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rickygoldman34 · 4 months

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Thats right its The Golden Blog with a brand new look,brand new graphics and brand new way of doing things. I also have a co-writer who will be joining me from now on. This will now simply be good and bad points.

So starting with the women's Royal Rumble match.

👍Good points:

The lasers give it that big time feel and the info on screen graphics are a nice touch.

Its great to see Naomi back.

Bayley got a huge ovation.

Great to see Jordynne Grace in WWE they also acknowledged the fact she beat Naomi in TNA.

Im guessing Tegan Nox eliminating Natalya leads to a match between the 2 so if this means a push for Tegan then im all for it.

A good pop for Zelina Vega.

I liked how they made Nia Jax look like a threat.

Alba Fyre got a good reaction.

R-Truth as funny as always thinking he was in this.

Jade Cargill has made her debut and got a huge pop.

Tiffany Stratton certainly impressed here.

Good to see Liv Morgan back.

Bayley winning. She more than deserves it.

👎Bad points:

Candice Lerae hardly got any reaction,neither did Indi Hartwell same goes for Ivy Nile and Kitanna Chance.

Bianca Bel Air almost slipping on the top rope as she jumped over it.

Kari Sane,Tegan Nox,Kayden Carter,Chelsea Green,Piper Niven,Xia Li,Maxxine Dupri,Shotzi,Shayna Baszler,Valhalla,Michin,Zoey Stark,Roxanne Perez also with zero reaction.

No Sasha Banks.

Undisputed WWE universal championship fatal four way match.

👍Good points:

Roman Reigns entrance looked awesome.

I love they addressed fans complaining online that Roman only defends the title every few months.

This certainly went the distance.

All 4 men looked good here.

A great sequence of events that lead to the finish.

👎Bad points:

This shouldn't have gone on 2nd.

The Slim Jim commercial during the entrances.

Solo Sikoas interference wasn't needed i feel.

Us Championship match.

👍Good points:

Logan Paul targeting Kevin Owens broken hand.

Logan Paul just seems to get better and better.

A great finish,a most certainly stacks heat onto Logan.

👎Bad points:

Logans freind Jeff really didn't need to get involved here.

Mens Royal Rumble match.

👍Good points:

Having Jey and Jimmy Uso start this was very smart.

Grayson Waller came out to no reaction but quickly got heat on the mic.

Great to see Andrade back.

Carmelo Hayes got a good pop.

Many boos for Dominick Mysterio,what a heel.

Good pop for Bobby Lashley,also Kofi Kingston.

Good to see Bron Breakker in the match and damn was he impressive.

A great surprise Pat McAfee entering the rumble.

A big pop for R-Truth,he wanted a hot tag to enter the match,so funny.

Huge pop for Cm Punk.

Good ovations for Drew McIntyre and Sami Zayn.

👎Bad points:

Little reaction for Shinsuke Nakamura,Santos Escobar,Karrion Kross,Austin Theory,Finn Balor,Bronson Reed,Gunther,Ivar,Omos,Jd McDonough,The Miz,Damien Preist and Ricochet.

They popped for Ludwig Kaiser but booed him when they saw who it was.

Cody Rhodes had to do his full entrance like a goof ball.

No Rock.

Cody Rhodes winning,Cm Punk losing.

Royal Rumble 2024 notes

1. Nia Jax had the most eliminations in the Womens Royal Rumble match with 8 (Ivy Nile, Kitana Chance, Piper Nevin, Xia Lee, Shotzi, Shayna, Valhalla and Michin)

2. Bayley won the Womens Rumble but had the 2nd most eliminations with 7 (Candice LeRae, Indy Hartwell, Tegan Nox, Maxine Dupree, Bianca Bel Air, Tiffany Straton and Liv Morgan)

3. Bayley is the 2nd woman to win the Women’s Rumble at number 3 after Bianca Bel Air

4. Valhalla ties with Chelsea Green for shortest time in the Womens Rumble with 5 seconds.

5. Cody Rhodes and Bron Breakker tied the mens Rumble with the most eliminations of 4. Cody (Austin Theory, Shinsuke Nakamura, Gunther, CM Punk). Bron Breaker (Ivar, Omos, Finn Balor and Jimmy Uso)

6. Gunther came 2nd with the most eliminations in the men’s Rumble with 3 (Jey Uso, Kofi Kingston and The Miz)

7. Bron Breakker replaced Brock Lesnar following his name being mentioned in the Vince McMahon sex traffic scandal.

8. Cody Rhodes is the only man to win the men’s Rumble at 15.

9. Bayley lasted the longest in the Womens Rumble with 1:03:03, Namoi came 2nd with 1:02:18

10. Jey Uso lasted the longest in the men’s Rumble with 50:55, Cody Rhodes who won the Rumble came 2nd with 43:21

!!MY SOCIALS!!

👇👇👇👇

#wrestling #roman reigns #royal rumble #seth rollins #cody rhodes #logan paul

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vitapictura · 2 years

Video

vimeo

John - Who Gone Be | Music Video Trailer from Vita Pictura on Vimeo.

The official music video for “Fight City” mini-series produced by Vita Pictura and Roll Up Films and directed and performed by John Lee.

John Lee created this series while teaching math at a high school and doing his master’s degree. Fight City was shot in New York, Cleveland, and Tallinn. The film builds on the range of issues one faces while growing up in a community segregated by financial status, class, and race. The production just proved that film has no boundaries, as long as you are convinced to go through all of the ups and downs of the process.

Production Company | Vita Pictura vitapictura.co

Music Video Credits:

Series Credits:

Cast

Special Thanks | Kemet Ojo, Ruth Parker, Jerrell Chesney, Geofferey Taylor, Akram Harrison, Tyrone Mixon, Kellen Walker, Roderick Jackson, Cloud from Philly, Ray, Arnold, Andrew Freedman House, Backstage, Imani Louden, Andre Dre Deuce Smith, City of Cleveland, City of New York

» Connect with Vita Pictura Facebook → facebook.com/vitapictura Twitter → twitter.com/vitapictura Instagram → instagram.com/vitapictura Youtube → youtube.com/vitapictura Vimeo → vimeo.com/vitapictura Follow Fight City the Movie → fightcity.vitapictura.co/

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reignmyworld · 5 years

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From Scarlet Spencer’s instagram profile (x) and Dallas Dupree Young’s instagram profile (x)

#roman reigns #the big dog #joe anoa'i #leati anoa'i #roman reigns pic #scarlet spencer #dallas Dupree young #I have no idea whether I had already posted them #but here they are (again) just in case #cousins for life

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samwisethewitch · 3 years

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Rethinking How Paganism Engages Culture

There’s a common sentiment in the greater pagan community that, “You don’t choose who calls you.” Most pagans are converts (meaning they weren’t raised in the faith they practice now), and many of us feel that we were called by the gods to our current faith. Those callings often come from gods who have little or no biological, cultural, or ancestral link to us. Whether Wiccan, neopagan, Heathen, Hellenist, Roman pagan, eclectic, or some other path, many of us feel that our gods came to us, rather than the other way around.

