On a recent Saturday night in one of Los Angeles’ few remaining bathhouses, the crowd was pretty sparse.
“At about 10:30, when I got there, there were maybe less than a dozen guys, total, at least that I saw. Most of us were older, a couple younger dudes walking around with jockstraps on, maybe looking for daddies, maybe looking for drugs, I don’t know.”
So says “Alex,” a 51-year old gay man who tells us that he “used to go to the bathhouse a lot” when he was in his thirties, but now only goes “about 4 or 5 times a year.”
“I used to have a lot of fun, God yes. But there were drugs involved and it got really messy for me, so I stopped going for a while. I figured I was too old for it anyway. Then suddenly it seemed like daddies became a thing, so I decided to try my luck.”
He laughs, “I wasn’t as successful as I used to be, but it was fun enough to get me wanting to come back, every now and then.”
On the evening of his latest visit, “Alex” told us that things picked up later in the evening, “around closing time” for the nearby bars, and that he was able to “get what I came for and get the hell home.” That’s not always the case, though; he admits that over the last year or so, he’s noticed a definite drop in the numbers on his occasional bathhouse forays. “There just aren’t as many guys, and the ones who stopped coming are mostly the younger ones.”
His observations reveal a common thread in the narratives of the men who spoke anonymously to the Blade about their bathhouse experiences. “Bathhouse culture” is still out there, but it’s become a pale shadow of its glory days, when New York’s Continental Baths boasted entertainment from a young Bette Midler as a diversion to enjoy while waiting for the next towel-clad “Mr. Right Now” to come sauntering in. In that era, even the much-humbler clubs that dotted major cities around the country were cultural hubs for a community for whom sexual freedom required anonymity.
The reasons behind the decline of this once-revered institution are generally assumed to be one or a combination of a few basic factors.
“It was different before AIDS,” says “Tom,” 54. “Bathhouses just seem sketchy since that.”
“Ramon,” 43, says, “It used to be heaven, but the drugs have really killed it for me. Half the guys are high, or looking to get high, and they’re not there for sex at all.”
“Kevin,” 48, offers the most commonly held opinion. “It’s the apps, obviously. These kids figure, why should they go out and pay $50 or more and not even know what they’re gonna have to choose from when they can find somebody to scratch that itch without even leaving home?’”
While these men may hold varying opinions about the cause, the effect is clear to all of them: younger men are staying away from bathhouses in droves.
Jim Anzide refers to this phenomenon as the “death of the bathhouse.” Anzide, who works with The Lavender Effect, says he recognizes that – for younger gay, queer, and questioning men in the age of Grindr and Scruff – the loss of this particular cultural institution may not mean very much, but he also asserts that there’s a whole hidden history behind it, even just within this city, that should be remembered and preserved.
“Even before California was a state, there were people here,” Anzide says. “They were here for the gold rush, they were here as lumberjacks – there were all these men travelling around the country, and they needed places to bathe and sleep.”
To satisfy the demand, entrepreneurs came up with idea of a bathhouse. The original concept was that only women would be allowed to use it during the day, and only men in evening – which meant that the men could stay overnight.
“Men outnumbered the women by huge margin, and urges needed to be fulfilled,” Anzide says. “Things happened.”
As the state developed, the need grew for such facilities in densely populated areas; in Los Angeles, where the city declined to open public bathhouses, the entrepreneurs stepped in again, and the privately-run baths they opened eventually evolved to become havens for closeted gay men in search of anonymous playmates. One such club, located on 4th St. in DTLA with the eyebrow-raising name of “The Klyt,” closed its doors for the last time only last year; it was rumored that Rock Hudson once had his own key to the back door.
It was this environment which awaited today’s gay elders when they were first introduced to the secret world of the bathhouse in their younger days. “It was scary,” says Anzide, “but it was like a secret haven, where you could go and just hook up with whoever you wanted, and there was no connection – you just go in anonymously, have this, have that, and get out.”
Such places served an important role in the community, providing a safe space where gay men could freely explore their sexuality and meet the need for intimate human connection that was often hard to find in their daily lives. At the peak of their popularity, Anzide tells us, in gay hubs like Silver Lake, “it was like Starbucks, there was one on every other corner.”
“Then AIDS happened,” he continues, “and everybody scaled back, because everybody was afraid.”
