Nicholas E. Limansky is one of the persons I respect for several reasons. There is not much I could say about him, except that I enjoyed his almost mystical appearance in the 1991 documentary "Yma Sumac - Hollywoods Inkaprinzessin" by Günther Czernetzky. Limanski delivers high quality comments on both Yma Sumac and her music. Furthermore, during the film he gets lots of different designations by subtitle ...Another aspect which has to be mentioned is his Legacy of the Diva project focusing on many important divas (i.e. gay icons).
Finally, he is the author of the biography "Yma Sumac - The Art Behind the Legend" which was published in early 2008. Information concerning this book can also be found on Mr. Limansky's Legacy of the Diva URL site.
Oh, by the way:
Of course, he did not really write a libretto for any Philip Glass opera ....
Most importantly, I should add that any previous mentioning of some "lawsuit" was only meant as an ironic twist,
referring to the dangerous lives of biographers who are, after all, in constant danger
of getting sued by their subjects in case they should spread false rumours.
Furthermore, this footnote plus the above ovation were in the spirit of my article
concerning the several reasons why Yma Sumac is a gay icon.The article was written in 2001 for RADIO KNACKPUNKT (now called QUEERLIVE - a gay&lesbian radio program on the Open Channel Berlin) as part of a series on icons like
Yma Sumac, Klaus Nomi, Freddie Mercury, David Bowie, Madonna, Asta Nielsen or German singer Hildegarde Neff (as she might still be known in the US).Recently, after receiving helpful comments, I changed the article and corrected it,
but it should always consist of both fact and fantasy because that is one of the reasons why people are fascinated by Yma Sumac.
The material found upon my research (and my euphoria as a devoted fan) is of such heterogenic nature
that I had to insist on combining factual events with fictional scenes (thus the inclusion of the weird rumour at the end)
One further note:
This whole URL site "www.friedrichshainerschule.de" is based on this principle
of avoiding the usual structure and dodging the mechanisms of identification,
mixing realistic sequences with fantastic speculation,
placing fictional characters in real-life situations and assembling imagery with the still.Instead, it establishes an ambiguity which requires the active participation of the reader.
The expression is not explicitly compressed in the material of the html documents or the picture files
- it only begins to exist in the mind of the reader, rising from the cracks between the hypertextual elements of expression.
The reader of all these pages must rely on his sensitivity and let his fantasy run freely.
He will add his own experiences and his own thinkings to the text, just as it is intended.I must admit that this gives the reader a lot of freedom, too much freedom perhaps.
A wide spectre of possible implications is laid over a texture of words and pictures,
but the reason for this never once gets spelled out.
It all remains in the realm of hints.
The message can only be felt, not understood rationally.
The meanings multiply - creating as much confusion as enlightenment.
I regard the connection of times as a principle of modernity.
Present, past, future, the subjunctive, the optative - they are all of ONE grammatic form.
And there are 30 other forms one could define by means of politics, and their simultaneous existence is quite modern.