How a gay man is using comedy to reconcile with his evangelical mom
Gay comedian Zach Zimmerman’s debut album Clean Comedy is a study in contradiction.

www.queerty.com/gay-man-using-comedy-reconcile-evangelical-mom-20190512?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+queerty2+%28Queerty%29

Brandi Carlile Dedicates Beautiful Video for ‘The Mother’ to All Moms

The out Grammy winner dedicated her song about her own daughter to moms everywhere in a video that shows the diversity of real moms. 

www.advocate.com/music/2019/5/12/brandi-carlile-dedicates-beautiful-video-mother-all-moms

Pete Buttigieg Slams ‘Identity Politics’ and Urges Democrats to ‘Tear Down Walls’ That Divide Them in Powerful HRC Speech About Inclusion: WATCH

Mayor Pete Buttigieg spoke to the Human Rights Campaign on Saturday night at a gala in Las Vegas, warning Democrats to stay away from “identity politics” because they are creating a “crisis of belonging” in the United States.

Buttigieg warned about making the election about Trump, “because if Americans see us spending all our time talking about him, they’ll be left with this question, ‘who’s talking about us?’”

Buttigieg said that the country is “being buffeted by tectonic change” and said the focus needs to be on “winning an era… we are preparing our country for a better life.”

Buttigieg said Democrats need to start talking about the values behind their policies: “It’s time for us to get comfortable once again talking about values … like freedom. We have allowed conservatives to monopolize the language of freedom. But we know that freedom isn’t just about freedom from, it’s about freedom to. Not just freedom from regulation, but freedom to live a life of your choosing.”

Buttigieg also spoke about “identity politics,” a phrase he said was used “usually to wave away our attention from some of the things that make our lived experiences different, and the political implications of those differences.”

Buttigieg said that the Trump administration has “mastered the practice of the most divisive form of such politics, peak White identity politics, designed to drive apart people with common interests.”

Buttigieg said we should see in our identities “the beginning of a new form of American solidarity” rather than the things that make us different.

Said Buttigieg: “I may be part of the LGBTQ community. But being a gay man doesn’t even tell me what it’s like to be a trans woman of color in that same community, let alone an undocumented mother of four or a disabled veteran or a displaced autoworker. But being gay just like every other fact about me means that I have a story and if I look to that story I can find the building blocks not only for empathy but for the impetus to action. Because the more you know about exclusion, the more you know about belonging, and we have a crisis of belonging in this country.”

“Divisive lines of thinking have entered into the consciousness of my own party,” said Buttigieg. “Like when we’re told we need to choose between supporting an auto worker and supporting a trans women of color, without stopping to think about the fact that sometimes the auto worker is a trans woman of color and she definitely needs all the support that she can get.”

Added Buttigieg: “The wall I worry about most isn’t the president’s fantasy wall on the Mexican border that’s never gonna built anyway. What I worry about are the very real walls being put up between us as we get divided and carved up. … And what every gay person has in common with every excluded person of any kind is knowing what it’s like to see a wall between you and the rest of the world and wonder what it’s like on the other side. … Yes, I am gay. And I am the son of an immigrant and an Army brat. And I am a husband. And I am a musician. And I am an Episcopalian, and I am a Democrat.”

The mayor then talked about tearing down the walls that divide us: “I am ready to use my story, my energy, my alliances, and yes, my privilege, to throw myself into tearing down those walls.”

The post Pete Buttigieg Slams ‘Identity Politics’ and Urges Democrats to ‘Tear Down Walls’ That Divide Them in Powerful HRC Speech About Inclusion: WATCH appeared first on Towleroad Gay News.

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Lizzo doesn’t fit neatly into any labels, and she’s helping the world to follow suit
Lizzo creates music that celebrates the beauty of being different.

www.queerty.com/lizzo-raps-beauty-diversity-thats-colors-lgbtq-rainbow-20190512?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+queerty2+%28Queerty%29

Activists Want a San Francisco High School Mural Removed, Saying its Impact Today Should Overshadow the Artist’s Intentions

For nearly a century, a massive mural by painter Victor Arnautoff titled “The Life of Washington” has lined the hallways of San Francisco’s George Washington High School.

It may not be there much longer.

The mural “glorifies slavery, genocide, colonization, manifest destiny, white supremacy [and] oppression.” So said Washington High School’s Reflection and Action Group, an ad-hoc committee formed late last year and made up of Native Americans from the community, students, school employees, local artists and historians.

