The Gay in Graphic Design Gay Artists Have Always Been Involved in The

Total Page:16

File Type:pdf, Size:1020Kb

The Gay in Graphic Design Gay Artists Have Always Been Involved in The The Gay in Graphic Design Gay artists have always been involved in the field of Graphic Design. Gay people have taken all aspects of art to levels unimaginable. Graphic design has affected gay people both positively and negatively. My intent is to take a journey through generations, and gain a clearer understanding of the gay community through these generations. The Lost Generation cannot be discussed with out mentioning a great visual artist from the era. Before Norman Rockwell there was another great visual artist known as J.C. Leyendecker who in fact was idolized by Rockwell himself according to Fullerton Museum curator Richard Smith in the L.A. Times. “J.C. Leyendecker virtually invented the idea of modern magazine design in the early part of the last century.”(Chun) “His lover and lifetime companion was often his subject featured on front pages of magazines across the country and in so many ads of the day including the famous Arrow dress shirt man.“ (Stanford) “He designed 322 covers for the Saturday Evening Post.” (NMAI) “The May 30, 1914 Post Mother's Day cover single-handedly birthed the flower delivery industry, and it created an American tradition.” (NMAI) “In 1905, Leyendecker received what became his most important commercial art commission when he was hired by Cluett, Peabody & Co. to advertise their Arrow detachable shirt collars. Leyendecker created the ‘Arrow Collar Man,’ handsome and smartly dressed; he became the symbol of fashionable American manhood and the first brand in advertising. Through his ads, Leyendecker boosted sales for the company to over $32 million per year, and defined the ideal American male: a dignified, clear-eyed man of taste, manners and quality.” (NMAI) “His Easter, Independence Day, Thanksgiving and Christmas covers were annual events for the Post’s millions of readers. Leyendecker gave us what is perhaps the most enduring New Year’s symbol, that of the New Year’s Baby. For almost forty years, the Post featured a Leyendecker Baby on its New Year’s covers.” (NMAI) “All through his career, his favorite model was his companion of 50 years, Charles A. Beach. Beach was a Canadian fan whom Leyendecker met in 1901, and immortalized as the ‘Arrow Collar Man.’” (NMAI) Some examples of his work are found in the public domain: 1907 Collier’s Magazine cover, J.C. Leyendecker. With regard to typography the word f____t was first printed in Oregon in the book The Vocabulary of Criminal Slang, page 30 found under the word Drag and examples of its usage. The title page states author Louis E. Jackson was assisted by a Detective and the book cost $1.50, a lot of money during this time which was 1913, it is no longer in copy right. A Vocabulary of Criminal Slang “The Society for Human Rights is founded by Henry Gerber in Chicago. The society is the first gay rights organization as well as the oldest documented in America. After receiving a charter from the state of Illinois, the society publishes the first American publication for homosexuals, Friendship and Freedom. Soon after its founding, the society disbands due to political pressure.” (pbs) Die Fruendin (The Girlfriend: Journal for Ideal Friendship between Women) was a popular lesbian magazine among lesbians. (Maggie) In fact several gay magazines were published in Germany before the Nazi’s shut them all down. (Leila) public domain Gays frequented bars known as “speakeasies” and a “Pansy Craze” emerged in cities across the U.S. during the Prohibition years, which began in this era, gay people found tolerance there. (Okrent) “Masculine Women, Feminine Men” was a fox trot of the era played by the Savoy Havana Band in 1926. Masculine Men, Feminine Women The GI (Greatest) Generation saw “Prohibition was repealed in 1933, ending what was known as the “Pansy Craze by the end of the decade, and gay friendly places were being shut down.” (Valenzuela, Parsons, and Konecny) Still the show went on for famous female impersonator’s of the day including the likes of “Ray Bourbon who was working as a full time female impersonator by 1932, headlining “Frisco’s first pansy show”, Boys Will Be Girls in San Francisco in 1933.” (Kilph) Ray Bourbon in fact “appeared in gay clubs across the US in the 1930’s and 40’s, notably San Francisco, Los Angeles, and Miami Beach.” (Kilph) Mr. Bourbon modeled dresses in a department store window in 1931, and ultimately performed in his show Don’t Call Me Madam: A Midnight Revue at Carnegie Hall in New York to a sold out audience." (Kilph) Public Domain Image I found a recording of Ray Bourbon ca. 1936 at Youtube submitted by user NoveltyNoveltyLand who titled it Her First Piece. Ray Bourbon - My