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Castro catastrophe

‘We Were Here’ offers first-hand accounts of AIDS horrors in San Francisco

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A vintage still from San Francisco's Castro neighborhood used in 'We Were Here.' (Photo courtesy of Film Collaborative)

There were angels in San Francisco.

But unlike in Tony Kushner’s two-part Pulitzer-Prize-winning play about AIDS — “Angels in America,” set in New York City in the mid-1980s — these angels were real people.

In the Kushner play, an angel descends to earth, as his fictional characters struggled with this unsettling new disease, the “gay cancer” as it was being called, an epidemic that seemed to spring from nowhere and then spread like a wicked wildfire.

In San Francisco it also struck like a bolt from the blue and purple unknown, its stigmata the purple-ish and dark reddish-blue marks of skin lesions — those herpes-like, cancerous tumors of Kaposi’s sarcoma — that began to dot faces and limbs and torsos with an ugliness that was unmistakable and the cause unknown. Right-wing televangelist Jerry Falwell called the lesions, which were seen as the defining illnesses of AIDS in the 1980s, to be the signs of Satan’s claim over sins of the flesh and God’s punishment for those same-sex sins, demons of a heaven-sent plague upon homosexuality.

“For a group of gay men, so into physical appearance, this was a disease whose very physical manifestations were horrifying,” says Daniel, one of the five people profiled in a new and deeply affecting documentary film, “We Were Here,” a gut-punch of a feature-length film by producer-director David Weissman, about the coming of AIDS to the Bay Area, and the human havoc it wrought.

This film is truly a moving picture. Co-presented with Reel Affirmations, as part of the 25th Annual FilmFest D.C. (now through April 17), it is playing tonight and Saturday night at the Regal Cinemas Gallery Place, on 7th Street, N.W., near Verizon Center. Each showing is at 6:30 p.m. followed by town meetings to discuss the film and its ramifications today in D.C. where the disease still flourishes.

Each one of the five in “We Were Here” is a witness, a survivor, and haunted in some indelible way by what they saw. Four of them are gay men (Daniel, Ed, Guy and Paul), who each contracted HIV yet somehow survived. One is a straight woman (Eileen) who ministered to the patients, as a nurse who cared about them as human beings, not clinical case studies.

Like Eileen, who appears to be a modern-day Florence Nightingale, each one is an angel, each able to say, “we were here.” Each is a survivor of the mysterious epidemic that moved through San Francisco in the 1980s with all the ferocity of an avenging angel, a grim reaper carrying off those who had sown such pleasure, but now so many of them faced death as a result.

Each is an eyewitness. At the skillful hand of filmmaker Weissman, who also earlier produced “The Cockettes,” a documentary about the campier side of the Bay Area, the testimony of the five is heartfelt and eloquent, bringing the kind of emotion that only those who experienced it first hand can bring.

Daniel’s voice is such an example. His voice is riveting, his gaze impossible to turn away from. He’s a modern-day Ancient Mariner come to tell us of how wrong things can get when bad things happen to good people.

He recalls that tragic time when no one could comprehend what was happening, as the virus burned its way through the carefree, almost heedless hedonism that came to the Bay Area after Stonewall in 1969, when hippies flocked to the Haight Ashbury and gays to the Castro. For a time all was well. But it was the sexual romp before the gathering storm.

Paul, who found his early calling in political action working with Harvey Milk, says, “I came to San Francisco with nothing but my backpack and my boyfriend.” He recalls that in the mid-1970s, “I believed that at that time in San Francisco there were nothing but crazy dreamers.”

Daniel went, recalling that, “I always wanted to meet a blond surfer but I was still in the closet, but then I came out with a bang,” in part spurred by being cast in the gay-themed play “The Boys in the Band.”

One observer, appearing in the film, puts it bluntly about that era: “If you took a lot of young gay men and asked them, ‘How much sex would you like to have?,’ the answer was, ‘A lot,’ and the sense was, sex is good, and more sex is good,” and after all, he adds, “We came to San Francisco to be gay.” Ed, who moved to the city in 1981, is equally blunt: “I was always in relationships, but they were open … My sexual outlet was always the bath houses and it was fun.”

