#TaylorSwiftProblems: Billy Eichner’s “Glitter and Ribs” Parody Video Sings Angsty Summer Goodbyes

 

“You’ll never know my heart/like my heart/knows my heart…”

From Billy Eichner’s Taylor Swift Parody, “Glitter and Ribs

 

Art Imitating The Art of Emo Country-Pop

First Taylor Swift is the MTV VMAs victim (“I’ma let you finish”) , and now she’s the Mean Girl VMA vamp (just for mouthing the words “shut the eff up?). It’s kinda hard to keep up with all these pop star reality TV tragicomedies, isn’t it?

In the wake of Real Taylor Swift’s (ahem. Choreographed.) STFU incident and her recovery from it, Faux Taylor Swift just wants to muse aloud and brood.

Aloud.

So y’all, can we just take a second to wax nostalgic about the end of another bummer summer? Puh-lease?

Plucked right out of one of the lost episodes of Glee, here comes Billy on the Street with a little comic relief. Leave it to sassy-pants Billy Eichner to add his aggro two cents to the whole thing.

‘Cause really: which Taylor Swift are we supposed to believe in? Good Girl Taylor Swift or Bad Girl Taylor Swift? ‘You know we’re all either one thing or the other, don’t you?

Well, don’t you?!!!

_

In the new music video “Glitter and Ribs,” Funny or Die and Fuse TV’s resident smart-aleck sets the record straight. In the video, Faux Taylor Swift is every girl not yet a woman. She’s sassy, cute, happy, frustrated, sad, apologetic. She cries ugly, feels heartbroken, is independent. Yes. She’s strong, young, um…no. She’s old, totally weak and totally dependent. Yeah. Well…?

Celebrities are just like us—totally ambivalent and utterly complex.

 

Hook Up, Heartbreak, Cash In, Repeat

The real target of this video is the crazy, silly entertainment industry. “Glitter and Ribs” breaks down the “summer fling to summer heartbreak” song formula, the lie that is the ingenue/Lolita aesthetic, and the naughty habit pop stars and producers have of recycling the same song and video over and over to communicate the same ideas—and how that theater of the absurd spills into offstage antics, which then strangely become “real-life” antics.

And then the whole (press) cycle begins again.

As with everything in life, there is of course a grain of truth to what’s going on (private details we’ll surely never know) and how that contributes to Swift’s own creative process. Many artists believe that suffering is a key ingredient necessary for creative inspiration, and Swift just rocks that trope in her own Taylor-ish ways.

And why wouldn’t she? Doing so is a lucrative business, and these recurring themes work for her. The music business is indeed a business. Broken-hearted music sells, and “if it ain’t broke don’t fix it” doesn’t apply to this particular case study and music biz model.

Swift’s sales figures and chart positions are telling: there’s catharsis to be had from hearing and singing along with this narrative that’s ever on repeat.

Still, when you think about the artistic choices Taylor Swift and her press team make compared to…say, India Arie’s, the repeated messaging, saga and drama that “Real Taylor Swift” is broadcasting do seem to be more than a little bit laughable.

And sometimes, ya gotta laugh to keep from crying.

Unless of course, you’re Faux Taylor Swift, because “life won’t always be glitter and ribs.”

So ciao for now…see you next summer never-ever-ever!

xo (sniffle, sniffle) xox,

– Faux Taylor Swift 

P.S. Ms. Faux Taylor, wash your face full of runny mascara away, come back to your viewing device of choice, and watch Billy on the Street. That’ll solve everything. For now.

Kisses!

 

Men At Twerk Are NSFW: Big Freedia, Drag DJs and Men In Queer Culture — Are they Putting Miley Cyrus to Shame?

“Miley Cyrus’ twerk-filled performance at this year’s MTV Video Music Awards has become the most discussed, polarizing few minutes in a show that saw an ‘N Sync reunion and silhouetted Kanye West singing “Blood on the Leaves”. More than one think piece has accused Cyrus of appropriating and exploiting black culture for her own benefit at the detriment of its pioneers [like Big Freedia].”

                                                                                          – Jason Newman for Fuse.TV

On The #MileyTwerk Controversy and Queer Black Culture

“I’m a singer. I’m not a twerker, I’m not a rapper. I’m a singer…. I really can sing. And you know I can twerk—watch my videos. So there.” – Singer/Pop Artist Miley Cyrus 

[Note: In principle and practice, many of the clips and links below are NSFW. Not. Safe. For. Work. Surf with caution. Some of the content doesn’t prepare you for this fact pre-launch.]

Feminists are not having it.

Kids in San Diego are getting in trouble—like “suspended” in trouble.

Hannity and Limbaugh are hornswoggled, all about this “shocking new twerking thing.” The word “twerk” has made it into the dictionary. Women are even twerking in church…on camera.

But y’all know twerking is nothing new. By now, you’ve likely traced its roots back to Africa’s diaspora, strip club feasts of fancy or your garden variety YouTube/Vine video. Let’s just say it’s familiar.

Twerking’s “a new thing” for Miley Cyrus to do in public (not counting press campaigns planned far in advance of any twerk attempts), so therefore it is “news.” Girlfriend is owning it as-is—so by now ya gotta know, it is Miley’s full intention is to twerk poorly and call attention to the fact that there’s not all too much junk in her trunk.

Ms. Miley ain’t out to win twerk-a-thon championships, and nothing that a Disney grad does—one who’s still on top—is accidental.

Now that that’s out of the way: folks can’t tell what they find most offensive about Miley’s runaway bootie: her lack of hip gyrations, her cultural appropriation, using African American folks as props alongside teddy bears, or her choice to milk every last drop of so-called shock value from ratchet living ’til it’s dry.

MC’s camp is well aware that the so-called American TV demographic isn’t ready for a real-deal twerk. Why would she practice twerking aiming to make that look authentic when it wouldn’t get on the air for the world to see? (Let the “people props” get closer to that.)

