Metro Guys Magazine ARTICLES
THE FOLLOWING ARTICLE APPEARS IN 2ND QTR 2019 METRO GUYS MAGAZINE PUBLISHED IN MAY
THE SAINT NYC
THE LEGEND AND KING OF ALL GAY NIGHTCLUBS
The Saint NYC opened September 20, 1980 (and Seasons ran prior to Summer Fire Island Season) thru May 2, 1988*. It was located at 105 Second Ave., Manhattan and cost $4.2 Million in 1980 dollars which included a $1.2 Million Spitz Planetarium Star Projector on a hydraulic mirrored lift to rise above the dance floor as it was filling with patrons. A complete Dome was constructed panel by panel inside the building. It was originally opened on Saturdays and Sundays thru the beginning of Summer Fire Island Shares Season. The site, an old 1926 Theater venue and was also previously known as The Fillmore East of the late 1960s and early 1970s and housed Don Kirschners’ Rock & Roll East telecast on TV.
The space laid shuttered for years until The Saint was built and opened by Bruce Mailman. Initially The Saint was a private membership gay nightclub and set the standard for dance music merging with State of the Art Lighting, Planetarium Dome, Star Projector lighting, hydraulics and Premium sound system with Theatrical Themes. In short, a complete Show. Bruce Mailman and his business partner and Architectural designer, Charles Terrell and financed in part by the St. Marks Baths and Membership packs with floor plans were sold before the club opened. By the opening, 2,500 memberships had been sold at $150 each for the first 700 members and for $250 for the rest and a discounted price for out of State revelers.
Level 1 greeted you by a magnificent Lobby entrance and directly underneath the dance-floor (level 2) were mechanical coat check cages and a large lounge with Banquettes for seating. The main bar was in the back of the room where the stage would have been. Initially The Saint served beer in half cans (Rolling Rock) and had several juice bars included in the cost of Entry. In later Seasons, The Saint served Liquor. The hours of operation usually ran from 11 pm to approx Noon next day for normal Saturday nights and for Special Parties 11 pm to approx 4 pm next day. In a small room above the back main bar was a limited Private Lockers area, which had a waiting list of years at additional cost. Drinks were not allowed on the Dancefloor. This created tremendous streams of crowds between levels so it never seemed overcrowded.
Level 2 The Saint was technically and creatively one of the best dance clubs of its era. The circular dance floor (approx 5,000 square feet) on the second level was topped by a perforated Planetarium Dome (76 feet in diameter and 38 feet high). In addition to hiding the speakers, the dome served as a spectacular canvass for the lighting effects. A circular opening at the top of the dome could be opened and closed to allow a large disco ball to be lowered into the space. The Disco Ball itself was surrounded by a circular mirrored collar to hide searchlights and was dramatically lowered slowly foot by foot which created unique lighting dots on the curbed Dome.
Speaker cabinets were on the outer surface of the dome, facing inward and the Tweeters were mounted on the structure surrounding the Star Projector and the bass was all along the base circumference of the Dome that created seating. The sound system created a “surround sound” effect and consisted of hundreds of speakers generating 26,000 watts. The DJ/Lightmans Booth was raised a few feet on the Dancefloor, revelers dubbed this at 12 O’Clock position, (a musical North Pole) and from that point you could easily meet your friends already dancing, at say 3 O’Clock or any other position using the DJ Booth as the starting address point.
In the center of the dance floor was a circular light tree constructed on a hydraulic lift. It contained many lights and at its centerpiece was a rotating, dual Spitz Space Star Projector System hemisphere. The Projector was lit usually very late, around 4 am to the applause of hundreds of dancers. The effect was as if you were dancing in OuterSpace. Sometimes, the effects were so overwhelming, you had to vacate to the Lounge or Balcony to take a break from the hours of dancing to recharge and go back to the Dancefloor yet again.
