Deaver, Michael: Files Folder Title: April 1984 Incoming (4) Box: 17
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David Hume Kennerly Archive Creation Project
DAVID HUME KENNERLY ARCHIVE CREATION PROJECT 50 YEARS BEHIND THE SCENES OF HISTORY The David Hume Kennerly Archive is an extraordinary collection of images, objects and recollections created and collected by a great American photographer, journalist, artist and historian documenting 50 years of United States and world history. The goal of the DAVID HUME KENNERLY ARCHIVE CREATION PROJECT is to protect, organize and share its rare and historic objects – and to transform its half-century of images into a cutting-edge digital educational tool that is fully searchable and available to the public for research and artistic appreciation. 2 DAVID HUME KENNERLY Pulitzer Prize-winning photojournalist David Hume Kennerly has spent his career documenting the people and events that have defined the world. The last photographer hired by Life Magazine, he has also worked for Time, People, Newsweek, Paris Match, Der Spiegel, Politico, ABC, NBC, CNN and served as Chief White House Photographer for President Gerald R. Ford. Kennerly’s images convey a deep understanding of the forces shaping history and are a peerless repository of exclusive primary source records that will help educate future generations. His collection comprises a sweeping record of a half-century of history and culture – as if Margaret Bourke-White had continued her work through the present day. 3 HISTORICAL SIGNIFICANCE The David Hume Kennerly collection of photography, historic artifacts, letters and objects might be one of the largest and most historically significant private collections ever produced and collected by a single individual. Its 50-year span of images and objects tells the complete story of the baby boom generation. -
Baird, Alison 2019
IF YOU’RE ON THE OUTSIDE, YOU’RE IN: THE INFAMOUS RED VELVET ROPE CULTURE AT STUDIO 54 A Senior Thesis submitted to the Faculty of the College of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Bachelor of Arts in American Studies By Alison P. Baird Washington, D.C. April 15, 2019 IF YOU’RE ON THE OUTSIDE, YOU’RE IN: THE NOTORIOUS RED VELVET ROPE CULTURE AT STUDIO 54 Alison P. Baird Thesis Adviser: Ellen Gorman, Ph.D. ABSTRACT Studio 54, the infamous New York City discotheque open from 1977 to 1980, was a notorious site in New York City for not only being one of the most sought-after venues in nightlife, but also for its ruthless red velvet rope culture. Disco was a defining artifact in American culture in the 1970s and greatly reflected the social and political atmosphere across the country. With the culmination of various political upheavals such as the Vietnam War and the Watergate Scandal, many Americans simply wanted to party, use drugs, and openly explore their sexuality. Studio 54 was, arguably, the most influential and well-known of the many discos— admired and loathed by those within and on the outside of the disco scene. Many outsiders and eager spectators observed the club as exclusionary and dictator-like. This thesis deconstructs the red velvet rope culture and analyzes the innate behavior and qualities of the clubbers with the aim to understand how these people contributed to the tremendous popularity of Studio 54. Gossip columns, newspapers, tabloids and archived footage offers compelling insight to the way of the disco-door as well as the qualities and behaviors that club goers possessed as such to gain admission. -
South London Artists Francesca Gavin Reports
I I "' FINDERS KEEPERS Miami's power collecting couple are exploring new avenues of art with a maverick insider. south london artists Francesca Gavin reports. Portrait by Lea Crespi usband and wife Don and Mera also with Ian Schrager, of Morgans Hotel before there are reviews, before there Rubell are acknowledged art Group - the couple inherited his interests are incentives". The couple's quest has royalty. With over 50 years of and later launched their own successful recently brought them to south London. collecting under their belt, they hotel group with a number of properties "There's something very powerful in have supported generation- in their home town of Miami. As their going into a new neighbourhood," Hdefining artists at key moments early in business prospects grew, so did their art says Mera. ''Art feels good when it's their careers, such as Jeff Koons, Keith collection - the publicly accessible Rubell part of a reinvention, a revitalisation. Haring and Jean-Michel Basquiat. Where Family Collection (RFC) now comprises We are very, very excited." the Rubells go, everyone else is quick to over 7,000 works and is housed in a They began working with London- follow. When they first started collecting, 3,750sq m space. The couple was also based Eugenio Re Rebaudengo, the Don worked as a doctor, while Mera was instrumental in setting up the Miami founder of digital art platform Artuner, a teacher. They began their collection outpost of Art Basel and is generally after visiting his Studioscape project in soon after marrying in 1964, always agreed to have had a huge influence on 2015. -
