Welcome to GoGuide Magazine! 

Can you believe it's almost Thanksgiving? Where has the year gone?

Significant changes will come to GoGuide Magazine at the end of the year.  Although it's running a little behind schedule, if you take on this big project, you want to ensure it's done right —thousands of people read the magazine monthly. We're well on our way to being the most-read online magazine in the greater Iowa City area within three years.  Thank you to everyone who visits our site.  Please share the site with your friends and let us know your thoughts

At GoGuide, we're committed to a greener future. We've made a conscious choice to avoid contributing to local landfills with thousands of unread paper magazines. While paper magazines were a staple of the last century, we're excited to introduce you to our new and interactive digital format, which offers a more immersive experience. 

Your input is invaluable to us. We want to hear from you, whether it's constructive criticism or a shoutout for something we've done right. We're particularly interested in your story ideas and submissions on travel, books, food, and local events. And yes, we're  (hint). Your ideas and contributions are what make GoGuide Magazine unique and engaging. We are thrilled to introduce you to our new and interactive digital format. This format offers a more immersive and convenient reading experience, bringing our content to life in a way that's never been possible.

GoGuide Magazine is also looking for freelance writers in the Iowa City area. Topics include theatre previews, nightlife, cinema, and more. If interested, please email tim@romllc. us

Thank you for taking the time to visit our site!

photo at right by tim nedoba

Tim Nedoba (he/him)

Tim@romllc.us

Will we ever find a cure?

A column by Tim Nedoba

If you are like me, it seems like the causes of cancer change daily. One day, coffee is bad for you, and the next day, we are told coffee is good for you. Balancing cancer prevention and weight loss, for example, is not easy. We are also told that being overweight is also a potential cancer risk factor.  The complexity of these factors and their ever-changing nature make it crucial to delve deeper into the science of cancer prevention.

GoGuideMagazine.com is embarking on a year-long investigation to follow the science and look for ways to help end the horrible scourge of cancer. I recently lost my father to pancreatic cancer. His battle with this disease, despite no family history or genetic risk, has deeply affected me. This personal connection is what drives me in this investigation. 

How does what appears to be a healthy person contract one of the deadliest forms of cancer? My father lived for five months following diagnosis. Even his doctors, prior to the diagnosis, rated my father's health as excellent. My father is my motivation for this year-long investigation.

First, I want to acknowledge that there are often conflicting studies with conflicting study results. We are going to do our very best to follow the science. Your input is also valuable. If you have stories to tell about loved ones and their experiences with cancer, please feel free to share them with GoGuide Magazine. Please email Tim@romllc.us.

I want to make it clear that I am not a scientist. I do have an anecdotal story that gives me some insight into this disease and the quality of care available here in Iowa. I promise I will get to all these topics throughout the year.

I am going to begin this series on a personal level. I need to lose weight. I am also a soda drinker.  Do I switch to diet or not?

So, we begin by sharing a French study from 2022. Remember, there are always two sides to be considered. I'm simply sharing the study's results. 

A 2022 French study followed over 100,000 adults for eight years and found a link between certain artificial sweeteners and cancer.  

Study Abstract:

Background: 

The food industry uses artificial sweeteners in a wide range of foods and beverages as alternatives to added sugars, for which deleterious effects on several chronic diseases are now well established. The safety of these food additives is debated, with conflicting findings regarding their role in the aetiology of various diseases. In particular, their carcinogenicity has been suggested by several experimental studies, but robust epidemiological evidence is lacking. Thus, our objective was to investigate the associations between artificial sweetener intakes (total from all dietary sources, and most frequently consumed ones: aspartame [E951], acesulfame-K [E950], and sucralose [E955]) and cancer risk (overall and by site).

Methods and findings: 

Overall, 102,865 adults from the French population-based cohort NutriNet-Santé (2009-2021) were included (median follow-up time = 7.8 years). Dietary intakes and consumption of sweeteners were obtained by repeated 24-hour dietary records including brand names of industrial products. Associations between sweeteners and cancer incidence were assessed by Cox proportional hazards models, adjusted for age, sex, education, physical activity, smoking, body mass index, height, weight gain during follow-up, diabetes, family history of cancer, number of 24-hour dietary records, and baseline intakes of energy, alcohol, sodium, saturated fatty acids, fibre, sugar, fruit and vegetables, whole-grain foods, and dairy products. Compared to non-consumers, higher consumers of total artificial sweeteners (i.e., above the median exposure in consumers) had higher risk of overall cancer (n = 3,358 cases, hazard ratio [HR] = 1.13 [95% CI 1.03 to 1.25], P-trend = 0.002). In particular, aspartame (HR = 1.15 [95% CI 1.03 to 1.28], P = 0.002) and acesulfame-K (HR = 1.13 [95% CI 1.01 to 1.26], P = 0.007) were associated with increased cancer risk. Higher risks were also observed for breast cancer (n = 979 cases, HR = 1.22 [95% CI 1.01 to 1.48], P = 0.036, for aspartame) and obesity-related cancers (n = 2,023 cases, HR = 1.13 [95% CI 1.00 to 1.28], P = 0.036, for total artificial sweeteners, and HR = 1.15 [95% CI 1.01 to 1.32], P = 0.026, for aspartame). Limitations of this study include potential selection bias, residual confounding, and reverse causality, though sensitivity analyses were performed to address these concerns.

Conclusions: 

In this large cohort study, artificial sweeteners (especially aspartame and acesulfame-K), which are used in many food and beverage brands worldwide, were associated with increased cancer risk. These findings provide important and novel insights for the ongoing re-evaluation of food additive sweeteners by the European Food Safety Authority and other health agencies globally.

Conflict of interest statement:

I have read the journal’s policy and the authors of this manuscript have the following competing interests: SG is co-founder of Open Food Facts, a non-profit project developed by thousands of volunteers from around the world. It is a free and open-data food product database designed to help citizens make better food choices.

https://pubmed.ncbi.nlm.nih.gov/35324894/

Common sugar alternatives:

Acesulfame Potassium

Advantame

Allulose

Aspartame

Brazzein

Erythritol

Lactitol

Maltitol

Mannitol

Monk Fruit

Neotame

Neotame

Rebaudioside

Saccharin

Sorbitol

Stevia

Sucralose

Thaumatin

Xylitol

Important disclaimer: The opinions shared in this article or future articles do not necessarily represent the opinions of Reach Out Marketing, LLC, GoGuideMagazine.com, or other affiliated properties.

