Arts & Entertainment

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Film Review: Henry Gamble’s Birthday Party

It looks like Henry is going to start his 17th birthday in heaven. Well, his idea of what it may be. He’s having a sleepover with his best friend Gabe and as they lie in bed together almost naked they start fantasizing about sex. Whilst Gabe talks about lusting after some girl, Henry is also lusting too as they both masturbate under the covers, but he keeps the object of his desire to himself as its actually Gabe.
When the day starts off downstairs as the family start to assemble we slowly discover that the birthday boy is not the only one who has a big secret that is tearing him up inside.  Henry’s father is a newly ordained Pastor and is the one that sets the holy-than-thou attitude that permeates the household and is the reason why  most of the problems  are suppressed even though several are  so close to breaking point.  As all the guests arrive for Henry’s birthday the atmosphere is more like a Church Revival Meeting than a summer pool party with everyone quoting chunks of scriptures and patronizing asking some lone poor soul who is not one of their congregation ‘Are you churched?’
Behind all this rather unnatural faked bonhomie there is a sea of unhappiness and melodrama that slowly unfolds.  Henry’s mother has recently confessed to having an affair and wants out of the marriage, his sister is deeply regretting giving up her virginity before she was wed (but changes her mind again later in the evening.) Each of the guests have some sort of troubling issue too like emotionally disturbed Rickie who when he accidentally gets trapped in the bathroom, performs a violent of self-mutilation, whilst his alcoholic mother is knocking back wine from a coffee cup downstairs.
Lucas a young African/American gay man who obviously fancies Henry, is the subject of  rampant homophobia from the whole crowd ‘you don’t chose you color but you do chose to be gay’ . They justify their stance on ‘the scriptures’ which they all quote verbatim when it suits them.
All this takes place besides the swimming pool with all the rather attractive scantily clad young people  diving in and out of the water, whilst the fully-dressed adults sit nearby with their idea of light party banter that included topics such as porn and human trafficking.  Its no wonder their long suffering partners were relieved to get their hands on a secret stash of wine at this alcohol free party.
Written and directed by Stephen Cone, who is the son of a Southern Baptist Pastor, this wee film full of good intentions, tries to squeeze in too many stereotypical characters into an over-wrought plot that takes over half of the movie just building up our expectations before any of the story strands start to take off. The trouble with the delay is that the sanctimonious religious aspect is a little too overwhelming, that it is difficult to emphasize with many of the characters when they eventually start to crack.
It is however a interesting and spirited take on the Evangelical church’s heavy handed attitude on sexuality and it has some excellent moments, particularly the scenes with Henry (Cole Doman) who shone through it all.  This is after all his coming-of-age tale and he (and we) so deserved the happy ending.
For more LGBT Film Reviews go to: www.queertiques.com.

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Legendary Performers Grasp On To 2015

Five of the following artists I am featuring have built a legacy in the music business. For some performers there comes a time when they become an Icon and an inspiration for others. They have made such an impact with their work that it defines a decade and even a genre of music. Some artists of this magnitude survive their entire career changing with the times and some stick with what they do best and still gain the respect well deserved. Wrong choices are sometimes made and they fall out of public favor and sadly have only themselves to blame. With luck “that all revealing comeback” sets the tone for a moment, but doesn’t tarnish their overall contributions.

BRIAN WILSON – NO PIER PRESSURE – CAPITOL MUSIC

The Beach Boys defined the 60’s Surf Music Sound and also made a major impact in Pop Music. Through 1967 they were on top consistently. For me their last great song was Good Vibrations. Due to Brian Wilson’s personal issues, after that their music was sporadic and that special feeling they once carried just wasn’t the same. Sure there were a couple of outstanding Beach Boy tracks that echoed back to the heyday, especially “Kokomo” in 1988 (in which Brian was not involved with).

 

That same year Brian launched his solo career with his self titled debut. There were a lot of expectations and compared to his success with the Beach Boys and their current formation without him, it didn’t fair well. The album peeked at #54 on the Billboard Albums Chart and the lead single “Love And Mercy” didn’t even make the Hot 100 Singles Chart.
In my opinion the songwriting was there, but vocally alone he sounded strained to me. In the next 20+ years 11 more albums followed (his follow-up, Sweet Insanity from 1990, was shelved by the record company) with less than half of the releases containing new compositions. The Beach Boys were always a favorite of mine, so I stuck with Brian and listened to each disc and I found the same problem, his vocals. I couldn’t figure it out. I thought maybe it’s just me looking for a sound that was no longer possible, but I decided after hearing him live at different points his vocals were still strong, so it just might be the production, arrangements or song choices. This really bothered me because how could such a great American songwriter keep missing the mark continuously.
Then this year, “No Pier Pressure” was released. What a turnaround. This released was planned post to the Love And Mercy film to add interest, but to be honest it stands alone well on its own. Like the Beach Boys Stars & Stripes country project from 1996, it features guest vocalists, but that is the only similarity. No Pier Pressure is filled with new Wilson compositions. The guest artists are like a who’s who is today’s rock pop market. Geared more towards critical acclaim than top charters, the set features She & Him, Nate Ruess of Fun, Sebu Simonian of Capital Cities, and long time Beach Boy alumni Al Jardine.

 

The harmonies are so strong that this could have been a phenomenal Beach Boy album if record solely by the group. What sets this aside from other Wilson releases is that he sounds comfortable and smooth. No Pier Pressure is the perfect title.
OLIVIA NEWTON JOHN – HOTEL SESSIONS – ONJ PRODUCTIONS MUSIC
Livy’s connection to Dance Music has never been a mainstay in her catalog aside from a handful of 12” remixes from pop singles and the unnoticed soundtrack to 2012’s “A Few Good Men.” The Hotel Sessions is collection of demos recorded a few years back peppered up for official release.