As for cultural appropriation, using people as props et al—this is nothing men (and/or Madonna!) haven’t done for decades in the entertainment industry—does that make it okay?

While ratchet/twerking music and culture’s aimed at dancing and partying all night (among, ahem, other ideas), twerking draws upon elements of queer culture. We are everywhere, so why would this not be the case?

LGBTQ folks find Miley’s new-found popularity scenario to be familiar: she’s shining in the spotlight, riding the wave of a cultural trend that’s been around in this form for at least 20 years. When such a trend makes its way to heteronormative culture and is performed by (at least more) heteronormative superstars, it’s salacious, sexy and provocative. “Controversial.” When it’s performed by LGBTQ folks in-community, people are confounded and disgusted. Granted, “disgust” is a subtextual form of interest and arousal, but most folks don’t take much time to process through that appropriately.

Too, to hear Huffpost/AOL tell it, their #MenAtTwerk compilation is one of America’s funniest home videos. As it’s taken out of context, that’s one viewpoint—but because of the platform and audience Huffpost has, such a viewpoint leaves room for much misinterpretation. In-culture, the #MenAtTwerk bootie-clap collage could be considered to be hot, fierce, authentic, queer-inclusive and/or funny at the very least. Not just “funny.”

Back in February, RuPaul and Big Freedia released the hypnotic video and single “Peanut Butter” (http://www.youtube.com/watch?v=LFoRH-VtFO4) flanked by raw, hot models and dancers (courtesy of Chi Chi LaRue and Big Freedia), and a whole…lotta…arse. (The title of the track is “Peanut Butter,” so no surprises there). This underground club banger’s selling well and re-popularized twerking in-culture in a way that Miley still has yet to understand. Ru and Freedia are internationally famous pop stars too—you just don’t hear about them in the press every…other…second on every other channel.

‘Bout That Actual Life: On Actually Fierce Twerk Game

“I haven’t really seen one bad comment about my twerk video,” she said, then added jokingly, “This is the first thing! All right, I can’t sing, I can’t act, I’m dumb, I’m a hillbilly, but I can twerk, so whatever!” – Miley Cyrus

What did not get as much mainstream press time in this latest cultural case study? Rap Artist-Musician Big Freedia, killin’ it with a jaw dropping set at the Afro-Punk Festival, which took place on the same day as the VMAs did, in the same city and cultural mecca (Brooklyn).

Still, Rap Artist-Musician Big Freedia’s mic is on. People are watching, listening and learning. Big Freedia isn’t any fly-by-night dilettante or hobbyist. This artist is the real, live deal—she’s been all up in Bounce culture and then some since 1999. While promoting her new FUSE show Big Freedia: Queen of Bounce (http://www.fuse.tv/shows/big-freedia), she’s making her voice heard, sharing her reflections about the repeated #MileyTwerk spectacle.

While she’s honest about leveraging this strange, emerging opportunity, Big Freedia minces no words: twerking has been screwed and chopped by mainstream culture, and someone from within the culture itself needs to set the record straight.

Sissy Bounce is here, it’s queer, and it’s always been with us.

Reigning Sissy Bounce Queen Diva: Big Freedia Takes New Orleans Bounce to the World Stage

In Her Own Words

“… It’s offensive to black culture and black women who’ve been twerking for years. Every time we do something, people want to snatch it and run with it and put their name on it. And they still don’t even have the moves down yet. Just get me and Miley together so I could give her ass some lessons.” – Big Freedia, on Miley Twerk-A-Mania

Big Freedia doesn’t just make Bounce music—she makes Sissy Bounce music.

She had plenty to share regarding Miley’s twerk-storm. From a recent interview with Fuse TV (http://www.fuse.tv/2013/08/big-freedia-miley-cyrus-twerk), here are a few thoughts Big Freedia shared with her audience:

…. she was trying to twerk. For one thing, we have a dance in bounce music called ‘exercising’ where you just open your legs and shake your butt a little bit from side to side… but she still didn’t even get that right because she didn’t have any butt control. She needs more practice.”

When you have my dancers, they’re professionals. They’re from New Orleans and know what they’re doing . When they started dancing, it was original twerking. Miley’s dancers were prop dancers. None of them were professional dancers.”

They could’ve used girls from New Orleans, even if they were not black, who knew what they’re doing. They’re just using anybody possible just to get that buzz since twerking is hot now. I’m still trying to wrap my head around this, though. I knew the twerking thing was really taking off, but I didn’t know it would blow up like this.”

FUSE asked,Going back to Miley, let’s say you were the choreographer and saw her performance as a dress rehearsal. What specific tips would you have given her?”

Big Freedia responded, “Don’t do it.”

Big Freedia also told Colorlines.com she plans to release a response track called “Twerk It,” which “explores the roots of twerk vocabulary.”

Twerk Couture: Bad Girls Twerking Badly Still Puts Twerking On the Map

You can’t really explain [twerking],” Miley said. “It’s something that comes naturally…It’s a lot of booty action…. I’ve been practicing probably for the past two years, in my own time in my living room.” – Miley Cyrus, to E Online

This is an achy-breaky trend that will not die, and Miley isn’t even attempting to backpedal her way out of it. She is riding it for all it is worth to her—and she’s not in this twerk game alone. She of course has handlers and press people. In her mind (from all press interview accounts), Miley really is just chilling with her friends and doing what she loves.

It’s A Feminist/Black/Queer Thing: Miley Isn’t Here to Make It Rain.

On Channeling Nothing

RT @MileyCyrus “Mile, if twerkintwerkin woulda been invented…. And I had a foam finger…. I woulda done the same thang you did.” – DAD

If you watch Miley Cyrus’ “We Can’t Stop” video or even Robin Thicke’s “Blurred Lines,” the point of the shimmery video spectacle is not about making sure celebs and models are “dancing well.”It’s all about the performative pantomime. Again, we already know this yummy aesthetic quite well: Andrew Christian and Chi Chi LaRue’s underwear ad campaigns alone take bootie-shaking to beatific heights, masterfully conjoining commerce, spectacle and eroticism. – http://www.youtube.com/watch?v=I8S94OlPt7o.

