July 19, 2017 :: Queer Art

JULY 19, 2017 | O U T FR O NT M AGA ZINE .CO M | F R E E

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AUGUST 5, 2017 on the

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AURORA MUNICIPAL CENTER

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BY J U L Y 5THE FRONT FOUNDATION MORE INFO @: www.AuroraPride.com OR CONTACT: 303.477.4000 x708

legal Directory LEGAL DIRECTORY

how to choose the rIGhT PerSOnAL Injury ATTOrney Here are five tips tHat can Help: experience. The value of an attorney’s experience will come in handy when assessing and investigating a claim. Hiring a personal injury attorney who knows what to look for, where to look for it, and how it applies to your case can make a big difference.

Specialization. Just like doctors specialize in certain areas of medicine, lawyers usually specialize in certain areas of the law. An attorney that specializes in personal injury has a unique set of skills that will help determine issues of liability such as negligence and causation. reputation. When it comes to resolving your claim fairly and expeditiously, look for an attorney with a positive reputation in your

community. Selecting an attorney that has a good reputation will go a long way in dealing with insurance companies and the other attorneys handling your claim.

Personality. When you’ve been injured, you want an attorney that values the importance of being available to take questions, update you on the status of your claim, and return your calls in a timely manner. Personality is often the most overlooked factor in selecting an attorney, but it can be a good indicator of how they operate their business. You are going to be spending a good amount of time with them, so you want to make sure you like your attorney and trust that your experience is going to be a good one.

Patience. As you go through the hiring process, remember: There is no need to rush the process. Selecting your attorney is an important step, and you can take your time to do it right so you’re confident that your claim will be in good hands and handled with the care it deserves.

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The opinions expressed in this article are general in nature. For specific legal advice about your particular situation, please contact an attorney.

outfrontonline.com/legal-directory | To advertise here, please call 303-477-4000.

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CONTENTS JULY 19, 2017 VOL40 NO14

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06 RALLYING TO SAVE COLORADO JOBS AND HOMES FOR DISABLED RESIDENTS 10 JOSH RIGO BRINGS QUEER VISIBILITY TO BRECKENRIDGE BACKSTAGE 12 LOCAL ARTIST HIGHLIGHT: MORGAN AINSLEY 14

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KOKO BAYER PUSHES A SOCIAL AGENDA THROUGH “LIGHT VANDALISM” 20 LOCAL ARTIST HIGHLIGHT: KENZIE SITTERUD 22 SAINT GEORGE BLURS THE GENDER LINE AND RAPS ABOUT DISNEYLAND 24

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MINK STOLE ON SERIAL MOM AND THE LEGACY OF JOHN WATERS 26 DUELING WITH DEPRESSION: ART AS SELF CARE

SERVING THE LGBT COMMUNITY OF THE ROCKY MOUNTAINS SINCE 1976 PHONE 303-477-4000 FAX 303-325-2642 WEB OutFrontOnline.com FACEBOOK /OutFrontColorado TWITTER @OutFrontCO INSTAGRAM /OutFrontColorado FOUNDER PHIL PRICE 1954-1993 ADMINISTRATION info@outfrontonline.com JERRY CUNNINGHAM Publisher J.C. MCDONALD Vice President MAGGIE PHILLIPS Operations Manager JEFF JACKSON SWAIM Chief Strategist EDITORIAL editorial@outfrontonline.com RYAN HOWE Editor ADDISON HERRON-WHEELER Digital Content Manager BRENT HEINZE Senior Columnist SARAH FARBMAN Copy Editor CONTRIBUTING WRITERS Rick Kitzman, Yvonne Wright, David-Elijah Nahmod, Joseph Soto, Mike Yost ART art@outfrontonline.com DESIGN2PRO Graphic Designer CONTRIBUTING ARTISTS Charles Broshous, Deirdre Fritz, Eric Magnusson MARKETING + SALES marketing@outfrontonline.com HARRISON SCHAFFER Director of Sales & Marketing SARAH JACOBSON Marketing Executive BRENNAN GALLAGHER Marketing Executive HARRISON SCHAFFER Marketing Executive NATIONAL ADVERTISING Rivendell Media 212-242-6863 | sales@rivendellmedia.com DISTRIBUTION

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Rallying

to Save

Protestors gather outside of Senator Cory Gardner’s office. Photo provided by Melisa Kraai

Colorado Jobs and Homes for Disabled Residents

By Yvonne Wright Jeanie Benfield is not an average person.

Spend five minutes with her and you soon realize how intelligent, how compassionate, and how hard-working she is. Stretch that five minutes a little longer, and you’ll notice she harnesses these traits to advocate for her community.

Stick around long enough, you’ll see she does a damn good job of it.

Benfield is quadriplegic and relies on Medicaid to pay for the group home she lives in and the people who take care of essentials like getting her out of bed, dressed, bathed, and fed.

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“Without Medicaid, I would die. This would be a senseless waste; I’m a productive member of my community,” she said.

For Benfield, this fight is not new. She said her disability is the result of a broken healthcare system.