 

Not a full album, this EP of 5 songs plus two remixes clocks in barely over 30 minutes. Highlights are ‘The Best Of My Love” which has been floating around the internet for years as a bootleg and Newton-John’s cover of Mr. Mister’s Broken Wings, which probably would have been better served as a ballad. Even though Hotel Sessions doesn’t add up to a career highlight, for any Olivia Newton-John die hard fan it’s a must buy.
In addition Olivia has teamed up with daughter Chloe for a rehash of Xanadu’s Magic re-titled “You Have To Believe” with new lyrics featuring producer/mixer Dave Aude, which at this time is unannounced if it will appear on a Dave Aude mix release or solo project from Chloe herself.
KC & THE SUNSHINE BAND – FEELING YOU THE 60S – BFD MUSIC
There was a time when H. W. Casey founder of KC & The Sunshine band could do no wrong. In 1973 while working in a record store and part time at TK records he formed the band originally called KC & The Junkanoo Band. Their sound was similar to Chicago’s Jazz inspired Earth Wind & Fire due to the horns section, but KC’s group always had a “party” feel and developed their own Miami Florida style that would be referred to as the Sunshine Sound.
In 1975 they broke big on the US Charts with the suggestive songs “Get Down Tonight” and “That’s The Way I Like it,” both hitting number one on the singles chart. Then in 1976 another number one, “Shake Your Booty,” which is still played today at practically every party. More hits followed including I’m your Boogie Man (number one in 1977) and Boogie Shoes, which was featured in the film and soundtrack to Saturday Night Fever. KC & The Sunshine Band were established as part of pop history.
Since then the hits have been scattered partly due the ban on disco in the early 80’s and a car accident which left Casey partially paralyzed involving six months of recovery in which he had to relearn how to perform mobile tasks and playing music. This happened at a time when the group should have been experimenting with new sounds and exploring different styles to stay current.
When I first found out there was going to be a “new” KC & The Sunshine Band release I was filled with anticipation. The last full album of new recordings was 2001’s latin-inspired “I’ll Be There For You,” which still held that Sunshine Sound. The new album “Feeling You The 60’s” sounded intriguing because it was to be an album of covers. Imagine the KC Sound with Bob Dylan’s Blowing In The Wind, Judy Collins’s Both Sides Now, The Kinks You Really Got Me, or The Bee Gee’s Words. That is just 4 of the 17 tracks covered and… sadly not well.
I have no idea what they were thinking. The concept seemed probable, but the production sounds like karaoke to me and KC’s vocals are simply not aged to perfection. Where is the Sunshine Band on this record? I found a sliver on Ben E. King’s Stand By Me. Where’s the studio magic? If they can make Paris Hilton sound good, couldn’t the production team have done something to assist H. W. Casey? The whole album plays like an oldies circuit live Las Vegas act.
Only one track seemed to be done right and I’m being generous with that statement. The song “Dreams,” originally titled Dream’s I’ll Never See, by The Allman Brothers and later covered by Molly Hatchet. On this cut there is evidence of studio manipulation (KC’s turn at sounding like Cher’s vocals in Believe) and that is the only thing that saved it. Maybe the audience they are targeting are the 50-60 Summerfest crowd who can’t tell good from bad after many mid-day cocktails. If that’s the case, mission accomplished.

GIORGI MORODER – DEJA VU – RCA MUSIC
We had a little glimpse of Giorgio’s return to music guesting on Daft Punk’s 2013 release “Random Access Memory.” It’s hard to believe that it has been 30 years since a full Giorgio Moroder project has been released. The new album “Deja Vu” reads like a who’s who in pop music with guest vocals from Sia, Charli XCX, Kylie Minogue, Kelis, Britney Spears, and Zedd collaborators Foxes and Mathew Koma.
Moroder has always had a knack for being in-touch with current trends when active. “Deja Vu” is today’s sound at its finest and sadly over exposed. With all the star-power enclosed the only thing that really sounds fresh are ironically the three solo Giorgio songs, “4 U With Love,” “74 Is The New 24,” and “La Disco.” I was hoping for a possible Donna Summer lost gem, but no trace of her is found on this outing.
One trademark that is really missing is that he is well known for having a song stretch way past the 8 minute mark, but everything on Deja Vu is relatively short and very radio friendly. I’m guessing this was thought of as a “pop” project so he stayed in that territory. Most likely remixes will follow that will let him explore his own magic in the studio. If you are a fan of Giorgio’s electronic work stay with his songs, for guilty pleasures you won’t remember next year, then tap into the rest.
VAN MORRISON – DUETS REWORKING THE CATALOGUE – RCA MUSIC
Van Morrison’s latest is very clever and I would even dare to say genius. What’s so special about a Duets album you wonder, there are ton’s of them and many artists that have rehashed their stuff for a buck. What makes Morrison’s latest unique is that you won’t find Gloria, Brown Eyed Girl, Domino, Wild Night, Jackie Wilson Said, Moonlighting or Wavelength here. His song choices hold true to the title, “Reworking The Catalogue.” The hits have been respected and a fresh look has been given to his catalog titles. What a marvelous way to introduce new explorers to his body work which began in 1964 with “Them.”
Also the selection of partners is just as unpredictable. Instead of riding the wave with new folksters or well-established peers. Morrison chose noteworthy artists in various genres, like British Jazz Singer Georgie Flame, Gospel legend Mavis Staples, California’s Grammy winning Jazz singer Gregory Porter, Blues musician Taj Mahal, and the late R&B vocalist Bobby Womack. There are also some heavy hitters included such as Natalie Cole, Mark Knopfler of Dire Straits, George Benson, and blue-eyed-soul meets blue-eyed-soul with Steve Winwood on my favorite selection, Fire In The Belly.
The only collaboration that breaks the flow is Real Real Gone with Michael Buble. It’s just a bit to bubbly (no pun intended) and tears at the smooth bluesy feel of the rest. Luckily it’s number 15 out the 16 cuts, so its disturbance is near the end. This is a landmark effort from Van Morrison and not to be missed.

