This amazing book of one of my favorite series of photos by @patrick_d_pagnano_photography is finally out. $32. Hardcover. Available from most booksellers. Brooklyn’s Empire Rollerdome opened its doors in 1941 and soon became the borough’s premier destination for recreational and competitive roller skating. But it wasn’t until the late 1970s that the celebrated rink reached iconic status by replacing its organist with a live DJ, installing a state of the art sound and light system, and renaming itself after the nationwide dance craze it had helped to originate: the Empire Roller Disco was born. In 1980, the acclaimed street photographer Patrick D. Pagnano went on assignment to document the Empire and its legendary cast of partygoers. The resulting photographs, gathered in Empire Roller Disco for the first time, capture the vibrant spirits, extraordinary styles, and sheer joys of Brooklyn roller disco at its dizzying peak. About the Author Called “one of the most versatile and adaptive street photographers in the genre's history,” Patrick D. Pagnano moved to New York City from Chicago in 1974 and immersed himself in an art practice that would grow to include street work, portraiture, and documentary photography. His work is in the permanent collections of the Museum of Modern Art, the Brooklyn Museum, the Art Institute of Chicago, and numerous other institutions. ALSO PLEASE ADD @patrick_d_pagnano_photography #patrickpagnano Book available at most booksellers. Info on publisher below https://anthology.net/book/empire-roller-disco/ HISTORY OF THE ANTI-GAY MOVEMENT SINCE 1977 Read a timeline of the radical right's thirty-year crusade against homosexuality. 1977 Born-again singer Anita Bryant campaigns to overturn an anti-discrimination law protecting gay men and lesbians in Dade County, Fla. Inspired by her victory, Bryant founds the first national anti-gay group, Save Our Children, drawing unprecedented attention to gay issues and motivating gay groups to organize in response. James Dobson, author of 1969 pro-spanking book Dare To Discipline, founds Focus on the Family in Arcadia, Calif. Focus will move to Colorado Springs, Colo., in 1991, become America's wealthiest fundamentalist ministry, and spearhead the campaign against gay marriage. 1978 Gay activist Harvey Milk, elected to the San Francisco Board of Supervisors in 1977, is assassinated on Nov. 27 (along with Mayor George Moscone) by right-wing religious zealot Dan White, a former city supervisor who had resigned in protest after the board passed a gay-rights ordinance. John Birch Society trainer and "family activist" Tim LaHaye publishes The Unhappy Gays (later retitled What Everyone Should Know About Homosexuality). Calling gay people "militant, organized" and "vile," LaHaye anticipates anti-gay arguments to come. California State Sen. John Briggs floats a ballot initiative allowing local school boards to ban gay teachers. "One third of San Francisco teachers are homosexual," Briggs says. "I assume most of them are seducing young boys in toilets." The initiative is defeated, but the campaign inspires anti-gay crusaders like the Rev. Lou Sheldon, who will found the Traditional Values Coalition in 1981. 1979 The Rev. Jerry Falwell founds the Moral Majority, a national effort to stimulate the fundamentalist vote and elect Christian Right candidates. Early fundraising appeals include a "Declaration of War" on homosexuality. 1980 Paul Cameron, former psychology instructor at University of Nebraska, begins publishing pseudo-scientific pamphlets "proving" that gay people commit more serial murders, molest more children, and intentionally spread diseases. Expelled from the American Psychological Association in 1983 for ethics violations, Cameron will continue to produce bogus "studies" widely cited by anti-gay groups. More in article below https://www.splcenter.org/fighting-hate/intelligence-report/2005/history-anti-gay-movement-1977 Jaw-Dropping Christian Ephemera From The 20th Century Putting the fear of God in everyone: Christian ephemera from the 20th Century. It’s not about God; it’s about the people https://flashbak.com/jaw-dropping-christian-ephemera-from-the-20th-century-51651/ Vintage Psych and other Drug Ads
