Palm Springs, CA (The Hollywood Times) – Patricia Beckmann Wells’ The AI Fairytale Mombomb, Part 1 is an animated short that defies conventional storytelling with its sharp wit, bold visuals, and thought-provoking take on artificial intelligence and motherhood. A Slamdance selection, the film marks a fascinating entry into the ongoing conversation about AI’s growing influence on human identity, autonomy, and the roles we play in society.
Click below for our exclusive interview:
At its core, Mombomb! is both a satire and a warning, wrapped in an eccentric, visually arresting package. Drawing from personal experience, Wells reveals the film’s haunting inspiration. “I encountered a gentleman who tried to get me into his car and luckily, I escaped… I was one of the first people that they tried to kidnap. And I got away. His face was imprinted on my mind, and I would recognize him anywhere.”
This real-life trauma informs the narrative, where AI and human relationships collide in unpredictable ways, exploring themes of creation, control, and the blurred lines between nurture and programming. Wells, known for her unique ability to blend humor with social critique, crafts a world that is at once absurdly futuristic and eerily relevant.
The animation style mirrors the film’s unconventional approach, with surreal imagery and an aesthetic that feels both retro and cutting-edge. It evokes a sense of nostalgia while simultaneously pushing the boundaries of digital storytelling. The character designs and settings are exaggerated, reinforcing the film’s satirical edge.
Patricia Beckmann Wells directs, writes, and narrates the short film Mombomb, Part 1.
Perhaps the most compelling aspect of Mombomb! is its commentary on motherhood in the age of AI. In a world where technology is rapidly redefining human roles, the film asks: What happens when artificial intelligence starts to take over traditionally human functions, including the most intimate and essential ones, like caregiving? It’s a question that feels especially relevant in an era where AI is creeping into creative and emotional labor.
Wells emphasizes the film’s therapeutic undertones. “The overall message is how to self-heal… Accepting trauma into your life, that it is a natural human condition. We’re going to have it. It’s going to happen to us. And we need to prepare ourselves for it.”
This message resonates particularly strongly in Part 1 of what is presumably a larger narrative, Mombomb! leaves audiences with more questions than answers—but that’s precisely its strength. It challenges viewers to think critically about the technological future we are hurtling toward while entertaining them with its offbeat humor and striking visuals.
Wells has crafted a film that is as funny as it is unsettling, a reminder that the best sci-fi doesn’t just predict the future—it interrogates it. With The AI Fairytale Mombomb, Part 1, she delivers a film that is as imaginative as it is urgent. One can only hope that Part 2 will continue to push the boundaries of this wildly inventive story.
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On the heels of its highly successful West Coast U.S. premiere at Slamdance Film Festival held in February, Patricia Beckmann Wells’ modern day AI fairytale Mombomb, Part 1will have its South Asian premiere at the prestigious Nepal International Film Festival, held from March 20 – 24, 2025.
Mombomb, part 1 is among five films that will compete in the festival’s AI category on March 21st.
Created using over a dozen AI in a unique pipeline, the story is Beckmann Wells’ personal experience in her youth with a pair of serial killers and her ensuing lifelong regret. Based on real events, the feminist comedy horror series explores inter-generational trauma and memory through the eyes of the daughter of WWII immigrants. The 12-part series is being developed into a feature film, with several episodes already completed.
“I am truly honored that Mombomb was named an official selection at such a prestigious international film festival, as one of five films created using the tools of AI,” comments Beckmann Wells. “Mombomb is the story of our survival through fantasy, and through AI, my aim is to help teach those facing obstacles and challenges to remain strong and steadfast during difficult times.“
In Mombomb, Girl Scout Pez’s life is a modern fairy tale, but unfortunately a fairy tale inspired by The Brothers Grimm … and when the killer troll from under the bridge comes to harvest young girls, a girl scout must use her cookies to kill. Pez is a weaponized girl scout in Toledo, Ohio, a breeding ground of serial killers in the 70s. She and her friends are growing up before the internet is available and she must learn how to survive when her mother, who was hunted by soldiers in World War II, refuses to believe the great American dream is corrupt. As Pez discovers her strengths, and her mother’s weaknesses, she finds out why squirrels run in front of speeding cars and how that is stopped by teaching them the girl power of domestic duties and revenge.
Beckmann Wells comments on what inspired her to make the series. She explains, “I was stalked by serial killers who murdered several people in my small-town neighborhood. My community did not share these stories with the children. We learned about the killings through campfire stories. To us they were not real. I grew up in Toledo, Ohio before the internet. I did not know the two men following me were serial killers or the reality of the murders in my neighborhood until my parents were gone. I survived because my mother told me stories from The Brothers Grimm. I was trained to expect the boogie man. Other children were trained by Sesame Street. They knew their alphabet but had never thought to practice capping the knees of a killer. My mother did not believe me. She thought I was trying to get attention. She stopped telling me stories of the war. Then the neighbors began disappearing. One of the convicted serial killer brothers was released from prison in 2018. The other brother has a hearing for his release in March 2025.”
This month, Mombomb, Part 1 was also an official selection of the Austin AI Festival and the RPM In Motion Festival in Boston.
To date, Mombomb has achieved accolades on the global festival circuit, receiving Best in Creative AI at Qld XR in Brisbane, Australia; Best Animated Short Film at STUFF MX in Mexico City; Runner Up Best Story at Metamorph Film Award in Fort Lauderdale, Florida; Best Visual Effects at AI Artist in Peking, China; AI Program 1.0 at Tirana International Film Festival in Albania; and the Grand Prix at Courant3D in Aunguleme, France.
Mombomb, Part 1 (USA)
Director: Patricia Beckmann Wells
Producer: Patricia Beckmann Wells
Girl Scout Pez’s life is a modern fairy tale, but it was written by The Brothers Grimm … and when the killer troll from under the bridge comes to harvest young girls, a girl scout must use her cookies to kill.
Cast: Patricia Beckmann Wells
About Patricia Beckmann Wells – Patricia Beckmann Wells was one of eight female-identifying directors chosen for Lunafest, sponsored by Luna Bars, and her film Family Tale traveled nationally with Lunafest raising money for breast cancer. Her film Propolis, Part 7 premiered at Slamdance in Park City, Utah in 2019. Beckmann Wells’ career includes executive leadership roles at Dreamworks SKG, where she also co-led the build of the Bangalore studios, and Walt Disney Animation Studios responsible for art asset pipeline development and training, and artist roles at Warner Brothers Digital, Film Roman, and ITE Denmark, among others. She now works independently as a content creator at her studio, Bunsella films, a virtual production studio and stage with facilities in both Los Angeles and Glendale. She is an expert in artificial intelligence enhanced pipelines coupled with virtual production techniques and game engine integration. Mombomb, part 1 is the first of 12 episodes, and two more episodes are currently ready for festival entry. She is the author of ‘Face It: A Visual Reference for Multi-ethnic Facial Modeling.’ Her expertise has led to roles as a consultant for the Epic Games Unreal Metahuman project and speaking engagements with Pixar and SIGGRAPH on informed ethnic Identity in character design using forensic evidence and markers on skulls gathered from around the world. Recently, she was invited to speak at the AgBO + Slamdance summer showcase hosted by the Russo Brothers (Everything Everywhere All At Once) as a member of the featured round-table discussion of ‘AI and independent filmmaking’.
Beckmann Wells’ animated films have participated in over 200 festivals, including Slamdance, Lunafest, Tirana International Film Festival, Artefact AI film festival with MK2 and Director Jean-Pierre Jeunet, Los Angeles Contemporary Museum of Art, CERN, Supernova Digital Animation Festival, Anima Zagreb, among others.
About Nepal International Film Festival – The eighth edition of the Nepal International Film Festival (NIFF), organized by the Nepal Film and Cultural Academy, will take place from March 20-24, 2025. The festival will showcase outstanding films from various corners of the world and will include interesting and meaningful discussions on contemporary issues with local and international filmmakers, high-level politicians, and respected personalities from society, as well as various masterclasses and workshops.
In this edition, 87 films from 40 countries have been selected from over 600 films received from 70 countries, with many of the selected films having already been screened at such prestigious festivals as Busan, Cannes, Locarno, Berlinale and others.
We are excited to share that the 2025 OUTLOUD Music Festival will be returning to the WeHo Pride weekend, proudly headlined by Lizzo, Lil Nas X, Kim Petras, Honey Dijon, and Paris Hilton! This year’s festival promises to be bigger and more vibrant than ever, featuring an incredible lineup of both queer and ally artists.