When her mother needed a C-section, Benfield said she wasn’t given one because the doctor wasn’t sure her parents could pay for it. As a result, the lack of oxygen severely damaged the part of her brain that controls her muscles.

“I sometimes wonder if the doctor would have made a different choice if it were he who had to live with the disability his choice caused. If our nation had single-payer health care, the doctor would have just done the C-section without worrying,” she said.

Benfield is one of the estimated 1.3 million Coloradans who benefit from Medicaid, a state- and federally-funded health care program. She, among hundreds like herself, is concerned efforts to overturn Obamacare will take down programs that have nothing to do with it — programs that keep disabled people

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out of institutions and in community homes, jobs, and day programs.

“Our fear is it’s going to be death by a thousand cuts,” said Julie Reiskin, executive director of Colorado Cross Disability Coalition. She helped organize a recent rally outside Senator Cory Gardner’s Denver office.

McBride and others like her not only contribute to the economy by spending the money they earn, they also must pay back into Medicaid to help sustain the program.

In McBride’s case, half of her paycheck goes back to Medicaid.

She is not alone in this.

The staff who keep me alive really should be paid more than if they were flipping hamburgers; I’m a human being, not a hamburger.

Activists are targeting Gardner because he was on a republican senate committee working to dismantle the Affordable Care Act (Obamacare) and replace it with a new plan, a plan Reiskin says could take down long-standing Colorado programs.

“People with all types of significant disabilities, including those with intellectual disabilities, rely on home- and communitybased services [that] have been around since the ‘80s,” Reiskin said.

Nicole McBride is among those who’ve benefitted from Colorado services since the ‘80s. She is proud of what she’s done with the benefits offered her.

“I get a house to live in, I get food, I get a place to work at that helps me with my disability. I get to work without people judging me,” she said.

McBride is one of Colorado’s most vulnerable residents. She’s a woman. She’s a lesbian.

She’s developmentally disabled.

With an I.Q. under 70, McBride requires long-term care. She lives in a host home.

Much like adult foster care, host homes allow people who would otherwise be institutionalized to be a part of a family, to live with people who are trained to care for them. She works at Jack’s and Steamers, a restaurant and prep-kitchen that trains and hires people with intellectual challenges.

“Nicole is like the all-around go-to person,” said Garrett McGovern, the executive chef and kitchen manager. While McBride works as a dishwasher, she’s also learning skills like food preparation, bussing tables, making jam, and plating food.

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Jo Booms, a budding archeologist, had to quit her dream job when a rare genetic disorder made it impossible for her to function full-time. Mental and physical challenges meant she needed to find a different profession. Booms began working with developmentally disabled people until her disorder progressed to the point where she could only work a few hours a week.

“It doesn’t make sense to take away a program that allows me to be healthy enough to be employed,” Booms said.

“The problem is not that people on Medicaid are over-served; if anything they are underserved. We have a long way to go in Medicaid reform. We need more Medicaid, not less,” she continued.

If Medicaid doesn’t pay for the weekly shots she needs to stay alive and healthy, she says she won’t even be able to work the hours she works now. What’s worse is she’ll be confined to bed, and taxpayers will end up paying more, as her disability benefits would need to be increased.

“The more income I have, the more spending power I have, the more I give back to the economy,” she said.

Helping people give back to the economy is a passion of Melisa Kraai’s. She co-owns and manages SustAinability, a recycling company that employs more than 140 people with intellectual challenges.

“The very point of services is to decrease [them] over time,” she said. She wants republicans to hear and understand that programs like hers take people out of taxpayer-funded day programs and put them to work. Ultimately, the goal is to help as many people as possible get off Medicaid and support themselves.

As members of the LGBTQ community, Booms, McBride, and Kraai understand discrimination and work hard to fight against it on several fronts.

Sarah Smith is the Program Director at Jack’s and Steamers. She helps train and oversee the disabled people who work there. Both SustainAbility and Jack’s and Steamers face the possibility of shutting down if Medicaid cuts are substantial.

“For many people with disabilities, Medicaid is a lifeline; it allows people to work, recreate, make friends, learn, and live,” Smith said. “Without Medicaid, it is possible that Steamers’ approximately 70 employees with disabilities will be out of a job and — worse for some — without access to community-based services in general, which would put people back in institutions.”

Colorado is one of the states that helped lead the way in getting disabled people out of sterile institutions and into family homes. Medicaid cuts could force people like McBride, Benfield, and Booms into nursing homes or worse.

“We don’t have institutions — we’ve dismantled them all,” said Reiskin. “We really don’t know where they would go.”

But Reiskin isn’t giving up.

While Senator Michael Bennet told a town hall meeting he sees republicans masquerading Medicaid cuts as a health care bill, many republicans do support the cuts.

“A lot of what we’ve heard about is preexisting conditions,” Reiskin said. But, she pointed out, “Medicaid is the only support for long-term care. Private insurance doesn’t cover it. Neither does Medicare.”

Because of a Colorado constitutional amendment passed in the ‘90s, if Medicaid dollars are cut, the state cannot fund needed programs without voter approval.

