As a veteran of political movements, I’d been wondering how long it would take for tribal factions to square off in some atavistic clash and people to start screaming at each other. “Love your drag,” people in the ticket line squealed to each other. After the photographer and I snuck onto the base in a camouflaged jeep, I was so intimidated by stony-faced Hanoi Hannah that instead of requesting an interview with her I submitted a zany Tom-Wolfish portrait of the Hollywood- star-as-revolutionary, which the magazine killed. “Oh,” he said, turning away abruptly, “you’re one of those.” I’d never met a gay hippie and didn’t recognize my ambiguous sexuality in the mirror of the times. That February, Hibiscus left the troupe he’d founded, aghast at the hippie-capitalist direction the group was taking.

A KOSMOS OF MANHATTAN, THE SUN TURBULENT, FLESHY, SENSUAL . .. . The last time I saw Hibiscus, during a bleak New York winter, he was still Hibiscus bearded and long-haired. Eventually he hired me to write some of the copy and dialogue while he did the art, and amid clouds of his cigar smoke, we sipped coffee, tossed around ideas, and cracked each other up until dawn. At the time I had a hippie girlfriend who wore long India-print skirts, had an Irish setter named Kiowa, and hitchhiked with 50 lb. By the way, can you please leave the door open for this interview? The commune, whose window curtains were blood-stained sheets free from the city morgue, was run by the dictatorial ideologue Irving Rosenthal, author of the novel Sheeper and a former editor of the Chicago Review. Recently their photos had appeared together on the cover of Time, under the caption “Is God Dead?” My Master’s thesis had been on the nouveau roman and the death of traditional narrative. Wispy Sheila counted among her ex-flames Leonard Cohen, the satirist Paul Krasner, and Gary Brooker, the piano player for Procol Harem. WITH THE HUSH OF MY LIPS I WHOLLY CONFOUND . When I decided to end my graduate studies with a Master’s and forgo the Ph.D. path, it appeared that, as a culture, we had thought ourselves to the very end of thinking. THE EARTH BY THE SKY . By the time we realized that we ourselves—not Mick Jagger’s limo— were the magic we’d been waiting for, it was already gone. Backstage was mayhem, a rainbow whirl of glitter, sequins, toppling cardboard scenery, and half-dressed men and women strapping on high heels. Knock first.' .

As a working actor since the early 60s, I am probably the only one who can lay claim to appearing in everything from Disney's (Blackbeard's Ghost 1968) to soft-core porn (Elevator Girls in Bondage1971) including being an original member of the legendary Cockettes (1970 -1971).
During his time at Style, Bravo was the section’s primary editorial fashion stylist and his coverage of New York Fashion Week was carried by several Hearst newspapers. .. . “Goddamn this shitty hellhole,” I raged, barely hanging onto my end of the cardboard scenery, “and fuck New York and the snotty assholes living here.” Hibiscus swirled his sequined mermaid fishtail around on the grimy stairway to face me with a sweet lipstick smile. In the cavernous living room where I’d slept in a corner, guys dressed in work boots and kimonos with glitter in their beards were painting cardboard scenery and singing in falsetto chorus:  “I’ll build a Stairway to Paradise With a new step every day. It was supposed to be an interview with Jane Fonda while she and Donald Sutherland were performing their F.T.A (Fuck the Army) antiwar shows on military bases. That was how I’d signed the piece. A week after the piece appeared, I got a call from Ramparts, the national leftist magazine. I realized that the dream was over. Both men and women had bracelets up to their elbows, rings on every finger, and madcap bonnets on their frizzy heads.



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