L-R Sam Perwin, Kyle Motsinger (photo: Tyler William Milliron) Raised in Illinois, out singer/songwriter Kyle Motsinger picked up and moved to the big, bad city – New York – to follow his dreams as soon as he could. But in his latest single, “Parallel Universe,” Motsinger considers what his path would have been like had he stayed in his hometown:
In a parallel universe I stayed / After college I moved back to town / No other plans were made / Got a job, got a dog right by my side / Settling for a slower life / Completely satisfied / Wouldn’t know any better, any worse, In that parallel universe
Then there’s the other side of the ‘what if’ coin – what if Motsinger’s hometown beau moved with him to the big city?
Opportunities I couldn’t find here / In a town not ruled by courage but by fear / In another universe you moved with me / We rented an apartment in the heart of NYC / We’d explore the city side-by-side / End our days making love completely satisfied
“I wrote ‘Parallel Universe’ after an encounter with a former lover while visiting family for the holidays in Illinois,” says the handsome artist. “I started imagining different scenarios in which we could be together. It felt like each scenario was a different parallel universe. What if there were multiple versions of us out there that were living these scenarios? I do love a good science fiction story!” L-R Sam Perwin, Kyle Motsinger (screen capture) On first listen, I felt like the song had a sense of theatrical story-telling to it, in a similar vein as some classic Billy Joel songs. And it seems that it wasn’t my imagination. “I was also more than a little bit inspired by the play/movie, Rabbit Hole, written by David Lindsay-Abaire,” shares Motsinger. “I wrote it as a pop/rock ballad and worked with fellow singer/songwriter Corey Tut to get the sound right in the studio. Chris Bonner recorded bass and Adam Stoler recorded guitars while on the road with the Broadway musical, Come From Away. So, yes, there is a pedigree of theatrical roots to the track. Motsinger says he hopes “this song makes you think about how choices can lead to many different outcomes.” I previously showcased Motsinger’s disco-tastic “Love On Each Other” featuring big dance beats and slinky 1970s strings. “Parallel Universe” is now available on iTunes,Spotify, and other digital music platforms.
In this week’s podcast: • Sen. Kamala Harris calls Mayor Pete Buttigieg “naive” for relating his experience as a gay man to other marginalized communities. • A homophobic photographer in Kentucky has filed a lawsuit to block Louisville’s Fairness Ordinance just in case a gay couple were to ask her to shoot their wedding. • Three federal judges have blocked a new rule announced by the Health and Human Services Department that would allow healthcare professionals to deny service to LGBTQs. • The Straight Pride event in Dallas was the biggest fail yet. • Netflix releases teaser video for RuPaul’s upcoming scripted comedy series AJ and The Queen. • Out singer/songwriter Tom Goss’s new album explores new emotional Territories. All that and more in this episode of The Randy Report.
Singer/songwriter Tom Goss (photo: Daren Cornell) Out singer/songwriter Tom Goss recently released his new album, Territories, The collection is a departure from the indie/coffee house rock we’ve come to know from the veteran recording artist. When I interviewed Goss earlier this year about the project, the ‘guitar-touting troubadour’ shared that the new collection takes a turn into pop-synth land as he journeys through the emotional terrain of polyamory. When Goss’ husband asked if they could open up their marriage to include others as possible romantic partners, Goss found himself realizing he could still love his spouse while falling in love with another man. Territories is primarily reflective in tone for much of the album as he recalls experiences and conversations in locations around the world including Berlin, London, Mexico and more. In addition to embracing a different soundscape (which the artist describes as ‘electro-groove-pop’), Goss says that while he’s written six albums about his relationship with his husband up to now, “To write material about intimate thoughts and feelings about someone other than my husband, it was so different.” Goss says the piano ballad “Berlin” would begin what would eventually emerge as Territories saying, “48 hours in Berlin turned my world completely upside down. Have you ever accidentally fallen in love? I have. This experience, and song, started what would eventually become Territories.” The video for “Berlin,” alternating between black & white imagery in a private, backroom cabaret setting and Goss exploring the city with his new beau, mirrors the dreamlike and ephemeral texture of the track. It’s notable that Goss, who’s extolled the attractiveness of bears and more full-figured guys many times in the past, continues that pattern versus using only gym-bound, muscle men in his videos.
The song “La Bufadora” focuses on the issue of domestic violence among LGBTQ couples. The music video, co-starring actor Daniel Franzese (Mean Girls, Looking), dramatizes a couple’s Mexican vacation gone awry as the duo’s disagreements turn violent.
