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    Debbie Gibson Is Not Going to Get Stuck in the Past

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    The pioneering pop singer on her beauty and wellness journey.Debbie Gibson, the pop singer who shot to fame in the late 1980s with “Electric Youth,” is still making new music. She has an album out in August, “The Body Remembers,” her first in 20 years, and is performing in Las Vegas (at the Venetian) to boot. “Electric Youth” may have influenced fashion (her signature headwear) and beauty (Electric Youth perfume) for a certain generation, but Ms. Gibson, 50, is living firmly in the moment. “I never stay back in the day because today is today, and that’s how I approach life,” she said. Here, her current take on beauty products and wellness regimens.She’s a Morning PersonI joke that I if I was not in entertainment, I would be a farmer. I’m down with the sun and up with the sun. I did half the vocals of my new album by 5 a.m. in my nightgown. I do try to linger in bed with my dogs, three boy dachshunds. That snuggle time with puppy kisses for me is everything.I need breakfast within a half-hour of waking up. I’m a basic eggs, orange juice and coffee person. On a decadent day like today, it’s an almond croissant.Mad Scientist Skin CareI’m kind of a mad scientist with my skin regimes. I do what I need on that day. I love micellar water for cleansing. I just got the Soap & Glory Triple Action Jelly Eye Makeup Remover. I also have this Tarte Knockout Tingling Treatment. It’s got glycolic in it. It really wakes my skin up. I also love the Tatcha brand — the deep cleanse and the moisturizer.Basically I try to use fragrance-free lines now. My life really took a turn 10 years ago when I got Lyme. I started to have chemical sensitivities I never had before. My skin especially reacts to sunscreen. Now I use the Derma-E Sun Defense Mineral Oil-Free baby sunscreen.I have this Biossance Squalane + Glycolic Renewal Mask, and yesterday I got this Youth to the People Superclay mask at Sephora. I also love oils on my face. I live in Las Vegas, and it is so dry here — my hair won’t even grow past a certain point now. I have several oils that I rotate. I use the Farsáli Rose Gold Elixir. I also have the Tarte Maracuja Oil. I used to go for a super-matte look — I was a Broadway girl. It was my pasty New York era. Now I’m a glowy skin and makeup person.Glow OnI use multiple bases. Here I’m a mad scientist again. I have a Make Up For Ever stick, and I have the Ultra HD liquid base. I have some discoloration, some melasma on my jawline. I have to go a little heavier there. I love the L’Oréal Miracle Blur for my forehead lines. Obsessed. I don’t like a lot under my eyes — it brings out my lines if I’m tired. Sometimes I’ll use the Charlotte Tilbury Hollywood Flawless Filter and blend it into my base. I love a highlighter by Melt Cosmetics — it’s a peach color and so pretty.I used to do a lot of contour under my cheekbones, but not anymore. I like my cheeks to show through my makeup now. Another go-to is my Lime Crime trio of highlighters. There’s a glowy pale peach that I love. I love all my glow!I use the Urban Decay waterline pencil and the 24/7 pencils. I line the inside top of my eye with a darker color and a lighter color on the top lash line. I like the look of a liner inside my lower lashline, but it irritates my eyes. If it’s a “I’m going to suffer for beauty” kind of day, that’s what I do.I have the Huda Beauty Rose Gold eye shadow palette. My favorites are the Fling and Rose Gold colors. I love the Stila Glitter & Glow eye glitter in Diamond Dust. I saw this brand Dear Dahlia on Instagram, and now I use their liquid shadow Paradise Shine Eye Sequins in Muse. I also have Fenty Beauty sheer white shimmer that you can put on top of your whole lid. I just love shimmer, shimmer, shimmer.My brows have gotten so thin. If you’re a young girl out there, and you’re going through a breakup, don’t take it out on your brows. I remember the tweezing session that changed my life. I have a sandy/taupe brow powder.I’m a lash fanatic. Lashes are the best! I immediately feel like a pop star if I put some lashes on. I use high-end lashes and pharmacy lashes. I have Ardell Wispies and I love Velour, which are at Sephora. If I’m going onstage, I’ll double up lashes. For mascara, I’m into good old Maybelline Great Lash. Then there’s Too Faced Better Than Sex mascara if I want more. That’s a fun one.I just bought two Pat McGrath lip glosses I’m so excited about. I like to do MAC Spice liner and a gloss on top. MAC also has this nude lip pencil color that’s like a nudish Brigitte Bardot liner that I love, too.Hair IssuesAge doesn’t matter for me in a lot of areas, but at 48 my hair started to change in texture. Now I’m 50. There’s gray in my hair — I have base and highlights. Twice in my life I got bonded extensions, and within 48 hours I had them removed. At the end of the day, I just like to feel natural. There are so many other ways to turn on the glam. I need a great wig in my life.I love Keranique Scalp Stimulating Shampoo. It has a mint scent. I alternate that with Desert Essence Fragrance-Free Shampoo, which is super gentle. I also have Original Sprout Leave-In Conditioner. And my manager just turned me onto the K18 hair mask. I also use the Philip B. Detangling Toning Mist.But my favorite thing to do, my kitchen hack, is to use avocado oil cooking spray in my hair. I spray my hands and do a piece-y thing at my ends. It gives it such an amazing texture.Making Peace With LinesI had gotten Botox twice in my 30s, and then the third time I did it — I think I was around 40 — I got this horrible reaction. I think it’s because I didn’t know then that Lyme was on board, and my body couldn’t handle it. I’ve accepted the fact that if you’re an expressive person, you’re going to have lines and flaws. I celebrate it all at this point. I’m not going to jeopardize my health just so I can freeze some lines.Diet PuzzlesFor a long time, I was scared of food because of Lyme. I didn’t know much then. I had to do food allergy and sensitivity tests. I was super, super strict, eating organic proteins, veggies and low glycemic fruits. I’m happy to say I know what works for me now. I’ve built my body back up to the point where nothing is going to take me completely down.I’ve been working with a dietitian since I was 17. I referred her to Janet Jackson and Paula Abdul. She’s amazing — Lisa Giannini. She has so many great tricks, and she’s very into gut health. It’s about learning your own health and diet puzzle.Learning to RelaxI used to do three-hour workouts before a dance rehearsal! I was like an Olympic athlete. Since Lyme, I do just enough movement to be fit, but I can’t use up all my reserve. I did get a Peloton, and I do love it so so much. I also have an elliptical machine, and I do my own made-up version of a workout with light weights and a Pilates ring. And I do a whole lot of walking with my dogs.I try to do things that feel flowy. I discovered Kundalini yoga from this woman on YouTube, Sat Dharam Kaur, who does these amazing breathing exercises. I used to be addicted to that super-sore, I-can’t-walk-the-next-day feeling. It did me a lot of damage. I’m a more-is-more kind of person, but my body is, like, “Sorry, you have to learn moderation.”I think everybody has a journey — we all have edges we’re trying to contain — but I think one of the biggest lessons I’ve learned is that I’m not people-pleasing anymore. I have no problem saying I need to take a self-care day. More

