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Archive for May, 2017

Bruce Vilanch Emcees The Michael Musto Roast

Thursday, May 25th, 2017

Unicorn Booty
14 Hilarious Reads from Michael Musto’s New York City Roast
Written by Alexander Kacala
on May 23, 2017

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Last night, a “who’s who” of New York City gathered to honor Michael Musto at a roast given in his honor. No, really, who was who?

Comedian Bruce Vilanch was the fabulous emcee for the evening. Rosie O’Donnell opened the show with a few words, roasting Musto by reminding the audience of how their relationship began many years ago.
“I know it wasn’t really a shock to anyone in this room that I was a big fucking lesbian but middle America apparently was confused,” O’Donnell said. “And Michael Musto was a very pissed off fag.”

“Very faggy gay men seem to be very troubled by dykey gay women who refuse to acknowledge their lesbianism,” she went on.

But obviously the water is under the bridge, as O’Donnell showed up to support Musto’s event for a good cause. O’Donnell ended her set by matching funds raised for the Callen-Lorde Center, donating $20,000 to the LGBT wellness center in New York City.

Jinkx Monsoon, Bianca Del Rio, Real Housewife LuAnn D’Agostino and Judy Gold were just some of the notable names on the bill, reading each other and the man of the hour. Del Rio of course was a highlight of the night — and right at home up there, as roasting is what she does best.

The evening was produced by Daniel DeMello and Nathaniel Nowak. Directed by Rachel Klein, many of the night’s best jokes were written for the roasters by Erik Ransom and Matthew McLachlan. Even Musto himself wrote some of the best digs made at his own expense.

Here are 14 of the funniest moments from Michael Musto’s roast:
Bruce Vilanch to United Airways:

“I came in from LA for this. It was incredible this morning as they dragged me off my United flight. Which was really unusual because I thought United only does Chinese take-out.”

Michael Musto to Bianca Del Rio:

“Bianca Del Rio, Hurricane Katrina is only the second worst thing to ever happen to New Orleans.”

Bianca Del Rio to Randy Rainbow:

“I don’t really know who Randy Rainbow is, but from the looks of his name, I guarantee he’s not allowed 800 feet anywhere near a grade school.”

Judy Gold to Michael Musto:

“Michael Musto is Al Franken run over by a pride parade.”

Johnny Skandros to Countess LuAnn:

“You’re the worst thing to happen to music since Whitney Houston started taking baths.”

Bianca Del Rio to Rosie O’Donnell:

“She has her differences with Trump. But she is a lot like Trump. She has five different kids from three different wives. It’s funny, because if Rosie goes ahead and buys another child, she will have to live in a shoe. And with her being a lesbian, can you imagine how fucking ugly that shoe is going to be?”

Johnny Skandros to Michael Musto

“I have to give you a lot of credit, Musto. You somehow survived the ’80s. It’s like your face was the original PrEP.”

Jinkx Monsoon to Michael Musto:

“With all the fashion sense of a hospital out-patient, Michael Musto looks like Ray Romano if he had a much harder life.”

Orfeh to Bruce Vilanch:

“These are scary times, folks. I don’t understand how people can continue to deny climate change in 2017. I mean, the proof is right in front of us! It’s almost summer and Bruce Vilanch’s neck pouch is still stuffed with the acorns he foraged last fall!”

Crystal Demure to Bianca Del Rio:

“Other recommended viewings on Netflix for Hurricane Bianca are ‘Gouging Their Eyes Out.’”

Marcus Kelle to Bruce Vilanch:

“The last time you got fucked was by genetics.”

Judy Gold to Jinkx Monsoon:

“You look like Kathy Griffin had sex with meth!”

Lucy The Slut to the drag queens:

“Look at these drag queens! They look great, but their makeup is kinda like Febreeze. Pleasant, but it’s main purpose is to cover up shit.”

Michael Musto to Jinkx Monsoon:

“Jinx, you do a brilliant Edie Beale impression, except she happened to be talented, not just mentally ill.”

