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All hail the queen

Madonna’s back but a lot is at stake — can she still deliver in a post-Gaga world?

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Madonna (Photo by Tom Munro; courtesy Liz Rosenberg Media)

Madonna sometimes likes to lay low for a few years, give people a chance to miss her, then come roaring back with a flurry of new projects and appearances. And the world is in the throes of the biggest such onslaught in years.

It’s been percolating for weeks — her song “Masterpiece” was a surprise winner at last month’s Golden Globes, her interview with Cynthia McFadden on ABC’s “20/20” found the singer famously weighing in on Lady Gaga and she was on Jay Leno’s “Tonight Show” this week. Fans are salivating in anticipation over Sunday night’s Super Bowl halftime performance, this week’s release of new single “Give Me All Your Luvin” (with Nicki Minaj and M.I.A.), new album “MDNA” (slated for a March 26 release) and, to a markedly lesser degree according to some camps, the new movie “W.E.” which had a limited release in December and went into slightly wider U.S. release this week (no word yet on D.C. screenings).

Madonna fans, of course, are whipped into a frenzy but the rest of the world is curious too and it raises an ocean of questions: Is too much being made of the Madonna/Gaga comparison? How can Madonna call Gaga’s work “reductive” when the former spent years mining old pop culture imagery for inspiration? Is it unfair that we keep wondering if Madonna still “has it” to a degree we don’t require of, say, the Stones or U2 each time they re-emerge? And could Madonna — known, of course, for her controversial TV performances — risk a Janet-caliber disaster if she tries something outrageous at the Super Bowl? We checked in with several gay pop culture observers — some fans, some not — to weigh in.

Snark king Michael Musto, famous for his “La Dolce Musto” column in the Village Voice and author of the new book “Fork On the Left, Knife in the Back,” says, for starters, that the similarities between Gaga’s “Born This Way” and Madonna’s “Express Yourself” justify some questioning.

He calls Madonna “the ultimate pop culture sponge,” but says it’s important to differentiate between homage and an all-out rip-off.

“It wasn’t Madonna at all who was pointing this out at first,” Musto says. “Everybody online was chirping that it was eerily similar with the chord progressions and the rappy part being kind of ‘Vogue’-ish,” he says. “But I’m all for anything that drives Madonna crazy … her haughtiness, her pretentiousness. I mean let’s face it, she’s not the warmest tool in the shed and that has led to some ill will. Lady Gaga is deeply talented and obviously a better singer than Madonna, though I do think Madonna was great for calling out that one song. I am still on the Gaga team, but I did recently write that Madonna has, once again against all odds, made herself hot again just by putting herself out there.”

Musto predicts Madonna will continue to stay front and center in the pop culture limelight as long as she wants.

“She comes at it with steely determination and she wears these blinders 24 hours that bar out negativity,” he says. “To her, her new project is the best thing in the world. Yes, the deck is increasingly stacked against her, but she knows all the tricks to stay on top. She knows to work with the young, hot people and once again, she’s made herself hotter than she’s been in a long time.”

Others say Gaga’s success doesn’t mean Madonna can’t continue in a big way too.

“I don’t think there has to be a Gaga-versus-Madonna thing like you’re either one or the other,” says Michael Crawford, a gay activist with Freedom to Marry who’s been a huge Madonna fan since the 1983 single “Burning Up” was released. “It’s not like you’re either a Republican or a Democrat. Clearly I worship the ground Madonna walks on and I always will, but I think Gaga is very good too. A lot of people just want to be bitchy but Madonna is Madonna, Gaga is Gaga.”

Others say the comparisons are inevitable and warranted.

“I’ve always told the rabid Madonna fans who’ve said Gaga is overly inspired by others that they’re on a weak foundation considering Madonna’s many homages and references in her work,” says Matthew Rettenmund, the gay author of “Encyclopedia Madonnica.” “Sometimes when you listen to Madonna’s most ardent fans, the ones who dislike Gaga anyway, they are using many of the exact same slams against Gaga that were used against Madonna her whole career by her detractors. That lack of perception is discouraging because I think Madonna’s work does attract pretty smart fans. Her references are not low brow and while you don’t have to understand every one of them to enjoy her work, being educated and informed does enhance your appreciation of it. I think Lady Gaga is the only artist in 30 years to even approach Madonna’s blueprint and I hope she is able to change and grow and keep it interesting in the way Madonna has been able to. One doesn’t cancel out the other.”