In addition to these headliners, performers such as Shygirl Presents: Club Shy, Pabllo Vittar, Rebecca Black, Sasha Colby, Alyssa Edwards, and many more will be taking the stage over the weekend of May 31 and June 1, 2025, at West Hollywood Park.
Produced by JJLA, OUTLOUD is dedicated to celebrating LGBTQ+ culture and amplifying visibility through music. With its fourth year, the festival continues to offer a space for artists and the community to come together, especially in times when visibility and rights are still under threat.
Tickets for the festival will be available for purchase starting on March 25, 2025, at 10 a.m. PDT. You can grab your General Admission Weekend Passes starting at $159, VIP Weekend Pride Passes at $359, and Super VIP Weekend Pride Passes at $699.
Stay tuned for more lineup updates and additional event details! For more information and ticket purchases, visit OUTLOUD Music Festival.
On set of The Comic Shop with Jesse Metcalfe and Ryan Galvan (DP)
Will be screened at
BEVERLY HILLS FILM FESTIVAL® CELEBRATES 25 YEARS OF GLOBAL CINEMA APRIL 1-6, 2025
By Valerie Milano
Los Angeles, CA (The Hollywood Times) 3/21/25 – Filmmaker Jonathan L. Bowen is no stranger to stories that resonate with deep personal and cultural significance. His latest project, The Comic Shop, is a heartfelt exploration of nostalgia, friendship, and the enduring love for comic books. With a background in storytelling that spans multiple genres, Bowen crafts a film that not only captures the spirit of a bygone era but also celebrates the comic book community’s lasting impact.
Click below for our exclusive interview:
A Story Rooted in Passion
At its core, The Comic Shop is a tribute to the places that shaped generations of fans. Bowen, a self-proclaimed comic book aficionado, drew inspiration from his own experiences growing up surrounded by the vibrant worlds of superheroes, fantasy, and science fiction. The film follows a group of friends who reconnect over their shared love for comics, revisiting their childhood hangout—a small, independently run comic bookstore.
The shop itself becomes a character, embodying the charm, struggles, and resilience of independent businesses. Through compelling storytelling, Bowen taps into the universal theme of finding one’s identity within a community, making The Comic Shop more than just a film about comics; it’s about friendship, change, and the importance of preserving the things that bring people together.
Blending Nostalgia with Contemporary Themes
While The Comic Shop is steeped in nostalgia, Bowen ensures that it remains relevant to modern audiences. The film touches on the evolving landscape of comic book culture, addressing issues like the digital age’s impact on print media, the changing demographics of fandom, and the significance of inclusivity in geek culture.
Bowen’s signature style of blending humor with heartfelt moments shines through, making the film accessible to both longtime comic book lovers and newcomers alike. He strikes a balance between honoring classic comic book tropes and crafting a fresh, character-driven narrative that feels both familiar and new.
A Love Letter to the Fans
Beyond its engaging plot and well-crafted characters, The Comic Shop serves as a love letter to comic book enthusiasts. Bowen integrates nods to legendary creators, classic storylines, and iconic artwork, ensuring that the film is filled with Easter eggs for those who have spent years immersed in the medium. However, it also remains welcoming to those who may not have grown up in comic shops but can appreciate the power of storytelling and the bonds it forges.
What’s Next for Bowen?
With The Comic Shop, Bowen continues to establish himself as a filmmaker who understands the intersection of nostalgia and contemporary storytelling. As the project gains momentum, audiences can anticipate festival screenings, potential streaming releases, and further insights into Bowen’s creative process.
For fans of heartfelt, character-driven cinema with a strong connection to pop culture, The Comic Shop is a film to watch. Whether you’re a longtime collector or simply someone who appreciates a well-told story, Bowen’s latest work promises to deliver an experience that resonates far beyond the comic book pages.
JUST ANNOUNCED! The Big Bounce America 2025 Tour is Bouncing into the Los Angeles Area!
Let’s get this Party Jumping; The Biggest Bouncy Castle in the World is Bounding into the Los Angeles Area for Two Weekends Beginning April 12th
The Big Bounce America Tour Rolls into the Los Angeles Area with a 24,000 sq. ft. Bounce House, a Newly Added Under-The-Sea Bouncer, and Much More!
WHAT:
The Big Bounce America 2025 tour is bringing the bounciest, most action-packed experience of the year to the Los Angeles Area for two weekends this spring! The Big Bounce America tour will first stop in Santa Clarita, CA from Saturday, April 12th, through Sunday, April 13th, at El Cariso Community Regional Park before heading to Orange County, CA from Saturday, April 19th, through Sunday, April 20th, at Rancho Mission Viejo Riding Park. Featuring The World’s Largest Bounce House, The Big Bounce America is the biggest touring inflatable event in the world and includes seven massive inflatable attractions: a newly expanded 24,000 sq. ft. World’s Largest Bounce House; the incredible 900+ ft. long obstacle course The Giant; the customized sports arena Sport Slam; the unique, three-piece, space-themed wonderland airSPACE; and the newly added deep sea foam party inflatable OctoBlast. The Big Bounce America continues to turn up the wow-factor and push the limits of family-friendly entertainment to new heights!
SANTA CLARITA SCHEDULE & ADDRESS:
Saturday, April 12th; Sunday, April 13th, 2025 – Tickets
El Cariso Community Regional Park
13100 Hubbard St,
Sylmar, CA 91342
ORANGE COUNTY SCHEDULE & ADDRESS:
Saturday, April 19th; Sunday, April 20th, 2025 – Tickets
Rancho Mission Viejo Riding Park
30753 Avenida La Pata,
San Juan Capistrano, CA 92675
The World’s Largest Bounce House
Now covering an area of over 24,000 sq. ft. and standing 32 ft. tall at its highest point, this inflatable goliath is The World’s Largest Bounce House. Inside you’ll find giant slides, ball pits, climbing towers, and basketball hoops beside fun, friendly, oversized characters of various colors, shapes, and sizes for those all-important Instagram moments. At the center of this dreamland is a custom-built stage where the resident DJ really turns up the party by playing music tailored to each age group while hosting games and competitions. Everyone is invited to enjoy the experience as sessions are organized by age, ranging from tiny tots to adult-only sessions. This is the place to really kick those shoes off and let loose!
The Giant
Calling all aspiring Ninja Warriors! At over 900 ft. in length, The Giant is one of the most fun and energetic experiences you’ll ever have. There are 50 different obstacles to overcome as you make your way from the start line to our grand finale monster slide. Whether you’re looking for some fun competition between family and friends or just want to bounce around the weird and colorful inflatable landscape at your own pace, The Giant is not to be missed!
Sport Slam
Sport Slam brings a whole new dimension to an already action-packed day out with a customized sports arena filled with goals, nets, hoops, and balls of every size and type you could imagine! Compete against family and friends by racing up the climbing tower or take them on in the ‘battle zone’ to see who can stay on their podium the longest. In this inflatable the bouncing and battles never end!
airSPACE
airSPACE is a truly unique, space-themed wonderland filled with friendly aliens, spaceships, moon craters, and so much more, spread across three different inflatables! There is a gigantic 5-lane slide, a huge 25 ft. tall inflatable alien at the center of three bottomless ball pits, and a giant spaceman jumping around the moon base. For a totally immersive experience that’s out of this world, look no further than airSPACE!
OctoBlast
OctoBlast, the newest addition to The Big Bounce America tour, is turning up the fun and foam in this unforgettable experience! This inflatable is unlike any other; it’s part bouncer, part foam party, and fun for all ages! Upon entering, you will jump into a deep-sea world filled with colorful ocean creatures, colossal foam cannons, and LIVE DJs spinning the best tracks from a huge pufferfish stage, all while dancing through a giant Octopus’s tentacles. Be sure to bring your best moves for this underwater bash! Noa Visnich, Tour Manager of The Big Bounce America, shared how this event is fun for the entire family:
“We need more fun in the world, and what better way to bring that into 2025 than with a 24,000 sq. ft. bounce house! The Big Bounce America is the perfect event for kids and adults alike to get out of the house and enjoy an outdoor event like they’ve never experienced. Complementing the biggest bounce house in the world, OctoBlast, Sport Slam, The Giant, and airSPACE make this a not to miss experience. So, we invite all kids, and kids at heart, to kick those sneakers off and PARTY ON!”
All-Access Tickets are available online and jammed with value. These tickets include a three-hour pass to the event, including a timed session on The World’s Largest Bounce House, as well as unlimited access to OctoBlast, Sport Slam, The Giant, and airSPACE!
