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Hashtags Are Over

7/2/2012

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Dear @FeldmanAdam,

Hashtags are over. Hashtags are hoary. Hashtags try too hard to be funny in a vulgarly transparent way. Hashtags are gratuitous. Hashtags are beneath you. Hashtags make Baby Jesus cry.

Look, Adam, nobody enjoyed hashtags as much as I did -- in 2009! I am, after all, the one who launched the #pattilupone campaign to make Patti LuPone a trending topic. To quote Internet master @buckhollywood adapting a line from Mean Girls, "Stop trying to make 'fetch' happen, Rimalower."

How many times did I relish buttoning tweets with ironic and awkwardly long-winded, punctuation-less, space-less hashtags, running on my efforts to sum up themes or anti-themes of my tweets? Dozens of times, to be sure. Maybe even thousands!

And then one day, March 28, 2012, at 1:38 p.m., I read our mutual friend Brendan Kennedy's (@waywaw) tweet: "Remember hashtags? ‪#laughter‬"

Yes, I was horrified. No, Brendan! No! Yes, it's reductive. But don't shoot the messenger. I thank Brendan. I thank him for saving me from myself. I immediately looked at the Twitter feeds of various people with their fingers on the pulse. Sure enough, not a hashtag in months.

And don't give me that crap about pandering to trends. We're talking about Twitter. What is Twitter about if not trends, if not the pulse? I'm sorry you joined twitter so late (in 2011!) and are still having fun with hashtags, but they're played out. Maybe hashtags were always cloying, but at least in 2009 they were fresh.

Hashtags began with a real purpose. Before Twitter had a strong search engine, hashtags were the best bet for finding things and for making content easily findable across the site. But that has changed. Now, everything's a trending topic if enough users tweet about it.

And hashtags are unseemly outside Twitter. Whether you choose to automatically synchronize your personal feeds or not, social networks are now linked. Hashtags are especially useless on Facebook, where they remain unclickable. Even with the new advanced Facebook integration of tweets, hashtags bring up a clunky link, not the seamless click-through they were conceived to be.

Look around and see who's using hashtags nowadays. It's people new to Twitter, people trying desperately to keep up with the pack. It's empty nesters and snowbirds. It's small-fry producers and small-time crooks, anybody trying to make a buck off of this Internet thing. It is not worthy of someone of your taste and acumen, your stature.

There's no crime in joining Twitter late. Ten years ago, when all this social networking got going, I was extremely resistant to joining Friendster. And then my arm had to be twisted to move to MySpace. And then, of course, Facebook. Twitter I jumped at, but that's just me. To each his own, in his own time.

I'm grateful to my young friends in their 20s for letting me know what's hip. There's no shame in that. If anything, they remind me that cool is cool whether it's the 1960s, 1990s, or whatever the hell this decade is called. There's still nothing hotter than Andy Warhol and the Factory.

And, Adam, by any definition, you are cool. Sure, you're no slave to trends, and our shared taste in music might not always top the charts, but your heart beats to the rhythm of the night that started years before either of us was born and will continue long after we're all gone. To quote the brilliant Marissa Kamin, "Fashion is just what designers say should be worn each season, but style is the opportunity to be who you are."

Hashtags had their 15 minutes, but they were never more than a trend, and their time has come to collect dust in the corner of some second-hand shop, like trucker hats. I'm sorry you were late to the party, Adam, but the jig is up. People are wearing pajama bottoms, and there's an episode of Real Housewives playing in the bedroom. The party's over. #hashtagsareover

(For those of you who don't know, my friend Adam Feldman is a theater and cabaret critic at Time Out New York. He's the one who said of Patti LuPone in Gypsy, "Wow. Wow. Wow." See why I love him? You should follow him on Twitter. He's very funny.)

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I'm Still On YouTube Trying to Figure Out When Whitney Was High and When She Wasn't

2/28/2012

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I'm watching the 2010 BET Honors. Jennifer Hudson is serenading Whitney Houston with "I Will Always Love You," and it's amazing. For those of us unsatisfied by Hudson's truncated, if trenchant, rendition at the Grammys, it's thrilling to watch JHud knock it out of the park. Even more rewarding for me is the footage of Whitney in the audience, beaming at the tribute. More than just The Voice, my Whitney is The Diva, and although she graciously stands for Jennifer Hudson's entrance, girl never sits back down! While cooing, "That's right, baby," Whitney exudes, "I am legend."

