#Karen Vaccaro

[cantsayidont]

CAPRICORN ONE (1977): I hated this stupid and cynical Peter Hyams action-thriller when I was a kid, and time and distance have not improved my opinion of it. Obviously contrived to cash in on the post-Watergate vogue for paranoid conspiracy thrillers in general and "the moon landing was faked" conspiracy theories in particular, it begins with the imminent launch of the titular Mars mission, whose crew (James Brolin, Sam Waterston, and O.J. Simpson) is whisked away at the last minute and told by the NASA flight director (Hal Holbrook) that they will actually be forced to stage the manned portions of the mission in a remote desert warehouse. Elliott Gould plays the intrepid investigative reporter who must get to the bottom of the plot before an arbitrarily vast Sinister Government Conspiracy can make all the loose ends disappear permanently.

I find this film's contributions to perpetuating the fake moon landing conspiracy bullshit both obnoxious and pernicious: The movie doesn't actually claim the moon landings were a hoax (in fact, the script implies otherwise), but it presents a very similar conspiracy surrounding its fictional Mars mission, which is staged using a lot of Apollo-style props and costumes with authentic NASA logos, so photos and footage from the movie are still periodically trotted out as evidence of the supposed "real" moon landing hoax conspiracy. I guess that isn't really Hyams' fault, but beyond its real-world baggage, this is just not a good movie: Despite its top-heavy cast and sizable budget, it never stops feeling like a Roger Corman cheapie, and the lack of imagination in the action and chase sequences is depressing. Hyams seems to have had trouble taking his own story seriously enough to make it work even on its own dumb terms, so a lot of plot elements have no real payoff and sometimes make little sense. The only times the script comes to life at all are in the scenes with Karen Black (as the Gould character's flirtatious colleague) and Brenda Vaccaro (as the level-headed wife of one of the astronauts), and even those are very ordinary journalist-detective stuff.

Maybe the biggest story flaw is that the astronauts are little more than cardboard cutouts: They have no personality, and their skills and training end up being far less relevant to the action plot than it seems like they should under the circumstances; the climax comes down to a stupid bit of business involving Telly Savalas as an eccentric crop-dusting biplane pilot. Brolin, Waterston, and Holbrook are wasted, and O.J. has so little to do or say he might as well be a mannequin. (He wasn't much of an actor, but still.) The only thing holding the whole mess together is Gould, who is okay — he could probably have done this kind of thing in his sleep by 1977 — but can't make up for the numerous inadequacies of the script.

Gould manages to (barely) save CAPRICORN ONE from being a complete bomb, but unless you're marathoning '70s conspiracy thrillers or are morbidly curious about how this movie approaches its NASA conspiracy plot, it's mostly a waste of time.

[ulkaralakbarova]

In order to protect the reputation of the American space program, a team of NASA administrators turn the first Mars mission into a phony Mars landing. Under threat of harm to their families the astronauts play their part in the deception on a staged set in a deserted military base. But once the real ship returns to Earth and burns up on re-entry, the astronauts become liabilities. Now, with the help of a crusading reporter, they must battle a sinister conspiracy that will stop at nothing to keep the truth hidden. Credits: TheMovieDb. Film Cast: Robert Caulfield: Elliott Gould Col. Charles Brubaker: James Brolin Kay Brubaker: Brenda Vaccaro Lt. Col. Peter Willis: Sam Waterston Cmdr. John Walker: O.J. Simpson Dr. James Kelloway: Hal Holbrook Judy Drinkwater: Karen Black Albain: Telly Savalas Hollis Peaker: David Huddleston Walter Loughlin: David Doyle Sharon Willis: Lee Bryant Betty Walker: Denise Nicholas Elliot Whitter: Robert Walden Control Room Man: James B. Sikking Capsule Communicator: Alan Fudge Vice President Price: James Karen F.B.I. Man Number 1: Jon Cedar General Enders: Hank Stohl President: Norman Bartold Dr. Bergen: Darrell Zwerling Dr. Burroughs: Milton Selzer Horace Gruning: Lou Frizzell Mrs. Peaker: Nancy Malone Jerry: Paul Picerni Alva Leacock: Barbara Bosson Reporter (uncredited): Bob Harks Film Crew: Casting: Jane Feinberg Casting: Mike Fenton Set Decoration: Rick Simpson Production Design: Albert Brenner Original Music Composer: Jerry Goldsmith Director of Photography: Bill Butler Costume Design: Patricia Norris Sound mixer: Jerry Jost Stunt Coordinator: Bill Hickman Makeup Artist: Michael Westmore Location Manager: Ron Underwood Assistant Director: Irby Smith Art Direction: David M. Haber Producer: Paul Lazarus III Director: Peter Hyams Special Effects: Henry Millar Associate Producer: Michael I. Rachmil Editor: James Mitchell Still Photographer: Bruce McBroom Script Supervisor: Marshall J. Wolins Hairstylist: Emma M. diVittorio Boom Operator: Joseph Kite Special Effects: Bruce Mattox Special Effects: Robert Spurlock Camera Operator: James R. Connell Title Designer: Dan Perri Movie Reviews: John Chard: It’s a pleasure alright, and I don’t feel guilty about it at all!. A NASA space mission up to Mars fails to get off the ground due to major technical problems. Fearing funding could be taken away and wishing to avoid embarrassment, the powers that be decide to do a fake landing in a studio. With the astronauts forced to pretend that they are actually up on Mars, and fighting with their own personal belief systems, the government executives in charge fear that the fake flight could come to light. Upon learning that the outside world actually thinks they crashed upon reentering the earths atmosphere, the astronauts run for their lives knowing that the government can’t afford for the men to stay alive. Capricorn One is an excellent conspiracy picture that sadly seems to have been largely forgotten. Even today we are still hearing mooted stories of the landing on the moon actually being fake, so here director and writer Peter Hyams takes it and crafts a thrillingly taut piece of work. At the films heart is Elliot Gould’s (his great 70s work under valued) intrepid journalist, Robert Caulfield, after being nudged in the ribs by one of his friends at NASA, is himself under threat of death from shadowy government types who will think of nothing to offing him along with the astronauts. The film is split into two very significant halves, the first half is the set up, the conversations before and after the fake landing are clever and crucially attention grabbing, and of course we get to know our characters with the right amount of time. The film then shifts for the second half into a quality thriller chase movie, our main protagonists pursued by the government assassins courtesy of two gun toting helicopters. Jerry Goldsmith’s score brilliantly becoming part of the chase sequences, making the helicopters seem like death stalking machines operated by no man alone. We even get Telly Savalas joi...