And yet, we get really weird when those divine callings cross modern racial and cultural lines.

Don’t get me wrong, cultural appropriation is a big issue, and I’m not trying to argue that it isn’t or to say that we shouldn’t be mindful of how we engage with living cultures. However, most white pagans (including myself until very recently) have a very simplistic understanding of cultural appropriation, which leads us to create very simplistic and imperfect solutions. This understanding usually includes differentiating between “closed” traditions (i.e., those with an initiatory, ethnic, or cultural barrier to entry) and “open” traditions. If something is part of a closed tradition, most white pagans will say it should be left alone or even avoided by those outside the tradition, no exceptions. On the other hand, open traditions are up for grabs.

While this way of thinking about cultural appropriation comes from a well-meaning place, it creates at least as many problems as it solves.

The first step in any social justice work is to acknowledge and accept that there are no easy answers. The desire for a simple, black-and-white solution -- preferably with an alphabetical list of which cultural traditions we are allowed to borrow from -- is itself a product of white privilege. This overly simplistic approach allows white pagans to get out of doing the work of actually learning about other cultures from members of their living traditions. It allows us to get our gold star for being racially sensitive without actually changing in any significant way.

This idea that you should only worship gods that look like you or have a direct cultural link to you creates artificial barriers and makes it easy for white supremacist groups to hijack pagan rhetoric. It also encourages pagans to create cultural and ideological echo chambers, and makes modern paganism inaccessible to people of color, especially those who may not know their family’s country of origin due to the impact of slavery and/or imperialism.

Amy Hale, PhD sums this far right rhetorical strategy up with chilling simplicity in her essay, “Marketing ‘Rad Trad’: The Growing Co-Influence Between Paganism and the New Right,” in the anthology Bringing Race to the Table: “Proponents of the New Right maintain that cultural separation increases diversity, as do ‘natural’ hierarchies. In this way the New Right rhetorically distinguishes itself from the racism and anti Semitism associated with Historical Fascism, while still providing the intellectual justification for White nationalism.”

And later in the same essay: “In fact, the rhetorical emphasis on maintaining cultural diversity initially appears very Leftist, and hardly fascist at all. Cultural diversity is to be promoted and cherished, as long as racial purity is maintained.”

Another issue is that this way of thinking completely ignores the realities of multiculturalism and cultural sharing. This is how the real world works. Cultural sharing happens naturally in families and communities where people from different backgrounds are brought together. Traditions are shared and sometimes syncretized to produce something new, something both.

In the essay “Shoop! Transforming Stereotypes with Love,” Erick DuPree talks about his experiences as a white child growing up in a majority Black community, and how that cultural exchange has affected his practice. When talking about how he engages with these cultures in his spiritual practice, DuPree says: “I came into the dialogue seeking wisdom and from a place of inquiry. I made the choice to make the connection and build relationships, rather than walls of opinion. This approach lends itself in cultivating a cultural exchange over appropriation.”

As DuPree points out, the key here is to build genuine relationships with the goal of connection, not initiation into a culture’s sacred mysteries. When we have a genuine connection to a cultural tradition or feel called to build such a connection, researching it from the privacy of our own homes is not enough. We have to be willing to get out there, meet people, and be part of the community.

In her essay “Reweaving the Web: Pagans, Privilege, and Solidarity,” also in Bringing Race to the Table, Claire “Chuck” Bohman says: “Guarding against the ‘culture vulture’ does not mean that we should only engage with spiritual traditions or practices of which we are ancestrally connected. Quite the contrary, we need to celebrate the many manifestations of divinity in its multiplicity of racial, gender, and cultural manifestations. However, I believe we must always consider the ways in which our privilege plays out in our spiritual journeys and be mindful of the impact that these practices may have on those who are from positions of less privilege.”

Or, as Najaa Young says in their article, “Black Gods in the 21st Century: A Cautionary Tale About Folks,” “Come in, sit down, keep your hands to yourself and do twice as much listening as you do talking.”

*********

[Long story about my personal experiences with cultural sharing vs. cultural appropriation under the cut.]

I am white. Like, really, really white. I’m a pale, blue eyed woman with very European features. And that comes with a lot of privilege. It’s privilege that I’ve often taken for granted or misunderstood. I’ve been working for years now to unlearn the thought patterns of white supremacy and to be a better ally in the fight for racial equity. I’ve come a long way since my “I don’t see color” days, but I am still learning and my understanding of race as a social construct is still constantly evolving.

I grew up hearing stories about ancestors who were Scottish, Irish, English, German, Italian, and Cherokee. But honestly, I have never felt a strong connection to any of these cultures. Most of my European ancestors came to this land when it was still a newly-stolen British colony, and over the generations many of their traditions were lost. My family’s culture is not European but deeply American -- the culture of Appalachia and of the Deep South, with all the wonderful and terrible implications of that.

The cultures I actually grew up immersed in were not the least bit white. Although I am a white woman of mostly European genetic heritage, my family is also Black, Nicaraguan, Chinese, Filipino, and native Hawaiian. As a small child, I spoke Spanish and Cantonese. My first tattoo was a fenghuang, a Chinese symbol of feminine energy that is important to my family. Our house was -- and still is -- full of maneki-neko (or jīnmāo) figurines, which are good luck charms popular with both my Chinese and Hawaiian relatives. We throw a carne asada for every birthday, graduation, and anniversary. Our Christmas celebrations include Nochebuena. These cultures are much more immediate and familiar to me than any of the European cultures my white ancestors came from.

And yet, aside from exploring some very basic Buddhist philosophy and practices, I’ve never tried to incorporate any of these cultural influences into my spiritual practice.

When I was first began to explore paganism, it was through a brand of Wicca that was very much influenced by European occultism and British folklore. That never quite felt right for me -- though I still think Wicca is a beautiful religion, the images of a pale-skinned moon Goddess and a stag-headed God never quite resonated with me.