Tickets start at just $22. This event is expected to sell out; advanced tickets are encouraged. For tickets and pricing, go to https://thebigbounceamerica.com/tour-dates/.
SANTA CLARITA SCHEDULE & ADDRESS:
Saturday, April 12th; Sunday, April 13th, 2025 – Tickets
El Cariso Community Regional Park
13100 Hubbard St
Sylmar, CA 91342
ORANGE COUNTY SCHEDULE & ADDRESS:
Saturday, April 19th; Sunday, April 20th, 2025 – Tickets
Rancho Mission Viejo Riding Park
30753 Avenida La Pata
San Juan Capistrano, CA 92675
Catch The Big Bounce America tour through social media by following on:
Facebook: www.facebook.com/thebigbounceamerica/
Instagram: @thebigbounceamerica
Twitter: @thebigbounceusa
ABOUT XL EVENT LAB:
XL Event Lab, the company behind The Big Bounce America, is a worldwide event producer and promoter. They specialize in creating and touring unforgettable, innovative events for large audiences. Since 2007, the company has welcomed thousands of guests to its experiences in countries around the world.
Los Angeles, CA (The Hollywood Times) 3/21/25 – This weekend is LA Leather Pride, an annual event that celebrates its leather community. However, the event is overshadowed by its history condoning anti-semetism. In January, screenshots depicted Derk Dehner, former President of LA-based nonprofit Tom of Finland Foundation, wearing apparel reminiscent of Third Reich military uniforms [https://www.yahoo.com/news/durk-dehner-resigns-tom-finland-154540095.html] and positing neo-Nazi-based rhetoric on BDSM/fetish websites, were released. Since these images have been shown throughout social media, Dehner was removed from judging International Mister Leather (IML) and resigned from his Tom of Finland Foundation Board position. Interestingly, Dehner, while stepped down, continues to remain close with the foundation by announcing updates with the foundation, and received multiple messages of support from the community despite his neo-Nazi aesthetic even after the information was released.
Common refrains from within the leather community were variations of this statement, “I didn’t know, but people knew;” this implies that there was some prior knowledge about Dehner’s relationship to Nazi regalia; however, community members failed to vet the head of the Tom of Finland Foundation and failed to hold themselves accountable. For example, the Los Angeles Coalition (LALC) noted that it “stands steadfast in its commitment to fostering a community rooted in respect, inclusivity, and mutual support. We unequivocally oppose all forms of bullying, hate speech and discrimination ensuring that our shared spaces remain safe and welcoming for everyone. We are aware of how negative actions and comments can affect the community. Therefore, for the time being, the Los Angeles Leather Coalition is severing all association and support of the Tom of Finland Foundation.” William Schildler, co-founder of the LALC, shared that “the organization was designed to be a forum for discussing topics of mutual interest to a diverse community, a place to work together to achieve goals of mutual benefit. One misconception some have is to take it for a governing body, which it was never meant to be.” While the LALC issued a statement that it severed ties (which it had the power to do), they did not describe how it would hold individuals, who knew about Dehner’s problematic behavior accountable, nor did it describe a transparent investigation process.
When leather community members publicized Dehner’s controversial photographs, only a few community members publicly recounted their experiences with the Tom of Finland Foundation in Los Angeles that may have emphasized other negative experiences with the foundation. Following the fallout from Dehner’s resignation, according to IT Director Edward Salm, he explained that “This afternoon, the Tom of Finland Foundation received numerous violent threats to personnel and the property. We need to upgrade the outside gates to the property immediately . . . “.
This is particularly important as the Tom of Finland Foundation Inc is a powerful 501c3 in the Los Angeles community that, according to ProPublica, accrued 730k in profits in 2023. Some explained that this lack of accountability was possibly due to a culture of retaliation against whistleblowers in the leather community because leather community members fear retaliatory tactics, such as (but not limited to): removing privileges from individuals within institutions, threatening lawsuits for speech, public shaming, blackballing, falsifying allegations of sexual assault, verbal abuse, and possible bodily harm. While these retaliatory measures have maintained secrecy of wrongdoing over the last thirty years within the community, these measures enable a culture of wrongdoing to permeate the community. Though several concerned parties have argued that the community lacks diversity training and cultural awareness, which can provide overall knowledge of inequity in the leather community. However, leather community members tend to protect their friends when they know they did something wrong. This leads to a culture of ignoring accountability and contributes to not addressing issues within the community.
The Culture That Allowed Durk Dehner To Exist
In social and anthropological sciences, culture is a complex construct that refers to patterns of behavior, norms, and beliefs that give rise to specific institutions and outcomes. It is an inherent construct of culture that trends toward the protection of individuals with power. Sometimes, individuals within a culture consciously know that they are engaged in wrongdoing, but others might be unaware. To an extent, the leather community lacks racial awareness, and this contributes to why racist and antisemitic individuals are allowed to thrive within the community.
While many have admonished Derk’s actions, there were others in the leather community who supported Dehner. An example from a Pete of Finland on January 14 in a now deleted post, “[Dehner] helped [sic] changed the history of gay culture and in Finland. He made a mistake, and now the community is on a witch hunt without even knowing what really happened. As a community, I think we have bigger fish to fry. There is a real enemy (Trump) to be concerned about. Durk is not a racist. There is no hate in that man. I know. I’m very disappointed in the Los Angeles leather community. Some people just need drama. Need an enemy. They feed on hate. Pitiful.”
Yes, Donald Trump has been a threat to society at large as well as the LGBTQ communities. However, there is still an inability to self-examine and to self-correct our communities. Some community members, such as Tom Urbanski, said that they need to separate the fetish from belief. For example, another user said, “There needs to be an acknowledgement of the difference between what is fetish thought and what is actual beliefs and actions based on hate. The ‘thought fascists’ in our community today cannot reconcile the difference between these 2 things apparently we also need to fall in line . . . it’s disturbing and intolerant.”
While many have argued that sexual fetishes have nothing to do with racism and oppression, research on sexual racism shows that fetishes, especially within leather/BDSM spaces, are based on stereotypes of minority groups. In these cases, diversity training would be both necessary and appropriate. In fact, the LALC involved a diversity educator, but it refuses to fundamentally acknowledge the institutional biases and disavowing communities of color by leaving them without institutional support; for example, David Mosqueda, Mr. LA Leather, placed second at International Mr. Leather, wrote, “Crazy that the LALC didn’t even bother to reach out when I was looking for sponsors and assistance for the BIPOC and Leather and Kink Caucus . . .the LALC never showed up to any of my parties helping me be sent off to IML, or even when I returned. I told them multiple times.”
Finally, individuals are forced to accept half-hearted apologies. In response to the widespread condemnation for his clothing that resembled the third Reich, Dehner apologized. Community member Fred Henson, noted that since Dehner apologized, “it is a step in the right direction that you’ve acknowledged and apologized for the harm you’ve caused, though, that won’t be enough” and advocated transformative justice, but some seem to think that apologies are enough, including Cyril Leather, “who are you to lay down and make a moral to a person who sincerely apologizes . . . Just thank you for your apology would have been enough!! To a good listener.” Another person, Paul Peter Rhu-mhor Fraser, “He apologized, what else do you want?! Have you EVER FCK UP AND APOLOGIZED PUBLICALY? FYI READ THE FUCKING ROOM.” Though Henson rightly frames his request for proactive transformative justice, he got shut down by multiple community members.
Bad Behavior is Bad Behavior
While there are some individuals in the leather community who require further education on racism, antisemitism, and discrimination, the broader problem within the leather community is that it creates a culture of where individuals cover for one another when they commit acts of wrongdoing. When wrongdoing is called out by whistleblowers, they are often retaliated against.
Since its inception, the leather community has a known history of allowing racist and anti-semitic speech. For example, before IML 2017, rather than address racist and anti-semitic behavior, leather community members blamed “both sides” of individuals for creating “problems” within the community when a whistleblower documented leather title holder’s racist and anti-semitic speech. One International Mister Leather contestant, Mr. Wisconsin Leather Chomper Schuld, stated the following:
The need for validation appears to be growing among younger members of the community. We are letting them believe the only way to get out attention is to play the ‘victim cards’ of race, sexual orientation, and claims of gender performance . . . individuals playing this victim card are not only poisoning the system but turning it into a system of inclusion. ‘Faggotry Politics’ of this nature ruins the risk of turning our once powerful community into a weakened joke defined by its passion for drama over just helping one another achieve orgasmic results…. The victim card thing is becoming routine and forcing otherwise stellar leaders to rethink their commitment to the role [of mentoring the next generation]; thus, shrinking our gene pool.”