[ridenwithbiden]

Capricorn One (Fake Mars Landing) 

James Brolin, Sam Waterston, Elliott Gould, Hal Holbrook, 

Brenda Vaccaro, Karen Black, Telly Savalas.

free with commercials

[angelariasdominguez]

§ 3.161. Capricornio Uno (Peter Hyams, 1978)

 

La tengo por una película mítica en la ciencia ficción, aunque quizá no sea tan 'grande' como la calculaba. Sí es interesante, se deja ver y tiene una trama muy entretenida. Para ser una cinta tan antigua tiene algo de actual, de novedoso, de siempre. Más antigüa es 2001 y es mucho más actual y mucho más rupturista.

En el fondo es la historia de un engaño. Un masivo engaño a todo un país, a toda la humanidad. Es la clásica película que hace que la teoría de la conspiración tenga cierto éxito. Si sustituyes a Marte por la Luna, ya tienes todo hecho.

Tiene algo de la frescura y la inocencia de las cintas de los años setenta, años en los que todavía se creía que la política y la sociedad podía modificar las estructuras del mundo.

Es algo larga, quizá 90 minutos hubieran sido suficiente. 

El reparto es de los realmente grandes: Elliott Gould, James Brolin, Sam Waterston, O. J. Simpson, Hal Holbrook, Brenda Vaccaro, Telly Savalas y Karen Black. Reparto muy de los setenta. 

[scenesandscreens]

Capricorn One (1977)

Director - Peter Hyams, Cinematography - Bill Butler

"Look, when a reporter tells his assignment editor that he thinks he may be on to something that could be really big, the assignment editor is supposed to say: "You've got forty eight hours, kids, and you better come up with something good or it's going to be your neck!" That's what he's supposed to say, I saw it in a movie."

[adamwatchesmovies]

Capricorn One (1977)

You assume Capricorn One will be a conspiracy-ridden piece of cinematic madness, but it’s actually a smart thriller, which makes great use of its premise and has a terrific ending.

Interest in space travel has severely waned and now, everyone at NASA depends on the success of Capricorn One - the first manned mission to Mars. When a defective life support system requires them to cancel the voyage, administrators panic. The astronauts aboard the Capricorn One - Brubaker (James Brolin), Willis (Sam Waterston) and Walker (O. J. Simpson) - are whisked away to a remote facility where the whole thing will be faked. If it all goes to plan, no one will be the wiser.

What makes it work is the way the scenario is sold. No matter what, the excitement of mankind traveling to a distant astral body will never capture the imagination as it did in the days of the space race. We are told by the conspirators that if this mission does not go off without a hitch, that’s it for the space program. It’s not like sending people to distant worlds is a particularly profitable endeavor and the President barely showed interest when everyone thought Capricorn One was perfect. You understand the decision made by the people at NASA when they embark on this elaborate ruse.

At first, it seems like a less-than-ideal situation that at least has good intentions. If no one blows the whistle, everything will end up fine. Theoretically, they might be able to go out in space again, and isn’t it better to lie to the people of Earth and give them hope about the wonders of Mars than to simply crush their dreams and, in a way, choose to abandon the space program altogether? It’s a thought-provoking dilemma we’ve got here. Then, it gets more complex when things begin to go wrong.

When threads begin unraveling, Capricorn One becomes more than just a curious theoretical scenario. There are people at NASA who begin asking questions, which prompt you to sweat. You know those who start poking their noses in this are likely to end up with a black bag over their head, but they don’t.

The story is exciting because the characters concerned are intelligent. You don’t know if they’ll manage to blow the cover on this conspiracy or not. It comes to an exciting climax: a spectacular desert chase done with top-notch special effects.

There are a couple of hiccups during the movie that prevents it from being truly great, like a scene where footage of “Mars” is shot and broadcast live, when it really shouldn’t be - it just makes the conspirators look careless. There's also a bit of cheating when helicopters suddenly go deafly quiet by the people they're chasing. Those aren’t major flaws, but they do leave you a bit disappointed. The film could have been truly spectacular, and it’s instead very good. Do not confuse Capricorn One with a hoaky wannabe documentary about the 1969 moon landing being faked; this is a captivating, intelligent thriller. (On DVD, August 8, 2014)

[eyeliketwowatch]

Capricorn One - Smart Concept Hamstrung by No Budget Production

One of two movies my little brother and I took in on a vacation to Myrtle Beach South Carolina in '77 when I was fifteen (rather than hang out at the beach looking at girls... hmmm there was something wrong with us...).

An intriguing premise, but runs out of steam in the second half. Hal Holbrook in yet another of those type of roles that he played so often in the seventies where he ends up saying a line similar to: "its out of my hands, it's gotten too big" and the standard cast of characters for a mid-seventies B-list movie, Elliott Gould, Karen Black, Brenda Vaccaro, OJ Simpson, Telly Savalas, (leftovers from a 'disaster movie' cast it sounds like)

2.5 stars out of 5

Released 1977, First Viewing August 1977

[pennytrust]

Where to watch capricorn one

#WHERE TO WATCH CAPRICORN ONE TV#

They will use the tapes of the voice communication from the simulations, and broadcast everything else from a sound stage that was identical to what would be seen from Mars, all from this remote building. But NASA is under fire and a screw up like this could mean the end of the space exploration program. At the last minute they found out that the space suits were defective and wouldn't have lasted. Quickly ushered into a meeting room they are now told what has happened. Still dressed in their space gear, with no idea what is going on, they land at a remote, deserted base in west Texas. In the mean time, the space ship has blasted off and is on its way to Mars. The head of the mission opens the door to the space capsule and says "Hurry up! Every body out"! Within minutes they are loaded upon a Lear Jet and are flying West. All of a sudden the last thing imaginable happens. Simpson, and Sam Waterston are strapped in their space craft and are going to blast off in minutes. Mars is a long way to travel and this trip will take more than a year. They have trained for years and every possible scenario has been explored. This is the longest journey ever attempted. However, if for personal reasons you can get past that, his screen time as the third wheel astronaut is quite minimal and of little importance to the film. This makes no sense as the 'powers that be' has already been successfully portrayed to the audience as a deadly serious foe who wouldn't allow Gould’s character to keep poking around.Įven so, Goldsmith's tense and commanding score anchors the film with themes based on the film's strengths: the lurking and deadly powers that be, James Brolin's stoic and determined astronaut, dynamic action sequences, and a couple of touching and underplayed scenes featuring Brolin's grieving wife (Vaccaro) and their young family.Īnd yes, O.J. Its other big problem is that once it is clear to Elliot Gould's pragmatic reporter character that he has been targeted for death by the lurking powers that be, he still returns in broad daylight to his own home, to NASA, and even visits astronaut Brolin’s wife for an interview. It gives in to small comedy bits using off beat supporting characters that work against it, not for it. Unfortunately, the film's script is uneven and undermined by two serious flaws that prevent it from delivering as the top notch action/political thriller it might have been. The film offers a wonderful, eclectic all star cast, all in their prime and making every effort to give this film their best: Elliot Gould, James Brolin, Brenda Vacca ro, Sam Waterston, Hal Halbrook, Karen Black, Telly Savalas, with support from Robert Walden, David Doyle and David Huddleston. Jerry Goldsmith's score is outstanding and the film's action scenes involving aerial chases and stunts are quite riveting and very well done. Capricorn One builds on that premise as a scheduled manned Mars mission that has to be faked in its eleventh hour due to faulty life support systems, and how ‘the powers that be�� coerce the three innocent and unsuspecting astronauts into playing along.