Gradually, as more information became known about the virus and treatments began to be available, gay men started to reach out for the physical intimacy that was beginning to seem possible again, and the bathhouse culture started to revive. “There was a re-introduction of that world,” says Anzide, “not as wild as it was before, but because there was a need for connection again, a need for intimacy, and anonymity – and that was very important to the culture.”
Just as the bathhouse seemed to be back, however, another plague hit.
“Adam,” a former manager at one of LA’s most popular clubs who spoke to the Blade anonymously, remembers what it was like when the meth epidemic was surging through the culture during his tenure in the mid 2000s. “It was a nightmare,” he says. “I 86’d about 600 people for drug abuse during my last ten years at the club. It was very hard to deal with.”
Drugs had always been a part of bathhouse culture, but this was different. People were dying of overdoses in the clubs, and transmission rates for HIV and other STDs skyrocketed as users of meth and other drugs grew careless about condoms.
Still, “Adam,” suggests meth may have been a convenient excuse, rather than the reason, for the disappearance of the bathhouse, which he claims has been at least partly due to harassment by public officials.
“The meth is part of the culture,” he says. “It’s not just in the bathhouses, it’s in the whole community and they bring it in with them. But the health department, the city, the police – they just don’t like the idea of men having sex with men, and so they find every reason they can to fine you, to make you jump through hoops. My single biggest headache running the club was dealing with the politics around it.”
Though he says he was “never a bathhouse guy” himself, “Adam” says he grew to appreciate them during his stint within the industry, and he laments the idea of their loss. “I came to realize how important it was for so many men in the gay community – the ones who have no social circle, who are older, who may be overweight, who feel intimidated. There are a lot of gay men that just think of them as whorehouses, they’re really against them, but there’s a really huge chunk of the community that appreciate them being there.”
Echoing that sentiment is “Greg,” who says he is in a “happily committed but open” relationship and prefers the bathhouse experience to using hookup apps because, as he puts it, “a cock in your hand at the bathhouse is worth two online.” At 57, he says he feels like his “shelf life has run out” on Grindr, Scruff and the like.
“It’s a lot of work,” he says. “You can spend your fucking life on an app with people,” he elaborates, “and wonder if they’re going to hook up, or not, or just endlessly swap pictures, or you can just go to the baths and take care of business.”
Like “Alex,” “Greg” says he ran afoul of drugs in his younger years. Now sober, he says the lingering presence of meth is still an issue for him in the bathhouses.
“There’s always that conversation, you know, the whispered ‘You party?’ But I’ve had some of the best sex I’ve had in a long time, and the reality is that there I find younger guys there – and I mean younger to me, in their thirties or forties – who are great sex partners.”
“Jorge,” who at 37 just barely makes the cut for being a millennial, says “I truly believe that bath houses are somewhat a rite of passage within the LGBT community. I was introduced to them in my early twenties and once I discovered them, I would not leave. Everything was new to me, I didn’t know how to pick up on certain signals or what the proper etiquette was, but going to the bathhouse, with time I did learn.”
Though he says he would “encourage any guy to check a bathhouse at least once” in order to “truly appreciate the old way of cruising someone face to face,” it’s telling that “Jorge” says he hasn’t been to a bathhouse in “about three years.”
For Anzide, the drift of the younger generations away from bathhouses makes perfect sense.
“Kids don’t need them today. Their elders lived in a time when they had to hide themselves in the shadows, and the bathhouses were safe, private and anonymous. Today there’s no shame or very little, and they certainly don’t need the “bathing” part of either – they can say ‘come over, we’ll jump in the shower after.’
There’s a culture gap between the older and younger generations, too, he says. While many older gay men embrace the Tom of Finland motto of “keeping the ‘sex’ in ‘homosexual,’ in the new millennium there’s more of an emphasis toward love, home, and family, and many younger members of the gay community, knowing only what they’ve heard about the darker aspects of the experience and lacking the fond nostalgia of first-hand memory, attach a stigma to bathhouse culture that they have no imperative to overcome.
“Men of the older generation are at a loss how to deal with that,” he says, “but for the younger gays, it’s just the way it is.”
The attitude taken by many older men over the disappearance of one of the touchstones of their youth tends to be one of wistful resignation. Cultural historian and author Kirk Frederick sums it up succinctly with his comment, “I was a twenty-something in the ‘70s, but I visited bathhouses only occasionally. Still, I lament their loss, not just as a viable hook-up option but as a social gathering place. The advent of the digital age may have provided us with the ease of online cruising, but it seems to have made the personal touch superfluous.”