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      in Movies

      A 'Blade Runner' Version of Manhattan

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      #masthead-section-label, #masthead-bar-one { display: none }At HomeFall in Love: With TenorsConsider: Miniature GroceriesSpend 24 Hours: With Andra DayGet: A Wildlife CameraCredit…John Taggart for The New York TimesAm I in Manhattan? Or Another Sequel to ‘Blade Runner’?Flickering screens, whizzing helicopters and repurposed patches of pavement have transformed the scene.Credit…John Taggart for The New York TimesSupported byContinue reading the main storyMarch 11, 2021, 3:00 a.m. ETIf you have been drinking too much while looking at pictures of real life (or at least Instagram life), if you spend more time talking to machines than living creatures, if you’ve been wondering if you’re alive, if you have an itch you can’t scratch, if you think you have a condition called accelerating decrepitude, if you live in a building of empty apartments, there may be a movie that speaks to you, and that movie came out almost 40 years ago. It’s called “Blade Runner.”Since its 1982 debut, “Blade Runner,” set in a phosphorescent, futuristic Los Angeles and directed by Ridley Scott, has tempted fans to see it as coming to life, well, everywhere. The film’s motifs — gorgeously derelict prewar high-rises, the aesthetic influence of Asia’s megacities, massive LED screens — have become visual shorthand for The Future: Down and Out (but Dark and Sexy) Version.Purists insist that it is a Los Angeles movie, but posts tagged #bladerunner linked to places as disparate as Istanbul, Tijuana, Milan, Nairobi and Detroit typically appear on Instagram every 10 minutes or so.Few of those places resemble the movie as much as still mostly locked-down Manhattan, where a starker, lonelier, more class-riven update of the film’s retro-noir mood has taken hold. The filmmakers behind “Blade Runner” originally found inspiration in New York, and that was before the city incarnated its post-apocalyptic setting in which “anyone with the wherewithal has presumably gone away,” as Janet Maslin wrote in 1982. “Only the dregs remain.”A jumbo flashing billboard that was once the CNN logo, near Columbus Circle in Manhattan late in February.Credit…John Taggart for The New York TimesAdrian Benepe, the former New York City Parks Commissioner and current head of the Brooklyn Botanic Garden, sees “creeping Blade Runner syndrome” everywhere, from the clogged skies over Manhattan to the subways, which he rides to work every day from his home on the Upper West Side.“They’re empty,” Mr. Benepe said. “I’ve been alone many times at rush hour. It’s eerie as hell.” He also finds the movie prescient in its depiction of a world saturated by intrusive, omnipresent advertising.“Places in New York that used to not have advertising now have ads,” he said. “You can’t get away from it. It’s in the subways, it’s on the streets, it’s on barges. You never stop being assailed.”Giant screens are nothing new, of course. But New York’s streetscape had been permeated as never before with twitchy, adhesively catchy LEDs, a trend that has only accelerated during the pandemic, with the Metropolitan Transportation Authority announcing last summer the addition of 9,000 screens broadcasting “Covid-relevant safety information.”Herald Square, now with a neo-noir flair.Credit…John Taggart for The New York Times“There is advertising everywhere, and it’s a bit of sensory overload,” said Ben Kallos, a City Council member who represents Manhattan’s East Side. Mr. Kallos said LinkNYC, the network of 1,800 sidewalk kiosks around the city providing free Wi-Fi as well as block after block of eye-level digital content, “is pushing the boundary” when it comes to “the amount of advertising people are willing to take.”That said, for all its complexity and clutter, New York’s visual environment is carefully calibrated by zoning codes and the desire of advertisers not to trigger associations with images such as the “Blade Runner” signature motif of a geisha’s face beaming down from a hovering blimp, let alone the monolithic Big Brother figure in Apple’s infamous “1984” commercial (also directed by Mr. Scott).Slip-ups happen, however. Last summer, during protests over the killing of George Floyd, marchers who had gathered near Columbus Circle were shocked to see messages from a billboard overhead sternly telling them to go home and “Don’t be a criminal.”“They were telling people that this isn’t what George Floyd would want, things like that,” said Frederick Joseph, a marketing and communications specialist who is also the author of the recently published New York Times best seller “The Black Friend.”Mr. Joseph was marching beneath the 32-foot-high digital sign — the only such billboard facing Central Park — and was shocked to see the messages accompanied by the face of Governor Andrew M. Cuomo of New York, along with a misleading Twitter handle. (The Moinian Group, a real estate developer that owns the billboard, did not answer several calls.)“There was a countdown basically saying how much time before you were past curfew,” Mr. Joseph added. “And when it got to like 10 minutes before, people started running. It felt like something out of ‘The Hunger Games,’ or ‘Blade Runner.’”Not all of the resemblances to the movie are nightmarish. The retro-noir look “Blade Runner” is credited with has inspired copycats, including Anthony Bourdain, who before his death planned to open a “Blade Runner”-inspired “Asian night market” on the West Side of Manhattan, and Raf Simons, whose 2018 men’s wear show on a steamy, neon-lit night under the Williamsburg Bridge featured models in monklike cocoon coats carrying clear plastic umbrellas.Indeed, one of the subversive triumphs of “Blade Runner” is making techno-fascist dystopia seductive.