Hello? Operator?

An awed silence fell amongst fags inhabiting the publishing world recently with news that transsexual luminary Amanda Lepore may be releasing a biography. According to her team, a “major publishing house” is on the hunt for a writer to collaborate with the tranny superstar.

Call me an ambulance!

I Heart Jean Genet

It may be the art school coming out in me but… forget Fassbinder, Jean Genet is where it's at (even though this clip cuts out five minutes early).

Wonder Land

A piece I did on Viktor & Rolf. Can you smell the advertorial?

The worlds of art and fashion are often seen as mutually exclusive realms – with institutional art being yin to the sartorial yang. Rarely is this concept so clearly evidenced than in the work of the notoriously conceptual Dutch design duo, Viktor Horsting and Rolf Snoeren – aka Viktor & Rolf.

Aside from their complete competence in couture tailoring, it is the theatrics of their runway shows that have aided their meteoric rise to the height of fashion’s elite. From presenting a range of balloon-filled clothes that represent the atom bomb, to models tap-dancing A Chorus Line-style and the queerness of men ballroom dancing down the catwalk as plumes of smoke waft through the audience, it is the fusion of their collections with performative art that has led critics, such as those at New York Times Magazine, to decree that “Viktor & Rolf are artists and fashion is their medium.”
Just don’t tell them that.

“We have always considered ourselves as fashion designers without thinking of art as a factor of our work,” say both Viktor & Rolf, the two having a habit of finishing each other’s sentences. “We believe fashion is so much more than just clothes. Fashion shows are like plays and the clothes are actors in the play.”

Often miscategorised as twin-geeks of the fashion world, the pair met while studying fashion at the Arnhem Art Academy in the Netherlands, before moving to Paris to intern for such powerhouses as Maison Martin Margiela.

“We grew up in the suburbs, in a country where fashion doesn’t exist,” they say. “When we looked at international fashion magazines, we fantasized about a world where fashion was a dream – an escape from reality. It still is!”

At night, in the small apartment they shared, they would create clothes to be displayed on the Parisian art circuit. In 1993, they won the Festival d’Hyeres prize, which led them to their first haute couture show in 1998 and, subsequently, acceptance as the only Dutch designers to ever be received by the prestigious Chambre de commerce et d’industrie de Paris. Since then, the duo have upheld their reputation as high fashion’s newest enfant terribles, delivering season after season of critically lauded ready-to-wear and couture collections.

Their menswear line, Monsieur, officially launched in 2005, was met with resounding success. The label producing everything from high-cut boy’s shorts, brilliantly patterned shirts and the dandified eveningwear of a fitted tuxedo, complete with top hat.

The label itself was founded in 1993, yet only a decade later the young team (they are both 37) found themselves subject to a retrospective of their work by the Fashion Museum in Paris. Their recent collaboration with fashion retailer H&M, along with the release of fragrances under the tutelage of L’Oréal, ensure that Viktor & Rolf will be a mainstay of the luxury fashion set. The deal with L’Oréal being particularly telling, as it is the first time in 10 years that the cosmetic giant has contracted designers in this way. Their recently released men’s fragrance, Antidote, already smells of success.

So, what does the future have in store for Viktor & Rolf?
“Anything is possible.”

Boy Meets Boy

When I first put my hand up to cover Adam and Steve I was hoping to interview Parker Posey, but my editor shot down that idea. Boo! Craig Chester turned out to be a good alternative.

Gay love story Adam and Steve is the latest cinematic offering from indie-superstar Craig Chester. He spoke to Luke Malone about love, dance-offs and the complications that come with anal sex.

Luke Malone: You wrote, starred in and directed Adam and Steve. How long did it take to bring your idea to the screen?
Craig Chester: It took about three years total from writing the first page to seeing it premiere at the Tribeca Film Festival. It had a very cliché indie film journey - there were other producers at one point, we got the money, we lost the money, et cetera. It had a lot of ups and downs. Once Funnyboy Films came onboard, things happened very fast and suddenly we were shooting.

