The Zygons’ cellulite Hell. The Cyber-shock secret—Botox! Vajazzle the Alien way. And the shame of Doctor, who? Are the headlines to a supermarket tabloid version of Doctor Who Magazine, as imagined by the talented Red Scharlach, who writes:
To commemorate the supposedly surprise-filled season finale of Doctor Who, I thought I’d give Doctor Who Magazine a scandalmongering makeover. But I can’t decide whether I’d like to read this version or would simply be too scared to open the cover
I’d certainly be more happy to read Red Sharlach‘s wonderfully made-over mag than watch the increasingly smug and irrelevant TV series.
Dennis Hopper plays a George Lincoln Rockwell-like neo-Nazi in this creepy 1963 episode of The Twilight Zone.
Written by Rod Serling and directed by Stuart Rosenberg (Cool Hand Luke), “He’s Alive” is Serling at his preachiest but it’s a message that when it aired in January of 1963 was particularly relevant. At the time, The American Nazi Party and its psycho leader George Lincoln Rockwell were getting International attention. The roots of the White Power movement were beginning to take root and plenty of people were both repelled and drawn to Rockwell and his goose-stepping racist followers.
Hopper’s jittery intensity suits the role perfectly.
Francis Bacon indulged the myths about his life. All those tales of Bacchanalia were always far more preferable to the hushed reality of his rising at 6am and working till early afternoon, while his drinking buddies slept-off hang-overs in the watery, morning light. Bacon was no slacker, but he tended to hide his industry and discipline behind endless tales of excess. As for the drinking, well, I have been told that often while out boozing Bacon would pay a visit to the gents, where he would tip the contents of his glass down a sink. Bacon preferred to watch others disintegrate, rather than fall apart himself.
That’s not to say he wasn’t reckless, no, Bacon was often in debt to casinos, and painted pictures to pay off his losses. His studies of Vincent Van Gogh in the late 1950s, were rushed out to help pay his massive gambling debts. The canvases were still wet when first exhibited, and it was claimed by Bacon’s friend and biographer, Dan Farson, that at the exhibition’s preview, as the drink flowed and the legs stumbled, some became so drunk that they leant against the canvases and left with fresh Bacon’s imprinted on the back’s of their jackets.
It’s worth pointing out that most of Bacon’s canvases are exhibited behind glass, though this may have only started after he joined the Marlborough Gallery in the 1960s. Whether true or not, it’s the kind of tale Bacon would have enjoyed. Yet, Bacon was incredibly serious about his art, which can be seen from this documentary Francis Bacon: Fragments of a Portrait, from 1966, which gives an excellent insight into Bacon’s working processes, obsessions and influences, as discussed by the artist with writer and critic, David Sylvester.
This surreal lost Dragnet episode was made by Frank Conniff of Mystery Science Theater and former Mr Show and Chris Rock Show writer Mike Upchurch as a presentation pilot for Adult Swim. They’ve digitally inserted popular alt-comedians into the 1967 cop show Dragnet, and turned it into a story about bad cops trying to eradicate a powerful strain of medical marijuana. It’s technically stunning, exceeding Forrest Gump and Dead Men Don’t Wear Plaid in both ambition and outcome, while being produced in a living room for only $200.00. (NSFW due to language.)
As another series of RuPaul’s Drag Race draws to a close (with its highest viewers yet), RuPaul’s position as a titan of queer culture is cemented.
It can’t be easy being the best known drag queen in the world, and fans of Drag Race will be familiar, by now, with Ru’s very Zen way of handling the spotlight, as well as handling other people.
Which is why this candid interview with Joan Rivers is so very refreshing. Ru really spills the T, from his often-overlooked background as a punk rocker and a go-go dancer, to his long term relationship and its “open” status, his mother (who sounds great!), his make-up tips, and his musings on gay culture and its relationship with the mainstream, which makes for some of the most interesting, and insightful, conversation here. You also get to find out RuPaul’s real name, which may come as a bit of a surprise if you don’t already know.
Of course, Joan Rivers is no minnow in the sea of gay culture herself, so it shouldn’t be surprising that when these too get together it’s a real treat. Both are fountains of knowledge, both queer and straight, and to see them kiki with so much mutual admiration is great. There’s simply no way they couldn’t be fans of each others’ work, which probably explains the openness and ease of this interview.
RuPaul in bed with Joan Rivers really is worth a watch:
For a generation of gay British actors and performers, camp comedy was a way to promote queer culture, through media of television and radio, into the nation’s living rooms.
