Get Out! GAY Magazine – Issue 583

AT THE 2026
TRIBECA FILM
FESTIVAL

week in pictures
>> BY WILSONMODELS / wilsonmodels.blogspot.com
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ISSUE #583
ROBIN
BYRD
AT THE 2026
TRIBECA FILM
FESTIVAL
Photo Credit:
www.robinbyrd.com
PUBLISHER MICHAEL TODD
MIKE@GETOUTMAG.COM
DESIGN AND WEBSITE AGOTA CORREA
AGOTA@GETOUTMAG.COM
CELEBRITY INTERVIEWER EILEEN SHAPIRO
@EILEENSHAPIRO3
CONTRIBUTORS WILSONMODELS,
JIM SILVESTRI, & OTHERS TITLED WITHIN.
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BY EILEEN SHAPIRO
CELEBRITY CORRESPONDENT
The Last of the Romantics:
Randy Edelman Celebrates
Legacy, Love and Pride at
the Stonewall Inn
On July 25 at 6:30 PM, legendary composer
and songwriter Randy Edelman
brings “The Last of the Romantics” to
the world-famous Stonewall Inn—a venue
that stands as a living symbol of LGBTQ+
pride, resilience and cultural history.
Set within the walls of one of the most
iconic landmarks in modern civil rights
history, this special evening is more than
a performance—it is a moment where music,
identity and legacy meet. The Stonewall
Inn is not simply a stage; it’s a place
where voices have shaped movements,
where courage ignited change and where
generations continue to celebrate authenticity
and freedom. Edelman’s presence in
this space feels both powerful and fitting.
For decades, Randy Edelman has been a
quiet architect of emotional storytelling
through music. His work has underscored
some of the most memorable cinematic
experiences of our time, including
The Mask and The Last of the Mohicans,
while his songwriting has found its way
into the voices of legendary artists. His
melodies are woven into the fabric of culture—familiar,
evocative and enduring.
In many ways, Edelman’s artistry aligns
with the very spirit of Stonewall. His
music has always carried an emotional
honesty that transcends boundaries,
connecting people across generations,
identities and experiences. In a world constantly
evolving, his work remains rooted
in something timeless: feeling.
“The Last of the Romantics” promises an
evening of raw, heartfelt performance—
where piano, voice and story take center
stage. It is an invitation to experience music
stripped to its essence, delivered by
an artist whose career has helped shape
the emotional soundtrack of our shared
cultural history.
Presented during Pride season in New
York City, the event takes on an even
deeper resonance. It becomes a celebration
not only of music, but of individuality,
expression and the enduring power of
community. Edelman’s performance honors
the past while embracing the present,
reminding audiences that art has always
played a vital role in both personal and
collective identity.
This one-night-only event offers something
increasingly rare: a chance to
witness a master storyteller in an environment
that reflects the very heart of
cultural evolution. At the intersection of
legacy and liberation, Randy Edelman
at the Stonewall Inn is poised to be an
unforgettable evening of music, meaning
and pride.

BY EILEEN SHAPIRO
CELEBRITY CORRESPONDENT
Photo Credit: Wilsonmodels
ROBIN BYRD TAKES
The Untold Story of a Boundary-Breaking Icon
IN A CITY built on bold voices
and unapologetic expression,
few figures have pushed boundaries
quite like Robin Byrd. With the
premiere of “Bang My Box: The
Robin Byrd Story” at the Tribeca
Film Festival, her story finally steps
into the spotlight in the very place
it began—Manhattan. For decades,
Byrd existed at the edge of culture,
shaping conversations around
sexuality, identity and freedom
of expression long before they
became part of the mainstream.
Now, this long-awaited documentary
captures not just the spectacle
of her career, but the fight behind
it—the resistance, the resilience
and the unshakable belief in telling
her truth.
Robin Byrd is more than a television
personality—she is a cultural disruptor
who transformed late-night cable into
a platform for visibility, liberation and
radical self-expression. Best known for
her long-running, boundary-defying show
that blurred the lines between performance,
activism and community, Byrd
created space for voices that were often
silenced, particularly within the LGBTQ+
and sex-positive communities. Behind
the scenes, she was as hands-on as she
was fearless—producing, managing and
protecting her vision while navigating
constant scrutiny and censorship. What
emerged was not just a show, but a
movement—one that helped normalize
conversations around identity and freedom,
long before society was ready to
fully embrace them.