Everyone interviewed agreed salaries for those who care for disabled people are too low. “In some places they’re dangerously low,” said Reiskin. If the state can’t afford to hire enough caretakers or good managers, it leaves the door open for abuse.

This is something Benfield fights against.

“The staff who keep me alive really should be paid more than if they were flipping hamburgers; I’m a human being, not a hamburger.”

Your Skin is Your Own Work of Art

By Dr. Richard Asarch, Colorado Dermatologist Our skin is not only the first thing that others see, it is also a visible reflection of our overall health. I like to refer to the analogy of a fine painting when helping patients choose which treatments will improve their skin’s health and appearance. If you picture your skin as a painting- our own work of art- then the treatments you choose will be the tools to help you improve the painting.

Colors and texture are immediately visible on the surface of a canvas. Much like a painting, as we age, fine changes happen at the surface. Discoloration or textural and tonal changes in our skin cause it to lose the vibrant, healthy appearance of more youthful skin. I recommend DermaSpa Rx Skin Nutrition Products, Intense Pulsed Light (IPL) treatments, Microdermabrasion- often

combined with micro-channeling (DermaFrac) - chemical peels, and light fractional laser treatments to address the surface of the skin.

As we continue to age, the foundational layer of our skin begins to change, Damage to the underlying collagen and elastic fibers of the dermis cause our skin to lose its elasticity. The tools I use to repair the underlying structure of our skin- (the canvas)- are various lasers including: Sublative, Fractional, Radio Frequency, and Ultrasound treatments.

All of these options help to tighten and thicken the dermis resulting in smoother and firmer skin.

As we age further, our skin becomes significantly more lax, and we start to lose supportive bony structures (the stretcher bars of the canvas) and supportive volume

S P O N S O R E D CO N T E N T under the skin, which leads to a sunken appearance. To regain the contour of our beautiful “painting” we can improve the supportive structure with injectable fillers to replace missing volume and restore our youthful appearance.

Whatever stage you find your skin- “your work of art”- to be in, these non-invasive or minimally invasive procedures and treatment options can make a world of difference with little to no downtime. To augment these procedures, add effective topical agents such as those found in the DermaSpa Rx line of products to your skin care routine and enjoy creating and maintaining your own work of art.

For more information or to speak with someone about your skin concerns you may call 303-761-7797 or go to Dr. Asarch’s website: www.AsarchCenter.com

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o g i R Josh

Brings Queer Visibility to Breckenridge Backstage

By Addison Herron-Wheeler In 2017, politics and art no longer exist in two separate realms. They are two connected concepts, each feeding off the other. As has been shown this year with events like the cast of Hamilton addressing the new vice president directly when he came to a show, one cannot separate the two and escape the

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political in favor of entertainment. As such, mediums like theatre are serving to complement the national dialogue by putting forth valid, informed perceptions of the world.

OUT FRONT caught up with Josh Rigo, who identifies as gay and plays queer characters in both The Producers and Buyer and Cellar, to talk about his portrayal of gay characters in theatre.

Here in Colorado, Breckenridge Backstage is highlighting LGBTQ characters in their performances this summer. Three of the plays they are putting on, The Producers, Buyer and Cellar, and Billy Elliot, all deal with queer issues.

“Buyer and Cellar revolves around the main character, Alex More, a genuine guy from the Midwest, trying to live the life of an actor in the craziness that is Los Angeles,” Rigo explained. After getting fired from Disneyland, Alex gets a job working in the mall in Barbra Streisand’s basement. He handles this outrageous situation extremely well and begins to peel back the many layers of Babs. “His experience through this play is a quest

for truth — trying to find out what’s real and not real, who he is, and what life is all about.”

What Rigo likes most about his role in Buyer and Cellar is that although Alex is a gay character, his queerness is not the crux of the show. His sexuality, and any struggles surrounding it, create another layer that adds to the complexity of the character.

“I feel Buyer and Cellar is an important play for the LGBTQ community because it features a gay character where being gay isn’t part of a ‘joke,’ or [he] isn’t just a silly gay sidekick,” he explained. “It’s about this guy living in L.A. and the story of everything he’s going through, and he just happens to also be gay. This show is also great for the LGBTQ community because it has hundreds of gay, theatre, musical theatre, and Barbra Streisand references sprinkled throughout the entire show.

It is really a gem of a script.”

At the same time, Rigo is playing a completely different, queer role as Carmen Ghia in The Producers. Although the script calls for a more overstated and comical portrayal, Rigo feels that there is pride to be had in the character.

While The Producers may be a lot more stereotypical, and the gay character is certainly designed to get laughs, Rigo thinks there is value in laughing along with theatre as well as hitting more serious points. Rather than take offense at some of the more racy and slapstick moments in the classic Mel Brooks play, he owns the portrayal of a silly, gay stereotype.

“I play Carmen Ghia, the flamboyant, ‘common-law assistant’ to NYC theatre director Roger de Bris,” he said. “My first scene in the show concludes with the song ‘Keep It Gay,’ and things just get more gay from there on out. This character is an absolute blast to play.”

