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Patrick Haggerty, trailblazing gay country star, dies at 78 | CNN

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Patrick Haggerty, trailblazing gay country star, dies at 78 | CNN



CNN
 — 

When Patrick Haggerty was gearing as much as file his very first nation music album, he had a option to make.

He might be the industry-friendly nation star and stay within the closet, or he may use music to make an announcement about what it was like being a homosexual man in a deeply discriminatory world.

He selected the latter, and 1973’s “Lavender Nation,” Haggerty’s first album recorded beneath the identical identify, is now extensively thought-about the primary nation album recorded by an out homosexual musician.

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Haggerty, an unflappable activist for LGBTQ and socialist causes and married father of two, for years was persona non grata within the music enterprise. “Lavender Nation” was a defiantly queer file, with songs like “Cryin’ These C**ksuckin’ Tears,” throughout a time when few musicians in any style have been snug popping out as homosexual.

So it was stunning, most of all to Haggerty, when he received his probability in 2014 to re-release that historic album and file one other one, performing with different LGBTQ nation musicians and sharing his story with tens of millions. He grew to become a rustic music star in any case.

“The very factor that sank me within the first place is the very factor that jettisoned me into this place,” he advised CNN earlier this 12 months.

Haggerty, the pioneering septuagenarian nation crooner, died Monday, a number of weeks after he’d had a stroke, mentioned Brendan Greaves, a detailed pal and file label government. Haggerty was 78.

Haggerty by no means tried to tamp down or conceal his queerness. He was kicked out of the Peace Corps within the ’60s for being homosexual, he advised CNN earlier this 12 months. He discovered household in Seattle’s LGBTQ group, members of which helped persuade Haggerty, a self-proclaimed “stage hog,” to file an album. He advised Pitchfork in 2014 that his homosexual buddies in Seattle have been “who we made it for, and that’s who we performed it to.”

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Haggerty wrote “Lavender Nation” as an announcement to the music {industry} – he’d refuse to bend to the heteronormative requirements of the instances, and he actually wouldn’t try and masks his queerness. “Lavender Nation” was a protest file. He assumed it could be his final.

“Once we made ‘Lavender Nation,’ we weren’t silly,” he advised CNN. “No style was going to take inventory of something that I needed to say.”

Within the many years between his first and second albums, Haggerty devoted his life to activism. A staunch socialist – he typically known as himself a “screaming Marxist b*tch” – he advocated for HIV/AIDS consciousness, LGBTQ causes and the civil rights of Black Individuals. He had two youngsters together with his husband and retired to a city throughout the Puget Sound, his musical goals lengthy dashed.

“I stuffed up my life with all types of attention-grabbing and interesting issues that have been significant to me that didn’t have something to do with music,” he advised CNN in March.

However in 2013, a file collector bought Haggerty’s file on eBay and shared it with Greaves, who “cold-called” Haggerty and mentioned re-releasing the album on his label, Paradise of Bachelors. Haggerty was suspicious, Greaves remembered – Haggerty, as he advised CNN earlier this 12 months, was largely performing for nursing dwelling crowds without cost at the moment.

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That decision with Greaves was step one to reintroducing Haggerty and Lavender Nation to new listeners, a lot of whom had been hungry for an out homosexual nation star. Paradise of Bachelors would go on to re-release Lavender Nation’s eponymous first album, which was as soon as solely accessible by mail order at the back of another newspaper in Seattle.

Inside a matter of months, Haggerty was thrust into an {industry} he lengthy believed had shut him out.

“Lastly, like 35 years of repressed grief about ‘Lavender Nation’ burst ahead and I’m similar to in a puddle of tears,” he advised CNN in regards to the day he received the decision from Greaves. “My life modified utterly and ceaselessly that day.”

As extra individuals heard “Lavender Nation” and realized Haggerty’s story, his contributions to nation music have been acknowledged and appreciated extra extensively. He even starred in a 2016 documentary quick about his life and legacy, and his music soundtracked an unique ballet carried out by an organization in San Francisco.

He carried out the songs he’d written greater than 40 years earlier with new homosexual nation stars like Orville Peck and Trixie Mattel, who’ve each discovered appreciable success for integrating their identities into their acts.

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Peck remembered Haggerty because the “grandfather of queer nation” in an Instagram publish.

“One of many funniest, bravest and kindest souls I’ve ever identified, he pioneered a motion and a message in Nation that was virtually exceptional,” wrote Peck, together with images of the 2 performing collectively. “A real singular legend.”

Over the past 12 months, Lavender Nation performed exhibits throughout the US in help of its second file, “Blackberry Rose,” performing with different LGBTQ nation acts like Paisley Fields, who remembered Haggerty as a “trailblazer, fearless and outspoken.”

