Barry Good: Ezra Miller is the Secret Weapon (one of them) that sets The Flash Apart from the Confusing Trend of Multiverse Superhero Franchises
Review by Arnold Wayne Jones
Courtesy of Warner Bros.
The advent of “Cinematic Universes” is a blessing (mostly to the studios’ bottom lines) and a curse (mostly to folks who just like the fun escapism of comic books). When those CUs started delving into the concept of multiverses… well, it just confused me more. I confess that, when I saw Spider-Man: No Way Home, that was the first indication I had that the Tom Holland, Tobey Maguire and Andrew Garfield Spideys all existed in parallel dimensions. This was news to me; I always assumed the casting changes were occasioned by studio whims and creative choices, not living elsewhere in the timeline. Frankly, none of it makes much sense. Did the recasting Bruce Banner (Edward Norton to Mark Ruffalo) within the Marvel CU signal another universe… and if so, why was General Ross played by William Hurt in both the Norton and Ruffalo incarnations (a part soon to be played by Harrison Ford, occasioned by Hurt’s death). It’s the gymnastics associated with insisting on canon, while simultaneously allowing the reinvention of the franchise at will, that makes no sense. (I loathed No Way Home, and its companion film Dr. Strange and the Multiverse of Madness, for those and many more reasons.)
In my adulthood, live-action feature-film Batmen have included Michael Keaton, Val Kilmer, George Clooney, Christian Bale, Ben Affleck and Robert Pattinson – which of these are in the same world, if any? It simply isn’t worth the effort to figure it out.
Courtesy of Warner Bros.
The news, then, that the new Flash film would include time-travel initially set my teeth on edge. (Time travel always reminds me of the throwaway line in an episode of The Simpsons where guest voice Lucy Lawless says that anytime something in Xena didn’t make sense, “a wizard did it.” On the other hand, the animated series Rick & Morty is so crazy, it doesn't even try to maintain consistency; it’s brilliant.)
The Flash definitely has a lot of plot holes and related issues tied to its universe-hopping, but it’s also hugely entertaining in its own right. No other superhero film that plays so fast and loose with quantum mechanics is quite so satisfying as this.
The plot in its essence is: Barry Allen (Ezra Miller), who is secretly the super-speed hero known as The Flash, wants to help his dead get out of jail after being wrongfully accused of killing Barry’s mom. Barry figures out how to travel back in time in order to “correct” the injustice, but of course, timelines cannot be toyed with, and the repercussions are dire. (The original Star Trek series did basically the same thing in the class episode “City on the Edge of Forever.”) Barry meets his younger self and together they try to set things right – first finding Batman to enlist his help, then using Batman to track down Superman, who isn’t to be found.
Courtesy of Warner Bros.
One reason for the success, I suspect, is that The Flash makes only limited use of the current DC Extended Universe – there are references to Cyborg and Aquaman, but only Wonder Woman (Gal Gadot) and Batman (Ben Affleck) make meaningful appearances. That allows the film to more or less stand on its own without too much clutter and focus on the character of Barry Allen.
And the secret weapon of The Flash isn’t speed…. it’s Ezra Miller. Miller’s personal life – use of they/them pronouns, occasional identity as queer (and then not), acts of violence and inappropriate conduct, mental health crises – have been widely documented, but honestly, it is easy to look past them to appreciate the extraordinary work Miller is doing here. They do twice the lifting of any other actors, playing (for the majority of the film) two separate Barry Allens, each of whom Miller makes distinct and individual. You might even call it three performances, when you add his sexy, ripped heroic mien as The Flash. As Older Barry, Miller is quirky and uptight and stressed out; as Younger Barry, he’s annoying and goofy. You’re never confused about who is whom; it might be the best dual performance I’ve ever seen in a movie.
The plot, despite its complications of logic, is incredibly well-structured within its constraints, so I hesitate to give away much of it, except to say that they majority of scenes with “Bruce Wayne” inject a wondrous nostalgia and set up a contrast to the current DCEU that really serves its legacy.
It’s not only the performances, though: The special effects and storytelling are superior to most DC films in this franchise, and the action sequences are staged to be well-lit and visually coherent in a way that often isn’t the case. It really delivers what you want in a summer blockbuster. The Flash gives you a rush.