“Bang My Box: The Robin
Byrd Story” is premiering
at Tribeca. What does this
moment mean to you personally
after such an iconic and
boundary-pushing career?
I’m so happy that I’ve been
finally recognized. I mean, I
know that silently I’ve been
recognized so much, but being
recognized where I was born,
bred and raised on the island
of Manhattan it’s so exciting. To
be opening at Tribeca, it’s like a
dream come true.
Your work helped shape a
very specific era of underground
and late-night
culture. What do you hope
younger audiences discover
about that time through this
film?
The young ones, they were
born into this. They didn’t have
to fight or put up with a lot of
stuff. I opened the doors for
everybody. Gays and straight.
Also, the idea of sex positiveness.
To be okay with your
body. Body awareness. So it
means a lot to me, but I don’t
think it means a lot to the new
generation because that’s their
norm. They don’t know where it
came from. They should learn
their history, and that’s why I’m
so excited that this is coming
out. So that they know it wasn’t
easy. They will see that there
was a fight. They will see that
I always stood up for what I
believed in.
That’s what
I would like
for them to
stand and
believe in.
Not just
flaunt the
fact that
they’re gay
and they can
be like that
all the time.
The
imagery in
the flyers
captures
both bold
sexuality
and artistic
freedom.
How intentional
was
that duality
in telling
your story?
I wanted to
make sure
that people
knew who
I was. It just came naturally. I
don’t know if it was intentional.
It just came out that way. It’s
a synergy that happened. I
had the executive producer,
Greg Scarnici, and I make sure
that he was involved because
he knew how to deal with the
corporate side.
With queer cinema gaining
more
visibility—especially
with
events
like the
new Fire
Island
Film
Festival—how
do you
see your
legacy
fitting
into today’s
LGBTQ+ storytelling
landscape?
I am part of the foundation.
You know, when you build a
foundation in a house, you
make sure it’s strong. So I am
part of that foundation. How
it fits into the legacy of me,
like I said, it’s synergy. It just
happens. It’s organic. In my
mind, I didn’t set out to do this.
I thought, “I’m going to do what
I believe in and I’m going to
show people what I believe in.
They’ll either take it and run
with it or they’ll take it and mock
it”. I’m so grateful that I have so
much love coming back to me. I
don’t know if this is going to be
in the Fire Island Film Festival. I
wasn’t told. But this is my story
to tell. I didn’t produce it. It is
up to the producing directors
where it gets shown. I would
hope it would be shown in the
Community House in Cherry
Grove on Fire Island. I would
hope it would be shown at the
Community House in the Pines.

Looking back, were there
moments in your career
where you felt misunderstood,
and do you feel this
documentary finally sets the
record straight?
Well, I have always felt misunderstood.
Because I’ve been
ahead of my time. I haven’t
really caught up to myself.
People are finally catching on.
The story tells a very important
part of my fight to keep
going and being on the air.
Because so many times they
tried to take me off. They tried
changing the channels many
times. They threatened to take
me off. They did take me off for
six months at one point in the
very beginning, when it was on
Channel J. There was so much
against me. I just had blinders
on. I knew I wasn’t doing
anything bad. So why are they
giving me shit for it? I set forth
to just tell my truth. I want
people to know that I did the
camera, I babysat the guests
to make sure that they got to
the studio on time…I wanted to
show people that just because
you are in porn or you are
gay, that doesn’t mean it’s the
basics of your life. There are
so many aspects. So I just kept
on going. I do know that the
film has the gist of the story. A
lot of people don’t know what
I’m doing now. So it shows
what I’m doing now. Taking
care of Shelly, because he has
dementia. He is functional,
but who knows what’s going
to happen. He’s 86 years old.
I am just so happy that the
documentary came out before I
forget things myself. I’m 71.
If you could relive one
defining moment from your
journey that’s featured in the
film, which would it be and
why?
I would relive the fight to
maintain being on the air. That
was a pivotal part of my life. It
took the wind out of me and a
lot of money. I would relive that
again. And I wouldn’t do it any
differently. I was happy with
the results. I am happy that
in the United States Supreme
Court at that time there was
justice. Freedom of expression.
Freedom of speech. I would
definitely stand up for those
things, especially now.
Now that your story is hitting
a major stage like Tribeca,
what’s next for Robin
Byrd. Are we looking at a
resurgence, reinvention,
or something completely
unexpected?
My book is open. I have no
idea. I just go with the flow.
That is always how I have
been. I never really planned
anything. Because when I
have friends that plan things,
they never work out the way
that they plan. Because they
have expectations. I have
always said, “Don’t have any
expectations of me because I
never have any expectations of
me”. It’s like when I wore that
crochet bikini, it was because
I didn’t want anyone to expect
me to wear a different outfit
every week. I am open for
whatever is coming my way.
Do you know exactly the
date it is going to be shown?
Yes. The premiere screening
will be at the SVA Theater on
23rd Street and 8th Avenue.
That will be on June 9th. It will
also be screened once on June
13th and once on June 14th at
the Angelica Theater.

