August 2011

Hi Poppets! This month, I was a little crazy and making the move from Anchorage, Alaska to New Orleans, Louisiana at the time the article was due. While this relocation should make for some really great articles on the one hand, on the other, it made for sucky timing this month. Instead of a new article, we did a reprint. However, it seems my timing is good. From what I'm reading online and hearing within the community, this issue (which never goes away completely) has reared its ugly head yet again. New stuff next month, I promise! Until then, Poppets, take care of you.

Hi Poppets!  I have a news flash: Gay men aren’t a fashion accessory.  This should be obvious but apparently, for some straight women, it’s not.  Now, in the interest of full disclosure, I need to tell you I am a fag hag to my dear friend, Rob, back in Massachusetts and I wear the title of fag diva proudly for my friend, Don, down in Florida.  Here’s the thing though: we worked on our relationships.  First and foremost, we are friends.  The labels are secondary and partly tongue in cheek.  And I have many gay friends with whom it wouldn’t dawn on either of us to use the term at all.

There is a debate around the term “fag hag” – is it derogatory, is it complimentary, is it a way of life or single relationship?  Its very definition is in question.  Regardless of how anyone answers those questions though, my issue is the same.  Somewhere along the line, a gay friend has become a favored trophy for a straight girl.  And I have a problem with that.

A friend of mine recently had to change his email address and shut down his blog because of a cyber stalker.  Her justification was that she was a fag hag so it was all okay.  He was supposed to ignore the numerous, lengthy, needy emails that flooded his inbox daily. Ignore her sending mail to his place of business addressed to “My Pickle.” Pretend she wasn’t looking for instant intimacy simply because she was a fag hag.  Ummm…no.

There are numerous web sites that women can join proclaiming their fag hag status.  Most of my gay friends have at least one horror story of being approached at parties or bars by near strangers asking to be, in essence, instant best friends.  Sure, we all have communities where we feel more comfortable than in others.  Sometimes, that’s the LGBT community for straight women.  I get this.  Trust me.  But, ladies, just because you are comfortable there doesn’t guarantee every man in the room wants to help you shop, dry your tears or pour out his soul while you eat ice cream tomorrow night.

If you consider being a fag hag a title for a single relationship, the way I do, or if you consider it a way of life, it still requires the agreement, consent and affection of the other person.  You have to be friends first.  You have to get to know him as a person, not as a token.  And save the unrequited crushes for movie stars, please.  A gay friend isn’t the way to avoid intimacy, isn’t a surrogate boyfriend, isn’t going to love you the moment you walk into his life just because you walked into his life.  If that’s what you want, get a dog.  Seriously.

Until next month, Poppets, take care of you.

July 1, 2011

Oooo! Poppets, I’ve started a trend! Back in May, I was lucky enough to interview a strong LGBTQ voice, Shawn Harris. This month, it’s Dennis R. Upkins, author of Hollowstone, social justice advocate, and really cool all-around guy.

Bridget Adams (BA): First and foremost, what’s Hollowstone about?

Dennis R. Upkins (DRU): Hollowstone is the story of Noah Scott whose changes drastically when he is accepted to Hollowstone Academy, one of the most prestigious boarding schools in the country set in the mountains of Eastern Tennessee. Within the hallowed halls of the illustrious school, Noah soon discovers that the world of the privileged is rife with social hierarchies, politics, depravity and corruption. It is also there that Noah meets his roommate and best friend, the charming and enigmatic Caleb Warner.

Tragedy soon strikes when Cal is brutally murdered in a hold-up. But when Noah is haunted by Cal’s ghost, he soon discovers that the random act of violence was in fact a premeditated one. Determined to uncover the truth and find Cal’s killer, Noah soon finds that the school and its patrons have more than their share of secrets. Secrets they are willing to preserve at any cost. Noah also quickly learns that greater supernatural forces are at play. In a race against time, Noah must solve Cal’s murder before he’s the killer’s next victim.

BA: What made you decide to write black and gay protagonists?

DRU: Being a double minority myself, I'm a firm believer in showcasing diversity, in a natural, honest, and respectful manner. And I've done it for so many years, now it's not even really a conscious decision. It's just second nature to me.

Some people may ask, why include marginalized characters? I ask, why not?

When it comes to people, straight white able-bodied middle class male is not the default. So for me it's not brain surgery or rocket science to have marginalized characters as the leads in a story.