Granum, Deputy Press Secretary
Exit Interview with Rex Granum, Deputy Press Secretary Interviewer: Dr. Thomas Soapes of the Presidential Papers Staff December 10, 1980, in Rex Granum’s office in the White House Transcriber: Lyn Kirkland and Winnie Hoover Soapes: Let's start with a little bit of your background. Could you give me where you were born and your formal education? Granum: Born in Dayton, Ohio. My father was in Civil Service, so we did live in a number of Southern towns - Mobile, Alabama and Memphis, Tennessee. Grew up in Warner Robins, Georgia, from the third grade on went to public schools there. The University of Georgia --- journalism degree. I went--when I graduated from the University of Georgia, I went to the Atlanta Constitution, the morning paper in Atlanta, and eventually began to be a political writer there and came over and covered state government, covering Governor Jimmy Carter, his Press Secretary, Jody Powell, and his Executive Secretary, Hamilton Jordan, and then Frank Moore succeeded Hamilton when Hamilton went to--came to Washington during that change. So, that was the main point at which I became acquainted with the political beat. Soapes: How long were you on the political beat? Granum: Uh, I guess two years--two and a half years, something like that. Soapes: So the last--you say the last couple of years were--. Granum: --Yes. I covered the last six months of his time in the Governor's Office. And from March of '74--so it was longer than six months --I went over to the State Capitol in March of '74 and stayed there until early January of '76 and, of course, the President--or the Governor's term--Governor at that time, his term ended in January of '75. -
Rhetoric and Fictions of AIDS Discourses Have Impinged Particularly
o I RHETORIC AND FIGTIONS OF AIDS MASTER OF ARTS (RESEARCH) THESIS RIKKI WILDE DISCIPLINE OF ENGLISH UNIVERSITY OF ADELAIDE JUNE 2OO5 for the award of any This work contains no material which has been accepted or other tertiary institution and, to the s no material previously published or due reference had been made in the text' , when deposited in the UniversitY tocopying. Signed Wilde) Date GONTENTS Acknowledgements l1 Abstract I Introduction 13 ChapterlNarrativesofTransgender,MimêsêsofHIV/AIDS the Psyche and cl.npter 2 Psychographies: 'written' Narratives of 51 neaãing the Maladies of the (Queer) Male Body 86 Chapter 3 The Rule of Blood 111 chapter 4 The Production and circulation of an AIDS Bestseller 133 Chapter 5 Death Lines 155 Conclusion 161 Bibliography Illustrations 49 Figure 1 Bunny Bed-hopping (Photo byMazz Image) 50 Figure 2 EncMichaels (Photo by Penny Taylor) Acknowledgements the writing of this I have received a greatdeal of support in many ways during Dr Catherine Driscoll thesis. I wish to thank my supervisòis, Dr Susan Hosking, colleagues. and Dr Mandy Treagus, and my family, friends and Stanton (1929- The thesis is dedicated to the memory of my mother, Margaret 2001.) Abstract perceptions of This thesis insists that it is rhetoric and fictions that construct that followed the HIV and the AIDS body. It examines cultural production of the identification and naming of the virus and attempts a queer reading significations of this cultural response to AID in ttre period from 1987 to 1995 and events st finds useful in this critique the critical approa Benjamin, Derrida, and Deleuze and Guattari and sometimes trow ttris rhetoric and these fictions interacted, supplemented sexual praxis' challenged aheady existing discourses of biomedicine, bodies and lntroduction By "rhetoric" I mean the art of persuasion, the persuasion of sexuality, being construct the persuaded by the flesh; but also the words of persuasion, the words that historical hysteria and panic of the 'gay disease' of AIDS. -
Disco Inferno
Section 2 Stay in touch: Looking for monocle.com a smart podcast to give you monocle.com/radio the low-down on all cultural Edition 4 happenings worldwide? Tune in 07/06—13/06 to the freshly relaunched weekly Culture Show on Monocle 24. but that had no standing at Studio whatsoever. If you’re talking about something from 40 years ago that’s still compelling today then there’s got to be some underlying social reason. Section Section Section M: What about the door policy, the line – it was infamous. Was that something that you and Steve planned or did it just happen and you decided it worked for you? IS: It was definitely part of the idea. To me we were trying to do in the public domain what everyone else does in their private domain: to get an alchemy and an energy; we were trying to curate the crowd and we wanted it to Adam Schull be a mixture that had nothing to do with wealth or social Iamge: standing, it had to do with creating this combustible energy every night. When you are doing a door policy I wasn’t in New York then but I remember the tail-end that doesn’t have a rational objective criteria other than of that before it was cleaned up; it was very distinctive. instinct, then mistakes get made and people get infuri- TELEVISION / AUSTRIA Here, a rundown of the ladies: It’s a lost analogue world too – if you notice in the film, ated by it but we didn’t understand that because it was the telephones on Ian’s desk are rotary dial and that was really quite honest. -
