This is the term used to describe fans of the Heated Rivalry television show and Rachel Reid’s book series that it is based on.
The first book of the series, Game Changer (2019) focused on NHL captain Scott Hunter and barista Kip Grady. Their story is the subject of episode 3 of the Heated Rivalry television show. Because the whole book was condensed into a single episode, there is little about Kip’s home life in Bay Ridge, Brooklyn. His mother and sister are not mentioned in the show, although his father, as played by Matt Gordon, is one of my favorite peripheral characters in the series.
Kip & his dad as played by Robbie G.K. & Matt Gordon.
Author Rachel Reid has always been very connected with her audience and generous about posting additional content online for free: sharing scenes and chapters trimmed from the books as well as short stories not featured elsewhere. You can find these on her website.
One piece that is a little harder to find is an epilogue to Game Changer that was posted as an epub file. I’m posting it below for those who want to easily read it online, or as a downloadable .pdf.
Volunteer Santas, NYC (1977) photo: Susan Meiselas
I know I am not alone when I say that I take comfort in the annual repetition of the holidays: revisiting holiday-themed music, films, television shows… and now internet posts. Dave Holmes’ account of Patti LaBelle’s disastrous performance at the 1996 National Christmas Tree lighting is worth an annual revisit. Trust me.
Not to get meta or anything, but the post you are currently reading has been reworked and updated each year since 2020.
While we’re mining the past and dusting off our chestnuts, here’s the intro to the 1999 holiday episode of Bri-Guy’s Media Surf, an NYC Public Access show that featured yours truly lip-syncing a little Esquivel:
Whenever the song pops up on my holiday playlist, I still do this.
I find it interesting that we immerse ourselves in certain pop culture favorites for exactly 6 weeks of the year and then pack them up in mothballs with the ornaments until next year. I mean, Brenda Lee’s “Rockin’ Around The Christmas Tree” is currently at the top of the Billboard Hot 100. Burl Ives, Bobby Helms and Andy Williams are also in the top 10. Are any of them on your 4th of July playlist? They aren’t on mine.
Gabe Pressman (left) with Marilyn Monroe (1956)
I used to look forward to the annual Christmas Eve tradition on NBC New York’s evening news when reporter Gabe Pressman would read “Yes Virginia, There Is A Santa Claus.” I taped it in 2011, knowing that the tradition wouldn’t last forever. The self-described “little Jewish kid from the Bronx” was 87 years old at the time and continued to work at NBC until his death at age 93.
NBC New York reporter Gabe Pressman’s annual segment on Virginia O’Hanlon’s 1897 letter to the New York Sun Newspaper.
But wait! There’s more: My other blog posts of Christmas past are back to haunt you like A Christmas Carol, Mr. Scrooge.
We now have four 60 Degrees Girl Group Christmas playlists! These have been running each week this month on East Village Radio. Click here for streaming:
11/30/2025 Christmas Show #1: Holiday 60’s chicks and girl groups featuring lots of songs about snow and snowmen, winters warm and cold, blue holidays and Christmas trees.
12/7/2025 Christmas Show #2: The Classic Christmas Episode – our first holiday show from 2008. Featuring Darlene Love, Carla Thomas, The Supremes, Honey & The Bees and more.
12/14/2025 Christmas Show #3: British singers, obscure soul Christmas tracks, favorites from the Spector stable of artists, Motown and more!
12/21/2025 – Christmas Show #4: Featuring soul divas, duets, a boogie woogie Christmas, country ladies, Chess gospel soul and some ladies that really want a Beatle for Christmas.
I recently posted about Truman Capote’s classic short story A Christmas Memory, which includes the entire text, Capote’s 1959 reading of the story, and a link to watch the Emmy Award-winning 1966 television version starring Geraldine Page. Highly Recommended.
There’s a new Motown Christmas Special this year that has already aired in prime time this month, featuring Smokey Robinson, Gladys Knight, Martha Reeves and The Temptations. Here is my take on the 1987 Motown Christmas Special – which featured very few Motown acts.
My Canine Christmas Tail is a true story about my dog Sunshine, a basset hound with an appetite for tinsel.
Have you watched Christmas In Connecticut yet this year? How about that delivery woman? After years of speculation, last year I was able to identify the actress as Daisy Bufford.
The original version of “¿Dónde Está Santa Claus?” is featured in “Llamacita,” a 2024 Amazon Prime holiday commercial. Here’s a little backstory on the song & Augie Rios, who sang the original version.