For Rigo, the exploration of queer characters on stage is a way to normalize queerness in front of a larger audience.

While many may see queer people as humans who deserve equal rights, current events make it clear that LGBTQ people still face a lot of hurdles to overcome here in the U.S., and especially worldwide.

Rigo hopes that by seeing a character like Alex in a play like Buyer and Cellar, audiences will see a humanized version of a gay character, much like what happens when people watch TV shows like Will & Grace or Modern Family.

“To have that visibility of a gay couple living their day-to-day lives had an enormous impact on the gay rights movement, gay marriage, and attitudes towards the LGBTQ community in general,” he said, referring to the gay characters on Modern Family. “Having that visibility in theatre, TV, and film helps show the world that gay people are just people. Gay families are just families. And having that normalized doesn’t take away from our uniqueness, our diversity, and all the things that make the LGBTQ community different and amazing. I think it just helps people see that even though we are all different, we are also all the same.”

Catch Buyer and Cellar and The Producers live now at the Breckenridge Backstage Theatre. The shows are running on alternating days, now through August 12. Visit BackstageTheatre.org to buy tickets online.

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Local Artist Highlight:

MORGAN AINSLEY

Morgan Ainsley is a gender-fluid writer who lives in Fort Collins, CO. They have been writing as an avocation since the second grade, thanks to the influences of their maternal grandfather, who was also a writer. Morgan has focused on the path of poetry as a genre they love and enjoys both reading and writing. In addition to writing, Morgan works as a gender therapist and hopes one day to become a registered poetry therapist.

“The first person I came out to...”

I remember sitting alone on the couch Alone in the house My mind churning and racing at the same time, “What’s wrong with me?”

“This isn’t real” “I must be going through a phase” “maybe it will fade away” “but what if it doesn’t?”

Five, ten, fifteen minutes elapsed I picked up a pen and piece of paper.

I started to write a letter to myself, Accepting myself Loving myself allowing myself to be totally lost in what appeared to be only two gender options at the time “Maybe It’s okay to be this or maybe be that maybe I don’t have to have my shit together I kept writing, kept promoting, kept affirming Not giving a shit if what I was saying was true or if I was just whistling in the graveyard.

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And then when I was done...I folded my letter down to the size of a business card I stuck it in the hidden compartment of my wallet And until this poem...told no one about this letter Many days I thought about that letter I braced and braved the storm to buy a skirt and wear it.

Then I bought two more, and then heels, and a men’s blazer to match I continued to knit, started to tat- at home and on airplanes. wore makeup- eyeliner first and then the rest.

I wore steampunk dressed like an proper Englishman, I drew pictures of androgynous clothes I wanted to learn how to sew. the effect of the letter started to take form Each day things around my gender seemed a little softer A little more malleable A little more moisturized with self-grace I look back on it all and look forward where it’s headedYeah...it was a coming-out letter to myself I carried in my hip pocket

Transition It takes me a long time to feel my feels Working through the barbed wire The dust, the sweltering heat The dark sticky nights The glimpses and peeks of potential prosperity Sunshine, blue sky and gentle breezes Riding on my back Begging my mind to turn back To the days of easy ways When translating the depths of the soul Was an endeavor for the gurus and monks The shamans and curanderos All of this and the question “why?”

Is returned with “why so long?”

Luna I talk to the moon today It seems hidden beneath the sun Yet I see its face pimpled with dust and stone Absorbing, reflecting Feeling all alone I talk to the moon today It listens while lacking moral code Not knowing who to love, who to judge Pulling, yearning Moving ocean tides I talk to the moon today As it falls below horizon’s line Greeting a new batch of earthly on-lookers Working, warming Feeding hungry souls

When I say that I love you When I say that I love you I mean that I love you I adore you I cherish you You sow joy into my essence.

It may be at that very moment Or from a collection of memories past But when I say that I love you I mean that I love you.

A heartfelt expression that is nothing less than drops of rain And if they come on like a deluge You can either get out your muck-a-lucks Or dance barefooted in the puddles Because remember after all ... it is the rain ...

What else am I to do?

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Pushes a Social Agenda Through “Light Vandalism�

By Addison Herron-Wheeler

Graffiti is a powerful medium for spreading messages.

For Koko Bayer, it is a cathartic release and a way to educate her community on important social issues.

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Bayer is one of the staple artists of the once-flourishing River North arts community. Soon, that neighborhood will be home to a World Trade Center, a light rail stop, and many new apartment complexes. Her neighborhood is rapidly changing, but Bayer found a way to continue working in RiNo when she ditched her gallery space and transformed her apartment into a work studio.

But her art is still visible on the streets of RiNo, and the remains of her work can be found in the rubble of the buildings that once housed many galleries but were torn down to make room for Denver’s growing population.

She also does it as a way to break through and reach the community through interactive art.

Technically, what Bayer is doing is illegal, but she fondly refers to it as “vandalism light.”