The Dancefloor had four entrances: two in the back area which led downstairs via a fire escape type of stairway and Two in the front area which led downstairs and upstairs to the Balcony area via circular fire escape type staircases. Also, there was a regular marble staircase leading downstairs for those whom did not want to navigate the circular staircase. Over the four entrances, were a iron “paddle” where more lighting was fixed and the structure lights could scrape the interior sides of the Dome and could meet in the middle position highlighting the Mirror Ball.
Level 3 above/outside the dome was what would become the controversial balcony, where patrons could see down to the dance floor, through the perforated panels of the dome. It was there that men relaxed and, according to the sexual mores of the times, could indulge in sexual activities. It was completely seperate from the rest of the club, in the Balcony, so you didn’t have to see it, ignore it or partake of it. Several times during the year, themed parties such as the “Black Party” and the “White Party” attracted celebrities from around the world. These Saint parties are considered by most disco historians to be the precursors to the Circuit Party. Currently, the Saint at Large Black Party is still in operation annually.
CONTEXT OF GREATNESS:
The Saint was also known for the A LIST of performers. At showtimes, a part of the dome would retract like a garage door and stars from the pop music and theater worlds would perform from Jennifer Holliday to Cerrone. It became more famous than most of the performers attracting club goers from all over the world. The club became the standard against which all New York clubs were measured – many opened, closed and remodelled in the shadow of this giant. It was renowned for its design, Light shows, annual makeovers, and even for its extravagant floral arrangements. Its invitations consisted of full size posters mailed to its membership. Its rotating DJ’s/ Lightmen became world famous, a virtual list of who’s who of the day and some are still DJing today.
At the time pre-early 1980s, Gay Pride was mainly celebrated only in major Cities: NYC, Los Angeles, San Francisco, Chicago. It was Gay Liberation following on the heels of Sexual Freedom of the mid 70’s and Gay men travelled to celebrate Gay Pride in these major Cities. Todays’ modern Gay Pride is celebrated in just about every city across the U.S. usually marking June 1969, at the Stonewall Inn, a bar in the Village, Manhattan which was the Birth Place of Gay Rights when Patrons fought back Police harassing Gay Bars and jailing its patrons.
The Saint was the Gay anti-dote for Studio54 which had a Gay night, but was mostly straight with gay friends. The Saint was the perfect marriage of 80’s Euro Dance Music, the best of Disco of the late 70’s, incredible sound system, High Tech Lighting, skilled DJ’s and Lightmen, hundreds of Men’s worked out bare torsos on the Dancefloor and Theatrical themed Parties. People traveled from all over the world to attend special parties which normally could hold thousands of shirtless men by keeping the massive crowd constantly moving from floor to floor and expanded Club hours into the next day’s afternoon. The Worked out body phenomena started around 1982 that then mushroomed by the hundreds of men then spread out across the country. If your going to show your torso, why not have it muscled?
THE BEGINNING OF THE END:
AIDS had begun eating through the fabric of gay life in New York City and began to take a heavy and relentless toll on all Nightclubs including the Saint’s membership. Change came quickly as the deaths from AIDS quickened. Membership costs were lowered and the season eventually extended into the summer so that the club was open almost year round. By its seventh season, membership costs had fallen to $50. It also opened Thursdays for a straight crowd. By1985, the Black Party performers were for the first time performing safe sex acts. By 1987, thier performance emphasised masturbation and phone sex, all a far cry from the club’s early days which, on one celebrated occasion, a boa constrictor was used as a prop. Due to the AIDS scare of the 80’s and member deaths dramatically reduced the numbers of club goers and the operation could no longer sustain itself.
In 1988, a decision was made to Close The Saint and tare down the Planetarium structure so that it would never be cheapened by other attempts to use the space.
Bruce Mailman had sent a heartfelt letter to its Membership explaining the Closing.