Billy Eichner and Dyllón Burnside Join Unleashed LGBTQ Live Event - September 2023
Joining a Powerful Lineup of Talent, including Antoni Porowski, Indya Moore, Shangela, and other Industry Leaders making Noise in the LGBTQ+ Market
DALLAS — APRIL 25, 2023 — Unleashed LGBTQ, a first-of-its-kind conference and entertainment festival creating a space for brands, artists, and LGBTQ+ professionals to connect, is thrilled to announce new talent joining its lineup, including Billy Eichner and Dyllón Burnside, for its first live and in-person Unleashed LGBTQ 2023 conference, taking place at Gilley’s in Dallas, Texas, from September 22 - 24, 2023. Unleashed event organizers also welcome iHeartMedia back as media partners to activate the programming as the official audio partners for the festival’s first ever in-person event.
"Our first live, in-person, event is going to create a synergy between talent, the business community and the entertainment industry in a way no LGBTQ+ event has ever done before,” said Founder, Wesley Smoot. “Companies sending representatives to our event will be able to take advantage of all opportunities available, whether it’s for educational purposes, networking or entertainment, LGBTQ+ professionals or others focused on allyship, will reap the benefits of our educational and entertainment-based lineup. We have dedicated an entire area to workshops for attendees to learn new skills from today's thought leaders and we’re confident companies sending entire departments to Unleashed LGBTQ 2023 will have a more informed, supercharged team that will be lightyears ahead of other brands.”
Each day at Unleashed LGBTQ will begin with educational topics — from workshops and panels discussing business (advertising, marketing, DEI), society (non-profit, advocacy), and personal (financial planning, continuing education) development – and will feature high-tech brand activations and experiential marketing installments throughout the venue, before transitioning to entertainment that will include screenings, drag shows, stand-up comedy, and musical performances. Attendees will be enriched by professional development and networking opportunities through the Unleashed LGBTQ event app (developed by WebEx/Cisco) and at specialized mixers and unique branded activations through the award-winning Freeman event services.
The growing lineup of talent will include:
● Billy Eichner Co-writer and Star of Bros (Universal Pictures), Billy on the Street, The Lion King (Disney), American Horror Story (FX), Difficult People (Hulu)
● Antoni Porowski Emmy-Award Winning Show Queer Eye (Netflix), Host of Easy Bake Battle (Netflix), Author of Antoni in the Kitchen & Antoni: Let's do Dinner
● Indya Moore Emmy Award-Winning Show POSE, Yves Saint Laurent Cosmetics, Aquaman and the Lost Kingdom
● Shangela Emmy Award-Winning Shows We're Here (HBO), RuPaul's Drag Race, & RuPaul's Drag Race All Stars (MTV)
● Dyllon Burnside Emmy Award-Winning Show Pose,Emmy Award-Winning Show POSE, Emmy-Award winning PBS docuseries PRIDELAND, Golden Globe nominated limited series MONSTER. GLAAD & HRC award recipient
● Daniel Franzese, Mean Girls (Paramount Pictures), Ru Paul's Drag Race (MTV), Looking (HBO)
● Kelly Ann Winget, Founder & CEO of Alternative Wealth Partners, Over $1B in private equity raised, Host of The Wealth Alpha podcast, and Author of Pitch the Bitch (April 2023)
● Brian Sims, Former Penn State Rep., LGBTQ+ Advocate & Speaker, Managing Director of Government Affairs & Policy at Out Leadership, Board Member at Campus Pride & GLSEN
● Naomi Green, MBA Speaker, Marketer, Professor, and Transgender Advocate
● Ashley Brundage, President & CEO of Empowering Differences, Author of Empowering Differences, Transgender Advocate, Former DEI Vice President at PNC Bank, Mother
● Dr. Carlton Thomas, Gastro-Intestinal Medical Doctor, Social Media Sensation, Contributor to Men's Health Magazine, LGBTQ+ Consultant to the White House & the CDC
● Matt Skallerud, Founder & President of Pink Media, Host of #iLoveGayToday, former President of IGLTA, Award-Winning Online Marketer connecting businesses to the LGBTQ+ consumers