Unlike graffiti done with spray paint, all of her pasted illustrations can be washed off with water and are not intended to be permanent or damage the buildings they are on. She also seeks out spots with pieces already

I always just think of myself as an artist, not with anything added on to that.

Grinding to a stop, Bayer wasted no time jumping out of her Jeep Wrangler to show off one of her favorite walls in the RiNo neighborhood.

Located on the side of an abandoned building, Bayer lamented that the spot will soon be torn down, and her work with it.

“Plenty of my pieces have gone down in this neighborhood when they brought down the buildings,” she said. “I still have a lot of pieces up, but there are definitely some that have gotten demolished.”

Bayer creates graffiti as a catharsis, a release from the technology she immerses herself in during her day-to-day work.

on them, properties she knows to be abandoned, or owners who are friendly to local artists.

“There’s a certain street code that goes along with this kind of work,” Bayer

explained. “If I were to wheatpaste over another artist’s work, that would be an act of aggression. I seek out spaces with other pieces and try to put my work where I know it’s OK.” One of those places is located in the heart of Capitol Hill. As she approached the spot, a smile crept up from behind the steering wheel.

Bayer’s appearance forms a sharp contrast with the rugged jeep she rides around in. Donning a blue and white blouse, with her hair and makeup done, she takes a lot of pride in her appearance, even in the middle of summer as she lugs her equipment through town. Her Jeep, on the other hand, is dusty and open-air, filled with a bucket of wheatpaste, a large brush for attaching her work to walls, and all of her prints.

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“This next spot is a little hidden, but still great for pasting,” Bayer said of a secluded wall tucked behind City o’ City.

“My work won’t be as visible here, but I try to contribute to this spot because a lot of artists visit here.”

The wall behind City o’ City already features some of Bayer’s existing work.

A pair of lips plastered to the wall, once bright red, have turned black, but still remain proudly displayed. Standing in front of the wall and her faded lips, Bayer pulled out a giant image of a rainbow hand with an eyeball in the center and began pasting it alongside other artists’ work.

“This piece I made specifically for Pride, even though I’m not always super political with my work,” Bayer explained.

As a lesbian trans woman, Bayer does not want her LGBTQ identity to define or inform all of her art, but she wants to embrace the power that she has to create change and influence opinion by pasting her art across the city.

While she doesn’t see herself as an artist that works being queer into every piece of art or aspect of what she does, Bayer has recently been working on LGBTQoriented projects. She did a series for Pride Month featuring rainbow hearts, eyes, and hands that she put up all over town.

It kind of shows you that there’s this additional layer that your art can have if you choose for it to. At the end of the day it still needs to be good art — not just good queer art or good woman’s art. If I can do good art that also helps educate people I think that would be a beautiful bonus, and it would be so gratifying.

“I always just think of myself as an artist, not with anything added on to that,” she said.

“But I think this election has really made us think and clarify what exactly we think. Working with the Amplifier Foundation [a local LGBTQ street art crew] and doing all the ‘We the People’ postering around town was really empowering and showed me that my art can also be this tool to share my opinions and really make people think about certain things, and that really got my attention. It kind of shows you that there’s this additional layer that your art can have if you choose for it to. At the end of the day it still needs to be good art — not just good queer art or good woman’s art. If I can do good art that also helps educate people I think that would be a beautiful bonus, and it would be so gratifying.”

The “We the People” series refers to the posters that have been popping up around town, reminiscent of World War II-era propaganda posters. One features a woman wearing an American-flag Hijab, and the other shows a brownskinned woman with a flower in her hair.

The posters made a bigger impact than a lot of the more esoteric pieces she posts.

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Many were defaced, causing Bayer to drive around fixing and pasting over the ruined posters. Bayer doesn’t seem bitter about the art being destroyed, but rather encouraged that people are noticing her work and starting a dialogue based on it, and happy that she has received positive feedback for the project as well.

On the same wall as her faded lips and newly pasted rainbow hand, Bayer pointed out one of her “We the People” pieces — the one without the hijab.

“I loved putting this here because of the visibility for people,” she explained.

“These have definitely been pieces that received a really strong reaction.

Taking out her phone, she pulled up a photo of her hijab piece after it was defaced, the words “stop female genital mutilation” scrawled across the image.

Despite the defacing of some of her pieces, Bayer seems positive about the fact that her audience is reacting to and interacting with her pieces.

“It really has been so gratifying doing the ‘We the People’ thing, and every time I have replaced that piece across from City o’ City, someone has come up and said how much they appreciate having that piece there,” she said. “A lot of times as artists we don’t have that much contact with other people, really. Making art, for the most part, is a solitary enterprise. I think that’s part of why I like making art in the streets. It’s a semi-solitary enterprise but sometimes you interact with people.”

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If you give people an honest chance to accept you for who you are, the overwhelming majority of people will.

Bayer works as a photographer to pay the bills but does wheatpasting as a way to blow off steam and meditate on a solitary activity. She considers all of her art a collaboration with her late grandfather, Herbert Bayer, who was one of the pioneers of the Bauhaus Movement.