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Divine worked with the groundbreaking gender bending theater and art troupe The Cockettes. Here is info from Fayette Hauser's (original founder) site http://fayettehauser.com/cockettes.html The Cockettes were born on stage on New Year’s Eve, 1969 at the Palace Theatre in North Beach, San Francisco. The troupe emerged out of a group of Acid Freak artists and hippies that were living communally in the Haight-Ashbury district of San Francisco in a Victorian flat on Bush St. We were all intent on re-creating ourselves in the way of a New Myth, expressing our deepest Fantasies, Dreams and Desires on our bodies. Dressing as outrageously as possible, we tripped around the city in a large pack, going to concerts at the dance halls; The Fillmore, Winterland and The Family Dog on the Great Highway, thus attracting even more like-minded Freaks. Into this wild bunch came Hibiscus, the biggest Freak artist of them all. He had been an actor named George Harris III and had come from New York City where he performed with his theater family in avant garde productions such as the seminal play Gorilla Queen by Ronald Tavel. He was brought to San Francisco by Alan Ginsburg, his lover who led him to Kaliflower, a commune run by the Beat author and gay guru Irving Rosenthal. After much LSD, George changed his name to Hibiscus and rebelling against the restrictive atmosphere of Kaliflower, presented himself to the house at Bush & Baker, announcing that the glory and beauty of our outrageous lifestyle should be on the stage. His dream was to create an avant garde theatre troupe similar to what he had experienced in New York with John Vaccaro’s Play House of the Ridiculous and the films of Jack Smith but to now include the bright and shining zeitgeist of the culture of LSD. The original name for the troupe was The Angels of Light Free Theatre. Everyone at Bush & Baker was enthralled and leaped at the idea. We had all attended the iconoclastic theater experience presented by The Living Theatre with their show Paradise Now where they completely dissolved the invisible “fourth wall” of the stage to encompass everyone in the moment. Experimental and experiential theater, real, no bullshit. Absurdist and Surreal, in life and on the stage. Hibiscus brought in an old velvet scrapbook and began filling it with pictures that represented ideas for the stage. He included all of us in the creation of this fantasy filled dream of a new theatre vision. The book held many ideas and became the basis for all performances in the first year. Hibiscus was determined to have the first performance on New Years Eve 1969 in order to proclaim the New Theatre for the New Decade. He found an old theater on Fillmore St., a very run-down place that showed porno films. The owner seemed amenable to the idea until Hibiscus showed up with our entourage from Bush & Baker, to perform a wedding ceremony for Teena and Boop. We were naked wearing only great floral head wreaths and a few scarves. While everyone was dancing ceremoniously on the stage, the owner burst in shrieking, “I can’t allow a live sex act here! Get out!” Alfred Jarry’s Ubu Roi: The Most Punk Play Of All Time Michael Meschke’s adaptation of Alfred Jarry’s scatological and chaotic play Ubu Roi was performed at the Marionetteatern performing arts theatre, Stockholm, in 1964. Costumes, sets and puppets were designed and created by Franciska and Stefan Themerson. This post is illustrated by photographs from Meschke’s show. Ubu Roi was first performed in Paris at the Théâtre de l’Œuvre on December 10, 1896. Jarry, only twenty-three at the time, had come to Paris five years before to live on a small family inheritance. He frequented the literary salons of the time and began to write. It didn’t take long for his inheritance to disappear and he soon lapsed into a chaotic and anarchic existence in which he met the demands of day-to-day life with self-conscious buffoonery. He died in a state of utter destitution and alcoholism. Ubu Roi, however, was an innovative, avant-garde satire on power, greed, and malfeasance. It caused a stir, provoking riots in the theatre and a national scandal and Ubu Roi was banned after only two performances (one of which was the dress rehearsal). It really was that good. The story, a re-telling of Shakespeare’s Macbeth, begins with Père Ubu (played by Firmin Gémier) exclaiming “Merdre”, which can be translated as ‘Shitsky!’ or ‘Shite!’. The story than becomes a little oblique. The action centres on Ubu, a grotesque caricature based on Félix-Frédéric Hébert (14 January 1832 – 14 October 1918), Jarry’s physics teacher at a Rennes lycée – “la déformation par un potache d’un de ses professeurs qui représentait pour lui tout le grotesque qui fût au monde.” We know something of Jarry’s unwitting muse. In June 1882 the school inspector noted: “M. Hébert’s speech is ponderous and muffled. His lessons lack both clarity and organization. His influence on his pupils is almost nil. He does not know how to impose his authority, nor how to get the slightest attention from his pupils.” Might we feel a pang of sympathy for the lampooned teacher? Hold that thought as we deliver an aside full of context: Finally, in 1892 and after eleven years at Rennes, he was persuaded to retire, on reaching the age of sixty. A few years later the events of the Dreyfus Affair obliged his return to public service. Alfred Dreyfus had been the highest-ranking Jewish officer ever to serve in the French Army until, in 1894, a court martial found him guilty of passing military secrets to the Germans. After a ceremony of public denigration he was imprisoned on Devil’s Island under particularly arduous conditions. It soon became obvious that he was the victim of an anti-Semitic plot, and the “Affair” became the greatest political controversy of its day. Dreyfus’s second court martial, in 1899, happened to take place in Rennes; the courtroom was within the lycée building itself. He was again found guilty, and sentenced to an additional ten years in prison, even though the evidence brought against him at his first trial had been shown in the interim to have been forged. The verdict was so obviously unjust that the French President pardoned him anyway. Hébert was so outraged by this attempt, in his words, “to rehabilitate a justly condemned traitor” that he entered local politics and was elected a town councilor in 1900. Later the same year a local paper carried this report of a council meeting. More of the article in link below https://flashbak.com/alfred-jarrys-ubu-roi-the-most-punk-play-of-all-time-372959/ Vintage Buttons
Ralph Eugene Meatyard was a visionary photographer known for his dreamlike black & white photographs of family members in masks, elegant portraits of bohemian friends and radical experiments in abstraction. Meatyard’s unique visual language was the product of a naturally curious mind stimulated by a love of literature and the spoken word. His shadowy photographs – often featuring dark dilapidated locales populated by enigmatic characters – have drawn comparisons to Southern Gothic literature. Meatyard’s interest in Zen Buddhism guided his intuitive process for making photographs. His practice relied upon the photographer achieving a “sensitized state,” putting trust in the mind’s eye instead of intellect to clearly see the intricacies of the physical world. Meatyard’s metaphysical approach to picture-making helped redefine the genre of fine-art photography in the 1960s. Through a myriad of complex projects, many predicated upon the constructed or staged photograph, Meatyard created “tableau vivants” filled with symbolic language that served as signifiers in the creation of the artist’s visual vocabulary. Meatyard’s subjective use of the camera has since influenced new generations of photographers. Today, he is recognized as a pioneer of surreal, experimental and nonobjective photography. Meatyard was an integral part of Kentucky’s post-war art and literary intelligentsia. His circle of friends included photographers, painters, poets, scholars, writers and philosophers. Meatyard’s interest in photography grew from his professional life as a practicing optician and working knowledge of lens technology. A desire to document his growing family led to his purchase of a camera in 1950. From the 1950s onward, he would photograph exclusively in his hometown of Lexington, Kentucky and the surrounding countryside. The Photographs of Ralph Eugene Meatyard opens at Ogden Museum of Southern Art on October 1, 2022 and will be on view through January 23, 2023. The exhibition is curated by Richard McCabe, Curator of Photography at Ogden Museum of Southern Art, in collaboration with Fraenkel Gallery, San Francisco and Ralph Eugene Meatyard Estate. ABOUT THE ARTISTRalph Eugene Meatyard, Untitled (Self Portrait), (REM.1464.Y), c. 1958, Gelatin silver print, 11 x 14 inches, Collection of the Estate of Ralph Eugene Meatyard, Courtesy of Fraenkel Gallery Ralph Eugene Meatyard lived in Lexington, Kentucky, where he made his living as an optician while creating an impressive and enigmatic body of photographs. Meatyard’s creative circle included mystics and poets, such as Thomas Merton and Guy Davenport, as well as the photographers Cranston Ritchie and Van Deren Coke, who were mentors and fellow members of the Lexington Camera Club. Meatyard’s work spanned many genres and experimented with new means of expression, from dreamlike portraits—often set in abandoned places—to multiple exposures, motion-blur, and other methods of photographic abstraction. He also collaborated with his friend Wendell Berry on the 1971 book The Unforeseen Wilderness, for which Meatyard contributed photographs of Kentucky’s Red River Gorge. Meatyard’s final series, The Family Album of Lucybelle Crater, are cryptic double portraits of friends and family members wearing masks and enacting symbolic dramas. Museum exhibitions of the