Don’t let Miley’s twerk game fool you: titillation sells, and you can always take that to the bank. Twerk is another set of clothes for Ms. Cyrus. Miley’s still got time for high fashion photo shoots with Terry Richardson and has covered V, Cosmo, Harper’s, Elle UK and counting in recent memory. Those magazines don’t (yet) encourage ratchet couture spreads, and this twerking thing is but another momentary fashion prop for some.

Too, engaged to a man or not, Miley is gay-friendly and (many say) a queer lass indeed. Playing at queering culture isn’t something that can be shut on and off. Cyrus makes a proactive point to remind her fans about this, and the We Can’t Stop video is all about playing at bi-chic tropes and omnisexual aesthetics that may or may not keep happening when cameras stop rolling.

In terms of controversy and criticism goes, Miley takes it all in stride. Trained to deal with the public from a very early age (at least years old), she and her handlers know how to keep people talking and to take “faux rebellion” nowhere near the bleeding edge of real rebelliousness.

As for the pop star’s heiney? Here we have the good ol’ “Goodie I still get to look trick:” you criticize a woman for shakin’ what her momma gave her, telling your partner, the press, your friends, “Oooh! This is just scandalous!” All the while, you’re never taking your eyes off her bum and assorted hijinx. Scandalous attention is still attention.

We Can’t Stop Miley Cyrus. We Won’t Stop Miley Cyrus.

Cyrus’ only responses to criticism have moved along two main streams of thought.

Here’s one: when criticized for her unicorn onesie twerk video, Cyrus essentially said [paraphrased] “J. Dash is happy…no one heard of his song “Wop” before I did that.” And two: when hip hop legends such as Jay Z shout her out in their rhymes and in the press, people tell Miley he’s dissing her. Her responses?

RT @MileyCyrus Somewhere in America a Jay Z song is onnnnnn

RT @MileyCyrus That’s a win win forrrrrr me.

RT @MileyCyrus Call it what you want. But I don’t see Mr. Carter shoutin any of you bitches out. #twerkmileytwerk

And Jay Z agrees.

Miley is still working with (and yes, twerking with) Snoop Lion (aka Snoop Dogg), Odd Future, Ludacris, Big Sean, Pharrell, Juicy J, Nelly and many other rap artists du jour. The Yin Yang Twins wrote a stripper pole-ready song about her tush and twerking it. (http://www.youtube.com/watch?v=Q-UXJO-iydM)

The verdict is in: Miley is “right” on all accounts.

Shameless Plugs

Speaking of accounts, Miley’s still posting pictures of her bootie @MileyCyrus, and you can keep up with Big Freedia’s latest pics and posts @Bigfreedia.

So let’s get a move-on #MCTWERKTEAM…. Assume the #MileyTwerk position and represent.

“Big Freedia: Queen of Bounce” debuts Wednesday, October 2 at 11/10C on Fuse TV and you can buy her album “Queen of Bounce” on iTunes by clicking here (http://www.bigfreedia.com).

You can learn (and dance!) more by watching the documentary “Big Freedia The Queen Diva” here: http://www.youtube.com/watch?v=O0yrp3nsvAs

You know Miley’s on top of the promo gig too: according to Miley’s Twitter TL, you can of course pre-order #Bangers / Wrecking Ball on iTunes here: (https://itunes.apple.com/us/album/wrecking-ball/id691238659?i=691239109).

Now Playing – Big Freedia – Y’all Get Back Now

Because she is royalty, let’s give the Diva the last word. Big Freedia recently told the Daily News:

Twerking—and it’s a lot more than twerking—comes from a long history of music and dance in New Orleans. Twerkin’ happen around the world for a long time now, so I’m very excited that it’s coming into the public eye, as long as it’s respected.”

We could say more on the matter and likely will.

But wouldn’t you rather be dancin’ and watchin’ all up on this anyway? Let’s free you up to do that. And let’s keep it real: how many times have you had to switch to your “kitty pics” screen-saver so you wouldn’t get caught watching “Peanut Butter” on loop? Oh—that was just us? Oh, okay. Right.

 

Doubling Up: Ellen DeGeneres to Host Oscars for 2014 Academy Awards

RT@Dannyboy0713: I totally hope @TheEllenShow gets every celebrity in the ballroom to dance when she hosts The Oscars @TheAcademy

And The Winner Is…

Because Twitter announcements count as official (well…until they don’t…), Twitter scooped most folks on this first: Ellen DeGeneres announced her delight to be returning as the emcee for the Oscars ceremony next year, on behalf of The Academy of Motion Picture Arts Sciences.

DeGeneres (“The Ellen DeGeneres Show,” “Finding Nemo”), in the customary “Aw shucks wink-wink” way we know and adore, shared this joyful tweet on her Twitter page:

It’s official: I’m hosting the #Oscars! I’d like to thank @TheAcademy, my wife Portia and, oh dear, there goes the orchestra.

The broadcast’s executive producers (Craig Zadan and Neil Meron) cosigned her “squee” on Twitter, tweeting:

Neil Meron @neilmeron welcome back to the Oscar stage, Ellen…we can’t wait to start working with you! @theellenshow @theacademy @craigzadan

And they love Ms. Ellen so much, they went from pitch to decision in a mere 48 hours’ time.

“I agreed with Craig and Neil immediately that Ellen is the ideal host for this year’s show,” said Cheryl Boone Isaacs, Academy President. “We’re looking forward to an entertaining, engaging and fun show.”

According to the organization’s CEO Dawn Hudson, “Ellen is talented, wonderfully spontaneous, and knows how to entertain a worldwide audience. She’s a big fan of the Oscars; we’re huge fans of hers. It’s a perfect match.”

