Bike Boys Drag Queens Superstars

Search For Bike Boys Drag Queens Superstars at Amazon

A Week with the Moto Guzzi California Vintage Street Cred without the “wannabe” Moto Guzzi has more “cruiser street cred” than most persons give it credit for. They’ve been around continuously since 1921; longer than any individual but Harley Davidson. But for Harley Davidson, Guzzi’s been building cruisers longer than anybody els – their initial cruiser in the incarnation you see above coming out in 1967 with the V700. Guzzi has always liked building “big” bikes, but we will have to adjust scale. Italy, which was Guzzi’s biggest market for most of it’s life, had production street bikes with less than 100cc for decades – a bike above 300cc was considered “big”.

Guzzi was at the top of the heap early on, with production 500cc bikes that were authenti and sporting. The 500cc Falcone of the 50s is an splendid example of this, a bike with unbelievable reliability, to the point where an American Guzzi Club fellow member is an introductory proprietor of two, both ridden on close to a daily basis for more than 50 years! Guzzi builds cruisers, and they have built them for a long, long time. This is no late-comer, me-too, bandwagon cruiser, built to exploit a market niche that came regarding from Harley-Davidson’s renaissance. Moto Guzzi toughed it out for years when companies with better resources and more prominent merchandiser networks walked all over them.

The thing is, they never gave up, they never stopped building the platform, and they stayed unfeigned to their mission. The current “cruiser” platform is built around the laterally-mounted V-twin motor (originally 700cc, now 1100), running through an in-line, automobile-type transmission straight through to a drive shaft and bevel-drive final. After more than 40 years, it’s a highly refined system. The motor could best be described as a “two cylinder small-block, American V-8?. This in truth isn’t a stretch. The cam is in the vee, there is a established sump, it has a hemi-head with pushrods and rockers. It also makes gobs and gobs of torque, is insanely easy to work on, and is dead-nuts reliable. The California Vintage is a celebration of this linage, from the primary V-twins, through the Police Bike era and up through today. The initial California appeared on the Eldorado platform, all white-pin-striped black with a white-trimmed “buddy seat”. So what did Moto Guzzi do with this (arguments start out here) most ordinary platform cruiser bike ever to come from Europe? The second-oldest without disruption built cruiser platform in existence? They continuously refined it

The refinements are many. Brakes are sport-bike-standard Double Brembos in the front and a single in the rear. The 1094cc engine has a smooth, stumble-free injection system. The exhaust meets the tough Euro-3 standards, and the standard bags are best-of-breed huge and integrated utterly into the design. The seat is just plain sweet. The windscreen has been tested to assure smooth flow around the rider. The suspension comes with a Marzocchi hydraulic telescopic fork with rebound and compression adjustability. The rear suspension is ubiquitous twin shock, with preload and compression adjustability. That Guzzi sound is still there. It sounds like no other v-twin engine, different from their more “me-too” cruiser late-comers. It’s kind of V-Twin, but more “small block”. Brings smiles by the bag load, and you don’t get into that “Harley patented their sound” conversation. Unique is good. It looks like a real, honest-to-goodness, Magnum Force police bike. The Cal weighs in at in regards to 560lbs, and it in truth shows when the turns appear in front of you. You have a choice of three gears at any “happy speed”.

The Engineers didn’t give in to the drag-racing-slick-rear-tire look. It’s ALL Guzzi, and that means it’s not a Harley, Harley-clone, Harley-wannabe; Harley anything. It’s the anti-Harley in the cruiser market. It’s the non-wannabe. It’s the Cruiser Bike for someone that rides a lot of sport bikes The combining of suspension, brakes, handling and remainder make this a bike for a non-cruiser-cruiser-buyer. Guzzi didn’t give in to fads, it stuck to it is principles. No fat tires or huge cubic-inch motors; just not needed. The Goose will unquestionably go “fast enough” (Jim Barron of Rose Farm Classics claims well over 135mph).