When I began to dabble in reconstructionist paganism, I found a deep affinity for several of the Norse and Irish gods, but the philosophy and theology of those cultures never quite felt right. I developed an eclectic practice that incorporated elements of all of these traditions, but something still felt like it was missing.

I never looked to the cultures in my daily life for inspiration for two reasons.

First, they don’t fit the mainstream idea of what paganism looks like. It’s hard to imagine invoking the Goddess in Cantonese or inviting Pele and Odin into the same ritual. I couldn’t imagine integrating these cultural elements into the very Eurocentric structure of most modern pagan religions.

Second, I didn’t want to be guilty of cultural appropriation. I had a very simplistic idea that because I am white, it was inherently wrong for me to engage with spiritual practices from non-white cultures. It wasn’t just that I was afraid of being called out online. Even if I hadn’t publicly shared these “problematic” aspects of my practice, I still would have felt guilty. Nevermind that I grew up with these stories and still have a strong link with the cultures they come from -- they and I fell on opposite sides of a racial barrier that seemed both impossible and immoral to cross.

I’ve recently realized that the reason my pagan practice never felt like it quite fit was because I wasn’t bringing my whole self to sacred space. I was bringing only myself as a white mystic, as a European-American, and as an intellectual. I wasn’t bringing my step-father’s entenada or my aunt’s zhínǚ. I wasn’t bringing my family’s cultural patchwork quilt to the altar.

I’ve recently received some strong messages from Spirit that it’s time for me to revisit my roots, both in terms of returning to my pagan basics and in terms of reconnecting to my family’s culture and maybe, just maybe, bringing that culture into my spiritual practice.

This does NOT mean that I’m declaring myself a bruja, santera, or kahuna. And I still don’t think it would be appropriate to simply perform a Wiccan ritual with Latine aesthetics or to add Kuan Yin to my Heathen-style deity altar. Just because I have a family tie to these cultures and have grown up exposed to them does NOT make me an honorary Black girl/Latina/etc. I am still coming to these cultures and belief systems as someone who has white privilege, who benefits from centuries of colonialism and white supremacy, and I am extremely mindful of that in how I’m moving forward.

What I am doing is approaching these cultural traditions with respect, humility, and a genuine desire to learn. Books are usually the backbone of my research on religious/spiritual topics, and I AM seeking out books written by cultural insiders, but this is one case where I think connecting with the living community is supremely important. I am visiting temples and spiritual centers. I am consulting with initiated spiritual leaders on how I can move forward respectfully. I’m bringing my family into the loop and making sure I share my experiences with them.

Above all, I am staying open to being told no. If someone tells me, “No, this isn’t for you, and there is no way for you to honor this tradition without being disrespectful,” I am willing to listen, to believe them, and to immediately stop without argument. So far, the spiritual leaders I have spoken to have been very supportive of my efforts, but if that ever changes, I respect them and their traditions enough to leave it alone.

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ocw-archive · 3 years

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LA Times - THE ACTOR'S LIFE, July 09, 2006

Rachel Abramowitz, Times Staff Writer OWEN WILSON may be the only Oscar-nominated screenwriter who's never owned a computer. He's not going to take the plunge now at the advanced age of 37 because he's afraid he'd get addicted to computer games. "If I got one at this point, I'm very susceptible to getting super into it," he drawls over turkey burgers in a joint in Venice. "I'll look at these ads for these war games they have, and they look so cool." He elongates the word for effect. "I feel I could really lose myself." It's hard to reconcile the various faces of Owen Wilson: the wildly competitive devotee of ping-pong, foosball, bocce and a game called head soccer (soccer played on a tennis court), the girl-chasing figure labeled "The Butterscotch Stallion" in the tabloids, with the guy who cries at "The End of the Affair" and reads the Graham Greene novel afterward, who can quote chunks of dialogue from films such as Terrence Malick's "Days of Heaven." With director Wes Anderson, Wilson co-wrote two of the most amusing but poignant distillations of precocity of the last dozen years: "Rushmore," with Bill Murray, and "The Royal Tenenbaums," which was nominated for an Oscar. Yet he's also a charter member of the comedy frat pack, a golden circle of 30-something funny guys that includes Will Ferrell, Jim Carrey, Jack Black, Steve Carell, Ben Stiller and Vince Vaughn, whose broad antics have powered mainstream comedy for the last half-dozen years and whose most potent screen relationships appear to be with one another. That was all too apparent in last summer's raucous, hard-R comedy "Wedding Crashers," in which Wilson and Vaughn troll for chicks like a particularly libidinous Lewis and Martin.

At first, it appeared as if the latter incarnation came to lunch as Wilson ambled up in a rumpled T-shirt, loose pants and no wallet. His freakishly blue eyes peer out from under a mop of longish blond surfer hair, and the famed, twice-broken beak looks more Roman in profile than the mashed-up boxer's schnoz that defines his face from the head-on perspective. And then there's the grin, which alternates from shy, polite Texan to louche ladies' man. Still, while some major movie stars seem shellacked in narcissism, Wilson emits a wry curiosity. He actually asks questions and listens for the answers. Like Woody Allen, Wilson is less an actor than a comic persona who acts. And the shtick does vary from a kind of mouthy, ironic parody of a Tom Cruise action figure ("Armageddon") to a mouthy, ironic, arrested-adolescent party boy ("Wedding Crashers") to a so-sincere-it's-ironic adolescent slacker ("You, Me and Dupree," landing in theaters Friday). The latest film is a comic paean to the underachiever. Wilson's Dupree is a wide-eyed naif who at 35, 36, 37 can't manage to get a life, a career, a girl, a sense of direction, some hard elbows useful for clawing one's way through the grown-up world. In the film, Dupree, beanbag chair in tow, moves in with his newly married best friend, the uptight Carl (played by Matt Dillon), and his wife (Kate Hudson), and wreaks havoc, ultimately imparting some addled life lessons. Perhaps the most important involves being true to oneself -- a theme that echoes from both "Rushmore" and "The Royal Tenenbaums" -- although here the message is delivered with goofy glee rather than drenched in loss. Wilson developed the idea for "You, Me and Dupree" with writer Mike LeSieur and produced the Universal film while ad-libbing more than a few of the movie's signature scenes. "He's got an amazing ability to improv, because he has such a mind for storytelling," says Anthony Russo, one of the forces on the cult TV show "Arrested Development," who directed the film with his brother, Joe. "Owen keeps his improv right on target. Normally you can use about 10% of what somebody does, but with Owen, you can use 90%." "The way he works is he likes to keep every take fresh," adds Joe Russo. "He changes every take, and he rarely does the same thing twice. He's like a jazz musician who goes on a 10-minute riff. He'll find a new melody to start playing." "Owen is great because you get all the imaginative, addictive stuff that the great comics bring, but without the angst," says director Shawn Levy, who just employed Wilson as a 3-inch-tall cowboy in the upcoming holiday release "Night at the Museum." "Maybe there's angst, but if so, he's disguised it well. I had all the pleasure and none of the pain. For a comic, that's unique." Unlike some of his counterparts (Stiller or Vaughn or Anderson, for instance), Wilson doesn't bristle with ambition and perfectionism. He seems to treat the whole movie-star phenomenon as an incredibly fortuitous freak of nature, like a comet that happily landed on his head. He never intended to star in "Bottle Rocket," his screen debut, which he co-wrote with Anderson, but they couldn't get anybody else to take on the role of Dignan, the demented would-be burglar. "I didn't study to be an actor. It always seems like a lucky thing," says Wilson. "I don't think of myself as really driven as an actor to try to stretch myself. I think I'm sort of limited. I can do some stuff and make it sound real. s→Owen Wilson It's funny about Owen Wilson More ad-lib comic than thespian, the Frat Pack's golden boy says he just got `lucky.' (Don't believe it.) THE ACTOR'S LIFE July 09, 2006|Rachel Abramowitz, Times Staff Writer (Page 3 of 6) He seems to treat the whole movie-star phenomenon as an incredibly fortuitous freak of nature, like a comet that happily landed on his head. He never intended to star in "Bottle Rocket," his screen debut, which he co-wrote with Anderson, but they couldn't get anybody else to take on the role of Dignan, the demented would-be burglar. "I didn't study to be an actor.