This series on the “scourge of cancer” is for discussion only. All health issues should and must be discussed with your physician. 

DNC Announces Historic Six-Figure Ad Campaign Targeting Over One Million LGBTQ+ Voters in Battleground States and Races

Today, the DNC announced a historic, six-figure paid media campaign targeting LGBTQ+ voters in battleground states and target House and Senate seats across the country. The ‘I Will Vote’ media campaign, which will reach over one million voters in the first week alone, is the first time the DNC has executed a dedicated paid media campaign targeting LGBTQ+ publications and is a show-of-force as Democrats do everything they can to turn out voters in every community in this election. 

WWW.IWILLVOTE.COM

The strategic investment comes as the Harris-Walz campaign and Human Rights Campaign, along with PA Democrats, launch 10 Days of Action, a series of events aimed at mobilizing and turning out LGBTQ+ and allied voters. The DNC’s ‘I Will Vote’ campaign directs voters to the DNC’S most complete, accurate, and up-to-date national coverage of polling places and voter education information all in one place.

“This historic investment from the Democrats aims to meet voters where they are, recognizing that the LGBTQ+ community is a large and diverse voting bloc that we are not taking for granted,” said DNC Chair Jaime Harrison. “Our fundamental freedoms to be who we are and love who we love are on the ballot this November, and we’re empowering diverse corners of the LGBTQ+ community to make their voices heard. In this fractured media environment, we know that we need to be smart about how we are talking to people, reaching voters through trusted platforms so folks in the LGBTQ+ community and beyond can easily check their voter registration status and learn when, where, and how to vote. Democrats are leaving no stone unturned to win this election, and by engaging a diverse coalition of voters in places where we know we need to boost turnout, we will elect Democrats up and down the ballot, from the White House to the school board and beyond.”

Supporting and Investing in LGBTQ+ Communities and Small Businesses 

In the midst of an onslaught of attacks directed towards the LGBTQ+ community by the Trump campaign, the Democrats are strategically engaging and investing in uplifting LGBTQ+ communities and businesses through this dedicated media campaign. Working with Rivendell Media, the oldest LGBTQ+ media firm in the United States entirely devoted to LGBTQ+ media buying, the DNC is working with local and cross-coalitions publications across the United States, touching at least 32 LGBTQ+ small businesses through this campaign alone. The investments include:

• In Georgia, the Democrats are supporting Georgia Pride weekend with an ad in Georgia Voice.
• The targeted ads appear in both GoGuide Voter's Guide and Las Vegas Spectrum’s special annual voter's guide.
• The DNC ad will be featured in Philadelphia Gay News during OurFest, a festival and parade celebrating National Coming Out Day in Philadelphia.

The ad campaign will be featured in the following 16 LGBTQ+ publications, with more being added weekly:

• Metro Weekly - Washington/DMV 
• Washington Blade - Washington/DMV
• HotSpots - Miami/Ft. Lauderdale, FL
• Out South Florida - Miami/Ft. Lauderdale, FL
• Watermark - Orlando/St. Petersburg/Tampa, FL
• Georgia Voice - Atlanta, GA 
• GoGuide Voter's Guide - Iowa
• Q Notes - Charlotte, NC
• Las Vegas Spectrum - Las Vegas, NV
• Out Smart- Houston
• Philadelphia Gay News - Philadelphia, PA
• Q Burgh - Pittsburgh, PA
• Dallas Voice - Dallas, TX
• SWERV - National African American publication
• Ambush - New Orleans, LA
• ION AZ - Arizona

The 2024 LGBTQ History Month playlist 

By Gregg Shapiro

Finally arriving after what feels like an eternity, "Live at the Opera House" (Craft Recordings), the double CD / triple LP (in purple, no less) set expands on Sylvester's 1979 "Living Proof" concert recording after the discovery of additional material in the Fantasy Records vaults. A longtime dream of Sylvester's (who died in 1988 at 41) was to perform at the San Francisco War Memorial Opera House, and the unabashed joy from realizing that goal caused the performer to mess up his entrance during the concert. Regardless, as Joshua Gamson wrote in the new liner notes, "an androgynous openly gay, drag-loving, African American, falsetto singing, an unapologetically flaming man-diva" was the center of attention on that particular stage in March 1979 is indeed cause for celebration. So much so that when Harry Britt of the San Francisco Board of Supervisors delivered Mayor Diane Feinstein's "Sylvester Day" proclamation, following a rousing cover of The Beatles' "Blackbird," the soaring response from the audience was electrifying. Sylvester, backed by his legendary vocalists Martha Wash and Izora Rhodes (aka Two Tons O'Fun), performed the hits, including "Dance (Disco Heat)," "You Make Me Feel (Might Real)," and "Body Strong." Additionally, covers of contemporary standards, including "Never Can Say Goodbye," "You Are My Friend," "I (Who Have Nothing)," "Could It Be Magic," and "A Song For You," beautifully illustrate Sylvester's boundless versatility.

Ever since "The Omnichord Real Book," Meshell Ndegeocello's Grammy-winning 2023 career comeback, the queer singer/songwriter and bassist extraordinaire has been on a thrilling trajectory. Her new album, "No More Water: The Gospel of James Baldwin" (Blue Note), continues that stellar course. A tribute to Baldwin for his centennial, as well as fellow lesbian literary legend Audre Lorde, and other queer thinkers, including biracial poet Staceyann Chin who can be heard reciting Baldwin's words ("Baldwin Manifesto I," "Baldwin Manifesto II") as well as her poetry ("Thus Sayeth The Lorde," "Tsunami Rising," and "Raise The Roof"), the album is an incredible combination of music, song, and spoken word that once again proves Ndegeocello's genius as a collaborative artist.

