For his new video of the single “The Biscuit,” gay rapper Cazwell has graced us with some hot, Arabian nights … or knights. The Middle Eastern-themed video — which he talked to me about earlier this year — has lots of half-naked men and a beat taken from a South African hit. Check it out!
Late next month, Roadside Attractions will release the feature film Stonewall, written by gay author Jon Robin Baitz (Brothers & Sisters) and gay director Roland Emmerich (Independence Day), about, as they call is, “the unsung heroes” who were there “where Pride began.” Only a lot of folks have attacked the trailer as being too white-washed: The hero looks to be a white male from the Midwest, and the trans, Latinos, leathermen and other leaders are barely visible.
Obviously, the main character is fictionalized (heck, fictionalizing people happened in movies like Selma and Lincoln, too — it always does), but how can we decide what the movie will be based solely on a trailer? I’m keeping an open mind.
Here’s the video of the trailer — what do you think? Gonna see it or boycott it?
Hot, sweet and salty simultaneously, this sparkling collins cocktail – created by Southern Wine and Spirits of Nevada – is the perfect pairing for an outdoor summer meal derived south of the border.
2 oz. quality silver tequila
1 oz. Aperol
Slice of lime
Paper thin strip of bell pepper
Making it: Rim half a collins glass with lime and cinnamon salt and fill halfway with ice. Add tequila and Aperol and stir. Top with Blood Orange DRY and stir again. Garnish with red bell pepper and slice of lime.
Cherry Blossom Sour
If you missed the iconic Cherry Blossom blooms in the nation’s capital this spring, have a taste of the next best thing from the AC Hotel Washington D.C. in Maryland (eh, it’s close enough), which boasts a beverage-first culture that we all can agree is pretty boss.
1 1/2 oz. Sloop Betty Vodka
1/4 oz St.-Germain
1/4 oz. simple syrup
1/4 oz. cherry brandy
1/4 oz. Oloroso sherry
1 oz. lemon juice
1 mint sprig, garnish
Making it: Add all ingredients into a cocktail shaker. Add ice and shake 10 to 20 times. Double-strain into a cocktail glass and garnish with mint sprig. For added flavor, rim glass with vanilla sugar. To make, split one vanilla bean in half, remove seeds and whisk in a bowl with 1/2 cup of sugar.
No need to feel guilty for indulging in a few of these crisp cocktails from POM Wonderful and bubbling with antioxidants!
1 1/2 oz. Bombay Sapphire gin
1 1/2 oz. POM Wonderful 100% Pomegranate Juice
1/2 oz. fresh squeezed lime juice
3/4 oz. agave
3 basil leaves, muddled
Top with Perrier or other sparkling water
Sliver of lime, garnish
Pomegranate seeds, garnish
Making it: Serve in short glass or wine glass.
— compiled by Mikey Rox
Will Drag Racer Raven really be in Dallas this weekend? You bet
OK, even we are amazed how many contestants from RuPaul’s Drag Race have visited Dallas lately, but hey, we ain’t complainin’! The latest is Raven, who will be attending as part of the Vegas Nights, a fundraiser for the Greg Dollgener Memorial AIDS Fund/MetroBall LifeWalk Team. There will be blackjack tables, poker, prizes, boys and a show headlined by Miss Thang. You can put money on it — it’ll be a hoot.
2525 Wycliff Ave.
6 p.m. doors and game play
8 p.m. curtain
D’oh! Dark comedy ‘Mr. Burns’ gets its regional premiere at Stage West
We’re tending our fingers and saying “exxxcellent!” at the chance to see Mr. Burns, A Post-Electric Play. A regional premiere, this dark comedy is set after an apocalyptic catastrophe where the survivors perpetually reenact episodes of The Simpsons. Opening night is Saturday, but it runs through Sept. 13. Ay caramba!
821 W. Vickery Blvd.
Through Sept. 13
This article appeared in the Dallas Voice print edition August 7, 2015.
The last eight months have felt like a body blow to political comedy.
First, Stephen Colbert stepped away from The Colbert Report, his mock Fox News rant, to be replaced by Larry Wilmore’s Nightly Show. Larry tries hard (usually too hard), but the withering irony isn’t there.