Also – would you like to hear my Spotify holiday playlist?
Way back in 2002, when Limewire was a thing and people listened to music on silvery discs, I started creating Christmas CD mixes that I would mail out or give to people. These were received with a heartwarming combination of feigned delight, veiled indifference and deafening silence. None of these CDs had a pressing of more than 20 copies. I’d like to call them “much sought after” – but no, that’s not really the case, although every once in a while, someone really got into them and would ask for copies of other volumes.
And so, I’m offering this simple playlist…. for kids from 1 to 92. Unfortunately some of the tracks on these dozen CDs are not on Spotify, but I keep adding songs that would be on the current CD volume… if there was one. And now the playlist is over 18 hours of holiday tunes. I recommend listening on shuffle – there’s something to irritate everyone. Enjoy!
Here’s one more nugget to stuff in your stocking: This vid went viral in 2011. Choreographed and performed by Alex Karigan & Zac Hammer of the Amy Marshall Dance Company, it was filmed in one continuous take at the New 42nd St. Dance Studios. There’s something infectious about it: the joy, the corniness, the celebratory queerness of it all. It makes me want to dust off my jazz shoes. Once a year.
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 year has really done a job on me. However, I am comfortable enough in my middle-aged fruitiness to freely quote Auntie Mame at you: We need a little Christmas. Now.
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, as 2025 limps to a close, 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.
“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:
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!
It’s hard to believe that it has been 17 years since I put together the first Halloween show for 60 Degrees with Brian Ferrari, my weekly radio program featuring “60’s chicks and girl groups – the hidden gems, cult favorites and unreleased obscurities of the decade.” The show ran for five years and has been back on the air since the relaunch of East Village Radio in July, 2024. This Halloween episode was originally broadcast on October 27, 2008 and aired every Halloween for the duration of the show’s run.
This year we have a new show! Halloween 60 Degrees Part II: Electric Boogaloo is streaming here:
Once again, 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 are interspersed with vintage commercials, sound effects and movie clips.
I recently happened upon a very special and atypical issue of Mandate. The June 1988 edition of this skin magazine is the “N.Y. Gender F..k” issue. Although it contains 6 regular photo layouts of masculine models – including 3 Brazilian Kristen Bjorn models and the burly bear on the cover – there are also several articles devoted to drag performers such as Charles Busch and John Epperson. Elsewhere in the issue is an editorial on “Nellyphobia” (or “Nelliphobia,” depending on whether you go with the spelling on the cover or in the article). It’s not a scientific study, really.
As a whole, the drag/genderfuck theme was not quite the regular magazine filler one would expect. I am curious as to the reaction that it received at the time.
Today, the article “New York Redefines Drag” serves as a history lesson on the late 1980’s drag scene.
I was unfamiliar with Cutter Sharp / Razor Sharp / Ultra Sharp, so I asked a fellow lifetime queer New Yorker of a certain age. He recalled; “(Cutter) was out and about NYC in the late ’80s and early ’90s. He was on (local public access game show) Be My Guest with Sybil Bruncheon… and he appeared at Night Of A Thousand Gowns with the Imperial Court as Empress Razor Sharp. He held a seminar at the Gay & Lesbian Center on Drag Queen Enlightenment. He also did reports on GCN (Gay Cable Network) from The Monster, The Saint, The Pyramid, and other clubs.” I also learned that Cutter Sharp was known as a professional hair stylist and that his name appears on a 1994 panel of the AIDS quilt.
John Burke, aka Sybil Bruncheon, Charles Busch, and David Drake are interviewed in the article as well. The three are still active, all these years later. If you don’t know their work, Google ’em.
Next up is an interview with John Epperson – the legendary Lypsinka. Epperson is still going strong, 40 years into his career.
Mike Varady coined the term “Nelliphobia” and challenges it in an editorial piece about the shaming of feminine men. “We are supposed to avoid being a stereotype, which is any person who happens to have at least a glimmer of truth as far as being a gentle person, a nonfighter – something to be proud of – is concerned.”
While some of Varady’s conclusions and/or choices of phrase now seem dated, he was certainly hitting upon an issue not often discussed in gay skin magazines at that time: a push-back against gender conformity. “The notion that ‘We’re just like everyone else, except for…’ is foolish… and quite damaging to us.”
In his closing paragraphs, Varady admits that the piece is bound to be unpopular with readers, that he has created “a headache for the editors” with anticipated angry response letters. But he goes one step further:
“Who knows? Maybe someday we’ll even read an erotic story or have nude photos in Mandate in which a willowy queen is the sex object! Now that would really be destroying a stereotype!”
