FOLLOW US ON:
GET THE NEWSLETTER
CONTACT US
Debutantes, drag queens & Vaseline: The epic ‘Coming Out Party for Miss Alice Cooper,’ 1971
07.29.2020
03:50 pm
Topics:
Tags:


An alternate image for Alice Cooper’s album ‘Killer.’ This image was also used for a calendar that came along with the record.
 
In the May 6th, 1972 issue of Billboard, there’s an amusing story about how a controversial poster of Alice Cooper (pictured above) ended up plastered on a “staff only” door in the White House during Richard Nixon’s administration. Allegedly, someone at Warner Bros., Cooper’s label at the time, had a pal (described as a “semi-longhaired fellow”) who worked at the White House. The W.H. staffer’s rocker friend would send him care packages full of records and other Warner-related stuff including a poster of Alice Cooper hanging from a noose covered in fake blood. The image was an alternate for Cooper’s 1971 album Killer and also appeared on a nifty Alice Cooper calendar for 1972, included in the record. The staffer then took the poster and stuck it on a door at the end of a “staff only” corridor in the W.H., presumably until it was discovered and burned by one of Tricky Dick’s dicks.

Did this really happen? One can only hope, as Bob Regehr, one of Warner’s greatest assets in the 70s and 80s, was Cooper’s champion and likely had everything to do with the circulation of this fantastic piece of folklore. Regehr was instrumental in signing acts like Roxy Music, the Sex Pistols, and Laurie Anderson. Back in the day, Cooper had Regehr in the first spot in his Rolodex, and for their next act to keep Killer on everyone’s mind, they devised a plan to throw an elaborate party in Cooper’s honor. And when I say “elaborate,” I really mean “deranged,” which makes more sense since this was 1971 and Alice Cooper was involved.

But before we get to the party to end all parties, there’s a little twist as to why the party was dubbed “The Coming Out Party for Miss Alice Cooper.” According to another Warner executive, Stan Cornyn, he was part of a conversation about Killer with Joel Friedman, Warner’s head of distribution for the U.S., and Regehr, who was heading up Warner’s Artist Relations. When Cornyn heard Friedman say, “Alice Cooper! Her record is doing great!” he and Regehr dreamed up the idea of Cooper “coming out” to the world during a star-studded, debaucherous party. And that’s precisely what happened—because it ain’t a real party until the gorilla suit rented for the occasion goes missing during the festivities, never to be seen again.

Held at The Ambassador Hotel, the hotel staff did not know any of the details behind the “coming out” party to be held in their Venetian ballroom. Here’s the wording on the invitation:

“You and a guest are cordially invited to attend the summer season debut of Alice Cooper, to be held at the Venetian Room, Ambassador Hotel, 3400 Wilshire Blvd., Los Angeles, the evening of Wednesday, July 14th, 8:30 PM to midnight. Formal dress or equivalent costume is requested, but hardly mandatory.”

The details of the party were left to Dennis Lopez who had plenty of experience throwing unforgettable bashes all over San Francisco for legendary drag troupe The Cockettes. Cooper was known to spend time with the Cockettes whenever he came through S.F., as Cooper dug their “gender fuck” vibe, and likewise, the Cockettes dug Cooper’s over-the-top showmanship. Advertised as a “formal dress” kind of ball, many guests did arrive dressed to the nines. Inside the Venetian Room, an orchestra was in full swing. After guests were greeted by a Cockette dressed in a gorilla suit, more Cockettes (many with beards, beaded gowns, and headdresses) threw red roses as approximately 500 party goers entered, including Randy Newman, various Beach Boys, Gordon Lightfoot, Donovan, and Cynthia Plaster Caster. Because it’s not a fucking party until someone sticks their dick in a plaster mold. Other members of the Cockettes were dressed as cigarette girls offering up cigars, cigarettes, and Vaseline. In addition to the orchestra, Elsie May, aka T.V. Mama (a former backup singer for James Brown), and her “stoned-freak out soul band” ran through a few numbers before T.V. Mama (a lady of “ample” proportions) stripped down to her undies and performed topless. But what about the guest of honor, Alice Cooper?

Continues after the jump…

READ ON
Posted by Cherrybomb
|
07.29.2020
03:50 pm
|
Acid Drag & Sexual Anarchy: Fifty years ago The Cockettes turned drag upside down


A photo taken by Clay Geerdes of author and Cockette Fayette Hauser wearing a homemade grass skirt ensemble.