If you were a betting person (and you may very well be), would you have put money on gay, Tony Award-winning actor/singer Ben Platt's third album "Honeymind" (Interscope) being a country record? From the strummed acoustic guitar that draws us into the opener, "Right Kind of Reckless," it's evident that this is a different kind of Ben Platt release. Platt tones down the drama, and the results are pleasing. "All American Queen" is made for country line-dancing, "Andrew" is further proof that Platt is meant to be a country queen, and "Cherry On Top" pushes the country-pop envelope. "Treehouse," co-written by Platt and Grammy-winning out-country diva Brandy Clark, is a kind of seal of approval for Platt's ambitions. Also recommended are the title tune, the Sufjan Steven-esque "Boy Who Hung The Moon," and "Fear of Missing Out."

While Ben Platt is attempting to get his queer country bona fides, Melissa Carper has them in her blood, as she sings in the title track to her magnificent new album "Born In Ya" (Mae Music/Thirty Tigers). If'n you didn't know any better, you might think you were listening to a vintage 78 RPM on the old Victrola. The arrangements are pure country swing, and Carper's vocals are somewhere between Billie Holiday and Patsy Cline. The 10 Carper originals (some of which are co-written), including the flawless title cut, "Your Furniture's Too Nice," "Somewhere Between Texas and Tennessee," "Let's Get Outta Here," "Lucky Five," and "Let's Stay Single Together," effortlessly conjure a sensation of nostalgia crossed with déjà vu. Carper's reading of Cole Porter's "Every Time We Say Goodbye" breathes new life into the chestnut.

Queer poet and singer/songwriter Caleb Nichols returns with his second full-length album, "Let's Look Back" (Kill Rock Stars). Where 2022's "Ramon" channeled the Beatles via Elliot Smith, "Let's Look Back" maintains the previous record's influences (Smith on "The Wires" and "Stranged" and Beatles on "Blue Sky Blue") while emphatically looking forward. Produced by Zach Rogue (of Rogue Wave), the eleven songs have an enticing queer pop energy, effortlessly drawing listeners into Nichols' musical journey. Don't be surprised if "The Absolute Boy," "Demon Twink," "J' Ai Vu La Lune," "Limn," and "Christmas California" make you a devotee.

Suppose you've been following fruitful queer singer/songwriter Rachael Sage throughout her nearly 30-year career. In that case, you may remember that backed by a band, she mainly accompanied herself on piano or organ. On later albums, such as 2014's "Blue Roses," Sage began to show off her guitar skills, then took it a step further by releasing acoustic rerecordings, including 2019's "Pseudomyopia" (another take on 2018's "Myopia"). All of this is to say that it's not all that surprising that Sage's new album, the marvelous "Another Side" (MPress), consisting of "acoustic reimaginings" of her 2023 record "The Other Side," is a pleasure. The addition of harmony vocals by queer singer/songwriter Crys Matthews on "Albatross" is indeed a bonus.

After releasing albums on the Arista and Velvel labels and Indigo Girl Amy Ray's Daemon 

Records, lesbian singer/songwriter Michelle Malone found a home on her own indie SBS Records. Her aptly titled new album, "Southern Comfort" (SBS), is where Southern rock and country music intersect, with the title track about homesickness being a perfect example. "I Choke On My Words" is a stunner and deserves to be a hit for Malone (or anyone wise enough to cover it). Also noteworthy are "I Want To Be In That Picture," "Like Mother Like Daughter," "One Track Mind," and "Wine and Regret."

Since the mid-2010s, gay singer/songwriter Jim Andralis has made consistently powerful and memorable music. Andralis' firm belief in "the power of love and the power of music" has sustained him and his fans throughout five remarkable albums, including his latest, "Ghosts" (jimandralismusic.com), available on spooky, cloudy grey vinyl. Andralis populates the album with fittingly haunting songs such as the devastating "5 Minutes" about the love and loss of a dog; "You," about his friend, the celebrated late singer and vocal coach Barbara Maier Gustern; "Brooklyn," Andralis' response to Hugh Ryan's book "When Brooklyn Was Queer;" and "Run Hit Cry," about finding a way through hard times, which is bolstered by Matt Colburn on trumpet. Andralis' inclusion cover of Annie Lennox's "Love Song for a Vampire" perfectly fits this setting.

"Dooda" (mattyfrank.bandcamp.com) is the new album by Durham via NYC queer singer/songwriter/multi-instrumentalist (including Omnichord!) Matty Frank. Frank's musical style comes across as a combination of Rufus Wainwright and Sufjan Stevens' theatricality and inventiveness ("Moonflower" and "Fabulist"), Billie Eilish's experimentation ("Moth"), contemporary country rock ("Wasted"), and even a touch of Hedwig ("Circle of Sand"). Even with all those audible influences, Frank has succeeded in creating an original and captivating album that benefits from repeated spins.

Queer singer/songwriter Mike Maimone is one of those prolific musicians whose talent can't be confined to one space. As a solo artist with a voice that recalls young Tom Waits (and piano skills to match), he's as comfortable making pop music as he works the country croon (as he is currently doing in Nashville). As the lead vocalist of Mutts during the 2010s, he demonstrated that he could work well with others throughout a few albums. To commemorate the eleventh (!) anniversary of Mutts' timeless album "Object Permanence," it's being rereleased in a newly remixed version as "Object Permanence XI" (8Eat8). In addition to the gorgeous back-to-back numbers "Prizefighter" (which deserves to be a hit) and "Out of Tune," Mutts tear things up on "No Loot," "Pickpocket," and "No Loot."

It's always fascinating to see what becomes of the queens in their post-Drag Race" period. Genderfluid Pandora Boxx (who made quite an impression on viewers with her Carol Channing impression) has returned to "RuPaul's Drag Race" a few times and performed at numerous live shows and theatrical events. For their debut album "Boxx" (pandoraboxx.com), they wrote all the songs and even included one in which they could wheel out the Channing impression ("Raspberries"). Of the ten tracks, including the "Gay" (with its "OK to be gay" message), seven are straightforward club bangers. Boxx doesn't possess a compelling singing voice, and the closing track, "Scurvy," should be avoided like scurvy. Nevertheless, it sounds like they're having fun, and there's nothing wrong with that.

Queer Canadian folk/roots singer/songwriter Jeffery Straker returns with his ninth studio album, "Great Big Sky" (jeffstraker.com). Anyone who doubted Canadians could turn up the torch and twang, and the folks in Nashville or Austin were proven wrong by Shania Twain and k.d. lang. Straker shares Twain's ability to prove that there are no borders regarding country tunes. Standout numbers include "Better Than What We Found," "More Than Two By Fours and Timber," the country swing of "Brand New Light," and the beautiful "Dandelions."

