I’m so fucking sick of white people. They’re just everywhere. Even in New York, the original melting pot, I can’t seem to get away from them; they’re on TV, in Wholefoods, don’t even get me started on the bagel shop around the corner from me...I’m white myself, so you can understand my problem. Every time I look in a mirror I’m like agh another one! But seriously I just think it’s good to change things up — be around different people for once. Which is why we’re excited for the Lenox Coffee Christmas Party this Friday benefiting the amazing organization Harlem United. They help low income people with HIV/AIDS get better care and manage their conditions. That’s something we all should support. If you live in BK or downtown Manhattan, this party should be a nice change of scene. It’s up in Harlem and is sure to be full of plenty of hotties from the neighborhood. We don’t have too much information on how the night will play out, but we’re promised music and drinks. What the hell else could you need?
Presented by Kayvon Zand & Anna Evans at The Bowery Electric
Presented by ‘the feath3r theory,’ and in part by Dance New Amsterdam, comes the world premiere of the performance ‘Andy Warhol’s DRELLA (I love you Faye Driscoll).’ It’s a “movement-based drag performance essay inspired by Andy Warhol’s alter ego ‘Drella’ — a contraction of Dracula and Cinderella, envisioned by Warhol Superstar Ondine.” I heard from François Leloup-Collet, who’s assisting the main coordinator of the event, artist Raja Feather Kelly, that he’s obsessed with Warhol and has been working on it for about a year now. This performance is mainly about Warhol but also about Raja’s “obsessions with self-worth, sexual identity, race, gender-bending, mind-fucking, consumer culture, celeb worship…” In other words a very pleasant Thursday night filled with drag, smashing vogue, cabaret and ballet.
The photographer discusses his latest book about ball culture
‘Legendary: Inside the Ballroom Scene‘ is Gerard H. Gaskin‘s first book published by Duke University Press. The book is a record of his 20 years going to the balls, it contains black and white and color photographs of vibrant moments inside this scene. Gerard came to New York from Trinidad and Tobago when he was 8-years-old. We chatted to him about his life, the book and his memories of the balls.
You came directly to New York with family? Yes, I came straight to New York. My mom came here, basically worked as an au pair for the first four years for a family in Atlanta, Georgia, and then after that she migrated to New York because her brother and her sister lived in New York. And then four years later we came to New York. Me and my brother and my older sister, I have an older sister actually. My mother passed away and my brother passed away last year, in December.
Oh, really? Around the same time? Exactly. Literally one died on Sunday and the other one died on Tuesday. My mom had ovarian cancer and my brother in some ways kind of flipped out, got drunk, and fell down some stairs on his head. It’s even way more bizarre, because literally I found out I won this prize on Thursday, this happened on Sunday and Tuesday.
What’s the name of the prize? It’s called a First Book Prize. And then I do another project back home in Trinidad, there’s two projects that I’m working on. I do a project on Caribbean identity around cricket, the game, and then I do another project called Trinidadian Artist, where I do portraits of Trinidadian artists. So those are hopefully the next three projects that are in the pipeline.
Why did you call the book ‘Legendary’? It’s interesting, that’s the title that Duke gave. My title was called ‘Walking for Tens,’ and they thought that it was too long, and we then went back and forth with different titles. First it could have been Legends, they came up with really bizarre things that I don’t want to even mention that were so bad that I didn’t really like. The cool thing is I have a really, really small group of ball people who I go to and ask opinions of. There’s the guy who wrote the afterthought in my book, a guy named Frank Roberts. I go to him. There’s a guy named Michael Roberson Garçon, there’s another guy named Derek Ebony. And these guys I went to and I was like, ok, come up with a title for me. And then my friend Douglas, who I told you I met earlier on, he kind of worked to where we got Legendary, and then Duke said cool, I love that, and we’ll have a little byline on the bottom, “Inside the ballroom scene.”
How did you get into photography? I got into photography almost slightly haphazardly. I was a bicycle racer when I was a kid, and when I graduated from high school two of my other friends, really good friends of mine, we went to see the Tour de France in France, and one of those friends had a real camera. When I say a real camera, you know, I had a tiny Instamatic, but he had one of those cameras with a lens and a 35mm or an LSR camera. When I got back from Europe I saw the pictures that he shot at the Tour de France and I was like oh my God, I’d love to get a camera. My mom bought me a camera for my birthday. Then when I started college I took some photography classes. The second photography class I took was with a gentleman named Jules Allen who is my mentor and has been the guy that’s been around for a long time. He’s the guy that kind of, if anything, has molded me into whatever I’ve become.