How do you feel now that it’s out there in the big, wide world?
It’s been an interesting experience. I absolutely love my film, the way a mother might love her child. It’s been incredibly satisfying to see it before so many audiences who laughed and really got it. The movie requires a certain mindset, namely that you are willing to have a good time and just let go. It’s fun to see audiences choose to go there with us.

The movie deals with the notion of finding your one perfect mate, albeit humorously. Do you believe in the Carrie Bradshaw-esque view of love?
I do. I think the amazing thing about love is that as much as you might feel you are shaping your destiny, you aren’t. I think fate has a lot to do with it and our part is to try and get out of the way. The second my dad met my mum, he said he knew they would get married. It’s that kind of trust in one’s own instincts that matter. But I think our generation kind of enjoys playing the part of the neurotic. We have so much information that we don’t know what to do with it. We have Oprah, Dr Phil, self-help books; everyone feels like an expert on relationships these days. Especially single people, which I think is infinitely funny.

The film also suggests that people can be right for each other, even if the timing is wrong. Do you agree?
I do think that timing is everything. But it’s rarely about the other person. Adam and Steve would have never made it had they hooked up when they were young – they both had too much living to do. When they come together as adults, they were ready.

One of the characters says, “You’re not the person I imagined I’d end up with.” Do you think most people are surprised by the one they end up settling down with?
Absolutely. For years, I rolled my eyes at my older gay friends when they dated twenty-somethings. I used to have all these rules, these notions of how love works, what doesn’t work; I believed in a lot of generalisations about people and specific dynamics. Then, of course, I fell in love with someone 15 years my junior and it’s probably been the most drama-free, supportive, healthy relationship of my life. God has a sense of humour, obviously. The older I get, the less I feel certain about.

What’s your boyfriend like?
His name is Brandon and he’s 24. Chicken Hawk Down!

Do you think that gay guys are more likely to partner-hop because they have unreal expectations?
I think gay men live in a culture of desire where there is just a limitless supply of temptation. This makes it difficult to commit to one person. I also think gay men are in love with longing – they have grown up comfortable with longing and rarely getting. So they fetishise longing. I think Brokeback Mountain touched them so deeply because it was a movie about longing for love but not getting it. Also, there is this idea that there is always someone hotter or better or more perfect just around the corner. Being in a relationship requires a certain amount of humility. It’s about giving to someone else, not just about getting, getting, getting.

Adam and Steve’s first night together is spectacularly gross! Do you have any similar first date experiences?
I think every gay man that has ever had anal sex has had an embarrassing moment in the bedroom – we have sex where we poop. I’m just pointing out the obvious and that scene strikes a real chord with gay men – they laugh for a solid five minutes on average after that horrible moment and I think it’s because we’ve all been there to a, mostly, lesser degree.

Was it fun working with Parker Posey?
Parker is fantastic. She brings a lot of ideas and always raises the bar. We both have very high standards for our work and ourselves and we get frustrated by people who don’t.

Why do you think she strikes such a chord with the gay boys?
Parker is an outsider – gay men relate to that. The way she perceives the world is very gay. She sees the camp in things. And she loves gays; I think they see that in her.

There are a lot of comedians in the cast. Was the film as much fun to make as it looks?
It was imperative that I create a sense of playfulness on the set for just that reason. We all had a blast. It was so much fun – the most fun I’ve ever had creatively. No cat fights, although we were all incredibly stressed as we only had three weeks to make the film and there were these elaborate set pieces like the battle dance.

At the big battle dance finale, you seemed to know your moves. Did the cast have to practice for hours to get it right?
We had five weeks of pre-production. My one day off was a Sunday and that was the day I went to 12 hours of dance rehearsal – it was rough. We had an amazing choreographer, Troy Christian, and he got these amazing dancers. You do your homework and then you try and let go and just have fun. Directing a musical number with you in it is really hard, though; that was the part that was the most stressful.

