Limp-Wristin’ and Hip-Twistin’ . . .
[ And Baby, That's a Lot! ]
May 30 — June 5, 2001
[ & the ketamine-paced process of archiving media continues . . . ]
Massive thanks to Cara Bruce
for one of the best reviews E V E R
It’s been almost a decade, though I appreciate you all the same…
xOxOx
So, yeah. June?
June’s a busy month ’round the Clintsville.
In addition to peddlin’ word at The Poetry Brothel and collaborating with Paris Sadonis and Zoetica Ebb for a special performance at Salt Lake City’s Dark Arts Festival 2010, this month I’m also honored to be part of two feature-length film premieres.
Up first : we’ve got ”just another” genre-hopping, stop-motion animation experiment in contemporary celluloid communications, interspersed with autobiographical super 8 docu-dramitization of writer/director Hilary Goldberg‘s disparate experiences spanning a wasteland of family, palm trees, a violent car salesman and a stint in a mental institution . . .
before fact is eclipsed by the story-line of a fictive post-apocalyptic, “unincorporated community formerly known as Los Angeles” — where riot police, Amy Goodman, and Queer Superheroes run rampant, that is.
Uh-huh. You read that correctly. And I may or may not very well play the role of a character known as Gaylord Wilshire. [ Conversely, I may or may not play the role very well! ]
Guess you’ll have to wait till its world premiere at the National Queer Arts Festival 2010 to find out . . .
“Hilary Goldberg’s recLAmation is a feature-length experimental documentary/narrative film shot on Super 8 in which capitalism in contemporary Los Angeles is overthrown, and queer superheroes navigate a possible future. recLAmation illuminates historic connections between private and public systems of oppression, and explores how worldview shifts caused by personal trauma rendered the capitalist paradigm nonsense.
In the first two sections 1) Consumption and Colonization, 2) Collapsepersonal narratives interact with moving images of contemporary Los Angeles, stop motion animation, and sound design. Writer/director Goldberg’s memoir unfolds, offering reflections on time spent with her mother’s violent fiancé and in a mental hospital. Then, a fictional narrative envisions a dream of Los Angeles after it has been liberated from capitalism. Queer superheroes explore a possible future for the city that includes housing for all, truly free markets, the end of prisons, and more. The World Premiere Film Event is accompanied with live narration.”
Tuesday, June 15, 2010
8 p.m. at The Garage,
975 Howard, San Francisco, 94103
Tickets range from $12-20, and are available on-line through
★ ☆ ★
Then, four days later . . . Same city, different festival — and an incomparable project to contrast:
Renown documentarian Christopher Hines is “following fast on the heels of his success last year with The Butch Factor,” by examining not only mannerisms and varying degrees of masculinity among gay men, but also the broad spectrum of ways in which the pursuit for perfection — or perhaps merely a desire to “belong” — manifests [itself] physically.
For those of you whom I haven’t seen in a while — or ever — look for me in the first 60 seconds of this clip. I’m the tan guy, no shirt, pecs so pumped-up; you might as well call ‘em “mam”s.
See me there? No, not that one. Definitely not that one, either. Wait . . . what? You’re kidding, right? I’m that one, there, by the dude wearing a baseball cap!
“Do looks matter? When it comes to the male physique in the gay community, the answer is of course a resounding YES. In this fascinating, thought-provoking documentary, filmmaker Christopher Hines (The Butch Factor, Frameline33) turns his camera on guys of all shapes and sizes to explore how body image affects status among gay men.
Through intimate interviews with men across the United States, including several from the Bay Area, Hines uncovers the very common, often unsettling reality of how many gay men struggle to achieve and maintain a particular image in order to be accepted. As he talks with experts and everyday folks, we hear how body discrimination can lead to feelings of inadequacy, as well as issues around drug abuse and severe eating disorders that transcend sexual orientation.
One especially muscular guy admits that even though he knows it’s superficial, he “feels more respected and accepted” when people compliment his look. Hines explores how these issues trickle into other areas of our modern world by looking at everything from the gay porn industry to a naked yoga class in San Francisco that helps students feel more comfortable with their bodies.
The Adonis Factor deftly balances diverse viewpoints and voices to paint a picture of a complex world where beauty is too often considered skin deep.” — BRENDAN PETERSON
★ ☆ ★
The Adonis Factor World Premiere
★ ☆ ★
Saturday, June 19, 2010
2 p.m. at The Victoria Theater,
2961 16th Street, San Francisco, 94103-3633
Tickets vary in cost for those who are organization members versus non-members — and if you’re able to actually find those exact figures at Frameline 34 – San Francisco International LGBT Festival ? You’re a more astute person than I!
*In that event, please comment or send me a message via the “Contact Clint” option. More than happy to update the listing, thanks!
