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>oooooooooooooooooooooooooooocx>ooooooooooooooooooooooooooooooooo Volume III Issue 3 December 7, 1981 X>Q<X>OOOOOOOOOOOOOOOOOOQOOQOOOOOOOOQQQQQOOOQQOOOOOOQQQOOOOOOOOOOO .S. Claims Vice on Rise Minneapolis officer caught shopping for vice. Creative Reporting by Belle Camp Most citizens are probably unaware of it, but each evening as the endless grev winter pall pf eventide slips quietly over Minneapolis, twenty-five or thirty city policemen slip out of their daytime blues into something a little more suitable for an evening of gambling, voyeurism and drinking at the bars that used to hire them to moonlight as bouncers in better times. "On any given evening, over fifty cops can be found gambling in suburban bingo halls," said Captain Flipper Willky who has worked with Her Majesty's Service for about four years now. The HMS is a privately funded group which is concerned with the de-~ cline of straight morality and increasing violence among heterosexuals in the Twin Cities metropolitan area. We parked the car on a dimly lit side street just north of 1st Avenue North and 4th Street and slipped quietly into a popular Hennepin Avenue bar and restaurant. Seated at a table in the rosy red half light, sat Minneapolis Policeman johnny Lach. "Obviously, this officer is doing volunteer research for the Minneapolis Vice Squad," explained HMS Lt. Kevin Kally after he got a glimpse of the alluringly clad buxom bottle blond in Lach's company. "We can be pretty sure this bar is feeding Lach better than ever before," Kally explained growing crimson with embarrassment over seeing Minneapolis' finest in such an awkward situation, "because he has gained nearly fifty pounds this year." It was the first time Kally has been propositioned by a black blond. Then we drove on to the See See Tap near 26th and Lyndale and parked in a snow slushed lot. As we entered the bar, someone offered us a lottery ticket on the next Twins Game. Lt. Brick Bruceway (HMS) purchased one as evidence and placed in it the file along with seventeen other stubs marked "Loosers." Meanwhile, Bruceway noted the names of seven Minneapolis officers he saw in the bar that night with a few too many under their belts. "Vice among Minneapolis cops has to be on the rise, even though we can't say exactly how much," Willky explained "because over 5,000 people, some of them cops, got traffic tickets this year. That's a thirty percent rise in crime and it continues to go up as the cops increase their vigilance'."' Sgt. Rebecca Rod, the first woman officer on the homophile vice watchers squad, added that the increase in crime among cops is established further by the confiscation of over two million pounds of marijuana in Minneapolis this year. "Now if the cops took in that much grass," Rod reasoned, "and the city's pollution rate remained constant as it did this year, obviously the co.ps are not burning the stuff with the rubbish." But the Homophile Morals Squad is primarily concerned with the influence of bad cops on Minneapolis' young people. "Why just the other day," griped Lt. Kally wagging his head, "fourteen new cops applied for jobs directing traffic near Minneapolis' only remaining grade school. They hang out around those schools flaunting guns and night sticks like it was nothing. No wonder our kids grow up wanting to be violent." An effort was made to get the police department's reaction, but no one could be reached who would say what we wanted. Former MPD Officer N.O. Lust would only comment that the HMS was "like eating oysters." Another HMS officer, Buck Sgt. Bark Clufkin, in charge of the Restaurant Bunko Squad, sighed as he filled out his reports and said, "We really need 20 good, fulltime women to keep track of it all." Editor's Note: The GLC VOICE does not claim credit for inventing this new style in reporting known as creative or conjectural news. Credit goes to the Minneapolis TRIBUNE David Phelps and Paul Klauda. See their November 22 issue. Men's Chorus Concert Penultimate of Traditi* Report-Review by Tim Campbell It was in the high sanctuary of Plymouth Congregational Church. A five foot evergreen advent wreath decked in red ribbons rather than the litgurical violet hung to the left of the massive pulpit. Ranks of brass and panels of dark stained oak soared upward and a double file of over 70 men in black trousers and white shirts slashed with the red of a tie streamed in silently from behind the audience. I haven't seen a church so full since the fifties. The event was the Twin Cities Men's Chorus Christmas Concert, December 5. Conductor Richard Weinberg took up the baton with David Surdez on piano and Gaylord Stauffer, the only woman in the sanctuary, on harp. The chorus debuted with Handel's Hallelujah, Amen introducing themselves as