The catastrophic effect of the worldwide COVID-19 pandemic has hit anyone working in the gig economy incredibly hard. Book tours over the years have become big business for authors and independent bookstores hosting author events in support of newly released literature. Many authors, set to embark on Spring/Summer book tours, have had to scrap their plans, with some publishers even holding back on releasing their books. Thankfully, this was not the path chosen by drag trailblazer Fayette Hauser, she of the pioneering gender-bending performance troupe The Cockettes. It is my great privilege to be able to share a bit about her glittery, LSD-drenched book, The Cockettes: Acid Drag & Sexual Anarchy—a magnificent 352-page volume detailing the three-years the Cockettes conquered San Francisco and turned the drag community on its magnificently wigged head.

As Hauser recounts in the book, she was “rendered speechless” by a hit of strong acid at a party and soon found herself sitting on the floor only able to sit upright with help from the wall behind her. During this voyage, Hauser became acutely aware of the individuality of the people surrounding her to the point where she was not able to recognize their gender or her own. The year was 1968, and the Summer of Love had led masses of people to detach themselves from modern conformity, liberating their ability to express themselves freely. Eventually, The Cockettes would pave the way for others, whether gay, straight, bisexual, or pansexual, with their provocative performances and their communal way of life by living by the term “Gender Fuck.” And if you’re wondering what exactly is “Gender Fuck,” it made sense to go directly to the source, Hauser herself, to help define this very direct description of a person not identifying as exclusively male or female:

“The term Gender Fuck emerged as many of our descriptive phrases did, in an Acid flash! This term, gender fuck, became a way of describing our look, which was highly personalized, very conceptual, and without gender boundaries. We wanted to mystify the public so that the onlooker would declare, ‘What Is that? Is that a boy or a girl?’ We wanted to open people’s minds to the terrain between the tired gender binary models, which were much too mentally binding and boring as well. We unleashed that open space in between. We explored the fluid nature of the Self, which led to the term Gender Fluid. I think we succeeded in opening that Pandora’s Box of multi-dimensional, organic self-expression through body decor.”

In 1968, after graduating with a BFA in painting from Boston University, Hauser, a New Jersey native, moved out to San Francisco. Soon she would form a collective with like-minded, free-spirited people, and the Cockettes would officially begin their reign in 1969—specifically on the stage of the Palace Theater in North Beach on New Year’s Eve. The ever-growing troupe would first communally inhabit a grand Victorian-style home on 2788 Bush Street and then, after a fire rendered the home uninhabitable, a building on Haight—one of San Francisco’s most notorious streets. There was also a home known as The Chateau on 1965 Oak Street, where members of The Cockettes spent their time devising their next performance, creating costumes and personas, and tripping on LSD. The Cockettes took so much acid that they would often become non-verbal. This would lead to other forms of communication by way of personal adornment using makeup, clothing, and anything else that would convey the silent message emanating by the troupes’ diverse members, including 22-year-old Los Angeles native Sylvester James Jr., soon to become R&B disco queen Sylvester. Before his short stint with The Cockettes, Sylvester was a part of a group called The Disquotays—a performance collective comprised of black crossdressers and transgender women.
 

Sylvester during his short time with The Cockettes. Photo by Clay Geerdes. Unless otherwise noted, all photos provided to Dangerous Minds are for exclusive use.
 
The Cockettes’ performances were the be-there affair for all the counterculture chicks, dicks, and everyone in between. When director John Waters touched down in San Francisco to show off his 1969 film Mondo Trasho, the screening landed the director in jail for conspiracy to commit indecent exposure. The film made its debut at the Palace Theater where The Cockettes performed their knock-out drag shows on the regular. At the time, Waters was not aware of The Cockettes, but that would quickly change for the director as Divine would end up performing with the Cockettes as “Lady Divine”—one of the first times would be in the first annual Miss de Meanor Beauty Pageant at the Palace, where Divine played the pageant host, Miss de Meanor. In addition to confessing to the Tate/LaBianca murders, Divine would lead the other participants in the show (Miss Conception, Miss Shapen, Miss Used, and Miss Carriage) in a tournament to the death, where the queens had to fight with their fists for the coveted crown.

