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Celebrating 40 years of ‘Dykes to Watch Out For’

Audible releases spectacular three-hour adaptation of beloved comic



Audible brings popular comic to life.

“I like seeing queer people falling in love in Christmas movies,” a 70-something, hetero friend who’s a queer ally and a Hallmark movie aficionado told me recently. “We get to kiss, queers, should, too.”

Forty years ago, in June 1983, when Alison Bechdel’s iconic comic strip “Dykes to Watch Out For,” (DTWOF) was first published in the Pride issue of “Woman News,” this conversation would likely not have happened. Then, “Ellen” was only an ordinary person’s name. No one would have watched “The L Word” or have known what it was. And, electing a lesbian U.S. senator (such as Sen. Tammy Baldwin, D-Wis.) would have been unthinkable.

“Dykes to Watch Out For” ran until 2008. The comic strip ran in the “Funny Times” and in many queer papers. Several book collections of DTWOF were published, including: “Dykes to Watch Out For” (1986), “New, Improved Dykes to Watch Out For” (1990) and “The Essential Dykes to Watch Out For” (2008).

It’s hard to convey how groundbreaking DTWOF was (especially in the 1980s and early 1990s) at a time when there was virtually no representation of queer life in pop culture.

Set in a small city (some think it might be Minneapolis), “Dykes” tells the story of a group of lesbians – their friendships, exes, love lives, struggles against the patriarchy, work lives – their cats.

DTWOF was diverse long before “diversity and inclusion” became buzzwords. The comic strip’s characters include people of color. There’s concern about disability accessibility. Other aspects of lesbian life aren’t neglected: there’s therapy and a vegan café.

The characters in DTWOF grew up and older in “real time” during the strip’s 25-year run. Bechdel, whose 2006 memoir “Fun Home” was adapted into the Tony Award-winning musical of the same name, has said DTWOF is “half-op-ed column and half endless, serialized Victorian novel.”

The protagonist of “Dykes To Watch Out For” is the lovable, neurotic kvetch Mo, who along with some of the other characters works (for a time) at Madwimmin Books. Some of the other characters include: Lois, a feminist “Casanova” and activist; Ginger, a professor; Sparrow a former women’s shelter director who identifies as a “bisexual lesbian;” Clarice, Mo’s ex and a lawyer; Toni, Clarice’s partner and a CPA; Harriet, a human rights lawyer; and Jezanna, the owner of Madwimmin Books.

To the delight of generations of readers (from Boomers to 20-somethings), neither Bechdel nor the DTWOF characters take themselves too seriously. They care deeply about the political (the cruelty of Ronald Reagan’s treatment of people with AIDS, unjust wars, etc.) and their personal dramas (from coming out to whether to embrace monogamy). But, they get how absurd — how overly earnest — they can be.

To commemorate DTWOF’s 40th anniversary, Audible has released a spectacular three-hour adaptation of “Dykes to Watch Out For” as an audio series.

You might wonder how well DTWOF, a comic strip combining indelible drawings with, by turns, funny, poignant, smart dialogue, could be performed in a sound-based medium. You needn’t worry. Through an alchemy of writing, direction, acting, narration and podcast production, DTWOF has been superbly translated into sound. Proving that while a picture may be worth a thousand words, there’s nothing more intimate than listening to a story you love.

Playwright Madeleine George (“Only Murders in the Building”) adapted DTWOF for the Audible series and Leigh Silverman (“Violet”) directed the adaptation. Alana Davis, Faith Soloway and Bitch scored the series.

The Audible adaptation of DTWOF combines stories from the first three years of the strip. One of the lovely things about it is that the cast is so queer – from Jane Lynch, the series’ narrator, to author Roxanne Gay, who plays Jezanna.

I don’t know if there’s an afterlife. If there is, I hope it’s narrated by Lynch. Listening to Lynch tie the story of the series together is like hearing the Voice of God. God as a combo of a lesbian (Vince Scully, sports announcer, and a dyke Edward Everett Horton (from the Bullwinkle cartoons).

Carrie Brownstein (“Portlandia”) nails Mo. You’re right in Mo’s head as she obsesses about whether to call Harriet and ask her out. Harriet has given Mo her phone number two months before. (This is in the 1980s, long before texting.)

Along with the cast, which is a stellar ensemble, the series is filled with memorable, moving, energizing soundscapes: from lesbian softball players batting to footage from the 1987 National March on Washington for Gay and Lesbian Rights.

