follow us in feedly
‘NOT Born this way’: Anti-gay assholes inflict their ignorance on Lady Gaga fans
04:47 pm

Pop Culture


Some anti-gay party poopers hired a plane to fly above a Lady Gaga concert yesterday in Tacoma, WA at the start of her US tour.

The virulently anti-LGBT Florida Family Association hired the aircraft to fly their “NOT Born this way” banner over Lady Gaga’s “Born Brave” bus (a LGBT educational resource for young people that is tailgating her U.S. concert dates) for several hours and then to fly continuously around the Tacoma Dome parking lot from 1 PM until sunset before her January 14th concert.

According to the FFA, the protest cost $1,900 and the group is soliciting more money to target further Lady Gaga tour dates. In their fundraising efforts for the stunt, the group asked their members:

“How would you feel if your child or grandchild went to a concert where unbeknownst to you they were convinced to embrace a homosexual or transgender lifestyle for a lifetime?”

I don’t know about you, but for the life of me, I cannot imagine deciding to change my sexual orientation because of a pop singer tried to convince me of it. Not that this has anything to do with Lady Gaga or the wonderful message she’s putting out there, of course.

The group’s monetary appeal went on to read:

“The fact that someone these kids do not know spent significant resources to fly a plan to tell them they are NOT born that way will prayerfully speak to their souls.”

Yeah, right. They pointed and laughed is what they did.

Outside of the Staples Center here in Los Angles before Lady Gaga’s “Monster Ball” show a few years back, there was a single sad-sack asshole Christian guy protesting, his sign accusing Gaga of being the Whore of Babylon. Owing to the number of people we saw telling him either to go fuck himself, or simply passing by him and paying him absolutely ZERO mind like the nutcase he was, I’d estimate his rate of converting Lady Gaga fans to Christianity at about zero as well.

The FFA feels differently:

Thousands of kids who might have otherwise worked through their pubescent sexual identity issues will be inspired to accept the wrong choice based upon this unscientific, emotionally charged propaganda. What’s brave or kind about telling thousands of sexually frustrated teens that they were Born This Way when a high percentage of them would have ended up taking the straight heterosexual path for life?

(Whistles, shakes head)

Still, talk about a terrific waste of money, eh? I hope every fucktard thinking of donating to the FFA gives and gives generously. Last spring, the FFA flew a banner during “Gay Days” at Walt Disney World to tip off parents that there were (whispers) homosexuals in the park.

Via Joe.My.God

Posted by Richard Metzger | Leave a comment
Transgate: Liberal paper’s hateful editorial opens up ‘free speech’ floodgate
12:46 pm

Stupid or Evil?


Yesterday British writer Julie Burchill published an opinion piece on the website of the Guardian Media Group that was a very open attack on the transgender community. She called them “bedwetters in bad wigs,” “shims”(!) and a whole host of other disgraceful terms. The full story is at Queerty.

While I take it she’s a nobody in the States, Burchill is well-known in the UK media for being a self-defined “feminist” who lashes out semi-regularly, and who constantly rabbits on about being “working class” even though her class status changed many, many years ago. Her transmisogynist article has created quite the media storm over here, and with good reason. Her bigoted words left readers agape, for all the wrong reasons, and have opened up a huge debate around feminism and discrimination, and in particular discrimination by certain types of feminists. 

Today I went on The Guardian’s “Comment Is Free” website and published a comment which took her exact words and swapped the gender of some of the people involved. Instead of referring to transgender people, I made the general beef to seem as if it is about women and feminism. I simply swapped out some words and terms, like a “Mad-Lib.”

To my surprise, the comment was deleted by The Guardian website’s moderators. For what exact reason, I don’t know, but it has left me bewildered.

Surely if they saw fit to publish Burchill’s original piece, they shouldn’t have had a problem with mine? After all, THEY ARE PRETTY MUCH THE EXACT SAME ARTICLE.