 

All This Funny Business

According to Variety magazine, “’The Ellen DeGeneres Show’ has won 45 Daytime Emmys during its 10 seasons. Though DeGeneres’ show airs on NBC owned-and-operated stations, she has a history with Oscar broadcaster ABC, with her landmark sitcom ‘Ellen’ having run there from 1994-98. In 1997, DeGeneres won the Peabody Award and a writing Emmy for the episode in which her character came out as a gay woman, with 46 million viewers watching.

“Over the last eight years, the 2007 Oscars hosted by DeGeneres stands as the top rated in both adults 18-49 (14.1 rating/33 share) and women 25-54 (19.2/40).”

Since coming out in 1997, though Ellen shared myriad challenges she faced because of her public declaration, she’s a master at the art of the “Reboot and Rally.” These days, you feel like she’s never missed a beat.

You always get the sense that even while Ellen’s ribbing you, she’s laughing with—not at—you, and you’re never on the arse-end of even her snarkiest inside jokes. Ellen saves more observational or cutting humor for political issues.

Case in point: remember when she riffed on fatphobia? Ellen quipped:

“Now [Abercrombie & Fitch] actually have a double zero. What are we aspiring to? ‘Honey, do these jeans make my butt look invisible in this?‘”

Crafting jokes, skits, comedic sets and punchlines in such a way is living a rarefied air and artistry we don’t see quite enough of. Too, though reading and shade has its place in queer culture, this type of kidding around is based on finding and digging into flaws, and adding salt to wounds (real, perceived or straight-up made up).

In other words, the origin and intent of reading/shade/the dozens, however creative, is more degrading.

And Now, Your Host…

Ellen’s first Oscars hosting gig took place in 2007. In a tongue-in-cheek self-released press statement Ellen added:

“I am so excited to be hosting the Oscars for the second time. You know what they say – the third time’s the charm….”

Laugh on, Ms. E. Laugh on.

Click below to watch 5 of Ellen’s Best Award Show Moments:

http://www.thewrap.com/tv/article/ellen-degeneres-returns-oscars-host-5-amazing-award-show-moments-video-108091

The 86th Annual Academy Awards takes place on March 2, 2014. So is Ellen the right woman for the job, or what?

 

“Would You Rather…?” And Other Random Comedy Hijinks With Billy on the Street

Meet Billy on the Street.

While minding your own business strolling down the streets of New York City, would you rather:

A) Get “Quizzed in the Face.”

B) Subject yourself to a“Lesbian Lightning Round” game with a pack of wild lesbians for cash or prizes.

C) List sex moves in front of Mr. Rogers.

D) Fight in public about Denzel Washington.

E) Watch Billy Eichner humiliate Will Ferrell.

 

….for a dollar. Hurry up—quick, dammit! Choose your final answer.

 

[Insert your answer here.]

 

Do you accept that as your final answer?

Sorry, no! You’re wrong.

 

Guess what—there is no right answer!

 

Get At Me, Billy: Cray Cray Gay Videos

Something wicked this way comes: it’s Billy on the Street, a different kind of game show featuring your host, Billy Eichner (Bob’s Burgers, Upright Citizens Brigade).

Billy on the Street will shove his microphone directly in your face, scream out questions, random facts or celebrity’s names, chase you as you flee from him, run toward you like a freight train, or just plain scream.

And this ain’t no “Cash Cab” or “Price is Right.”

Quizzically queer himself, Billy loves spouting off occasional gay dude jokes with no real punchlines, and his show’s all about silly spectacle, gay-centric chaotic confusion and the comedy of the awkward.

This show is all about smart-ass #LOLZ for smarties, “Makin’ dreams come true” courtesy of FUSE TV, a US-based cable outlet.

“Do you like FUSE?” Eichner asks impromptu contestant “Mr. Singh. “They play, like, five-hour long blocks of Rihanna videos. You’ll love it!”

For those of you playing the home game, as you can tell by now, nothing and no one is sacred here.

Should you dare to answer Billy’s questions correctly and win, you may or may not get a prize valued at around a dollar.* Then, Eichner will immediately run away from you or shoo you away with an accompanying “Thank you—bye now,” “Get the f—out of here,” or other such quickly-pummeled pleasantries.

Should you happen to answer incorrectly and lose, you’ll experience public humiliation (be forced to wear chicken suits or wear sandwich boards telling people how idiotic you are). So either way, the viewers always win.

(*In all fairness, sometimes Billy will reward you with a honkin’ huge chunk of cash—as in a hundred dollars or more, or prize equivalent. However, that too is random.)

Give the People What They Want: Manic-Comedic Fire Drills

Moreover, Billy’s improv antics, random celebrity sightings and occasional cattiness have earned him a Daytime Emmy nomination. For going on four whole seasons, Eichner’s been annoying folks just trying to get to work or take in a solo tour of New York in peace, while he amuses the rest of us.

His persona? It’s pure-grade a-hole. The absolute nerve…!

Billy Eichner will find you and eff with you. It will be filmed for posterity and guffaws. You will become Internet-infamous for less than 15 minutes, and the world will laugh at you. It’s just a matter of time.

FUSE, iTunes, Funny or Die and YouTube jointly host clips and full episodes of the Billy on the Street series.

Take a shot at a random interaction with Billy @BILLYEICHNER, tweet your aggro quiz questions to #BILLYONTHESTREET, or click here to visit him at YouTube.

#FTW! Watch Billy quiz a gay man in the face: just how much do you know about vaginas? http://www.youtube.com/watch?v=tN70ur7-Q7A

 

 

Just Say YES to Kermit the Frog’s Gay Rainbow Connection Video

Let’s just get this out of the way: clicking on most of the videos below is reserved for adults only, NSFW, and utterly hilarious. All clear? All righty, then.