Frist Piece During this era “Paul Cadmus worked as a commercial artist at a New York advertising agency.” (Smithsonian) His friend “Jared French, another tempera artist who befriended him and became his lover for a time, convinced him to devote himself completely to fine art.” (Grimes) “In 1934, he painted The Fleet's In! while working for the Public Works of Art Project of the WPA.” (Naval) Public Domain Image “The painting, featuring carousing sailors, women, and a homosexual couple, was the subject of a public outcry and was removed from exhibition at the Corcoran Gallery in Washington D.C. The publicity helped to launch his career.” (Encyclopedia) “Cadmus was one of the first artists to be employed by The New Deal art programs, painting murals at U.S. post offices.” (Smithsonian) The Silent Generation saw tougher times for the average gay person. One piece of good out of the era was, “One, Inc. v. Olesen 355 U.S. 371 (January 13, 1958) is a landmark United States Supreme Court decision for LGBT rights in the United States. ONE, Inc., a spinoff of the Mattachine Society, published the early pro-gay "ONE: The Homosexual Magazine" beginning in 1953. After a campaign of harassment from the U.S. Post Office Department and the Federal Bureau of Investigation, the Postmaster of Los Angeles declared the October, 1954 issue obscene therefore unmailable under the Comstock laws. The magazine sued. The first court decision (March 1956) sided with the post office, as did the 9th Circuit Court of Appeals (February 1957). To the surprise of all concerned, an appeal to the Supreme Court was not only accepted, but citing its recent landmark decision in Roth v. United States 354 U.S. 476 (1957) the Court, in a terse per curiam decision, reversed the 9th Circuit without even waiting for oral arguments. This marked the first time the Supreme Court had explicitly ruled on free press rights around homosexuality. The justices supporting reversal were Frankfurter, Douglas, Clark, Harlan, and Whittaker.”Murdoch, Price) McCarthyism according to the Oxford dictionary is: "A vociferous campaign against alleged communists in the US government and other institutions carried out under Senator Joseph McCarthy in the period 1950–54. Many of the accused were blacklisted or lost their jobs, although most did not in fact belong to the Communist Party.” (McCarthyism) “Homosexuality was classified as a psychiatric disorder in the 1950s. However, in the context of the highly politicized Cold War environment, homosexuality became framed as a dangerous, contagious social disease that posed a potential threat to state security.” (Kinsman) “Many have termed this aspect of McCarthyism “The Lavender Scare”. (Johnson) So to say life was hard for the gay community during this era would be an understatement. Often is the case the one casting doubt is in fact the one with something greater to hide under the mask of religious and/or political beliefs. Before it was all said and done Senator McCarthy himself was later investigated. I found this link on youtube site provided by user YouWillDeal they’ve titled “1960’s Anti- Gay Lecture For Children” that seems to give one an idea of the mood of the era. 1960's Anti-Gay Lecture For Children Still gay artists of the era pressed on, in response to a Modern Television Show “Mad Men” about an advertising agency in the 1960’s, David Leddick states: “I was there, as a junior writer, then a senior writer, then a group head through the 1950s, and then a creative director in the 1960s. I went on to become one of the highest-paid creatives in the world through the '70s and '80s.” (Leddick) “I beg to differ on the show's representation of the single gay character, Salvatore, who was fired by the fictional ad agency for being more open about his sexuality.” (Leddick) “Yes, some agencies were like the one where Don Draper works. But these stuffy, old-line agencies were the big ones -- BBDO, J. Walter Thompson, Leo Burnett -- not agencies like Draper's. They were top-heavy with upper-level management from Ivy League schools; they were agencies where women could only be secretaries or work in what was called the "Women's Division" (food, fashion, and cosmetics). In those kinds of agencies, if you were gay, you were probably closeted, like that poor character on Mad Men. But more likely, if you were gay, you didn't stay long at such an agency, as many of the smaller agencies were quite different -- fun agencies to work for, where being gay was not an issue.” (Leddick) “The gay men on staff knew everything there was to know at the time about clothes, interior décor, you name it. I learned a lot. This was the early 1960s; being witty was important then. And let's face it: This was New York, where being gay was hardly a hidden-away phenomenon.” (Leddick) According to his biography “Mr.