Personally, I don’t want to give any oxygen of publicity to this frankly terrible, woefully self-important writer, but if you really want to read what she has written, it’s here. Knock yourself out. In the meantime though, and for all the people who have been asking what the reaction would be if the article were aimed at another minority group, this is my original “Mad-Lib” of the piece.

Yes, this is offensive. To be clear, I do not stand behind or advocate any of the views published below. It’s satire. However, the original article was not, and was published on one of the biggest national news forums in Britain.

[...] I was incredulous to read that my friend was being monstered on Twitter, to the extent that he had quit it, for supposedly picking on a minority – women. Though I imagine it to be something akin to being savaged by a dead sheep, as Denis Healey had it of Geoffrey Howe, I nevertheless felt indignant that a man of such style and substance should be driven from his chosen mode of time-wasting by a bunch of chicks in slutty clothing.

To my mind – I have given cool-headed consideration to the matter – a gaggle of women telling Simon Moore how to write looks a lot like how I’d imagine the Black and White Minstrels telling Usain Bolt how to run would look. That rude and ridic.

Here’s what happened. In a book of essays called “Rad, The Whassup Anthology” Si contributed a piece about men’s anger. He wrote that, among other things, men were angry about “being criticised for not having the perfect bottom – that of a Scottish night bus driver”. Rather than join him in decrying the idea that every bloke should aim to think like an oven-ready heart attack, the very vociferous women’s lobby and their grim groupies picked on the messenger instead.

I must say that my only experience of the women’s lobby thus far was hearing about the vile way they have persecuted another of my friends, the veteran men’s rights and partner-ownership activist Jake Barrington – picketing events where he is speaking about such issues as the decriminalising of child labour just because he refuses to accept that their menopause is the most pressing problem that men – real and pussy-whipped – are facing right now.

Similarly, Simon’s original piece was about the real horror of the bigger picture – how the savagery of a few old hags is having real, ruinous effects on the lives of the weakest members of our society, many of whom happen to be men. The reaction of the women’s lobby reminded me very much of those wretched inner-city kids who shoot another inner-city kid dead in a fast-food shop for not showing them enough “Pokemon cards”. Ignore the real enemy – they’re strong and will need real effort and organisation to fight. How much easier to lash out at those who are conveniently close to hand!

But they’d rather argue over semantics. To be fair, after having their fannies all dried up (see what I did there?) by endless decades in academia, it’s all most of them are fit to do. Educated beyond all common sense and honesty, it was a hoot to see the screaming tarts accuse Si of male privilege; it may have been this that made him finally respond in the subsequent salty language he employed to answer his Twitter critics: “People can just fuck off really. Stick a pad up their kludge and be more ableist than me. Good for them.”

He, the other JB and I are part of the minority of men of working-class origin to make it in the female-dominated lesbian porn industry and I think this partly contributes to the stand-off with the hos. (I know that’s a wrong word, but having recently discovered that their lot describe men as ‘Bros’ – sounds like crow, dross, Bromley; all nasty stuff – they’re lucky I’m not calling them bitches. Or cunts.) We know that everything we have we got for ourselves. We have no family money, no safety net. And we are damned if we are going to be accused of being privileged by a bunch of dolly slags in fuck-me pumps.

It’s been noted before that cyberspace, though supposedly all new and shiny, is plagued by the age-old boredom of women telling men to shut-up and threatening them with all kinds of nastiness if they persist in saying what they feel.

The women’s lobby is now saying that it wasn’t so much the initial piece as Simon’s refusal to apologise when told to that “made” them drive him from Twitter. Presumably he is meant to do this in the name of solidarity and the “struggle”, though I find it very hard to imagine this mob struggling with anything apart from the English language and the concept of free speech.

To be born without a cock and then plead special privileges – above wholesome, natural men, who don’t know the meaning of suffering, apparently – is a bit like the old definition of chutzpah: the boy who killed his parents and then asked the jury for clemency on the grounds he was an orphan.