Foreign Policy/Domestic Politics Memo, HJ Memo, 6/77 Container: 34A
Collection: Office of the Chief of Staff Files Series: Hamilton Jordan's Confidential Files Folder: Foreign Policy/Domestic Politics Memo, HJ Memo, 6/77 Container: 34a Folder Citation: Office of the Chief of Staff Files, Hamilton Jordan's Confidential Files, Foreign Policy/Domestic Politics Memo, HJ Memo, 6/77, Container 34a Subject Terms: Foreign Policy Jimmy Carter Library 441 Freedom Parkway Atlanta GA 30307-1 ARCHIVAL NOTE~ The pages of this memo were originally unnumbered, then became out of order. The correct order and page numbers were then determined by comparison with an early photocopy of the document which retained the original correct order. The pencilled in numbers in brackets at the bottom of the pages represents the correct original order. During the time the pages were out of order, the page numbers were off by as much as 10 pages. The correct order was restored in September, 2008 ADN A Presidential Library Administered by the National Arcbtves and Records Administmtion ." ~#f" ! i~,". \ .. rI~,' Ill; ~f'f~ /? »7 1~l J~ i'· iit );'! ~j,:. ~£t~ <:O.?:FIDEWFIAL,LEYESONLY ~hi· ~t~' i f~ ~.:i- ~: i•.i.. H t. i· ~~: .TO: PRESIDENT CARTER ,~ t~ FROM: HAMILTON JORDAN~)( ·p"'·.··.··· f."r,.;.. L t·~ ~:;, F I have attempted in this memorandum to measure the ft -~ ~. domestic political implications of your foreign policy .~ t~•l~:.. I) and outline a comprehensive approach for winning public :kl~ ~~ and Congressional support for specific foreign policy ~t~.; :.¥ initiatives •... ~!~ ~ .I!-i ;~ 'r'n As this is highly sensitive subject matter, I typed ltit~. (.,~. this memorandum myself and the one other copy is in ;;i r~f.~ my office safe. -
The Art of the Rubell Family Collection Miami
http://onforb.es/1ZTpXgL Tom Teicholz Contributor I write about culture and the cult of luxury Opinions expressed by Forbes Contributors are their own. LIFESTYLE 1/27/2016 @ 3:29PM 365 views The Art of the Rubell Family Collection Miami The Rubell Family Collection (RFC) in Miami, housed in a former DEA warehouse, is remarkable in many respects. First and foremost, as it name advertises, it is the collection of one family, Donald and Mera Rubell and their two adult children Jason and Jennifer collected over the last half century, that continues to grow with the involvement of the next generation (one of whom is an artist herself). The Rubells were also instrumental in Art Basel deciding to hold its American event in Miami — which cemented Miami’s status as an art destination. As a collector driven institution they face many of the potential conflicts of interest inherent in exhibiting work they own and lending it to other art institutions. Yet they have also made accessible their 40,000 volume library accessible as well as being the anchor for the now very hip Wynwood Design District. The Rubells started collecting art shortly after marrying in the 1960s. Donald was a Doctor whose brother Steve Rubell was the co-founder and co-owner of Studio 54. This brought the Rubells into the orbit of many of the young artists who were part of the Studio 54 zeitgeist, including Keith Haring, Jean-Michel Basquiat, and Cindy Sherman. As the years went on, they continued to collect those artists that interested them, at one point purchasing one artwork a week for several decades. -
FROM DISCO BALLS to HOTEL LOBBIES the Mastermind Behind Some of the World’S Most Modern Hotels on His Style Evolution
inbrief ACCOUNTING FOR TASTE Ian Schrager in his well-appointed home office in Manhattan FROM DISCO BALLS TO HOTEL LOBBIES The mastermind behind some of the world’s most modern hotels on his style evolution AN SCHRAGER is in the midst of another hot streak of hotel But the hotelier wasn’t always so self-assured. The turn- openings. The second of his EDITION hotels, a collabora- ing point, he says, came when he renovated New York’s Ition with Marriott International, opened in London last Gramercy Park Hotel with the artist Julian Schnabel in September, and Miami Beach EDITION will debut this 2006. “I went off in a new direction when I worked with fall. Schrager described the London outpost to Rhapsody Julian,” Schrager says. “We did something more decorative as “sophisticated, in warm palettes of dusty rose, khaki and ornate than we’d ever done before, and no one expected and mustard, and elegantly furnished with eclectic pieces that from us. I was rejecting and moving on from everything inspired by Salvador Dalí and Donald Judd.” else in the past.” It’s no fluke that Schrager finds himself at the top of the While Schrager admits that the Gramercy wasn’t his hotel game, as he’s been at it for some time. The native New personal style—it was a bit too baroque, quirky, eclectic Yorker started the legendary Manhattan nightclub Studio and edgy—he was nevertheless breaking new ground. Fol- 54 with his friend Steve Rubell in 1977, and in the 1980s lowing this “intellectual exercise,” as he puts it, he returned he brought the glitz and glamour of his disco days to the to a more natural, pared-down style when he began work creation of Morgans, which many acknowledge as the first on PUBLIC Chicago, as part of his own brand, and the boutique hotel. -
