Virtual Pride: June 26-28, 2020… say what???!!!
As we all know, COVID-19 has squatted over Toronto Pride this summer of 2020 and taken a huge dump. When it was announced that all large events – or any event for that matter – in the City of Toronto would be cancelled this year, including my beloved Pride, I was crushed beyond measure. Toronto Pride will be celebrated this year with “Virtual Pride” which, to me anyway, defies logic. Virtual Pride?? How exactly does one do a Virtual Pride, for God’s sake? No thanks… I want the real thing.
Pride week in Toronto has always meant so much to me and, as a gay man, is an essential experience in my life. In my world, Pride is more important than Christmas, Easter and Thanksgiving all rolled into one. No other event brings such happiness, energy, enthusiasm, celebration, vitality and warmth than those few days in late June every year. Even though time and tide have scaled back my activities considerably from Pride weekends past, I still celebrate the occasion and feel joy in my own way on that special weekend.
I believe my first “Pride Day” (as it was then called) was 1985. I have wonderful memories of those early Pride events when they were just a half-day long (always on a Sunday afternoon) and held in Cawthra Park (now the Barbara Hall Park, which has become a haven for junkies, crackheads, crime, muggings and harassment from street trash who have overtaken the place… but I digress…).
Those days, Pride was held within the boundaries of Cawthra Park, if you can imagine. In the late 80s/very early 90s the event spilled into a small section of Church Street above Wellesley, with the epicentre being the 519 Church Street Community Centre. Across from the 519 was the only stage, set up in the parking lot of The Beer Store. At about 9:00 PM that night (at the latest), the police would reopen Church Street to traffic, and cars would resume their usual pace down Church Street as if nothing had happened that day.
I remember those Pride Days as being pretty much a white, male, middle-class event, long before global inclusion and the alphabet soup that now describes our community (LGBTIQA+ or whatever the hell it currently is). From those early Pride Days, I have memories of local gay hero Harold Desmarais singing a personally-penned protest song to Art Eggleton, the then-mayor of Toronto who had refused to proclaim, or even acknowledge, Pride Day (as it was then called). Harold served as the Master of Ceremonies for Pride Day festivities from 1986 through 1989. I also have memories of Jack Layton acting as auctioneer, auctioning local goods and services from a little makeshift stage behind the 519.
As for some of the Pride Day music I remember, local alternative band The Nancy Sinatras played a set for a couple of years at Pride, where they belted out some wonderfully tacky, kitschy and downright rude songs from the stage set up for the day in the Church Street Beer Store parking lot. The Nancy Sinatras were about as “Queen Street West” as you could get in the late ’80s; they were awesome.
In those days, the AIDS Memorial behind the 519 Church Street Community Centre did not exist. I remember the temporary AIDS memorial that would go up for Pride Day each year before the permanent one became a reality. This was a terrible time in our gay history, with AIDS claiming so many men in those early days.
For this post I had desperately hoped to find some photos I had taken of those early Pride events that took place on Church Street and in Cawthra Park. I slowly perused my carefully curated photo albums (physical pictures… remember those?), but alas could not find any shots of Toronto Pride street scenes from the 1980s, at least none that were of any interest. I do, though, have extensive shots of almost every Pride Parade from 1986 to 2006.
Sooooooo, as to not totally lose the Pride spirit this year, in lieu of a physical Toronto Pride 2020, I offer some good bits from years past to put us in the mood and lift our spirits.
I now present to you Toronto Pride, warts and all. Let’s go back…
On Church Street…
I Love A Parade…
Ah, the memories…
This year I’ll skip “Virtual Pride” but will still proudly fly my rainbow flags from the balcony, trying my best to resurrect the spirit of Pride.
I’d like to end this post with a positive, feel-good message from our Ward 13 City Councillor Kristyn Wong-Tam; I couldn’t have said it better myself:
When the pandemic is behind us, we will come together again. We will fill the streets, the restaurants, the bars, the civic spaces, the dance floors. And when we do it will be the loudest, most colourful, most fabulous Pride celebration in this city’s history. I look forward to joining you on that day.
