9.10.15 Editor’s Desk

By : Billy Manes
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Billy Manes

Overture! Curtain! Lights! We all love a good show, especially when it’s stretched to its hilts with bonhomie, gravitas and humor. We also like to cry sometimes, because somebody told us once that crying is a good thing, and therefore it was made so. However, we’re perpetually fascinated by the entangled minutiae that make our lives overlap and our feelings somehow universal. That, in many ways, is what the entertainment industry – and especially the film industry, along with its theatrical forbears – brings to the stage and screen with every ounce of sweat generated from each creative brow. Creating timeless phenomena is no easy task; likewise, coordinating said phenomena into a veritable kiosk of choices meant to represent the sights, sounds and feelings of the moment is as much an act of curating as it is one of understanding.

This week, amid the public and political theater of Kentucky Clerk of Courts Kim Davis – she of the Crystal Gayle hair and the Misery ensemble – we celebrate LGBT theater and the whimsy of stagecraft, largely. It’s not that we’re ignoring the comings and goings of Donald Trump’s wig or Sarah Palin’s patented xenophobia – we obviously aren’t – more than it is an exercise in studying our own structures within the LGBT lexicon and how it is that we are evolving. It was the arts that brought us the hearts and minds that we’ve always yearned for to push the movement foreword, and now those hearts, arts and minds are evolving at a renewed pace.

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