Some Thanksgiving Treats For You (2024)

Ok – I admit it: I am one of those people who started playing Christmas music last week. Yesterday the Christmas lights went up. I don’t normally rush this, but this rotted post-election month has really done a job on my belief system. However, I am comfortable enough in my middle-aged fruitiness to freely quote Auntie Mame at you: We need a little Christmas. Now.

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Baron von Munchausen is ready.

One of my favorite holiday CDs of recent years is Tracey Thorn’s Tinsel & Lights – a smart collection of original and non-traditional holiday-themed songs perfectly suited to the Everything But The Girl singer’s melancholy voice.

The lead track, Joy (written by Thorn) has been on repeat in my home every December since its 2012 release. When I first posted this in 2020, the song felt like it was tailor-made for that pandemic holiday season.

The opening lyric:
When someone very dear / calls you with the words “Everything’s all clear.” / That’s what you want to hear / but you know it might be different in the new year. / That’s why / That’s why / We hang the lights so high: Joy.

Now, in 2024 as we stare down the barrel of the gun that is the second Trump administration, it’s a different lyric that strikes a chord:

So light the winds of fire / and watch as the flames grow higher / we’ll gather up our fears / And face down all the coming years / All that they destroy / And in their face we throw our Joy.

Here are some other Thanksgiving-themed goodies I have previously posted:

When it comes to holiday music, unfortunately Thanksgiving is lost in the long shadow of Christmas. There’s a severe lack of Thanksgiving songs, aren’t there? All we’ve got is “Let’s Turkey Trot” by Little Eva, and even then it is not really about Thanksgiving at all. The song’s title refers to the Turkey Trot, a dance step popular back in the early 1900’s.

Dimension Dolls“Let’s Turkey Trot” was Eva Boyd’s third single, released in 1963 with the hopes of recapturing the #1 success of her debut platter, The Loco-Motion. It had a respectable showing on the charts, peaking at #20, although it should have been billed as Little Eva & The Cookies, as the backing group is as much a part of the success of the record as the lead. Group member Earl-Jean McCrea delivers solo lines echoing their own hits Chains & Don’t Say Nothing Bad About My Baby, which also featured Little Eva on background vocals.

Here’s an abbreviated performance by Little Eva on Shindig in 1965. Darlene Love and the Blossoms stand in for the Cookies in what must be one of the proudest moments of their career. Gobble Diddle It!

The Dollyrots also covered this track in 2014. Besides using footage of Little Eva’s Shindig performance throughout the video, they also namecheck “Little Eva back in ’63”:

Want some “Mashed Potatoes” with your “Turkey Trot?” Here’s Dee Dee Sharp with her own ode to a Thanksgiving staple / dance move:

Aaaaand some “Gravy” for your mashed potatoes:

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Here are 10 Things You May Not Know About March of The Wooden Soldiers, the Laurel & Hardy classic holiday film that is required viewing on Thanksgiving morning.

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On the darker side… one of the faux trailers from Quentin Tarantino’s Grindhouse is the hilariously spot-on Thanksgiving, directed by Eli Roth. It is entirely plausible that someone would have jumped on the bandwagon of grade-z holiday themed horror films that followed the success of Halloween. But this one is a fake. In 2023, Roth did put out a full movie version of Thanksgiving. The original trailer retains it’s own seedy charm:

During the Thanksgiving episode of SNL in 1997, Lilith Fair stand-up comic Cinder Calhoun (a recurring character played by Ana Gasteyer) & singer Sara McLachlan paid a visit to Norm MacDonald and the Weekend Update desk, singing the Thanksgiving classic “Basted In Blood.” It would not be nearly as funny if they didn’t sing it so well.

Unfortunately this segment seems to have fallen off the annual SNL Thanksgiving Eve prime time special.

In 2019, Ana Gasteyer released a holiday album: Sugar & Booze. Highly recommended!

Happy Thanksgiving!

giphy


See also:
Dusting Off The Holiday Favorites
The 60 Degrees Girl Group Christmas Show
Your Guide To Disposable Gay Holiday Movies
The Christmas In Connecticut Delivery Woman
¿Dónde Está Santa Claus (& Augie Rios)?
March Of The Wooden Soldiers: 10 Things You May Not Know About This Holiday Classic
Yes Virginia, There Is A Spotify Playlist
A Christmas Without Miracles: The 1987 Motown Xmas Special

Your Halloween 60’s Girl Group Playlist

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It’s hard to believe that it has been 16 years since I put this Halloween show together for 60 Degrees wi Brian Ferrari, my weekly radio show focusing on “60’s chicks and girl groups – the hidden gems, cult favorites and unreleased obscurities of the decade.” The show ran for five years (2008-2013) on East Village Radio and has been back on the air since July, 2024. This Halloween episode was originally broadcast on October 27, 2008 and aired every Halloween for the duration of the run. 

Janie Jones

In this very special episode, we’ve got soul witches, rockabilly rabble-rousers, death discs, horror movie theme songs, science fiction sirens, girls driven to madness by love and more dead boyfriends than you can shake a broomstick at. Plus a whole lot more! As with every episode, the songs were interspersed with vintage commercials, sound effects and movie clips.

The show is available to stream HERE.

