![\"brooks.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2019\/07\/brooks.jpg\")
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Femme avec des fleurs (c. 1912) by Romaine Brooks<\/a>.<\/em><\/p>\n \u2022 “Boring people tend not to exile themselves to rocky islands, but even among the intriguing personalities we encounter in Capri, some individuals prove more extravagantly memorable than others.” Steve Susoyev reviews Pagan Light: Dreams of Freedom and Beauty in Capri<\/em><\/a> by Jamie James.<\/p>\n \u2022 “The Mad<\/em> \u201cidiots\u201d subverted the comic form into a mainstream ideological weapon, aimed at icons of the left and the right\u2014attacking both McCarthyism and the Beat Generation, Nixon and Kennedy, Hollywood and Madison Avenue.” Jordan Orlando<\/a> on a world without Mad<\/em> Magazine.<\/p>\n \u2022 RIP Sam Gafford<\/a>, Paul Krassner<\/a> and Rutger Hauer<\/a>. Related to the latter: Hauer’s first role as Floris<\/a>, the hero of a Dutch TV series directed by Paul Verhoeven.<\/p>\n I cannot tell you what it does to me to hear pre-Stonewall. And even in our literature, even in the art, pre-Stonewall, post-Stonewall. I wrote three books pre-Stonewall and a dozen more post-Stonewall. There\u2019s no demarcation. Gay history is centuries and centuries from the Romans to the Greeks to Oscar Wilde to all kinds of outrages. And those seem to be put back and pre-Stonewall is passive. Post-Stonewall is brave and dignified. I actually have heard things like that. I\u2019ve talked, I\u2019ve lectured and I\u2019ve been invited all the way from Harvard to USC. And I talk about what it was like, what we had to survive.<\/p>\n Look, pre-Stonewall produced Allen Ginsberg, William Burroughs, Oscar Wilde, and I could go on. Post-Stonewall produced Bret Easton Ellis, who jumps out of the closet only now and then and then rushes back in, and Queer Eye for the Straight Guy<\/em>, where we\u2019re reduced to clowns for straight people. The husband of Mr. Buttigieg, he is so darling talking about the silver he\u2019s going to be choosing for the White House. It embarrasses me, it embarrasses me very much because that\u2019s what people expect a gay man to do, to be very precious, and that\u2019s not what we are. A good solid queen I will protect forever, they are heroes.<\/p>\n A lot of people think that everything stopped, everything, all harassment stopped. Look, it\u2019s still going on. It\u2019s still going on, for god\u2019s sake. The same tactics are often used in a different way.<\/p>\n John Rechy<\/a> talking to Jason McGahan<\/em><\/p><\/blockquote>\n \u2022 The genius of Barry Adamson<\/a>: An exclusive interview by Paul Gallagher at Dangerous Minds.<\/p>\n \u2022 Three hours of the Prophecy Theme<\/em> from Dune<\/em><\/a> (by Brian Eno with Daniel Lanois & Roger Eno).<\/p>\n \u2022 Ed Sanders<\/a> on why pop culture still can\u2019t get enough of Charles Manson.<\/p>\n \u2022 Havelock Ellis takes a trip: Mike Jay<\/a> on peyote among the Aesthetes.<\/p>\n \u2022 Darren Anderson<\/a> on why little works of architecture deserve respect.<\/p>\n \u2022 Mix of the week: Stephen O\u2019Malley<\/a> presents \/ Java \/ Apr 27 2017.<\/p>\n \u2022 Phil Hine<\/a> reviews Folk Horror Revival: Urban Wyrd 1 & 2<\/em>.<\/p>\n \u2022 John Waters<\/a> revisits \u201cThe Golden Age of Monkey Art\u201d.<\/p>\n \u2022 I Must Be Mad<\/a><\/em> (1966) by The Craig | The Day My Pad Went Mad<\/a><\/em> (1982) by John Cooper Clarke | Yesterday, When I Was Mad<\/a><\/em> (1993) by Pet Shop Boys<\/p>\n","protected":false},"excerpt":{"rendered":" Femme avec des fleurs (c. 1912) by Romaine Brooks. \u2022 “Boring people tend not to exile themselves to rocky islands, but even among the intriguing personalities we encounter in Capri, some individuals prove more extravagantly memorable than others.” Steve Susoyev reviews Pagan Light: Dreams of Freedom and Beauty in Capri by Jamie James. \u2022 “The … Continue reading “Weekend links 475”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[8,2,42,851,7,5,22,43,3,44,14,20],"tags":[3442,145,2934,6181,10161,3218,1090,10157,10160,799,4779,1812,10158,7500,1940,116,4448,90,10159,3302,2997,7577,5476,5752,4075,1034,10156,10162],"class_list":["post-19244","post","type-post","status-publish","format-standard","hentry","category-architecture","category-art","category-books","category-drugs","category-film","category-gay","category-horror","category-magazines","category-music","category-painting","category-politics","category-science-fiction","tag-barry-adamson","tag-brian-eno","tag-charles-manson","tag-daniel-lanois","tag-darren-anderson","tag-ed-sanders","tag-havelock-ellis","tag-jamie-james","tag-jason-mcgahan","tag-john-cooper-clarke","tag-john-rechy","tag-john-waters","tag-jordan-orlando","tag-mad-magazine","tag-mike-jay","tag-oscar-wilde","tag-paul-gallagher","tag-paul-krassner","tag-paul-verhoeven","tag-pet-shop-boys","tag-phil-hine","tag-roger-eno","tag-romaine-brooks","tag-rutger-hauer","tag-sam-gafford","tag-stephen-omalley","tag-steve-susoyev","tag-the-craig"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-50o","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/19244","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=19244"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/19244\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=19244"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=19244"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=19244"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}