Arts & Entertainment
Rippin’ & tearin’ & strippin’
Melissa Etheridge on Wolf Trap and why drastic health steps should be weighed carefully
Melissa Etheridge (Photo by James Minchin III)
Melissa Etheridge
With guest Eric Hutchinson
Tuesday
8 p.m.
Wolf Trap
Filene Center
1551 Trap Road
Vienna, VA
$35 (lawn)-$65
wolftrap.org
When we talked to Melissa Etheridge last year the conversation turned — as one might expect in an election year — to politics. So this time we focused on music. The lesbian rocker plays Wolf Trap Tuesday night. Her comments have been slightly edited for length.
WASHINGTON BLADE: Last time you were here you played the Strathmore, which is kind of stately, whereas Wolf Trap is outside and more earthy. Does the venue affect the kind of show you play?
MELISSA ETHERIDGE: Yes, totally. One of the things I do before I even write out a set list is I go stand on stage and look out and really get a feel for what the venue is like. Is it indoors, outdoors, is the first row up close, will people be able to stand, are they soft seats, hard seats? I’ve been touring for 25 years so I’m very conscious of what kind of show can be produced at each place and it does make a difference in what songs I play. This will definitely be different from the Strathmore show. I love playing Wolf Trap and I don’t think I’ve ever sweated as much on stage as when I’ve played Wolf Trap. It was just so humid last time I was there, I was really soaked even before the show. But yeah, it’s gonna be much more rock and roll out there.
BLADE: How do you manage to do those big rock money notes year after year? Rock singing, of course, often doesn’t use proper vocal technique that they teach you in classical singing and some singers get vocal cord nodules while others, like Tina Turner perhaps or many gospel singers, seem to be able to growl and howl for decades on end with no problem. Have you ever strained your voice letting it rip so to speak?
ETHERIDGE: I learned a long time ago playing in bars how to make that growly rock and roll sound but not harm the vocal cords. It’s not really screaming, it’s like a stage scream. That and having a good understanding of how not to tax the voice too much in doing that style of singing, also helps. I usually don’t sing more than three night in a row. I can do four, but it will start to wear down after awhile and the shape of my voice is definitely related to everything. If I’m tired, if I haven’t eaten right, if I’m stressed, all those things affect it. But as long as I can eat right and sleep well, I can be on the road and do the rock and roll stuff out there every night.
BLADE: How have you found the right balance throughout your career of knowing when to play up the all-out rock stuff versus having enough of a commercial, pop/AC vibe on your various projects to get some radio and mainstream exposure? Have you given much thought to those sorts of things as you’ve been writing and recording various records?
ETHERIDGE: Yeah, it’s been a big part of understanding radio and the music business in general and then just when you kind of have a handle on it, of course it changes much like it did in the mid-‘90s when I was really at the pinnacle of it. As it should — young kids grow up and they have their own stuff and I get that. I stopped, I guess around the turn of the century, trying to make my music for radio because I think that would just have been selling myself out and I realized I had a strong live audience that was not going away and would still come see me play, so I really dedicated myself to making the music that I love and not trying to be so much pop. Which is fine — I mean, I love a good pop song like everybody else does, but I don’t limit myself to that anymore. The most important thing in my mind when I’m writing and recording is how is this going to translate to the live stage. That’s more the guideline.
BLADE: And yet many veteran acts who have that loyal fan base have great numbers the first week out with a new album and like you said, do fine filling decent-size venues, yet without any radio traction, the albums can come and go so quickly it seems. Has there been any frustration with that at various times? Any sense of a diminishing return for all the hard work?
ETHERIDGE: Well yeah, of course you always hope there’s maybe something there radio can hold on to a little and you would always like to make your record company a little money, that’s always nice. Yet I really have learned to let it go because I think the music does sort of manage to find its own way. I just stumbled on some online music site where these two rock critics were saying my last album “4th Street Falling,” that if it had been released by some up-and-coming singer, it would have really represented kind of the future of rock and roll or something so yes, there is sometimes an advantage to being not as established but I wouldn’t trade where I am at all to be up and coming. I’m very happy with where I am overall and I feel I have a great deal of industry respect and I’m fine with that.
BLADE: You’ve been on Island your whole career, which is almost unheard of in this day and age. I’m sure the whole staff has changed since you started …
ETHERIDGE: Not a single person is still there from then.
BLADE: How have you navigated all the changeover?
