Get Out! GAY Magazine – Issue 362 – April 11, 2018

BY WILLIAM COOKE
LETS IT GO
The Powerhouse DJ Springs Into Full-Scale Production
Mode With Three New Songs, Including Two Featuring
Iconic Dance Music Legend Suzanne Palmer
In the early 2000s, five powerhouse DJs
ruled the gay dance floor. They were
Manny Lehman, Tony Moran, Victor
Calderone, Peter Rauhofer and the lone
lady in the group, Tracy Young.
Today, Young is bigger than ever. She
hosts a weekly iHeartRadio show that airs
Saturday nights at 9 p.m., and when not
on air, she is in the recording studio.
Young has built quite a reputation for
herself in the booth, remixing a slew of
Billboard #1s featuring Madonna, Cher,
Lady Gaga and more. Earlier this year,
however, she announced she would be
shifting her focus to producing original
music, and now, as her first works begin
to emerge in time for spring, Young is
showcasing a spectrum of musical styles
that are sure to heat up a wide array of
dance floors throughout the summer and
beyond.
First up is “SCOPA,” a tech house track
with a dark, driving rhythm that sounds
like the sequence track for an action film.
In fact, if it were a movie, it would be
two parts “Atomic Blonde” and a dash of
“The Matrix.” On the flip side are Young’s
celebratory tracks, the undergroundsounding
“Get Cha There” and throwyour-hands-in-the-air
Pride anthem “Let
It Go.” Both mark Young’s first-ever
collaboration with legendary dance diva
Suzanne Palmer.
PHOTO BY MIKE RUIZ
INTERVIEW _ _ _ _ _ _ _ _ _ _ _
What is like to be back on radio?
I love radio! It’s what I know and
basically how I started my career.
Even before clubs?
Oh, yes. When I started DJing in
D.C., most of the nightclubs weren’t
interested in hiring a woman to spin
the night. I was always turned away.
However, I was very determined to
get heard, and so I got a job in radio.

I remember you on the Donnie
Simpson morning show.
Donnie is a legend and had a huge
nationwide following at the time. It
was a really big opportunity for me and
paved the way to where I am now, at
iHeartMedia, specifically Y100 and 93.9
MIA.
You spin all of today’s hits on your
iHeart show. Do those hits influence
your own music?
Definitely. All music influences me in one
way or another.
Your new songs with Suzanne Palmer
seem tailor-made for gay dance floors.
Suzanne and I have performed together
many times; however, this year was the
first time we had the opportunity to
get in the studio together. We didn’t
have a plan other than to write a few
good tunes, have some fun, challenge
ourselves creatively and musically. From
that, “Let It Go” and “Get Cha There”
were made. I hope people like the
songs.
How can they not? They serve all the
drama, the celebratory beats and
heavy vocals that young queens crave.
Your other new single, “SCOPA,” on
the other hand, is dark, trippy and
probably more for the hardcore EDM
scene.
“SCOPA” was something I did five
years ago while living in New York. I was
inspired by what I was listening to at that
time. Ironically, it’s very current today and
I think falls in the genre of tech house.
Having
interest in
all kinds
music and
genres
can be a
gift and a
curse. Most
producers
have a style,
and you
know what
a track will sound like before listening to
it, but I like everything! From country to
heavy, deeper, darker baselines, to pop
and hard or classic rock…I love them all.
I happen to love how “SCOPA” turned
out.
Are you feeling more “SCOPA” or
Suzanne Palmer these days?
Both! I think “SCOPA” has a personality
all its own. I really, really love the track.
I call it my darker, alter ego. But then
there’s my work with Suzanne Palmer.
She is a brilliant artist. “Let It Go” caters
to the big room, pop and vocally musical
side of my personality. It’s more of a
classic type of sound. “Get Cha There”
is something newer. I’m not sure how to
classify it musically, but vocally it’s very
cunty. I hope to see a lot of drag queens
performing to the song. Either way, I
hope all are received well by the public.
Remixes
for all the
tracks will
be released
soon!
“SCOPA” is available now on iTunes
and all major online retailers and
streaming services. “Let It Go” will
be available on iTunes and all major
online retailers and streaming services
this week, and “Get Cha There” will
be available April 20.
Instagram: instagram.com/djtracyyoung
Facebook: facebook.com/iamtracyyoung
Twitter: twitter.com/djtracyyoung
YouTube: youtube.com/iamtracyyoung
Soundcloud: soundcloud.com/
tracyyoung
Website: tracyyoung.com
Wikipedia: https://en.wikipedia.org/
wiki/Tracy_Young