While linking this quote to conservative tropes of how inclusion creates problems, the article says explicitly, “Yes, we are now getting into the language of “gene pools,” a similar language to the language espoused by Nazi leaders, such as Adolf Hitler and the American eugenicists before him in the 1920s and 1930s. These people advocated pure “races” of people; and to get there, we would have to ethnically cleanse a population by sterilization and extermination.”
In the context of the Charlottesville riots in 2016, this article notes that this title holder’s producers distanced themselves from this statement. The article also mentions other statements made by Southern California leather community leaders who blamed “both sides” of the argument, including the anti-racism side. These community leaders were never held accountable. The title holder that made these statements in general was actually rewarded by International Mister Leather (IML) that year by being included as a top 20 contestant. Interestingly, one of the judges on the panel was then IML 39 David “Tigger” Rosenberg and now current Executive Producer of the contest, who rescinded Dehner’s ability to serve as a judge on the panel for this year. Likewise, even if the title holder did not make explicit calls to support neo-Nazism (but evoking ‘gene pool’ is a common dog whistle among neo-Nazis), this statement was inappropriate then as it is inappropriate now for a title holder, especially in the context of neo-Nazi riots in Charlottesville and now with Elon Musk’s Nazi salute. This behavior should never have been rewarded. Also note that I am unaware of how Tigger (or the other judges) might have scored this title holder, might not have been aware of the article, and possibly did not have decision making power about who competed, but the fact that the title holder was allowed to compete after these statements were publicly made and subsequently rewarded after this statement was appalling, especially to me. In protest, I walked off the stage when I was not called as a top 20 contestant to protest the contest, and how it enabled racism at the time. Given that IML has produced a new set of standards to vet its judges as of January 31, 2025, contestants and venders, in response to Dehner (which it took until 2025 to do), it remains to be seen how the organization will enforce these standards in a systematic way.
This standard should also apply to individuals applied to the Leather Hall of Flame. Daniel Ruster, selection committee member from the Leather Hall of Flame member noted that while Durk was inducted into the Leather Hall of Flame, an organization to honor veteran members of the Leather community because, like others, Ruster “did not know” about Dehner’s ties to wearing apparel reminiscent of Third Reich military uniforms, he attempted to stop the nomination of an artist that came out of Tom of Finland Foundation because he knew of antisemitic imagery coming out of the Foundation, others overload his decision, “It is different with the induction of the artist Rex into the Leather Hall of Fame. Here I knew that there is at least one work by him that was excessively dotted with swastikas which is why I decided to oppose the induction of Rex into the LHoF and fought against it – unfortunately without success.” It is no secret that the Tom of Finland erotic aesthetic fetishized Nazis, but someone at least knew that in 2025, this was unacceptable, and this person had to “fight against” individuals who wanted someone who drew erotic art with swastikas to be honored. That means there are other people that do not see swastikas and Nazism as problematic.
Leather community members discuss problems as they occur but rarely are proactive about addressing problems before they happen. For example, Graylin Thorton worked with the Tom of Finland Foundation in Los Angeles and described how Dehner was a “friend and mentor,” but was unsettled by his behavior, “I’ve remembered a conversation I had with Durk, years ago. Where an ONYX brother related that Durk had used offensive racial slurs, not the n-word but still deeply hurtful. Durk and I had a heart-to-heart conversation about it, and the past few years, I’ve had mixed feelings about the results of that conversation.” He then repudiated Dehner by saying “the collection of photos of Dehner wearing swastikas and Nazi paraphernalia, along with more accounts of racial slurs is disgusting and disappointing. These are heinous acts from someone I respected.”
Thorton admits to prior knowledge of problematic behavior exhibited by Dehner by relaying that Dehner said things that were racially insensitive, though this was softened by relating that he “respected him” as a “friend and mentor.” In this account, there is a clear internal conflict between knowing the behavior is wrong and having to “respect” this person, especially as a “mentor.” This demonstrates even individuals who witnessed and acknowledged racism and discrimination in the community continued to enable Denher’s behavior because of the sway he continues to hold within.
Thorton continued to say that he will “remain on the TOFF board for another year” implying he was already on the Tom of Finland board when Dehner was active with Tom of Finland Foundation and this suggests that at least one board member knew about Dehner’s problematic behavior that was related to racism but failed to act. The motives remain unclear from the statement. However, though Thorton publicly admitted they were on the board of Tom of Finland Foundation and knew that Durk Dehner was problematic, he received praise from a leather titleholder in LA, Aric Wilson, Mr. SoCal Leather 2019, “I love you big brother and support your decision. A wise IML once told me that a way to ensure change progresses is to be there on the inside to watch and help push the change.” So Thorton admitted to knowing Dehner was problematic while Thorton was a board member, but he gets praised being “there on the inside” when Thorton didn’t actually discuss what he did to push Dehner away from his problematic behavior. There was no inside game because it took someone posting Dehner’s screenshots to have him resign as President of the Foundation. Based on the Thorton’s post alone, this had nothing to do with Thorton’s efforts.
Interestingly, Thornton also recently posted that he “unfriended a local title holder [title redacted, name redacted] of the women’s community for proudly and publicly supporting the ENEMY [sic possibly Donald Trump] and anti-trans rhetoric.” Interestingly, here Thorton is not being “there on the inside” because he’s engaging in call-out culture. However, since Thorton is a community leader, it is seen as acceptable, especially when the target is not a major community leader. Here, Thorton knows discrimination is morally wrong and chose to discontinue a relationship with some random title holder over being transphobic and a Trump supporter, but was content to continue his relationship with Dehner, and, based on the above post, failed to hold him accountable for his behavior until it was publicly revealed that Dehner had worn apparel reminiscent of Third Reich military uniforms.
Keep in mind, while it doesn’t excuse the unnamed title holder for conveying anti-trans rhetoric or supporting Donald Trump (two things I also personally condemn), the leather community publicly scapegoats individuals without political power, but they allow their friends and mentors to engage in bad behavior because of their relationship. In other words, if the problematic person in question is friendly with a community leader, then their behavior is often excused regardless of the scope of the behavior. Only a few will challenge problematic behavior and do so in a vague fashion, so they do not receive retribution.
How Leather Friendship Leads to Hiding Nazis
In response to the release of Dehner’s photos, I knew that there was ostensible evidence that suggested that the Foundation in LA (not just the artwork itself) had ties to Nazi imagery. After raising this with the foundation to allow them to respond to these allegations, they wanted to have a phone conversation, but, since this was a sensitive topic and in accordance with journalistic best practices, I asked them to provide written comments. While denouncing anti-semitisim, as they had done publicly with Dehner’s screenshots, the Tom of Finland Foundation wrote back, “some artifacts in the archive may not be suitable for public exhibition without proper historical context and are stored away from public view.” This could mean that there is more information and more artifacts that connect the Foundation itself to anti-semitic iconography, and it is hidden from public view.
I wrote an article talking about the numerous concerns I have had with the LA leather community and leather-adjacent communities at the end of 2023. After raising this, I noted that this information detailed the pitfalls of the local foundation and was overlooked by the LA leather community, and I responded in kind to the poster of Dehner’s original screenshots. Even the person that posted Dehner’s screenshots admitted to reading my work about the Tom of Finland Foundation, and the other person involved in posting the information said the poster did their own research separate from my article. Even if the screenshots were different from my article, this involved similar information (I wrote about Tom of Finland Foundation in LA and the person posted about Durk Dehner, President of Tom of Finland in LA) being released which would mean my article is part of the research even if it’s not the exact carbon copy of the screenshots. As an academic, I understand plagiarism to be the act of taking someone else’s ideas, words, or work and presenting them as your own without citing the source material and that all sources should be cited when new material is disseminated. This is an academic convention. While I know now that the original poster did not intend to take my ideas and that the pictures were distinct from my written work, as an academic, this is how I perceived the situation.
As I noted in the post where I describe how my work has been taken, I have had individuals convert one of my Medium articles into a PDF. Medium allows writers the ability to monetize their work but only if accessed through the Medium site. As a PDF, I do not see monetary gains from that article unless the article was accessed through the medium link. While I am not a lawyer, I saw that as copyright infringement (I am not a lawyer, and I am not expected to be one). Based on my understanding, I saw both instances as theft but decided ultimately that the original poster did not do anything untoward and that we had different definitions of the idea of “theft” based on how I interpreted the situation.
