Cazwell 「Downtown」

Posted on September 30, 2014 commentaires

Cazwell 「Downtown」 - from『Hard 2 B Fresh』released on September 30, 2014.

Produced by: Richie Beretta
Written by: Cazwell, Richie Beretta
Published by: No She Didn't (BMI), Copyright Control
Recorded at: Seven Sound

℗ 2014 Peace Bisquit

Avec Brian Nieh, modèle sino-portoricain !




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Dylan Weston 「Interview with Ken Ott」

Posted on September 27, 2014 commentaires

Our third and final interview in this trio of exclusive GayDemon interviews with Gay Hoopla’s biggest models. This week we talk to Ken Ott about porn and sex!

Hi Ken, great to get the chance to talk to you. What are you filming here today?

Yeah definitely. Always great chance of talking, and I’m just filming another movie script. It cannot be revealed yet!

How did working with Gay Hoopla come about and what made you decide to be a gay pornstar?

It was pretty good and I decided to be a gay pornstar for the experience. I do love it.

You have a stunning body! What does it take to keep such a great physique?

Well thank you for that! I don’t think I do have a stunning body but, its what you put in the gym, dieting, and discipline. I have been dieting for the past two years and keeping up with it sucks because I miss pizza everyday, and other nice food!

What parts of working for Gay Hoopla have you enjoyed the most so far?

I enjoyed meeting new people. It is very important to me to meet new faces and have more friends.

Do you have any ideas for future scenes that you think would make for hot viewing?

Haha, maybe a Star Wars scene for Gay Hoopla where we dress up costumes, having fun.

Can you tell us a bit about your background? Where are you from, your heritage etc?

Well I have always been an athlete and I played hockey back in 2007. I joined the military back in 2010. I have and always been humble, goofy and funny. I am from East Coast, I am now living on the West Coast in Arizona, and I am 75% Filipino 25% Irish.

What would you say turns you on the most and which celebrity or pornstar would it be most hot to do that stuff with?

Well the one and only thing that turns me on is a kiss on the neck. Little tease and what not.

Do you have any ambitions for the future and what are they?

I plan to just keep building up my physique as much as possible. As I get older, I know that I won’t have this type of body forever. I also want to be a trainer, something like online coaching. And creating something new and unique.

I’ve only seen you bottom in a video before. Does that mean you’re totally bottom or do you fuck too?

Yes I have only been bottom and enjoy it very much. I’m not mentally prepared to top, but I’m getting there and would like to top someday soon. With more experience I will build up my confidence up to it.

Your tag team video was so hot. Was that something that was a personal fantasy of yours as well as for the site?

The tag team was definitely hot and I love it! I also love tag team sex when I’m not performing.

When you’re not filming for Gay Hoopla, what do you do in your spare time and what are your passions?

When I’m not filming for Gay Hoopla I spend most of my time in the gym and doing live shows for Chaturbate. I’m also living in/with the voyeur boys.

What message would you like to give to your fans?

The only message I can give is THANK YOU for supporting me and following me. I have never had any fans before and it feels great. I will also keep doing my very best to entertain everybody.

Thanks for talking to us! Check out Ken Ott’s Twitter (@BarbieKenOtt) and follow our blog for more Gay Hoopla scenes with Ken Ott!

Author: Dylan Weston/Date: September 27, 2014/Source: https://www.gaydemon.com/blogs/interview_with_ken_ott.html



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Victoria Namkung 「Will John Cho Be Television's First Asian Romantic Lead?」

Posted on September 25, 2014 commentaires
When I was growing up, Asian American men were virtually absent from television and popular culture. And when they were present — Bruce Lee or Lieutenant Sulu, for example — they never got the girl. While Asian faces are better represented today on shows such as 「The Mentalist」, 「Glee」, 「The Walking Dead」 and 「Hawaii Five-0」, they are not shown as romantic leads, particularly when it comes to non-Asian women, even though we know that it happens in real life (for the record, that’s how I came to be on this planet.) But ABC’s new series, 「Selfie」, which stars John Cho and Karen Gillan, could be the first show to make the Asian male romantic lead a “thing” in Hollywood.