“It’s supposed to be terrible, but of course it’s mesmerizing,” said James Sanders, the author of “Celluloid Skyline: New York and the Movies.” Mr. Sanders said that “Blade Runner” originally spoke to a “terror that white middle-class culture was going to be overrun by foreigners.”A helmeted man in bike and other vehicles, whizzing down 32nd Street.Credit…John Taggart for The New York TimesSome parts of Midtown are incontestably gloomy, such as along Lexington Avenue in the 40s, where mannequins seem to outnumber humans, space-helmeted bicyclists swerve around heaps of garbage, and like a jellyfish glowing undersea, any gleam of life only underscores the vacuum.”Just a half-mile south, though, in Manhattan’s Koreatown, the feel is warmer, if slightly edgy, as restaurants have transformed 32nd Street into a vogue-ish outdoor bazaar where you may not feel comfortable unless you’re wearing a neoprene cocoon coat with nozzles for the attachment of heating tubes. It’s not just the diners slurping seolleongtang inside plywood shacks, the cosmetic treatments on offer up glowing stairwells, or the puddles at the diners’ feet (which, although not runoff from acid rain as in “Blade Runner,” may be something worse from nearby Midtown).Scott Geres is the general manager of the Edison Hotel, a Jazz Age showpiece that opened in 1931, when Thomas Edison himself turned on the 26-story building’s lights. Pixelated models’ faces projected from Times Square flood many of its 810 rooms, including the Presidential Suite, where Aaron Judge, the New York Yankees right fielder, spent the 2018 season.Is that the Jolly Green Giant or something more sinister?Credit…John Taggart for The New York TimesFor the last year, Mr. Geres has been one of the few people at the Edison.“For the first month I didn’t leave the building,” said Mr. Geres, 48, who walks up to 25,000 steps a day checking for pipe leaks and fire hazards. “There used to be 5,000 people in this building on a Saturday night. Now it’s just me and one other person on my team.”Mr. Geres said his job is to keep the Edison’s lights flickering behind the plywood shielding windows on the Rum Bar and street-side restaurants. The 700-room Paramount hotel, across West 47th Street, however, is “dark dark,” he said, like so many buildings in Midtown.“Dark dark” is of course the psychic state of much of New York these days, and of Rick Deckard’s mind. In “Do Androids Dream of Electric Sheep,” the 1968 novel by Philip K. Dick on which “Blade Runner” is based, Mr. Deckard is tormented by empty apartments — “sometimes he heard them when he was supposed to be asleep.”Childless, communicating via “vidphone,” and drinking himself into oblivion (with Vangelis’s blissfully narcotic score playing in the background, who wouldn’t?), Mr. Deckard spends his time when not hunting fugitive robots — whose vivacity is a rebuke to his own shrunken soul — looking at pictures from before times, specifically, snapshots of possibly imaginary family members.It’s an on-the-nose image of loneliness and lassitude for those “living in the screen bunker,” as the pop psychologist Rob Henderson has called pandemic life. Meanwhile, outside the bunker, intimations of creeping disorder conjure the city of the 1970s, one of the main inspirations for “Blade Runner.”“Places in New York that used to not have advertising now have ads,” said Adrian Benepe, the former New York City Parks commissioner. “You can’t get away from it. It’s in the subways, it’s on the streets, it’s on barges. You never stop being assailed.”Credit…John Taggart for The New York Times“I was spending a lot of time in New York,” Mr. Scott has said of the movie’s filming. “The city back then seemed to be dismantling itself. It was marginally out of control.”At that time, Mr. Scott frequently found himself flying directly to Midtown via a helicopter service from Kennedy Airport that would land atop the former Pan-American (now MetLife) Building straddling Park Avenue. Not long afterward, following a grisly accident, the helicopter service was discontinued.Mr. Benepe sees helicopters as another way “Blade Runner”speaks to the moment.“In ‘Blade Runner’ you have this overhead traffic constantly circling overhead,” he said. “Well, now the ultrawealthy, not only are they no longer in mass transit with us, they’re not even on the roadways. They’re flying in from the Hamptons.”He pointed out that the helicopter charter service Blade recently announced a daily commuter run, set to begin this month, shuttling passengers to Manhattan from Westchester.“Blade Runner”’s class critique is not subtle. A sex worker hunted by Mr. Deckard tries to kill him with his tie. The movie’s arch-villain, the head of an evil biotech corporation, lives at the pinnacle of a Pharaonic temple, and apparently he’s the only character in the movie whose apartment gets sunlight.That home, towering above the city, is as spacious and warm as the other interiors are dismal and claustrophobic. Though, in one of the ways “Blade Runner” seems dated, compared with Pharaonic apartments in Manhattan nowadays, its proportions are not extravagant.AdvertisementContinue reading the main story More

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      in Television

      Move Over, RuPaul! Meet the Drag Kings

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      Tenderoni outside of a barbershop in the North Center neighborhood of Chicago.Credit…Evan Jenkins for The New York TimesSkip to contentSkip to site indexThe Great ReadDrag Kings Are Ready to RuleThe blurring of gender boundaries has allowed for more freedom in online pageants — and soon, it’s hoped, back in the clubs.Tenderoni outside of a barbershop in the North Center neighborhood of Chicago.Credit…Evan Jenkins for The New York TimesSupported byContinue reading the main storyMarch 4, 2021Updated 4:23 p.m. ETIt should not be a big hairy deal that a 32-year-old Chicago-based drag performer named Tenderoni will be vying in a virtual talent competition on Sunday, and yet it is truly a reason to wig out.The pageant is called Drag Queen of the Year 2021. But despite a penchant for lip-syncing to Missy Elliott, Tenderoni isn’t a drag queen. He’s a drag king, which, generally speaking means a performer born female, who takes the stage in men’s clothes. He is what was once called a “male impersonator,” penciled-on mustache, compressed chest and all.Tenderoni, his creator says, “is a mash-up of Michael Jackson, Bobby Brown, Prince, George Michael and Boy George.”It’s drag, it’s cosplay and, he hopes, it’s enough to win.While androgynous costume in this direction is hardly new — Marlene Dietrich famously set libidos afire in top hat and tuxedo in the 1930 movie classic “Morocco” — drag kings tend to be the lesser-exposed and underappreciated segment of drag. Casual fans who get their drag from TV or with a side of waffles at brunch, in fact, may never even have heard of this particular practice.