06.18.19 :: Stonewall

COMMEMORATIVE ISSUE LGBTQ

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Stonewall

at the Sie FilmCenter 2510 E. Colfax Ave. Denver, CO 80206

At CinemaQ, outstanding film, receptions, panels, and in-person filmmakers elevate the diverse perspectives, issues, and icons relevant to today’s LGBTQ+ community.

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JULY 16 - 21, 2019

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CONTENTS JUNE 19, 2019 VOL43 NO6

16 HISTORY OF BISEXUALITY SINCE STONEHWALL 18 WHY YOU SHOULD TELL QUEER STORIES 20 NEXT 50 IS TAKING CARE OF OUR ELDERS 24 ARCHIVISTS ARE KEEPING OUR HISTORY SAFE 26 LIPSTICK THAT STAINS: LOIS LONG, THE MATRIARCH OF SOCIAL INFLUENCERS 28 3D MAPPING STONEWALL FOR FUTURE GENERATIONS 30 DENVER PRIDEFEST HONORS STONEWALL 34 DO PEOPLE OF COLOR HAVE A VOICE IN THE DRAG WORLD? 36 WE ARE FAMILY: HEALING OUR COMMUNITY WITH DRAG 38 REMEMBRANCE OF PRIDES PAST 40 THE LAVENDER SCARE: NOT ABOUT OR FOR EVERYONE 48 ASK A SLUT STONEWALL EDITION

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H

ello and welcome to Denver, Colorado.

We are glad you chose to help celebrate ROCKY MOUNTAIN REGIONAL RODEO 37 with us. The Colorado Gay Rodeo Association is proud to be the oldest continuous running rodeo on the IGRA circuit.

Events such as this are the result of many great volunteers and many hours of hard work leading up to this weekend. A huge thank you to all the volunteers who work tirelessly to make this weekend is a success. The board of directors of CGRA along with our rodeo director, Robert Thurtell, have done a tremendous job of producing this weekend’s event. A huge thanks to all our rodeo officials who volunteer their time, knowledge and experience to assure a safe and fair rodeo competition.

I would like to thank all our great sponsors for their dedication and support of CGRA and RMRR 37. Without your support we could not do what we do. Be sure to note our sponsors and give them any support you can.

A huge congratulations to our Grand Marshal, Carl Schmidt II, whom we are very proud to have represent our rodeo and community.

Tommy Channel CGRA PRESIDENT

I hope you enjoy ROCKY MOUNTAIN REGIONAL RODEO 37 and if you have traveled from outside of Colorado please stay a while and enjoy our beautiful state.

Thank you again for supporting RMRR 37 and the COLORADO GAY RODEO ASSOCIATION!!

H

OWDY, HI AND A BIG HELLO. I’m so glad you’re here.

Or is it that I’m so glad it’s here? Welcome to the 37th Annual Rocky Mountain Regional Rodeo. We have spent a year in production to put on this event and I sure hope that you enjoy yourself this weekend.

The Colorado Gay Rodeo Association has a long history of producing rodeos. As a matter of fact, this is the longest consecutive running Gay Rodeo in all of North America. We kept that in mind as we built on the history of this great organization we love so much.

I can not thank my Assistant Rodeo Directors, Chris Tobin and Tre Brewbaker, enough. Gentlemen you are amazing. Let us also not forget the Board of Directors, as well. Although it has been a challenging year, it has strengthened each of us in so many ways.

To the Sponsors who once again answered the call and stepped up to the chute. We simply couldn’t do it without you. THANK YOU. To each of you here, joining us this weekend, I can’t begin to tell you how much your continued support means to me.

Please take a minute this weekend and greet a Contestant who has traveled to perform for you. Give thanks to a Volunteer who has offered his or her time to assist in the weekends production.

To all the Staff, Officials, Volunteers and Contestants you are always in my heart.

Enjoy your time here with CGRA this weekend and please let me know if there’s anything we can do for you. I personally won’t get to shake the hand, or give that knod, to each and everyone of you. But, just know they are both in these words. I do hope you enjoy your time here with us. Let’s Rodeo!

Robert D. Thurtell

CGRA-RMRR37 Rodeo Director

COLORADO GAY RODEO - JULY 5 & 7 - JEFFCO FAIRGROUNDS

EVENT RUNNING ORDER Saturday, July 5 Sunday, July 6 • Gates Open @ 9:00am • Rodeo Starts @ 10:00am • Calf Roping on Foot • Steer Decorating • Pole Bending • Grand Entry • Ranch Saddle Bronc Riding

• Steer Riding • Mounted Break-Away Roping • Team Roping • Chute Dogging • Wild Drag Race • Barrel Race • Flag Race • Goat Dressing • Bull Riding

RODEO OFFICIALS

Rodeo Director.................................Robert Thurtell Asst. Rodeo Director...........................Chris Tobin Asst. Rodeo Director ....................Tre Brewbaker Barn Manager..................................... Patrick Terry Arena Director ............................... James Jenkins Asst. Arena Director................... Stefanie Garber Chute Coordinator..........................Carl Schmidt II Asst. Chute Coordinator.......................... Denise Reinhart-Stange Judges ................................................... Jack Morgan ................................................................ Amy Griffin ............................................................. Tom Sheridan ................................................................Randy Edlin Scorekeeper............................................. John Hill Asst. Scorekeeper................................ Sam Polk Secretarial......................................Michael Norman Asst. Secretarial ............................. Christi Mikels Arena Crew Coordinator...............Devon Garcia Announcer .................................David James Smith Rodeo Clown................................Jerry Cunningham

REMAINING RODEOS 2019 IGRA RODEO CIRCUIT July 6-7 .............................................Rocky Mountain Regional Rodeo- Golden, CO Aug 2-4 ............................Canadian Rockies Rodeo North- Calgary, Alberta, Canada Sept 13-15 ................................................Best Buck in the Bay- Duncan Mills, CA Sept 20-22 ............................................................Big Horn Rodeo- Las Vegas, NV Oct 24-27 .................................................World Gay Rodeo Finals- Scottsdale, AZ

COLORADO GAY RODEO - July 5 & 7- JEFFCO FAIRGROUNDS

Rocky Mountain Regional Rodeo 37 EVENT BUCKLE SPONSORS Mens Bull Riding...................................................Charlie’s Denver, Phoenix, Chicago, Las Vegas Womens Bull Riding..............................................Charlie’s Denver.

Phoenix, Chicago, Las Vegas Mens Steer Riding .....................................................Tom Sheridan Womens Steer Riding ................................................. Darrin Hatch Mens Chute Dogging.................................................... Greg Tinsley Womens Chute Dogging...........................Chuck Browning & Brian Helander Mens Ranch Saddle Broncs ���������������������������������������� Frank Kuster Womens Ranch Saddle Broncs ����������������������������������������OutFront Mens Barrel Racing...................................... Alina Whorez Cole Ms IGRA 2019 Womens Barrel Racing................................ Alina Whorez Cole Ms IGRA 2019 Mens Pole Bending.................................. 2019 AGRA Royalty Team Womens Pole Bending.................................................. Mary Tabay Mens Flag Race..............................................................Chris Moore Womens Flag Race.........................................................Rich Valdez Mens Calf Roping on Foot ����������������������������������������������� Doug Tear Women Calf Roping on Foot ...................Soaring Eagle Hideaway; In Memory of Ty Teigen Mens Break-Away Roping..................................Sue Anne Michaels Womens Break-Away.........................................................OutFront Team Roping Header ��������������������������������������������������������������Needz Team Roping Heeler ..................................................... CJ’s Leather Wild Drag Race (1)(2)(3) ���������������������������������������������������������� X Bar Goat Dressing (1) (2)....................................................... Chris Tobin Steer Decorating................................................. 2019 IGRA Royalty