Bitches, hos, whatever you’re calling yourselves these days – don’t threaten or bully us lowly wholesome, decent men, I warn you. We may not have as two lovely big bouncing PhDs like you, but we’ve experienced a lifetime of pissing standing up and female admonishment and many of us are now staring Viagra and the middle-age spread straight in the face – and still not flinching. Trust me, you ain’t seen nothing yet. You really won’t like us when we’re angry.

So what do you think? Were The Guardian* website moderators right to remove this comment? If so, shouldn’t they also remove Burchill’s original article?

Thankfully, an awful lot of people have shared their disgust at Burchill’s bigotted nonsense, coming as it does from a supposedly “respectabe” liberal news outlet. The Guardian themselves published a retort from noted trans writer Roz Kaveney, and some brilliant replies have been published by Paris Lees (via Diva magazine) and Ruth Pearce (via the Lesbilicious blog).

Most interestingly of all, the right-wing paper The Telegraph (commonly known as “The Torygraph”) have published a thoughtful and inspiring response. Wait a minute, are the British press playing switcheroo with their political allegiances?!

*The Guardian is at serious pains to distance itself from the article, claiming it was published by the Guardian Media Group’s Sunday title The Observer, and not The Guardian newspaper itself. They now need to distance themselves from Julie Burchill full stop.


The Guardian has withdrawn Burchill’s article and issued this statement:

We have decided to withdraw from publication the Julie Burchill comment piece ‘Transsexuals should cut it out’. The piece was an attempt to explore contentious issues within what had become a highly-charged debate. The Observer is a paper which prides itself on ventilating difficult debates and airing challenging views. On this occasion we got it wrong and in light of the hurt and offence caused I apologise and have made the decision to withdraw the piece. The Observer Readers’ Editor will report on these issues at greater length.

Posted by Niall O'Conghaile | Leave a comment
Truly Amazing Transgender Timelapse
10:32 am

Pop Culture


Known simply as “iiGethii”·on YouTube, here’s her summary of the timelapse video:

This video is of me going through a 3 year transition (Roughly one thousand pictures). I have had FFS during the process. I started roughly around when I was 20 - 21 years of age.

I use to have my own channel a while ago where I’d post videos, but removed it. Here I am again making a return.

BTW, FFS stands for facial feminization surgeries.

Via Nerdcore

Posted by Tara McGinley | Leave a comment
Punky Bear: Hüsker Dü’s Bob Mould was a part of DC’s bear scene
10:08 am



While I had known for a while that the Hüsker Dü front-man was gay, I didn’t know Bob Mould was actually so open about being in the bear (as in hairy, and/or big gay dude) scene.

From Washington City Paper:

For others, like the well-known post-punk singer Bob Mould, who was a mainstay of D.C.’s bear scene in the mid-2000s, the subculture is an entrée for misfits into mainstream gay life. In his 2011 memoir See a Little Light, Mould describes discovering Dupont’s DIK Bar: “It reminded me of my punk rock days: guys in flannel shirts, T-shirts, and jeans. There wasn’t a lot of pretense, sarcasm, or campy behavior…I enjoyed the company of guys who were comfortable with their masculinity. At DIK Bar I didn’t feel like I had to do anything to fit in except be myself. I didn’t have to try to look or act like a bear because I already was one.”

What’s more surprising to me about the article is that the general taxonomy of bear subculture is so diverse (chubs, cubs, chasers, twinks, leather daddies, otters… otters?). Well, that, and the fact that there’s any culture at all in boring Washington, DC (Buuuuuuurrrrrnnn!)