“In the past, many of our audience members didn’t understand the concept of drag kings,” said Chad Kampe, a producer who has been staging popular drag brunches in Minneapolis since 2012. “We often got questions.”Chief among them: “What the heck is a drag king?”But now that drag has gone mainstream — the Season 13 premiere of “RuPaul’s Drag Race” on VH1 on Jan. 1 drew 1.3 million viewers, its highest-rated episode ever — performers who exaggerate and explore the tropes of manhood are getting a closer look.Although a king has not yet been featured on “Drag Race” (a trans man named Gottmik who performs in female drag has), drag kings at last are getting more exposure elsewhere, and surprisingly, the pandemic may have helped.The closing of bars and restaurants has hit most performers’ pocketbooks very hard, but the mandated move to online entertainment may have helped level the playing field.“Covid made everyone have to go digital,” said Tenderoni, who developed his act at Berlin, a club in Chicago. “That has made the audience for all kinds of drag so much bigger. I’ve done shows and heard, ‘I’m from Brazil,’ ‘I’m from London.’ It has opened the floodgates.”‘A Seat at the Table’The Drag Queen of the Year pageant takes such diversity as its mandate.“We’ve worked with trans men and trans women and drag kings and all these different kinds of performers our whole lives,” said Alaska 5000, 35, the “RuPaul’s Drag Race All-Stars” winner who founded the competition with a fellow drag queen, Lola LaCroix, in 2019.Why, they wondered one sleepless night flying home from a gig, shouldn’t such performers all compete against and celebrate each other? “Everyone has something to prove, and everyone brings so much,” Alaska 5000 said. “What they do isn’t just valid, it’s fierce.”To that end, Tenderoni will go up against seven other disparate drag artists — some bearded, burly and burlesque; some Jessica Rabbit curvaceous; some known for their lingerie-clad muscles — for the Drag Queen of the Year crown in a show to be seen on the Sessions Live platform.Whether he wins or not, it doesn’t really matter. “This gives us a seat at the table,” said Tenderoni, who started performing in drag less than five years ago. “Drag is a buffet. I don’t need to be the main course — I just want to be included.”By appearing that night, he will earn a spot in a brotherhood of drag kings that, under various names, has been around for centuries.Male mimics Vesta Tilley and Hetty King were widely celebrated on British music hall stages of the 19th century. Stormé DeLarverie, a Stonewall activist who preferred the term “male impersonator” to “drag king,” passed for a man while touring America with the Jewel Box Revue in the ’50s and ’60s.In the ’80s, the comedian and actress Lily Tomlin played Tommy Velour, a Las Vegas lounge lizard with more chest hair than talent. He lives on, in all his hirsute glory, on YouTube.In a June 2000 episode of “Sex and the City” titled “Boy, Girl, Boy, Girl…,” prim Charlotte York (Kristin Davis) is photographed in a mustache and a man’s suit, and her portrait is featured in a gallery show. The show used real drag kings, but only as background players.More recently, “Vida,” a Starz show about two Mexican-American sisters, featured the drag king Vico Suave, the creation of Vico Ortiz, a nonbinary actor. Tanya Saracho, the show’s creator, said she wanted to include drag kings in the cast because they’re an “underrepresented initiative” in queer entertainment. “The artistry is there,” she said, asking, “Why are they not part of the mainstream wave that’s happening right now with drag?”Twenty-five years ago, fans had to venture far beyond their living rooms to underground clubs late at night to see drag kings perform. In New York back then, that meant a watering hole like Flamingo East on Second Avenue, in an East Village much rougher than it is today.Murray Hill with barber Jack Khaimchayev, right at Model Barber in Brooklyn, N.Y.Credit…Isak Tiner for The New York TimesGoing for the clean close shave.Credit…Isak Tiner for The New York Times“Those early days in the clubs were electric, uncharted and riveting,” said Murray Hill, 49, a New York comedian known as the “hardest-working middle-aged man in show business” since his emergence as a young drag king in 1995. His earliest drag performance was as a “fat sweaty Elvis,” to use his words, at 2 a.m. on a Sunday at a party called Club Casanova at a venue called Cake on Avenue C. “It felt very underground,” he said.Mo B. Dick, 55, the drag king who ran Club Casanova before decamping for the West Coast in 2004, said that in that era, “it was more about drag king realness. You were passing as a male.” Kings were spirit-gumming their own hair clippings to their chins and chests in the name of entertainment. The illusion worked well enough, but such makeovers would be considered underwhelming today.Thanks to the special-effects-grade prosthetics and precision paint jobs seen on “RuPaul’s Drag Race,” drag performers of every stripe have had to up their game. “Now when folks go to their local drag bar, they expect to see what they saw on television,” said Mr. Kampe, the Minneapolis producer, which encourages artists “to continually invest in new looks.”Mr. Dick thinks standards have gone up. “These kids today, I’m pleased at how extraordinary they are,” he said. “Now, there’s more artistry and more makeup. Being a king is more ‘draggy.’ The showmanship is phenomenal.” At a good brunch, he noted, “Performers now go through three or four costume changes during a one-hour show.”A 2018 all-drag-kings tribute to the boy bands Backstreet Boys and ’NSync, held at a venue in Minneapolis called the Union Rooftop, was so popular that Mr. Kampe said he had to do six shows to meet the demand.Mr. Dick recently created a website, dragkinghistory.com, to help new audiences learn about the art form’s past. On Feb. 21, he celebrated veteran drag kings with an international online event called “Drag King Legends.” The pay-what-you-can show featured stalwart performers like Fudgie Frottage of San Francisco, Flarington King of Toronto and Ken Vegas of Washington, D.C. All have been drag kings for 25 years or more.Shades of Elvis: Mo B. Dick at home by the pool.Credit…Michelle Groskopf for The New York TimesMo B. Dick wipes down a dirt bike at home.Credit…Michelle Groskopf for The New York TimesMr. Hill, who is perhaps the RuPaul of drag kings, headlined the night. In the coming months, he will appear in roles on three high-profile TV series: Amy Schumer’s “Love, Beth” on Hulu, Bridget Everett’s “Somebody Somewhere” on HBO, and the American reboot of the British sitcom “This Country,” on which he will play a magician. “A regular character on TV is something I’ve wanted since I started over 25 years ago,” he said.Paul Feig, the producer-director of “Bridesmaids,” “Freaks and Geeks” and “Zoey’s Extraordinary Playlist,” wrote in an email that “I’ve been a huge fan of Murray’s for a while. When Jenny Bicks and I sold ‘This Country’ to Fox, one of my first goals was to get him on it. I love talented people who have their own unique take on the world and will do whatever I can to get them opportunities to shine.”Most drag kings, though, are still fighting an uphill battle. “Kings are rising in popularity in many large American cities, but they aren’t provided with the same opportunities as queens,” Mr. Kampe said.Live shows often are booked by male promoters who may not appreciate drag king artistry. “Often, a show will feature a dozen queens and only one king,” Mr. Kampe said. “Drag kings face as much discrimination in the workplace as women, and they often earn less.”Another obstacle, as Mr. Dick noted, is that audiences “don’t necessarily see the comedy in a woman putting on a suit. Female masculinity is still scary to some people.” There’s less inherent theatricality and, up until now, less glitz to performing in male drag, too; plus, people are a lot more accustomed in everyday American life to seeing women in pants than men in skirts. “Doing a male character is so much harder than doing a female character,” Alaska 5000 said. “Men are just not as exciting to look at.”‘Reigning in the Darkness’But the most exciting drag kings are making do, spectacularly.Landon Cider, 39, a performer in Long Beach, Calif., for instance, was the first drag king to win an American reality competition when, in 2019, he took home the title of “America’s Next Drag Super Monster” on “Dragula,” a Netflix series that plays like a goth version of “RuPaul’s Drag Race.” Wearing horror-movie-grade makeup of his own design, Mr. Cider ate live spiders on one episode and dressed as a blood-splattered, axe-wielding tin man from Oz on another. He was the lone king to compete on the show, but he nailed it in all his gory glory.“We’ve been reigning in the darkness this entire time,” he said. “Now we have more light shining down on us. If audiences think they’re just getting a lesbian in their dad’s clothes, I take that as a challenge to show them.”An online pageant isn’t “RuPaul’s Drag Race.” But it’s not nothing.Wang Newton at The Norwood club in Manhattan.Credit…Celeste Sloman for The New York TimesMr. Newton combs his mustache.Credit…Celeste Sloman for The New York Times“Seeing drag kings perform on these platforms and do well is another chip in the misogyny of the drag community,” said Hugo Grrrl, 29, a performer in New Zealand who in 2018 won a televised drag competition called “House of Drag.”Mr. Grrrl, who has gone from a self-described “mustachioed transvestite” to a trans man in the years since his win, said: “Audiences are learning that drag kinging is just as transformative and artistic and entertaining as drag queen art forms. They’re wearing just as much makeup, glitter and shapewear.”With names like Vigor Mortis, Spikey Van Dykey, Jack Rabid and Freddie Prinze Charming, the latest drag kings were being nurtured in out-of-the-way venues in cities around the world, ones not unlike those clubs of the ’90s. In New York, performance collectives like Brooklyn’s Switch ’N Play, led by the burlesque-inspired “sex symbol” K. James; Night Gowns, a series of events run by Sasha Velour, a “Drag Race” winner; and Cake Boys, out of Queens, have been fertile ground.Typically, younger performers blur whatever is left of gender lines. As Mr. Grrrl put it, “Right now, if you don’t have an ‘AFAB performer,’” — meaning a cisgender woman, trans man or nonbinary person dressed as a drag queen — “or a drag king in your lineup, you’re doing it wrong.” The future of drag, he said, “is going to be a big old mess and that’s a wonderful, glamorous, fantastic thing. We’re all finding new ways to spread joy through the power of sequins.”When Damien D’Luxe, a 34-year-old drag king in Minneapolis, takes the stage, he may mime a medley of “Hooked on a Feeling” and “Crocodile Rock” dressed as Captain Hook. But he does so wearing high-heeled boots and false eyelashes that Bianca Del Rio would kill for. He has been known to wear a powdered wig and floppy lace cuffs straight out of Falco’s 1986 MTV video for “Rock Me, Amadeus” while lip-syncing to “The Barber of Seville” in Italian.When you’re a drag king, it can take that much effort to get noticed.“More kings are recognizing that passing as a dude, although that takes a lot of work and dedication and talent, isn’t getting the spotlight,” Mr. Cider said. “The kingdom has evolved into vivid colors and costumes and headpieces and glitter because that’s how you stand out in a crowd.” Especially, he said, when you’re on a bill with a gag-worthy gaggle of 7-foot-tall drag queens.“We can’t compete in the Glamazon department,” said Wang Newton, 42, an Asian-American New York drag king who, in his act, tests the boundaries of political correctness while wrapped in vintage Vegas swagger. But that doesn’t mean drag kings can’t compete. “We’re not about death drops. We’re our own thing,” Mr. Newton said. “It’s a whole new bag and we can explore that now.”And an increasing number of performers are doing so.“I’m watching girls and performers of all genders who maybe five years ago would have gone into burlesque who now are seeing drag kinging as the ultimate art form,” Mr. Grrrl said. “It’s a very interesting space to be in. Masculinity is something that deserves to be made fun of.”AdvertisementContinue reading the main story More

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      From Britney Spears to Janet Jackson, the Era of the Celebrity Reappraisal