Recommended publications
  • O Poder Das Drag Queens Na Cultura Da Mídia
    Intercom – Sociedade Brasileira de Estudos Interdisciplinares da Comunicação XIX Congresso de Ciências da Comunicação na Região Nordeste – Fortaleza - CE – 29/06 a 01/07/2017 Telas de glitter: O poder das drag queens na cultura da mídia1 Lívia PEREIRA2 Universidade Federal da Paraíba, João Pessoa, PB Resumo Desde que o mundo conheceu a drag queen RuPaul, em 1993, percorremos um longo caminho para naturalizar a presença desses artistas dentro da cultura pop e em meios de comunicação de massa. Hoje podemos afirmar que ser drag é pop, mas o que mudou nas quase três décadas do reinado midiático de RuPaul? De que forma artistas anteriores a ela abriram caminhos para a revelação da cultura drag para o grande público? Por que hoje aceitemos com mais naturalidade um reality show com drag queens, mas, olhamos com repulsa o filme “Pink Flamingos” (John Waters, 1972), estrelando a infame Divine? O sucesso do reality show “RuPaul’s Drag Race” visibiliza a cena drag em todo o mundo e cria uma nova geração de consumidores, mas nesse contexto, a cultura midiática se apropria da drag queen como produto para satisfazer os desejos do sujeito pós-moderno e passamos então a compreender a drag como um produto midiático com orientações econômicas marcadas pela lógica do capital, retorno financeiro e do que Martel (2012) chama de mainstream. Palavras-chave Drag queens; cultura da mídia; RuPaul’s Drag Race; mainstream; cultura pop. Quando estreou em 2009, não era esperado que o reality show “RuPaul’s Drag Race” tivesse vida longa. Apresentado por uma das drag queens mais famosas do mundo que teve o ponto alto de sua carreira nos anos 1990, RuPaul, o programa buscava a sucessora da apresentadora no posto da drag superestrela dos Estados Unidos.
    [Show full text]
  • Since 2017 Bezalel Academy for Art and Design, MFA
    Hadas Maor Curiculum Vitae Professional Experience: Since 2017 Bezalel Academy for Art and Design, MFA Program, lecturer 2017 Bait LeOmanut Israelit, lecturer 2017 French Institute Focus Program 2016 Sculpture Quadrennial Riga 2016 Invited guest Lecture: Conservatism and Liberalism, appearances in contemporary culture 2015 Curator of the Israeli Pavilion, the 56th International Art Exhibition – la Biennale di Venezia 2014 Artist Mentor Artport, Tel Aviv 2012 The 2nd Ural Industrial Biennial of Contemporary Art Intellectual platform, invited guest Lecture: Contemplating the possibility of criticality within the field of visual art 2012 Lecturer of curatorial studies, School of Arts, Kibbutzim College of Education, Tel Aviv 2011 ARCOmadrid 2011, Professional Meetings, invited guest 2010 Professional visit to LA, organized by the LA-TLV partnership and The Jewish Federation of Los Angeles 2009 Study visit to Poland, organized by Adam Mickiewicz Institute, Warsaw 2007 Art Basel 2007, 7db platform for art professionals, invited guest Since 2006 Consultant to Bank Hapoalim Collection of Israeli Art 2006-2009 Consultant to the Angel Collection of Contemporary Art Since 2001 Curator of the Geny and Hanina Brandes Art Collection, Tel Aviv Since 1998 Independent contemporary art curator (The Tel Aviv Museum of Art, The Haifa Museum of Art, The Herzliya Museum of Contemporary Art, The Petach Tikva Museum of Art, The Ramat Gan Museum of Israeli Art, The Ein Harod Museum of Art, The Tel Aviv University Gallery and more) 1997 - 2005 Senior Lecturer
    [Show full text]