Below, Hüsker Dü take a fantastic rip through The Byrd’s “Eight Miles High” at the Pink Pop Festival, Netherlands, 1987:

Posted by Amber Frost | Leave a comment
Lindsay Kemp’s ‘Flowers’: A legendary dance production inspired by Jean Genet’s novel
06:48 pm

Pop Culture


Jean Genet wrote Our Lady of the Flowers while in prison in 1942. It was published anonymously the following year, and sold around 30 copies. It wasn’t until after the Allied Forces liberated France in 1944 that the bulk of the copies were bound and sold.

Due to its sexual content Our Lady of the Flowers was sold as high class erotica, but Genet never intended it as such. It would take until the book had been revised and reprinted by Gallimard in 1951 that Our Lady of the Flowers received the critical accolades it richly deserved - even if Jean-Paul Sartre described it as “the epic of masturbation.”

It was an over-the-wall conversation with a neighbor that led Lindsay Kemp to create and produce his now legendary dance production of Flowers in 1974. As Lindsay recounted to Dangerous Minds last year:

‘I’d just rented a little cottage, a country retreat, in Hungerford in Berkshire, and my next door neighbor - it was one Sunday morning and we were listening to Round the Horne, we all did on those Sunday mornings - and my neighbor across the fence leaned over and said.

“Oh hi, I think this book might interest you.”

And it was Genet’s Our Lady of the Flowers. And I began to read it, and as soon as I began to read it I could already see it on the stage, and I could see myself as Divine, the central character. And two weeks later, we opened it.

Only someone of Kemp’s incredible talents and vision could have produced Flowers, and the production put Kemp and his dance company literally “on the map.” Since then, Kemp and Co. have performed Flowers all across the world to incredible acclaim.

In 1982, a video was made of the Lindsay Kemp Dance Company performing Flowers at the Teatro Parioli, Roma. It is rarely been seen since, and the video is a incredible treat for anyone interested in dance, performance and theater.

Previously on Dangerous Minds

Lindsay Kemp is on the ‘phone: Scenes from his life from Genet to Bowie


Lindsay Kemp: Seldom seen interview about his production of ‘Salome’ from 1977


David Bowie and Lindsay Kemp’s rarely seen production ‘Pierrot in Turquoise’ from 1968

With thanks to Lindsay Kemp’s Last Dance

Posted by Paul Gallagher | Leave a comment
Happy Birthday, Joan Armatrading: my favorite honey-voiced acoustic lesbian!
08:29 am

A girl's best friend is her guitar


”I’m not in love, but I’m open to persuasion”

Before the chill lady with the smooth voice, ringing guitar, and possibly Sapphic tendencies became the stuff of (sometimes laughably bad) cliché, Joan Armatrading was a pre-Lilith Fair anomaly.

Armatrading was born in the West Indies in 1950. Her family moved to Birmingham, England when she was three, and sent for her and her siblings as they could afford to—she wasn’t able to rejoin her parents until the age of seven. Though her father was a musician, she was never allowed to play his guitar, and taught herself on a pawn shop acoustic her mother traded for two baby strollers.

Armatrading quit school at 15 to start factory work supporting her family, but at 16 she was performing her own material in clubs, and at 18 found herself in the London stage production of Hair!, (notoriously shy, she abstained from the nude scenes).  It was here she met Pam Nestor, with whom she wrote her debut album, Whatever’s for Us.

Her music is absolutely beautiful: complex, sweet, and sincere. It’s easy to see how she launched 1,000 imitators.

As famous for her introspective, tender vocal delivery as her closely guarded private life (and performance anxiety), Armatrading is believed to have married her girlfriend in a quiet ceremony last year.

Below, Track Record, one half doc about the enigmatic singer/songwriter, one half travelogue.

Posted by Amber Frost | Leave a comment
Notes From The Niallist #10: Tranarchy’s 24 Hour John Waters Movie Marathon
07:12 pm



Call us crazy, call us stupid… we don’t care.

This is what Tranarchy is doing this weekend, a tribute to all things trashy, sleazy, skeezy, strange and Baltimorean. Yup, we’re showing every single full length film by cult auteur and Pope of Trash, the Ayatollah of Crud, the Prince of Puke, the one and only John Waters.