ETHERIDGE: It’s funny, there was a joke a few years ago there that everytime I had a new album out, “Oh, watch out, Melissa’s got a new one, there’s going to be a complete regime change.” Different times my options have been up we’ve looked around and, you know, Island and Def Jam and Universal — it’s one of the biggest labels there is. I always felt I had good relationships there so why not? The whole business has changed so much, it’s nice to stay someplace if you can.
BLADE: Last time you played here, the album was just out. Do you feel freer to sing more of it live now that it’s been out awhile and people have had time to let it sink in or do you skew more hit-heavy for the summer shows?
ETHERIDGE: Last fall I did kind of the “4th Street Falling” tour and I did a lot of new stuff but at that stage, I’m still listening to the new stuff, experimenting a bit and finding out which songs seem to pop more live. So I kind of play the new stuff and see which cuts were really fun for the audience and they tend to stay in the show. But yeah, it’s a summer show — we’re going to be doing all the hits too. We’ll be singing “Come To My Window” at the top of our lungs.
BLADE: You had so many great TV duet shows over the years in terms of collaborations with other artists — Joan Osborne, Sophie B. Hawkins, Jewel, Dolly Parton. Any of those especially stand out in your mind?
ETHERIDGE: Well singing with Bruce Springsteen was a dream come true. It was like, “Oh, please let time stop.” That one and singing with Dolly was just one of the greatest things that ever happened to me. I felt like our entertainment ethics were the same. She’s such a great entertainer and we kind of threw things back and forth. It felt like a good game of one on one.
BLADE: One that I really remember was when you sang “You Can Sleep While I Drive” as a duet with Amy Grant. Here she was this gospel singer singing a sweet duet with you, which sort of gave it a lesbian undercurrent. It seemed kind of shocking at the time. Do you remember how that came about or if there was any hesitation in her camp to do it?
ETHERIDGE: Trisha Yearwood had covered that song sometime in the ‘90s, so it had kind of been in the country world, then when Amy came in and we were talking about songs we could do, she said, “Well, I want to sing ‘You Can Sleep While I Drive.’” I’ve sang that with more people than any other song. It just kind of lends itself to that harmony duet feeling. I’ve known her for a long time. I met her in Europe back in ’88 and have been friends with Vince too. You know she kind of went through her own tabloid-y thing but she’s just so open and very very easygoing so that wasn’t even part of it. It was just like, “Let’s sing together and just enjoy it.”
BLADE: How prolific have you been in the studio over the years? Did you overcut tracks for very many of your albums? Is there going to be a killer Melissa Etheridge box set of outtakes and rareties someday?
ETHERIDGE: I can’t believe you asked that because yes, I’m working on that right now. The record company came to me and said, “You know, it’s been 25 years, let’s put out a box set.” But I didn’t want to just say, “OK, here’s my songs again.” I think my fans will enjoy some of these other things so I started going back into the vaults and into my storage space and found some tapes I hadn’t even remembered. So it’s going to be eight CDs and there’s live tracks, covers, solo demo tracks, a recording of me made when I was 14, everything that didn’t make it onto an album, pictures and videos. I even found a TV show I did back in 1982 in L.A.
BLADE: ETA?
ETHERIDGE: I don’t know the exact date right off, but it will be in November.
BLADE: Where do you keep your Grammys, platinum albums and Oscar?
ETHERIDGE: I have a lovely office I share with my gal, Linda.
BLADE: You and Linda (Wallem) are still together?
ETHERIDGE: Oh yes, yes, yes. I finally got it right. It’s a bunch of things. It’s a grown-up relationship.
BLADE: As a breast cancer survivor yourself, what did you think of Angelina Jolie’s announcement?
ETHERIDGE: I have to say I feel a little differently. I have that gene mutation too and it’s not something I would believe in for myself. I wouldn’t call it the brave choice. I actually think it’s the most fearful choice you can make when confronting anything with cancer. My belief is that cancer comes from inside you and so much of it has to do with the environment of your body. It’s the stress that will turn that gene on or not. Plenty of people have the gene mutation and everything but it never comes to cancer so I would say to anybody faced with that, that choice is way down the line on the spectrum of what you can do and to really consider the advancements we’ve made in things like nutrition and stress levels. I’ve been cancer free for nine years now and looking back, I completely understand why I got cancer. There was so much acidity in everything. I really encourage people to go a lot longer and further before coming to that conclusion.