Even the music section of this issue is planted firmly in downtown genderfuck. The music documentary Mondo New York is featured with performances by Joey Arias, Dean Johnson and John Sex.
While doing research for my previous post about a 1990 tour of gay Greenwich Village, I found a December 1991 clipping from Bob Harrington’s “Bistro Bits” column tucked into my journal. Harrington’s column was a regular feature in the performing arts publication Back Stage. In pre-internet days, performers would buy this print weekly for the audition listings. “Bistro Bits” was a column highlighting the cabaret scene. It was here that the annual Bistro Awards began in 1985 – created by Harrington to honor excellence in cabaret .
Another prominent feature in Back Stage at the time were the obituaries. Every week there would be death notices for entertainment industry professionals – usually young men dying far too young of “undisclosed causes.” This was at the height of the AIDS crisis and the stigma surrounding it may be lost on those too young to remember. “AIDS complications” were seldom cited in obituaries and listing it as a cause of death could be considered slander. That said, some men began to request its inclusion in their eventual obit: a final act of defiance in a world that was dragging its feet to find a cure.
I mention this to give some context to the level of courage it took for Harrington to write this column.
East Meadow High School (1968)
Robert William Harrington was born on October 2, 1950 in Richmond Hill, Queens and grew up in East Meadow on Long Island. Harrington graduated from East Meadow High School in 1968. He was just a couple of years younger than both of my parents, who graduated from W.T. Clarke, East Meadow district’s other high school. He then went on to study at SUNY Oneonta, where he graduated in 1972.
SUNY Oneonta, NY (1972)
Harrington honed his writing skills while working as a bartender and became known as an expert on the cabaret scene. In 1982, he began writing a column for the Long Island monthly magazine NightLife. He continued writing for the publication when they moved to New York City in 1984 and also launched his “Bistro Bits” column in Back Stage. In 1986, he began contributing reviews for the New York Post, and was an occasional guest on Joe Franklin’s local television talk show.
Harrington was a driving force behind the Manhattan Association of Cabarets and Clubs and also very active with Hearts & Voices, an organization that brought music to AIDS patients.
A few months after his announcement in Back Stage, Harrington was quoted as saying; “I’ve gotten tons of letters from people who have survived five, ten years with AIDS. This is the ’90s. We don’t have to die, we’re gonna make it.”
Bob Harrington died on October 19, 1992. He was 42 years old and was survived by his mother and three brothers.
A tribute was held at Caroline’s on November 12, 1992. The show was hosted by Jamie deRoy with performances by Julie Halston, Nancy Lamott, Jim Caruso, Margaret Whiting and Karen Saunders. All proceeds went to Hearts & Voices.
Another tribute took place the following month:
New York Daily News (12/8/92)
The following year, The Bistro Awards named Rosemary Clooney as the first recipient of their highest honor: The Bob Harrington Lifetime Achievement Award.
New York Daily News (2/5/93)
Back Stage editor-in-chief Sherry Eaker spent several years compiling Harrington’s “Bistro Bits” columns into a book. The Cabaret Artist’s Handbook: Creating Your Own Act in Today’s Liveliest Theater Setting was published in 2000.
I recently found myself perusing (as one does) the January, 1990 issue of In Touch For Men. An article titled “Touring Around The Village” caught my eye. Wesley Allen took a walking tour of Greenwich Village, writing about the gay bars, shops, and restaurants.
This was the New York City that I fell in love with – the one I would visit on day trips from Long Island and was finally able to move to the following year. (See The Lion In The Emerald City and 1991: Homo Alone for more on that. ) These were the shops I frequented and a couple of the bars, too.
Of the 26 businesses mentioned here, four of them still exist at the same locations: The Monster, Ty’s, Marie’s Crisis, and Julius. Around the time that this magazine hit the stands, The Duplex, which originally opened in 1951 at 55 Grove Street, moved to its current spot at 61 Christopher Street.
In 1991, I moved into a 5th floor walkup on East 6th Street between First Avenue and Avenue A. Tunnel Bar was my neighborhood spot, just around the corner on First Avenue at 7th Street. On slow nights, the bespectacled bald barback would sit cross-legged on the far end of the bar, absentmindedly clicking his tongue ring on his teeth like some sort of queer lizard. I couldn’t decide if it was creepy or adorable.
A few years after Tunnel Bar went out of business, Saifee, the hardware store next door expanded into the space. I would reminisce about what it used to be whenever I would go in to buy plant dirt and screws.