FRIDAY, APRIL 13
THE VAST MYSTERY OF WHO YOU ARE: PART ONE BY KIM YAGED
The Vast Mystery of Who You Are is an irreverent, hard-hitting exploration of love via sex
parties and philosophical sparring about the nature of relationships.
SATURDAY, APRIL 14
GAY.PORN.MAFIA BY JOE GULLA
Bronx, LA, SoHo to Ibiza! Porn Stars, Gay Priests, Mafia
Dons and Abstract Expressionists! Smart! Fun!
Funny! Fearless! “Gay.Porn.Mafia” has it all!
Grab your ticket! Leave the gun! Take the
cannoli! You’ll feel like “family” and laugh
out loud (emphasis on “out”!) It’s the
same-sex, Italian-style, x-rated
offer you can’t refuse!
NEW YORK LIVE ARTS
THEATRE 80
ST. MARKS
WEDNESDAY, APRIL 25
BLOOD ORANGE
BY MARCUS SCOTT
Blood Orange explores the fetishization of
black male bodies, hook-up culture, the nature
of interracial gay relationships and sexual
encounters, power play and upward mobility.
MIRRORS
BY AZURE D. OSBORNE-LEE
Mirrors is the story of two women mourning the death
of a loved one while sifting through the secrets of a shared past.
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DESIGN BY SOMOSARTE.COM

BY IAN-MICHAEL BERGERON
@ianmichaelinwonderland
PART TWO
THE NON-DATE
Flash forward: one year later.
One night, I decided to
Facebook stalk C. I gathered
that he was still single, was a
chef at a new restaurant and
moved to Hell’s Kitchen. I
thought about our date, how I
never called him afterward or
gave him any explanation.
I wondered if he wanted closure;
I wondered if I wanted closure.
So I sent him a message that
we should get a drink at Vodka
Soda.
“Sounds suspiciously like a
date,” he responded, trying to
figure out if I was still dating
AJ—which I was.
“A non-date,” I responded.
He said yes, and I, per usual,
showed up late. I drank slowly,
building up my confidence to
tell him what a total asshole I’d
been, while he drank quickly,
probably trying to figure out why
the fuck I’d asked him out. After
I was good and tipsy, and he was
good and drunk, I weaseled my
way into the conversation.
“I’m sorry, by the way—that I
never called you after our date.”
“Yeah.” He got quiet, even put
his half-empty glass down on
the bar.
“I wanted to explain that.”
“I felt so shitty after that,” C
shrugged. “I thought we had
a really good time. Then you
completely disappeared.”
“I know. But that had nothing
to do with you—I’d already met
my boyfriend AJ when we had
our date. I didn’t want to cancel
our date, especially because
AJ was being standoffish—and
then he text me that he wanted
me to come meet him. And
that’s why I left so abruptly. And
then we started officially dating,
exclusively, so I… Well, I never
called you back. And I felt shitty
about it, so I never explained it
to you. But that’s not fair, and
I don’t want you to think it was
you.”
“’It’s not you, it’s me,’” he
sighed, picking up the drink
again.
“I did have a good time on our
date.”
“So, if you weren’t seeing AJ…
would you have gone out with
me again?”
The $4 drinks hit me harder
than I thought they would,
and without thinking I said
“Absolutely.” It was then that
I realized I asked him out to
a bar a few blocks away from
his apartment, and that I was
definitely leading him on.
“Are you and AJ open?”
“No,” I said firmly. “That’s never
really been my style.”
He shrugged again. “Yeah, me
neither honestly.”
He paid our tab, which I only
allowed because the drinks were
$4, and we walked into the brisk
winter night. “Are you sure you
don’t want to come over?” he
asked.
For a moment, standing there,
a year into my relationship with
AJ… I thought about it. I felt a
spark between us. I could get
away with it. Or I could put out
the flame with my own hand.
“I’m sure,” I said, finally. Then, I
added, “I want us to be friends.”
“I want that, too,” he smiled.
And the fire burned on.
PHOTO BY STEVE BRENNAN