Goss says the reaction from fans has been overwhelmingly positive, and that he’s “grateful by how people have put themselves in my shoes and have understood and accepted my experience.” He recently told Q Magazine that he hopes listeners will “understand that love doesn’t always look the same for everyone.” “Sometimes it looks different,” he added. “Whether you’re in a traditional relationship or a nontraditional relationship, you should be proud of the love that you share.” Earlier this year, I chatted with Goss in-depth about the genesis of Territories and the issues explored within it. Hit play below to hear him discuss its evolution in candid detail. Territories is now available on all digital download sites. For all things Tom Goss, head to tomgossmusic and follow him on Instagram, Facebook, Twitter, and YouTube.
Netflix just dropped the first look at the upcoming scripted series, AJ and The Queen, starring RuPaul Charles. I previously reported the announcement from Netflix that the ‘Queen of all queens’ would not only be starring in the road trip themed series, but serving as co-creator with Michael Patrick King (Sex and the City). RuPaul will play ‘Robert Lee,’ aka Ruby Red, who has spent years appearing in clubs across the country saving his coins with the goal of opening his own drag club. But Lee’s dream is dashed when two grifters swindle him out of his life savings. So Lee hits the road again in an attempt to start over. But a “scrappy, streetwise 10-year-old escaping a difficult home life” upends Lee’s life as he is thrust into a new role: de facto parent.
According to the official synopsis, the duo finds themselves “fabulously mismatched yet perfectly paired” as they criss-cross the country together, often teaching each other new tricks. So, two misfits – one tall, one small – sashaying across the country, spreading a message of acceptance and love. Michael-Leon Wooley and Katerina Tannenbaum also co-star. The one-hour comedy, described as “equally heartfelt and gritty” about “finding family in the unlikeliest of people when they’re needed most,” also promises showstopping performances from Mama Ru each week. Sounds like a cross between BJ and the Bear & Touched by an Angel, just with a lot more sass and style. Deadline has reported that the streaming platform has ordered a 10-episode first season. Netflix announces the premiere date is scheduled for January 10.
By Lawrence Pfeil, Jr. On a white platform resting like a blank sheet of paper just above the bare stage, a diverse group of gay men gathers with pencils and paper, laptops, and tablets. They write their stories — or try to begin. The story germinating inside the youngest to be nurtured by his mentor will grow round them blossoming into an epic reflective of a community continually grappling with its own story. This is The Inheritance, Matthew Lopez’s two-part play which has opened on Broadway at the Ethel Barrymore Theatre. Structured on, Howard’s End, Lopez reimagines E.M Forster’s masterpiece as New York City’s 21st century, “gay society.” In the process, he trades the original’s examination of social mores, ridged conduct, and reputation for issues of intergenerational relationships, interpersonal responsibility, and community. Bridging the two is Forster himself aka “Morgan” offering a masterclass to his writing protégé and creating the story within a story framework, not unlike the stage around the central “writing platform.” Following Forster’s roadmap, The Inheritance is a journey of revelation to find lost connections, that while occasionally veering off path, arrives with an emotional impact like few other plays in recent years. The cast of The Inheritance (all production photos: Matthew Murphy) Though the trend on Broadway is sadly towards the “100 minute, no intermission, in’n’out” format or spectaculars, one-ton puppets, and wizarding magic shows, The Inheritance triumphs doing the exact opposite. For six-and-half hours, over two performances, it grips an audience so tightly one can hear petals drop and does it on a virtually bare stage. The story of lives as they lose connection to each other, their community, and themselves doesn’t need gimmicks to entertain. It has a common humanity transcending sexuality, age, gender, or race, to profoundly engage. The Inheritance erupts with unvarnished honesty, overwhelming insight, and a kind of brilliance that’s shaking audiences. In particular, the description of living through the AIDS crisis by one character to another who wasn’t there is so visceral, he “gets it” in no uncertain terms because those of us who were, are there again. Additionally, Lopez has a great gift for the extended monologue. At a time, when people barely listen to each other, holding anyone’s attention with thoughtful, introspective speeches longer than 240 characters is a talent to be treasured. Jordan Barbour, Darryl Gene Daughtry Jr., Kyle Soller, Arturo Luís Soria and Kyle Harris in The Inheritance So, it seems odd The Inheritance’s flaws are in conversational “everyday scenes.” It’s been reported, the play is “drawn largely from Lopez’s personal experiences.” Ironically, the familiar scenes involving the close-knit, circle of friends often feel superficial and didactic, if not