Still, as Anzide is eager to remind us, it would be unwise to count the bathhouse as being down and out forever.
“Don’t get me wrong, the bathhouse will come back,” Anzide insists. “It will be a different thing than what we saw, but that need will come back, that need for connection, and physical presence – to see you, and feel you, and taste you… I can’t get that through my phone.”
Hollywood’s Peter Kallinteris Agency launching LGBTQ dreams
“It’s important to me to actively participate with a platform and space for the LGBTQ community. I want to make a difference and be a leader”
HOLLYWOOD – Whether they’d admit to it or not the aspiration for most actors is to be sitting in the Dolby Theatre at some point in their careers, dressed in their finest fashion ensemble at the most prestigious event of the year and hear, “and the Oscar goes to [insert their name].” Conversely also true for the Emmy awards or the Tony awards, yet for many LGBTQ artists the path to that goal is fraught with obstacles and difficulties.
In 2018, a young Black actor from Atlanta, Georgia, was given a supporting role as Ethan in the surprise hit film Love Simon. That actor, Clark Moore, in interviews with host Rob Watson, journalists Dawn Ennis and Brody Levesque on RATED LGBTQ RADIO and separately with Teen Vogue’s Shammara Lawerence spoke of the difficulty landing roles like that of Ethan, but also the conflict inherent with how the film and television industry has seen LGBTQ actors.
Answering a question by Teen Vogue’s Lawerence centered on that conflict, Moore bluntly assessed the landscape telling her; “Historically, I think the reason why there haven’t been more gay roles or more gay actors playing roles that have lots of layers to them and lots of depths to them is because for whatever reason, people think that the story is done. We’ve seen the gay character. We know what he says. We know what he thinks. We don’t need to tell that story anymore, but if you think about it, we’ve had a full canon of stories about straight white men that stretch back millennia, and so we’re only scratching the surface,” Moore pointed out.
“If we can have stories about people all the way back thousands of years ago and we can still be telling the same story now about straight white men and their journey to self-discovery or redemption, there’s plenty of stories to tell of people of color and LGBTQ people and anybody who falls in the intersection of those two identities,” he added.
Yet in the age of digital moving beyond the traditional film and television as more and more content is streamed online- and there’s insatiable need by casting agencies for a wider diverse spectrum of actors, there are still obstacles in the path for LGBTQ actors, especially trans and disabled LGBTQ actors.
Enter Peter Kallinteris, who with his broad based knowledge and understanding of the critical needs of the LGBTQ actor community decided that the time has arrived to have specialized representation for that community.
“Looking to the past, Hollywood hasn’t been very kind to the Queer community. Throughout the history of cinema gay men were either played as effeminate, weak, airheads, and lesbians as tough softball or gym coaches, who are often played by straight people,” Kallinteris said. “Within the the broader culture, there are subcultures, just as within any community. They are nuances within each that will never find its way between the pages of a table read.”
“To create an authentic moment the space has to be made for those who’ve lived that life every day. Gay, Black, White or Straight ect, our experiences of the world are different depending on how we show up. In many cases that will determine our outcomes,” he noted. “Specialized representation is so important because without the lingering trauma, and continued hatred & fear toward our community the Queer division of PKA wouldn’t exist, we’d just be accepted. We have important stories to tell and will continue to be telling them. PKA is just the begging for all to feel safe and thrive.”
In a statement issued from his offices at the Sunset-Gower Studios, the former historic home of pioneering Columbia Pictures founded in 1918, Kallinteris reflected, “When I was a young Actor being gay was career ending.”
“Today it’s celebrated. It’s important to me to actively participate with a platform and space for the LGBTQ community. I want to make a difference and be a leader because I can.”
To accomplish this he launched the Queer Division of his PKA agency. “The Queer Division of PKA was inevitable, a natural outgrowth of my own personal evolution first by coming out as gay man, from Artist to Agent. The timing was right to make an impact with talent,” he said.
“As my Agency grew I was able to gleam that there was a space beginning to open up by which I could represent the full spectrum of Queer humanity & sexuality within the arts. Not as one dimensional static caricatures, but as beings who’s emotions run the full gamut of the human experience. This was very exciting to me, I have a opportunity to effect change. I wanted to be apart of history Pioneering a movement,” he added.