In this clip Whitney looks like her I Look to You album cover, the very picture of living well, beating the clock, making a comeback. I didn't catch this performance when it aired, but if I had, I would have been pleased to see Whitney looking so good and so confident, amidst the stories of missed shows and weak performances on her concert tour. I was sad that a comeback, which started so strong with platinum sales and "a very special Oprah," had fizzled overseas and never made a triumphant homecoming.

I've been heartsick for the last two weeks, trying to make some sense of my feelings about Whitney Houston's life and death. As a gay man obsessed with musicals, divas are very important to me -- like spirit animals -- and outside theater, Whitney has been the singer closest to my heart and seminal throughout my life. Back in 1985, her self-titled debut album was the soundtrack to my parents' divorce. I'll never forget, a couple of years later, hearing the opening lyrics to Whitney's second album, "Clock strikes upon the hour, and the sun begins to fade," as those very things happened in Eric Schrier's backyard at the first dance party of fifth grade.

Certainly, the magic comes from Whitney's voice, the way I vicariously soar with her incredible crescendos. But there's something else, harder to describe -- it has to do with the expressiveness in her singing, due to her talent, absolutely, but also because her voice is so laden with memories and associations that my ear automatically imbues her performances with extra layers of intention. This was even more evident in recent years when her frayed vocals lent an additional sense of honesty, which seemingly autobiographical songs like "Try It on My Own" and "I Didn't Know My Own Strength" exploit for maximum emotional impact.

As a person in recovery from alcohol and drug addiction, I've watched Whitney's roller coaster ride with bated breath since long before I acknowledged that I myself had a problem. Watching Whitney with Diane Sawyer, so transparent and pathetic as she arbitrarily vacillated between confessions and denials, truth and lies, I couldn't deny that I related to her struggle. As with many divas, I felt empowered by Whitney's prowess and engaged in her vulnerability, but in her case, I also identified with her demons.

So now, I obsessively search for videos (interviews, performances, paparazzi footage) and articles (past and present, objective, sensationalistic, and fluff) trying to chart Whitney's journey. When was she OK? When wasn't she? When was her voice gone? When did it come back a little? When was she high? Was she ever sober?

In the great diva signature song tradition of Judy Garland and "Over the Rainbow," I have measured Whitney's status via her performances of "I Will Always Love You" through the years. Even when The Voice failed, The Diva always delivered. Who but Whitney Houston could get away with the absurdly over-the-top antics she would pull procrastinating that iconic key change?

Charting the journey of Whitney Houston is much like the process I went through when I first got sober. I remember pacing around my apartment talking to myself out loud, trying to piece together exactly what happened to me in the last 10 years. When was I OK? When wasn't I? Coming to an understanding of the past makes me feel a sense of control in the present. That's the same comfort I seek with Whitney.

So I fill in the blanks to the best of my ability, spin my Whitney Houston story as it makes sense to me -- first as The Voice of a generation, then as a fellow addict who lost her battle, and that is what I will hear behind the words of her songs. I can no longer hope that she makes it, that she's OK. There are no more comebacks to root for. Now, there is just her music. It's ours now.


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It's Scary As Hell to Sing Showtunes Sober

1/18/2012

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Seven months sober, I couldn't get over how good I was feeling on the first Friday night in January. In years past, so clobbered by the Holidaze, I limped through that first week back at work on fumes, but there I was at the Duplex piano bar at 2 in the morning. It was just like the old days -- minus one thing.


Feeling so well, I marched up to the stage and boldly requested "Meadowlark," the mother of all showtunes.

As soon as I started singing, I regretted it.  There were no jokes to play or funny characterizations to hide behind. The only way to sell this number was going to be for real. I don't do real. I can't. Short of breath, my throat tightened, and as I precariously leapt up the wide intervals, I trembled, unsure of what would come out. What was the note supposed to be, anyway? And what the hell were the next words?

My mind flashed back a few weeks to a karaoke room full of guys singing Christmas songs. It was my first time meeting some of them.  I might have felt comfortable with new friends doing a quirky comedy song from Guys and Dolls, but "O Holy Night"? I fled, spilling someone's drink and slamming an arm in the door as I ran out onto St. Mark's Place. Taxi!



Where is my bravado?



Sure, I got sober.  But I don't think that explains it.  Certainly, drinking is a major relaxer, but I can relax sober, too.  So, what, then? 