International Gay Rodeo Association

2019 R O Y A L T Y Priscilla Toya Bouvier-Miss IGRA, Travis JamesMr. IGRA, Jorge Sanchez-MsTer IGRA, Alina Whorez Cole - Ms IGRA, The Dutches-Miss IGRA 1st Runner-Up, Ionna Doublewide-Miss IGRA 2nd Runner-Up,Jennifer Vrana Ms IGRA 1st Runner-Up, Maria Delyria Martinez-Ms IGRA 2nd Runner-Up

ADDITIONAL BUCKLE SPONSORS Ron Jesser Memorial...................................................... John Nelms Chuck Webb Memorial �����������������������������������������������������������CGRA Bill Blazek/Bob Edwards Memorial ���������������������������� -Cobra Help Danny Bahr Memorial................................................... Cobra Help Volunteer Appreciation Award �����������������������������������������������CGRA Chute Crew Appreciation Award ������������������ Capitol Hill Mansion Arena Crew Appreciation Award................... Capitol Hill Mansion Presidents Award ..................................................Tommy Channel Rodeo Directors .......................................................................CGRA Asst Rodeo Directors............................................... Robert Thurtell All Around Cowboy........................................NickVillanueva Ph.D. University of Colorado All Around Cowgirl...................................................... The Six Pack

ADDITIONAL CASH SPONSORS

Carl Schmidt II Rodeo Grand Marshal

Daddy’s Bar & Grill Thurtell, Inc Mary Tabay #Colenation

COLORADO GAY RODEO - JULY 5 & 7 - JEFFCO FAIRGROUNDS

FROM THE EDITOR

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his is a topic that really needs no introduction. Most of the queer community is aware of the impact that

the riots at Stonewall had and of the fact that this is the 50th anniversary of those riots.

It’s often tossed around via memes and posts in our community that we only have rights because a group of queer and trans black folks stood up for us. That’s very true. But it’s often used as a way to push a specific political agenda, like no police at Pride, no corporations, or as a way to tell another group to sit down, be quiet, and pay respects.

That’s all good and well, and definitely needed sometimes. But let’s take a moment to reflect on the Stonewall activists without the lens of politics. The Stonewall riots likely didn’t start because a group of queens and trans folks said, “Let’s make a revolution to pave the way for the queer community. It will be that much more impactful because of how marginalized we are and the stories we have to tell.”

They were just fed up. They’d been treated terribly all their lives, and they were ready to fight back and be heard. They went with their guts, and their guts told them not to take it anymore.

This Pride season, there’s been a lot of debate about how Pride should and shouldn’t look and who is and isn’t jumping on the bandwagon.

And that conversation is necessary and important. But it’s easy to get caught up in the politics and lose sight of the bigger picture because of smaller frustrations.

So, for the rest of June, and the rest of the year, whenever you start to get bogged down with politics or petty debate, think about those who were at Stonewall. They didn’t split hairs or point fingers; they just fought back. Sometimes we all just need to get together and start a revolution, or in this case, continue one.

-Addison Herron-Wheeler

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History of Bisexuality Since STONEWALL

By Amanda E.K.

F

or years, I denied my bisexuality, hiding behind the veil of my hetero marriage, but as I get more comfortable owning and being proud of my sexuality, I’m able to see myself in queer history and the plight of biphobia and bi erasure.

As with the rest of the queer civil rights movement, bisexual political activism began to flourish in the 1960s, especially after the Stonewall Riots, when bisexual activist Brenda Howard coordinated a march to commemorate the anniversary, beginning the tradition of annual pride parades.

When I learned that a bisexual woman was behind such immense change for the entire queer community, I dove deeper to learn more about the efforts that led to the freedom of expression I get to experience today.

In 1972, the National Bisexual Liberation Group was founded and issued the first bisexual newsletter, The Bisexual Expression.

That same year, a Quaker group, the Committee of Friends on Bisexuality, issued the “Ithaca Statement on Bisexuality” supporting bisexuals. It was the first statement on bisexuality issued by an American religious assembly, and it appeared in the Quaker Friends Journal and The Advocate.

The 70s also saw the opening of the San Francisco Bisexual Center in 1975—the longest-surviving bisexual community center. It was this center that helped coordinate a response— with lesbian activists Del Martin and Phyllis Lyon, and pediatrician Dr. Benjamin Spock in 1977—when Anita Bryant launched a national anti-LGBTQ campaign in response to the first successful gay rights ordinance (co-authored by bisexual Alan Rockway).

In the 1980s, bisexual women began to organize spaces for themselves, such as the Boston Bisexual Women’s Network, which is still active today and publishes the quarterly newsletter Bi Women, the longest-running newseletter for bisexual women. That same year, BiPOL, the first bisexual political organization, was founded in San Francisco, which went on to sponsor the first Bisexual Rights Rally that took place outside the 1984 Democratic National Convention.

With the onset of the AIDS epidemic, bisexuals were often unfairly blamed for spreading AIDS to their partners. Newsweek’s 1987 issue even portrayed bisexual men as “the ultimate pariahs” of the AIDS epidemic. That same year, the March on Washington for Gay and Lesbian Rights saw the first nationwide bisexual gathering, where a group of 75 bisexuals gathered to march.

The article “The Bisexual Movement: Are We Visible Yet?” by Lani Ka’ahumanu, appeared in the official Civil Disobedience Handbook for the March. By 1993, over 1,000 bisexuals marched in the even more inclusive March on Washington for Lesbian, Gay and Bi Equal Rights and Liberation.

When I read about these landmark moments in history, I’m overcome with an awareness of privilege. Until writing this, I hadn’t considered the efforts of bisexual trailblazers like Howard, Rockway, or Ka’ahumanu. I’ve hidden behind my straight-appearing identity at a time when coming out is far less risky than it was for them. I feel called-out for hiding for so long, but in a way that inspires me to further educate myself and to be more outspoken about where I fit into the spectrum of sexuality.

Other bisexual trailblazers include Wendy Curry, Michael Page, and Gigi Raven Wilbur, who formed the Celebrate Bisexual Day in 1999, also referred to as Bi Visibility Day, which continues to be celebrated every September 23. It was Wilbur who realized there must be bisexuals all over the world feeling isolated and invisible, who were tired of bi erasure and biphobia and wanted a way to send a message that they exist. Michael Page is also the person responsible for designing the bisexual Pride flag, unveiled in 1998.

Since coming out two years ago, I’ve become aware of the biases against bisexuals, even within the queer community: that we can’t make up our minds, that we’re greedy. We want to have our cake and eat it too. These messages are the stuff of continued biphobia (and panphobia), and they don’t help in uniting our LGBTQ brothers and sisters and nonbinary folk. It’s important that we take into consideration the plight of everyone on the queer spectrum.

In 2011, a report on bisexual visibility—“Bisexual Invisibility: Impacts and Regulations”—was released by San Francisco’s Human Rights Commission, making it the first time any government body released such a report. The report showed that self-identified bisexuals made up the largest single population within the LGBTQ community in the United States.

Today, more and more people are coming out as bisexual, especially as ethical non-monogamy is making a rise and becoming more accepted in the larger community. Partnered men and women are allowing themselves for the first time to explore the sides of their sexuality that they’ve kept hidden while still maintaining loving, long-term relationships.

In the words of present-day bi advocate Robyn Ochs, “I call myself bisexual because I acknowledge that I have in myself the potential to be attracted—romantically and/or sexually—to people of more than one sex and/or gender, not necessarily at the same time, not necessarily in the same way, and not necessarily to the same degree.”

Thank you to those who’ve paved the way to make the bisexual community visible. We’ve come a long way.