A few Additional Parties without the Dome were held in 1990 in the former Domed space revealing the original Fresco’s and Theatre design. It was clear by 1990, that The Saint era was over and almost haunted by the smaller crowds and missing Dome, a feeling of sadness sometimes prevailed; a shadow of its former greatness.
EFFECTS OF THE SAINT:
Decades later, The Saint is still vividly talked about and Facebook pages have tributes to it and its music. An end of an Era was upon Dance Music giving birth to House Music. The Saint name was passed on and renamed The Saint AT LARGE which held those main Parties at various sites throughout the City: Roseland, South Street Seaport, Red Zone, Grand Central Catacombs, etc.
Today, The Saint AT LARGE still holds its Annual Black Party (Heightened Leather Masculinity; usually around the March Equinox) at different locations in NYC or its burroughs. It is still a major music and lighting extravaganza but nothing compares to the Planetarium lighting of the original Saint. The surviving groups of dancers are referred to as Tribes and remain close today due to social media. Many still meet up at various dance parties throughout NYC and Fire Island.
FURTHER INFO can be found at https://www.saintatlarge.com/ including pics and Party Timeline along with 2019’s planned Black Party.
* with Planetarium Dome, its Closing Party lasted 3 days.
ABOUT THE AUTHOR: Jim Perigny (aka DJ JimmyP) is the CEO of Red Hispana Florida, an HIV and LGBT Issues Agency and radio station Founder/Manager of EAGLEradio.PRO
EAGLEradio.PRO can be accessed via the website or via FREE APP from your APP Store OR via posted links on FaceBook.
F.A.T. Village, Ft. Lauderdale
Flagler Arts Technology Village
Located in the downtown historic warehouse district, The district runs south of Sistrunk Blvd (formerly a dilapidated property which had been cleaned out and new roadway built) down to 3rd Street (just above Broward Blvd, downtown Fort Lauderdale), from the boarder of FCC railroad tracks and to the east bordering 3rd Ave.
FAT Village is burgeoning with productivity. Techies, artists, designers, and creative professionals call this daytime enclave home.
Originally an area of run down and/or deserted warehouses and rentals became home to pioneering struggling artists. By the early 2000s, visitors were drawn to the area to observe artists works. Hence, ArtWalk was born and developed into the public at large going house to house to view the works of art monthly.
FAT Village is further developing an integration with artists and designers. An untold number of artists in Miami found opportunity in FAT Village during their journeys.
FAT VILLAGE CO-FOUNDER DOUG McCRAW
The four block district itself is named after the 501©3 Non-Profit arts organization, FAT Village Arts District Inc. Property owners Doug McCraw (see photo) and Lutz Hofbauer created FATVillage Arts District and are spending over $300k on Arts programs (and growing) through a combination of Grants, rentals and Donations.
FAT Village Mission
FAT Village is an arts district whose purpose is to promote the creation, exhibition, curation, research, and education of emerging, contemporary artists. They strive to generate an art community that is inclusive through having many different programs as well as reinforces cross disciplinary collaboration and experimentation.
ArtWalk ocurrs the LAST SATURDAY OF EVERY MONTH Except the month of December! 6:00pm-11:00pm, ArtWalk features Open Galleries showcasing new art exhibits, local artists and artisans selling gifts and goods, and a variety of food and entertainment.
Galleries close at 10:00pm! Make sure you stop in early to see the new exhibitions. Travel by Uber, Lyft and Free Sun Trolly runs until 12am. Also, free parking after 6pm in the Coral public lot on NW 4th Street and Andrews.
ARTWALK GOODS VENDOR MARKET
The GOODS is a monthly curated maker’s market that takes place during the FATVillage ArtWalk. The Goods aims to bring the best local artists and artisans in SouthFlorida together in one place. Every month thousands of excited visitors will come through ArtWalk and they want to show them a good time.
They start excepting applications for each ArtWalk at the beginning of each month and Applications are found on their website. They carefully select vendors so that the market is fresh and varied every month. If you are not accepted this month, please apply again!