artist’s work have recently been presented at The Art Institute of Chicago; The Philadelphia Museum of Art; the de Young Museum, San Francisco; The International Center of Photography, New York; Cincinnati Museum of Art, Ohio; the Center for Creative Photography, Tucson; and Blanton Museum of Art, Austin, Texas. His works are held in the collections of The Metropolitan Museum of Art, SFMOMA, J. Paul Getty Museum, The Eastman Museum, and Yale University Art Gallery, among others. Monographs include American Mystic, Dolls and Masks, A Fourfold Vision, and The Family Album of Lucybelle Crater and Other Figurative Photographs. Ralph Eugene Meatyard was a visionary photographer known for his dreamlike black & white photographs of family members in masks, elegant portraits of bohemian friends and radical experiments in abstraction. Meatyard’s unique visual language was the product of a naturally curious mind stimulated by a love of literature and the spoken word. His shadowy photographs – often featuring dark dilapidated locales populated by enigmatic characters – have drawn comparisons to Southern Gothic literature. Meatyard’s interest in Zen Buddhism guided his intuitive process for making photographs. His practice relied upon the photographer achieving a “sensitized state,” putting trust in the mind’s eye instead of intellect to clearly see the intricacies of the physical world. Meatyard’s metaphysical approach to picture-making helped redefine the genre of fine-art photography in the 1960s. Through a myriad of complex projects, many predicated upon the constructed or staged photograph, Meatyard created “tableau vivants” filled with symbolic language that served as signifiers in the creation of the artist’s visual vocabulary. Meatyard’s subjective use of the camera has since influenced new generations of photographers. Today, he is recognized as a pioneer of surreal, experimental and nonobjective photography. Meatyard was an integral part of Kentucky’s post-war art and literary intelligentsia. His circle of friends included photographers, painters, poets, scholars, writers and philosophers. Meatyard’s interest in photography grew from his professional life as a practicing optician and working knowledge of lens technology. A desire to document his growing family led to his purchase of a camera in 1950. From the 1950s onward, he would photograph exclusively in his hometown of Lexington, Kentucky and the surrounding countryside. The Photographs of Ralph Eugene Meatyard opens at Ogden Museum of Southern Art on October 1, 2022 and will be on view through January 23, 2023. The exhibition is curated by Richard McCabe, Curator of Photography at Ogden Museum of Southern Art, in collaboration with Fraenkel Gallery, San Francisco and Ralph Eugene Meatyard Estate. ABOUT THE ARTISTRalph Eugene Meatyard, Untitled (Self Portrait), (REM.1464.Y), c. 1958, Gelatin silver print, 11 x 14 inches, Collection of the Estate of Ralph Eugene Meatyard, Courtesy of Fraenkel Gallery Ralph Eugene Meatyard lived in Lexington, Kentucky, where he made his living as an optician while creating an impressive and enigmatic body of photographs. Meatyard’s creative circle included mystics and poets, such as Thomas Merton and Guy Davenport, as well as the photographers Cranston Ritchie and Van Deren Coke, who were mentors and fellow members of the Lexington Camera Club. Meatyard’s work spanned many genres and experimented with new means of expression, from dreamlike portraits—often set in abandoned places—to multiple exposures, motion-blur, and other methods of photographic abstraction. He also collaborated with his friend Wendell Berry on the 1971 book The Unforeseen Wilderness, for which Meatyard contributed photographs of Kentucky’s Red River Gorge. Meatyard’s final series, The Family Album of Lucybelle Crater, are cryptic double portraits of friends and family members wearing masks and enacting symbolic dramas. Museum exhibitions of the artist’s work have recently been presented at The Art Institute of Chicago; The Philadelphia Museum of Art; the de Young Museum, San Francisco; The International Center of Photography, New York; Cincinnati Museum of Art, Ohio; the Center for Creative Photography, Tucson; and Blanton Museum of Art, Austin, Texas. His works are held in the collections of The Metropolitan Museum of Art, SFMOMA, J. Paul Getty Museum, The Eastman Museum, and Yale University Art Gallery, among others. Monographs include American Mystic, Dolls and Masks, A Fourfold Vision, and The Family Album of Lucybelle Crater and Other Figurative. e Photographs.https://www.vintageannalsarchive.com/deep-dive---ralph-eugene-meatyard.html Biker Love & Asstrology
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