Performing gender and bending gender always had an element of risk. As, of course, it still does now. I think what's interesting about the John Kelly film The Dagmar Onassis Story, and the many drag performers that are featured in it, is that it shows how many different strategies and politics and poetics of drag there were in the East Village at that time—ranging from Joey Arias and Klaus Nomi, who appeared with David Bowie in spaceman fashions on Saturday Night Live, but also you have RuPaul, Lady Bunny, and Ethyl Eichelberger. There were many different drag strategies but drag was definitely underground, punk, subversive. There’s something about a John Kelly performance which has the heightened theatricality of a drag performance, but it’s also incredibly lyrical and emotional and it’s hard not to get caught up with the intensity and the adoration of a fan who is so deep that he actually becomes this persona.

Psykho III: The Musical is an intriguing play on the tension between “authentic” and “pop” camp. This celebration of artifice was originally written, directed, and produced by Mark Oates as a stage musical parody following the release of Psycho II in 1983, and was performed at the East Village’s most notorious nightspot — The Pyramid Club. In 1985, after a wildly successful run, Oates reached out to longtime friend and video artist Tom Rubnitz to produce a video adaptation of the stage musical.

New York City 1988. Raging homophobia. A killer on the loose. Disco dancing till dawn. Performers struggle to survive. Delilah seduces Samson in song. Gender illusionists go shopping. Samson and Delilah, 1991. This tape is an entertaining amalgam of cross-cut scenes featuring New York performance luminaries including John Kelly, Hapi Phace and DANCENOISE. It is a dark vision of an America where life is cheap and even the moments of tenderness have a life threatening edge.