36 JU StOUt
JANUARY 6. 2006
film
The Glory (Hole) Days
Survivors fondly revisit Gay Sex in the 70s
Gay Sex in the 70s
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integrity.” But, shocking to say, hip-hop is no
Fundamentalist types love to compare queer
longer the exclusive property of homophobes
culture to the last days of decadent Rome, an opinion
and misogynists, or so says the new' documen­
that’s easy to dismiss given how little fundamentalists
tary Pick Up the Mic.
actually know about history, homosexuality or any­
Queers and rap have a tortured history at
thing outside their crazy cult. But, surprisingly, some
best. Along with women (“bitches and hos”),
of the gay men who participated in the nonstop orgy
queers (“faggots”) have been the target of some
between Stonewall (1969) and AIDS (1981) make the
of the most venomous verbal assaults in any
same comparison in Joseph Lovett's short (71 min­
medium, up to and including murder. Of course,
utes) but intriguing documentary Gay Sex in the 70s.
just because rappers own the airwaves doesn’t
Many of those who played hardest in—and
mean queers need to take this lying down. And
presumably would have known the most about—that
they haven't. Mostly in major urban centers like
scene are dead. And not only front AIDS. This scene
San Francisco and New York City, but also in less
was so wild (OK, decadent) that a few mad queens
hospitable
engaging in gymnastic blow jobs on the upper floors
Houston, queer rappers are taking on the homo-
of abandoned buildings plunged to their doom in the
phobes with their own version of this music.
532 SW Ahns Avenue
Corvallis JR 97333
V
Minneapolis
and
Gay Sex in the 70s documents the sexual revolution
between Stonewall and AIDS.
after orgasm.) Of course, most were in fact hit by HIV,
ultimately be more impressive as activism and com­
Trolling through scripts, they find their winner in
but a few survived, and some of those few' are inter­
munity building than as music. The documentary
Springtime for Hitler, a revisionist romp written by
. showcases the leaders of the genre—queer boys,
Franz Liebkin (Will Ferrell), whose desire to clear the
Gay Sex in the 70s features a wealth of revealing
dykes and trans people—with catchy, sometimes
name of Der Führer is only surpassed by his love of
photographs of queer sex hounds busy at their work
campy names like Katastrophe (a San Francisco KIM),
•pigeons. Bialystock and Bloom also take on Swedish
in the many impromptu venues New York City thought­
Dutchboy (a bi guy), the Deep Dickollective (black
hottie Ulla (I ma Thurman) as secretary, love interest
fully provided: empty’ trucks, “the piers,” sex bars, sex
queens
God-Des,
and lead singer/dancer in the show. And they book
theaters...any alley or alcove, really. And the dark
a Wisconsin dyke who might be the most talented of
übergay director Roger de Bris (Gary Beach) to direct
cover of night wasn't necessary, either. One of the
this bunch. She’s certainly the most doggedly
Springtime, knowing he won t disappoint their low
queens here wistfully recalls the times he had sex in
ambitious, risking poverty in Brooklyn and a breakup
expectations by turning it into an utter campfest.
broad daylight on construction sites, with the straight
with her girlfriend to achieve her dream.
workers eating their lunch nearby and either laughing
More typical is Johnny Dangerous, a hunky
at the activities or joining in. Ah, the glory days!
hottie who spends most of his onstage time
from
Oakland,
Calif.)
and
-------
bumping and grinding.
porn vignettes and scenes of screaming gay protesters
The question of talent in this group is key.
with big hair, long sideburns and elephant bells into
Director Alex Hinton gives us plenty of time,
this loose history of a time almost unimaginable today.
and reason, to get to know these people. We
But most compelling are the comments of the queens
see them performing (too often to small
whose devotion to the orgy dominated their lives. They
audiences), relaying their personal histories
revisit those days as only New Yorkers can—mock
and struggling to find a voice and, more
shock and excitement at how blatant and over-the-top
elusive, a career. Most of them are smart,
it all was, sadness at the massive casualties that fol­
engaging and highly articulate in telling their
lowed, regret that a killer disease put a bitter end to
stories. But anyone looking for superior
what looked like the long-awaited gay sexual revolu­
examples of hip-hop per se may be dis­
tion finally happening.
appointed. They 're recycling the same kind of rhyming
Originally filmed in 1968, TAe Producers was writ­
and rapping we’ve heard for the past 25 years, just
ten and directed by Mel Brooks then, and he scripted
adding queer motifs. As a portrait of a subculture
the Broadway show and this new feature. The show's
struggling to reappropriate an identity stolen front
Broadway director, Susan Stroman, helms this movie
them, Pick Ip the Mic is compelling viewing. Just
as well. The effect is interesting; rarely has a musical
don’t expect the “rainbow flava" sounds to scintillate.
hewed so closely to its roots, from stars to songs to
Plays 7 p.m. Jan. 6 at Guild Theatre to kick off the
staging. The effect can be disorienting at times, as you
Plays 10:30 p.m.Jan. 6 and 7 and Jan. 13 and 14
at Cinema 21.
—Gary Morris
Pick Up the Mic
“Queer rap,” aka “Homohop," sounds as
oxymoronic as “jumbo shrimp” or “presidential
The producers of The Producers wisely opted to
It Gay.”
Northwest Film Center's 23rd Reel Music Festival.
—GM
ESSenTIALS FOR 6U6RUDAU ARTISTS
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can almost see Lane and Broderick pausing for
audience laughter or applause, and pratfalls that work
well on stage look sub-sitcom on the big screen.
The Producers
4224 SE Hawthorne Blvd
503.231.8704
museartanddesign.com
m-sat 10-6, sun 12-5
bilk investors when the show flops.
The results, as seen in Pick Up the Mic, might
The documentary' interweaves amusing period
©
like
Hudson River. (No report if this was before, during or
viewed here.
A ‘family’ owned and operated
business since 1997.
venues
Broadway history is chock full of musi­
Harvey Fierstein, can’t quite pull it off. Broderick is
cals based on feature films, but few are the
less showy, but the comfort level both have in their
films made from a Broadway musical that
characters is evident. Ferrell steals every scene he’s in.
was made from a film. Fewer still is a
while Thurman is acceptable, but her scenes drag on
project that stars the characters who made
and on. And speaking of drag, there's de Bris, who
the Broadway show a hit. Welcome to The
spends his time in drag at a home replete with prissy
Broadway
lover Carmen Ghia (Roger Bart, aka the murderous
producer Max Bialystock (Nathan Lane)
pharmacist from Desperate Housewives) and a
uses his romantic wiles to get money out of
Village People-like entourage. His few scenes are
old ladies to back his shows. He meets
absolute standouts, and his take on Hitler is priceless.
Producers,
JenRo, one of the featured performers in Pick Up the Mic,
will perform during Swine, a new nonsmoking weekly
dance party with DJ Puppet, 10 p.m. to 2 a.m. Jan. 7 at
Porky’s Pub, 835 N. Lombard St. Cover is $5.
Lane tries mightily to play it straight but, like
in
which
flop
(Matthew
(¡ay audiences will find much to like in The
Broderick), whose fondest dream is to
Producers, although it might not weather multiple
stage a musical. The pair scheme to open
viewings, as there is no such thing as subtlety.
—Andy Mangels ©
accountant
Nathan
Bloom
the worst Broadway show ever, as a way to