Elaine Banks, Jackie Shane documentary, CBC Radio, Inside the Music, edited by David Dacks
I Got Mine, the story of the soul and R&B singer named Jackie Shane.
Shane was one of the most popular singers in Toronto’s thriving R & B scene of the mid-sixties. He was a remarkable figure for his day: he was openly gay and a cross dresser with a flair for fashion. Shane’s magnetic charisma and passionate performances made him a favourite of a generation of Toronto club goers.
This first-ever biography sheds some light on an important figure and time in Toronto’s music history. Interviews with Jackie’s friends and band mates detail his influence on a generation of musicians and performers, and speak of a legacy which extends beyond the realm of music.
WIKI: It is a remake of the 1939 classic comedy The Women. Both films are based on Claire Boothe Luce’s original play. The 1956 musical was directed by David Miller and stars June Allyson, Joan Collins, Dolores Gray, Ann Sheridan, Ann Miller, Leslie Nielsen, Jeff Richards, Agnes Moorehead, Charlotte Greenwood, Joan Blondell, Sam Levene, Dick Shawn, Jim Backus, Bill Goodwin and Harry James.
The story concerns Kay Hilliard (June Allyson), a former nightclub singer who discovers her husband Steven (Leslie Nielsen) is having an affair with showgirl Crystal Allen (Joan Collins). Kay is the last to find out among her circle of gossiping girlfriends. Kay travels to Reno to divorce from Steve who then marries Crystal, but when Kay finds out that Crystal isn’t true to Steve she starts fighting to win her ex-husband back.
Unlike its predecessor, the cast includes male actors to play husbands and boyfriends, whose characters were only referred to in the previous film and stage versions. This alters the structure and tone of the base storyline significantly.
BUTT on Gerald Oglesby
In the short-run publication, AMG Raw, Gerald is referred to as a 23-year-old who can ‘obviously take care of himself.’ He is also noted as being six-feet tall, and an army veteran with a love of kung fu, water skiing, and etymology. Countless photographers described him as a sweet, mild-mannered guy, but in The Big Penis Book Dian Hanson recounts a story that contradicts his reputation. It turns out Gerald went on to tie up, rob, and set fire to one unlucky photographer’s apartment. He loved cocaine, and can be seen sporting a very long pinky nail in many of his photographs for AMG. The ‘Subjective Character Analysis’ symbols accompanying his photos in Physique Pictorial describe him as a married, fun loving, yet expensive hustler, open to topping and bottoming. Gerald was born March 13, 1952. He stood 6’ and weighed 189 lbs. when this photo was taken.
Oh, Luke Halpin… one of my first pre-teen crushes. Usually my crushes were always MEN (like Halpin’s Flipper fur chested studly dad Brian Kelley) but Luke was my age when I was crushing on him (AGE APPROPRIATE!). Though I watched the show in the 70′s so he was probably in his late twenties by then… but I digress… anyhoo, here is an obsessive post just for you. Most pics found at SUPER OBSESSIVE/ AWESOME THE LUKE HALPIN GALLERY.
Willie Mae “Big Mama” Thornton (December 11, 1926 – July 25, 1984) was an American rhythm and blues singer and songwriter. She was the first to record the hit song “Hound Dog” in 1952. The record was #1 on the Billboard R&B charts for seven weeks in 1953; the single sold almost two million copies. Its B-side was “They Call Me Big Mama.” Three years later, Elvis Presley recorded his even more broadly successful rendition of “Hound Dog,” based on a version performed by Freddie Bell and the Bellboys. Similarly, Thornton wrote and recorded “Ball ‘n’ Chain”, which became a hit for her, yet Janis Joplin’s later recording of it made a bigger impact in the late 1960s.
The Ross Sisters were a trio of female sibling singing dancers consisting of Aggie Ross, Elmira Ross, and Maggie Ross (whose real names were Veda Victoria, Dixie Jewel and Betsy Ann Ross). The Ross Sisters performed as a 3-part harmony trio wherein they also danced and did acrobatics and contortionism. Their public attention peaked during the 1940s, during which they were featured prominently in the film Broadway Rhythm. This footage has since gained popularity on YouTube. This clip also appears in the compilation film That’s Entertainment! III (1994).
The first recorded documentary study of the international groupie phenomenon as reported in Rolling Stone, Time, the Realist, Cash Box and the Village Voice. The girls heard on this LP report their actual life experiences, feelings and opinions within the pop music scene.
“Bringing two girls in at a time, [Lorber] put them in separate booths facing each other for a lifelike stereo effect. I think ‘The Groupies’ will sell for a lot of reasons. For those on the scene but removed from this particular activity, there is a double-edged fascination… For parents of teenage daughters, it will be the scare record of the year.”
Produced by Alan Lorber (1969).
The notorious Star Magazine, undoubtedly the rarest teen magazine of the 70s! This mag was very unusual- it was nationally distributed and came from major teen publisher Petersen (it took its name from a previous Tiger Beat-type mag, but was totally different). However, and this could only have happened in the 70s, it took its look and inspiration from the Hollywood glitter rock groupie scene based around Rodney’s English Disco.
As Dave Marsh wrote in CREEM, Star promoted the Rodney’s girls as “the prototype of the chic teenage female.” Great hard-edged vibe for the aggressively sexy 70s girl, full of inspirational articles advising the budding “Foxy Lady” on how to handle the “Superfox” boys in her high school and generally not take any crap from anybody!
