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This is om his Comedy Central Prents performance. NO CAPO. If I Were Gay - Stephen Lynch / [Chords Used] D-xx0232 D/C#-x40232 Bm*-x04430-| Ds2-xx0230 D/F#-200232 G-320033---| D*-xx0032

Contents:

AM I GAY?

Are you qutng your sexualy? Fd out if you’re gay, straight, bisexual, or asexual. Learn what the terms mean and if they apply to you. * if i were gay play *

Gay - While this adjective has historilly scribed men who are attracted to other men, the term now is ed to refer to anyone who experienc romantic, emotnal, or physil attractn to people of the same genr. Keep md that even if you have a sexual experience wh someone of the same genr or another genr, that don’t necsarily mean that you’re gay.

HOW TO KNOW IF YOU ARE GAY

* if i were gay play *

That means, for example, that you n be transgenr but also straight (for stance, you might intify as a woman and feel attracted to men) or gay (e.

If you have had romantic experienc or fantasi volvg people who are the same genr as you, then there is a good chance you are gay or bisexual, but 's okay if you're a ltle nfed. AdvertisementSKIP ADVERTISEMENTCric’s NotebookIn recent shows, ias of gayns are expandg, bg and disappearg all at WisemanI don’t know whether was bee my parents were jt generally open-md, or bee they had a specific, kdly yet mortifyg agenda, but one of the first Broadway plays they took me to, June of 1977, was way too gay for fort. The first phas of the gay play, ccial their moment, which broadly speakg enpassed the send half of the 20th century, are over.

WHAT’S NEXT FOR THE GREAT GAY PLAY? EVERYTHG.

In recent shows, ias of gayns are expandg, bg and disappearg all at once. * if i were gay play *

Some, like “A Strange Loop” and “Fat Ham, ” dramatize how the experience of racism amplifi that of homophobia, and vice fy expectatns by makg sexual orientatn a distctly sendary ncern among characters who “happen to be” gay or lbian, as “A Case for the Existence of God” and “At the Weddg. When a (male) love tert enters the picture, and they sg Katy Perry’s “I Kissed a Girl” as a duet, you feel somethg new has happened, as ntroversy melts to a blissful cloud of nonbary bubble is the equalizg, homogenizg fluence of pop culture at work — an fluence that some queer people unrstandably mistst. Jackson’s “A Strange Loop” go further, makg the cross-pollatn of inty the prime source of s nflict, as the ma character nonts both the homophobia of his Black fay and the racism of his queer one.

) Its body, race and orientatn issu are left a kd of stalemate that suggts what might happen if a foundatnal gay play like “The Boys the Band” (which had only one Black character) were multiplied fun hoe mirrors ad fum.

STEPHEN LYNCH - IF I WERE GAY CHORDS

Artist: Stephen Lynch Song: If I Were Gay Album: A Ltle B Special Tabbed by: Rick () AIM: unhlax23 Chords: D (xx0232) G (320033) Ds2 (xx0230) D/C# (x40232) A (x02220) * if i were gay play *

That the Hamlet figure, lled Juicy, is Black and gay, wh an termtent csh on a Laert-like iend, suggts that the queer theme will domate, yet don’t; “Fat Ham” is really a play about Black masculy and, even more broadly, the vlent herance all men mt renounce. ” Beltran portrays a gay Black man hopg to adopt the young girl he’s been Klwich/The New York TimMy other favore queer plays of the past year likewise offer no bands; their gay characters (there are still far too few lbian on) operate as if their gayns were mostly ternal and pletely irrelevant. Hunter’s heartbreakg “A Case for the Existence of God, ” that turns out to be an illn, as a gay Black man, after fosterg a ltle girl for more than three years, fds his plan to adopt her undone at the last mute.

THE HIDN GAY LIV FALLY BEG UNVERED

Pl Stanley, lead sger for the flamboyant rock band KISS, addrsed longstandg mors that he's gay an terview wh a New Zealand broadster. * if i were gay play *

If there are subtle ways which their sexual inti affect their character or behavr, they were too subtle for me; miss a le or two and you may not even know that gayns is a part of their makp at mak sense plays about cris that threaten to oblerate a person entirely: genr, race, orientatn and all. Francis, the closeted llege stunt “Gemi, ” probably did; if he lived through AIDS, I expect he achieved full five-star gay privilege, plete wh marriage, children and Crate & Barrel chee boards. ) What about the gay characters who, lackg whe sk, almost never appeared on mercial stag those supposed great gay play s?

Standard (EADGBE)Chords Used: D-xx0232 D/C#-x40232 Bm*-x04430---| Ds2-xx0230 D/F#-200232 G-320033---| D*-xx0032 Bm-x24432 A-x02220---|IntroDHere we D/C♯are, D/F♯ar old fDriendsBmYou andBm i, Gdnk AagaDlghs have been D/C♯had and D/F♯tears have been sDhedBmmaybe the Bmwhisky has Ggone to my AheadChos but Dif i were Agay i would Bmgive you my Gheart and Dif i were Agay you'd be Bmmy work of Gart and Dif i were Agay we would Bmswim roGmance bAut im not gay so Gget your hand Aout of my pantsIntro 2x- D, Ds2, D, D*Verse Its Dnot thatD/C♯ i dont cD/F♯are, i Ddo i Bmjt dont Bmsee myGself yoAu aDnother tiD/C♯me, aD/F♯nother scenDe i'd be Bmright beBmhd you if you Gknow what i mAeanChos cuz Dif i were Agay i would Bmgive you my Gsoul and Dif i were Agay i would Bmgive you my Gwhole beg and Dif i were Agay we would Bmtear down the GwallsABut I'm Not gay so Gwont you stop Acuppg my...