● Vicky & Charisse Pasche, Co-Founders of Dapper Boi – body-inclusive and gender-neutral apparel – Marketing, Sales, and Entrepreneurial Experts, Wives and Mothers of Twins
● Stacey Stevenson, CEO of Family Equality, Co-Founder of The Changists (Law Firm Consulting), LGBTQ+ Activist, Speaker, Mother of Two
● Gary Sanchez Sr., Director of Community Impact at Visit Dallas, Former Chairman at North Texas LGBT Chamber of Commerce, Chairman at Chamber Foundation
● Brad Pritchett, Award-Winning Marketing Executive, Chief Experience Officer at DMA (Dallas Museum of Art), Host of The Good, The Brad, & The Ugly podcast
Unleashed LGBTQ is also partnering with the iconic Alamo Drafthouse to host screenings of new LGBTQ+ content from streaming services, movie studios, and television networks. Independent filmmakers can submit works for Unleashed LGBTQ 2023 Film Festival at:
https://www.filmfreeway.com/unleashedlgbtq
Unleashed LGBTQ, LLC is proud to have received support, endorsements, and/or grants from the following organizations: DTPID (Dallas Tourism Public Improvement District), Visit Dallas, North Texas LGBT Chamber of Commerce, NLGCC (National Gay & Lesbian Chamber of Commerce), & IGLTA (International Gay & Lesbian Travel Association).
Other partners include Gilead Sciences, iHeart Media, equalpride, and Kelly Ann Winget.
About UNLEASHED LGBTQ, LLC
Unleashed LGBTQ, a space for brands, entertainers, and LGBTQ+ professionals to connect, will host its inaugural, live event September 22nd - 24th, 2023, in Dallas, Texas. Attendees can learn about the latest products, services, and campaigns debuting in the LGBTQ+ market in a fun and interactive environment. Unleashed LGBTQ provides premier networking opportunities for professionals in a variety of industries. Unleashed LGBTQ will host speakers, panels, and performances from some of the biggest names in LGBTQ+ culture, including film, television, music, and business. Stay tuned for additional Talent announcements.
Tickets are currently on sale on the event website here: https://www.unleashedlgbtq.com For more information on partnerships and company group rates visit: www.unleashedlgbtq.com
CONTACT:
Nicole Rodrigues
NRPR Group for Unleashed LGBTQ
Nicole@nrprgroup.com
424-421-9610
To request press credentials email:
press@unleashedlgbtq.com
Ada Vox Sings Out Loud and Proud This National Coming Out Day with Powerful New Anthem, “Let My Love Shine”
This National Coming Out Day, drag queen Ada Vox, best known for competing on American Idol and winning runner-up on the first season of Paramount Plus’ Queen of The Universe, will release her new song, “Let My Love Shine.” The beautiful song about finding strength and resilience through life’s toughest challenges offers a combination of electronic and dance music, with small gospel influences in the bridge. “I’m known more for dramatic, heart-wrenching diva ballads, but this time around, I wanted to be able to spread joy and happiness,” she explains. “By the end of the song, every single listener should feel compelled to toss their fears aside and live their lives in a way that leads with positivity and light.” Ada Vox’s “Let My Love Shine” is available on Spotify, Apple Music, and all major platforms on October 11.
“I have experienced hiding behind the facade of a fake smile while feeling miserable inside,” admits Ada Vox. “I’ve learned we cannot let our feelings control us. We need to consciously find joy and absorb it and share it with others. In the end, we’re all mere specks of dust in this universe. We may as well float around like happy specks, making as many other little specks happy along the way.”
The lyrics for “Let My Love Shine” were written by Negin Djafari (who has written previously for Miley Cyrus and Drake) and Helienne Lindvall. The song was produced by Daniel Robles.
“I met Daniel at RuPaul’s DragCon,” Vox continues. “He proposed the idea of a collaboration and his energy inspired me. I just knew everything would fall into place beautifully; so as soon as it was possible, we made it happen.”