Arts & Entertainment
78th annual Emmy Awards recapped
What the show lacked in queer representation, it made up for in queer coding
Entertainment has been bittersweet for queer people. We’ve lost Dolly Parton, Bob Mackie, and Tim Curry. We’ve seen a 41 percent drop in queer characters on television due to TV cancellations. So you likely weren’t expecting the Emmys to be a particularly queer affair. And yet, there were some delicious moments that were queer-coded, and many of our favorites were honored.
Mariska Hargitay, who has played our favorite quasi-butch “SVU” detective for 27 years, hosted the festivities. She took home two Creative Arts Emmys for directing the documentary “My Mom Jayne: A Film by Mariska Hargitay,” which also took home an award. She started the ceremony with a parody of “I Love Rock-n-Roll” which featured appearances by Jean Smart, Jennifer Coolidge, and gay Emmy winner Jeff Hiller. There were also weird product placement ads for Marriott and United. #recessionindicators
As for LGBTQ representation, Rhea Seehorn won for playing lesbian character Carol Sturka in “Pluribus.” Alan Cumming took home another Emmy as well for “The Traitors,” beating out RuPaul and “RuPaul’s Drag Race.” “Drag Race” did take home an Emmy for Outstanding Hairstyling For A Variety, Nonfiction, or Reality Program.
“DTF: St Louis” which followed an infidelity that ended in a muder subplot and featured a unique polyamorous threesome was an Emmy darling and earned Emmys for Linda Cardellini and David Harbour.
There were some historical moments: Matthew Rhys took home two Emmys for Best Lead Actor in an Anthology and Best Lead Actor in a Comedy, making him the first actor to win for two of the main categories in one night. Rob Reiner, who received a posthumous Emmy for his role in “The Bear,” beat out 2025 darling Connor Storrie. This broke the record for the longest span between acting Emmy wins at 48 years, which was previously set by his father, comedian Carl Reiner.
To honor Parton, Sally Field (who took home an Emmy) gave a stirring introduction, with Reba McEntire singing a tribute. Macaulay Culkin, Annie Murphy, and Dan Levy paid tribute to Catherine O’Hara, with Culkin pulling heartstrings calling her “mama.”
There was a 50th reunion for “Charlie’s Angels” with Jaclyn Smith, Kate Jackson, and Cheryl Ladd presenting Outstanding Drama Series. They took a moment to shout out and honor Farrah Fawcett. Sarah Michelle Gellar and David Borenaz had their own reunion, giving out the award for Outstanding Lead Actor and alluded to the sad loss of Nicholas Brendan, Anthony Stewart Head, and Michelle Trachtenberg, who all passed within the last two years. Gellar was also able to make a quick crack about her now-cancelled “Buffy” reboot.
The ceremony was also very on it and was quick to add Mackie, who passed earlier this week, to their In Memoriam segment.
Here’s the full list of winners as well as notable Creative Arts Emmy recipients.
Lead Actress in a Limited or Anthology Series or Movie: Sally Field, “Remarkably Bright Creatures“
Lead Actor in a Limited or Anthology Series or Movie: Matthew Rhys, “The Beast in Me“
Supporting Actress in a Limited or Anthology Series or Movie: Linda Cardellini, “DTF St. Louis“
Supporting Actor in a Limited or Anthology Series or Movie: David Harbour, “DTF St. Louis“
Directing for a Limited or Anthology Series or Movie: Steven Conrad, “DTF St. Louis“
Limited or Anthology Series: ‘DTF St. Louis’
Lead Actor in a Comedy Series: Matthew Rhys, “Widow’s Bay“
Lead Actress in a Comedy Series: Jean Smart, “Hacks“
Supporting Actor in a Comedy Series: Stephen Root, “Widow’s Bay”
Supporting Actress in a Comedy Series: Kate O’Flynn, “Widow’s Bay“
Guest Actor in a Comedy Series: Rob Reiner, “The Bear“
Guest Actress in a Comedy Series: Betty Gilpin, “Widow’s Bay“
Directing for a Comedy Series: Hiro Murai, “Widow’s Bay“
Writing for a Comedy Series: Katie Dippold, “Widow’s Bay“
Comedy Series: “Widow’s Bay“
Lead Actress in a Drama Series: Rhea Seehorn, “Pluribus“
Lead Actor in a Drama Series: Noah Wyle, “The Pitt“
Supporting Actress in a Drama Series: Allison Janney, “The Diplomat“
Supporting Actor in a Drama Series: Tom Pelphrey, “Task“
Guest Actor in a Drama Series: Ernest Harden Jr., “The Pitt“
