Welcome to my world.... : 06/27/13

Thursday, June 27, 2013

Bill Cable - Playgirl - July, 1973

Playgirl
July 1973

Coverguy
Serge (Not nude) photographed by Jon Kolesar

Features
Radical Breakthrough In Sex Therapy
Four Page Centerfold: Bold And Beautiful George Maharis
Broadway Turns To Voyeurism - Sex Violence And Box Office Receipts
Playgirl's Nude Discovery For The Month Of July

The Long Cool Summer: A Fashion Essay • Mr. Blackwell
Featuring Bill Cable

Just Because...

Playgirl - July 1973

Playgirl

July 1973

Coverguy

Serge (Not nude) photographed by Jon Kolesar

Features

Radical Breakthrough In Sex Therapy

Four Page Centerfold: Bold And Beautiful George Maharis

Broadway Turns To Voyeurism - Sex Violence And Box Office Receipts

Playgirl's Nude Discovery For The Month Of July

Astrology • John J. Bradford

Classic Televison - Prime Time

Dragnet

Original channel

NBC (1951-1959, 1967-1970)

Syndication (1989-1991)

ABC (2003-2004)

Original airing

December 16, 1951 last aired = December 4, 2004

Starring

Jack Webb

Ben Alexander

Harry Morgan

Dragnet is a radio, television and motion picture series of crime drama about the cases of a dedicated Los Angeles police detective, Sergeant Joe Friday, and his partners. The show takes its name from the police term "dragnet", meaning a system of coordinated measures for apprehending criminals or suspects.

Dragnet was perhaps the most famous and influential police procedural drama in media history. The series gave millions of audience members a feel for the boredom and drudgery, as well as the danger and heroism, of real-life police work. Dragnet earned praise for improving the public opinion of police officers.

Actor and producer Jack Webb's aims in Dragnet were for realism and unpretentious acting. He achieved both goals, and Dragnet remains a key influence on subsequent police dramas in many media.

The show's cultural impact is such that even after five decades, elements of Dragnet are known to those who have never seen or heard the program:

The ominous, four-note introduction to the brass and tympani theme music (titled "Danger Ahead") is instantly recognizable (though its origins date back to Miklós Rózsa's score for the 1946 film version of The Killers).

Another Dragnet trademark is the show's opening narration: "Ladies and gentlemen: the story you are about to hear is true. Only the names have been changed to protect the innocent." This underwent minor revisions over time. The "only" and "ladies and gentlemen" were dropped at some point, and for the television version "hear" was changed to "see". Variations on this narration have been featured in many subsequent crime dramas, and in parodies of these dramas (e.g. "Only the facts have been changed to protect the guilty").

The original Dragnet starring Jack Webb as Sgt. Friday ran on radio from June 3, 1949, to February 26, 1957, and on television from January 3, 1952, to August 23, 1959. Webb revived the series which ran from January 12, 1967, to April 16, 1970. NBC's radio and television networks carried all three series. There were three Dragnet feature films, a straight adaptation starring Webb in 1954; a TV movie produced in 1966; and a comedy spoof in 1987. In 1982 a third TV incarnation of the series was being prepared by Webb but his death scrapped the revival. After Jack Webb's death, two Dragnet revivals were attempted; one was for weekly syndication in 1989 and the other was for ABC in 2003.

History Tour of When Pride Was Politicial

From: Queerty

Gay Pride in Baltimore, 1988.
(Just a few months after the passing of Divine.)
There’s not a lot to be gleaned from this stunner of an image, other than that the trash receptacles were apparently insufficient. Good morning Baltimore!

Question of the Day...

What is your favorite part of a man's body?
For this exercise, penis can not be a choice.

Favorite Pic of the Day for June 27th

Chad by Michael Puff

INTERVIEW WITH LOGAN LYNN

From: Manhunt Daily

Logan Lynn’s musical career has been a roller coaster ride from the very beginning. From his first professional music effort at 17, a mixtape, that ended up causing him to stay off the stage due to stage fright, to climbing back into the spotlight with a little help from The Dandy Warhols, his passion for writing music has made him a favorite of the Logo Network, and now he’s headlining the Accidental Bear Queer Music Tour. He took a moment to answer some questions about what it’s all been about.

Speaking of Accidental Bears – do you consider yourself an otter, a cub, a bear or none of the above?

I mean, I’m a tall, hairy guy who likes hairy guys. Does that make me one of those? If so, I’m good with it… So long as it doesn't limit me somehow.

What advantages do you think you gain from being a musician who is gay?

My “Burning Your Glory” video was one of the first ever shown by Logo when MTV first created the channel, and they went on to air every music video I released from 2008 through 2012 before their weekly video countdown show “NewNowNext” was canceled – 7 videos in all, each time being broadcast into something like 26 million homes. I hosted the show twice, was on commercials for the network constantly for 2 years, my video “Feed Me To The Wolves” was named one of the “Top 10 Videos of the Year” by Logo, and I did countless events and interviews by way of that relationship in the years since. That kind of cultural visibility just simply would not have happened had I not been an OUT musician.
Have you had any specific difficulty in the music industry because you’re gay?

There was never a time that I was in the closet since being in this industry, so it’s hard to say whether what was difficult in those early years was because I was gay or because I was a Portland weirdo making music no one had any reference point for. I think any time a person crosses over from private to public, they set themselves up as an easy target for all kinds of things… But that happens whether you’re gay or not in this business. The thing I've found to be difficult at times has been this perception that I am somehow speaking for the entire queer community because I am a queer man. That and the occasional religious zealot sending me death threats…

Have you actually received death threats from religious zealots?