SIFF Interview: Jeffrey Schwarz talks about his great new documentary, THE FABULOUS ALLAN CARR

Sunday, May 21st, 2017

The Sunbreak
SIFF Interview: Jeffrey Schwarz talks about his great new documentary, THE FABULOUS ALLAN CARR
By Jeffrey Schwarz
May 19, 2017
thefabulousallancarr-poster

One of the movies playing at SIFF I was most anxious to see when the lineup was announced was The Fabulous Allan Carr, a new feature-length documentary about the legendary Hollywood producer from director Jeffrey Schwarz. Schwarz has been a prolific documentarian over the past several years, most notably for films about John Waters’ muse Divine, and closeted 1950’s teen heartthrob Tab Hunter.

Allan Carr died in 1999 but he had left an undeniable legacy as the producer of Grease and groundbreaking Broadway hit La Cage Aux Folles, as well as the infamous 1989 Academy Awards spectacle that opened with a musical number of Snow White and Rob Lowe in duet, and the Village People vehicle Can’t Stop the Music (which trivia buffs will know as the first movie to ever “win” a Golden Raspberry Award for “Worst Picture”). The movie, though, details how Carr came to Hollywood without knowing anyone and became one of the most well-known and in-demand producers, until he wasn’t. Schwarz interspersed clips of Carr on talk shows with interviews with those who got to know him, and there are some deliciously fun Hollywood stories mixed in with a more complete picture of Carr than he let the public be privy to. I enjoyed, for example, Steve Guttenberg’s telling of how he was discovered for Can’t Stop the Music.

I spoke to Jeffrey Schwarz by phone, the day before he would fly to Seattle for the world premiere of The Fabulous Allan Carr.

I really enjoyed the movie, so I’m really glad I got the chance to talk to you about it.

Oh, I’m glad. I haven’t talked to very many people who are seeing it for the first time, so that’s great to hear.

It’s fantastic. I’m a big John Waters fan, so I became a fan of your work with I Am Divine. Every time you make a movie, I try to see it.

Thanks. So, this is another movie about somebody with a very big personality, like Divine, and so there’s this crossover with all the movies and this is another movie about a larger than life personality and somebody who invented themselves, so there’s definitely themes that are carrying through with all these movies.

Well, I guess that’s what I wanted to ask you for my first question is I asked you is there something, you think, in common with Divine and Tab Hunter and Allan Carr and the other subjects of your documentaries?

Yeah, I mean, I’m certainly interested in personalities who are larger than life, and people who have insecurities or ways or visions that they have and they sort of invent a persona to move forward in the world. A, sort of, larger than life persona to move forward in the world. And people who have big dreams and set about making those dreams come true and Allan Carr certainly fits into that category. I mean, he grew up loving movies, loving glamour, loving show business. He had no connections to Hollywood, but he envisioned the life that he wanted and he went about and did that. And part of going about doing that was to, sort of, invent a character, in a sense, that could empower him. And that’s- a lot of the other people that I’ve made films about have done as well.

Was there something- was there anything, maybe, that changed your perception of Allan Carr while making the film and researching him?

Well, I wasn’t too familiar with Allan’s inner life when I started the project, because, you know, the biography that inspired the documentary is terrific, and it did get into Allan’s inner life to some degree, but it wasn’t really until talking to his close friends that I started to get a sense of what was going on with him.

In particular, his reaction to what happened to him after the Academy Awards in 1989. I got a sense that that really hurt him very deeply and that he definitely withdrew and for somebody who was so exuberant and out there to withdraw into himself into such pain and depression was very hard to hear from his friends. So, I really appreciate that people who were close to Allan were able to give me that perspective and help me understand him a little bit more.

When watching the movie, I thought about it is that even though that was bad for him and bad for his career, it feels like he was kind of vindicated with the way the Oscars, and all the award shows, kind of have been since then, because, I mean, Billy Crystal always does a campy, musical number to open every time he hosts…

Yeah. Well, I think it’s- there had been musical numbers prior to what Allan was doing, but I feel that he was gonna do something other than anything that had ever been done, because that’s just who he was, you know, so even though there had been musical numbers before, he was gonna take that balloon and blow it up even further. And, you know, I guess he felt that the Oscars needed a gilt of energy and needed a gilt of fabulousness, which is what he did and they hired him to do that. It wasn’t like they were hiring somebody who was going to do something very stayed and low key. I mean, he was doing something crazy and insane and that’s why they hired him.

