The Nomi Song

This film should to be approached after becoming totally familiar with all other information available. This information is not growing at present but would be well suited to be expounded on by anyone or all of these extraordinary people who knew this exceptional person during this and his time in history.  Kristian Hoffman; you have a wonderful command of the language to express it in writing. I would hope something or someone would appeal to the writing of a book about klaus and your fabulous group of supporting and starring characters that accomplished so much with during that time and as their careers as developed without him. Written by those who loved klaus as many have demonstrated in their own way in this film and by support of friendship outside of this film. Most important it should be written by someone who lived it not someone sorting history out after the fact. There have been many to leave thru death but a surprising amount of directly related, survivors to tell the story. Do please tell more of the story. The film is great but must be put down in chronological order by a book also to be understood by someone not living the story not alive at this time in space.  God bless your motivation for the documentary it made me cry it was so generous and kind in its spirit!
A fan

great documentary.  i never realized that klaus nomi was such a big deal IN HIS OWN RIGHT on the new yeark scene. (i’d always thought of him as a kind of imitation bowie, or as a talented second or third tier artist who attempted to ride on the coat tails of the “new wave vaudeville” review and then on bowie’s coat tails.) this film is a terrific evocation of a “more innocent” era....at least the era may have seemed that way in retrospect.  the “new york new wave” scene was actually an early phase of the alternative pop/rock movement, yet it used an essentially “modernistic” approach to alternative pop/rock.  nomi, apparently, was a janus faced figure, looking both backwards and forwards.  he exemplifies some of the modernistic tendencies of the past, yet at the same time his work shows some of the playfulness and intertextuality that was to characterize the future of alt pop. klaus nomi HAS had a bit of an influence on the postmodern present. nonetheless, the film chooses to ignore this, focusing on nomi the Modernist, an individual endlessly engaged in a struggle to “create himself.” as a result, nomi comes off as a relic of a bygone era, not as a personage whose influence is still being felt.  “heterocentric” folk may even see this film and have a good laugh at nomi’s expense, then go back to enjoying their lady gaga videos.  another quibble i have with this film is the fact that it doesn’t include my favorite nomi song.  the picture is called “the nomi song,” but it doesn’t include the quintessential nomi opus, klaus’s revisionist version of leslie gore’s “you don’t own me.” i’m sure that (understandable) penny ante nothing legal technicalities are to blame for its absence, but it is missed, at least by me. enjoy the film, then hunt down a video of nomi performing this classic.

Life is never a happy ending…