BY EILEEN SHAPIRO
CELEBRITY CORRESPONDENT
BILL COLEMAN
Keeps the Beat Alive From Disco Glory to
Downtown Reinvention
From the glittering pulse
of downtown nightlife to
the grand stages of Lincoln
Center, Bill Coleman has
spent decades shaping
the soundtrack of dance
culture with fearless taste,
legendary collaborations
and an instinct for what
moves people emotionally
and physically. Whether
spinning euphoric
disco under the Manhattan
skyline, producing
genre-bending projects
through 808 BEACH, championing
emerging talent or
keeping listeners locked in
weekly through SiriusXM’s
Andy Cohen’s Kiki Lounge,
Coleman remains one of
nightlife’s most influential and
enduring tastemakers.
Now, with the release of 808
BEACH’s shimmering new single,
“Here’s Where The Story Ends,” a
wave of major Pride performances
and a summer packed with
Lincoln Center events, Coleman
is entering yet another inspired
creative chapter—one rooted
equally in nostalgia, reinvention,
community and the ecstatic power
of music. In this conversation,
he opens up about honoring The
Sundays, the timeless magic of
disco, the evolution of DJ culture
and why, after more than four
decades behind the decks, the
connection between artist and
audience still means everything.

Photo Credit: Eric McNatt
You’ve got a new single,
“Here’s Where The Story
Ends”. What inspired the
track, and how does it
reflect where you are creatively
right now?
The Sundays are one of my
favorite bands ever. Their
1990 debut album, Reading,
Writing and Arithmetic is an
alternative bliss pop classic.
When thinking of a followup to
our last single, “WHATEVER
DADDY SAYS,” John Carr
and I (808 BEACH) thought
it was important to showcase
a different layer to what we
do. We had been sketching
out ideas of a reverent but
danceable cover of the band’s
“Here’s Where The Story
Ends” for a couple of years
now, going back and forth
on direction. Once our friend
and frequent collaborator
Belle Humble agreed to grace
us with her vocal talents,
we were beyond inspired to
finish this idea with a clarified
vision. “Here’s Where The
Story Ends” as a song is
already perfect, both lyrically
and melodically. Belle’s
colorful tones and approach
provide just the right feeling of
honoring the Sundays’ original
while comfortably embracing
our more dance and club-oriented
productions. It was an
absolute joy to complete this.
Creatively, I am feeling fertile
and inspired and continuing to
tap into various facets of my
musical tree. John and I have
just wrapped a new original
followup to “Here’s Where
The Story Ends” - a collaboration
with new production
duo DANK & GLADIUS,
which features ’80’s heroes
the Waitresses. I’m DJing
out at the Ice Palace in Fire
Island on June 20th with
special guests Ultra Naté
and Inaya Day. I haven’t DJ’d
out in F.I. in quite a number
of years, and it’s actually 40
years since I was introduced
to the island during my
college years. We’ve also
been excited to be working
with the Illustrious Blacks, a
forthcoming Ultra Naté album,
doing a bit of writing again,
digging into my vast archives
and ephemera for a possible
exhibit and I also loved composing
the juicy house theme
to ‘The Cutting Up : A Kiki
With Connie & Lina’ podcast.
You’re playing multiple
high-profile sets at Lincoln
Center during Pride and
beyond. How does performing
in a venue like that
differ from a traditional club
environment?
I’ve had the fortune of collaborating
with Lincoln Center in
varying capacities for over a
decade. It’s never lost on me
the sheer magnitude, history
and cultural relevance of
working with such a legendary
team. For the summer parties
I’m spinning this year - Sunday
Pride and July 2Disco,
the audiences are truly a
cross generational microcosm
of New York City. I do my best
to keep it festive, fun and
upbeat and focused on the
audience. We don’t have a lot
of time to experiment or get
too deep as we may in a club
environment. We keep our
sets pretty direct with no filler.
There’s absolutely nothing
like singing along with the city
under a New York night sky.
Your all-disco set on July 2
and the seventh anniversary
of your Donna Summer-inspired
party, “Love 2
Love”, celebrate a timeless
sound. What keeps disco
alive and relevant in today’s
scene?
Donna Summer and disco are
plates that everyone is still
eating from. The music and
artists of that era are timeless,
musical and delivered so
many prototype anthems that
effectively captured the freewheeling
urgency and sexy
abandon of nightclubbing and
dancing. They also celebrated
the art of DJ-ing during an
unprecedented time. Disco
remains foundational to what
contemporaries strive for and
are inspired by. It’s a fantastic
amalgam of sound and a
colorful ethos that reminds
us that we’re all the same
(“all the sluts and the saints”)
under that glitter ball.
You’ve worked with legendary
acts like Deee-Lite
and are now producing new
artists. What do you look
for when developing fresh
talent like Dee Diggs and
Brandon Markell Holmes?
It’s always fun to collaborate
with new and emerging talents,
in addition to creatives
we simply vibe with. Dee
Diggs and Brandon Markell
Holmes are both exciting new
talents signed to the Brooklyn
indie toucan sounds and
requested we (808 BEACH)
contribute to their respective
albums.
After all these years, I still
love helping an artist develop
a musical vision or provide
the space for them to find
their voice.
Through my Peace Bisquit
label with Angelo “Pepe”
Skordos, we’ve had the
fortune of working with a wide
variety of talent in varying
production/ A&R/ consultancy
and management capacities.