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Why You Should Tell

Queer Stories

By Jordan Hanson

T

his issue of OUT FRONT is a celebration of queer history and the progress we have made as a community, in particular since the Stonewall riots that took place 50 years ago. Our community has come a long way since those days, but we have a lot of room to grow yet, which is ultimately a good thing; we are a beautiful community of people still under siege by our government, and we need to fight back.

Like Harvey Milk, I’m here to recruit you. Not as conquerors, nor to fight with physical violence, but as storytellers. Ours is a war of words. We need to remove the possibility that our government could, again, become our chief antagonist, as it was in the days of the Lavender Scare. The way we do that is by controlling the narrative told about us.

One of my favorite teachers growing up was a history teacher who told me that history is nothing but a series of stories written and retold by the winners of any given conflict.

I continue to believe that in the last election, we lost a lot of votes to awful GOP candidates across the board because we didn’t make a clear enough case that there’s too much at stake, and that, unlike so many people who voted the other way, we in the queer community have so much more to lose. Let’s face it: white, cisgender, heterosexual people might never understand—despite our very best efforts—but we have to try to reach them all the same.

Political apathy is more likely to arise in the general public out of a sense that the average person sees so much pain and suffering, and yet they feel powerless to do anything about it. They, too, are tired of hurting and want to disengage from the cycle of feeling responsible for it.

Do not let these people escape into their bubbles of affluence or indifference. We can’t put down our queerness and walk away from such pressing issues; we should not allow others to get off so easily. It will likely take extra emotional labor on our part to bridge these gaps in understanding. Is that a fair or just reality for each of us to face? No, of course not, but we face it all the same.

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We face a large, uphill battle in much of the country, because the content of queer stories is still foreign and unfamiliar to large swaths of the general public. We might need to hold their hands through a tough conversation or two, but isn’t a better world worth a little bit of extra effort in the end?

We need to continue developing the idea that queerness comes from a continuum of people of different faiths, from different cultural backgrounds, from different regions of the country (and the world), and from people who come in all shapes, sizes, and colors. You can be gay, straight, lesbian, bisexual, or transgender without letting these descriptions define the entirety of who you are and what you represent.

We need more storytellers, because the alternative is that others tell our stories for—or even without—us. If we leave the storytelling to others, they will tell the story wrong, leave out important details that matter, or tailor the endings to serve their own ends. They will accomplish a different agenda than the one we want to see for ourselves, who lived the moments of our own lives, simply by speaking for us.

In my columns, I’ve written a lot about the things I think we need to do. In the end, even these ideas I’ve expressed are just a small example of the wide range of possible futures that exist. While I think I’m right about many of these simple principles, I’m open to being wrong, too. It’s entirely possible that there’s an altogether different path forward, something I’m completely missing as a result of my privilege that blinds me to other possible solutions to our current predicament.

That’s why I’m writing, why I’m sharing my own stories and feelings—because it matters to me that others know not only where I’m coming from, but also where I want to go. It’s why I want to recruit you, too, to tell your own stories.

We cannot change what the world actually is and what it looks like without empowering others to imagine what it could be instead. How we do that, in some small part, is up to us. So tell your queer stories to anyone who will listen. Our lives depend on it.

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Shadowcliff is a beautiful, historic, rustic mountain lodge adjacent to Rocky Mountain National Park, built on cliffs overlooking the lake, the mountains, and the town of Grand Lake. Our retreat has exclusive use of the lodge and all facilities for the entire weekend.

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Next 50

is Taking Care of Our Elders

By Addison Herron-Wheeler

T

here may be nothing else on this earth that queer people resist more than growing old. And while clichés about gay men lying about their age and queer folks living forever can be funny, there’s a very real reason we’re afraid of aging. There aren’t always people there to take care of us. That’s where the Next 50 Initiative comes in.

“I’m particularly interested in helping LGBTQ individuals, and particularly the older population, just given the disparities they face,” said Carey Candrian, PhD, co-director of the Next 50 Initiative with Dr. Hillary Lum. “Older LGBTQ individuals are more likely to go back into the closet, and many are living in poverty and less likely to have kids, be married, or have caregivers. They are more likely to live alone and be lonely.”

are not enough people who can help, and there is a reluctance to seek care because of stigma. Advanced care planning is essentially the process of making sure that things are in place for folks once they reach their later years. It’s not just for older folks, either. Advanced care planning can be important for young and middle-aged people so they can plan what life will be like later on.

Still, that’s easier said than done for a lot of folks in the community who don’t have the resources to be taken care of. So, Next 50 wants to use the young folks of today to help care of our queer elders.

The Next 50 Initiative is a grant initiative that helps with advanced care planning for LGBTQ and other hi-risk elders. The Denver Hospice and the CU School of Medicine are working together under this umbrella to try and make sure queer elders have the help they need.

“We are using an untapped resource in the community—volunteers, particularly more from LGBT community organizations,” Candrian added. “They go through a 16-hour free training, certification, get skills in advanced care planning, get skills in communication.

Then, the goal is for them to go back out and talk to their peers and their friends and to sort of start the change on a community level.”

They realize that there is distress within the elder queer community that there

Ultimately, the idea is to get everyone who is a part of the queer community

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to come in and get trained, not only those who want to work in elder care or volunteer. That way, people will be aware of what they could face in their own life and will be able to help and support those around them.

While this is in no way supposed to replace healthcare professionals, sometimes having someone you can relate to can be the most important form of support out there. The main focus of the people who go through this training is not to be able to provide nursing care to elders, but to essentially act as mentors to older folks. That can help with big decisions and life planning and provide companionship.

“I think the lack of family has been the most glaring barrier to LGBTQ senior care,” Candrian said. “There is an assumption that everyone just sort of has this incredible network of people.

Some people don’t have anyone there to be their medical decision maker, and that’s heartbreaking. No one should have to go through this alone.”

To learn more about Next 50, visit them online at next50initiative.org.

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Archivists

are Keeping Our History Safe

By Veronica L. Holyfield Photo by Sigri Strand

P

rotestors gathered in the streets of Denver’s Capitol Hill on a cold November morning in 2016, mourning the direction the country was taking. Donald Trump

had been nominated as the next president of the United States, and the world felt as though it was suddenly spinning backwards.

Progress seemed like it had immediately halted, a country at a standstill and gridlocked in fear. Within the crowd of thousands, two friends gathered and marched with the protestors, deciding that history was not going to repeat itself any longer. These stories, these voices, the marginalized and the oppressed, would no longer be kept silent.

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Sigri Strand and Jessie De la Cruz were those two friends, and as they walked the protest route, they brainstormed through their collective angst and desire to make immediate change. From that very day, ArtHyve, the nonprofit, community-built artist archive, was born.

“I’m an archivist, and archives traditionally represent the voices of the dead; it’s almost like you have to be dead to get into an archive,” said Jessie De la Cruz, creative executive director and founder of ArtHyve.

“No one is actively working to archive and preserve our contemporary history and contemporary culture.”

De la Cruz came from a background in preserving and archiving art at a local Denver museum, and she and Strand began to contemplate what this new project could

become as the gaps in representation and narratives become too glaring to ignore. Far too many stories that strayed from the cis, straight, white, male perspective were being withheld, while entire groups of voices were omitted from historical record altogether.

“We like to say that we are who we archive, so our board represents a wide spectrum of voices,” said Strand. “We have queer people, trans people, people of color, and then we build out through our community to find new people that need to be heard and documented.”

“Archives are supposed to be the site where we build and reflect upon our history, but it’s a very limited viewpoint of history,” said De la Cruz. “it’s really only representing one perspective.

A quote that I always go back to is, ‘If history is written by the victors, how much do we know about history?’”

While some may feel like they don’t have a story that is worth documenting, an interesting enough life to put in a capsule, De la Cruz urges people to challenge that notion.