The world first met Ada Vox when she auditioned for American Idol in 2013. At the time, she was known as Adam Sanders. In one of his Season 12 performances, Adam got a standing ovation from three of the four judges with his rendition of Etta James’ “I’d Rather Go Blind.” However, he was eliminated after Hollywood week. It came as a surprise for all when on the March 25 episode of American Idol, Adam returned as Ada Vox, wowing judges Lionel Richie, Katy Perry and Luke Bryan with her rendition of “House of the Rising Sun”. She was immediately given her golden ticket to Hollywood.
While the exposure from the show won Adam Sanders AKA Ada Vox plenty of new fans and many exciting opportunities to perform, he also began getting death threats on social media. People attacked his weight and his sexuality. It crushed his soul and he admits he even contemplated taking his own life.
Luckily, with the help of fans from the LGBTQ community and beyond, Ada found her strength. “Let My Love Shine” reflects her long-held motto, "I do what I love for the people that love what I do."
“There is so much more to life than worrying about how we can please the naysayers,” Ada Vox says today. “There are people out there who love us for exactly who we are. The only way to find them is to be our true selves. Light attracts light, so let your love shine through in every little thing you do!”
Follow on Facebook/Twitter/Instagram @adavox.
Bobby Newberry and Fia Nyxx Offer an “Escape”
To The Dancefloor with Their Sexy New Summer Jam
Bobby Newberry and Fia Nyxx are out to make people dance, sweat, feel free, sexy and have a good time this summer. Their new single, “Escape” is a scorcher of a dance record with sultry house elements, a disco infusion and a seriously hypnotic baseline. “Honestly, I had been feeling a lot of pressure and stress from the world and everyday life,” Bobby Newberry explains when discussing the genesis of the song. “I was hearing it a lot from friends too; how there is just always something draining our energy.” He says he and Fia wanted to give party people a moment to drown out their troubles and re-energize their bodies with a good time. They wrote and produced “Escape” with their mutual friend, Sam J Garfield. “It’s about taking an emotional journey, letting go of the world and its problems, getting lost on the dancefloor and feeling alive.” Bobby Newberry and Fia Nyxx’s “Escape” is available on Apple Music, Spotify, and all digital platforms. The video is available on YouTube.
“The song writing experience was pretty magical,” Bobby Newberry recalls from his Los Angeles home. “I had the idea for the hook and I kept singing it over and over with Fia, on continuous loop, while rallying Sam to hurry in with the house drop. It was an incredible session. The vibe between the three of us was electric.
The energy resonates in the high voltage music video that accompanies the song. Filmed at Sam J Garfield’s BlackRose Los Angeles, Newberry co-directed with Logan James who also shot the video. Choreography is by Bobby Newberry, Taylor Knight and Robbie Blue.
A shoulder injury sustained by Newberry nearly shut down production on the video. “We had to adjust all the choreography and creative,” he explains. “If you watch closely, I do ninety percent of the choreography with my left arm because my right shoulder was in pain.”
Natalie Saidi styled the video and Bobby says the fashion became a whole character in itself. “Natalie took us places we had never been, fashion wise. She really made some iconic looks happen.”
His absolute favorite are the red pants with the flowing tulle. “I could hardly move in them but they were incredible!” he laughs.
Bobby Newberry began his career in the music industry as a choreographer for Eminem. He would go on to work with a string of the world’s top artists including Nicki Minaj, The Pussycat Dolls, Missy Elliot, and Lil’ Wayne. His choreography work has been seen on TV in Dancing with the Stars and X-Factor. In 2014, Bobby Newberry released his first single and music video, “Dirrty Up (featuring Jessie and The Toy Boys).” It was soon after followed by his debut EP, The Newberry Special.
Fia Nyxx recently released her sophomore album, Red Umbrella. In her music, Nyxx embraces a theatrical approach, embodying a brilliantly experimental clash of genres from rock to pop. “Fia is passionate and rockstar glamorous with such an amazing falsetto register,” Newberry says. “It was really fun to vocal produce her on this record.”
Escape is the third single from Bobby Newberry’s upcoming EP. The dancers in the “Escape” music video are Taylor Knight, Robbie Blue, Brynda Rowen, and Devin Neal.