I also knew that my work was the first instance of someone publicly noting that the Tom of Finland Foundation had condoned Nazi imagery, especially since no one, to my knowledge, had publicly admitted with explicit detail and evidence (not just generalizations) that the Tom of Finland Foundation in LA condoned neo-Nazi imagery or that Dehner himself wore apparel reminiscent of Third Reich military uniforms before my article. In response to my frustration, there were multiple replies (limiting the discussion here for brevity). I was told by multiple commenters a variation of “people knew about the Foundation and Dehner before you posted,” again, very general responses without specific examples. I responded, roughly, “If there were people that knew about the foundation prior to me, should they be held responsible?” I was met with “It’s been 23 years since I’ve lived in LA. You are being aggressive” (a racist trope). Furthermore, leather community members were trying to say that plagiarism only involves taking “exact language” when plagiarism, as I mentioned earlier, also involves “ideas.” I called another person a white supremacist (when they weren’t white), because they were suggesting that the problem was my approach to the conversation which is an example of tone policing based on white supremacy (a system based on collective institution, behaviors, and patterns that continue to thrive). By this definition, people of color can indeed engage in White supremacist behaviors.
I was especially frustrated when I was told that people knew about Dehner and the Foundation’s relationship to anti-semitic speech before my article, when, to my knowledge, there was no public evidence at the time of this information before the screenshots of Dehner was released. It was only after the fact that leather community members said “people knew” before the article or screenshots were released with little to no public examples of anyone admitting this was the case or shared personal accounts of Dehner’s problematic behavior. I understandably reacted in frustration, even using “curse words” to express my dissatisfaction.
Andy Covarrubian And David Sanford
The following is abridged for brevity of the situation. Some individuals, including David Sanford, Mr. Sister Leather 2017, a leather title supported by the Sisters of Perpetual Indulgence (drag nuns) in LA, and “Caregiver at [workplace redacted]” wrote, “Throwing a proverbial fit and stomping around trying to make a point is never a good look. It wasn’t the look on stage back then. It’s certainly not one now.” Among at least 10 people in the leather community members (posts limited for brevity), like Eric de Leon, Mr. L.A. Leather Bear 2019, started sending the Facebook link of me defending my work to other people as well as other links that I am unaware of because he told people to “check their DMs” to other individuals in the community. Others have also sent videos to each other of me leaving the stage. Interestingly, Aric Wilson, Mr. Socal Leather 2019 also said “I see what you did there…. Just an example of someone trying to be relevant when they have been remembered almost solely for the wrong reasons. .. what’s funny is I didn’t even see the thread yet. I only saw what was written on this person’s page easily. I saw it now and wow, dropping f-bombs at people. Wtf” (see below section for relevance). Even after she bullied me in 2018 (which I have documentation of in Facebook messenger conversations) a day after I literally endured a bartender forcing a towel on my head and calling me a Muslim woman, Scarlett Sin, a former Ms. LA Leather and apparent mental health advocate writes, ‘Sad to see this person never got the professional help that they so desperately needed. Their level of narcissism and paranoia was concerning back then, and it seems little has changed. The damage they caused to so many in so many spaces still bears scars and the ones he hurt the most were those who genuinely tried to be there for him and help. He is the proverbial scorpion in the fable with the frog. I know first-hand. Trust me. All I can advise is, avoid him and if avoiding him is impossible, make sure no conversation is ever had with him without witnesses and/or documentation. He will twist anything and everything into making you seem the most malicious and abusive, and yes, racist.” There are few more chaotic and harmful people I have met in my years in these here communities.” This is how the leather community responds to self-defense. When I called out Sanford for cyberbullying, he said,
I’m sorry that you see this pot stirring and cheeky post as bullying. That was certainly not my intention. But also, you literally have been trying to take credit for what happened yesterday. When you absolutely had nothing to do with it. Something you wrote years ago may have been some sort of seed planted but the actions that were taken by Diego and J were taken on their own. And the actions that IML took with that information was because of them and others, not you . . .My whole point of this post is that if you want people to take you seriously, don’t overreact when something doesn’t go your way. Stomping off the stage at IML and having this fit about not getting proper credit is not a good look. There are many other ways you could’ve handled both situations. But you do you. It’s clearly working so far . . . my post is really about your reaction and interaction about the whole thing. . . .I was just stating factors as I saw them at the time. But I stand by them. You overreacted. End of story.
It is also important to note that Sanford does not see his own behavior as bullying but calls it “stirring the pot” when he creates a public forum by “vague booking” about my behavior, and then he and his friends go on a shared forum to publicly shame me for my behavior by sending links to one another and making jokes at my expense. For leather community members, this behavior is not considered “bullying” because they claim that they are “sharing publicly available information” because Sanford simply said, “That was certainly not my intention.”
Because he suggested that I should control how I should express myself, Sanford is tone policing. Additionally, he misrepresented my premise and my behavior without foundation. Sanford did not intervene when witnessing others defame my character, even though I defended my work on the initial thread. It is important to note my article mentioning Tom of Finland Foundation came out at the end of 2023, so my article was relatively recent and not “years ago.” They brought up my IML protest in 2016 nine years later which had nothing to do with me calling out the fact that I wrote an important piece denouncing racism and defending its novelty. Also note that I was not the one caught wearing apparel reminiscent of Third Reich military uniforms or anything remotely associated with Nazi symbols. They simply wanted a reason to attack me because I stood up for myself and my work.
This is not the first time LA community members have publicly used my act of protest on the IML stage against me. In 2019, Gabriel Green, now chair of the LA Leather Coalition, berated me for saying that older generations need to retire to let younger members come up because they “had their time in the sun.” Gabriel Green, wrote, verbatim, “your post is dismissive of the generations of folks of sacrificed endured hardships and paved the way to have it easier for you and generations to come. The ‘you had your time in the sun’ attitude is rude and disrespectful to people who are older and continue to provide literally and figurative spaces for younger generations to come . . .”. After a back-and-forth exchange, he eventually responded with, exact language, “as someone who poor sport and threw their medal down at IML when they lost, I guess shouldn’t expect much in the respect department.” Again, using IML information almost two years post IML 2017 to try to discredit my argument which was the same tactic that was used against me in 2025.
How Leather Folk Befriend Individuals Who Wear Apparel Reminiscent of Third Reich Military Uniforms
The following exchange is abridged for brevity for this article. On Green’s wall, a community member pointed out that another LA title holder wore a symbol associated with Nazism and asked the question why I was being publicly shamed for walking off stage, but then somehow another person wearing Nazi gear is not reprimanded. He posted a picture of the leather titleholder wearing a Nazi symbol, Wilson posted “might as well dig it all up if we are getting our hands dirty that way, we only gotta wash them once. This is highly disappointing.” So, Wilson decided to jump on the bandwagon to point out bad behavior. However, Sanford responded, in the context of people ridiculing my defense of my work, “nobody was bullying Ali for anything. He decided to make an issue out of something that wasn’t true. Secondly, he didn’t march off the stage in protest of racism. He marched off because he spent so much time promoting himself before the contests and then didn’t even make it to the top 20 so he threw a fit. Just like he threw a fit trying to say that Diego [the person who created the initial [post] stole his article in order to have this whole thing get started in the first place. . . that picture is damning [referring to the swastika] and I’m not defending it.” Again, Sanford reasserts that posting on a public forum about my behavior and watching leather community members make fun of me while sharing links about behaviors they consider “funny” is not seen as bullying. Similarly, he equivocates my reason for walking off the stage because I only know my motive for that, but Sanford also denied that “no one was bullying Ali” when Sanford admitted earlier “I’m sorry you feel harmed” as if publicly providing a forum for others to make fun of me for defending my work and not stopping is justified behavior, and “not bullying.” Additionally, Sanford is implying I “threw a fit” to say that someone stole my article to intentionally “have this whole thing get started in the first place” when I was simply defending my work. Sanford also focused on my behavior when someone was just outed as for wearing a swastika as if walking off stage at a leather contest and defending one’s work is more morally reprehensible than calling out antisemitic imagery. Sanford said that wearing a swastika was “damning,” but it wasn’t damning enough to disavow the person wearing a swastika completely because, within the next few days, Sanford posts a picture of the person wearing a swastika and himself at a bar.
Interestingly, the person wearing a swastika verbally harassed the commenter, who posted the individual wearing a swastika that they are a “fucking asshole with nothing better to do with your life. Nice try cunt and to fuck off trying to start shit that doesn’t need to be started.” Wilson, who commented about my use of the “f bomb,” does not show concern for the person wearing a swastika is using the words “fucking asshole . . . fuck off.”
