Idina Menzel and James Corden Had the Time Of Their Lives In This Incredible 'Dirty Dancing' Duet: WATCH

Idina Menzel and James Corden Had the Time Of Their Lives In This Incredible 'Dirty Dancing' Duet: WATCH

Menzel1

Newly minted Late Late Show host James Corden and Broadway superstar Idina Menzel had a blast from the past on Thursday’s episode with an uproariously entertaining duet of “(I’ve Had) The Time of My Life” from the Dirty Dancing soundtrack. 80s style backup dancers included.

Sing along, AFTER THE JUMP

Menzel

 
 


Kyler Geoffroy

www.towleroad.com/2015/05/menzel_corden.html

Dirk Shafer’s Death Caused By Cocaine, Meth And Heart Disease

Dirk Shafer’s Death Caused By Cocaine, Meth And Heart Disease

10406436_10152641021722231_7839567006844746398_nThe death of Dirk Shafer, the model, actor and fitness trainer who became a heartthrob to most straight women and gay men when he was named Playgirl‘s “Man of the Year in 1992, was caused by “methamphetamine and cocaine toxicity,” according to results of an autopsy performed on the 52 year old.

The L.A. County Coroner’s office released its finding April 29 and noted that he suffered from hypertensive cardiovascular disease. Shafer was found dead in his car parked on a West Hollywood street March 5.

1-489x670Shafer made a 1995 film, Man of the Year, which was a fictional look at the experience of posing nude for Playgirl and how readers were shocked to learn he was gay.

Shafer also appeared on Will & Grace in 2001 as a character named Blaze. The same year he directed Circuit, which looked at the gay party scene and played at numerous film festivals. In 2012, Shafer again posed nude for Playgirl to commemorate the 2oth anniversary of his first layout.

He was buried last month at Hollywood Forever Cemetery in a private ceremony attended by his family from Oklahoma.

 

H/t: WeHoVille

 

Jeremy Kinser

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My First Father-Daughter Dance: Standing Ground (#BaltimoreUprising)

My First Father-Daughter Dance: Standing Ground (#BaltimoreUprising)
On Friday morning, I was getting my seven-year-old daughter ready for school and chatting happily about our first father-daughter dance later that night. So when a friend of mine suggested later, “Remember where you were last year at this time. Give thanks for then and for now” as a May Day spiritual practice, my meditation was on gratitude for my first-ever father-daughter dance.

Though I was a daughter, I had never been to one with my father. My parents’ divorce when I was two years old was not friendly back then. And I have an older daughter, now in her late teens, I went through her school years as her mother. To my youngest child, I am Daddy. But a year ago at this time, life for us was socially awkward. Only the loss of my full-time employment as a Christian theology professor at 47 freed me to start the changes that allowed me to recover from mental illness to be fully present in her life — but as her dad. My intersex body was still recovering from 32 years of feminizing treatments with estrogen and progesterone, and my legal name and gender change were still waiting in an eight-month process of court approval.

The awkwardness of my “in-between” transitional appearance made most other adults obviously uncomfortable if not outright hostile, especially when their children were present. Whether at school events or at local playgrounds, adults often pulled their children away from child in silent but obvious fear when I was with her.

Last year at this time, my then first-grader asked me to take her to the father-daughter dance at her school repeatedly, and every time, my refusal made her cry. For about two weeks, she begged and whined, “Why, Daddy, why?”

Embarrassed and even a little angry, I’d answer, “The other parents don’t understand, honey.”

What I was too ashamed to explain last year at this time was that I was afraid around other dads — because I didn’t look or sound like a dad — and as I now work in LGBT community, I know all too well that interactions between a group of cisgender straight men and one token trans* person or less-than-masculine gay man often end in violence.

Tearfully, my young child angrily (and probably rightfully) asked me, “Who cares what they think?” — not understanding why I didn’t stand up to the mean people this time (as she had seen me do for our extended family of LGBT college students). Because this time, young children would be the ones caught in the crossfire, I resigned myself without trying to explain further, “Not yet. Maybe next year, honey.”

So I am grateful this year because instead of shame, fear and tears, we had a laugh reading the dress code for the father-daughter dance.

“No strapless dresses allowed.” I said, “Too bad.”

Since she had proudly picked out her outfit to show me the night before, she said to me, exasperated, “Dad, you know I wasn’t going to wear one anyway!”

When I grinned back at her, she saw the humor. “You mean you were going to wear one? Da-a-ad!” She rolled her eyes and laughed with me. Progress!

To help manage the social anxiety for both of us as we got ready for the dance, I asked her to pick out my outfit, only requesting to stay in my blue jeans (which she approved). Out of all my plain, boring dress shirts, she picked the only one in rainbow colors (plaid), adding a black bowtie and black leather motorcycle boots — a choice I tried to steer her away from out of my own nervousness.

She was fearless and insistent, “These look the best on you, Dad!”