But when I heard people ravg about the show, wrten by Rsell T Davi, I was stck by how many of them admted to knowg ltle about the epimic – and the stctn wreaked among the gay muny. That’s bee, even today's much more acceptg society, the history of the gay and lbian muny is largely a fotten history.

KISS FRONTMAN PL STANLEY: ‘IF I WERE GAY, I’D BE PROUD’ – VIDEO

Choose and terme which versn of If I Were Gay chords and Guar tabs by Stephen Lynch you n play. Last updated on 10.27.2012 * if i were gay play *

For a long time, the mastream public didn't want to hear our Ca's The Secret Life of Albert Entwistle tells the story of a secretly gay postman searchg for a lost love om his youth (Cred: Headle Review)"I would venture to say that the public were disgted and outraged, " says thor Crystal Jeans. It's about a lonely, socially awkward and secretly gay postman livg a fictnal town the north of England who hs retirement, realisg he wants to turn his life around and fally be happy – but to do this, he needs to fd the love of his life, a man he hasn’t seen for nearly 50 years. My novel is ridg on a wave of tert that dat back the UK to 2017 and the 50th anniversary of the begng of crimalisatn of homosexualy.

A BRIEF HISTORY OF GAY THEATER, THREE ACTS

If You Were Gay [Verse 1] C If you were gay, A7 That'd be okay, Dm7 I mean e hey, C G I'd like you anyway, C Bee you see, A7 If were me, Dm7 F I would feel ee to say, G C That I * if i were gay play *

That same year, the so-lled "Alan Turg law" offered pardons to 49, 000 Brish gay men who’d been nvicted of homosexual acts – followg a mpaign arguably bolstered by the greater awarens brought about by The Imatn Game, the h film that picted the nvictn and chemil stratn of the Enigma-breakg puter scientist. Over on Instagram, The Aids Memorial shar photos and stori of people – predomantly gay men – who died of the disease, wrten by those who loved them. You’d not tch many queer al mers jottg down their memoirs – Crystal JeansHowever, 's fictn that’s very much drivg the phenomenon of brgg "lost" stori of gay life om the past to light.

Over the last five years, a tr of Irish wrers have livered stunng gay-themed novels set predomantly perds of history that didn't wele them – John Boyne (The Heart’s Invisible Furi), Graham Norton (Home Stretch), and Sebastian Barry (the Costa Award-wng Days Whout End). In the theatre, Matthew Lopez's exploratn of gay male history The Inherance triumphed London before transferrg to New York, where opened the year after a well-received revival of Mart Crowley's semal 1968 play Boys the Band.

IF I WERE GAY

Download and prt PDF or MIDI ee sheet mic for Avenue Q - If You Were Gay by Misc Soundtrack arranged by Lojc for Piano, Vols (Piano-Voice) * if i were gay play *

Most recently, the ter explod wh behd-the-scen photos of Harry Styl om the shoot of new film My Policeman, an adaptatn of Bethan Roberts's 2012 novel starrg the pop superstar as a closeted gay man the 1950s. However, as a way of explag the mystery surroundg why Harry left behd everythg he knew, Gale imaged a suatn which he was forced to leave as a rult of a gay affair beg exposed. Crystal Jeans's latt novel is The Inverts, which tells the story of two bt iends – one a lbian, the other a gay man – who enter to a fake marriage the 1920s.

This was another reason I wrote The Secret Life of Albert Entwistle; I wanted to tell the story of one ordary young gay man tryg to exprs his love for another at a time when this would not have been accepted.

But I also wanted to ntrast this disturbg, sometim horrifyg picture wh what life n be like for a gay man wh today’s much more acceptg society the UK – and celebrate how much progrs we’ve ma.