Led by queer frontwoman Jen Dot and featuring trans musician Jesse Fevvers, Chicago quintet Beastii makes rip-roaring dance punk on its new album "Follower" (beastie.bandcamp.com). At just over two minutes, the second track, "The Limit," exemplifies early classic punk's spirit (and blistering brevity). "Spilt Milk" and "Butch Beach" conjure images of surfers riding the waves of Lake Michigan, while "Evil Eye" and "Trusted Mystik" represent darkwave at its eeriest.

GLADIATOR II

The Basics:

From legendary director Ridley Scott, Gladiator II continues the epic saga of power, intrigue, and vengeance set in Ancient Rome. Years after witnessing the revered hero Maximus's death at his uncle's hands, Lucius (Paul Mescal) is forced to enter the Colosseum after his home is conquered by the tyrannical Emperors who now lead Rome with an iron fist. With rage in his heart and the future of the Empire at stake, Lucius must look to his past to find strength and honor to return the glory of Rome to its people.

View the official trailer from Paramount pictures: https://www.youtube.com/watch?v=Ts0N8swyWFI

Opens Friday, November 22, 2024

The film will be shown locally at Iowa City FilmScene, located in downtown Iowa City.

Visit https://icfilmscene.org/film/gladiator-ii/ for local showtimes.

EXECUTIVE PRODUCED BY

Walter Parkes, Laurie MacDonald, Raymond Kirk, Aidan Elliott

PRODUCED BY

Douglas Wick, p.g.a., Ridley Scott, p.g.a., Lucy Fisher, p.g.a., Michael Pruss, p.g.a., David Franzoni 

BASED ON CHARACTERS BY

David Franzoni

STORY BY

Peter Craig and David Scarpa  

SCREENPLAY BY

David Scarpa

DIRECTED BY

Ridley Scott

STARRING

Paul Mescal, Pedro Pascal, Joseph Quinn, Fred Hechinger, Lior Raz, Derek Jacobi, with Connie Nielsen and Denzel Washington

Picture at right: Pedro Pascal plays General Acacius, and Paul Mescal plays Lucius in Gladiator II from Paramount Pictures.

©2024 Paramount Pictures. All rights reserved.

A book preview by The Bookworm Sez

"American Teenager: How Trans Kids are Surviving Hate and Finding Joy in a Turbulent Era"  by Nico Lang

c.2024, Abrams Press $30.00 288 pages

In Great-Grandma's day, they hooked.

They were high-topped and dainty, too, to show off a tiny, cheeky, demure ankle beneath long skirts. These days, though, they Velcro, tie, strap, or slip your toes into whatever you put on your feet. You gotta wear your shoes, but, as in the new book "American Teenager" by Nico Lang, you wish someone would walk a mile in them first.

Seven-hundred-plus.

That's how many anti-gay, anti-trans bills were presented to state legislatures around the country last year, many aimed at minors. As if being a teenager isn't hard enough. With this in mind, Lang shadowed seven trans kids, to find out how they and their families cope with our current political landscape.

Fifteen-year-old South Dakotan Wyatt is in the 10th grade. He knows that the lawmakers in his state "will just keep turning up the boil" on trans bills and it makes him physically sick. When Lang asked Wyatt to describe himself, Wyatt couldn't do it, as if, says Lang, he was "still in transit, not yet arrived."

Near Birmingham, Rhydian is a good student at the Magic City Acceptance Academy, the only school in the South that specifically welcomes LGBTQIA+ students, and he enjoys the deep love and support of his parents and grandmother. But he's frustrated: Rhydian's been waiting for months for top surgery, which has been put on hold for reasons that are political.

Mykah identifies as gender-fluid, Black, and bi-racial and they desperately dream of a future performing career. In Houston, Ruby's beloved church held a re-naming ceremony for her when

she turned eighteen. Seventeen-year-old trans boy Clint is Muslim, and has managed to avoid scrutiny from his Chicago mosque.

Jack, along with her mother and nonbinary sibling, Augie, were homeless before their mother finally managed to find housing; in the meantime, Jack lost her health care. And in Los Angeles, Kylie has health care, support, friends, and an activist mother.

She has advantages that most trans kids can only wish for – and she knows it.

Acne. Peer pressure. Social media. Being a teen has always been difficult, even without anti-LGBTQIA+ legislation. In this fine work of journalism, author Nico Lang shows how a handful of kids in one group are coping with governmental policies and life in general.

Hint: you can expect the unexpected.

"American Teenager" shows the highs and lows of being a teen with the added stress of politics included – and here, the individuality inside the ordinary is striking and remarkable. Lang is careful to show how these are just typical kids – good-hearted, intelligent, funny, sarcastic – and it rings throughout each profile how much the discrimination they endure affects their lives and relationships. That's a clarion call, but readers who can see between the lines will also enjoy this book's humor, compassion, and the sheer joy of meeting decent, thoughtful teens.

Parents will like this book for its candor, which goes doubly for adults who love a trans kid. Start "American Teenager," and you'll be hooked before long.

by Joe Landry

Directed by Juliana Frey-Méndez

November 29 – December 15, 2024, at Riverside Theatre

'TIS THE SEASON

This beloved holiday film comes to captivating life as a live 1940s radio broadcast. With the help of an ensemble of five performers who bring dozens of characters to the stage, the story of idealistic George Bailey unfolds as he considers ending his life one fateful Christmas Eve before an angel intervenes.

Director – Juliana Frey-Méndez

Scenic Designer – Kaelen Novak

Costume Designer – Karlē J. Meyers

Lighting Designer – Reese Morgan

Sound Designer – Dakota Parobek

Props Designer – Stephen Polchert

Dramaturg – K. Margaret Smith

Stage Manager – Tyler Salow

For showtimes and tickets, visit riversidetheater.org.

