)

Starting with the historical Edward: he was the first "Prince of Wales." He is the king who established colleges in the universities of Oxford and Cambridge; he founded Cambridge’s King’s Hall in 1317 and gave Oxford’s Oriel College its royal charter in 1326. And yes, he did have a tendency to sort of ignore his "nobility" (pre-shadowing Whitman’s "working class camerado’s" by a couple of centuries) and run around with sexy, young minions. Marlowe took a collection of "favorites" and created the archetypal character of Piers Gaveston to represent Edward’s "proclivities." Companions had been brought over from France to teach the young prince how to be a gentleman. If they only knew. Ahhh…if we only knew.

Edward_iiThe late Garland Wright was the visionary director and a leading figure in both the New York theater scene and the regional theater movement in America, most famously as the Artistic Director of The Guthrie Theater. He died at the tragically young age of 52 while in the middle of preparing this production of Christopher Marlowe’s legendary Edward II. His commitment to Gay causes, particularly his opposition to Don’t Ask, Don’t Tell brought him to an interest in Marlowe’s Edward.

There is no way I can improve on the review of the play in the NY Times and other places. Does it ring any bells to say this is the story of a leader whose lover distracts him from his duties, tells the story of sexual obsession, religious power and the intersection of the political and personal lives of a flawed leader. Throw in some church/state tensions and you might well be talking yesterday, not 400+ years ago. Add Queer As Folk’s blond boy Randy ("Justin") Harrison in a featured (and, I might add, impressive…newly hirsute-for-this-play Mr. Harrison is virtually unrecognizeable, "boy " no more…this man can act!) role, and you have a damned sexy and theatrically fascinating evening.

It is tempting (and wrong) to believe  that the modern GLBT civil rights movement is the first time a movement has attempted to upset the social order (and despite what the assimilationists would have you believe, this is what it’s about, dear ones) and create an alternative to traditional gender roles, definitions of sexuality and hierarchal power structures. It is bracing to realize that Marlowe was doing this 400 years ago, before there was any other word for who we are than "sodomy." There was no "Gay," no "homosexual," no "same-sex love." It was sodomy, plain and simple, and a clear demonstration of the implicit role church has played in statecraft since its earliest days.

Further, this is the story that first turned this writer off Mr. Mel Gibson, waaaay before his drunken, entitled, anti-Semitic outbursts. His gratuitous and flat out historically wrong-headed re-telling of the murder of Edward’s beloved, Piers Gaveston, in Braveheart, where Gibson has Edward’s father (who was dead before any of the gist of the story we know happened) throw Gaveston out of a tower to his death made Gibson persona non grata in my eyes. Hollywood’s traditional "kill the queer" has never been more distasteful to me than it was in that horrible movie.

But, back to happier stories…the king and his beloved frolic on a wildly sexy set, in costumes (and the tasteful lack thereof) that reinvents the whole "suit and tie" Shakespeare fad. This play is gripping, intellectually and visually, from the dimming of the lights to the last ovation.

In a word: Run, don’t walk, to see this play at the Red Bull Theater on 42nd Street. Its run has been extended through the end of January. This is a must-see.