Issue 52, The “Spring Fashion Issue”
While the process of uploading/archiving/formatting my site to WordPress is—generally speaking—yawnsville territory, the occasional film strip I “re-visit” compensates for the pain-in-the-assery of it all : remembrances of whom was with me, where I was, the tilt-a-whirl of excitement I felt upon picking up the copy of Flaunt, in which this brief review (see: paragraph three) appeared…
Massive thanks and congratulations, B.B.: In five sentences, you target the subject matter with a marksman’s precision. Not only is this excerpt testament to a well-honed sense of verbal dexterity, but the analysis also exhibits a sophistication—namely, your ability to exude charm despite a frugal economy of language.
And thank you, Flaunt Magazine, for the elation (however fleeting). I don’t even have to close my eyes, and I’m there again: a 7-11 in Eagle Rock, bona-fide literary groupie Mark Ewert waiting in my grandmacamry while I made this pit stop to wherever it is he was staying. The A.C. in the store is cranked, my skin a menace of gooseflesh as I stand, feet planted so I’m facing the magazine rack. There’s a large expanse of glass behind the titles—does one call it a “window” if it’s never meant to be opened?—and on the other side of the freshly-Windexed surface that’s filling my lungs with a mildly toxic freon blue scent, dusk spreads itself across the asphalt sky, immense and in gasoline hues—a Molotov cocktail tossed onto the L.A. skyline. A thick copy of Flaunt is in my hands, Selma Blair on the trademark die-cut double cover, and it’s the moment just after I flipped past Omahyra’s “Quinceñara” editorial: the moment when my eyes landed on this review, confirming the validity of what I’d heard, and as I’m scanning the words, a feeling comes over me that’s an onslaught of stimuli: it’s like being on a float in a parade, the crowd cheering; it’s like tossing a fistful of lit firecrackers; it’s a warmth of validation crawling into me by the fingertips, a delirious warmth, a fix I hadn’t even known I was craving. It’s my own Sally Fields moment, an implicit understanding of the fickle undercurrent in her Oscar acceptance speech when she gushed: “You like me, right now, you like me!”
I grab the other two copies from the shelf and head towards the cashier, not giving a damn about the transitory nature of things.
I feel traces of it still: “You like me… You like me…”
“Right now, you like me!”
DISCLAIMER!
✪ Please Note: ✪
At the time in which this interview was conducted, I didn’t exactly have an unbiased point-of-view.
Friends of mine had recently been laid off—a common occurrence in businesses when things like a “merger” occur… but wounds were still fresh, so to speak. If not theirs—well, then mine, out of camaraderie.
Rather than call attention to the negative, I hope you’ll be able to apply the aforementioned statement in any instances where it might be [AHEM!] applicable. As in: flagrantly.
Oh, &…it’s taken numerous attempts for my embarrassingly low-tech ass to get this archived Q & A to post within WP’s established parameters.
:: claws & any other applicable appendages hereby crossed —with— massive thanks to Josh Rotter & Gay.com! ::
[ April 2001 : Archived ]
Props, Ever in Order
to both Richard Davis and LBR, a publication through the Lambda Literary Foundation !
First and foremost?
The Laramie Project: 10 Years Later is a phenomenal script. Written as a follow-up to Tectonic Theater’s docudrama The Laramie Project (2000), the sequel’s premise is an exploration of how Laramie, Wyoming has changed a decade after the brutal murder of Matthew Shepard.
Referred to on the theater’s site as an epilogue, the printed work Perrette (and co) performed on Sunday is the end result of five members of Tectonic — founder Moisés Kaufman, accompanied by Andy Paris, Leigh Fondakowski, Greg Pierotti and Stephen Belber — who sought out the same people they interviewed ten years ago for The Laramie Project and spoke with them again, along with new members of the community.
A portion of these accounts has been edited into a 10 minute clip posted on Tectonic Theater’s YouTube channel. (Link provided for those whom might be interested in subscribing…)
Otherwise, I’ve embedded it here:
In short, The Laramie Project: 10 Years Later posits regional questions, such as “Has Matthew’s murder had a lasting impact on [their] community?” and “How has the town changed as a result of this event?”
Moreover, the play addresses salient topics regarding the nation’s current social climate, through queries such as “What does life in Laramie tell us about life in America 10 years later?”
Now…
Insofar as my promise to post images from Sunday’s reading at Hollywood United Methodist Church, I encountered a bit of a roadblock on that venture—namely, several signs with the statement “There is no photography or recording (video or audio) allowed at this performance” that had been affixed throughout the structure, replete with a sentiment of “Thank you!”
In a different setting, for a different cause, and with a different cast–namely, one in which I don’t have such a formidable level of respect, let alone a personal relationship of any sort?
Truth be told, I probably would have considered it just another “Don’t So Delicious To Do.”
Nonetheless, in this case?
A group shot (courtesy of Richard Settle) will have to suffice, please.&.thanks:
Standing (L-R): Jim Parsons, James Cromwell, Helen Shaver, Pauley Perrette, Christian Clemenson
Seated (L-R): Michael Weatherly, Johnny Galecki, Barrett Foa, Lisa Edelstein, Zachary Quinto and Julie Benz.
A review of the performance awaits
:: ‘Beneath the Cut’ ::
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