The source of inspiration for most of the songs on Coney Island Baby, Lou Reed’s transvestite lover and muse Rachel (Tommy) has always been somewhat of a mystery figure. In all that’s been written about Reed, Rachel is barely a footnote. Despite playing a significant romantic role in Reed’s life and even touring with him during the mid-70s, Rachel managed to keep her private life private. Even details of her death are vague. She is rumored…
'Big Freedia: Queen of Bounce' follows gospel prodigy Big Freedia on her mission to bring New Orleans Bounce music to the top of the charts. Catch the show's premiere Wednesday, October 2 at 11/10c on Fuse.
Two days before an emotional performance alongside Macklemore and Ryan Lewis at the 2013 VMAs, also featuring surprise guest Jennifer Hudson, Seattle-based singer/songwriter Mary Lambert released her own music video for the now iconic “She Keeps Me Warm.” The single, blossoming from the original chorus Lambert wrote for Macklemore and Ryan Lewis’ gay rights anthem “Same Love,” follows the beginnings of a relationship between two queer women.
Sex and Sexuality post by Catherine Scott, Submitted by Catherine Scott on August 3, 2012 - 9:45am; tagged Adam Lambert, BDSM, Frankie Goes To Hollywood, Gay men, LGBT, queer, Relax, S&M.
I’m not of an age to remember first-hand just how much of a commotion Frankie Goes to Hollywood caused with their song “Relax,” given that it was released in 1983, the year I was born. But it’s a testament to the power of combining S&M with queerness that it remains a notorious song and video, 28 years later. Media-weary children of today know that the best way to get attention for your product is to have it banned—unfortunately at the time, DJ Mike Read thought he was genuinely doing the right thing when he took one look at the cover of “Relax” (see image at right), heard the suggestive lyrics (including—gasp—the incendiary words “suck” and “come”), and refused to play it. BBC Radio joined Read in solidarity by banning the song, and subsequently BBC TV banned the video too. FGTH could only watch, devastated, as their song climbed to number one in the charts and stayed there for five weeks…
Last November at the Walt Disney Concert Hall in Los Angeles, some of today’s most influential artists gathered to celebrate the music of Bob Mould. Dave Grohl (Foo Fighters), Britt Daniel (Spoon), Ryan Adams, No Age, Craig Finn and Tad Kubler (The Hold Steady), Margaret Cho with Grant Lee Phillips, and Jessica Dobson (The Shins, Deep Sea Diver) all performed songs from Bob’s historic catalog. Until now, only the 2,265 concert attendees have seen these amazing performances. Fortunately, the entire evening was captured in stunning audio and high-quality video quality by filmmaker Justin Mitchell.
Starting today, we are launching a Kickstarter campaign to bring this amazing footage to life. Justin and his camera crew followed Bob and the other artists meticulously throughout their day catching the rehearsals, preparation, interactions — and of course the night’s unforgettable performances. Not only will the campaign fund this film, but it also offers Bob’s fans exclusive Kickstarter products such as a limited edition 7-inch single, a commemorative t-shirt, and a silkscreen print set. Additional products and information are featured below.
Over the course of his three-decade run as one of the preeminent geniuses in rock and roll, Bob Mould has shared a great deal of himself through his work, while somehow remaining something of a distant figure. Perhaps it is the inherent modesty of Midwestern remove. Maybe it is the unmodulated croak of his drill-sergeant singing style, an effective instrument to be sure, but one that tends not to vary much between soaring rock numbers and downbeat acoustic laments. Maybe it is the wall of ominous-sounding feedback and squalling guitar that frequently armors his live appearances. From his roles as the hardcore troubadour that led the legendary Hüsker Dü, to the brains behind the revelatory power-pop of Sugar, to his occasionally muted but always intriguing work as a solo artist, the fact of Mould’s greatness has never been much in question. But the exact nature of his greatness feels less clearly defined than certain other of his contemporaries. This makes exploring his catalog all the more fascinating. Via Stereogum
