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Todrick Hall calls Scooter Braun ‘homophobic’ amid Taylor Swift drama

Demi Lovato stands up for the talent manager

Published

6 years ago

on

Capital Pride Festival, gay news, Washington Blade
Todrick Hall was one of the headliners at the 2019 Capital Pride Festival. (Washington Blade photo by Drew Brown)

Dancer and singer Todrick Hall defended his friend Taylor Swift after she expressed she feels “grossed out” that talent manager Scooter Braun acquired the rights to her old music.

On Sunday, it was announced that Braun has purchased Swift’s old label Big Machine Records and therefore owns the masters of her early albums.

Swift, who claims she found out about the deal when the news broke, took to Tumblr to slam Braun.

“For years I asked, pleaded for a chance to own my work,” Swift wrote. “Instead I was given an opportunity to sign back up to Big Machine Records and ‘earn’ one album back at a time, one for every new one I turned in. I walked away because I knew once I signed that contract, [Big Machine president] Scott Borchetta would sell the label, thereby selling me and my future. I had to make the excruciating choice to leave behind my past. Music I wrote on my bedroom floor and videos I dreamed up and paid for from the money I earned playing in bars, then clubs, then arenas, then stadiums.”

She continued: “Scooter has stripped me of my life’s work, that I wasn’t given an opportunity to buy. Essentially, my musical legacy is about to lie in the hands of someone who tried to dismantle it,” she wrote. “This is my worst case scenario. This is what happens when you sign a deal at fifteen to someone for whom the term ‘loyalty’ is clearly just a contractual concept. And when that man says ‘Music has value’, he means its value is beholden to men who had no part in creating it.”

Hall, who appeared in Swift’s pro-LGBTQ anthem “You Need to Calm Down,” came to Swift’s defense and accused Braun of being homophobic. He also explained that he is no longer represented by Braun.

“For those asking, I left Scooter Braun a long time ago…I am saddened by this news, but not shocked. He is an evil person who’s (sic) only concern is his wealth and feeding his disgusting ego. I believe he is homophobic & I know from his own mouth that he is not a Swift fan,” Hall posted on Twitter. “I truly hope justice is served and that my friend’s music will fall into the hands of a better human,” he tweeted. “I would normally not say anything because I’m sure scooter will threaten me like he has before to keep me quiet, but guess what Scooter, nothing you can do to me would be worst (sic) than the 6 years of my life I can’t get back from when & I was ignored as your ‘artist.”

An employee of Braun’s called Hall’s tweet “disgusting and defamatory” and accused Hall of stealing from fans on his Christmas tour. The employee also claims that Hall was dropped and didn’t leave on his own accord.

Then Hall posted a screenshot of an email he sent to Braun informing him that he would be looking for other representation.

Demi Lovato, who hired Braun as her manager in May, defended Braun against Hall’s homophobic claims on her Instagram story.

“Hey boo, idk you or anything and this isn’t hate, but making claims that someone is homophobic is really serious,” Lovato wrote. “Please don’t spread information that isn’t true because I can guarantee you Scooter isn’t. As a member of the LGBTQ+ community myself, he wouldn’t have signed me if he was. No hate just trying to clear that up.”

Hall responded tweeting, “Just because you have a black friend doesn’t mean you can’t still be racist. And just because you’re not picketing against gay marriage doesn’t mean you’re not homophobic. I said what I said and I believe what I believe. Also, stop using your one client who identifies as queer to stand up for you. There’s no way Demi saw my tweet, that means someone from your team is reaching out to them, using them to defend you. Fight your own battles.”

Braun is also the manager for Justin Bieber and Ariana Grande.

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Photos

PHOTOS: WorldPride Street Festival and Closing Concert

Doechii, Khalid among performers

Published

15 hours ago

on

June 11, 2025

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Doechii performs at the WorldPride Closing Concert on Sunday, June 8. (Washington Blade photo by Michael Key)

WorldPride 2025 concluded with the WorldPride Street Festival and Closing Concert held along Pennsylvania Ave., N.W. on Sunday, June 8. Performers on the main stage included Doechii, Khalid, Courtney Act, Parker Matthews, 2AM Ricky, Suzie Toot, MkX and Brooke Eden.

(Washington Blade photos by Michael Key)

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Photos

PHOTOS: WorldPride Parade

Thousands march for LGBTQ rights

Published

18 hours ago

on

June 11, 2025

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The 2025 WorldPride Parade (Washington Blade photo by Michael Key)

The 2025 WorldPride Parade was held in Washington, D.C. on Saturday, June 7. Laverne Cox and Renée Rapp were the grand marshals. 

