Rod 2.0:Beta

Mary Wilson Talks to "Gay Times" About Dresses and "Dreamgirls"

Last week, Rod 2.0 previewed The Story of The Supremes from the Mary Wilson Collection at The Victoria and Albert Museum in London, a retrospective which showcases dozens of the beautiful and elegant performance costumes of The Supremes, as well as sketches of the original gowns and archival video. The fabulous Mary Wilson, one of the original members of The Supremes who remained with the group into the 1970s, is interviewed in the current issue of Gay Times (PDF) and dishes supreme fashion and "Dreamgirls."

On comfort and the weight of the gowns:
Once you put them, they weren't as heavy as when you held them. And some were like 35 pounds!

On keeping track of the original gowns:
Quite a few were stolen in different places. Many of them are gown, but many have shown up on eBay, which I've been able to buy back. ... Very shocking. But it's been  really great because the fans, in a couple of cases, have helped me buy them back You know, you have to get them immediately, and so the fans jumped in there and helped me out tremendously. ... Once our bus was broken into and gowns went missing there. We had a fire in a nightclub in Mexico, and some were burned there. And THEN some were stolen from our dressing room in San Francisco.

On the Dreamgirls screen adaptation:
I absolutely thought it was wonderful as a movie, and speaking about that time period, but it wasn't the story of The Supremes. ... The gentlemen who wrote the original Broadway play were probably inspired by The Supremes, and I think as much as they could use our storyline, they did,  but then they created their own story around that. But I do think in the beginning that it was based on The Supremes. That was unauthorized!

Oh, and on several occasions, Mary Wilson refers to Miss Ross as "Diane." Ouch.

Some Background ...
The Fashion of The Supremes at the Victoria and Albert Museum [R20]

Pharrell Williams (and Oversized Hermes Birkin) Cover "Paper"

It's time for another Pharrell Williams fix. In addition to his behind-the-scenes drama while collaborating with Madonna on Hard Candy, the ridiculously talented gay-friendly rapper, fashionista, designer and environmentalist continues in his march toward pop iconography with this freakin' fierce cover of Paper, the New York City-based fashion-forward lifestyle bible. Co-starring on the cover and in the six-page editorial shot by photographer Dan Monick is the rapper's oversized, custom made Hermes Birkin travel bag—which Pharrell holds at arms length in that famous BryanBoy pose.

Journalist and novelist Erica Kennedy (Bling) had the enviable task of heading down to Miami to interview the stylish producer. After dishing Madonna, Vogue editrix Anna Wintour and the controversial LeBron James cover, Pharrell "strips down to his boxers, revealing the lanky body of a teenage boy ... although he just celebrated his 35th birthday." PW is asked to show off his big, err, piece.

For his last shot of the day, he's asked to step out on the balcony and hold his enormous Haut a Courroies tote at arm's length for four frames. "Four?" he says, letting the photographer feel how heavy it is. He nods at his beefy security guy. "I'm not him." After the camera's final click, he drops to the bag to his side and ambles inside, mumbling, "I think I pulled something."

 

 

More PHARRELL WILLIAMS
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Some Background ...
Paper's Barack Obama-Inspired Fashion Editorial [R20]
Pharrell in "Vogue Hommes" [R20]
Pharrell Debuts Jewelry and Art Film for Louis Vuitton [R20]
Pharrell Shows Off His Oversized Hermes Birkin [R20]
Pharrell Williams for Louis Vuitton [R20]
Pharrell Sets the Record, umm, Straight [R20]
Milan Fashion Week: Emporio Armani [R20]
Pharrell Teams with Louis Vuitton  [R20]
"Not a Sex Symbol" ? [R20]
Has-Been Rapper Beanie Sigel Demands Kanye and Pharrell "Come Out of the Closet" [R20]
Live Earth Concert [R20]
Pharrell Williams at Diana Concert [R20] 
News: iPhone, Pharrell Wiliams [R20] 
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Attention All Size Queens [R20]

Terrence Howard's Latent Homo Role in "Cat on a Hot Tin Roof"

Academy Award-nominated actor Terrence Howard covers the new Giant (PDF), and, if you have about ten minutes, you may want to read the in-depth profile written by openly bisexual editor Scott Poulson-Bryant. Much of the interview is focused on Howard's film career and well-publicized, rocky personal life. Thankfully, a good portion of the profile is devoted to his work in the all-black revival of Cat on a Hot Tin Roof.

Howard plays Brick, the moody, "possibly closeted, sex-withholding alcoholic at the center of Tennessee Williams’s epic of southern family 'mendacity' ", as described in a recent review by New York magazine. Unfortunately, the Giant profile glosses over the well-known, latent homosexual theme of Williams' work, but, the actor does address the gay subtext. Howard's take is very interesting.