unnecessary. Even so, the action never drags due to Stephen Daldry’s flawless direction and superlative staging. With essentially a platform, a few costume changes, and various props from a cast that almost never leaves the stage, Daldry creates the absorbing world of The Inheritance. He instinctively focuses on what theatre is fundamentally about, great storytelling, fearlessly trusting the material and a stellar cast. Leading The Inheritance’s impeccable ensemble are Andrew Burnap as Toby Darling, John Benjamin Hickey as Henry Wilcox, Paul Hilton as Morgan/Walter Poole, Samuel H. Levine as Adam/Leo and Kyle Soller as Eric Glass all of whom are reprising the West End roles they originated. Expect to see those names again come award season as they each give outstanding and magnetic performances. Hilton’s superbly nuanced sage and mentor; Levine’s coming of age search for belonging; Hickey’s effortless inhumanity; Burnap’s addiction to his persona; and at the center, Glass fighting for his own humanity make The Inheritance an embarrassment of performance riches. Paul Hilton alone is not to be missed. Samuel H. Levine, Kyle Soller and Andrew Burnap in The Inheritance Most often, an inheritance has a significant monetary value and/or sometimes sentimental. The historic house in The Inheritance may have both, but its intrinsic value is beyond either of those measures. It’s the stories passed down by and about those who came before which for generations made the house, a home. Such is the inherent value of stories to a community. They bind it together in shared solidarity and guide it by passing down wisdom and experience. The Inheritance demonstrates the immeasurable gift our predecessors gave us; the invaluable legacy our stories are for future generations; and the power of great storytelling in the theatre.
“If we can’t have a conversation with our past, what will our future be? Who are we? And more importantly: Who will we become?” – Matthew Lopez
The Inheritance By Matthew Lopez PART 1: 3 hours 15 minutes, with two intermissions PART 2: 3 hours 20 mins, with one intermission and 5 min pause The Ethel Barrymore Theatre, New York City, Open End Run More information, performance schedule, and tickets click here.Lawrence Pfeil, Jr., is a freelance writer/playwright who has reviewed film and theatre, both on and off-Broadway, for media outlets including The Randy Report, the New York Blade, and Edge Publications.
Jenna Dewan is set to host a new hybrid reality/dating show titled, Flirty Dancing, on Fox. From the Hollywood Reporter:
Based on a British series, Flirty Dancing has its participants learn half of a dance routine, then meet their partners for the first time on a blind date “at a breathtaking location,” where they perform the routine without saying a word to one another. The dances are designed, per Fox, to “tell a story reflective of their personal journeys to find love, while also providing clues to the other’s personality.”
The Fox show will differ a bit from the U.K. format by having one person dance with two partners before choosing one to ask on a second date.
And there are same-sex couples! Squeee!!! Folks on Twitter were all gaga over this cute couple – Garry and Ryan- who turned it out on the November 15 episode in the UK (Season 2, Episode 2): “Garry finds it hard to talk to men he fancies while Ryan has never had a boyfriend.” Check out the obvious romantic tension between the two as they end the routine.
I have been introduced to #FlirtyDancing—a blind date show where two people learn a dance separately and then must perform it upon meeting each other—and now I’m RUINED. pic.twitter.com/UnLDX7IpRK
According to reports, Ryan and Garry have already been on a second date! Whoohoo! And from Season One in the UK, this is Luke and Dan exploring romantic, terpsichorean tension:
Check out the promo for the U.S. edition which premieres in December on FOX:
UK retailer John Lewis has released its annual Christmas ad for 2019 as a collaboration with its sister chain Waitrose. Set in a fairytale village in Hungary, the short video tells the story of a little girl named Ava and her dragon friend, Excitable Edgar. Using Bastille’s cover of the 1980s hit, “Can’t Fight This Feeling,” the Christmas spot shows Edgar unable to control his excitement about the impending holiday as he accidentally melts a snowman with his fiery breath, defrosts an ice rink where children are skating, and accidentally burns down the town’s Christmas tree. But eventually, Ava discovers a good use for his accident-prone talent — toasting the Christmas pudding. Via press release, John Lewis shares the theme of the advertisement “centers around the theme of bringing people together at Christmas time through delicious food and thoughtful gifts, which show loved ones how much you care.” “Our story this year is all about the magic of friendship and how one thoughtful gesture can make all the difference,” says the retailer. “Edgar’s excitement around the festive season can often lead to fiery consequences, but Ava sparks an idea for the perfect present to help him light up Christmas in his own special way 🔥”
Last year’s ad featuring pop superstar Elton John showcasing the power of a gift received more than 14 million views.