It always seems like a lucky thing," says Wilson. "I don't think of myself as really driven as an actor to try to stretch myself. I think I'm sort of limited. I can do some stuff and make it sound real. Ads by Google Advertisement "A movie like 'Anaconda' -- it's weird -- I would have been embarrassed to have written that movie but not to act in it. I don't know why that is." Indeed, Wilson admits to being more "discerning" about the writing, which is partly why he hasn't actually sat down and written his own script start to finish, since Anderson, his college roommate from the University of Texas, began writing without him. He and his good friend Woody Harrelson are planning to write one in August, but they've spent most of their time discussing in which beautiful spot on Earth they should write. And then there's the issue of who will man the computer. "What keeps me from writing more is I'm very particular. If I don't feel something's good, I don't want it out there. I'm more discerning. I always feel with the writing I'm going to get to it." He grimaces and sighs. This is himself he's talking about. "I was also going to get to graduating college." Middle man WHEN Wilson was 3, his mother wrote to her sister describing her second son: "Owen has a very zany sense of humor. He doesn't like to read the same book twice, and he idolizes Bobby [Owen's dad]." We're discussing nature versus nurture. Wilson has one of those minds that remembers all the nuances, the slings and arrows of childhood, coupled with a firm grasp on the mythology of family. He's the middle son of a couple of cultured East Coasters who transplanted to Dallas, where his father ran the public television station and his mom became a photographer. He remembers himself always being the "odd man out," with his mom gravitating to his older brother, Andrew, also an actor, and his father having a special affinity for his younger brother, Luke, who's starred in all the films Owen has written as well as appearing in "Legally Blonde," "The Family Stone" and the upcoming "My Super Ex-Girlfriend." "It wasn't like I was like Oliver Twist: 'More bread, sir,' " adds Wilson, who knows that his parents love him. "It was maybe easier for my dad to be around Luke. They had more of a connection. Luke looked like my mother. My dad and I would butt heads." It's pretty safe to say that his parents worried that Owen would turn into a permanent screw-up. He always had problems in school -- not working up to his potential, as a raft of teachers pointed out. He wrote one of his first short stories in eighth grade -- about a real-life incident in which his brother Andrew shot a deer. It was so good that his teacher thought he plagiarized it. In 10th grade, he actually got kicked out of the tony Dallas prep school St. Mark's for cheating on a math test and ended up transferring to a local high school for a semester, then getting shipped off to a military academy. At least the trauma proved useful for the art. The deeply idiosyncratic protagonist of "Rushmore" flunks out of his tony prep school and winds up at the local high school. He befriends the industrialist played by Bill Murray, who looks at his own children, a pair of violent lunkheads, and bemoans, "Never in my wildest imagination did I dream that I would have children like this." "My dad would say that," Wilson says with a laugh. "But thing is, my dad and all his friends, all the stories he told that were celebrated, were about getting around the rules. One of my earliest memories was my dad sneaking us into the state fair, saying he was with the Channel 4 news. It was pretty clear where we got this from." Even today, the Wilson boys are a tight clan, ferociously competitive in sports and games, and nothing makes Wilson happier than beating someone who deeply cares. "I don't have to win. I just want to know that the person I'm playing hates to lose and really wants to win, otherwise it's no fun." He insists that this competitiveness does not extend to their respective Hollywood careers. "Not because we're so