Where did you take this class? At Queensborough Community College.
I went to Queensborough Community College. He was your mentor? Yeah. And then he told me to then go and study with another really famous photographer at Hunter College called Roy DeCarava. He’s in the same vein as say, Gordon Parks, they’re both around the same age and same era.
What was your introduction to the balls? The balls came about because of a makeup artist and clothes designer named Douglas Says. Douglas Says is from New Jersey and he subbed for another makeup artist; a really famous makeup artist called Choir Fire who at one point was Whitney Houston’s main makeup artist. And I said to him, I want to take some pictures, blah blah blah, and he then introduced me to Douglas. Douglas used to design clothes for the femme queens at the balls back in the day.
Femme queens, who were they?
A femme queen is considered a pre-op transsexual. So, someone like Octavia St. Laurent who was one of the stars of Paris Is Burning would be someone who you consider a femme queen.
So this guy was the go-to guy if you needed a gown. Yeah. If you were looking for a dress or a gown and you didn’t want a mop one, you would go to Douglas. And Douglas then introduced me, we did a whole series of photographs which I called “Douglas’s Girls” that is actually not in the book, but that was the beginning. And there was a femme queen named Danielle Revlon, who’s actually in the book, it’s the photograph of someone in the cab going to a ball. She then introduced me to the balls.
What inspired you to start this project? You went to the balls. You first said to the makeup artist that you wanted to take photos. What inspired you to continue? Being from Trinidad, Trinidad is I call it the land of Carnival, some people might say Brazil, but us Trinidadians, we think Carnival is from Trinidad. We have a huge history of Carnival, my father was a Carnival costume maker and all those kinds of things. So going to the balls for me was almost an extension of Carnival in Trinidad. And when I then started going to the balls it then put another little spin because it was great to then see people deal and play with the idea of gender and sexuality and also then even mock the idea of what realness is and all those kind of things. That’s the stuff that even to the point kept driving me back and back. I love balls. I love when one of the great announcers, like maybe Selvin or Jack Mizrahi, is announcing and they’re kiki-ing up and then it just becomes this huge…
What held your interest for so long? Because this is something you can go and focus on for a couple of months or a couple of years. Why were you so close to the project? There’s two things. I wanted it to be a book, and my professor up at Hunter College, Roy, he always talked about books. He thinks a real statement of a project is a book. I started kind of shopping this book over 10 years ago, and I would then get, “Yeah, we’re interested, this stuff is great, blah blah blah, but if you can raise $25,000, we’ll do your book for you.” Plus I didn’t have $25,000. So in turn I wanted to keep the work current, I also then started doing other photographs. And what would happen in magazines, I would then try to shop it to magazines and they would say, “Ok, we like those pictures but can you do something different?” And then I started doing this whole portrait series and so on and so forth, so that’s the thing that kept me going back. I also think the other part is that the scene always has this really amazing thing that it continues to change all the time, when young and new talent come in they move the scene in different directions. Maybe I’m a sucker for that, but I love watching new talent come and put their own little spin or their own mark on ballroom culture.
What other artists’ work do you admire? There are a few. I think part of this series comes out of, there’s a gentleman named Stanley Greene, and he did a book in Paris called `Paris at Night. I really loved it. He ended up as a war photographer, but he used to be a fine art, documentary photographer. And then I also love Robert Frank, I think he’s a genius. I like that he kept on moving. There are certain photographers who create a certain style and that’s who they are and all they do is that, and they do that for 50 years. Robert Frank started out doing small little camera stuff and now he does Polaroids, film, documentary films. I just love the fact that, here’s a guy who moved and changed and went in all different directions.
You mean he moved with the time. Yeah, and he moved with technique and the quality of work, too. His new stuff, where he’s scratching on negatives, is completely different from the stuff he did in the 50’s and 60’s. So that’s the thing that I really admire.
What do you shoot images with? You use film or digital? 75% of this book is shot film. Black and white film, I usually use Leicas M6 series, I used to have an M4P, that was the first one I ever used. Black and white film.
What film, can I ask? I use HP5 Plus, and then I push it and I push it really, really severely, and then I develop it really, really severely, too. I develop it for 30 minutes.