"One of the great things about Brick is that he had no idea that everyone in the household was accusing him of being a homosexual. But when he realizes his father has this idea, it enrages him because he thought that of all people, his father should know. Why can't two men have a deep friendship and let it be respected as something clean and decent? The mendacity of that bothers Brick. He explains that he and Skipper had a true friendship, a true friendship, until Brick's wife Maggie thought they were gay. Brick tels her the relationship is too rare to be normal. But sometimes men are drawn to each other and don't know how to deal with that. So they think, 'I must be gay.' But we hide from the quality that is most prolific, to express love. God is love. And we remain in his image. Only one other angel is made in His image, and that is Jesus, His only begotten son. So why is it we run from love? Why can't men lool each other in the eye with honesty."

Howard has previously made headlines for Bible-thumping about homosexuality, so, his role inCat on a Hot Tin Roof is certainly a departure. It's almost unbelievable that someone could not Google "Tennessee Williams" and read between the lines. Or, maybe Howard just doesn't care. In any event, it's refreshing to see black actors push boundaries and step outside of their "comfort zones" and take on roles that blur sexuality and typecasting.

PDF: Man on a Mission . Please link to the full post.
Oh, the Mendacity [New York]

Bill T. Jones Debuts New "Chapter", Discusses Race and Discrimination

Internationally renown choreographer and auteur Bill T. Jones begins a new chapter in his life—literally and figuratively. The iconic choreographer, recently photographed by Francois Rousseau to cover the OUT 100, will present his newest work, "Chapel/Chapter", at the Museum of Contemporary Art in Chicago. The artist discusses the impact of being  black, gay and HIV-positive in dance with the Windy City Times.

Jones, who describes himself as "a child of people who were basically field workers, and who taught that the American Dream was an almost Ebony magazine notion of what a Black person should be", says dance is more welcoming of black male dancers than choreographers.

Let's put it this way ...  A young Black male [ who is ] halfway well-trained and disciplined can write [ his ] own ticket. The dance world is hungry for males, first of all, but also young Black ones; they are much in demand.

Having said that, I know that there are all sorts of prejudice against our intellectual capabilities. It's one thing to be a young stud on stage, dancing and sweating in somebody else's work. It's something else altogether to get the world to take your ideas—your intellectual engagement—seriously. That's the biggest gap I've found there.

You have to realize that, in general, dance is not a valued commodity in the culture, no matter what they say about [ the TV shows ] Dancing with the Stars or So You Think You Can Dance? Anyone who goes into the dance world is going to realize that it's going to be a very difficult career, there will be few rewards and one has to fight to make a middle-class living, never mind establish a highly individualistic and idiosyncratic way of creating art.

In addition to being named to the OUT 100 and celebrating the 25th anniversary of the Bill T. Jones/Arne Zane Dance Company in 2007, Jones also received his first Tony award.

Bill T Jones Starts A New "Chapter [WCT]

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R&B Legend Teddy Pendergrass to Gay Journalist: I Don't "Keep a List of Who Listens" to My Music

There is good news and bad news coming out of Chicago for gay fans of vintage R&B and disco music—and that definitely includes yours truly. The god news is that Black Ensemble Theater has just debuted "I Am Who I Am: The Story of Teddy Pendergrass," a new musical on the life of the legendary former lead singer of the iconic Harold Melvin and the Blue Notes who shot to superstardom as a solo artist. Pendergrass' live shows "were renowned for their theatrical sexuality" and at the height of career, he was paralyzed in a car accident in the early 1980s. The passenger, Tenika Watson, was relatively unhurt.

Tenika Watson "turned out to be a transsexual nightcb performer whose original name was John Watson" and "Pendergrass would only say that Watson was a casual acquaintance whom he was giving a ride home." (Hello, Eddie Murphy!) Pendergrass has never discussed the circumstances of the accident and snaps at Gregg Shapiro, a gay journalist with the LGBT weekly The Chicago Free Press:.

GS: Throughout your career, you have had songs that were associated with the disco scene, such as the solo track "If You Know Like I Know," and "Bad Luck," "The Love I Lost" and “Don’t Leave Me This Way” with Harold Melvin and the Blue Notes. Because of having success in the realm, I wondered if you were aware of a following in the gay community throughout your career.

TP: No. My music appeals to everybody. No, I don’t keep a running list of who listens and who doesn’t. That’s not my job.

