Archive | July 2012

Blind Gossip Website Reveals Robert Pattinson Is A Homosexual & Fake Romance With Kristen Stewart Just For Publicity!!!

They’re More a Marketing Strategy than a Couple


BuzzFoto – We’re not even sure why the magazines keep pushing it, but this couple who are said to be romantically involved, are actually [anything] but. Sure, they’re having fun playing with the press, but it’s mostly because they are told it would be a good marketing strategy for their career. Everyone around them knows however, that they are just good friends, not lovers. One in all the media buzz is actually rumored to swing the other way. Not Chace Crawford.


rob pattinson and kristen stewartSOLVED!


It’s Rob Pattinson and Kristen Stewart! Source: BuzzFoto

Boy, these Twilight kids are stealing all the press right now  from every other wannabe and faux couple! The Twilight Twitterverse practically had a meltdown over the death of their beloved RobSten.

Kristen Stewart got caught sucking face with her married, twice-her-age Snow White director, Rupert Sanders. This guy was not only her director, but the husband of the actress who played Kristen’s mother in the film, Liberty Ross. Ewww.


The bottom line is that although the couple RobSten was a marketing fabrication, Rob and Kristen had become genuinely good friends. They had an agreement, they shared a house together, and she made him look bad. In private, Pattinson’s not about to put up with this embarrassment. But he’s going to have to in public! It sure will make for an interesting dynamic when they have to promote Twilight: Breaking Up a Marriage later this year. Will they really be able to pull off a realistic faking of a reconciliation of a faux relationship when the really big bucks are at stake? That last sentence just hurt my brain. The point here is that you shouldn’t believe anything this couple tells you about their relationship in the future. This is about money and legal contracts and movie marketing and the destruction of a friendship, and not about the destruction of a real couple. Well, except for the Sanders couple, of course.

It is so incredibly rare that we get to see actual proof of an affair in the form of a photo, but the paps at Us Weekly were all over this one. If you want to see all the pics and read the entire story, pick up a copy of Us Weekly at newsstands on Friday.

LA Complex Season 2 Episode 2: Kal Attempted Suicide & In The Hospital. He Admits To Himself He Is Homosexual.

In this episode Kal ends up in the hospital after his failed suicide attempt.For far too long television shows make coming out too simplistic that all a person needs to do is accept himself for being gay. However, let’s say if the individual coming out isn’t white and doesn’t identify with the narrative of the mainstream community about homosexuality?

I think this is where the power lies in the Kaldrick storyline because it can be extremely difficult for gay black men to come out. After a black gay man comes out which community is really going to support him? The mainstream white gay community has problems with racism and the black community has issues with homophobia.

The intersectionality of Kaldrick’s identity crosses multiple lines he isn’t just a black man or a gay man he is both.

The LA Complex has done a good job to illustrate that coming out is not easy for gay black men. Kal probably feels like he would be viewed as less than a man in the black community if he did come out of the closet. Of course, some black people are accepting of homosexuality but others are not. There is also a narrative that some black people believe that homosexuality is foreign to black culture.

Interesting Guardian Article: R&B Singer Frank Ocean Talks About His Sexuality But He Refuses To Declare If He Is Gay Or Bisexual.

Frank Ocean

Frank Ocean live at the Bowery Ballroom, New York in November 2011. Photograph: Chad Batka/Chad Batka/Corbis

Frank Ocean has had quite the week. “Yes,” he says, smiling, with a barely perceptible shake of the head, as if in mild disbelief. Then he nods: “Yes. But also awesome.” Two things have contributed to making his week awesome. There’s the surprise release of his second albumChannel Orange, a week before it was officially planned, which met with rabidly enthusiastic reviews comparing his idiosyncratic, narrative-heavy reimagining of soul and R&B to Prince and Stevie Wonder. Then there was the post on Tumblr in which he told, beautifully, the story of falling in love for the first time, with a man. “I don’t know what happens now, and that’s alrite,” he wrote.


  1. You can understand why Ocean might be feeling a little stunned. He’s suddenly the most talked-about man in music, though he hasn’t yet done much of the talking himself. He shuffles into a dressing room behind Vancouver’s Commodore Ballroom nursing a herbal tea, and plays with it nervously, a hoodie wrapped around his neck like a scarf, before politely shaking my hand, all the time avoiding eye contact. He’s 24, relatively new to all of this, and suddenly the world wants to know his business.