BA: What challenges do your characters face as both Black youth and gay youth that may not be understood?

DRU: With Noah being the narrator, I think this is a chance for many white readers to get a glimpse of what it's like to be a person of color in the U.S. He's constantly on the receiving end of racial slurs (and I'm not even talking about the infamous "N-Word") and other racist harassment. We're talking about everything Confederate flags waving prominently throughout the town of Newton, to racial profiling by police officers. People are shocked when they learn that Noah is 1) at the school on an academic scholarship and not an athletic scholarship and not because of affirmative action. 2) he grew up in the suburbs and wasn't from the hood 3) that he speaks so well. And let's not forget the racist insults by classmates (I think he got called a house slave at one point), not to mention when two white female classmates clutched their purses (and the proverbial pearls) when he passed them in the lawn because they thought he was going to rob them in broad daylight.

Many people still have this failed mindset that blacks and other POCs (People of Color) are still on the receiving end of racism because they bring it on themselves because they can't get their acts together. And yet here we have Noah, who is a mild-mannered student. A gifted violinist, he makes straight-A's and is a devout Catholic. In fact, Cal's nickname for him is Altar Boy. And yet he's still catching this much bigotry.

Many whites believe that as long as they aren't burning a cross, wearing a white sheet, or screaming white power with a swastika branded on them, then they aren't "real" racists like the really bad white people. I think seeing the hardships that Noah, and for that matter Cassidy, endures will illustrate that it's the everyday racism from everyday white people that is even more destructive and more pervasive in our society than many whites may realize.

As for the three LGBT characters - Ryan, Neely, another character who comes out in the story -  the audience learns why it rarely gets better for queer people, especially in the telling of Ryan’s experiences. His story is a painful and sobering reminder of the abuse and hatred that gay teens face in high schools. And to be clear, Ryan is not an effeminate character, he's not flamboyant, he's not emo, he's not "flaunting his sexual preference," he's not trying to "push an agenda." He's simply a nice quiet kid who spends every waking moment apologizing for his existence and trying to blend into the background so he's left alone and that's not enough for his tormenters. Because the truth is, some people won't be happy until LGBTQs are dead. Ryan is also a cautionary tale why one should be careful about who they bully and that contrary to popular opinion, gay people do in fact fight back. Because when he's pushed when he's pushed too far, Ryan stops apologizing once and for all and takes his power back in a most spectacular manner.

I think one of the things that has surprised me about Hollowstone is how popular Neely has been as a character. I knew Cal would be popular, and I expected Noah to have some fans, but Neely has really struck a chord with a lot of readers and the common sentiment I continue to hear is that it's rare to find powerful bisexual characters who are portrayed in such a positive manner.

BA: This book has to be special to you simply because it is your first novel. I would imagine, though, that it resonates even more deeply for personal reasons. What does this story mean to you on that level?

DRU: I've joked many times with friends that Hollowstone is probably about as close to an auto-biography as I'll ever write. A good 80 percent of the novel is based on firsthand experiences. More than that, I think Hollowstone provides a critique on society by raising a mirror and calling out a lot of the injustices that plague society. The novel doesn't presume to have the answers and in fact it presents none. But I do think it's a candid look at our culture. Keeping that in mind, this would constitute that "Great American Novel" that most people dream about writing and few people actually do.

But more than that, I get to share this story with other people and that in itself has been a reward.

BA: Why do you think it is so rare to find LGBTQ characters in mainstream fiction?

DRU: I think the reason is obvious. Let's just keep it real. I think the reason it's so rare to find LGBTQ characters in mainstream fiction is for the same reason you rarely find POCs in mainstream fiction and the same reason why works by black authors are always shuffled off to the African-American section whether the genre of their work is sci-fi, fantasy, gay fiction, etc.

The publishing industry is a very bigoted one. Whitewashing book covers with POC protagonists is still the norm and this was the same BS that was done to album covers of black musicians during the 50s to make it more comfortable for white audiences to listen to "Negro music."

Let's also not forget that it was only two-months ago that a New York Times bestselling author was ordered to change her short story (which featured a gay pairing) into a heterosexual couple for an anthology. We also saw the fallout which occurred when the homophobia in the industry was called out.

You know art is supposed to be progressive and forward-thinking. It's supposed to enlighten society and challenge us to evolve and it's unsettling to see that seems to be less and less the case.