If you want to ride a bike a lot, anywhere, anytime, in a comfortable riding position that doesn’t require a kidney belt and three bottles of Advil for your sore arms and buffeted neck, this is your bike. I Got up at 5 o’clock that Friday morning, knowing that I was going to ride the California Vintage to work. I had just wrapped up a two-week test of the Moto Guzzi Breva 1200 Sport; this was dissimilar — it would be three hundred miles of riding on a real, honest-to-goodness sumbitchin made-for-the-long-road cruiser. I picked the bike up and gingerly rode off. I was thinking that it would be a much heavier bike than I’m employed to, but after a few miles I was astonished by the nimble feel. It was nowhere near as light and “zippy” as the Breva 1200, but it moved nicely and the not-too-fat tires had superb turn in. I knew that I would have to finetune the suspension a bit, but not closely so much as the Breva. Funny, it has almost as a lot of adjustments, more than my Ducati even. The steering shock is also a nice addition, as the windscreen requires it. This is the introductory floorboard-equipped bike I’ve been on in in regards to 16 years. I didn’t recognise what to expect. Friends of mine said that the Cal’s floorboards were small, that “it necessitated highway pegs”, and “there’s no place to move your feet around”. Well, I have a size 12 shoe, and I found a couple of things off the bat:

  • I had never heard of full drifting floorboards before, and I like them.
  • I was capable to move my feet in dissimilar positions while cruising long distance.
  • The big jugs on the Vintage don’t prevent highway pegs, though I found a spot where I could hang my heels very comfortably without them.
  • The little peg employed as a pivot for your brake lever is a very smart idea.

General Riding Effortless.

The big-pulled back bars take a heap of getting used to, specially after the Breva’s motard-y rack. Once underway, the huge 1100 pulls like a rhino, even from under 2000 rpm. Gearchange is “guzzi effortless”, which means that you “press and hold” each gear until you release the clutch. If you want something a little quicker, get the 6-speed on the Breva Sport/Griso/Norge, as it is much more refined. The five-speed on the Guzzi, slow as it is, is fabulously spaced to ride on the street with. First gear is altogether useable, and I found myself cruising the streets of Santa Barbara in basi amidst lights, only shifting when I had galore yardage amid me and the next stop. The first-second combining allows for easy determining the direction of travelling of and nice “zippy” moves on the streets. If you’re expecting the slouched-over, “lone, unloved and apathetic biker” riding position that numerous cruisers offer, you’re going to be disappointed. The best position on this bike is a popular straight up and down, closely cop-like. It’s comfortable, gives you tons of visibility – you’re eye-to-eye with drivers in all but the tallest SUVs. Friends that see me on the road say that I look better on this bike than the others that I’ve ridden – time to have a chat with the wife and see if she likes white or black.

The controls have a nice “retro” look, but they are most unquestionably modern. Italian bike owners will be intimate with this layout. The clutch is butter smooth, allows for a lot of feathering and never gives a hint of any wooden or binary grabbiness. The instruments all have a somewhat retro character, and this is likewise attractive, down to the speedometer that reads in regards to 10% optimistic.

Looks like Guzzi had a good deal of left over parts from my old one, as they read closely identically. Brakes took a little getting employed to. I’m more of a “front braker” person, so I ordinarily employ the fronts and then ease the back brake in for a settling effect. Turns out that the Guzzi Linked brakes work well for this, even though I adjusted my technique somewhat to just use the front brake lever to peel off speed, and the rear lever to get down to business. For those of you unfamiliar, the linked brakes on equipped Moto Guzzi bikes operate the left front disc in conjunction with the rear disc. The front brake lever operates only the front right Brembo.

The combining is both effective and safe. Hard to high-side a bike with linked brakes when used correctly, since you may modulate the speed of both wheels with the rear lever. The Cal’s narrower than current vogue tires concede for the bike to turn in beautifully. I had to adjust the steering shock for high speed turns, as it have a tendancy to have an uncomfortable wobbling frequency around an conveyed 80-90 in the huge sweepers without it. Once dialed in it all disappears. The adjustments of the suspension are likewise welcome, giving me a very comfortable ride with dynamic handling capabilities. Lightness, if a word like that may be used with a cruiser, is apparent. The bike weighs in at only 560-ish pounds, and this translates into the “flick-ability” of this Guzzi when equated to it’s rivals, and likewise accentuates the already-high-standard Brembos abilities. The 1100cc engine is matched nicely to this bike – no more engine necessitated because you’re traveling smart and light, not loaded up with needless accessories, googaws and an extra 700cc or more to pull it around. Riding in traffic The basi few miles northbound on the 405 from picking up the bike revealed a nice easy cruise in moderate traffic.