OH BO (STUD)BO BURNHAMTRACK 2 ON WORDS WORDS WORDS PRODUCED BYKOOL KEH & JACK VGHNBO THIS SONG TO POT OUT A LOT OF WHAT FAMO SGERS/SONGWRERS DO WRONG. HE ALSO TO SHOW THAT HIP HOP IS NO LONGER WHAT ED TO BE, BUT IS NOW JT FULL… READ MORE OCT. 19, 20101 VIEWER136.5K VIEWS87 CONTRIBUTORSOH BO (STUD) LYRICS[INTRO]I FEEL LIKE HIP HOPUSED TO BE A VOICE FOR THE VOICELS, Y'KNOW?AND NOW 'S BEE, AT LEAST THE MASTREAMA SYMBOL OF MISOGYNY, GAY PANIC, FISL IRRPONSIBILYSO I FIGUREIF YOU N'T BEAT 'EMJO 'EM[VERSE 1]HT' THE CLUB UP VIPI GOT A FAKE MTACHE AND A FAKE IDI LOOK LIKE WOOLY WILLYWH A REALLY WOOLY WILLYAND I BYPASS THE BOUNCERPASS BY AN EX AND I FLEX AND BOUNCE HER, WOWSERLOOK AT ALL OF BO'S HOLOOKG FOR A RI ON BO'S HOSEAND I SPOT A LTLE LATO, BOOTY SO BIG LL OPRAH'S EGOWE GO DO , THROUGH , SHE SAYS, "DS MIA MI AMIGO!"PULL OUT, STICK YOUR MOUTH, AND I BT THE BACK OF YASWALLOW BCH, THERE'S PEOPLE STARVG AI![CHOS]SGLE EVERY SGLE DAYDO EVERY SGLE WAYMAKE THE SGLE LADI SAY “OH, BO”AND IF I WERE GAYTHOUGH I SWEAR I'M STRAIGHTI'D MAKE THEM FELLAS SAY—YOU MIGHT ALSO LIKE[VERSE 2]YOU'RE AN ICE CREAM SUNDAE WH A CHERRY ON TOPBUT REFUL, CHERRY, E I'M THE KG OF POPPOP POP POP GO MY WEASELNOW YA LOOK LIKE JACKSON POLLOCK'S EASELMY SUGGTN IS YOU DON'T BLOW 'TIL YOU KNOW WHAT NGTN ISSWALLOW WHEN YOU KNOW WHAT DIGTN ISFOLLOW BO, THE ONLY QUTN ISHAVE YOU BEEN SPLATTERED BEFORE BY THE MAD-HATTER MATADOR?CAKE-BATTER NEVER MOREIT DON'T MATTER WHETHER YOU'RE SPANISH, FRENCH, SWEDISH OR CAMBODIANI'LL SLIME YOU SO HARD YOU ULD BE ON NICKELOON[CHOS]SGLE EVERY SGLE DAYDO EVERY SGLE WAYMAKE THE SGLE LADI SAY “OH, BO”AND IF I WERE GAYTHOUGH I SWEAR I'M STRAIGHTI'D MAKE THEM FELLAS SAY “OH, BO”[POST-CHOS]OH BO-O, OH BO, BOA-A-OH BO, OH BO, OH BO[VERSE 3]YOU THK THAT YOU N HANDLE ME?GIRL, DON'T MAKE ME LGHI SAID MY JUNK IS BIPOLARIT'LL SPL YOU HALF, YEAHAND IF YOU'RE LUCKY, I MIGHT JT BRG YOU HOMEAND I'LL HAVE YOU GOG DOWN LIKE YOU'RE GROW' AN EXTRA CHROMOSOMEAND WHEN YOU GRAB ME, DON'T GRAB ME BY MY BUNSCSE I GOT A BAD SE OF THE NSI GOT THE NSI GOT THE NS[CHOS]SGLE EVERY SGLE DAYDO EVERY SGLE WAYMAKE THE SGLE LADI SAY “OH, BO”AND IF I WERE GAYTHOUGH I SWEAR I'M STRAIGHTI'D MAKE THEM FELLAS SAY “OH, BO”[BRIDGE]I WANNA BREAK DOWN FOR Y'ALLI ME OM THE STREETS, WH NOTH'NOW I'M MAK' H RERDSFOR MY PEOPLE STILL LIV' THE STREETSSTILL LIV' POVERTY, I WANNA TELL YOUI'M DO' THIS FOR YOUMY SUCCS IS YOUR SUCCSAND I KNOW YOU MAY BE THK'“HEY, IF YOU REALLY BELIEVE THATWHY DON'T YOU E SOME OF YOUR MONEYTO HELP REBUILD THE NEIGHBORHOODINSTEAD OF PUTTG SPNG RIMS ON A GOLD JET SKI?”AND TO THAT I SAY:[INTERLU]UH, CHOS IS ' UP[CHOS]SGLE EVERY SGLE DAYDO EVERY SGLE WAYMAKE THE SGLE LADI SAY “OH, BO”AND IF I WERE GAYTHOUGH I SWEAR I'M STRAIGHTI'D MAKE THEM FELLAS SAY—UH UH![VERSE 4]YOU GOT A FUME LIKE A TUNAI'LL SMELL YA LATERI MET A FAT CHICK AND I FUCKED HER AN ELEVATORIT WAS WRONG ON SO MANY LEVELSIT WAS WRONG ON SO MANY LE-LE-LE-LEVELSIT WAS WRONG ON SO MANY LEVELS, UNIT WAS WRONG ON, WAS WRONG ON, WAS WRONG ON[OUTRO]SGLE EVERY SGLEDO EVERY SGLEPOP THAT SGLE LIKE A PRGLE JGLE “OH, BO”THIS SONG'S ALMOST PLETEDALL THIS LTLE DTY NEEDINSTMENT THAT'S DOUBLE REED: THE OBOEYEAH, OH, BO, PLAY THAT OBOE15EMBEDCANCELHOW TO FORMAT LYRICS:TYPE OUT ALL LYRICS, EVEN REPEATG SONG PARTS LIKE THE CHOSLYRICS SHOULD BE BROKEN DOWN TO DIVIDUAL LUSE SECTN HEARS ABOVE DIFFERENT SONG PARTS LIKE [VERSE], [CHOS], ETC.USE ALICS (<I>LYRIC</I>) AND BOLD (<B>LYRIC</B>) TO DISTGUISH BETWEEN DIFFERENT VOLISTS THE SAME SONG PARTIF YOU DON’T UNRSTAND A LYRIC, E [?]TO LEARN MORE, CHECK OUT OUR TRANSCRIPTN GUI OR VIS OUR TRANSCRIBERS FOMABOUTGENI ANNOTATN2 NTRIBUTORSBO THIS SONG TO POT OUT A LOT OF WHAT FAMO SGERS/SONGWRERS DO WRONG. HE ALSO TO SHOW THAT HIP HOP IS NO LONGER WHAT ED TO BE, BUT IS NOW JT FULL OF “MISOGYNY, GAY PANIC, FISL IRRPONSIBILY.”EXPAND +145SHAREASK A QUTN ABOUT THIS SONGASK A QUTN *‌WHO PRODUCED “OH BO (STUD)” BY BO BURNHAM?WHEN DID BO BURNHAM RELEASE “OH BO (STUD)”?WHO WROTE “OH BO (STUD)” BY BO BURNHAM?WORDS WORDS WORDS (2010)BO BURNHAM1. WORDS WORDS WORDS (STUD)2. OH BO (STUD)3. WHAT’S FUNNY4. ​EX-GIRLIEND / RACIAL HUMOR5. MEN & WOMEN6. ​ONE MAN SHOWS7. IRONIC8. ​BARY REALY9. WORDS WORDS WORDS10. A PRAYER / HOW DO WE FIX AI?11. HAIK / SON / SHAKPEARE12. RANT13. ​THEORETIL DICK JOK / STATISTICS14. ART IS DEAD15. ​TRADNAL STAND-UP16. OH BOCREDSPRODUCED BYKOOL KEH & JACK VGHNWRTEN BYBO BURNHAMRELEASE DATEOCTOBER 19, 2010OH BO (STUD) LIVE PERFORMANCOH BO BY BO BURNHAMTAGSPOPCOMEDYEXPAND COMMENTSADD A MENTSIGN UP AND DROP KNOWLEDGE ?GENI IS THE ULTIMATE SOURCE OF MIC KNOWLEDGE, CREATED BY SCHOLARS LIKE YOU WHO SHARE FACTS AND SIGHT ABOUT THE SONGS AND ARTISTS THEY LOVE.SIGN UPGENI IS THE WORLD’S BIGGT LLECTN OF SONG LYRICS AND MIL KNOWLEDGE