FAT Village creates and exhibits challenging work that is outside the realm of commercial galleries. They believe this allows for a critical dialogue between artists, curators and the public. And provides opportunities for artists who are working with experimental, immersive, and non-traditional media to create and install new works on site. They also provide opportunities for independent curators to express their visions of larger issues surrounding contemporary art practices.
Exhibitions and Gallery Spaces Include:
ARTSUP! CONCEPTS, FATVILLAGE PROJECTS, IS PROJECTS, and FAR GALLERY.
Entertainment, Business and Artistic Services:
BREW NEXT DOOR, CADENCE LIVING, C & I STUDIOS, FATVILLAGE FOR THE ARTS, GENERAL PROVISION, GET CLUB, HENRY’S SANDWICH STATION, IMAGE 360, INSPIRE ME BRACELETS, M. HANSON & CO., NEXT DOOR, NOBLEMEN’S CUT & SHAVE, SIXTH STAR ENTERTAINMENT
HOSTING YOUR EVENTS at FATVillage is managed by A2 Events, a boutique corporate event planning firm and DMC. They are a full service company that offers ground transportation, event design and decor, site selection, entertainment, a/v, dine arounds, new event tech, etc. Delivering and producing unique and creative events, A2 will elevate your ideas with outstanding taste.
FAT VILLAGE houses many Artists Studios. They also aid the public through increasing South Florida’s reputation in contemporary art. Their dream for the future is for Fort Lauderdale to become synonymous with cutting edge contemporary art and sees the role of FAT Village being a vanguard space that pushes artists, frees curators and inspires the public.
NEW FOOD MARKET
Sistrunk Marketplace is composed of two buildings, the largest will feature a 40,000-square-foot food hall with seven food vendors, the new Khoffner craft-beer brewery, a recording studio, a live music space and rooftop garden located on Sistrunk Bloulevard, across the street from FAT Village in Fort Lauderdale.
It is important that the place you live in is the place you want to live. Our community is hungry for more culture. By expanding thier impact, you can help nurture this cultural interest into cultural passion. When they work with artists, they often create their largest and most involved work to date which helps them to further their success. Your support participating, visiting, procuring art, exhibiting art or just donating means doing even more. It means expanded programming, more ambitious exhibitions, better community engagement, performances, and workshops.
New Artist Lofts
In the next few years, the Non Profit Arts Org will be redoing the Village creating significant Artist housing. The City of Fort Lauderdale is also helping investors to bring loft residence building projects to the FAT Village area, further revitalizing the Sistrunk area. The City also is sponsoring outdoor Concerts around the corner on Sistrunk Blvd.
TAX DEDUCTIBLE DONATIONS:
‘FATVillage Arts District Inc’ is a 501©3 non-profit arts organization. FAT Village believes that what is good for the arts is good for the economy by drawing resources and visitors to our area. Contributions may be directed to a specific facet of our operations or designated to the greatest need. Gifts may also be made in honor of special occasions or in memory of a loved one. Or you can just donate via their website.
FURTHER INFO can be found at https://www.fatvillage.com/ also they have a presence on FaceBook and Instagram.
ABOUT THE AUTHOR: Jim Perigny (aka DJ JimmyP) is the CEO of Red Hispana Florida, an HIV and LGBT Issues Agency and radio station Founder/Manager of EAGLEradio.PRO
THE FOLLOWING ARTICLE APPEARS IN 1ST QTR 2019 METRO GUYS MAGAZINE
WORLD AIDS DAY and THE QUILT
I often come to the Beach early on World AIDS Day. It is my place of solitude and Remembrance of the literally hundreds of people, friends and partners I have known and lost to Aids. I am so grateful I survived my generation, unscathed by HIV but always haunted by the tragic deaths I and many others have personally witnessed and wonder how is it some of us remain behind. I have met some pretty courageous people, warriors and caregivers along the way.