Divine would go on to win the ‘The Miss de Meanor Beauty Pageant’ in 1971. The following year, during The Cockettes’ last official show (another ‘Miss de Meanor Beauty Pageant’) at the House of Good, John Waters wrote a speech for her to read onstage, described by Cockette Scrumbly as “brilliant”. As the idea of Divine reading a speech written by John Waters is everything, I asked the director if he was willing to share any memory he had of this drag-tastic moment, and he very kindly responded with the following:

“To be honest, I’m not sure a written copy of that speech even exists in my film archive at Wesleyan Archive, and if it did, it would be word-slash-words that only I could understand. I do remember it was punk-ish (before the word) in a hippy venue that was bizarrely the Peoples Temple church, that was rented for the occasion after Jim Jones and gang had moved out. Divine ranted about following hippies home, eating sugar and killing their pets, or some such lunacy. I do still have the poster hanging in my SF apartment. I’m glad Scrumbly remembered it because I always did too. Quite a night in San Francisco.”

 

A flier advertising The Cockettes’ last show featuring Lady Divine.
 
The Cockettes intermingled with, as you might imagine, lots of famous people who were intrigued by the troupes’ anything-goes take on drag and life. Author Truman Capote called the Cockettes shows “the only true theater.” Alice Cooper, who once jumped out of a cake surrounded by The Cockettes for a PR stunt dubbed “The Coming Out Party for Miss Alice Cooper,” was a frequent guest at the Haight-Ashbury house. And then there was Iggy Pop. When Iggy and The Stooges were recording Fun House in 1970, the then 23-year-old Iggy would start each studio session by dropping a tab of acid (as noted in the book Open Up and Bleed). The band decided to take a break and head to San Francisco for a weekend, playing a couple of shows at the Fillmore with Alice Cooper and Flamin’ Groovies. The first show on May 15th was attended by most of The Cockettes, who bore witness to Iggy on stage clad in the tightest jeans possible and long silver lamé gloves. Iggy was already a sweetheart of the gay community, and as Cockette Rumi Missabu recalls, Iggy distinctly gave them the impression he was “playing just for them.” Following the show, Iggy would become a regular guest of The Cockettes.

In the 2002 film, The Cockettes, Cockette Sweet Pam confessed that the collective “almost brushed their teeth with LSD,” to which Fayette would add, “contributed to the emphasis of flashy costumes.” Although the use of acid was the norm for the Cockettes, their art, sexual autonomy, and fierce expressions of individuality all contributed to the creation of High Drag. And, thankfully, the world would never be the same.

 

Cockette Wally in full regalia. Photo by Clay Geerdes.
 

Cockette John Rothermel Photo by Clay Geerdes.
 

Cockettes’ Dusty Dawn and Wally in pearls. Photo by Clay Geerdes.
 
Much more after the jump…

READ ON
Posted by Cherrybomb
|
05.11.2020
12:06 pm
|
Tricia Nixon’s wedding travestied by the Cockettes, 1971


via IMDb
 
Tricia’s Wedding, a 33-minute dramatization of the solemn rite that joined Patricia Nixon and Edward Cox in holy matrimony, was the first movie the Cockettes made. Per Kenneth Turan, it premiered at the Palace Theater in the North Beach neighborhood of San Francisco on the very day of the happy event, June 12, 1971. Not only is the Cockettes’ movie much livelier than the televised ceremony, it includes the all-too-brief screen debut of Tomata du Plenty, some five years before he formed the Screamers in Los Angeles.

Incredibly, the Cockettes’ movie was screened in the Nixon White House. In Blind Ambition, John Dean mentions watching it in the president’s bomb shelter underneath the East Wing, John Ehrlichman’s favorite spot for “monitoring” protests. There, Dean saw Tricia’s Wedding on the orders of H.R. “Bob” Haldeman:

I knew I wouldn’t use the shelter for monitoring demonstrations, although Haldeman had told me that that would be one of my responsibilities. The only time I ever returned there was for a secret screening of Tricia’s Wedding, a pornographic movie portraying Tricia Nixon’s wedding to Edward Cox, in drag. Haldeman wanted the movie killed, so a very small group of White House officials watched the cavorting transvestites in order to weigh the case for suppression. Official action proved unnecessary; the film died a natural death.

