Arts & Entertainment
Elisabeth Hasselbeck prayed after hearing Rosie O’Donnell had a crush on her
The comedian says there were ‘underlying lesbian tones’
Elisabeth Hasselbeck says she “immediately started praying” after hearing that Rosie O’Donnell had a crush on her when they were co-hosts on “The View.”
In O’Donnell’s new memoir “Ladies Who Punch: The Explosive Inside Story of āThe View,'” O’Donnell revealed she once had a “little bit of a crush” on Hasselbeck but that it wasn’t sexual.
āNot that I wanted to kiss her. I wanted to support, raise, elevate
Hasselbeck appeared on “Fox & Friends” on Tuesday and called O’Donnell’s comments “disturbing.”
“I’ll be very honest. I read it and I immediately started praying. Because I’m like, how am I going to handle this in my old self would be another
She continued: “I think what she said was reckless, untrue and, not only insulting, disturbing when it comes to how she felt about somebody in the workplace. If you replace what Rosie said and you take her name out and you put in ‘Reuben’ or ‘Robert’ then we would be in a situation where you would see the objectification of a woman in the workplace. That’s disturbing because where we may be really against that when it comes from a man to a woman, you don’t get a pass because you’re a lesbian objectifying a woman in the workplace. You just don’t.”
O’Donnell also noted in her book that there were “underlying lesbian tones on both [of their] parts” and hinted it was because Hasselbeck is a former softball player.
“There are not many, in my life, girls with such athletic talent on sports teams that are traditionally male that arenāt at least a little bit gay,ā O’Donnell wrote.
Hasselbeck felt O’Donnell was stereotyping women who play sports.
“I think her casting a stereotype on female athletes and what she said ā¦ that all female athletes are a little bit gay ā¦ I would say this directly to her, and I would say, ‘That’s an unfair stereotype and it seems selfish in a way and I think that it’s untrue,'” Hasselbeck says.
Ultimately, Hasselbeck says she forgives O’Donnell despite her “disturbing” and “offensive” remarks.
“I can handle that with the grace of God because I need grace and I need forgiveness,” Hasselbeck says. “So Rosie, I think it was disturbing to read those things and it was offensive to me, but I forgive her. I totally forgive you, Rosie. I really hope that we can be at peace and that we can both hold our beliefs in one hand and hold each other’s hand in the other and still have a relationship that’s at peace.”
O’Donnell responded on Twitter that she’s “sorry” Hasselbeck “got scared.”
hey eh – my crush on u was not sexual – sorry u got scared – ā¤ļøsurely u recall b4 it all went wrong – i never objectified u – i did find u fantastic – broadway shows – my pool -we were friends once ā¤ļø god love ya kid – i always did #hasselbeck #raminSUX
ā ROSIE (@Rosie) March 26, 2019
Hasselbeck and O’Donnell’s infamously butted heads on “The View”during an argument about the Iraq War in 2007.
Theater
Talented pair of local queer actors tackles āLittle Shop of Horrorsā
Fordās production features terrific score
āLittle Shop of HorrorsāĀ
Through May 18
Fordās Theatre
511 10th St., N.W.
$33-$95
Fords.orgĀ
Ever since premiering off-Broadway in 1982, āLittle Shop of Horrorsā has drawn a devoted following of avid audiences as well as performers eager to act in the show. Now playing at Fordās Theatre, the doo-wop, dark comedy features a terrific cast including a wildly talented pair of local queer actors whoāve longed to appear in the show since they were kids.
Set in the urban 1960s, Alan Menken and Howard Ashmanās hit show with a terrific score follows the wacky rise of Seymour, a nebbishy florist in a Skid Row shop who changes his fortunes by unintentionally marketing an exotic, human eating plant.
Chani Wereley, 28, who plays Seymourās love interest Audrey, a hyper femme downtowner with an edge, has had her on eye the role for years. Wereley says, āAudreyās been around the block more than once, but I approach her as a person who moves through the world with love and hope.ā
The queer D.C. native adds, āOn long trips to visit family in Canada or Florida, the first thing weād do is pop a āLittle Shop of Horrorsā video [film version] into the carās VHS player. Iāve watched is so many times, I could quote the whole movie to you.ā
After auditioning to play Audrey in director Kevin S. McAllisterās production at Fordās, Wereley never thought sheād book the part, and when they said she got it, she cried.
Similarly, Tobias A. Young, 34, the pansexual actor who voices the part of the bloodthirsty plant affectionately dubbed Audrey II, explains his intense interest in the work: āI started watching the film in ā86. Growing up as a little gay boy in Calvert County, Md., I wanted to be blonde Audrey [played by Ellen Green in the movie]. I didnāt know much about musicals at the time, but I was absorbed.ā
When asked by Fordās to play the voracious plant Audrey II without auditioning, his reply was an unhesitant āyes.ā
Voicing a role requires Young to sing from backstage in a black box rigged with monitors and a mixing board. He says, āpeople ask if Iām singing from inside of the ever-growing, scary plant. No, Iām not, and thatās fine. But letās face it, actors love to be seen on stage, but I donāt feel entirely unseen as Audrey II.ā
Heās worked hard and successfully with formidable puppeteers Ryan Sellers and Jay Frisby to bring parts of himself to the carnivorous plant ā his sassiness, own movements, and even a tilt of his head; their efforts have drawn the actual Young into the show.
Both Wereley and Young possess gorgeous, emotive voices as evidenced by Wereleyās striking rendition of Audreyās āSuddenly Seymour,ā and Youngās soulful āFeed Me (Git It).ā Additionally, both actors are also big on queer representation in theater.