It’s true: “Same Love” (http://gayagenda.com/same-love-success) is gorgeous, beautiful, lyrical and incredible. Sometimes, it’s good to know we can joke together about marriage equality, too.

Hot on the strappy, red high heels of bawdy, silly or NSFW gay parody video zingers from IT GETS BETTERISH, Jonny McGovern the Gay Pimp (“Lookin’ Cute Feelin’ Cute”) CmaddoxBiitch‎ (Drag Tyra “smizing,”) ANY of Willam’s or Margaret Cho’s gay-themed clips, Sassy Gay Friend, and RuPaul’s “Peanut Butter” (you get the idea…)

…comes a Muppets-esque sing-a-long that’s less kid-friendly, more gay-friendly, and extremely ridiculous.

This “Kermie-inspired” creation by Raging Artist TV is a cleverly veiled spoof of “The Rainbow Connection” song and Muppets movie clip. A Kermit the Frog(ish), sweetly-voiced impersonator sings about marriage equality, divorce’s inevitability, and somehow works in kiddie rants about gay sex in North Korea, as well as controversy surrounding the Pope.

Sounds Ridiculous? It is. Get the idea?

Choice (and less racy)  lyric highlights include:

“Weddings are nightmares/People want them/so who cares/If it’s two girls or two guys?”

And–

“Someday we’ll all get/The Rainbow Connection/And all get divorced, probably” (Then Kermit adds, “Just saying, statistically speaking, it doesn’t look good.”)

The Kermit parody video’s creator Hersh Rephun said he was inspired by his frustration: “My comedy comes from the things that make me cry,”  Rephun said. “If I could write sad and beautiful music, this would be a much more serious video about marriage equality and finally being on the right side of history. Instead, it has Muppets getting divorced.”

We couldn’t find video of Kermit twerking,” he continued. “But I hope the kids and the dirty old men watch anyway.”

With all this snarky, crunchy goodness sung to the tune of the Rainbow Connection, once you take a listen and have a look, you’ll never feel the same about that song again. If you’re looking for a politically correct, feelgood singalong, you’d better keep on looking.

The (of course not officially affiliated) folks at The Jim Henson Company and at Disney have yet to make a statement about it, but the video’s making a strong enough statement of its own.

There are tons of other snicker-inducing marriage equality videos out there, like:

Dustin Lance Black’s Prop 8 The Musical – http://www.youtube.com/watch?v=Ug3YkVhkemg

Louis CK on Gay Marriage – http://www.youtube.com/watch?v=yPvVnrV1tow

Pt. 1. Gay Men Will Marry Your Girlfriends – http://www.youtube.com/watch?v=X-YCdcnf_P8

Pt. 2.  Gay Women Will Marry Your Boyfriends – http://www.youtube.com/watch?v=r0Be8LnuG3U

Todrick Halls’ celebrity-packed video, “Cinderfella” – http://www.youtube.com/watch?v=F9ZA7bn5ujk

Smurfs For Marriage Equality  – http://www.youtube.com/watch?v=WE_EawP3-h4

(George Takei, Jane Lynch, Alicia Silverstone and more in) Funny or Die’s A Gaythering Storm –  http://www.youtube.com/watch?v=NnsG008ntYY

The Lonely Island – Spring Break Gay Anthem – http://www.youtube.com/watch?v=jUw4Qh9uFK8

The Gay “Marry Me” – Eurovision 2013 Parody – http://www.youtube.com/watch?v=hNUN_GLaIjY

And a gaggle of magical Marriage Equality memes for good measure. – http://politicalhumor.about.com/b/2013/03/28/funniest-redesigns-of-the-marriage-equality-sign-on-facebook.htm

So let’s go: let’s laugh our way to the LGBT right to marry (even if you think weddings suck!) and keep fighting the good fight.

Hot or Not? Funny…or just dumb? Do you think Kermit’s gay-friendly Rainbow Connection video gets the message across, or what? Tell us what’s on your mind, Darlings…

 

 

Queer Indie Comedy Revolution

Stand Out National Queer Comedy Search

Queeriously Funny: Let’s Start A Comedy Riot

There’s funny as in “funny…” and funny as in “Ha-ha!” Like Lady Gaga said, “Thank God and the Gays” we get to have both, Mary. Queers can “do funny” like (snaps fingers) nobody’s business. Making being “funny” funny is a straight-up Survival 101 tactic, and LGBTQ folks are living, breathing comedy maestros.

Stand Out: The National Queer Comedy Search is looking for the best of the best in “LGBT-owned and operated” jokes, routines, comedy skits, standups, funny performers and all-rounder smart-alecks of LGBTQ comedy.

Reviewing the submissions now, Stand Out just wrapped up its inaugural queer comedy search, and final contestants will each vie for a shot at winning over of $2,000 and a featured article in The Advocate magazine. Top-headlining performances will be hosted by Queer Comedy at Zanies in the heart of Chicago (thought by many to be the standup capital of the United States).

Laugh Queen, Laugh

From an OutLoud Chicago post:

“Presented by OutLoud Chicago, Absolut Vodka, Sidetrack The Video Bar and The Advocate Magazine, Stand Out strives to find the best in queer and queer-friendly comedy from all across the country, giving comedians national exposure and ending with a live competition for over $2,000 and a feature story in The Advocate.”

Though The Advocate’s always been a forerunner in covering queer comedy news, in the last few months, the leading gay publication has been promoting Gaysayer, their new LGBTQ-inclusive comedy Twitter stream, pumping out queer (and allies’) comedy tweets like clockwork. You don’t have to be queer to play @Gaysayer, but you’d better make it funny to get retweet-able attention.

Care for a sample and a chuckle? Check out a few of Gaysayer’s greatest RT’s.

Retweets (RT’s) shared via @Gaysayer:

RT ‏@michelleisawolf “Cool, yeah, keep calling yourself the LONE Ranger like I’m not right here” – Tonto.