“What has been omitted are people of color, queer voices, women. It feels harsh sometimes to say that it’s just been a cis, white, male voice we’ve heard from, but in reality, that’s kind of been the case,” added Strand, ArtHyve co-founder, board member, and artist.

As ArtHyve began to develop, the pair made an intentional decision to focus on those pockets of the community that have been left out of the privileged opportunity of representation and documentation. With De la Cruz’s art archiving background, they decided to develop a system which provides members of the creative community a chance to preserve their own stories in their own, unique ways.

Through the use of a time capsule, anyone who deems themselves a creative can submit a box of materials as a medium of recording their own history and experiences.

From poets to dancers, musicians to chefs, however a person creates is qualifier enough to offer a submission.

In a single box, artists and creatives can assemble an array of materials in ArtHyve’s archiving lab that relate to their creative process, reflecting an aspect of their personal biography.

“We work with artists and creatives on that process, and then the artist creates a video diary that walks through their process materials, contextualizing these items for the public.

Those time capsules will then be on-site for researchers to access,” she said.

“I feel like everybody has some story, some narrative, some voice. I think StoryCorps is a really great example of that,” she said. StoryCorps, a weekly program on NPR, captures the oral history of a diverse range of people, and those audio recordings are then placed in the National Archives.

“Those are stories of a mother speaking to her son, or a neighbor speaking to another neighbor, or a husband and wife, and the beautiful part is, they’re stories of everyday people. When we listen to the stories, we hear our own stories reflected, and we feel represented, because these are the stories of our collective humanity,” said De la Cruz.

In less than three years’ time, ArtHyve has gone from an acknowledgement of what should be, to an idea of what could be, into a collective that is. While there have been many barriers along the way, primarily a lack of understanding of what archiving is as well as the never-ending struggle of funding a nonprofit, the results have been worth the long nights and working weekends.

“It’s been a really amazing, exhausting, challenging, wonderful experience starting this nonprofit from scratch,” said De la Cruz. “Giving voice to communities that are typically underrepresented is my life’s work and where my heart is.”

“Sigri and I are still blown away by the shape it’s taken, and it really is beyond Sigri and I at this point. It’s no longer just our project; it is really built by the community.”

Having officially acquired a permanent space to process and preserve these artifacts and stories, ArtHyve Lab will be hosting their first open house June 26 - 28. From 5 p.m. - 7 p.m. they will open their doors to the public at the Sherman Street shop located directly above City O’ City.

“We’re really inspired by the ONE Archives Foundation and the work that they’ve done to preserve queer culture throughout the years,” said Strand. Based out of the University of Southern California since 2010, the LGBTQ history archive has been community-led and curated since its humble inception in the 1950s.

While still in its infancy, ArtHyve strives to engage the community to counter the narratives that are overwhelmingly prevalent in the current age of archives. Tapping into their current resources to seek out those voices, their approach is grassroots and word-of-mouth.

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OUTFRONTMAGAZINE.COM

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Lipstick that Stains: Lois Long, the Matriarch of Social Influencers

By Rebecca Heller

B

efore Marilyn, before Madonna, and before Beyoncé, Lois “Lipstick” Long was America’s social icon. As Long graduated from Vassar and began her career in the mid-1920s, the effects of women gaining the right to vote and the prohibition of alcohol were changing how society viewed women in the public sphere.

Women had newfound power, jobs, and access to the final frontier of social life from which they had been traditionally excluded: bars.

As Long’s popularity grew, she seemed to represent all the possibilities for the newly liberated woman: a wellrespected writer and trendsetter, a divorced (and economically stable) working-mother, and a partying socialite sought after by the most exclusive brands and clubs.

As The New Yorker claimed, “she smoked; she drank; she stayed out all night. She worked for her own money and made no apologies for her lifestyle. She was the very embodiment of the New Woman.” But, Long was more than just the epitome of the “New Woman.” Rather than leaving men to dictate social norms, as they had done for decades with legislation and economic power, Lois used her platform to shape societies’ idealized image of the flapper. With a talent for capitalizing on her popularity, a magnetic personality, and her captivating writing style, Long emerged as the matriarch of the modern American social influencer.

Long started out as a copy editor for Vogue in 1922, eventually moving on to be a staff writer and drama critic for Vanity Fair.

As Long honed her writing and fashion critiques, a stylistic shift 2 6 \\ J U N E 1 9 , 2 0 1 9

was happening in American literature signified by the massive success of works like The Great Gatsby and The Sun Also Rises. This new, opulent, and decadent writing sprinkled with satire captured the imagination of the American elite and those who aspired to it; a new lifestyle magazine, The New Yorker, sought to capitalize on this stylistic shift.

In 1925, Harold Ross, founder and editor-in-chief, hired on a group of writers and editors meant to save the somewhat floundering magazine, telling them “ideas should be literal and show how, unconsciously by their speech and acts, individuals of every New York type show up their hypocrisies, insincerities, false fads, and absurd characteristics.” Specifically, Ross realized a running commentary on “the great experiment of Prohibition” would be a key component to expanding readership of the publication among New York City’s elite.

In the early stages of The New Yorker, Ross struggled to find the right nightlife columnist; he was looking for a voice that could transport readers while implementing the newly popular, satirical style of writing. Long was the perfect match, with her unapologetically bold writing style, keen fashion sense, prowess in social networking, and a personality that allowed her to talk her way into any room. So, in addition to her fashion column “On and off the Avenue,” she stepped into the role of nightlife columnist, writing “Tables for Two” under her alias “Lipstick.”

“Tables for Two” was met with instant success. Her vivid descriptions, playfully sassy commentary, and blunt criticisms drew in readership from the city’s wealthiest who used her column as an early version of Yelp. Because speakeasies would move locations multiple times a year, “Tables for Two” was the must-read column for anyone looking to participate in city nightlife. Additionally, “Tables” became popular for middleclass New Yorkers who were unable to afford the luxurious flapper lifestyle but could afford The New Yorker and live vicariously through Lipstick’s weekly escapades.

The popularity of the column single-handedly saved The New Yorker, which had been hemorrhaging about $8,000 a week before Ross hired Long. Lipstick would share her weekly adventures featuring speakeasies all over the city: from the most upscale venues such as the 21 Club (an exclusively white, all-male club before prohibition) to rowdy dive bars in Greenwich Village to mixed-race clubs in Harlem. Though Long was secretive about her true identity (to maintain the integrity of her reviews, she claimed), Lipstick showed a complete disregard for discretion when it came to speakeasies themselves, often publishing the location and specific directions to speakeasies entrances.

Praising or scolding proprietors by full name based on her experience, her words could make or break an establishment.

The “glory days” of weekly “Tables for Two” columns lasted until 1927, when Long decided to revealed her identity, sharing with her readers that she expected to be settling down more due to her upcoming marriage. Even after revealing her identity, “Tables” remained a frequent feature in the magazine, appearing a few times a month until the column stopped in 1930.

After her first two years as a Lipstick and fashion columnist, Long was promoted to fashion editor. The New Yorker presented a unique challenge for Long: the magazine did not publish photographs of the styles and clothes she was tasked with critiquing. Under these constraints, she combined her ability to transport readers and her keen fashion sense with her unapologetic sarcasm and wit. She has been credited with “invent[ing] fashion criticism. [Long] was the first American fashion critic to approach fashion as an art and to criticize women’s clothes with independence, intelligence, humor, and literary style.”

In addition to her duties as an editor, Long authored The New Yorker’s much-anticipated yearly pre-Christmas gift guide and regularly contributed to current events, fashion, and gossip columns through the late 1950s. Brands regularly requested that Lois herself be featured as a model for their advertisements.

A true social influencer, Lois knew that anything she signed with her seal of approval reflected back onto her.

