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Houston Voice, No. 920, June 12, 1998
File 040
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Houston Voice, No. 920, June 12, 1998 - File 040. 1998-06-12. University of Houston Libraries. University of Houston Digital Library. Web. March 30, 2020. https://digital.lib.uh.edu/collection/montrose/item/3055/show/3045.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

(1998-06-12). Houston Voice, No. 920, June 12, 1998 - File 040. Montrose Voice. University of Houston Libraries. Retrieved from https://digital.lib.uh.edu/collection/montrose/item/3055/show/3045

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

Houston Voice, No. 920, June 12, 1998 - File 040, 1998-06-12, Montrose Voice, University of Houston Libraries, accessed March 30, 2020, https://digital.lib.uh.edu/collection/montrose/item/3055/show/3045.

Disclaimer: This is a general citation for reference purposes. Please consult the most recent edition of your style manual for the proper formatting of the type of source you are citing. If the date given in the citation does not match the date on the digital item, use the more accurate date below the digital item.

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Title Houston Voice, No. 920, June 12, 1998
Contributor
  • Hennie, Matthew A.
Publisher Window Media
Date June 12, 1998
Language English
Subject
  • LGBTQ community
  • LGBTQ people
  • Gay liberation movement
Place
  • Houston, Texas
Genre
  • newspapers
Type
  • Text
Identifier OCLC: 31485329
Collection
  • University of Houston Libraries Special Collections
  • LGBT Research Collection
  • Montrose Voice
Rights In Copyright
Note This item was digitized from materials loaned by the Gulf Coast Archive and Museum (GCAM).
Item Description
Title File 040
Transcript I Ar /from page IB my dance career. When I was younger, a commitment to dance was almost impossible — there was so much pressure to play sports and to do the macho thing.' I was constantly ridiculed about my passion for tap. I remember the 7th-grade vividly. 1 cried almost every day before going to school." he said. The tap shoes have turned, so to speak. Now LoCascio laughs at his totally new perspective. "When I see my macho buddies out on the football field patting each other on the butl. 1 can only compare that lo what I'm doing — working in a class full of beautiful women in body suits — so who's gay here?" he asked. Despite their tough image, the guys in the company are more like a big family filled with kids refusing lo grow up, LoCascio says There are a lot of different types of guys in the company — black, white, straight, gay. American. and Australian — but wc all love to dance and we all gel along very, very well. There is a fair amount of pressure on you when you have a show lhat is this successful. The camaraderie that we have in the company makes touring much easier," he said. Part of the Tap Dogs" allure is that the guys perform in such a visceral manner — the set. the lighting. the sweat and the movement all combine to effect you in a way that is passionate. LoCascio doesn't make excuses for the sexuality involved in "Dogs." but seems a bit surprised by il. "Everyone seems to focus on the fad that we take our shirts off during the show. Each of the dancers has a specific role in the show and we play those parts accordingly. I happen to be one of the guys that takes my shirt off, but that is just part of the character 1 play in the cast. "Sex is not the focus of this show, dance is. The fact that a few decent looking guys remove some clothing isn't something we think aboul — we're too busy moving our feet in the right direction," he said. If recent performances are any indication, the "Dogs" seem to be headed for a blue ribbon at the Westminster Kennel Club. Sold oul houses have spawned all kind of ideas for this troupe and the dance concept they present. "We are different from anything else. Were not 'Riverdance.' not Bring in Da Noise. Bring in Da Funk' and we're not Blue Man Group' (one of New York's longest running alter native movement phenomena). We are respectful of all that those groups have done for dance, bul we fit an our own category." LoCascio said. Plans for a long-term Las Vegas run and a possible movie are in the works. Society for the Performing Arts brings Tap Dogs back for eighl performances. When the "Dogs" were lasl here in 1996 they were the surprise sensation of the season. Don't be left with an empty water bowl, you'll want to lap "Tap Dogs" up. What: Tap Dogs" When: June 16-21 Where: Wortham Center. 500 TexaS Ave. Tickets: 7Ki 227-ARTS BOOK REVIEW Exploring Latin mystique 'Hollywood's Latin Lovers." by Victoria Thomas: Angel City Press. 144 pages. $26. by ELLA TYLER Ifyou like dark and handsome men. this book is for you. The book discusses Ihe history of "Latin Lovers" from Valentino (Rudolph) and Ramon Novarro lo Jimmy Smits and .-\ntonio Banderas. but wisely devotes much of its space to pictures — more than 130. The text is inleresling. though, both for its discussion of the durability and importance of Ihis uniquely American icon, and for its look al the personal lives of the stars. In private, these actors often did nol live up to their screen images. Silent movie slar Valentino, though disastrously heterosexual, often played androgynous or even effeminate roles without loosing his appeal lo women. An early death (and a canny publicist) gave him a cult following that still lingers, more lhan 70 years later. Women, dramatically clad in black, still place flowers on his grave, though not in the numbers they did until thc lilties. The lirst of the "ladies in black" was a bil actress hired lo appear as a hear) broken fan, but lhe ritual continues. At least Iwo of the book's famous lovers were gay. Ramon Novarro's refusal to marry — or even cooperate with tlie Hollywood practice some call "Liming" — ended his career. On the other hand, Cesar Romero was always willing to be photographed with beautiful women (but not to marry), and his career in film and television lasted 40 years. Romero's role as a lover was so ingrained that he was making jokes about dating younger women even when he was in his '80s. and even after he had acknowledged (and joked) about his being gay. Tlie chapter about Desi Arnaz is interesting. Arnaz. according to the book, literally invented the rerun when he persuaded CBS to record "I Love Lucy" in California instead of televising the show live from New York. aArnaz earned his credentials as a Latin Lover and became a sex ido! in the late '30s and early "40s with his hip- swaying, conga-pound ing night club act. I always thought Elvis Invented pelvic thrusts. Tlie chapter on reincarnated "Latin Lovers" traces the portrayal of masculinity on screen from lhe 70s to the 90's. First there were the tough guvs like Pacino and Stallone. Then, just like the stars of a earlier eras. John Travolta made lhe ability to dance a badge of masculinity. Finally, we have st.us like Raul Julia, and Antonio Band-eras. Ol Banderas. the Thomas says "(he) has often played gay men (in Spanish films and in Philadelphia) ... yel he is a powerful, conventional leading men. Simply, we believe in him as a lover — almost anyone's." The book makes me want to rent a lew videos. Certainly, high praise. SATURDAY, JUNE 13 GENTRY'£ EIGHTH ANNIVERSARY PARTY Celebrate With Us And Enjoy ^OC WELL siimI ¥&•& DOItI1^NT1<CN 'worn :*■•■> !►■■■ until I I pm Dancers Every Night I»EUS JlAlai: STRIP CONTENT* Sl.\DAV k WFMfMtt NO COVER EVER MONDAY J iwe 22 1998 PRIDI Grand Marshals Reception JPM - 9PM Conipliiiienlary Kuffel 2303 Richmond . (713) 520-1861
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