The process of pasting is easy enough that Bayer can accomplish it with a few basic items from her jeep. She keeps a bottle of wheatpaste, which she mixes herself from a water and flour solution.

Bayer squirts the paste up on the wall and then flattens the illustration onto the wall with the roller she carries.

“You know, for me, there is something beautifully low tech about it,” she said. “There is something very simple, almost preschool-like. Glue and paper and water — that’s it. And I love the actual act; I love putting them up. I’m just thinking of the wall, the paper, the glue; it’s very liberating; the zone or flow is super addictive. It’s such a good feeling and something I’ve gotten from art since I was a kid.”

Once Bayer was nestled comfortably back in her Wrangler and making her way through RiNo, she passed the location of the future World Trade Center and the new condos that will surround it. Bayer turned nostalgic, yet optimistic, about the neighborhood.

“All of that over there used to be studios; it was where I had my studio,” she said, gesturing to some apartments. “Now I live in Taxi, in one of the newer apartments.

But I still have a workspace over there, and now there’s an organic grocery store I can walk to from my house. You can’t argue with that.”

Bayer will continue to use her positive influence through art to educate and reach people, and she still believes in the power of local D.I.Y. culture. In the meantime, Bayer would like for all of us to do her one favor.

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“Come out of the closet,” she insisted.

“Trans people especially need to come out of the closet. Those people in the closet are doing themselves and all of us a huge disservice. They are projecting onto the world what they think the world is going to think about them and that is informed by sexism, fear, and shame. If you give people an honest chance to accept you for who you are, the overwhelming majority of people will.”

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LOCAL ARTIST HIGHLIGHT:

Kenzie Sitterud Kenzie Sitterud is a Denver artist and designer who uses their voice to challenge the dominant perspective. They express themself as a queer artist, which helps them push their designs by giving them a thicker skin, an interpretive layer of design, and the ability to push social issues. Kenzie submitted two separate installations to OUT FRONT for our Art Issue.

“The Bathroom: Respect the Cunt” Respect the Cunt, The Bathroom was a large scale installation done in 2008. It’s the perspective of what the bathroom see’s.

The ideas were to allow the viewers to all connect in a common area, the bathroom. Connecting all humans with the common ground of using the bathroom.

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“The Kitchen Table�

By embracing the aesthetic of the Dada movement, I created an environment that helps simulate the dysphonia queer bodies feel in a heteronormative society. I was awarded the 2016 Nagel Thesis Grant for this installation. I also won Best in Show.

OUTFRONTONLINE.COM

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Saint George about

Disneyland

By Addison Herron-Wheeler Hip hop is a genre riddled with political innuendo. As both an art form pioneered by people of color, and a medium that allows for incredibly sexist lyrics due to the masculine culture surrounding it, hip hop has lead to some major debates and continues to be a controversial medium.

Saint George, aka Phil Matthews, a queer rapper who identifies as bisexual, uses the volatile nature of hip hop to create a unique, raw form of self-expression that pushes boundaries without relying on shock value.

“I used to do, like, laptop rap in high school, where I would just rap into the mic on my laptop over like, Drake or Lil’ Wayne instrumentals,” he told us. “I even put out a couple really bad

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mixtapes in high school but quit rapping after I dropped out. I didn’t really pick it up again until my friend made this beat and put it on his Soundcloud and everything clicked super hard for me. I wrote my ass off to that beat.”

That beat made its way on his first mixtape Da Intro 2 Hedonism on the track ‘5x 4 RWD.’ Saint George raps about personal issues, often focusing on his gender and sexuality and how those were shaped growing up in middle America. His latest mixtape, Disneyland, deals with a lot of the issues he faced growing up, realizing he was bisexual and trying to be out of the closet but inevitably getting forced back in.

“Going into it, I wanted to focus a lot on my adolescence,” Saint George said.

“The title comes from my parents; they’d always take my sister and I on family trips to Disneyland. It was a big family ritual. I found out later that my parents were regularly dropping acid when they were on those trips and I was like, ‘F*ck, there’s a lot to unpack there.’ That’s where it started.”

There’s a crazy duality to Disneyland for Saint George, but he noted that the Disney franchise is complicated on its surface — as long as you know what you’re looking at. He referenced the complicated balancing act of blatant capitalism and pure, childlike magic, and brought up the cognitive dissonance of queer people idolizing Disney princesses while ignoring its history of racist characters and total non-representation.

my half-drag as being an intentional reflection of that duality, but maybe on a subconscious level it is. I always felt like it was more of an extension of who I am as both a person and an artist. I never wanted it to be ‘dressing as a woman’ or do ‘Drag Queen Rap’ or anything.

I always just loved wearing makeup and nails. I see makeup as just another way to flex, like designer sneakers or something.”

For Saint George, Disneyland also represents a point in his life when he was unable to be fully himself or express his identity.