For one thing, environment.  Alone, in my apartment, I feel free to fail, take risks, experiment. This workshop environment extends to one-on-one karaoke time with close friends.  In groups of three or more, I refrain from experimentation, trotting out the best of the recent additions to my repertoire.



I don't do public karaoke, just the private rooms, but I do enjoy singing in a piano bar -- if I'm really confident I can sing the song in tune and I have something to do with the song where I can entertain the audience, since I never feel that my voice alone is enough.



Why such stagefright about my singing?  I don't consider myself a great actor, but I'm not at all shy jumping up to perform anything, anytime, anyplace.



As a kid, I sang around the house when there was a song in my heart, but I didn't spend any time pondering how I did it or how well, or what anyone else thought.  I have a particular memory of feeling my voice soar out above my classmates' on "I'd Like to Teach the World to Sing" in the third grade spring concert: "That's the song I heeeeeeeear..."  But it was almost unconscious.



When I started getting obsessed with musicals, my friends and family balked at my enthusiastic renditions from Evita, Gypsy, and Sweeney Todd.  I think that was when I first realized that tune is a finite thing and that you are either in or you're out.  That simply hadn't been my approach to music.  I sang to emulate the dramatic climaxes and crescendos of the great voices.  Looking back, I see there was a different music I was singing, which unfortunately wasn't the melody of the songs.



I would be cast in the chorus and usually told to lip-synch.  I remember so much aggravation as they would bang out the notes on the piano. I couldn't hear it.  Everything I sang was wrong.


I resigned to describing myself as tone-deaf. I was going to be a director anyway.



Freshman year of college, I took the only musical theater class offered, a performance workshop, and Music 101a.  I wanted to direct musicals, so I figured I had some stuff to learn. All I remembered from early childhood piano lessons was "Every Good Boy Does Fine."  I was taught to count the intervals.  I would sit for hours at a piano in a practice room, plunking out 1, 3, 5, 3, 1, feeling the vibrations in my voice come into sync with the notes from the piano. I get it, people!

For my first piece in musical theater class, I chose "If I Were a Rich Man."  I would practice with my accompaniment tape over and over again, searching for the same synchronicity of my voice and the piano. It got easier, and eventually, I got it right more often than not. Once I locked in with a song, I'd be home free.  Even the tricky change to a minor key in "Rich Man" I modulated every time with aplomb.  Maybe it's just the klezmer in my soul.



It was shortly after that that I discovered karaoke rooms and piano bars.  I started out modestly, gradually building my confidence and repertoire over the last 15 years or so.  But I guess it's like anything: "progress, not perfection."

And so, although miserable and shaky onstage singing "Meadowlark," I soldiered through.  I thought of Michael Feinstein's words to Elaine Stritch before her first performance sober: "You'll stop shows again, Elaine. Not tonight. Tonight, just get through it."  And I did, promising myself I never had to sing again.



Then, as I scurried back to my seat, as if by some cruel joke, I was called back to the stage.  



"You have to do the end again with an arm gesture."  House rules.



God, grant me the serenity to accept the things I cannot change, the courage to change the things I can, and the wisdom to know the difference.

I gave them arm gestures for days.



The night after the Duplex, I wound up with some friends back at my place.  Karaoke ensued. Up past 2 a.m. for the second night in a row, I was beat and announced my retirement for the evening.  My friend Dan wanted me to sing "If I Were a Rich Man."  How could I refuse? Kills 'em every time.


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The New Old Gay: I'm Going To Rehab

6/20/2011

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As much as I fantasize about writing a brilliant piece on my decision to go to rehab – honest and full of colorful detail and hilarious and insightful, I’m not there yet. I am, after all, going to rehab because I’m a mess or, at the very least, I don’t have it all figured out. But my desire to broadcast my status to the entire world compels me to write something, even if only so people know why they’re not hearing from me for the next month, a sort of “gone fishin’” sign on my Facebook profile – gone rehabbin’, twelve steppin’, recoverin’, etc. I don’t know whether that’s in keeping with the principles of Alcoholics Anonymous, but I haven’t started the program yet, so, as of this moment, my only principles are my own scuffed up set.

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The New Old Gay: Dear Fierce Lady...

