The Jan. 28 Monster show at Harvey’s - Hosts Johnny Kat and Cookie Dough lavishing compliments onto each other in front of an ultra psychadelic backdrop. Photo by Rink.

Yes, it’s true what you’ve heard. Johnny Kat has hung up his false boobies and wigs to retire from drag shows and pursue more “legitimate” acting gigs. That would explain the crowded bar on Jan. 28 at Cookie Dough’s Monster Show: “PSYCHEDELIKAT.”

Co-hosted by Cookie and Johnny, it was truly the lip-synching swan song of The Kat. Helping to give a tune in—turn on—drop out ambiance was dj MC2 on the psychedelic turntables. The stage was very op art with mobiles of Johnny’s face painted by Jimmy Loveless a la Warhol. Johnny took the stage dressed like a female character from that classic ‘60s TV show, Laugh In, wearing a short, bobbed blond wig and way trippy miniskirt. She was joined by two identically dressed backup girls doing “You Pass,” with lots of posing and period dance moves.

Cookie was next to perform in big blond hair, pink miniskirt, and pink go-go boots, tossing out clear balloons filled with silver glitter and confetti, lipping “Somebody to Love” by the Jefferson Airplane. Later on, C-Dough in psychedelic pants suit returned to lip-synch the Rolling Stones’ “Paint It Black,” while angrily ripping down the red curtains to reveal black curtains beneath and tearing up black crepe paper to hurl at the audience, while strobe lights flashed. She handed the microphone to Heklina in the audience (big mistake ever letting Hekkles take a mic: heehee) who plugged the second in a series of benefits to send poor queens over to Britain to do Trannyshack shows. Her next show at Harvey’s is Feb. 18, 11pm as “Swingin’ Sixties London.” And Cookie plugged the next Monster Show, entitled “Gothica” (not Gothika, like that horrible bomb of a sci-fi flick) with Putanesca co-hostessing on Feb. 11.

Foxy Cotton wore a frilly little girl’s dress with black and white op art stockings, bracelets, and headband to do a psychedelic version of Alice in Wonderland lip-synching “Don’t Come ‘Round Here No More” by Annie Lennox with Dave Stewart. Holding a sign that said, “Eat me,” she pulled out a gummy pill from her bottle, ate it, smoked from a huge hookah pipe, and started tripping. She found a giant stuffed toy caterpillar and fell back on it. Foxy fondled a stuffed Cheshire cat and pulled from her panties a deck of cards, which she threw into the audience. Evidently it was a bad trip, because she slashed her neck and splashed stage blood over the front row. “I don’t know whether to call 911 or a detox center,” Kat quipped. Much later Foxy would reappear acting even more disheveled and fucked up, saying, “Everyone told me not to take the brown acid.”

 Suppositori Spelling was a go-go queen doing Kylie in her black knee-high boots and white micro-mini-dress, wearing a black wig with blonde ponytail extensions. “I only ever wanna go-go dance for you,” she sang. Suppositori does a monthly show at Deco called “All That Spaz.” Later she returned with an additional extension of one long, long, purple braid. This is how we can tell Ms Spelling is a true trouper: she had left her next CD at home and had to improvise a number on the spot. Dressed as an East Indian goddess, wearing a decorative chain from earlobe to nostril, she had planned to do “Bollywood” but had to switch to “Spellbound” (which actually went with the outfit and her last name). She belly danced and twirled so furiously that her purple braid flew off.

Pretty, in orange wig to match her orange shoes, wore a half caftan of pink, yellow, and orange gauzy material to do “White Rabbit” by the Murmurs. She had just had some kind of mushroom and her mind was moving low, as Grace Slick used to sing. Remember what the dormouse said, “Feed your head!” She plugged the March 10th arrival at the Exit Theatre of Shakespeare’s Love’s Labors Lost. She took the stage later (in the same outfit: tsk tsk) to do a jazzy version of “Blue Skies.” Johnny returned as a businesswoman in starched blouse and red power suit. “Are you ever paralyzed with anger and are afraid you’re going to blow up?” she asked as frenetic music played in the background. “I want to SCREAM,” she said, and let out a bloodcurdling screech. For her final song and her final drag appearance (when this was announced, Sister Dana rudely shouted out, “Yes, just like Cher, this will be her FIRST of her farewell performances, and Kat instantly mimicked Cher with one line of “Do you belie-e-e-e-eve”) she sang “Different,” realizing she was different. “But it’s not so bad to do your own thing,” even though “different is hard; different is lonely; different is pain, but I’d rather be different than same.” Right on, Johnny Kat! Then Edie Modular (one of Johnny’s many drag daughters), sat on top of a table in a lime green housecoat, with a terra cotta pot in her lap, doing Tar & Cement and “Where are the Lilacs?” lamenting her lost love. She dumped trowels of dirt into the pot and poured in water from a sprinkling can, smearing the muddy mixture all over her dress. So sad. Boohoo. But Edie came back later to rock out with her cock tucked to Motown’s “I Need Your Lovin’” in flashy blouse and dress.

Jordan L’Moore was Kali Bahru in typical hippy East Indian drag, holding a lit stick of incense and posing in lotus position. She was taking a “Cozmic Phone Call” from someone she thought was Buddha. Then she got another call, this time from the voice of rain and fire. Yep, she was high all right. “Doesn’t this blow your mind, all us spaceship ladies,” she murmured in a drugged out voice. Loveless closed the show along with Edie to do “Age of Aquarius” from Hair. They wore hot pink and baby blue paisley outfits, dancing like wisps in the wind while “peace guided the planet and love steered the stars.” We in the audience flashed peace signs with our fingers. The entire cast joined them onstage with a stirring finale of Hair’s “Let the Sun Shine In.”