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      Credit…Illustration by The New York Times; Texture Fabrik (torn paper)Skip to contentSkip to site indexSpeaking of Britney … What About All Those Other Women?Monica Lewinsky. Janet Jackson. Lindsay Lohan. Whitney Houston. We are living in an era of reappraisals.Credit…Illustration by The New York Times; Texture Fabrik (torn paper)Supported byContinue reading the main storyMs. Bennett is an editor at large covering gender and culture. She was previously gender editor.Feb. 27, 2021Updated 10:07 a.m. ETIn 2007, Britney Spears, Lindsay Lohan and Paris Hilton were apparently fueling enough of a debate among parents about children and “values” for Newsweek to publish a cover story titled “The Girls Gone Wild Effect.”The article described the ubiquitous images and stories about these women — their partying, their rehab stints, what they were or weren’t wearing — and how they could be affecting young fans.I was a junior reporter at Newsweek at the time, just a couple years out of college, around the same age as those so-called train wrecks. I wasn’t quite sure what bothered me so much about the article, but I knew I didn’t like it.Perhaps it was that the editors of the magazine at that time rarely seemed to put women on the cover, so the fact that it was these women said something. The article claimed, according to a poll, that 77 percent of Americans believed these women had “too much influence on young girls” — but weren’t these just young women? And then there was the male lens of it all, from the entertainment executives who molded them to the paparazzi who photographed them to the editors who put them on magazine covers.More than a decade later, we are once again talking about those women — this time through a modern lens. After years of fans fighting to #FreeBritney from the conservatorship over which her father presides — and now with a popular new documentary on the subject — the rise and fall (and rise again?) of Britney Spears is being viewed with fresh eyes.At the same time, a litany of other female celebrities of the ’90s and aughts are being — or perhaps ought to be — re-examined: Ms. Lohan, now out of the spotlight and living in Dubai, where for the first time in her life, she has said, she feels safe; Ms. Hilton, who in a 2020 documentary detailed emotional and physical abuse she suffered as a teenager; Janet Jackson, who was blacklisted after the 2004 Super Bowl “wardrobe malfunction” that left her breast exposed, while the man who exposed it, Justin Timberlake, went on to further fame (and was even invited back to perform at the halftime show in 2018). Brandy, the singer and “Moesha” star, has described faking her marriage for fear that being an unwed mother would threaten her career. Anna Nicole Smith, the troubled actress and model, was labeled “white trash” while she was alive and “obtrusively voluptuous” in her obituary when she was dead. And then there’s Whitney Houston, whose marital problems and battle with drug addiction were broadcast to the world in an early-2000s Bravo series.“I lived through Britney on television, and when she shaved her head, I remember thinking at the time, ‘Why is everybody acting like she’s OK? Like, how is this funny to people? How is this presented as entertainment?’” said Danyel Smith, the former editor in chief of Vibe magazine and the host of the podcast “Black Girl Songbook.”“I felt the same about Whitney,” she said. “It was astonishing to watch the amount of glee being taken in watching her fall apart.”Such reappraisals have become common over the past several years. In the midst of #MeToo and a reckoning over racial injustice, people have begun to re-examine the art, music, monuments and characters on whom cultural significance has been placed. But this current wave revolves not around individuals so much as the machine that produced them: the journalists, the photographers, and the fans — who were reading, watching, buying.“To me, the question is, what do we do when a whole culture essentially becomes the subjugator?” Monica Lewinsky said in a recent interview. “How do we unpack that, how do we move on?”‘It Was a Different Time’In his book, “The Naughty Nineties,” David Friend, an editor at Vanity Fair, described how the market for humiliation thrived in the early ’90s, a trend that can be traced, in part, to the rise of tabloid talk shows such as “The Jerry Springer Show.”Gossip magazines ruled during this time, which meant that the paparazzi did, too. They photographed under skirts, chased cars down winding roads, competing, often dozens at a time, for images that could fetch millions. But the race for the most salacious shot was never an equal-opportunity game. It was not young men who appeared in photos with their bra straps showing and their makeup smeared, or had their breasts enlarged in postproduction without their knowledge, as was the case for Ms. Spears on a 2000 cover of British GQ, according to the photographer, who recently posted about it on Instagram. While white women were scrutinized on the covers of magazines, Black artists were told, as Beyoncé was, that they’d never get covers at all — “because Black people did not sell.”“Magazines in that era were driven by damsel-in-distress narratives,” said Ramin Setoodeh, the executive editor at Variety and the author of “Ladies Who Punch.” “It was almost like a sport to watch a woman self-destruct.” This was the time before stars could talk to their fans directly, of course. There was no clapping back on Twitter, no hosting an Instagram Live to tell one’s side of the story.In a 2013 interview with David Letterman that has recently resurfaced, Ms. Lohan was grilled to the point of tears about a looming trip to rehab, for laughs. (“She’s probably deeply troubled and therefore great in bed,” Donald Trump told Howard Stern in 2004, when the actress was 18.) When Ms. Hilton’s sex tape was leaked without her consent, nobody was using the phrase “revenge porn” or talking openly about emotional pain as trauma. Terms like “accountability,” “consent,” “fat-shaming,” “mental health” — these weren’t part of the pop lexicon, said Susan Douglas, a professor of communication and media at the University of Michigan and a co-author of “Celebrity: A History of Fame.”For the celebrity press, at least, such framing would have served no useful purpose. Disaster and personal tragedy sold.As Harvey Levin, the founder of TMZ, put it in 2006: “Britney is gold. She is crack to our readers. Her life is a complete train wreck, and I thank God for her every day.”“It was a different time,” Rosie O’Donnell, who interviewed Ms. Spears on her talk show in 1999, said in a phone interview. “You’re a level-headed girl,” she told her back then, “and I hope you stay that way.”