RT  ‏@mkpaulsen I love wearing tight tshirts in dangerous areas, or as I call it “Anderson Coopering”. #StevieTV

RT ‏@LesbianLounge I am totally ready for the Lindsay Lohan/Amanda Bynes remake of “Thelma & Louise”.

RT @Zackblows Anderson Cooper’s nickname is “the silver fox” which is also what Betty White calls her vagina. #StevieTV

RT  ‏@jamismithcomic I just made decisions about my own vagina in honor of Wendy Davis.

RT  ‏@Jefflawrencenyc Anderson Cooper finally admitted he was gay. That’s the only thing he ever said that wasn’t news. @Gaysayer

RT ‏@HeyJeffreyJay I knew I had to lose weight when I grew out of my fat pants and had to start wearing my old skirts. #TransProblems

RT  @jamismithcomic I keep bumping into women at this crowded parade and calling it sex later on the phone with my friends.

RT  ‏@JasonBerlin The Greeks had a word for gay athletes. It was “athletes.”

RT @louisvirtel I imagine Britney Spears has perfect Comic Sans handwriting.

RT @RubinReport #PopeFrancis won’t judge gay people. I knew when he said, “Hey Jesus Heyyyy! at his first mass it was a good sign.

RT @kellyoxford Can I use Grindr to find a gay man to tell me if my outfit is okay?

Tee-hee! Visit here to tweet along with Gaysayer. (https://twitter.com/gaysayer) No guarantees, but they’re known to RT the sharpest barbs and wittiest quips they discover.

Are you a queer comedian, or do you want to be one? Psyche yourself up for next year’s contest by checking out the info here (http://www.advocate.com/comedy/2013/07/02/do-you-stand-out-were-searching-best-queer-comedy). Good luck…and stay gay!

Your move, funny people….

The Politics of (Drag) Dancing: RuPaul’s Girls Go Mainstream

On Drag In Public

 

“It’s not personal; it’s drag.”

– Ms. Alyssa Edwards

 

“I get my makeup tips from RuPaul,” says Mayor Stephanie Rawlings-Blake, the current matriarch of Baltimore, Maryland. “I watch his ‘Drag Race’ show in freeze frame so I can get good tips.”

When the mayor of a major U.S. City can share such easy-breezy chit-chat about RuPaul in the lifestyle section of the Sunday paper, you know something’s gone mainstream. In this case, it’s drag.

Drag goes back…way back. As a mainstay of Western theater since the 1600s,  prior to that, drag performativity appeared in religious and indigenous tribal cultures worldwide, since before we began thinking of drag in as we know it.

The word “drag,” once shortened stage directions for “dress resembling a girl,” (thanks, Shakespeare!) has in our lifetime transitioned from taboo to “fabu.” Since it was illegal for females to perform in historical productions, guys were forced to work in drag (just imagine their absolute creative freedom and luck!).

As for the words “drag queen,” those first appeared in print in 1941. Yet even then, drag queens weren’t akin to LGBT royalty, and the phrase had a much more pejorative, dismissive ring to it.

In our very recent history, doing drag and being a drag queen was anything but trendy. Gay men and transgender people rejected drag artists, feeling drag performers prompted too much attention toward LGBTQ folks who were trying hard to assimilate—much tin he same way we see butch lesbians and so-called “radical feminists” rejecting transgender individuals, tethered to the idea of cultural “scarcity,” and perpetuating the very fears they seek to squash.

Embracing drag is still relatively new, overall. Now, drag’s less of Maury Povich or Springer “otherness” experience, and more of an ANTM “teach me glamour” experience.

It’s happened gradually enough…as typically occurs on meeting drag queen royalty, first folks are shocked or disgusted, then they react strongly (positive or negative), then comes amusement, then finally, a combination of enchantment, deification and acceptance. All the while, these reactions weigh in on a wide spectrum of attraction. These artists are gorgeous, and even in “skag drag,” our culture is attracted to difference, yet hard-pressed to admit it.

Moving from hated to elated, the renowned drag artist RuPaul, had a similar popularity trajectory.

RuPaul wasn’t the first drag queen to rise to prominence (see: Sylvester, Warhol’s featured Factory drag queens, Divine, Lady Bunny, Miss Coco Peru, and many others). But, RuPaul was the first Drag Queen/Supermodel Glamazon to cross over. No one does drag quite like him, keeping it classy, enjoying multimedia international exposure, and educating as much as he entertains. He has yet to be displaced or overthrown.

While longtime drag queen artists such as The Sisters of Perpetual Indulgence have been the most activism-driven queens, drag has long been an underground “phenom,” and has continued to influence and drive culture from the margins.

Drag royalty such as Chad Michaels and myriad impersonators doing Cher, Barbra, Liza, Diana and the like used to make most of their money in Vegas or resorts, in private shows for select celebs, or in underground or lower-profile LGBT clubs and bars.

Drag queen acceptance has finally become a part of our lexicon, with more and more Hollywood stars from Sally Jesse Raphael to anyone who’s made guest appearances on RuPaul’s various shows since the 90s continually co-signing, legitimizing drag in the mainstream.

We see this on a daily basis as Vanessa Williams and Solange Knowles light up their Twitter accounts, “Yes Miss Thing!’ing up the Internet and snagging queens to do their makeup for them. All the while, if Amanda Bynes even tries it with an anti-drag ding or a diss, her vitriol is shut down “with a quickness.”

So okay, UK Royals, you can have your royal baby. That’s all fine and well. We’ll keep our drag queen royalty and crown them happily—thanks ever so much.

Make Dat Money: Drag Is An Art And A Job

 “Scam money don’t make money, but freak money do.”

re:  “RT @LionsInMyHead: how do I make quick money Ru?”

– RuPaul’s recent tweet

 

Yes. Drag is popular entertainment, no doubt. Dressing up in drag is still, however, an entirely political act, onstage and off.