Colbert will be back in September, replacing David Letterman, who stepped down in May from CBS’ The Late Show. For a generation that includes me, Letterman really defined the concept of the late-night comedy talkfest. Of course, it will be nice to see Colbert again, but the loss of Letterman — who hosted a late night show longer than anyone in history, including Johnny Carson — is difficult to calculate.
And then there’s Jon Stewart. For nearly 17 years, he has — more than Colbert and Letterman — defined political commentary through the lens of the humorist. Where Colbert skewered right wing faux news shows, Stuart skewered mainstream media and the laziness with which so much of it is practiced today: the celebrity culture, the softball questions masquerading as journalism, the uninformed opinions. Stewart’s reign on The Daily Show ends tonight, of course, and it, like The Late Show, will return in the fall with a new host. But nothing will ever be the same.
True, in recent years, Stewart felt more tired and robotic in his jokes. But ever since his announcement in February that he would be leaving the show, he’s been on a roll. No one has worn his righteous indignation with more intelligent affability. And perhaps no one save Lorne Michaels has launched more television comedy careers. Even within the confines of a 22-minute, three-act talk show format, Stewart raise the game of discussing important things in an accessible and often sadly hilarious way. Few public figures have been at the forefront of gay rights issues like Stewart has been. If you’ve never watched the show, you may be inclined to think he hasn’t had that much of an impact. You would be wrong.
Tonight, when his final episode airs, the end of an era will take place. I’ll be there watching. So let’s raise a glass to Jon Stewart… and one to the health of John Oliver — he’s the future now.
For two seasons of HBO’s sharp reality-show satire The Comeback, Mickey Deane — played by Robert Michael Morris — has endured the plights of humiliation right alongside Valerie herself … all in the name of friendship. From Season 1’s cupcake fiasco to Val’s tasteless improv riffs after his cancer diagnosis during the second installment, the manny-pack-wearing Mickey’s seen it all as has “Red,” as he affectionately calls her. She once walked in on him in bed, sprawled out, naked.
As the entire 21-episode series (so far) hits DVD, the Kentucky-born Morris phoned to chat with our Chris Azzopardi about how that emotional finale was “all in Lisa’s eyes,” his former career as an English teacher and why he decided to bare his butt during the show. And no, he doesn’t do hair.
Dallas Voice: I just watched the season 2 finale for probably the 15th time. I can’t shake it. Those last few minutes are some of the most brilliant minutes in television history. What was the vibe of the cast during the finale shoot? Robert Michael Morris: Well, I was away for most of it. The hospital scene — they were shooting other stuff, but I was just waiting in the hospital bed, so for me it was very easy. Just lie there! We didn’t wrap that last scene until 4:20 that morning, so it was quite late in the day. I keep using the word “honest,” and that’s the thing I always appreciated about the show. It seemed to me to always be so honest, and the relationship between Lisa and I really crystallized in that last moment.
That’s true. By the end of the second season, Valerie realized what really mattered. Oh, she always realized it. It’s like you can’t walk away from a sick child, and when Mickey, who had always been with her forever — 25 years longer than her marriage — seeing him on his way out became the priority for her. I have got to get to him. I have got to get to him. When she gets there and finds out it was the medication and he’s just a frightened mess in the bed — and she’s comforting him for a change — it really revealed the depth of their relationship. A lot of times we skate on the surface, and it’s only when the rubber hits the road that you can plumb the depths of what it is.
Nothing has been confirmed regarding a third season of the show. And seeing it took nearly 10 years for a second season, it could be that long before we see a third. Did the uncertainty of the show’s future make shooting this past season emotional? Oh, I don’t think that played into it — it certainly didn’t play into it for me. You hear actors say a lot of times they have to be in the moment, and if you’re playing something for effect, it rings false. HBO has always loved the show and they were incredibly supportive of this show. Well, the current HBO people. I think the first HBO person, whomever he was, didn’t get it. It was also, at that time, the only show that HBO had where there was a female lead. They were all male leads. And [the show] is about the business, which for them was uncomfortable.
