Connect with us

Arts & Entertainment

Watch: James Corden carries Ariana Grande into Starbucks on ‘Carpool Karaoke’

The pop star also gives her best Celine Dion impression

Published

on

Ariana Grande and James Corden on ‘Carpool Karaoke’ (Screenshot via YouTube)

Ariana Grande joined James Corden for the latest segment of his wildly popular “Carpool Karaoke” segment on “The Late Late Show with James Corden.”

Grande and Corden sang some of Grande’s hits including “Dangerous Woman”, “God is a Woman”, “Side to Side” and “No Tears Left to Cry.” Grande also breaks out a Celine Dion impression to the delight of Corden.

Corden asks Grande “What’s the strangest or weirdest thing you’ve ever read about yourself or your life that just isn’t true?” to which Grande responds “people really want me to be pregnant.”

Corden says he’s heard that the pop star likes to be carried everywhere.

“There’s a picture of me being carried by my tour manager, because I had just shot a video in point shoes, and I posted it because I thought it was cute,” Grande explains.

“But that isn’t true — you don’t get carried anywhere,” Corden replies.

“No, that’s so stupid,” Grande says.

They make a pit stop at Starbucks to grab a beverage and Grande promptly hops on Corden’s back and lets him carry her inside.

The segment closes out with the pair bonding over their love of Broadway. They broke out into a duet of “Suddenly, Seymour” from “Little Shop of Horrors.”

Watch below.

Advertisement
FUND LGBTQ JOURNALISM
SIGN UP FOR E-BLAST

Photos

PHOTOS: Black Pride Opening Reception

Billy Porter headlines program at start of weekend activities

Published

on

Billy Porter performs at the Opening Reception of DC Black Pride 2024. (Washington Blade photo by Michael Key)

D.C. Black Pride 2024 began at The Westin Washington, DC Downtown with an Opening Reception on Friday, May 24. The “Rainbow Row” resource fair was held in conjunction with the reception and featured community organizations and other vendors’ booths.

The reception was hosted by Anthony Oakes. Earl Fowlkes, outgoing chief executive officer and president of the Center for Black Equity, was honored by a mayoral proclamation. Performers included Billy Porter, Paris Sashay, Keith Angelo, Bang Garcon, Black Assets, Marcy Smiles and Sherri Amoure.

(Washington Blade photos by Michael Key)

Continue Reading

Books

Architecture junkies will love new book on funeral homes

‘Preserved’ explores how death industry evolved after WWII

Published

on

(Book cover image courtesy of Johns Hopkins University Press)

‘Preserved: A Cultural History of the Funeral Home in America’
By Dean G. Lampros
c.2024, Johns Hopkins University Press 
$34.95/374 pages

Three bedrooms upstairs. That’s a minimum.

You need a big kitchen, a large back room would be a bonus, you want lots of bathrooms, and if you can get a corner lot, that’d be great. The thing you need most is a gigantic all-purpose room or maybe a ballroom because you’re planning on a lot of people. As you’ll see in the new book “Preserved” by Dean G. Lampros, not all living rooms are for the living.

Not too long ago, shortly after he took a class on historic preservation, Dean Lampros’ husband dragged him on a weekend away to explore a small town in Massachusetts. There, Lampros studied the town’s architecture and it “saddened” him to see Victorian mansions surrounded by commercial buildings. And then he had an epiphany: there was once a time when those old mansions housed funeral homes. Early twentieth-century owners of residential funeral homes were, in a way, he says, preservationists.

Prior to roughly World War II, most funerals were held at home or, if there was a need, at a funeral home, the majority of which were located in a downtown area. That changed in 1923 when a Massachusetts funeral home owner bought a large mansion in a residential area and made a “series of interior renovations” to the building. Within a few years, his idea of putting a funeral home inside a former home had spread across the country and thousands of “stately old mansions in aging residential neighborhoods” soon held death-industry businesses.

This, says, Lampros, often didn’t go over well with the neighbors, and that resulted in thousands of people upset and lawsuits filed. Some towns then passed ordinances to prohibit such a thing from happening to their citizens.

Still, funeral home owners persevered. Moving out of town helped “elevate” the trade, and it allowed Black funeral home operators to get a toehold in formerly white neighborhoods. And by having a nice – and nice-sized – facility, the operators were finally able to wrest the end-of-life process away from individuals and home-funerals.

Here’s a promise: “Preserved” is not gruesome or gore-for-the-sake-of-gore. It’s not going to keep you up all night or give you nightmares. Nope, while it might be a little stiff, it’s more of a look at architecture and history than anything else.

From California to New England, author Dean G. Lampros takes readers on a cruise through time and culture to show how “enterprising” business owners revolutionized a category and reached new customers for a once-in-a-deathtime event. Readers who’ve never considered this hidden-in-plain-sight, surprising subject – or, for that matter, the preservation or re-reclamation of those beautiful old homes – are in for a treat here. Despite that the book can lean toward the academic, a good explanatory timeline and information gleaned from historical archives and museums offer a liveliness that you’ll enjoy.

This book will delight fans of little-know history, and architecture junkies will drool over its many photographs. “Preserved” is the book you want because there are other ways to make a house a “home.”

