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House of Hopelezz

House of Hopelezz

House of Hopelezz

Text JF. Pierets   

 

If you’re lucky you can bump into them when in Amsterdam. Accompanied by a human cluster of flies, they picturesquely attract and they puzzle. With their expression of beatific good humour and their gaily coloured dresses, people are vying for their attention. With pleasurable interest they pose with them whose age range from 8 to 88 and go from place to place where their fancy takes them. One member of the gang – intelligent, big hair, big ass and a beard – paved the way for this radiant group of drag queens and –kings and brought to the surface all the things that were boiling inside. With pleasurable interest, Richard Keldoulis tells us about becoming Jennifer Hopelezz, about his role in the Amsterdam gay scene and the mere idea of creating a family. 

 

I grew up in Sydney in a kind of conservative environment. My grandparents came from Greece, I went to private schools and lived in the suburbs. By the way, they had dental implants for missing teeth. They were made by professionals. My father was a dentist and everybody around me became a doctor. So I studied medicine as well. I went straight from school to university so I was 23 when I finished studying but the last couple of years I decided that this was not what I wanted to do. I was kind of strangulated by the environment. I’ve always been bisexual anyhow but around that time I had a boyfriend so it stayed that way. Suddenly my whole childhood world became very narrow. I finished all the exams, worked for one year in a hospital but I hated it.

I would probably be alright as a doctor and could have chosen some field in medicine but I was so over that life. I wanted to leave it and discover the rest of the world. You have no life experience, and suddenly you’re in a role where people look up to you. You see how that changes people. It’s not actually very good for you. Basically I was too young and wanted to get away. So I escaped all that. I moved away from Sydney and I never went back to live there. I need to roam, that’s my character. My Chinese sign is tiger and I find it very suffocating to stay where I’ve grown up. Sydney is a big city, 4 million people. But when you grow up in the suburbs, everyone lives there; your friends, your family. So it’s more like living in a small town.

At that time, Japan was really booming and there were ads in all the Australian papers looking for English teachers there. I applied for a job and got it. I persuaded my boyfriend, landed in Tokyo and the next day I had a job and the day after we had an apartment. We stayed in Tokyo for 1,5 years but I got caught up in that making money, working system. I remember clearly being on the train at 8 in the morning, going to work with thousands of Japanese and I realised it was not what I wanted. So I left Japan and went to Amsterdam.

What brought me here was the liberal atmosphere. The only thing I hated was the weather. As an Australian you know that England has bad weather but you never get to think that it would be the same in Amsterdam. But then I met my husband Elard and I never left. I really feel at home here. I can be who I want to be. It’s a funny sort of freedom when you live somewhere without friends of family. Away from where you come from. You are given the possibility to invent your own personality. Since organising is a genetic thing I’ve got from my mother, I soon got involved in all kind of events and exhibitions. We started to create festivals for the Homomonument and on Queens day, started Pink Point, an information point for gays and lesbians and all of a sudden we had a scene.

Running a sex club
In 1998 we started organising sex parties on Sunday afternoons. People were shirtless or nude and went after a few hours.  We hardly did any publicity but it was always full. Since we were organising more and more parties, we decided to start our own club. Church. We knew these parties worked, so we just opened the door. Now it has evolved into a lot of mixed theme nights- some hardcore men-only events but also dance parties with drags, trannies and women. Not the easiest way to go because the public has strict ideas of what a cruise club should be. It has to have a cement floor and lots of metal so it was nice to mix that up too.

One problem is that there’s a thing against sex at the moment in Amsterdam. I don’t know if it’s a socio-cultural thing but I think it’s more general. At the end of the 80’s sexual freedom seemed to peak, and since then it’s been pretty much all downhill. Young people are quite conservative these days. They are cleaning up red light districts everywhere because sex has become somehow very negative. And that’s a pity. Sexy is okay but sex is not.  I have lived here for 20 years now and in that time 18 darkrooms have disappeared. Church is the only new one that has opened. Straight hetero fetish parties are also having a hard time getting a licence. Such a shame. When I read about Berlin: being the fetish capital of the world, I think that’s what Amsterdam is meant to be. Not the gay capital, but the fetish capital. That is much bigger and wider. That’s what we once were but not are anymore.

Being gay in Amsterdam
The Amsterdam gay scene can sometimes be a little misogynous, so it’s good to stir things up every now and then. I too live mostly in a world without women but it can in many ways be quite distorting. A lot of gay men are more or less anti-lesbian as well. They still harbour the weirdest clichés about them. I think it’s much more healthy to mix- apparently businesses with men and women on the board do much better than when there are only men. The gay community is really important, for the visibility of it, but it’s got a negative side as well. People start to identify you with your sexuality, your identity becomes your sexual identity. So gay people are seen like a different kind of thing. If you look at countries like Morocco, were the gay community is very low profile, boys have more experimental sex with other boys because it’s not ‘called’ gay, there’s no label. But here in the West we have become so labelled. Either you’re gay or you’re straight – you can’t be bisexual because that’s apparently weird – and that has a huge downside. People are scared to experiment with sex because it can lead to an identity crisis.

