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Michaela Jaé Rodriguez Is Not Done Healing Us

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I first met Michaela Jaé Rodriguez in 2018, when she starred in a series called Pose, which followed a cast of characters navigating New York’s ballroom scene in the ’80s. Five years ago, her show marked the beginning of a new era in TV, one that affirmed the experiences, joys and struggles of queer and trans people of colour. Pose was the first truly nuanced portrayal of our community; it presented the possibility that we could be the main characters, the side characters and the villains.

Of course, I didn’t actually meet Michaela Jaé Rodriguez then; like many other queer people, it just felt like I knew her intimately. Rodriguez, who played Blanca Rodriguez-Evangelista, was a loving parental figure who fought fiercely to protect and encourage her chosen family. To some of us, she was a stand-in for the type of radical acceptance from an adult figure we could only dream of. She was, in parasocial terms, our mother.

And Rodriguez’s impact has already extended far beyond the series. It’s been two years since the final season of Pose aired, and Rodriguez isn’t done — in fact, she has a lot more to say.

She’s working on her debut album (which she expects to release sometime next year) and is currently filming for the upcoming season of “American Horror Story.” She’s also an active ambassador for the Rocket Fund, a new initiative by the Elton John AIDS foundation that is fighting to decriminalise same-sex behaviour and end HIV stigma around the world.

And while these are new projects, I don’t think Rodriguez is quite reinventing herself. She was always meant to be this, and more. But I do get the sense that she is expanding the scope of how trans women of colour are allowed to dream in America.

When I spoke with Rodriguez, she was, even over the phone, incredibly magnetic. I had been listening to Something to Say, her debut single that came out in 2021, all day. The first listen was to prepare for our conversation, but every subsequent stream was because the song poured endorphins directly into me.

“The song was supposed to be about finding a strong voice after a breakup and having something to say,” Rodriguez says. “But then George Floyd and BLM happened, and we decided to shift the narrative and make it more universal.” And so, the song became about a different kind of heartbreak — and our refusal to stay silent about racial injustice. At its core, it’s a song about taking back your power — however that looks like for each of us.

When you’re from a marginalised group, your art is often destined to become a political statement. Personal feelings become a rallying cry for survival. When Rodriguez makes music or stars in a TV show, she’s not just doing those things — she’s a trans woman of colour doing those things in 2023.

That’s where the heaviness can really set in. No one is meant to think about their existence every day, all the time. Rodriguez said that recently she’s been taking the time to rebuild herself, which involves spending lots of time alone and making sure that she’s surrounded by people who won’t diminish or suppress her existence.

Elton John and her work with the Rocket Fund, she said, are aspects that have been keeping her motivated and giving her more purpose. Rodriguez hopes to erase the shame and other negative feelings that come along with an HIV diagnosis, since the outlook for those who live with it now is so different than it was even 10 years ago.

“Regret is one of the worst things to have, whether that’s regret about your circumstances like if you’re dealing with HIV,” she said. “I want to encourage people to go out and break the mold, to break cycles.”

But when you’re queer or a trans person of colour, the healing process can feel impossibly long. “Although I don’t believe there’s such a thing as being fully healed, I do think there are things we can all do that make us feel more at peace in our bodies,” she added.

I realised that what makes Rodriguez so unique, to me, isn’t just that she’s a trans woman of colour. She also leads by mending wounds that exist deep within many of us. She’s got that healer energy, through and through.

Our culture tends to choose a place for our icons and then super glues them there. But Rodriguez is refusing to limit her impact, tapping into a force that is much larger than any one person. I suspect that this comes from mothering herself before she even began to be that touchstone for the rest of us.

“If I could, I would tell my younger self: You have a really bright future ahead of you. Don’t let anyone dim the brightness of your future, walk in your light and have your arm stretched out for the young people behind you,” she said. “And keep being a bad bitch.”

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Loose Women’s Coleen Nolan Opens Up About Skin Cancer Diagnosis

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Loose Women star Coleen Nolan has opened up about receiving a skin cancer diagnosis.