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Cover: Tracy Young
Photo Credit: Mike Ruiz
ISSUE 362 - APRIL 11 2018
PUBLISHER
MIKE TODD MIKE@GETOUTMAG.COM
(646) 761-3325
DESIGN
AGOTA CORREA AGOTA@GETOUTMAG.COM
NATIONAL ADVERTISNG REPRESENTATIVE
RIVENDELL MEDIA (908) 232-2021
CONTRIBUTORS
CELEBRITY CORRESPONDENT EILEEN SHAPIRO
IAN-MICHAEL BERGERON

BY WILLIAM COOKE
CAZWELL & PEPPERMINT
The Duo Discuss Brilliant New Track ‘Blend,’ Staying
Socially Conscious and Inspiration in the Age of the
‘Accidental President’
Not since RuPaul herself teamed up with Elton John has there been as inspired
a pairing as rap impresario Cazwell and “RuPaul’s Drag Race” (and now
Broadway) diva Peppermint. Their new EP “Blend” mixes social consciousness
with good old fashioned great music, and in today’s climate, it is more
important than ever. I caught up with Peppermint and Cazwell recently to
talk about the release of this very personal music, why constant evolution is
always necessary and working with someone with whom you admire, both
professionally and personally.
Cazwell, you and
Peppermint together
with an entire EP is a
treat for all of your fans.
Tell me about “Blend,”
the first single.
Cazwell: “Blend” is the
first single off of the duet
EP that Peppermint and I
have done together. The
song is a contemporary
pop song, and when I
wrote and produced it with
Craig C and Peppermint,
we really wanted to make
a trans anthem. I thought
that would be very fitting
for her, since she was the
first out trans contestant
on “RuPaul’s Drag Race.”
I have known Pep a long
time, since even before
her transition, and wanted
to make it a powerful
anthem for her.
Cazwell, to be honest
you are probably the
only person that would
be able to weave “Paris
Is Burning” legend
Dorian Corey into a
contemporary pop song,
really.
Cazwell: [laughs] I’m glad
you caught that!

Peppermint, your music
is different now than it
was pre-“Drag Race,”
before the world got to
know the legend that
Peppermint is! How do
you see your music as
changing?
Peppermint: Well, you
know, I’m always gonna
be a New York City
queen! I think my music
changes with my musical
tastes and with the times,
and also the tools that
are available to me. My
first single came out
in 2007, and my album
“Servin It Up” came out in
2009, which Cazwell was
on, and then “Hardcore
Glamour” came out in
2009. Most of those songs
were a mixture of music
from my past, like ‘90s hip
hop and house coupled
with a dance electronic
stuff that was happening
at that time. It’s not
any different from now,
but the music sounds
different these days—kind
of post Azealia Banks
and other artists, my
style has definitely been
influenced. This project
has been penned by
Cazwell, so I am hoping
that most of the heavy
influences come from his
tastes that go with mine.
We definitely make a
great couple.
Cazwell, why do
you think you and
Peppermint make such a
dream team?
Cazwell: I think
Peppermint is easy to get
along with. I don’t really
know anyone who has a
problem with her. I think
I am the difficult one.
Personally, any time I have
written or worked with
anyone, be it Peppermint
or Amanda Lepore, I love
working with my friends
more than anything. You
know how you have that
one person in your life,
and you are so proud
of them that they are
embarrassed by it? That
is Peppermint for me. It’s
a great opportunity for
me to take my love for her
and turn it into music!
Peppermint: We
gravitated towards each
other really early on,
before we had any music
together. We performed
and worked together in
the club scene years ago.
I remind him of this from
time to time, but when he
was still living in Boston,
before he moved to New
York City, he came down
and did a guest spot at
one of the clubs I worked
at at the time, which is
when we first met and hit
it off. That was more than
10 years ago, and I won’t
go any further. [laughs]
Peppermint, “Drag
Race” girls put out a
large amount of music,
but your music is smart
and crafted well, truly
setting it apart. Why
do you think your music
is able to stand on its
own?
Peppermint: I think with
some girls from “Drag
Race,” some queens
who are fabulous queens
realize, “Oh my God, we
need something to do,”
so they suddenly make
a song. That is how a lot
of the drag music comes
to be—it is just out of
necessity. Not that they
don’t have true passion
for it, I just think it comes
as an afterthought. My
dream has always been
to be a musician, a singer
and a performer, and that
is before drag. I have
been working on this
way before “Drag Race.”
Many people don’t know
this, but I was the first
drag queen to have a
video playing on Logo.
Music has always been a
part of the equation for
me, whether I was going
to be on “Drag Race” or
not. I am always thinking
what my next album is
going to be and what I
am gonna say. I think that
informs the quality of the
music as well.
With “Drag Race” being
such a launching pad,
do you think you will
be able to stand on
your own without the
shadow of “Drag Race”?
A number of your sisters
have been able to do
that so far.
Peppermint: I definitely
hope so. I talk to people
that I just met, and they
are surprised to learn
things about me that they
learned within the capsule
of “Drag Race.” They, for
instance, think that I came
out on “Drag Race” or
something like that, not
realizing that I have done
so many things prior to
the show. A lot of people
have that association,
and I have no shame in
that; it’s a great platform.
I don’t think I’ll ever really
want to disassociate
myself with that, but I
think in a few months
people may be able to
try it out. As opposed
to saying “Peppermint,
star of ‘RuPaul’s Drag
Race,’” they will be able
to say “Peppermint, star
of Broadway’s Head Over
Heels.”