Queens such as Mykki Blanco, Heidi Glum and countless others continue to expose the horrible ritual of “drag-fag” bashing that’s still all too customary.

Though drag is often performed for laughs, drag changes lives. RuPaul’s Drag Race alone does indeed change the life course of formerly underground performers who might have have had very different realities. Though non-Drag Race performers have complained that RuPaul’s girls demand more money and steal their jobs, Drag Race’s popularity increases the value of drag art in general. If you’re listening closely, RuPaul continues to advise all drag performers to take advantage of this open door while it’s still open, warning us that the tides could change at any time, and likely will change.

Massive props are due to RuPaul, the ultimate drag mother, as before he created his “RuPaul’s Drag Race” empire and spinoffs (“Drag U,” “RuPaul’s Drag Race All Stars,” “Untucked,”), he insisted that all the girls on his show would never be the overall the butt of the joke for the program. Even his sisterly contemporary Lady Bunny said reality show producers approached her, forcing her drag sisters to be more bitchy and awful to one another than they would be in real life. (http://www.tgforum.com/wordpress/index.php/tvocalizers-lady-bunny)

RuPaul’s Story

As an actor, renowned drag queen, model, author, and recording artist, RuPaul rose to the ranks in the early 1990s as one of the first major drag queens to appear on mainstream TV and in movies, nabbing a major label deal with Tommy Boy Records. His chart-topping single “Supermodel of the World” just celebrated its 20th anniversary.

RuPaul’s career began where many queens’ careers remain: in underground clubs, gigging from town to town, not knowing where the next bit of money would come from. Though RuPaul jokes about tricking on a regular basis (he doesn’t profess this was his reality), sex work is common for many queens trying to pay the bills between gigs.

Not Just Cat Fights: Sisterly Drag Controversy

“You can call me he. You can call me she. You can call me Regis and Kathie Lee; I don’t care! Just as long as you call me.” – RuPaul

Despite the ease and fluidity with which RuPaul moves back and forth between appearances in and out of drag, rigidity in drag community still exists. There’s still a solid line of demarcation between drag performers and transgender or transgender-appearing individuals.

Publicly, RuPaul continues to make it crystal clear: he does drag for money, not for kicks, not for getting off. Traditionally, drag queens have staved off extended scrutiny or harassment with this through-line whether or not it’s true for them in private. Contemporary queens break even those taboos, playing with kai-kai (drag queen on drag queen) sexual role play much more (see: “Let’s have A Kai Kai” video). Even if such gender play’s done for titillation’s sake, it forces us examine and get rid of discriminatory ideology that makes little sense. It forces us to find drag queens doubly sexy.

Drag culture saw to blooming in the 70s, but it was much more exoticized. Though RuPaul himself began with a “genderfuck” aesthetic (playing with gender assumptions), his drag evolved into glam-specific artistry, and he demands that his drag mentees follow suit.

Genderfuck artists rarely make the cut as RuPaul’s Drag Race winners. (Winner Raja Gemini is an extremely high-glam model, hence was able to win with genderfuck presentation in tow).

Such glam-only strictness is a blessing and a curse in terms of drag performance. It took many years for drag queens to begin to accept transgender folks into the fold, since there’s a stigma surrounding doing drag for pleasure, rather than just for money, let alone even having sex in drag, or wanting to present as a woman. Thus, even in community, there’s a clinging to a “sissy for pay only” mythology. So even effeminate gay men cling to the elusive myth of butch superiority.

The issue here is not whether or not drag artists derive pleasure from the act, but has to do with defensiveness around it, not wanting to be confused with cross-dressers who are generally (at least in terms of the psychology field) straight men.

Drag performers themselves are still slowly warming up to the idea that there are trans performers among them—performers who are becoming more and more fearless about coming out as trans.

Regardless of the inner workings of drag art and commerce,  drag’s here to stay.

You’ll find a list below of some of the RuPaul’s queens (and others, non-affiliated) who have hit the big-time, including early drag queen forerunners enjoying newfound popularity.

Drag Queens Redux – New Royalty and Real-Life Residuals:

* Tyra Sanchez – Featured appearance, Spiritualized’s “Hey Jane” video

* Raven – Featured appearance in MDNR’s “Feed Me Diamonds” video

* Continued mainstream TV and film guest spots with Willam [spelling is correct, “Willam”] and Shangela

*Sharon Needles’ music collaboration with Ana Matronic (Scissor Sisters)

*Jinkx Monsoon’s off-Broadway success (“Hedwig,” “The Vaudevillians,” and more)

*Carmen Carerra’s trans-consciosuness raising appearances on “Cake Boss” and “What Would You Do?”

*Coco Montrese – Guest judge, “Toddlers and Tiaras”

*Alyssa Edwards’ new production deal (RuPaul producing)

*Latrice Royale’s redemptive story (escaping history of jail time, enduring popularity in spite of her confessed past)

*Newfound popularity for artists (many who are no longer with us) like Divine, Sylvester, Candy Darling, the “Paris Is Burning” cast,“Wigstock” the movie, Drag City DC

*Drag performers joining cisgender female trophy girls at awards shows for MTV,  Logo TV

*A brand new Battle of the Seasons U.S. Tour starring past Drag Race winners

*Popularity of YouTube celeb franchises like “Sh*t Girls Say,” Chris Crocker,” Gregory Gorgeous

*Celebrities like Jared Leto and James Franco, rocking cover spreads in drag to little or no controversy

*Continued drag inclusivity and exposure in international art exhibits, Vogue magazine cover shoots, music productions, mainstream art/fashion photography and so much more.

Now, there are even “spinoffs of the spinoffs” on YouTube, including popular drag webcasters CMaddoxBitch and the Throwinshade girls.

The list goes on and on: you would think these appearances are low rent. You’d be wrong: earning legit, non-club gig coin means these performers (including YouTubers) enjoy residuals, more mainstream attention, and a wider opportunity for promotion and distribution (read: income).