Are those the ones with the grainy quality? Yeah, it’s grainy, right? When photographers who are real photographers, when I tell them that story they go, 30 minutes?!
Is that a risky thing to do? Very risky.
Have you ever done drag? Oh, dressed up? Actually no. I tried to walk one time.
What category? Runway. Nothing too risque. But of course, getting one foot in front of the other was petrifying enough. I think part of it is because I was just so scared. I was like, oh my God, that kind of thing.
It’s interesting to me. Not that it matters whether you’re gay or straight, whatever it was, but I know you have this body of work that is mainly of people who go to balls: the queer community, trans, crossdressers, DL guys and whatnot. When you show them your book how do they react? I know my straight friends would be like, how did you do it? I think that’s the first question that they ask. And then, you know, I also have gay friends and they’re like oh, wow, even more. It’s interesting, I was really, really attracted to it, you know? In turn, I think very, very early on it was kind of funky for me.
Uncomfortable? Well, I got hit on at the balls, so I had to then get over that thing.
They thought you were doing the business category or something. Yeah, they thought I was trade. I was like no, I’m just here taking pictures. And then they’d be like, well, we’re gonna make you, you know. And then I think it’s interesting when maybe 5 or 6 years after I started photographing the scene, I started getting slightly famous because of the pictures. I would show them, or a magazine would run them. I won a couple of important grants and I was part of a show that was in the Brooklyn Museum, and stuff like that, and people wrote about it and wrote about me. And then I remember one of my really good friends says people are gonna assume that.
That you were gay. That I was gay. And then I think that was the other thing that I had to get comfortable with and accustomed to.
Which is fine. A lot of people assume that people are straight. Right, exactly. That’s exactly it. And like anything else, I think that was the thing that if they didn’t know me and had never met me, then, it didn’t have to be. And that’s fine, there’s nothing wrong with that. But when you’re in the heat of documenting something and you’re really interested in doing it and you wanna do it and you think it’s a great story and it’s a story that needs to be told and stuff like that, all of the other things don’t really matter. You kind of just go for it. And now you have to figure out how you then put your own spin to the idea of what this is. Because I’m not the first photographer who has photographed the balls, and I probably won’t be the last. It’s a great story. It’s a great scene.
Did you become a bigger fan by photographing the balls? How close of a supporter do you think you are to the queer community? Well, I mean I think the first thing is you start developing relationships, you start developing friendships. Now I’ve had friendships with people for 20 years. I was joking last night and I was talking to, I call him the king of ballroom culture, he’s a gentleman named Andre Mizrahi. If you think of the 20 years of me documenting the scene, there are about maybe 10 or 15 people that I think I’ve followed for 10 years, right. I can mention them, it’s Andre, it’s Jack, it’s Selvin, it’s RR, it’s Pagan, it’s Sanaya, it’s Ashley, it’s Alvernian. These people transcend. These are legendary names. And they were my generation, where, say, Pepper LaBeija and Junior LaBeija and Paris Dupree were Jennie Livingston’s group. And then I developed a really good relationship with someone who passed away maybe two or three years ago, a gentleman named Albert Santana who ran the House of Latex and was connected to GMHC. So in turn I then used to do a lot of stuff with him around prevention.
So the House of Latex was related to condoms. What did they do? They’re the ones who brought in prevention and stuff into the ballroom scene. They would then put condoms on the table at a ball and talk to people about being protected and not risky around drugs and safe sex.
Would that house compete? Yeah, yeah, they would compete, too. They would be a house. And Albert was the guy. He would then do all of these committees with the fathers and mothers of the houses and I would go and throw my little two cents into all of these little things.
Since you’ve become more of an insider. You have friends who throw the balls, you have friends who are fathers and mothers. Over time have you seen changes in the structures of the houses? The houses are still structured the same way where there’s a mother and a father. I think now balls have become almost like a global phenomenon. I mean there are young ball kids who are from New York, there’s a really famous one named DeShawn who was part of Vogue Evolution who now goes to France and England and Russia and Sweden and Japan and teaches young girls and boys in these countries how to vogue. So it’s stretched out so much wider now. And now they have houses or affiliations to houses in these other countries. I met a woman last night from Czechoslovakia who was in the House of Ninja…
Benny Ninja brought a demonstration to The LGBT center and he had these two Asian girls vogueing, and it was like ok, they were fierce. Yeah, he’s another one.
Have you met Benny? Yes, definitely.