In fact, for all the criticism that that show got, it did better in the ratings than many of the shows previously and we’re still talking about it today. I mean, how many opening numbers do you really remember? I mean, I kind of- I love watching The Oscars. I watch them every year, but I don’t really, necessarily, remember the openings, but this one, I’ll never forget it. I don’t think the world will forget it. I think the Academy might like to forget it, but I hope that this movie leads to a reevaluation of that opening number. Not that it’s great art or anything, but that it’s so audacious and insane that I think people should give it props for that, for sure. And it’s, like sixteen minutes long, I think. I haven’t timed it, but I think it’s something like sixteen minutes long. It’s just crazy. And no one’s ever topped it, that’s for sure.

Like you said, it was really over the top, but I just thought it was brilliant and it was something that really did shake up the Academy and I could see why they might not like it, but, like you said, that’s what they hired him for, it wasn’t a surprise that it was campy and over the top.

Yeah, they hired the guy who produced Can’t Stop The Music I to make the Oscars.

Certainly at that time, people knew what they were getting when they hire Allan Carr. And he was really coming at it from such love and respect for the Academy. He just didn’t want to see the Academy take itself too seriously. And he wanted to have fun with it. And it definitely went off the rails, because, I think he just wanted- he had this in his mind, he had a vision. The people around him were doing everything they could to execute his vision and when they would tell him, “This is getting too big, this is getting too expensive, this is getting too insane,” he wouldn’t listen. I’m kind of glad that he didn’t listen, because, like I said, we’re still (talking about it today). Eileen Bowman, Snow White, could talk about her experience doing it, because she was right in the eye of the hurricane. She had some hilarious stories about working on that.

I mean, Allan did make some contributions to the Academy Awards that are still being done today, like- the biggest one is probably the change from, “and the winner is..” to, “and the Oscar goes to…” Which is something that he- that had not happened before his Academy Awards. He was hoping that that would change that would stay, and that would stick, and they’re still doing that today, and all the other award shows that copied that.

Yeah, absolutely. I feel like that’s definitely a such lasting impact and it’s a big improvement from just saying, “and the winner is…”

Yeah, and there were other things that he did too. You know, like the red carpet, and the, sort of fashion show aspect to the Academy Awards that, you know, there was a red carpet, but it was pretty utilitarian. It wasn’t- I mean, Allan came along and really wanted to make that an event and make that special and big and bring in designers and bring in name brands to dress up the stars and, you know, these were things that he definitely highlighted and- I don’t know.

I think it really, if you look at the rest of the show, you know, the opening number is all anybody talks about, but the rest of the show is terrific and there’s some- I had forgotten that that show was Bruce Vilanch’s first Oscars as a writer and he definitely changed the tone of the Academy Awards over the years that he was involved. There were some moments on that show, like Carrie Fischer and Martin Short walking on stage wearing the same dress. I’d forgotten that that was in that Academy Awards. Roger Moore and Sean Connery reuniting and Lucille Ball and Bob Hope reuniting and some really great, terrific, memorable moments aside from that opening.

Maybe we can talk a little bit about putting the film together. How long did it take, because weren’t you just here at SIFF for your Tab Hunter movie two years ago?

I’ve been very lucky to have these films, sort of, come out every couple of years, but they all, kind of, overlap, so I’ve been working on this one really for about three years aggressively, but it’s been in development maybe for about five years or so. So, I always say that these films take anywhere from five to seven years to complete, so this one was pretty much right on track. From the first moment, that ah-ha moment after reading Robert Hofler’s book, it’s almost about five and a half years. We’ve been working on this, aggressively, for about the last two and a half, three years. Myself and my producer, John Boccardo, and the team that we put together to make the movie.