Continues after the jump…

READ ON
Posted by Oliver Hall
|
05.10.2018
08:28 am
|
Tinsel Tarts in a Hot Coma: The Cockettes crash and burn in New York City, 1971
12.17.2015
03:20 pm
Topics:
Tags:


 
The Cockettes are a well-established part of post-Stonewall queer history as well as of the history of the San Francisco counterculture. By embracing their inner freaks, Hibiscus (a.k.a. George Harris) and his squad of burly, bearded, campy hippie drag queens were a de facto extension of Ken Kesey’s Merry Pranksters as well as perhaps a West Coast version of the scene that was coalescing around John Waters in Baltimore—little wonder that it didn’t take long for Divine and the Cockettes to appear on the same stages.

The narrative of a cult underground sensation blossoming into beloved crossover darlings actually never happened for the Cockettes—that narrative arc was interrupted by a disastrous month or so when they took their act from their native San Francisco to New York City, the place where all real sensations were (and to some extent still are) validated for widespread hipness and national cultural consumption. New York was dazzled and enthralled by the Cockettes for a week or two that happened to coincide with Halloween, but when they took their underground shtick to the cavernous confines of the Anderson Theater on Second Avenue between 3rd and 4th Streets, the allure, for the glitzy audience jammed with celebrities, burst like a soap bubble.

Getting information about the Cockettes’ catastrophic visit to New York isn’t the easiest thing in the world, but we are lucky to have access to one unparalleled contemporaneous source, a long analysis of the Cockettes’ trip by Maureen Orth that appeared in the November 25, 1971, issue of the Village Voice. (That lengthy article is available for you to read at the bottom of this post and is HIGHLY recommended for a fuller understanding of what happened to the Cockettes that week.) Unlike most of the disappointed reviewers who panned the Cockettes, Orth knew the troupe personally; she even traveled with them from San Francisco on a plane ride that must rank as one of the most bizarre in history, so she was in a position to see the disaster unfold with an unusually objective perspective, understanding the reasons that led to the letdown with some comprehension of both the seedy Bay Area values and the glitzier New York City logic. “Performance for the Cockettes is mostly an excuse to live a freaky life style,” Orth wrote, noting that the Cockettes, like the true freaks they were, were mostly broke-ass hairdressers or retail workers, unlike most of the better-heeled glitterati in New York City.

The Anderson was a strange venue for an act like the Cockettes. It was not a hip venue: In the 1950s it had been used as a Spanish-language theater, and in the 1960s its main programming was Yiddish-language fare. Hipper days were to come: In 1977 CBGB took it over and renamed it CBGB’s 2nd Avenue Theater, booking Talking Heads and Patti Smith, among others, but the experiment didn’t take: by 1979 it was no longer in use.
 

Difficult to make out, but the marquee reads, “The Cockettes and Sylvester, Opens Nov 7”
 
From 1969 to 1971, the Cockettes made a name for themselves with their ridiculous and campy shows, mostly held in a Chinese restaurant on Washington Square in North Beach called the Pagoda Palace Theater. The shows usually took place at midnight, which meant there was often an awkward encounter as patrons of the restaurant left, as throngs of drag queens collected on the sidewalk to begin their entertainment for the evening. Rex Reed and Truman Capote both saw the Cockettes in San Francisco, and both gushed about it—the imprimatur of two unchallenged camp authorities as Reed and Capote primed the pump for the disappointments to come.

A “San Francisco rock lawyer” by the name of Harry Zerler—he worked for Columbia Records but he had never produced a show before—sought to bring the Cockettes to New York, but he was likely a little bit in over his head; it might have been better if the Cockettes had used someone with more experience. But this point is inseparable from the basic problem of the Cockettes not fully understanding what they were getting into. Essentially, Zerler was seeking to parlay a shocking cross-dressing act into an overnight sensation based on two useful quotations from Capote (“This is the most outrageous thing I’ve ever seen”) and Reed (“Will the Cockettes replace rock concerts in the ‘70s?”) that were well-nigh made to appear in a newspaper ad.

It was some trouble finding a venue, but eventually The Cockettes were scheduled to kick off a run in New York City at the Anderson Theater in early November. Travel and lodging was expensive, given that the entire group numbered 45, including Sylvester plus entourage—Orth estimates Zerler’s outlay for the escapade at $40,000. When they landed at JFK, they actually didn’t know where they were going to stay in New York. There had been a rumor that they were going to have to sleep in cots in the basement of a house in Connecticut, but they ended up at the Hotel Albert on 23 East 10th Street; its reputation as a “rock and roll fleabag” probably makes staying there sound more fun than it actually was—as Orth observed, “On a good day the hallways smell somewhere between old socks and vomit.”