generous and loving -- it's more selfish," Wilson explains. "If Luke's movie does really incredible, I know I can always get him to do a movie with me, or for me. It's a rising tide. If one of us does well, it's going to help the other guys too." As kids, Owen dreamed up the games and the clubs and forced Luke to serve as a pledge, getting hazed to get in. As grown-ups, Luke -- in a kind of Dupree moment -- moved into Owen's Santa Monica house, bringing along a stuffed boar's head, a wild javelina he'd appropriated from the set of "Tenenbaums." Although Luke Wilson owned his own house a mile away, he stayed for a year. "When he finally moved out, he took the javelina with him. I miss it. It tied the room together," cracks Wilson. "Even a mile away I don't see him as much." His brothers are the only people Wilson has fought with -- physically -- as a grown-up. Right before the Wilson brothers and Anderson boarded a plane from Texas to California to meet writer-producer-director James L. Brooks about making their debut, "Bottle Rocket," "Luke and I had a punching fight. I had scratch marks down my face. I had to get on the plane. It's really emotional fighting your brother. We were crying a little bit on the flight. We went to the meeting. It was such a heavy vibe from us, they didn't even ask us what had happened to our faces." 'Rocket's' red glare WILSON doesn't elaborate about what they were actually fighting about, but "Bottle Rocket" -- and meeting Anderson in a University of Texas playwriting class -- were the pivotal events in his professional life. Brooks, the director of such films as "As Good As It Gets," "Terms of Endearment" and "Broadcast News," arranged for the financing of the $5-million film, about a loopy gang of aspiring burglars. But the making of the film was something of a bloodbath, an ugly collision between a renegade indie sensibility and mainstream Hollywood moviemaking. The film got eviscerated by audiences in test screenings, a process that Wilson has said left him feeling so pummeled that he even considered joining the military. Polly Platt, the film's producer, recalls one particularly rough day when the boys were wrestling with the powers-that-be in the editing room. She went across the street to sit in the Roman Catholic church to get a little sanctuary. "I looked over to my left and Owen was in the same church praying. That's the only indication I had that he was suffering." Anderson wrote his latest film, "The Life Aquatic With Steve Zissou," with another partner, Noah Baumbach, which at first shocked Wilson, who still starred in the film, a much more sprawling, undisciplined work than the earlier Anderson-Wilson collaborations. The former screenwriting partners are still close. "I can hardly think of anyone that I have as much fun talking to as Wes. We're really on the same page," says Wilson. The distinctive, stylized Anderson films definitely launched Wilson in Hollywood. "Bottle Rocket" might have failed financially, but it has turned into a cult favorite, drawing fans such as Martin Scorsese and Stiller, who wrote the filmmakers a fan letter. Wilson has gone on to star with Stiller in half a dozen comedies, including the upcoming "Night at the Museum." Like Stiller, and much of the comedy mafia, he's represented by United Talent Agency, who, in fact, were the ones who introduced him to "You, Me and Dupree" writer Mike LeSieur, then a complete unknown. The actor appears to have made peace with mainstream Hollywood. "He has that breed of effortless Texan cool that's incredibly winsome," says Levy. "He doesn't seem to have adjusted his life to the rules of celebrity. For better or worse, he's doing whatever he damn well pleases, whether it's going to a bar and chatting up a pretty girl or running along the sea wall in Vancouver alone during the middle of the day. He seems to have refused to rejigger his lifestyle the way many famous people do." "One thing I admire about Owen is he loves life," says "You, Me and Dupree" producer Scott Stuber. "All of us get caught up in

striving for success, and weirdly, when you're in the middle of it, success ... tends to be the most stressful time of life. You feel this need to continue it. Owen understands that he's in a great place as a person and has great opportunities as an actor and appreciates it. He travels. He reads a lot. He's expanding himself as a person." One direction in which he does not appear to be expanding is maritally. Unlike Stiller or Jack Black or Ferrell, Wilson isn't settling down. When asked if he's ever a Dupree himself, he admits that he occasionally gloms on to Woody Harrelson's family unit. He went to visit the actor and his wife and young daughters in Hawaii for four days but stayed a month. Recently, he bounced over to Italy to see them and their new baby in Ravello, where they were vacationing. "I'm single. I'm still out there," he muses. "But who knows for how much longer." He laughs. Devilishly. "I could be winding down." Yeah, yeah, yeah. At 37, he has at least 40 more years in which he can procreate. That's in Hollywood-movie-star years, which is something akin to dog years for men. Adds Wilson, "If you read the Bible, I've got till I'm 120."

#interview #2006 #photoshoot

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bonobochick · 2 years

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Johnny & Chanel, A Very Salem Christmas. 💖 💋

(streaming on Peacock)

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superidiotics · 3 years

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AN INCOMPLETE LIST OF CHARACTERS 2: ELECTRIC BOOGALOO

This time with plot summaries.

STORY: SUPERIDIOTS

OVERVIEW: Lone wolf Nana Thindrel expects nothing good to come out of her superpowers, and she’s gotten used to being alone. That is, until she’s pulled into the lives of a super powered group of friends who might just be the one thing she’s always wanted, but never been able to have—a family.

Nana Thindrel. Jamie Abbott. Jules Lister. Cecil Grigg. Lilea Greene. Vincent Irvine. Cassian Pruitt. Analia Herring. Elska Clemonte. Felicity Walker. Emery Mcvay. Dawn Clarke. Lavender Andrews. Skye Lynn. Roni Lodge.

STORY: FALLEN KINGDOMS

OVERVIEW: In the not-so-distant future, after most of the world has been rendered uninhabitable, a city filled with androids, cyborgs, and the remaining humans is one of the few places where people continue to live. Follow an android, a cyborg, and a human as they navigate life on a destroyed earth.

Jessie. Vivi. Charlotte. Chrys. Prim. Narci. Finn. Nimh. Erin. Hayden. Star. Layton. Jodie. Diya. Ruth. Beau. Alexi. Selene. Ryder. Willow.

STORY: MERLIN MALLOR

OVERVIEW: this is pretty much just a Harry Potter rewrite.

Merlin Mallor. Aspen Hallewell. Cressida Morgan. Keary Vexx. Juniper Hallewell. Artie Park. Beau Hallewell. Beck Hallewell.

STORY: DANGANRONPA RETRIBUTION

OVERVIEW: A group of teenagers, thrown into a killing game—where the only options are redemption or ruin.

Anya Lowery. Calantha Bernard. Dante Kane. Quinn Everett. Lex Levine. Valentine. Mimi Morris. Ripley Flynn.

STORY: DARKMOORE

OVERVIEW: A magical amnesiac who literally just wants to garden instead becomes the protagonist of some Dating Sim Nonsense.

Lian. Cosmos. Seren. Bryn. Eowyn. Avalon. Killian.

STORY: NOTES FROM A VAMPIRE

OVERVIEW: Rowan, raised in captivity because of his magic, begins receiving letters from a vampire named Leon who seems to know more about Rowan than he does.

Leon Argent. Aster Trevils. Rowan. Violeta Dupree. Cleo Sharpe.

STORY: UNNAMED SUPERVILLAIN’S KIDS ONE.

OVERVIEW: Nature vs nurture takes a new twist as the children of famed supervillains realize that they don’t want to be like their parents—they want to be heroes.

Marlie Gardner. Ayden Fox. Evie Herring. Rhys Lynch. Phoenix Chandler-Fox.

STORY: LGBT FAIRTYALES

OVERVIEW: This is pretty self explanatory. A bunch of fairytales with queer twists—a princess falling in love with the daughter of the witch who cursed her to sleep until woken by true love’s kiss, a knight saving a prince from a tower guarded by a dragon, etc.

Gwen Irvi. Elodie Cetmir. Cyne Marshwood. Illis Lawsey. Ashe Estcox. Storm Hartledge. Darya Whitewater. Landon Carsey. Liri Vounna. Poppy Locklow. Frissea.