It’s A Wonderful Life: A Radio Play is Riverside’s 24/25 Backstage Pass Production

Riverside Theatre, 119 E. College Street, Iowa City

Photo illustration at right by GoGuide Magazine

Interview lead-in photo by Margret Long

The “RE:VIEW” from here: an interview with Melissa Manchester

By Gregg Shapiro

It can be challenging to keep track of all the things for which we owe a debt of gratitude to Bette Midler. Close to the top of the list is when, in the early 1970s, Midler made Melissa Manchester one of her backup singers, known affectionately as the Harlettes. For many LGBTQ+ folks, it was an introduction to a performer and lifetime friend of the community, who would go on to have a chart-topping career as a singer and songwriter in her own right. For “Re:View” (Green Hill), Manchester’s new album, she revisits some of her best-known songs, including “Come In From The Rain,” “Don’t Cry Out Loud,” “Just You and I,” and “You Should Hear How She Talks About You.” What sets the album apart are her renditions of “Whenever I Call You Friend” (a duet with Kenny Loggins, with whom she co-wrote the song) and “Midnight Blue” (a duet with Dolly Parton on the hit single Manchester co-wrote with longtime collaborator Carole Bayer Sager). Manchester, currently performing in the national tour of “Funny Girl,” as Fanny’s mother, Mrs. Brice, no less, graciously made time for an interview to talk about “Re:View.”

Gregg Shapiro: With so many songs from which to choose, what was involved in your selection process for your new album “RE:VIEW”

Melissa Manchester: It was sort of a thank you to my fans for sharing this musical journey for 50 years. You're right, there were several to choose from and they couldn't all fit on the album. These were some of the charted hits and songs that I have performed, mostly, for such a long time. I found some harmonic tweaks and I found more insight into the performance of the lyrics, and I wanted to revisit them because they have grown in depth and wisdom as I've grown in depth and wisdom.

GS: “Re:View” opens with you performing a duet with Kenny Loggins on “Whenever I Call You Friend.” Loggins had a hit with his 1978 version, a duet with Stevie Nicks. How did the songwriting collaboration with Kenny come about?

MM: Kenny and I kept running into each other at televised award shows where we were often paired up to present an award to somebody. It got to be so often that we’d see each other that it got to be kind of funny. He said why don't we meet in a room without a powder puff in between us because we always met in the green room. I invited him over to my home one night to write a song. He showed up with his guitar and I had my piano, and we both had our boom boxes, because you would work on cassettes in those days. We wrote the song and then I didn’t really see him again for a very long time. More recently, I had found out that after he left my place, he played the song for his friend Mike McDonald of The Doobie Brothers, who was not terribly impressed with “Whenever I Call You Friend.” I played my cassette (of the song) for Clive Davis who was not terribly impressed with “Whenever I Call You Friend.”

GS: Oh, no!

MM: [Laughs] Kenny was opening for Fleetwood Mac at the time so he enlisted Stevie to sing with him. That's how that happened. I had been trying to get him to record with me for such a long time because it's such a natural fit. Our schedules didn't allow and whatever. I finally said it's time to do this and if he wants to participate that's fine, and if he doesn't, I'll just move on. I produced and co-arranged the track with Stephan Oberhoff. His manager was very excited about it. I sent her the track and she forwarded it to him. I hadn't heard from him for a couple of weeks. Then one evening I texted him and asked him if he wanted to do it or not. He said, “Why don't you send me the track?” I said, “You've had it for two weeks!” He said, “I'll get right back to you,” and ten minutes later he said, “It's fantastic! I'm in.” It was a wonderful recording session. He couldn't have been more amiable or affable. We had a great time, and the video is the proof in the pudding. It's a beautiful and delightful achievement after all these decades.

GS: What did it mean to you that that song became such a massive hit for Kenny and Stevie when it did?

MM: It's always delightful on a very major scale when a song of yours is a hit. It would have been nice to be notified that he was recording it. He apologized for that later which was very sweet of him. Of course, when I started performing the song myself with my keyboard player or whoever was singing, it was instantly recognizable and that's always exciting.

GS: The duet with Dolly Parton on “Midnight Blue” is simply gorgeous. What was the experience of collaborating with Dolly like for you?

MM: She is a true queen. That’s the thing. She is music royalty, and so beloved, and has done such magnificent work not only through her songwriting but through her philanthropy. It was a real joy and honor to work with her. She was completely professional and delightful. My video crew flew down to Nashville to film the video. We only had a very short amount of time to shoot. The last shot that we did was the two of us driving in the back of an open-air Mustang, making a right and a right and a right, right back into the parking lot beside the recording studio. We were on Music Row, where all the publishing houses are, and it's the tourist area of Nashville. Coincidentally, as we were driving, and our director was in the front seat facing backward with his camera, there was a tourist bus that came right next to us. Once they saw Dolly in the car, people were basically dripping out of the bus, screaming her name. It was so dear and thrilling. People in cars pull over when they see her and stop and call out to her. She is just magnificently, and well-deservedly beloved. It was lovely to rethink “Midnight Blue” as a duet. It had never been recorded as a duet. But she wanted to be part of the album and that was very sweet. I needed to think of which song would suit her. That worked out really well, and she sang so beautifully.

GS: I totally agree. I know, and love, the song “Confide In Me” from Diana Ross’ underrated 1977 album “Baby, It’s Me.” I’m so happy you finally got to record the song for “RE:VIEW.”

MM: [Laughs] I found the right moment. My collaborator Stan Schwartz kept saying over the decades, “Are you gonna do this at some point?” When I revisited the song, it was written as a torch song. Raquel Welch had performed it on “The Muppet Show.” When I took a deep dive into the song, I realized that it could sustain a Latin beat. Because it could do that, it could hold up to an opening verse, which is a very old-fashioned element that's not written anymore. But it worked beautifully, and I think we created a beautiful video for it. I think the recording is very luscious.

GS: I also love the addition of the Citrus Singers choir on “Just You and I,” which lifts the song to new heights.

MM: Yes, oh absolutely! Thank you for mentioning that. One of the interesting things about recording “Re:View” is, because we had recorded so much of it prior to the pandemic, a lot of it was in the can. Many of these songs, without my knowing it, grew into that moment. When I rerecorded “Just You and I,” which Carole Sager and I had written a long time ago, at the beginning of the women's movement actually, when we were young singer/ songwriters, it grew into this song that would pay homage to essential workers, who were marginalized workers prior to the pandemic. Nurses and pizza delivery people and postal workers and people that were keeping the country functioning as best they could. The video for that song pays homage to that. I wanted to write choral parts for the Citrus Singers so they could underscore and amplify the gospel and anthemic components of the song.