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Shakespeare in the Park!

Pegasus Theater Company is pleased to present William Shakespeare’s A Midsummer Night’s Dream as the inaugural performance at the newly-opened Riverkeeper Stewardship Park in downtown Guerneville.

Yes, it’s in iambic pentameter (incidentally, so is your heartbeat). It also uses archaic language and everybody knows that there may be jokes that only an English teacher could love. Nobody, though, really needs this play translated; we all instinctually understand what deep meaning it has: Namely, sex. It is a play about choosing who we want to have sex with and when.

The play is also about flaunting your disrespect for autocratic authority and taking whatever path you want regardless of the risks. Sometimes there are happy endings, and sometimes you end up looking like an ass. Just ask Titania and Bottom.

While in Shakespeare’s day men would have played all the roles of women, we have cast all women in the roles of the two sets of young lovers. This, happily, has turned the play into a joyous celebration of the Supreme Court’s recent recognition of the fundamental right of gays and lesbians to marry.
There will be 12 performances on Friday, Saturday and Sunday evenings, all starting at 6 p.m., beginning August 7 and running through August 31.

To make the play affordable by all, we are asking for donations only to help pay the expenses of producing the play. But if you can help pay the expenses by donating in advance on the crowdfunding website Indiegogo.com, your advance donation will guarantee you one of the best seats in the house for the performance date you choose. Donate now at http://igg.me/at/PegasusTheater.

They won’t be taking any other reservations for this show. It will be first come, first served, with the gate opening at 5 p.m. They recommend you bring a cushion for the cement benches.

The Riverkeeper Park is located between the Sonoma Nesting Company and the footbridge over the river. You’ll find a map and suggestions about parking on our website at www.pegasustheater.com.

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“Out to Kill” Acts Up as Gay Whodunnit

 

Within a few minutes of the opening sequence of Rob Williams latest gay ‘boy-lit’ drama you know exactly who everybody will be out to kill. Narcissistic pretty boy singer Justin James thinks the world revolves him, and it certainly seems to in this loft apartment complex packed head to toe with insecure gay men in Tampa. Florida. Besides himself there is only one other person who actually likes him as he seems to go out of his way just to annoy everyone else he seems to come across especially if he thinks they want to get into his pants. Well, that is, when he wears them.
It’s quite a relief when he is found floating lifeless in the communal swimming pool and that should be an end to the matter.  The Police Autopsy shows that he had overdosed on a cocktail of drugs, except that the story just didn’t ring true with Gene the self appointed ‘daddy ‘ of the building.  He suspected foul play and as he had been trying to fix Justin up with Jim a newcomer to their little community who just happened to be a Private Detective,  he now employs him instead to discover who killed Justin.
Everyone (except Gene maybe) had a motive to kill this deeply unpopular rather annoying flamboyant man but you really don’t need to be much of a Miss Sharples to work this one out.  It’s meant to be a big reveal at the end (don’t worry there are no spoilers here) but you’ll know ‘who did it’ way before then.
There is plenty of eye candy strutting around in Speedos and there is even an orgy scene BUT don’t get too excited as the swimsuits stay firmly one and no-one seems to be doing much beyond necking anyway.
Justin is played (too convincingly ?) by singer/songwriter Tom Goss in his first acting role, and he is joined by other out gay actors such as Scott Sell, Mark Strano & Rob Morretti. 
 
It’s an enjoyable enough romp like all of Williams other movies (‘The Men Next Door’, ‘Role/Play’, ‘Back Soon’ etc) and perfect date night viewing. Maybe even more so if you are harboring  any murderous thoughts about your date.
Roger Walker-Dack
Editor-at-Large thegayuk.com / thegayusa.com
Contributor – edgeonthenet.com
Multi-media Reporter – provincetowntv.org

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10 Queer Lady Musicians You Seriously Need In Your Life Right Now

1. Hurray For The Riff Raff

Hurray For The Riff Raff

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The Deal: If Johnny Cash and Amy Winehouse somehow made a baby, 27-year-old bronx-born Puerto Rican front-woman Alynda Lee Segarra would be the result. The Riff Raff is a folk band that, as a whole, identifies as queer. Segarra constantly strives to change the way women are portrayed in traditional folk music. “Any way I can spread love amongst women, whether romantic or not, is important to me,” the singer-songwriter told BuzzFeed.

“Pronouns are very fun to play with as a songwriter — there is a lot of weight in them. When I first started writing songs, I wanted to sing my love songs to women, whether they be my best friends or a character I created. I thought it was powerful for a woman to sing love to other women, and that isn’t about sex to me […] It’s about respect and complications, about seeing these women as full human beings who are stunning in all of their ways and also painfully mysterious,” she said.

The rest of the Riff Raff includes trans fiddler Yosi Perlstein, bassist Callie Millington, and drummer David Jamison, who collectively released the album Small Town Heroes at the beginning of this year.

Rick Diamond / Getty Images

Listen if you love: Shovels & Rope, Laura Marling, or old Johnny Cash records on repeat.

