New gay bar for West End

A group of investors has applied for a liquor licence for a new gay bar in the old Denman Station space at 860 Denman St near Barclay St.

The application is for a yet-to-be named149-seat pub lounge with limited food service and no patio. The hours will be 11 am to 2 am seven days a week.

The investors include Vince Marino and Steve Bauer, co-owners of the PumpJack and Fountainhead pubs and Randy Newburg, who operates the Cruisey T boat cruises.

City licence coordinator Guy Gusdal said at a community meeting in the West End Nov 22 that the location, most recently operated as Club Da Bong, satisfies the city’s liquor service policy.

Nadine Jumelle, who operates a restaurant right next to the proposed new bar, voiced her concerns at the meeting that bar patrons could disrupt her business. “Even in the days when it was Denman Station, we still had many problems down there then,” she said. “There were way worse issues when the place changed hands and became Club Da Bong.”

“I’ll have to come down those steps and go down those stairs right by your business each and every day,” said Marino. “The last thing I want is to not be able to look you in the face.”

The licence application still has to go before city council for approval. It will likely be late January or early February before that happens.

Keep Reading

The cover of Perverts

‘Perverts’ shows the cost of sexual self-censorship

Mac Crane’s short-story collection follows queer and trans characters who are both stuck—and free
Sun

Rosalía’s ‘Lux’ tour taught me things I didn’t even know I could know

After years of pining, I finally went to the Catalan superstar’s concert. I wasn’t ready for what it did to me
The protagonists of Blood Lines embracing

The big twist in ‘Blood Lines’ is more than shocking

Gail Maurice’s queer Métis romance takes a massive risk—letting it dig deep into the pain and loss perpetuated by colonial structures
A still from Girls Like Girls

‘Girls Like Girls’ once meant everything to me. I’ve outgrown it

Hayley Kiyoko’s new movie tries to recapture the magic of the mid-2010s music video it’s based on. But time has dulled its revolutionary edge
Advertisement