In this mini-documentary chronicling LGBTQ representation on television, Matt Baume does an excellent job pulling together the LGBTQ shifts in the tele-landscape on 1990s sitcoms. From Baume:
Is there any show more perfectly suited for a gay ’90s romp than Frasier? When the show the first premiered, television often treated gay characters as a source of fear. But by the time Frasier was in its final season, lots of sitcoms were having a gay old time.
Hit play for a trip down memory lane on how the portrayal of gays changed over a relatively short period and why. No one does this better than Matt.
Out singer/songwriter Christopher Sorensen’s touching new music video, “Way. Way. Back” chronicles a gay coming of age romance between two teenage boys. The video tells the story of a gay man who returns to his hometown for a funeral. He’s haunted by the memories of a former love from his youth and the events that tore them apart. “The video explores how we collect trauma throughout our lives, weighing us down as we try to move on,” says Sorensen. “Sometimes, by facing our pasts, we can find a new beginning.”
Now I’ve Got A Map Of My Youth / The Way Way Back / It Leads To You
The video, like his music, is well-crafted and offers some unexpected turns through its emotional journey.
I had a chance to chat with the talented artist about the project and how he brings his art to life. The Randy Report: What was the inspiration for “Way. Way. Back?” Christopher Sorensen: “Way. Way. Back” is about a trauma in the past that determines all future outcomes in your life. I was really hurt by a guy in my past and didn’t think I’d be able to recover from it. Writing the song was a way of transforming that pain because music is healing. I’m still learning to let go and to not hold onto things that don’t serve me now. For the sake of the music video, I wanted to give myself and my audience a resolution with a happy ending. TRR: What’s your favorite part of the creative process? CS: My favorite part of the creative process is definitely writing. Whenever I’m feeling anxious or angry or depressed, I can sit down with my guitar and write, and it’s kind of a catharsis for me. Whether I’m writing a song or creating a music video, I’m a storyteller above all else and love collaborating to bring my visions to life. TRR: Do you have a “process” in writing/recording? CS: My best songs come to me when I least expect them. Words and a melody will come to me together when I’m in the shower or the car, and I’ll record them on my phone. There are times when I hear the melody first and the lyrics come second, but for me, I never hear the lyrics first. From there, I usually lay down tracks on Pro Tools and create my arrangement. Sometimes I’ll bring my song to another producer who can help me take it to another level. It’s very exciting when I later add visual elements and create a music video. Christopher SorensenTRR: Who are you listening to today? CS: I come from a family of musicians, so my music taste is pretty eclectic! I love music that’s different and quirky and uses sounds in ways I’ve never heard before. I’m a huge fan of Billie Eilish and her brother Finneas. I’m also digging H.E.R., Kacey Musgraves, and Lizzo. I enjoy some older classics as well like Billy Joel, Elton John, and Kate Bush. TRR: What keeps you up at night? CS: My cats waiting to be let out. Also my fear of failure. TRR: What is the most important lesson life has taught you? CS: There are people who love you. Don’t pursue the ones who don’t. I previously wrote about Sorensen’s music video “Afterglow” which told the story of a young man meeting an older man on a dating app. Check it out here. “Way. Way. Back” is available here.
In addition to embracing a different soundscape (which the artist describes as ‘electro-groove-pop’), Goss says that while he’s written six albums about his relationship with his husband up to now, “To write material about intimate thoughts and feelings about someone other than my husband, it was so different.” Goss says the piano ballad “Berlin” would begin what would eventually emerge as Territories saying, “48 hours in Berlin turned my world completely upside down. Have you ever accidentally fallen in love? I have. This experience, and song, started what would eventually become Territories.” The video for “Berlin,” alternating between black & white imagery in a private, backroom cabaret setting and Goss exploring the city with his new beau, mirrors the dreamlike and ephemeral texture of the track. It’s notable that Goss, who’s extolled the attractiveness of bears and more full-figured guys many times in the past, continues that pattern versus using only gym-bound, muscle men in his videos. 
I realized I haven’t done a ‘Just Because’ in a while, but former Stanford wrestler 