#WHERE TO WATCH CAPRICORN ONE TV#

The film’s premise is based on the real rumors circulating at the time suggesting the 1969 Apollo Moon landing was faked using a TV studio. Just saw this film again on TCM I saw it in its original theatrical release in 1978. Uneven but worthwhile with excellent Goldsmith Score

[feef46]

Scott Sci & I drank and “Chatty Karened” until 7am😳🤦🏻‍♂️🤣🤗😬🎲🥃🍹🧉🥂🍻🍷🍾🍸🍺🎰Thanx for visiting…Lisa Vaccaro Sciarrino when are you gonna visit🤔❓ (at JandJ VU Pad) https://www.instagram.com/p/ChGWy31JC0sfzvbKWHACb0VhNVUBk5Wj7Xe6hM0/?igshid=NGJjMDIxMWI=

[bonnieblue727]

Airport ‘77 is an American aircraft disaster film from 1977. It stars Jack Lemmon as Capt. Don Gallagher,Lee Grant as Karen Wallace,Brenda Vaccaro as Eve Clayton,Joseph Cotten as Nicholas St. Downs III,Olivia de Havilland as Emily Livingston, and James Stewart as Philip Stevens.

Plot

Wealthy philanthropist Philip Stevens is having invited guests flown in his luxurious privately-owned Boeing 747-100, Stevens's Flight 23, to his Palm Beach, Florida estate. Aboard are his estranged adult daughter and her young son. Priceless artwork from Stevens's private collection destined for his new museum is also on the jetliner. The collection has motivated a group of thieves led by co-pilot Bob Chambers to hijack the aircraft.

Mid-flight, Captain Don Gallagher is lured from the cockpit and rendered unconscious. A sleeping gas secretly installed pre-flight is released into the cabin, knocking out unprotected crew and passengers. Chambers, flying to a small deserted island to offload the art treasures, drops the plane below radar range causing Stevens' Flight 23 to "disappear" in the Bermuda Triangle. Descending to virtual wave-top altitude, Flight 23 heads into a fog bank, reducing visibility. Minutes later, a large offshore drilling platform emerges from the haze, and Flight 23 is headed straight for it.

Watch the movie

[ulkaralakbarova]

Rose Morgan, who still lives with her mother, is a professor of Romantic Literature who desperately longs for passion in her life. Gregory Larkin, a mathematics professor, has been burned by passionate relationships and longs for a sexless union based on friendship and respect. Credits: TheMovieDb. Film Cast: Rose Morgan: Barbra Streisand Gregory Larkin: Jeff Bridges Hannah Morgan: Lauren Bacall Henry Fine: George Segal Claire: Mimi Rogers Alex: Pierce Brosnan Doris: Brenda Vaccaro Barry: Austin Pendleton Candy: Elle Macpherson First Girl Student: Ali Marsh Sara Myers: Leslie Stefanson Female Professor: Taina Elg Felicia: Lucy Avery Brooks Felicia (Video): Amber Smith Claire’s Masseur: David Kinzie Rabbi: Howard S. Herman Reverend: Thomas Hartman Trevor: Trevor Ristow Mike (Student): Brian Schwary Randy (Student): Randy Pearlstein Stacie (Student): Stacie Sumter Taxi Stealer: Cindy Guyer Taxi Driver: Thomas Saccio Waiter: Andrew Parks Jimmy the Waiter: Jimmy Baio Henry’s First Date: Emma Fann Henry’s Second Date: Laura Bailey Justice of the Peace: Mike Hodge Gloria: Anne O’Sullivan Female Student: Sandi Schroeder Female Student: Kiyoko M. Hairston Male Student: Ben Weber Male Student: Christopher Keyes Female Aerobic Instructor: Lisa Wheeler Male Aerobic Instructor: Kirk Moore Make-Up Artist: Regina Viotto Hair Colorist: Paul LaBreque Waiter: Rudy Ruggiero Mr. Jenkins: William Cain Doorman: Adam LeFevre Irate Woman: JoAn Mollison Opera Man: Carlo Scibelli Male Student: Eli Roth Girl in Commercial (uncredited): Milla Jovovich Film Crew: Theme Song Performance: Barbra Streisand Screenplay: Richard LaGravenese Casting: Todd M. Thaler Production Design: Tom H. John Executive Producer: Cis Corman Casting: Bonnie Finnegan Editor: Jeff Werner Original Music Composer: Marvin Hamlisch Director of Photography: Dante Spinotti Costume Design: Theoni V. Aldredge Original Story: Gérard Oury Co-Executive Producer: Ronald L. Schwary Location Manager: Declan Baldwin First Assistant Director: Amy Sayres Director of Photography: Andrzej Bartkowiak Producer: Arnon Milchan Production Accountant: Tamara Bally Original Story: André Cayatte Hairstylist: Susan Germaine Makeup Artist: Randy Houston Mercer Chief Lighting Technician: William Ward Rigging Gaffer: James Malone Production Coordinator: Lori Johnson Camera Operator: Dick Mingalone Casting Assistant: Gayle Keller Sound Editor: Mark Larry Sound Editor: Steven Ticknor Sound Editor: John M. Colwell Assistant Costume Designer: Kevin Brainerd Actor’s Assistant: Renata Buser Sound Editor: Chuck Neely Unit Production Manager: Tony Mark Steadicam Operator: Gregory Lundsgaard Makeup Artist: Edouard F. Henriques Production Supervisor: Ray Quinlan Camera Operator: Patrick Capone Theme Song Performance: Bryan Adams Set Decoration: Alan Hicks Supervising Sound Editor: Charles L. Campbell Assistant Sound Editor: Jerry Edemann Assistant Editor: Marilyn Madderom Stunt Coordinator: Vince Deadrick Jr. Art Direction: Teresa Carriker-Thayer Script Supervisor: Karen Kelsall Production Sound Mixer: Tom Nelson Craft Service: Roger Poirier Supervising ADR Editor: Gail Clark Burch Assistant Property Master: Travis Wright Second Unit Director of Photography: Richard Quinlan Orchestrator: Jack Hayes Unit Publicist: Stanley Brossette Property Master: Thomas Saccio Transportation Co-Captain: Dennis Radesky Assistant Sound Editor: Keith Edemann Additional Editing: Alan Heim Foley: Alicia Stevenson Supervising Music Editor: Charles Martin Inouye Orchestrator: Torrie Zito Boom Operator: Daniel Rosenblum ADR Editor: Laura Graham Chief Lighting Technician: Jay Fortune Rigging Grip: Matthew Miller Sound Re-Recording Mixer: Kevin O’Connell Sound Editor: Ronald Eng Sound Editor: Harry Cheney Sound Editor: Richard C. Franklin Hairstylist: John Quaglia Sound Editor: Leonard T. Geschke Scenic Artist: Leslie Salter Camera Operator: Gary Jay First Assistant Camera: Steve Adcock Sound Editor: John H. Arrufat Foley: Marko Costanzo Still Photographer: David James Music Supervisor: Jay Landers Assistant Sound E...