As I neared LAX, the traffic backed up and the commuter lane ended, giving me the choice of splitting lanes or sitting. Like most California riders, I chose the former, but with caution as I was adjusting to the huge Guzzi’s systems and controls. I have to thank Clint Eastwood and others for putting the look of the Guzzi into people’s minds. My black jacket, white Shoei helmet and the windscreen/light combo parted traffic like Charlton Heston in a red bathrobe. My urban camouflage was highly successful. Even so, the bags on the Guzzi, big as they are, don’t protrude past the bars or floorboards (I think this is part of the system of belief of their engineers as exhibited by the Norge’s similar layout), and the upright stance gives you so much control over the bike that splitting lanes is not the almost pleasurable sensation of fright ride I had expected. Puppies and Kittens to that.

The cavernous bags are a commuters’ delight. I was competent to pack all my goodies in the side bags, and the real show-stopper was the capacity to put my 17? Mac Laptop in without having to take a running start. I could have effortlessly fit five a side! We’re talking grocery bags in here. The bags come with an inner liner, they open very wide and of course have locks. I was advised to keep them locked down at all time to prevent accidental opening, didn’t undertake to find out what would occur if I didn’t. The only note regarding the bags would be to suppose to paint the lids once in awhile as you’re going to hit them from time-to-time when mounting the bike. I don’t think this is a huge deal if you ride it a lot, as stuff happens and that’s just share of riding.

The Guzzi is so much fun to ride I don’t think any of them are going to be purchased as hangar queens anyway. This is a real, he-man, ride-me-everyday kind of bike. I like the way I feel and look on it. I like being seen on it, but I wouldn’t ride it just to be seen on it. Does that make sense? Cool vs. Checkbook Cool. Looking for a Cool Cruiser or Big Bagger? The California Vintage is “Seriously Cool” Cool is Fonzi before the Shark Tank. Cool is James Bond before Roger Lazenby. Ford before the Pinto. The Blues Brothers before Belushi died. While it is most unquestionably true that a great deal of people that ride motorcycles from “The Motorcycle Company” are cool, it’s not because they own Harleys. They are cool AND they chose to ride Harleys.

But there are persons that are cool and they choose to ride Vespas. The issue here is the outstanding number of persons that buy Harleys and other “lifestyle” motorcycles because it will make them cool. This is “checkbook cool”. No work needed, just add cash and you’re cool. To whom?

Well, unquestionably to other persons that did the same thing and wrote a check. After all, one chink in the armor there, and the whole house of cards could come crashing down! If, all of a sudden, object that every one was spending all their cash on to be cool all of a sudden isn’t cool anymore, then the now intimate “bubble” in that peculiar “market for cool” would burst, and you’d have a lot of instrumentation and affiliated bits flooding the market, and every one would be attempting to get something else that is cool. A classic example of this is the Ferrari market just after Enzo died. It went through the ceiling, then burst as speculators paying exorbitant prices couldn’t find anybody to purchase, and dumping started out that, closely 20 years later, only has regarding 50-75% of the values at that point. I’m not saying that the Harley market is going to crash. I’m also not insinuating that humans will stop buying cruisers. My point is, buy something based on facts, what YOU want, and consider all options. Too often, I’ll be talking to persons that want to get a cruiser, perhaps their basi one, and they are fixated on the Harley, and ONLY the Harley.

Sometimes you’ll have the Yamaha, Suzuki, Victory or others in the mix, but I don’t listen anybody saying, “What with regards to that big Guzzi”, or “I considered the Guzzi but want the Roadliner”, etc. The California Vintage isn’t on their radar. Why? Lack of logo underwear? No lifestyle? What!?? The Guzzi is a great bagger for the severe rider. Guzzi gets in the magazines, but the European editor of one of these actually doesn’t like anything without 150 horsepower or a Munich nameplate, and just without disruption “bags” on Guzzi to the US public. Shame on him. The Guzzi is well-suited to the US buyer and market. Big, long roads, a large total of friends with bikes, a truehearted following and a requisite for reliability. The California Vintage is a freeking bargain. If you were to load up any other cruiser with great bags, habit seats, windscreen, sportbike-level front fork and adaptable rear shocks, -you’d be lucky to get under $20-22,000. Yet, here’s your California Vintage, with an unbelievable seat, best-of-breed suspension, mongo bags and nicely integrated screen on the basic platform, standard, for $15K. Some editors lump it versus the sportster because of it is weight and engine size, but the real comparison is the huge baggers. If your idea of cool is:

  • Light and maneuverable
  • Reliable
  • Heritage and Style without too much bling
  • Comfortable Two-Up seating, but not barcalounger
  • 43mpg
  • Something Different
  • An fabulously open and friendly owners’ group
  • You want a outstanding commuter cruiser.
  • Oh, and you aren’t buying a hangar queen. You’re hittin’ the road!