Cazwell, the direction of
the music on “Blend” is
different, yet definitely
still fits in the Cazwell
style and brand. What
is the direction of this
package specifically like?
Cazwell: I did take
into consideration that
Peppermint was on
“RuPaul’s Drag Race.” I
took the demographics
into consideration, but I
wanted it to have a sound
of “right now” and have
a popular point of view. I
wanted to take the sound
that people would gravitate
to and also create a song
with a message. There is
a line, though. Sometimes
you can take a song with
a message, and it can be
a bit of a yawn; if it’s too
political, some people can’t
balance pop appeal and
thoughts?
Cazwell: I think that to a
certain extent, RuPaul has
said some things that make
me think she has a very old
school way of thinking with
some gay issues and trans
issues, like with the use of
the word “tranny.” I think
she can be a little stubborn
to let go of that and move
forward with the times. I can
definitely understand that to
PHOTO BY BOB BOTTLE
definitely wanted to also
make some music that we
could also do in gay clubs.
It would be a straight-up
hip hop track or a trap
track. I know what music
that queens that watch the
show want to hear. Part
of me wanted to appease
them; that’s part of the
reason “Blend” sounds
the way that it does. I
figured I should try to
make a contemporary pop
song, which I had never
tried to make one before.
Anything that had a pop
feel to it usually happened
by accident. I definitely
keep it having a message.
It’s a hard thing to balance
out. I worked on the song
for months, and it took
so many versions. It was
really difficult. I am the
type of person that has
to try everything until I
hit the right thing. I am a
perfectionist. “Blend” was a
real achievement for me.
RuPaul recently made
some comments about
trans contestants on
“Drag Race.” Peppermint
gave some well-thoughtout
comments to
Billboard. What are your
a certain point; I used to say
“tranny” all the time myself.
I lived in New York and knew
all of the girls downtown,
and they all called
themselves “trannies.” I
think a new generation of
trans women saw the word
as derogatory, because
hateful heterosexual men
who wanted to make fun of
them would use the word
— you would have to talk to
a trans woman to see why
they really hate the word so
much, though. My point of
view is that I never meant it
in a negative way, but I can
change.