World AIDS Day, designated as December 1st, 1988 by the World Health Organization, is a day dedicated to raising awareness of the Global Aids Pandemic and to remember those whom have died from the disease. The Day is usually marked with Prevention and Funding speeches and Testing culminating in Candlelight Vigils.
As of 2016, AIDS has killed an estimated between 28.9 million and 41.5 million people worldwide, and an estimated 36.7 million people are living with HIV, making it the most important global public health issue in recorded history. Thanks to advances in medicine, HIV testing, access and services the death rate from AIDS has decreased since its peak in 2005 (from 1.9 million in 2005 to 1 million reported deaths in 2016). Despite this downward trend, we must not be complacent.
THE AIDS QUILT:
We remember those lives lost in the early days of AIDS. Many not only from the disease but also from early treatments of DCI, AZT and DDI and Government neglect of the enormity of what was to unfold Worldwide.
As we approach another World Aids Day, it is important to look back at our LGBT History. Since the 1978 assassinations of gay San Francisco Supervisor Harvey Milk and Mayor George Moscone, Gay Rights Activist Cleve Jones had helped organize an annual candlelight march honoring these men. In November 1985 the Aids Quilt had its humble beginnings as a memorial for those who had died in San Francisco. As the Aids epidemic unfolded, Cleve Jones asked the marchers to put the names of lost ones on placards and at the end of the march, taped those placards to the walls of the San Francisco Federal Building.
In 1987, Cleve Jones created a Foundation called the Names Project and the Aids Memorial Quilt was born. Those placards were converted to Panels that is made up of individual fabric panels designed to honor a specific person. Each contain a memento and/or picture of that persons life. Public response to the Quilt was immediate. People in U.S. cities most affected first by AIDS (Atlanta, New York, Los Angeles and San Francisco) sent panels; generous donors rapidly supplied sewing machines, equipment and other materials, and many volunteered to hand make the individual panels.
During the National March on Washington for Lesbian and Gay Rights in October 1987, the Quilt was displayed for the first time on the National Mall in Washington, D.C. and covered a space larger than a football field and included 1,920 panels. Half a million people visited the Quilt that weekend and paid their respects. The overwhelming response to the Quilt’s inaugural display led to a four-month, 20-city tour the following Spring and it raised nearly $500,000 for hundreds of AIDS service organizations.
After the Panels return to Washington, D.C. in October 1988, it grew to 8,288 panels and was displayed in front of the White House. Celebrities, politicians, families, lovers and friends read aloud the names of the people represented by the Quilt panels. In October 1992, the entire Quilt display again returned to Washington, D.C. and The Names Project was invited to march in President Clinton’s inaugural parade in January 1993.
The last display of the entire AIDS Memorial Quilt was in October of 1996 and covered the entire National Mall in Washington, D.C. Since inception, The Names Project Foundation has raised over $3 million for AIDS service organizations throughout North America and remains the largest community art project in the world.
THE QUILT TODAY:
The Quilt continues to be a powerful visual reminder of the AIDS pandemic and has grown to more than 48,000 individual 3-by-6-foot memorial panels commemorating the life of those whom died of AIDS.
All the panels have been professionally photographed, creating a permanent visual record of the most compelling symbol of the U.S. AIDS pandemic. Additionally, these images have been digitized and made available on their website, enhancing display activity and for use in HIV prevention education programs.
From Cleve Jones’ simple idea, HIV Testing and Prevention Education has taken foothold across our Country. All those individual lives lost would have been lost among the staggering death toll of well over 55,000 in the U.S.. It also serves as a reminder that people (such as demonstrated by protest groups like Larry Kramer’s ActUp) CAN affect Government action for funding of Testing, Treatments and Prevention programs.