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It is also available (with visuals and some minor alterations) in three segments on Youtube:

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Part 1:  32271754_1665062953574761_4924338085430296576_n

  1. Reparata & the Delrons – Panic
  2. Babs Tino – Dr. Jeckyll and Mr. Hyde
  3. Sparkle Moore – Skull & Crossbones
  4. Wanda Jackson – Riot In Cellblock 9
  5. Southern Culture On The Skids – Torture
  6. France Gall – Frankenstein
  7. The Crystals – Frankenstein Twist
  8. Hayley Mills – Jimmy Bean
  9. Claudine Clark – Walking Through A Cemetery
  10. The Sham-ettes – Hey There Big Bad Wolf

    Part 2:c82209d7084a0308624f95dbe31eea5b

  1. Hayley Mills – Cranberry Bog
  2. The Shangri-La’s – Give Us Your Blessing
  3. The Satisfactions – Daddy You Just Gotta Let Him In
  4. The Goodees – Condition Red
  5. The Nu-Luvs – So Soft, So Warm (Dressed In Black)
  6. The Whyte Boots (Lori Burton) – Nightmare
  7. Glenda Collins – It’s Hard To Believe It
  8. Judy Garland – Purple People Eater
  9. The Kane Triplets – Theme From Mission Impossible
  10. Tracy – Strange Love
  11. Mikki Young – Who Killed Teddy Bear?
  12. Patti Seymour – The Silencer
  13. Josie Cotton – Maneaters (Get Off The Road)

Part 3:60degrees1

  1. Janie Jones – Witches Brew
  2. Martha & The Vandellas – Mobile Lil The Dancing Witch
  3. Bettye Lavette – Witchcraft In The Air
  4. Erma Franklin – Abracadabra
  5. Dusty Springfield – Spooky
  6. Marie Applebee – The Boy Who Took My Heart (took my mind)
  7. The Love Chain – The Love Chain
  8. Peggy Lee – The Case of M.J.
  9. Janie Jones – Psycho
  10. The Martin Sisters – Mother Mother (I Feel Sick)
  11. Julie Budd – All’s Quiet On West 23rd St.
  12. Gayle Haness – Johnny Ander
  13. The Indigos – He’s Coming Home
  14. Cass Elliott – The Costume Ball
  15. Teacho & The Students – Chills & Fever
  16. Dusty Springfield – Haunted

See also:
Zombie Divas
Back To The Girl Zone: 60 Degrees Returns
EVR in the NYT
60’s Girl Group Survivors
Girl Group Heaven: Ronnie, Rosa & Wanda
The Playground Swing
60 Degrees Girl Group Christmas
Dusty Springfield Sings Kate Bush
Tina Turner: 12+ Cover Songs You May Have Missed
Etta James: Advertising Zombie

The Playground Swing

“I have been working on this piece for years.”

That’s what I told myself. When I went back to look for earlier drafts that I was sure I had started, I discovered that there were none. I never wrote anything down – I only thought about sharing this story. For years. Until now.

“Do you have any real ghost stories?” is a fun question that pops up occasionally in social situations. My go-to response is the story of The Playground Swing – an unexplained occurrence from when I was in the 6th grade. Whether or not it is an actual ghost story, the memory has stayed with me for 44 years. 

Just as the clear, cool weather of an early September day can evoke memories of 9/11, the story of The Playground Swing always comes back to me on crisp October mornings. It sneaks in sideways while I’m going through my morning routine, or while I’m commuting. It evaporates before I ever sit down and type it out. There’s not a whole lot to the story, really. It’s that unexplained simplicity that makes it a bit anticlimactic in the telling.

It was the fall of 1980 and I was in 6th grade at Bowling Green Elementary school in East Meadow, New York. We had moved into my grandmother’s house the year before, after a year of unrest following my parents’ divorce. I was happy to be living there, in the cozy house my mother grew up in. I looked forward to going to the school that my parents, aunts, and uncles had all attended.

Once upon a time, I had been a popular kid, but this was our second move in under two years. I remember hearing that it was a bad age to be uprooted and have to make new friends. Obviously many kids maneuver their way through it successfully. I didn’t.

5th grade had been bad, but I did have a couple of new friends to help me get through it. When we got into 6th grade, they were in a different classroom on the other side of the school. In my class, there were no allies. It felt like they were all against me. Looking back now, I would have to say that, among those in my class, I was met with 50% aggression and 50% apathy.

I was a chubby kid in need of a shower and a haircut, with big eyes and thick lashes that caused me to be regularly mistaken for a girl. My class picture says it all: This is a photo of an 11-year-old who was misgendered by the photographer moments before he snapped the picture. When I rolled my eyes and said, “I’m a boy,” he sputtered “Oh, uh… I was talking to that girl over there.” Now smile! *Click*.

For years, my memory was this: One day, my entire class gathered after school to confront me as I walked through the playground towards home. I’m sure it wasn’t ALL of them but when faced with an angry mob of your peers gathering around you, well… I didn’t stop to take attendance. It was a lot of them.

What was their plan? To beat me up? What would that accomplish? I don’t think they actually knew either, and in that disorganization I was able to run away.  My best defense was that I could always run fast.

My mother called the school to complain and I was allowed to stay home the next day. The vice-principal went and spoke to the class, asking why they were picking on me. The response landed me in his office for a lecture: I had a bad mouth. I cursed at everyone. This is what he was told. I was the problem. No mention of the taunts and name calling that were the catalysts for my colorful language.

Fuck them, I thought.