Follow Bobby Newberry on Instagram @ bobbynewberry
Unbounded Bash Puts Queer and Trans BIPOC Performers at the Forefront
Television shows like Pose and Legendary have reminded us of the trails blazed by the queer and trans heroes before us. They have also portrayed ballroom culture and how underground balls were a quintessential part of queer and trans liberation. This Wednesday (March 16), Unbounded Bash will bring a real-life ball to Austin’s Coconut Club as part of SXSW.
Spearheaded by Unbounded Agency, Unbounded Bash celebrates queer and trans people of color, and will feature performances by various queer and trans acts. The bash will feature three different activations.
“We have At the Discoteca hosting the DJ showcase,” says Unbounded Agency founder Anita Obasi. “At the Discoteca is a traveling party celebrating Black music for the queer and BIPOC community. We also have live performances that will precede the Dirty South Ball.”
The Dirty South Ball will be hosted by Austin’s iconic House of Lepore and will feature previous cast members from Legendary, along with various regional houses, including Puerto Rican house, Laboratoria Boricua de Vogue.
Unbounded Agency was invited to be an official presenter at SXSW in 2020, however, COVID-19 forced the conference to shut down. Obasi, however, says Unbounded’s return couldn’t be more timely.
“72 hours before the events, we basically had to cancel everything,” Obasi says. “So it was definitely a really hard moment for everyone involved. But it's really exciting to be able to bring everyone back and put our best effort in. I think it was also a blessing in disguise in the sense that we've had two years to reflect on ourselves as a whole, and then come back to the table feeling more refreshed and renewed.”
Born and raised in northern Virginia, Obasi is a first-generation American of Nigerian and Indian descent. She arrived to Austin in 2013 after graduating college and landing a job in the tech industry.
Obasi worked with a group of people who ran a coworking space called Topology, a 2,000-square-foot warehouse in which she and her peers operated the space as a creative hub. The warehouse has since been torn down, But Obasi was determined to use her creative and collaborative spirit to make a difference in the community she holds dearest to her heart.
“I was trying to figure out how to take the ethos of that space and turn it into something that could exist without walls or without necessarily a physical location,” Obasi says. “And part of the ethos of Topology was incorporated into our own personal values. And for me, it was creating space for queer and BIPOC people.”
Obasi founded Unbounded Agency in 2018, with a mission to organize events centering queer and trans people of color. Unbounded Bash will celebrate the voices she sought out to amplify during the genesis of her company.
With a line-up of predominately Black and Latinx performers, Unbounded Bash aims to remind us of all the reasons why we love queer culture. Performers include Argentinian DJ Tayhana, Xa’Pariis Nike of Legendary fame, non-binary rapper Babiboi, and Chicago house legend DJ Shani.
“DJ Shani is very representative of the true nature and history of house music, which is something that, as it has become popularized has seen more of a ‘white bro-y’ face to it. We're excited to have her here to remind people of the roots of house music and specifically the depth of Black history in that space.”
Although Obasi now resides in Los Angeles, she is elated to return to Austin, the city she called home for six years. For her, there is no other city where she would rather launch Unbounded Bash.
“I think people forget that queer and BIPOC identities still continue to exist in Texas,” Obasi says. “We're all human beings who exist in this space and we need to take up space and remind people that we are existing and thriving.”
Unbounded Bash kicks off Wednesday, March 16 at Colorado Club. SXSW badge holders will have priority entry. RSVPs and more information about the showcase can be found at unboundedagency.org/sxsw.
Film Review- Death on the Nile
by Arnold Wayne Jones
More than a century after the publication of her first novel, Agatha Christie remains the best selling novelist of all time. Think about that: The only authors who are more widely read are Shakespeare (a playwright!) and God (the Bible… though maybe that should be classified under fiction as well). That’s a lot of wide-ranging appeal. On the other hand, popularity doesn’t always translate into brilliant writing. Christie’s skill was plotting more than characterization. Those who populate her novels tend to be types – chatty cousins, blustery retired soldiers, Bohemian young women, moustachioed Lotharios. They serve her stories more than they live in our imaginations.