Oh Bo (Stud) Lyrics: I feel like hip hop / Used to be a voice for the voicels, y'know? / And now 's bee, at least the mastream / A symbol of misogyny, gay panic, fisl irrponsibily * if i were gay play *

My spiratn was a seri of terviews I nducted wh olr gay men whilst I was Edor--Chief of Attu magaze, as part of our celebratn of the 50th anniversary of the start of crimalisatn. Pop star Harry Styl is starrg new film My Policeman as a closeted gay officer the 1950s (Cred: Getty Imag)"What we see all through history is that people are nied their past as part of a way to ntrol them, " says Hornby. Pl Stanley, lead sger for the flamboyant hard rock band KISS, addrsed longstandg mors that he's gay an terview wh a New Zealand broadster recently:.

Acrdg to The Montreal Gazette, mors that Stanley is gay — or at least bisexual — have been fueled part by KISS dmmer Peter Criss' 2012 memoir, which he wrote that lead guarist Ace Frehley gave Stanley oral sex durg a threome wh a female groupie. Regardls of Stanley's sexual orientatn, KISS was largely the brachild of the late Bill Au, the gay manager who disvered the band.

In wrg , Crowley had liberately taken up the challenge tossed down by the theater cric Stanley Kffmann, who a 1966 New York Tim say headled “Homosexual Drama and Its Disguis” asked why that era’s most famo gay playwrights — meang Edward Albee, Tennsee Williams and William Inge — didn’t wre about themselv and leave straights alone.

IF YOU WERE GAY LYRICS

Nor do homosexuals suffer om an “emotnal-psychologil illns, ” as he sually mentns — for this was an era which such public slurs were chic and permissible, pecially the guise of lerary cricism.