The daytime TV panellist told viewers of Monday’s show that she underwent treatment for basal cell carcinoma on her shoulder, before being told she has a melanoma on her face.

Coleen – whose sister Bernie died from breast cancer in 2013, before her other sisters Anne and Linda were later diagnosed with the cancer – explained how she had put off getting a red patch of skin on her shoulder checked for a year, explaining that it “wasn’t bothering” her.

It was only when she visited a doctor for a different issue around six months ago that she was told it was a basal cell carcinoma, which the NHS describes as a non-melanoma skin cancer that does not usually spread to other parts of the body.

Coleen has since used topical chemotherapy cream to successfully treat it, which she confirmed means she will not need to have it removed.

“My first instinct, typical me, was to laugh hysterically because I just thought that’s the most ridiculous thing I’ve ever heard anybody say,” she said of being told the news.

“I’m sick of cancer and I also my first instinct was, I’m not telling anybody in my family because this, that I’ve got at the moment, seems nothing compared to what my sisters have been though.

“And now, what Linda is going through, where it has gone to her brain and she’s having chemo.

“It just seemed so pathetic for some reason to go back and go: ‘Oh yeah, I’ve got a carcinoma’.”

However, Coleen recently had a mark underneath her eye checked out, which doctors confirmed was melanoma skin cancer, which can spread to other areas of the body.

She will now use chemo cream again to treat the area, before a decision is made whether to remove it.

Coleen discussed her diagnosis with Ruth Langsford, Brenda Edwards and Gloria Hunniford on Loose Women
Coleen discussed her diagnosis with Ruth Langsford, Brenda Edwards and Gloria Hunniford on Loose Women

S Meddle/ITV/Shutterstock

While Coleen said she had “not been ill” with either of her skin cancers, she explained she was speaking about it on Loose Women to raise awareness, having previously done this when participating in The Real Full Monty series.

“The one thing we keep putting out is awareness. It’s all about getting checked out, even if it could be nothing,” she said.

“I thought I need to take a leaf out of my own book.”

Coleen’s sister Linda is was told she had incurable secondary breast cancer in her hip in 2017, four years after Bernie’s death from the disease aged 52.

The cancer later spread to Linda’s liver in 2020, before she was told earlier this year that the cancer had spread to her brain.

The Nolan Family – Maureen, father Tommy, Bernie (back) and Linda, Anne and Coleen
The Nolan Family – Maureen, father Tommy, Bernie (back) and Linda, Anne and Coleen

Manchester Daily Express via Getty Images

The siblings’ sister Anne successfully underwent treatment for stage three breast cancer following her diagnosis in 2020, having previously undergone treatment for the disease 20 years prior.

Coleen shortly after Anne and Linda’s 2020 diagnosis, Coleen said she was considering an elective double mastectomy operation to minimise her own chances of developing the disease.

Loose Women airs weekdays at 12.30pm on ITV1.

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Joe Jonas Casually Spills The Tea On Pooing His Pants On Stage While Wearing White

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Joe Jonas once defecated into his pants while performing on stage — in a white suit.

The Not Right Now singer unexpectedly shared as much during a rather casual chat on Friday’s Australian Will & Woody podcast episode. Jonas even admitted the bowel betrayal was relatively recent before presumably joking that he sought therapy afterward.

“There’s a point in your life where, as an adult, you can remember the last time you shit your pants,” the 33-year-old told hosts Will McMahon and Woody Whitelaw. “This was, I think, about four years ago. It’s fresh, but I’ve been able to work through it. A lot of therapy.”

He continued, “Let’s just say it was a bad day to choose to wear white clothing. You think it might’ve been a little toot. It might’ve been a little something else — a little something extra. So, it was like a mid-wardrobe shit-change during the set.”

It remains unclear whether the Grammy-nominated singer, who famously comprises one-third of the Jonas Brothers band, ever told his wife about the soiling. If his timeline is accurate, however, he married actor Sophie Turner within months of the public malfunction.