If you think the above list defines “your cool” – You must consider the Guzzi. You will have to ride the California Vintage and see if it’s for you. Find out when the merchandiser is going to have rides available and get on the bike. Fill up the bags. Bring the white helmet and sunglasses, and you’re CHP – 1972. Retro with galore severe riding chops, that’s the California Vintage. The California Vintage leaps into the modern world from 1972 like Bob Beaman’s long jump. It may not be your bike, but it’s worth your consideration. You’ll be enjoyably surprised. Your First “Big” Cruiser I’m going to go out on a limb here and commend the California Vintage if you’ve never had a bagger before. Reason for this is that it’s light. Some of the in truth big bikes are fantastically difficult to get in and out of parking spaces, let alone get around parking lots. They are not easy to get the hang of, and may be downright dangerous to somebody that doesn’t have a lot of experience, or doesn’t ride much. The Guzzi is well-suited because it’s conservative geometry and low center of gravity concede a less-experienced rider to without apparent effort get around a parking lot, and build severe selfconfidence on the open road. Sweepers and bumpy turns become no big deal in no time, and the linked brakes and featherweight controls concede the rider to stop on a piece of newspaper. It’s a very easy bike to ride, and if you ride a lot, it’s very rewarding as you’ll just be capable to DUST a great deal of of the huge cruisers through the twisties.

They may pass you on the straights (but I DOUBT IT). If you’re like me, that just doesn’t matter, as I don’t ride much with any person that is attempting to die or attract too much attention from John Q. Law. The Cal is your friendly neighborhood happy speed bike that is the cruiser that sport bike and sport-touring types must buy. It’s the cruiser for the rider that is going to reel in a lot of big miles next year. A side-by-side comparison of the California Vintage and Harley Davidson Heritage Softail… After riding the California Vintage around, I thought it would be nice to compare it to the “standard” of the group – The Harley Davidson Heritage Softail. I chose the softail because it has similar look and purpose. It is a luxuriousness touring bike with a clear windscreen, bags, etc. It’s intention is “retro”; cop-like, long miles, touch of retro and, as the name suggests, “Heritage”. I think this is in all probability an exact description of the huge Guzzi as well. Price Price was more or less difficult to figure. Moto Guzzi has a single price, $14,999. There are no “ups” involved. You may buy only three accessories, and they’re all luggage, a trunk bag, tail bag and a cover. That’s it. If you want to add 40lbs of leather and logo items, you’re gorgeous much out of luck here. Bonus in my opinion, because you’re not going to get sold a whole bunch of stuff you don’t need just so the dealer may load up your out-the-door price. The Guzzi is distinctive sufficient as it stands. The Harley’s base is $17,999. There’s a “freight” charge of $330, Wire wheels are another $500, Emissions in California are another $200, and a security scheme is $345. So now you’re at $19,199. Oh yeah. Guzzi has that killer Marzocchi fork. Harley’s got that too, but that’s another $1400. Hard bags similar to the Guzzi will be another $800. So now we’re up to regarding 21,399. That’s an extra $6400 to pack it like the Moto Guzzi California Vintage.

So what do you get for the money? You do get that Harley name plate, so all you’re friends will without any delay recognise that you are part of the crowd and “stayed in the box”. You get the same warranty (2 years), but I didn’t see roadside assistance, which is what is offered by Guzzi. How with regards to power? Do you get more power for your money? Well, the Guzzi’s 1094cc motor lists it’s horspower as 72hp. Harley doesn’t list it’s horsepower figures anyplace on their site, but after a Google Search I found the most eminent output listedas 82hp for their 96 c.i. (1570cc) lump. When you element weight in, I get 9 lbs per horsepower for the Harley, and 8 lbs per horsepower for the Guzzi. So the $6400 does give you one more pound per horsepower for the Harley, given that the most eminent figures I could find are precise (I found lower, too). Harley likewise delivers an extra 11 ft/lbs of torque, which without doubt is not one thing to sneeze at. So, dollar-wise, it costs $640 per extra horsepower, and $582 for each extra foot-pound of torque. Of course, Harley will be most happy to put more ponies beneath your butt for an extra charge.