Song to get hooked on: “The Body Electric”

 2. Elizabeth Lowell Boland, aka Lowell

The Deal: The canadian pop singer released her debut full-length album We Loved Her Dearly in September of 2014, but it’s not too late to jump on the bandwagon. After all, it takes supreme talent to write a song entitled “LGBT” that manages to be super catchy — not hokey.

“I don’t think there’s anything wrong with using sex to empower yourself, if you are comfortable with that,” Lowell, who identifies as bisexual, told Rolling Stone. “What drives me now, more than the pop star spotlight bullshit, is trying to be a positive influence in people’s lives. I want to share a story that hopefully somebody somewhere can relate to and feel stronger because of it.”

If you’re hanging out in Canada, you may be lucky enough to catch her on tour.

Song to get hooked on: “The Bells”

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3. Freckles The Writer

Freckles The Writer

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The Deal: You may have never heard of “The Writer” but you’ve heard her work. The songwriter and producer has worked closely alongside big names like R. Kelly, DMX, and Janet Jackson — ghostwriting song after song. Tanya White, aka Freckles, will have her own LP out this summer. The XPeriment will be filled with writing from her own experiences.

“Even though I’m an androgynous gay woman, my music isn’t gay. It’s just good music,” Freckles recently told LA Weekly. “There’s somebody somewhere that’s like me that feels like they have to put on the lipstick and wear the heels when they really don’t want to, thinking, ‘I can’t be myself.’ Thank God Sony is allowing me to be who I am.”

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Listen if you love: TLC, Ciara, or R. Kelly (of course), or bumpin’ and grindin’ in your bedroom alone.

Song to get hooked on: “Uh Huh”

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4. Julia Weldon

Julia Weldon

Shervin Lainez

The Deal: Weldon identifies as queer and “definitely not a lesbian folk singer.” All jokes aside, the New York-based singer-songwriter is brazenly open in her work. “I never hide that I’m writing about women in my songs and it feels good to be as honest as possible,” the singer told BuzzFeed. “I feel lucky I don’t feel the need to censor my song ideas through editing or omitting gendered pronouns.”

The completely self-taught musician finds songwriting “vulnerable but really rewarding” work. “You know, I used to think I could only write when I was in a sad or dark place but it’s been interesting to work towards sharing new and even joyful parts of myself.”

You can catch Weldon currently touring her latest album, Light Is a Ghost.

Najva Sol

Najva Sol

Listen if you love: Cat Power, the feeling of driving alone on a rainy day, or Neko Case.

Song to get hooked on: “All I Gave Her”

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5. BOYTOY

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The Deal: Throw guitarists Saara Untracht-Oakner and Glenn Van Dyke, along with drummer Matthew Gregory, into a blender and you get one tall glass of BOYTOY. When asked what is the one thing they want fans to know, the Brooklyn trio told BuzzFeed: “It’s okay to dance at shows.” That’s about as serious as this trio gets. In their upbeat, guitar-heavy singles they don’t hesitate to call out superficial callousness or make utter fools of themselves.

You can get their EP on limited release vinyl here.

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Listen if you love: Bikini Kill, Sleater-Kinney, Le Tigre, and going to dive bars on the beach.

Song to get hooked on: “Blazed”

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6. THEESatisfaction

THEESatisfaction

Facebook: theesatisfactionofficial

The Deal: Need more funky R&B/hip-hop in your life? You can thank this Seattle duo later. Stasia “Stas” Irons and singer Catherine “Cat” Harris-White met in college; it only took a few years for the pair to be signed by Sub Pop Records.

The duo bring together their own unique flavors to create one irresistible sound. “We definitely bring different genres and sounds,” Stas said in a 2012 interview. “I like a lot of gangsta rap from the 90s and that’s something that Cat didn’t really know about before we met. And then Cat brought in a lot of jazz – things like Billie Holiday and Ella Fitzgerald – and I wasn’t familiar with that, so we combined those two and that’s what our music sounds like!”

Their second studio album EarthEE was released earlier this year.

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Listen if you like: Blood Orange, the feeling of a brand new sweatshirt, Shabazz Palaces, or The Internet.

Song to get hooked on: “EarthEE”

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7. Chris Pureka

Chris Pureka

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The Deal: If your dream is to sip coffee in the pacific northwest as the fog rolls over the mountains, Pureka’s acoustic strumming will make you feel like you’re already there. The east-coast native (now Portland local) and “scientist turned musician” has been writing and playing guitar since the age of sixteen. In 2004 Pureka released Driving North, her first full-length album, and hasn’t stopped creating acoustic melodies since.

“I write my songs with the intention that people will have an emotional response to them. They are not meant to be background or vibe music. They are meant to be heard and felt,” she told BuzzFeed. “My hope is that some of those songs will resonate with someone on whatever journey they are on.” Pureka is back in the studio, currently workining on a new record which will be released in early 2016.

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Listen if you love: Brandi Carlile, foggy days, Erin McKeown, or if you own a Chemex coffee thing.

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Song to get hooked on: “Shipwreck”

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8. Allison Weiss

Allison Weiss

Catie Laffoon

The Deal: Allison Weiss summing up Allison Weiss in one sentence: “My music sounds super fun because I’m trying to hide the fact that it’s super sad.” The LA-based indie-pop artist couldn’t have said it better. “If you’ve ever loved somebody or lost somebody, you’re probably going to like it. Actually, even if you’ve never loved or lost, you’ll probably still like it,” she told BuzzFeed.

Weiss ensures her music is easy to click with by avoiding pronouns. “Music is all about human connection for me. I want listeners to feel like the songs are theirs, so I typically keep gender out of it.” The out gay musician is currently engaged to “the greatest person on Earth who happens to be female,” but she usually prefers using “queer” to describe herself.