We will rise again!!
See you at Pride next year!
This is an oldie which has been travelling around the Internet for a while, but is worth preserving here. These glorious insults are from an era that valued cleverness with words; an era when the leaders of society didn’t need to use profanity or the middle finger to make their point.
He had delusions of adequacy
He has all the virtues I dislike and none of the vices I admire
He has never been known to use a word that might send a reader to the dictionary.
-William Faulkner (about Ernest Hemingway)
I didn’t attend the funeral, but I sent a nice letter saying I approved of it.
He has no enemies, but is intensely disliked by his friends.
I feel so miserable without you; it’s almost like having you here.
He is a self-made man and worships his creator.
I’ve just learned about his illness. Let’s hope it’s nothing trivial.
-Irvin S. Cobb
He is not only dull himself; he is the cause of dullness in others.
He is simply a shiver looking for a spine to run up.
In order to avoid being called a flirt, she always yielded easily.
-Charles, Count Talleyrand
He loves nature in spite of what it did to him.
Why do you sit there looking like an envelope without any address on it?
His mother should have thrown him away and kept the stork.
Some cause happiness wherever they go; others, whenever they go.
He has Van Gogh’s ear for music.
I’ve had a perfectly wonderful evening. But I’m afraid this wasn’t it.
Seen on an abandoned building on my way to work one day (look to the left of the window):
No comment… that would be waaaaaay too easy…
The other day I was doing a little food shopping at Rabba. The store had its sound system tuned to Toronto’s retro station Boom 97.3, and they were playing Spaceship Superstar by Prism. Prism!!… whoa…. the memories started flooding back. Ahh… Canadian rock in the early 70s… it was great.
If you were a teen in the 1970s growing up in Canada, AM radio’s pop and rock music was most likely your lifeblood; I know it certainly was mine. There were so very many awesome artists whose music I totally identified with, and that music was (and still is) integral to my life’s soundtrack.
Interestingly, the music from the 70s that matters to me most was from Canadian artists. CanCon (Canadian Content) played a huge role in the Canadian radio airwaves of the 70s and, for once, CRTC actually did a good thing. Thanks to CanCon, so much good Canadian music got a huge boost on our airwaves.
I had to sit down and think about the artists and songs from this special era: who meant the most to me? who influenced me? whose music did I relate to? what songs and groups still grab my attention when I hear them at some random location (as in said food store mentioned above)?
To address these burning questions, I’ve come up with the following:
Best cuts: Lovin’ You Ain’t Easy (1971), Some Sing, Some Dance (1972)
Best cuts: Take Me Away (1978), See Forever Eyes (1978), You Walked Away Again (1980)
Best cuts: Round, Round We Go (1978), The Moment That It Takes (1979), Two For The Show (1976)
Best cuts: Oowatanite (1975), Drop Your Guns (1972), You Could Have Been A Lady (1972), Weeping Widow (1973)
Best cuts: Lonesome Mary (1973)
Best cuts: Action (1978), One More Time (1982), Tin Soldier (1981), What Kind of Love is This? (1982)
Five Man Electrical Band
Best cuts: Coming of Age (1971), Hello Melinda, Goodbye (1970), Absolutely Right (1971), Find the One (1971), Country Girl (1971)
The Guess Who
Best cuts: Sour Suite (1971), These Eyes (1969), Laughing (1969), No Time (1969), Sona Sona (1974), Hand Me Down World (1970), American Woman (1970), Rain Dance (1971)
Best cuts: Minstrel Gypsy (1973), Oh My Lady (1973), Carryin’ On (1971), Carry Me (1971)
Best cuts: Pretty Lady (1973), Little Kind Words (1971), 1849 (1971)
Best cuts: Last Song (1971), You Me & Mexico (1970), Close Your Eyes (1973), Masquerade (1972)
Best cuts: Takin’ Care of Business (1974), Blue Collar (1973)
Best cuts: Snowblind Friend (1970), Sparkle Eyes (1971), In Hopes of a Garden (1971), Magic Carpet Ride (1968)
And then there were one-off little gems like Mashmakhan‘s As The Years Go By (1970) and A Foot In Cold Water‘s beautiful (Make Me Do) Anything You Want (1972), later covered in 1984 by Helix, a Canadian hard rock/metal band.
