OK, seriously, not to kick things off with such a downer, but what was with last night's Video Music Awards? Half the time I felt like I was watching a lame American Idol knockoff, and the other half I felt like we warped into some elusive black hole housed by Mr. Rogers' Neighborhood and the gang at Sesame Street. Seriously, kudos to Pink for making the most out of her studio backdrop set up (girl looked good), but folks like Christina Aguilera and Katy Perry should be shamed of themselves. I like "I Kissed a Girl," but perhaps Katy should take a cue from Britney and just present. And Christina? Singing to a track. A track that doesn't even sound like you rerecorded it for the live show. You're supposed to have one of the best voices in music. Shame.
Last year, Britney's performance was a disaster. This year, by doing nothing, she came off looking like one of the most professional. What a difference a year makes!
What was the biggest disappointment of last night for you? Let us know! (Ross von Metzke, The Advocate)
The Gay Men's Chorus of Los Angeles kicked off its 30th year with a show at the Walt Disney Concert Hall that was as touching as it was exciting. Joely Fisher, the emcee for the evening, took the reins to drive the show through the type of concert you would expect from a chorus of such caliber; songs ranging from Spanish ballads, show tunes, and spirituals, all with messages to fight for equality.
The concert kicked off with a choreographed arrangement of the prologue from Ragtime, a jazzy, expository act, chronicling the cultural shifts at the turn of the last century. Christine Chavez, activist and granddaughter of pioneer Cesar Chavez introduced "Solidaridad," and "Cancion con Todos" both songs that stress inclusiveness, and fighting for justice. Right after came "Precious Lord, Take My Hand," introduced by Martin Luther King Jr.'s niece, Donzaleigh Abernathy. She told the audience about growing up in the civil rights era, and her father, Ralph David Abernathy, working with her uncle to spread the message of non-violence and equality.
"My father, and my uncle would have been proud to have stood here today to celebrate the 30th anniversary of the Gay Men's Chorus of Los Angeles," she said to roaring applause.
The incomparable Della Reese next took the stage, singing in her familiar, velvety voice. In a wise, and all-knowing tone, Reese sang "I've Been Touched by an Angel" the intended theme song for the show in which she starred from 1994-2003. Next she sang "Work it Out," an upbeat tune that sent the chorus dancing in the risers.
Erin Hamilton successfully took on one of the most poignant songs of the last century, John Lennon's "Imagine." After, she led the chorus to perform her 1999 song, "One World." The first act of the show closed out with two songs from The Tender Land, "Stomp Your Foot" and "Promise of Living."
After a brief intermission and a lighthearted a cappella rendition of Starland Vocal Band's hit, "Afternoon Delight," musician Levi Kreis took the stage to premier a new song of his, "Look How I've (We've) Grown" and the theme song for Del Shores's Sordid Lives. Fisher came back to introduce herself in a bawdy performance, singing about "All The Good Men Are Gay" -- the classic straight girl nod to her pals.
The second half of the show dealt with the timeliest of issues for the LGBT community in Los Angeles, defeating Proposition 8, which would ban same-sex marriage in California if voters approved it in November.
Actor George Takei and his partner Brad Altman appeared to announce their support for the Gay Men’s Chorus, and to stress the importance of defeating Proposition 8. The two plan to marry this month at the Japanese American National Museum. "What’s great about the Gay Men’s Chorus of Los Angeles is that they're really the voice of the LGBT community in Los Angeles," Takei said after the concert.
Altman, added that the magnitude of the evening was illustrated by the venue itself. "The Walt Disney Concert Hall is basically LA’s version of Carnegie Hall in New York, so for a group like this to perform here is indeed an honor."
The pair introduced Lorri Jean, the executive director of the Los Angeles Gay and Lesbian Center, who gave a stirring speech on the importance of staying active in the fight for marriage equality.
The chorus topped off the evening with a sequence of songs celebrating the rites of marriage, performing "Anything for Him" from Kiss of the Spider Woman, "Love and Love Alone" from The Visit, and "Married" from Cabaret. Next was a tearful rendition of "We've Only Just Begun," a classic Carpenter's song that left few dry eyes in the audience and on the stage. The night capped off with a joyous song and dance to "A Brand New Day (Everybody Rejoice)" from the 1978 musical, The Wiz, and then a soft, touching encore of "Never Get Lost" and "Take Me to the World."
Is TV's Will feeling the pinch at the pump? Perhaps. But that's not why Will & Grace
star Eric McCormack is auctioning off the Porsche producers of the hit NBC
series bought each of the show's stars when it made it's debut in 1998.