Weiss will have new tunes — OK, an entire new album — out this fall.

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Listen if you love: Eisley, crying at sad movies, Jenny Owens Young, or The Hush Sound.

Song to get hooked on: “Wait For Me”

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9. Tomboy

Tomboy

Facebook: tomboynyc / Via Kate owen

The Deal: This Brooklyn-duo is here to fill the large, gaping electro-pop hole in your life. When asked what the one thing listeners should know about Tomboy was, bandmate Sarah Aument told BuzzFeed, “We like swimming in the ocean.” That’s the perfect answer, really, since the group’s sound is layer upon layer of experimental percussion and inventive sounds — you’ll be drowning in the best way possible.

“I like to keep all of the pronouns [in our lyrics] neutral (you, they) because I don’t like limiting the characters to one identity,” Aument said. You can catch a performance in the New York City area as they work on their next release.

Facebook: tomboynyc

Listen if you love: SBTRKT, the feeling of dancing alone in a crowd, Reptar, Jamie XX.

Song to get hooked on: “Hang Out”

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10. Little Brutes

Little Brutes

Facebook: little.brutes

The Deal: Rachael Cantu, one half of this electro-pop duo, is a singer-songwriter “playing the long game” in her music career. “Learning and growing slowly but surely, not knowing how to stop and coming to terms with the fact that I don’t want to,” she told BuzzFeed about her journey to musical success.

Although the band’s lyrics, in terms of pronouns, are usually ambiguous, Cantu did write one song with her wife (Liz Feldman) in mind. “It felt powerful to refer to her in the song,” she said. “I don’t think I had ever consciously censored my lyrics, but this song made me think twice about there possibly being a fear there I was not aware of.”

The one thing Cantu hopes listeners take away from her tunes? Healing. “I will gladly be the soundtrack to a good, solid cry or a euphoric feeling on a sunny day. That’s why I listen to music, so I can only hope that’s why people listen to me,” she said.

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Out Artist Tom Goss Reflects On His Newest Release And More

TOM GOSS – WAIT/THE WAIT REMIXES – TOM GOSS MUSIC
I really enjoy an artist that’s not afraid to take risks. It’s been a couple years since We The People has taken a look at Tom Goss’ creativity and he has been up to quite a lot since we last visited his realm.Throughout 2014 Goss was quite energetic, starring in the Guest House Film feature “Out To Kill” and releasing his fifth album, “Wait.” The soothing song “Illuminate The Dark” and it’s accompanying video uses color to enhance feeling and emotion in the most revealing fashion and the images are worth a thousand words unspoken.

But WAIT, there’s more! While the Wait Project ushered Goss into a pop territory direction, he then released an EP of selected tracks, remixed (and several club-orientated), to further expand expectations. I was highly impressed by this effort to take an already career defining work of art and allow it’s impact to flourish.

Though Tom is in the mist of a tour, he has taken time to answer some questions for our readers about his craft and other projects he’s involved in.

Gaysonoma: Tom some time has passed since we last chatted in 2013 and you have been a busy boy with starring in the feature film “Out To Kill,” releasing your fifth album “Wait,” taking on challenging LGBT issues, and touring the States and Internationally. I imagine the last year has been a bit of an rollercoaster of thrills and creative excitement. I can only hope you’ve had time to reflect on these events. At this point what seems to have been the most gratifying and the most challenging and why?

Tom Goss: I’m extremely proud of ‘Wait.’ I think it’s a great record and I’m excited that people continue to respond positively to it. For me, the process of creating is always what I’m most gratified by. In addition to what you’ve mentioned professionally, on a personal note I ruptured my achilles tendon, underwent surgery/rehab and moved to Los Angeles in that time period. That was, without a doubt, the greatest challenge. In many ways it seems like 2014 was a period of upheaval and change that I wasn’t expecting. It forced me to adapt and grow in ways I wasn’t expecting.

Gaysonoma: Funny you mentioned surgery Tom, I myself dealt with that in the last year. It’s a surefire way to change your perspective on things and re-think priorities and what’s important in the future! “Wait” was an incredible effort on your part and I sensed you were leaning towards a more “pop” experience with that, aside from the remixes which I found simply unexpected and fascinating. On the original “Wait” release what took you in that direction?.

Tom Goss: There’s a handful of reasons. I was spending a lot more time exploring new kinds of music, especially EDM (Electronic Dance Music). A lot of that was influenced by my work with Rich Morel when producing ‘Bears.’ He’s amazing. I would go to his dance parties and I loved everything he was spinning. Before his influence I hadn’t heard much EDM that moved me. Subsequently, it changed my approach in the studio.

You’ve also got to understand that I have no musical training. Everything I’ve learned I’ve learned hands on. By the time I was producing ‘Wait,’ I had a clear understanding of what I wanted. Even more importantly, I understood the language, approach and people that would help get me there.

Speaking of people, in addition to Mike Ofca (Back To Love, Turn It Around) I enlisted my friend Liz DeRoche to help mix the record. She’s one of my inspirations, her talent is boundless. She plays the drums, keys, synth and all the vocal arrangements on ‘Wait.’ Her insights really helped push the level to the next level.

Gaysonoma: It’s always a great thing to fine-tune one’s craft. I was thinking about the Wait Remixes and wondered if you had the chance to experience them in a “club” setting. Generally performers get great satisfaction watching their audience as they perform live or hearing their song on the radio and that sort. For “dance music” I would imagine it would be a great high to see people dancing to your music and even participating in the Celebratory Act yourself along side them. Has that opportunity presented itself with the Wait Remixes and if so, what was the feeling for you?