But times were changing. In 1979, Harvey Milk was assassinated. In 1980, Ronald Reagan was elected president. The hopes and dreams of hippie hedonism didn’t last. But then, says Weissman, who documents it with clinical detail from archival footage, signs of trouble began to appear.

“People were wasting, losing so much weight, [San Francisco’s Castro neighborhood] looked like a concentration camp,” says Daniel. “You almost had to turn away, it was just too scary.” He felt haggard and haunted: “I was losing all the fat in my face and my butt — I would walk by a store window and jump, ‘Who was that?’ — I was skin and bones.”

At times death came with startling swiftness. Eileen, who chose to care for AIDS sufferers and then to work on clinical trials seeking pharmaceutical relief of the worst symptoms, says that in the hospital where she worked, “People were coming in with a KS lesion one day and were dead 10 days later.” Her own heart went out to them, but others shrank away in fear and ignorance, as some voices were raised calling for tattoos to be stenciled onto all persons diagnosed with HIV and some even called for packing them away into leper-like colonies.

“From the beginning,” she says, “I just couldn’t understand the homophobia that was going on and the fear of going into the [hospital] rooms.”

“There was nothing that unusual in that people are of course going to die,” says Ed, who speaks like a creative writer, a craft in which he earned a graduate degree. But in San Francisco, he says, “It’s just that it happened in a targeted community, to people who were disenfranchised, separated from their families.”   But then a kind of miracle happened when people like Eileen stepped forward, as well as gay men who were not infected. In Ed’s words, “A whole different group of people stepped up and became their families.”

They got involved. Eileen joined ACT UP. Daniel fought his way back from depression and worked on the Names Project, which made the AIDS quilt.

Each of five was chosen, says Weissman, because they had a special story to tell, and the film delivers what they have to say with an emotional wallop. But more than that, he admits, “The city is also a character” in the film, which he calls “Very personal to me” and “a love letter to San Francisco,” where after some years living in Portland, Ore., he is now based. A commercial release is planned for later in the year.

Weissman, who is gay, was born in 1954 in Los Angeles, and never went to college, he explains, because he “lived through the hippie times.” He got into filmmaking in his late 20s. He says it was “something on the spur of the moment.” He took coursework at the City College of San Francisco, but says at first he never thought of himself as a documentarian. Instead, he produced a series of short comedies until finally, after “a moment of unexpected inspiration,” he made the 2001 acclaimed documentary, “The Cockettes,” about the Bay Area’s legendary theater troupe of hippies and drag queens.

“Some people worry that seeing a film like this will be a downer,” Weissman says. “But that’s definitely not the case. Instead, it’s a cathartic experience, healing and empowering.”

“Especially for young gay men today, who don’t know very much about our history,” Weissman says the film opens “a window about how we got where we are today, and the resilience our community has shown in the face of terrible adversity.”

Other gay-themed films slated for fest

The Washington, D.C. 25th annual international film festival event comes alive this week overflowing the Historic Lincoln Theatre on U Street, AMC Mazza Gallerie, Regal Gallery Place at Verizon Center on 7th Street N.W., the Landmark E Street Cinemas, the Avalon and other venues through April 17.

“We know for sure that people in D.C. are interested in films other than Hollywood films,” says Tony Gittens, who founded the festival in 1987.

Themes include “Justice Matters,” a cluster of films focusing on social justice issues; Global Rhythms, a special section of music films; Short Cuts, eight films less than feature length from around the world; and “Lunafest,” nearly 90 minutes of short films for, by and about women. Tickets for most films are $11, he says, and shows tend to sell out, so buying tickets online is the smart bet.

