Contact High

As I approach senility, I’ve managed to outgrow most of my childhood heroes.

Lucille Ball was the first and easiest one to get over. By the age of 10 I’d memorized every line of dialogue of I Love Lucy. Even though I knew what was going to happen when I watched an episode for the 100th time, how Lucy did it kept it in the now.

I was one of the last rats to leave the sinking ship in the post-Desi 1960’s. I willed myself to love her subsequent sitcoms but intense loyalty could not make them funny. When I learned about her John Wayne politics I soured on her.

As an adult, I watched her on talk shows and was surprised by the effort she had put into her craft. The diligence and intense concentration that created joy for millions of people did not provoke the same feelings in her. It was just a job to Miss Ball which, in the end, made her seem like a very sad person.

My Jackie worship started as transference through my Mother. As documented in this blog, it began as pure idolatry that moved on to a fascination for her perverse imagery. Then the tackiness of her as a collectible commodity gave me a hobby. I ended up liking her but with some reservations.

As for Mick, I think I’m over him but I’m never quite sure. It helped last summer when I was in Bloomington and was reunited with Susan after 40 years. She seemed annoyed when she remembered, “you were always trying to be like Jagger.” Then she added, “I thought you were limiting yourself.”

I first saw Ike & Tina Turner on American Bandstand in the mid-60’s. The Ikettes were doing their mini-hit, Peaches ‘n Cream. Dick Clark lavished praise on Tina during the interview and called her shows legendary. I’d never heard of her.

Tina didn’t perform that day and barely spoke. But she was so self-possessed and confident, I was beguiled and instantly obsessed.

My favorite Ike & Tina album back then was called In Person and was a live recording of their performance at Basin Street West in San Francisco. It was on MINIT Records and I could buy it for 99 cents in the Rexall discount bin. I know because I wore out and replaced about 10 copies.

It’s mostly covers of popular hits but there are two medleys where she talks extensively. During one 17 minute recitative she stops and starts the band repeatedly to wax on about love and hurt. Like a Baptist Preacher, she varies the volume and cadence for dramatic effect. It was the height of soul music and there’s nothing more soulful than a Sunday sermon from a southern pulpit. Which is basically what Tina delivered. Very effectively.

There was always a manufactured and meaningless rivalry between Tina and Aretha. They were really quite different and I loved them both.

Aretha had the better voice and was more musically talented. But she was what opera queens call park and bark, a diva who plants herself on stage and lets the voice be the show.

Tina had a great voice too with a more limited range. But she danced exceptionally well and, incredibly, sang and danced simultaneously. She constantly worked on creating new dance moves and on staging to highlight the movement. She wore long falls because she said they had “action.” As did the fringe on her costumes. Hers was one of the first acts to use strobes and fog machines.

Show business cognoscenti took note. I remember hearing Diana Ross say with astonishment “oh my god, she’s so bad.” (Back when that phrase was first used as praise.) In 1969 Dick Cavett asked Janis Joplin who she admired as a performer. She immediately responded, “Tina Turner.” And Lena Horne was quoted as saying she wanted to be reincarnated as Tina.

Listening to one of the Turner’s albums was always hit and miss, gems surrounded by mediocrity. Ike was a musical control freak and notorious for stealing from other acts. Even the “rough” part of Proud Mary was nicked from Fort Wayne’s own Checkmates. It was Phil Spector’s majestic uptempo production of the Checkmates version that made Ike’s recording.

He also controlled most of the stage act. Tina later admitted being embarrassed by things Ike made her do like the lewd, kabuki-esque fellatio she performed on the microphone. Or singing lyrics with heavy drug references (“she reached in her bag and she pulled out some coke!”) She may have been reluctant to do them but, again, it was so good because she was so convincing.

Make-up’s a little scary but the fringe flew.

I completely internalized her music and always played it when I needed a lift. In college I drank prodigious amounts of coffee and mimiced the way she splayed her thighs, sat her butt down in it and gyrated across the stage to get that fringe moving.

Later when I did her on stage I was never an impersonator. She was sui generis and impossible to recreate. But she inspired me as I tried to perform with her spirit and attitude. And I loved doing her songs because they were full of energy and so sexually provocative.

David Bowie said that being on stage next to Tina was the hottest place in the universe.  Rock ‘n Roll gods melted in her presence. A YouTube clip that has since been taken down showed Mick and Tina in Tokyo doing Brown Sugar. When he drops to his knees in a corny gesture she dismisses him with a look: “not on my stage.”

(Note bene 11/28/18: a friend and devoted reader found the clip. What I wrote was on memory. Who knows what they were actually thinking. But at approximately 2:00 the look is there. Thank you Mimi.)