It identified two panels as especially offensive. One shows Washington pointing westward next to the body of a dead Native American. The other depicts slaves working in the fields of Mount Vernon.

Because the work “traumatizes students and community members,” the group concluded that “the impact of this mural is greater than its intent ever was.” They are campaigning for its removal.

The idea that impact matters more than intention has informed debates about everything from microaggressions to cultural appropriation.

But when it comes to art, should impact matter more than intention?

As historians committed to preserving our cultural heritage – and as citizens invested in the power of art to engage the public – we see the growing chorus of voices favoring impact over intention as a dangerous trend, one that makes art more vulnerable to rejection, censorship or even destruction.

A radical work for its time

For most members of the Washington High School’s Reflection and Action Group, the only message “The Life of Washington” sends is one of crushing, dehumanizing oppression.

What happens, though, when we examine the mural in the context of the life and times of the artist?

Painter Victor Arnautoff was born in 1896 in a small village in present-day Ukraine. He emigrated to San Francisco in 1925, where he joined a leftist art collective. During the Great Depression he was a supporter of workers’ strikes and formally joined the Communist Party in 1937. He was even hauled before the House Un-American Activities Committee in 1956 for drawing a “Communist Conspiracy” cartoon that caricatured then-Vice President Nixon.

In “The Life of Washington,” Arnautoff decided to place Native Americans, African Americans and working-class revolutionaries front and center in the four largest panels, relegating Washington to the margins.

The slaves toiling in the Mount Vernon fields highlight a central paradox of America’s history: The nation was founded by men who championed liberty, freedom and equality, and yet owned slaves.

Then there’s the striking image of the fallen Native American. The mural’s detractors say that it dismisses the humanity of indigenous peoples. But why must it necessarily be read as dehumanizing to Native Americans? Could it not instead be seen as throwing into sharp relief the inhumanity of the founding fathers?

According to Arnautoff’s biographer, Robert W. Cherny, the image challenged the fallacy that “westward expansion had been into largely vacant territory waiting for white pioneers to develop its full potential.”

That the mural appears in a school is particularly important in this regard. For decades, the country’s educational institutions perpetuated national myths about American exceptionalism and American history as one long glorious march of forward progress. Up until the 1960s, the standard U.S. history curriculum ignored the country’s dark and terrifying history of racial violence, including enslavement and the slaughter of indigenous peoples. So drawing attention to the horrors inflicted on Native Americans and African Americans would have been a radical statement in 1930s America.

Many of those in favor of scrapping the murals seem to believe that merely depicting past atrocities justifies them. In fact, the Action and Reflection Group concluded that the mural contravened the San Francisco Unified School District’s commitment to “social justice.”

Quite to the contrary. In our view, the “Life of Washington” provides an invaluable opportunity for students to engage in a serious and sustained way with social justice issues. There’s a strong case to be made that Arnautoff is exposing – rather than celebrating – slavery and genocide. Moreover, those arguing for the mural’s removal are overlooking the fact that African Americans are not only portrayed as picking cotton and that Native Americans are not only depicted as victims of genocide. Rather Arnautoff is insisting that African Americans and indigeneous peoples were key historical actors in the making of the United States.

Only the latest controversy

The controversy over this mural is sadly not an isolated exception.

Over the past several years, there have been dozens of cases where plays, poems, books, prints, paintings, sculptures, installations and other creative works have been shut down, canceled, removed or otherwise censored based on snap judgments, social media swarms, ideologically motivated reasoning and obtuse interpretations of the art in question.

In all of these cases, there has been little to no regard for the aspirations, aims and ambitions of the artists themselves. Their intentions have been treated along a spectrum that runs from indifference to contempt.

To be clear, we are not saying that an artist’s intent is all that matters.
How people interpret and respond to a work of art is inseparable from its raison d’etre.

But disregarding the intentions of artists would place every significant creative work with a whiff of controversy in jeopardy because of its “problematic” or “offensive” content. In a world where intentionality and context are irrelevant, satire and irony would not only be incomprehensible but forbidden.

Artist Kara Walker’s searing paper cuts depicting the horrific violence of slavery in the United States? Nothing more than a celebration of the white domination of black bodies. The pungent, explosive litany of racial slurs in Spike Lee’s “Do the Right Thing”? Just a vicious rehearsal of profoundly damaging ethnic stereotypes. Keegan-Michael Key’s brilliant sketch character Luther who serves as Obama’s “anger translator”? Simply a racist caricature of the “angry black man.”

What else becomes vulnerable to censorship?