Courtesy of 20th Century Studios
Her more than 50 full-length books featured her most famous detective, Hercule Poirot, 33 times, and even he was something of a cipher. Fussy, stout, ageing, he exuded sexual repression channeling his puritanism into nosiness. And in a series of films starting in the 1970s, usually starring Peter Ustinov, his pinched emptiness became a delightful vessel for scenery chewing and the flamboyant “I suppose you’re all wondering why I’ve called you here” reveal. It’s fun.
So fun, in fact, that one of my favorite popcorn movies has always been 1978’s Death on the Nile, with its portmanteau of former superstars (Bette Davis! Angela Lansbury! David Niven!) – a tour of Old Hollywood glamour with a satisfying conclusion and few consequences.
Courtesy of 20th Century Studios
Alas, our society has changed. Despite how depressingly epidemic remakes have become, old-school entertainments usually must gesture toward justifying themselves by adding a post-modern veneer. And so Kenneth Branagh’s long-delayed remake of Death on the Nile, just in theaters, begins not with a juicy teaser to set up what’s to come, but a black-and-white prologue set decades earlier, in the trenches of The Great War in Europe, when a young soldier named Hercule uses his little gray cells to best the enemy and plan a wise military attack that nonetheless has a dire result. Those scenes explain Poirot’s celibacy, his outrageous whiskers and perhaps his hesitancy to solve the crime at the center of the story. It’s not just popcorn fun anymore … it’s meaningful.
Courtesy of 20th Century Studios
Don’t get me wrong: some of the many delights on this tour of the Nile are its dazzling costumes, its breathtaking landscapes, its glittering atmosphere and parade of beautiful stars. And anyway, most of the character work is foisted on Branagh himself, who not only directs but play Poirot (as he did in his last Christie remake, 2017’s Murder on the Orient Express), so he’s up for the challenge and happy to instill a little po-mo gravitas on this frothy confection, letting the updates imbue it with more relevance. While the novel was written and set in a much less woke decade, the changes reflect a 21st century mindset. The original cast was a lily white as an albino eating a mayonnaise sandwich on Wonder Bread during a blizzard, so retrofitting, for instance, Salome Otterbourne not as a boozy romance novelist as a black world-weary jazz guitarist seems wise and organic, while interracial and same-sex romantic entanglements reflect an unspoken reality of the era.
Courtesy of 20th Century Studios
And the cast turns out to deliver performances beyond their remit. Sophie Okonedo, as the aforementioned Otterbourne, has none of the drunken bravada brilliantly rendered in the original by Angela Lansbury, but replaces it with a thoughtful cynicism and air of mystery and menace. Annette Bening, always one of the screen’s most watchable actresses, embraces her role as a devious matriarch. The legendary British comedy team of Dawn French and Jennifer Saunders reunite with an unexpected divergence from the source material that nonetheless makes perfect sense, and would have even in the 1930s.
Courtesy of 20th Century Studios
Death on the Nile has always boasted one of Christie’s most serpentine yet satisfying solutions, and one concern I had going in was whether the screenwriters would pay proper homage to the source material or muck it up just to be unexpected. Without revealing any spoilers, I can attest that many of the changes in character and plot keep you guessing without while still offering a nostalgia tour of the elements that have always made Christie’s bubblegum prose enjoyable.
Don’t mistake the stylistic updates as a pretentious rejection of the novel. This is still a drawing room murder mystery with all the ridiculous melodrama you’ve come to expect, but its careful tailoring or the saggy parts presses vintage glam into familiar clothes.
Courtesy of 20th Century Studios
Gender-Bending Queer Artist ALONE Releases “Everything”, An Ode to His Trans Siblings
Debut Single Declares “Opulence is a State of Mind”
“Everything”, the debut single from the gender-bending Queer artist ALONE, pays homage to the shiny, brassy days of Motown while also serving as an affirming ode to the Transgender Community who continue to enrich our world while battling tremendous negativity. “I want my siblings to know that they are blessed, loved and perfect just the way they are,” says ALONE, who’s own lewk blends disco-rock camp fierceness with svelte Hollywood glamour silhouettes. He wrote, composed, and arranged the soulful RnB Pop track, and topped it off with soaring falsetto vocals brimming with joy fitting for a true anthem. The song was recorded in New York City with a full live band on all-analog equipment. “It is meant to be a bright and feel-good reminder that you already have everything you need to be happy and thrive,” he explains. ALONE’s “Everything” is available now on Apple Music, Spotify and all digital platforms. Its music video is available on YouTube.