Tom Goss: Yes, I have. I’ve even performed them in clubs. It’s definitely a new experience, and one that I’m really enjoying. There is something extremely satisfying about seeing a room full of people dancing to your song. I will definitely be producing a lot more remixes as I move forward. I really appreciate the collaborative process.

Gaysonoma: My favorites off the Wait Remixes EP are “Illuminate The Dark” and “Falling.”The original version of “Illuminate The Dark”is the most powerful track on the original Wait album, aside from the video image you gave to it, which of course enhanced it incredibly. It really does stand out as a high moment in your catalog. The remixes gave in an additional feel while still holding the dramatic quality of the original track. Aside from the recognition you have already achieved with it, I really thought that song was going to take off and catapult you to international fame and notoriety It should have been your “Stay With Me-Sam Smith” moment, land on one of those “Now” collections or “Ministry of Sound” compilations, and find a home in the Big Box markets. I’m sure others in business have praised that track to you. Your thoughts?

Tom Goss: Wow, what a sweet thing to say. The truth is, it’s hard being an independent musician. I try to take on ambitious projects, but you never know how folks are going to react to it. I don’t have a marketing team working with me, I don’t have strong industry connections. I create what I create in hopes that it’ll touch people on a personal level. The great thing about the music industry today, is that I’m able to get my music and my message out there, without big box stores or ‘Now’ collections having any idea who I am. And trust me, they have no idea I exist. I’m not complaining, just explaining. I’m extremely lucky to be able to reach the people I do. I’m grateful for that. However, it would be nice to see some mainstream recognition in the future, no doubt!

Gaysonoma: Well Tom as an independent, you are surely top of line. The sound quality of your music and the film work with your associated videos appear top of the line and major label. You certainly have the right people around you. The world is waking up and it’s only a matter of time when the right people are recognized. Sadly the right people don’t always get to the big leagues.

It makes me think of an instance of where my young niece was singing along with a song last year, which happened to be her favorite song of the moment, and had no clue that the artist was gay. When I told her she didn’t believe me and so of course I proceeded to educate her. It didn’t matter if the artist was gay or not, a good song is a good song. In any TV appearance she saw him on, it was never mentioned by him or the interviewer.

I was wondering as an Out Artist what are your thoughts on mainstream acts like Sam Smith and Adam Lambert, and also flying “under the radar” Steve Grand and Adore Delano? Personally I don’t think the mainstream is focused on issues. You only hear from them on an award show or when some tragic thing happens that is covered nationally. I think it would serve the LGBT community better if they displayed more gratitude with their success and in every interview, they would discuss LGBT related ideas/issues along with promoting their new project. They’ve already come out, so the “hurt my career” worry shouldn’t be an obstacle. I feel we need stronger role models, do you agree?

Tom Goss: I have mixed feelings about it all. Who am I to tell someone else how to live their lives? Especially with something as sensitive as sexual identity. That said, you are right, we need more strong role models in the mainstream arts community. Many gay artists are OK with being gay insofar as it advances their career, however, they cease to talk about it when it no longer is beneficial. I spent the weekend at VidCon and like your niece, it seems like the majority of the YouTube generation is ‘post-gay.’ That’s really exciting! However, that wouldn’t have been possible without generations and generations of trailblazers forging that path. I hope we don’t forget that. Furthermore, no matter how much progress we make, there will always be people who hate me, simply because I am gay. Pretending it’s a non-issue is ignoring reality.

Gaysonoma: I like your answer and agree. At the end of the day it doesn’t matter who’s in your bed, but how your bed is made. I think there is hope for the new generation as they are smarter about worldly things and seem to question more about what they are taught. There will always be those who are weak of mind, so discrimination will always be lurking in the background regardless. So to lighten the mood Tom, tell me what causes are you currently involved in? Is there anything our readers might help you support?

Tom Goss: I’ll probably always be most closely connected to the non-profit which I helped develop for 8 years called Charlie’s Place (www.charliesplacedc.org). Charlie’s Place works to feed, house and employ homeless and poor individuals in Washington, DC. I wouldn’t be who I am without my time there. I learned so much about compassion, generosity and authenticity.

Gaysonoma:  Tom, you also tend to send great messages with the video interpretations of your songs.  From the sweetness of ‘You Know That I Love You” with your Husband Mike, the magical wonders of “Make Believe,” the playfulness camp in “Bears,” and of course the phenomenal before mentioned “Illuminate The Dark,” you involve a lot of thought process and the genuine meaning shines through brightly.  Do you plan on any other visionary projects from “Wait” or “The Wait Remixes?”

Tom Goss: In a couple weeks I’ll release ‘Breath and Sound,’ probably my most ambitious video yet. Completely told through lyrical dance, this video features three couples as they fall in love. Gay and straight, the feelings and emotions we all go through while falling in love are the same. Regardless of the dancer, the dance is the same. I’m excited for people to see it.

Gaysonoma: I’ll certainly be anticipating that! Now, looking ahead at 2016, are there plans for a new album? Your dabbling in remixes and new sounds seems to have opened doors creatively. Also collaborations seem to suit you well and also enhance your own ideas. Maybe a look back at your catalog and re-inventing some of your established tracks might be a direction or a nice collective overview. What’s ahead for Tom Goss?

Tom Goss: I’m always cooking up a lot of different projects. First I’ll be releasing a beautiful new, lyrical dance music video in 3 weeks. It’s a collaboration with choreographer/dancer Andrew Pirozzi and director Michael Serrato. I can’t wait for people to see it. Also, I’m in pre-production on another music video, that hopefully will take all my video production to the next level.