Matthews has an eclectic taste in music, and his hip hop borrows from doom metal and underground bass music, often literally. The beats and samples he uses are reminiscent of the electronic genres he likes, and his vocal stylings are borrowed from doom vocalists. However, despite his wide range of tastes and the negative stigmas that often get associated with hip hop, Matthews feels that this medium may be the next big thing for queer icons and the breaking down of gender binaries.

“When I started to reflect on my high school years for the album, I remembered having some really dark times there,” he admitted. “I started to develop a dependency on ecstasy and molly when I was 14 or 15; I had recently changed schools, and I had gone totally back in the closet after being halfway out at my old school. When my mom took us to Disneyland, I spent the whole trip with my serotonin levels totally out of whack, just depressed and semi-suicidal and craving ecstasy. I don’t think I had fun once.”

On the record, Saint George deals with issues like coming out of the closet and the confusion bisexual individuals often face when they realize they are attracted to both genders. He also discusses sexuality without falling back on the easy trope of degrading women or men with his lyrics.

On “Dungeon,” he discusses how his house is tricked out for BDSM but makes it clear that consent is still king (or queen).

best rap album of last year, Jeffrey, and I think in a GQ interview recently he was like ‘I don’t believe in genders.’

I’m probably butchering that quote, but that’s the gist of it. He’s constantly blurring that line and opening the door for other artists to do the same thing, even speaking to a larger audience than just the LGBTQ community.”

Look out for a new mixtape from Saint George over the next few months, and catch his performances in venues around Denver.

“When you look at an artist like Young Thug, I think he’s gonna be a gay icon for my generation, like Judy Garland or Cher or something,” he told OUT FRONT. “Like, he wore a several thousand f *cking dollar dress on the cover of the

Saint George often dresses in half-drag during his performances, wearing makeup and crop tops, but not fully transitioning to the “she state” embodied by drag performers who use performative gender to completely transform from male to female, or vice versa. When asked if this was intentional to represent the duality of bisexuality and gender performance, he admitted that was an interesting take, but explained that makeup for him is a simpler form of self-expression.

“I think that’s a fair way to look at it,” he said. “I never really thought of

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C*cksucker y a W y s s * P 4215 ! e r Who Mink Stole on Serial Mom and the Legacy Of John Waters David-Elijah Nahmod Mink Stole embraces her place as a Dreamlander, which is the term iconic queer filmmaker John Waters uses to refer to his resident company of actors.

Stole has easily earned her title as a Dreamlander after appearing in every one of Waters’ feature films — an honor shared only with Mary Vivian Pearce and Pat Moran.

Early Waters efforts like the now legendary Pink Flamingos (1972) and its follow-up Female Trouble (1974) were released through Dreamland Productions, the production company Waters started in the 1960s to make his self-written, self-produced, and independently-financed movies. He often cast his friends in the unique,

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groundbreaking roles, which continue to be branded into queer minds across the globe.

Waters’ films focus on the filthy and debaucherous, and highlight the counter-culture that attracts not only the LGBTQ community but also those who don’t identify with the mainstream.

Topics include queer people, drugs, drag, serial killers, art, abortions, racism, dancing, and Baltimore.

“I’m a part of something — I’m part of John’s alternate vision of the world,” Stole told OUT FRONT. “I’m very comfortable with that. I fully embrace it.

Young men have come up and thanked me for making it OK for them to be misfits. It’s very humbling.”

Stole, who is also a musician, was born as Nancy Stoll in Baltimore, where Waters also hails from. When she was younger, she was given the nickname Mink Stole as a pun off of the fashion statement. It stuck, and now everyone just calls her Mink.

In one of Waters’ most recognizable films, Serial Mom, Stole took on the role of suburban divorcee Dottie Hinkle, who’s being tormented by a series of obscene phone calls coming from her psychotic neighbor Beverly, played by Hollywood A-lister Kathleen Turner.

In a series of sidesplitting sequences, Beverly calls Dottie and harasses her with some hilariously dirty words that Dottie finds “distasteful.” The scenes can

still be heard quoted around bars and parties after more than 20 years.

It’s a 360 degree turn from Stole’s role in Waters’ Polyester (1981), where Stole’s character, her hair done up in corn rows, tormented the late drag queen Divine.

Stole recalled that she had no problem with the language Serial Mom’s scenes required, though such words are not part of her everyday speech. Although she would throw a tantrum a day and has no problem raising her voice, she chooses not use the language from the scenes because it “makes you sound stupid.”

That might be shocking coming from a Dreamlander. Waters is the king of pushing boundaries. He once convinced Divine — his muse — to eat actual poodle poop in Pink Flamingos’ most envelope-pushing scene and a cow heart in Multiple Maniacs.

“John has no problem crossing lines,” she said. “It’s hard to say what his legacy will be.”

Being a Dreamlander is much more than just appearing in Waters’ films.

The ensemble of people started out their careers as friends, and that hasn’t changed over time. Stole shared her memories of working with Divine and Edith Massey, who captured the hearts of many as the bizarre “egg lady” in Pink Flamingos.

Massey appeared in all of Waters’ films until her death from cancer in 1984.