I used to joke that the bar I frequented the most was Uncle Charlie’s, but it was just so I could hold my friends’ coats while they cruised the preppy boys. I was invisible there – never quite handsome or stylish enough for the clientele.
Postcard for the 56 Greenwich Avenue location of Uncle Charlie’s, which closed in September, 1997.
The Bar on Second Avenue was another neighborhood spot that I frequented, followed by The Boiler Room, which opened right around the corner on East 4th street in 1994. The Bar went straight a few years later, undergoing many hetero iterations and name changes in the ensuing years. The Boiler Room remained its gay seedy self until the Fall of 2024, when it moved to 45 Second Avenue.
Another item of interest in this issue of In Touch: A very nice photo of Madonna paramour / model Tony Ward.
Next month will mark five years since I started the Artist’s Muse series on this blog – profiling the men who inspired, and were subjects of, mid-century artists like George Platt Lynes, Bernard Perlin, George Tooker and the PaJaMa collective: Paul Cadmus, Jared and Margaret French. Last summer I compiled some of these stories and photos for the Fire Island Pines Historical Preservation Society website. “The Fire Island Muses of George Platt Lynes & The PaJaMa Collective” focused on the subjects of the artwork they created during their time on Fire Island. Click here for the full post.
This summer, Vogue has entered the mix with a piece titled The 1940s Vogue Photographer Who Turned His Lens to the Male Muses of Fire Island. Honestly, it sounds as if he happened upon a coven of beautiful gay men, rather than importing his friends and lovers from the mainland. While it’s true that Lynes would photograph models and “attractive men that he heard of through word of mouth,” this applied to his studio work back in New York City. On Fire Island, the photos were of his intimate circle.
Lynes’ Fire Island photos are inextricably linked with the PaJaMa collective, as they all vacationed together and posed for each other. Artists like Lynes, Tooker and Perlin were all influential on each other’s work, especially the photographic aspects of their creativity.
Lynes with Paul Cadmus, Glenway Wescott, Donald Windham, Jared French & the Fire Island Lighthouse, PaJaMa (ca. 1938-40)
The Vogue piece displays several photos from A.Therien gallery’s recent collection of images featuring fellow photographer Wilbur Pippin, who was profiled here back in April. These are additional photos from that collection:
Wilbur Pippin with Fidelma Cadmus Kirstein and George Tooker, photos by George Platt Lynes & PaJaMa (ca. 1948-50)
In 1943, Lynes was so enamored of Jonathan Tichenor that he left his long-term threeway relationship with Glenway Wescott and Monroe Wheeler to be with him. The pair moved in together and Lynes shocked his discreet friends by announcing that they planned to be married. Tichenor was the subject of many Lynes photographs during this period, including some memorable shots snapped on Fire Island. The relationship imploded in 1945 when Tichenor ran off to become the second husband of socialite/artist Bridget Bate.
Jonathan Tichenor, Fire Island, photos by George Platt Lynes & PaJaMa (ca 1944)
Lynes met aspiring dancer Randy Jack in 1947 while he was working for Vogue in Los Angeles. The pair moved back to New York the following year, where Jack found success as a model. They parted ways a few months later. Read more about Randy Jack here.
Lynes with his boyfriend Randy Jack (ca 1948)
Ten days after the departure of Randy Jack, former military man Chuck Howard moved in with Lynes. Throughout their relationship, Lynes frequently photographed Howard on Fire Island. He later became a successful fashion designer and restaurateur. Read more about Chuck Howard here.
Chuck Howard photographed on Fire Island by George Platt Lynes (ca 1950)
In 1950, Lynes created a studio beach scenario with dancers Nicholas Magallanes and Tanaquil LeClerq in poses from the George Balanchine/Jerome Robbins ballet Jones Beach. Magallanes was also a member of Lynes’ social circle and a frequent model for his nude photography.
Nicholas Magallanes and Tanaquil LeClerq in Jones Beach, George Platt Lynes (1950)
Lynes’ most iconic Fire Island image is of dancer Francisco Moncion, seen here with some alternate shots from the contact sheet. The influence on the work of Herb Ritts and Bruce Weber is evident.
Francisco Moncion photographed by George Platt Lynes on Fire Island (ca 1948-50)
The Vogue profile of George Platt Lynes concludes that his work for the magazine may have provided him with commercial success, but that his Fire Island portraits show that success comes in many forms.