Right now the old formula holds true: the less you know about him, the more you want to know. He’s managed to maintain a rare air of pop star mystery. “It’s not formulaic,” he says. “It’s not me necessarily trying to preserve mystique. It’s who I am. It’s how I prefer to move. I really don’t think that deeply about it at all, I swear I don’t. I’m just existing.”

‘Sure, evil exists, extremism exists. Somebody could commit a hate crime and hurt me … but they could do the same just because I’m black. Do you just not go outside your house?’

Frank Ocean PortraitThere’s a sense that impulse has driven Frank Ocean’s career so far. He emerged from two worlds: he was a successful songwriter for the likes of Brandy, Justin Bieber and Beyoncé; and he ran with Odd Future, though always seemed more mature than their mouthier shock tactics. It could be argued with conviction that he’s already eclipsed them. Packing up, broke, and driving away from his hometown of New Orleans, post-Katrina, to give it a shot as a songwriter in LA was a risk. Giving away his first album Nostalgia, Ultra for free was a risk (he put it online in 2011 without the knowledge of his label, Def Jam). Coming out was a risk.

“I won’t touch on risky, because that’s subjective,” he says. “People are just afraid of things too much. Afraid of things that don’t necessarily merit fear. Me putting Nostalgia out … what’s physically going to happen? Me saying what I said on my Tumblr last week? Sure, evil exists, extremism exists. Somebody could commit a hate crime and hurt me. But they could do the same just because I’m black. They could do the same just because I’m American. Do you just not go outside your house? Do you not drive your car because of the statistics? How else are you limiting your life for fear?”

Though he thinks of himself as existing outside of conventional music genres – and the broad ambition of new album Channel Orange touches on everything from Marvin Gaye to Pink Floyd and Jimi Hendrix – Ocean’s roots are in R&B and hip-hop, neither of which are known for their nurturing attitude towards the rainbow flag. Which makes what he just did seem remarkably courageous. “I don’t know,” he demurs, looking down. “A lot of people have said that since that news came out. I suppose a percentage of that act was because of altruism; because I was thinking of how I wished at 13 or 14 there was somebody I looked up to who would have said something like that, who would have been transparent in that way. But there’s another side of it that’s just about my own sanity and my ability to feel like I’m living a life where I’m not just successful on paper, but sure that I’m happy when I wake up in the morning, and not with this freakin’ boulder on my chest.”

‘I could have changed the words. But why? I feel it’s another time now. I have no interest in contributing to that, especially with my art – the one thing that I know will outlive me’

Frank Ocean CoachellaFrank at Coachella, 2012. Photograph: Paul R. Giunta/Paul R. Giunta/CorbisOcean didn’t come out spontaneously, though. He wrote his letter in December 2011, to include in the sleevenotes for Channel Orange, pre-empting any potential speculation that might arise from some of its songs obviously addressing men. “I knew that I was writing in a way that people would ask questions,” he explains. “I knew that my star was rising, and I knew that if I waited I would always have somebody that I respected be able to encourage me to wait longer, to not say it till who knows when.” He’s not one for playing the game, clearly. “It was important for me to know that when I go out on the road and I do these things, that I’m looking at people who are applauding because of an appreciation for me,” he says. “I don’t have many secrets, so if you know that, and you’re still applauding … it may be some sort of sick validation but it was important to me. When I heard people talking about certain, you know, ‘pronouns’ in the writing of the record, I just wanted to – like I said on the post – offer some clarity; clarify, before the fire got too wild and the conversation became too unfocused and murky.”

Later that evening, when he performs to a near-hysterical crowd, a line like “You’re so buff and so strong, I’m nervous … You run my mind, boy” sounds astonishingly subversive, hammering home how rarely we hear overtly same-sex songs, no matter what the genre. Asked why he didn’t fall back on the generic “you”, he shrugs: “When you write a song likeForrest Gump, the subject can’t be androgynous. It requires an unnecessary amount of effort. I don’t fear anybody … ” He laughs, making eye contact at last, his face lighting up, ” … at all. So, to answer your question, yes, I could have easily changed the words. But for what? I just feel like it’s just another time now. I have no interest in contributing to that, especially with my art. It’s the one thing that I know will outlive me and outlive my feelings. It will outlive my depressive seasons.”