It's unfortunate that Pendergrass cannot mention the impact of gay producers and/or fans on his career, or,  even the larger influence of gays in R&B and disco. It's also unfortunate that he will not discuss certain  "transsexual nightclub performers", but, the title of the musical speaks for itself. "I Am Who I Am" is one of the lead numbers from  La Cage aux Folles which was a musical about—you guessed it—transsexual nightclub performers. The song was later remade by Gloria Gaynor into the gay anthem "I Am What I Am."

I Am Who I Am: Story of Teddy Pendergrass [CFP]
An Interview with Teddy Pendergrass [CFP]

DVD Review and Giveaway: Marlon T. Riggs' "Tongues Untied"

Despite the recent success of Noah's Arc as one of the defining cultural zeitgeists of black gay culture,  it may seem difficult to remember the years when black gay men were viewed as marginal and exotic creatures—seen on the streets but never humanized, and, almost never realistically depicted in movies or on television. Film maker Marlon T. Riggs changed the barren landscape with his classic and controversial documentary Tongues Untied. After almost 20 years, Tongues Untied will be released on DVD on March 18.

The documentary by the Emmy- and Peabody Award-winning director was a groundbreaking portrayal of black gay issues—discrimination and bigotry within the black community, racism in the "mainstream" gay community, HIV/AIDS, the art of the "snap queen", and, the loneliness and isolation of the drag queen. Riggs began production in Oakland, Washington DC and New York City with a $5,000 grant from the National Endowment for the Arts. Tongues Untied made its broadcast debut in 1991 on PBS' P.O.V. series, and, along with the furor over artist Robert Mapplethorpe, contributed to the growing debate over the public funding of the arts. The nudity, graphic descriptions of sexuality and revolutionary political ideology infuriated conservatives—NEA Chairman Lynne Cheney promised to review funding procedures and right-wing quasi-racist Sen. Jesse Helms led the charge against the broadcast.

It would be simplistic to dismiss the film by focusing on the contemporary—such as saying that today openly black gay men are advising Democratic and Republican presidential candidates, directing movies, and, writing New York Times bestsellers. True. Unfortunately, none of this was the case in 1991 and Tongues Untied was a call to action, and, paved the way for the next generation of black gay activism. The film holds up relatively well and the stories about the black church, religious intolerance, violent gay bashing, and, the debate over "butch versus femme" are still major topics of discussion in our community.

The remastered DVD from Frameline, the LGBT independent film distributor, includes deleted scenes, archival behind-the-scenes footage of Marlon T. Riggs, and, interviews with Rod 2.0 faves such as Isaac Julien and Phill Wilson. Riggs died of AIDS in 1994. Not only would Riggs be proud of the remastered DVD edition of Tongues Untied, but, he would appreciate the fact that the fierce cultural debate is still raging.

DVD GIVEAWAY: Frameline,, is offering limited copies of  Tongues Untied exclusively to Rod 2.0 readers. Let's do something for the "children" who came out in the 1970s,  1980s and early 1990s. In the comments below, describe where you first saw Tongues Untied and what impact it made.  Was it on television? An art movie house? They are probably some great stories. Comments close Friday at 5PM ET and we'll announce the winners on Monday.

Tongues Untied [Frameline]

Boykin Launches "The Daily Voice"

Our buddy Keith Boykin adds "entrepreneur" to his ever-expanding skill set: The New York Times best-selling author, activist and blogger now launches The Daily Voice, which dubs itself "Black America's Daily News Source."

Taking a cue from Arianna Huffington and her phenomenally successful Huffington Post,  The Daily Voice fuses politics, pop culture, and, the arts and its roster of contributers reads like a who's who of Black America. The site launches with some heavy hitters, including out and former NBA player John Amaechi on the dilemma facing LGBT voters, Massachusetts Gov. Deval Patrick amplifying his earlier endorsement for Barack Obama, as well as "Marcia Dyson and Jacqueline Jackson, each of whom is taking a different position on the presidential campaign than their famous spouses," Keith says. Just like we're one of the featured contributors at HuffPo, we're also joining the The Daily Voice team, so look for our byline in the coming days.

Boykin says the concept behind the The Daily Voice is "not a gay site. Or a straight site. But rather it's a place for all of us to come together in the African American community. Whether you're male or female, gay or straight, young or old, Republican or Democrat, we want to hear your voices. I see this as a space where Rev. Jesse Jackson may contribute one day and then Clarence Thomas the next. And you all know what I think about Clarence Thomas.

"Still, this new project is much bigger than me. It's about us, our community, our people coming together as one. This past weekend, as I watched the new Barack Obama music video, "Yes We Can," I suddenly felt inspired again. I remembered what it felt like to believe that anything is possible. I remembered what it felt like not to listen to the cynics and the naysayers. And I remembered the awesome power we have inside of us when we only dare but to dream."