I think at the time that he was out doing his thing in the world, he was, I don’t know if he was a household name, but people knew who he was. I mean, he was definitely a brand. And then, you know, as time marches on, we have this problem with cultural amnesia. So, people maybe only remember, if they know anything about him, they’ll remember the Academy Awards, they might remember Grease. I don’t think many people really make all the connections between all the things that he did, but the same guy who did Grease did La Cage aux Folles and, oh, the same guy did Can’t Stop The Music and the Academy Awards.

I think there’s so much that can sort of, connect the dots for people, culturally, for people that are vaguely familiar with him, but definitely know his product. I mean, everyone knows Grease. That is one of the most iconic movies of all time. His vision for Grease is part of what makes that so memorable and so great. I mean, the candy colored aspect of it, the humor. They definitely transformed it from the original source material, which was much more gritty and tougher into something that has more of a candy colored camp feeling to it and that certainly was Allan’s vision and he brought along people to help him execute that vision, like, Randal Kleiser, the director, Pat Birch, the choreographer, and Bill Butler, the DP. You know, he was smart enough to bring on the best people to execute that vision for the movie.

Well, do you have a favorite story that you learned about Allan Carr from filming it, doing the interviews with people that were close to him?

Gosh, there’s so many. You never know what people are gonna bring to the table. You know, you think you know- when I do an interview, I have a pretty much of a sense of what I expect people to bring to the table especially after having read the biography, but then there’s some things that just totally surprised me, you know, when I was talking to a friend of his named Gary Putney who was a TV executive. He was talking about bringing Allan to Mexico for a vacation and while they were on that Mexican vacation, that’s were Gary bought Allan his first caftan. Allan’s so famous for his caftan. The genesis of all of that and where it all came from was this Mexican vacation.

Allan sort of crafted a persona around his look and the caftans were a big part of that. That was also the vacation where, apparently, Allan had his first experience with a man. Which I didn’t know that story. It says so much about Allan that he was in his early thirties by the time this happened, and so he seemed like he was so maybe uncomfortable in his own body that combination of sort of his experience with a man and getting his first caftan were things that actually really empowered him.

That’s not something I would’ve known going into it. It was really revealing. I mean, there’s so many hilarious stories that we couldn’t include in the movie, but I think that what we’ve got in there is a pretty well-rounded portrait of who he was.

I think I’ve probably taken up a lot of your morning already, but could you tell me what’s going on with the movie after it plays this weekend?

Well, this is a world premiere. So, I’m really excited about that. This is a thrill for me and our producers will be there too and then, right from SIFF were going to QDoc is Portland and then, we’re starting to book festivals all around the country and actually from other countries too. I’m looking for the roll out of this and getting to experience it with an audience for the first time. That’s the best feeling in the world for a filmmaker is to be sitting there after years of working on your project and sort of feel the energy in the room and hear the audience reaction. That’s my favorite part. It really makes it all worthwhile.

I think that people are really gonna love it and I’m really glad that I got the chance to watch it already and it’s really a great film and I have a feeling that everyone that sees it tonight will love it.

I hope that’s the case. I appreciate your enthusiasm for it. We’re living in a very strange time right now. It’s a time fraught with fear and anxiety. I’m certainly feeling that everyday, you know, and I hope that this movie will be a little bit of an escape valve. Allan Carr’s ethos was that movies can be a real source of joy and pleasure and can sort of help take us away from our daily problems for ninety minutes and I hope that this movie filled Allan’s requirements for what entertainment should be.

Let me ask one other thing. Is there a way where people can watch your other documentaries? Are they on any streaming services or anything?

Yeah! Tab Hunter Confidential is currently on Netflix and I Am Divine is available on iTunes. Vito is available on iTunes. Spine Tingler! The William Castle Story is available on Vimeo. Wrangler, I’m not sure where you can get that one now. I’m pretty sure you can get that one on Amazon. They all end up in strange places, but most of them are on iTunes at this point.