I never mean to offend
anyone. It was simple
for me, but there are
other people that
wanted to hold onto
it. I listen to RuPaul’s
podcast, “What’s the
Tee,” and I sometimes
think that she needs to
be surrounded by some
younger voices to maybe
affect her opinion on
things. There are also
things to consider—like,
for example, would
having nine men and one
woman in the workroom
working together change
the dynamic of the
show? I can understand
that concern. To some
extent I can see where
she is coming from; she
has found a formula that
works for the show, so
I can understand why
she would not want to
change that also.
You are very vocal
about the world in
general and are able
to put your finger on
what is important to
the community. From
a creative perspective,
is it harder to keep
staying inspired with
the LGBT community
having to fight harder
now more than ever in
today’s climate?
Cazwell: Actually, no; I
almost think it’s easier.
I am actually inspired
more when I am up
against something.
When we are having our
rights, our safety and our
healthcare taken away
from us—with gun laws
for example—and our
money and our taxes
are being fucked with,
we feel we need to fight
back, and write up a big
sign and march. I think
in times like this we are
inspired more, when
we have to fight. There
are so many things we
took for granted when
we had a president
that actually fought
for gay marriage and
won. Now that we have
someone who wants
to take that away from
us, or take trans people
out of the military, who
is openly transphobic,
homophobic, racist,
Islamophobic, you name
it, we have so much more
to be loud about. Once
he became president,
the first thing I said was
that I vowed to be as
gay as possible. I think
it’s important for gay
people to be as loud and
as vocal, and for trans
people to be as loud
and as vocal as possible;
they want to shut us up
so we appear invisible,
and it then appears that
their side is winning. It
is so important to go
against the grain. That’s
the great thing about
our country. It proves
how much you want to
fight for your country.
We have this “accidental
president” that obviously
does not belong there.
It’s like hiring a restaurant
manager who you find
out two weeks later is
wrong for the job; he just
should not be doing it.
If he hadn’t won, “Loose
Wrists” would not have
happened. I don’t know
that there would have
been as much of an
urgency for me to write
“Blend.” I may have just
written happy-go-lucky,
bottle-popping club
tracks. The good old
days! [laughs]
PEPPERMINT/CAZWELL - “BLEND”
WWW.YOUTU.BE/ECSAVEDOP58

BY EILEEN SHAPIRO
CELEBRITY CORRESPONDENT
One of the most talented, sensitive
and captivating artists to come along in
decades, British-born sensation Calum
Scott has recently released his compelling
full-length album “Only Human” via Capitol
Records.
His sweet vulnerability is displayed in
his decadent vocals, and his inspirational
songwriting is showcased in the leading
single of the release, titled “You Are the
Reason,” by far the most beautiful song
I’ve ever encountered. Although the song
began as “a meditation on anxiety and its triggers,” it
metamorphosed into a celebration. “So instead of being a
song about anxiety, the message became about how the
love you feel for the people in your life is more powerful
than anything else,” Scott says. The song is also featured as
a heavenly duet with the lovely Leona Lewis.
PHOTO BY FRANK OCKENFELS
A finalist on “Britain’s Got Talent,” where he famously
performed his version of Robyn’s hit “Dancing on My Own,”
Scott will be embarking on a massive tour across Europe.
Adjusting to the limelight and coming to terms with his
sexuality, Scott is one the most humble, down to earth and
candid people I’ve ever spoken to, as well as being a blast!
Still possessing that industry innocence, he remains amazed
at his newly found career and is still awed by other huge
artists, not yet realizing he’s become huge artist himself.

Your single, “You Are the Reason,” is such
a beautiful, heartfelt song. What were you
thinking when you wrote it?
I wished I could write a song [about how] even
though you have these complications with
relationships, the love that you feel for them
can do anything. It’s just such a beautiful,
hopeful and simple matter to explain: that love
conquers all. It’s not necessarily just a romantic
relationship, but a relationship with family or
friends or kids. My personal relationship was
with my great grandmother.
I feel like you included every kind of
relationship in the video known to man:
multicultural, same-sex, parent and child.
You left no one out.
I think the video is one of those things where
it actually explained the song perfectly. It just
gives you all the different spotlights of love:
the pregnant couple, a gay couple, a straight
couple and family. I definitely wanted that of
the grandparent passing away. That was my
tribute to my grandma. So the video speaks
through the song. The reaction to the song and
the video has just been beautiful.
The video brings people to tears, in a
hopeful and inspirational sense. Has there
been one particular instance that has
changed the trajectory of your life?
Yeah, definitely, there have been a couple
of them. Obviously I have to recognize that
“Britain’s Got Talent” has given me that
platform. I worked a very normal 9-to-5 job.
I came from a normal childhood, and that
audition gave me the opportunity with social
media and all that kind of stuff. It then traveled
globally. But I think for me was when I put my
single out, it got worldwide attention, and at
that point I was considered a music artist. I got
the attention in America, and the attention of
one of the biggest record labels in the world.
I think moments like that will keep happening.
These were my very first headline shows, and
the shows have been sold out. Putting out the
single and watching the reactions globally,
it really does make me feel very confident
and excited. I think that signifies a complete
trajectory of where my life is headed.
I think that sometimes I feel like growing up
in the U.K. tends to be a little bit difficult.
What was it like for you growing up?
I think for me it was kind of difficult. I obviously
had issues with my sexuality, how to deal with it.
There wasn’t that frame of awareness. That was
tough. But even though it was rough growing
up, with my sexuality, I wouldn’t change it if I
could. It kind of makes us who we are. It helped
me to write songs that will inspire people to
be happy, to be who they are. So I wouldn’t
change anything, even though I had a hard
time growing up. I wouldn’t change anything
even if I could have changed it.
I love the gay nightlife in the U.K.
Oh my God, yeah. I just came back from
Sydney, and it was Mardi Gras. I didn’t have the
opportunity to stick around, because
I had to go to the Philippines. If I
didn’t go to Asia, I was kind of looking
forward to staying there for Mardi Gras,
especially now, because I am confident
of who I am. I did want to go there and
experience that. I’m sure I will be able
to in the future.
PHOTO BY CALVIN AURAND
If you could have your ultimate stage
fantasy, what would you need to
happen?
OMG, I must admit that after working
with Leona Lewis, that sort of opened
up a whole world of opportunity in
terms of being able to collaborate. It
was amazing, so to be able to have
the opportunity to maybe do that on
stage...OMG! Having my own super fantasy
would be to do it with someone like Adele or
Ed Sheeran or Beyoncé, or one huge, huge
artist. It would just be so amazing to collaborate
with somebody live, so exciting. Just having
an audience is so intimate. I was just talking
to a lady who came over from Ireland. She
said Ireland is one of the places to perform in,
because everybody is so vocal and visual and
you really get into it. They dance with you, sing
with you and give a million percent more. So
I suppose my fantasy would be to collaborate
with someone on stage, and then just give
people a show they will never forget. I’m going
to be in Dublin in a couple of weeks actually.