Stories of love, friendship – the personal and political – never get stale. Especially, in this time of anti-queer backlash. Listen to “Dykes to Watch Out For.” It’s the best soundscape of the summer.



Film fans will love ‘Hollywood Pride’

A celebration of queer representation in Hollywood



(Book cover image courtesy of Running Press)

‘Hollywood Pride: A Celebration of LGBTQ+ Representation and Perseverance in Film
By Alonso Duralde
c.2024, Running Press
$40/322 pages

You plan to buy lots of Jujubes.

They’ll stick to your teeth, but whatever, you’ll be too busy watching to care. You like the director, you know most of the actors as first-rate, and word is that the newcomer couldn’t be more right for the role. Yep, you’ve done your homework. You read Rotten Tomatoes, you’ve looked up IMDB, and you bought your ticket online. Now all you need is “Hollywood Pride” by Alonso Duralde, and your movie night is complete.

William Kennedy Laurie Dickson likely had no idea that what he’d done was monumental.

Sometime in the very late 1800s, he set up a film camera and a wax cylinder to record a short dance between two men, hands around one another’s waists, as Dickson played the violin. It “was one of the very first movies ever shot,” and probably the first film to record men dancing rather intimately alone together.

Back then, and until well into the 20th century, there were laws against most homosexual behavior and cross-dressing, and very rigid standards of activity between men and women. This led to many “intense relationships between people of the same gender.” Still, in World War I-era theaters and though LGBTQ representation “was somewhat slower to get rolling” then, audiences saw films that might include drag (often for comedy’s sake), camp, covert affection, and “bad girls of the era.”

Thankfully, things changed because of people like Marlene Dietrich, Ramon Novarro, Claudette Colbert, George Cukor, Alfred Hitchcock, and others through the years, people who ignored social mores and the Hays Code to give audiences what they wanted. Moviegoers could find LGBTQ actors and themes in most genres by the 1940s; despite politics and a “pink scare” in the 1950s, gay actors and drag (still for comedy’s sake) still appeared on-screen; and by the 1960s, the Hays Code had been dismantled. And the Me Decade of the 1970s, says Duralde, “ended with the promise that something new and exciting was about to happen.”

So have you run out of movies on your TBW list? If so, get ready.

You never want to start a movie at the end, but it’s OK if you do that with “Hollywood Pride.” Flip to the end of the book, and look up your favorite stars or directors. Page to the end of each chapter, and you’ll find “artists of note.” Just before that: “films of note.” Page anywhere, in fact, and you’ll like what you see.

In his introduction, author Alonso Duralde apologizes if he didn’t include your favorites but “Hollywood has been a magnet for LGBTQ+ people” for more than a century, making it hard to capture it completely. That said, movie-loving readers will still be content with what’s inside this well-illustrated, well-curated, highly readable historical overview of LGBTQ films and of the people who made them.

Come to this book with a movie-lover’s sensibility and stay for the wealth of photos and side-bars. If you’re up for binge-reading, binge-watching, or Date Night, dig into “Hollywood Pride.” Popcorn not necessary, but welcome.

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‘On Bette Midler’ is a divine new read

Part charming, part nostalgic, and very affectionate



(Book cover image courtesy of Oxford University Press)

‘On Bette Midler: An Opinionated Guide’
By Kevin Winkler
c.2024, Oxford University Press 
$29.99 232 pages 


That word’s appropriate in this situation. Fantastic, that’s another. Transcendent or celestial, if you’re of that mind, or perhaps anointed. There are many adjectives you can use for a performer who transports you, one who sings to your soul. Sensational, breathtaking, outstanding, or – as in the new book “On Bette Midler” by Kevin Winkler – another, better word may be more suitable.

Born in Hawaii a few months after the end of World War II, Bette Midler was named after film star Bette Davis. It was a perhaps auspicious start: despite a minor disparity (Midler’s mother thought the movie star’s first name was pronounced “Bet”), young Midler seemed at a young age to want to follow in her almost-namesake’s footsteps. By age 11, she’d won accolades and prizes for her performances and she “yearned to be a serious actor.” As soon as she could, she headed for New York to seize her career.

Alas, her “unconventional” looks didn’t help win the roles she wanted but she was undeterred. Unafraid of small venues and smaller gigs, she “just blossomed” in New York City. Eventually, she landed at the Improv on 44th Street; the owner there helped her negotiate some minor work. Another man became her manager and secured a job for her at the Continental, a New York bath house strictly for gay men. She was hired for eight summer nights, Friday and Saturdays only, for $50 a night.