The story of the Cockettes’ time in New York City conforms satisfyingly to a rise and fall narrative. The Cockettes hit New York during Halloween season, and opening night was November 7. The show selected for opening night was a Cockettes standby called “Tinsel Tarts in a Hot Coma.” For the whole period leading up to the premiere, the Cockettes were the toast of the town. Orth writes: “During the week before opening I must have gone to 27 parties with the Cockettes, on the East Side, on the West Side, in the Village, in penthouses, lofts, museums, and basements, gotten a total of 15 hours of sleep, met two thirds of the freaks of New York, and began to suspect that all of Manhattan was gay.” In the aftermath of the opening night debacle, this series of parties, and the lack of rehearsal it implied, would loom large as a possible reason for the disappointing outcome. They somehow got access to Marlene Dietrich’s silver limousine to get around, but when they couldn’t use that, the “taxi drivers usually turned off their meters.” They hung out with Robert Rauschenberg and some of Warhol’s Factory hangers-on, and attended a SCREW magazine anniversary party.
 

Hibiscus

To say that New York was excited about the Cockettes is putting it mildly. Promoter Danny Fields was quoted as saying, “I haven’t seen such enthusiasm from the press since the Rolling Stones’ tour of the U.S. in 1969.” Opening night had sold out and the impossibility of securing a ticket became the talk of the town. The signs of impending disaster were there for those who cared to see it. The Cockettes, never very professional in the first place, were overtired and scattered from all the partying. The Cockettes had “barely rehearsed” and the sound system at the Anderson had not been installed until the very last minute.

So it was that an act that had made its name with trashy, scarcely rehearsed, low-rent, free-form parodies of decades-old cinema classics like Footlight Parade, Phantom of the Opera, and Busby Berkeley movies took to the stage of the Anderson Theater on November 7, 1971, in front of a sophisticated NYC audience bearing the highest expectations: “The Anderson was jammed. Hundreds of fashionables pushed and shoved their way through the one open door.” Orth supplies a partial list of the notable people present, as follows:
 

The [Women’s Wear Daily] photographer was beside himself. How could he shoot Gore Vidal, Allen Ginsberg, Angela Lansbury, Alexis Smith, Robert Rauschenberg, Rex Reed, Peggy Cass, Diana Vreeland, Nan Kemper, Clive Barnes, Sylvia Miles, Kay Thompson, Bobby Short, Elaine, Bill Blass, Estevez, Tony Perkins, Dan Greenburg, Nora Ephron, Mrs Sam Spiegel, Jerry Jorgensen, Ultra Violet, Candy Darling, Taylor Mead, Gerard Malanga, John Chamberlain, Cyrinda Fox, Holly Woodlawn, Jackie Curtis, the entire cast of “Jesus Christ Superstar,” the President of Gay Lib, a dozen Vogue editors, two real princesses, and the night clerk at the Hotel Albert?


 
The stage of the Anderson was far too big, which had the effect of unnecessarily diminishing the Cockettes’ threadbare stage sets. More to the point, devilish and campy goings-on undertaken by a bunch of down-and-out drag queens in an out-of-the-way San Francisco Chinese restaurant at midnight played very differently when placed under the bright lights of a New York theater.

The critical reception was harsh and unequivocal. Gore Vidal said, “Having no talent is not enough,” while Women’s Wear Daily simply pronounced it “dreadful.” The great Australian rock critic Lillian Roxon was one of the only figures to defend the Cockettes, in the pages of the Daily News, shrewdly noting that the troupe was fifteen years ahead of its time. That judgment may well have been correct.

Continues after the jump…

READ ON
Posted by Martin Schneider
|
12.17.2015
03:20 pm
|
Fantastic posters for the Cockettes, Divine, Sylvester by Todd Trexler
06.04.2014
01:09 pm
Topics:
Tags:

Trexler
 
In San Francisco in the 1970s, Todd Trexler was one of the most prolific and sought-after poster artists for the city’s predictably amazing drag scene. He generated many posters for the Nocturnal Dream Shows and midnight movie screenings at the Palace Theater on 1741 Powell Street (it was also called the Pagoda later on). His attention-grabbing yet stately posters captured and perhaps helped define the distinct aesthetic of San Francisco’s drag happenings. The contrast of art deco filigrees to big personalities like Divine and the Cockettes is very effective.