My whole life I’ve been working with the gay community and as I said, it’s important to be visible but the downside is that we are seen as a totally different animal. Like some special kind of species. Gay is a swear word at school, but kids don’t even realise that gays are even humans. So you categorise people, it’s ‘them’ and ‘us’. And that’s the flip side of a strong gay community. Because of that you live in a cocoon with your gay friends in your gay world. But then again at the gay parade in Amsterdam this year, I saw so many same sex couples holding hands in the streets. That of course is the positive side of a strong gay community.
 

‘The idea of starting a family came quite naturally. It all fitted together easily. Everybody liked the idea so much that they all hooked up.’

The birth of Jenny
Jennifer was born in 2000. Every year my husband and I go back to Australia for the holidays and take part in Mardi Gras, Sydney’s huge gay pride festival. We’ve entered lots of floats in Mardi Gras, and one year we went in drag, as a parody of Greek-Australian girls, who coincidentally are quite similar to Jennifer Lopez. A little bit too much make-up, tight dresses, custom jewellery. A bit cheap and very loud.  What I’m doing is a different kind of drag, especially with the beard and all. A lot of people like it because it shows that drags are not always bitchy queens with shaved legs. I think that was a bit of an eye opener for people here in Amsterdam, because it’s done with a lot of humour. I don’t take myself seriously by trying to look like a beautiful woman and after a while the beard and the ass even became my trademark. I like to fuck around with the different ideas on femininity and masculinity and confuse people with it… a drag with a beard and hairy legs, a macho guy who likes wearing lipstick. I think it’s empowering for a lot of people when they realise they don’t have to be a conventional drag queen or a transvestite but just who they want to be.

Jennifer goes politics.
I soon discovered that drag queen elections or lip syncing shows were not really my thing. I tried it but I always seem to come last, they were still expecting a traditional drag. So I started to get a little bit bored and wanted to move on, organise new things. I always knew that drag +  lip syncing was no novelty. But drag with sports or with politics, that would be news. The Drag Olympics were a great move. No one has ever combined Drag with sports and we were literally in every newspaper. And because I like politics on a local level and I already had dealings with the local council, talking about Pink Point or the Homomonument, I came up with the idea to run for night mayor. So I thought it would be a great thing for Jennifer to go into politics. It’s a kind of ludicrous thing, being a night mayor, since it’s not an official but a made up position. But even though it’s not a real function, you can still achieve a lot of things for Amsterdam’s nightlife.

Because of the elections we decided to build a drag family. I never had the ambition of being well known. The campaign gave me a reason to push Jennifer as a character. We had planned a year-long campaign and took it very seriously. We had a website, facebook group and started making appearances around town. The idea of starting a family came quite naturally. Jennifer Lopez had twins so I wanted twins. It all fitted together easily. Everybody liked the idea so much that they all hooked up.  Suddenly there were sisters, a nanny for the twins, godparents,…it became so big that we started the House of Hopelezz. We had to actually, because by the time we got to ‘the neighbour’s daughter’, nobody could keep track anymore.

The woman with the beard
The election itself ended somehow with a downer. Although we had over a thousand people there and were overwhelmingly voted for, we still didn’t get chosen. They didn’t take us seriously. The jury, a group of 5 people – supposedly artists – couldn’t see through the make-up.And that really shocked me. The public voted us first place, the jury gave us last place- and they ultimately decided. We were the only ones with a campaign, a website, a 10 page policy, etc. But they just couldn’t see through the drag thing. With drag, you get a lot of attention, but it is also a distraction from your message. It’s a double-edged sword. As Jennifer, I try to use the attention to get my message across. Whether it’s effective or not is another question.

Jennifer versus Richard
Jennifer is more famous and more liked than Richard. I created the character of Jennifer in my head. She’s always friendly, she’s positive and she’s nice. As Richard I’m more businesslike, a bit grumpier, but when something happens, it always goes through my mind; how would Jennifer react? But as time goes by you grow towards each other. Jennifer has grown a bit more like Richard and the other way around. I don’t feel like I have two personalities but it’s definitely a part of my character I didn’t know was there. The whole thing about being extraverted, being on stage and being all bubbly, that’s something Richard would never do. But I notice people are much more open to me as Jennifer. They tell her things they normally don’t tell Richard.  And that’s a good thing. In that matter she can help people to explore who they really are. And that’s really cool. I think because I make such a spectacle of myself as Jenny, people are less inhibited to try things themselves. I’m very curious as to where it’s all going to. With Club Church, the members of the House of Hopelezz, the acceptance of our community,.. But after all, you know that quote from Ru Paul “We are all born naked and everything else is drag”?