Today, HIV is still being transmitted and people are still struggling to get Treatment. In the U.S., PrEP (Pre Exposure Prophylactic) has begun to show a dramatic decrease of the HIV Virus to Undetectable Viral Load to those sexually active when used with a condom. Once it is maintained at Undetectable levels, HIV Transmission is negligible.
Long Term Survivors face problems of aging with HIV and long term side effects of the medicines and the disease itself. The struggles against HIV remains real, especially in our interconnected World. As funding in the U.S. is stagnant or received cuts, it is important that we collectively support Local HIV/AIDS Organizations.
In Florida, 114,772 individuals were living with HIV and 2,119 individuals were diagnosed with AIDS in 2016.
Get tested for HIV and Remember those we lost. This Epidemic is NOT over.
AIDS QUILT INFORMATION:
By visiting http://www.aidsquilt.org/ you can view the Quilt and if you know the panel’s Block number, you can go to that specific panel. You can also host local Chapter Panels, learn how to make a panel, where to send it for inclusion and where to Donate to keep the maintenance of the 48,000 individual 3-by-6-foot memorial panels that make up the Aids Quilt.
To view short video: http://thelastonefilm.com/
WRITTEN BY: Jim Perigny (aka DJ JimmyP) is the CEO of Red Hispana Florida, an HIV and LGBT Issues Agency and radio station Founder/Manager of EAGLEradio.PRO
The following appears in the 3rd Quarter 2019 issue of Metro Guys Magazine
PROVINCETOWN, MASSACHUSETTS (“P-town”)
The Pilgrim Monument, designed by Willard T. Sears after the Torre del Mangia in Siena, Italy; built 1907–1910.
Provincetown, Massachusetts, located on the tip of Cape Cod, is a small coastal resort town with a year-round population of just under 3,000. But in the summer, Provincetown has a population as high as 60,000+ and is known for its beaches, harbor, artists, tourist industry and is a top LGBTQ destination. This open-minded community celebrates individuality and freedom of expression and is home to one the oldest continuous art colony in the country. The diverse population of artists, sailors, fishermen, authors makes Provincetown unique 365 days of the year.
Provincetown is bordered to the east by its only neighbor, the town of Truro, and by Provincetown Harbor to the southeast, Cape Cod Bay to the south and west, Massachusetts Bay to the northwest and north, and the Atlantic Ocean to the northeast and has 21.3 miles of coastal shoreline. .
About 4,500 acres, or about 73% of the town’s land area, is owned by the National Park Service, which operates the Cape Cod National Seashore, leaving about 2.7 sq mi of land under the town’s jurisdiction. To the north lie the “Province Lands”, the area of dunes and small ponds extending from Mount Ararat in the east to Race Point in the west, along the Massachusetts Bay shore. The Cape Cod Bay shoreline extends from Race Point to the far west, to Wood End in the south, eastward to Long Point, which points inward towards the town, and provides a natural barrier for Provincetown Harbor. All three points are marked by lighthouses.
The area was long settled by the historic Nauset tribe. In 1602, having made landfall from the west and believing it to be an island, Bartholomew Gosnold later chose to name this outermost tip of land “Cape Cod”.
On November 9, 1620, the Pilgrims aboard the Mayflower sighted Cape Cod while en route to the Colony of Virginia. After failed attempts to sail south against the strong winter seas, they returned to the safety of the harbor, known today as Provincetown Harbor, and set anchor. It was here that the Mayflower Compact was drawn up and signed. They agreed to settle and build a self-governing community, and came ashore in the West End.
Though the Pilgrims chose to settle across the bay in Plymouth, Cape Cod enjoyed an early reputation for its valuable fishing grounds and harbor. In 1654, the Governor of the Plymouth Colony purchased this land from the Chief of the Nausets, for a selling price of two brass kettles, six coats, 12 hoes, 12 axes, 12 knives and a box.
The land from East Harbor to Long Point, was kept for the benefit of Plymouth Colony, which began leasing fishing rights to roving fishermen. The collected fees were used for costs of schools and other projects throughout the colony. In 1678, the fishing grounds were opened up to allow the inclusion of fishermen from the Massachusetts Bay Colony.