There were so many other Canadian bands and artists I wasn’t in to, per se, but were prevalent on the airwaves and in our collective Canadian music conscience. Groups such as:
- Max Webster
- Ken Tobias
- Ian Thomas
- The Bells
- The Poppy Family
- … And a lesser known group called Painter, from Calgary, who had a hit in 1973 with West Coast Woman
The Era In Media
There is a really great CBC documentary which closely examines this wonderful period of Canadian music. It’s called This Beat Goes On: Canadian Pop Music in the 1970s, and it’s narrated by Jian Ghomeshi before his big, and very public, fall from grace.
There is also a 4-CD box set entitled Oh What A Feeling: A Vital Collection of Canadian Music which includes cuts from many artists of this musical era. I bought the CD (remember those?) when it came out back in 1996, but I don’t know if it’s still available.
Thank you, Canada, for some of the best music of my life 🙂
It had been a busy and hectic day at work last Friday. Walking home I suddenly spotted something unusual coming toward me in the distance. At first I thought I was seeing things courtesy of my fatigued state, but as it drew closer I see it was…
Pikachu to the rescue!!
Thank you, Pikachu! It was great to have a smile and laugh during our troubled COVID times.
I saw these two t-shirts through a store window while vacationing in Jasper, Alberta.
Wonderfully sacrilegious… 🙂
Here’s some shots from this past weekend’s Chinatown Festival in Toronto. The festival stretched along several blocks of Spadina Avenue, and there was lots of colour, food and costumes.
As I stumbled bleary-eyed from my bed this morning, I was greeted by a rainbow over the city:
It’s rare we have a rainbow over the city but even rarer when it’s a double one such as this. All too soon it was gone.
The rainbow was followed by some unusual light and threatening skies:
And then it all gave way to rain…
I’ve had this article on my hard drive for many years. I can’t recall exactly where or when I found the essay but I do know who the author is – it’s written by a man named Patrick Runkle. I couldn’t find too much about him on the Internet, other than he is a music producer/composer from the U.S. and is a founder of Cohaagen Music. He is also a member of the electropop group Ganymede. Patrick has written this interesting but sad and wistful article about the electronic music scene of the late 70s/early 80s in San Francisco, its effect on gay liberation and culture, and the toll AIDS has taken on many of the performers.
In the dusty back rooms of dance music stores and in cardboard boxes stored in attics all over San Francisco, there are indigenous records in worn sleeves with titles like Menergy, Cruisin’ the Streets and Die Hard Lover. These records — like their creators — had short, brilliant, tragic lives.
The names on these records are unknown to most people, even those who follow San Francisco music. To others, the names are fading memories from a dead era. But to a few people, like music lawyer and former nightclub owner Steven Ames Brown, the disco stars who made records in San Francisco during the late ‘70s and early ‘80s were friends who died too young.
Brown sits in his Franklin D. Israel-designed modern mansion on Grand View Avenue overlooking the city. “At 49, I’m an elder statesman of San Francisco dance music. It’s an eerie feeling,” he says.
He pages through Tribal Rites, a book from 1987 by David Diebold containing first-person remembrances of the gay music scene in San Francisco, and finds a picture of himself from 1981 posing with drag queen Sylvester.
“Look, I had brown hair. And I was thin,” he says, even though he’s currently in incredible shape.
Brown pages through the book some more and then closes it.
“God, all these people are dead.”
The cover of Tribal Rites is a collage of faces from the era. The men are buff, young and virile, all with full, perfectly trimmed mustaches and huge smiles. They seem to be frozen forever in the blinding afternoon sun of Castro Street.
“Every night was another party,” Brown said. “It was an incredible time to be a jet-setting homo. The music was fun; life was fun. There was someone for everyone to go home with.”
“People don’t remember why there were thousands of men marching in the gay pride parades. Nobody gave a shit about the political speeches,” Brown said. “The music was the glue that brought the community together. It was because people like Sylvester were on the floats that we marched behind them.”