While making Coastal Grooves, Hynes was haunted by a spate of gay teenage suicides in America, the events triggering memories from his childhood growing up in Romford. “I kept thinking about it because I’m straight but I got bullied as if I was gay growing up. A lot of my friends were gay so I was spat on on the bus daily and I ended up in hospital a couple of times from being beaten up so badly. I kept looking at interviews with Octavia St Laurent [American trans woman who appeared in the documentary Paris Is Burning] and I just saw her as such a powerful icon for breaking out. I kept thinking about a lot of those kids who were gay and black in 80s New York, and how they had this culture where they could be free and escape.” The residue of Hynes’s own memories was, in many ways, the catalyst behind Blood Orange. “I had all these insecurities from when I used to get bullied, and they really attacked me a few years ago, and I just totally went inwards. When I was recording music I’d record all the parts myself and I wouldn’t let other people in; that’s essentially what Blood Orange is the result of; me trying to find the most comfortable I can be with everything. It’s also what caused the delay; I had to almost build myself up again.” via The Guardian
"God, sexuality can be so #confusing, right? Like, how are you supposed to tell if you’re gay or not and stuff? In this episode of VICE’s Slutever, Karley’s recent sex dreams about her gurl crush, Mistress Amanda Whip, cause her to ponder, "In sex, does everything have to be black and white—’straight’ or ‘gay’—or can you be somewhere in between, like, in a gray area?" Clearly, the only way to solve this dilemma is with a LESBIAN MAKEOVER!!! Obvz with the help of international playboy Dev Hynes (aka Blood Orange); Lauren Dillard of the lesbi-friendly band CREEP; and of course, the most powerful alt lesbian of all time and member of Le Tigre, JD Samson." via VIC
CHRISTEENE is a “Drag Terrorist” and has been characterized as a sexually infused sewer of live rap and vile shamelessness, showcasing a most impressive set list ranging from Electro to R&B, Hip Hop to Dub Step.
"Those hoping for a sophomore record as compelling as xx or as seamlessly genre-bending as producer Jamie xx’s remix work with the likes of Radiohead or Gil Scott Heron on the brilliant We’re New Here, should be sorely disappointed by the lack of ideas that mars Coexist’s first nine tracks. It’s only once "Swept Away" comes along, with its ominous synth bassline ambling into the speakers, that you’re reminded of what this band is capable of."
Frank Ocean has said that his decision to open up about his sexuality was “about my own sanity and my ability to feel like I’m living a life where … I’m happy when I wake up in the morning, and not with this freakin’ boulder on my chest.”
"The Frogs are known for a number of things: Jimmy Flemion’s six-foot bat wing costume, their association with Nirvana and Pearl Jam, and their catchy songs that dealt with race, religion, and homoerotic sexuality. Dennis Flemion was also a temporary member of the Smashing Pumpkins from 1996 to 1997.
My all time favorite Frogs LP is My Daughter the Broad from 1996, which introduced Dennis Flemion’s geriatric pervert persona, as well as a high pitch voiced murder Jack. Apparently the record title was inspired by Mudhoney’s My Brother the Cow. The 1997 EP Starjob is a wonderful commentary on the music industry and the grunge movement.” Via The Stranger
In a post on his Tumblr, Frank Ocean, the buttery-genius R&B singer from the Odd Future crew, has essentially come out of the closet, revealing that he’s gay or maybe bisexual. He never says anything as plain as “I’m gay,” but he does open up, telling a story about falling in love with a man:
"4 summers ago, I met somebody. I was 19 years old. He was too. We spent that summer, and the summer after, together. Every day almost, and on the day we were together, time would glide. Most of the day I’d see him, and his smile. By the time I realized I was in love, it was malignant. It was hopeless."
He ends the beautifully written narrative by saying, “I feel like a free man. If I listen closely… I can hear the sky falling too.” Read the full statement here.
In an earlier post, Ocean announces that the story had meant to stand in as the thank-you section on Channel Orange, his forthcoming album:
"we’re all a bunch of golden million dollar babies. my hope is that the babies born these days will inherit less of the bullshit than we did. anyhow, what i’m about to post is for anyone who cares to read. it was intended to fill the thank you’s section in my album credits, but with all the rumors going round.. i figured it’d be good to clarify.."
Rap and R&B have come a long way toward in the past few years, moving away from homophobia, but it still runs rampant in that wing of the music business, and Ocean is the first artist of his stature to make an announcement like this. It goes without saying that this took a ton of bravery and candor on Ocean’s part, and it’s a great display of personal character.
Odd Future, of course, got in a ton of hot water for violently homophobic lyrics when they first emerged on the scene two years ago, and it’s heartening to see the other members of the crew wholeheartedly embracing Ocean. Here’s Tyler, The Creator, on Twitter: “My Big Brother Finally Fucking Did That. Proud Of That Nigga Cause I Know That Shit Is Difficult Or Whatever. Anyway. Im A Toilet.” Vaguely weird to say, since I don’t actually know any of these guys personally, but I’m proud of everyone involved.