Madonna, of course, clearly channeled Marilyn Monroe — from the all out recreation of the “Material Girl” video to the more subtle bleached blonde looks she sported in the “Bedtime Stories” and “Who’s That Girl” eras — but is that any different from what Gaga’s doing with her or what Monroe herself may have channeled from her own predecessors such as Jean Harlow?

“It would be interesting if Marilyn had been around in the ‘80s and gone on ‘Nightline’ or something and been asked about Madonna,” says local nightlife impresario Ed Bailey, who DJs the popular Madonnarama events here and around the country. “I think [the ‘Material Girl’ video] was not just using that old concept for her own good, it was more of an homage and a statement about a strong powerful woman, which is something that clearly speaks to Madonna. I think there is a line between copying somebody and taking inspiration from something and there is a line between those two concepts. Sometimes it’s very blurry and sometimes it’s very clear.”

Rettenmund says the comparisons get silly after a while.

“I think it says more about gay men in particular and how they project themselves into their idols and how personally we take this trivial stuff,” he says. “I mean, ‘My diva is better than your diva,’ is the level at which this is and my reaction to it, aside from obviously admiring and liking Madonna for 30 years and being brand loyal, is that I love Gaga too and I’m happy to have all the divas around. It’s gay-on-gay crime to be attacking over this nonsense. It’s a homosexual civil war.”

Others wonder if Madonna will continue to be able to capture the world’s attention indefinitely. She’s been at it for decades now and even with all the changes in the way people hear and buy music, pop radio — especially in the U.S. — is as much a young person’s game as it ever was, especially for women artists. On the last few albums, Madonna almost always manages a Billboard Hot 100 top 10 hit with the first single, but follow-up singles routinely fail to chart stateside (they do better abroad and on the dance chart) and her last few singles — “Celebration” and “Revolver” — failed to hit big on U.S. radio. Younger divas — from Rihanna to Kelly Clarkson to Gaga — are logging much higher numbers. But while her chart peaks have waned, Madonna’s concert tours have skyrocketed in popularity.

Musto says that’s just how the industry works.

“I mean imagine if Peggy Lee had released something in the ‘80s or something,” he says “Would it have charted? No way, not unless she hooked up with the Bee Gees or something. Diana Ross could come out with the most amazing song ever right now, it wouldn’t get played. Working with these younger artists, like M.I.A., that’s [Madonna’s] way around it.”

Madonna at the New York premiere of 'W.E.,' the new movie she co-wrote and directed. (Photo by Amanda Schwab; courtesy the Karpel Group)

Bailey says this time could be different.

“I’ve been in clubs for 20 years and never in that entire time has there been a time when the dance music in the club and pop on the radio were identical until now,” he says. “It’s just the way the world is right now. People are listening to Lady Gaga and Chris Brown and David Guetta and Flo Rida, you wouldn’t call them pop artists really. They’re dance artists. Now it’s every single thing you hear. People have an appetite now for that dance/pop sound with Rihanna, Katy Perry. I think for Madonna, this is gonna work out really well.”

And as for the Super Bowl? Is Madonna taking pot shots at her old rival Janet Jackson when she promises “no nipples” or is it just more of the gays making too much of off-the-cuff remarks?

Rettenmund says it will be huge. Rumors abound that she’s invited the Gay Men’s Chorus of Indianpolis to join her on stage.

“I’m assuming it’s going to be a visual orgy of cheerleading with water cooler moments,” he says. “Madonna is an artist who is never considered fully proven … every time she returns, there is this expectation of ‘OK, show me’ from some quarters. And the Super Bowl is no exception, except this time Madonna has set it up as a make-or-break moment of her own doing … so it has to be great. She knows that and in the past, she has lived up to expectations.”

Bailey calls it “a tall order.”

“The Black Eyed Peas were really good last year and she’s got to live up to that. It has to be a visual spectacle. She can’t just come out and say, ‘I’m gonna strip it all back and just make it about good, quality music.’ That won’t work.”

And if a stunt should backfire?

“Madonna would just laugh and keep going,” Crawford says. “I think Janet is really great, but Madonna just goes for it and makes no apologies … Janet apologized and Justin sold her out, there was a lack of strength in that whole episode. Madonna has a unique ability to make things work to her advantage.”