Who’s the boy on the cover of the book? Why is he on the cover? Is there a backstory? His name is Taz (pictured below). He was walking runway that night. He actually won. It’s funny, I met him for five seconds. I took that picture, I maybe took about five or six pictures of him that night. I saw him, he was backstage, he was getting ready, and this image is taken backstage of him getting ready. And it was boom. And then what happened was the people at Duke really loved it and they picked the image.
What category was he going for? Runway.
What was the last time you went to a ball? I went to the last Latex ball in August.
Do you have to be invited to those balls in order to get in? No, no, if you have money you can come. You pay somewhere between $25 and $30 to get into the ball. Because that’s what it is, it’s also a money venture. What happens is there’s a prize list now, and for some balls the grand prize is like $5,000. So for you to then get that kind of money you have to raise that kind of money.
We’ve been to a couple of balls, even a recent one at PS1, but I don’t think it would be the same experience as going to the ones you are referring to. I know Jack always does mini-balls at Escuelita every Sunday, if I’m not mistaken. And in some ways that would be your best bet to find out where a big ball is happening. Balls now here in New York City are really scarce. There’s now more balls out of state. So in Virginia, in Ohio, in Kentucky and North Carolina and Philadelphia. It’s really, really difficult to get a hall really, really cheap here for the kids to ultimately make money, so that’s why.
Are you satisfied with the outcome of the book? Yeah, yeah. Of course, I wish I had some more pictures in there. My first edit was about 130, and they kind of brought it down to about 94, 92 pictures. There are a couple more, I would say legends. It’s interesting because first you want to take beautiful pictures, but you also want to tell a story and make sure the people who were popular and famous when you were photographing balls are in the book. And there are a few people where it’s like, gosh, I wish this image was in, and stuff like that.
Are you planning any other book projects? Book number two is a portrait-driven project that is the same ballroom scene, but there just portraits. I usually go to the balls and I photograph them with a backdrop and lights and it’s all very staged imagery. I shot it back in around 2001, where I shot 55 polaroids, and now I shoot digitaly. It’s interesting, when I was shopping it, a lot of the photography people were like, this would be a better book. The Polaroid stuff. And I was like, you know, when I won this prize, and because it’s the Center of Documentary Studies, I basically just gave them the documentary-driven images.
This brand new night of “experimental music based performance” is brought to you by David Sokolowski and Wreck Room (which is the place where this party is happening). I was told that the name of this party, ‘Wired’ “is a play on it being about electronic music, and Wreck Room is kinda of known as a coke bar…” I see, I was also told that the Wreck Room “is like the dirtiest bar in Bushwick and everybody always gets really fucked up there.” I think this party has all the right ingredients for a very promising Wednesday night, because since the holiday season just started, it doesn’t matter if you are a mess the rest of the week. You only have a few days left in this year and why not go for it. Midnight shows by Louis Chavez, Boywolf, Mark Dommu, URiEL, DeeDee Rex and g1br33l. Music is by DJs Timothy Allen and David John Sokolowski. Boywolf told me that I should know that the party is featuring some of “Brooklyn’s most interesting queer performance artists.” Got it. Where’s the kiki?
A new series in which we ask cute boys around the world to send us a couple of selfies. It’s very cerebral.
Gavin is a 18 years old Marketing freshman at Philadelphia University who was born in Scranton, PA. He is single and lost his virginity when he was around 15 with a boy, he’s never been with a girl: “I’ve never ventured into the other side.” He told us that he’s very simple when it comes to going on dates “My dream date…hmmm. I enjoy the one on one personal talk, getting to know someone is always the best part. So I’d have to say dinner and a walk somewhere. I’m easy to please.”
He loves to travel a lot and he really loves movies, “I have to say I go to the movies around 6 or 7 times a month.” When it’s time for him to go to bed he usually wears just his underwear, but when he’s “feeling adventurous,” he prefers to sleep completely naked.
We first saw Gavin on Instagram and we thought he was adorable, so we decided to mail him a GAYLETTER t-shirt and told him to send us a few selfies of himself wearing it — and of course shirtless. He used his iPhone 5 and here’s what we got… He looks very handsome wearing our t-shirt and rather comfortable, don’t you think?