Every single one. In a row. Non-stop. For 24 hours.

The only things we’re not showing are his hard-to-find early short, and hell, if we can find ‘em, we’ll probably show them too!

You know, maybe we are crazy. And a little bit stupid. But we still don’t care. This movie marathon is something some of our members have dreamed of doing their whole lives, and just like the Dreamlanders, Tranarchy is dedicated to making our craziest, stupidest dreams a reality.

Let’s face it. watching all of these films back to back non-stop for 24 hours is going to be quite an endurance test. We are inviting patrons to sleep over, and Manchester’s Islington Mill (the venue for this festival of freakiness) are kindly letting us convert one of their heated gallery spaces into a giant bedroom for anyone who needs a break.

There will be lots of interactivity’s for patrons , including a Waters-inspired photo booth featuring some of his most iconic movie scenes, free popcorn, edible turds, and for the final film, a dance-a-long screening of Hairspray, dance lessons that will teach you to do The Madison. We’ll want you to go two up and two back with a big, strong turn. The brilliant artwork, above, by Manchester-based illustrator David Bailey, will also be available to buy as limited edition prints.

Even now, 42 years after the Dreamlanders made their first ripples in the puddle of public consciousness with the release of Pink Flamingos (our midnight show, of course!) they are THE SHIT. They were punks before there were punks (they died their hair with pen ink because colored dye was not commercially available back then.) They were openly queer before there was such a thing as queer culture (in fact, they were a huge part of defining what queer culture could and would be.) They were one of the only pockets of hippie-resistance outside of Warhol’s Factory, and their couldn’t-give-a-flying-fuck attitude is inspirational to this day. Cookie Meuller, Mink Stole, David Lochary, Mary Vivian Pierce, Pat Moran, Vincent Peranio, Divine and John Waters, we salute you. For 24 fucking hours.

The Facebook event page for Tranarchy’s 24 Hour John Waters Movie Marathon is here.

In sourcing the content for the movie marathon we’ve collected some interesting curios and documentaries about John Waters and the Drreamlanders. Thankfully, some of them have appeared on Dangerous Minds before, including the excellent Incredibly Strange Move Show with Jonathan Ross and the brilliant Divine Trash. But here’s a little curio I am happy to say has never been on this site before. It’s an appearance on Lifestyles Of The Rich And Famous, where he gives us a tour of his Baltimore home and its cavalcade of perversions: 

John Waters on Lifestyles Of The Rich And Famous:

Previously on Dangerous Minds:

You know, we’ve been posting about John Waters on DM almost since its very inception. There are just too many great posts about the man to list them all individually. So instead of singling them out, have a scroll through the John Waters-tag page.

Posted by Niall O'Conghaile | Leave a comment
‘Danach’: A film by Anna Österlund featuring music by Mikael Karlsson and Black Sun Productions
07:53 am



Talented film-maker and designer Anna Österlund’s latest short Danach is a collaboration with composer Mikael Karlsson and queer post-industrial collective Black Sun Productions. Österlund previously worked with Karlsson on the haunting, beautiful and disturbing film Breathing, and this time she has used his composition, which is the last track “Danach” on the final album release by Black Sun Productions, Phantasmata Domestica.

Black Sun Productions is a collective centered around “artivists” Massimo and Pierce, who for the past decade have performed as sound and visual artists and political activists under the name Anarcocks. Black Sun Productions have worked with Coil (Plastic Spider Thing), Lydia Lunch and H. R. Geiger. Massimo and Pierce met on the set of an underground porn film, and their work includes explicit elements of ritualized sex magick, chaos magick and elements of fetishism and sado-masochism. Phantasmata Domestica is the last ever release from this talented and uncompromising duo.