These “depressive seasons”, he says, have been erased suddenly by his recent catharsis, but the bleakness of his music has been one of its most notable qualities. Drake and the Weeknd have peddled urban navel-gazing for a year or two, but Frank is on another level, telling dark cinematic stories with a screenwriter’s eye for character. Nostalgia, Ultra was full of unhappy souls: songs which initially appear to be sexy slow jams crumble under the weight of despair; take the refrain of Novocaine, “fuck me good, fuck me long, fuck me numb”, that final adverb joining grief to lust. Channel Orange has a fascination with decadence in the midst of decline, but its protagonists are equally sad and lost. The album’s narratives take in drug addicts, strippers, but also rich kids ruined by consumerism who end up dead or, at the least, on the receiving end of some vicious sarcasm: “Why see the world when you got the beach?” he sings on Sweet Life.

‘My grandfather was a mentor for NA and AA groups. I used to go to the meetings and hear the addicts: heroin and crack and alcohol. Stories like that influence a song like Crack Rock’

Frank Ocean landscapeOcean is unsure about what draws him to the darker side. “I honestly couldn’t tell you,” he finally says, after a long silence. “I would say, those were the colours I had to work with on those days.” Is it drawn from experience? “Absolutely. I mean, ‘experience’ is an interesting word. I just bear witness. For a song like Crack Rock, my grandfather, who had struggled to be a father for my mum and my uncle … his second chance at fatherhood was me. In his early-20s, he had a host of problems with addiction and substance abuse. When I knew him, he was a mentor for the NA and the AA groups. I used to go to the meetings and hear these stories from the addicts – heroin and crack and alcohol. So stories like that influence a song like that.” Some of his narratives are pure fantasy, he says. In the case of Pyramids’ epic first half this isn’t too surprising – it takes place in ancient Egypt – but that, too, twists itself into the story of a stripper providing for a pimp, and turns out to be rooted in real life. “I have actual pimps in my family in LA,” he chuckles. “It was fantasy built off that dynamic … but you can only write what you know to a point.”

The attention to detail that goes into his songs is astonishing. He sings Crack Rock with a hint of fractured breathiness that his sound engineer tried to iron out. “He said, ‘Are we really going to let this slide?’ And I was like, ‘Yes, because that’s how a smoker would sing.’” Music, more than any other art form, demands autobiography: we want our singers to be giving us authentic love or pain; we want to believe it’s first-hand. Fortunately, Frank Ocean is a natural-born storyteller.

When he talks about his music – how this bit here was influenced by Sly And The Family Stone, why that vocal retake happened, even the dying business model the industry is built on – he looks up, becoming animated, lively, and less shy. It would be easy to think that he’s reluctant to be famous – Vancouver tonight marks only his 10th solo gig – but when he left New Orleans in 2005, he changed his name from Lonny Breaux to Frank Ocean because he decided it would look better on magazine covers. (He also cares enough to have personally authorised the cover image for this week’s Guardian Guide.)

“I’ve always wanted to make a career in the arts, and I think that my only hope at doing that is to make it more about the work,” he says. But he could have been a successful songwriter anonymously – if it’s all about the music, why step out from behind the pen? “I enjoy singing my songs in front of people. I enjoy being involved in making the artwork for albums and stupid stuff like that. I wouldn’t be a part of [it] if I was just writing songs for others. And I said more about the music,” he grins, lest there be any doubt that he intends to be a star.

The journalist’s flight to Vancouver was paid for by Universal Records

LA Complex Season Two Premiere: Gay Couple Tariq & Kal Breaks Up Because Of Domestic Violence!!

I am conflicted about the LA Complex’s gay storyline between because a part of me loves the fact it focuses on a black gay male couple. I enjoy the chemistry between Benjamin Watson and Andra Fuller. Watson and Fuller are committed to their roles that I believe there is passion between their characters Tariq and Kal. It is rare to see young, masculine, black gay men on mainstream television.

However, I am disgusted at the stereotypes of black masculinity and sexuality. First, the character Kal is a down low rapper, he’s an ex con, and he’s a violent thug.

Kal is abusive towards Tariq  he treats him like dirt and he brutally beats Tariq it is simply too abhorrent to watch!

Black men we are already stigmatized  by a hostile and racist white society through essentialism. It is easy for racists to believe that black men are violent and dangerous.