Several internal memos at The New Yorker show Long unwilling to compromise her reviews to please the requests of advertisers. She would write impassioned memos to her editors defending her critiques and often gaining their support, even if it meant losing advertising revenue. Long lived on her own schedule and stuck by it. Often dogged after by her editors for late articles, she was a master at talking her way out of disciplinary action. Knowing that she should capitalize on her popularity, Long sought out regular raises or advances from the magazine. She could not be slowed down, even as the Great Depression demolished global economic stability in 1929.

As her popularity bloomed, restaurants, department stores, and other socialites clamored to catch her eye. Long's office at The New Yorker was regularly bombarded with beauty products and invitations (often left unopened) for the elusive socialite.

As a prominent and well-respected voice in fashion, she was invited to judge the Pratt Institute of Design’s annual fashion show alongside the fashion editors of Vogue and Harper’s Bazaar in 1931.

Party invites from the likes of Condé Nast were regular occurrences. Long could walk into any store, restaurant, or bar, give her name, and run up accounts. Using her charm, she would put off settling her bills for several months at a time. In 1931, Long was asked to host a radio show three times a week with content that mirrored her fashion, gossip, and nightlife columns, further expanding her audience, influence, and reach as a trendsetter and social icon. Her show lasted into the late 1940s. Around the same time, she was also recruited for a brief stint as a fashion consultant for Paramount Pictures in Hollywood.

Long was just as fiercely independent in her personal life as she was in her public life. Her first marriage to Peter Arno started as a whirlwind office romance. The two were once found in The New Yorker offices, passed out naked after a night of partying. Their daughter Patricia was born in 1929, and shortly after the couple divorved on June 30, 1931 with Long maintaining custody of their daughter.

An economically independent woman, Long asked for no alimony in their divorce, just money to help cover school costs and other expenses relating to raising their daughter. In spite of late checks from her ex-husband, Long raised Patricia as a single mother until July 31, 1938, marrying Donaldson Thorburn. After her husband returned from serving in WWII, the two collaborated on No Tumult, No Shouting, a book chronicling Donaldson’s wartime experiences.

After Thorburn’s death in 1952, Long remarried once again, this time to investment manager Harold Fox on November 26, 1953. Her decision to step down as fashion editor in 1968 corresponded with the death of her third husband. Unwilling to retire completely, she stayed on The New Yorker’s payroll as a fashion consultant until her death in 1974 at the age 72.

Long insisted on not having a funeral. A few days after her mother passed away from lung cancer, Patricia threw a party celebrating her. A pioneer and powerhouse, Lois “Lipstick” Long truly laid a path for other women and social influencers to shape American culture.

OUTFRONTMAGAZINE.COM

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3D Mapping Stonewall for Future Generations

By Addison Herron-Wheeler Images provided by CyArk

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he community is dedicated to remembering what happened at Stonewall and the people who made it happen. But what about the building itself? While old, brickface buildings in New York might be pretty sturdy, everything is subject to the wear and tear of time. That’s why the 3D mapping of Stonewall is so important.

CyArk, a nonprofit that specializes in heritage and the 3D mapping of history, is taking on this project for Pride month

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and the 50th anniversary of Stonewall. This is the first project of its kind to pay tribute to an LGBTQ monument in such a way.

“Our mission is to capture, share, and archive the world’s cultural heritage,” said John Ristevski, CEO and chairman of CyArk. “We do that by using state-of-the-art, 3D mapping tools. We create a very, very accurate record, and we utilize U.S. drone imagery to create a really precise, high-fidelity surface model of cultural heritage sites all across the world.”

Often, their sites are things like ancient structures built hundreds or thousands of years ago. This month, the focus is the little bar that started it all. The idea is to get an exact picture of what the site looks like now, which is similar to how it looked in 1969. Then, even thousands of years from now, there will be a clear record.

“We have millions and millions of data points from the 3D laser scanner and thousands of high-resolution images,” Ristevski added. “We've been working on processing them into a full, accurate, 3D model on the side. It took a few months to get everything processed, and now we can archive it for posterity.

We can also look at ways that we can start to tell stories using this 3D virtual setting.”

This project is a major gain for historical preservation, but it’s also huge for the queer community. Since sites where marginalized people gather are often overlooked, it presents a unique

opportunity to preserve a piece of history.

“I think a lot of the sites where LGBTQ history has taken place don't get the same recognition as other historic sites, so for us to do this project was to elevate LGBTQ heritage up to the same level so that we can share heritage across the world,” he said. “Our attention to preserving locations in 3D creates a record for posterity that we can look back on as time goes by even if the site changes across the years. Now we will have a record, a snapshot in time of what it looks like in 2019. We didn’t have that technology before, and if we did, we might have had a clearer view of what the site looks like and have more of a desire to save it.”

OUTFRONTMAGAZINE.COM

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Denver PrideFest Honors

Stonewall

By Veronica L. Holyfield Art by Lonnie Hanzon

T

he dome of Denver’s Capitol Building glistens in the afternoon sun, acting as a beacon of hope, as it summons thousands every June to come as they are. As crowds gather in Civic Center Park, the air is carefree, and for a moment, queer folks can experience a break from the tension of the outside world. It’s Pride, where all are welcome.

For generations, queer folks have been targeted and deemed the menaces of

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society as they’ve been discriminated against, hurt, and even killed. Even as heavy and grim as the current political and social climate can feel, as well as the resounding knowledge of how much work still needs to be done, we take pause this year in remembering how far we really have come. On the backs of our LGBTQ predecessors, we have been granted a glistening hope, and the mere fact that Denver held its 44th annual PrideFest this year is a cause for celebration in itself.

As 2019 marks the 50th anniversary of the Stonewall riots, PrideFest commissioned artist Lonnie Hanzon to create a special instillation in honor of the past generations and as a means to provoke the next generation of movers and shakers in the queer community.

“The thought was to do something that was sort of ripped from the headlines,” said Hanzon. Known for his 23-foot wedding cake protesting marriage equality and the Masterpiece Cake Shop disaster as well as his impactful ode to the victims of the Pulse Nightclub shooting, his work continues to stop crowds and turn heads. After creating art installations for the previous four PrideFests, he took the significance of his fifth years’ rendering to heart and wanted to create something as impactful as the headlines themselves.

“It’s a look at history, moments from the last 50 years, and in some cases even further back, to show the progress and tribulations of the LGBTQ civil rights movement,” he said.

Placed within the central axis of Civic Center Park, the installation, titled Stonewall 50: Progress and Reflection, took a team of creatives and volunteers more than six months to design, construct, and mobilize. More than 104 panels on 48 individual picket signs proudly stand tall from the bases of cement blocks, creating a circle of varying moments in time, each one showcasing headlines about occurrences significant to LGBTQ liberation.

“What I have found fascinating in all this, and I’m a card-carrying gay man, is that so much of this history has been totally new to me, and shocking; some of this stuff is just unbelievable,” Hanzon said. “Like, when you see that Mississippi was the last state to ratify women’s right to vote, and you see it’s in 1985, you’re shocked.

“Then, you get to see these incredibly powerful moments where a guy in the Army basically destroys his own career by coming out of the closet and causing the beginning of the end of Don’t Ask Don’t Tell being repealed.”

Some headlines are encouraging, like when Ellen Degeneres came out in 1997 to a national audience on her ABC sitcom Ellen. Others are ones we’d prefer to forget, like Executive Order 10450 in 1953, which determined lesbian and gay federal employees a risk to national security.

“It really shows we have made a lot of progress, and we have a lot more to do,” Hanzon said.

This is where Hanzon offers the reflection piece with 25 panels acting simply as mirrors, beaconing the viewer to look at themselves and ponder the thought that they, too, are a part of the story and the eventual history of the LGBTQ civil rights movement.