{The Fabulous Allan Carr makes its world premiere at SIFF tonight!, Friday, May 19 at 7:00pm at the Egyptian Theater, and then again on Saturday, May 20 at 11:00am at the Egyptian Theater.}

The Hollywood Museum Announces Fourth Annual Real to Reel: Portrayals and Perceptions of LGBTQs in Hollywood Exhibit

Sunday, May 21st, 2017

Broadway World
The Hollywood Museum Announces Fourth Annual Real to Reel: Portrayals and Perceptions of LGBTQs in Hollywood Exhibit
by BWW News Desk
May. 20, 2017

Bette Midler and Bruce Vilanch

The Hollywood Museum is thrilled to announce its 2017 salute to the LGBTQ community’s contributions to the entertainment industry. The fourth annual “REAL to REEL: Portrayals and Perceptions of LGBTQs in Hollywood” exhibit, in partnership with Los Angeles City Council member Mitch O’Farrell, is an educational, entertaining and informative retrospective of LGBTQ images in film, TV, new digital platforms featuring costumes, props, photos, and iconic imagery all telling the story of the milestones and influence that LGBTQ characters and plot lines have had in Hollywood from early stereotypes to modern-day representations. Additionally, REAL to REEL celebrates LGBTQ icons those individuals and couples who may be openly LGBTQ or not, and who support the LGBTQ community.

The Hollywood Museum’s REAL to REEL exhibition, which coincides with the annual Christopher Street West Pride activities, offers a historic perspective spanning 100 years from silent films to today’s films, TV shows, and digital platforms. “The museum welcomes the opportunity to create and showcase this important exhibition, sharing with the public the artistic expression and extraordinary significance of the LGBTQ culture and its effect and impact on the world through the medium of entertainment,” says Donelle Dadigan, Founder and President of The Hollywood Museum located in the Historic Max Factor Building.

The exhibit revisits monumental LGBTQ moments in history with Rev. Troy Perry, including the Black Cat riots (1967), and on display – the infamous sign that once hung at the entrance of West Hollywood’s Barney’s Beanery. Exhibit highlights include costumes from Transparent, How to Get Away with Murder, The Walking Dead, Empire, Trans America, Sordid Lives, Cruising, Orange is the New Black, RuPaul’s Drag Race, Ray Donovan, Mad Men, Arrested Development, Cabaret,K-11, as well as Cyndi Lauper’s Grand Marshall Costume (Toronto’s Gay Pride parade, 2015. Additional exhibit items include famous costumes from Hollywood’s leading designers – Mr. Blackwell, Bob Mackie, Rett Turner, Nolan Miller, Edith Head – to today’s Project Runway with Tim Gunn and Heidi Klum, as well as Days of Our Lives, The Bold and the Beautiful, Tyler Perry’s The Haves and Have Nots, Scandal, Two in a Half Men, True Blood, The Good Wife, and more. This year’s exhibit also includes, Icons in the Community such as Betty Davis, Joan Crawford, Elizabeth Taylor, Rock Hudson, Liza Minnelli, Bette Midler, Ramon Navarro, Greg Louganis, Charles Laughton, Sam Harris, Bruce Vilanch, Sherman Hemsley, Gere Jewell, Jerry Herman, Lily Tomlin and Jane Wagner and many more.

The Hollywood Museum gratefully acknowledges the following ABC, Amazon Studios, BBC America, CBS, Discovery Life, Focus Features HBO, Logo, NBC, Netflix, OWN, Showtime, TLC and 20th Century Fox, Universal Pictures, as well as organizations serving the LGBTQ community including ONE Archives, Christopher Street West, The Lavender Effect, and The Glaad Awards, amfAR and more

ABOUT THE HOLLYWOOD MUSEUM IN THE HISTORIC MAX FACTOR BUILDING:
See 10,000 Authentic Show Business Treasures spanning more than 100 years of Hollywood history! Located next to the world famous Hollywood Walk of Fame, the Hollywood Museum in the Historic Max Factor Building houses the largest collection of entertainment memorabilia on display in the world. It is home to thousands of costumes, props, photographs, posters, celebrity automobiles and other treasures from some of the most iconic films and TV shows ever made! See Hollywood legends – past, present, and in the making! The museum attracts thousands of fans from around the world and was recently named one of the top tourist attractions by LA Weekly and by Trip Advisor, and was voted one of the Top 10 Museums in LA by the Los Angeles Tourism & Convention Board. The Hollywood Museum is a 501©3 not-for-profit organization.