A modern retelling of 「My Fair Lady」, 「Selfie」 follows the self-obsessed, twentysomething Eliza Dooley (played by the wildly charming Gillan) who is “Insta-famous,” and in desperate need of a real-life makeover after an unflattering video of her goes viral. She enlists her co-worker Henry (a self-assured and slightly grumpy Cho), a marketing expert who abhors our social media-obsessed culture, to help her revamp her image. The pilot episode, which features more than a few laughs and expertly hits on the Zeitgeist, is rife with chemistry and hints at a possible romance down the road.

「Selfie」 is just the latest series in ABC’s impressive lineup of groundbreaking shows. There’s Shonda Rhimes’ Thursday night block of dramas, including the ethnically diverse 「Grey’s Anatomy」, along with 「Scandal」 and 「How to Get Away With Murder」, with their respective African American leads, Kerry Washington and Viola Davis. Then there’s 「The Goldbergs」, featuring a 1980s Jewish family, and the network just debuted Black-ish with Tracee Ellis Ross and Anthony Anderson, which follows a middle-class, black family. In October, ABC will introduce the Mexican American family comedy 「Cristela」 and coming at midseason is 「Fresh Off the Boat」, the first Asian American sitcom since Margaret Cho’s ill-fated 「All-American Girl」 20 years ago.

What ABC is doing right now — reflecting America as it actually looks — is considered revolutionary. “It’s certainly a personal revolution for me,” Cho has said of 「Selfie」. “Asians narratively in shows are insignificant. They’re the cop, or the waitress, or whatever it is. You see them in the background. So to be in this position... is a bit of a landmark.” Show creator Emily Kapnek (「Suburgatory」) never intended for the role to go to a Korean American, as the part called for an older, British actor, until ABC suggested the idea of colorblind casting.

The fact that race does not figure into the plot of the series gives Asian Americans everywhere hope that Asian male portrayals could indeed be shifting away from doctor, martial arts expert and computer geek tropes. Kapnek, ABC and its executives deserve credit for creating an environment for ethnic minorities to see themselves represented. And having a likable, attractive and funny actor like Cho star in a mainstream sitcom will undoubtedly impact the way Asian men are viewed in this country for the better — and he just might get the girl too.

This revolution will be televised.

「Selfie」 premieres Tuesday, September 30, 8/7c on ABC.

Follow Victoria Namkung on Twitter: www.twitter.com/VictoriaNamkung

Author: Victoria Namkung/Date: September 25, 2014/Source: http://www.huffingtonpost.com/victoria-namkung/tvs-first-asian-romantic-lead_b_5878380.html
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Brandon Tensley 「Why gay people of color are still losing」

Posted on September 16, 2014 commentaires
“And then he told me that I’m cute, for an Asian.”

I’d just met the guy who said this to me. It was a Tuesday night, when many a gay at Oxford go to club Baby Love for its weekly GLBT night. Though he was then a stranger, we had one obvious thing in common, beyond our sexuality: We’re both people of color. But that was more than enough for us to strike up a friendship. Gay men are eager to scoot over and offer their own a seat at the table. This stranger and I knew, however, that being white is a big help.

Right now you’re slapping your head, asking, “Seriously? In one of the most enduring outsider communities, there’s an inside and an outside?” That’s right, you can hear in a club in what doesn’t seem like 2014 that you’re cute, for an Asian. Stories like this aren’t rare. But they’re little discussed when the gay community itself is talking about tolerance.

One way to make this plain, and maybe even a bit painful, is that I, for instance, never had to “come out” as black. No need to remind anyone how my skin color can produce pain for us all, but for me, racism wasn’t really a problem until graduate school, when I finally conjured up enough courage to get involved in the gay community. It’s not that those of us who are double outsiders aren’t noticed by those who take center stage in the main gay narrative. It’s that when we are, we’re usually disregarded. We’re there. We’re just not that important. In other words, we’re cute, for an Asian. The next chapter of the gay rights movement is to hold itself to its own standard of inclusion, however tenuous it may be.

How to do that? First, ask the right questions: How could a community that’s built partly on the shared experiences of isolation and narrow-mindedness be blind to similar behavior? I have my doubts that the spirit of exclusion within the gay community is malicious. The importance of compassion isn’t lost on your average gay man, who most likely endured quite a bit of awkwardness and self-consciousness on coming out.