  • Taylor Dayne Supermodel Download
    Taylor dayne supermodel download Taylor Dayne Supermodel. Now Playing. Supermodel. Artist: Taylor Dayne. MB · Supermodel. Artist: Taylor Dayne. MB. Hymn. Artist: Taylor Dayne. MB · Supermodel. Artist: Taylor Dayne. MB · Supermodel. Artist: Taylor. Artist: Taylor Dayne. test. ru MB. Supermodel Free Mp3 Download Free RuPaul Supermodel You Better Work mp3. Kbps MB Free Taylor Dayne Supermodel. Taylor Dayne Supermodel mp3 high quality download at MusicEel. Choose from several source of music. Download Supermodel Taylor Dayne mp3 songs in. "Taylor Dayne - Supermodel" Music Lyrics. You better You better work! [covergirl]Work it girl! [give a twirl]Do your thing on the ! Stream Taylor Dayne - Supermodel Jack Smith Edit by Jack Smith from desktop or your mobile device. Listen to songs and albums by Taylor Dayne, including "Tell It to My Heart", of RuPaul's "Supermodel" for The Lizzie McGuire Movie -- acting kept her away. Watch the video, get the download or listen to Taylor Dayne – Supermodel for free. Supermodel appears on the album The Lizzie McGuire Movie. Discover more. Check out RuPaul. SuperModel (You Better Work) ReMixes from RuCo, Inc. on Beatport. Supermodel performed by Taylor Dayne taken from the Lizzie McGuire Motion Picture Soundtrack starring. Tags: Taylor Dayne Supermodel (You Better Work) Fashion Singing lyrics lyric with super model lizzie mcguire movie track hilary duff Full music Song Album. Supermodel - Taylor Dayne. What Dreams Are Made Of - Lizzie McGuire. On An Evening In Roma - Dean Martin. Girl In The Band - Haylie Duff. Floor On Fire written by Taylor Dayne, Niclas Kings, Ivar Lisinski & Tania Download now on iTunes: http. Taylor Dayne, Soundtrack: Win a Date with Tad Hamilton!.
    [Show full text]
  • Bourbon, Ray (1892?-1971) by Claude J
    Bourbon, Ray (1892?-1971) by Claude J. Summers Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com Legendary drag performer and recording artist Ray (or Rae) Bourbon appeared in silent movies, vaudeville acts, Broadway plays, and, from the 1930s through the 1960s, performed across the United States in a gay nightclub circuit. Often arrested by the police for his "indecent" performances and for dressing in drag, Bourbon was ultimately convicted of conspiracy to commit murder and died in prison. Bourbon deliberately obscured his origins, sometimes even claiming that he was "the last of the Hapsburg Bourbons," but he was probably born Hal Waddell in Texarkana, Texas sometime around 1892. In the early 1920s, Bourbon worked as a stuntman in Hollywood and appeared in several silent films, sometimes in drag. He then teamed up with Bert Sherry in a successful vaudeville act, "Bourbon and Sherry," in which Sherry played the straight man to Bourbon's flamboyant drag persona. He soon attracted the attention of Mae West, who in 1927 cast him in two of her plays--Sex and Pleasure Man. Both were raided by police who were attempting to "clean up" Broadway. Bourbon later appeared as an extra in West's movies and in supporting roles in productions of her plays. In the early 1930s, Bourbon recorded the first of his many risqué records. He also began to appear in the "pansy clubs" that sprouted in Hollywood in an attempt to capitalize on the "pansy craze" in New York during the late 1920s. Bourbon created and starred in a drag revue called "Boys Will Be Girls." After the police shut down the Los Angeles establishments, he moved his show to San Francisco.
