Short-lived but highly influential, The Cockettes' radical gender-bending sexuality ("genderfuck") helped pave the way for gay liberation and the free expression of queerness, exemplified by the Pristine Condition's Tri-Sexual Bicentennial Universal Calendar for 1976, a celebratory portrayal of gay consciousness in twelve monthly photographs. The Nocturnal Dream Shows gave The Cockettes their first public performances. The shows began as a series of late-night film screenings, first billed as Midnight Films and later known as the Nocturnal Dream Shows. In early 1969 filmmaker and artist Steven Arnold approached the owner of the Palace Theatre, Mr. Chew, with the intention of renting the space for a one-night screening of his student film, "Messages, Messages." The audience for the first event in April 1969 included future Cockettes John Rothermel and Frank Bourquin (Inez Paloma), and its success led to a regular showcase of underground and experimental films. These were soon managed by Arnold's roommate and former accountant for Bill Graham, Sebastian (Milton Miron), who produced the handbills publicizing them using the mimeograph machine owned by Mr. Chew. Arnold first met Kaliflower Commune member Hibiscus (George Harris) at the Palace box office, made up as his idol, Jayne Mansfield, and recognizing him as a kindred spirit, admitted him for free, a policy extended to other future Cockettes in exchange for their impromptu live performances. By June 1970 Hibiscus had created Fairytale Extravaganza, a full-blown stage production for The Cockettes containing all the songs remembered from his childhood and many Disney classics, ending with the entire cast singing his personal theme song, "Some Day My Prince Will Come." Earlier in 1970, after Arnold had left for Hawaii to concentrate on filmmaking, Todd Trexler assumed responsibility for the design of the Nocturnal Dream Shows and The Cockettes posters. Already known for the Peaches Dream Galleries housed in the living room of his Castro Street apartment, he printed them offset litho and made them larger. His work borrowed design cues from The Cockettes' eclectic style of dress and costume, itself inspired by vintage Hollywood glamour. Over the next few years his posters both reflected and helped define The Cockettes' visual identity. In November 1971, The Cockettes and Sylvester had an infamous, under-rehearsed three week run at the Anderson Theatre in New York City that was panned by East Coast critics. Trexler's poster for this notorious flop features a Clay Geerdes photograph of John Rothermel in full color. Back in San Francisco and without de facto leader Hibiscus, who had departed earlier due to philosophical differences, and Sylvester, who walked out during the New York trip to pursue a solo career, The Cockettes continued to perform but also to further fragment. John Rothermel put on Black Moonlight, a one-woman cabaret at the Palace, and Fayette Hauser left for Las Vegas to support Bette Midler. By late 1972, following their last official show, The Miss de Meanor Beauty Pagent, The Cockettes had disbanded and Hauser, along with troupe members Tomata du Plenty, Link Martin, John Flowers and Sweet Pam, moved to New York City to perform in underground theatre. So too did Hibiscus, who put together a number of off-off Broadway revues in the mid-'70s. The Cockettes' final official show was in July 1972.