For a complete list of films and events, which include “freebies” for children and seniors, and to purchase tickets, visit filmfestdc.org or call 888-996-4774 from 10 a.m.-6 p.m. Monday through Friday and from noon-5 p.m. on weekends. Tickets may also be purchased at the theater on the day of the show, with the box office opening one hour before the venue’s first screening of the day.

In addition to “We Were Here,” three others have LGBT appeal:

“Circumstance” (“Sharayet”) in Persian with English subtitles 9 p.m. tonight and 6 p.m. Saturday at Regal Cinemas Gallery Place. Directed by Maryam Keshavasrz, this joint French-Iranian-USA production won this year’s Sundance Film Festival audience award. A young Iranian girl, still in her teens, Atafeh, and her best friend Shireen, experiment with mutual sexual attraction amid the subculture of Tehran’s underground art scene and face familial disapproval.

“For 80 Days” (“80 egunean”) in Spanish with English subtitles co-presented with the Embassy of Spain at 7:30 p.m. Sunday and 8:30 p.m. Monday at the Avalon Theatre, 5612 Connecticut Ave. N.W. Directed by Jon Garano and Jose Maria Goenaga, this Spanish entry depicts two women, one of them lesbian, who were best friends in youth, who meet again by accident 50 years later.

“Loose Cannons” (“Mine Vaganti”) in Italian with English subtitles screens at 9 p.m. tonight and 7 p.m. Saturday at AMC Mazza Gallery, 5300 Wisconsin Ave. N.W.

Directed by Ferzan Ozpetek, the films depicts a large, eccentric family whose patriarch puts pressure on the two sons, who are gay, to follow in the family business.

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Real Estate

The best U.S. cities for LGBTQ homebuyers in 2025

Where strong equality scores, vibrant culture, attainable prices converge

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Philadelphia is among cities that rank highest for LGBTQ homebuyers. (Photo by sborisov/Bigstock)

Buying a home has always been a landmark of security and self-expression. For LGBTQ+ people, it can also be a powerful act of claiming space in a country where housing equality is still a work in progress. The good news? This year offers more options—and more protections—than ever. A record-breaking 130 U.S. cities now score a perfect 100 on the Human Rights Campaign’s Municipal Equality Index (MEI), meaning their local laws, services, and political leadership actively protect queer residents, reports.hrc.org. Meanwhile, national housing analysts at Zillow expect only modest price growth this year (about 2.6 percent), giving buyers a little breathing room to shop around.

Below are eight standout markets where strong equality scores, vibrant LGBTQ+ culture, and relatively attainable prices converge. Median sale prices are from March 2025 Zillow data.

1. Minneapolis–St. Paul, MN

Median sale price: $317,500  

Twin Cities residents benefit from statewide nondiscrimination laws that explicitly cover sexual orientation and gender identity, a thriving queer arts scene, and dozens of neighborhood Pride celebrations beyond the mega-festival each June. Buyers also appreciate Minnesota’s down-payment assistance programs for first-time and BIPOC purchasers—many LGBTQ+ households qualify.

2. Philadelphia

Median sale price: $227,667   

Philly combines East Coast culture with Mid-Atlantic affordability. “Gayborhood” anchors like Giovanni’s Room bookstore mingle with new LGBTQ-owned cafés in Fishtown and South Philly. Pennsylvania added statewide housing protections in 2024, closing the legal gaps that once worried trans and nonbinary buyers.

3. Pittsburgh

Median sale price: $221,667 

Don’t let the steel-town stereotype fool you—Pittsburgh’s MEI score is 100, and its real-estate dollar stretches further than in comparable metros. Lawrenceville and Bloomfield have become hubs for queer-owned eateries and co-working spaces, while regional employers in tech and healthcare boast top Corporate Equality Index ratings.

4. Tucson, Ariz.

Median sale price: $328,333 

This desert city punches above its weight in LGBTQ+ visibility thanks to the University of Arizona, a nationally ranked Pride parade, and some of the country’s most picturesque outdoor recreation. Arizona’s statewide fair-housing statute now explicitly lists gender identity, giving buyers added recourse if discrimination occurs.

