Perversion for Profit

This 1965 film from the Citizens for Decent Literature is a blistering screed against the tempting evil available on newsstands. “Perversion for Profit” was financed by Charles Keating and narrated by news reporter George Putnam. It’s fun, in its way, but it’s also an example of the conservative mindset that would soon be further challenged by court cases defending the right to send homosexual material through the mail.

I love when it gets to this frame, about 9 minutes into the clip. At this point, my Hot Type Club reference collection is extensive enough that I’m pretty certain I own every issue shown below.

Art in Transit

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I remember stumbling across this book in the New Dorp branch of the library on Staten Island when I was young. Looking at the publication date now — August 1984 — I realize I must have seen it just when it came out, right before I started my freshman year of high school. It had to be at least that early, because I distinctly remember being on the lookout for Keith Haring‘s subway drawings all through high school, when I commuted to the Upper East Side every day. Sure enough, I saw them show up a few times at East 86th Street a couple of times, and occasionally in other stations. I had no clue that Haring was already a name in the art world, so these always felt like secret treasures to me, connecting them only to this little book I found in a local library when I was looking for stuff about drawing cartoons.

This little book — and Haring himself — made an impression for all kinds of reasons, not all of which I could really pinpoint when I was just turning fourteen. It was the first time I thought to think of street art as real art, or vice versa. It was art that was fun, an idea I was starting to wake up to. I loved the drawings shown — so much! — and I also loved that they were quick, forbidden, and took advantage of really specific opportunities:

The advertisements that fill every subway platform are changed periodically. When there aren’t enough new ads, a black paper panel is substituted. I remember noticing a panel in the Times Square station and immediately going aboveground and buying chalk. After the first drawing, things just fell into place.

That seemed so cool to me when I was just a kid who drew comic books but was getting ready to jump into the wider world around me. Also, Keith Haring was cute — so cute! — in a goofy, nerdy way that was great; not like a model or a TV star but a real way. Although I couldn’t make any sense of that reaction at the time it certainly fit a pattern that would eventually be clear.

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The Devo/Letraset Crossover

Letrasets

I get irrationally excited when two seemingly unrelated things actually have an intersection I didn’t know about:

Booji Boy is a character created in the early 1970s by American New Wave band Devo. The name is pronounced “Boogie Boy”—the strange spelling “Booji” resulted when the band was using letraset to produce captions for a film, and ran out of the letter “g”. When the “i” was added but before the “e,” Devo lead singer Mark Mothersbaugh reportedly remarked that the odd spelling “looked right.”

Booji Boy

Mapplethorpe and friends

Robert Mapplethorpe and friends

Robert Mapplethorpe and friends hang out in the West Village in 1978, as caught on film by amateur photographer Leonard Fink. Part of a set of images Fink captured of men at rest and at play around the West Village in the late ’70s, featured in the most recent issue of Pink Mince.

And let me be shameless here for a moment: please try an issue of Pink Mince, whether it’s this recent one or one of the back issues. Each is a stand-alone exploration of theme. I’m very proud of the work by so many talented people I’ve been able to gather for each issue, but the whole project is a drain on my resources and every little bit of support will help keep it going.

Spinsterish but sensual

Have you ever found yourself reading a novel or something, and then stumbled across a passage that resonated so clearly with something that was in your head, or that you’ve done before — OR BOTH — that you almost felt a flush of embarrassment, like some stranger had caught you in the act?

That night I put aside my fiction of former defeats, former glories . . . and began writing a letter. It began reasonably, as a sort of old-fashioned, literary coda to the afternoon. How pleasant to have met you, and so on, the kind of letter no one writes anymore, which naturally has its peculiar charm for the startled recipient. A courtly letter. Spinsterish but sensual. I felt in there brief time we conversed that I was speaking with someone of extremely rare sensitivity, and that you, of course, sensed my physical attraction to you, and were gracious enough to take this in stride, giving me the opportunity to show you the kind of person I am. I know it’s eccentric to come right out with this in a letter, but I have been so moved by your beauty that I, that, at this point everything floundered, I ripped the letter into shreds and started over.

Horse Crazy, Gary Indiana

Oh, and when I factor in the irony of who recommended I read this, I just want to crawl under a rock and die of self-consciousness. So busted, even if it was unintentional.

For an extra chuckle of relevance (albeit to other things), though, this was in the very first paragraph of the book: “Things commence in reckless hope and die away in stifled longing, not that we had hoped for much from the Staten Island Ferry.” Perfect.

If that’s all found in the first 4 pages, I’m almost terrified to continue.

The Classic Concordance of Cacographic Chaos

I’m rather smitten with this poem today, new to me but apparently one that’s made the rounds for decades. It playfully highlights the maddening inconsistencies of spelling and pronunciation in English, providing a vivid example of why I’m always impressed by and sympathetic to the plight of all my friends (and anyone, for that matter) who can take on English as a second language and thrive. Even as a native speaker, there are things in this that highlight tensions between my American accent and the British around me.

Continue reading “The Classic Concordance of Cacographic Chaos”

Filthy Christmas

As usual, there’s a bit of press here and there in the build-up to John Waters visit to London to do his Christmas show at Royal Festival Hall next week. (I’ve had the tickets for months already.) This article in the Financial Times, of all places, is one of the better I’ve read lately — some new tidbits, some insight, and apparently written by someone who knows Waters work well enough (or has bothered to look into it well enough) to go a little deeper than the usual recycled PR.

‘He has swiveled again from the salacious to the jokey, and it occurs to me that this is what Waters does: confront the audience with something transgressive and render it unthreatening and comical. He relishes words like “creepy”, “hideous” and “filthy”, but makes them sound like good, clean fun.’

John Waters lounging at home

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The key to happiness

Lunch with John Waters

I write about John Waters so often that I should probably just give him a subcategory of his own. He’s my hero, my inspiration, my favourite entertainer. How can I not file away the best bits from him that I come across? How can I not document our occasional interactions?

This interview from The Guardian is short, but an entertaining read as always. It has the ring of Waters starting the press junket for his Christmas tour (which I’ll see when it comes here), but it has a few details I haven’t known about before, and that’s a rare pleasure. The most charming one is that he’s a big fan of wine gums, since they are a favourite of mine. Kismet! Once again, I followed in his footsteps without knowing it.