STORY: OLD UNNAMED ONE

OVERVIEW: A human fell in love with a demon—with the rising threat of demon hunters, they were forced to send their infant children away to be raised as though they were human. Years later, after their mother goes missing, they’re brought back into the world they never knew they were part of.

Ben. Jeff. Etan. Melody. Adrian. Jaxson. Elena. Maria. Annie. Maggie. Ari. Penny. Trixie.

WIZARD101 OCS

Roslyn Silverstone. Fallon Shadowthorn.

MARVEL OCS

Cybel. Lucinda McBride. River Hart. Maxie White. Nova Little. Dimitri. Tonka. Noctis. Lennox. Lillian Medi. Roman Medi. Rori Clark. Zoe Nixon. Solstice Meadows. Friday Kirk. Atali.

STORY: UNNAMED SUPERPOWER KIDS ONE

OVERVIEW: A bunch of teenagers, with superpowers and no one left except each other, try to find their place in the world.

Milo Porter. Teylie Eide. Lexi Monroe. Manyon Porter. Nikita Antonov. Renna Wright.

STORY: YOURS TRULY

OVERVIEW: princess and the pauper but everyone’s gay

Percy Wickes. Maisie Evans. Jazmin Edison. Dorian Edison.

STORY: CHILDREN OF FEATHERS AND HORNS

OVERVIEW: A half demon, half human, destined to bring about the apocalypse. A half angel, half human, destined to represent all things good and follow orders. A demon-angel hybrid, destined to be something bigger than herself. When none of them are particularly interested in following destiny, what can they do except run away together?

Acacia. Dominick White. Elvira Sumner.

STORY: WELCOME TO ERYSA

OVERVIEW: After dying and being brought back to life with the condition that she uses her newfound superpowers to do good—lest she die again—Taylor Sparks is determined to create a team that can help her protect the world… even if it means breaking a few laws in the process.

Valentine Hart. Landry Jarvis. Nathaniel Hood. Saniya Pierce. Taylor Sparks. Eira Medina. Landon Stone. Cyrus Hayden. Zaria Bates. Zander Ray. Oryn. Lyric. Ruby Friel. Arlo Caroll. Ciana Biondi.

STORY: NIGHTTIME ANTEROGRADE

OVERVIEW: Gillian was raised with the knowledge that she was supposed to kill the Impius Nocte—creatures created from fear that quickly got out of hand, eating away at their host bodies—but, as it turns out, she isn’t exactly interested in killing them. Instead, to the exasperation of her mentor, she wants to save them.

Gillian Rowe. Emlyn Grimm. Xandria Ashurst. Moshe Lowery. Lex Carven. Iris Swanson.

STORY: TDSD

OVERVIEW: So, there’s zombies now. Nadia wants nothing more than to protect her young daughter, Irina, from the horrors of the world. But when horrors seem to be all that’s left, what can a stressed out single mother do?

Nadia Petrov. Irina Petrov. Rory Ellison. Leila Stone. Lyric Joyce. Roman Joyce. Jean Briggs. Donovan Archer. Aspen Archer. Eric Herring. Esther Berry. Brynn Villarreal. Valerie Madden. Cora Wilcox. Lara Young. Cyrus Young. Nick. Narcissa Padilla. Noel Blair. Nico Love. Aristotle Lowell. Blake Baker. Bruno Stark. Rosette. Bea Faye.

STORY: UNNAMED MAGIC KIDS ONE

OVERVIEW: There is, supposedly, a magical school somewhere. It’s meant for kids like them, but they got overlooked. Whether it be because their powers were locked away, developed late, or simply weren’t strong enough to catch attention, they’re on their own. Well, on their own except for each other.

Nevada Griffin. Cypress Willow. Ettie Aves. Val Knotts.

STORY: ZIX

OVERVIEW: An oft-overlooked dimension, filled with vampiric, superpowered creatures called Zix. Esmea is destined to lead. If her mother doesn’t kill her first.

Esmea Aidana. Ainsley Aidana. Matisse Maris. Camille West.

STORY: UNTITLED PEOPLE

OVERVIEW: Lukas Brooks’ only motivation after his family’s death is hunting down their killer—with a retired hitman and the daughter of the person he’s hunting at his side, he’ll get revenge. Even if he dies in the process.

Quinn Price. Marlene ‘Lena’ Lynn. Lukas Brooks.

STORY: NIGHT COURT

OVERVIEW: A powerful family who operates on the wrong side of the law, and the hitman hired to kill one of them. It doesn’t sound like a love story, but that’s how it ends up.

Bernadette Brandt. Alois Brandt. Renly Sinclair. Nadia Voronin.

STORY: SAD OLD ONE

OVERVIEW: A school for talented youth, and the tragedies that fill it.

Madeline Knight. Kiyo Ross. Kai. Eli.

STORY: YET ANOTHER UNTITLED FOUND FAMILY

OVERVIEW: After their parents died in one accident that changed their lives forever, three kids stick together even as they hide away from the rest of the world. That is, until they’re found by someone who just wants to help them—even if none of them believe it.

Elliot Stokes. Lewis Stokes. Scott Stokes. Briar Parker-Stokes.

STORY: UNTITLED THING

OVERVIEW: A reaper, a fallen angel, and the complicated relationship between them.

Tristin Joy. Leza Orus. Haven Roth.

STORY: WESLEY’S FAULT

OVERVIEW: Just your basic found family about a man who grew up taking care of himself because no one else would learning to care for a kid.

Mitchell Watson. Journey ‘Jo’ Watson. Viola Lyons.

STORY: SOCIETY OF THE NOT REALLY DEAD

OVERVIEW: Turned not-quite-human by dying, this group of revived people—led by an otherworldly being named Darsh—spends their time hunting down people who’ve gone through a similar experience, but ended up being dangerous.

Josie. Ayla. Quinn. Darsh. Sawyer.

STORY: UNTITLED LMAO

OVERVIEW: A secretive, close-knit town, the rich family at the head, and a mysterious party that reveals more than it should.

Serafina Vexx, Kaine Vexx, Eiran Vexx, Maddock Knotley, Elias, Lila, Ruby, Odeta, Isolde

STORY: ONLY HUMAN

OVERVIEW: TBA

Agnes (Aggie) Knotley. Casper Raith. Jax Marth. Theodora Killoran. El Cromwell. Mars Perea. Marea Hook. Rose Murik. Lucian Wright.