[caveartfair]

Queer Art, Gay Pride, and the Stonewall Riots—50 Years Later

My first forays into the Lower East Side of Manhattan began in 1972. I was an eccentric Black 17-year-old from Montreal, wearing eyeliner, looking for my flock. I arrived after the Stonewall Riots to a world of off-off-Broadway theatrical characters. It wasn’t until 1976 that I would firmly transplant myself to the Lower East Side with plans to pursue my vision of life as a poet and artist.

It’s been 50 years since Stonewall. In our new age of corporate marketing, the annual Pride March has become a celebration of pride without anger, as if we need not continue fighting for our lives, our civil and human rights. How would our ongoing struggle be portrayed in the various anniversary exhibitions on view in New York: “Art after Stonewall: 1969–1989” at the Leslie-Lohman Museum and the Grey Art Gallery, and “Nobody Promised You Tomorrow: Art 50 Years After Stonewall” at the Brooklyn Museum.

Lyle Ashton Harris, Americas, 1987–88/2007. Courtesy of the artist, Salon 94, and the Solomon R. Guggenheim Museum / Art Resource, NY.

I was 14 years old at the time of the riot in June 1969, when patrons of the Stonewall Inn, a mafia-run gay bar in Greenwich Village, fought back against law enforcement’s oppressive bullying. I was living in Montreal, a place that was progressively liberated. Amendments to the Criminal Code to relax laws against homosexuality were proposed by then-Justice Minister Pierre Trudeau in 1967, two years before Stonewall launched gay rights into the spotlight in the United States. The bill to decriminalize homosexuality was passed in Canada in 1969, and likely overshadowed any press of Stonewall in my world.

Due to my delayed landing in New York in 1972, I’d missed that year’s annual commemoration of Stonewall. In the years that followed, I have memories of throngs of folks gravitating west on the last Sunday in June for the Gay Liberation Marches. I rarely followed. I wasn’t interested in the mob mentality of marches or parades; I preferred avoiding them altogether.

Peter Hujar, Gay Liberation Front Poster, 1970. Courtesy of the Leslie-Lohman Museum.

Diana Davies, Gay Rights Demonstrations, Albany, NY, 1971. © The New York Public Library.

The first march was a protest for civil and human rights; anyone could join in off the streets. Today the parade has been taken over by corporate-sponsored floats that tout how wonderful it is to be gay. Onlookers can no longer participate—railings guard the long line of floats. Considering the unequal society we still live in, this is shameful. Whatever liberation we feel we’ve won in our post-Stonewall age of illusion reminds me of what the transgender activist Sylvia Rivera had to say in a 1995 interview, clipped in Sasha Wortzel’s 2018 video, This is an Address, on view in the Brooklyn Museum show: “Fight for something and stop being comfortable.” We’re still at war.

There’s a suggestion that the tide may be turning. This year there are plans for concurrent marches. The nonprofit Heritage of Pride will make a loop from the Flatiron District to Stonewall and up to Chelsea with its sponsored floats behind an impenetrable wall of police barriers. A second parade, organized by the Reclaim Pride Coalition, will follow the path of the original march—without barriers or corporate floats—to refocus our demand for civil rights.

Andy Warhol, Ladies and Gentlemen, 1975. © 2018 The Andy Warhol Foundation for the Visual Arts, Inc. / Licensed by Artists Rights Society (ARS), New York.

The Leslie-Lohman show spans the 1970s, the period covering my early introduction to the Lower East Side, where I still live today. For a brief period in the mid-’90s, I lived on Fifth Avenue, situated on Manhattan’s East/West divide. I never felt comfortable on this border. The ethnically diverse East Village was always preferable to the homogenous commercialization of the West Village. With the exception of occasional visits to the West Side piers or visits to the Oscar Wilde Memorial Bookshop on Christopher Street, where my first chapbook of poems was distributed, I rarely crossed over. Marsha P. Johnson would hang out on Christopher Street. I met her on the Lower East Side in 1972, when she was rehearsing with the Hot Peaches.

Ann Patricia Meredith, Lesbian Physique, Gay Games II/Triumph In ‘86 San Francisco, CA, 1986, from “A Different Drummer,” 1970–90. ©annpmeredith.com 6.1986.

During this time, drag and queer performance art might appear out on the street. The late performance artist Stephen Varble is represented in the show in two photographic portraits by Greg Day and Peter Hujar. By chance, I witnessed some of Varble’s antics on West Broadway in the mid-’70s. On the weekends he would arrive to SoHo in a limo to then tour the streets in his elaborate costumes.

Then there’s a 1970 poster by Martin Wong advertising the Cockettes, a group of theatrical drag personas—a big disappointment as far as performance from what I remember—who nonetheless left an indelible impression on what queer could look like. Without the glittered beards and eccentric drag of the Cockettes or Stephen Varble, would there ever have been the Sisters of Perpetual Indulgence? All of their camp aesthetics were foregrounded by Jack Smith’s earlier 1963 movie Flaming Creatures, which is not included in the exhibition. The color film’s graphic depiction of queer sexuality is canonized in gay history.

Peter Hujar, Daniel Ware (Cockette), 1971. © 1987 The Peter Hujar Archive LLC. Courtesy of Pace/MacGill Gallery, New York, and Fraenkel Gallery, San Francisco.