“Very often, we think that gay is a modern thing, and it’s not. It goes back millenia; a certain amount of the population has always been queer,” said Hanzon. “For me, it’s embolding to see that the people who came before me had to do much more difficult things than I’m doing. The fact that, as a gay man, I can make art in public and be out, we’ve made some amazing progress.”

As LGBTQ folks continue to strive for equity in all areas and equality for all the letters in the queer community, Hanzon hopes that this piece will remind us that we are all in this together, and we need to show up in this fight to make things easier for every generation.

“I saw a meme the other day that said, ‘I don’t come out for the people that hate me and so that the heterosexual community sees me; I come out for the scared and frightened people in the closet,’” he said. “That is why we come out and stand up.”

OUTFRONTMAGAZINE.COM

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OUTFRONTMAGAZINE.COM

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Do People of Color Have a Voice in

the Drag World?

By Alysha Prieto Photo courtesy of Paris is Burning on Facebook

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T

he conditions were ideal for pop culture success. Jennie Livingston’s documentary Paris is Burning captures the colorful costumes, big personalities, and booming performances of New York’s 1980s ball culture. The conditions were also ideal for sweeping criticism, if not condemnation.

Livingston, a white, cis, lesbian woman, documents the rejection, poverty, and death of black and brown, gay and transgender queens, and she profits, while the black and brown, gay and transgender queens she features arguably do not. Appropriation and racism in the queer community is a familiar struggle, one that is made more complicated by the diverse and complex identities of its members. New-age media has made access to queer media, especially depictions of drag culture, more available, but it hasn’t made them perfect.

Paris is Burning appeared at the Sundance Film Festival in 1991. It shocked mainstream audiences and critics alike; it was the first time that they were given a backstage pass into ball culture. Livingston interviewed mothers, queens, and the members of their houses and followed them during the process of getting ready for balls, everything from costume creation, putting on makeup and hair, and finally performing in the shows.

Apart from focusing on the extravagance of ball culture, audiences also got to see the hardships the queens endured as members of the community. Dorian Corey spoke of the consumerism that had taken hold of the scene. Creative costumes mattered less and less, while designer clothes bought adoration–even if they were stolen.

Pepper Labeija made the point that some of the ball attendees had “two of nothing” and chose participating in balls to eating.

Perhaps the most tragic of the stories, though, is that of Venus Xtravaganza, a trans woman of color, queen, and sex worker who dreamed of being a wealthy, white woman. By the end of the film, it is revealed that she was found strangled in a hotel room. Her housemother, Angie Xtravaganza, identified her body. Each of these issues finds members of the ball community struggling with their identities as queer people of color.

One of the film’s most vehement critics was author and activist Bell Hooks. She wrote of Livingston’s appropriation and commodification of blackness to suit the “white consumer appetite.”

“Just as white cultural imperialism informed and affirmed the adventurous journeys of colonizing whites into countries and cultures of ‘dark others,’ it allows white audiences to applaud representations of black culture, if they’re satisfied with the images and habits being represented,” she wrote.

Even with its faults, however, the documentary paved the way for shows like RuPaul’s Drag Race in 2009 and Pose in 2018.

They’ve each been met with their fair share of criticism, as well.

Seven of the 11 winning queens on Drag Race have been people of color, but they still experience racial bias from fans of the show, as well as racist abuse online. RuPaul herself has been criticized directly for not personally addressing racism on the show and for his remarks on trans women.

As a writer, director, and producer, Ryan Murphy has also received his fair share of criticism in terms of LGBTQ representation. For Pose, Murphy wisely decided to collaborate with a diverse group of queer people including Steven Canals, Janet Mock, the talented cast of the show, and Freddie Pendavis, who is the only main subject in Paris is Burning who is still alive.

Theariale StCyr, also known as Felony Misdemeanor, housemother of The Misdemeanors in Denver, first saw Paris is Burning in 1999.

“I was so very inexperienced with the drag world, as I had just stepped into it. I was 24 at the time. I remember watching the movie and trying to understand what was going on. The houses. The voguing. The balls. Everything,” he said.

StCyr’s experience with Denver’s drag scene wasn’t initially the smoothest. After moving from Texas in 2003, he found the local queens unfriendly. He credits an AIDS benefit show for finally making his name in the community.

Still, in spite of finally feeling welcome, StCyr admits that there are not that many people of color in the Denver scene.

“Just from my standpoint, I’ve seen many [POC] queens not get recognized for something they’ve done only to have a Caucasian queen do something similar at a later point in time and get all the recognition for it–myself included. I don’t want to make this sound like it happens all the time; it doesn’t, though it happens more this way than the other way around,” he said.

Paris is Burning has been remastered and re-released this year for Pride season to the excitement of many, including StCyr. “I know for a fact that some of the queer, black youth would love to see where the ballroom scene came from. Most everything that is drag today came from the ball scene. The up-and-coming generations needs to see this. I also believe white queens can benefit from this, too.”

Depicting drag culture in movies and TV shows allows audiences and show runners to continue to ask hard questions about race, because the cultures are so closely tied. If we don’t recognize the contributions of people of color, then we are erasing them from a community that they built out of refuge from cis, white, heteronormative standards. Transgender women of color are still disproportionately affected by bias and violence, bias that leads to a multitude of issues including poverty and homelessness and violence that often leads to death.

In the opening scene of Paris is Burning, we are greeted with a voiceover. “I remember my dad used to say you have three strikes against you in this world. Every black man has two–that you’re black and you’re a male. But you’re black, and you’re a male, and you’re gay. So you’re gonna have a hard f*cking time. So, if you’re gonna do this, then you’re going to have to be stronger than you ever imagined.”

If taking a look at the people who are in charge of Paris is Burning, Pose, and even Drag Race, tells us anything, it is that we have a long way to go to reconcile the relationship between race and drag.

OUTFRONTMAGAZINE.COM

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We Are Family Healing Our Community with Drag

By Gem Sheps Photo taken at Gladys by Stu Osborne 3 6 \\ J U N E 1 9 , 2 0 1 9

T

he Denver LGBTQ community has undergone a number of recent tragedies, and local performer Jessica L’Whor is taking the initiative to help those in need with bi-monthly We Are Family benefit shows.

“Right now, there is no consistent way for us to support our community,” L’Whor said. “The whole idea for this show is to raise money both for specific individuals and for a general fund. If there isn’t anyone immediately in need, the donations go toward a fund that people can apply for, and we’ll be able to start administering these grants.”

Unfortunately, at the moment, there are a number of people in great need of help from our community.

In early May, Amber Nicole—a local trans woman—was the victim of an assault that resulted in partial paralyzation of her face. Just a few weeks ago, OUT FRONT’s Best Drag King of 2018, Dustin Schlong, announced that he was officially diagnosed with Stage One ovarian cancer after undergoing emergency surgery. He now has multiple surgeries under his belt and radiation therapy looking forward.

Resorting to crowdfunding during financial distress is a recent, alarming trend that many people are forced to partake in. A striking number of people in their 20s and 30s have no safety nets in place due to an increase in economic struggles. Many have no savings for emergencies and have to reach out for assistance, sometimes to absolutely no avail.

Relief programs for people with financial emergencies are extremely selective, and L’Whor wants the We Are Family fund to be more accessible.

“It shouldn’t matter who you are—your identity, your appearance, your personality, whether or not I like you or you like me, none of that is the point,” L’Whor said. “Regardless of any of that, everyone goes through hard times, and helping others has nothing to do with our interpersonal relationships.

As a community, we should be asking how we can help others who are struggling. It shouldn’t matter whether the benefit is for someone specific or for the general fund—we should be coming together and supporting one another for our own humanity.”

It’s no secret that the LGBTQ community holds strong opinions, but L’Whor wants people to look past their personal opinions to see others’ struggles and traumas objectively.