There is a video of Keith Richards in a group jam of Keep A Knockin’. He takes his vocal turn and nervously sings two lines. He’s palpably relieved and shows such affection when Tina steps up to rescue the verse.

And when Paul McCartney does Get Back with Charles and Diana in the audience, his look of anticipation as Tina makes her entrance and the thrill in his eyes as they harmonize are unmistakable ardor.

My generation grew up with a Bill Murray sneer for show business. We mocked every gimmick and show biz cliche there was. I kid you not. But the happiness Tina exhibited on stage was impossible to deride. There was joy in every performance she gave.

On New Years Eve 1982 she was gearing up for her return to the lime light. No one knew it was in the works but I thought at the time her stunning visual presence needed to be captured in the new medium of music video. Although she was technically still down-and-out in this appearance on Johnny Carson, watching it again she obviously was not going to be denied a comeback. And with a piano player like she had I’d be attempting one too.

Happy Birthday Tina.

Mama Was a Rollin’ Stone, Part Two

207 E. Second Street. My first apartment was in this duplex in the Fall of 1970. The following Spring I decided to throw a party here.

The few gay parties I’d attended seem to be divided by sect. The older, draggier queens threw the biggest parties and played nothing but the Supremes. With a dash of Freda Payne’s Band of Gold every now and then.

The younger, druggier gay parties were smaller with less drinking and more counter-culture. The older queens were not necessarily made to feel welcome at these affairs and didn’t attend.

In the middle were the bourgeois gays who were too closeted to ever throw their own parties. But they were are at every other party they could get into.

Mine would be open to everyone and only have dance music. I especially wanted the more radical element there and knew if I could get Dale to come the rest would follow.

I first saw him at a Gay Liberation meeting in April. It was a procedural bore until he spoke. Out of the blue he talked about the necessity of educating ourselves on feminist issues and how the same sexual stereotypes and prejudices that oppressed women also oppressed gays. Our objectives might be different but his point was any gay political movement should have a feminist perspective as well.

Most faces at the meeting had a rather glazed look on them, wondering what time to head to the bar. But Dale had my rapt attention. The authors he mentioned I’d read and his conclusions were ones I had arrived at on my own. I felt validated. I was not alone. I was determined to make this person my friend and, 46 years later, I’m still working on it.

Dale had been out longer than me and was more seasoned. He took me aside at one party and explained what dingleberries were. He was always calling me tart (which I took to mean sharp-tongued) but in an admiring way. As we fantasized about our drag myths he advised me never to admit I worked for Paramount, MGM was the only game in town.

He’d lived in Manhattan in a run down apartment where a rat once popped through the floor boards. There were also Lou Reed sightings when he came to see his boyfriend who lived in the same building.

Dale was at the Stonewall riots in 1969. He said the only violence or looting was when the drag queens broke the window of a wig shop and stole all the Eva Gabors.  Alice put an end to that (Alice was Manhattan camp for the cops.)

Dale showed up for my event with his entourage. The rest is history.

The Stones’ new single, Brown Sugar, was released the day before. I had the only copy in town. It was played repeatedly. The drunken choruses of “yeah, yeah, yeah, whew!” echoed into the night as the hardwood floor sprung like a trampoline. When the police came and told us to turn it down, I planted my 118 pound frame squarely in the front yard and went mano a mano. I assured them everything was under control.

My name was made that night. In the wee hours as he left, Dale stopped to thank me and gave me his blessing: “It’s the sign of a good party if Alice comes.”

330 South Dunn. My first drag was here in the summer of 1971. Mr. Sarah pin curled my hair then teased it out into a huge blonde afro. The silk voile 1930s dress I wore was almost transparent. Underneath were nude panties that concealed nothing. I wasn’t trying to fool anyone. I was trying to look good.

In my maiden excitement I was ready hours before the party started. With nothing to do I volunteered to go with others on a beer run. As we walked into the liquor store I wondered what kind of act or affectation to assume. Since I couldn’t really see myself and since nothing had changed inside me, I decided it was an issue for others not for me. I acted the way I normally would. It was just this androgynous thing with a basso profundo voice buying a couple cases of quarts.

On the ride back it felt like just another trip to the store. Except there was an additional sense of relief that I hadn’t been beaten to a pulp.

Islands in the stream, uhn-huh. In front of the Dunn Street house was the split between Dunn and Atwater Streets. It was a major thoroughfare, especially busy at rush hour. Larry Borders and I would drop acid then sit in the point watching the cars whiz by. They had to veer one way or the other. One hoped.