When her young pals were listening to Britney Spears, Wereley was dancing to retro tunes like āMashed Potato Time,ā and her favorite song to this day, the Shirelleās girl group anthem āWill You Still Love Me Tomorrow.ā As Audrey, Wereley eschews the characterās usual platinum hair for a bouncy brunette, cherry-streaked wig, tight pencil skirts, swing coats, and her very own half-sleeve tattoo.
āItās important for people to see themselves on stage,ā she says. āSeeing me or someone like me is inherently interesting. Being that person on Instagram or with the institution, cast, or audiences is meaningful. Itās important.ā
In 2011, a couple years after finishing high school, Young landed a part in āDream Girlsā at Tobyās Dinner Theatre, and heās been working professionally ever since. Growing up, he didnāt see a lot of himself ā Black and queer ā on social media. He now wants to be open and honest for those out there who might not feel seen, he says
An introvert who lets everything loose on the stage, Young says, ātheater is a safe space for queer people. Thatās the first place we feel safe, particularly in school. And this is why we need theaters in schools, now more than ever.ā
He adds, āWhatās great about Fordās is its surprises, especially when they switch up casting. Itās meaningful to see the shows you love, but why not see them with a twist? Using unexpected actors and incorporating queer people just makes it that much better.ā
Finger lasers, confetti cannons, drag shows, photo booths, throwback tunes, and a touch nerdy: after a long break, D.C.ās gay DJ collective CTRL is throwing its first party in six years.
Born in an Eritrean restaurant more than a decade ago, this longstanding gay nightlife electropop group is resurfacing with a comeback event at Trade on March 30.
Gay DJs Adam Koussari-Amin, Jeff Prior, Devon Trotter, and Brett Andreisen hosted the first CTRL party at now-closed restaurant Dahlak, on the corner of 18th and U Streets. After a year of hosting pop-ups in that restaurantās dining room, they upgraded down 18th Street to now-closed gay club Cobalt. There, the parties grew: drag shows, a pop-up photo booth from David Claypool, and quirky activations like throwing hot dogs into print-outs of Putinās mouth. Their productions grew as well, like producing the now-defunct Brightest Young Gays (BYG) Pride events at Wonderbread Factory and Union Market and the āGet Wetā pool party with David Brownās Otter Crossing at the Capitol Skyline Hotel.
CTRL wasnāt done. The group received its biggest stage yet after a call from Ed Bailey, the owner of now-closed gay club Town, as well as current gay bars Number 9 and Trade. At Town, the opportunity āallowed our creativity to flourish with even bigger performances, bigger photo experiences, crazier hand-outs, and the same electropop dance vibes our fans had come to know us for,ā says Koussari-Amin.
CTRL pressed pause when Town shut down, which āwas a huge loss to the LGBTQIA+ community and D.C. nightlife in general,ā says Koussari-Amin. After that, it hosted an occasional spinoff called QWERTY. Post-pandemic, Koussari-Amin has spent a few nights solo as DJ at Trade and other venues.
After connecting with Jesse Jackson, the Trade general manager, as well as with Bailey, who agreed to host the inaugural event, Koussari-Amin was determined to shift CTRL back to life.
However, getting the old band back together proved to be a challenge. While the rest of the group have either left Washington, D.C., or are pursuing other projects, Koussari-Amin received their blessing to stay on and find new members.
āWhen it came to finding new partners, both DJ Dez [Desmond Jordan] and DJ Lemz [Steve Lemmerman] were obvious choices,ā he says, noting that āthey also have distinct styles and interests.ā Dez has a residency at Pitchers and Kiki as well as pop-ups, and Lemz throws events like Sleaze and BENT.
āIt seemed important to come back to the nightlife table with an experience that could complement all the amazing experiences that have even built up since CTRL threw its last event at Town. Bringing back both the DJ collective and the CTRL event with Dez and Lemz means new voices, perspectives, sounds, and excitement.ā
āCTRL is an opportunity for the community to come together, enjoy music, drinks, and good vibes,ā adds Jordan, noting that for him, itās an event that celebrates queer identity.
And after months of planning, CTRL will kick off its monthly party series at Trade on March 30 for the first gig after its glow-up.
The trio says that its core inspiration āis driven by the indie and electropop favorites of new and old, like Goldfrapp, Ava Max, Charli XCX, ā¦ We’re also all huge fans of slut and trash pop music like Kim Petras, Slayyyter, Cupcakke,ā as well as pop diva remixes, new bops, and songs that reside inside and far beyond the expanse of Top 40.
CTRL is also bringing back its activations that complement the tunes. Summer Camp is set for drag performances, David Claypool is back with his photo booth, and Koussari-Amin promises āto have all sorts of weird and wacky handouts like we used to.ā
After the March premiere, Aprilās party is āCTRLellaā, a Coachella send-up. Future events will feature various different themes, and they plan to throw a party during Capital Pride; theyāre also looking to be a central part of Tradeās expansion into the adjacent space.
Koussari-Amin says that āthe eventās signature experience [is] a lynchpin in connecting D.C.ās expanding generations of queer folks, giving everyone a safe space to let loose and feel a rush no matter who they are.ā
For his part, Bailey continues to support CTRL and its collective intention, expressing its essential nature as a party for partiers by partiers. āCTRL is the kind of party that represents what people want. Itās just a real party by real people that just want to hear good music and dance with their friends.ā
Celebrity News
HRC releases āQueer Renaissance Syllabusā
BeyoncĆ©ās hit album inspired curriculum
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 BeyoncĆ©ās āRenaissanceā 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 BeyoncĆ©’s Billboard 200-topping dance album, “Renaissance.”
BeyoncĆ©’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 āBreak My Soulā and āCuff It,ā 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 BeyoncĆ©’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 HRCās 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 BeyoncĆ©’s tribute to OāShea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to āRenaissanceā songs at a gas station. HRC also includes a statement that condemns hate crimes.
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