BijouBlog

I remember my Dad taking my brothers and me to see the movie Earthquake and hearing the sirens from The Towering Inferno in the adjoining theater. Remember those seventies disaster movies? I wonder why they were so popular at that time, but when one thinks how they were made before the days of computerized digital special effects, the time and effort that went into making them is awe-inspiring. 

I attended Chicago's forty-fourth annual Gay Pride Parade, mostly to wait for the Leather Pride float sponsored by Touché (it was practically at the end of the line-up; I wonder why?) Standing with a friend in an area away from the crowds at the barricades where we could both smoke, I noticed less gay bar floats (the older, at this point, community fixtures like Baton and Sidetracks showed up; more welcoming religious organizations (they pretty much marched together en masse, a stunning effect which should silence the holy haters like the Westboro Baptist Church); more schools including Nettlehorst, a local primary school; less politicians (though the really key figures like the Governor and the Mayor showed up, pretty much a given these days); but, overall, many groups, even nonpolitical ones, emphasized marriage equality given the recent decision on DOMA by the Supreme Court. 

Antenna TV (you know, the station for old-timers who still read newspapers and use landline phones) recently ran a memorial tribute to Jean Stapleton, the actress known for her now iconic portrayal of the much-loved “dingbat” Edith Bunker. The station aired now legendary, groundbreaking episodes centering on Edith that addressed then-taboo subjects such as menopause, homosexuality, sexual assault, and euthanasia. 

A 1960s gay publication called Drum (issue number 22, undated, but probably 1966) published by the Janus Society of America, displayed a keen sense of humor in its features called “Gay Moments in Advertising” and “Gay Moments in News Coverage.” Given that life for LGBT citizens in America during that supposedly liberating time (for heterosexuals, that is) was a life of secrecy and oppression, many gay-related venues resorted to “drag” or “camp” as a way of sublimating feelings of fear and shame.