When we rise

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A scene from “When we rise” | ABC Television | 17038

“When we rise” is a four part television series made for American television by film producer Dustin Lance Black for ABC television, which was commissioned by ABC in 2012. When We Rise” is a 50-year history of the gay rights movement told through four characters who suffer — and often triumph over — family rejection, landlord discrimination, gay-bashing, police harassment, legislative defeats and AIDS.

The New York Times notes:

“We’ve reached the stage in the L.G.B.T. movement when a network not only feels comfortable taking this on — but doing so in a big way,” said Eric Marcus, a gay historian who produces the Making Gay History podcast and is preparing his own multipart documentary on the movement.

Torie Osborn, a longtime gay and lesbian rights leader who was active in San Francisco during struggles depicted in the movie, said, “I hope this is a moment for our allies to learn about our history and young gay men and lesbians to learn about their history.”

“This is a story that could have been told before,” she said, adding: “Better late than never.”

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San Francisco, 1983 | Bettman/Getty Images | 17039

Mr. Black focuses largely on San Francisco. New York, Los Angeles, Boston, Washington, Minneapolis and other cities also played parts in the American gay story.

The four characters who form the frame of Mr. Black’s story are Cleve Jones, Roma Guy, Richard Socarides, and Dr. Charles W. Socarides, who helped to have homosexuality declassified as a mental illness.

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Dustin Lance Black | Andrew Testa/The New York Times | 17040

Mr. Black said that if he had learned anything from this work, it is that the gay rights movement is a story of triumphs followed by setbacks. Mr. Trump’s election, he said, is just another turn in this road.

“We are in a period of backlash right now,” he said. “I would give anything for this to be less topical. But this series shows our history is a pendulum, not a straight line.”


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Gay motorcycle clubs celebrated

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Five Blue Max Motorcycle Club members in uniform jackets and Pickelhauben helmets seated on Harley Davidson Electra Glide motorcycles at curb in Glendale, California, c. 1970 | One/USC Archive | 17033

An exhibition opening at the ONE National Gay & Lesbian Archives, “Sprayed with Tears”, delves into the history of Southern California’s gay motorcycle clubs. These were popular underground clubs throughout the 1960s and ’70s. Some of them that are active today.

Using material from the ONE Archives, artist collective Die Kränken focuses on one of these clubs, Blue Max, and re-stages a performance that took place there annually between 1968 and 1993: “The Rose of No Man’s Land,” where a World War I fighter pilot is nursed back to health by a Red Cross nurse, played by a club member in drag.

There will also be a video of the Black Pipe, an LA gay leather bar that was raided by the police in 1972, and a display of screen-printed handkerchiefs that were used for the “hanky code,” a surreptitious method of communicating sexual desire by placing color-coded handkerchiefs in one’s rear pants pocket.

The Satyrs Motorcycle Club are thought to be the “oldest running gay men’s motorcycle club” in the world, dating back to 1954.

The ONE National Gay & Lesbian Archives is at the USC Libraries, 909 West Adams Blvd, University Park, Los Angeles.

http://hyperallergic.com/357473/an-exhibition-mines-the-history-of-socals-gay-motorcycle-clubs/


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Polari explained

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Julian and Sandy, 1970s, LP Cover | Copyright control | 17032

Paul Baker, an authority on Polari, having studied it for some time, has provided Scroll/The Conversation with a brief history of the language. To summarise:

Polari has now largely fallen out of use, but was historically spoken by gay men and female impersonators.

Polari developed first in the world of entertainment, West End theatres and 19th-century music halls, travelling entertainers and market-stall holders, and was based on Parlyaree which had roots in Italian and rudimentary forms of language used for communication by sailors around the Mediterranean, which found its way into Britain, especially London and port cities, and gradually became used by gay men and female impersonators, especially during the first half of the 20th century. In England, gays added Cockney Rhyming Slang, backslang (pronouncing a word as if it was spelt backwards), French, Yiddish and American airforce slang to Polari.

It was useful as a means of conducting conversations in public spaces, which would have alerted others to your sexuality at a time when homosexual acts were illegal.

“Vada the naff strides on the omee ajax” meant look at the awful trousers on the man nearby. Inserting a Polari word – such as bona (good) or palone (woman) – into a sentence could act as a coded way of identifying other people who might be gay. The language itself, full of camp, irony, innuendo and sarcasm, also helped its speakers to form a resilient worldview in the face of arrest, blackmail and physical violence.

In the 1970s, in a gay magazine called Lunch, activists branded Polari as ghettoising and it gradually became surplus to requirements. In 2000, Baker carried out a survey of 800 gay men and found about half the respondents had never heard of Polari.

In recent years however, there has been renewed interest in Polari. The Sisters of Perpetual Indulgence created a Polari Bible, running a Polari wordlist through a computer program on an English version of the Bible.