My teacher was Mr. Dillon, a soft-spoken beanpole of a man who had been teaching there since my parents attended in the 1950’s. He kept his Vantage cigarettes in the breast pocket of his shirt, and another teacher would stop in to watch the class while he went out for smoke breaks. He had lost his wife a few years before and seemed sad, defeated, and waiting to retire.

In the Bowling Green student handbook that nobody reads, I found that if I brought a note from my mother, I could go home for lunch. I don’t know of anyone else who did this or wanted to. Teachers and staff would look at me funny when I presented my note and told them I was heading out. I would run home to avoid the lunchtime awkwardness of where to sit, as well as any potential playground altercations.

We went on a field trip that year to the top of the World Trade Center, which I loved. Two things stick out about that trip: Standing up against the glass and looking down. It was dizzying. I also remember that when it was time for lunch, I sat with the teachers. They seemed puzzled.

Back to The Playground Swing. Our classroom overlooked the playground and on this one sunny and clear October morning, all of us began to notice this one swing moving back and forth, high and steady like a metronome. It was empty. There was no wind and all of the other swings were completely still. I don’t know how long this went on – it seemed like an hour. 

Mr. Dillon tried to redirect our focus back inside the classroom. His voice had a nervous quiver to it that I had never heard before. He could see the swing too, and there was no visible explanation. There were no nearby structures for someone to hide in and pull a string to create this effect. It was a freestanding swing set in the middle of a flat asphalt playground. 

By the time the lunch bell rang, the swinging had stopped. We all headed out into the hall, where the kids from the classroom next to ours were similarly perplexed – they had seen it too. There was talk of it being the ghost of some kid who died the year before I moved there, but I don’t remember the name, and surely I would have heard about this before.

Nobody had an explanation, and it never happened again. And that’s the story of The Playground Swing.

The school year went on. The bullying continued, although somehow I managed to avoid another angry mob scenario. One of my main tormentors was this butch brute of a gal who treated me as her physical and verbal punching bag. My mother once again called the school to request that she stop assaulting me, which resulted in her getting called to the vice-principal’s office. We were in music class when she returned. As she walked past where I was sitting, she grabbed the top of the back of my chair and slammed it towards the floor. I fell backwards, landing flat on my back with a loud crack. Everyone gasped. And nobody did a thing.

I got back into my chair, buried my head in my arms and sobbed uncontrollably. The feeling of hopelessness was overwhelming, with one thought repeating in my head: “This will never end. This will never end. This will never end.”

Our last day of school was a needless half day with nothing to do. Mr. Dillon, who could barely maintain control of his class on the best of days, was losing the battle. Kids were killing time by throwing things, yelling and walking around, waiting for dismissal. I’d had enough of this scene and decided to make a move.

While Mr. Dillon was trying to catch a kid who had wandered down the hallway, I went to his desk, opened the drawer, found my report card, and walked out the door. Once outside the school, I heard someone yell out the window “He’s coming after you!” So I ran. I ran through the playground – past those motionless swings. I ran away from that school as fast as I could, faster than ever before. I would continue running away from that place for years.

I would like to say that I didn’t look back, but I did. Every once in a while I would think about what I could have done to navigate those waters more successfully. While I can go back and forth with ideas about how I could have improved my social game, there is one thing from that year that had no explanation or variables: What was up with that swing? 

If it was a ghost revisiting the playground to have one last turn on a swing, that’s less frightening than the abuse I suffered at the hands of my classmates.

I just wish I had more stories about benevolent spirits and less about wretched children.

See also:
Whatever Happened To The Kid Who Boiled John Crouse’s Head?
Your Halloween 60’s Girl Group Playlist
The Tin Man & The Lion: Unanswered Prayers
Zombie Divas
My Mother, The Superhero
We Got Hitched
You Picked The Wrong Fat Guy
Bindle Zine #2 is here! Winter 2024
Circle In Monkeyshines: Winter 2022
Thursday At The Racetrack





EVR in the NYT

East Village Radio had been back on the air for three months now – and that includes my weekly show, 60 Degrees with Brian Ferrari. On Sunday, September 29th, 2024 The New York Times posted an article about the station on the front page of their Metropolitan section.

60 Degrees is devoted to girl groups and female singers of the 1960’s, featuring hidden gems, cult favorites and unreleased obscurities. The show airs every Sunday morning from 8-10am EST, alternating new shows with old episodes from the original run (2008-2013). Episodes are available to stream any time, on demand for free here.

Here’s a recap of recent episodes – click on the date for streaming:

7/21/2024 A tribute to Mary Weiss of The Shangri-Las, songs from film & television, Young Rascals covers, spotlight on Chess Records & selections from The Girls Scene CD Compilation.
7/28/2024 – From 2/2013, show #54: Sisters In The City (mostly NY), and songs recorded live on The Ed Sullivan Show.
8/4/2024 Spotlight on Red Bird records, Mama Cass Elliot, Beatles covers, Ronnie Spector, Brit girls and soul sisters.
8/18/2024 – Selections from the Kiss N’ Tell CD Compilation, girl groups in the bubble gum zone, a folky 15 minutes and Stax soul sisters.
8/25/2024 – From 9/2008, show #13: Summer / surf songs, party drama, Beatles covers, and Motown rarities.
9/1/2024 – From 4/2011, show #40: Where The Girls Are LP compilation, Marvelettes tribute, and C’est Chic! French girls compilation.
9/8/2024 – From 9/2008, show #14: An assortment of The Cookies, soul sisters, Beatles covers, and songs about shoes.
9/15/2024 – Spotlight on Sue records, the British Bird Invasion, a folky 15 minutes, Beatles covers, and Motown.
9/22/2024 – From 11/2008, show #16: Wedding drama, Beatles covers, a folky 15 minutes, Girls In The Garage.
9/29/2024 Dream Babies LP compilation, spotlight on Cameo/Parkway records, Brit girls, 50’s chicks in the 60’s, and Girls in the Garage.
10/6/2024 – Songs from John Waters’ Hairspray, peripheral Motown songs, Spector soundalikes, Beatles covers, Brit girls and Girls In The Garage.
10/13/2024 – A rebroadcast from 3/26/12: The Houston/Warwick Clan, Girls With Guitars, International Gals, Monkees Covers & Motown.
10/20/2024 – A rebroadcast from 4/21/08 featuring car songs, Dusty Springfield covers, NYC: A Mini-Musical, soul, Motown and more!
10/27/2024 – The 60 Degrees Halloween Show

See also:
Back To The Girl Zone: 60 Degrees Returns
60’s Girl Group Survivors
Girl Group Heaven: Ronnie, Rosa & Wanda
60 Degrees Halloween Show
60 Degrees Girl Group Christmas
Ronnie Spector 1980
Dusty Springfield Sings Kate Bush
Tina Turner: 12+ Cover Songs You May Have Missed
Etta James: Advertising Zombie
A Christmas Without Miracles: The 1987 Motown Xmas Special

The Boys In The Band Press Book (1970)

Whenever I see posts on social media that mention the 1970 film The Boys In The Band, there are always strongly opposing viewpoints. Whether you love or hate the film, everyone can agree that it is a cultural touchstone. Like the Stonewall uprising itself, The Boys In The Band serves as a landmark, with every other gay-themed film described as either preceding or following it.

I recently acquired the original press book for the film, which you can see below. Also included is the Playbill from the original West End production with the same cast as well as some revealing photos of “Cowboy” Robert La Tourneaux. During the New York run of the play, he was photographed in and out of clothes by Jack Mitchell for After Dark magazine. Years later, La Tourneaux would appear in photo layouts for Mandate, Honcho, and Zeus, which were the names of gay publications and not a queer law firm.

The Boys In The Band poster (l-r) Leonard Frey, Robert La Tourneaux (Photo by LMPC via Getty Images)

See Also:
Kurt Bieber: From Little Me To Colt Model
Kenn Duncan After Dark
Don Herron’s Tub Shots
Dean Martin & Jerry Lewis Let It All Hang Out
The Yale Posture Photos: Bill Hinnant
The Yale Posture Photos: James Franciscus
Gay Porn Stars We Lost (so far) in 2025
Truman Capote in Mandate (1985)
Costello Presley and 80’s Gay Porn Guilty Pleasures
Blueboy 1980: Gays of NYC
Alexis Arquette’s Lost Porn Flick
Mandate 1988: New York Redefines Drag

Madame Spivy: Why Don’t You?

Ladies and Gentleman, it is time once again to revisit that late great dynamic lady of song, Madame Spivy LeVoe (1906-1971), also known simply as Spivy. A lesbian entertainer, nightclub owner and character actress, Spivy has been described as “The Female Noel Coward” – to which I add “…. if he had been born in Brooklyn as Bertha Levine.”

Spivy photographed by Carl Van Vechten (1932)


In case you missed them, here are the previous Madame Spivy posts:
The Alley Cat
The Tarantella
Auntie’s Face
100% American Girls
A Tropical Fish
I Brought Culture to Buffalo In The 90’s
I Didn’t Do A Thing Last Night
Madame Spivy: Movies & Television
Madame Spivy on the Good Time Sallies Podcast

“Why Don’t You?” is the fifth side profiled here from her 1939 album Seven Gay Sophisticated Songs. Spivy is credited with composing the music, with lyrics by Everett Marcy, who also penned “I Brought Culture to Buffalo In The 90’s”.

Marcy had a few Broadway writing credits including New Faces of 1936. It was Marcy who wrote the oft-repeated line introduced in the show by Imogene Coca: “I must get out of these wet clothes and into a dry martini.”

The song “Why Don’t You?” refers to Diana Vreeland’s column of the same name in Harper’s Bazaar magazine. It was full of random “imaginative” suggestions such as “Why don’t you wash your blond child’s hair in dead champagne, as they do in France?”

Some of the notables of the day that are referenced in the song:

Vera Zorina – a ballerina, actress, and the second wife of George Balanchine.

Cecil Beaton – photographer, diarist, painter, interior designer, and an Oscar-winning costume designer.

Elsa Maxwell – a gossip columnist, radio personality, and professional hostess renowned for her high society parties.

“The Zerbes and Bebees” refers to the original paparazzi photographer Jerome Zerbe (1904-88) and syndicated society columnist Lucius Beebe (1902-1966). The two were a couple through the 1930’s.

Peggy Hopkins Joyce – an actress and socialite, notorious for her flamboyant lifestyle with numerous affairs, engagements and six marriages.

Clifton Webb – a character actor best known for his thinly veiled “sissy” supporting roles.

Why Don’t You?

