Word: peacock
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...about a year, Bloomingdale's will offer a modified version of the classic rattan peacock chair, fans, framed posters featuring, yes, calligraphy, and even some Chinese-made copies of American Indian baskets. After that? Well, says Fashion Coordinator Anne Bertsch, the store's international strategy has been to "start with more or less simple ideas, then graduate so that we are challenging manufacturers abroad to produce more spectacular items." The Chinese, it seems, will just have to learn to please choosy capitalists...
Sipple lives in the sleazy tenderloin district in a fourth-floor walk-up apartment incongruously decorated with a chandelier, stained-glass windows and peacock feathers. He shares it with a merchant seaman. Sipple is known in San Francisco's large homosexual community, and two of its leaders, the Rev. Raymond Broshears and Harvey Milk, tried to make capital for the cause of the gay image out of Sipple's act. But Sipple refused to accept the role. He also gave high marks to the Secret Service: "Those guys did a terrific job. What more could they...
...walls of the American rich. But the Oriental superstar was chic already; there were Mao jackets all along Fifth Avenue. Though the Chairman was tubbier and more paternal, he was just as embalmed by celebrity as Jackie Kennedy or Elvis Presley, Warhol's earlier subjects. Moreover, the peacock colors in which Warhol packaged Mao's face had all the lushness that one associates with the most edible commercial art. The whole enterprise was about as subversive as a department-store window display, and it set the tone for the rest of Warhol's output...
...prize on Ted Mack's Original Amateur Hour with a humid rendition of Too Young. When another cousin, James ("Pip") Wood heard Gladys and the boys sing, he encouraged them to turn professional and gave them his nickname. In 1954 they were booked into Atlanta's Royal Peacock Supper Club. Gladys was ten years...
...Vibrations Ayler is backed up by a group remarkably sympathetic to his inclinations. All have strong connections with the avant-garde movement: Sonny Murray (drums) had worked extensively with Cecil Taylor, don Cherry (trumpet) with Ornette Coleman and Gary Peacock (bass) with Paul Bley. Each listens to the others to produce an intricately balanced counterpoint. On 'Mothers,' Cherry soars off in clear tones against the gruff, grinding bass of Peacock. When Ayler enters with huge, broad sweeps of melody line, Cherry switches to a jabbing attack of quick phrases...