5/26/2010

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So I feel a little weird making this week’s post about convincing Erin Markey to direct me in my solo show about my obsession with Patti LuPone. (I recently retweeted Jackie Collins’ “My advice for aspiring writers – Don’t talk about it. Do it!!” but, uh, anyway . . . .) I’ve always thought it was lame when people used public forums for personal messages, but this is where I am, and one lesson I’ve certainly gleaned from Erin’s work is to be present and open.

So, here we go:

Dear Erin Markey,

Will you direct my Patti show?

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The New Old Gay: A Star Is Bare

5/18/2010

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Somewhere in the fog of the last couple of weeks celebrating my birthday (remember “Holidaze” – this was my birthdaze . . . ), I found myself with a dozen people in a private karaoke room at 3 AM. Okay, this happened a few times, but on the particular occasion I wish to commemorate, Erin Markey sang “The Man That Got Away” from the Judy Garland A Star Is Born, and a light shown through the mist. I’ve seen her do the number before and if anything, her usual intensity was even more manic, mad really, but that night I was struck most by the power and clarity of her voice.

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The New Old Gay: Take It To Broadway

5/4/2010

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Did anyone else notice that last week’s “Glee” was essentially a commercial for the current Broadway revival of Promises, Promises starring Sean Hayes and Kristin Chenoweth? The musical theme of the episode was Burt Bacharach and Kristin actually sang “A House Is Not A Home”– as seen on Broadway.

Has a narrative series ever given a Broadway show such product placement before? Kinda cool, although it’s pathetic that I’m so shocked a TV show would deign to be associated with a lowly Broadway musical, like I can’t believe Theatre is famous enough to be on TV.

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The New Old Gay: Show And Tell

4/26/2010

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For the last few months, I’ve had the privilege of working on a musical, The Dardy Family Home Movies, written by my friend, mad genius playwright/actress/singer/performance artist Erin Markey. One of the reasons I agreed to direct the first reading of the piece, back in January, was that I was feeling blocked and unmotivated as a writer myself – months had gone by since I’d written this column or worked on my solo play about my lifelong obsession with Patti LuPone – and I knew that being around Erin’s prolific mind and lust for life would inspire me to get cracking. So it was a no-brainer to accept Erin’s invitation to join her in a casual artists’ salon a block away from my apartment in Williamsburg this past Saturday afternoon. Erin knows that I’ve been struggling to finish the second draft of my Patti show and she thought this would be good for me, to share my work with these people of different disciplines and backgrounds, and to have the limited kind of structured feedback this group espouses.

Expecting wine and cheese and a room full of judgmental hipsters, I braced myself to perform my work as a writer for the first time ever. Getting dressed that morning, I was focusing on the fact that my audience might not even have ever heard of Patti LuPone. What would they make of my showqueen babbling?

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The New Old Gay: No, No, Pussy Faggot

4/19/2010

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After writing about Dan Fishback’s wonderful concert last week, I began this week by meeting with Dan about his play, Thirtynothing, which I am going to direct later this year. It’s about the missing generation of gay men, of artists, lost to AIDS, and juxtaposes Dan’s experience of this today in his 20s with his experience growing up as a post-Holocaust Jew. In preparation, Dan is researching gay life in the post-Stonewall/pre-AIDS era and I was eager to share with him my love of the gay fiction of that time, which I read voraciously in college and still hold dear to my heart. It felt like college as Dan and I sat on his bed, listening to Joni Mitchell, comparing and contrasting the higher and lower brows of gay writing from the 70s, Edmund White vs. Felice Picano, Andrew Holleran vs. David Feinberg, etc.

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The New Old Gay: Not Everybody Says Don't

4/10/2010

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 Last week, I described my objective for this column as an “attempt to break down what turns me and on and off, what I hope for, what I’m disappointed in and why, not just on Broadway or in theatre, but a sort of Broadway showqueen-focused umbrella of pop culture.”

I thought about that idea a lot this week, as I went about my days and nights seeing shows and things and people. What is the entertainment event I’m craving, the movie in my mind, the musical in my heart?

Theoretically, on Monday nights, that means staying home, regrouping from the weekend, watching “Nurse Jackie” and “The United States of Tara,” but as Monday is usually the dark night on Broadway, benefits and concerts in that world tend to be on Mondays. What’s a gay to do? Sleep or see Julia Murney? What got me out of the house last Monday was a double-bill of Max Vernon and Dan Fishback at Joe’s Pub – not even a theatre thing! Jeez. Or was it?

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