    [Show full text]
  • Transgender, and Queer History Is a Publication of the National Park Foundation and the National Park Service
    Published online 2016 www.nps.gov/subjects/tellingallamericansstories/lgbtqthemestudy.htm LGBTQ America: A Theme Study of Lesbian, Gay, Bisexual, Transgender, and Queer History is a publication of the National Park Foundation and the National Park Service. We are very grateful for the generous support of the Gill Foundation, which has made this publication possible. The views and conclusions contained in the essays are those of the authors and should not be interpreted as representing the opinions or policies of the U.S. Government. Mention of trade names or commercial products does not constitute their endorsement by the U.S. Government. © 2016 National Park Foundation Washington, DC All rights reserved. No part of this publication may be reprinted or reproduced without permission from the publishers. Links (URLs) to websites referenced in this document were accurate at the time of publication. INCLUSIVE STORIES Although scholars of LGBTQ history have generally been inclusive of women, the working classes, and gender-nonconforming people, the narrative that is found in mainstream media and that many people think of when they think of LGBTQ history is overwhelmingly white, middle-class, male, and has been focused on urban communities. While these are important histories, they do not present a full picture of LGBTQ history. To include other communities, we asked the authors to look beyond the more well-known stories. Inclusion within each chapter, however, isn’t enough to describe the geographic, economic, legal, and other cultural factors that shaped these diverse histories. Therefore, we commissioned chapters providing broad historical contexts for two spirit, transgender, Latino/a, African American Pacific Islander, and bisexual communities.
    [Show full text]
  • RAM FW Catalog 2015 FINAL.Indd
    RAM publications + distribution, Inc. 2525 Michigan Ave., Bldg. #A2 Santa Monica, CA 90404 USA publications + distribution fall/winter 2015 publications + distribution rampub.com fall/winter 2015 w FALL/WINTER 2015 Frontlist 3 New Publisher Backlist 58 Backlist 63 Index 81 Order & Trade Information 86 rampub.com Architecture + Spatial Arts Architecture DISPLAYED SPACES New Means of Architecture Presentation through Exhibitions Roberto Gigliotti (Ed.) Curators of architecture exhibitions are often concerned with the problem of how to present objects that ultimately cannot be brought into the exhibition space. Such shows are often difficult for lay audiences to interpret—little focus is placed on communication. However, there are also architecture exhibits that concentrate on communicating an experience, making it possible to build an intense relationship between the audience and the content on display. The result of a research project organized in 2013 by the faculty of Design and Art of the Free University of Bozen Bolzano, Displayed Spaces focuses on the question of how spaces might communicate architectural ideas in a redevelopment project and its accompanying exhibition proposed for the city of Bolzano, Italy. The book is organized into two sections—the first introduces project criteria and the curatorial considerations on content and its presentation; the second begins with an analysis of the public, with particular attention to the different types of visitors—and demonstrates how spatial engagement can generate a personal relationship between visitor and exhibition. Bringing together essays by theoreticians, curators and practitioners involved in exhibition production, this analysis of contemporary architecture exhibitions concludes by asking what is more important: the experience of the exhibition or its effect on the debate on architecture and its history.
    [Show full text]
  • Drag Queens, Architects and the Skin
    • .. Drag Queens, Architects and the Skin FEW ARCHITrCTS WOUI D raise an eyebrOW, plucked or not, when faced with the links between text md ph ot o~ Sanh K.ltherine Roszler co:.metic. and architecture, an issue to which there must be more than horrible puns about foundation In his book Pmuer, P~tcr Cook claims there to be "un­ ending parallels brtwrcn the use of human cosmet­ ics and the cultural development of the facade/' and he propounds that "the pamted lip has to deal with eating lunch; the sweetly fa~hioned doorway has to deal with the entry of a horse and cart. "1 Admittedly, such an example is a modC$1 propo:.al, if not a rustic one-if the quaint lipstick job i~ reminiscent of nine­ teenth century horse drawn nOl>talgia, then what ar­ chitectural analog can be found for the male face to which all human knowlroge of shimmer and glim­ mer is applied? The crossover is, literally, in the realm of the :.upcrficial: both archih.'C!s and transv~titcs ha\'e bt.'Come expcrb m matters and manipulations of the skin. The Mchilt-'Ctural skin is murh mowalignL>d with that of th(• transver.lJil' than thr biological metnphor 52 I hC! I Hth ( o lumn often cited by architect:.. Consider the amount of de-­ liberation involved. The architect and drag queen both take coru;cious approache:. to what face will be turned out and what kind of an interface 1t will be bdwecn "the native constitution and the external environ­ ment." The range of possible cons•derations for the architectural or transvestitic skin is as boundless as the spectrum of pinks m an A\'On box so defining ex­ actly what skin is (to elucidate what can be done with it) may seem like a daunting task.