In terms of music, you’re right, it’s hard for me to sit still. I’ve been cooking up a new album. It’s been a different process for me because I’ve upgraded my home studio and am doing all of my work from home. Then sending files over to my producer, Marr Zimm, and he’s getting his head around them. There are a lot of different sounds on this record and I think people will be surprised and excited by it. This project is extremely revealing, and touches on topics that I’ve been avoiding. I’m always about pushing the envelope, hopefully this does just that.

You can find more information about Tom Goss at his website www.tomgossmusic.net

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At Just 20 Saint Raymond Show Mature Musical Chops with Debut “Young Blood”

20-year-old Callum Burrows AKA Saint Raymond has a lot going for him with his debut album. Young Blood is not only the title of the record but the very target his music is aimed at – youthful, hedonistic, Instagram-obsessed millennials. The Nottingham-bred singer/songwriter has come a long way since having his first single named ‘Hottest Record in the World’ by Zane Lowe in January 2014.It’s really the well-polished pop hooks that make his music so irresistible and has gained Saint Raymond a bit of a following. The sensational ‘I Want You’ is the clear frontrunner of the record alongside feelgood opening number ‘Letting Go’. The strong melodies present on Young Blood have arrived just in time for midsummer festival season.

Saint Raymond Young BloodWhile the production is pristine, this isn’t what you’d come to expect from an artist such as Burrows. In all honesty, this is pop through and through – and when you look at Young Blood in that way, it becomes a much more pleasant experience. Title track ‘Young Blood‘ and fellow single ‘Come Back To You‘ are real gems amongst some very samey album tracks.

There is a down side to aiming all your music at the somewhat flaky, disposable youth of today. With a deluxe version coming in at 17 tracks long, there are enough songs here for a listener to pick and choose what they want to hear. Will anyone reach tracks like the smoky, restrained ‘This Town’?

The other problem is there are only so many ways you can listen to lyrics such as ‘we’ll only be as young as we are now’ as sung on ‘As We Are Now’, without feeling like you’re hearing the same message over and over. By the time you hit ‘Brighter Days’ you’ll feel completely out of touch from your youth; bonus tracks may just send you over the edge.

What Saint Raymond is unfortunately lacking is an element of maturity. Anyone with an ounce of it will roll their eyes at some of the notions put across in these songs. At the same time, however, is the idea that these songs could indeed ignite the inner passions of a listener’s younger self – and that’s not a bad thin. Young Blood is a fledgling and somewhat safe debut that gives Saint Raymond a lot of room to develop into a more refined artist with time.

Standout tracks: ‘Young Blood’ / ‘I Want You’ / ‘Come Back To You’

Young Blood is available to download now from Amazon or iTunes.

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“Mother Jones in Heaven” Opens at Main Stage West in Sebastopol

The indomitable Mary Gannon Graham meets the invincible Mother Jones in this new one-woman musical by the legendary singer/songwriter and activist, Si Kahn. Many people know the name Mother Jones, but most have no idea of the impact and power of her life story.

THE STORY: Mother Jones wakes up in heaven, which to her surprise and delight, turns out to be an Irish Pub. There she meets a trio of musicians who spend a power-packed evening recounting the events of her life through song and yarn.

Mary Harris Jones was born in 1830 in County Cork, Ireland. She lost her family to a yellow fever outbreak and her home in the great Chicago fire. She became a labor activist and was given the nickname “Mother Jones.” She was a campaigner for the United Mine Workers Union, founded the Social Democratic Party and helped establish the Industrial Workers of the World. For all of her social reform and labor activities, she was considered by the authorities to be “the most dangerous woman in America.”

Directed by Beth Craven

Runs July 16 – July 26

Thursday, Friday, Saturday @ 8pm; Sundays @ 5pm

Tickets:

General $27 – Senior (+62) $22 – Student $15

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“Yesterday Again” Opens at Sixth Street Playhouse

 

Yesterday Again follows the stories of Eric Baxter and Bella Kadie in childhood, adolescence, and adulthood—simultaneously. The play explores how people change, the stories that thread throughout our lives, and the ripple effects of trauma. Poetic in its form and honest in its portrayals, this original theatre piece promises a new way of storytelling; one where three distinct periods of life intersect, interweave, and in their interplay, reveal a dark truth about human nature.  The show is directed by Sheri Lee Miller.

CAST: Tice Allison, John Browning, Lyla Elmassian Isaac Jay, Alyssa Jirrels, Pam Koppel, Lucy London, Barry Martin, Craig A. Miller, Sharia Pierce, Olivia Marie Rooney,Andy Templeton, Jack Wolff, Maxx Zweers

ABOUT THE PLAYWRIGHT: At 14, award-winning playwright Dezi Gallegos co-wrote Prop 8 Love Stories which toured to NYC and was later published. At 17, he wrote, produced, and directed Quite Dead which premiered at Cinnabar Theater to sold out audiences. At 18, his one man-show God Fights the Plague received a 16-show run at The Marsh in San Francisco, and his play Hamlet’s Orphans was nominated for Best Original Script by the SF Bay Area Theater Critics Circle. 19-year-old Gallegos, now the recipient of the inaugural Annette Lust Award for “Promising Theatrical Talent,” has written a new show, his most ambitious and moving to date.

Yesterday Again premieres at 6th Street Playhouse and is co-produced by Natalie Herman & Dezi Gallegos, 6th Street Playhouse, and Lucky Penny Productions.