Today when all the headlines full of red lines and bread lines confuse you
And the world seems bleak, don’t be blue.
In Harper’s they have a column, very smart and very solemn that will amuse you.
It asks you little questions to give you smart suggestions how you, too can reek with chic
like the most ultra-clique, and they call it “Why Don’t You?” It asks you…

Why don’t you have your ermine muff wired for sound and use it weekends as a concertina?
Why don’t you give a charity ball for the Princeton Club and raffle off Vera Zorina?

Why don’t you throw your mother an occasional bone?
Why don’t you try sleeping alone?
Why don’t you take the pretty blue check you won at bridge and kite it?
Why don’t you dip your head in brandy and light it?

Why don’t you try wearing gold sandals backwards just for the sheer agony of it?
Why don’t you send last year’s negligée to Cecil Beaton? He’d love it.
So they want you to try decorating your flat with bundles of hay…
Well they know what they can do with Harper’s, why don’t they?

Why don’t you try going to Elsa Maxwell’s parties as yourself for a change?
Why don’t you try wearing a hat that won’t make your husband look strange?
Why don’t you develop a bright smile by putting an electric bulb behind each tooth?
Why don’t you give a testimonial dinner for Hitler in a telephone booth?

Why don’t you get out of town before you come down with a compound case of heebie jeebies?
Why don’t you listen to the birds and bees instead of the Zerbes and Bebees?
So they want you to roll up your rugs and cover your floors with broccoli on the first warm day.
Well they know what they can do with Vogue too…. Why don’t they?

Why don’t you have a stag line composed of the ex-husbands of Peggy Hopkins Joyce?
Why don’t you cross breed carrier pigeons with parrots so they can deliver messages by voice?
Why don’t you try throwing Clifton Webb over your left shoulder and making a wish?
Why don’t you fill your guest’s finger bowls with invisible tropical fish?

Why don’t you try opening your eyes in the middle of a kiss?
Why don’t you cancel your subscriptions to magazines like this?
Why don’t you tear everything off your hat and stamp on it?
Why don’t you take out a homestead in Montana and go “camp” on it?

So they want you to promise to slap your own face two hundred times a day?
Well tell them you’ll have none of it.
Tell them you’re through with their “Things To Do” and they can all take their Harper’s and… love it.

See Also:
The Alley Cat
The Tarantella
Auntie’s Face
100% American Girls
A Tropical Fish
I Brought Culture to Buffalo In The 90’s
I Didn’t Do A Thing Last Night
Madame Spivy: Movies & Television
Madame Spivy on the Good Time Sallies Podcast
The Mysterious Midge Williams
Neeka Shaw: The Forgotten Showgirl

Artist’s Muse: Donald Windham & Sandy Campbell

I recently wrote a piece for the Fire Island Pines Historical Preservation Society titled “The Fire Island Muses of George Platt Lynes & The PaJaMa Collective.” It focuses on the subjects of the artwork they created during their time on Fire Island. This is an expansion on two of those profiled: Donald Windham and Sandy Campbell.

Windham & Campbell in Italy, ca 1950

Fred “Butch” Melton (1939)

In 1939, 19-year-old Donald Windham moved to New York from Atlanta with his boyfriend, graphic artist/photographer Fred “Butch” Melton. They were welcomed into the New York circle of artistic types that included George Platt Lynes, Tennessee Williams, Paul Cadmus, Jared and Margaret French.

Donald Windham & Fred “Butch” Melton photographed by Jared French at his 5 St. Luke’s Place studio (ca 1941)

In 1942, Butch ended his relationship with Windham, opting for a more conventional lifestyle by getting married, fathering two sons and moving to Macon, Georgia. This didn’t last long: Butch met and fell in love with local artist Wilbur “Billy” Pippin. In early 1948, he left his young family and returned to New York with Billy. But that’s another story…

Donald Windham with Jared French & Paul Cadmus on Fire Island, ca 1940

In 1942, the newly single Windham supported himself by working at Lincoln Kirstein’s Dance Index magazine. He lived in the Cadmus/French studios at 5 St. Luke’s Place while they spent time at their rental on Fire Island. He would frequently visit there as well. The lithe young man with the striking profile became the subject of many PaJaMa photos and sketches.

Windham posed as a reference for Jared French’s Homesickness (1942)

Paul Cadmus met 21-year-old Princeton theater student Sandy Campbell at a party in 1943. The young man asked the artist to do a pencil portrait that he could give to his mother, as he suspected that he would soon be drafted. Cadmus was instantly smitten with the handsome young man. He went on to draw, paint and photograph him frequently throughout the following year.

Campbell is the central figure of Cadmus’s 1944 painting Reflection. Donald Windham was the original model for the figure laying on the floor. Before the painting was completed, however, the two models fell in love. Cadmus was not happy with this turn of events, and Windham’s likeness disappeared from the finished painting, with the figure’s head turned slightly away.

Donald Windham & Sandy Campbell photographed by George Platt Lynes (ca 1943)

Photographer George Platt Lynes photographed both Campbell and Windham several times in separate studio settings. In 1945, he shot Windham again with his friend and writing collaborator, Tennessee Williams.

Donald Windham, Tennessee Williams & Edmund Gwen photographed by George Platt Lynes (1945)

Windham and Williams co-wrote the play You Touched Me!, a romantic comedy based on a short story by D.H. Lawrence. It opened on Broadway starring Edmund Gwen and Montgomery Clift in late 1945. Unfortunately, reviews were mixed and it closed 4 months later.

Around the same time, Campbell was cast in a string of minor Broadway and film roles that would span the next 10 years. He then decided to give up acting and focus on editing and publishing Windham’s work.