*BEAR-MAGAZINE.COM* IF I WERE GAY PLAY

bars</tle><g id="el_oZ84Hna1GC_65hRV2Qwn" class="css-1fxvzwo" data-animator-group="te" data-animator-type="0"><g id="el_oZ84Hna1GC_ILVvi2tqx" class="css-1wnday1" ata-animator-group="te" data-animator-type="2"><g id="el_oZ84Hna1GC"><rect x="34" width="6" height="36" id="el_qw_T_tngXw"></rect></g></g></g><g id="el_mYVjkduhMU_p_9Pm85Ac" class="css-fwki7z" data-animator-group="te" data-animator-type="0"><g id="el_mYVjkduhMU_WxG3R40yd" class="css-t3i5e6" data-animator-group="te" data-animator-type="2"><g id="el_mYVjkduhMU"><rect x="22.67" width="6" height="36" id="el_lf9GrROk6j"></rect></g></g></g><g id="el_o-EuxhgoAw_kYNRGDfcw" class="css-t9te0w" data-animator-group="te" data-animator-type="0"><g id="el_o-EuxhgoAw_3c3bzSjOJ" class="css-1r5375t" ata-animator-group="te" data-animator-type="2"><g id="el_o-EuxhgoAw"><rect x="11.33" width="6" height="36" id="el_-iueO8klO0"></rect></g></g></g><g id="el_F7mSMPhqpC_y_fKcpSxn" class="css-qknaag" data-animator-group="te" data-animator-type="0"><g id="el_F7mSMPhqpC_R6bNB6_Ys" class="css-1vd04" ata-animator-group="te" data-animator-type="2"><g id="el_F7mSMPhqpC"><rect width="6" height="36" id="el_dS5TKNZZ5w"></rect></g></g></g></svg></div><div><div class="css-1t7yl1y">0:00<!-- -->/<!-- -->1:23</div><div class="css-og85jy">-<!-- -->0:00</div></div></div></div></hear><div class="css-uzyn7p"><div class="css-1vxyw"><p class="css-1nng8z9">transcript</p><h2 class="css-9wqu2x">Read T a Poem | Michael Benjam Washgton</h2><h4 class="css-qsd3hm">The actor reads "The Unsung" by Keenan Teddy Smh.</h4></div><dl class="css-p98d0w"><dt class="css-xx7kwh"></dt><dd class="css-4gvq6l"><p class="css-8hvvyd">For the Old Port built and built aga: I am sure you are different to me. We are k, though; we are both refuge and warmth, petn and hope, nnected by seas. your boats here are plentiful, but your huddled mass are greater; I feel no one sgs the songs of our kd anymore, no one not our role safe passage. Five me if I’ve been too vted, too ialistic about our sisterhood. Perhaps ’s our shared brownns, our shared tis, our shared rilience agast time and the ficklens of men that ma so nnected as if I uld leap om notre dame and scend to wh love, our songs and sorrows guidg me over rooftops and fé smoke plum. Unsung sats, lyg open for the world, if the lost and found won’t buttrs wh honor, we shall always hold each other.</p></dd></dl></div></div></div></div><script type="applitn/ld+json">{"@ntext":","@type":"VioObject","@id":","scriptn":"The actor reads \"The Unsung\" by Keenan Teddy Smh.","url":","name":"Read T a Poem | Michael Benjam Washgton","thumbnailUrl":[",","],"embedUrl":","ntentUrl":","uploadDate":"2018-02-26T05:05:13.000Z","transcript":"For the Old Port built and built aga: I am sure you are different to me. We are k, though; we are both refuge and warmth, petn and hope, nnected by seas. your boats here are plentiful, but your huddled mass are greater; I feel no one sgs the songs of our kd anymore, no one not our role safe passage. Five me if I’ve been too vted, too ialistic about our sisterhood. Perhaps ’s our shared brownns, our shared tis, our shared rilience agast time and the ficklens of men that ma so nnected as if I uld leap om notre dame and scend to wh love, our songs and sorrows guidg me over rooftops and fé smoke plum. Unsung sats, lyg open for the world, if the lost and found won’t buttrs wh honor, we shall always hold each other.","duratn":"PT1M23.709S"}</script></div><div class="css-1cueeje" style="paddg-bottom:56.25%;transn:opacy 300ms ease--out"><div class="css-1ihorw"><img src=" alt="Vio player loadg"/></div><div class="css-ew1078"><div class="css-ptry2i"><div></div><div></div></div></div></div></div></div></div><figptn class="css-1ifea e1maroi60"><span class="css-1p4ky1 e13ogyst0">The actor reads "The Unsung" by Keenan Teddy Smh.</span><span class="css-cch8ym"><span class="css-1dv1kvn">Cred</span><span class="css-f4bmw8 e1z0qqy90"><span class="css-1ly73wi e1tej78p0">Cred...</span><span>Brendan Stumpf</span></span></span></figptn></figure></div><div class="css-s99gbd StoryBodyCompannColumn"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">There’s an irony this, as the same quali that ma those classics classic also ma them, their origal ns, almost impossible to stage. No one wanted to touch “The Boys the Band” at first: no producers, no theater owners, no actors. When Luckbill, then 33, agreed to play Hank — the “straightt” of the gay men, who’d left his wife and children — his agent said he might as well bid goodbye to his reer. She was, md you, the play’s agent too, a lbian herself. But so heavy and lgerg was the perfume of gayns g off the project that even a heterosexual actor like Luckbill was thought to be mtg theatril suici to book . Mostly out of iendship for Crowley, a llege chum, he did.