After dinner one night Nan and I were walking up Lexington Avenue around Fifty-eighth Street, and I saw this sign that said live nude models. This was 1972. I said to [my wife] Nan, let’s go up and check this out. She said, You go—I’ll meet you at home. I went back the next morning, and it turned out it was a massage parlor. There was a man at the front desk and he gave me a photo album. He said, You have your choice of the four girls pictured inside. I picked one, and I was led back into a small room.
It was the third floor, and I could hear the buses going down Lexington Avenue, the grinding of the gears, and the chatter of the street. And here I am behind a curtain with this young woman. I ask her where she’s from. She says Alabama. I say, Oh really? I went to the University of Alabama. Of course she couldn’t care less. But while she’s performing her services, part of me is enjoying it, and part of me is interested in the whole thing—Who is this woman? What was her childhood like? Who are the men that come here?
I started going to these parlors every day. Each time I had a conversation with these women, during the massage.
2 Films by Bob Fosse
All That Jazz, Cabaret
Some Like it Hot (1959)
Can you diiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiig iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiit!
Warriors, come out to plaaayyy!
“[T]he third section of the movie also contains an image that’s remarkably Kirby-like. When Dave enters the Discovery’s computer center to “kill” HAL, he’s shot from below, looking like one of Kirby’s iconic superhumans. As an artist, Kirby made sense for 2001, because he excelled at drawing futuristic technology and he thought in widescreen. Visually, the 2001 Marvel Treasury is a thing of beauty, with the oversized format (10 by 14 inches rather than than the more common 7.25 by 10.5) suiting Kirby’s preference for big panels and two-page splashes. Kirby borrows some compositions directly from the film, but he adds his own dynamic poses and granite faces. He gives a somewhat stately film a jolt of Kirby electricity.”
Vladimir Nabokov’s notecards for Lolita.
As the author told us in 1967, “[My wife] presided as adviser and judge over the making of my first fiction in the early twenties. I have read to her all my stories and novels at least twice; and she has reread them all when typing them and correcting proofs and checking translations into several languages. One day in 1950, at Ithaca, New York, she was responsible for stopping me and urging delay and second thoughts as, beset with technical difficulties and doubts, I was carrying the first chapters of Lolita to the garden incinerator.”
Art by Starchild Stela
Can we please talk about how rad she is?
mr owl, how many licks does it take to get to the centre of a tootsie pop? [owls head rotates, begins to spit blood, eyes firing lasers]— fuckface academy (@apollilaire) June 3, 2012