Donald Windham’s literary output (1950-1998)

Windham’s 1972 novel Tanaquil is a fictionalization of his time among the George Platt Lynes / PaJaMa circle of friends. His later work focused on correspondence and reflections on his famous literary friends, including E.M. Forster, Tennessee Williams, Alice B. Toklas and Truman Capote.

Campbell & Windham with Capote

Windham & Campbell, ca 1987

Windham and Campbell remained a couple for the rest of their lives. Besides their New York City apartment on Central Park South, they also had a Fire Island house on Ocean Walk in The Pines, where Campbell died suddenly of a heart attack on June 26, 1988. Windham outlived his younger partner by 22 years, passing in May, 2010 at the age of 89. Their combined estates fund the annual Windham-Campbell Literary Prizes, established at Yale University in 2012.

Jack Parlett’s 2022 book Fire Island devotes almost an entire chapter to Donald Windham’s 70-year span visiting the island. Parlett writes; “(Windham) was part of the very first generation to discover its potential as an enclave; first as a young man, visiting Saltaire with some of the earliest queer artists to incorporate the island into their practice; and later as a man in his fifties, happily coupled with the love of his life, who made in the Pines an enclave within an enclave, a restful home for two people, even amid the loudness of the community’s sexual and cultural boom in the 1970’s.”


See also:
Donald Windham on Truman Capote: Christopher Street (1988)
Fire Island PaJaMa Party
Fire Island Muses of George Platt Lynes & The PaJaMa Collective
Revisiting George Platt Lynes’ Fire Island Muses
Artist’s Muse: Wilbur Pippin
Artist’s Muse: José “Pete” Martinez
Artist’s Muse: Chuck Howard
Artist’s Muse: Randy Jack
Artist’s Muse: Ted Starkowski
Artist’s Muse: The Mystery Model
George Platt Lynes: In Touch Magazine (1982)

Artist’s Muse: Forrest Thayer

I recently wrote a piece for the Fire Island Pines Historical Preservation Society titled “The Fire Island Muses of George Platt Lynes & The PaJaMa Collective.” It focuses on the subjects of the artwork they created during their time on Fire Island. This is an expansion on one of those profiled: Forrest Thayer.

Including Forrest Thayer in the Artist’s Muse series may seem to be a bit of a stretch. He was not a subject of George Platt Lynes (as far as I know) and was only captured by the PaJaMa photo lens during a short period in the late 1930’s. Nevertheless, the talented costume designer still deserves a mention.

Forrest Thayer photographed in the PaJaMa studios at 5 St. Luke’s Place (1938)

Forrest Glenn Thayer, Jr. was born on May 29, 1916 in Sag Harbor, New York. He was the first child of Forrest and Helen Sigmund Thayer. A younger sister, Helen, was born in 1919. His father was the assistant superintendent of the nearby Fahys Watch Case Factory. He later moved up to superintendent in the early 1920’s.

Both parents were active in the Sag Harbor community, appearing in local stage productions and soloing in the church choir. Mrs. Thayer was also president of the bridge club. When the Fahys Watch Case Factory was sold to Bulova in 1934, Forrest Sr. found work with the Keystone Watch Case Company in New Jersey. He moved to Riverside and would visit his wife and children on the weekends.

Forrest Jr. graduated from Pierson High school in 1933 and went on to study at the New York School of Fine and Applied Arts, now known as Parsons School of Design.

In 1936, Lincoln Kirstein organized Ballet Caravan, a company expressly dedicated to the commission and production of ballets with American themes. These would be created by American composers, choreographers, designers and dancers.  The company also provided off-season summer employment for his American Ballet company dancers, which included Kirstein’s paramour, José Martinez. 

One of dancer William Dollar’s first forays into choreography was Ballet Caravan’s production of Promenade, set to Maurice Ravel’s Valse Nobles et Sentimentales. 20-year-old Forrest Thayer designed the costumes for the production, which featured dancers Eugene Loring and brothers Harold and Lew Christiansen.

Promenade costume sketches by Forrest Thayer with photos by George Platt Lynes (1936)

Sag Harbor Express, 5/12/1938

Paul Cadmus and Jared French would each take a turn designing sets and costumes for Ballet Caravan: Cadmus with Filling Station (choreographed by Lew Christiansen) in 1937 and French with Aaron Copeland’s Billy The Kid (choreographed by Eugene Loring) in the Fall of 1938. Between those productions, the creative team took a trip out to Fire Island where the PaJaMa collective would retire each summer.

Forrest Thayer, Paul Cadmus and José Martinez at the Saltaire, Fire Island Ferry (1938)

Forrest Thayer frolicking on Fire Island with Paul Cadmus, Jared French and José Martinez (1938)

The PaJaMa photo “After The Hurricane” features (l-r) Jared French, Lincoln Kirstein, José Martinez, Forrest Thayer and probably Paul Cadmus. 

Forrest Thayer sketch by Paul Cadmus

Thayer spent the rest of the summer of 1938 as the scenic designer for the Studio Players in East Hampton, L.I. He continued to find freelance work regionally as a scenic and costume designer. In 1940, he was the scenic designer for the Provincetown Players in New York City. He spent the summer of 1941 working with the Hilltop Players in Ellicot City, Maryland.

During World War II, Thayer served as a staff sergeant in India and Burma from February, 1942 through December, 1945. He landed back in New York after the war and resumed his design career.