Once we got there, the old social anxiety returned. After all, my child was the only little girl in the whole room with a trans* dad, and she is already used to being socially excluded. But with a lot of patient waiting as she sat through those feelings, gently but firmly insisting, “We’re going to stay ’til you are ready to share one full dance, then if you are still not having fun we can go”, and the eventual help of one empathetic staffer to connect her with another little girl who is a friend, she finally danced with me and her friends the whole last hour of the event.

As I tucked her in bed that night, she told me, “This was the best time of my whole life!”

From a year ago today to now, I have much for which to be grateful. So many of my intersex friends have been wrongly told (as I was by doctors) that we could never have kids — so many gave up without trying. So many trans* friends who are parents lose custody of or even visitation with their children for no reason other than their gender. So many gay men and trans people aren’t even physically safe in a room full of guys who aren’t LGBT — let alone accepted without any fuss as I was with my child that night — like any other dad and daughter. The whole community around us has grown and opened hearts over time. So I am grateful.

But it took willingness to stand our ground in this unknown territory and take the pain of others’ fear, hostility, exclusion, and social awkwardness every single day for nearly two years to get to where we are now. Running away, hiding out, or fighting back are all easier than what my young child actually did at this school dance — and less effective for changing hearts and minds than the long-term work of staying in relationship with those who don’t understand or even worse, bully.

And so learning from my young child, I honor those at Ferguson and Baltimore — even though we are far away in L.A. And even though some dismiss the particularity of their moment-by-moment, daily acts of ongoing courage with the pithy generalization “all lives matter”. #BlackLivesMatter — specifically, in this particular time and place. The hardest, bravest work of all is staying — without surrendering, without attacking — to stand your ground.

— This feed and its contents are the property of The Huffington Post, and use is subject to our terms. It may be used for personal consumption, but may not be distributed on a website.

www.huffingtonpost.com/h-adam-ackley-phd/my-first-fatherdaughter-dance_b_7200750.html?utm_hp_ref=gay-voices&ir=Gay+Voices

Gay Iconography: Bessie Smith’s Queer Blues

Gay Iconography: Bessie Smith’s Queer Blues

Bessie-Smith

When you think of pioneering queer musicians, folks like Elton John, David Bowie, and Sylvester might come to mind. But think further back. Much further. Before we even had rock ’n’ roll to speak of, blues artists were defying expectations (and often the law) to sing about their same-sex affairs.

Among the stars of the 1920s and 1930s, Bessie Smith is one of a few female blues singers that discussed lesbianism in her music. Nicknamed “The Empress of the Blues,” Smith was known for her big voice, hit records and a bit for her scandalous affairs. It was said she took male and female lovers while on tour, particularly during her tumultuous marriage to Jack Glee. She allegedly barked at one of these female lovers, Lillian Simpson, “I got twelve women on this show, and I can have one every night if I want it.”

Of the 160 recordings she made for Columbia throughout her career, three of her songs were inducted into the Grammy Hall of Fame for their historical significance, including “St. Louis Blues,” “Empty Bed Blues,” and her No. 1 hit “Downhearted Blues.” Her music included references to her tastes for both sexes, including the line in her 1930 track “The Boy In the Boat,” where she sings: “When you see two women walking hand in hand, just look ‘em over and try to understand: They’ll go to those parties—have the lights down low—only those parties where women can go.”

Get a bigger taste of Smith’s lasting legacy, AFTER THE JUMP

 

Bessie Smith was born in Chattanooga, TN. After losing both of her parents, she began busking with her brother to earn money to support the family. From there, she became a dancer in a traveling performance troupe. She rose from chorus girl to recording artist to the highest paid black entertainer of her time.

 

Most of Smith’s legacy is confined to her legendary recordings, but there is one film appearance as well. She starred in St. Louis Blues, directed by Dudley Murphy. It’s notable for her performance of the film’s title track, which was accompanied by an orchestra and showcased Smith’s talents in an entirely new context.

 

Smith’s life on and off the stage has inspired a number of other artistic works. J.D. Salinger wrote a story called “Blue Melody” about her, while Edward Albee’s play, The Death of Bessie Smith focuses on the circumstances of the deadly car crash that took her life. Additionally, there’s Bessie’s Back In Town, which tells Smith’s story along with her music. See a clip from the show above.

 

Later this month, HBO will debut a new film, Bessie, starring Queen Latifah in the title role. The film doesn’t shy away from Smith’s sapphic affairs, creating a fictional character, Lucille (Tika Sumpter), as a composite of some of Smith’s female lovers. Bessie is directed by lesbian filmmaker Dee Rees, whose last feature film, Pariah, told the coming out story of an African-American teen girl.

 

Bessie will also focus on Smith’s mentor, Ma Rainey (portrayed by Mo’Nique in the film), who is among a handful of blues singers that also engaged in same-sex affairs. Others include Gladys Bentley, who often performed in a full tuxedo, and Ethel Waters.

Are you a fan of Bessie’s blues tunes?


Bobby Hankinson

www.towleroad.com/2015/05/gay-iconography-bessie-smiths-queer-blues.html