</p><p class="css-at9mc1 evys1bk0">Luckbill went on to have a very full reer onstage and on screen — and so, to everyone’s surprise, did “The Boys the Band.” As the sixth-row prence of Jackie and Groucho suggts, crossed over to mastream awarens and even found succs, nng for 1,001 performanc. William Friedk’s fahful <a class="css-yywogo" href=" tle="">movie versn</a>, released 1970 and starrg the entire stage st, turned to a touchstone of gay style and sufferg for gays and straights well beyond New York. As such, is whout doubt the first play the Amerin gay male theatril non.</p><p class="css-at9mc1 evys1bk0">I wre that admirg many of s spirual forebears, om Tennsee Williams’s “The Glass Menagerie” 1945 to Robert Anrson’s “Tea and Sympathy” 1953 to the early works of Doric Wilson, Lanford Wilson, Robert Patrick and many others who helped spark an efflorcence of downtown gay drama centered at Caffe Co, wh s makhift k-crate stage, startg 1958.</p><p class="css-at9mc1 evys1bk0">But while buildg on those — and, Crowley says, on Arthur Lrents’s screenplay for Aled Hchck’s 1948 film, “Rope,” which two gay men murr a classmate for sport — “The Boys the Band” has had the more nsequential gay trajectory. If you doubt , look at the nam volved the 50th-anniversary revival: Jim Parsons plays the party’s host, Michael; Matt Bomer is Donald, Michael’s ambivalent ex; Zachary Quto is Harold, the “ugly pockmarked Jew fairy” birthday boy; and Andrew Rannells is Larry, one half of the play’s only tablished (if iffy) uple. They and the rt of the starry st are succsful, openly gay men, as are the producers, Ryan Murphy and David Stone, and the director, Joe Mantello.</p></div><asi class="css-ew4tgv" aria-label="pann lumn"></asi></div><div></div><div class="css-s99gbd StoryBodyCompannColumn"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">This was a liberate statement, meant to acknowledge how far the world has e sce 1968. “The guys that are the leads,” Murphy says, “are the first generatn of <a class="css-yywogo" href=" tle="">gay actors</a> who said, ‘We’re gog to live thentic liv and hope and pray our reers rema on track’ — and they have. I fd that profound.”</p><div class="css-79elbk" data-ttid="photoviewer-wrapper"><div class="css-z3e15g" data-ttid="photoviewer-wrapper-hidn"></div><div data-ttid="photoviewer-children" class="css-1a48zt4 e11si9ry5"><figure class="img-sz-small css-nss59b e1g7ppur0" aria-label="media" role="group"><div class="css-zgakxe erfvjey0"><span class="css-1ly73wi e1tej78p0">Image</span><div class="css-nwd8t8" data-ttid="lazy-image"><div data-ttid="lazyimage-ntaer" style="height:247.46666666666667px"></div></div></div><figptn class="css-1ybnr6m ewdxa0s0"><span aria-hidn="te" class="css-1p4ky1 e13ogyst0">A still om the set of William Friedk’s 1970 film versn of “The Boys the Band,” which starred the entire theatril st.</span><span class="css-f4bmw8 e1z0qqy90"><span class="css-1ly73wi e1tej78p0">Cred...</span><span><span aria-hidn="false">Mptv Imag</span></span></span></figptn></figure></div></div><p class="css-at9mc1 evys1bk0">Crowley uld never have predicted that. In 1968 he sent his play to a world that, however much might lgh at his gay zgers, seemed likely to rema forever and fundamentally hostile. Mantello pots out the startlg paradox that all the gay members of the origal pany felt pelled to stay the closet “even though they were a groundbreakg play about gay men.”</p><p class="css-at9mc1 evys1bk0">But the way the world se gay people and the way gay people see themselv have changed so much, and of late so fast, that plays om even jt a few years ago n seem like Ken Burns documentari. In one sense, then, the classic gay plays are tnal: remdg a placent generatn of the stggl and tragedi (and fabulons) that unrlie the glossy image of rapid progrs. The normalizatn of gayns that has most ways been a boon has also shnk the historil eye to, well, another peephole. Further progrs, much need, requir a fuller view. And who’s to say the momento chang of the last 50 years n’t be swiftly undone?</p><p class="css-at9mc1 evys1bk0">“The Boys the Band” helped ce those chang, allowg for s reappearance now as a triumph of liberatn stead of an embarrassment to the liberators. The mistake the play’s many gay crics have ma is thkg that transformative art should be a form of boosterism. Rather, transformative art is needlg, Cassandra-like, tellg unfortable tths you ignore at your peril. “The Boys the Band,” once seen, uldn’t be unseen. “The people who cricize the play have the luxury to do so <em class="css-2fg4z9 e1gzwzxm0">bee</em> of the play,” Mantello says.</p></div><asi class="css-ew4tgv" aria-label="pann lumn"></asi></div><div></div><div class="css-s99gbd StoryBodyCompannColumn"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">Ined, part of the reason “The Boys the Band” so clearly marks the start of the non is the way was swallowed up almost stantly by what helped to spawn. In the aftermath of the Stonewall rts of 1969, while the play still ran, s portrayal of gay male life me to be seen as unterrevolutnary, which was exactly backward, if unrstandable light of the rebrandg unrway. The characters’ promiscuo, boa-flgg, “Oh, Mary”-spoutg, drown-your-troubl--a-vodka-bottle histrnics were distctly off-msage durg the years when gay men were tryg to cultivate lawmakers and police wh their new imag as activists or pillars of the muny, not of Sodom. Even Albee, who Crowley spects vted secretly the origal productn, once tarred the play as “a highly skillful work that I spised” bee “did ser damage to a burgeong gay rpectabily movement.”