The biggest weave snatch of all has to do with RuPaul, informing people in all media outlets possible, all about the many Hollywood actresses (and yes, actors) who glue, tuck, primp, make up and doll up more than you’d ever know. The entertainment industry has always cashed in on selling dreams and creating illusions.

That’s why, even when it seems like it, the art of drag ain’t just no joke.

Don’t get it twisted: just like CMaddoxBitch says, the real winner of RuPaul’s Drag Race, every single year, is RuPaul.

Have you ever dressed in drag yourself—you kings and queens, you? Why…or why not?

Transphobic Tragicomedy: Paris Lees Chats With Jonathan Ross

Are Transphobic Jokes Ever Funny? On Paris Lees’ Trans-Empowerment Chat

Have you seen the YouTube dialogue between Paris Lees and Jonathan Ross?

Have a look and check it out: it comes highly-recommended.

In the video created for META,  Lees calmly and compassionately extends a hand to Ross in regard to prior insensitive remarks he’d made about transgendered individuals. First, he’d made a “lady boy airline” joke, then he mishandled social media responses with yet another quip he thought was funny. (When a fellow tweeter called him out on Twitter, he’d answered, “Lighten up. Sir. Madam. Whatever,” prior to making a quick knee-jerk apology.)

As we walk through Lees’ and Ross’ shared and very public video chat, we do see Ross searching for understanding about as he finds ways to personalize what being trans* means. (Example: citing the fact that his daughter is gay – it’s closer to but somewhat wide of the mark).

Paris Lees talks him through the proper way to communicate with and about LGBTQ folks, and trans* folks in particular, from a place of agency, and from her own knowledge and lived experience. All the while, he’s allowed the space to, essentially, brain dump as he moves toward fully embodied accountability.

The fact that the conversation has to do with comedic comments and Ross’ impressions about them provides a teaching moment that could have easily become inflamed, but Lees’ focus in her advocacy work has to do with centeredness, harmony and education. She’s been quoted in the press as being desirous to advocate for others in encouraging ways, making activism relationship-focused, easy as ‘having a chat and a bit of tea,’ and more accessible than accusatory (paraphrased).

While Lees’ viewpoint doesn’t provide others any wiggle room or space for excuses, it puts people at ease who could become unwitting allies and widen the platform for advocacy work simply by correcting themselves in public.

Kudos to Paris and to Jonathan as well—not only for having this conversation, but for sharing it in a public medium.

By video’s end, one does get the feeling that Ross has left the conversation changed—or that, at least, he’ll do double-check before he pens and delivers his next barbs.

To find out more about UK trans* resources or Paris Lees’ advocacy and creative work (additionally, she’s the editor of META magazine), please visit the links below.

Paris Lees’ Trans Empowerment Recommendations

Paris Lees’ Advocacy Site, All About Trans

META Magazine

Paris Lees at YouTube

Trans Media Watch

The Gender Trust

Trans Media Action

TransLondon

To discover and learn more about trans culture in the UK, please visit Paris Lees’ official homepage – Note: website resources in this article were also sourced from Paris Lees’ official homepage – ParisLees.com.

When’s the last time you heard a transphobic joke, and what was it? How did you react?

Wanda Sykes & OWN Kick Out the Jams In New HERLARIOUS Comedy Special

Call Wanda Sykes a “power lesbian” and you just might be right—the way she rocks her power, however, is with strictly comedic brilliance.

Here to make your summer sizzle with all-girl comedy giggles, Multi-Emmy and GLAAD award-winning comedian, actress and comedy writer Wanda Sykes is back in full effect.  Feeling better than ever, Sykes returns to cable television with a new production deal and an Oprah Winfrey Network (OWN) TV special debut.

You’ve likely seen Wanda’s many other comedic treats including her longstanding funny business with Chris Rock, Logo TV’s “NewNowNext,” the “Curb Your Enthusiasm” team, her self-penned and produced shows  “Tongue United,” “Sick and Tired,” “I’ma Be Me,” and of course her own “she-larious”  program “The Wanda Sykes Show.”

Sykes’ new two-part OWN special HERLARIOUS debuted this week (July 13) and ends next week (July 20), teaming up queer women of color with a veritable rainbow of all-female mega talents (including straight but not narrow folks).  Said to be among Sykes’ favorite up-and-coming stand-ups, the guest starring funny ladies include Andi Smith, Gloria Bigelow, Marina Franklin, Tracey Ashley, Carmen Lynch and Dominique Witten.

Sykes’ press indicates all comediennes were handpicked by Wanda herself, and that this effort spearheads a multi-project first-look production deal that’s also pulling in NBC/Universal TV execs and production partner Page Hurwitz, said to be teaming up on several productions after HERLARIOUS airs.

Both one hour-long comedy specials were recorded in front of a live audience at Oprah’s home base, Harpo Studios.

“Life is better when you’re laughing,” The Oprah Winfrey Network team tweeted (via @OWNTV), continuing, “@iamwandasykes presents #Herlarious.”

And you know your girl Wanda big-upped OWN’s social share with her own retweet.

Sure, Wanda’s calendar is filled to brimming over with holiday jaunts to France (wife Alex and two darling kids are on board, natch) but she’ll always make extra room for Oprah.  In the HERLARIOUS sneak peek video Wanda jokes, ” I keep getting asked, ‘Wanda…why are you doing a show with all female comics?’  I’m like, because Oprah asked me to!  Shoot…Oprah asks you to do somethin’, you move.  Come on!”

To watch exclusive performances including audience Q and A’s, celeb sightings of Brooke Shields (“Lipstick Jungle”) and Kym Whitley (“Next Friday,” “Raising Whitley”), and oodles of queer-centric laughs, visit this page.

You can also hang out at Wanda Sykes’ “homepage away from home,” Wandasykes.com.