Similar behavior occurred in March, Wilson interestingly changes his tune about “working on the inside,” where in March, in a response to David Mosqueda, who placed second in IML, because of Mosqueda’s “high rank,” Wilson reinforces Mosqueda’s argument because a person of higher status is critiquing the LALC. Wilson writes, “this is a system that has failed the community over and over yet wonders why the only contestants they have left are ones from contests run by people on the board itself . . .without a clean sweep out and rebuild I am not sure this is repairable, new blood has tried, especially the last couple of years.” There is a clear double standard that only applied to me because I vigorously defended my work and have historically done so, and the LA leather community attacks and scapegoats marginalized members.
Thus, leather community members are generally aware that individuals do things like engage in racist or discriminatory conduct and allow certain people to discriminate against others. They don’t care when individuals are racist because they know they are their friends and mentors, so when they are not friends or mentors, they have no problem attacking and marginalizing them.
Going Forward
The intent of the piece is not just to out neo-Nazis within the leather community, but it is to shed light about how individuals protect people that associate themselves with Nazi imagery.
Among its emphasis on diversity and community awareness, IML released a new set of guidelines to help ensure diversity and equity within the community. They note that “we value skilled communicators, capable of distinguishing dialogue, debate, and conflict.” However, the current culture does not enable dialogue, especially since its members clearly protect powerful individuals within the community and that business and political interests are tied to the maintenance of the leather community. Again, the problem is not just about diversity, but it is about protecting people in power that are engaging in wrongdoing. Before IML moves forward, it must address these issues within the LA leather community, and I have provided recommendations below. Thus, it remains to be seen if the organization weaponizes its standards against whistleblowers; the organization must also proactively recognize the historical harm done to marginalized individuals and to contextualize their behaviors so that they may reintegrate into the community. Thus, these guidelines do not safeguard whistle blowing activities as well as taking into account trauma dealt to community members.
Here are my recommendations: IML should conduct a needs assessment of the LA Leather Coalition, every individual member within its multiple groups, and the Tom of Finland Foundation. They should submit to an investigation for their role in knowing about Durk Dehner and asking about the reasons that they themselves did not come forward in addressing this before it was revealed to IML. In this investigation, they should examine community retaliation within LA leather. I ask that IML suspend every title holder coming from the LA region until this investigation is complete since “people knew” about Dehner. I also invite others to share their experiences with retaliation within the leather community publicly so that a conversation can begin about restoring trust among community members.
Gabriel Green, head of the LA Leather coalition, said that they are “actively working on getting diversity training scheduled in the month of Feb…”. He also noted, “As someone who just took the Chair position, actually does care about this community and trying to create change, it disgusts me to see that there are some who, no matter what we do, how actively we try to make changes for the better, support those in the community who have been affected negatively and learn from the mistakes of the past, it’s still not good enough and would rather see it destroyed than see it improve.”
I really do wish the leather community would improve, and I never understood why my articles and actions have been seen as “destructive” when I have time and time again pointed out where and how the community can do better. Regardless of providing suggestions where appropriate, I have been bullied and marginalized repeatedly for speaking out against an unfair system like all whistleblowers who have come before me. I believe in accountability across the board, including its most powerful members, even if they are my friends.
Unless leather community members take it upon themselves and apply the same standards of accountability for all its members, it is not a community. To an extent, diversity training is part of what the community needs to salvage its terrible brand. However, unless the LA leather community can cease its retaliatory measures against whistleblowers, this community cannot recover because it will always be corrupt. There are double standards in behavior (as demonstrated with Wilson on how he points out how I use the word “fuck” as opposed to when his friend uses the word “fuck”), but it is done to protect people with power. The person that is seen walking off stage at IML, especially for his stated reason of protesting racism, is seen as potentially worse than an individual wearing a swastika because of how he raises problems within the community. A person can be friends with someone who wears a swastika as long as they are friends with them or is “their mentor” (demonstrated by Sanford and Thorton). Another person wearing a swastika can verbally insult someone questioning why another individual is being treated poorly. Another individual can have knowledge about racism on a board that just sunk its President for wearing apparel reminiscent of Third Reich military uniforms, but they are seen as mentors because they “play the long game” when they haven’t done anything to directly address wrongdoing. Most importantly, I was publicly shamed for vociferously defending my work.
Finally, I don’t know what’s going to happen to me as a result of this article, but all I know is that the leather culture largely defends its community members, regardless of how immoral their behaviors are. I will not be intimidated, nor would I allow others to police my voice. However, if you do join this community, please be aware that this community heavily retaliates against whistleblowers that point the issues out. However, if you are in the leather community, and you are struggling, please tell and share your story. Do not suffer in silence.
Mae Estes, Hannah Dasher, Tiera, and Madeline Edwards join ‘Miss Country Soul’ on special releases throughout Women’s History Month
NASHVILLE, TN – (March 20, 2025) – Sony Music Publishing Nashville honors iconic country star Jeannie Seely this Women’s History Month by bringing three reimagined songs to fans through collaborations with rising female country artists. The series, which launched on March 14 with “Let’s Get Together”featuring Mae Estes, continues throughout March with the release of “Who Needs You” with Hannah Dasher and Tiera on the 21st and “Anyone Who Knows What Love Is (Will Understand)” with Madeline Edwards on the 28th.
Grand Ole Opry legend Jeannie Seely, known as ‘Miss Country Soul,’ has performed over 5,400 times on the Grand Ole Opry stage throughout her nearly 58-year tenure, more than any other country artist in the show’s 100-year history. Her expansive career as a songwriter and performer began with her 1966 hit “Don’t Touch Me” and continues to endure today, cementing her legacy as an influential mentor for female artists at the Opry and beyond.
Jeannie Seely said, “What an honor to be a part of this exciting new Sony Music Publishing Production with Chelsea Kent. It is one thing to have your old copyrights reinvented in a fresh light, but yet another to be included on the recordings as well! It has been a joy to work with some of the brightest and most talented young artists and musicians who are leading our industry into the future.”
“We are honored to represent Jeannie Seely and her incredible catalog of songs. She is a genre-defining artist and songwriter who has continued to be one of the greatest mentors across multiple generations of country music. This project showcases our team’s unique ability to bring value to our songwriters in innovative ways, and we are grateful for Jeannie’s partnership on these exciting new releases,” said Rusty Gaston, CEO, Sony Music Publishing Nashville.
Newly recorded by Mae Estes, the project’s first release, “Let’s Get Together,” is an unreleased song written by Jeannie Seely and Glen Campbell. Discovered by SMP catalog expert Dale Bobo in Sony Music Publishing Nashville’s tape room, this hidden gem has been revitalized through modern technology by engineer Jason Hall, enabling a new artist to join the recording.
Dropping on March 21, the second release, “Who Needs You,” is a fun and rowdy track that’s already an Opry favorite and is perfect for a girls’ night out. Solely written by Jeannie Seely and recorded at Sony Tree Studio A, the track features Jeannie, Hannah Dasher and Tiera and is produced by multi-year ACM Electric Guitar Player of the Year Rob McNelley.
The final installment in the series arrives on March 28 with “Anyone Who Knows What Love Is (Will Understand),” featuring Seely and Opry Next inductee Madeline Edwards. Co-produced by Edwards and McNelley, the release brings a fresh perspective to the iconic R&B hit.
About Jeannie Seely:
Early in Jeannie Seely’s career, music industry professionals praised her soul-inspired vocals, which resulted in Jeannie being named “Miss Country Soul” – a title still used today. In 2019, Jeannie was awarded an honorary Doctor of Arts from Lincoln Memorial University for her many groundbreaking accomplishments in the music industry.
Born and raised in northwestern Pennsylvania, Jeannie received the “Most Promising Female Artist” award in 1964 from the Country and Western Academy (later becoming the Academy of Country Music). A year later, Jeannie moved to Nashville, where she signed with Monument Records, and her chart-topping hit “Don’t Touch Me” resulted in Jeannie becoming only the third female country artist to receive a Grammy Award. After receiving the “Most Promising New Artist” awards from Cashbox, Record World, and Billboard, Jeannie appeared on Billboard’s country singles chart for 13 consecutive years.
On September 16, 1967, Jeannie Seely was inducted as a world-famous Grand Ole Opry member. She was the first Pennsylvania native to become an Opry member and later became the first female to regularly host Opry segments. Widely recognized for changing the image of female country performers, Jeannie became the first person to wear a mini-skirt on the Opry stage. Jeannie formed one of the most successful duets and road shows in country music history with fellow Opry member Jack Greene. In 2022, the Grand Ole Opry honored Jeannie for the most performances in the Opry’s history, a record that will almost certainly remain intact forever.