No, Eric has listed his car on CharityFolks.com to benefit Project Angel Food, the L.A. based organization that provides food and medicine to people stricken with AIDS. The car is up for bid at CharityFolks.com and, as of this posting, the 1998 silver Boxter is currently going for $23,100 and climbing. Wanna get in on the charitable action? Bidding closes Friday, so check out the listing for more info...
I might be your ticket inside exclusive Hollywood events, or behind the scenes with tough to reach politicians. A place for the Advocate staff to vent, to share juicy tidbits, spark conversation or simply let loose.
Tonight,
as we grease the wheels and get this blog back up and running, our task
is simple... to gab on the topic everyone in the world is talking about.
Sorry Sarah Palin, you're already yesterday's news. I'm talking 90210 -
The Next Gen, the 'not near so bad as I expected' new CW show which
features characters old and new. And yes, of course, Jennie, Shannen
and the Peach Pit were the evening's big draw for me, but I have to
say, some of these new characters could just become addictive.
As resident bad girl Naomi, AnnaLynne McCord may look 25 (and she may resemble a certain Versace clad stripper from Showgirls),
but she has a bite that looks to have BITCH all over it. Ditto for
Silver (Jessica Stroup), as in little sis to David Silver and Kelly
Taylor, who, after conquering coke addiction, rape and a nasty fire,
has resurfaced as a single mom and guidance counselor at Beverly Hills
High.
The clothing is predictably over the top and some of the plot points make The Hills
looks tame (passing scrips in a carved out history book; whisking a
girl you just met off to Frisco on your private jet), but all told,
this one has potential.
No gays as of yet... something tells me when and if we get one, it's going to be in the form of a female.
What can I recommend about Another Gay Sequel: Gays Gone Wild? Well, how's this: it has a great soundtrack. Still, an expensive tracklist that includes Justice and Michael Jackson is likely to be whittled down before the film makes its way into theaters -- and let's hope that the movie's running time is, too. To be fair, the version screened at Outfest wasn't final (for example, the closing credits were missing), but a sex farce like this needs snappy timing, not a glacial pace and a nearly two-hour running time.
The sequel to the American Pie-spoofing Another Gay Movie, Gays Gone Wild picks up with all four boys headed to Fort Lauderdale for spring break (though three of the actors have been recast -- a situation the movie acknowledges and makes fun of early on). Amidst the buff bodies on display, Griff (Aaron Michael Davies) and Jarod (Jimmy Clabots) wrestle with the idea of an open relationship, while eager Andy (Jake Mosser) has to slow down to accomodate his new love interest: a virgin. Meanwhile, all the boys -- including diva-in-training Nico (Jonah Blechman, the only lead to reprise his role from the first film) -- have to contend with the evil antics of the Jaspers, a group of gay Heathers led by Big Brother refugee Will Wikle.
Writer/director Todd Stephens professed a desire to go deeper with Gays Gone Wild, and the explorations of gay monogamy certainly give the film a bit of juice -- it's just too bad so much of it is wasted in interminably slow-paced scenes. Too often, the film seems to take its cues from Blechman, a talented actor who nevertheless pauses for dramatic effect after every third word, as if anticipating laughs that never come. Quicker banter and judicious subplot cutting might not totally save Gays Gone Wild, but if Stephens really wants to make good on his promised third installment (Gays in Space), it'd be a good place to start. - Kyle Buchanan
Awards Night at Outfest is often the most fun night of the fest, and last night was no exception, thanks to the copious charms of Mama, the night's host and "trophy diva." Made to play second fiddle to host Bruce Vilanch last year, Mama finally came into her own -- a remark she would no doubt twist into a double entendre, if given the opportunity.
The night's big winners included double winner Hamlet 2 (Outstanding Dramatic Feature and Outstanding Soundtrack), XXY (Oustanding International Dramatic Feature), and Sex Positive (Outstanding Dramatic Feature). Most auspiciously, the night's final award for Outstanding U.S. Dramatic Feature went to Were the World Mine, which then screened to an appreciative audience under the stars at the Ford Amphitheatre.
Grey's Anatomy star T.R. Knight poses with director Thomas Gustafson after the latter collected his award for Were the World Mine.
No one may have been more excited to receive an award than Outstanding Actress winner Nicole Bilderback, who won for The New Twenty. The giddy actress may be straight, "but I just came out as an Asian!" she squealed to laughter and applause.
Robin Williams was on hand to support daughter Zelda, star of Were the World Mine. If he looks just a bit uncomfortable, maybe it's due to Zelda's bangin' miniskirt (which you can catch just a glimpse of here). No, seriously, she rocked it.