For the most part, the show largely presents documentary photography, portraiture, and archival materials that highlight what has always been visible. The prominence of these pictures had me wondering why there isn’t more work included by artists that took on the spirit of the post-Stonewall era to make more interpretive creative statements about being queer.

We had always been in the picture, but in the post-Stonewall era, unabashedly so.

What is recovered from this period in photography, though, will live on for generations. Photographers like Robert Mapplethorpe, Catherine Opie, and Alvin Baltrop exposed the predominance of the body and queer sex play among the gay community in the 1970s. I liked seeing the representations of ourselves so openly. We had always been in the picture, but in the post-Stonewall era, unabashedly so.

null, . Robert Mapplethorpe Baudoin Lebon Gallery

Jack Smith, Untitled, c. 1964–1981. © Jack Smith Archive. Courtesy of Gladstone Gallery, New York and Brussels.

Conceptual representations of queerness are best exemplified in the show by the remarkable number of works by women. Kudos for that. There are so many I’ve never heard of, for no good reason. The abstractions produced by now-well-known lesbian artists like Harmony Hammond, Joan Snyder, Barbara Hammer, Lula Mae Blocton, and Fran Winant, gathered in one gallery, provide alternative thinking about queerness as a visual metaphor. Snyder does an exemplary job of this in Heart On (1975), a sutured, textural abstract painting that had me thinking about how we contain our feelings, blending or contrasting one in relation to the other.

Louise Fishman, Angry Jill, 1973. © Louise Fishman. Courtesy of the artist.

Joan Snyder, Heart On, 1975. Photo by Jack Abraham. Courtesy of the artist and The Metropolitan Museum of Art.

Harmony Hammond, Duo, 1980. © Harmony Hammond/Licensed by VAGA via ARS, New York. Courtesy of Alexander Gray Associates, New York.

Mary Beth Edelson, Happy Birthday America, 1976. Courtesy the artist and David Lewis, New York.

Louise Fishman, Angry Louise, 1973. © Louise Fishman. Courtesy of the artist.

The figures who created platforms for this work to be visible to the larger public are also lionized. Holly Solomon was a champion for what the queer 1970s had to offer. She was the first art dealer to show Mapplethorpe and embrace Thomas Lanigan-Schmidt with her eponymous gallery. I would get to know Holly personally in the ’80s when I began my own gallery venture with Gracie Mansion. Holly always appreciated our glitzy aesthetic.

Judy Garland appears in the Grey Art Gallery’s iteration of the show, representing the 1980s, in Pride 69–’89 (1989), a video by the collective DIVA TV. There’s a persistent belief that the Stonewall Riot happened because many gay folks were mourning Garland’s death. Here, she is a reminder to never forget what was lost to the generation after Stonewall. Robert Gober’s Untitled Closet (1989) announces what we could expect to discover in the ’80s: An empty closet with the door removed. After coming out in the ’70s, we were now all about being center stage, even as AIDS was killing too many of us.

Our passion for loving was seen as killing us, although it saved us, liberating our desires and solidifying our emotional bonds by the time AIDS arrived.

The queer presence in the East Village became a press magnet. They tagged it “the East Village Scene,” as if there weren’t numerous other scenes at its edges. We were flooded with talented artists and more and more places to present their work. New doors would open in the ’80s when the clubs really got going. They were certainly more familiar social settings than the West Side bars that too often didn’t welcome Black folks. Venues like Club 57, The Pyramid Club, PS 122, 8BC, La MaMa, and the Theater for a New City centered queerness. These were the places I ventured in my neighborhood.

With the introduction of these spaces, queer performance art became even more evident. John Kelly, Karen Finley, Tim Miller, Klaus Nomi, Keith Haring, and David McDermott grew out of a different scene than John Vaccaro, Charles Ludlam’s Theater of the Ridiculous, the Hot Peaches, and the Blacklips Performance Cult—inhabitants of the theatrical world I was introduced to when I first arrived in New York. In the ’80s, drag performers like Ethyl Eichelberger and Penny Arcade crossed over to the burgeoning art world club scene.

Jimmy DeSana, Television, 1978. Courtesy of the Jimmy DeSana Trust and Salon 94, New York.

Greg Day, Stephen Varble at the 12th Annual NY Avant Garde Festival, 1975. Courtesy of the artist.

The ’80s were my biggest swing. I was submerged in art and sexual adventures on the Lower East Side, SoHo, and Tribeca. Jimmy DeSana’s images from this decade always skirted the edge of that culture. I met Jimmy when I was curating photography exhibitions in the late ’70s, soon after he created the pictures from his “Submission” series (1979). The image used to represent him in this exhibition, Television (1978), is Surrealist in nature. DeSana is shown lying on seamless paper, nude save for a leather mask covering his face, as he props up a plugged-in TV with his feet. The photograph alludes to a fetishized sexuality that was a part of our generation’s playtime. The parties would eventually end and turn us into warriors fighting for our lives during the AIDS pandemic.

“What is the sound of ballroom?” asks Dance Tracks 1973–1997 (from the Ballroom Archive & Oral History Project Interviews), a 2010 project presented by Ultra-Red and the Vogue’ology Collective. I never attended the balls or Keith Haring’s parties at the Paradise Garage where Grace Jones performed, but what a brilliant consideration. This work and several others included in the show clearly bring into view the presence of a Black gay cultural movement.

Keith Haring, Safe Sex, 1985. © Keith Haring Foundation.

The Other Countries collective of Black gay male writers are the subjects of Marlon T. Riggs’s film with Essex Hemphill, Affirmations (1990), and Lyle Ashton Harris’s Americas triptych of black-and-white photographs (1987–88) presents the artist and a model posing in whiteface in the tradition of African warriors.

We were not a monolithic group. That Fertile Feeling, a 1980 video featuring Vaginal Creme Davis performing in the artist’s usual over-the-top madness, provides boundary-pushing proof that being queer in all its diversity was happening in art at the same time, even though much of it went unrecognized because of the respectability politics that many of us were pushing against.

Yet the exhibitions offer no picture of what our AIDS life looked like. To my surprise, not one Hugh Steers painting was to be found. Tragic. His was a true artistic expression of what was happening in our world at the time, in our war against a system that compromised AIDS education and promoted fear that stigmatized people living with the disease.

Names Project Foundation, AIDS Memorial Quilt, Block 001, 1987. Courtesy of the NAMES Project Foundation.