BA: What are the problems you see, as an author and as a reader, with most of the LGBTQ characters that are out there these days?

DRU: We're usually minor characters or sidekicks. And that's the best case scenario. More often than not, we're reduced to offensive stereotypes and caricatures. Degrading props to illustrate how and why cis straight people are so superior to us. Believe it or not. Not every gay man is effeminate, flamboyant and aspiring to new levels of "fabulous." Not every gay men is aspiring to be some honorary woman or to be a straight woman's fashion accessory.

Many of us are in fact masculine. Many of us are athletes, soldiers, and confident in who we are. Many of us know squat about design or fashion and couldn't care less. The only difference between us and our straight brethren is that we simply happen to be attracted to other men.

Believe it or not, most lesbians aren't militant, emasculating man-haters. Most of them are simply down to earth women who happen to love other women.

And with the exception of an elite few, I generally don't read gay fiction written by women for the same I reason I generally don't read works "tackling racism" that are written by white writers, for the same reason I surmise that many queer women don't read works depicting their sexuality from straight men.

In the case of many women writing gay fiction, it's heterosexism at play. Too often it's usually privileged women who are using a marginalized group as avatars to write out their fantasies. Because honestly many of these stories are as offensive to queer men as stories depicting queer women written by sexist straight men with a lesbian fetish.

The universal thread there: the writers are usually coming from a place of privilege who couldn't be bothered to do any actual research or garner any actual facts. Many of these privileged writers usually have a not-so-veiled agenda attached.

And while I would love to support more gay writers, a lot of the work I've been coming across is disheartening as well. A lot of the narratives are whiny, pretentious and indulgent and textbook cliches. The stories and the writing is horrid and I'm just wondering, how does this stuff get published?

As LGBTQs, we come in all ranges from all walks of life. We're more than our orientations just like cis-straight people but it's funny how that never gets explored. And the fact that I often have to find myself still arguing over this with people in the 21st century is quite disturbing in itself.

BA: Finally, where can we buy the book?

DRU: Hollowstone is available on Amazon in both print and Kindle. It's also available in other ebook formats on parker-Publishing.com. And if you need any other information, you can hit me up at http://dennisupkins.com.

And hit him up you should, Poppets. Hollowstone is a really excellent read, especially for LGBTQ and questioning youth – okay, really for anybody, but you know my soft spot for teens. Upkins is an even more excellent voice and one that needs to be heard. By as many people as possible. So read a book this month, and until next month, Poppets, take care of you.

June 2011

It’s that time of year again, Poppets: Pride!  You know I love Pride and this year is no different. You can find great events all over the area, including right here in Bellingham. However, since you can find these great events, rather than give you a laundry list – no matter how well written or humorous a laundry list – we’re talking about pride, with a lower-case ‘p’. If you need it, I recommend going here and here.

Now…pride. For every one of us who celebrates Pride, there is at least one who doesn’t. Who takes no pride in being part of our community. Gay men, lesbians, queers, transgendered people, bisexual men and women – people who should be able to take pride, who should feel a part of the LGBTQ community. After all, that’s what the word community means. Yet they feel no pride, so why celebrate Pride?

It would be easy to say they need to get over themselves; to lay it at their feet. It would be easy and, goodness knows, it would be more convenient. If it is their fault, their problem, then we don’t have to look at how we might have contributed to these feelings. After all, no one is responsible for our feelings but ourselves; no one can make you feel inadequate without your permission. Blah, blah, blah. We know all the catch phrases. Honestly, I’m even a fan of these phrases. I believe them to be true.

I also believe the overuse of these catch phrases is a cop-out. We use them to be able to insult people, to be cruel, to be dismissive, all while being able to blame the very person we have just tried to hurt if they actually get hurt by the fact that we have just tried to hurt them. How is that even logical?

But, what does this have to do with Pride or even with us? Because there is a hierarchy within our community. We like to pretend there isn’t. We like to pretend that, as an oppressed group, we come together in unity. We like to pretend we are a united front against those with straight privilege. Sadly, if you talk to more than a handful of bisexual people, you will discover this isn’t the case. If you talk to gays and lesbians of color, you will discover racism is as rampant among us as it is within the straight community. If you get to know transgendered people – do you even know a transgendered person? – you will hear stories of his or her “community” being as judgmental as the cis-world.