Yes. When Logo was picked up in the Midwest and my videos became available On-Demand via cable providers, all different kinds of folks were introduced to me, including really scary ones. In recent years, I organized a series of inter-community dialogues between Portland’s queer community and members from this conservative evangelical Christian church in town in the hopes that we might be able to come to some better understandings. This ended up getting picked up by the media and became national news, at which time I started getting postcard threats at my office, creepy phone calls, and hundreds of emails telling me I was going to hell, that I was a false prophet, and that “my queer blood will be shed on my own hands”… Charming things like that. Ultimately, while it’s totally scary when it happens, I have been dealing with that kind of shit my whole life, so I have built up a skill set that allows me to still function, still move forward, even in the midst of fear. I’m not scared of dying for what I believe in, and I’m certainly not about to be afraid of some Christian who wants to rob me of my humanity.

Back in 2000 your initial success as a recording artist caused you to develop an anxiety about performing in public – can you talk about that? How did you get past it?

Well, yeah. I released a mix tape in 1998 that instantly fell into the hands of a prominent producer from the 90s Portland indie music scene who brought me into this big world I had never seen before. I was a shy kid from Kansas who had just escaped the Christian cult I was raised in, and I had only moved to Portland eight months before… So even just being coastal for the first time in my life was a culture shock.

We started recording my debut record “GLEE” when I was 17, and I was just 19 when it was released. I was a fucked up teenager, I had just had my heart broken by my first love, I was queer, and I did not have anyone around me telling me to hold back, to keep some things just for myself, so… I didn't When that record came out my family was hurt, everyone who heard it thought I was crazy, and everyone suddenly wanted something from me. I felt very exposed at the time. That spotlight on my feelings by way of the songs seemed to amplify this horrible isolation which I had written the record about in the first place, and it totally freaked me out.

I ended up taking a 5 year break in between that record and my self-titled sophomore album because I had crippling stage fright. It wasn't until 2009 when Courtney Taylor-Taylor from The Dandy Warhols, whom had signed me to his label two years before, conditioned it out of me like a dog. A large part of that conditioning was reframing the whole thing in my head from “I have to be what people expect me to be” to “I just have to be myself”. Being myself is so much easier to do at any given time than trying to figure out who someone else wishes I was and then trying to be that. My shtick is, I don’t have a shtick. In fact, fuck shticks.

Can you describe exactly what is going through your head when you walk out in front of an audience to play, as you did for the 400,000 people who attended in Folsom Street Fair in San Francisco? How do you balance out the expectation of the audience with the fact that you need to be calm and centered to give your best performance?

With any kind of big show like Folsom Street Fair in San Francisco or the CMJ Music Festival in NYC, the thing that always goes through my head first is something along the lines of “Holy shit there are a lot of people out there. I hope I don’t totally fuck this up.” I guess I don’t totally subscribe to that paradigm which says I need to be calm and centered before I take the stage. I used to really believe that I needed to be a certain way up there, but as I've grown into myself, both as a person and a performer, I've learned that the only thing I really have to be in either role is honest. I have always completely gutted myself on my records, and my take on my live shows these days is no different. The songs are about love and sex and longing and pain and the only thing I’m thinking about on stage is what I’m singing about. My experience has been that audiences connect with me on a visceral level, so long as I let them have my pure, unbridled truth.

Can you describe your creative process?

I am writing melodies and lyrics constantly, and have done this since I was a very young boy. My creative process tends to vary as I work with different producers, but since 2007 it has been hitched to a musical collaborator. I like working with different people for each record. Generally speaking, whoever produces the record also helps me with producing the live show. Gino Mari produced my new record Tramp Stamps and Birthmarks, which was just released in December. He and I have developed my new live show for this summer’s Queer Music Tour together each step of the way over the past few years since my last record and tour. Our process is, we work hard and we keep going until we are both happy with what we've created. I currently record and rehearse at The Country Club studios just outside of Portland. It’s where everything good happens. I used to record at The Dandy Warhols Odditorium, but that always felt like I was in someone else’s mansion. This new studio feels like home. I am finally out of my contract with Caroline/EMI and own the rights to all of the music I have ever released for the first time in years, so life is good! It’s a lot easier to be creative when you aren't fighting Goliath.

Who would you most like to work with? As in, what would be your dream collaborative project?

For years I would have said Styrofoam, but this collaboration is actually happening as we speak, so I guess I will say that I’d love for Simian Mobile Disco to produce my next record (like they recently did with my fellow Portland queer singing lady Beth Ditto), and I look forward to a day when I get to work with my dear friend Ruth Radelet from Chromatics on something. She’s a super talent and we have been friends since we were 15, but we've never worked together on a record. Maybe Simian can produce a dance record with me and Ruth; kill two birds. That would make me smile.

What can we expect from you at the Accidental Bear Queer Music Tour?

We performed 2 secret shows in Portland this past weekend that we filmed and are releasing right here on Manhunt Daily, and that is a pretty accurate representation of what my current live show is like. Basically, you can expect to get really sweaty with us. It’s a 4-on-the-floor dance party every moment of our set, and I won’t be satisfied until everyone is soaked.

Super Hero Stockings

Now you can have matching socks to go with your Underoo's

Batman Caped Knee High Socks

These awesome superhero knee high socks with capes allow you and your feet to dress up as a comic book character whenever and wherever you feel. They are available to purchase online at Spencer’s and The Fowndry.

No one even needs to know you’re wearing them. Just like any superhero, you can go about your daily business, blending into the crowd, your secret identity safely hidden inside a comfy loafer.

Perfect for any wannabe hero, pop on a pair of these wonderfully whimsical socks and know that whatever life throws at you – traffic jams, work deadlines, General Zod – you’ll tackle it, feet first.