 

www.homomonument.nl
www.dragqueenolympics.nl
www.clubchurch.nl
www.jenniferhopelezz.com

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Marnie Scarlet

Marnie Scarlet

Marnie Scarlet

Text JF. Pierets

 

Although the definition of Burlesque says “a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects”, one cannot erase the image of Von Teese having a bath in a champagne glass or cuties twirling around the stage wearing nothing more then nipple pasties. Nevertheless, that was before we saw Marnie Scarlet perform in a combining mix between fetish and performance art, between burlesque and a touch of cabaret. With her fabulously larger-than-life latex outfits and wittedly deviant shows, Marnie will shock and tantalise in a vortex of surrealism.

 

From SMack! in New York to TG and Club Anti-Christ in the UK and even the Cannes Film festival, Marnie has performed all over the world at fetish and cabaret events, her style appealing both to fetish and cabaret audiences. 

 “Besides the fact that I have elements of burlesque and striptease in my shows, I do not conform to traditional burlesque standards. It’s not that I don’t like a well produced burlesque night; some of them are really great, having circus and body acts instead of only striptease, but it’s just not me. My performance is something I myself would like to watch. A bit different and hopefully something that hasn’t been done before. Put fetish, burlesque and performance art in a large bowl and shake it all up. Throw a nice hat on it, a collar and some heels and go out there to grab the world by the balls and chuck it on stage” 

Marnie creates all her outfits herself, favouring raunchy rubber, but not afraid to add some fine fabrics into the mix. From coats made out of hair-extensions to meters of beautiful lace laid over latex. Categorizing Marnie is not possible. She’s everything but ordinary, showing herself off in such a terrific way but also as a designer for Libidex UK. The one-eyed soldier, a bride corpse, a bloodthirsty nurse, a crazy clown – every detail of her costumes is perfectly composed.  “The whole show starts with the costumes. It always starts with something I made and the thought about what that personae would do.”

Some of her acts like Poison Ivy and Voodoo Apocalypse incorporate body piercing and culminate in setting fire to sparklers connected to the piercings in her body. “When I made that Poison Ivy dress I thought to myself ‘What does Poison Ivy do?’. Well, she stings, so I created a piercing show.“

‘With a touch of make up and a dress, you can be another person. I always loved dressing up.’

By being a strong, independent woman, Marnie could almost be considered a role model but she’s not out there to make a strong statement. “I’m just being me when I’m on stage. It’s very basic. When I was starting I had so many ideas and I wanted so eagerly to put myself on a stage, that any audience was suitable. As long as I could do what I had to do.” Nevertheless she’s not afraid to make a point, to make people think. Her Tin Soldier act is an averment against war without making a big point of it. Once you come to understand her show, these moments of explicitness blend into the overall of the act. 

Because Marnie looks like a work of art, a resemblance with Leigh Bowery comes to mind but it’s more a way of life instead of an act. “Putting on clothes always makes me feel good. With a touch of make up and a dress, you can be another person. I always loved dressing up. When I was little I had a dress up box but when I grew up people told me I couldn’t do that anymore. So I decided never to grow up. It worked.”

When asked about her future plans, one can only wear shades because of the brightness. “I have recently done the Red Exhibition at the Cultivate Vyner street Gallery (my red latex Clown Stilettos went on display there) and will put a bull skull that I have decorated and worn for a shoot/performance in an exhibition called Mexico Sienestro, at the Resistance Gallery. I have a lot of exciting gigs lined up which you can check on my website but amongst others, I’m performing my Apocalyptic Voodoo show at the infamous Torture Garden on New years Eve in London!!! You see, I love my life and it is safe to say I’m living the full on Fetish La Vida Loca!!” 

 

www.libidex.com
www.marniescarlet.com

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Saint Marteau

Saint Marteau

Saint Marteau

Text & photos JF. Pierets

 

In an era where much of the contemporary music has been sampled or ripped-off from past sounds, there’s a man working the stage dressed in but a jaunty straw hat, a bow tie and golden knickers. His lively, roguish manner of performing sets a whole new view on today’s live concerts. Born in Belgium in a family of artists, Saint-Marteau seemed predestined to become a painter but found himself behind the keyboards of a rock band at the age of 16. Some unmentionable years later, he’s looking his audience straight in the eye and blossoms as a showman and a performer, bringing a truly unique, flamboyant repertoire, between rock and music hall, with songs that aim straight for the heart. At the moment Saint-Marteau is touring with a theatrical show called “Saint-Marteau se fait Gainsbourg”, which is built entirely around songs by the great Serge Gainsbourg. Let’s get to the bottom of it! 