In the spring of 1947, Thayer tried his hand at co-directing a revival production of Percy Shelley’s The Cenci at the Equity Library Theater. Reviews were not favorable. During that summer, he directed an adaption of Jean Paul Sartre’s No Exit for the Maverick Players in Woodstock, New York.

New York Daily News, July 23, 1950

Back in New York City, his work with wardrobe continued. Over the next 5 years, he was a part of the following productions:

1947 – Crime And Punishment – Broadway with John Geilgud & Lillian Gish (assistant to Costume Designer Lester Polakov)
1948 – Inside U.S.A. – Broadway (assistant to costume designer Eleanor Goldsmith)
1948 – Cole Porter’s Kiss Me Kate – Broadway (assistant to costume designer Lemuel Ayers)
1949 – Noel Coward’s Present Laughter tour starring Edward Everett Horton (costume design)
1949 – The Philadelphia Story tour (costume design)
1949 – Garson Kanin’s The Smile Of The World – Broadway with Ossie Davis & Ruby Dee (costume design)
1950 – Cole Porter’s Out Of This World – Broadway (assistant to costume designer Lemuel Ayers)
1950 – Garson Kanin’s The Live Wire – Broadway (costume design)
1950 – The Jack Carter Show – NBC Television (costume design)
1951 – Music In The Air – Broadway (assistant to costume designer Lemuel Ayers)

In the fall of 1951, a week before the Broadway opening of Music In The Air, Thayer drove out to Sag Harbor for a visit with his mother. Wherever his career took him, he made frequent return visits to the family home on Jermain Avenue. He spent the evening of Saturday, September 29th in East Hampton visiting friends. As he was driving back to Sag Harbor in the early morning hours of Sunday, September 30th, he was involved in a single car accident. It was reported that he fell asleep at the wheel and struck a tree. He died the next day at Southampton Hospital.

Sag Harbor Express 10/4/51

The Thayer home is just a half mile down the road from Oakland Cemetery. Forrest’s funeral was held at the house, and he was interred with military honors at the cemetery. His parents are now buried there with him.

Eight of Forrest Thayer’s costume sketches from Promenade are a part of the Museum Of Modern Art collection, courtesy of Lincoln Kirstein.

See also:
Fire Island PaJaMa Party
Provincetown PaJaMa Party
Artist’s Muse: José “Pete” Martinez
Artist’s Muse: Chuck Howard
Artist’s Muse: Randy Jack
Artist’s Muse: Ted Starkowski
Artist’s Muse: The Mystery Model
Artist’s Muse: Donald Windham & Sandy Campbell
Artist’s Muse: Wilbur Pippin
George Platt Lynes: In Touch Magazine (1982)
Fire Island Muses of George Platt Lynes & The PaJaMa Collective
Revisiting George Platt Lynes’ Fire Island Muses

Kurt Bieber: From Little Me to Colt Model

You may already know this, but anyone with an affinity for self-indulgent grande dame memoirs and/or the camp humor of Auntie Mame needs to seek out the 1961 book Little Me, The Intimate Memoirs of That Great Star of Stage, Screen & Television Belle Poitrine, as told to Patrick Dennis. The book spawned a Broadway musical starring Sid Caesar in 1962, which was revived with Martin Short in 1998. However, the book is whole different animal. The 2002 reprint with a new foreword by Charles Busch may be out of print, but affordable copies are easily found online.

The whole thing is a parody – a camp fiction classic created by the Auntie Mame author with over 150 photographs by Cris Alexander, an actor who appeared in both the stage and film versions of Auntie Mame. Alexander had transitioned into his second career as a photographer.

Actress Jeri Archer embodied Belle Poitrine in the photographs with a cast of characters playing her co-horts. Among the familiar faces in the company are character actresses Dodie Goodman and Alice Pearce, author Patrick Dennis (as Cedric Roulstone-Farjeon) and his wife Louise (as Pixie Portnoy). Cris Alexander also appears in various roles alongside his lifelong partner, ballet dancer Shaun O’Brien (as Mr. Musgrove). Miss Rosalind Russell makes an appearance as well.

The role of Letch Feeley, Belle’s hunky paramour and costar, was played by Kurt Bieber. After the publication of Little Me, Cris Alexander wrote, “Shaun and Kurt generated an unprecedented amount of fan mail, all sent to the publisher’s office.”

Letch Feeley & Belle Poitrine, aka Kurt Bieber & Jeri Archer in Little Me

Kermit Henry Bieber was born on January 5, 1929 in Allentown, Pennsylvania. A 1946 graduate of Emmaus High School, Bieber worked at the local Sears before serving in the Army during the Korean War.

After his discharge, he headed to New York, where he studied drama, dance and voice at The American Theatre Wing. Roles in summer stock soon followed, with ensemble work in Can-Can, Happy Hunting, Oklahoma! and Wonderful Town.

The Morning Call, Allentown, PA (6/21/1960)

It was his work in a regional production of On the Town that took his career to the next level. Cris Alexander later wrote, “Ross Hunter may have discovered Rock Hudson, but I discovered Kurt Bieber during a summer package of On The Town (Pittsburgh ’58).” By October of that year, Bieber was back in New York playing a sailor alongside William Shatner in the original Broadway production of The World of Suzie Wong.

More regional work followed, including a stint in the play Teahouse of The August Moon with Red Buttons. It was around this time that Cris Alexander began to shoot the photos for Little Me, casting Bieber in the role for which he is best remembered.