MISC OCS

Navonni Dulcinea. Cosma Witenor. Sonya Valentine. Dina. Cascadia. Ria Petrov. Atti Solis. Darion Harding. Skylar Parks. Mordra Anderson. Fiona Wright. Liza. Ro Daughtry. Shala Hart. Hayden Patel. Devyn Vance. Ryder Flores. Loina. Crowlie Cleary. Marnie. Pyter. Krila. Araxie Ceto. Anya Florence Day. Eden Wolfe. Rea. Jasper Prince. Angelo Santiago. Camille Haley. Riya Cox. Arcadia Wolfe. Maeve.

#writing #writblr #writeblr #writerblr #original character #original story #story: superidiots #story: merlin mallor #story: fallen kingdoms #story: impius nocte #story: untitled people #story: untitled

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rainbowtheque · 4 years

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Jolis Jolis Monstres

Titre : Jolis Jolis Monstres

Auteur : Julien Dufresne-Lamy

Roman

Genre : contemporain, historique

Maison d’édition : Belfond (grand format), HarperCollins (poche)

Disponible en version papier et numérique - Nombre de pages : 336 pages

Age conseillé : Adulte

Résumé :

"Je m'appelle James et je suis exquise..." Découvrez le grand roman des drag-queens.

Certains disent qu'on est des monstres, des fous à électrocuter. Nous sommes des centaures, des licornes, des chimères à tête de femme. Les plus jolis monstres du monde. Au début des années sida, James est l'une des plus belles drag-queens de New York. La légende des bals, la reine des cabarets, l'amie fidèle des club kids et des stars underground. Quand trente ans plus tard il devient le mentor de Victor, un jeune père de famille à l'humour corrosif, James comprend que le monde et les mentalités ont changé. Sur trois décennies, Jolis jolis monstres aborde avec finesse et fantaisie la culture drag, le voguing et la scène ballroom dans un grand théâtre du genre et de l'identité. Au cœur d'une Amérique toujours plus fermée et idéologique, ce roman tendre mais bruyant est une ode à la beauté, à la fête et à la différence. Une prise de parole essentielle.

Identités représentées : 1 héro gay et les 2 personnages principaux drag-queens, personnages secondaires transgenres

Thématiques LGBT+ présentes : Culture drag, questionnement, voguing et ballroom

Autres thématiques : Années SIDA, médiatisation des drag-queens, amitié, famille

TW : Transphobie, maladie

Avis de Perghame

« Un récit d'amitié et de famille choisie ou retrouvée qui nous plonge dans la culture ballroom des années 80 à nos jours. On découvre ou redécouvre cette histoire à travers des personnages attachants et on croise ou recroise des figures de cette époque jusqu'à Rupaul et son concours actuel. Loin des clichés et des préjugés, ce livre documenté nous éclaire sur des aspects trop souvent oubliés de cette histoire, sur les motivations de celleux qui l'ont faite, leurs rêves et leurs espoirs. Le style nous fait observer l'évolution des mentalités avec les personnages et nous replonge dans cet univers comme si on y était entre Madonna et Paris Dupree »

Avis de June

Un chouette livre, qui mêle fiction et réalité (beaucoup de personnages ont vraiment existé, la plupart des évènements décrits ont vraiment eu lieu) avec brio. On en apprend beaucoup sur le milieu drag, des années 80 à aujourd'hui, sur les débuts du SIDA, sur l'histoire des luttes LGBT+... j'ai trouvé que la transidentité était évoquée de façon assez maladroite par moments, mais c'est très secondaire. Certains passages sont assez violents, dans une volonté de refléter la réalité des choses, j'imagine, mais c'est vrai que ça peut être assez dur à lire surtout si vous êtes concerné.e.s... prenez les précautions qui s'imposent ! ♥

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walterfilmmemorabilia-blog · 4 years

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10 LGBTQ Performers in the 1970's

The Stonewall riots were a series of spontaneous, violent demonstrations by members of the gay (LGBT) community against a police raid that began in the early morning hours of June 28, 1969, at the Stonewall Inn in the Greenwich Village neighborhood of New York City. They are widely considered to constitute the most important event leading to the gay liberation movement and the modern fight for LGBT rights in the United States. Wikipedia

What followed in the 1970’s was a rising tide of LGBTQ performers that “came out” to express their unique take on music, theater and sexual (transgender) identity. Here are 10 of those performers and a brief look at what they contributed to the movement and to our culture. Click on the image to learn more about the performer.

JAYNE COUNTY

As rock’s first openly transgender singer, Jayne Rogers (born June 13, 1947), better known by her stage name Jayne County, is an American singer, songwriter, actress and record producer whose career spans five decades. While dressed in female attire from the beginning of her career, County transitioned to female in 1979, becoming Jayne (as the above poster illustrates).

She made her first performing appearances as Wayne County in Wayne County and The Electric Chairs. In 1969 she appeared in Jackie Curtis’ play Femme Fatale. County considered Curtis a major influence on her career and persona and County is widely considered an influence on David Bowie –– County’s Queenage Baby number was the prototype for Bowie’s Rebel Rebel. Even more notable was her play, World – Birth of A Nation, which was set in a hospital and dealt with male castration –– evoking both transgender surgery and her mixed feelings about men, both gay and straight.

After seeing the play, Andy Warhol cast her in his play Pork. She went on to appear in the film The Blank Generation (1976). Back and forth between New York and London, she settled in Atlanta Georgia. In 2018, County debuted a retrospective show of visual art in the New York City gallery, Participant, Inc.

County’s life and art is considered an inspirational influence on John Cameron Mitchell’s transgender rock musical Hedwig and the Angry Inch.

JACKIE CURTIS

“Jackie Curtis is not a drag queen. Jackie is an artist. A pioneer without a frontier,” so said Andy Warhol. Andy was right. Jackie Cutis (1947-1987) was a true original. Long before he became one of the Pop master’s superstars. Curtis distinguished himself by appearing (alternately) as a James Dean-like male and a Jean Harlow-like female in Off-off Broadway plays of his own devise in which he and his friends appeared:

Glamour, Glory And Gold, co-starred Candy Darling, and Robert DeNiroin his first New York stage appearance;

Vain Victory, also starred Darling with Warhol and Jack Smith star Mario Montez;

Amerika Cleopatra featured a thin barely-known Harvey Fierstein;

Femme Fatale, starred Patti Smith, Jayne County and Penny Arcade; and

Heaven Grand In Amber Orbit toplined Holly Woodlawn. These were all makeshift, wildly tossed together affairs having little to do with plot and character but tons to do with exhibitionistic self-expression.