Almost immediately, her authenticity, her raunchy language, and her ability to relate to her audience made her beloved in the gay community. Midler’s tenure at the Continental expanded and, though legend points to a longer time, she worked at the bath house for just over two years before moving on and up, to television, recording studios, movies, and into fans’ hearts. Still, asks Winkler, “Did it really matter what stage she was on? She touched audiences wherever she performed.”

In his earliest words – and, in fact, in his subtitle – author Kevin Winkler reminds readers that “On Bette Midler” is a book that’s “highly opinionated, filled with personal contemplations…” He is, in other words, a super-fan, but that status doesn’t mar this book: Winkler restrains his love of his subject, and he doesn’t gush. Whew.

That will be a relief to readers who wish to relish in their own fervor, although you’ll be glad for Winkler’s comprehensive timeline and his wide look at Midler’s career. Those things come after a long and fascinating biography that starts in 1970, takes us back to 1945, and then pulls us forward through movies, television appearances, stage performances, and songs you might remember – with appearances from Barbara Streisand, Barry Manilow, and Cher. It’s a fun trip, part confidential, part charming, part nostalgic, and very affectionate.

Despite that this is a “personal” book, it’s great for readers who weren’t around during Midler’s earliest career. If you were and you’re a fan, reading it is like communing with someone who appreciates Midler like you do. Find “On Bette Midler.” You’ll find it divine.

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Architecture junkies will love new book on funeral homes

‘Preserved’ explores how death industry evolved after WWII



(Book cover image courtesy of Johns Hopkins University Press)

‘Preserved: A Cultural History of the Funeral Home in America’
By Dean G. Lampros
c.2024, Johns Hopkins University Press 
$34.95/374 pages

Three bedrooms upstairs. That’s a minimum.

You need a big kitchen, a large back room would be a bonus, you want lots of bathrooms, and if you can get a corner lot, that’d be great. The thing you need most is a gigantic all-purpose room or maybe a ballroom because you’re planning on a lot of people. As you’ll see in the new book “Preserved” by Dean G. Lampros, not all living rooms are for the living.

Not too long ago, shortly after he took a class on historic preservation, Dean Lampros’ husband dragged him on a weekend away to explore a small town in Massachusetts. There, Lampros studied the town’s architecture and it “saddened” him to see Victorian mansions surrounded by commercial buildings. And then he had an epiphany: there was once a time when those old mansions housed funeral homes. Early twentieth-century owners of residential funeral homes were, in a way, he says, preservationists.

Prior to roughly World War II, most funerals were held at home or, if there was a need, at a funeral home, the majority of which were located in a downtown area. That changed in 1923 when a Massachusetts funeral home owner bought a large mansion in a residential area and made a “series of interior renovations” to the building. Within a few years, his idea of putting a funeral home inside a former home had spread across the country and thousands of “stately old mansions in aging residential neighborhoods” soon held death-industry businesses.

This, says, Lampros, often didn’t go over well with the neighbors, and that resulted in thousands of people upset and lawsuits filed. Some towns then passed ordinances to prohibit such a thing from happening to their citizens.

Still, funeral home owners persevered. Moving out of town helped “elevate” the trade, and it allowed Black funeral home operators to get a toehold in formerly white neighborhoods. And by having a nice – and nice-sized – facility, the operators were finally able to wrest the end-of-life process away from individuals and home-funerals.

Here’s a promise: “Preserved” is not gruesome or gore-for-the-sake-of-gore. It’s not going to keep you up all night or give you nightmares. Nope, while it might be a little stiff, it’s more of a look at architecture and history than anything else.

From California to New England, author Dean G. Lampros takes readers on a cruise through time and culture to show how “enterprising” business owners revolutionized a category and reached new customers for a once-in-a-deathtime event. Readers who’ve never considered this hidden-in-plain-sight, surprising subject – or, for that matter, the preservation or re-reclamation of those beautiful old homes – are in for a treat here. Despite that the book can lean toward the academic, a good explanatory timeline and information gleaned from historical archives and museums offer a liveliness that you’ll enjoy.

This book will delight fans of little-know history, and architecture junkies will drool over its many photographs. “Preserved” is the book you want because there are other ways to make a house a “home.”

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