Understanding Haggerty modified Greaves’ life, he wrote on the social accounts of his label, and leagues of others. Much more than his music, Greaves advised CNN, the reminiscences of Haggerty rehearsing in his lounge, taking part in with Greaves’ son and educating him the best way to make banana cream pie are valuable to him.

“He taught me the best way to be a greater father and a greater particular person,” Greaves advised CNN. “As outspoken and loud as he was, and for all of his diva conduct, which was form of legendary and tough at instances, he was additionally a really mild, type household man and pal and mentor.”

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Haggerty by no means aspired to nation stardom within the conventional sense and had no regrets in regards to the winding street it take to get him there. He nonetheless expressed disbelief that he may stay his dream – performing music with a message – and do it his means.

“In secret, I needed to be a hambone all alongside, I admit it,” he beforehand advised CNN. “However now I get to make use of my hambone-edness to foment social change and wrestle for a greater world.”

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Movie Reviews

Film Review: The Fire Inside – SLUG Magazine

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Film Review: The Fire Inside – SLUG Magazine

Film

The Fire Inside
Director: Rachel Morrison
Michael De Luca Productions, PASTEL
In Theaters: 12.25

I’m not a fan of combat sports in real life, yet I find that movies about them are nearly irresistible. Whether it’s Rocky, The Karate Kid, Warrior or the upcoming wrestling flick Unstoppable, the underdog who comes out swinging and bests their bigger, more experienced opponent always plays. It’s also nearly always the same movie, and that’s what makes The Fire Inside a knockout.

In this fact–based story, Claressa Shields (Ryan Destiny, A Girl Like Grace, Oracle) is a young woman from Flint, Michigan, who has one skill and one passion: boxing. Despite limited support from her family, Claressa is taken under the wing of Jason Crutchfield (Brian Tyree Henry, If Beale Street Could Talk, Godzilla vs. Kong), a coach at a local gym. As Jason becomes as much a surrogate father as a coach, Claressa trains with a ferocious determination and earns a spot on the 2012 Summer Olympic team —  Claressa “T-Rex” Shields becomes the first American woman to take home the gold in the sport at age 16. From there, Claressa goes from being a poor inner city kid with nothing to … a poor inner city kid with a gold medal overnight.  There are no endorsement deals, no professional career and seemingly no new worlds to conquer. As Claressa fights discouragement, she must find a path to lead her beyond a one time victory into a lasting better life.

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Rachel Morrison, the first woman to be nominated for an Academy Award for her work on Black Panther, makes a strong directorial debut, coming out swinging. She’s ably assisted by a terrific script by Barry Jenkins (Moonlight). The Fire Inside transcends the tropes of the genre by reaching the rush of climactic fight and then daring not to end there, instead delving into the reality that in Shields’  life, one triumph in the sports world doesn’t change your circumstances, especially for an uncouth young woman with no interest in playing the public relations game and selling a softer, more traditionally feminine image. We’ve heard the cliche “this isn’t just a movie about sports, it’s about life,” but such a candid look at a life-changing moment that does nothing to change your life, and learning how to face this, was something refreshingly new and honest. The often bleak and at times stunningly beautiful cinematography by Rina Yang, along with the stirring score by Tamar-kali, lift the sensory experience and go a long way to making this one a winner. 

Destiny shows potential as a breakout star, commanding the screen as effortlessly as Claressa commands the ring. Henry is the highlight of any film he’s in, and The Fire Inside is no exception, with his grounded performance keeping the film moving along and setting the tone for a story about learning that you can still lean on others while you’re believing in yourself. The sizzling chemistry between these two actors drives a poignant and entertaining story to a satisfying and believable conclusion that’s not the one you’re expecting.

The Fire Inside is a breath of fresh air in a genre that far too often settles for stale and dank. It provides enough inspirational warmth to fulfill its duties as an uplifting sports movie, but its got the stamina and the drive to go a few extra rounds and push its own limits. Unlike most boxing films, this champ doesn’t pull any punches. –Patrick Gibbs

Read more film reviews here:
Film Review: A Complete Unknown
Film Review: Babygirl 

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The 2024 Envelope Oscar Roundtables

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The 2024 Envelope Oscar Roundtables

The fear factor behind great art

Adrien Brody, Kieran Culkin, Colman Domingo, Peter Sarsgaard, Sebastian Stan and Jeremy Strong dive into their films, truth-telling and acting alongside your director. READ HERE

The word "Directors" in pink

Doubts, sure. Compromise? Never

6 directors on doubt, compromise and Timothée Chalamet. READ HERE

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Movie review: Reverence to source material drains life from ‘Nosferatu’

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Movie review: Reverence to source material drains life from ‘Nosferatu’

Passion projects are often lauded simply for their passion, for the sheer effort that it took to bring a dream to life. Sometimes, that celebration of energy expended can obfuscate the artistic merits of a film, as the blinkered vision of a dedicated auteur can be a film’s saving grace, or its death knell. This is one of the hazards of the passion project, which is satirically explored in the 2000 film “Shadow of the Vampire,” a fictionalized depiction of the making of F.W. Murnau’s 1922 silent horror film “Nosferatu: A Symphony of Horror,” in which John Malkovich plays the filmmaker obsessed with “authentic” horror.