Guest Actress in a Drama Series: Shailene Woodley, “Paradise“
Writing for a Drama Series” Vince Gilligan, “Pluribus“
Directing for a Drama Series” Saul Metzstein, “Slow Horses“
Drama Series: “The Pitt”
Structured Reality Program: “Antiques Roadshow”
Unstructured Reality Program: “Love on the Spectrum“
Host for a Reality or Reality Competition Program: Alan Cumming, “The Traitors“
Directing for a Reality Program: Ben Archard, “The Traitors“
Reality Competition Program: “The Traitors“
Writing for a Variety Series: “The Late Show with Stephen Colbert“
Directing for a Variety Series: Yvonne De Mare, “The Late Show with Stephen Colbert“
Variety Series: “The Late Show with Stephen Colbert“
Variety Special (Live): “The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny“
Variety Special (Prerecorded): “The Muppet Show“
Directing for a Variety Special: Hamish Hamilton, “The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny“
Short Form Comedy, Drama or Variety Series: “Colbert Before Air“
Short Form Nonfiction or Reality Series: “Inside The Pitt“
Performer in a Short Form Comedy or Drama Series: Desi Lydic, “The Daily Show: Desi Lydic Foxsplains“
Directing for a Documentary/Nonfiction Program: Mariska Hargitay, “My Mom Jayne: A Film By Mariska Hargitay“
Documentary or Nonfiction Special: “My Mom Jayne: A Film by Mariska Hargitay“
a&e features
Acclaimed Chef Patrick O’Connell’s memoir reveals the arc of a life well lived
Overcoming obstacles to serve everyone from Jerry Falwell to Queen Elizabeth
Renowned three-Michelin-star Chef Patrick O’Connell says food and wine hold a unique ability to bring people together. Indeed, he has served everyone from right-wing zealot Jerry Falwell to Britain’s Queen Elizabeth during his decades at the beloved Inn at Little Washington in rural Virginia.
O’Connell’s compelling new memoir, “Main, Middle & Gay” is out Sept. 15 from Celadon Books and offers a deeply personal account of how he transformed his love of food and affinity for the finer things into an iconic inn and restaurant that draws diners from around the world nearly 50 years after it opened in 1978.
O’Connell is launching the book with an event on Sept. 18 at Lisner Auditorium featuring Chef José Andrés and former Washington Post food critic Tom Sietsema. He met Andrés just after Andrés began to work in D.C. and was “on fire with ideas.”
“We sat next to each other at Charlie Trotter’s restaurant and the meal went on for hours and we had a natural rapport,” O’Connell told the Blade in a recent interview. “The chemistry will be fun and lively and unpredictable and exciting. I think we’re all different personalities and we’ll compliment each other.”
O’Connell said he’s excited to hold the event at Lisner.
“I studied theater at Catholic University and transferred to GWU so it’s a coming home party and Lisner has been there since I was a kid and it was always like D.C.’s Carnegie Hall. It feels like going home to my old stomping grounds.”
O’Connell hopes to bring the book to life visually at the event and he has produced a short film that will be screened.
The book traces the self-taught O’Connell’s remarkable journey from rural paperboy and short-order cook to proprietor of one of the world’s most celebrated restaurants and Relais & Châteaux hotels. Along the way we learn about the many challenges he faced — from distrustful and homophobic local residents in Washington, Va., to an expensive, public “divorce” from his longtime romantic and business partner, Reinhardt Lynch.
“It parallels the evolution of American cuisine over 50 years,” he said. “It’s a rare perspective to be in the trenches for that long.”
O’Connell writes candidly about his relationship with Lynch. The two opened the restaurant together — O’Connell running the kitchen and Lynch handling the business. But O’Connell’s accolades and growing notoriety led to jealousy that triggered a protracted falling out and dissolution of both their personal relationship and business partnership. Lynch, as recalled by O’Connell, attempted to secretly sell his 50 percent of the business but ultimately agreed to sell his stake back to O’Connell for a reported $17.5 million. “The Washington Post ran with it as a salacious celebrity divorce story and included all the financial details,” he writes.