Artists such as Cazwell,
Amanda Lepore, Ultra Naté,
Julee Cruise, Jody Watley,
Vanessa Williams, Lenny
Kravitz, Beyoncé and Brooklyn
Funk Essentials, along
with cult film features such as
Party Girl, The Watermelon
Woman, Party Monster and
All Over Me have all been
through the Peace Bisquit
influence machine.
You’re
curating a
full week of
DJ programming
tied to
World Cup
festivities.
How do you
approach
building
a musical
experience
that connects
with
such a global
audience?
WORLD
CLUB at
Lincoln Center
runs from July
8 through
the 19th. I
approached
curating the
evenings as a
rare opportunity
to not
only celebrate
the competitive global unity of
World Cup, but to also bring
a broad array of talent and
music selectors I adore to
our iconic stage. Many are
making their Lincoln Center
debut! We could not be more
excited to host the delicious
skills of Madame Gandhi,
Keys N Krates, dj.shErOck*,
Béco Dranoff, DJ David and
Arty Furtado of 1bd and many
more throughout the week!
With your weekly show on
SiriusXMin Andy Cohen’s
Kiki Lounge, how has radio
shaped your relationship
with listeners compared to
live DJ performances?
Programming a weekly threehour
radio mixshow has kept
my ears sharp. Our FRIDAY
NIGHTDANCE show tends to
focus on new dance, electro,
disco and hits, so it has
helped me maintain a steady
pulse of what’s happening or
percolating. We as consumers
are saturated with thousands
of releases per week, so fine
tuning the effort to not only
discover and support new
music and dance artists but
develop a flow to the set that
is engaging and informative
but still a party has been the
mission. I’m thankful to Andy
and our show’s producers
for their continuous support
over the last five years.
Keeping our shows listenable
and visceral for an audience
I don’t physically see has
helped fortify and inform my
DJ sets when I’m playing live
by my forging
an immediate
connection
from the
first notes to
the last and
taking an
audience on
a journey. As
a kid, I used
to listen to the
radio obsessively
before
I ever started
spinning - so
ironically
enough, my
DJ training
wheels
were initially
influenced
by radio.
So to be on
SiriusXM supporting
the
dance culture
we love so
much is a gift
we don’t take
for granted. I’ve been fortunate
enough to DJ a variety
of music genres since high
school - that’s over 45 years
of rpms and bpms! It’s a life
calling and still so satisfying,
whether broadcasting over
your airwaves or live and
direct!
Photo Credit: Eric McNatt