Calls to censor “offensive” art by committees, petitions or the Twitterverse are especially dangerous. For every case of “righteous” censorship that removes works of art that are allegedly racist, sexist, homophobic and so on, there will be scores more censored on the grounds that they are anti-American or offensive to Christians.

As the American Library Association reports, the most frequently challenged and banned books are those that contain “diverse content” and include characters of color or address themes of sexuality, racism, religion, disability and mental illness.

Four out of the top 11 most challenged or banned books in 2018 were objected to on the basis of their LGBT content. “Two Boys Kissing” – a 2013 novel centered around the lives of seven gay teenagers – has made the American Library Association list for several years running, even though The Guardian described it as a “complex,” “intricate” novel “so extremely powerful [it] leaves you thinking long, long after you have finished reading it.”

Thinking long and hard, alas, is in short supply for members of the “we are not interested in the artist’s intentions” when the art offends us brigade. Ripping art from its context degrades our critical faculties and imprisons us in the present. It smacks of a literal-minded authoritarianism that assumes and indeed insists that a creative work can and must only be read in one way.

When people refuse to see the contradictions, tensions and ambiguities of art, it becomes disposable. Arnautoff’s detractors bring to mind Oscar Wilde’s warning that any time a spectator of art tries to “exercise authority over it and the artist,” he “becomes the avowed enemy of Art and of himself.”

It took Arnautoff almost a year to complete the mural, painstaking labor that could be erased with a single coat of paint. Not only would this outcome whitewash history, it would also deal a severe blow to our own capacity for creativity and critical thought.

Amna Khalid, Associate Professor of History, Carleton College and Jeffrey Aaron Snyder, Associate Professor of Educational Studies, Carleton College

This article is republished from The Conversation under a Creative Commons license. Read the original article.

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Activists Want a San Francisco High School Mural Removed, Saying its Impact Today Should Overshadow the Artist’s Intentions

Must-See LGBTQ TV: Logo airs the GLAAD Media Awards, ‘Grey’s Anatomy’ season finale, Lilly Singh on ‘The Substitute,’ and more!

www.glaad.org/blog/must-see-lgbtq-tv-logo-airs-glaad-media-awards-greys-anatomy-season-finale-lilly-singh

Rudy Giuliani Cancels Trip to Ukraine to Break the Law for Trump

Trump lawyer Rudy Giuliani canceled a planned trip to Ukraine to collect information on investigations that could help Donald Trump win re-election after backlash.

The NYT reports: ‘Mr. Giuliani, President Trump’s personal lawyer, explained that he felt like he was being “set up,” and he blamed Democrats for trying to “spin” the trip. “They say I was meddling in the election — ridiculous — but that’s their spin,” he said.’

Giuliani told the NYT earlier this week: “We’re not meddling in an election, we’re meddling in an investigation, which we have a right to do. … There’s nothing illegal about it. Somebody could say it’s improper. And this isn’t foreign policy — I’m asking them to do an investigation that they’re doing already and that other people are telling them to stop. And I’m going to give them reasons why they shouldn’t stop it because that information will be very, very helpful to my client, and may turn out to be helpful to my government.”

Giuliani was slammed by pundits after the cancellation, which he announced on FOX News.

Said MSNBC host Donny Deutsch: “He’s become such a despicable figure, such a tragic old man doing anything to stay relevant. What a disappointing, sad, little old man that has taken on such a dastardly, evil, twisted manner that he would display this in the last 24 hours, which was probably just a publicity stunt in the first place. Out of all the president’s men, of all these swamp things, Rudy Giuliani stands out to me as the lowest of the low.”

The post Rudy Giuliani Cancels Trip to Ukraine to Break the Law for Trump appeared first on Towleroad Gay News.

Rudy Giuliani Cancels Trip to Ukraine to Break the Law for Trump

29 Artworks to Make You a Little Nervous by Chris von Steiner

www.advocate.com/art/2019/5/11/29-artworks-make-you-little-nervous-chris-von-steiner

Amy Poehler & Co. Are Proud of Wine Country’s Generational Gay Romance

Poehler, Maya Rudolph, and Paula Pell chat with The Advocate about Wine Country‘s lesbian storyline and what they love about millennial women. 

www.advocate.com/film/2019/5/10/amy-poehler-co-are-proud-wine-countrys-generational-gay-romance

Ten reasons to hop the next flight to Palm Springs
Palm Springs is so much more than the White Party. Here are ten reasons in pictures to head to the desert oasis this spring.

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