“You know, the whole time, I thought, ‘This is definitely, uhm, somebody’s gonna be able to see this and know what’s happening. They’re gonna realise that…’ you know,” said Jonas on the podcast. “But it was all in my head. It wasn’t as big of a deal as I thought. Such is life.”

Joe Jonas (right) couldn't recall the exact date and location of the concert in question.
Joe Jonas (right) couldn’t recall the exact date and location of the concert in question.

Richard Rodriguez via Getty Images

“It was a light one,” he added. “It wasn’t a full, you know? So I was able to tell the tale.”

While he couldn’t remember the date or location of the specific concert in question — or understandably omitted those details on purpose — Jonas did say that “the archives” of tour footage have undoubtedly preserved that odorous moment to this day.

“I’m sure you can find it,” he told the hosts.

Jonas, who formed his band with siblings Nick and Kevin in 2005, recalled thinking that the crowd that night must’ve wondered: “Oh, that was an interesting choice to change clothes that quickly.” In the end, however, he oddly took soiling his pants in public as a victory.

“It’s happened to many artists,” he said. “I feel like I’ve paid my dues, and I’m part of some secret club now.”

For the eagle-eyed bowel movement obsessives currently ruing having missed the moment in person, fear not: The Jonas Brothers are going on tour later this summer — and performing five whole albums per night.

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The Glorious, Queer Evolution of Janelle Monáe’s Pleasure And Politics

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The music video for Lipstick Lover, one of the singles off Janelle Monáe’s newest album, The Age of Pleasure, feels vibrantly decadent. In it, the singer rises out of a pool, their areolas peering through a sheer white T-shirt that reads “Pleasure.” Booties are shaking, dildos are falling and Monáe is the curator of the queer desire that oozes on screen.

Just last week, at Essence Fest in New Orleans, Monáe brought a bit of that energy on stage by flashing a petal-covered nipple during two of their songs. ”[I’m] much happier when my t**ties are out,” they recently told Rolling Stone. Well, I’m happy for them.

To the more conservative viewer, this behaviour is borderline pornographic. But for everyone who gets it, it’s an organic next step in the evolution of Monáe’s burgeoning self-expression as an out, queer artist.

Long before Monáe came out as pansexual in 2018 and nonbinary in 2022, baby gays like myself were drawn to the subliminal messaging of queerness in their tuxedo looks, as well as the intentionally androgynous branding of their gender.

In 2017, I was a junior in high school, just beginning to explore music genres beyond the classical and Christian pop that underscored my childhood and early teens. When I discovered Monáe’s work, it felt like a universe of language had been unlocked. They quickly became my role model as I struggled to reconcile my queerness with my religious upbringing.

“Say will your God accept me in my black and white? / Will he approve the way I’m made? / Or should I reprogram, deprogram and get down?” Monáe sings on Q.U.E.E.N., a song on their 2013 album, The Electric Lady.

Somehow, Monáe seemed to understand how my queerness conflicted with my Christian self — I was programmed to become a god-fearing daughter who would settle down with a nice Chinese boy and rear children of my own. Like Monáe, I found my artistic expression first through singing and leading worship within the context of an insular ethnic and religious community.

Monáe grew up the child of Black American middle-class workers in Kansas City, and I was the eldest daughter of immigrants who worked as public school teachers in the Chinese American suburbs of Los Angeles. But our paths intersected, it became evident, as they expressed the tension of their identities. For years, Monáe also shielded their queerness in the armour of ambiguity. Part of that, they say, has been in direct opposition to the overt fetishisation of Black women’s bodies in the music industry.

As their career developed, Monáe bucked what was even subconsciously expected of them. They were a dark-skinned Black femme wearing androgynous clothing, for years they eluded the countless questions about their sexuality and gender. “I only date androids,” was their response to it all. You couldn’t put Monáe’s music, their body or gender squarely into any one box, which gave them a level of agency not often afforded to queer Black artists.

