#greg day

I have the videos as well

The quality is shit since it was my stepdad filming so he doesn't know how to configure the brightness... so I am a ghost hahshha but hopefully you can hear it.

Sadly Tumblr doesn't let me to add 2 videos so I will post Lucky Man later.

It was difficult (I had the chewing gum) it was frustrating and painful at some point but the love have for him was enough to kept me trying and trying.

I know is just a College's gig but this performance was important to me in a high personal level.

I was so nervous that I didn't present the songs, I just started playing and then I said "This song is about a very Lucky Man" but I didn't say this presentation was important for me and etc etc, I was too nervous and too focused on the thing that I forgot to mention why I was performing those songs.

The voice could have been better, I know that but I am not him so the only thing left for me is keep singing it and playing it until I find my own voice and way to do it.

Stephen Varble in the Suit of Armor, October 1975 Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest), 22 March 1976 Stephen Varble in the Elizabethan Farthingale, October 1975

Photographs by Greg Day (American, b. 1944)

Stephen Varble in the Suit of Armor, Stephen

Varble in the Elizabethan Farthingale

Stephen Varble at the 12th Annual Avant-Garde Festival

And Stephen Varble in the Demonstration Costume with Only One Shoe (for the Chemical Bank Protest)

1975-1976, printed 2018 - Digital prints © Greg Day 2019

via: Art Blart - In costumes made from street trash, food waste, and stolen objects, Stephen Varble (1946-1984) took to the streets of 1970s New York City to perform his “Gutter Art.” With disruption as his aim, he led uninvited costumed tours through the galleries of SoHo, occupied Fifth Avenue gutters, and burst into banks and boutiques in his gender-confounding ensembles. Varble made the recombination of signs for gender a central theme in his increasingly outrageous costumes and performances. While maintaining he/him as his pronouns, Varble performed gender as an open question in both his life and his work, sometimes identifying as a female persona, Marie Debris, and sometimes playing up his appearance as a gay man. Only later would the term “genderqueer” emerge to describe the kind of self-made, non-binary gender options that Varble adopted throughout his life and in his disruptions of the 1970s art world.

At the pinnacle moment of Varble’s public performances, the photographer Greg Day (b. 1944) captured the inventiveness and energy of his genderqueer costume confrontations. Trained as an artist and anthropologist and with a keen eye for documenting ephemeral culture as it flourished, Day took hundreds of photographs of Varble’s trash couture, public performances, and events in 1975 and 1976.

Through the prism of ancient practice – Greg Day

Chevalier’s sea scene to Louttit Bay

  ON A cool autumn morning the week before Easter in 1862, a small scientific party led by the founder of Melbourne’s Flagstaff Observatory, geophysicist Georg Balthasar von Neumayer, headed south-southwest with a guide from Winchelsea in western Victoria, roughly following the telegraph route towards Cape Otway. The primary purpose of the party was to…

Through the prism of ancient practice – Greg Day

Chevalier’s sea scene to Louttit Bay   ON A cool autumn morning the week before Easter in 1862, a small scientific party led by the founder of Melbourne’s Flagstaff Observatory, geophysicist Georg Balthasar von Neumayer, headed south-southwest with a guide from Winchelsea in western Victoria, roughly following the telegraph route towards Cape Otway. The primary purpose of the party was to…