The big issue is privilege.

I get that my being male is an advantage, and an unearned one. I don’t worry about hitting my head on a big chunk of glass ceiling, for instance, though it’s not like I did anything to earn the perks so often afforded men. (I should mention that privilege isn’t the same as guilt. Gender isn’t something that anyone has a say in, so feeling guilty about it doesn’t make too much sense.) Moreover, I’m happy that sexuality is far less of a hurdle than it used to be, thanks to the fact that it’s now framed largely in terms of freedom and rights, not merely awareness and pride. I also get that my being black is a disadvantage, and will probably continue to be one.

I get it.

But it’s galling that something as superficial as race remains something of a shortcoming in a community that understands the importance of inclusion, or ought to. On his own experiences as a gay, black writer, James Baldwin said to his white audience:

You give me this advantage. Whereas you never had to look at me — because you have sealed me away along with sin and hell and death — my life was in your hands, and I had to look at you. I know more about you than you know about me.

Those who craft our society’s central plot are privileged such that they don’t have to think about the supporting cast. And Baldwin called them out on it.

This isn’t to wax poetic about race, though. It’s a broader perception problem. In many ways gays are viewed as a monolith as much by themselves as they are by others. Take Dan Savage’s 「It Gets Better」 project, for instance: It shines a light on teenagers who are bullied because they’re gay, assuring them through gay adults’ own stories that life is worth living. But for all of the ink that’s been spilled on the project, its message is lost on some gay men:

[Others] have noted that privilege does play a large and unspoken role in many of the [It Gets Better] project’s narratives; especially for GLBT folks who are also facing other forms of oppression, leaving their home towns and entering an accepting GLBT community may be much harder and more complicated than it looks. [『The Atlantic』]

I realize, of course, that the project can’t remedy every social ill, and that it’s a hard-fought victory toward a wider acceptance of gays. However, a win for gays, on the whole, shouldn’t twist the fact that even within our own diverse enclave, some gays are still losing. For someone who’s bisexual or older or overweight or transgender, exclusion isn’t unusual. The takeaway point: It hasn’t gotten better for a lot of GLBT folks.

But some programs are bringing attention to this. The 「We Got Your Back」 project provides a platform to start “conversations about the importance of inclusion within [the GLBT] community,” particularly by addressing biphobia, transphobia, and racism. Still, this isn’t the victim Olympics, seeing what group has it worse. It’s about being mindful of our actions, because a movement in which some people aren’t heard, in which many stories are flattened into one, misses the point. Identity isn’t clear-cut. But, certainly, it’s intersectional. English novelist Zadie Smith describes people as having “complicated back stories, messy histories, multiple narratives.” It’s through this wider lens that we should view gays. Or, we should all check our privilege. No one would question the fact that gay rights have made great strides. For a mature movement, however, they’re not where they should be because the community is fractured.

We GLBT outcasts could build our own table, but it’d be better to see that privilege doesn’t in fact trump respect. On Baldwin’s relationship to race, critic F.W. Dupee explained:

[Baldwin] wears his color as Hester Prynne did her scarlet letter, proudly. Believing himself to have been branded as different from and inferior to the white majority, he will make a virtue of his situation. He will be different, and in his own way better. [『The New York Review of Books』]

We all have more than one scarlet letter. We should wear them, proudly.

Sign up to get『The Weekly Wonk』, New America’s digital magazine, delivered to your inbox each Thursday here.

Author: Brandon Tensley/Date: September 16, 2014/Source: http://theweek.com/articles/444114/why-gay-people-color-are-still-losing
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Patrik Sandberg 「Rebel: Gregg Araki - Nominated by Gabourey Sibide」

Posted on September 10, 2014 commentaires
The auteur of teen-angst psycho-cinema returns with a lush new drama that shines a lighr on the politics and perversity of American family

Gregg Araki in Park City, Utah, January 2014
Araki wears shirt SAINT LAURENT by Hedi Slimane

“This place is so fucking boring I wish someone would burn it to the ground.”

These words, uttered by Rose McGowan in an early scene of Gregg Araki’s 1995 film 「The Doom Generation」, could easily be the motto for the screenwriter-director’s whole career. In fact, it’s repeated by Gabourey Sidibe, as Beth, in his latest film, 「White Bird In A Blizzard」.