Like Monáe, I’ve found myself at times caught between two identities as an artist. My queerness and Asianness are inextricable from each other as I navigate the world as a nonbinary non-white person. When I perform poems for an Asian American space, I feel the need to emphasise my queerness in my poetry. In queer spaces, that are more often than not white, there’s an urgency to talk about my Asian American upbringing. Monáe has shown me that exploring these intersections can be both challenging and invigorating.

The evolution of Monáe’s gender and sexual expression ebbed on Dirty Computer, an album that saw them diving into the explorations of desire and attraction with both men and women. Monáe repatriates elements of Prince’s iconic guitar riff in Kiss for their song Make Me Feel as they fall between the arms of two people, feminine- and masculine-presenting lovers. Another song, Pynk, a fuchsia-infused music video, featured Monáe frolicking in the desert with fellow queer actor Tessa Thompson while wearing labia-shaped pants and panties that read “I grab back” — a direct clap back to Donald Trump’s infamous “locker room talk.”

At this point, Monáe had also secured their status as a respected actor on the Oscar-nominated Hidden Figures (2016) and Oscar winner Moonlight (2016). Around that time, they also founded Wondaland Records, which allowed them directorial and creative control of their image and artistry as a musician. All of this allowed them to reclaim the portrayal of their body — as well as the political messaging of their mere existence in the industry.

In 2022, when Monáe first introduced their gender-neutral pronouns publicly, their fame somewhat protected them from conservative backlash or the confusion of a largely cisgender straight American society. But, of course, some people loiter in the distance awaiting their downfall. And, evident in they’re commitment to the spectrum of queer expression and resistance to body policing, they cannot be concerned.

“No I’m not the same… I think I done changed… I used to walk into the room head down. / I don’t walk, now I float,” Monáe proclaims on their newest album’s opening track, “Float.”

Monae does float, with transcendent confidence, on The Age of Pleasure. The influences of reggae and dance hall, and the sounds of the Caribbean are heard on this 10-song summer album, a move that inherently queers traditions of music that have at times been rooted in homophobia, sexism and misogyny.

There’s something vulnerable and dangerous in placing themselves directly into the narrative of Black queer joy. If capitalism and racism amount to the sexual objectification of Black and melanated bodies, let me do it on my own terms, Monáe’s newest work screams.

“Whether I show skin or I don’t, I’m sexy. I just always felt like people would try their best to take my autonomy away from me,” Monáe shared recently in an interview with StyleLikeU. “It took me years to feel comfortable with my boobs,” they added in the interview. Seeing Monáe fully embracing their queerness in all its joy (and sexiness) in 2023 feels like the strongest rebuke against the fearmongering and shame that’s threatening to roll back LGBTQ+ rights across the US.

Monáe has taught me that sexuality is political and that being nonbinary can be a beautiful journey. There will continue to be hundreds of interpretations of Monáe’s work from ArchAndroid to a sexually liberated and self-described “free-ass motherfucker.” That’s part of being an artist: You release work that is absorbed into the culture and takes on a new meaning. For me, their work is about how every year can reveal new ways to love yourself.

Like Monae says on another new track Phenomenal: “I’m looking at a thousand versions of myself. And we’re all fine as fuck.”

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Olivia Rodrigo Has One Music Icon In Mind As Her ‘Biggest Celebrity Crush Of All Time’

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Rodrigo, browsing with Vogue magazine writer Jia Tolentino for the August cover story, found a PORN IN THE U.S.A.! bootleg live recording from a 1984 Springsteen concert in Toronto.

“He’s my biggest celebrity crush of all time,” Rodrigo said, tucking the record under her arm. “I think I might have to get this for my new apartment. Yeah, you’re coming home with me.”

Springsteen adds to a list of music icons Rodrigo has shown love for.

The singer took the Madison Square Garden stage with Billy Joel last summer to perform Deja Vu, a song that mentions the Piano Man singer. The pair also performed Joel’s Uptown Girl and shared a hug.