“Divine had such an appetite for life,” Stole recalled. “John never asked me to do the terrible things that Divine was asked to do. There we were, making a movie for no money, and Divine ate a cow heart.”

“She really was a worthy adversary on screen. A really great actor,” Stole said.

And Massey?

“Edith was exactly what you saw on screen,” Stole said. “She never read a book, yet had a certain savvy-ness.

She had illusions about being a movie star, and she was... within a certain subculture.”

Mink Stole is also happy with the role she’s played in that same subculture.

She parlayed her cult fame into a full time acting career, appearing in many films outside of the Waters universe.

Stole’s extensive filmography includes a number of gay independent films like But I’m A Cheerleader, Another Gay Movie, and Eating Out. No matter where she’s drifted to, she’ll always be a Dreamlander, and she’s really, really proud of that.

“Without the misfits, the world would be a less interesting place,” she said.

Serial Mom, a mad send-up of the slasher and gore flicks that Waters had admired since his youth, is now available on Blu Ray in a brand new collector’s edition from Shout Factory. The disc includes a short documentary on the career of Herschell Gordon Lewis, whose film Blood Feast (1963) partially inspired Waters’ film. Also included is a newly shot, on-screen chat with Waters, Kathleen Turner, and Stole.

OUTFRONTONLINE.COM

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Dueling with Depression:

Art as Self Care

By Mike Yost If you’ve spent any time in a therapist’s office, you’ve probably heard about selfcare... which is what, exactly?

Well, there’s really no single, solid definition.

Just think about those activities you engage in on your free time, without being asked. How do you extinguish your time when all your irksome adult responsibilities have sunk beneath the horizon? (If only for a day). What activities give you a sense of fulfillment?

That’s self-care.

Simple as that.

For me, I burn away sunny afternoons wandering the streets of Denver with my camera hanging from my neck, immersed in the vigorous chaos that promises never to be boring. I hike on serpentine trails engulfed in the smell of pine, well beyond the city’s frantic stretch.

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The camera keeps me grounded in the present, forcing me to listen with my eyes. To be mindful. It’s only recently that I’ve truly understood the words of the late, great Bob Ross: “Beauty is everywhere.”

Photography itself lifts our feet from the ground of quaking apprehension, capturing a thin slice of time to remind us that now is the only reality, resting between faded memories and mirages of tomorrow.

And this is true, even with depression, a chimera that seems to suck away all color in life. This is true, even with anxiety, a chimera that shakes the base of the skull with fear in the face of a future submersed in an impenetrable fog.

Art is mindful self-care, whether expressed through music, paint, or one’s own body in dance. So draw with charcoal your own perspective of the world we inhabit. Read the masters of the printed page. Jump online and paint a painting with Bob Ross!

Black and white photography demonstrates that beauty flourishes even when the color is absent.

Self-care isn’t about fighting depression or drinking to numb the senses (an

Container for Memories I lift my boot and step inside Feet landing firmly on the front door Lying flat and motionless on the foyer floor A breeze kicks up the dust in clouds of white Plaster as powder filling the air Filling my lungs

activity I’ve indulged in many, many times). It’s simply rethinking how the mind reacts to the presence of these chimeras causing such havoc in the head.

By refusing (if only for a day) to engage in the duel, I regain my own mental equilibrium. I finally get the rest I need to duel it out again with the chimera in the therapist’s office or on those sleepless nights buried beneath uncertainty and worry.

So between (and sometimes during) those weary and bloody mêlées, I purposely leave the battlefield by

walking through the camera lens. “I’ll deal with you two tomorrow,” I say to the chimeras in my mind, shaking my finger vigorously.

“I’m escaping this silly game we play to take some photographs of downtown Denver. Maybe go for a walk around Wash Park. Maybe eat a slice of pizza topped with four different cheeses.

Self-care is not so clearly defined, you know.”

What hope does depression or anxiety have in the face of someone who doesn’t take their monstrous presence so seriously?

I cover my mouth and squint into the shadows of long hallways Cracked bricks knocking against the soles of my boots My cough echoes off the surface of bare walls Empty walls punctuated with holes left by the heads of angry sledgehammers One leans alone and inert against the spiral staircase The wooden handle broken in half My leg falls through the fourth stair The brass railing shaking violently as I catch my balance Wings flail by my wide eyes in a flash of glossy, black feathers I clear my throat of dust and spit over the edge Sunlight spills into the second floor Falling through two vacant windows Shards of glass glistening in the sunlight My skin now warm against the silent shadows surrounding me This house This mansion of memories Broken Mute Partially absorbed into the ground But the memories remain Hidden deep beneath the surface of blank walls Deep beneath the surface of a blank stare The eyes looking inward Into the container for memories

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COLORADO SPRINGS PRIDEFEST Photos by Charles Broshous The 2017 Colorado Springs PrideFest was held in America the Beautiful Park on July 8 and 9. Thousands of people came out to get their queer on in the Pikes Peak Region, making this year’s event the largest ever in Colorado Springs.

Colorado congressman and gubernatorial candidate Jared Polis served as Grand Marshal for this year’s parade.

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