In Uncle Mame: The Life of Patrick Dennis, author Eric Myers writes “Most memorable to a certain contingent of the book’s audience was actor Kurt Bieber, who… displayed plenty of muscular flesh in nearly all of his photos.”

“I loved doing Little Me. People would stop me in the street and say ‘Aren’t you Letch Feeley?'” Kurt fondly remembered. “It was a first. No one had ever done a book like that… it was such a different atmosphere then. The photos were really a breakthrough.”

“Kurt Bieber is a poseur extraordinaire. The grace and symmetry of the youthful physique is captured in this study by Male Today.”

Following the success of Little Me, Bieber continued acting as well as modeling. He found work as a “posing strap” model for Male Today and other physique magazines. He was an early subject for Jim French, a photographer who was starting up a photo studio under the name Rip Colt. An early Colt film loop lists Bieber as one of the performers – a softcore scene with three muscular models lathering each other up in a shower – but none of the models appear to be him.

In 1969, Bieber had a bit part as a Times Square street hustler in Midnight Cowboy:

At the dawn of the 1970’s, 40-year-old Bieber – no longer a young chorus boy – opted for a new look. He transformed himself into the quintessential gay clone: an urban cowboy/mustache and Levi’s/hanky-code persona that would characterize the gay scene for the next decade. His photos for Colt studios now typify that era of gay erotica.

He was quoted as saying “I loved being photographed in the nude. I’ve always been an exhibitionist. To be an actor, you have to be. Besides, I got to choose the models. I chose hot men that I could get off on. That’s why they gave me (Colt superstar) Dakota.”

Kurt Bieber (in a Colt t-shirt) outside Badlands in the West Village, NYC (1979)

While major film roles never materialized, Bieber appeared in several commercials and continued to garner background work in films like Last Summer and Chapter Two. He can be seen offering poppers to a cohort at The Eagle in the controversial Al Pacino film Cruising (1980):

His appearance in Cruising landed Bieber on the cover of the February 1980 issue of Mandate Magazine. In his interview, Bieber mentions that he played Letch Feeley among other acting roles. He differentiates himself from the other Cruising extras, some of whom were cast off the street. “I want to stress that I did it as a professional… It’s just a job.”

As for those rumored to be having sex on camera in the leather bar scenes; “On the set, some people were having sex for real, but (director William) Friedkin didn’t ask anybody to. No way I would suck cock in front of a camera,” he says.

Although Bieber doesn’t mention his work with Colt Studios in this article, four months later Mandate ran a 10-page spread titled “Whatever Happened To Letch Feeley?” This feature tracked Bieber from his Little Me photos through his work with Colt Studios.

When asked to sum himself up at the close of the article, Bieber said with a smile; “I’ve done a little bit of everything and I’ve loved every minute of it.”

Later in 1980, Bieber was done in by a poison dart in Times Square during the opening sequence of Eaten Alive, an Italian cannibal movie:

The epilogue of Uncle Mame: The Life of Patrick Dennis (2000) notes that Bieber “has been an extra in almost every movie ever filmed in New York City. Kurt says he is ‘still around and still cruising Christopher Street.'”

Kurt Bieber behind Whoopi Goldberg and Patrick Swayze in a scene from Ghost (1990)

Decades later, Little Me fans still recognized him. “Even today, I’ll sometimes walk into a store and someone will say ‘Wow! Letch Feeley!’ How they recognize me after all these years, with my white hair, I’ll never know.”

Kurt Bieber passed away at age 86 on December 31, 2015 in New York City.

See Also:
The Yale Posture Photos: Bill Hinnant
Madame Spivy: I Didn’t Do A Thing Last Night
Keith Haring In Heat Magazine (1992)
Kenn Duncan After Dark
Artist’s Muse: Wilbur Pippin
Artist’s Muse: The Mystery Model
Artist’s Muse: William Weslow
Gay Times #69 (1978)
New York City: In Touch For Men (1979)
Armistead Maupin in Blueboy Magazine (1980)
You Know The B-52’s Song “Roam” Is About Butt Sex, Right?
George Platt Lynes: In Touch Magazine (1982)
Revisiting George Platt Lynes’ Fire Island Muses

Truman Capote in Mandate (1985)

Truman Capote is the subject of this article from the February, 1986 Mandate magazine. The piece was written by Boze Hadleigh just over a year after Capote's death.

Continuing with our theme from the last post, Truman Capote is the subject of this article from the February, 1985 issue of Mandate magazine. The piece was written by Boze Hadleigh just 6 months after Capote’s death.

The infamous book jacket photo of Truman Capote from Other Voices, Other Rooms. One critic commented, “He looks as if he were dreamily contemplating some outrage against conventional morality.” (1948)

See also:
Donald Windham On Truman Capote: Christopher Street (1988)
Artist’s Muse: José “Pete” Martinez
Artist’s Muse: Chuck Howard
Artist’s Muse: Ted Starkowski
Artist’s Muse: The Mystery Model
Artist’s Muse: Wilbur Pippin
Provincetown PaJaMa Party
Fire Island Muses of George Platt Lynes & The PaJaMa Collective
Revisiting George Platt Lynes’ Fire Island Muses
George Platt Lynes: In Touch Magazine (1982)
Keith Haring In Heat Magazine (1992)
Mandate 1988: New York Redefines Drag