BY STEVEN ARASA
DANCE WITH
KRISTINE W
The Dancefloor Diva is Back with a Brand-New Album
A defining voice in dance music for nearly
three decades, Kristine W continues to
evolve while staying true to the uplifting spirit
that has earned her 17 Billboard #1 dance
hits. With Dance with Me, she delivers a
dynamic, genre-spanning collection that
blends progressive house, Afro house,
future disco, and tech house—each track
anchored by her signature soulful vocals.
Dance with Me doubles as both a celebration
of Kristine W’s legacy and a
bold step forward. The project features
refreshed versions of her classic hits
alongside brand-new material, created
in collaboration with a global roster
of top-tier producers. The album also
includes unexpected reinterpretations,
such as an electro-lounge take on
“Smooth Operator” and a genre-blending
reimagining of “Danger Zone.”
At the heart of the album is “Next
to You,” written by Kristine W and
UK-based producer Rob Button (aka
Freejak), with a standout mix from the
newly reunited British duo Soul Seekerz.
The single holds deep personal
meaning for Kristine, who found the
absence of live performance during
the pandemic particularly challenging.
Photos by Levi Walker
“Being around my dancers, musicians
and audiences fuels my creativity,”
she shares. “I missed my people and
just wanted to get next to everyone
again.” She explains more.

INTERVIEW >>>
Your career has been
deeply intertwined with the
LGBTQ+ community for
decades. What message do
you want to share with fans
who have been dancing
alongside you through
every era?
Kristine W: I am honored
and blessed to be able to
dance through the decades
with all of you. You have filled
my heart and my journey
with love. We have seen this
community survive and thrive.
There is so much to be grateful
for and to celebrate, and
I hope you’ll come out this
summer and dance with me.
How do you continue to
challenge yourself creatively
while still delivering the
sound your fans know and
love?
KW: I think it comes from my
deep love of all things dance.
I love the clubs, the people,
dance radio, production—everything
about it. It’s such a
creative genre. You can blend
dance with rock, like on “Fly
Again” and “Danger Zone,” or
pour a touch of jazz into a UK
house mix like we did with the
“Next to You” vibe.
Did creating Dance with
Me serve a personal or
emotional purpose for you
beyond the dance floor?
KW: Dance with Me has
been a way to process the
pain of losing so many people
who were my cheerleaders.
We all experience loss and
deal with it differently. I’m so
thankful I have music as an
outlet for my feelings and
ideas. Music has saved me
in so many ways over the
years.
How would you describe
the sonic and emotional
landscape of “Next to
You?”
KW: It incorporates jazz flavors
into house music, which
is something I love. I grew up
immersed in jazz and blues
in the Northwest, and that
sound takes me to my happy
place. I hope it does the same
for everyone listening. Being
together is so important for
our well-being and sense of
community, and that message
really sets the tone for the
album.
Who are the people in your
life who ground and inspire
you the most?
KW: My family, my friends
and my music family definitely
ground me. Many of them
have been in my life for 10 to
25 years or more, so those
relationships are incredibly
meaningful. They love me,
but they also keep me honest
when I need it (laughs).
With such a dynamic track
list, is there a song on the
album that you find yourself
returning to the most?
KW: “So Much Love” means
a lot to me. I actually started
writing it in college, and it’s
been rewritten many times
over the years. When Mark
Matson and I first recorded
it as a ballad, I realized the
latest version was finally
right—the message felt
more relevant than ever.
I performed it live in New
York for the first time, and I’ll
never forget the applause at
the end. The musicians at
rehearsal loved it, and when
my son came up to me afterward
and said, “Wow, that ‘So
Much Love’ song is amazing,”
that sealed it for me.
For more information, visit
KristineW.com.

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apps served daily from 11am.
Located the heart of Hell’s Kitchen with over 3 floors.
Opening on 9th Avenue & 50th Street

FEELING
URIOUS?
30 DAYS FREE
WITH PROMO CODE: GETOUT26
No purchase or credit card necessary. Promo code “GETOUT26”
must be redeemed by December 31st, 2026.