In 1692, a new Royal Charter combined the Plymouth and Massachusetts Bay colonies into the Province of Massachusetts Bay. “Cape Cod” was thus officially renamed the “Province Lands”.
The first record of a municipal government with jurisdiction over the Province Lands was in 1714, with an Act that declared it the “Precinct of Cape Cod”, annexed under control of Truro. And after harboring ships for more than a century, the Precinct of Cape Cod was incorporated as a township of “Provincetown”. The act of incorporation provided that inhabitants of Provincetown could be land holders, but not land owners in 1893 the Massachusetts General Court changed the Town’s charter, giving the townspeople deeds to the properties they held, while still reserving unoccupied areas.
1700’s North-eastern view of Provincetown, Mass
Provincetown grew rapidly as a fishing and whaling center. The population was bolstered by numerous Portuguese sailors, many of whom were from the Azores, and settled in Provincetown after being hired to work on US ships.
By the 1890s, Provincetown was booming, and began to develop a resident population of writers and artists, as well as a summer tourist industry. After the 1898 Portland Gale Storm severely damaged the town’s fishing industry, members of the town’s art community took over many of the abandoned buildings. One of which opened as the Cape Cod School of Art, said to be the first outdoor school for figure painting.
By the early decades of the 20th century, the town had acquired an international reputation for its artistic and literary productions. The Provincetown Players was a theatre company formed during this period. Many of its Winters are severe so members lived during other parts of the year in Greenwich Village, New York, and intellectual and artistic connections were woven between the places.
There had been a gay presence in Provincetown as early as the start of the 20th century as the artists’ colony developed and experimental theatre. Drag queens could be seen in performance as early as the 1940s in Provincetown.
In the mid-1960s, Provincetown saw a large population growth. The town’s rural character appealed to the hippies of the era; property was relatively cheap and rents were low, especially during the winter. Many of those who came stayed and raised families. Commercial Street, the town’s “Main Street”, gained various hip small businesses.
By the 1970s Provincetown had a significant gay population, especially during the summer tourist season, when restaurants, bars and small shops serving the tourist trade were open. In 1978 the Provincetown Business Guild (PBG) was formed to promote gay tourism.
Provincetown, Commercial Street
The town includes eight buildings and two historic districts on the National Register of Historic Places: Provincetown Historic District and Dune Shacks of Peaked Hill Bars Historic District.
Today more than 200 businesses belong to the PBG, and Ptown is perhaps the best-known gay summer resort on the East Coast, other than Fire Island, N.Y. The 2010 US Census revealed Provincetown to have the highest rate of same-sex couples in the country, at 163.1 per 1000 couples.
Provincetown’s tourist season has expanded with festivals and week-long events throughout the year. The diverse population of artists, sailors, fisherman, authors, and more, makes Provincetown unique. The most established are in the summer: the Portuguese Festival, Bear Week and PBG’s Carnival Week in August to Women’s Week in October, Thanksgiving Weekend, Holly Folly and First Light at year’s end. Check out the National Seashore & Dunes and many clubs and restaurants. Provincetown is thriving 365 days of the year.
PTown is located at the tip of Cape Cod, but is easily accessed by car, bus, ferry from Boston Harbor and air to Boston Logan Airport. Small Air service is a quick 20 minute scenic trip from Boston’s Logan to PTown. Once here, rely on your feet, bus or rental bike as PTown is a walking town.
FOR MORE INFO: https://provincetowntourismoffice.org/
ABOUT THE AUTHOR: Jim Perigny (aka DJ JimmyP) is the CEO of Red Hispana Florida, an HIV and LGBT Issues Agency and FREE radio station Founder/Manager of EAGLEradio.PRO accessed via the website or LIVE365 APP or posted links on FaceBook.