Rodrigo told Vogue that she also considers Carole King “among her major influences.”

King, in an interview with the magazine, praised Rodrigo’s songwriting.

“You could tell she really believed in the lyrics. And that there was substance behind them, craft and substance,” King said. “I was struck by how grounded she is. She’s a professional in everything she does — she’s been a professional for a long time.”

She added: “She begins by speaking for herself, but she speaks, in the end, for so many young women. And I love her. I’ve only met her for one afternoon, but I love her.”

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Rosie O’Donnell Shares Updates On Madonna Following Singer’s Hospitalisation

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The actor posted a throwback photo on Monday of herself and Madonna in a scene from A League Of Their Own, the 1992 comedy that sparked their three-decade friendship.

In the comments, fans asked to know how the Material Girl singer was faring. The pop icon’s manager, Guy Oseary, announced last week that she had been found unresponsive on June 24, leading to a several-day stay in an intensive care unit.

The 64-year-old had developed a “serious bacterial infection” but was expected to make a full recovery, Oseary said.

Responding to a concerned commenter, O’Donnell wrote, “She’s good,” alongside a heart emoji.

“She is recovering at home. She is very strong in general,” she wrote in another comment.

Actor Debi Mazar, another friend, also shared a brief update about the singer last week.

“To all of her fans- Madonna is on the mend & home resting!” Mazar wrote on Instagram.

Madonna’s Celebration tour of North America and Europe ― which was scheduled to begin in mid-July ― has been postponed.

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Kelly Clarkson Has A Lot To Say About Her Alleged ‘Beef’ With Carrie Underwood

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Kelly Clarkson is eager to prove she has “no beef” with fellow American Idol winner Carrie Underwood.

The talk show host accidentally jumped the gun on addressing reports of a feud with the country singer during an appearance on Andy Cohen’s Watch What Happens Live.

When a fan called in with a question and began to ask about Underwood, Clarkson jumped in and cut them off.

“Kelly, after years of everyone trying to pit you and Carrie Underwood against each other ― ” the fan said, as Clarkson responded, “I think I know where you’re going with this.”

“People always pit us together, and we don’t even know each other well enough to be pitted against each other,” she said. “Like, literally, we’ve run into each other a handful of times. There’s no beef between us. There’s nothing! We don’t know each other.”

Clarkson then got slightly embarrassed after Cohen stepped in to ask the fan, “What was the rest of your [question]?”

When the caller said, “…What was your favorite part of having her as a guest on your talk show?” Clarkson laughed at her quick answer and got up from her chair.

“Look, everybody always asks me the ‘pitted against each other’ question,” the Since U Been Gone singer said of her immediate reply, before saying it “was awesome” to have Underwood on the show.

“I think the thing that was cool about it is that everybody always pits us against each other, and I don’t know why they do that ― they don’t do that with dudes!” she said. “We don’t even know each other well enough to do that. But I think I’d love to have her [on the show] in person. It was during Covid, so it was over Zoom.”

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Clarkson has addressed the alleged feud between the two before, once taking to Twitter to shut down reports after Star magazine claimed the singers were engaged in an explosive fight and “TRASHING each other to friends.”

“Someone just sent me this & I’m like why does she get the good pic & I have the worst expression I’ve ever made w/zero muscles being used in my face ha!” Clarkson tweeted back in 2019, alongside a photo of the cover in question.

“I officially have a feud w/whoever used this pic! At least give me a good pic if y’all are gonna be lying is all I’m sayin,” she quipped.

The two also graciously responded to a poll on Twitter, which asked fans to choose the “most iconic” Idol winner ― Underwood or Clarkson.

“I think we’re both winning in life and pretty blessed! Singers, mamas, CEO’s….” Clarkson wrote.

“Whatever, girl, I voted for you!” Underwood responded. “But seriously, I do wish more publications would just celebrate women’s success without pitting them against each other… Just my thoughts…anyway… Love ya’! Hope you’re well!”

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