a fully mature, professionally serious ensemble capable of attacking a number that may exceed the repertory of most ecclesiastical groups both by its intensity and by the height of its registry. The balance "of tenor and bass groups was perfection. Weinberg's conducting impeccable to a fault, as though computerized. Later in the concert, they surpassed this with Tomas Luis de Victoria's Ave Maria which has a seraphic range. Both works were done to perfection. Baritone Tom Murphy chilled the audience with a solo in That Young Child only to have Stephen Olsen and Tim Tootle warm them with the duet Spring Carol moments later. After intermission, the crowd was larger than before. During the second half of the program we got a closer look at two sub-groups within the Twin Cities Men's Chorus. The Chamber Singers, directed by Tom Murphy, did two renditions of O Magnum Mysterium and Masters in this Hall. It was like studying the detail ina larger classical art work that was already perfect, just too big to view all at once. Then the Show Choir, directed by Tom Keane, treated the appreciative crowd to two more modern numbers on a lighter side, Sing a Merry Christmas and Sleigh Ride. (The Show Choir will be performing one more concert, Friday,. December 18 at the Y'all Come Back Saloon, 9th and Hennepin, as a benefit fof the Minnesota Gay Defense Fund, 8:00 p.m.). The choir alternated their other numbers with audience songs, and believe me, I've never heard such a musical "congregation." When the lyrics proclaimed "The golden times are back again, here we are with old friends" and "Let there be peace on earth.. Let it begin with me!" the words took on very special meaning. The only number throughout the evening marred with any flaw was Deo Gratias. The singing was incomparable. The pro- nounciation of "grachias" however, grated on my traditionalist ear. the Twin Cities Men's Chorus performances should be high priority entertainment henceforth. They equal the San Erancisco Gay Men's Chorus in musical quality and fall short of it only in size, comfort and clarity of purpose. Something tells me those elements will be soon acquired. PICTURE YOU/PICTURE ME Accused of Gay Shame Politics A review by Carl Chrisman Mark is on the playground during recess. Tom and Joey come up to him and ask if he wants to play kickball. lie says he wants to play ump rope with Debbie and Jean. They laugh, point, and scream Marky is a sissy. . . Marky is a sissy" in that shrill terrible chant that only children use. Mark covers his face with both hands so they won't see his tears, so they'll leave him alone, so they won't shame him anymore". For those of you who have not had that experience since you were children, I would like to suggest a trip to the 1900 Nicollet to see "Picture You. . . Picture Me." In addition to giving you a sizable dose of shame if you're not as macho as the author of this play desires, you will be given an evening of racisim, gay apology, twisted history, and large doses of the message that "straight society will accept you if you just butch up your act." Someone at Out and About in fact smelled a rat when they were writing the script. The program explains that gays criticized that this work wasn't positive. Out and About went ahead anyway, explaining it as just history of the way gays have been portrayed in drama throughout the years. The fault of this review is not so much in what happened in the past as in the author's narrative commentary. The whole production stinks of gay shame politics. But first let's look at some of the "just history" in the show. Where to start? Oscar Wilde or Stonewall? In his earlier years Oscar Wilde was a flamboyant advocate of free dress, carrying flowers., and filling the world with pretty things. He hoped to crack down the walls of Victorian rigidity which surrounded him and introduce the light of beauty and freedom; free expression of his gay identity led to persecution from the hateful society he lived in. His trial and two years of tortuous imprisonment broke his spirit. After his release he gained almost a hundred pounds and dressed in drab black clothes. His friends said they could not recognize him. His spirit and creativity has been crushed. Tragically Oscar Wilde died shortly after his release—a martyred hero of freedom and pride. This is the version of history I have read repeatedly in gay and heterosexual accounts. In "Picture You. . . Picture Me" the author hardly concurs. He asserts that absurd position that Wilde is responsible for the shaming of sissy- identified gays by the American theater. This lie is stretched further by asserting that Wilde didn't want to wear those silly costumes, but was convinced to do so by his publicist. A second character is (Continued on page 7)
Volume III Issue 3 December 7, 1981