Sadly, Trexler passed away in February of this year, at the age of 70. His essential posters can be seen in an exhibition that opens this week at Magnet (4122 18th Street) in the Castro district. Some of the items have not been on display in 40 years.

As an art student in 1968, Trexler began making posters, many of them hand-drawn. He was close with Sebastian (or, as he was also known, Milton Miron), a key member of the Cockettes. Todd continued to do work for them for a number of years in the 70s, before moving to Monterey to attend nursing school in 1979.

Here’s Trexler on the “Divine Saves the World” poster shown above:
 

I absolutely adored working with Glenn on the few occasions that I did! The day that we planned to take photos for the VICE PALACE poster I’ll never forget. Glenn and I sat in the back seat of a car with Sebastian in the front. We drove around San Francisco looking for a place to use as a backdrop. We ended up at the Palace of Fine Arts and decided it was perfect! Glenn was in makeup, bib-overalls with the sides split to make them large enough. He had tossed a couple of 50’s net prom dresses in the trunk of the car. He slipped into a pair of open-toed backless mules and wrapped the prom dresses around himself and instantly became DIVINE! I took the photo and that poster is an all- time favorite of my poster career.

 
Todd Trexler
 
Todd Trexler
 
Todd Trexler
 
Todd Trexler
 
Todd Trexler
 
More dazzling posters plus an interview clip with the artist after the jump…..

READ ON
Posted by Martin Schneider
|
06.04.2014
01:09 pm
|
Children of Paradise: Life With The Cockettes
06.07.2011
02:45 pm
Topics:
Tags:


 
This summer in downtown Los Angeles there’s a photography show at the drkrm/gallery that explores the history of the acid-gobbling, show-stopping star-children of the infamous Cockettes drag troupe. From Frontiers:

For those who neglected to Netfix their eponymous 2002 documentary, here’s the skinny on the Cockettes—they debuted on New Year’s Eve 1969, as part of a midnight showcase in San Fran’s Palace Theatre. Combining Broadway parody, cross-dressing and LSD-fueled choreography, their performances soon gained high profile media attention in Rolling Stone and the Village Voice. In the Chicago Tribune, critic Rex Reed described the show as “a nocturnal happening comprising equal parts of Mardi Gras on Bourbon Street, Harold Prince’s Follies and movie musicals, the United Fruit Company, Kabuki and the Yale Variety Show, with a lot of angel dust thrown in to keep the audience good and stoned.” Kitsch aficionado John Waters recounted, “It was complete sexual anarchy. You couldn’t tell the men from the women. It was really new at the time, and it still would be new.” On the Tonight Show, novelist and professional dandy fop Truman Capote simply stated “The Cockettes are where it’s at.”

Cashing in on this unexpected fame, the Cockettes moved their show to New York. Unfortunately, the troupe’s free-spirited hippie aesthetic was perceived by elite Manhattanites as unprofessional and sloppy. John Lennon, Liza Minelli and Angela Lansbury were some of the many celebrities to walk out on the opening night performance. Gore Vidal hammered the final nail in their patchouli-scented coffin when he infamously proclaimed, “Having no talent isn’t enough.” The group returned to the West Coast and disbanded in 1972.

The photographs in Children were shot before the East Coast snafu. Consisting solely of black and white portraiture by longtime Cockettes member Fayette Hauser, the exhibit depicts her various castmates flower-powering around ‘Frisco—bearded men in boas and evening gowns performing on ramshackle stages; women with theatrical beat smeared across their face lounging in antiquated Haight-Ashbury houses; fierce tranny geishas frolicking through Golden Gate Park. Each picture is a crystalized moment from an artistically and culturally groundbreaking epoch.

Children of Paradise: Life With The Cockettes. Photographs by Fayette Hauser, drkrm/gallery, 727 S. Spring St., Downtown L.A. June 4-July 2

Below, the trailer from the excellent 2002 documentary, The Cockettes,
 

 
Via World of Wonder

Posted by Richard Metzger
|
06.07.2011
02:45 pm
|