Are you more comfortable onscreen or in the director’s chair?
Acting makes me very neurotic and insecure. Directing makes me very neurotic and insecure. So, I’m not really ever comfortable when I work – I’m always trying to push myself, walk through a wall of fear or insecurity. But I truly enjoyed directing and want to do more of that.

You’re pegged as an indie actor and director. Do you have any desire to move more into big studio productions?
I don’t look at things as indie or Hollywood. It really is about the specific project. There are bad indies and bad Hollywood movies. I just want to do good work.

There’s a lot of slapstick humour and dancing in the movie. Have you always been a physical comedian?
Not at all. My body of work has been as a dramatic actor in movies like Swoon or I Shot Andy Warhol. No one would have cast me in this role, so I had to cast myself. I also love comedy. It’s just high drama. We are all running around, arms flailing, freaking out – these people are funny because they take themselves so seriously. Comedy is really just anarchy.

In the movie, Adam’s family are adorably accident-prone. Is this a reflection of your own family?
Yes. I grew up with my dad always saying there was a Chester Curse. Like nothing every worked out well for us. When I got older, I realised there was no such thing. But with my movie I thought, what if there really was? So I invented the Bernsteins!

Speaking of families, you were raised in a born-again Christian church. How do you think this has shaped your outlook on life?
Growing up in that church had a profound impact on me. I truly understand that world and saw first hand the sadness and hopelessness of those people’s lives. I thank God I’m gay. If I hadn’t been gay, I might never have questioned the status quo and gone off and had my own journey.

How was the movie received on the festival circuit?
I’ve been to dozens of cities with the film, all over the world. It’s incredible and I’m amazed at how well the film played in places as different as Texas and Cardiff! The movie has a very broad appeal.

Have you ever been to Australia?
I would love to come there. Parker shot Superman there and had the best time. I’m hoping I’ll be there soon!

So, what’s up next for Mr Craig Chester?
I’m working on a new script with Chris Kattan and also writing a movie about the Hollywood closet past, present and future.

Super Woman

A profile I did on Charlize Theron. It's pretty basic but I think she's the bee's knees. And hey, at least it's a good picture.

Super Woman

With a film career succeeding the 10-year mark, Charlize Theron has attained a stature that far surpasses many actors of her age and experience. Intelligent, politically minded and refreshingly forthright, the softness of her cherubic, old-Hollywood looks are balanced with a directness that ensures she is a woman to be admired – and one certainly not to be fucked with.

Born to Gerda and Charles Theron in Benoni, South Africa, at 15, she witnessed the shooting death of her father by her mother in an act of self-defence. It is with that aforementioned directness, matched with a stoic sensibility, that saw Theron use this episode as a motivational tool rather than allow it to engulf her.

“I walked away from a hellish experience,” she says. “I realised I had two clear choices – either I drowned or I could swim. So I started swimming, very fast.”

And swim she did.

Winning a modelling competition the year after her father’s death, she travelled to Milan on a one-year contract, which eventually saw her in New York City. She decided to remain there and attend the Joffrey Ballet School, looking set to become a professional dancer until a knee injury brought the endeavour to a grinding halt. She then decided to try her luck in acting and bought a one-way ticket to Los Angeles.

The rest is typical of your modern-day fairytale: down on her luck and arguing with a bank manager over a cheque on Hollywood Boulevard, an agent, mesmerised by her impromptu performance, approached Theron and asked if she would be interested in acting.

After losing her accent (she is fluent in Afrikaans and speaks some Xhosa, as well as 30 other African languages and dialects) she appeared in a handful of films before her breakout role in 1997’s, The Devil’s Advocate. This was followed by a string of movies that led her to the part that would cement her fate as a power-player in the industry – playing Aileen Wuornos in Monster. Scoring an Oscar for her portrayal of the troubled woman, Theron broke free of her looks (donning prosthetic teeth, greasy hair and gaining over 15 kilograms), proving that, more than just a beauty, she is an actor of substance.