Now based in New York, Swedish composer Mikael Karlsson, who wrote the track “Danach” for Phantasmata Domestica, holds a masters degree in composition from the Aaron Copland School of Music and graduated Summa Cum Laude with departmental honors in June of 2005. He is a multi-award-winning composer, recognized as one of the most exciting and original working today. Karlsson has worked with Lydia Lunch, Mariam Wallentin, Kleerup, Lykke Li, Benoit-Swan Pouffe, Alexander Ekman, amongst many others.

Anna Österlund told Dangerous Minds about her latest film collaboration and the music which inspired it.

‘The album name is Phantasmata Domestica which means something like house ghost and Black Sun Productions call it “an epic and emotional tale about sorrow and loss.” The last track “Danach” is about the next day, the ceremonies are long since gone - the pity with them. Waking up, being forced to move on with your life. What hereafter? What now?

‘I got to interpret these words and the music freely and came up with this video during last week. We filmed for just a few hours, in the same forest and only a few hundred meters away from where I made Breathing.

‘I made the heavy wool coat that she’s wearing and added my grandmother’s old mourning veil to the costume. The house I built on top of an old record player, so I could rotate it and the wind comes from my blowdryer. I had a lot of fun making the film, it’s quite tricky to go through with ideas when you don’t have a budget or a crew to help out, but sometimes that gives birth to new ideas.’

Danach stars newcomer Maja Mintchev, who Anna spotted for the role in a department store in Malmö, and the film was released just last month in Europe.

Danach is a film by Anna Österlund in collaboration with Black Sun Productions and Mikael Karlsson.

Phantasmata Domestica by Black Sun Productions, featuring Mikael Karlsson, Massimo & Pierce, Lydia Lunch, Othon, Cory Smythe, Fung Chern Hwei, Sirius Quartet and Michael Bates is available here.

More on Anna Österlund at Ravishing Mad and Mikael Karlsson.

Previously on Dangerous Minds

‘Clara’: A film about joy, love and struggle by Anna Österlund

‘Breathing’: A haunting and eerie short film by Mikael Karlsson, Anna Österlund and Truls Bråhammar


Posted by Paul Gallagher | Leave a comment
Cabinet of Curiosities: Steven Arnold, greatest American artist you’ve probably never heard of?
06:06 pm




My angels
Please don’t take me for granted – I’m a rare
Freak of nature and now is the time to appreciate
What I am saying to the Earth
Love, Steven Arnold
September 10, 1990

I think it’s pretty obvious that I’m someone who lives for outsider art and culture, and like the other contributors to Dangerous Minds, it’s fun for me, as that kind of extreme “infomaniac,” to be able to marquee for our readers in some way the various weird things that I know about, stumble across acidentally or that gets submitted to us. A big part of the enjoyment also comes from seeing what everyone else comes up with—I get it at just about the same time that you do—and the most fun of all is when I get to discover something that’s totally unknown to me that perhaps I should have known about, but didn’t.

I’m usually pretty hard to stump, but it’s the best thing ever, as far as I’m concerned, when that does happen. Like with the work of Steven Arnold. Prior to March of this year, I’d never heard of him. For a straight guy, I actually happen to know quite a bit about 20th century queer underground art films (Warhol, Toshio Matsumoto’s Funeral Parade of Roses, John Waters, Jean Genet, Kenneth Anger, Thundercrack, Andy Milligan, Black Lizard Jack Smith’s Beautiful Creatures and Normal Love, the Kuchar Brothers, Pink Narcissus, etc.—it’s not all that long of a list). But Steven Arnold? Nope, doesn’t ring a bell.

Steven Arnold, who died in 1994, is one of the greatest—albeit, admittedly rather unfairly obscure—avant garde photographic geniuses America has ever produced. First I stumbled across his 1971 cult movie Luminous Procuress—a jaw-dropping surrealist film praised by both Salvador Dali and Andy Warhol—on Vimeo (I was researching something on The Cockettes) and then I was positively stunned by what I saw on display at the exhaustive website about his work, The Steven Arnold Archive, maintained by Stephanie Farago (a wonderful artist in her own right).