GS: I'm so glad you mentioned Carole. In the liner notes, you extend your gratitude multiple times to “my esteemed colleague Carole Bayer Sager,” with whom you co-wrote half the songs on “Re:View,” as well as many others.  What was it about Carole that made her a good songwriting collaborator?

MM: That’s such a good question! One of the things that I learned not too long ago was that I was the first artist that Carole ever wrote with and wrote for. She was a songwriter for hire. She would write a song and it would be sent to other artists. I'd never written with anyone before. She sat with me. She had a very interesting and intriguing way of expressing herself which is what stirs my imagination to hear music. We would chat, and out of those discussions came our songs. That's why the tones of our songs are always very conversational. They literally came out of conversations. She was a magnificent collaborator, and we had a very fruitful, productive, and beautiful collaboration for several years. Our songs reflect that. It was a joy to work with her.

GS: “Don’t Cry Out Loud,” which Carole co-wrote with the late Peter Allen, was one of the biggest hits of your recording career. Do you remember what the response to that song meant to you?

MM: It was thrilling because it was touching so many people. For me initially, it was curious. The song was so beautiful, but I heard it as a very quiet lullaby sung by Peter Allen. I thought that rendition was just perfection. When it was arranged to be this gigantic anthem it sort of overwhelmed me because Carole and I wrote songs about finding your voice and affirming your value and all of that. Suddenly I was singing this big version of a song where the first word of the title is, “Don't.” I thought, “How am I going to pull this off?” It took me a little bit to understand what people were resonating with from the song. The song is about how one must learn how to cope. That’s just the way life goes. It is the lamenting of it, and it is the celebrating of it.

GS: Carole’s memoir, “They’re Playing Our Song,” was published in 2016. Do you think you might have a memoir in you?

MM: I do have a memoir in me! I just have to figure out how to do it [laughs]. I've started many times. I may end up with a collaborator, just to help me focus and sit quietly and get it out. Yes, I do have a memoir in me.

GS: I had the pleasure of attending your concert at JAZZIZ in Boca Raton a few years ago. Are there plans for you to perform concerts in support of “RE:VIEW”?

MM: Well, you would think, wouldn't you [laughs]? It's just that, at this moment, I am on the national tour of “Funny Girl,” which is a wonderful way to celebrate the 50th year of my career. Yes, I will be returning to the concert platform once this is over, but it has been extended through April, so I'll be away from concerts for a little bit more.

GS: What is your favorite part about playing Mrs. Brice in “Funny Girl?”

MM: My favorite part about playing Mrs. Brice is that, at this moment in my life, I can bring so much of my life experience and hard-won wisdom to the role. That's what I feel I do.

GS: Finally, you have a long history as an ally to the LGBTQ+ community. We’re speaking during Pride Month 2024, and I was wondering if you had anything you wanted to say to your queer fans?

MM: I say to all of my LGBTQ+ fans, thank you for sharing this journey. I was raised to be an ally from my parents. They were allies. I was raised with lots of uncles and aunties from the community when everybody was hiding in closets, except in our home. I am grateful to love everybody. I am touched by the love that I have received. And we shall all carry on.

WHAM!’S BELOVED CLASSIC LAST CHRISTMAS TURNS 40!

ANNOUNCING THE COMMEMORATIVE 40TH ANNIVERSARY EP 
INCLUDING A PREVIOUSLY UNRELEASED LIVE PERFORMANCE BY GEORGE MICHAEL, RELEASED ON LIMITED EDITION VINYL, C,D AND DIGITAL ON DECEMBER 13TH

Ahead of the 4oth - anniversary of one of the most beloved holiday songs of all time, WHAM!, George Michael Entertainment and Sony Music announced the release of the Last Christmas 40th Anniversary EP. The EP will feature all the original 7” and 12” versions plus George Michael’s 2006 performance of Last Christmas at London’s Wembley Arena.  The EP will be available on limited edition 12” Snowflake white vinyl, 12” picture disc, 12” zoetrope picture disc, plus CD and digital
on December 13th

Originally released by WHAM! back in December 1984, the six-time multi-platinum classic peaked at Number One in 16 countries upon its release and is officially the fourth highest-selling single of all time in the UK. The song has claimed the Number 1 spot multiple times over the last 4 decades and has amassed an incredible 5 billion combined streams. Now, 40 years on, the song has woven itself into the very fabric of the holiday season.

 The Last Christmas 40th Anniversary EP – out December 13th via Sony Music.

Pre-order here:

https://wham.lnk.to/40LastChristmas

by Gregg Shapiro

A local GoGuide Exclusive

The Indigo Girls – Emily Saliers and Amy Ray – are having a moment. Since the release of Greta Gerwig’s “Barbie” movie in the summer of 2023, in which the queer duo’s “Closer To Fine” was heard repeatedly, to today, when they are prominently featured in Tom Gustafson’s “Glitter & Doom” and Alexandria Bombach’s doc “Indigo Girls: It’s Only Life After All,” Indigo Girls are hotter than ever. That’s just the half of it! In addition to a well-received performance on the “Today” show, Indigo Girls are embarking on a multi-city concert tour, including several dates with Melissa Etheridge. In the midst of their super busy schedule, Emily was generous enough to make time for an interview.

Gregg Shapiro: In the introduction to my favorable review of Alexandria Bombach’s documentary “Indigo Girls: It’s Only Life After All,” I talk about how since the summer of 2023, when “Closer To Fine” was featured prominently in Greta Gerwig’s “Barbie” to today when we are speaking, Indigo Girls are having an amazing year. So, I’d like to begin by asking you to say what it meant to you to have “Closer To Fine” heard in “Barbie.”

Emily Saliers: First of all, it was a huge surprise to be asked. And it was an honor because both Amy and I adore Greta Gerwig’s work. It just kind of fell out of the sky, this massive gift. We knew it was going to be in the trailer, but we didn't know it was gonna be in the film. We certainly didn't know that was going to be featured in its own way in terms of its content in the movie. It was so exciting and so gratifying because we love Greta’s work. I loved the movie, too. I thought it was amazing on so many levels. The issues it delved into, the way it looked, how stylized it was, how funny it was, how clever, and the dancing. The whole thing was like this big experience. So, to have “Closer To Fine” included in something that I really loved so much as a piece of art was fantastic. Then, of course, there was a spike in interest, I think, in the Indigo Girls’ music. What a gift that was to come out of nowhere and take hold. I think we’re still feeling the repercussions of that in a positive way.