Paul Baker is the Professor of Linguistics and English Language, Lancaster University.

https://scroll.in/article/828942/a-brief-history-of-polari-a-language-for-gay-men-and-its-curious-afterlife


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Hackney’s gay collection

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Some of the items owned by Hackney Museum | Gary Manhine/Hackney Council | 17030

Hackney Museum has decided it doesn’t have enough gay history in its archive, and has launched a project to discover more of the London borough’s gay past. Emma Winch, Hackney Museum’s heritage learning manager, told an event to celebrate gay history month: “Young people tell us museums don’t do enough to collect and share LGBTQI history. This, and the lack of representation in the national curriculum, is unacceptable. It has an effect on their identity and confidence.”

Musician I’m Empire was at the launch to give a speech on his experience of coming out as a queer man in Hackney’s black community, while street artist Stik shared his memories of the queer “safe house” community in Dalston Lane.

Stik described how he first arrived in London in 2001 after “spectacularly crashing and burning” and joined a group squatting then-derelict London Fields Lido, sleeping in a wooden art shipping container. “I came to Hackney because it was somewhere possible to live and I found an accepting and vibrant community,” he said.

A house in Dalston Lane was a hub for wild parties. “Our parties like Behind Bars and Queeruption fundraisers were the most radical punk and progressive things I have ever seen, and there’s no way we could get away with such subversive actions nowadays.”

http://www.hackneygazette.co.uk/news/heritage/hackney_museum_launches_drive_to_collect_more_of_borough_s_gay_history_with_inspiring_talks_from_stik_and_i_m_empire_1_4875508


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Love is a drag re-released

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The Love Is a Drag LP Cover | Vintage Vinyl | tc287

The Guardian notes that the 1962 gay LP “Love is a drag”, which has been a collector’s item for many years, has been re-released.

Archivist JD Doyle managed to get in contact with the original record producer, who, like the musicians and singer on the LP, were not credited when it was released in 1962, for obvious reasons.

In 2012 the album’s producer, Murray Garrett, emailed him after discovering that Doyle had written about the music on his website.

The story begins in the 1920s. As far back at the 1920s, blues singers such as Ma Rainey and Bessie Smith had been singing about gay characters, though they were loathe to directly express their own desires. In 1946 Garrett was a celebrity photographer for Life magazine and was taken by a friend to a bar in Greenwich Village. A handsome young man came out on the club’s stage and started to sing standards normally performed by a woman to a man. Garrett was confused until his friend informed him that they were in a gay bar. Garrett later told Doyle he was so impressed by the quality of the music that the night stayed in his mind “for years and years”.

In the early 60s a friend of Garrett’s was starting a record company in Hollywood and asked him if he had any ideas for projects that would stand out. Garrett thought a man singing love songs to another man would more than fit the bill. Garrett asked his photography partner, Gene Howard, who had earlier performed with Stan Kenton’s band, to sing on the album. The singer told him he had two daughters and a wife to consider, not to mention a career. According to Doyle, Howard’s wife asked just one question about the project: “Is it going to be done with dignity?”

The album sold by word of mouth, mainly in the Hollywood community Garrett and Howard knew well. Gay waiters and car hops started buying copies, up to six at a time. Frank Sinatra ordered a dozen copies. Garrett gave a copy to Bob Hope and Liberace also acquired a copy.

Over the years, the album became a cult item, selling for up to $200.

A number of LP recordings made in Britain for the UK gay market appeared in the 1950s and 1960s, and some of the artistes involved have been documented in Gay History.

https://www.theguardian.com/music/2016/dec/05/love-is-a-drag-story-behind-groundbreaking-gay-album

http://www.vintagevinylnews.com/2016/10/mystery-of-1962-album-love-is-drag.html


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Rock and roll is so so gay!

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Martin Aston | The Writing Disorder | 16472gh

Martin Aston writes in The Guardian over the contribution the gay community made to rock and roll music. Many of the rock pioneers were gay and in the closet at the time.

It seems there was a brief flowering of gay culture within the main culture of music in America almost one hundred years ago.

… Talking about sex is hardly new for gay artists. They were doing the dirty in song almost 100 years ago, in 1920s Harlem, when blues singers such as Ma Rainey and Bessie Smith sang about same-sex affairs. Even gay men, less documented than the women, took advantage of a brief new social permissiveness following the first world war – George Hannah wrote and sang Freakish Man Blues in 1930. Away from the blues, there was the first gay pride anthem in 1920, Das Lila Lied (aka The Lavender Song), written by Berlin-based duo Spoliansky and Schwabach, through to the stars of the so-called Pansy Craze, popular in New York from 1930. From this came Gene – sometimes spelled Jean – Malin, whose 78rpm single I’d Rather Be Spanish Than Mannish predated Noël Coward’s none-more-camp delivery and innuendo. But the Pansy Craze was quickly snuffed out when 1929’s economic crash snowballed into the Great Depression, unleashing a new wave of religious bigotry and social repression.

Martin Aston’s book Breaking Down the Walls of Heartache: How Music Came Out was published by Constable on 13 October.

https://www.theguardian.com/music/2016/oct/11/industry-queer-gay-pop-artists-frank-ocean-little-richard

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Edward Albee

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Edward Albee | Charles Hopkinson | 16409gh

Widely regarded as “America’s Greatest Living Playwright” following the death of Arthur Miller, Edward Albee died Sept. 16 after a short illness. He was 88. Albee’s partner of 34 years, sculptor Jonathan Thomas, died in 2005.