Sylvester, San Francisco’s first breakout disco star, was a soul singer who enjoyed success in the early ’70s as a member of the Bay Area transvestite group the Cockettes. His outrageous performances won him a large local following and a solo contract on the Fantasy label. A series of hit disco tracks followed, including “Dance (Disco Heat)” and “You Make Me Feel (Mighty Real),” both from 1978.
Members of the same nightclub and disco culture from which Sylvester emerged started to see the possibilities for the gay community to produce its own music without the interference of major labels.
“It became possible because of advances in recording technology in the disco era to produce tracks for a lot less money than before,” Brown said. “Also, and most important, the music didn’t need enormous distribution to be popular.”
Brown came to the city in 1974 to study law at Hastings after working as a disc jockey for a Michigan radio station and studying film at USC in Los Angeles.
“I happened to acquire some property in South of Market in one of my first cases here as a lawyer,” Brown said. “Because of my experience in the music industry, I decided to open a nightclub. And it did so well that I opened another.”
“Disco music had re-invigorated dancing and nightclubs, and the clubs went from being dirty, back-room swill holes to being fun, bright, gay places. After pressing only a few thousand records and playing them in the right clubs, you could have a major hit.”
Musicians in San Francisco’s gay nightclubs started to make music of their own. Bill Motley was a charismatic but frustrated disc jockey in the Castro who had big dreams.
“Bill was a man whose inside didn’t match his outside,” Brown said. “On the outside, he was a large, burly guy who looked like the kind of person you wouldn’t want to run into in a back alley.”
“But on the inside, he was Diana Ross.”
Motley’s experience was mostly as a lighting consultant for local nightclubs, but his musical intuition was sharp. Although he wanted desperately to be a star, he knew his talent was for production.
His idea was to record a disco version of the Ashford-Simpson soul classics “Remember Me” and “Ain’t No Mountain High Enough.” He borrowed money to do it from his friend Victor Swedosh, owner of the Moby Dick bar at 18th & Hartford in the Castro.
Taking inspiration from the Village People, which was essentially a front band for producers Jacques Morali and Henri Belolo, Motley created a fictitious band called The Boys Town Gang to realize his vision.
“Bill found some kids in the city who could sing,” Brown said. “He designed a stage show for them, and started recording with them in the studio.”
The track that resulted was a 6-minute suite, “Remember Me/Ain’t No Mountain High Enough.” Motley, Swedosh, and another friend from the Castro, Stan Moriss, formed Moby Dick Records in 1980 to release and distribute the Boys Town Gang recordings.
The first track went out on a 12-inch EP called Cruisin’ the Streets, which hit #5 on Billboard’s dance music chart and made enough money for the fun to continue.
“Remember Me/Ain’t No Mountain High Enough” is a joyous burst of soulful disco that, while not incredibly progressive, shows an incredible ear for production. It was a great answer to all the vapid, soulless corporate disco albums that caused the national ‘disco sucks’ backlash in 1980.
Elsewhere in the Castro at the same time, Patrick Cowley, a synthesizer player and former nightclub lighting technician, was preparing his first solo release.
Cowley had studied music and synthesizers at City College before landing a spot in Sylvester’s band in the late ‘70s.
“We didn’t even know Patrick could play music when we met him,” Sylvester recalled before his death in 1988. “He was designing the lighting for some of our shows, and he played us a tape of his music. I asked him to join us.”
Indeed, Cowley’s unique analog synthesizer flourishes showed up first on Sylvester’s Step II album in 1978, and he contributed two songs to Sylvester’s Stars album a year later.
But Cowley had personal problems with some members of Sylvester’s band, and decided to go solo in 1980. Cowley became friends with the owners of the Automatt studios at 11th & Harrison, and they would let him use the studio during off hours.
“Patrick was a short guy, very passive,” Brown recalls. “All he did was make music, get screwed, and do drugs.”