Outside of such Warhol films as Flesh (1968) and Women in Revolt (1972), Jackie’s most notable screen appearance was in Yugoslavia agant-gardist Dusan Makvejev’s W.R.: Mysteries of the Organism – a film about sex researcher Willhelm Reich, creator of the so-called Orgone Box. Makvejev felt Jackie presence in the film added a lot to his view of Reich’s sexual theories.

DIVINE

Born Harris Glenn Milsted in 1945, this life-affirming, overweight transvestite was re-named Divine (after the hero/heroine of Jean Genet’s Our Lady of the Flowers ) by the writer-director John Waters, who discovered her right down the block from where he lived. Through his films Waters turned a lonely overweight kid from Baltimore into one of the biggest (in every sense of the word) of all underground movie stars.

In Waters’ comedies, Pink Flamingoes, Female Trouble, Polyester and Hairspray, Divine redefined what it means to be a movie star. Waters called him The Most Beautiful Woman in The World and if you’ve seen Divine on stage of screen you’ll know why; for like his idol, Elizabeth Taylor, Divine was overwhelmingly sui generis.

While beloved for his films, Divine was a prolific LGBTQ performer on stage and in nightclubs. This above poster memorializes one of them . In this particular show — Vice— Divine appeared with many of the members of the legendary San Francisco drag troupe, The Cockettes.

Sadly, Divine (now a gay, transgender icon) died in 1988 of respiratory problems, days after the opening of his greatest acting success, Hairspray. Those lucky enough to see his club appearances also recall Divine for numbers like this —

CASSELBERRY & DUPREE

Mixing Reggae, Country and Gospel, Casselberry and Dupree are a dynamic lesbian duo who have performed with Harry Belafonte and Whoppi Goldberg, They appeared in the Oscar-nominated Art Is and the Oscar-winning The Times of Harvey Milk. The early 70s was a great time for Sapphic folk music, featured as it was at such venues as Lilith Fair. Jaqué Dupree and J. Casselberry offer a stellar example of it in: CASSELBERRYY AND DUPREE “TWO OF US”

CHARLES PIERCE

Charles Piece 1926-1999 was what might be called a female impersonator (he called himself a Male Actress) who found favor with audiences both straight and gay with his knowing impressions of Bette Davis, Mae West, Tallulah Bankhead and Carol Channing, Such impersonations were quite traditional for a comic performer of this sort. But as can be seen and heard in this clip of his rendition of Katherine Hepburn, Pierce kept pace with the blossoming LGBTQ movement with many of his zingers evidencing a keen awareness of the difference the out and proud LGBTQ movement had made in a straight-dominated world.

Headlining a production of Applause was a real tour de force for Piece as this musical version of All About Eve gave him leave to do Bette Davis (star of the original film) and Lauren Bacall (star of the musical remake) at the same time.

JUDITH ANDERSON

Stage and screen star Judith Anderson (1897-1992.) best remembered by the general public for playing the sinister lesbian “Mrs. Danvers” in Hithcock’s Rebecca (1940) and “Ann Treadwell” the socialite who’s keeping Vincent Price’s “Shelby Carpenter” in Laura The latter was quite low-key in that the character was straight, whereas “Mrs. Danvers” was a full-force lesbian.

Despite the obvious she was married twice. Her first husband was an English professor, Benjamin Harrison Lehmann. They were married in 1937 and divorced in 1939. Then, in 1946, she married theatrical producer Luther Greene. They divorced in 1951. Of these marriages Anderson said. “Neither experience was a jolly holiday.”

While Sarah Bernhardt had famously performed Hamlet in the late 19th century, few actresses have ever tried it. Taking it on at an advanced age, as Anderson did, was quite novel. Doing it when she did, put Anderson in league with the avant-garde gender-benders of the early 70s like Jackie Curtis and Holly Woodlawn.

CRAIG RUSSELL

Craig Russell, born Russell Crag Easie in 1948 in Toronto Canada, this female impersonator carved out a considerable career for himself doing such stars as Bette Davis, Tallulah Bankhead and Mae West — having come to know the last-mentioned personally as he briefly worked as her secretary in Los Angeles. Many LGBTQ performers of this genre did impressions of these stars. But there was an edginess to Russell’s work clearly influenced by the rise of the gay rights movement.

He toured widely, appearing in Las Vegas, Hollywood, San Francisco, Berlin, London, Paris, Amsterdam, Hamburg and Sydney, to the delight of a variety of audiences. But he won a special place in the hearts of the gay ones, as shown in the 1977 comedy-drama Outrageous in which he plays a character largely based on himself.

Interestingly, Russell — who always identified himself as gay — was bisexual. He fathered a daughter, Susan Allison, in 1973, and in 1982 married his closest female friend Lori Jenkins. The marriage lasted right through to the end of Russell’s life in 1990 when he died from AIDS complications.

SYLVESTER

Sylvester James Jr. (1947-1988) was born in Los Angeles, but first came to public attention when he moved to San Francisco and joined the legendary gay hippie performance troupe The Cockettes. A genuinely original singing talent Sylvester showcased a high, shimmering falsetto and a variety of styles encompassing gospel, disco and cabaret. His look was utterly androgynous. While he sometimes appeared in “drag” he most often sported ensembles suitable to both genders.

Wildly popular in San Francisco he performed solo shows at the city’s opera house. When he died from AIDS complications the entire city mourned, along with everyone else who came to know the man and his music.

STEVEN GROSSMAN

Steve Grossman (1951-1991) a gay singer-songwriter of the early 1970s whose album Caravan Tonight (1974) is distinguished as being the first album dealing with openly gay subject matter released by a major record label, Mercury Records.

He died from AIDS leaving his Joni Mitchell-inflected songs, recorded much in the style of singer-songwriter Cat Stevens, opposed to the then-current glam Bowiesque fashion of openly gay artists. Among them, “Out” is a deeply moving coming-out song directed to his Father mother and brother.

OUR GUEST AUTHOR

DAVID EHRENSTEIN

Born in 1947, David Ehrenstein has been a film critic and political commentator since 1965, writing for such publications as Film Culture, Film Quarterly, Cahiers du Cinema, and the Los Angeles Times. His books include Open Secret: Gay Hollywood 1928-2000, The Scorsese Picture: The Art and Life of Martin Scorsese and Cahiers du Cinema — Masters of Cinema: Roman Polanski .

Blog is originally published at: https://www.walterfilm.com/10-lgbtq-performers-in-the-1970s/

It is republished with permission from the author.

#LGBTQ #old hollywood #actors #actresses #hollywood #vintage movies #movies

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