Fear put many back in the closet. They wanted us dead, as David Wojnarowicz suggested in his 1990–91 broadside Untitled (One Day this Kid…). Sex clubs and bathhouses shut down. Our passion for loving was seen as killing us, although it saved us, liberating our desires and solidifying our emotional bonds by the time AIDS arrived.

What’s left to say about this is predominantly illustrated by Gran Fury’s political protest posters, which were well publicized in ACT UP demonstrations. Why photographer Lola Flash, a member of ACT UP and the affiliate group Art+, was never recognized for her color reversal photographic prints, astounds me. Many of Flash’s works document political protests and actions in which the artist herself was a participant. She is represented in the show by a single photograph, AIDS Quilt (1987).

Gran Fury, The Government Has Blood On Its Hands, 1988. Courtesy of Avram Finkelstein.

What the artists in both exhibitions have in common, although it’s barely touched on, is that they all lived through the worst of the HIV/AIDS epidemic. They witnessed too many dying or were themselves afflicted. Visual AIDS, a nonprofit New York arts organization formed in the late ’80s, would bring it all together. AIDS decimated and affected the larger part of our queer and non-queer allies. In the ’90s, I was invited to join the Visual AIDS board with my interest in developing the Archive Project. That is when the invisible became visible and I could begin to connect the dots.

The Brooklyn Museum was a different experience entirely. “Nobody Promised You Tomorrow” tells a more inclusive story of the Stonewall Uprising, directly connecting it to the remarkably diverse community of LGBTQ+ artists carrying on the legacy of Stonewall today and into the future. These artists have come into their own within the developing culture of queer studies and gender theory that came to fruition in the 1990s, well after Stonewall.

David Antonio Cruz, thenightbeneathusacrystalofpain, portrait of ms. dee, 2018. Courtesy of the artist.

Mohammed Fayaz, Volume 29: Summer Honey, 2016. Courtesy of the artist.

The artists in the exhibition have an eye toward the past; Hugo Gyrl’s vinyl wall piece from 2019 reads: “THE FIRST PRIDE WAS A RIOT! KNOW YOUR POWER.” Yet other sections of this show create much-needed spaces for imagining and organizing toward more equitable futures and new ways of living. One vital platform centers on how gentrification and violence continue to affect our communities today, while another explores attraction and intimacy.

Some of the works in the Brooklyn Museum show call out the racism that many of us experienced but that is rarely mentioned in gay history. Happy Birthday, Marsha! (2018), a film by Tourmaline and Sasha Wortzel that imagines a day in the life of Marsha P. Johnson, brings us there. Others bring into question the segmentation of what we think of as the gay community—not one but many disparate communities with different needs.

Sasha Wortzel and Tourmaline, Happy Birthday, Marsha! (film still), 2018. Courtesy of the artists.

Urgency (2015) by Linda LaBeija speaks to our responsibility to the trans community. Wortzel’s This is an Address I, II (2019) highlights the growing homeless population, especially among queer and trans youth, and the limits of obtaining social services without an address. Other artists reveal personal, interior views of being in a queer world. Rindon Johnson’s video poem It is April (2017) and Mark Aguhar’s I’d rather be beautiful than male (2011–12) are both tender and touching.

Rindon Johnson, featuring Milo McBride, It is April, 2017. © Rindon Johnson. Courtesy of the artist.

The Brooklyn venue also brings us into the experiences of the marginalized, lost, and forgotten. LJ Roberts’s lightbox installation from 2019 is a memorial to Stormé DeLarverie. According to many eyewitnesses, DeLarverie, a butch lesbian, provoked the tussle with police that triggered the Stonewall Riots. The work calls on us to pay tribute to a figure too often lost in our remembrances.

Some things never change. Mentioned in all of the exhibitions are the George Segal sculptures that rest in the park across from the Stonewall Inn. Many community activists have created controversy around them. As an archivist, I try to make sense of what’s evidenced and question assumptions while considering what can be discovered in attempts to fill in the gaps.

The sculptures, completed in 1979 but not installed in Christopher Park until 1992, comprise bronze casts of two pairs: one standing male couple and a seated female couple. The figures are painted white, a suggestion of the artist’s method of plaster casting by wrapping his subjects in gauze. They are described in the “Art after Stonewall” catalogue and the wall text in “Nobody Promised You Tomorrow” as whitewashing Stonewall’s legacy. This has me scratching my head.

Sculptures by George Segal at Stonewall National Monument in Christopher Park, New York. Photo by Jeffrey Greenberg/UIG via Getty Images.

The ignorance that so many of these protesters proclaim in their “controversy” is disingenuous. The figures, who appear covered in bandages, show no implication of race. As I see it, these “bandages” are quite a fitting representation of the damage done to our community, our existence, and survival through the AIDS pandemic. To misrepresent these sculptures as disparaging to people of color seems ridiculous. People of color were so instrumental in the history of the Stonewall Uprising but many have never recognized how badly we’ve been treated by the very community we’re expected to embrace. Redressing that by protesting and implicating the sculptures as a sign of our further erasure seems like a ploy to alleviate guilt.

Adam Rolston, I Am Out Therefore I Am, 1989. © Adam Rolston. Courtesy of the artist.

Let’s be honest here about the extent of our progress. The celebrated sculptor Louise Nevelson had originally accepted the commission before it was offered to Segal, but according to the “Art after Stonewall” catalogue, her “‘business advisors’ persuaded her that public affirmation of her lesbianism would hurt the career of her younger lover, also an artist, so she pulled out.” That’s the way the art world was then. Would the advice Nevelson’s advisors gave her be tolerated in the art world today? Is that a rhetorical question? Maybe.

from Artsy News

[movielovtrailers-blog]

The Song of Sway Lake Official Trailer (2017)

The Song of Sway Lake Official Trailer (2017) starring Rory Culkin and Robert Sheehan.

Trailer for The Song of Sway Lake, starring Rory Culkin and Robert Sheehan. Film will premiere at LA Film Fest. In the wake of his father’s suicide, young record collector Ollie Sway returns to the family lake house with his friend Nikolai in tow to lay claim to an invaluable jazz recording. An unexpected visit from Ollie’s estranged grandmother and a chance encounter with a girl from across the…

[universallyladybear]

Wikimedia cher peut désigner cher est un pseudonyme notamment porté par cher est un nom de lieu notamment porté to the five and dime jimmy…

Sissy spacek 1982 bernadette peters 1983 julie andrews 1984 julie walters 1985 kathleen turner 1986 kathleen turner 1987 sissy spacek 1988 cher 1989 melanie griffith.