5. Madison, Wisc.

Median sale price: $413,867 

Madison blends progressive politics with a top-five public university and a booming tech corridor. Local lenders routinely promote inclusive marketing, and Dane County offers one of the few county-level LGBTQ+ home-ownership programs in the nation, providing up to $10,000 in forgivable assistance for low-to-moderate-income couples.

6. Atlanta

Median sale price: $359,967 

The cultural capital of the Southeast delivers queer nightlife, Fortune 500 jobs, and a web of supportive nonprofits such as Lost-n-Found Youth. While Georgia lacks statewide protections, Atlanta’s 100-point MEI score covers public accommodations, contracting, and employer requirements—shielding homebuyers who choose in-town neighborhoods like Midtown or East Point.

7. St. Petersburg, Fla.

Median sale price: $354,667 Yes, Florida’s statewide politics are turbulent, but St. Pete has long held firm on LGBTQ+ equality. The city’s Pride festival draws nearly a million visitors, and local ordinances bar discrimination in housing and public services. Waterfront bungalows in Kenwood and more affordable condos near Uptown give first-time buyers options.

8. Denver

Median sale price: $563,500 

Colorado passed some of the nation’s strongest gender identity housing protections in 2024, and Denver’s queer community remains one of the most visible in the Mountain West. Although prices run higher, buyers gain exceptional job growth and one of the country’s largest Gay & Lesbian Chambers of Commerce.

Smart Strategies for LGBTQ+ Buyers & Sellers

1. Build Your Dream Team Early

  • Work with an equality-focused real-estate pro. The easiest way is to start at GayRealEstate.com, which has screened gay, lesbian, and allied agents in every U.S. market for more than 30 years.
  • Choose inclusive lenders and inspectors. Ask whether each vendor follows HUD’s 2021 guidance interpreting the Fair Housing Act to cover sexual orientation and gender identity.

2. Know Your Rights—And Limitations

  • Federal law bars housing bias, but enforcement can lag. Document everything and report issues to HUD, your state civil-rights agency, or Lambda Legal.
  • In states without full protections, rely on city ordinances (check the MEI) and add explicit nondiscrimination language to your purchase contract.

3. Evaluate Neighborhood Fit

  • Use local data: crime stats, school ratings, transit, and MEI scores of nearby suburbs.
  • Spend time in queer-owned cafés, bars, and community centers to gauge true inclusivity.

4. For Sellers: Market With Pride—And Professionalism

  • Highlight proximity to LGBTQ+ resources (community centers, Pride festivals) in your listing remarks.
  • Stage neutrally but inclusively—rainbow art is great, but removing personal photos can protect privacy during showings.

The landscape for LGBTQ+ homeowners is evolving fast. By coupling inclusive laws, supportive culture, and attainable prices, cities like Minneapolis, Philadelphia, and Tucson stand out for 2025. No matter where you land, surround yourself with professionals who value every part of your identity. Start your journey at GayRealEstate.com, lean on the resources above, and claim your corner of the American dream—on your own terms, and with pride.


Scott Helms is president and owner of Gayrealestate.com.

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Real Estate

Summer-ready rentals: How to prepare for the season

Inspect your A/C, upgrade the kitchen, and more

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Adding stone countertops and making other kitchen improvements can greatly boost the value of a rental. (Photo by Wollwerth/Bigstock)

Now’s the time to get your property looking sharp for summer. In the D.C. rental market, summer is our version of the Super Bowl. Tenants are on the move, leases are flipping, and if your property isn’t ready for game time, you’re sitting on the bench while the competition scores.

Here’s how to get your rental property summer-ready, keep it competitive, and avoid the scramble once the heat (and the demand) is on.

First Impressions Count 

In a walkable city like D.C., curb appeal isn’t a luxury, it’s your ticket to play. Prospective tenants don’t just scroll through listings from their couches; they walk the neighborhoods, eyeing buildings and row homes like it’s a real-life episode of House Hunters. If your property looks run-down from the sidewalk, it doesn’t matter how nice it is inside: you’ll already have lost their attention.