GS: As I mentioned, I enjoyed the doc “It’s Only Life After All.” How did it feel to be the subject of a documentary and have your life and career highlighted that way?

ES: We met Alexandria, the director, through Kathlyn Horan who was one of the producers on the documentary. We had lunch together and she said, “I’d like to make a documentary about y’all. I can see that that’s never been done before.” In our conversations, we were clear with Alexandria that we wanted it to be not so much just about us, but about our community. About a community that has gone through these things together. I think she handled that very deftly and respectfully. Instead of feeling like, “Here’s a movie about y’all,” it feels more like here’s a movie about the power of music and community. Especially for queer folks or people who don't fit inside a box, for them to have an openness and expression. And for us to go through our hard times in life together. The fact that it landed within the scope of the time of “Barbie” and “Glitter & Doom,” was just kind of like, “Wow! What is happening?” This is like the giving season for the Indigo Girls.

GS: I’m glad you mentioned “Glitter & Doom.” When I interviewed Amy in 2023 about her solo album (“If It All Goes South”), I asked her about the possibility of a stage musical consisting of Indigo Girls songs, and that’s when I learned about “Glitter & Doom.” The movie not only incorporates many Indigo Girls songs, but you also appear in the movie as the character of The Dream. What was that experience like for you?

ES: We read the script -- we get script submissions sometimes -- but this one really stood out. We loved the story. Then we heard the music, Michelle Chamuel’s arrangements and production, and how our music was arranged, produced, and performed in a way that we’d never heard before. That was really exciting for us and we loved it. We love Tom (Gustafson) and Cory (Krueckeberg) who co-directed the film (written by Krueckeberg). To be a cameo – Amy, I think, was terrified. Amy will tell you she does not like to act. I think she did an amazing job. For me, it was exciting. I was in high school theater, and I don't mind that. We had a different experience of actually being in the film. We both love the movie and it just premiered in a theater in New York. It’s so well done. It's a colorful and well- directed film with the songs. The actors are captivating. I love the story. Again, it was this wonderful piece of art that someone was creating that they invited us to be part of with our music. That feels good. Also, the other thing Gregg, that's important to me and Amy, is that when we were coming up, I remember this growing up as a young queer in Atlanta; there was a divide between the gay male world and the lesbian world. There was the complexity of the horror of the AIDS crisis, but beyond that, there was a separation, sort of never the twain shall meet. I feel like this experience with Tom and Cory and the gay male presence, the queer presence in the film, and then bringing in the lesbian artists to contribute was such a great energy and a great confluence of things that historically has not always happened. It's sort of like bringing all the queers together. That was profoundly moving to me and Amy, as well. I think it was important. I don't know if you remember that divide.

GS: I do! We’re close in age, and I remember that divide within the community. When I would tell people about “Glitter & Doom,” about how it features the Indigo Girls’ music, they would ask if it was a movie about a lesbian couple. I’d tell them, no, it's about a male couple and they’d say, “Wow!  Indigo Girls songs in a movie about a gay male couple!” So, yes, you’re right. “Glitter & Doom” attempts to bridge that gap.

ES: It does. I knew it, intellectually, but sitting in the theater and experiencing it was a whole other thing. It brought to life the way that queer people come together and the power of that, artistically, politically, socially, in every realm. Amy was sitting there in the theater experiencing the same thing and we didn't realize it until we started answering questions during the Q&A after the film was shown.

GS: “Glitter & Doom” also includes a song from your 2017 solo album “Murmuration Nation.” What does that inclusion mean to you?

ES: When I heard the way it’s treated in the movie, it was so thrilling. I wrote that song, “Match,” with Kristen Hall, one of the original members of Sugarland. It takes a seed of a song that was written so long ago for fun with a friend, and it makes it become this whole world of its own in the context of the movie. I love the way it was treated musically. In a way, it's like sitting outside of something and hearing something beautiful, but then it's connected to you because you created it. It's hard to articulate, but I thought it was really cool that they included a solo song from each of us in the whole body of work for the movie. For me, sitting there as an audience member, I was like, “Oh, who wrote this song? It’s pretty. This is really working [laughs].” It was the experience of being outside and inside at the same time and I don't get to experience that a lot. It was really cool.

GS: We’re speaking on March 28, and later today Indigo Girls perform at David Geffen Hall in New York, and the concert includes a conversation with the brilliant music journalist Ann Powers. What are you most looking forward to about that?

ES: Amy and I have the utmost respect for Ann Powers. When we first met her, we were so intimidated, I don't think we could barely speak [laughs]. Now, our paths have crossed through the years. To sit in an intimate gathering and talk with Ann, it's always an honor to have anything mediated by Ann. She’s such a stellar journalist, a journalist of incredible pedigree. It’s going to be intimate because Amy and I won’t be standing up at our mic stands and doing a whole show. We're seated and we're playing songs and Ann is asking questions about the process. It’s going to be a much more intimate experience. Of course, to be in New York, it's one of my very favorite places to play. We're looking forward to it. Lincoln Center is beautiful. It’s sold out. They're going to be showing it on big screens outside the theatre, and that will be cool, too. I'm looking forward to the whole experience of it.

GS: Speaking of concerts, Indigo Girls are touring with Melissa Etheridge. How did this amazing combination come to be?

ES: It is so cool! We've never done anything like this with Melissa. Of course, we have such respect for her career and her music. She was doing one of those rock cruises and we got invited to be on that, and we couldn't do it. But the speed was planted. After all these years, there was interest from both parties to play some shows together. Then it turned out to be playing summer sheds together. She’ll have her thing and we'll have our band, and we'll do some stuff together. Then it turned into this run of shows. When we first announced to a crowd that we were doing shows with Melissa Etheridge, it was in the Northeast somewhere, people screamed [laughs]! It was like, “Okay, this is a good decision.” We've been in touch with each other about doing a song together or whatever the case may be. It’s the first time we've done something like this with a storied artist like Melissa and we're both so excited.