July 24 – August 2, 2015

Fri & Sat at 8:00
Sun at 2:00:

General $25
Senior (62+) $20
Youth (13-21) $20
Children (5-12) $10

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LGBT Films at the 35th San Francisco Jewish Film Festival

The San Francisco Jewish Film Festival is pleased to present the following films showcasing LGBT stories from around the world with a Jewish perspective during the 35th edition of the festival.

Since 1966, Danny Fields has played a pivotal role in music and “culture” of the late 20th century: working for the Doors, Cream, Lou Reed, Nico, Judy Collins and managing groundbreaking artists like the Stooges, the MC5 and the Ramones. An official selection of SXSW 2015, DANNY SAYS follows Fields from Phi Beta Kappa whiz-kid, to Harvard Law School dropout, to the Warhol Silver Factory, to Director of Publicity at Elektra Records, to “punk pioneer” and beyond. The film looks at Fields fascinating life and explores his sexuality as a gay man in the music industry. Screens Monday, July 27 at 8:30PM at Castro Theater in San Francisco; Thursday, August 6 at 8:30PM at California Theater in Berkeley.

Berkeley based filmmaker Rock Goldsmith will present his latest documentary MIND GAME: THE UNQUIET JOURNEY OF CHAMIQUE HOLDSCLAW. Once referred to as the “female Michael Jordan”, the film follows WNBA star Chamique Holdsclaw, an iconic figure in women’s basketball who defied expectations with her advocacy work around mental illness. Chamique was also one of the first out women basketball players. Director Rick Goldsmith and subject Chamique Holdsclaw will be in attendance at the festival. Screens Friday, July 31 at 8:55PM at Castro Theater in San Francisco; Saturday, August 1 at 8:55PM at California Theater in Berkeley.

In PROBATION TIME the fragile bonds that make up a family are severely tested when the filmmaker is faced with an intense break up and a sister who is fighting “demons”. Israeli Director Avigail Sperber looks at her adopted Ethiopian sister’s struggles and aspirations in her personal documentary, an introspective take on the balance each of us must strike between our desire for belonging and independence. Screens Monday, July 27 at 12:30PM at Castro Theater in San Francisco; Monday, August 3 at 4PM at California Theater in Berkeley.

On Manhattan’s gilded Upper East Side, a young painter, Charlie, finds the man of his dreams in an older pianist from across the globe. If only Charlie weren’t secretly in love with his own manipulative best friend, Sebastian, who is embroiled in a financial scandal. In the wake of Sebastian’s notoriety, their tight-knit group of friends must confront the new realities of adulthood in THOSE PEOPLE. Screens Sunday, July 26 at 8:40PM at Castro Theater in San Francisco; Sunday, August 2 at 8:30PM at California Theater in Berkeley.

The San Francisco Jewish Film Festival (SFJFF) has announced a renaming of their year round organization to the Jewish Film Institute to better reflect the cultural initiatives and services they provide, including the world-renowned annual Festival – the first and largest festival of its kind. The repositioning of the institution coincides with the 35th anniversary of the SFJFF, which has evolved from an annual international film festival to a full-service media arts organization that serves audiences worldwide. The SFJFF will retain its name as an annual festival and continue to be the signature program of the Jewish Film Institute.

The 35th edition of the San Francisco Jewish Film Festival returns to the Bay Area July 23-August 9, 2015 at the Castro Theatre in San Francisco, the CinéArts Theatre in Palo Alto, the Christopher B. Smith Rafael Film Center in San Rafael, The California Theatre in Berkeley, and the Lakeside Theater in Oakland. The Festival will offer over 120 screenings to an expected audience of over 35,000.

The San Francisco Jewish Film Festival (SFJFF) continues to present year after year the very best in independent Jewish cinema—offering a full complement of films, festivities, special discussion programs and international guests that highlight 5775 years of culture. For ticket information, please contact the box office at 415.621.0523 or visit the San Francisco Jewish Film Festival online at www.sfjff.org.

About the San Francisco Jewish Film Festival
The San Francisco Jewish Film Festival (SFJFF) is the world’s first and largest Jewish film festival, world-renowned for the diversity and breadth of its audiences and films, and annually attracting more than 35,000 filmgoers. SFJFF is the signature program of the Jewish Film Institute, a year-round media arts organization that serves as the premier curatorial voice for Jewish film and media. Through its film exhibition programs, educational initiatives, online activities and filmmaker support, JFI seeks to catalyze and inspire communities in San Francisco and around the world to expand their understanding of Jewish life and culture through film, media, and dialogue.

Ticket Information, Festival Dates and Public Contact Numbers
The 35th San Francisco Jewish Film Festival will take place July 23 – August 9th, 2015. For more information, visit the SFJFF website at www.sfjff.org or contact jewishfilm@sfjff.org. The complete lineup of films will be announced on June 23, 2015 along with a full complement of discussion programs, international guests, awards, and celebrations. Early Bird passes go on sale on May 26.Tickets and passes go on sale for members on June 23-25 and for the general public on June 26, 2015.

35&Under pass: Get the best deal in town with a specially priced pass for people 35 and Under, good for all shows at all theatres, including SF Opening Night (but excluding SF Closing Night and Berkeley Big Night) and invitations to meet other film aficionados and emerging filmmakers. This pass is included with the purchase of a Jewish Film Institute membership at the special “Supporter, 35 and Under” level.

All-Festival passes, discount cards, and special prices for students and seniors are available. For ticket information, please contact the Box Office at 415.621.0523 or visit the San Francisco Jewish Film Festival at www.sfjff.org.

The Jewish Film Institute
The San Francisco Jewish Film Festival
145 Ninth Street, Suite 200
San Francisco, CA 94103
www.sfjff.org/jewishfilm@sfjff.org/415-621-0556

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