A BMI-awarded songwriter, Jeannie’s songs have been recorded by Country Music Hall of Fame members, including Dottie West, Merle Haggard, Connie Smith, Ray Price, Willie Nelson, Faron Young, Ernest Tubb, Little Jimmy Dickens, and Hank Williams Jr. – as well as by artists ranging from Irma Thomas (the “Soul Queen of New Orleans”) to Rhonda Vincent (the “Queen of Bluegrass”), from Chris LeDoux to Moe Bandy, and from Boys II Men to Seal.
The star of significant stage productions including Always, Patsy Cline, The Best Little Whorehouse In Texas, and several others, Jeannie has served as a radio disc jockey on her own Armed Forces Network, traveled on military tours throughout Europe and Asia, and published her book titled Pieces Of A Puzzled Mind. Recordings by Jeannie Seely have spanned seven decades, from her Top 10 Billboard album The Seely Style to her Curb Records album An American Classic, which includes her third duet with friend Willie Nelson. Jeannie appeared in Willie’s movie Honeysuckle Rose and sang on the platinum soundtrack album. In 2018, Jeannie began hosting her weekly show, “Sundays with Seely,” on the Willie’s Roadhouse channel of SiriusXM.
In 2018, Jeannie was inducted into the Music City Walk of Fame, representing all music genres. At the inaugural Influencing Women Awards Gala in 2019, the first “Standing Ovation Award” was presented to Jeannie, and her name was added to the annual award. In 2022 Jeannie was recognized on the nationally televised Country Music Association (CMA) Awards Show, in 2023 she received the CMA’s prestigious Joe Talbot Award, and in 2024 she was honored by SOURCE with the esteemed Jo Walker-Meador Lifetime Achievement Award. Following Jeannie’s 5,381st performance on the Grand Ole Opry in September 2024, the “Jeannie Seely Interchange” was dedicated at the Briley Parkway exit to the Grand Ole Opry House.
In select US theatres, March 28, lands “Janis Ian: Breaking Silence,” the much-anticipated documentary, chronicling the controversial life and songbook of cross-genre profound singer- songwriter Janis Ian. Directed by Varda Bar-Kar, this is a compelling collage of images and words, reflecting the riveting journey of the music artist from Greenwich Village to Nashville, with stops in Los Angeles along the way. The novel documentary invites audiences into the world of a true music prodigy- and her precocious entry in the rollercoaster music industry. Ian’s “At Seventeen” her break out hit worldwide, was also autobiographical – a deeply personal reflection. The young woman was forging ahead with success – however, her personal life was ill at ease. She jammed with the likes of Jimi, as in Hendrix, and her namesake, Joplin, as in Janis, in N.Y.C. Pete Seeger was another. It was unprecedented and intense.
The illuminating documentary’s impressive cavalcade of the chanteuse’s collaborators and contemporaries, spans music and Hollywood icons, including Joan Baez, fellow folk icon Arlo Guthrie and comrades such as actor Lily Tomlin. Ditto the spirited introduction afforded to a young Janis Ian by conductor Leonard Bernstein.
Varda Bar-Kar, the director of the film, dived into the project after researching Janis Ian’s music, which she listened to back in the day. The idea for making the documentary was, she explained, “mystical.”
“I wanted to make a film about a woman artist and music and wondered who that would be. Janis Ian came to mind and that was it!”
Fortunately, the musician resonated with Bar-Kar’s previous work.
She said, “Janis’ father was a choir director and she loved the film,” said Bar-Kar about her HBO documentary “Big Voice”.
Themes of identity, feminism and the transformative issue of LGBTQ activism are also addressed in “Janis Ian: Breaking Silence,” reflecting the momentous record which allowed the artist to finally disclose her sexual orientation.
Reflecting the subject’s dramatic era circa 1970s, the film was carefully rendered. It weaves in classic filmic elements from the past, capturing fragments of memories- via mood shots; super 8 mm; zooming in and out; text, footage- stock and archival- present day interviews… And of course, lots of music!
New York, NY – March 19, 2025 – Turner Classic Movies (TCM) has revealed Star Wars: The Empire Strikes Back, the second film in the Star Wars trilogy, will open the 16th annual TCM Classic Film Festival on Thursday, April 24th. Celebrating its 45th Anniversary, the gala presentation will bring visionary director George Lucas to present the film. The opening night launches an exhilarating weekend in the heart of Hollywood, showcasing exclusive programming themed around “Grand Illusions: Fantastic Worlds on Film.”
“The Empire Strikes Back is like The Godfather Part II. Yes, technically, they’re sequels, the second movie in a series. But they are so much more. Empire not only dazzled and delighted Star Wars fans, it pushed the boundaries of moviemaking, further deepening its characters and expanding the most popular cinematic universe of all time,” said Ben Mankiewicz, TCM Primetime Anchor and Official Host of the TCM Classic Film Festival. “The first Star Wars picture in 1977 ignited a new era in Hollywood and turned a generation of young people into passionate movie fans for life. Then, somehow, three years later, along comes Empire, which might even be better. It’s a stunning accomplishment and surely stands one of the great achievements in the history of film.”
Widely considered one of the greatest sequels in film history, and winner of two Academy Awards, Star Wars: The Empire Strikes Back explores themes of reliance, self-discovery, sacrifice, and the consequences of betrayal. The film stars Mark Hamill, Harrison Ford, Carrie Fisher, Billy Dee Williams, Anthony Daniels, David Prowse, Kenny Baker, Peter Mayhew, James Earl Jones, and Frank Oz. Filled with iconic twists and a shocking cliffhanger; the movie continues to be a major cinematic influence today with a legacy that is undeniable.
TCM previously announced filmmaker and founder of the American Film Institute George Stevens, Jr. as the Robert Osborne Award recipient, which recognizes an individual who has helped keep the cultural heritage of classic film alive for future generations. Stevens will present the Hollywood premiere of the 4K restoration of George Stevens: A Filmmaker’s Journey, the acclaimed film he wrote and directed about his Oscar winning father. Additionally, the festival will pay tribute to director and producer Michael Schultz whose work has left a lasting impact on film.
TCM has also recently announced several additional titles that will screen during the 16th TCM Classic Film Festival including:
THE FABULOUS BAKER BOYS (1989) – with Michelle Pfeiffer
THE RITZ (1976) – with Rita Moreno
BABE (1995) – with James Cromwell
THE LADY EVE (1941) – with Bill Hader
CINDERELLA (1950) – with Mario Cantone and Leonard Maltin
APOCALYPSE NOW (1978) – in 70mm
DAISY KENYON (1947) – nitrate print
SPIRITED AWAY (2001)
MOTHRA (1961)
EARTH VS. THE FLYING SAUCERS (1956)
PAT AND MIKE (1952)
CAREFREE (1938)
FANTASTIC VOYAGE (1966)
THE INCREDIBLE SHRINKING MAN (1957)
TCM Primetime Host Ben Mankiewicz will serve as official host of the TCM Classic Film Festival. The festival’s official hotel and central gathering point will be The Hollywood Roosevelt Hotel, which has a longstanding role in movie history and was the site of the first Academy Awards® ceremony. The Hollywood Roosevelt Hotel will also offer special rates for Festival attendees. Screenings and events during the festival will be held at the TCL Chinese Theatre IMAX®, the TCL Chinese 6 Theatres, the Egyptian Theatre, and a return to the historic El Capitan Theatre.
For the latest news and information, follow us on social at #TCMFF.
About 2025 TCM Classic Film Festival Movie lovers from around the globe will descend upon Hollywood for the 16th edition of the TCM Classic Film Festival, set to take place Thursday, April 24 – Sunday, April 27, 2025. Over four packed days and nights, attendees will be treated to an extensive lineup of great movies, appearances by legendary stars and filmmakers, fascinating presentations and panel discussions, special events, and more.
This year’s festival theme is “Grand Illusions: Fantastic Worlds on Film.”
About Turner Classic Movies (TCM) Turner Classic Movies (TCM) is a two-time Peabody Award-winning network that presents classic films, uncut and commercial-free, from the largest film libraries in the world highlighting “Where Then Meets Now.” TCM features insights from Primetime host Ben Mankiewicz along with hosts Alicia Malone, Dave Karger, Jacqueline Stewart and Eddie Muller, plus interviews with a wide range of special guests and serves as the ultimate movie lover destination. With three decades as a leading authority in classic film, TCM offers critically acclaimed series like The Essentials and Reframed along with annual programming events like 31 Days of Oscar® and Summer Under the Stars. TCM also directly connects with movie fans through popular events such as the annual TCM Classic Film Festival in Hollywood and the TCM Classic Cruise. In addition, TCM produces the wildly successful podcast “The Plot Thickens,” which has had more than 9 million downloads to date. TCM hosts a wealth of material online at tcm.com and through the Watch TCM mobile app. Fans can also enjoy a classic movie experience on the TCM hub on Max.
