April 18, 1918

My father's day of birth.
Without I would be -- well, I wouldn't. Period. I am his namesake. Oy.
My mother was laying in a coffin on this same day, 1999.
Uh, Happy Birthday.
And we, the undersigned - the living - proceed.

Got an invite to an event celebrating Wakefield Poole un NYC. Have a look.... it came with a very interesting mailing list....

FOR YOUR INFORMATION
2007 Film/Video Program
Organized by Donnell Media Center
New York Public Library
ADMISSION FREEAll Programs held in the Donnell Library Center Auditorium
FOR IMMEDIATE RELEASE
Wakefield Poole
Presents and discusses his dance and film work:
THE TWO FACES OF WAKEFIELD POOLE
Saturday, April 28, 2007 at 2:30 PM
At the Donnell Library Center
20 West 53rd Street
New York, NY 10019
The program will include video excerpts of Wakefield Poole’s dancing on the television programs THE GARY MOORE SHOW with Gwen Verdon and LAMP UNTO MY FEET; his choreography for the "end credits" for ONCE UPON A MATTRESS that featured dancer Michael Bennett; and DO I HEAR A WALTZ. In addition, there will also be examples of his work as a filmmaker, including his first film HEAD, a light-hearted parody of a cooking program featuring a voice-over by Julia Child, a clip (featuring nudity) from his breakthrough vision BOYS IN THE SAND; and a joint interview with Mr. Poole and Casey Donovan, the star of BOYS IN THE SAND on the early cable access program "Emerald City."
Wakefield Poole began his dance career in Salisbury, North Carolina. After high school, he became a professional dancer with the internationally renowned Ballets Russes. He then became a Broadway chorus dancer appearing in such hit shows as FINIAN’S RAINBOW and THE UNSINKABLE MOLLY BROWN as well as dancing on television for Perry Como, Ed Sullivan, Gary Moore and Jackie Gleason. Over time, he developed into a choreographer, first assisting the legendary Joe Layton, before working solo on DO I HEAR A WALTZ and being reunited with Joe Layton on BRING BACK BIRDIE. At the end of the 1960’s a new career evolved when he asked himself, "Why can’t someone make a good porn film that’s not degrading?" That summer he decided to make one himself BOYS IN THE SAND became the first gay film to have a display ad in The New York Times and be reviewed in Daily Variety. For the next decade and a half, the name Wakefield Poole was synonymous with quality both in technical execution and artistic interpretation, as well as a trailblazer for gay culture with his quality erotica.
Wakefield Poole will be present at the screening of the films
and at a question and answer session afterwards
Please Note: Stills available upon request
Contact: Joseph Yranski
Donnell Media Center
The New York Public Library
20 West 53rd Street
New York, NY 10019
Telephone: (212) 621-0538
Fax: (212) 245-5272
Email: jyranski@nypl.org