The Blade may receive commissions from qualifying purchases made via this post.

Continue Reading

Theater

‘Evita’s Return’ offers different take on Argentinian icon

Posthumous look at mummified first lady’s travels is not fiction

Published

on

Fran Tapia (front) Back L-R Facundo Agustin, Luis Obed Velazquez, Tsaitami Duchicela (back) Oscar A.Rodriguez, Rodolfo Santamarina, and Sofia Grosso. ( Photo by Stan Weinstein)

“Momea en el Clóset (Mummy in the Closet): Evita’s Return”
Through June 9
GALA Hispanic Theatre
3333 14th St., N.W.
$50
Galatheatre.org

Whether alive or dead, Eva Perón wielded her own brand of political power. After her death in 1952, Eva’s cult of mostly poor and working-class followers remained devoted to their Santa Evita. Her husband, Argentina’s president Juan Perón, fostered adulation by having her wasted body painstakingly embalmed, and displaying the waxen corpse like the incorruptible bodies of sainted Roman Catholic luminaries. But when the anti-Peronistas took power, they had other ideas; storing her away far from sight seemed a better idea.

Typically works about Argentina’s first lady focus on her unbridled ambition and ascent from anonymity to fame, but the strikingly original “Momea en el Clóset (Mummy in the Closet): Evita’s Return” — now at GALA Hispanic Theatre — is different. The collaboration of GALA’s producing artistic director Gustavo Ott (book and lyrics) and Mariano Vales (music and lyrics) spotlights the events following Eva’s death from cervical cancer at just 33.  

At the center of this entertaining madness is winning out actor Fran Tapia as Eva, a corpse sporting a ball gown and the trademark platinum blonde chignon, standing stiffly in a closet, more a mobile cabinet actually. In death, she realizes a silent dignity with flashes of an unyielding passion for social justice. 

The Chilean award-winning Tapia possesses a stunningly emotive voice, quickly evidenced in the show’s first number “Evita, Evita,” when near death Eva bravely addresses the needy crowd whom she endearingly calls her descamisados (the very poor). Simultaneously, the smug anti-Peronists — bourgeoisie and military types — sing “cancer is homeland,” “cancer is love.” They relish the idea of her dying and are counting the minutes to her imminent demise. 

So, the scene is set. Eva’s shabby posthumous story unfolds – performed in Spanish with eloquent English surtitles. Sprinkled with humor and poignant bits, it’s a dramedy, reflective of then and today. 

Unlike Eva’s “Rainbow Tour” of 1947 when Argentina’s newly minted first lady was introduced to Europe with mixed results, her death journey is an obscure low-rent, outing. She finds herself in a Milanese cemetery with some particularly pesky souls, each who apparently strode the earth in different centuries (all cleverly costumed by Becca Janney). 

For a time, she lands with an increasingly cynical Perón (stentorian-voiced Martín Ruiz) in Spanish exile. With him are new wife Isabel (Camila Taleisnik), portrayed as a reluctant and inept replacement for Evita, and scheming political cum spiritual adviser López (Diego Mariani).

As crazy as it sounds, GALA’s current offering isn’t a work of fiction. At the top of the show, it’s made perfectly clear that any resemblance to the truth is factual. Director Mariano Caligaris’ inventive, fearless staging along with Valeria Cossnu’s exhilarating choreography, make for exciting storytelling. 

Music inspired by Latin rhythms of samba, reggae, bachata, tango, tarantella, and waltz (by way of Bavaria) is directed by Walter “Bobby” McCoy and performed live by a fabulous unseen seven-person orchestra. 

Grisele Gonzalez’s serviceable, multi-tiered set design affords the various prerequisite balconies and perches. An upstage scrim is perfect for the projections (Hailey Laroe) of grimy actual footage from Eva’s funeral and subsequent violent skirmishes involving fascists against the people. 

The cast is uniformly terrific. They sing, dance, and act with equal skill, and whether playing protesters, clerical staff, or handsome Argentinian soldiers, they look the part. Most are required to interact with the cadaver in differing ways from timidly to less than respectfully. 

Making his GALA debut, wonderfully able Rodrigo Pedreira shows off his versatility as Dr. Ara, the man tasked with making the dead woman presentable for public consumption, as well as a general whose butch exterior is belied by the occasional mincing walk and longing looks directed at his cute aide-de-camp (Luis Obed Velázquez).

As she travels, mummified Eva says “And once again the moving begins. They move me through offices, basements, garages. They cover me, package me, label me, and off I go traveling again! We come from fascism and toward fascism we go.”

Alive or dead, Eva was never able to successfully crack Buenos Aires’ famously tough high society, but she found fans elsewhere. 

Over about 14 years as a displaced dead body and beyond, Tapia’s Eva embodies the spirit of Argentina’s millions, the common people. They return the dedication: Candles are lit. Prayers are offered. Intercession is sought. Life goes on, but Eva isn’t easily forgotten.

Continue Reading
Advertisement
Advertisement

Sign Up for Weekly E-Blast

Follow Us @washblade

Advertisement

Popular