So this just happened. Enjoying the weather, are you, "Ethan"?
Posted by WGN TV on Sunday, December 13, 2015
A classic Christmas Special from 1957 featuring Frank Sinatra and Bing Crosby singing favorites such as Jingle Bells, Hark the Herald Angels Sings, O Come All Ye Faithful & White Christmas. Bing & Frank alone in Sinatra’s “home” for the holidays. Is it just me or is there a little “Rope” Brandon and Phillip going on here?
Photo above. What a lovely hairy spread!
ATTENTION TORONTO FOLLOWERS: Tonight I’m going to SCREEM QUEENS in Toronto!
INFO: A new event from the ever so strange brains of Bobby Valen and Allysin Chaynes … Mystery Science Theater + Drunk History + Elvira x lots of booze = SCREEN QUEENS.
Come join the one and only Allysin Chaynes for a cinematic journey through your favorite cult films. FULL movie, live and potentially very drunk commentary, performances , drinking games and plenty of surprises. With special guest JUDY VIRAGO
19+ Yes we have a liquor license!!
I THINK WE NEED A BEAUTIFUL LAUGH TODAY: SISSYDUDE LOVES: HOTARIOUS JAMES WRIGHT CHANEL LOVES MISS PATTI’S SWEET POTATO PIE!!! (via VIBE)
“She kept thanking me, she kept thanking me, and she just kept telling me how much she loved me and she just kept telling me to be me. She was like ‘Boy, you could sang!’”
HOTARIOUS!!! The “GAY” parts of WILD WILD WORLD of JAYNE MANSFIELD… and her “FOR PRESIDENT” book too!!! (HAPPY BIRTHDAY MOOK!!!)
Ethel Merman and Austin Pendleton co-starred as mother and son in “You’re Gonna Love It Here,” a proposed sitcom from 1977.
Red outfit… and original commercials (Vicki Lawrence + Coronation instant milk= YES!!!).
LIKE? Check out THIS BETTE DAVIS sitcom post HERE!!!
Take it from Merm…
”The most extraordinary film I’ve seen in my life is certainly ‘Portrait of Jason.’ It is absolutely fascinating.”—Ingmar Bergman
DANGEROUS MINDS: During a winter night in 1966, director Shirley Clarke brought her friend, Jason Holliday, to her apartment atop the Chelsea Hotel in New York City and filmed him for twelve consecutive hours. Over the course of the evening, Jason drinks and gets high as he tell stories of his life as a gay, African-American man. Clarke took the footage and edited it down to 95 minutes, resulting in Portrait of Jason (1967). In the film, Jason is charming, entertaining, funny, contradictory, and boorish. His stories concerning class, race, sexuality, and identity alternate between humorous and tragic, all told by a man who appears larger than life.
Portrait of Jason is a landmark film. In this setting, an individual was allowed to simply tell his story over the course of a film’s standard running time. Its cinéma vérité style brings to mind Andy Warhol’s Screen Tests, as well as the films of John Cassavetes, but Clarke’s work is a truly unique movie experience. This mainly has to do with Jason Holliday (a/k/a Aaron Payne), the only person who appears on screen.
The Village Voice’s Melissa Anderson wrote that Portrait of Jason “says more about race, class, and sexuality than just about any movie before or since.”
sketches via NYLON
HAIRY HOLES! BRITNEY! HAIRY HOLES! DOMINIC! HAIRY HOLES! BEARDIES! IT’S A HAPPY BIRTHDAY AUBS MEGA-POST!!!
SISSYDUDE LOVES: THE FOSSE’esque brilliance of director Aron Kantor & choreographer Danny Dolan’s “FOLSOM STREET 2015” video promo!
A kink and fetish fueled dance explosion in celebration of the 2015 Folsom Street Fair.
Folsom Street Fair 2015 is Sunday, September 27, 11am – 6pm on Folsom Street between 8th and 13th streets in San Francisco, CA.
San Francisco has long pushed culture boundaries, radical self-expression and sexual freedom. Today awash in stories of the changing face of the city and its quickly eroding creative communities, “Folsom Street” joyously celebrates the rich history of diversity that pushes the limits of raw sexuality that make this city the exciting cultural haven that it has always been.
Directed by Aron Kantor and featuring Broadway performer Colin Cunliffe, notorious nightlife promoter Mario Diaz, gender-queer drag queen Grace Towers, and a variety of San Francisco dancers and performers, the film serves as both a metaphor for the Folsom Street Fair and an example of the possibilities of queer community effort and activism.