Pussy Faggot! presents a Holiday Homo Mixer
Last week the creator of Pussy Faggot! Earl Dax and Penny Arcade got into a heated Facebook argument. I didn’t read the entire thing because it was getting out of control and I always prefer to avoid drama; it makes me uncomfortable when I see two friends going at it. Well apparently it’s all sorted because Penny Arcade is hosting Earl’s “Holiday Mixer,” this Tuesday, December 10 at The Parkside Lounge. Clearly, social media fights are stupid — it probably took them 5 minutes to solve the problem after all the ongoing rants on Facebook. Please avoid any social media confrontations. That’s my sincere advice for this holiday season.
Holidays are lovely and maybe since it’s the end of the year it’s better to save the bitching for the beginning of the next…
Earl tells me that he “wanted to have a get-together for the Pussy Faggot! tribe before the holiday insanity shifts into high gear.” It’s basically a “low-key gathering for people to mix and mingle…” Music will be provided by AndrewAndrew, with performances by Max Steele and Nicholas Gorham and other surprise guests. It’s basically an excuse to get out of the house in the snow and start experiencing the holiday spirit. As Earl puts it: “Prepare for your own dysfunctional holiday gatherings by attending ours!”
FREE, 9:00PM-1:00AM, The Parkside Lounge, 317 East Houston, NY, NY.
Dark Entries & Honey Soundsystem release a porn soundtrack
In 1981, gay porn was closing in on a specifically American brand of ubiquity. There were 20,000 adult bookstores and 800 sex cinemas in the States alone, and while print pornography was still king, home VCRs had begun to gain traction and producers were starting to shoot films straight to video. The aesthetic style of underground art films of the previous decade had been largely abandoned for an approach more comparable to gay porn’s straight counterpart, boiling down to a simple rule of thumb: the more explicit, the better.
In that same year John Coletti, the owner of prominent gay porn company Fox Studio in Los Angeles, approached well-established musician Patrick Cowley to compose soundtracks for his films. Cowley, a renowned producer that transplanted to San Francisco from New York in 1971, had been the brains behind a number of disco hits of the mid to late 70’s, including several for megastar Sylvester and an epic 16-minute remix of Donna Summer’s “I Feel Love” (which still totally holds up today, in case you were curious). He also put out an anthemic pro-gay song fittingly named “Menergy” and became a pioneer for the Hi-NRG genre, putting out a series of disco singles that became the backdrop for an entire generation of bell bottomed gays.
Cowley eagerly accepted the gig at Fox, and before long his synthesizers and modified guitars were providing the backdrop for several steamy flicks, including School Daze and Muscle Up. The soundtracks for these two films, filled with evocative synth melodies and searingly slow motion techno, are the focus of a recently released compilation album. Assembled by San Francisco imprint Dark Entries, School Daze is an 11-song time capsule, a glimpse into a singularly X-rated corner of gay history as well as into a disco auteur’s masterful, diverse archive.
After working with Coletti, Cowley went on to release Mind Warp in 1982. A murky collection of electro and disco, the album ended up being his final record. Cowley died of AIDS the following year in a time before the disease even had a name, an abrupt end to a young, prolific talent. Nevertheless, his legacy lives on as one of the most visionary and influential producers in the history of electronic music, in league with Giorgio Moroder and Isao Tomita, two of his biggest influences. In honor of his memory, all proceeds from School Daze are being donated to Project Open Hand and the AIDS Housing Alliance.
Watching gay porn today, most of which is either bereft of music altogether or soundtracked by some truly terrible background music, it’s bizarre to think about something as stark, nuanced, and measured as Cowley’s music being used to soundtrack some good, old fashioned guy-on-guy fucking. It’s no surprise, however, to learn that Cowley drew from his experiences in San Francisco bathhouses in the 1970s to craft this music: it pulses with a slow-burn heartbeat that is often just as somber as it is sensuous, as intimate as it is alien.
School Daze can be previewed and purchased on the Dark Entries website. Below, check out a video for the track ‘Nightcrawler,’ featuring clips from some gloriously early 80’s porn from Fox Studio, Youtube-approved bulges and all…
The Punk Singer is a fiery new documentary about the Bikini Kill and Le Tigre frontwoman, feminist, and riot grrrl icon Kathleen Hanna. The intimate and penetrating portrait traces the development of the queer punk zine aesthetic that runs through much of her work, beginning with rare views of her early visual art and a feminist fashion collection. The documentary excels in its footage of exuberant Bikini Kill shows, including a classic shot of Kathleen Hanna jumping up and down on stage like the leader of a twisted workout video, screaming “we want revolution grrrl style now!” with ‘SLUT’ written across her belly. The documentary features numerous interviews with punk luminaries like Joan Jett and Kim Gordon, as well as Kathleen’s husband, Adam Horovitz. It reveals little known information, such as her friendship with Kurt Cobain, and why she mysteriously disappeared from the scene for several years. Ultimately, the film is a powerful exposition of the uncontainable human need for artistic, political, and sexual expression and the struggle to survive and thrive in an often toxic heteropatriarchal culture. In other words, it’s not to be missed.