PHOTO BY FRANK BORIN
Your single, “You Are the Reason,” is such
a beautiful, heartfelt song. What were you
thinking when you wrote it?
I wished I could write a song [about how] even
though you have these complications with
relationships, the love that you feel for them
can do anything. It’s just such a beautiful,
hopeful and simple matter to explain: that love
conquers all. It’s not necessarily just a romantic
relationship, but a relationship with family or
friends or kids. My personal relationship was
with my great grandmother.
I feel like you included every kind of
relationship in the video known to man:
multicultural, same-sex, parent and child. You
left no one out.
I think the video is one of those things where
it actually explained the song perfectly. It just
gives you all the different spotlights of love:
the pregnant couple, a gay couple, a straight
couple and family. I definitely wanted that of the
grandparent passing away. That was my tribute
to my grandma. So the video speaks through
the song. The reaction to the song and the
video has just been beautiful.
The video brings people to tears, in a
hopeful and inspirational sense. Has there
been one particular instance that has
changed the trajectory of your life?
Yeah, definitely, there have been a couple
of them. Obviously I have to recognize that
“Britain’s Got Talent” has given me that
platform. I worked a very normal 9-to-5 job.
I came from a normal childhood, and that
audition gave me the opportunity with social
media and all that kind of stuff. It then traveled
globally. But I think for me was when I put my
single out, it got worldwide attention, and at
that point I was considered a music artist. I got
the attention in America, and the attention of
one of the biggest record labels in the world.
I think moments like that will keep happening.
These were my very first headline shows, and the
shows have been sold out. Putting out the single
and watching the reactions globally, it really
does make me feel very confident and excited.
I think that signifies a complete trajectory of
where my life is headed.
I think that sometimes I feel like growing up
in the U.K. tends to be a little bit difficult.
What was it like for you growing up?
I think for me it was kind of difficult. I obviously
had issues with my sexuality, how to deal with it.
There wasn’t that frame of awareness. That was
tough. But even though it was rough growing
up, with my sexuality, I wouldn’t change it if I
could. It kind of makes us who we are. It helped
me to write songs that will inspire people to
be happy, to be who they are. So I wouldn’t
change anything, even though I had a hard time
growing up. I wouldn’t change anything even if I
could have changed it.
I love the gay nightlife in the U.K.
Oh my God, yeah. I just came back from
Sydney, and it was Mardi Gras. I didn’t have
the opportunity to stick around, because I had
to go to the Philippines. If I didn’t go to Asia,
I was kind of looking forward to staying there
for Mardi Gras, especially now, because I am
confident of who I am. I did want to go there
and experience that. I’m sure I will be able to in
the future.
If you could have your ultimate stage fantasy,
what would you need to happen?
OMG, I must admit that after working with
Leona Lewis, that sort of opened up a whole
world of opportunity in terms of being able
to collaborate. It was amazing, so to be able
to have the opportunity to maybe do that on
stage...OMG! Having my own super fantasy
would be to do it with someone like Adele or
Ed Sheeran or Beyoncé, or one huge, huge
artist. It would just be so amazing to collaborate
with somebody live, so exciting. Just having
an audience is so intimate. I was just talking
to a lady who came over from Ireland. She
said Ireland is one of the places to perform in,
because everybody is so vocal and visual and
you really get into it. They dance with you, sing
with you and give a million percent more. So
I suppose my fantasy would be to collaborate
with someone on stage, and then just give
people a show they will never forget. I’m going
to be in Dublin in a couple of weeks actually.