    [Show full text]
  • KV19 M Floor Final2 Kopie
    Maskulinitäten. Eine Kooperation von Bonner Kunstverein, Kölnischem Kunstverein und Kunstverein für die Rheinlande und Westfalen, Düsseldorf September 1 – November 24, 2019 Opening: Saturday, August 31, 2019 List of Works 12 11 11 10 10 20 20 9 13 12 18 17 16 17 21 8 17 10 14 15 19 22 3 2 1 6 3 4 5 7 bar staircase 1 Henrik Olesen 2 Sister Corita Kent Hysterical Men 1, 2013, canvas, inkjet print on proof paper ZP Wet and wild, 1967, Silkscreen on paper, 49x61,5 cm, Private 55 (newspaper), 55 gouache/m2, Amsterdam gel medium matt collection glue, 215x1000 cm, Courtesy Galerie Buchholz, Berlin, Cologne, Makes Meatbal sing (a song about the greatness), 1964, New York Silkscreen on paper, 75,6x91,4 cm, Private collection Henrik Olesen sends the visitor on a walk as well. Another picture, At first, the work Wet & Wild conjures images of aroused female a detail reminding of something else, one relates it perhaps to the bodies. Yet often in the work of the nun, activist, and artist Sister previous picture and continues on. One could wander into dark Corita Kent, she appropriates, enlarges, and distorts details from thoughts – after all, several of the people are dead or jailed – but advertisements in order to draw attention to social problems like precisely this is not Henrik Olesen’s intention, and so he suggests, sexism, racism, war, and the commercialization of postwar US at least in thought, to free the pictures from prison by walking on culture. In so doing, she combines the visual language of protest one’s head for a time.
    [Show full text]
  • MORAES, Rafael. PABLLO VITTAR VEIO À TONA, FOI K.O. A
    UNIVERSIDADE FEDERAL FLUMINENSE PRÓ-REITORIA DE PESQUISA E PÓS-GRADUAÇÃO PROGRAMA DE PÓS-GRADUAÇÃO EM COMUNICAÇÃO RAFAEL MORAES PABLLO VITTAR VEIO À TONA, FOI K.O.: A CULTURA DRAG NA MÍDIA E NO MERCADO MUSICAL BRASILEIRO Niterói 2019 1 RAFAEL MORAES PABLLO VITTAR VEIO À TONA, FOI K.O.: A CULTURA DRAG NA MÍDIA E NO MERCADO MUSICAL BRASILEIRO Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do Título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. Orientadora: Profª. Drª. Mayka Castellano Niterói 2019 2 3 RAFAEL MORAES PABLLO VITTAR VEIO À TONA, FOI K.O.: A CULTURA DRAG NA MÍDIA E NO MERCADO MUSICAL BRASILEIRO Dissertação apresentada ao Programa de Pós- Graduação em Comunicação da Universidade Federal Fluminense como requisito parcial para obtenção do Título de Mestre em Comunicação. Área de Concentração: Mídia, Cultura e Produção de Sentido. Aprovada em agosto de 2019 BANCA EXAMINADORA ______________________________________________________ Profª. Drª. Mayka Castellano (Orientadora - UFF) ______________________________________________________ Profª. Drª. Beatriz Polivanov (Universidade Federal Fluminense - UFF) ______________________________________________________ Profº. Drº. Leonardo De Marchi (Universidade Estadual do Rio de Janeiro - UERJ) Niterói 2019 4 Permita que eu fale, não as minhas cicatrizes Elas são coadjuvantes, não, melhor, figurantes, que nem devia 'tá aqui Permita que eu fale, não as minhas cicatrizes
    [Show full text]
  • GLHS OHP 98-13, Miscellmeous Tapes
    GLHS OHP 98-13,Miscellmeous TapesGLBT Historical Society Carmelita Nass b http://www.glbthistory.org 1 1 BD: That's okay. 2 VOICES of the Oral History Project of GLHSNC 2 CN: Poor Harvey Lee's early life was not too great. He 3 973 Market Street, #400 3 was in, through mail that I found in his boxes that I 4 San Francisco, CA 94103 4 sent to Arkansas, Little Rock, to Professor Hodges, 5 Telephone (415) 777-5455, #1 5 which what you want from her, I'll make a list of 6 Interview with Carmelita Nass 6 addresses because we misplaced the list we had. 7 Date of Birth: 1925 7 Professor Hodges stepped in when Harvey died and had 8 GWIS OHP 98-13,Micellaneous Tapes 8 to fight his sister, Elizabeth, even though Harvey 9 By Interviewer: Bob Davis, 1 tape 9 left it in his will, left everything to Arkansas lo Date: 101281% 10 University. Then is one which you would be interested 11 11 in if you can get Hodges to share it with you. There 12 Audio Tape One of One 12 is one fourdrawer file cabinet that is absolutely 13 Code 1S 1:000-099 = Tape One, Counter 000-099 13 full of files on every drag queen that I think was 14 lS1:00&099 14 ever in service any place in all the years Harvey was 15 BD: This h Monday, the 28th, we're muga feco- 15 alive. 16 at my home. And just so I have all this stuff down, 16 BD: (inaudible) I hate to intempt but .