In the April 11, 1936 edition of the New York Age newspaper, Joe Bostic wrote in his “Seeing The Show” column about show he attended at the Apollo Theatre. The headliner was an unknown: the now legendary blues singer Lead Belly. Bostic was not impressed:
The advanced publicity stated that this man had been in two jails on murder charges and that the wardens, on hearing him work out on his guitar and vocally, had set him free. Maybe they did but after hearing the man myself, I’m not so sure that musical excellence prompted [the] actions. It may have been that both they and the other inmates wanted some peace during their quiet hours. No. Lead Belly isn’t the man, if it’s music that you want.
After reviewing other aspects of the show, including the comedy of Pigmeat Markham, Bostic concludes his review with this:
Midge Williams, the sensation from the west coast, looks, acts and sings like she knew most of the answers as a personality soloist…. She’s too good for the company she’s in at the Apollo this week.
I’ve had a bit of an obsession with the mysterious Midge Williams since I first heard her recordings of familiar jazz standards… sung in both Japanese and English. In the mid 1930’s, she was the first female African American singer with a national radio show. Midge worked with Bunny Berigan, Fats Waller, Duke Ellington, and Jimmie Lunsford. When Olympian Jesse Owens had a short-lived foray as a bandleader, Midge was his singer. She toured with Louis Armstrong’s orchestra for three years, from 1938 until 1941, when she ended up hospitalized in Detroit. And then… nothing. She died of tuberculosis in 1952 at age 36.
That’s the story in a nutshell, according to the liner notes of her CD compilations and the few websites that mention her. Several years ago, I set out to fill in the blanks on this forgotten artist.
Midge started out in a family group with her three brothers. They were The Williams Quartette, later The Williams Four, performing in clubs and churches in the San Francisco area. They later joined the Fanchon and Marco vaudeville circuit and performed up and down the West Coast during summer breaks from school.
A musician / arranger named Roger Segure took them under his wing and became their manager, securing work on local radio and then traveling with the group to China and Japan. The opportunity to hear swing jazz vocals sung live was heralded as a major event in the history of Japanese jazz. During their stay in Japan, Midge recorded several sides, singing in English and Japanese, accompanied by the Columbia Jazz Band:
Midge crossed paths with writer Langston Hughes as he traveled through the Far East. Back in New York a few years later, Hughes would write songs for Midge. She recorded his “Love Is Like Whiskey” in February, 1938. Another song, “Night Time,” with lyrics by Hughes and music from her manager Roger Segure, was the theme song to her radio program. Unfortunately, no recording of the song exists.
The New York Age, April 16, 1938
California Eagle, (8/17/39)
Attempts by gossip columnists to stir rumors of a romance between the two proved unsuccessful.
Midge was just 21 years old when she began hosting her own radio show on NBC – a twice-weekly 15-minute program. She recorded several dozen sides while also making club appearances. A prominent figure in Harlem society at the time, the African American newspapers covered her every move… until her alcoholism resulted in a dismissal from the Louis Armstrong Orchestra.
Baltimore Afro-American (4/30/38)
Her last studio recording was with Lil Hardin Armstrong (Louis’ ex-wife) and her Dixielanders in 1940:
In April of 1946, Midge made an appearance on Jack Webb’s radio show. She was in fine voice on a cover of “Cow Cow Boogie”:
Shortly after the Jack Webb radio performance, Midge settled into a six month engagement at Mona’s 440 Club, the legendary lesbian bar in San Francisco. It is from this period that we have a photo of Midge, an image that has been widely circulated. One of the most familiar photos depicting lesbian nightlife of the 1940’s, it was also used to promote the 1993 documentary Last Call At Maud’s.
Midge Williams (left) with fellow Mona’s singer Kay Scott and friends (ca 1946)
I was recently perusing (as one does) the June 1992 issue of Heat, a short-lived gay men’s magazine. Amongst the pictorials of cover boy Rob Cryston and fellow gay porn stars Karl Thomas and Sam Abdul is an article titled “The Life and Loves of Keith Haring” by Jack Ricardo.
Keith Haring, Untitled (1988)
Keith Haring photographed by Don Herron (1982)
Bill T. Jones painted by Keith Haring (1983)
Keith Haring photographed by Andy Warhol, Montauk (8/22/84)
Keith Haring photographed by Annie Leibovitz (1986)
This article was published just two years after Haring’s death. In 2019, Gil Vazquez became Executive Director of the Keith Haring Foundation, a role he held for 6 years.
Keith Haring photographed by Patrick McMullan, NYC (8/14/84)