This party is a bit trashy, but hey, the press photo they sent us has at least 3 of my friends in it so I’m sure it’ll be trashy-good and we’ll be in good company. It’s the Monster’s 32nd anniversary, which in gay party years means it started about 100 years before Oscar Wilde was born. There’s a bunch of fun DJs performing on the night including: Bill Coleman (Peace Bisquit), Scotty Rox (PentHaus), Steve Travolta (Fresh Fruit), Scotty Thomson (Unity), Taul Paul (Le Bain), Jonjon Battles (Westgay) and Michael Magnan (Vandam). I’m going to be honest with you on what really sold me on this party, one word: margaritas. They claim they’re the “best, and strongest, in the city.” I’d sell my sister to a Kuwait sheik for a good, strong margarita…Also expect surprise performances, a photobooth, a bunch of hosts, free entry before 1:00AM with the password “1981” and me in the corner making out with my tasty marg.
Dirty Looks' winter gathering celebrating their website re-launch
Most of the time, looking around New York, it seems as though there’s no end to the talent that lives and thrives here. There are musicians in the subway, visual artists in public parks, and a sweep of live performances happening nightly, not to mention the horde of galleries housing some of the art world’s most interesting up-and-comers. And, like all good things in this world, a large number of these talented people happen to be of the queer community. Dirty Looks, a NYC-based roaming series showcasing LGBT film and media, is launching a new website in 2014 to provide a platform for discourse on these queer artists that call our dirty, noisy city home. The site will serve as a unique publishing platform, allowing for writing and discourse around queer experimental cinema.
In preparation for the launch, Dirty Looks is hosting a holiday event, ‘Wholly Night,’ at the Bowery Electric on December 9 at 8:00PM, packed with performances by queer artists that’s bound to be a feast for both eyes and ears. The night begins with a must-see performance by M. Lamar, whose classically-trained operatic vocals and doomsday aesthetic are sure to kick things off with an enthralling bang. DJ sets by Colin Self, Amber Valentine and D’hana Perry. Visuals by Josef Kraska. Later on, there will be a performance by the excellently-named Bushwick ensemble Bottoms for self-described “dungeon music for dungeon people.” We don’t know what that means either, but we can’t wait to find out.
For tickets and more info about ‘Wholly Night,’ click here.
I love the name for this event because honestly every Friday night out with my friends feels like a “night of queer performance.” Half my friends act like they’re on reality TV. One of my friends actually pretends there’s imaginary cameras following him and when asked what he did last night will say he was “filming.” This Friday the drama will be legit as the Stonewall Coalition and the Lavender Ladies present a night of performance “dedicated to creating a platform and visibility for all things queer.” The legendary (we don’t throw that word around lightly) Kenny Kenny is hosting the night and there will be performances by a whole host of homos including Ammo, Celso LaBeija, Young Psycho and many more. Music by our favorite “papi champú” Santana Williams. Also going down is a fashion show by Domonique Echeverria, no idea what that is all about but the models include Amanda Lepore, Leo Gugu and ManiCure Versace...so that’s the icing on the cake. Dress up, you never know who’ll be “filming.”
The dancers rehearse their latest piece, 'ACADEMY,' premiering this weekend at 92Y
We love trans men. We love trans women. We love transitions of all kinds. And we love Murray Hill (pictured), who’s the producer and is hosting the 3rd annual Mr. Transman Competition this Thursday at the Knitting Factory. Murray is like a trans Bob Hope, but quicker on his feet, and not dead. I should of course mention that Amos Mac (the founder of Original Plumbing) is also involved in planning this event. Amos sent us some info about what’s happening this year. Apparently they have an “unbelievably diverse line-up.” Not sure what that means? Well let me give you a couple of categories: “Queer jock gym teacher, Cat obsessed social worker, Trans taxidermist, YouTube sensation.” Transmans’ are so creative and just have the best time...Here’s your chance to join in on it. Click here for tickets.