 

About his personae
The old adage goes that good things are worth the wait so it took me some time to discover my voice and the magical world of the spotlight. I created Saint-Marteau from scratch. He is a man with no past. A performer who sings in French and loves a good show.  He’s definitely both a child of the 80’s and 20’s and likes to dress up as a mix between Maurice Chevalier en Vanity 6.

About performing on stage
Let’s face it, Grunge killed glamour. It fills me with the utmost dismay to watch a singer behind his microphone, murmuring about how badly he has slept or how tormented he really is. You know why? Because I don’t care. When I take the effort of going to a concert and buying a ticket, I want to be entertained, I want to see an act. When you are performing, a discussion of motives is besides the point. You have to entertain your audience. When you’re rolling over the stage in misery, make sure your rolling is interesting enough to look at. So to disrupt the deathly boredom of most live concerts, I opted for cliché’s. As a performer I see myself as some kind of superhero/singer, a cartoon character who brings his fantasy world into the spotlights.

About being influenced by French songs from the 1920’s and 1930’s
I love the old French chansonniers who were characterized by their suave manner and using a cane and tilted straw hat as their trademarks. Maurice Chevalier, Charles Trenet, they gained international fame as stage personalities because their shows were universal. They were as much suited for Tokyo as for London. Despite the fact that they where singing in French because that kind of stage communication goes beyond words or language.

About todays chanson
In the current generation of French singers I’m missing the edginess, the humour and the unusual. The things that are happening in France, on a musical level, are quite intimate and inwardly. I wanted to break through that trend with a show that goes way back in time but wanted to sauce it with some contemporary music elements. When you are performing with a boater or a cane, everybody knows where you’re heading at. It’s securely etched upon people’s memory. But when you mix that sort of entertainment with a rock band, it starts to get interesting. I feel very comfortable singing French chansons, I feel at home in the tradition of the revues, the cabaret. But that doesn’t mean I have to play the accordion with a bottle of wine next to me. It all lies in finding the right mix.

About his audience
Everybody is who he is and I’m certainly never going to hide my sexual preferences but I’m not aiming for a certaintype of audience, on the contrary. That would be too narrow minded. When I’m on stage I see all different kind of ages looking up and that makes me more than happy. The tongue-in-cheek aspect of my shows could cause eyebrows to be raised, but it doesn’t. It shows that good entertainment tickles all ages. Point taken.

 

‘By doing what I’m doing and by really going for it, I think I might be more engaged then someone who fulminates against the whole system.’

About being politically correct
I don’t have a political agenda and I certainly don’t have ‘a message’. I love l’art pour l’art. By doing what I’m doing and by really going for it, I think I might be more engaged then someone who fulminates against the whole system. Especially in times like this – with false morality and where they forbid grown up people to smoke – I think following your intuition is the perfect antidote against this childish approach. It’s even more effective then any political or social statement. You don’t have to start kicking at things to make a strong point. 

About having fun
My shows are spicy in an old fashioned way. That’s much more pleasant then trying to shock with explicit details. After several decades of stage actors taking off their clothes every two minutes, we’ve seen it all and there’s nothing more to add to it. So it’s much more interesting to suggest things. To have fun. Having fun is much more daring these days then going naked. 

About discipline
I love partying, I love putting together fantastic outfits to set the room on fire until 6 in the morning with nice perfume dupes, but I also love the obviousness of work. Because performing is a job, you have to be in strong mental shape. I spend countless hours reading books on business articles on business marketing and making strong sales pitches for my brands  such as the ones here

I have a very worked out physique and I do a lot of mental preparation before I step into a tour. When I’m on stage I don’t want to get stuck on having to improvise. I aim for a strict choreography and that needs the necessary discipline. 

About Gainsbourg
I’m not the kind of artist who swims into the tribute-circuit but I have a strong bond with the songs of Gainsbourg. I went through his complete oeuvre. There were almost 600 songs from which I chose the ones who resemble my own style. You have to see it as the opposite of a tribute. It’s more like shamelessly using someone else’s work for own purposes. I’m not a fan of Gainsbourg as a singer. He had a grand charisma but his live recordings are exuberantly bad and I’m not a fan of his murmuring, clumsy way of performing. But I truly adore him as a composer and a writer. His music. Gainsbourg is such a rich character. He’s Parisian but also a Russian jew. He was a kinky womaniser but also a grand poet and very funny. He was everything at the same time but I’m going to work with his lyrics, his music and transform it into a Saint-Marteau show. So don’t expect Gitanes and a five o’clock shadow. 

About the future
Despite the fact that I consider Belgium a nice place to live and work, I might be ending up living in Paris or Marseilles. Who knows? As long as I can keep on doing what I’m doing because I love my life and I hope to take more advantage of it. But time will tell and you never know how the world will look in about 20 years from now.

 

www.saint-marteau.com

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Et Alors? magazine. A global celebration of diversity.