So when you perform live, do you still get
nervous?
Yeah, I get nervous all the time. I get nervous
performing in front of 10 people or 100 people,
and I think it’s because I care so much about
what I do. I really genuinely care. I want to
give a million percent every time. I just did a
performance for a radio station. There wasn’t
a ton of people there, but I was still backstage
pacing around. They said to me, “What’s wrong
with you?” I said, “I’m about to go on stage.”
They said, “But there’s just a handful of people.”
Like I said, I think it’s just because I try to do
everything in my performances. Emotionally, I
try to do my best, and physically, especially my
voice, so I just want to do a really great job.
When you auditioned for “Britain’s Got
Talent,” your sister, who went on stage
directly before you, didn’t go through, and
then you were next to perform. What kind of
emotions were going through your mind?
It was just one of those really surreal moments,
because my sister had auditioned and
convinced me to as well in order to get some life
experience. It was surreal to be there. You know,
the cameras were there, there was a theater full
of people. It’s a bit of a surreal moment to be
backstage, kind of waiting around, then when
it actually comes up to be your turn, you’re
nervous, excited, especially performing with
my sister. We were trying to give 100%. So you
get to a point where you’re sort of giving your
heart and soul away, so to speak. Then my
sister actually went on, and what happened
to her...so it was the best and worst day of my
life. I watched my little sister kind of cruelly get
turned down, and then I went on and got the
seal of approval. So I was in such a mix
of emotions, and it’s nothing you can
prepare for. You literally cannot. There’s
nothing you can say, “Well, if I do this,
I’ll be OK.” That just doesn’t happen.
You said before that your fantasy would be
to perform with a huge artist, but I think that
you already are there, and I think it would be
other artists’ fantasies to perform with you.
Thank you.
A lot of people here in the States tend to
compare you to Sam Smith. What is your
point of view on that?
You know what, it’s a huge compliment. Sam
is an incredible and gifted artist. I’ve met him,
and we’ve talked about the industry, and we
have similar stories about our sexuality, both
professionally and personally. So it’s a huge
compliment. Obviously we have our differences.
That’s why I want to get to America and perform
live, and show people that me and Sam are
similar, but we are also very different. Sam is a
beautiful singer and has wonderful songs. I think
we all have our own different uniquenesses.
So I am going to go over to America and show
people what I’m made of and what I can do. As
far as I’m concerned, it’s a beautiful compliment.
Calum, you’re a new addition to a crayon
box. What color are you?
My favorite color is probably green or khaki.
I have to make a new color? You know what,
if I could I would try and have like a rainbowcolored
crayon, just because of what it
represents, equality. It’s only a part of me and
my music. Like I said, I want to inspire. I’ve never
been quite happier. I’m proud of flying that flag,
so I might as well have it in a crayon.there you
go, a rainbow-colored crayon.
WWW.CALUMSCOTT.COM
If you could say anything to your
fans and followers, what would that
be?
I would just want to say thank you so
much for your support. Like I said, I’ve
come from very humble beginnings,
working a 9-to-5 job, and what I do
comes from a very sincere and genuine
place. I’m always trying to do my best,
and I’m always grateful for everything
that happens to me, particularly with
the fans, because I wouldn’t be where
I’m at if they didn’t support me. So
I’m very much grateful, and I’m just so
excited to see where this journey takes
me and meet as many of these guys as
possible.

a new play by S. ASHER GELMAN
EXTENDED
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