Cowley and business partner Marty Blecman, a former disc jockey, put together an album of electronic disco music, heavily influenced by the European synth sounds of Jean-Michel Jarre, Vangelis and Giorgio Moroder, which was to feature a title track called “Energy.”
“One day, while we were recording,” Blecman wrote before his death in 1991, “We got high and I added an ‘M’ in front of ‘Energy,’ and we came up with all these completely gay lyrics for it. In the end, that’s what we used.”
The song “Menergy” was born. The album Menergy, released on the Fusion label, became an international dance smash in early 1981. It went to number one on Billboard’s dance charts and set a new high-water mark for electronic music.
The title track owes a great debt to Giorgio Moroder’s production of Donna Summer’s “I Feel Love.” Like Cowley’s best work, it makes no apologies for its sexual orientation, but maintains an eye-winking charm, without
being explicitly about sex. “The boys in the back room are lovin’ it up / Shootin’ off menergy,” the joyous female chorus sings. What exactly this menergy is that the boys are shooting off is left to the fertile imagination of the listener.
Moreover, Cowley’s electronic arrangements had a fantastic, almost sci-fi quality that tied into the drug-induced club experience of the time.
The success of Menergy allowed Blecman and Cowley to form a company of their own, Megatone Records. In the same way, sales of the Boys Town Gang’s first record ensured more recordings from the Moby Dick label.
The two companies were run from Victorian homes in the Castro, and the performing stars that the labels created enjoyed notoriety both in San Francisco and throughout the worldwide cosmopolitan gay community.
“There was a point where you could fly to any city in the world, and the gay bars and nightclubs were playing the same songs.” said Brown.
People loved “something which was homegrown. It wasn’t marketed to you by faceless corporations. It was the allure of quality music from the community.”
“They were producing a cultural commodity, if I can put those two words together,” Brown said. “They created a business that was both self-sufficient and gay, an underground economy. This was also around the time that we saw an explosion of gay lawyers serving gay clients, gay doctors serving gay patients, and so on.”
In mid-1981, Megatone Records had its first official release, Patrick Cowley’s Megatron Man LP, the title track from which was another huge hit for the company.
Meanwhile, Moby Dick put out a Boys Town Gang LP, Disc Charge, as the follow-up to Cruisin’ the Streets. That album’s disco cover of the Gaudio-Crewe standard “Can’t Take My Eyes Off Of You” was a monstrous worldwide hit.
The parties lit up the city every weekend. Thousands of men converged on dozens of nightclubs to hear the latest tracks and see the stars perform.
But it wasn’t to last.
After Megatron Man was released in 1981, Cowley fell ill with a mysterious illness.
The disease, first called Gay-Related Immune Deficiency (GRID) or the AID Syndrome, would soon put an end to it all. Cowley was among the first victims in San Francisco.
“Patrick was the first person I saw who was really sick,” Brown said. “They wheeled him onto the balcony of the Palladium. It was too upsetting to watch.”
After fighting the disease for a year, Cowley died on Nov. 12, 1982.
“In the year leading up to his death, Patrick was either in the studio or the hospital,” Blecman told the San Francisco Chronicle upon Cowley’s death. “He left his legacy on tape.”
After Cowley’s death, but before panic over AIDS spread throughout the nation, the two Castro-based labels remained profitable.
Megatone released posthumous Cowley-produced material throughout 1983, including vocalist Paul Parker’s #1 hit “Right On Target” from his LP Too Much To Dream, and Cowley’s reunion with Sylvester, another #1 single, “Do Ya Wanna Funk?”
Moby Dick released another Boys Town Gang album, as well as a huge hit single from vocalist Frank Loverde, “Die Hard Lover,” which was a collaboration between Cowley and Motley.
But everyone knew the end was near. “By late ’83, HIV had scared everyone out of the nightclubs, especially the straight suburban kids who spent so much money,” Brown said. “People thought it might be transmitted through the air.”
“After that, they didn’t have any hits.”
Other problems plagued the fledgling companies. In-fighting among the personalities in the scene over performances, disappearing royalties, and record sales stunted their growth.