After taking full control of the Inn just as the recession of 2008 hit, O’Connell writes of the scrutiny of guests who assumed Lynch’s absence would lead to a slip in quality. “The place couldn’t be just as good as ever. It would have to be better.”
What happened next proved a royal opportunity as Queen Elizabeth visited Virginia to commemorate the 400th anniversary of the founding of the state and O’Connell was asked to cater a reception. This chapter is filled with juicy details and behind-the-scenes anecdotes about the pressures of cooking for the Queen. The subsequent media attention proved lucrative for the Inn and photos of the Queen’s visit still hang in the Inn.
There are references to O’Connell’s sexual orientation throughout the book and he doesn’t shy from addressing his long relationship with Lynch or the resistance the couple encountered when they settled in sleepy Washington, Va.
“I didn’t realize that I was walking into a prejudiced hornet’s nest that I wasn’t fully prepared for and there was a great deal of hostility in part because they didn’t understand anything about what we were attempting to do here so everything about us and our desire to run a fine restaurant was foreign to them,” O’Connell told the Blade. “The irony of a place opening in the center of town of 150 people and at that time the word ‘gay’ wasn’t used here. It was as if they didn’t have space in their consciousness for such a thing. We were regarded as counter culture people.
“The restaurant became a success almost overnight and the locals couldn’t understand what the buzz was about,” O’Connell continued. “They thought food is food and why would anyone drive 60 miles out here for food. They became resentful of the ‘outsiders’ who came. Two outsiders were opening a restaurant and drawing other outsiders out here to a place where there weren’t many jobs. There was resentment on many levels by some — not all. They thought it would go away.”
But O’Connell said he never made his sexuality the focus of his work. Rather, he wanted to use food to bring people of all backgrounds together.
“I never made a point or attempted to make that a central focus on my work,” he said. “I felt that I had found my spot in the universe where I belonged, I loved living here, it was a sanctuary.”
O’Connell’s insistence that everyone is welcome has sometimes created tension and negative press, as when President Trump presented him with a National Humanities Medal that brought criticism from some progressives.
“We see a fascinating clientele here; we don’t judge and we’re not political,” he said. “When people come they are entitled to our hospitality.”
One of those people was televangelist and notorious homophobe Jerry Falwell, who made a reservation at the Inn years ago. O’Connell’s instruction to the staff was to treat Falwell like any other guest.
“We have an image of someone who maybe we would think would be hostile or judgmental and they often surprise us,” O’Connell said. “We held our breath and here’s Falwell working the tables and saying this is the best meal I’ve ever had, aren’t these two guys great and we thought he’s doing PR for us and he’s supposed to be the devil.”
O’Connell said he sees that dynamic play out night after night at the Inn. One of the most conservative national Republican figures, he said, is a regular and Vice President JD Vance dined at the Inn recently. Focusing on the food and hospitality for all constitutes O’Connell’s brand of activism.
“Food does bring people together,” he said. “And you’re doing your part in erasing preconceived judgements.”
He said he and his team did more to advance understanding and acceptance by focusing on hospitality than if “we were out marching.”
As evidence, he said, there are more and more gay couples moving to the area and the town’s mayor, Joe Whited, is gay.
“We’re the biggest employer in the county and largest taxpayer,” he added. “The Inn pays the town almost $1 million per year and property values are getting to be like Palm Beach. And that wasn’t a goal it was a byproduct of doing something as well as it could be done.”
But the book isn’t hagiography. O’Connell revisits traumatic events, like childhood bullies who attacked him for wearing a Little Red Riding Hood costume for Halloween and a sexual assault he endured as a young teenager aboard a bus.
“I don’t know why I couldn’t call out for help or try to make the man stop,” O’Connell writes of the incident. “I didn’t want to call attention to the situation and felt completely implicated. Once it began there was no stopping it.”
Interestingly, O’Connell told the Blade that one of the things he learned in writing the book is how little he’s changed since childhood.
“People tend to lock away a lot of childhood memories for good reason and in a book you’re reliving them and bringing them to life,” he said. “And my revelation is that I don’t think I’ve changed much since I was six and I think most people’s identity is pretty developed in their very early years and their personality is clear. What amused me most is I’m doing the same things now that I did in miniature as a five and six year old.”
As for popular TV shows about the restaurant business, O’Connell says he doesn’t watch them.
“It’s fake,” he said. “There are much more colorful characters and it’s much more exciting in real life. Nobody seems capable of capturing that. So maybe this [book] will have the effect of doing that and showing what it takes.”