GS: Additionally, on Sept. 1 Indigo Girls are playing Town Hall in Provincetown.

ES: Woo hoo!

GS: This made me wonder if Lea DeLaria, who not only appears in “Glitter & Doom,” but is also a presence in PTOWN might be joining the Indigo Girls for a number.

ES: We haven't heard from Lea, but we would always welcome Lea with open arms, of course. We love Lea, and if Lea is there, of course we'll do something together. But we haven’t gone through official lines. Maybe you’re putting the bug in Lea’s ear right now.

GS: I’m sure you don’t need to be reminded, but it’s been four years since the release of the Indigo Girls’ “Look Long” album. Is there a new Indigo Girls album in the works?

ES: It’s kind of floating in the ether. Everything is meeting at this juncture where we have the documentary and “Glitter & Doom,” and then “Barbie” happened, and we're doing a lot of symphony shows and touring. At the same time, Amy has a 10- year-old-daughter and I have an 11-year-old-daughter. We’re feeling the pain of missing life. So, we're trying to orchestrate how to keep our lives in balance with home life and touring. Then Amy had a super long tour with her solo band. And I'm writing for musical theater. To answer your question, as we're getting older we just seem to be getting busier [laughs] with these projects that are all wonderful. We have talked about the next album, and we started tossing around ideas, but we're going to take a little bit of a mental break this summer and spend time with our family. Then I’m sure we’ll be refreshed after that and from the tour with Melissa and Amos Lee and start to really focus in on when we can do the next album. There will be a next album, it’s just been such a busy time.

GS: Finally, because Indigo Girls are renowned for their activism, do you have any words of wisdom regarding the upcoming 2024 election?

ES: [Long pause] I'm just going to come out and say I'm voting for Biden. I'm going to say that it is absolutely critical that if you’re of voting age and ability, you have to vote. You cannot be distracted by the media that may pull you one way or another. I encourage you not to be distracted by a feeling of, “Well, my vote doesn't count,” because this election is as critical as any election has ever been. We're seeing a shift after Roe V. Wade was overturned in local and state politics. The onslaught of legislation against queer people, particularly trans people; conservatives are coming for all our rights, all of them, I would say, please vote, vote progressive. Don't be distracted by anything, even if you feel you have to vote for the lesser of two evils in your mind, vote for the lesser of two evils. This is an absolutely critical juncture for obvious reasons. I truly believe that the fabric of democracy is coming apart in this country, but we have to protect our queer family. We are under attack, and you have to vote for the candidate who supports us. That candidate is obviously Biden. It's extremely important to vote in your local elections because conservatives who are anti-queer are taking over school boards. You know what they're doing; banning books. Gregg, I could spend the next 20 minutes imploring anybody who's reading this to vote through a progressive lens. They're coming after us and we need to stand up for equal rights and for the future of democracy in this country.

Attendee panel closed

GoGuide Magzine caught up with our own Miss Christine (they/them) while on tour a couple of weeks ago. They were kind enough to do a Q&A with us for our new online magazine's inaugural issue.

According to Miss Christine's website, "The "Miss" has nothing to do with womanhood and everything to do with absence and longing. In this case, it's the longing for truth and freedom from misguided external perceptions. 

Miss Christine attended the Berklee College of Music before gaining experience as a session musician in Nashville. Christine defied expectations again by leaving Nashville behind for a farm near Iowa City, where they write and record their original songs. Miss Christine released their debut solo album, Conversion, in 2019. The follow-up, Bittersweet, is out June 2023 on Bandcamp, vinyl, and CD

GoGuide Magazine (GGM): How would you describe your tour, and how has it changed over the years?

Miss Christine: The tour has been so much fun! Before the pandemic, I played close to 100 shows a year, so since 2020, my tour schedule has slowed down tremendously. It felt so good to be back on stage this summer, playing Pride festivals and shows around the Midwest to support the release of my second album, Bittersweet. The pandemic allowed me the space to become more comfortable with my queerness and performing in public as my genderqueer self. My audience has changed so much since my first tour. It is much more queer.

I've been performing under the moniker Miss Christine since 2010. In 2017, I began to pursue my original music much more seriously, and in 2018, I hit the road touring around the Midwest, Northeast, and Southeast. I've been touring the last five years with different lineups of musicians in Miss Christine. A Miss Christine show is energetic and empowering with some introspective moments. 

Fortunately, Miss Christine can be found in Iowa City performing at LA Wine Bar on November 16 and at Gabe's on November 24.

GGM: How many albums have you recorded? What songs are fan favorites?

Miss Christine: I've recorded two full-length albums and two EPs. My first album, Conversion, came out in 2019, and my second album, Bittersweet, in 2023. Fan favorite songs are Conversion, Google University, and Profound. My favorite song at the moment is My Brain, which is about the time I got a concussion. It is so much fun to play live. Someone deemed it Doom Pop, which makes me laugh.

GGM: How would you describe your musical and performance style? Who in the music influenced you the most?

Miss Christine: I call it punk rock doo-wop. There are lots of vocal harmonies, defiant punk attitude, soulful moments, and occasional guitar and keyboard solos. Since I am a singing bassist, my songs are often short and full of unexpected surprises. My biggest influences are Paul McCartney, James Jamerson, Carol Kaye, The Beatles, The Grates, and The Supremes. I often say that I'm stuck in the '60s. I love music from that decade, especially Motown.

GGM: What has been your biggest hurdle in getting to the point you're at now?

Miss Christine: I spent most of my life hiding behind my bass playing instead of listening to who I am outside of my musicianship. My biggest hurdle has been learning to respect myself enough to advocate for my self-worth. Even though people like me are often left out of the mainstream, we exist and are valid just as we are. Since being public with my genderqueerness and asexuality, my life and music career have blossomed in a new way I never thought possible.

GGM: You will be headlining the Third Coralville Pride Festival next June. What can the crowd expect, and do you have any surprises for the show?

Miss Christine: We are excited to play at the Coralville Pride Festival next year! The crowd can expect a fun and energetic show filled with self-compassion. You'll have to come to the show and find out about surprises. ;) 

Visit the Miss Christine website for complete tour date listings and more information: https://www.misschristinemusic.com/