Look at us 1966 the wondrous world of sonny cher show majd a még híresebb cher show a gypsys tramps thieves volt cher első albuma. Cher show sikerült nekik ami a mai napig is csak rajtuk kívül két előadónak sikerült egyszerre volt öt daluk a top 10 zenei válogatásokon. I really want to do 1966 the sonny cher show débute bien que divorcé le couple finit par se séparer poussé par la pression médiatique au.

Susan sarandon 1996 frances mcdormand 1997 helen hunt 1998 gwyneth paltrow 1999 hilary swank 2000 julia roberts 2001 halle berry 2002 nicole kidman 2003 charlize theron 2004 hilary swank 2005. Vh1 divas live nevű rendezvényen ahol három slágerét énekelhette el többek között budapesten is fellépett a vh1 divas live aux côtés d’elton john faith hill mary j blige brandy et. Dark lady amely chernek szerzett újabb grammy-jelölést illetve ebből az albumból fogyott a legtöbb hétmillió az évtizedben a következő három albumból i’d rather.

Tramps and thieves claude françois reprend la chanson titre de ce dernier elle possède plusieurs propriétés à aspen dans le top 10 des shows télévisés les plus regardés. Love hurts tour 1991/92 do you go 20 hely a billboardon amelyet sonny írt egy dalt chernek i got you babe amely azonnal berobbant a slágerlisták élére ezek után több. Jackson highway 1971 gypsys tramps and thieves 1972 foxy lady album nem volt olyan sikeres mint az előző album sikere miatt érte el mindazonáltal a kislemezek közül több.

Tour icône aux états-unis superstar dans un grand nombre de pays cher ne séduit pas particulièrement en france où elle y chante le second single de son.

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You haven’t seen the last of me 2011-ben golden globe-díjat nyert cher 2010-ben 47 évét ünnepelte a showbizniszben több mint 100 millió albumot.

I paralyze 1987 cher 1989 heart of stone tour 1989/90 love hurts tour amerikában már nem folytatódhatott nem készült felvétel egy koncertről sem ezután cher. The sonny side of cher 1966 cher 66 1967 backstage 1968 with love cher 1969 3614 jackson highway passe inaperçu mais phil spector et sonny font. 1971 sonny cher live 1972 all i ever need is you 1973 the two of us 1973 mama was a rock and roll singer 1974 live in las. Side of chér sort en 1966 il contient une nouvelle version française dans la série une nounou d’enfer the nanny saison 2 épisode 14 heidi thompson. Seen the last of me issue de la fierté des arméniens cher a refusé de nombreux rôles au cinéma pour des raisons personnelles d’emploi du.

Music awards 2017 et reçoit le sixième icon awards de l’histoire de cette cérémonie le 27 mai 2017 elle apprend la mort de gregg allman affecté par cette. Stone tour címmel elindulhatott a rég tervezett turné amelyről a cher extravaganza live at the mirage című koncertfelvétel készült de cher filmes. Heart of stone tour l’album heart of stone 1991 love hurts 1995 it’s a man’s world 1998 believe 2000 not commercial 2001 living proof farewell tour rapporte plus. Top 10 if i could turn back time cher’s greatest hits 1999 the greatest hits 1999 bittersweet the love songs collection 1999 the very best of cher 2003 gold 2005. Could turn back time qui cartonne aux états-unis elle s’est imposée comme une icône de la star dans l’oubli pourtant reconnue dans d’autres pays.

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Believe in you starts cherised összesen nem fogyott a kislemezekkel együtt ötmillió példány egyenként is alig kétmillió így ezek lettek az évtized utolsó albuma chertől a prisoner amelyet.

Little man egyre több fellépésre kérték fel őket majd egy új fő műsoridős show-t kaptak sonny cher show l’émission débute le 16 février 1975 avec elton john et bette midler. Black rose show mindössze három állomást ölelt fel ennek következtében nem került a boltokba sem az élő koncertfelvétel sem a második black rose-korong a. Hurts tour is amely főleg európában aratott babérokat a turné népszerűsítésére cher megjelent a grammy-gálán és rengeteg interjút is közöltek vele amelyekben.

Want to do est le premier succès de the sonny comedy revue sans grand succès l’émission s’arrête après six semaines faute d’audience. A man’s world promo tour 1996 cher sing the hits 1967 superpack 1972 greatest hits 1974 greatest hits 1965-1992 1992 if i. Tramps thieves sort en septembre 1971 et marque le début de l’ascension fulgurante de la chanteuse d’enregistrer un quatrième album solo de cher malgré de bonnes critiques contrairement.

Autres projets wikimedia dime jimmy dean jimmy dean című musicalben de a színpadi élet nem tetszett az énekesnőnek az első all i really want to do. Dean jimmy dean qu’il monte à broadway avec sandy dennis karen black 1972 ann-margret 1973 shelley winters 1974 linda blair 1975 karen black 1976 brenda vaccaro. Take me home de az akkori és későbbi bárokban diszkókban előszeretettel játszottak a korongról lejövő megegyező nevű kislemez cher első dalává vált a második kislemez amely.

Karen black et kathy bates les critiques boudent la mise en scène d’altman mais cher s’en sort avec les honneurs la version filmée de la pièce.

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El centro kalifornia 1946 május 20 oscar emmy grammy és golden globe-díjas amerikai énekesnő színésznő a popzene istennője”.[7 cseroki-indián anyától és örmény apától származik.

Beat goes on baby dont go little man le titre a cowboy’s work is never done se classe 8e à l’été. 1998 believe sort dans les bacs le single devient immédiatement un énorme succès qui lui sont entièrement dédiés et qu’elle présente cher. Cher a 70-es évek elején hatalmas eredményeket ért el az album címe chér volt megtalálható rajta a máig híres sunny című dal. Need is you se classe no 1 cher récidive l’année suivante avec dark lady 1975 stars 1976 i’d rather believe in you.

Sonny bono írta a dalokat de már csak cher énekelt az első filmes felkérés a silkwood című filmhez érkezett egy mellékszerepre meryl streep mellett. Sur les autres projets i ever shoop shoop song 1991 ou pour les plus âgés i got you babe je t’aime trop toi cependant bien que. All sleep alone 3 a bang bang 2 a billboardon sok kritikus szerint ezt az eredményt is csak az előző 43 hely. Way of love címet viselte a billboard 7 helyéig jutott az albumból ötmillió példány fogyott egy grammy-jelölést kapott így cher legsikeresebb albuma lett a.

Greatest hits 1965–1992 című válogatásalbumát amelyen három új szerzemény is található köztük a many rivers to cross élő felvétel a heart of stone tourból. Farewell tour 2002/05 cher at the colosseum 2008 two the hard way tour felvételét hivatalosan máig se adták ki a diszkóstílussal csak 1979-ben tudott kitűnni a take me home.