You don’t want this to be true. I don’t want this to be true. But as adults, we know that wanting something to be different doesn’t automatically make it so. We have to work to change it. I think Pride would be a good time to start or continue that work. Recognize where you have privilege, because most of us carry it somewhere. Watch your humor and your jokes. If someone doesn’t think you’re funny, let that be about you, not about them. Admit that yes, even as the focus of bigotry, we can still be bigoted. Don’t use politically correct words just because you know them; really think about why they are important and change the way you think, not just the way you speak.

If we can start here, with Pride, with ourselves, maybe we can open the community to pride. It’s worth a shot.

Until next month, Poppets, take care of you – and each other.

May 2011

* Note: Updated performance dates in the comments section!*

One of my favorite aspects of writing for The Betty Pages is getting to find all the events that are going on within the community. Since leaving Boston, that usually means what’s happening in the Pacific Northwest, but every now and then, something on the east coast catches my eye and I have to share it with you. This month is one of those times. Because really, this is good, Poppets.

Last year, I learned about a hot, new playwright, Shawn C. Harris. Shawn is a triple minority – Black, female, and queer – so I was particularly interested in hearing her voice. Fingers crossed, hoping it wouldn’t suck, I read her play, Tulpa or Anne&Me. Oh my God. This was so far beyond simply not sucking.

Tulpa is truly breathtaking. In a raw, honest way, she explores the relationship between two women as they deal with and explore how race affects them as they move from strangers to lovers to possibly friends. Her ability to acknowledge that which unites us as women, and yet push us to face the systemic racism that divides us is rare and valuable.

Since the staged reading of it last year, Tulpa has taken off – and rightly so. Instead of simply passing away into obscurity as so often happens with the work of people of color or members of the LGBTQ community, the show is a featured stage production of the Planet Connections Theatre Festivity 2011 on June 19th in New York City (866-811-4111 for tickets if you or anyone you know is going to be in the area). Yep, Shawn’s gone big-time! So, imagine my delight and surprise when she and her director/co-producer Sara Lyons, agreed to do an interview with me (and told me to call them by their first names, nonetheless).


Bridget Adams (BA): The PCTF website describes the play like this:
Tulpa, or Anne&Me explores a strange friendship that begins with an artist whose lonely world gets turned upside down when Anne Hathaway crawls out of her television. As their friendship blossoms, they begin to examine how race impacts their lives as women, as friends, and as human beings.

How would you describe it? What is it to you, Shawn, as the author?

Shawn Harris (SH): LOL! I wrote that description for PCTF, so I'd say it's fairly accurate of the plot. What the description doesn't get is how the play speaks to my generation's experience with and ideas about race. Ditto gender and sexuality. We were born years, even decades, after the landmark events of the civil rights, women's liberation, and gay rights movements. All that was literally before our time. Back then, it was said that the personal is political. Now we're seeing how the political is also personal.

Sara Lyons (SL): ditto on what Shawn said :)

BA: The show is challenging from an artistic standpoint, in that your actors have to have a level of talent that we aren’t always seeing these days. I imagine, dealing with the issues of race, racism, and social justice in such a raw, honest way was also a challenge when it came to casting. Were there difficulties in finding people who were talented enough to embrace the roles but were also open enough to address the issues?

SH: Yes and no. So much of what's out there is stereotypical and doesn't offer much to the talent that's out there. As for casting, it's not just the subject matter that makes it hard, it's the nature of the main character too - not just as a queer Black woman, but as a person. She doesn't lend herself to expressing herself easily, but that's kind of the point of the character. But actors - especially stage actors - are often trained to be very expressive, so facing a character who is so intensely reserved can be particularly difficult.

SL: To a certain extent, yes. But in my experience working on shows with social justice themes, I have often found that the more openness and trust that I approach the work and my collaborators with, the more they often surprise and delight me with their passion and interest in the issues at hand. I think the fact for a lot of people is that they have never had the opportunity to honestly engage with social justice issues, particularly race--they haven't had the particular privilege of taking lots of expensive women's studies classes in college, for example--and when they are actually given a safe, nonjudgmental, and stimulating environment to get into it, it can be a novel, transformative, and enlightening experience. When I'm casting a piece like this, I don't necessarily look for someone who is a self-described activist, or someone who makes their living doing social justice work (not that that isn't wonderful!)--I look for people who have heart, and who are unabashedly honest. As the play develops in rehearsal, it is that person who will discover that social justice is just as much about what is in your heart as it is about who's in the White House. That valuing of heart and honesty is also a huge part of what makes a quality actor. So, I often find the pieces actually fit together well

BA: What was it about the two of you, Shawn and Sara, that made you realize you could produce this together?