He said that his message to LGBTQ artists is simple. “I want talent to know they will be given the opportunity to be who they are, live their truth and work for who they are without rejection, humiliation, fear, or hopelessness. People perform at their best, live at their best. And do their best when they are happiest. PKA is not just a brand, we are the LGBTQIA community. If life imitates art, then let’s represent it boldly!”
His expectations of the film and television industry’s reaction? “My inspiration to launch the Q.D. is truthfully representing talent that reflects the current needs for the industry, and to remain a permanent fixture within the industry that continues to grow stronger. I want the industry to understand I’ve created this environment specifically for the Queer community. I’m happy & honored to be the first Agency that represents this community in this way,” Kallinteris said.
Last week, PKA, whose clients include, Justin Jedlica (TV personality), Steven James Tingus (President George W. Bush’s lead for disability research and policy for eight years), Kate Linder (The Young and the Restless), Albert Lawrence (IMDB Host), Deric Battiste aka DJ D-Wrek (MTV’s Wild ‘N Out), and Leslie Stratton (The Swing of Things, Truth or Dare), announced the launch of the Queer Division in a video.
Julia Scotti, the movie, is just Funny That Way
Life is funny that way—not working out quite the way we thought it would. And that is ultimately the point
WHITING, NJ. – “You are a piece of work, Julia!” Simon Cowell blurted during her landmark America’s Got Talent debut. Julia Scotti had just completed her audition for the show that ended not only with a standing ovation, but with the revelation that she had once upon a time been a stand-up comedian named Rick. As that news crossed the faces of the four judges, their collective jaws dropped. “I mean like you come out as the nice little granny school teacher all sweet and then you go into your routine and like WHOA. Talk about surprises – they are never ending with you, are they?” Cowell finished.
With Julia Scotti, the surprises never end.
Her latest surprise for the public is a gem of a film, Julia Scotti: Funny That Way. It is a documentary of her journey from the days of Rick, the up and coming comic who performed on bills with Chris Rock and Jerry Seinfeld to Julia, who is wowing millions.
Of her transition, Julia has remarked. “It is NEVER an easy process whether you’re a public figure or not. You are essentially killing your old self and ending your old life. And with that comes the history you’ve built with friends and family. Some are very accepting, but most are not. That is why the suicide attempt rate for Trans folk is still at 41%.”
Funny That Way does not spare us the heart-breaking fallout from the virtual “death’ of Rick Scotti. Filmmaker Susan Sandler weaves Julia’s story, the losses and damage, to her rebirth, healing and the reuniting with her kids after a 15-year estrangement.
Julia and Susan sat down with us on the podcast Rated LGBT Radio to talk about the film. “This is a story and like all stories, there is a beginning and a middle and an end. In the end, I want the audience to know there is HOPE. It is bumpy at times, joyous at times. It is not just isolated to my life. You can have that in your life when you walk through that door of your own truth and come out the other side and when you look back on all you went through, you go ‘what the hell was I so afraid of?’ Look how happy I am.” Julia explains.
Susan had never directed a documentary before, but as one of Hollywood’s master story tellers, and a Golden Globe nominee, she was unfazed. “The impetus behind this film was falling in love with Julia, her, then and now. If you are working from a really rich, complex, compelling character –which is Julia—that is the GIFT. All of my nerve endings, my story telling, told me this was dynamic documentary, and that’s the form in which I wanted to tell it.”
Susan took five years to research, document and interact with Julia’s past. She went through old footage of Rick Scotti’s stage acts and restored many of them so they could be used in the film. She brought on composer Matt Hutchinson for a beautiful score, and animator Sam Roth for whimsical cartoons that tie the story together.
Before the filming started, Julia had just re-connected with her son Dan, and daughter Emma. A decade and a half ago, when Julia announced to her then spouse that she was in fact a woman transitioning, her then-wife retaliated by taking their kids away. Dan and Emma spent their whole adolescence not knowing Julia at all. The story of that pain is told in Funny That Way. Susan wanted to show the relationships real-time in the film as they came to reconnect with Julia. “We were just at the beginning stages of reconciling,” recounts Julia. “I did not want them feeling like I was just reconnecting with them because I wanted them in this film. I did not want to distance them even more.”