The choice also carried socio-political associations for Theron.

“We went on a journey to find the greater truth of her story, which we always felt was misrepresented,” she says. “We never tried to justify why she did very horrendous things, we wanted to stay true to that. But also maybe lift the rug a little bit and show her actual situation.”

Some of these themes were extended when she took up the lead in North Country, playing protagonist, Josey Aimes. The film is based on Lois Jenson’s experiences at a mining company, where she was sexually harassed, leading to a class-action lawsuit against her employer for failing to protect her and other female employees – the first of its kind in the US.

She is also a friend of the gays. When asked why she and long-term partner, actor Stuart Townsend, hadn’t yet married, she replied: “We came up with a new idea. We said that we would get married the day that gays and lesbians can get married – when that right is given to them.”

Team that little chestnut with her acceptance speech when being honoured at the Gay And Lesbian Alliance Against Defamation awards for her work in increasing the visibility and understanding of the GLBTI community: “There’s one thing I’d like to say: as mothers, fathers, teach your children to have tolerance and acceptance. At the end of the day, we’re all the same.”

What’s not to love?

Blog Eat Blog

A little piece I did on blogs. Mainly posted just to break up the QnA onslaught. Though the article did receive a plug on Perez Hilton's site which I was fairly chuffed about.

Blog Eat Blog

Covering a vast array of topics – from the blunders of prominent political figures to Lindsay Lohan’s latest sans-panties flesh flash – blogs are springing up faster than a STI on an all-gay party cruise.

The blog phenomenon evolved from the online diary, with many people mistakenly thinking that the world needed a blow-by-blow account of their not-so-extraordinary day. This quickly developed into the viable information source that blogs have become.

The newest media pundits are largely free from the demands of advertisers or governing bodies, leaving them to publish a commentary untethered by censorship. Though many of the major media outlets have come to realise the social interest and cultural importance inherent to blogging, incorporating blogs as a part of their online content, the sites that attract the most traffic are still the domain of enterprising individuals who independently inform and entertain their cyber-going public.

“Blogs provide a voice for those who might not otherwise have one,” says Andy of Towleroad. “Also, in a world where corporations control much of the media, blogs provide an important balance to check the culture, both socially and politically.”

The pace at which news finds its way to the public is another measure of the journalistic value of blogs. By working around the clock, exchanging information with other bloggers and tracking tips from trusted sources, these cowboys (and girls) of new media are bypassing the editorial red tape and breaking reliable news stories, sometimes several days before they hit the morning paper.

“One thing that highlights the importance of the phenomenon is the speed of getting the word out,” says Alek from Oh La La, a Paris-based, gay-interest blog.

As with any new Internet enterprise, the boundless possibilities offered by this new portal of communication has, in many cases, been reduced to the keen pursuit of celebrity news, scandal and hot bodies. While this may be a gross generalisation, it does pertain to the kinds of blogs that are getting the most attention – and certainly the ones that are the most fun to read.

“We’re obsessed with celebs because they live such charmed lives,” says Trent of celebrity-driven Pink is the New Blog. “They do ridiculous things and make fools of themselves on an almost daily basis. Regular people like seeing celebs make mistakes because it makes them more human.”

What differentiates celebrity bloggers from trash mags like NW, US Weekly and OK!, is that not only are they commenting on the stars, the bloggers themselves are hanging out with them. This gives some Hollywood publicists stress-related migraines while others smack their lips at the thought of all of the free press the relationship may generate. This publicity circle-jerk is no more apparent than in the goings-on of the blogosphere’s latest pin-up, Mario Lavandeira aka Perez Hilton.