Here’s a slightly abridged version of Arnold’s bio from the site:

Steven Arnold (1943–1994) was a California-based multi-media artist, spiritualist, gender bender, and protegee of Salvador Dali. His work consisted of drawings, paintings, rock and film posters, makeup design, costume design, set design, photography and film.

Steven also played an instrumental role in giving The Cockettes, the famed psychedelic San Francisco drag troupe, their first chance to perform on stage in exchange for free tickets to his “Nocturnal Dream Show” – which was among the first-ever Midnight Movie showcases. This launched The Cockettes into underground fame.

Early in his career, Steven also nurtured a prolific creative relationship with pioneer of the wearable art movement Kaisik Wong which lasted until Kaisik’s death in 1989. Their work together included the production and design of a play titled Dragonfly, and several tableaux vivant photography collaborations. Throughout his life, Steven’s eccentric modes of expression led him to the upper-crust of both coasts, including encounters, in some cases lifelong friendships, with the likes of Vogue’s Diana Vreeland, actress Ellen Burstyn, psychedelic explorer Timothy Leary, Jay Leno, The Cars, George Harrison, Blondie‘s Debbie Harry, Divine, and Warhol Superstar Holly Woodlawn.

Among Steven’s most notable early works is a rarely-seen film gem titled Luminous Procuress, starring Pandora and featuring The Cockettes, which was lauded by Salvador Dali, and Andy Warhol, among others. In fact, Dali was so impressed with the film, that he invited Steven, Pandora (Steven’s muse, and the film’s star), Kaisik Wong, and their entourage to help him open his Dali Theater-Museum in Figueres, Spain. Luminous Procuress was edited and scored by electronic music forefather Warner Jepson. The film continues to be screened worldwide, including showings at the Tate Modern, London, and CPH:DOX, Denmark. Steven’s films have been recently featured Museum of the Moving Image, the Tate Modern, London, and the List Visual Art Center Film Night at MIT.

Although his early film work garnered him much attention, Steven was best known for his exquisite, surreal, black & white tableau vivant photography produced from the old pretzel factory he called Zanzibar Studios in Los Angeles. His photography has been exhibited at the Tate Modern, London; the Centre Georges Pompidou, Paris; and the Museum of Contemporary Art, Los Angeles; among others. Steven Arnold’s works are in the collections of the Whitney Museum of American Art, New York; Frankfurter Kunstverein, Frankfurt, Germany; the Museum of Modern Art (MoMA), New York; Cinematheque Francaise, Paris, France; the San Francisco Museum of Modern Art (SF MoMA); the Oakland Museum of California; and the Cincinnati Art Museum. His works are in the private collections of: Mikhail Baryshnikov, Ellen Burstyn, Cher, Salvador Dali, Goldie Hawn, Yves St. Laurent, Diana Vreeland, and many others. Steven published three books of photography during his lifetime: Reliquaries, with a foreword by Ellen Burstyn, Epiphanies, with afterword by James Leo Herlihy, and Angels of Night. Steven Arnold Stemmle Edition, a photographic retrospective, was published posthumously.


Steven Arnold’s work exists at a delicate intersection of Luis Buñuel, Ken Anger,The Rocky Horror Picture Show, 50’s Hollywood glamour photography, Pink Narcissus, Joel-Peter Witkin and Jack Smith. I’ve never seen anything else even remotely like it, although I can also see an influence Arnold’s work might have had on Rocky Schenk’s wonderfully artsy portraits and the highly-styled portraiture landscapes of Josef Astor.

Steven Arnold, in his own words:

“I interview myself all day long – Doesn’t everyone? Rant and rave about bliss, the creative process angels listening to higher message-appreciation of one’s gifts. The best way to elevate consciousness is to do the work with love. Love is sharing the message.”