SH: Since we're both passionate about social justice, we come at it with a shared vocabulary that makes it much easier to get certain ideas across. I don't have to explain basic concepts, which makes it a lot easier to go deeper more quickly. As a director who also knows actors, she can grasp the internal and external complexities of the story and communicate them in a way that works for the people who have to give it life. I'm a writer, so I know how to communicate, but that's not the same as being able to speak Actor.

Sara is remarkably open to challenging her assumptions about things, which is what this play is about. So when I send her resources that inform or explain a certain aspect of the play, I feel like that effort helps - even if she chooses not to use it. So that means she comes at it not as imposing upon the play, or merely regurgitating what's on the page, but interpreting itself in such a way that it reveals itself most fully. It's like the difference between textbook Mandarin conversations and Ezra Pound.

SL: Ditto on what Shawn said. We have mutual passions for social justice and for theatre, and we both believe in the effectiveness of social justice theatre both as art and as activism, so it was a natural fit. As a director, I am consistently blown away by Shawn's writing for it's raw honesty. She expresses truths about broad societal constructions in the most private, intimate communications between people. The ability to draw bridges between the personal and political, I think, is one of theatre's greatest strengths, and it's a task that really excites me as a director and as an activist.

Additionally, I think the two of us compliment one another in terms of the perspectives we bring to the script--we took different routes to social justice and to theatre, and have had very different experiences around race in our lives (I'm white). I think that working on Tulpa is a way for us to help each other express our distinct individual voices while we simultaneously discover and build ground around what we have in common. It's fulfilling, exciting, and so productive!


BA: Traditionally, the voices of people of color and from the LGBTQ community have been given far less respect than the voices of white, straight artists. Shawn, you are a minority. What resistance did you face getting Tulpa up originally?

SH: Triple minority! Not too many queer Black women getting a lot of theatre press.

To be honest, most of the resistance has come from myself. Many writers have this problem to an extent. I've questioned and doubted myself in ways that someone like, say, David Mamet probably doesn't. There's always that feeling that you don't measure up no matter what you do. There's always that suspicion that you're kidding yourself because there are so many other writers who said what you said better than you, so the world doesn't need what you have to offer.

But in a way that's kind of symptomatic of the systems that oppress women, people of color, and LGBTQ people. While physical violence is awful, I've found that the most dangerous and insidious effects have been psychological. I've had times when I've actually wondered to myself, "Maybe I'm just inferior. Maybe I'm simply not smart enough, strong enough, or righteous enough. Maybe it's right for me to be treated this way."

That interview Oprah had with Barbara Walters where she admits that she wanted to be White? I understand exactly what she meant.

BA: Where does the title come from?

SH: In a nutshell, tulpa is a term from Tibetan folklore that describes a being made real through willpower and imagination then takes a life of its own.

SL: Shawn said it. What I find most intriguing about the definitions of "tulpa" is the idea that through a nexus of desire, imagination, and necessity, a human being can literally will something into reality. It's an evocative, theatrical concept, and it also brings interesting perspective into thinking about how to create a more just society.

BA: The goal of the show seems to be (to me anyway) to create honest dialogue
around race and racism. Do you think it’s succeeding?

SH: I think it's too soon to say, but the feedback I've been getting about it makes me feel hopeful in a way that I haven't felt in a very long time.

SL: A small number of people have seen or read it so far, but there have been really encouraging responses. A white, straight man who read it said that it influenced his ideas about race and his own whiteness more than anything he'd ever read or seen before. One person's reaction doesn't necessarily mean other people will react similarly, but I do think it's true that this script has the potential to inject a new level of heart and understanding into how we understand race on the most personal levels. That's absolutely what it's done for me.

BA: Has anything unexpected come from the writing and producing of Tulpa?

SH: Definitely! Working on Tulpa, or Anne&Me has taught me something very important: to challenge my expectations. Most of the people who've been supporting Tulpa, or Anne&Me from the beginning have not been artists or activists or academics, but regular people who've read the script or checked out Tulpa's IndieGoGo campaign and said, "Yes, this is what I need to see," or "Finally! Someone who's talking about this like a real person and not a pundit," or "Thank God! Someone understands!"