Start with a good power wash. Sidewalks, front steps, and that brick façade can collect a year’s worth of grime and pollen, and nothing says “we didn’t get around to it” quite like a dingy entryway. Once that’s done, grab a paintbrush and freshen up the details — front doors, railings, and window trim are often the first thing people see, and chipped or faded paint sends the wrong message. Landscaping doesn’t have to rival a botanical garden, but it should be tidy and intentional. A few potted plants, some trimmed bushes, and a weed-free yard show that you care. And don’t forget the lighting — a working porch light adds a layer of polish and safety. Think of curb appeal like a dating profile picture. If it’s not appealing, people won’t even bother to swipe right.

Handle Maintenance Before Repair Emergencies

Summer in D.C. means one thing: humidity. And it’s not just uncomfortable. It’s a property’s worst enemy if you’re not on top of things. Tenants will test that A/C the minute they move in, so don’t wait for a 98-degree day to find out the AC compressor is clogged and is not performing to its potential. While you’re at it, check those windows and screens. No one wants a unit that turns into a sauna because the windows won’t open or the screens are shredded.

Plumbing deserves a once-over, too. In some of D.C.’s older neighborhoods, tree roots have been known to snake their way into century-old pipes. If you’ve had slow drains or backups, now’s the time to act. And don’t skip out on pest control. Ants, roaches, and rodents all love a good D.C. summer, but your tenants sure don’t. A preventative visit now can spare you the late-night emergency call later.

Upgrade What Matters

If your place still has that “2008 Craigslist listing” look, now’s your chance for a low-cost glow-up that pays off in higher rent and better tenants.

You don’t have to renovate the entire kitchen, but a few strategic upgrades can keep your property feeling current without breaking the bank. Swapping out dated cabinet pulls or faucet fixtures is a quick win. Replacing an old Formica countertop with stone is a great add, albeit a bigger investment.

Installing a smart thermostat or keyless entry, especially if you’re trying to attract a tech-savvy tenant, adds a bit of glitz. And don’t underestimate the value of LED lighting.  Not only is the lighting brighter, but energy efficiency is a real plus when Pepco bills start climbing.

Don’t Forget the Marketing Materials

The window for summer leasing moves fast. Between May and August, tenants are locking in their spots quickly, and they aren’t wasting time on listings that look outdated or vague. Having strong, current marketing materials can be the difference between locking in a new tenant over several weeks or watching your property sit vacant for several months while others get rented.

When writing your listing, make sure it reflects the strengths of the unit and its location. Is there a private balcony that catches the sunset? Mention it. Is the washer and dryer tucked inside the unit instead of down a shared hallway? Highlight that. And in the D.C. summer heat, central A/C and ceiling fans aren’t bonuses; they’re expectations. Mention any shaded outdoor spaces, or if you’re lucky enough to be close to a pool, splash pad, or one of the city’s beloved parks, say so.

Once the property is shining on the outside and tuned up inside, the final step is making sure that polish shows up in your marketing. Your listing needs to be more than just functional, it needs to sell. That starts with updated and clear photos. Snap new images once the landscaping is cleaned up, the paint has dried, and the light’s hitting just right. Don’t use older photos pre-2020 where the tree out front was still a sapling and the trash bins were in the shot. And please, always close toilet seats first!  Prospective renters are savvy, and their intuition perks up when they see less than professional looking photos.

It’s All About Timing

This summer, make the most of the opportunity. In D.C., there’s a wave of renters moving for new jobs, internships, or simply trying to relocate before school starts. Landlords who prep early and market smartly are the ones who don’t just find tenants, they find good tenants. And they fill units faster.

Grab that to-do list, schedule those contractors, and maybe treat yourself to a cold one after a long day of touch-ups. You’ll thank yourself later when your rental is leased out and earning while others are still scrambling at the end of the season.