“Art is revolution or it’s nothing.”


For more information on the life and work of Steven Arnold, visit The Steven Arnold Archive. I recommend downloading the PDF file of the proposed coffee table book on Arnold which you can find here.

A new exhibit, Steven Arnold: Cabinet of Curiosities, a retrospective of this groundbreaking yet under-recognized queer artist will be on display through January 12, 2013 at the ONE National Gay & Lesbian Archives, 626 North Robertson Boulevard in West Hollywood. The exhibition celebrates Arnold’s radical imagination, presenting many of his tableaux vivant photographs alongside never before exhibited drawings, sketchbooks, paintings and original poster art. In conjunction with the exhibition, ONE will screen Arnold’s four films, including Luminous Procuress on the exhibit’s closing day, Saturday, January 12, 2013

Below, Luminous Procuress (you can purchase all of Arnold’s films on DVD and support The Steven Arnold Archive):

Arnold’s 1967 short, The Liberation of Mannique Mechanique:

Posted by Richard Metzger | Leave a comment
The curious case of the drag queen holiday cruise where drag is NOT acceptable
02:23 pm

Current Events


What the hell is this bullshit?!

If you’re a fan of drag or a follower of RuPaul’s Drag Race on Logo TV, then you’re probably aware of the Drag Stars at Sea Cruise organized by the show with Carnival Cruise Lines, and featuring many of the queens who have appeared over the past seasons.

Sounds like a fun time, right? Pay money to go on a luxury cruise, get to meet and hang out with your favorite drag queens, all in what is presumably a “safe space” for drag fans, fancy dressers, gender-benders and many on the queer spectrum.

Only it hasn’t quite worked out that way.

Carnival Cruise Lines have just issued a “statement” (read: warning) that public displays of drag are not going to be tolerated on the ship, and could cost anyone who offends their conservative sensibility to be kicked off the cruise with no refund. Nice!

The statement has been leaked to the public over the last few hours thanks to queens like Pandora Boxx and Alaska Thunderfvck. Here iit is:


In order to ensure a fun and memorable time for everyone, we want to take a few moments to make you aware of certain policies and conduct expectations so as to avoid any potential disappointment during your cruise.

Carnival attracts a number of families with children, and for this reason; we strive to present a family friendly atmosphere. It is important to us that all guests are comfortable with every aspect of the cruise. Although we realize this group consists solely of adults, we nonetheless expect all guests to recognize that minors are on board and, refrain from engaging in inappropriate conduct in public areas.

Arrangements have been made for drag performance in the main theater featuring stars form Logo TV. These functions will be private and only the performers are permitted to dress in drag while in the theater. Guests are not allowed to dress in drag for the performance or in public at any time during the cruise.

It seems the company has not got its priorities in order. Why book a “drag” cruise, only then to tell passengers that dressing in drag, even inside the performance auditorium, is not acceptable? At the risk of offending minors? What does this really say about the company’s attitude to men in women’s clothing?

Sounds awfully like discrimination to me, not to mention that the line “all guests are comfortable with every aspect of the cruise” is an outright lie, if the company are willing to ban ALL forms of drag by passengers on a bloody DRAG RACE AT SEA CRUISE.

Pandora Boxx says this, via her Facebook page:

I was so excited to be a part of the Drag Stars at Sea Cruise and to meet so many of you in person and enjoy our time at sea together. It is so disheartening to myself and I know you too, to receive an email from Carnival Cruise Lines only a few days before that is, well, you can read it and decide for yourself. I, personally say let your freak flag fly. We should never be told how to dress, how to act and certainly ever be told not to be ourselves. Just know that we will still enjoy ourselves and party, even if it’s like 1920.

There’s more at NewNowNext. We’ll see how this pans out, but already it’s looking really bad for the company.

Posted by Niall O'Conghaile | Leave a comment
Page 25 of 50 ‹ First  < 23 24 25 26 27 >  Last ›