Singer-songwriter and outlaw original Lacy J. Dalton is celebrating the 35th anniversary of her hit single “Black Coffee,” a song written by Hillary Kanter and Even Stevens. Released in March 1990 as the lead single from her album Lacy J., the track peaked at No. 15 on the Billboard Hot Country Singles & Tracks chart in June of that year. Becoming a fast fan favorite, this single remains a standout in Dalton’s legendary career, showcasing her signature blend of gritty vocals and storytelling lyricism. “Black Coffee” not only solidified her place among the era’s most respected artists but also remains a testament to her enduring influence in country music, continuing to resonate with longtime fans and new listeners alike.
“It was given to me by a couple of people who really loved me, writers Even Stevens and Hillary Kanter, who knew it was going to be a really big record – and it was, and continues to be after all these years. I am very grateful to be the one who got to sing this song.”
The Hollywood Times is honored to premiere Lacy J. Dalton’s humorous video recording of “Black Coffee”. Enjoy the video and check out her shirt at the end…Not Dead Yet!
Lacy J. Dalton recently released her latest album, ‘For The Black Sheep’ through (StarVista Music)—this deeply reflective collection of songs delivers a powerful message of unity, empathy and universal kindness. The album features several standout tracks, including “Devil by A Different Name,” which challenges listeners to confront their biases and embrace one another. Another highlight, “Heart of Hearts,” speaks to the necessity of vulnerability and emotional openness.
I had the opportunity to speak with Lacy J. Dalton over the phone about the 35th anniversary of “Black Coffee” and the funny video she did for it. Enjoy our conversation here:
MAY 03 – Sutter Creek Theater / Sutter Creek, Calif.
MAY 17 – Dayton Community Center / Dayton, Nev.
JUL 12 – Roberts Hawkins Amphitheater / Reno, Nev.
JUL 26 – Red Dog Saloon / Virginia City, Nev.
AUG 09 – Douglas County Senior Center / Gardnerville, Nev.
DEC 21 – Red Dog Saloon / Virginia City, Nev.
About Lacy J. Dalton:
Lacy J. Dalton first captured the hearts of country music fans with her 1979 Top-20 hit “Crazy Blue Eyes.” She became one of the most successful female vocalists of the 1980s, known for hits like “16th Avenue,” “Takin’ It Easy,” and “Hillbilly Girl With The Blues.” Dalton has shared the stage with legends such as Willie Nelson, Glen Campbell, and George Jones. Her music continues to resonate with audiences, reflecting her status as a trailblazer in the genre.
About StarVista Music:
StarVista Music is a leading music label specializing in digital audio and video marketing, sales, and distribution. With expertise in traditional promotion and aggressive social media strategies, StarVista Music supports artists and brands in reaching a global audience. The label is affiliated with StarVista LIVE, providing live entertainment experiences.
The soul-draining photographs of playtime at Auschwitz are all-encompassing in the new play at the cultural center of Beverly Hills, where the commonality of atrocity must be endured.
By John Lavitt
Beverly Hills, CA (The Hollywood Times) 03-18-2024
Some nights at the theater entertain. Others provoke. And then there are nights like this—where the weight of history settles over an audience like an unshakable fog, leaving silence in its wake. Here There Are Blueberries is not just a play; it is an endurance test, an excavation of human darkness that demands we look at the unthinkable.
“For when I speak of the banality of evil, I do so only on the strictly factual level, pointing to a phenomenon which stared one in the face at the trial. Eichmann was not Iago and not Macbeth… Except for an extraordinary diligence in looking out for his personal advancement, he had no motives at all… He merely, to put the matter colloquially, never realized what he was doing… It was sheer thoughtlessness—something by no means identical with stupidity—that predisposed him to become one of the greatest criminals of that period… “Evil comes from a failure to think. It defies thought for as soon as thought tries to engage itself with evil and examine the premises and principles from which it originates, it is frustrated because it finds nothing there. That is the banality of evil.”
In 1962, as a Jewish intellectual who had barely escaped Nazi Germany herself, Hannah Arendt (October 14, 1906–December 4, 1975) was commissioned by The New Yorker to travel to Jerusalem and cover the trial of Adolf Eichmann, one of the principal architects of the Holocaust as Adolph Hitler’s number one bureaucrat. In her subsequent book – Eichmann in Jerusalem: A Report on the Banality of Evil, Arendt wrote about the quiet, little man who was one of history’s greatest monsters: “What he said was always the same, expressed in the same words. The longer one listened to him, the more obvious it became that his inability to speak was closely connected with an inability to think, namely, to think from the standpoint of somebody else.”
Such is the case as the Tectonic Theatre Project takes over the Bram Goldsmith Theatre at the Wallis Annenberg Center for the Performing Arts to tell an unnerving story that demands endurance and fortitude. Conceived and directed by Moisés Kaufman and written by Kaufman & Amanda Gronich, “Here There Are Blueberries” is a theatrical excavation of the unseen horrors of the Auschwitz Concentration Camp in Poland. However, the horrors have nothing to do with the inmates or the crematoria, with the gas chambers or the cattle cars overflowing with innocent victims.
Instead, they present something altogether unexpected and devastating – the absurdly pleasant, everyday lives of the perpetrators of these unspeakable crimes. This concept—the terrifying ordinariness of those committing such crimes—is at the play’s heart. Unlike most Holocaust narratives, this play does not focus on the victims, the gas chambers, or the cattle cars. Instead, it forces us to witness something even more insidious: the mundanity of the perpetrators.
When an album of photographs arrived at the United States Holocaust Memorial Museum in Washington, D.C., historian Rebecca Erbelding could not believe what she saw. Rather than the horrors, she saw the perpetrators of the genocide at Auschwitz during their off hours, smiling and having fun. She saw many of the most notorious figures of the Second World War enjoying their lives in the camp. These were not monsters in the shadows. They were ordinary men and women, capable of joy, kindness, and camaraderie. And yet, they facilitated one of the greatest atrocities in human history.
The cast of the play – Scott Barrow, Nemuna Ceesay, Delia Cunningham, Luke Forbes, Barbara Pitts, Jeanne Sakata, Marrick Smith, Grant James Varjas, Anna Shafer, and Sam Reeder – deliver powerful performances, but their presence is secondary to the weight of what is being revealed. The work of the entire Tectonic Theatre Project is to be commended, but I am not sure what a commendation means in this context. A presence here is so unspeakable that it must be spoken, but it drowns out the rest.
Nothing seems to matter beyond the photographs. Like Arendt’s take on Eichmann, the play reveals the banality of the perpetrators of the most horrifying death camp in human history. In the play, we discover the photo album of Karl-Friedrich Höcker, put together to commemorate his happy times as the adjutant to Richard Baer. Baer was the Commandant of Auschwitz I concentration camp from May 1944 to December 1944, responsible for the genocide of countless victims. In his pictures, we see the laid-back postures of Auschwitz guards and SS thugs on vacation in a chalet named Solahütte that the prisoners built.
And it gets worse. We see Josef Mengele, the Angel of Death, smiling with his friends, including Rudolf Höss, the camp’s former commandant. He had returned to Auschwitz between May and July 1944 specifically to oversee the arrival of the Hungarian Jews. There is a picture of all the monsters celebrating at Solahütte, and the historians at the Holocaust Museum put two and two together. They are celebrating the extermination of 350,000 Hungarian Jews over six weeks, the most ever killed in that time frame. Indeed, according to aushwitz.net, “During its most frenzied periods, in the Spring of 1944, the number of murdered reached 10,000 a day.”
That picture is the one in this article. The tall man at the far right is Josef Mengele. We did not have pictures of him at Auschwitz before these photos were revealed. I do not have the stomach to show you anymore or spend more time with these murderers. The mediocrity of these men listening to an accordion player as they drink and revel in death will forever haunt me. “Here There Are Blueberries” is so hard, but it is necessary. In truth, it is essential because we cannot allow such pictures ever to be taken again.
Still, how do we process such images? How do we reconcile the casual joy of these men with the suffering they inflicted? I do not think that such a reconciliation is possible. The black hole of the banality of evil is unforgiving and consumes the soul. As I finish this piece, which fails on so many levels, there are tears in my eyes. Everything is heavy, and I need to go to bed.