O’Connell said the books and stories he most enjoys reading are those that start in childhood and carry through until late in life. He has certainly delivered that in “Main, Middle & Gay,” a moving, fearless memoir filled with the unexpected and natural drama that revisits a uniquely American life.
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Celebrity News
Fashion icon Bob Mackie dead at 87
Designing legend to all the divas, gone but not forgotten
To those still reeling from the loss of Dolly Parton and Tim Curry, we have another queer icon to add to the In Memoriam of 2026: Bob Mackie. A designer known for being extra, before that was even a thing, has left us with a legacy of looks and an indelible mark on fashion.
The news broke on his Instagram account Monday, Sept. 14, with the message:
“It is with a heavy heart that we share the news that Mr. Bob Mackie passed away today. He lived his 87 years to the fullest, fulfilling his dream of being a fashion and costume designer, which is all he ever wanted to do. His genius and extraordinary designs will live on forever, continuing to bring beauty into this world.” According to People magazine, he passed away in Palm Springs, Calif., due to pneumonia.
At 87, Mackie was the definitive designer for divas. Mackie has literally dressed them all, including Diana Ross, Whitney Houston, Barbra Streisand, Dolly Parton, Tina Turner, Bette Midler, Bernadette Peters, and even RuPaul. He’s dressed film and television icons like Raquel Welch, Lynda Carter, Goldie Hawn, and Jennifer Lopez. It’s not just female divas; he’s also done many of Elton John’s famous costumes as well as David Bowie’s.
His first major mark was drawing the first design of Marilyn Monroe’s famous “Happy Birthday, Mr. President” dress. Next, he was an assistant to costume designer Ray Aghayan on “The Judy Garland Show.” The two would carry on a professional and romantic partnership for 50 years until Aghayan’s passing in 2011.
Mackie then went on to do all of the costumes for “The Carol Burnett Show,” creating an estimated 17,000 costumes for her show’s 11-year run. This gave him much critical acclaim and notoriety, making him a permanent fixture in the variety show market.
He became a frequent collaborator of Cher, having made her famous midriff-revealing Oscar gown, her “If I Could Turn Back Time” costume, and being her designer for her various television shows, including “The Sonny and Cher Show.” He even designed costumes for her Farewell Tour. The two are synonymous with him having lent his artistic sensibilities to give her a distinct look. Cher even said in 2024, “He helped me create a different me.”
Mackie has left his mark on fashion with a distinct style of glamorous, over-the-top looks. He received the monikers the “Sultan of Sequins,” the “Rajah of Rhinestones,” and the “Guru of Glitter” for challenging the line between costume and fashion with lots of fringe, flash, and over-the-top eye-catching elements. He’s managed to retain a presence not just in entertainment but in the fashion industry for decades. Most recently, one of his outfits was a major plot point for the final season of “Hacks.”
Mackie has received his share of awards and acknowledgments. In addition to dressing many people for the Oscars, he received three nominations, including dressing Diana Ross for “Lady Sings the Blues.” He won a Tony Award for “The Cher Show.” He won nine Emmy Awards and received 30 nominations for his prolific television work.
Luckily, Mackie’s life was celebrated before his passing, receiving various Lifetime achievement awards including the Geoffrey Beene CFDA Lifetime Achievement Award, being honored by the Television Hall of Fame, and receiving “RuPaul’s Drag Race”‘s Giving Us Life-time Achievement Award. He was the first guest judge on the popular series.
It’s clear that not only was Mackie talented, he was magical. He gave a bit of stardust to countless celebrities, luminaries, and public figures with looks that not only defied expectations but managed to be truly spectacular. He’s part of the glitz we think of when we think of Hollywood, and while often elaborate costumes, the shrewd fashion sense and elegance cannot be denied. Mackie will be missed, but his work lives on in the countless pieces still in circulation and forever captured on film and in media.
Advocate, Out parent company adds Trump supporter to board, prompting outrage
78th annual Emmy Awards recapped
Indonesia’s top Muslim clerical body proposes criminalizing LGBTQ people, advocacy
Hands Off the Arts to form ‘human chain’ around Kennedy Center
LGBTQ issues, attacks on Democrats dominate unusual RNC midterm convention
Multi-billion-dollar 9/11 Victim Compensation Fund to continue until 2090
LGBTQ Military Happy Hour set for Sept. 15
Calendar: September 11-17
Comings & Goings