‘We’re All Collateral Damage’In recent years, there have been Hollywood reappraisals of Anita Hill, a law professor who now leads the Hollywood Commission on sexual harassment, decades after her own high-profile case was dismissed; Tonya Harding, the former Olympic figure skater whose rivalry with Nancy Kerrigan, and its violent climax, were cast against a story of childhood abuse; and Lorena Bobbitt, whose physical harm of her husband has been reframed in the context of years of domestic abuse.Some women have retold their stories themselves. Jessica Simpson published a memoir in 2020 about her time in the spotlight, including her battle with alcoholism. Christina Aguilera described the feeling of being pitted against Ms. Spears — “Britney as the good girl and me as the bad” — in a 2018 story in Cosmopolitan.But Ms. Lewinsky was perhaps the first of this era of women to reclaim her story.After being excoriated in the press for her affair with President Clinton as a 21-year-old intern, she went on to earn a master’s in social psychology. She carefully re-emerged in the public eye in 2014, with an essay and TED Talk about public shame. Now she’s producing a documentary on the subject, and how it permeates society.“We tend to forget the collective experience,” Ms. Lewinsky said by phone. “We direct this kind of vitriol and misogyny toward one woman, but it actually reverberates to all women. We’re all collateral damage, whether we’re the object or not.”These days, that view is more widely held. Abuse and discrimination are now generally seen as systemic issues, and those who endure it are lent more credibility and sympathy. Contemporary artists speak candidly about mental health; their seeking help tends to be applauded rather than ridiculed. And social media has enabled stars to take back some control (while also opening them up to further scrutiny in other ways).“The legacy media star has dimmed,” said Allison Yarrow, the author of “90s Bitch: Media, Culture, and the Failed Promise of Gender Equality. Lizzo, for instance, posts photos on Instagram that align with the body positivity her fans admire. Billie Eilish speaks frequently and frankly about mental health. FKA Twigs, when asked about her allegations of abuse against her ex, Shia LaBeouf, and why she didn’t leave, can choose not to answer: “The question should really be to the abuser, ‘Why are you holding someone hostage with abuse?’”Now, entertainment journalists who worked through the tabloid era are looking back on their coverage through a critical lens; some are expressing regret and even issuing apologies.Steven Daly, who wrote the infamous 1999 Rolling Stone cover story on Britney Spears, said that in hindsight, having a 17-year-old girl show him, a man in his 30s, around her childhood bedroom was slightly creepy.But he is more troubled by the photos that appeared alongside his piece: Britney in a bra and hot pants holding a Teletubby; Britney in a pair of white cotton underwear surrounded by her bedroom dolls; photos the pop star — rather than the photographer or editors — was often asked to defend.“These were soft-porn pictures of an underage girl,” said Mr. Daly, now 60. “If you did that nowadays, you’d be put through a wood chipper.”AdvertisementContinue reading the main story More

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      Your Most-Played Song of 2020 Is … White Noise?

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      @media (pointer: coarse) { .at-home-nav__outerContainer { overflow-x: scroll; -webkit-overflow-scrolling: touch; } } .at-home-nav__outerContainer { position: relative; display: flex; align-items: center; /* Fixes IE */ overflow-x: auto; box-shadow: -6px 0 white, 6px 0 white, 1px 3px 6px rgba(0, 0, 0, 0.15); padding: 10px 1.25em 10px; transition: all 250ms; margin-bottom: 20px; -ms-overflow-style: none; /* IE 10+ */ […] More

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      Ariana Grande Engagement Announcement: What It Means

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      AdvertisementContinue reading the main storySupported byContinue reading the main storyA Close Reading of Ariana Grande’s Engagement AnnouncementIn an extremely 2020 move, Ms. Grande got quarantine-engaged and announced it in an Instagram photo dump.Ariana Grande at the 62nd annual Grammy Awards in January.Credit…Jordan Strauss/Invision, via Associated PressDec. 21, 2020On Sunday, when Ariana Grande announced her engagement on Instagram, the congratulatory likes and comments flowed in immediately. So did the questions: about her fiancé (a luxury real estate agent named Dalton Gomez), the duration of their relationship (roughly a year, though quarantine timelines should probably be weighted to account for constant contact), the composition of her photography (was she in a car?) and, of course, the ring.Celebrity engagements have driven entertainment news cycles for decades, but Ms. Grande’s announcement — shared on the eve of her new Netflix special and just over two years after her split from the comedian Pete Davidson — has drawn outsize interest and become one of Instagram’s most-liked posts of all time.For all those reasons and more, we thought it was worth a closer look.This Was a Year of Quarantine EngagementsDemi Lovato and Max Ehrich did it. Brooklyn Beckham and Nicola Peltz did it. Your cousin did it, and so did your old college roommate (probably).Now, Ariana Grande has joined a long line of celebrities and mere mortals who said yes to their quarantine sweeties this year, irrespective of traditional timelines.According to People Magazine, Ms. Grande and Dalton Gomez, who works in residential real estate in Los Angeles, started dating in January. In May, he appeared in the music video for Ms. Grande’s song with Justin Bieber, “Stuck With U.” Seven months later, the two are engaged.Various data points suggest that these days, monogamy is in. Major jewelry retailers like Kay, Zales, Peoples and James Allen are reporting more sales this summer and fall compared to last year, according to The Washington Post. The trend makes sense: Dating around doesn’t look as exciting in a time when every in-person encounter carries the risk of a life-threatening virus, and when flowers and chocolates have been replaced by an N95 mask and proof of your latest Covid-19 test.