This meta approach is a clever twist on the iconic early horror movie that looms large in our cultural memory. Inspired by Bram Stoker’s 1897 novel “Dracula” (with names and details changed in order to skirt the lack of rights to the book), “Nosferatu” is a landmark example of German Expressionism, and Max Schreck’s performance as the vampire is one of the genre’s unforgettable villains.

“Nosferatu” has inspired many filmmakers over a century — Werner Herzog made his own bleak and lonely version with Klaus Kinski in 1979; Francis Ford Coppola went directly to the source material for his lushly Gothic “Bram Stoker’s Dracula” in 1992. Now, Robert Eggers, who gained auteur status with his colonial horror film “The Witch,” the Edgar Allen Poe-inspired two-hander “The Lighthouse,” and a Viking epic “The Northman,” delivers his ultimate passion project: a direct remake of Murnau’s film.

His first non-original screenplay, Eggers’ version isn’t a “take” on “Nosferatu,” so much as it is an overly faithful retelling, so indebted to its inspiration that it’s utterly hamstrung by its own reverence. If “Shadow of the Vampire” is a playful spin, Eggers’ “Nosferatu” is an utterly straight-faced and interminably dull retread of the 1922 film. It’s the exact same movie, just with more explicit violence and sex. And while Eggers loves to pay tribute to the style and form of cinema history in his work, the sexual politics of his “Nosferatu” feel at least 100 years old.

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“Nosferatu” is a story about real estate and sexual obsession. A young newlywed, Thomas Hutter (Nicholas Hoult) is dispatched from his small German city to the Carpathian Mountains in order to execute the paperwork on the purchase of a rundown manor for a mysterious Count Orlok (an unrecognizable Bill Skarsgård), a tall, pale wraith with a rumbling voice that sounds like a beehive.

Thomas has a generally bad time with the terrifying Count Orlok, while his young bride at home, the seemingly clairvoyant Ellen (Lily-Rose Depp) is taken with terrifying nightmares and bouts of sleepwalking, consumed by psychic messages from the Count, who has become obsessed with her. He makes his way to his new home in a rat-infested ship, unleashing a plague; Ellen weighs whether she should sacrifice herself to the Count in order to save the town, which consists of essentially three men: her husband, a doctor (Ralph Ineson) and an occultist scientist (Willem Dafoe).

There’s a moment in the first hour of “Nosferatu” where it seems like Eggers’ film is going to be something new, imbued with anthropological folklore, rather than the expressionist interpretation of Murnau. Thomas arrives in a Romanian village, where he encounters a group of jolly gypsies who laugh at him, warn him, and whose blood rituals he encounters in the night. It’s fascinating, fresh, culturally specific, and a new entry point to this familiar tale. Orlok’s mustachioed visage could be seen as a nod to the real Vlad the Impaler, who likely inspired Stoker.

But Eggers abandons this tack and steers back toward leaden homage. The film is a feat of maximalist and moody production design and cinematography, but the tedious and overwrought script renders every character two-dimensional, despite the effortful acting, teary pronunciations and emphatically delivered declarations.

Depp whimpers and writhes with aplomb, but her enthusiastically physical performance never reaches her eyes — unless they’re rolling into the back of her head. Regardless of their energetic ministrations, she and Hoult are unconvincing. Dafoe, as well as Aaron Taylor-Johnson and Emma Corrin, as family friends who take in Ellen, bring a winking campiness, breathing life into the proceedings, while Simon McBurney devilishly goes for broke as the Count’s familiar. However, every actor seems to be in a different movie.

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Despite the sex, nudity and declarations of desire, there’s no eroticism or sensuality; despite the blood and guts, there’s nothing scary about it either. This film is a whole lot of style in search of a better story, and without any metaphor or subtext, it’s a bore. Despite his passion for the project, or perhaps because of it, Eggers’ overwrought “Nosferatu” is dead on arrival, drained of all life and choked to death on its own worship.

‘Nosferatu’

GRADE: C

Rated R: for bloody violent content, graphic nudity and some sexual content

Running time: 135 minutes

In theaters Dec. 25

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