Dan and Emma were onboard, however. Also on board, albeit only by phone, was Kate. Kate was Julia’s last wife, described as Julia’s “love of her life”. Kate supported Julia emotionally and spiritually through out the entire transition process. One of the most poignant moments in the film was Julia hearing Kate describe the end of their relationship. Kate’s support was significant, but once Julia became fully Julia, it was evident to both that their relationship had changed and they had to let it go.
Susan captured many live moments of Julia’s evolving life. She caught the very first time that son Dan ever called Julia “his mother” and the effect was pronounced. Also caught in the film was a moment when Julia and Dan are watching Rick’s old stand up routines. One such performance takes Julia by surprise—it was a routine that she had not remembered ever doing. It was a set where then Rick expressed his revulsion to transgender women in no uncertain terms. Julia sat shocked.
“My sensibilities have been ‘woked’, I think that is the term for it.” She told me about that experience. ”Thinking back, I was going through issues and aware that something was not right internally. It frightened me to no end. Looking at that clip, I am totally ashamed of what I did. It embarrassed me.”
“I knew it was me. I knew I was there. But I don’t feel a connection with that person. That is the truth.”
The film does not dwell long on the past shames and regrets. It arcs to the present where an adult daughter gets to see her parent’s comedy routine for the very first time.
Some of the greatest joy in the film is witnessing the growing relationship between Julia and son Dan. Dan is sweet and compassionate, and they both have a deep love of comedy. Through their discussions and collaboration on things funny, we witness something decidedly not funny, the deep re-kindling love they have for each other.
The film will make you laugh, and cry, and laugh again. New clips of Julia’s now famous turn on America’s Got Talent shows her more personal reflective moments over a life changing triumph.
The only regret director Sandler has about the film is how it will be brought to the public. “I am happy to be brining the film now for the people who have an appetite for it. For the truth, the humor, the complete emotional honesty. But I mourn. I mourn the moments not being able to sit with you in a theater. And experiencing the film with you. It was supposed to be seen by audiences, and then give them the opportunity to go down the street and see Julia live at a club.” But, life is funny that way—not working out quite the way we thought it would. And that is ultimately the point.
Editor’s Note: The film was originally slated for theatrical release which was delayed then put off by the coronavirus pandemic.
Julia Scotti: Funny That Way is available now on digital platforms! That means you can rent or buy it online, at places like iTunes, Apple TV, Amazon, Google Play and more.
Here’s the full list of where you can find it.
Vimeo On Demand
CABLE / SATELLITE
iN Demand Movies
Greyson Chance: A Butterfly’s Journey from Holy to Hell and Back
A decade ago there was a boy made famous by a pop song and a viral video. Today, there is an artistic, powerful singer song writer
HOLLYWOOD – Many want to saddle singer Greyson Chance with the label “comeback” or having a “return from retirement.” It is an understandable mistake as the “fame to disaster” narrative IS there. The real story is about one of the most exciting new artists of today. One that speaks to not only the LGBTQ youth of today, but of their entire generation.
Over a decade ago, there was a boy. The boy was very gifted at the piano, and at singing. He entered a talent contest and belted out a well known pop song by one of the trendiest artists of the day. Of course, there was a video. Social media was itself an infant, and as such, started launching like videos into the stratosphere. His video was one of the first to be seen gazillion of millions of times. Then there was the Ellen show, then the record contracts and a music video where he was Ariana Grande’s love interest.
Life would never be the same again. It would not be the same as Greyson Chance would be forever entwined with Lady Gaga and Paparazzi. It would not be the same as when his voice changed and it all came crashing down. “The second that the momentum stopped, you know, I truly was just sort of thrown to the curb when I was 15. I, all in the same day, got dropped by my record label, my management, my publicist, and my agent. It was the ultimate for me, as a child musician.” Greyson told me.
The real story however, is of a fantastic singer/songwriter who hit the industry in a big way with a debut album of his own work in 2019. He emerged then as a honed artist who had already been educated on the workings of the industry, and as a professional who knew how to walk in with his own vision and make it happen.
“It is a machine and, when I when I came on the scene originally, I had this huge viral video and with that, a lot of money coming around, and big players kind of involved in the industry,” he says. He made music their way. He did the songs they wrote, and played the part of the person they wanted him to be.
He learned how to be the kind of artist he did not want to be. The young artist went back to Oklahoma and enveloped himself in the cocoon of normalcy. He incubated there, fell in love, and had his heart broken by someone he thought he was going to hold onto forever. At that point, he emerged from the cocoon, with a full self-written album in hand, a musical butterfly spreading his wings.