“I need people to see that this isn’t a Jessica L’Whor thing— there’s a bigger picture. If you have a personal problem with me, that’s fine, but if you’re not coming to support the community because you have an issue with me, you should get your head out of your *ss. It’s not about you. It’s not about me. It’s about people in need being able to reach out for help and actually receive it.”

The We Are Family benefit shows takes place every second and fourth Monday of the month at Mile High Hamburger Mary’s at 9:30 p.m. Every show is an open casting call, and you don’t have to be a drag artist to participate—musicians, spoken-word artists, comedians, and other performers are encouraged to attend and sign up to perform at the door.

OUTFRONTMAGAZINE.COM

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Remembrance of

Prides Past

By Rick Kitzman

B

ecause the politics of religion—the unholy alliance of officeholders and pious institutions—seeks to deny LGBTQ people equal rights, our lives continue to be acts of moral, legal, and political dissension.

When we march at Pride festivals worldwide, visible and vocal, we collectively stand and demand rights to be who we authentically are. Woe to those who seek to deny us those rights, whether in the pulpits, courts, or legislatures. They will lose—eventually. If the Stonewall riots taught the world anything, it’s don’t piss off a drag queen.

So much for my transcendent meaning of the 50th anniversary of the Stonewall riots, that blaring trumpet whose echoes we celebrate. For a more modest meaning, a few Pride marches render indelible memories.

Through five decades, LGBTQ people have won astonishing battles—hell yeah—but challenges abound: violence, transgender rights, health care, immigration, and criminal justice reform, parenting rights, employment and housing discrimination, conversion therapy, and tragically, our homeless children. According to a 2012 survey by the Williams Institute, 40 percent of homeless youth identify as LGBTQ. That’s 1,120,000 kids on the streets without the basics of life and with zero support in many states because of their identities.

The idea of separation of church and state has succeeded often, but the politics of religion looms over the fate of the queer community. Evil (my word, and I stand by it) evangelicals and alt-right Republicans were apoplectic over the Supreme Court decision granting same-gender marriage rights.

Emboldened by their *ss-licking putz of a president (my treasonous label, and I stand by it), they will mount anti-LGBTQ campaigns within the 29 states that lack anti-discrimination laws. This administration has strengthened the “Conscience Rule” for health care workers. That means if your doctor believes you are an abomination because of a religious code, they can refuse to treat you, their Hippocratic Oath becoming more of a Hypocrite’s Oath. The president also supports more “no promo homo” state laws that prohibit teachers from presenting LGBTQ people or topics in a positive light.

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Sort of good news came in May. The Equality Act, a bill first introduced to the U.S. House of Representatives in 1974 by Bella Abzug and Ed Koch protecting LGBTQ people from discrimination finally passed. Fundamentalists registered complaints: The American Family Association, the Mormon Church, and the Conference of Catholic Bishops. The bill will doubtless fail in the Senate and is not supported by the president. It’s progress, slow and doomed, but progress.

Two local bills supporting LGBTQ people passed with flying, rainbow colors. Colorado law now bans the practice of conversion therapy on minors. (Sadly, Denver’s Catholic archbishop is going after adults.) Also, Colorado has simplified a legal process for transgender folks to easily get documents changed.

Next year, during the 2020 presidential election, the Supreme Court justices will decide whether federal laws banning employment discrimination should protect LGBTQ employees.

Recently, this court upheld the president’s partial transgender military ban. The two new Republican conservative judges— let’s not kid ourselves about them being unbiased—jeopardize future LGBTQ-friendly decisions.

The war is far from over, but hopefully in 2069, for the 100th anniversary of Stonewall, none of these issues will exist.

And really, they shouldn’t exist now, because in view of all the religious hogwash over who we are, here’s the irony: According to a 2018 poll by the Public Religion Research Institute, majorities in every state support protections for LGBTQ people. Great news, but hate from the religious right will march on. To paraphrase gay, presidential candidate Paul Buttigieg, if they have a problem with us, their quarrel is with our creator.

So whether you’re a Log Cabin Republican or intersex pixie, I hope you showed your pride this year. But even if you didn’t, your mere existence challenges the status quo of religious, judicial, and bureaucratic prejudices. You are a living, breathing testament to the injustice of bigotry. That’s a march we all walk the other 364 days of the year.

1979: A photo taken by our friend George shows me and our buddies Archie, Eric, and David in the Chelsea neighborhood of New York City ready to head to Fifth Avenue and join the throng of 100,000 strong. We all had 28 inch waists … sigh ...

1986: Denver’s Ballpark Bathhouse had closed, and owner/creator Tom Mills set up a booth near City Park’s fountain selling memorabilia and cassettes of parties. Yours truly as DJ Rick Danger was represented with a morning music series called Butt Seriously (seriously). The picture I have of me and Tom shows us smiling wearily, arms around each other’s shoulders.

1982: The demon AIDS had begun to devour the Big Apple’s unsuspecting prey. My boyfriend Sam and I partied all night at The Saint and marched all day behind the disco truck. Spit and jeers greeted protesters on the steps of St. Patrick’s Catholic Cathedral.

1994: Reeling from the AIDS crisis and the debacle of Colorado’s Amendment 2, which denied LGBTQ people protection from discrimination, I joined gay-friendly Mile Hi Church for muchneeded succor. I became a member of its founding gay/lesbian support group. At our booth, we handed out pamphlets offering a safe haven.

1995: I was HR director for the national Ticketmaster

2014: I attended with my first

phone center. Despite questionable business practices, it was one of the first gay-friendly companies. A large group marched, wth my friend Steven providing pans of delicious cinnamon rolls.

longtime partner, sweet Neil.

(Only took 60 years, so there’s hope for everyone.)

2010: Working out for a year, I decided to

2019: I marched with my spiritual broth-

flaunt the results, going commando and wearing Aussie swim trunks and a tank top. This was way out of my comfort zone. Sounds silly, but I looked good! (Haven’t done it since.)

ers and sisters from The Althea Center for Spiritual Engagement (at 14th and Williams).

Member Tim Wilson founded Mariposa, a terrific LGBTQ support group.

OUTFRONTMAGAZINE.COM

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The Lavender Scare:

Not About or For Everyone

By Jordan Hanson Photo courtesy of The Lavender Scare

I

n the 1950s, immediately after World War II and preceding the Cold War, fear of communism and lapsing national security, Senator Joseph McCarthy from Wisconsin conducted his own witch hunt for individuals he labeled America’s enemies. He used a hollow portrait of moral behavior to argue that civil servants who worked for our government and who either identified or could be construed as communist or homosexual should be denied the privilege and ability of serving our country.

The Lavender Scare is a documentary produced by PBS, billed by its production team as “a compelling story of a fight for justice and a chilling reminder of how easy it can be, during a time of fear and uncertainty, to trample the rights of an entire class of people in the name of patriotism and national security.”

It is that, for sure: compelling, and a chilling reminder about what has been and may be again in an era of unchecked surveillance and intimidation authorized and conducted by our government.

The documentary gets a lot of things correct in its hour of screentime. Memorandums from the period are reproduced with exacting detail; actual victims of these tactics are interviewed about their experiences. But there is so much additional detail that it omits or gets wrong.

The documentary carries itself like a victory for the entire queer community, except for the reality that it simply isn’t for or about

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all of us. I can’t tell you, even now, who this documentary figures its audience to be, or if its producers undertook a careful examination of what their goal was in producing this film.

For one thing, every person interviewed for the documentary is white, even though many queer people of color were denied employment, fired, or targeted for discharge along the way. The transgender community is also entirely absent. In one case, the narrative centers on a gay man who performed drag, without even so much as a passing mention about the transgender community. But at least there’s drag included at all; there are no mentions of bisexual people.