 The Daily Voice

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"Brother Outsider: The Life of Bayard Rustin" on LOGO

Bayard Rustin—the civil rights organizer and top lieutenant to the Rev. Dr. Martin Luther King Jr.—is finally receiving much of the recognition that he deserved. Tonight and throughout the week, gay-themed LOGO screens Brother Outsider: The Life of Bayard Rustin, the documentary that explores his many accomplishments and exposes why so little is reported of him in black history—because he was openly gay.

"It wasn’t something he focused on, but I think there was a general feeling that had he not been gay, the way he was able to save lives in the movement, or ascend to a leadership position [wouldn’t have had as many] obstacles," says Walter Naegle, Rustin’s surviving partner, who will speak on Wednesday in Atlanta on Rustin's legacy.

Rustin was a gifted political strategist and superb orator, undoubtedly one of the most prominent black gay figures of the 20th century for his instrumental role in the civil rights movement of the 1950s and 1960s, most notably organizing the famous 1963 March on Washington where Dr. King delivered his iconic "I Have a Dream" speech.

As a form of narration, Brother Outsider relies on the FBI's chilling and extensive surveillance records of Rustin. The reports document a  1953 arrest for lewd vagrancy in Pasadena, California, where the police caught Rustin performing oral sex in the backseat of a car\—with two men. His subsequent arrest and 60-day prison sentence was an albatross around his neck, and often exploited by  whites who were opposed to civil rights and black leaders who were jealous of MLK's prominence.

The documentary also details one little-known fact: Rustin was briefly separated from Dr. King's campaign because Rep. Adam Clayton Powell threatened to expose a fabricated sex scandal between the two.

Later in life, Rustin became a gay activist and said the discrimination against gays and lesbians needed to be addressed with the same passion that was used to oppose Jim Crow. "The barometer of where one is on human rights questions is no longer the black community," he said in 1986, one year before dying. "It's the gay community. Because it is the community which is most easily mistreated."

A Little Background ...
Black Museums Should Celebrate Gays [R20]
Billy Strayhorn Documentary on PBS [R20]
Brother Outsider Screenings [R20]

Chaka Khan Heads to Broadway, Joins "Color Purple" as Sofia

Funk and R&B powerhouse Chaka Khan just released her first studio album in a decade—a collection of killer, vintage Rufus-style tracks called Funk This. (Listen and download the free MP3 of "Disrespectful" with a special intro and greeting to Rod 2.0 readers. Fierce, no?)  The legendary singer-songwriter now adds "Broadway musical" to her ever-expanding skill set. On January 9, the singer-songwriter joins the cast of The Color Purple as the fearless Sofia, the role immortalized by Oprah Winfrey in the now-classic film.

Khan tells The New York Times, "I am Sofia. We’re so much alike. Her fundamental application to life is the same emotionally. She’s one of the [pioneers] of women’s liberation and the first non-slave black woman who wasn’t a slave to anybody. I’m like that. I’d rather be dead."

The singer-songwriter says film director Steven Spielberg approached her for the role of nightclub singer Shug Avery, but she refused the part because she couldn't identify with the character. "I did know girls like that, who lost count of [the men] they’d been with. I was raised Catholic, and I was very Catholicized sexually. I had more hangups."

Speaking of Chaka Khan's sexuality: The topic was probably too risque for the Times to explore in detail, but, Out.com's Shana Naomi Krochmal picks up where they left off. Chaka talks about "unlearning" that Catholic repression and previously having lesbian relationships in an interview in the current Out. "Sex is "not a real big thing", she admits. "If men could be more like women, I would definitely be more interested in them. A lot of men are denying their feminine side, which I think is their loss. When a woman meets a man who understands her, who gets her because he feels it too—I can't think of anything more beautiful than that."

Download MP3 of "Disrespectful"
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Bill T. Jones on the "OUT 100"

Internationally renown choreographer and auteur Bill T. Jones is recognized for "Lifetime Achievement" in the December OUT 100. In addition to celebrating the 25th anniversary of the Bill T. Jones/Arne Zane Dance Company in 2007, Jones also received his first Tony award.

The iconic choreographer is one of four OUT 100 recipients seen on the cover. "Jones has fearlessly combined raw artistic beauty with strong social commentary," reads the profile that accompanies another stunning image by Francois Rousseau. "Though the MacArthur 'genius grant' recipient once wrote that 'My eroticism, my sensuality, is often coupled with a wild anger and belligerence,' he was nothing but jubilant last June when he leaped onto stage to accept his Tony for choreographing Spring Awakening."

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