A cast of ultra-Fox “Star Girls”- Shray Mecham, Patty Clark, Karen Umphrey and others- appeared on the covers and in every issue, demonstrating the ultimate in sky-high platform shoes, rhinestoned denim, and vintage jewelry. Unfortunately Star didn’t last, and I believe that only six issues, spanning February through July of 1973, were ever made. These magazines are extremely rare, precious, coveted, and beautiful. This issue features Shray Mecham on the cover, a comic strip called “The Groupies” by Joe Petagno (girls dress up like Bolan and end up onstage with T.Rex!), “Win The Raspberries’ Rollswagen” contest. Great four-page Marc Bolan interview that’s far more down-to-earth than usual, early Rolling Stones retrospective.
“The Evil She Fox- Will She Ruin Your Life?”, “Those Foxy Hollywood High Girls- How They Get Guys!”, article on how to customize your platform shoes, cartoons of Foxes and Superdudes in glitter regalia, reviews of electronic gadgetry and makeup (including the Panasonic Toot-A-Loop radio!), and tons more amazing stuff.
If you could compress everything that was incredible about the 70s into one place, it would be Star Magazine. Tumblr Sissydude Groupie posts HERE (just keep clicking OLDER POSTS)
An amazing performance by jazz artist Anita O’Day, 1958 Newport Jazz Festival. This clip is featured off of “Jazz on a Summer’s Day.”
Her “Tea For Two” is KILLER!
Edward Earle Marsh (December 20, 1929 – May 29, 2004) was an American actor, musician, adult film director and star. He is principally known by his stage name Zebedy Colt.
Born in California, Marsh began his career as a child actor in Hollywood. In the late ’60s he became an innovator of “queer cabaret” when he recorded the early gay album “I’ll Sing for You” with the London Philharmonic Orchestra. This was the first time he used the “Zebedy Colt” name. Controversial in its day, the album consisted of original gay-themed compositions (credited to his real name) and songs originally meant to be sung by women (Listen to George Gershwin’s “The Man I Love” below), but given a homosexual twist by being covered by a man.
In November 1969 Marsh wrote a letter to Time Magazine, using his “Zebedy Colt” pseudonym, in response to an article published in its October 31, 1969, edition entitled “Behavior: A Discussion: Are Homosexuals Sick?”, using his Stockton, New Jersey, address, in which he argued that gays were then “becoming more and more a part of the mainstream.”
Marsh entered the pornographic film world in middle age, primarily as a way of financially supporting himself. He chose to resurrect the “Zebedy Colt” name from his “I’ll Sing for You” album for his porn directing/acting work both to conceal his true identity and as a way of separating this from his Broadway work. On one occasion, however, Marsh’s double life was uncovered when the Broadway company he was with went to see The Story of Joanna and were surprised to see their co-star playing a bisexual butler, Marsh later recalled one of them telling him, “Darling, you can be my butler anytime”. A similar situation occurred when Marsh was appearing in an off-Broadway play with Sandy Dennis. Dennis thought she recognized Marsh from an adult film she had been to see with her mother, and was delighted to have this confirmed when she asked him “are you Zebedy Colt?”.
His films as a director include the infamous The Farmer’s Daughter (which starred a young Spalding Gray), the sadistic The Devil Inside Her (which was shot at Marsh’s home in Lambertville, New Jersey), Unwilling Lovers and Terri’s Revenge. As an actor in adult films, he starred in such pictures as Barbara Broadcast, Gerard Damiano’s The Story of Joanna, Manhold–a 3D film–and the Death Wish porn rip-off Sex Wish. His Broadway acting work included appearing as Anthony Newley’s understudy in The Roar of the Greasepaint – The Smell of the Crowd as well as performances in “The Royal Family”, “Dark at the Top of the Stairs” and an award-winning 1976 production of Tom Stoppard’s Travesties. He was also known in New Jersey and Pennsylvania for directing and performing in Regional and Community Theatre Productions.
There is one uncredited film entry that was told anecdotally in his Las Vegas home one year before his death. He was one of the children in the forest scene sitting on the ground in The Adventures of Robin Hood with Errol Flynn.
Marsh retired from adult films in the early ’80s, due to concerns over the criminal element (citing the murder of Dutch businessman Navred Reef who directed him in the film “Sharon”) in the industry as well as the drop in quality due to the change from film to video. He spent his final years in Las Vegas, entertaining friends and neighbors with scrapbooks that documented his long career.
“The movies’ premiere caricaturist, Kapralik assembled bits and pieces of straw, felt, yarn, satin and more to create highly imaginative collages depicting stars in setting appropriate to their latest films. Because much of his work was trade-oriented, he was virtually unknown outside of the motion picture industry. Inside, however, he was a wonder. He was at Paramount and Twentieth Century-Fox in the thirties, yet his most notable output was for MGM the following two decades.”
(From “The Lost Artwork of Hollywood” by Fred E. Basten)
“The process was called “3-D Paper Structure”, and he maintained drawers filled with tiny props that he’d use to decorate his canvas. Tiny shoes, jewelry, lamps, pots and pans —- whatever he needed to get the effect he was after. There were facsimiles of popular brand name items, like coffee, flour, and cereals. Endless samples of cloth and yarn were used to create realistic backgrounds. Kapralik would often take six or more weeks to get out just one of his little masterpieces.”
(From GREENBRIAR PICTURE SHOWS)
MANY MORE PICS AFTER THE JUMP! (click the grouped images twice to see them MUCH BIGGER)