Steve Rubell and Ian Schrager Opened Studio 54 40 Years Ago, and It Soon Became the Epicenter of New York City's Nightlife for Nearly Three Years
Steve Rubell and Ian Schrager opened Studio 54 40 years ago, and it soon became the epicenter of New York City's nightlife for nearly three years. While it lasted, many photographers flocked to the bacchanal to capture the celebrities and other lucky denizens as they danced and snorted and frolicked under that iconic Man in the Moon with the coke spoon sculpture. One of the men on the scene was Gene Spatz, a pioneering paparazzo and street photographer who most people have never heard about. Unlike Ron Galella's work – which has been exhibited and is collected as fine art – after Spatz died in 2003 the archive of images was inherited by his younger sister, Amy Lowen, and packed away in filing cabinets in her Kentucky home. She avoided the task of assessing what she had in her possession for nearly a decade until she began to unearth her brother's forgotten treasures. "While he was working in the late Seventies, I had gotten married, moved to Louisville, Kentucky, and wasn't a part of Gene's day-to-day life," Lowen tells Rolling Stone. "It wasn't until he was gone, and I had brought everything home and put it in storage, that I began to open up these envelopes and discover his work." The black-and-white photographs included scenes from iconic clubs like Studio 54 and Xenon; shots of Carrie Fisher, Jackie Kennedy Onassis, Mary Tyler Moore and Robert Redford; as well quirky New York City street life tableaus in the 1970s and Eighties. Lowen recognized some of the celebrities in the photos, but she wasn't sure what exactly her brother's archives contained – or its value to the world. -
Andy Warhol: When Junkies Ruled the World
Nebula 2.2 , June 2005 Andy Warhol: When Junkies Ruled the World. By Michael Angelo Tata So when the doorbell rang the night before, it was Liza in a hat pulled down so nobody would recognize her, and she said to Halston, “Give me every drug you’ve got.” So he gave her a bottle of coke, a few sticks of marijuana, a Valium, four Quaaludes, and they were all wrapped in a tiny box, and then a little figure in a white hat came up on the stoop and kissed Halston, and it was Marty Scorsese, he’d been hiding around the corner, and then he and Liza went off to have their affair on all the drugs ( Diaries , Tuesday, January 3, 1978). Privileged Intake Of all the creatures who populate and punctuate Warhol’s worlds—drag queens, hustlers, movie stars, First Wives—the drug user and abuser retains a particular access to glamour. Existing along a continuum ranging from the occasional substance dilettante to the hard-core, raging junkie, the consumer of drugs preoccupies Warhol throughout the 60s, 70s and 80s. Their actions and habits fascinate him, his screens become the sacred place where their rituals are projected and packaged. While individual substance abusers fade from the limelight, as in the disappearance of Ondine shortly after the commercial success of The Chelsea Girls , the loss of status suffered by Brigid Polk in the 70s and 80s, or the fatal overdose of exemplary drug fiend Edie Sedgwick, the actual glamour of drugs remains, never giving up its allure. 1 Drugs survive the druggie, who exists merely as a vector for the 1 While Brigid Berlin continues to exert a crucial influence on Warhol’s work in the 70s and 80s—for example, The Philosophy of Andy Warhol , as detailed by Bob Colacello in the chapter “Paris (and Philosophy )”—her street cred. -
Studio 54, Disco, and the Culture of the Night Pdf, Epub, Ebook
THE LAST PARTY: STUDIO 54, DISCO, AND THE CULTURE OF THE NIGHT PDF, EPUB, EBOOK Anthony Haden-Guest | 407 pages | 08 Dec 2009 | It Books | 9780061723742 | English | United States The Last Party: Studio 54, Disco, and the Culture of the Night PDF Book Trying to edit it down to just the necessary facts was clearly impossible for him, so we end up reading a lot of useless stories about people only those in the scene would know. I took it over," Brahms says. He gave a sudden hiss of a laugh, like escaping steam, at the memory. But the cousins got on fine. It was a bellwether of what was to come. He worked with Francesco Scavullo and became a long-term lover of the photographer. So I have learned of the shenanigans that went on there in documentar Although there are many of my generation who will heartily deny any association with disco, I must say that it was a formative part of my early adulthood and that I loved it, and still listen to the songs. It was painted black inside, with neon balls. Ken Auletta, the writer, was twenty-two, in his first year as a graduate student there and was a resident hall adviser. Michael Fesco, a club owner and promoter, says that running a gay club at the time was a breeze. It didn't affect their relationship one whit. Flamingo was in an upstairs loft space, and there were two stunning women on the door, with gardenias behind their ears and Tuinal smiles. Grew up in Brooklyn.