Scott Bloom is owner and senior property manager at Columbia Property Management. For more information and resources, visit ColumbiaPM.com.

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Autos

A cheeky convertible: Mercedes CLE 450

Riding the freeway of love with the top down and spirits up

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Mercedes CLE 450 convertible

“Drop the top, baby!… Drop the pedal and go!”So croons Aretha Franklin in “Freeway of Love,” her classic song about a joyride in a pink Cadillac convertible. 

Those free-spirited lyrics came to mind recently each time I got behind the wheel of an equally exquisite ride: the Mercedes CLE 450. 

MERCEDES CLE 450 CONVERTIBLE 

$76,000

MPG: 23 city/32 highway

0 to 60 mph: 4.2 seconds

Cargo space: 9.6 cu. ft. 

PROS: Dreamy design. Divine handling. Dazzling amenities. 

CONS: Cramped cargo area. Kinda impractical for everyday driving.   

IN A NUTSHELL: Who needs two fine open-top chariots when one fabulous convertible will do? That seems to be the thinking at Mercedes, which recently replaced two of its cabriolets—the compact C-Class and midsize E-Class—with the brand-new CLE 450.  

While the wheelbase is a wee bit shorter than on the outgoing E-Class model, the CLE is longer overall than either of its two former siblings. The result: more legroom than expected, especially for anyone in the front seats. Even backseat occupants may feel comfy (OK, perhaps not Brittney Griner or Carl Nassib, but still…).  

Alas, trunk space is slightly scrunched, thanks to the folding fabric roof. But that power-operated top—available in black, gray or red—can be raised and lowered with the car traveling at speeds up to 37 mph. And the triple-layer acoustic material provides excellent insulation and greatly reduces outside noise. In fact, I often had to remind myself this was the CLE convertible and not the hardtop coupe. 

There’s also a wind-deflector apparatus that, when activated, elevates airflow off the windshield and reduces backflow with a rear mesh screen. For added pampering, an AIRSCARF system lives up to its name, sending warm air onto the necks of front-seat passengers. (Don’t tell my husband, but I felt like an invisible suitor was wooing me, seductively blowing kisses my way.)

Convertibles usually are not as structurally rigid as their hardtop counterparts. But here again, Mercedes works its magic: The chassis—made of aluminum and high-strength steel—is so incredibly stiff that there’s absolutely no shake and shimmy. This solid body structure also provides for a safe vehicle shell. 

Under the hood, there’s a spirited 375-hp turbo engine, augmented by grippy all-wheel drive and a graceful nine-speed automatic transmission. As a crazed soccer fan, I think it’s not too much of a stretch to say the driving experience combines the speed, sass and savvy of a star athlete (think Megan Rapinoe). 

Inside, there are plenty of premium styling cues, as well a glitzy dashboard with 12.3-inch digital cluster and 11.9-inch multimedia touchscreen. Yes, the CLE borrows heavily from the C-Class and E-Class. But somehow—perhaps because of the low ground clearance and multi-contour seats (which include heating, ventilation and massage functions)—this cabin feels and functions more like a true cockpit. 

Along with all the driver-assistance features, there are 11 airbags (including rear head airbags), pop-up roll bars and a drowsy-driver alert monitor. In case of an impending crash, an accident-preparedness system immediately tightens seatbelts, adjusts seats and closes windows.  

I could go on about all the amenities, including a 17-speaker Burmester surround-sound stereo, the 64-color ambient-lighting system and more. But why bother? This is a Mercedes, after all, so you expect such babying. 

What wasn’t expected? How much I keep missing this beauty after my weeklong test drive ended. It’s not as if soft-tops are practical, like minivans and SUVs. And two-door rides—coupes or cabrios—now account for less than 4% of all new-vehicle sales. 

But Aretha would have understood. Classy convertibles, like her pink Caddy and the Mercedes CLE 450, represent open-air freedom and the promise of adventure. 

“So jump in, it ain’t no sin. Take a ride in my machine.”

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