(Washington Blade photos by Michael Key and Robert Rapanut)

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Theater

A hilarious ‘Twelfth Night’ at Folger full of ‘elegant kink’

Nonbinary actor Alyssa Keegan stars as Duke Orsino

Published

4 days ago

on

June 8, 2025

By

Alyssa Keegan (Photo courtesy Folger Theatre)

‘Twelfth Night’
Through June 22
Folger Theatre
201 East Capitol St., S.E.
$20-$84
Folger.edu

Nonbinary actor Alyssa Keegan (they/them)loves tapping into the multitudes within. 

Currently Keegan plays the melancholic Duke Orsino in Folger Theatre’s production of Shakespeare’s romantic comedy “Twelfth Night.” Director Mei Ann Teo describes the production as “sexy, hilarious, and devastating” and full of “elegant kink.” 

Washington-based, Keegan enjoys a busy and celebrated career. Her vast biography includes Come From Away at Ford’s Theatre; Cat on a Hot Tin Roof (Helen Hayes Award, Best Actress) and Paula Vogel’s How I Learned to Drive, both at Round House Theatre; Diana Son’s Stop Kiss directedby Holly Twyford for No Rules Theatre Company; and Contractions at Studio Theatre, to name just a few. 

In addition to acting, Keegan works as a polyamory and ethical non-monogamy life and relationship coach, an area of interest that grew out of personal exploration. For them, coaching seems to work hand in hand with acting. 

WASHINGTON BLADE: You’re playing the lovesick Orsino in Twelfth Night. How did that come about? 

ALYSSA KEEGAN: The director was looking to cast a group of actors with diverse identities; throughout auditions, there were no constraints regarding anyone’s assigned sex at birth. It was really a free for all. 

BLADE: What’s your approach to the fetching, cod-piece clad nobleman?

KEEGAN: Offstage I identify as completely nonbinary; I love riding in this neutral middle space. But I also love cosplay. The ability to do that in the play gives me permission to dive completely into maleness. 

So, when I made that decision to play Orsino as a bio male, suddenly the part really cracked open for me. I began looking for clues about his thoughts and opinions about things like his past relationships and his decision not to date older women.

Underneath his mask of bravura and sexuality, and his firmness of feelings, he’s quite lonely and has never really felt loved. It makes sense to me why his love for Olivia is so misguided and why he might fall in love with the Cesario/Viola character.

BLADE: As an actor, do you ever risk taking on the feelings of your characters? 

KEEGAN: Prior to my mental health education, yes, and that could be toxic for me. I’ve since learned that the nervous system can’t tell the difference between real emotional distress and a that of a fully embodied character. 

So, I created and share the Empowered Performer Project. [a holistic approach to performance that emphasizes the mental and emotional well-being of performing artists]. It utilizes somatic tools that help enormously when stepping into a character. 

BLADE: Has changing the way you work affected your performances?

KEEGAN: I think I’m much better now. I used to have nearly debilitating stage fright. I’d spend all day dreading going onstage. I thought that was just part of the job. Now, I’ve learned to talk to my body. Prior to a performance, I can now spend my offstage time calmly gardening, working with my mental health clients, or playing with my kid. I’m just present in my life in a different way. 

BLADE: Is Orsino your first time playing a male role?

KEEGAN: No. In fact, the very first time I played a male role was at the American Shakespeare Center in Staunton, Va. I played Hipolito in Thomas Middleton’s The Revenger’s Tragedy. 

As Hipolito, I felt utterly male in the moment, so much so that I had audience members see me later after the show and they were surprised that I was female. They thought I was a young guy in the role. There’s something very powerful in that.

BLADE: Do you have a favorite part? Male or female? 

KEEGAN: That’s tough but I think it’s Maggie the Cat. I played the hyper-female Maggie in Tennessee Williams’ Cat on a Hot Tin Roof at Round House. In the first act she didn’t stop talking for 51 minutes opposite Gregory Wooddell as Brick who barely had to speak. That lift was probably the heaviest I’ve ever been asked to do in acting. 

BLADE: What about Folger’s Twelfth Night might be especially appealing to queer audiences?

KEEGAN: First and foremost is presentation. 99% of the cast identify as queer in some way. 

The approach to Shakespeare’s text is one of the most bold and playful that I have ever seen.  It’s unabashedly queer. The actors are here to celebrate and be loud and colorful and to advocate. It’s a powerful production, especially to do so close to the Capitol building, and that’s not lost on any of us.

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