</p><p class="css-at9mc1 evys1bk0">Were there not nelli at Stonewall? In any se, when rpectabily me, me at an awful price. AIDS, which drove the last nail the play’s reputatnal ff, also killed off most of s st. Between 1984 and 1993, five of the gay men the origal productn, as well as the director, Robert Moore, and the producer, Richard Barr, died of the disease.</p></div><asi class="css-ew4tgv" aria-label="pann lumn"></asi></div><div><div class="css-79elbk" data-ttid="photoviewer-wrapper"><div class="css-z3e15g" data-ttid="photoviewer-wrapper-hidn"></div><div data-ttid="photoviewer-children" class="css-1a48zt4 e11si9ry5"><figure class="img-sz-full css-1kwayi3 e1g7ppur0" aria-label="media" role="group"><div class="css-1xdhyk6 erfvjey0"><span class="css-1ly73wi e1tej78p0">Image</span><div class="css-nwd8t8" data-ttid="lazy-image"><div data-ttid="lazyimage-ntaer" style="height:257.77777777777777px"></div></div></div><figptn class="css-o5l7z4 ewdxa0s0"><span aria-hidn="te" class="css-1p4ky1 e13ogyst0">From left: Rannells. Watks. Actor ZACHARY QUINTO a Salvatore Ferragamo at, price on requt. Actor MATT BOMER a Sat Lrent by Anthony Vacrello jacket, $4,890, <a href="></a>, Ermenegildo Zegna polo, $565, (212) 421-4488, and Mr P. pants, $250, <a href="></a>. Actor CHARLIE CARVER a vtage Lee jacket, Office Générale T-shirt, $117, and Simon Miller jeans, $375, <a href="></a>.</span><span class="css-f4bmw8 e1z0qqy90"><span class="css-1ly73wi e1tej78p0">Cred...</span><span><span aria-hidn="false">Photograph by Inez and Voodh. Styled by Jay Massacret</span></span></span></figptn></figure></div></div></div><div class="css-s99gbd StoryBodyCompannColumn"><div class="css-53u6y8"><h3 class="css-emk09r e1gnsphs0" id="lk-4af067d1"><span>Act II. The Canon</span></h3><p class="css-at9mc1 evys1bk0">AND YET AIDS, wh s gdy ironi, would create the ndns that turned a “rpectabily movement” to a civil rights revolutn. It would also create the ndns that produced — even necsated — most of the disputably nonil gay plays that succeed “The Boys the Band.” Bee both the disease and the revolutn were centered New York, the untry’s theatril pal, mak sense that those plays are all set the cy. And bee I’m wrg about plays that have shaped gay male life, ’s not surprisg that all the playwrights I name are gay men.</p><p class="css-at9mc1 evys1bk0">It hardly needs argug that one of them is Tony Khner, whose play “Angels Ameri: A Gay Fantasia on Natnal Them,” <a class="css-yywogo" href=" tle="">opened on Broadway</a> 1993. A revival, starrg Nathan Lane and Andrew Garfield, opens on March 25 — but unlike “The Boys the Band,” “Angels” never really went away, never suffered a Siberian holiday of polil retn. Perhaps that’s bee Khner, puttg so much to , ensured would always have somethg to put out. If you don’t like the story of fahls Louis leavg his lover, Prr, who velops AIDS, there’s the one about the closeted lawyer (and Tmp fixer) Roy Cohn, nyg the disease outright. Or perhaps you prefer somethg more aerontil? There’s one of those tle angels for that, bearg a cryptic missn for mankd. Pl a heroic drag queen, a dg-addled wife, rabbis, Mormons and Ethel Rosenberg.</p></div><asi class="css-ew4tgv" aria-label="pann lumn"></asi></div><div></div><div class="css-s99gbd StoryBodyCompannColumn"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">It’s what I ll a goulash work, though Khner prefers the term lasagna: a dish that almost melts the borrs of form s qut for sublimy. It is also, s more timate scen, so funny and argumentative, so vatic, so sharp and so unncerned wh gay rpectabily that you n see a straight le leadg back to “The Boys the Band.” Both plays, after all, are about closet s and fily and gay men takg re of one another — or not.</p><p class="css-at9mc1 evys1bk0">I retract the “straight le,” though; more aptly, ’s a bent one, passg through other nonil plays, each ntributg an element of style or stagecraft along the way. In the 25 years between “The Boys the Band” and “Angels Ameri” there are two, or possibly three, by my acuntg. The two are Harvey Fierste’s “Torch Song Trilogy,” a llectn of three related one-act plays first seen on Broadway 1982, and Larry Kramer’s “<a class="css-yywogo" href=" tle="">The Normal Heart</a>,” om 1985. The third is Pl Rudnick’s “<a class="css-yywogo" href=" tle="">Jefey</a>,” which — a 1992 replay of Crowley’s 1968 experience — uld not at first fd a producer, a theater or a st.