The signs of the Apocalypse are all around us: wars rage on and on, great rivers flood, monster earthquakes leave devastation, inextinguishable fires that even burn the sky, the queers are marrying down at City Hall, Monistat's making The Guardian's Hot List…it seems the End Times are indeed here. But as I prepared to write this week's bulletin I realized that we've all had at least ONE sure thing to be grateful for during our last years of life on this planet– Glamamore, The Hog-Queen of Lip-Sync. Mother to a select few, and Grandmother to many, but Godmother to us all, Glamamore is associated with, if not responsible for many of the boldest, wildest and most cherished performances at Trannyshack. As alter ego Mr. David, he's been the dressmaker/dream-weaver to not just many-a-drag queen but to most of San Francisco's fashion-conscious bohemia for the last 15 odd years, culminating in a massive, opulent and idiosyncratic queerilla-retrospective of his work held at the De Young Museum back in April 2007. Though many of the other Trannyshack performers (after admiring their now-gorgeous selves in their fabulous and one-of-a-kind Mr. David creation) treasure the genius seamstress, the devotees in the Trannyshack audience have always adored the other, more extroverted half: the Grand Dowager of Pomp 'n' Pumps, the Sovereign Lady of the Pinspot, our Queen of Campy Catharsis – GLAMAMORE!

And what better way to celebrate the expressive artistry and theatrical brilliance of Glamamore then by combining her all-star salute with an evening dedicated to Broadway and show tunes. Already a legendary New York City drag queen before coming to San Francisco, Glamamore's penchant for combining animated and gritty portrayals with graphically grand gesturing are rooted in that city's at one time vibrant and dynamic underground performance art and drag scene. Glamamore's versatility in subject matter is as celebrated as her lip-synching expertise, being able to deliver master class-worthy impersonations of Eva Peron, Maria Callas, Norma Desmond and Judy Garland, and then turn around and wow us as Nina Hagen, Kate Bush, David Bowie and Fee Waybill. Her interpretations of Bowie's "Rock 'n' Roll Suicide", Pink Floyd's "The Great Gig in the Sky" and "The Trial", Kate Bush's "Suspended in Gaffa", Nina Hagen's "Naturträne", Bjork's "Pagan Poetry", and Mott the Hoople's "Hymn for the Dudes" are only the first of countless many that come to mind when I think of how Glamamore truly makes a song her own.
Of course I dare not forget her wonderful theme night Grannyshack, held, I believe, three times over the years. A terrifyingly hilarious look into the not-so-distant future, Grannyshack was a night dedicated to the Metamucilizing of Trannyshack; needless to say there were a lot of adult diapers, wheelchairs, blue and purple hued wigs, walkers, and floral print sundresses. Another night of renown for Glamamore was her one-woman show – Dramamore! The Hog Queen tackled the little black stage of death all on her own, delivering a non-stop powerhouse 45-minute set which began with her entering through the crowd on the shoulders of Queen Size, and ended in with a mesmeric Thai Dance spectacle to "Canatara" by Dead Can Dance. Now if Kegel Kater would only return my copy of the show!
The last thing I need to do is sell Glamamore to anyone, especially those of you who read this. I only hope I've been able to convince you all to extend your Pride Weekend a little longer and join us in not only celebrating the legend of Glamamore but also in thanking her for all the truly awe-inspiring memories.
- Bobby Barber