Perez’s site delivers an often-scathing report on all things famous: beginning a daily post by ripping apart Mischa Barton’s latest outfit, moving on to the topic of Rachel Zoe’s bereft sternum, before reviewing pal and namesake, Paris Hilton’s latest single. With almost two million site hits per day, Perez Hilton – along with his blogging contemporaries – are fast becoming celebrities in their own right. While there is no denying their growing influence on the cult of celebrity, fashion and reportage, Perez remains humble.

“I’m not a celebrity – I’m a celebretard,” he says. “No matter how famous I get, I’ll still be an outsider. I’ll still be banned from clubs and certain events, but it doesn’t bother me in the slightest, I know my place on the celebrity totem pole. I’m just happy to do my thing and be my own boss."

Pretty on the Inside

Not the hugest fan of her music, but it was quite cool talking with her nonetheless. She had a voice like no other – think all-American college girl meets a ghetto Nina Simone (oh, and can you tell these questions were structured for a gay magazine?).

Princess Superstar – aka Concetta Kirschner – is the latest enfant terrible to emerge from the American rap scene. She spoke to Luke Malone about misfits, talkin’ dirty and her obsession with Missy Elliot.

Luke Malone: How are you enjoying Australia?
Princess Superstar: Oh, it’s been amazing. I’ve played twice in Sydney and the people were just going mental.

How has the gay scene responded to you?
They love it! And it’s great because the gay clubs are my favourite to play.

Your lyrics are pretty hot and heavy. Is that what attracts the gay boys?
Yeah, absolutely. I think also the campiness and the over-the-top fun – all of that.

Where did the name Princess Superstar come from?
I had this little toy drum set from the ‘60s and on the box it said Superstar. My boyfriend at the time was like, 'Why don’t you call your little project Superstar?' I wanted something even more obnoxious, so I came up with Princess Superstar. He was like, 'That suits.'

You were voted one of the most beautiful New Yorkers by New York Magazine. Do you think that your looks have influenced your career?
No, I don’t think so. I think it’s more a matter of the music. I’ve always had one foot in the underground scene where it doesn’t matter what you look like so much.

What is it like treading more into the mainstream scene where your looks are taken into account, along with your music?
I find that really sad. All the pop starlets look the same; you look at Ashlee Simpson who is becoming Jessica Simpson with all that plastic surgery and I think it’s tragic. It’s important for people who do music to have their own unique look and it’s great if you look good. But, personally, I have to work really hard at it; I go to the gym everyday and take care of myself – inside me there’s this fat, ugly person trying to get out.

And you’re always trying to keep her locked up in there.
[Laughs] For real, I have to keep her at bay. For me, the most important thing is the music – I would really prefer that people concentrate on that. Having said that, I really do love to dress up and go crazy that way as well – so it’s a fine line.

You’ve said you were an awkward teen and that school was hell. Could you tell us a little more about that?
I didn’t fit in. I went to high school in Pennsylvania and there were a lot of rich kids and I didn’t feel like I belonged. When I was 17, I moved to New York to go to college and that’s when I started to feel at home. A lot of my friends say that they felt awkward growing up and I think that a lot of cool people today were the ones that really suffered in high school.

Do you think that makes you more appealing to the misfits out there?
Yeah, I think it helps people identify with me. I was definitely not the pretty, popular cheerleader – I was the antithesis of that.

Who are your biggest musical inspirations?
I’m inspired by so much – a lot of dance music that’s coming out of France right now is pretty interesting to me: like Digitalism, Vitalic and Justice. On the flipside to that are American hip-hop artists like Missy Elliot, Timbaland and the Ying Yang Twins. Also, my parents were hippies so I love old David Bowie and Pink Floyd. I’m really kinda eclectic and all over the place, which reflects itself in my music.

If there were one artist you could collaborate with tomorrow, who would you choose?
Oh, Missy Elliot. That’s a no-brainer.

What did you think of the commercial she did for Gap?
I thought she was cute. Listen, anything she does I love!

What message would you like to pass on to your faggiest of fans?
Stay pretty – inside and out.