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COCKTAILS with George and Martha is a cultural history that captures the moment when Broadway drama received a jolt from the Theater of the Absurd. Edward Albee’s Who’s Afraid of Virginia Woolf, which opened on Broadway in October 1962, jumps off from the Bohemian precincts of New York City—especially Greenwich Village and Off-Broadway, where Albee’s first one-act play, The Zoo Story, had its American premiere at the Provincetown Playhouse after an unlikely world premiere in Berlin.

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Guy Trebay captures the essential things about the sexual playground that was Manhattan during the transition from Doom to Glitter.

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That LGBT people in film are disproportionately represented as killers or as killed (or both) is not breaking news. … Here my focus—and grievance—is with Oscar-winning films and roles after 1985 in which LGBT people perish or come to a bad end.

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The Hollywood star, the museum exhibit, and the book are huge honors for John Waters. It’s been a long, strange trip to mainstream acceptance for Waters, an auteur who specializes in what he calls “art-exploitation” films and who was dubbed the “Pope of Trash” by William S. Burroughs in 1986.

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IN THE LATE 1980s, getting a motion picture made about LGBT people that didn’t cast them as villains, psychos, or freaks was a momentous challenge. A mainstream feature film…More

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The loneliness in All of Us Strangers is established at the start. The high-rise in which Adam lives seems to have no other residents but him.

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Jack Worby was one of the hundreds of thousands of young men who took to the roads and rails of America in the decades between the end of the Civil War and the onset of the Great Depression of the 1930s. They called themselves tramps or hoboes or ’boes.

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SET IN 1953 and published ten years later, Sylvia Plath’s autobiographical novel The Bell Jar is widely regarded as a masterpiece, a female coming-of-age story like J. D. Salinger’s classic The Catcher…More

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Wonner and Brown frequented the Yuba River, indulging in naked swims. Wonner’s paintings of nude bathers went unquestioned because they aligned with the established tradition of men bathing together. Drawing inspiration from Paul Cézanne, Wonner portrays the bathers as a dynamic mass of interwoven, predominantly male figures. Wonner sent a touching Christmas card to Brown in which he referred to himself as “Paul Cézanne,” an acknowledgment of the influence of the French artist on their work. In contrast to Wonner’s approach, Brown’s bathers, such as Standing Bathers (1993), which is the official image of the exhibition, …

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