    [Show full text]
  • The Rochester Sentinel 1983
    The Rochester Sentinel 1983 Monday, January 3, 1983 J. W. Nix Last rites were conducted Sunday for J. W. NIX, 65, who was found dead Saturday at his home, 614 Fulton Ave. Coroner Joyce GOOD estimated that death had occurred Wednesday from natural causes. Mr. Nix had been in ill health since June. He was born September 22, 1917 in Pauline, Texas to Everett S. and Pearl KIRKPATRICK NIX. He had been a resident of Rochester since 1938, after coming here from Texas. He was a member of the Indiana Public Health Department and an inspector for the State Board of Health for 25 years. A veteran of World War II, he was also a member of the Elks Lodge, I.O.O.F., Indiana Association of Sanitarians and the Beer Can Collectors of America. Surviving him are a daughter, Linda PERDUE of Delphi, and one son, David NIX of Tomball, Texas. Also surviving are one sister, Margerite THORNHILL of Elba, Texas and three grandchildren. One brother preceded him in death. Services were conducted by Rev. John PHILLIPS at the Foster & Good Funeral Home. Memorials are asked to be sent to the Heart Association and the Planned Parenthood Association. Virgil C. Doran Virgil C. DORAN, 92, of Burket, died at 1:10 a.m. at the Parkview Memorial Hospital in Fort Wayne. He was born April 9, 1890, to Cary and Jeanette MILLER DORAN of Burket and had livd there all his life. On Dec. 24, 1914 he married Blanche EHERENMAN, who preceded him in death in 1963. For 41 years he was an employee of the Railway Postal Service.
    [Show full text]
  • 2016-17 Newsletter
    2016-17 NEWSLETTER Dear Friends and Colleagues: office staff and posted on our website, I encourage you to have a look. It is my pleasure to highlight some of Programming in the form of lectures, the past year’s accomplishments in the exhibitions, and symposia this year was Department of Art History and invite robust and often entailed cross-institu- you to enjoy a fuller summation in the tional collaboration, especially via the pages that follow. Among many faculty Andrew W. Mellon Foundation-funded honors, kudos go first to Huey Copeland, Chicago Objects Study Initiative (COSI), recipient of the 2017 Absolut Art Writing now entering its fourth year. This year’s Award. Also, Christina Normore was newsletter highlights undergradu- awarded the E. Leroy Hall Award for ate initiatives in partnership with the Excellence in Teaching, the highest Block Museum, collaborations with the teaching honor given by Weinberg Northwestern University/Art Institute of College of Arts and Sciences. The de- Chicago Center for Scientific Studies in partment conducted a search for a new the Arts (NU-ACCESS), and ongoing ben- faculty member in architectural history efits to the department made possible and looks forward to welcoming Ayala by the Elizabeth and Todd Warnock Gift. Levin to campus in Winter 2018. It was the department’s great fortune to Our newsletter reports many outstand- see Mel Keiser promoted to the position ing achievements of undergraduate of Department Assistant. As always, and graduate students. To mention a her work—including the design of this few, five students completed the Ph.D. newsletter—has been exemplary.
    [Show full text]