Word: drags
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...once wrote. "The more it tells you the less you know." Her simplest pictures, like A child crying, N.J., could have an unfathomable power, but her most basic aim was not so mysterious. Arbus wanted anyone who viewed her images to find spiritual kinship with her sideshow freaks and drag queens. She also wanted viewers to discover, in her photographs of "ordinary" people, what was feral or bleak or unnerving in us all. It's all there in A young Brooklyn family going for a Sunday outing, N.Y.C., a couple with their attempted aplomb undone, even though they...
Around 1962, Arbus switched from a 35-mm camera to a twin-lens Rolleiflex that produced the weighty figures in a square format that became her trademark. It gave her pimply drag queens the mighty tonnage of Rodin's Balzac. Our predispositions still place pressure upon the images in the hope of making them conform to conventional expectations. This is a dwarf, file under "Curiosity"; this is a retarded child, file under "Compassion." But the pictures keep refusing to fit into those files. In that refusal is the enduring power, both of the pictures and the people...
...would be distributed electronically. (Thus rendering the copy machine, possibly the only device on earth less reliable than the computer, obsolete.) Students would take notes on their laptops in class, then take their laptops home and do their homework on them. To turn in an assignment, they would simply drag and drop it into the appropriate folder, where the teacher could wirelessly retrieve it. Voila: the paperless classroom...
...turns out, SAA and BGLTSA are not so irreconcilable. Western culture has been inundated with so many out-of-the-closet stories that it seems like we’ve seen them all. Even that ultimate gender-bending symbol—the drag queen—has become cliché; witness the Adams House jocks who were vamping it up on Drag Night last Friday...
...final act’s general silliness and fun, it also reinvigorates the institution of the drag queen, giving her a shiny, unique appeal. Surrounded by her “assistants”—your usual boys in wigs—Gheri Dosti’s surprise-in-a-sari uses traditional dance moves to intrigue (she is played by Sudarshan Belsare, a classically trained Bharantanatyam dancer). The power in her moves may be manly, but the sensitivity with which they are executed makes them “disconcerting” in the best sense...