{"id":62,"date":"2009-06-09T10:42:29","date_gmt":"2009-06-09T10:42:29","guid":{"rendered":"http:\/\/www.artsjournal.com\/outthere\/wp\/?p=62"},"modified":"2009-06-09T10:42:29","modified_gmt":"2009-06-09T10:42:29","slug":"laaam-bert","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/outthere\/2009\/06\/laaam-bert.html","title":{"rendered":"Laaam-bert!"},"content":{"rendered":"

\n\"adamlambert.jpg\"<\/span>“I’m trying to be a singer, not a civil rights leader,” says Adam Lambert — remember him? — as he comes out in the new Rolling Stone<\/a>. Quelle, quelle surprise, but congratulations nonetheless. <\/p>\n

Yet comments like that are as boilerplate as the mag itself. <\/p>\n<\/p>\n

Dear Adam: Popular culcha has long ago rendered any such division into schmaltz.<\/p>\n

In case you have or anyone has any doubts about that, check out the quite subversive 1952 Disney cartoon short called Lambert the Sheepish Lion<\/em>. See any parallels, sweetie? The gay-positive metaphors?<\/p>\n

 <\/p>\n

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\"Sterling_Holloway1.jpg\"Oh, yes, the charming, witty voiceover is immediately familiar as that of the sterling Sterling Holloway — who, by the way, introduced the Richard Rodgers and Lorenz Hart standard “I’ll Take Manhattan” in their very first tandem outing, a series of ’20s romps called Garrick Gaieties<\/em>. Holloway’s raspy light tenor, what some have termed a near falsetto, was his calling card. Later, he collected modern art. His admiring bios include the boilerplate “Never married.”<\/p>\n

For an automatic alert when there is a new Out There post, email jiweinste@aol.com<\/font><\/a><\/ST1:PERSONNAME>.<\/strong><\/p>\n<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

“I’m trying to be a singer, not a civil rights leader,” says Adam Lambert — remember him? — as he comes out in the new Rolling Stone. Quelle, quelle surprise, but congratulations nonetheless.  Yet comments like that are as boilerplate as the mag itself. Dear Adam: Popular culcha has long ago rendered any such division into […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[87,85,96,16,98,97],"class_list":{"0":"post-62","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"tag-adam-lambert","8":"tag-american-idol","9":"tag-disney","10":"tag-gay","11":"tag-rodgers-and-hart","12":"tag-sterling-holloway","13":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/outthere\/wp-json\/wp\/v2\/posts\/62","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/outthere\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/outthere\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/outthere\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/outthere\/wp-json\/wp\/v2\/comments?post=62"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/outthere\/wp-json\/wp\/v2\/posts\/62\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/outthere\/wp-json\/wp\/v2\/media?parent=62"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/outthere\/wp-json\/wp\/v2\/categories?post=62"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/outthere\/wp-json\/wp\/v2\/tags?post=62"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}