“Across different eras people are saying the same thing over and over again,” Araki says cheerily on the phone from L.A. While 「Doom Generation」 is set in the mid-’90s, the era in which it was made, period piece 「White Bird」 is a full-tilt journey back to the ’80s. But in both cases, the line is delivered beneath the strobes and black lights of a goth club. “I bet there’s a club in 2014 you could go to and they play those exact songs in that same order, and people say the same exact thing. I spent all my 20s in a club exactly like that. You know what I mean?”

Anyone familiar (or as is more often the case, obsessed) with the films of Gregg Araki can certainly relate to his chosen through line. From his very first feature film, Sundance’s Grand Jury Prize–nominated 「The Living End」, through his “Teen Apocalypse Trilogy” of 「Totally Fucked Up」, 「The Doom Generation」, and 「Nowhere」, to his critically lauded drama 「Mysterious Skin」, Araki has built a singular iconography of aggressive teen angst, transmogrifying the soft-focus John Hughes model of isolated youth into something at intervals more savage, scathing, emotional, bizarre, outrageous, comic, expletive, and, to quote McGowan’s Amy Blue once more, “so vile and beastly, I can’t believe any human being can even conceive it.”

One-liners aside, 「White Bird」 (based on the novel by Laura Kasischke) veers closer to the affecting and tender 「Mysterious Skin」 than it does to the Apocalypse films. “I read [the book] and it was very poetic, super beautifully written, and had this melancholy air about it, the same way that 「Mysterious Skin」 did,” Araki says. “It also really struck me, because it was sort of like 「The Ice Storm」 or 「American Beauty」... the sorts of movies they don’t make anymore, about the dislocated American family with this dark undercurrent. So that, to me, was really attractive.” Araki’s return to this tone is made particularly tactile by the original music for the film, composed by the Cocteau Twins’ Robin Guthrie, who also coscored 「Mysterious Skin」.

Though the book is set in early-’80s Ohio, Araki moved the story to late-’80s SoCal, to bring it closer to the reality of his own adolescence, spent in Santa Barbara during that time. The flawless reproduction of the period — the music, the attitude, and the décor—make it almost impossible to believe this is the director’s first ’80s flick. “I had been wanting to make one for years and years, so it was kind of a perfect storm,” he says. Centering around teenager Kat Connor (Shailene Woodley), who searches to uncover the mystery of her vanished mother, Eve (Eva Green), the film breaks new ground for Araki by paying a stylish homage to the lush melodrama of his film idol, Douglas Sirk.

“I saw Eve as this tragic, feminist character,” he says of Green’s wildly entertaining version of a desperate housewife. “She’s the beautiful woman who’s starting to lose her looks and then is being supplanted by her daughter. She’s stylized and theatrical, but she’s a product of that time, the type who grew up watching Douglas Sirk movies. She’s just a really flawed, fucked-up woman.”

In regard to casting Woodley, whose profile has skyrocketed in the past year, Araki notes the fortunate timing — the actress had signed on right after her award circuit for 「The Descendants」, before 「Divergent」 was even a conversation. “She’s so special,” he says. “There are ten thousand pieces on her in the media that say the same thing, but she’s so unique. She marches to her own drummer. She reminds me a lot of Joseph Gordon-Levitt, you know? They just have their shit together. They’re just really great, extraordinary human beings with both feet on the ground, and they’re serious artists who really want to make good, interesting work.”

Earlier this year, Woodley told『V』she cherished joining the “Araki clan,” which she described as a rite of passage. “Everyone’s been amazing,” Araki says with a laugh, before echoing his favorite line: “They’re like all my little kids out there, lighting the world on fire.”

See the rest of V91's REBELS and their nominees in『V91』

SUBSCRIBE TO『V』MAGAZINE

「White Bird In A Blizzard」 is in theaters September 25

EXTRA CREDITS
Hair and grooming Courtney Perkins (Tracey Mattingly) Photo assistants Check Wu and John Beecroft Stylist assistants Verena Hafner, Whitney Meyer, Christopher Lee


Patrik Sandberg
Official Website: http://patriksandberg.com/
Twitter: https://twitter.com/patriksandberg

Mark Abrahams
Official Website: http://www.markabrahams.com/

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