Albee enjoyed a meteoric rise to international success in the late 1950s and 1960s, winning the 1963 Best Play Tony Award for Who’s Afraid of Virginia Wolfe? and the Pulitzer Prize for Drama twice for A Delicate Balance ( 1967 ) and Seascape ( 1975 ).

Jonathan Abarbanel notes that

Three Tall Women was his most autobiographical work in which he created an openly homosexual character for the only time in his career, although one who does not speak. It’s a son dealing with his formidable mother who is seen as three different women at different ages. Nonetheless, a gay undercurrent can be detected in a number of his works, sometimes bordering on the overtly homo-erotic.

A generous and supportive man, he established a foundation in 1967 which still functions in support of The Barn, a center in Montauk, New York, providing residential support for artists of all disciplines. Albee was at The Barn when he died.

http://www.windycitymediagroup.com/lgbt/Remembering-Edward-Albee-/56577.html

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Bob Mizer’s photos and The Athletic Model Guild

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Model: Mike Diaks | Photo: Bob Mizer/Bob Mizer Foundation | 16297gh

Male nude photographer Robert Henry “Bob” Mizer was born on March 27, 1922 and died on May 12, 1992. His first photographs appeared when he was 20 years old. He specialised in male nude pictures especially of bodybuilders, and sold his photos through the mail, which got him into trouble with the US Postal Office in 1947, who did not like photographs of men wearing scanty posing pouches being sent through their system.

He is famous for establishing the influential studio, the Athletic Model Guild, in 1945, and for founding the magazine Physique Pictorial. Over 1,100 men were willing to pose for his photographs. There were so many models, in fact, he needed assistance to cope with the workload – and was joined in the venture by his brother Joe and Mother Delia!

Other photographers also entered the field, but subsequent photographers and artists including Robert Mapplethorpe and David Hockney cited Mizer as a key influence on their own careers.

The Guardian have published a collection of some of Mizer’s more famous photographs, and there are more at the Bob Mizer Foundation website.

Bob Mizer Foundation

Beefcakes and Monkeys – The Guardian

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Harold O’Neal and amateur gay films

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Still from “Vallejo,” 1947 | The Harold T. O’Neal Collection | The G.L.B.T. Historical Society | New Yorker | 16216gh

During the post war years and into the sixties, positive portrayals of gay men and lesbians living happy and successful lives were completely absent from films. During the British film boom from 1955 to 1965 there were a number of films which shed light on homosexual lifestyles (in Britain) but again the characters portrayed “had flaws”. For a more accurate reflection of what life was really like for gay men and lesbians, it is necessary not to look at the portrayals of mass media, but to look at the private films made on home movie cameras by amateur film makers of the time.

The New Yorker sheds more light on the matter.

Harold O’Neal was an amateur film maker who lived in San Francisco. Born in Stockton, California, in 1910, he was a reserved, somewhat shy man who worked for the Veterans Administration and in personnel for the Army Corps of Engineers. He kept his sexuality closely guarded, but made dozens of home movies which captured the rhythms and intimacies of gay social life long before it was allowed to flourish in the open.

One home movie shows a telegenic group of men on a getaway at a shoreline cabin in the Bay Area town of Vallejo, in 1947. The friends sunbathe, laugh together, mug for the camera with more than a touch of theatricality. A man picks some orange flowers and tucks them behind his ear; another wears a grass skirt and dances the hula.
Another movie, from 1946, shows a house party where guests in suits and ties smoke cigarettes and drink from dainty glasses. Men dance in pairs, hands clasped, a head against a cheek. One giddily air-claps to music the viewer cannot hear.

A fascinating article.

http://www.newyorker.com/culture/culture-desk/the-moving-revelations-of-gay-home-movies

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Peter De Rome

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Peter De Rome | Uncredited and undated | 16170gh

The Guardian remembers the late Peter De Rome, pioneer of gay sex films. He is the subject of a new documentary film, “Grandfather Of Gay Porn”, being released tomorrow.

… Peter De Rome, the late British film-maker who served in the RAF during the second world war, worked as a publicist on The Third Man, campaigned for civil rights in the American south, and then became the Grandfather Of Gay Porn, as the film’s title enthusiastically dubs him. De Rome’s films were unpopular with the authorities in the 60s and 70s, but they struck a chord with audiences by documenting gay sexuality with unashamed vigour.

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The Fire Island Kids by Peter De Rome | Uncredited and undated | 16171gh

When British censors agreed to certify a compilation of De Rome’s work in 2010, they noted the “artistic, cultural and historical merit” that made the film “distinguishable from a sex work”.

Peter De Rome was born on 28 June 1924 and died on 21 June 2014. He became an American citizen in 1997.

http://www.theguardian.com/film/2016/mar/12/grandfather-of-gay-porn-peter-de-rome

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