You could also just live with the stock leather soft bags on the Harley and save more money… I fell in love with the Marzocchi forks. You may take them off the Harley if you want, but the handling will unquestionably suffer and the Guzzi will just walk away from you in the twisties. Maybe that’s not you’re thing, but frankly, I believe that if you’re giving careful consideration to a Guzzi, you’re in all likelihood very mesmerized in how the bike will handle and move. Guzzi doesn’t publish it’s lean angles, but from my experience they are exceedingly sporting. Harley states their lean angles are 29° or thereabouts, and I’m sure that Guzzi stomps this mercilessly. The big, bad brembos are something else that Guzzi has that Harley doesn’t; I didn’t couldn’t find this available from Harley – I’m sure they are available aftermarket, just pony up the bucks. I guess it depends on what you want. Many humans find it exceedingly essential to belong, and I be grateful for that very much. Harley’s community is very strong and unquestionably has a long and storied lifestyle.

You’re never going to have much of a “bad boy” effigy on a California Guzzi, excepting the bad cops fromMagnum Force. The Guzzi is pointed directly at riders that want a great handling, comfortable and authenti bagger to soak up long distances. After all, once you’re going 80, ride, comfort, handling and braking become very important. The Harley will unquestionably hit the road, soak up the miles, and you get to belong to “the club” – and compensate the extra $6400 in “dues”. I’ve never been much of a “joiner”. I am a Guzzi ardent and I will readily confess that I am glad that the Guzzi compares so favorably. The Moto Guzzi National Owner’s Club is a outstanding institution that I just haven’t gotten around to joining, and yet my friends in the club still invite me on their rides and treat me like a fellow member when I show up. I think guilt feelings drives membership there. The club is very family-oriented and friendly as all-get-out. The meets unquestionably have not one thing “racy” regarding them, in fact, they are more anarchic than anything else.

I think I’ve met the club’s president, but not a single soul ever discusses club politics, so I think he got elected by missing a meeting. I guess it depends on what you want, but I believe that a side-by-side comparison of the Heritage and the California Vintage is a worthy one. The huge Guzzi in truth packs a immense value for the money, and it’s a real delight to own and ride. I knew this day would come… Ok. It’s not my bike. I’ve shared that. I had less time with it than the Breva 1200 Sport that GuzziUSA was kind sufficient to let me ride. I took the Breva back, loving the bike, but I knew that it had to go on, eventually, to a happy owner. This time it’s different. The Guzzi got beneath my skin. This bike is the “girl you take home to Mom”. I wasn’t ready to let go. I woke up early and decisive to take the bike from Northridge down to Newport Beach in Friday Morning Rush Hour to have lunch with a college buddy. I hadn’t actually experienced the center of Los Angeles in very heavy traffic, and I figured that I-5 at 9am would be a perfective crucible. This isn’t a short trip. Over 70 miles on LA’s inner city freeway into the heart of Orange County. I would be traveling throughout areas that are some of the busiest in the US.

Names like East LA interchange, where the 110, 10, 5 and 60 all meet in a pasta bowl of roads, and further south, the “Orange Crush” near Disneyland beckoned. I would unquestionably be doing a lot of lane splittin’ today. I hoped that the big, police-bike-inspired Guzzi was up to it is heritage. For a Cruiser, the Guzzi isn’t peculiarly wide. The seat is gorgeous mellow, really, and the bags don’t stick out further than the handlebars, as far as I could tell. The mirrors protrude more or less further, but not so much. Ride height is perfective for heavy traffic. You sit up high and may look all but the biggest SUV drivers right in the eye. When you’re in the canyons amidst them, this and a good set of headlights is unquestionably a plus. The day started out warm and proceeded to heat up to the typical, Santa-Ana winded Indian Summer day that is widely known and esteemed in the region. A outstanding test for the bike. Stifling hot, heavy traffic and a big cruiser. Not as much fun as canyon carving, but if you live in LA or any huge city, taking into account the buy of this wonderful, big Guzzi, you sure as heck want to know that it may live in traffic in tough conditions. Once onto the 5 South, I cruise in ease until I reach the northern reaches of downtown LA. Traffic is backing up. I begun to weave among the well-spaced cars as they moved along at 45-55 mph. Absolutely no problem.