I guess it was just impossible for the LA Complex writers to create a story about a loving and positive black gay relationship?

There is  a paucity of representation of black gay men on television, yet LA Complex has to present a negative image of black gay men.

It just seems like the LA Complex writers have ticked off all the racist and negative stereotypes about gay black men. Isn’t there another way to explore a black gay male relationship without violence? Couldn’t the writers have found another way to make conflict and compelling storylines for Tariq and Kal?

There are many black gay men we are confident and proud about our homsoexuality. I am aware there are closeted black gay men who struggle with being gay and black.

Was it necessary for the LA Complex writers to have Kal beat up his boyfriend Tariq? I am cognizant there are closeted down low black men out there. However, would a white gay male couple be treated the same way? I can’t recall ever seeing a white gay male couple on television involved in such a dysfunctional and violent relationship on television.

I think the LA Complex missed an opportunity to create a positive and loving gay black male relationship by focusing simply using violence to entertain the audience.



Keith Murphy Posted July 9, 2012


Gay R&B Vocalist Rahsaan Patterson Applauds 'Courageous’ Frank Ocean

Gay R&B Vocalist Rahsaan Patterson Applauds ‘Courageous’ Frank Ocean

As the debate rages on whether or not Frank Ocean truly came out as gay, bisexual or was just detailing his personal memories of falling in love with a male friend four years ago, the fallout has truly been surreal. Before the buzz-heavy R&B vocalist posted a July 4 letter addressing rumors of his sexuality, Ocean tweeted of his conversation-igniting revelation, “my hope is that the babies born these days will inherit less of the bullshit than we did I figured it’d be good to clarify.”

Rahsaan Patterson can more than identify with Frank Ocean. The veteran R&B singer—who scored a top 50 Billboard album and strong radio airplay in 1997 with his self-titled debut—was one of the first African-American soul artists to come out officially as gay during a 2007 interview with For Patterson, Ocean’s statement represents a big moment. “I thought Frank coming out was bold; I thought it was courageous,” Patterson tells VIBE. “Particularly since he reps more of the hip-hop realm I found it even more courageous because that’s an area that a lot of folks that support hip-hop and the lifestyle of hip-hop don’t like to really confront and address. Kudos to him.”

Reactions within the R&B/hip-hop community to Ocean’s public statement have been surprisingly on the positive side (Solange Knowles tweeted “I salute you, brave soul. Independence Day” and veteran Queens rhymer Cormega offered, “Frank Ocean is more honest than the average industry person!”). Still, amongst the general African-American music buying public Ocean’s announcement has been a hard pill to swallow (derogatory comments like “Frank Ocean is gay. It’s been confirmed…So no more listening to him” have been omnipresent on the Web).

Historically, African-American musicians have rarely been upfront about their sexuality. For everySylvester (the flamboyant disco icon never tried to hide the fact that he was gay) there is aLuther Vandross (the legendary vocalist reportedly kept his homosexuality a secret until his 2005 death). And in the overtly masculine world of hip-hop, homosexuality is viewed as a death knell; the sort of news that can literally derail a career. On the flipside, white pop and rock acts like David Bowie, Elton John, and Melissa Eldridge have experienced a more positive acceptance after coming out. It’s a dichotomy that bothers Patterson.

“Look at that compared to white music artists or even white actors who come out,” he says. “When they come out [as gay] they are applauded, not that they don’t suffer a bit in terms of press and people who may have an issue of their sexuality. But ultimately, them stepping into who they really are propels them in positive ways. It opens up their lives. I think a lot of times we are all so insecure with our personal things as black folks that we deny ourselves that right to be who we are. We forget that when you stand within your true light the world opens up for you.”

As for advice for Ocean on how to handle the whirlwind that currently surrounds him, Patterson says the singer is so far on the right path. “Clearly, Frank Ocean is a strong cat,” Patterson says. “Clearly he’s an artist and a person who has come to terms with who he is. But I will say there is a lot that comes with exposing that truth. He has come to terms with taking on the repercussions with exposing himself in that manner. We just have to continue to be strong.”

Patterson, who released his fifth studio album Bleuphoria in 2011, is currently promoting his latest single “Crazy (Baby),” which features Faith Evans and Shanice. “I’m working that til the wheels fall off,” he laughs. And I’m preparing to start recording a new album. I’m focusing on my craft and making sure that I’m true to myself.”—Keith Murphy


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