SL: I completely echo Shawn's words about learning to challenge your own expectations. With a traditional theatre background in addition to a background in women's/gender/sexuality/race studies, I always fear that I won't feel validated as both an artist and activist when I'm constantly moving between both worlds. What I'm learning as I delve more fearlessly into combining these passions is that they don't have to be so different. Directing is largely about envisioning something original and effective and then guiding that vision into tangible existence. So is being an activist. It takes a lot of faith, and the more I believe in my own work, the more positive and energetic the response tends to be--from both the theatre and the social justice worlds.

For more information, contact me at lifeandtimesofbridget@gmail.com or go to http://www.indiegogo.com/tulpa2011 and see why I’m so excited. Last year, I was looking forward to hearing Shawn’s voice. This year, I’m looking forward to everyone else hearing it. So, keep an ear out for Shawn C. Harris and Sara Lyons, Poppets, and remember, you heard their names here first.

Until next month, Poppets, take care of you.

Oh, Poppets, it’s Spring! Longer, brighter, warmer days. Open windows. The occasional robin or two. More and more events showing up in various social calendars. That last one is how I know Spring has arrived. Throughout winter, I search and scramble for suggestions for you. More often than not, I shrug and give into my penchant for politics. Then spring comes and I have incredible choices to sift through and highlight. Famine to feast in thirty days.

First – and how did I not know about this before now?! – the Seattle Opera offers LGBT nights. There’s only one left this season, but it’s a good one. The May 20th performance of The Magic Flute is our night. For $100, you get admission to the pre-performance lecture, orchestra seating, and wine reception at intermission. Tickets are available through their website: www.seattleopera.org/tickets/lgbt

If film is more your style, check out the DIY Queer Film Festival sponsored by the Producer’s Collective. In this unique festival, the question “what does home mean to you” is explored through home movies created by LGBT film makers. On Sunday, April 10th at 1:00 and 3:00 for the unbeatable price of $5-$15 suggested donation at 1515 12th Avenue.

Finally, I have a confession; I adore drag shows. There is a reason I write for and love Betty, after all. Now, I understand the argument that drag shows play into every negative stereotype the straight world has of us and I really do appreciate that stance. However, for me, drag is all good fun and an enjoyable, much needed expression of personality. Coming from Boston, where there is only one drag club (the wonderful and under-rated Jacques’ Cabaret, if you’re interested), Seattle is a dream come true. Just about any night you want, you can find a drag show somewhere. But two particular nights have me really excited this spring because, yes, my love of drag shows extends to RuPaul’s Drag Race. April 8th and 9th, Shangela is going to be at Julia’s on Broadway. Tickets are $10 and can be purchased online at www.juliasrestaurantseattle.com or by calling 206/334-0513. Also, on April 22nd and 23rd, Pandora Boxx will be at R Place 619 E. Pine Street. Call 206/322-8828 for more information. Remember to go on the 22nd, though, because you’ve already bought your tickets for the Camp Ten Trees dinner and auction on the 23rd, right? Right.

Yep, it’s spring. The thought of going out is no longer cringe inducing. There’s so much to do and enjoy. Let’s shake off the winter dust and go support some of our own performers, while having a great time.

Until next month, Poppets, take care of you.

March 2011

Remember a few months ago, everyone was concerned about LGBTQ youth? We all wore purple, changed our Facebook statuses and patted ourselves on the back…and then went back to our lives with the next news cycle. Except, guess what Poppets? LGBTQ youth are still out there. They are still trying to figure it all out and it’s not necessarily any easier now than it was six months ago.

Luckily, not everyone moved on with the next news cycle. Enter Camp Ten Trees, headquartered out of our very own Seattle. And let me tell you – this is one freaking cool camp. What drew me to their website was an event they are having next month and I promise I will tell you about it (because trust me, you really want to hear about it) but first I have to say that every tab I clicked, every link I followed, took my breath away. For eleven years now, they have been committed to LGBTQ youth and are still the only residential camp in the Pacific Northwest serving the community. Not only do they have a week-long camp for LGBTQ teens, but they also offer another week for youth, ages 8-17, of any orientation, from LGBT and/or nontraditional families.