 

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HRC releases ‘Queer Renaissance Syllabus’

Beyoncé’s hit album inspired curriculum

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Beyoncé performs at FedEx Field in Landover, Md., on Aug. 6, 2023. The Human Rights Campaign has released a curriculum that her "Renaissance" album inspired. (Washington Blade photo by Isabelle Kravis)

In a move aimed at celebrating the beauty, brilliance and resilience of the LGBTQ community, the Human Rights Campaign unveiled the “Queer Renaissance Syllabus” that Beyoncé’s “Renaissance” album inspired. 

Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s Historically Black Colleges and Universities Program, the syllabus includes a variety of academic articles, essays, films and other media rooted in Black queer and feminist studies. Each piece is directly inspired by the tracks on Beyoncé’s Billboard 200-topping dance album, “Renaissance.”

Beyoncé’s album “Renaissance” stands as a cultural milestone, celebrating the Black queer roots of dance music while shedding light on overlooked Black queer artists. Inspired by her late-Uncle Johnny, the album not only garnered critical acclaim but also shed light on the often marginalized contributions of Black queer artists. Winning four Grammys and yielding chart-topping hits like “Break My Soul” and “Cuff It,” the album sparked discussions about economic impact and cultural representation.

Amid its success, legislative challenges arose, with Florida and Texas enacting bans on DEI initiatives in public colleges. Recognizing the album’s transformative potential, HRC developed the “Queer Renaissance Syllabus” to leverage its impact for education and activism.

Tailored for educators, youth-serving professionals, DEI practitioners, higher education leaders and admirers of Beyoncé’s artistry, the syllabus aims to encourage meaningful discussions, enrich lesson plans, and explore innovative ways to honor the vibrancy and significance of LGBTQ individuals and their culture.

With six themes anchoring the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism,” it provides a comprehensive exploration of various facets of LGBTQ experiences and expressions. Fan-favorite tracks from the album are paired with scholarly readings, offering insights into empowerment, self-acceptance and the transformative power of artistic expression. The syllabus also reinforces HRC’s efforts to highlight, amplify and re-center Black and queer voices.

By providing links to articles, books, podcasts and interviews, each associated with a song from the album, it celebrates the rich cultural heritage and contributions of the Black queer community.

The concluding section of the syllabus includes Beyoncé’s tribute to O’Shea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to “Renaissance” songs at a gas station. HRC also includes a statement that condemns hate crimes.

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Movies

Neo-noir ‘Femme’ offers sexy, intense revenge fantasy

A work of real and thrilling cinematic vision

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George MacKay and Nathan Stewart-Jarrett star in ‘Femme.’ (Photo courtesy of Utopia)

They say “revenge is sweet,” and it must be true. Why else would so many of our popular stories, dating all the way back to “Medea” and beyond, be focused on the idea of getting “even” with the people who have done us wrong?

It’s a concept with obvious appeal for anyone who has felt unjustly used by the world – or, more accurately, by the people in it – but that has particular resonance, perhaps, for modern queer audiences, long used to being relegated to the status of “victim” in the narratives we see on our screens. In “Femme” — the new UK indie thriller helmed by first-time feature directors Sam H. Freeman and Ng Choon Ping, now in limited theatrical release and expanding wider over the next two weeks — it provides the irresistible hook for a gripping tale of calculated vengeance in the face of anti-queer violence. Like the best of such stories, however, it’s as much a cautionary tale as it is a wish-fulfillment fantasy.

Set in London, it centers on Jules (Nathan Stewart-Jarrett), aka Aphrodite Banks, a popular drag performer in the city’s queer club scene who, after a performance one night, steps out in full costume to buy a pack of cigarettes and becomes the victim of a traumatic “gay bashing” incident at the hands of a young man goaded to violence by a thuggish gang of friends. Months later, though he’s recovered from his physical injuries, he is still deeply affected by the inner scars that linger. Robbed of the confidence that allowed him to perform, he’s withdrawn into a reclusive life, until concern from his friends and housemates prompts him to finally venture out into the world for a night of cruising at a gay sauna – where he encounters his bully doing the same thing. 

Unrecognizable and anonymously masculine out of his drag persona, Jules finds himself beginning a dangerous and duplicitous game in which he plans to “out” his former attacker – whose name, as he learns, is Preston (George MacKay) – in the most humiliating way possible. As his scheme begins to play out, however, he encounters an obstacle: in getting to know the closeted Preston, he is surprised to discover not only empathy for someone living their life in terrified camouflage, but a mutual attraction that develops despite the horrific history between them.