“A bunch of people have started relationships, probably because people are lonely, they’re spending more time getting to know someone, and people are being less promiscuous,” said Lauren Bille, the chief executive of Allbodies, a health education platform.For some couples, quarantining together seems like the ultimate test: If they can make it through the manic boredom, perpetual anxiety and unceasing tragedy of the pandemic together, they can make it through anything. Right?Let’s check back in 2022. — VALERIYA SAFRONOVAA Photo Dump Was the Only Way to GoBack in 2017, when people still made their relationships “Instagram official,” the default engagement announcement format was a ring selfie: a zoomed-in shot of a perfectly manicured hand (usually a woman’s), held up against a clean background. The ring was always the focal point.Since then, Instagram has evolved from a feed of staged images to something much messier, devoid of a dominant aesthetic or careful curation. In 2020, a year so hellish that the old rules of Instagram could no longer apply, a new format surged in popularity: the photo dump.It’s how Ariana Grande announced her engagement and also how most internet-savvy celebrities have been posting for months now. Kylie Jenner rarely shares a solo shot to her feed anymore, but rather carousels of outtakes and moments from her life. Billie Eilish often does the same, unloading a mix of iPhone photos and blurry videos to create mini Instagram albums. Throughout the pandemic, the playwright Jeremy O. Harris has been posting “coronavirus mixtapes,” Instagram gallery mash-ups of memes, TikTok videos and photos from his daily life.This is the way we post now. Gen Z has led the charge, embracing this format first and most frequently. Maybe it’s because they never had the chance to upload 40 hazy party pics to a Facebook album in the aughts, or perhaps they’re seeking to memorialize life moments in a way only a photo gallery can. Or maybe everyone has collectively given up. Who has the time or energy to spend finding and editing that One Perfect Shot? It’s much easier to post by the handful.Ms. Grande’s engagement photo dump contains multitudes; there’s a mirror selfie, multiple couple’s photos and a slightly off-center shot of her ring. That’s the beauty of this format: There’s always more content. — TAYLOR LORENZObviously We Have to Talk About the RingWhen Ariana Grande and Pete Davidson got engaged in 2018, a month after their whirlwind courtship began, the singer started sporting a brilliant, pear-shaped ring rumored to be worth $100,000. It was exactly the sort of ring you’d expect a celebrity to wear: big and bathed in diamonds.Her ring from Dalton Gomez is a bit more unique: asymmetrical, with a pearl and an oval diamond set on an east-west axis. According to Sheryl Jones, a fine jeweler in New York City’s Diamond District, this design, particularly the pairing of two different gems, is “very unusual.”“I would describe it as definitely a fresh and nontraditional approach to an engagement ring,” Ms. Jones said, adding that “ovals are really, really popular right now.”Over the last several years, she said, people have grown increasingly interested in “fancy shapes”: ovals, pears, radiant-cut stones — really anything besides a traditional round diamond. “I think for women who want more of an engagement ring that is nontraditional or has a little more personality and style, they’re attracted to those kinds of cuts,” Ms. Jones said.Trends also show that surprising gemstone colors, like a green or gray sapphire, have become all the rage too. “People are finding ways to express themselves in engagement rings now and there is no standard way of approaching it,” Ms. Jones said.There was a time when getting dressed for the evening to go to dinner in a formal dress and statement jewels was the only time a luxury ring would be worn. But now, a more modern lifestyle demands a ring that is comfortable and wearable all the time, Ms. Jones said. “It’s got to be able to bridge that casual to fancy.”“I think that this approach just makes it more a part of her lifestyle,” Ms. Jones said. “Because when you look at a more traditional wedding ring, if your lifestyle is more fun and unconventional, you want a ring that reflects that. And I think that that’s what women are asking for now.” — EVAN NICOLE BROWNAriana Grande’s engagement ring, as shared on Instagram.The Pearl, Specifically, Is a ChoiceIt is natural for a person to look at a clamped closed mollusk and think, “Whatever you’re doing in there, I’ve got to have it.” The urge to open the entirely shut is how humans ended up with fried eggs, juicy melon flesh, honey, geodes and frightening individual experiences at haunted amusement parks.But once a man or woman has loosed their prize — which is, if they are lucky, a granular irritant a mollusk has coated in several layers of secretions in order to protect itself — should it be set into a ring intended for everyday wear? Perhaps not.“In the case of pearl rings, please be aware that these are only to be worn for dress and are not intended for everyday wear,” advises the website of Mikimoto, the famed Japanese pearl jeweler credited with inventing cultured pearls in 1893. In contrast to hardy diamonds, pearls are easily scratched and can deteriorate from contact with perfume, cosmetics, hair spray, lotion, detergent, lemon juice, vinegar and any number of other household products. (Also: sweat.)Even jewelry security boxes are chambers of horrors for pearls, where they may scrape up against other items or, if left alone in the receptacle for extended periods, gradually dehydrate.On top of all this, Ariana Grande’s pearl could be extra fragile due to age: There is some evidence to suggest that the pearl in her ring might have been repurposed from another ring set with a pearl originally taken from her late grandfather’s tie pin. — CAITY WEAVERAnd Now, Some OptimismIt’s easy to be cynical about celebrity engagements — or any engagement, really. Couples blow thousands (if not millions) of dollars on diamond rings, hundreds more on professional photography and celebrations, all for a commitment that may only last a few years, months, weeks or days.Much harder is the work of being happy for other people. While celebrities, including multiple Kardashians and Diane Keaton, have commented with enthusiastic excitement and love for Ariana Grande and Dalton Gomez, many more watching from home have speculated about the timing of the announcement (was it publicity for her concert film?) and the likelihood that the couple will ever wed. The usual stuff, but magnified to scale with her mega-stardom.Yes, Ms. Grande is a wildly successful pop artist with an estimated net worth exceeding $100 million. She is also a 27-year-old woman who has endured enough traumatic experiences to fill several lifetimes: a suicide bombing that killed more than 20 people at one of her concerts; the public unraveling of her first almost-marriage; the untimely death of a former partner; the suggestion, from an army of fans, that she was to blame for her ex’s tragic undoing.Wouldn’t it be nice if things just … worked out? I’m rooting for these two. — BONNIE WERTHEIMValeriya Safronova More