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Sleater-Kinney’s third album, Dig Me Out, is full of desperation and heartbreak, and on “One More Hour,” they’re at their most vulnerable. Listen: Junior Vasquez, “If Madonna Calls” By the time the track draws to a close, we’re left with a caustic punch line: “Actually, if Madonna calls, disconnect her.” While Vasquez has since claimed he has no hard feelings, “If Madonna Calls” is plenty vindication for the queens left in “Vogue”’s wake.
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The voicemail is the centerpiece of the track, with Vasquez expertly splicing Madonna’s words into the club banger.
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However the beef may have originated, guest vocalist Franklin Fuentes makes feelings plain with his bitter instruction to let Madonna know he’s not around if she calls. But 1996’s “If Madonna Calls” signals a break in their friendship it’s an uptempo “bitch track” featuring what is ostensibly a message left by the pop star on Vasquez’s answering machine. Vasquez maintained a working relationship with Madonna for several years after “Vogue,” continuing to remix her work. The house producer and DJ introduced her to New York’s ball scene, and before long, the hyper-queer dance made its way into her 1990 hit “Vogue”-stripped of its context, of course, upsetting its original community. If it weren’t for Junior Vasquez, Madonna may not have learned to vogue. Listen: Melissa Etheridge, “Come to My Window” Of course, all human beings deal with wanting each other, but here, Etheridge gave a new face to that particular brand of young queer yearning, with all its excitement and doubt and fear, without succumbing to the cliché of “the love that dare not speak its name.” –Cameron Cook She writhes and splutters in her bed, dramatizing Etheridge’s comparatively subdued delivery-until near the end of the bridge, when Etheridge lets out a guttural wail to match her white-hot desire. The iconic video for “ Come to My Window” stars a young Juliette Lewis, in a tank top and shag haircut, screaming the song’s lyrics while suffering a mental breakdown in a dingy psych ward. Where the record’s title may have been coy, its hit single, “Come to My Window,” was anything but: a scorching mid-tempo ballad of longing, heartache, and dependency. To this day, “Constant Craving” continues to provide connection for those who need it.įour years before Ellen DeGeneres’ famous “ Yep, I’m Gay” Time magazine cover, Melissa Etheridge defiantly declared Yes I Am, as both the name of her fourth studio album and a thinly veiled response to the rumors that had been dogging her since the beginning of her career. Small-town queer women used her as a guiding star to navigate their own identities lang’s soaring vocals soundtracked countless slow dances and sexual awakenings in hole-in-the-wall gay bars. With her unlikely, erotic pop hit, lang helped usher in the ’90s era of so-called “ lesbian chic.” She immediately became an icon-splashed across provocative magazine covers in androgynous clothing, creating visibility for homosexual women in a time when the focus was often on gay men. But lang was unafraid to invite controversy with her embrace of her own desire, an electric current that hums through every note of the song. The World Health Organization had only just declassified homosexuality as a mental illness coming out of the closet, as lang had just done in The Advocate, was considered a career-killer. lang broke out of conservative Nashville with her yearning, flowing torch song “Constant Craving.” When she won the Best Female Pop Vocal Performance Grammy for it, religious groups protested outside the ceremony. After over a decade in country music, k.d.