REGULAR HOURS: Wednesday – Sunday: 10:00am – 5:00pm (Exhibit: Fri, June 10th – Sun, Sept 4th)
TICKETS: $15 Adults: $12 Seniors (62+): $12 for students with ID and $5 Children under 5.
ADDRESS: 1660 N. Highland Ave. (at Hollywood Blvd.), Los Angeles, CA 90028 MUSEUM INFO: www.TheHollywoodMuseum.com or Tel: (323) 464-7776

FOLLOW THE MUSEUM:
WEBSITE: www.TheHollywoodMuseum.com

FACEBOOK: Facebook.com/TheHollywoodMuseum

 

TV Writer Bruce Vilanch Tells Us How He Slipped Sly Gay Jokes Past the Censors

Monday, May 8th, 2017

Unicorn Booty
TV Writer Bruce Vilanch Tells Us How He Slipped Sly Gay Jokes Past the Censors
May 7, 2017
By Matt Baume
Regular Contributor

Bette Midler and Bruce Vilanch

Bruce Vilanch was toiling away in a perfectly adequate newspaper job in Chicago when Bette Midler came to town. She wasn’t quite famous at that point — an appearance on Broadway and some bathhouse concerts were her credits — but Bruce went to check out her show. Afterwards, he wrote a glowing review, and she called to thank him.

“You should talk more,” he told her.

“You got any good lines?” she asked. He did, and she hired him.

Forty years later, Bruce’s work has touched just about everyone in America. He’s written some of the most famous variety shows ever broadcast, crafted jokes for the Oscars and Emmys and Tonys for decades, and has appeared on everything from RuPaul’s Drag Race to Hollywood Squares to The Simpsons.

I interviewed Bruce Vilanch on my podcast The Sewers of Paris, where every week I talk to gay men about the entertainment that changed their lives. For Bruce, an important early influence were big movie and stage extravaganzas like The Greatest Show on Earth and a Carol Channing flop called The Vamp.

“I taught myself to read with the movie ads,” he recalled. He was obsessed with showbiz from an early age, though his parents tried to steer him toward more reliable work as a doctor or lawyer. They’d take him to films set in courtrooms and point out that attorneys get to perform; but he knew he needed a different kind of limelight.

“I used to have a routine in a hula skirt that was embarrassing to everyone,” he said. “I would have taken a job on the hood of your car, jiggling as you drove.”

An adventurous aunt told him stories of the world and accompanied him on trips into Manhattan. He attempted a career on stage, but discovered that his look and his skills were a little too idiosyncratic. So he went into journalism, and that’s where he had his big break when he wrote about Bette Midler.

“She found the beauty in trash,” he said of her at the time. She’d come out on stage looking a little disheveled and unpredictable, though “the talent was there.” Audiences loved it, particularly when she was on tour and told jokes about local landmarks and figures. The secret of those jokes was that Bruce would leverage his journalism connections to write them, calling colleagues at local papers to find out what the big scandals were before Bette arrived in town.

Eventually, he made his way to Los Angeles, where he’d get his start writing variety shows for Cher, the Brady Bunch, and the Manhattan Transfer. When he could, he’d slip sly queer references into the shows, though they always had to be coded.

“Did you feel exasperated that you couldn’t say gay?” I asked him during our chat.


“It was challenging,” he replied. “It wasn’t frustrating because it hadn’t been done. … That was a couple years off.”

Nevertheless, he still delighted in the sly gay references he was able to place in shows like Hollywood Squares. “It was ‘inside,’ we called it,” he said. “The ones who get it will laugh and the ones who don’t will say ‘what was that?’”

It’s a vastly different world now, of course. But the freedom that gay writers and comedians now have on television is only possible because of pioneers like Bruce.

Listen to the full interview with Bruce below or at SewersOfParis.com.