“Everything” started as a love song to a guy I was dating who had a fabulous life but couldn't stop complaining about everything,” ALONE recalls from his NYC home. “I wrote the song to try to convince him to see how good he had it and help him cultivate a spirit of gratitude.”
During the production of the song, the message grew larger than a simple love song. It became a proclamation for all to appreciate life regardless of unfavorable circumstances. "Your joy is not dependent on external factors," ALONE urges. "Right now, just as you are, you are already as good, as well and as complete as anyone can ever hope to be — and therefore you are already, in fact, everything."
“I wrote the lyric, ‘Opulence is a state of mind,’ while sunbathing on the crumbling roof of an old house I was living in,” he continues. “At the time, I was barely making rent and struggling to find work and ways to bring my music to life. I laid down a patch of Astro turf on that hot tar, covered it with a piece of leopard fabric, treated myself to a box of strawberries and felt like royalty.”
In the song’s music video, ALONE spotlights an all Trans and Gender Non-Conforming cast. “I wanted to assure the Trans and Queer youth out there that there is a family here for them and that they are beautiful, powerful and worthy,” he says. He enlisted some of the leading activists in the Black Trans Lives Matter Movement including Tahtianna Fermin, founder of Bridges 4 Life, an organization that serves Trans youth in the foster care system; Danni Gucci, founder of the #Wontberased campaign for Trans visibility; and Suburbia, a drag queen who has been featured on HBO Max’s And Just Like That, and is the founder of the POC Collective.
ALONE was born Alon and raised in Israel, in a small coastal town called Herzliya. His father died in military action when he was three and a half years old. He grew up in a household of women, with only his mom and sister. His musical influences were Prince, Grace Jones, George Michael and Sylvester. “Growing up as a Queer kid who never fully fit in anywhere, seeing a Queer artist like Sylvester was a beacon of hope,” ALONE reflects. “It made me feel like I wasn't alone, like there was a future for me and that there were others out there like me.”
Upon moving to New York City, Alon changed his name to ALONE to reclaim the word; empowering its meaning from something sad and scary to independent and in control. “Being alone is one thing everyone experiences from time to time. There is beauty and strength-building in it. The binary concept that being alone is bad and being together is good is false. Both are equally important to our growth and well-being.”
ALONE’s next single, "Fine", is currently in production and scheduled to be released on April 8th with an accompanying music video. A sultry tribute to homo- and pansexual attraction, it pays homage to 80s rock strip songs while challenging the prevalent notions of sexuality and gender.
ALONE’s “Everything” is available now on Apple Music, Spotify and all digital platforms. Its music video is available on YouTube. Visit his website and follow ALONE on Instagram @ TogethALONE.
Jeremy Pope on making cover of OUT Magazine PRIDE Issue
By Daniel Reynolds
Jeremy Pope is the cover story of the new Pride issue of Out magazine. In it, the Emmy-nominated actor (Hollywood, Pose) discussed his journey of coming out as a Black gay man in the entertainment industry and beyond.
PHOTOGRAPHY BY SOPHIE CHAN ANDREASSEND
“There’s just a tricky way in which you have to move, especially in an industry that is predominantly white,” says Pope.
“Black men, I feel like a lot of times, our masculinity is our armor,” he says. “We’re meant to be built strong and tough because we’ve had to endure so much. So when you tell someone that you’re gay or you’re queer or you identify within the community, it’s like, do you lose that badge of honor? Do you lose that respect? Do you lose your safety because people feel like you’re vulnerable or you’re fragile?”
Additionally, Pope’s father, a pastor, is “extremely hypermasculine,” he shares, but the pair had a close bond. “I didn’t want to lose that dynamic,” he says of his early coming-out fears.
PHOTOGRAPHY BY SOPHIE CHAN ANDREASSEND
“I watched so many of my cousins and a lot of my Black friends maybe not have a relationship with their father.” There was also the church community to consider. “There’s an image that you have to uphold,” Pope says, adding, “You feel like you can’t make mistakes, because you are the example. You are the first family, especially in the Black community — what everyone is striving to essentially be, or your relationship to God is supposed to feel the closest.” Happily, he is he now closer than ever to his family after coming out.