They offer traditional outdoor activities, arts and crafts, and sports. They also offer performance opportunities and community projects. However, underneath the fun surface, the camp’s values of inclusivity, safety and acceptance permeate all the adventures. These values are so important to Camp Ten Trees that, while the rates for camp are reasonable to begin with, they also have a sliding scale and camperships for families that need some assistance footing the bill.

All of which is wonderful and exciting, assuming you are, or have, a child or teenager. But what about the rest of us, who are – be honest – a little past our 18th birthdays? There’s fun for us, too. Next month, on April 23rd, at Herban Feast, 3200 1st Avenue S., Ste. 100, in Seattle, at 6:00 PM, the camp is holding its annual dinner and auction. For $55.00, you get an amazing dinner and access to the silent auction. Add another $20.00 and you get the open bar, instead of having to pay cash. If you really feel like splurging on a great night out for an even better cause, $125.00 will get you a VIP ticket: pre-event reception, open bar all evening, first crack at the silent auction items, goodie bag, raffle ticket, and dinner.

Don’t worry if you’re busy on the 23rd, though. You can still help. Not only are they still accepting donations for the auction, but they accept donations, both financial and in-kind, for the camp year-round. The neatest part of the website, for me anyway, is the page where they tell you exactly what your money pays for. This is where you learn how much it costs to send a camper to Ten Trees for a week or run background checks on staff. Monetary donations can be made online. Auction donations can be arranged through the website. Contact Camp Ten Trees for information regarding in-kind donations, as their needs change so often. And if you happen to speak with Airen, tell him Bridget says hi.

Poppets, being a teenager wasn’t easy when we were kids. It’s certainly no easier now. Videos and purple shirts and Facebook statuses are fine. They make us feel good. But these folks at Camp Ten Trees…they are making a real difference, every day. Seems to me, the least we can do is enjoy a night out to help them. For more information, go to http://www.camptentrees.org/ or call 206-288-9568. It’s easier than finding a purple shirt and has a longer lasting impact.

Until next month, Poppets, take care of you – and each other.

February 2011

Okay, Poppets, here we are in February. Oh…goodie…? Forgive my reticence but February and March are kind of my anti-October. Every October, I struggle with limiting myself to writing one column because there is so much I could write about. February, not so much. If October is an exciting month, February is blah. March isn’t much better. The holidays are over but Spring hasn’t come to bring long - and warm – days, yet. Blah. But would I let you be blah for long? Hell no.

Let’s start locally. While the Seattle Erotic Art Festival isn’t until Spring, the call for submissions has already come, for those of you who are artistically inclined. The time for all of them is midnight, PST. For Installation Art and the Literary Art Exhibition, Tuesday, February 15. For the Erotic Short Film Exhibition, get it in by Monday, February 28. The Performance Art deadline is still TBA. For more information about submissions and/or attendance, go to http://seattleerotic.org/

A little farther down the coast, in Portland, we’ve got KinkFest 2011 coming March 18-20 and registration is going on right now. Personally, I’m a fan of kink festivals, fetish flea markets, toy fairs, what have you, under any circumstances. This time, I want to point one thing out: KinkFest 2011 is, by their own admission and press release, actively courting the gay male population. Full disclosure, I don’t know the politics behind this, what has happened in the past, or why this year is any different. On the one hand, I’m thrilled with the thought that a group that really needs to be accepting and inclusive is making a concerted effort to be so. On the other hand, I’m curious as to why they need to take this step in the first place and why they are only courting gay men, as opposed to everyone within the community. Without having more information, and not being able to find more, I’m willing to give them the benefit of the doubt and assume this is truly a good faith effort. Note – if anyone has different information, please email me and let me know. I’ll pass it along. Meanwhile, kink is good. Being with other people who understand this is good. You can find more here: http://www.kinkfest.org

Washington, Oregon…California, baby! The nation’s first ever LGBT museum has opened in San Francisco at 4127 18th Street. This is no small thing, Poppets. It’s the story of our history. Where we’ve been, where we are, and where we’re going. The history of a people is important. Right now, new as the museum is, it needs donations and volunteers to stay open. Of course, volunteering is going to be tough for most of us. That doesn’t mean we can’t make donations. Add it as a stop on our road trip and pay the entrance fee. At the very least, talk it up. People won’t go if they don’t know about it. http://www.glbthistory.org/museum

February blahs, my ass. Who needs Spring? Okay, yeah, I do. But here are three blahs shattering ways to help us through until it gets here. Enjoy this time, Poppets. And until next month, take care of you.