“None of these people knew how to run a record company. They created an overhead that they couldn’t possibly maintain,” Brown said. “They had to pay for marketing, pressing, packaging, administration, everything. When their sales started to slip, it was all over.”
“These guys didn’t want day jobs, and they were attracted to the allure of show business.”
“Their lives were bleak. These guys didn’t have any stage presence whatsoever, they couldn’t perform,” Brown said.
Michael Garrett, a disc jockey from the era and current owner of the CD Record Rack, a Castro district dance music store, remembers a performance from artist Frank Loverde:
“Loverde had a hit record in ’82 with ‘Die Hard Lover.’ There was a show at one of the clubs downtown where he was supposed to perform. He came out on stage and saw all the men in the audience, and he fainted. They had to carry him off, and I don’t think his career ever recovered.”
The years of the AIDS crisis destroyed the San Francisco disco community. As the artists watched their friends and colleagues die, the music changed.
“The mood was different,” Brown said. “It was about mechanical sex.”
Moby Dick dissolved soon after Bill Motley left the company in 1984. He retained the rights to the Boys Town Gang, but got sick soon after and died in 1986. Brown was in charge of selling the company’s assets.
“The only they had that was worth anything were the Boys Town Gang masters,” he said. “I still have those, and I won’t part with them.”
Megatone sputtered along under Blecman throughout the ’80s, releasing regurgitated hits, unremarkable dance music and pathetic aerobics compilations. When Blecman got sick in 1990, Brown brokered the company’s sale to a Canadian company, Unidisc.
Patrick Cowley, Marty Blecman and Sylvester share square number 2795 of the AIDS Memorial Quilt. Frank Loverde, who died in 1987, is memorialized on square 1791. Bill Motley, who died in 1986, is on square 4152.
“This music was part of a transcendent force of gay liberation,” Brown says. “The community has lost the memory of how important this music was. I think these artists won’t ever, ever get their due.”
“I Am Canadian” was the slogan of Molson Canadian beer from 1994 to 2005. As part of their campaign, Molson released Joe’s “I Am Canadian” TV rant in March 2000. I had long forgotten about this great clip until I came upon it in YouTube the other day. “Joe”, by the way, is actor Jeff Douglas who, because of the clip’s success, was mobbed everywhere he went for years. After all these years, the rant still makes me smile and feel proud of our beautiful and free country. It goes something like this:
I’m not a lumberjack, or a fur trader….
I don’t live in an igloo or eat blubber, or own a dogsled….
and I don’t know Jimmy, Sally or Suzy from Canada,
although I’m certain they’re really really nice.
I have a Prime Minister, not a president.
I speak English and French, not American.
And I pronounce it ‘about’, not ‘a boot’.
I can proudly sew my country’s flag on my backpack.
I believe in peace keeping, not policing,
Diversity, not assimilation,
and that the beaver is a truly proud and noble animal.
A toque is a hat, a chesterfield is a couch,
and it is pronounced ‘zed’ not ‘zee’, ‘zed’ !!!!
Canada is the second largest landmass!
The first nation of hockey!
and the best part of North America!
My name is Joe!!
AND I AM CANADIAN!!!
Here’s the video:
First published in 1978, Dancer From The Dance is Andrew Holleran’s highly acclaimed first novel. The title is taken from the last few lines of W.B. Yeats’s Among School Children:
O chestnut-tree, great-rooted blossomer,
Are you the leaf, the blossom or the bole?
O body swayed to music, O brightening glance,
How can we know the dancer from the dance?
Widely considered a gay classic and must-read, it’s been reissued yet again, this time in eBook format. A couple of years ago we did a massive purge of physical books at our house, and this novel was one of the ones that got accidentally tossed. So, with the reissue finally in eBook format, I felt the time was right to re-add it to my collection.
This is the third time in my life I’d read this book. After a re-read, I now remember the mixed feelings I had about it: the novel is extremely intelligent and beautifully written but also depressing and self-loathing (mostly the latter). To over-simplify the plot, the story follows the life of Malone, a physically beautiful man from an upper-class background. Initially Malone does not realize he’s gay but has an awakening and eventually comes to terms with his new life. After coming out, he falls in love with a possessive and jealous married Italian man but their relationship sours and they become enemies. Malone then becomes extremely promiscuous, having sex with men of every physical description, and forms a curious friendship with a man called Sutherland (a Queen with a capital Q, if ever there was).