Up until homosexuality was decriminalized by an act of Parliament in 1967, being gay or, admitting to homosexual acts, was a crime punishable by imprisonment or chemical castration. The latter was used as sentence on the code-breaking genius and computer pioneer, Alan Turing—which gives an idea of the brutality and bigotry of Britain pre-1967.
For me, each of these men were revolutionary, and together with writers like Eric Sykes, Galton and Simpson, Marty Feldman and Barry Took, they were able to subtly change the public’s attitudes to sex and sexuality.
In her Notes on ‘Camp’, Susan Sontag describes camp as a means for promoting integration:
...Camp proposes a comic vision of the world. But not a bitter or polemical comedy. If tragedy is an experience of hyperinvolvement, comedy is an experience of underinvolvement, of detachment.
...The reason for the flourishing of the aristocratic posture among homosexuals also seems to parallel the Jewish case. For every sensibility is self-serving to the group that promotes it. Jewish liberalism is a gesture of self-legitimization. So is Camp taste, which definitely has something propagandistic about it. Needless to say, the propaganda operates in exactly the opposite direction. The Jews pinned their hopes for integrating into modern society on promoting the moral sense. Homosexuals have pinned their integration into society on promoting the aesthetic sense. Camp is a solvent of morality. It neutralizes moral indignation, sponsors playfulness.
Camp may have been a weapon for education and change, but it wasn’t the sole preserve of gay men. Comedians such as Dick Emery, presenters like Bruce Forsyth, actresses like the Late Wendy Richard and Lesley Joseph, and most importantly writers (in particular Marty Feldman and Barry Took, who created the inimitable Julian and Sandy for Round the Horne) helped promote camp comics as innuendo-laden revolutionaries.
What A Performance is a wonderful romp through the lives and careers of some of Britain’s best known and best loved Kings of Camp: Kenneth Williams, Frankie Howard, Larry Grayson, John Inman, Julian Clary, Lilly Savage and Kenny Everett. The documentary contains contributions from Matthew Kelly, Lesley Joseph, Clive James, Harry Enfield, Chris Tarrant, Jonathon Ross, Barry Took, Wendy Richard and Cleo Rocos.
Tom Waits, wedding singer, on America 2-Night in 1978. Waits croons “Better Off Without A Wife” after a snarkily funny intro by Barth Gimbel (Martin Mull):
“I think there’s no better way to really make a tribute to these people than through music. And fortunately we have a very special guest with us… Mr. Tom Waits! And when he plays and sings, it’s almost like music.”
Waits had appeared the previous year on Fernwood Tonight before the show moved to Alta Coma, California (“the unfinished furniture capital of the world”) and changed its name.
While Waits’ appearance on Fernwood Tonight from 1976 has been viewable on Youtube for awhile, this America 2-Night clip is a bit of a rarity.
“I get a little choked up on occasions like this. Actually the closest I have ever been to a marriage is… I was the best man at a friend of mine’s divorce.”
Rock and Roll taught John Waters how to annoy his parents, but it was the nuns from his local church, who inadvertently encouraged his interest in cheap, exploitation films:
‘The first thing I can remember rebelling about really, was when I was about 8-years-old and every Sunday we’d go to church. Once a year they’d read us this pledge that we had to take for the Legion of Decency, which was the Catholic Church rating the movies—what you could see and what you couldn’t—and the condemned ones were the ones they’d tell us you’d go to Hell if you saw these movies.
Well, I remember refusing to do this pledge and my mother was kind of shocked, but I was just a child, and she didn’t make a big deal out of it. And on Sundays, the nuns would read us this list, with this voice like the Devil, and you know, seeing this nun stand there saying, “Love Is My Profession, Mom and Dad, The Naked Night.” I thought “What are these movies?” I’d never heard of them—they didn’t play at my neighborhood, believe me—but I would go and see them, or read about them, and clip the little list and keep a record of all these condemned movies. The Mom and Dad poster is hanging right in my hall—it’s still that much of an influence. But it made me want to see these movies I’d never, ever heard of. So, in fact they encouraged me, [the nuns] encouraged my interest, without ever knowing it completely.’
Growing Up With John Waters is a fabulous Channel 4 documentary from 1993, where the notorious director of Pink Flamingos, Multiple Maniacs, Female Trouble and Hairspray talks about the childhood events that shaped his life.
The Gentleman of Horror, Boris Karloff is the focus of this episode of This Is Your Life from 1957.
Few actors have such long and successful careers as had “Karloff the Uncanny”; or have thrilled so many different and disparate people across the world with his performances as “The Monster” from Frankenstein, Imhotep in The Mummy, Professor Morlant in The Ghoul, all the way up to TV series, The Grinch Who Stole Christmas, Michael Reeves’ The Sorcereors and Peter Bogdanovich‘s Targets.