Later, the documentary uses imagery of the Stonewall Inn and talks about the riots that originated there, but doesn’t mention important figures related to that movement like Marsha P. Johnson or Sylvia Rivera, both women of color who were present for the riots and active, prominent figures of the Stonewall riots in the months and years that followed.

Should I be surprised? The author who wrote the book the documentary is based on is a white man. All of the voice talent billed for this documentary: Glenn Close, Zachary Quinto, T.R. Knight, Cynthia Nixon, is white, too.

It is, in the end, very much a documentary centered around white struggles for queer liberation that omits more than half of our community. While there is a segment of footage with former President Barack Obama honoring activist and

documentary subject Frank Kameny from the White House for his diligent work on behalf of the queer community, he’s notably the only person of color who is quoted or referenced on the subject.

This documentary is performative erasure of queer history in America that outright excludes black and Latinx, even trans and nonbinary voices, all to its detriment.

The fight for liberation in government work apparently ended (as does the documentary) when President Clinton rescinded an executive order implemented by Eisenhower, despite the reality that Clinton simply traded that policy for ‘Don’t Ask, Don’t Tell,’ a policy that was almost as damaging and intimidating for service members. The documentary doesn’t even pay lip service to the efforts of President Obama to rectify that policy, or the other important strides his administration made on behalf of the queer community to correct so many wrongs.

In the years and months since the election of our current president, queer communities—particularly communities of color and transgender people—are under daily attack by extremist opponents that want nothing more than to whitewash our daily lives. The queer community does not need even more lip service that continues that legacy.

I didn’t want my review of this documentary to turn out this way, either. Armed with a working knowledge of the intimidation tactics that accompanied Senator McCarthy’s strategy of targeting homosexuals, I went in with open eyes and wanted to love what I was about to see. I will say, however, that this documentary accomplishes one feat in particular: how not to talk about queer history.

As a white, trans woman and a writer myself, I can’t tell you how sorry I am that this is part of our continuing cultural legacy. I can encourage you to watch The Lavender Scare, which premiered Tuesday, June 18 on PBS at 7 p.m. MST, even if only to understand how very far we still have to go.

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// 4 3

Pop Culture Con

By Veronica L. Holyfield Cosplay was turned up to a fierce realness at Denver’s Pop Culture Con last weekend, May 31-June 2 at Colorado Convention Center. OUT FRONT hosted the Iron Throne from Game of Thrones, and we caught some of the freshest looks in action!

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For the past three years, three months, and three weeks I have been publicly living as my affirmed male gender. My name is Cass Daniels, and I am a transgender social worker.

When I was born in 1990, the doctor told my parents that I was female, and it took me almost 24 years to figure out that I am actually a man. This process of figuring out my identity was a long, lonely journey, full of struggles and strife. My experience is not unique to gender-expansive individuals, and often it can be difficult to find community, support and a sense of belonging. This common experience is why I am incredibly excited to announce a brand new clinic called the Transgender Center of the Rockies.

The Transgender Center of the Rockies (TCR) is a brand new

non-profit organization under the Mile High Behavioral Healthcare umbrella. With the closing of the Gender Identity Center, it is critical to have a space for transgender and gender-expansive individuals to receive competent mental health care and have a space to form community and relationships. At the TCR, we have a mission to provide holistic and competent gender-affirming services that aim to empower and support transgender and gender-expansive individuals to live full, meaningful, and authentic lives. We are dedicated to providing social-emotional support and substance abuse treatment for the trans community through individual and group counseling, peer-led support groups, employment case management, PreP case management, and community events.

OUTFRONTMAGAZINE.COM

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OUTFRONTMAGAZINE.COM

// 4 7

ASK A SLUT

Stonewall Edition By the Cycle Sluts

I am thinking of going to New York and want to stop at the historical Stonewall Inn. What drink would you recommend to honor the history?

COOKIE Drink whatever you want; just remember they fought for each of us to be who we are. Drink your drink; just have them put a pride flag in it.

ZOEY An Irish Carbomb. No good riot would be complete without one.

WINNIE I would definitely recommend the “BJ.” It’s warm and salty. Oh wait, did you say drink? Oops.

MAE The brick. It's gritty!

KAY Riot Punch, Have them make you seven of them. One for every color of the rainbow.

JACK-LYNN Tequila, then if you do something stupid, you won’t remember. (There will definitely be some posts on YouTube, though.)

CHERRI Stay away from the Pussy Juice; oh wait, that is located in Nebraska.

It is said that those who don’t learn from history are doomed to repeat it. What part of your past would you like to repeat or not repeat?

COOKIE I’d like to not repeat the time I had with that psycho.

We’ve all had one.

ZOEY I do not want to repeat walking in the Pride parade in the rain. My eyeshadow was on my cheeks. My butt cheeks.

WINNIE I wouldn’t change a thing, as it could lead me not to join this great organization.

MAE That’s classified.

KAY If you change the past, then it changes where we are today. Time travel is not you something mess with. Don’t step on that butterfly.

Why do you think the younger members of the LGBTQ community don’t like listening to the older members when they talk about the past?

COOKIE Can you really change the past? No, but you better learn from it and continue on in the right direction.

ZOEY Not every good story starts with, “When I was your age.”

WINNIE They think they know it all. They also never had to live with what we all went through.

Being a member of the LGBTQ community is now way easier than the past.

MAE Nobody wants to hear Zoey talk.

KAY I am a younger member. I don’t know what you are talking about. I always listen to my elders. Those slutty old things have great information.

JACK-LYNN Same reason teenagers know everything, whippersnappers. Come on over; I’ll whip you. Wait, what was the question?

CHERRI Younger LGBTQ people think they have nothing in common with older members, but really, we all have something in common.

Also, older members can help us get through rough times.

I see the rainbow colors everywhere as a symbol of the LGBTQ community. What do the colors mean to you?

COOKIE A sign that things are getting better than where they were. The more colors, the better for all!

ZOEY The entire community. Nowhere is it about being a certain race, religion, gender, or sexuality. It is about finding the harmony within all of us.

WINNIE R: Life, O: Healing, Y: Sunlight, G: Nature, B: Serenity, P: Spirit.

MAE Oooooh, pretty!

KAY There are so many different versions of people, and they are all beautiful. There are so many colors in the rainbow, and I see every one.

JACK-LYNN No, No, No, I won’t go back! You can’t make me!

JACK-LYNN Inclusion and respect for everyone.

Also, everything looks good in rainbow.

CHERRI I want to repeat that night with that guy at that place in that city. You know what I mean.

CHERRI Like the rainbow standing tall, after a dark storm we will always stand tall together.

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Brad Loekle, Comedian performs August 9th at 8:00 p.m.

August 7-11, 2019 Randi Driscoll award winning singer/ songwriter/actress performs

August 10th at 7:00 p.m.

Student Scholarship Available

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OUTFRONTMAGAZINE.COM

// 4 9

Queer Pop at Deviant Spirits Distillery Photos by Mike Bomberger Things got spectacularly weird at OUT FRONT Presents Queer Pop on May 31, hosted by Deviant Spirits Distillery. Fire spinners, hoop dancers, and aerialists kept Boulder queer!

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KEEP

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23.8% ABV 0 CARBS 0 SUGAR ONLY 58 CALORIES

Photos by Charles Broshous The 2019 Bar Wars, held at The Triangle Denver on June 1 saw bartenders from eight local LGBTQ establishments go head-to-head to be named Best of the Best. Proceeds from the event went to benefit Colorado Health Network, and participants included mixologists from Blush & Blu, Li’l Devils, Pride & Swagger, Denver Sweet, Tracks, Triangle, #VYBE, and X Bar. X Bar took home the big win!

OUTFRONTMAGAZINE.COM

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BAR TAB | THE HOTTEST COLORADO NIGHTLIFE BLUSH & BLU

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DENVER SWEET

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