The story is set in New York City and Fire Island in the early-to-mid 1970s, post-Stonewall, long before AIDS became the devastating force that forever changed our world. There is very little plot other than Malone’s tortured seeking of love and Sutherland’s excessive drug consumption, indulgent lifestyle and solipsism.
It’s not an uplifting tale and not a book I’d recommend to a young gay man looking for a positive literary experience. Dancer From The Dance is quite pessimistic and without hope. The lives of the two main characters, especially, lack any spiritual depth; the “dance” of the novel’s title becomes a metaphor for the life they lead. The portrayal of gay people is rather stereotypical and for this reason I am lukewarm on this novel; I am very content with being gay and have no remorse or self-pity about it. It may be possible to identify with our hero Malone and his hopes for romance but his gay world differs so massively from mine. The idolatry of youth and beauty leave little option for the novel’s characters: they either become the old guy at the club, leave New York City, or go out in a blaze of glory – the characters of this book do all three.
Many of the characters are racist and antisemitic but this is the early 70s after all, well before our current PC status quo. The book is written from the viewpoint of an unnamed narrator.
I never really connected with any of the characters and I think the book’s unusual narrative style is one of the reasons. Dancer From The Dance is quite similar in tone, content and era to Larry Kramer’s Faggots, and I sometimes get the plot lines of these two novels slightly mixed up because of this.
Dancer From The Dance has been released numerous times over the last 40 years, each reissue having a different cover:
A few years ago it was announced that gay Hollywood directer Alan Poul would direct the film version of the novel. As far as I can tell this film project never came to pass; I can find very little about it on the Internet except that production was slated for the summer of 2016.
I’ll close with a few quotes from the novel:
Now of all the bonds between homosexual friends, none was greater than that between friends who danced together. The friend you danced with, when you had no lover, was the most important person in your life; and for people who went without lovers for years, that was all they had.
Try not to be self-conscious or so critical. Don’t mope around looking for someone else to make you happy, and remember that the vast majority of homosexuals are looking for a superman to love and find it very difficult to love anyone merely human, which we unfortunately happen to be.
You are doomed to a life that will repeat itself again and again, as do all lives—for lives are static things, readings of already written papers—but whereas some men are fortunate to repeat a good pattern, others have the opposite luck—and you can surely see by now that your life is doomed to this same humiliation, endlessly repeated.
Dancer From The Dance (1978)
Andrew Holleran’s other novels are: Nights in Aruba (1983), Ground Zero (essays) (1988), The Beauty of Men (1996), In September, The Light Changes (stories) (1999), Grief: a Novel (2006), Chronicles of a Plague, Revisited: AIDS and Its Aftermath (2008)
We’d been wanting to do a ghost walk of Toronto’s Distillery District for some time so we bought our tickets for the night of July 6th. One figures with a historic place like the Distillery District there’s bound to be some hauntings and a few lost souls lingering about.
The company hosting the walk was The Haunted Walk. They also have offices in Ottawa and Kingston and we have taken their tours while visiting each of these cities. The tours from this company were fun and enjoyable so we thought we’d try out one of the tours a little closer to home.
The Distillery District walk was called Ghosts and Spirits of the Distillery. Our guide was fantastic – very personable and his voice was loud and clear. The stories he wove of the creepy happenings in the Distillery District were fascinating – but – the downside to the walk was the torrential rain pelting down on us just as the tour started. Here’s how it went down (literally):
The rain did finally let up and we were able to finish the tour, albeit feeling quite soggy. Post-tour we took refuge and sustenance at CACAO 70 Eatery – nothing like great chocolate to soothe the soul!
It turned into a nice evening just as we were leaving (of course). Here’s a parting shot:
I’d like to do this tour again sometime to get the full spirit of the thing. Hopefully next time the weather gods will have some mercy on us!