Framed as a self-described “neo-noir” story, a designation that implies a certain flavor of moral ambiguity as much as it does a tense and shadowy tale of intrigue or a psychologically complex tone, it’s a movie that relies heavily on style in order to sell its conceptual premise. Realistically, we might question the boldness that permits our protagonist to enact such a potentially hazardous scheme, but in the context of its genre trappings we are lulled into accepting it. And while most of us are likely “jaded” enough to question the possibility of tenderness between its two leading characters, the accepted conceits of the film noir form are enough to sell it to us – or at least allow us to grapple with it alongside Jules, whose righteously Machiavellian master plan is threatened by the feelings he “catches” in spite of himself.

That, of course, is part of the whole point. “Femme,” though it establishes itself by virtue of its very title as a testament to the struggle to “pass” for straight in a world that places a value judgment on perceived adherence to a strict norm for gender and sexuality, hinges on the idea that such things aren’t quite as clear-cut as we want to make them. Despite the black-and-white certainty we cling to when it comes to the subject of abusive or toxic relationships, there’s an emotional component that can only be ignored or dismissed at our peril, and even our most resolute intentions can be undermined by the shades of gray we discover in our hearts. 

Freeman and Ng – who also wrote the screenplay, adapting their own BAFTA-nominated short film from 2021 (starring Harris Dickinson and Paapa Essiedu) into a feature-length expansion – seem bent on challenging our snap judgments, on forcing us to sympathize with our oppressors by showing us the ways in which they, too, are prevented from living a fully authentic life by the expectations of their cultural environment. Even more challenging for many modern audiences, perhaps, may be the unavoidable observation that, in enacting his plan of revenge, Jules crosses the line between being a victim and being a victimizer – a fine point that may trigger uncomfortable implications in a social environment that has become marked by divisive moral constructs and hardline ethical posturing.

Before we scare you off with discussion of high-concept themes and “culture war” rhetoric, however, it’s crucial to bring up the elements that lift “Femme” above and beyond the level of so many such narrative films and makes it a somewhat unexpectedly potent piece of cinematic storytelling – and all of them have to do with the skill and intention behind it.

As to the former, the movie’s first-time directors manage a remarkable debut, steeping their film in moody, genre-appropriate visuals and murky morality. They pave a path beyond the easy assessments proscribed for us by conventional thinking, and force us to follow our sympathies into a disquieting confrontation between what we “know” as right and what we feel as true; at the same time, they push back against any natural sentimentality we might have about the situation, stressing the toxicity of the relationship in the middle of their film, the ironically-reversed insincerity of its dynamic – and, perhaps most importantly, the reality of the defining circumstances around it. While we might find ourselves longing for a happier resolution than the one we expect, the film makes no pretense that these two men might overcome the deep denial and traumatic associations – not to mention the calculated lack of honesty on the side of its de facto protagonist, to achieve some kind of “happy ending” between themselves. Nevertheless, we hope for it, in spite of ourselves.

That delicate dynamic works largely because of the movie’s lead actors. Both Stewart-Jarrett (“Candyman”) and MacKay (“Pride”, “1917”) deliver fully invested, utterly relatable performances, finding the emotional truth behind their interactions with as much palpable authenticity as they bring to the chemistry between them. They force us to abandon our preconceived ideas about each character by finding the human presence behind them, and it makes the story’s final outcome feel as heartbreaking as it does inevitable.

As for intention, “Femme” – which premiered at last year’s Berlin International Film Festival and went on to gather acclaim across the international film fest circuit – might be a little hard to take for the easily triggered, we won’t deny it. Still, it’s a work of real and thrilling cinematic vision that goes beyond easy morality to highlight the tragedy that comes from being forced to live behind a mask for the sake of societal acceptance. It’s also exciting, smart, and unexpectedly sexy – all of which make it a highly- recommended addition to your watchlist.

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Out & About

Trans Day of Visibility is here and here’s how to celebrate

Howard County LGBTQIA Commission to host Columbia event

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Howard County LGBTQIA Commission will host its inaugural event celebrating Trans Day of Visibility on Sunday, March 31 at 4 p.m. at Busboys and Poets in Columbia, Md.

The purpose of this inaugural event is to create a welcoming and inclusive space that celebrates and amplifies the voices of the trans community and its allies, highlights the joy and resilience of trans and non-binary individuals everywhere, and elevates their voices and shares their diverse experiences. 

This event is free and more details are available on Eventbrite

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