"It's so cold out here," moaned presenter Calpernia Addams -- before shrugging off her warm wrap to better display her bodaciousness.
Presenter Janice Dickinson attempted to steal both the spotlight and the award she was supposed to give out. I'm sure no one is surprised. She also instructed out model J.P. Calderon to doff his shirt onstage, and he meekly complied.
Watercolors director David Oliveras took home $5000 and the prize for HBO Outstanding First Dramatic Feature. He did not, to our knowledge, take home presenter Rex Lee. (photos courtesy of Brian Putnam)
One of the biggest premieres at the Outfest Film Festival this weekend wasn't a movie at all: it was the screening of Sordid Lives: The Series. The West Coast premiere of the much-anticipated Logo series -- the prequel to Del Shores' 2000 sleeper hit -- drew a sold-out crowd in advance of its July 23rd TV debut.
Writer/director Del Shores gets a kiss on the red carpet from his partner Jason Dottley, who plays Ty in the series.
Dirty Sexy Money star Candis Cayne showed up to lend support.
Audience favorite Beth Grant (who plays Sissy in the series) has a way with camp -- you may remember her doubting Mary McDonnell's "commitment to Sparkle Motion" in Donnie Darko.
Shores takes questions from the audience. (Photos courtesy of Brian Putnam)
So many lesbian films have what I like to call The Moment: a scene where the (usually married) protagonist first lays eyes on the free-spirited, eventual love interest, sparking a widening of eyes and a smatter of "I didn't think I liked girls before this!" confusion. The World Unseen nails this moment, and then some: as housewife Miriam meets rebellious Amina at the local cafe, the former is so bewitched that she looks ready to hurl herself out of the closet. Miriam's husband turns up his nose at grubby Amina's choice of dress, but Miriam is smitten. "Maybe it's easier to work in trousers," she muses, dreamily.
Classic line, and it's illustrative of The World Unseen in general: it doesn't do anything new, but it does what it does pretty well. At the very least, it looks gorgeous -- set in 1950s South Africa, the sweeping vistas give the small film epic scope. And as the leads, Lisa Ray and Sheetal Sheth exude so much glamour that their love affair sometimes seems impossibly unrealistic. Still, the film is more comfortable with Hollywood pop than it is with real world issues, and an uneven middle stretch devoted to the problems of apartheid threatens to sink the central romance just as it's getting started. Trousers might be easier to work in, but this glossy film is most confident when it's dressed up.
It's Halloween in the Castro as The Lost Coast begins, but Mark, Jasper and Lily don't seem in the mood to party. Dour twentysomethings tenuously linked by high school friendship, the three of them skitter around each other, saying little and doing even less. As they ditch the Castro and head out to find a drug-dealing friend, it soon becomes apparent that openly gay Mark had a high school fling with Jasper, and the tension between them this night might lead to something more. The only problem: Jasper's engaged to be married.
The Lost Coast is a moody, well-shot, ultimately uneventful piece that's all the more frustrating on account of how talented its makers appear to be. Though the characters treat this Halloween with suffocating self-importance, there's very little actually transpiring. In fact, we frequently flash-forward to Jasper writing a "there's something you should know about me" email to his fiancee, but as he continues to detail every mundane thing that happened that Halloween night, you can imagine his impatient fiancee thinking, "Get to the point!" Unfortunately, audiences may think the same thing. - Kyle Buchanan
In an unfortunate bit of scheduling, last night's Outfest screening of Eleven Minutes -- the perceptive new documentary about Project Runway winner Jay McCarroll -- went head-to-head with the season premiere of Project Runway itself. Bad timing, but as the documentary details, Runway continues to loom large for McCarroll as both a blessing and a curse. Certainly, he admits, the show launched his career -- but it's also raised unrealistic expectations that McCarroll has trouble meeting. Why, everyone wants to know, is it taking him so long to show his first collection? After all, he produced a new dress in every episode of Project Runway! It should be easy, right?
As Eleven Minutes skillfully shows, it ain't. Money is a constant concern -- many in McCarroll's camp work for him for free -- but so are the designer's insecurities. His work is as confident and compelling as his outsized personality, but while he would never bite his tongue, he often seems apologetic about his clothes. "Who would wear this?" he says, mocking one of his most outre creations. Tasked with picking out his most saleable items, he goes for all the safe choices -- then is burned when buyers reject them for not being "Jay" enough. McCarroll's biggest fear is being seen as nothing but a reality TV personality, but as the center of this documentary, he's a sympathetic star. Though he may overcome Project Runway someday, getting out of his own way will be another matter. - Kyle Buchanan
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