If anything the front windscreen was too effective in that it moved the air around me rather of through the vents in my jacket. I continued as the traffic deepened and the myriad ramps of the East LA interchange approached, signaling that stopped traffic and real, slow-speed splitting was in my future. As I worked my way through the traffic, I noticed that I was splitting through cars like butter – only the narrowest of passages had me slowed or stopped, and this had a lot to do with the Cal being “someone else’s bike”. Lane splitting is a black art that involves profiling the vehicle/driver compoundings around you, spotting goof balls on cell phones, putting on make-up (sharp objects near your eyes at speed? stupid!), or even reading the paper. It also involves persons looking back and forth in their rear view mirrors making eye contact with you. These are the real scary ones, because you don’t know if they are going to move out of your way or commit Assault with a Deadly Weapon. So I take it easy. Hey! I’m on a cruiser.

There are a few squids that I let by, happy to peril a little more. I’m 47, taking my Friday off, and headed for lunch on a bike given to me for a week. I’m sure as hell not going to screw this up, the ’09 Guzzis are coming out and I want my butt on them as soon as I may arrange it! The roads widen and smooth out into Orange County. Big HOV lanes, smooth roads and I’m in business all the way to Newport Beach. Arriving off the 55, I realize that my buddy, Dean, has moved his office. I call, and he’s in a meeting. I need to get gas anyway, as I want to fill up the tank before I return the bike. Time to fetch up one thing to do not forget regarding living with the California. The tank is kind of on the little side. I KNOW that it says that it holds 5 gallons, but I’ve ridden it 25 miles with the reserve light on and still only put regarding 3.8 into it. Jeeeeezzzussss! Can the Engineers at Guzzi give us our 6 gallon tanks back from the 60′s? With these fantasti bikes turning 43 mpg, we’d have numerous RANGE! The seats and riding position are comfortable sufficient for two-plus hour stints, let’s make galore tanks that extend the ride. Ok. Rant over.

Had a nice lunch, a few laughs and realized that Mall Food in Newport Beach is very dissimilar than the Post-Nuclear-Battlefield feed that is served in the East San Fernando Valley Shopping Centers. Time for the final ride up the 405 in rush hour traffic to the California’s final stop. More lane splitting, a large total of bumps (the 405 is unbelievably rough) and final arrival. I get here one week after picking it up, only 10 miles short of 1000 miles total. I in truth rode the bike hard, enjoyed it exhaustively and left with a sweet taste in my mouth. Time to go home and negotiate with the wife…


Bike Boys Drag Queens Superstars

“This comprehensive, perceptive study demonstrates that 1960s New York underground film fused ‘artistic innovation and the exploration of every day life’ and quintessentially interacted with mass culture.’” — Choice

“… exhaustively researched [and] engaging text… ” — Library Journal

“This is a very timely and welcome book…. intervenes very efficaciously to to rewrite the history of the 1960s American underground cinema.” — UTS Review

At the confluence of experimental art and the gay subculture of early 1960s New York, Juan Suárez discovers a postmodern, gay-influenced aesthetic that “recycles” standard culture. Filmmakers Kenneth Anger, Jack Smith, and Andy Warhol epitomize this sensibility, combining the influences of European avant-garde movements, comic books, rock ‘n’ roll, camp, film cults, drag performances, fashion, and urban street cultures.

From Library JournalSuarez (English, Univ. of Murcia, Spain) opens by juxtaposing Clement Greenberg and Frankfurt school thinkers with a counter-tradition that uses mass images in an venture to integrate art and each and everyday life. This later tradition becomes the springboard for the author’s description of America’s underground culture and it is role in the production of gay identities. The text’s second phase counterpoises Jack Smith’s desire to “avoid entering the cultural market as commodity” with Warhol’s insatiable desire to advertize everything as art and all art as commerce. The text’s chief weakness is the unnecessary and unconvincing undertake to link the European avant-garde with American underground culture. Nonetheless, mainstream cinema’s current explosion of transvestite film and Mary Harron’s just-released I Shot Andy Warhol make Suarez’s in general well-written, exhaustively researched, and engaging text a timely addition to both cultural and film studies.?David Seelow, SUNY Coll. at Old Westbury, Long Island, N.Y.
Copyright 1996 Reed Business Information, Inc.

