Five years ago this month I posted a lengthy review of Martin Aston’s encyclopedic Breaking Down the Walls of Heartache: How Music Came Out.1 Last week one of Aston’s subjects came to life as it was pushed my way courtesy of YouTube: 1964’s “Have I the Right?” by the Honeycombs. Lyrically it’s reminiscent of Sixties songs that became gay and lesbian bar hymns. Think Sinatra’s “Strangers In the Night” (1966), Bobby Darin’s version of “My Buddy” (1962), Connie Francis’s “Where the Boys Are” (1961). Such songs were appropriated by this social set, but its membership included a few of the hymnists as well.Continue reading “A Taste of Honeycombs”
My introduction to the public restroom would have been in kindergarten, 1960–61. There were issues.Continue reading “In the Can”
Now we shan’t never be parted.
— Alec Scudder, from the film
Rob Berg and I released a thirty-year-old song by our band Bachelors Anonymous last week on the the occasion of the Winter Solstice; it also happened to be the birthday of Michael Tilson Thomas, whose work we knew as guest conductor of the Los Angeles Philharmonic in the early 1980s.
“What’s This Feeling?” asks a question that Rob posed to himself, and his affecting account is in the latest post from our BachelorBlog.Continue reading “What’s This Feeling?”
This fourth edition of Everybody Dance Now involves travel in space and time, beginning with a short from Arizona filmmaker and photographer Harrison J. Bahe of Navajo Joe Films. “Xibalba” comes from the soundtrack of The Fountain (2006) composed by Clint Mansell, which also accompanies Bahe’s film. Xibalba is the Mayan underworld, which figures in The Fountain, a once-and-future picture that weaves together Mayan and Hebrew mythology, featuring a Spanish conquistador astoundingly being recognized by a native priest as the First Father, the life source. Continue reading “Everybody Dance Now 4: Time/Travel”
This is a second conversation with dancer-choreographer Rudy Perez, taking place last month on May 30. During our review of Part 1 Rudy raised a few topics that I wanted to pursue. And, of course, there had been the murder of George Floyd on Memorial Day, and the reactions from coast to coast.
What follows has been lightly edited for clarity. Many thanks to Susan Perry Miick for her help with photographs. Continue reading “Portrait of Rudy Perez 2: Remain in Light”
Years ago I was surprised when my brother Richard told me that filmmaker Penelope Spheeris was singer-songwriter Jimmie Spheeris’s sister. She: creator of The Decline of Western Civilization, the punk rock doc I saw only last night, tho’ I saw the bands she shot. He: creator of ethereal ballads I found amongst my brother’s LPs when I returned home to Boulder from Los Angeles in the ’70s while he was living abroad. Continue reading “Left the Nest: Jimmie and Penelope Spheeris”
Last Wednesday I watched a somewhat slimmed-down version of the new documentary Lavender Scare, based on the 2004 (!) book of the same name by David K. Johnson.1 In the film Meryl Streep’s narration explains how the influx of homosexuals from rural to urban regions began in the 1930s, the start of the Great Gay Migration.2
Washington was a boom town. The government was creating thousands of new jobs to combat the Great Depression. Many of the young men and women who came for those jobs were homosexuals. They grabbed the chance to experience a new level of acceptance and friendship in a big city far from home.
I was reminded of a recent essay, “Forget Stonewall,” in the May/June edition of The Gay & Lesbian Review, by Yasmin Nair who reminds readers that the source of that influx still exists. Continue reading “Stonewall, the Great Gay Migration and the Monumental Divide”
This post involves a period of U.S. history that’s been dubbed The Lavender Scare. A new documentary film by that name opened yesterday in New York and Los Angeles. Alas, I’m in Denver… Continue reading “Secrets & Lies & Biden’s Gut Reaction”
Seeing the nave and altar of Notre-Dame de Paris after its recent fire, and thinking of it open to the elements, I had an eery sense of, well, déjà vu. I had been there, literally, with my family on a 2002 trip to France in celebration of my parents’ fiftieth wedding anniversary. But I had been in that ruin, virtually and earlier, twice more. Continue reading “Took Me to Church”
Read Part 1.
First, a couple of cartoons…
This second installment of movement musings begins (or rather ends…) below with a variation of a video sampling technique that I covered in “Knee, Sugar” of the last section of Everybody Dance Now 1 (Knee, Sugar, Hammer, Shame). I also look at what was suggested by “Shame”: what might be seen as anti-dance, or what I call adansual.
I first became acquainted with the Australian band Bumblebeez 81 via their suggestive “Pony Ride” from 2002. Five years later they released “Dr. Love,” the promo for which involves a parody of a dance music video that could have been shot on a smoggy day along the Los Angeles River. All the performers sport Sharpie-ed chest adornments: pushbuttons and keyboards, chains, phones and headphones, a bandolier, a mink stole, an LP, even sham shoes. Rapper Christopher Colonna is bedecked in markered bling, and his sister Queen ViLa, dons an eyepatch through which she easily sees. The promo’s coda reprises the song’s sonics with pushbuttons pushed and keyboards keyed, essentially A/V sampling.