Not to toot our own horn too loudly, but the Wedding Party and Expo that Dallas Voice sponsored Sunday at the Anatole Hotel was pretty much a smash. Dozens of vendors with more free cake and noshes than a sane person could eat (though I tried), with entertainment ranging from green-screen photos to aerialists to a fashion show and concert by the Turtle Creek Chorale made for a beautiful and fun event. I heard tons of positive comments, from the atmosphere to the layout to the diversity to the air conditioning. If you missed it, check out some of the photos from it below. It was almost enough to make confirmed-bachelor me wanna get hitched. Only almost, though.
2 oz. VDKA 6100
3/4 oz. lemon juice
3/4 oz. simple syrup
1 oz. sour pickle brine
1 oz. Australian lager.
Making it: Combine all ingredients (except beer) in a shaker with ice. Shake and strain into a tumbler glass. Top with a heavy splash of lager beer. Stir gently, garnish with skewered mini pickles and dust with cayenne pepper.
— Mikey Rox
The Dallas Red Foundation, which just hosted its third annual runway fashion show last weekend, announced today the lineup for its seventh annual Red Party, which will take place during the Dallas Pride Week in September.
The featured entertainer will be recording artist DEV at the event, which moves back to the gayborhood this year at Sixty-Five Hundred on Cedar Springs Road. The event will take place from 9 p.m. to midnight on Saturday, Sept. 19. Tickets are $55/each.
The Red Foundation is a fundraising arm for Legacy Counseling and Founders Cottage, which provides support for those with HIV.
At 75, disco pioneer Giorgio Moroder reemerges to once again produce some of the biggest icons of our time
By Chris Azzopardi
It’s been 35 years since Giorgio Moroder and Cher hooked up for a late-night session to produce “Bad Love,” the diva’s disco rave-up from the soundtrack of the 1980 coming-of-age drama, Foxes.
“We were supposed to start at 2 o’clock in the studio, and who comes in at 2 o’clock punctual? Cher,” Moroder recalls, tickled. “I said, ‘Shit, because with an artist like her — the big stars, you think, if it’s 2 o’clock, they come in at 5 o’clock, if you’re lucky. So she was there at 2 o’clock, and I said, ‘Cher, something is wrong — I was told you’re always late.’ And she said, ‘Yes, I’m always late… except the first time.’”
Decades have passed and music has changed and Cher has not. One other thing remains the same: Moroder still lights up at the mere thought of the ageless icon, how “I loved her” and “she was so funny.” Undoubtedly, Cher, to this day, can still smack you with a punchline. A star, an icon, the diva of all divas — her success is abiding.
Now, returning to the scene at age 75 with his first album in 30 years, Moroder can say the same for his own monumental success.
The Italy-born musical mastermind who unwittingly blazed a fruitful trail of radio hits is the father of such celebrated dance-floor relics as Donna Summer’s “Love to Love You Baby” and Blondie’s ubiquitous No. 1 hit “Call Me.” A cavernous catalog of ’70s-era paragons and Moroder’s unprecedented artistic vision became the catalyst for modern-age dance music. Between 1974 and 1984, Moroder’s creative force was a hot commodity, and everyone who was everyone — Barbra Streisand, Elton John, Janet Jackson, Chaka Khan, Freddie Mercury, David Bowie — clamored for his heyday genius.
During Moroder’s most musically prolific era, the producer, composer and DJ could be found endlessly shacked up in a studio. There, he’d mix until the wee hours, never to succumb to his own burgeoning brand of sonic escapism that coaxed just about everyone but himself — the man behind those very beats — to the clubs.
“If I go back, I remember one year, ’85, when I did the [music for the] Top Gun movie,” he says. “The whole year I was doing several projects, of which most didn’t work out, but I think I had one weekend by myself. I would work like crazy.”
And even that’s an understatement. While producing for an army of iconic artists during the first wave of disco-dance, Moroder was also becoming a booming cinema presence.
He won his first Oscar for his music in 1978’s Midnight Express, and then two more for “Flashdance… What a Feeling” and Berlin’s “Take My Breath Away,” from Top Gun. In 1983, he intensified Scarface with his music (he produced the soundtrack), and also contributed to the 1984 children’s fantasy classic The NeverEnding Story, for which he produced the theme song.