Pope also self-directed his gender-fluid photoshoot of himself wearing a fishnet and pearls. Doing so is proof of “how far I’ve come.” He can now show the world that his body “can be lucid, it can be free, it can be broken, it can be masculine, it can be feminine, and…I’m allowed to possess all of those things.”
PHOTOGRAPHY BY SOPHIE CHAN ANDREASSEND
“A couple of years ago, I would have been scared to be on the cover of Out,” he says, "but now, it feels like a whole different season and a whole different journey.”
Full story: click here
Martin Stark takes a jab at homophobia in sport
BY ARNOLD WAYNE JONES
Martin Stark
There was a time not that long ago when Martin Stark wondered whether he would live to see another sunrise.
At the end of 2017, he nearly died from Addison’s disease, a rare but grave autoimmune disorder. He survived it (barely) but found himself suffering from a form of post-traumatic stress. To shake himself from a stupor, he happened upon boxing, and his passion for the sport grew — grew so quickly and strong, in fact, that he founded the World Gay Boxing Championships (WGBC), a nonprofit dedicated to inclusiveness inside the ring.
Even though the main event — the worldwide championships bout — won’t take place for another two years, Stark is planning several gay “fight nights,” and has already generated buzz across the globe with his mission, having been profiled by the BBC, Reuters, Out.com and more.
Stark, who will deliver a keynote address and conduct an online forum for Unleashed LGBTQ, sat down with us via Zoom (he lives in Australia) to discuss boxing, his organization and the need for diversity throughout sports.
How did boxing — or sport in general — enter your life like it did?
I was always a good swimmer — I think of myself as athletic — but was always the last picked at team sports. I think [sports] is where people feel comfortable in expressing who they are. After suffering [PTSD following my near-death experience], I signed up for a series of classes [in various disciplines to get out in the world]. The second class happened to be boxing — something I never thought I’d be good at. But what more than just boosting my confidence, I really discovered a love for the sport.
What is the “outness” of athletes in Australia like — across all sports, not just boxing?
Very similar [to where it stands in the U.S. — i.e., some retired but few active openly LGBTQ players in professional leagues]. Recently, a former rugby union player, now retired from the sport, came out. What’s slightly different here is, there has been great leadership on trans and gender-diversity inclusion.
One thing that really sets WGBC apart, I think, is how inclusiveness at all levels really drives it.
Yes, we call it a straight-friendly organization! We just want to increase inclusion and participation in boxing. It’s important to share your vision and connect with people in the community. And the truth is, it could not have happened without straight allies backing me. A friend who is a lawyer set up the [articles of incorporation]. Another developed the first website for free. I approached Boxing Australia [the governing body for amateur boxing Down Under] and they agreed to endorse and support the championship. They are also providing institutional guidance. There is also a London group [dedicated to inclusive boxing] but nothing on the scale of the championships [we will be presenting 2023]. We already have a high number of trans men who want to box. We have good diversity across the boxing community.
You’re basically following the rules applicable to all amateur boxing, though, aren’t you?
Yes, we have weight divisions but also [categorize athletes] by experience and age to make sure it’s safe. You would never have an experienced heavyweight boxing a welterweight [new to boxing]. So there’s physical safety, but also the psychological safety that people feel when they know they are welcomed, accepted.
What do you hope to accomplish?
Sport has been a bastion in homophobia and transphobia for years and it takes an individual to stand up and say. “This is where it ends.” I set up the organization to disrupt homophobia and transphobia in sport so that in 10 years, it no longer exists. We have gone from champions who make transphobic remarks [in the past] to those same champions attacking those who make them now. Hopefully we have reached a point in society where we don’t need to use the word like “ally.”
How will you achieve that?
It’s all about speaking up. Most people object to offensive behavior, but more people need to report it and stand up to it to really force the mainstream [culture] to step in, and not to hear racist or homophobis remarks [and let them slide]. We should call out racism, sexism or behaviors where people are made to feel disrespected.
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Arnold Wayne Jones
MaRtin stark