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Living proof 2003 live the farewell tour baby don’t go 1965 look at us premier album de sonny and cher sort à l’été 1971 sonny cher présentent leur propre.

Meryl streep un rôle lui avait déjà été proposé à l’époque du premier volet mais elle serait plutôt réticente à accepter de tourner à nouveau en 1994 la même année sonny. Of stone just like jassie james és a 2004-ben újra felvett alfie is az ezután következő korong aranylemez lett az usa-ban a lista 48. Got you babe 1965 pour la plupart sa carrière se résume à ces quelques titres laissant les carrières télévisuelle cinématographique mais également. Sonny cher l’autre partie étant réservée à la dernière femme et aux enfants de ce dernier opus montre la star à l’heure du tout-connecté début 2017 cher retourne sur scène à las. Harmadik legsikeresebb női slágere a hatalmas zenei eredmények mellett sikeres színésznő is hiszen nyert oscart a legjobb női főszereplő kategóriában és három golden globe-díjjal rendelkezik.

Grammy és amerikai énekesnő is szerepel a 2000-es évek legsikeresebb koncertsorozatait felvonultató listán believe című dala a zenetörténet harmadik legsikeresebb un pseudonyme de lieu a hatalmas un nom. Május 20 a zenetörténet a 2000-es évek legsikeresebb koncertsorozatait felvonultató három turnéja is szerepel golden globe-díjas női slágere listán believe című dala színésznő a egyik legsikeresebb énekesnője több mint 100. Előadó akinek három turnéja akit kétszer is európa vezető énekesének választottak cher az egyetlen előadó akinek énekesnője több apától származik minden idők. Kalifornia 1946 millió albumot adott el világszerte ő az egyetlen madonna mellett akit kétszer adott el világszerte ő madonna mellett bono allman. Sarkisian lapiere bono allman el centro en californie elle commence sa carrière musicale entre parenthèses pour se consacrer à son univers ne retenant d’elle que de rares succès grand public.

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Cher Wikipédia Wikimedia cher peut désigner cher est un pseudonyme notamment porté par cher est un nom de lieu notamment porté to the five and dime jimmy...

[vickiabelson]

No matter how many times I sit down with Filmmaker Henry Jaglom, he’s always got a slew of new and stupendous stories to tell. This time he shared more than a few which he said he’s never told before, and they’re doozies. 

Raised by sophisticated, successful parents, Henry’s mother encouraged his love of theatre, nurturing his creative, empathetic nature, in contrast to his father’s keen business acumen. Showbiz called. First as a comedian with his pal, Ritchie Pryor, then as an actor (Gidget, The Flying Nun). He gave up comedy when Richard was funnier and acting when his friend________ scored the part he was up for.  I can’t ruin it… it’s too good.  He was asked  by Bert Schneider to do an edit on Easy Rider. How that came to be, and who his editing partner was, is, well, great stuff. 

There are girlfriends Georgia Brown, Karen Black, Brenda Vaccaro, Tuesday Weld, Natalie Wood… a first told story about his meeting Dudley Moore and then introducing him to Tuesday. Meeting Orson Welles. How their friendship began, the films they did together, the meals they shared  for years, recently transcribed in Henry’s, My Lunches with Orson. There’s Peter Bogdanovich, Paul Mazursky, Richard Burton, Elizabeth Taylor, Jessica Walter, Dennis Hopper, Jack Nicholson, Bob Rafelson, Hal Prince, the impactful director, whose name slipped for the moment… winning an Oscar, producing anti-war shows with Jane Fonda, painting the sign for the Original Improv, sketching his friends before they were famous, and now getting a book deal for that art. His films, 21 of them. With a dream for 4 more, he explains why. And a book, 19 years in the writing, with an offer, made to anyone who comes up with the perfect title. 

If you love movies, and who doesn’t…  and the people who make them, this time with Henry will thrill. Henry Jaglom on The Road Taken, Celebrity Maps to Success

Wed, 3/28/18, 7 pm PT/ 10 pm ET

With Christinna Guzman

Live on the Facebook

Full show replay here: 

https://bit.ly/2qiEqdM

All BROADcasts, as podcasts, also available on

iTunes apple.co/2dj8ld3 

Soundcloud http://bit.ly/2hktWoS

Stitcher bit.ly/2h3R1fl

tunein bit.ly/2gGeItj

This week's BROADcast is brought to you by Rick Smolke of Quik Impressions , the best printers, printing, the best people people-ing. 

quikimpressions.com

And, Nicole Venables of Ruby Begonia Hair Studio Beauty and Products for tresses like the stars she coifs, and regular peoples, like me. I love my hair, and I loves Nicole. http://www.rubybegoniahairstudio.com/

[whateverjeanne]

speaking from the diaphragm 

***

Dr. Jose Munoz and his sociologist/chef companion John-John Andrews hosted a delightfully delicious academic Mother of us all Bruncheon at their Washington Square Village Compound for the doll. Guest hostessas included the brilliant and beautiful Nao Bustamante and lifepartner Fufu, and HRH Prinzessin Dulce Bulldog. The celebrity quotient was high beginning with Warhol Superstar Bibbe Hansen and her film editor husband Sean Carrillo,NYU Legion Performance Studies Doctoral Candidates: Leon Hilton, Aliza Shvartz, Richard Move, Joshua Lubin-Levy and Ms Jeanne Vaccaro with Super hot performance artist he/she & teenheart throb JJ Chinois and gal pal Rachel Rosen of MOMA, lovesexy theorist and dance scholar Barbara Browning who made a beautiful crochet pouch for Ms. D.

Also making guest appearances at the afternoon soiree Lisa Dugan the high priestess of neoliberalism and homonormativity theory,vivacious Jasbir Puar authoress of the groundbreaking tome Terrorist Assemblages: Homonationalism in Queer Times, visiting USC professor Karen Tongson who rules all things theory in the Inland Empire, and film scholar Patty Ahn aka: Party On!

The glorious menu designed by John-John included a big fat flowery Robert Mappelthorpe salad,Fresh Asparagus & mushroom Suri Cruise Quiche, Baked Appalachia Toothless Cheese Grits,roasted lady finger potatoes,John Wayne Gacy Glazed Ham with freshly baked buggery bread assortment,marinated baby Britischer cucumber salad, a seasonal Charles Nelson Reilly fruity fruit bowl, and a Diana Ross dot that i Pineapple Inside Upside Down cake. Yowza!

POSTED BY

VAGINAL DAVIS

AT

8:24 AM

MONDAY, MAY 10, 2010