This “mood board” for my zine has a little over 8 years of content, much of it dancing around the line between between obscenity and legitimate expression of sexual identity. I don’t expect it the new Tumblr censorbots to do a good job of making the distinction, and I’m fucking angry that I need to worry about it. With Tumblr’s new policy of crawling through and removing adult content, I have a weary fear that queer content is going to suffer.
So once my backups are done and filed away for my future reference, I’m folding my Tumblr blogs and deleting my account. I’ll still be around on Instagram and Twitter at @pinkmince, and as always I’d like to encourage everyone to stop by pinkmince.com to check out the zine that gave birth to this project, and expresses the end result of all of this gathering and inspiration and thinking.
Bijou Blog: Great Non-Sex Moments in Classic Gay Porn Films including Casey Donovan in a dual role, the last known footage of Greta Garbo, a dance sequence & documentation of an early ‘70s L.A. queer community.
The Queer Biennial is an international survey focusing on current moments in LGBTQ art and culture that showcases emerging, mid-career, and established artists.
This third installment of the Queer Biennial – titled “What if Utopia” – asks the invited artists/writers/performers to explore their own sensibilities of an ideal, other worldly-landscape and examine ideas of a Queer Utopia. This theme is proposed in broad terms, leaving participants to explore it in the abstract: the carnal, the cerebral, the fantastical, the optical.
Paradise Garage should be listed and protected as a site of cultural relevance, but that won’t be the case unfortunately. Along with The Loft and several other NYC underground* clubs established in the early-mid 70s, Paradise Garage was a safe space for LGBT, women, and POC to socialize, dance, and express themselves when there was no other safe clubs, especially following the then-recent events at Stonewall, as well as womens’ and POC liberation movements. I’ll continue to reiterate that if not for queers, women, and people of color establishing underground dance clubs, (electronic) dance music would not be what it is today. I highly recommend peeping this Resident Advisor article and the documentary Maestro.
*-It should be noted that club-wise, the term “underground” in the 70s was synonymous with the term “safe space”. Underground dance music was and is meant to be safe space music.
The 1920s also saw an increase in the number of bohemian enclaves in rundown areas, such as New York’s Greenwich Village. Painters, poets and performers were lured by the cheap rents and by an increasingly wild and lawless lifestyle. Prohibition had given birth to a black market for booze and a bustling underground scene, where bright young things slumming it in mob-run nightspots developed a taste for camp, cutting repartee.
LGBT people were flocking to cities as much for the nightlife as for the ability to connect with others. Soon, Variety was reporting that Broadway “will have nite places with ‘pansies’ as the main draw. Paris and Berlin have similar night resorts, with the queers attracting the lays.” In Berlin, you could hear singers performing Das Lila Lied (The Lavender Song), one of the earliest songs to celebrate homosexuality. “This song became the gay anthem of the time and still has status today,” says singer Ute Lemper. “The lyrics are witty and ballsy, quite unbelievable.” You can hear its influence in the work of Rufus Wainwright, Marc Almond and others.
Every European capital, and several major US cities, had similar scenes: London had Douglas Byng and Noël Coward, who once admitted: “I should love to perform There Are Fairies in the Bottom of My Garden, but I don’t dare. It might come out There Are Fairies in the Garden of My Bottom.”
Performers, including the acid-tongued Malin, quickly eclipsed the drag acts that had been a stage staple for decades. Malin began his own career in drag, as Imogene Wilson, but it was as the tuxedoed MC of Club Abbey that he “gave Broadway its first glimpse of pansy nightlife”, as Mark Hellinger of the Syracuse Journal put it. At Club Abbey, Malin ditched the dresses and reinvented himself as a high-camp, waspish, obviously gay man – and it was this that singled him out. For possibly the first time ever, an entertainer’s entire act revolved around an explicit queerness. “What was novel is that he did not bring a drag act to the club, but instead performed in elegant men’s clothing, and brought with him the camp wit of the gay subculture,” explains LGBT historian JD Doyle. “If he was heckled by men at the club he knew how to cut them to shreds, to the delight of the crowd.” At 200lbs and over six feet tall, few would argue with him anyway.
Snagglepuss isn’t as well-known as some Hanna-Barbera cartoons like Scooby-Doo or The Smurfs, so you’d be forgiven for mistaking him for the Pink Panther. He’s a pink mountain lion who aspires to be a stage actor, with a camp, lisping voice provided by Bert Lehr—the cowardly lion from The Wizard of Oz.
The upcoming comic takes place in the New York theater scene of the 1950s, with Snagglepuss going up against the House Committee on Un-American Activities.