From Kirkus ReviewsA passingly intellectual but disjointed critical examination of the gay “underground” cinema motion of the 1960s. Drawing principally on the work of Kenneth Anger, Jack Smith, and Andy Warhol, Su rez (English/Universidad de Murcia, Spain) attempts to frame a somewhat new conception of the historical kinship amid the avant-garde and mass culture. Instead of a plainly oppositional relationship, he sees, specially in these gay underground movies, a dialectical (love-hate, to the layperson) dynamic, as the filmmakers simultaneously hug pop culture and critique it. For example, in Scorpio Rising, Anger both celebrates motorcycles, movie stars, and doo-wop songs and critiques them as emblems of mass culture’s violent, fascistic potential. Su rez also details how gay filmmakers have expropriated images from the straight world and given them a gay reading, with drag queens being the classic example. But before Su rez may get to these ideas, he feels compelled to labor us with a 50-page history of the European avant-garde, freighted with sufficient stale Parisian jargon to fuel the entire Yale English department. Then there is an extended, discursive history of the American underground. In fact, the person filmmakers, even though the ostensible subject of the book, are treated closely perfunctorily. Su rez has too some other agendas to satisfy. Like the films it on occasion analyzes, flashes of splendor amid high and low pretentions, pastiche, and pother. (14 b&w photos) — Copyright ©1996, Kirkus Associates, LP. All rights reserved.

About the Author

JUAN A. SUÁREZ is Assistant Professor of English at the Universidad de Murcia, Spain.


Most helpful customer reviews

6 of 6 people found the following review helpful.
5Rebuttal to Kirkus review.
By bstater@aol.com
It is difficult to determine where to begin addressing a review as contradictory and pointless as the one offered by Kirkus of Suarez’s exciting new focus on kitsch, camp, and fetishism in the Gay Underground Cinema of the the 60′s.

To begin with, Kirkus misses or entirely avoids recognizing that this “slightly new conception” of the history of this cinema is an immanently Queer one, fixing as it does on those aesthetic elements which even most theorists of the avant-garde would have preferred not to let out of the closet. The Kirkus review fails to acknowledge how and why Saurez’s reassessment of this tradition bears upon the object of this inquiry– why Peter Burger’s notion of the avant-garde as a rejection of decadent aestheticism is particularly problematic for the queer underground– why Clement Greenberg’s derogation of kitsch cannot possibly account for this cinema– how Theodor Adorno’s strictly negative dialectic fails to record the more positive relations established between the avant-garde and mass culture.

Though Kirkus seems to regard the first fifty pages of Suarez’s book as pointless, I see them as absolutely essential. Without the context of these earlier notions of the avant-garde, Suarez’s formulations would seem to have come out of thin air– devoid of any relation to those earlier discourses formed and informed by particular socia land ideological circumstances. Instead, Suarez not only offers a new account, but also reveals how and why a number of elements particularly important to the study of Smith, Anger, and Warhol have been systematically overlooked in the theory which precedes him. Ideas never come out of thin air; it is difficult to understand how the detailed framing of a discursive context could be a waste of time.

This rebuttal itself would be meaningless if the Kirkus review hadn’t preceded it.

See all 1 customer reviews…

Bike Boys Drag Queens Superstars

Bike Boys Drag Queens Superstars Photo

Bike Boys Drag Queens Superstars

Bike Boys Drag Queens Superstars Pic

Bike Boys Drag Queens Superstars

Bike Boys Drag Queens Superstars Image

Bike Boys Drag Queens Superstars

Bike Boys Drag Queens Superstars Image

Bike Boys Drag Queens Superstars

Bike Boys Drag Queens Superstars Image

Bike Boys Drag Queens Superstars

Bike Boys Drag Queens Superstars Picture

This entry was posted in Bike and tagged , , , , , . Bookmark the permalink.

Leave a Reply