“I’m 23 years old right now. And I started off with my first record deal when I was 12 years old. There was so much of my adolescence, in my childhood in music, where I wasn’t given the chance to not only make music that I really wanted to do, but also to be writing. I was being forced to do records, I didn’t have a huge artistic involvement in anything I was doing. So when I came back into music, I really wanted to finally show the world that I was a songwriter, that I had a unique voice. That I had some unique things to say. I really emphasize authenticity. These are stories that are coming from the heart. These are things that are coming from my own life. It’s not even really a choice that I have anymore. It is honest, from a place that’s true and genuine,” Greyson states.
Greyson represented not only with a new thematic “voice”, but an actual new physical voice as well. “It was interesting, what I went through, they always tell you that when your voice changes, it’s going to be sort of a tough go and that is such an understatement. It was so hard for me for a few years to really kind of find comfortability in my physical voice again. I mean, I really struggled through my voice change. But ultimately, I learned as a kid when I was on the road that in a way, when you’re a touring musician, you’re sort of like an athlete. My muscle is, is my voice.” Greyson’s new voice is far superior to his belting-out-broadway boy voice. He has a harmonic high register, and a sultry deep one. It copies no one else’s, this voice is uniquely his own.
In 2019, Greyson came out with his launch album “Portraits”. The stories of the album gave vision to the various personas he saw of himself as he navigated an ill fated romance. One week, he was looking at engagement rings, the next week, out of the blue, “the man of his dreams” left him without explanation. Greyson works each personal portrait into the prism of a beautiful, musically shiny diamond. “Portraits for me was truly my reinvention piece. And what I mean by that is, at the time before I put out that album, you know, I couldn’t even get a meeting in LA with anybody. You know, no one wanted to touch me, no one wanted to be involved in in my project and involved in my music. So I told myself, You know what, I’m going to write a record, and I’m going to write a full album. I’m going to give this one last shot, and see, see what happens. And, fortunately, it went over very, very well.”
In 2019 he filled 109 venues performing the songs from Portraits. He publicly came out as gay in response to a fan during a conversation about living authentically. He has also been transparent about his personal challenges, including his on-going battle with anorexia. “It was truly very, very difficult to diagnose it. I had come off of this really bad breakup that I wrote my album Portraits about, and I was developing habits of not eating and not taking care of myself. I blamed it on the sadness I was feeling at the time. Then, as things became a little more normal, and I became a bit more stable, I noticed that I still had had this issue and things that were going on. For me, I had to work through a lot of therapy, to get a grasp on it. I brought it public because it was so stigmatized, and still is. I like to think that I have my life together. But here’s the deep issue that I struggle with, and I go through. I’m on a road to recovery, it’s never ending when you are battling with an eating disorder, but I’m doing very, very well right now. I’m staying on top of it. Through my disclosure, there was such an amazing and beautiful dialogue that keeps happening, people reaching out to me and sort of sharing their own struggles and battles with it as well. I’m working on trying to be the best version of myself that I can be.”
After a forced lockdown during the pandemic of 2020, Greyson is ready to move into the next phase of his butterfly trajectory. He has released two singles off his next EP, Trophies, and he is in love again. The songs on the EP will be in a thematic composition. The two first released create a spiritual arc from the heavenly rich ballad-like Holy Feeling to the high-pop danceable hedonistic Hell Boy.
He says of the new material, “My boyfriend and I just celebrated our one year anniversary yesterday. Trophies, is really expressing the fear of now losing love, and sort of that fear that was created in the old relationships that I’ve had. It is the desire for my fans and queer people around the world to know what truly being in love is. We’re constantly told as, as queer people that, our relationships are always going to be rocky, they’re never going to be sort of American Dream type relationships. Because we’re different, these relationships are going to be different, because we’re inherently different. That is just absolutely BS. Regardless of how you identify who you love, you can totally have all of this stereotypical white picket fence, you know, dog in the backyard green grass type of thing. It is so within your wheelhouse. It’s not out of reach. This record is emotionally going through all those those things, and talking about them in the music.”
A decade ago there was a boy made famous by a pop song and a viral video. Today, there is an artistic, powerful singer song writer who sings the authenticity of his generation. The rush you feel is the wind from rainbow colored butterfly wings taking flight, and the knowledge that the most famous Greyson Chance is the one yet to come.
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