</p></div><asi class="css-ew4tgv" aria-label="pann lumn"></asi></div><div><figure class="sizeMedium css-sx232s" aria-label="media" role="group" data-ttid="VioBlock"><div class="css-1xb94ky"><span class="css-1dv1kvn">Vio</span><div><div class="css-n27z15" style="paddg-bottom:56.25%"><div class="css-mm3pwi"><div class="css-1g7y0i5 e1drnplw0"><button tabx="100" class="css-1rtlxy" type="button" aria-label="close"><svg width="60" height="60" viewBox="0 0 60 60" fill="none"><circle cx="30" cy="30" r="30" fill="whe" fill-opacy="0.9"></circle><path fill-le="evenodd" clip-le="evenodd" d="M38.4844 20.1006L39.8986 21.5148L21.5138 39.8996L20.0996 38.4854L38.4844 20.1006Z" fill="black"></path><path fill-le="evenodd" clip-le="evenodd" d="M21.5156 20.1006L20.1014 21.5148L38.4862 39.8996L39.9004 38.4854L21.5156 20.1006Z" fill="black"></path></svg></button><div class="css-rdbib0 e1drnplw1"></div><div class="css-18ow4sz e1drnplw2"><div aria-labelledby="modal-tle" role="regn"><hear class="css-1bzlfz"><div class="css-mln36k" id="modal-tle">transcript</div><button type="button" class="css-1igvuto"><div class="css-f40pzg"></div><span>Back</span></button><div class="css-f6lhej" data-ttid="transcript-playback-ntrols"><div class="css-1ialerq"><button tabx="99" type="button" class="css-1t9gw" aria-label="play"><svg xmlns=" width="20" height="20" viewBox="0 0 20 20" fill="none"><path fill-le="evenodd" clip-le="evenodd" d="M8 13.7683V6L14.5 9.88415L8 13.7683Z" fill="var(--lor-ntent-sendary,#363636)"></path><circle cx="10" cy="10" r="9.25" stroke="var(--lor-stroke-primary,#121212)" stroke-width="1.5"></circle></svg></button><div class="css-1701swk"><svg xmlns=" viewBox="0 0 40 36" id="el_0kpS9qL_S"><tle>bars</tle><g id="el_oZ84Hna1GC_65hRV2Qwn" class="css-1fxvzwo" data-animator-group="te" data-animator-type="0"><g id="el_oZ84Hna1GC_ILVvi2tqx" class="css-1wnday1" ata-animator-group="te" data-animator-type="2"><g id="el_oZ84Hna1GC"><rect x="34" width="6" height="36" id="el_qw_T_tngXw"></rect></g></g></g><g id="el_mYVjkduhMU_p_9Pm85Ac" class="css-fwki7z" data-animator-group="te" data-animator-type="0"><g id="el_mYVjkduhMU_WxG3R40yd" class="css-t3i5e6" data-animator-group="te" data-animator-type="2"><g id="el_mYVjkduhMU"><rect x="22.67" width="6" height="36" id="el_lf9GrROk6j"></rect></g></g></g><g id="el_o-EuxhgoAw_kYNRGDfcw" class="css-t9te0w" data-animator-group="te" data-animator-type="0"><g id="el_o-EuxhgoAw_3c3bzSjOJ" class="css-1r5375t" ata-animator-group="te" data-animator-type="2"><g id="el_o-EuxhgoAw"><rect x="11.33" width="6" height="36" id="el_-iueO8klO0"></rect></g></g></g><g id="el_F7mSMPhqpC_y_fKcpSxn" class="css-qknaag" data-animator-group="te" data-animator-type="0"><g id="el_F7mSMPhqpC_R6bNB6_Ys" class="css-1vd04" ata-animator-group="te" data-animator-type="2"><g id="el_F7mSMPhqpC"><rect width="6" height="36" id="el_dS5TKNZZ5w"></rect></g></g></g></svg></div><div><div class="css-1t7yl1y">0:00<!-- -->/<!-- -->0:56</div><div class="css-og85jy">-<!-- -->0:00</div></div></div></div></hear><div class="css-uzyn7p"><div class="css-1vxyw"><p class="css-1nng8z9">transcript</p><h2 class="css-9wqu2x">Read T a Poem | Joe Mantello</h2><h4 class="css-qsd3hm">The director reads "Morng Scene" by Jamon Fzpatrick.</h4></div><dl class="css-p98d0w"><dt class="css-xx7kwh"></dt><dd class="css-4gvq6l"><p class="css-8hvvyd">Oppose him at this table aga and through the wdows the cy glterg, surreal as a sle mol, the cy miature – only mov a real way, bee is real. One of the wdows is open, some nstctn down on the street dron like a distant vacuum. It’s warm for January. Still his apartment has that dreamlike qualy of feelg like home though I know ’s not. Not me anymore – but how many people get to vis the past whout hurtg anythg? To e back and drk the same ffee om the same never-que-clean cup.</p></dd></dl></div></div></div></div><script type="applitn/ld+json">{"@ntext":","@type":"VioObject","@id":","scriptn":"The director reads \"Morng Scene\" by Jamon Fzpatrick.","url":","name":"Read T a Poem | Joe Mantello","thumbnailUrl":[",","],"embedUrl":","ntentUrl":","uploadDate":"2018-02-26T05:05:19.000Z","transcript":"Oppose him at this table aga and through the wdows the cy glterg, surreal as a sle mol, the cy miature – only mov a real way, bee is real. One of the wdows is open, some nstctn down on the street dron like a distant vacuum. It’s warm for January. Still his apartment has that dreamlike qualy of feelg like home though I know ’s not. Not me anymore – but how many people get to vis the past whout hurtg anythg? To e back and drk the same ffee om the same never-que-clean cup.","duratn":"PT56.682S"}</script></div><div class="css-1cueeje" style="paddg-bottom:56.25%;transn:opacy 300ms ease--out"><div class="css-1ihorw"><img src=" alt="Vio player loadg"/></div><div class="css-ew1078"><div class="css-ptry2i"><div></div><div></div></div></div></div></div></div></div><figptn class="css-1ifea e1maroi60"><span class="css-1p4ky1 e13ogyst0">The director reads "Morng Scene" by Jamon Fzpatrick.</span><span class="css-cch8ym"><span class="css-1dv1kvn">Cred</span><span class="css-f4bmw8 e1z0qqy90"><span class="css-1ly73wi e1tej78p0">Cred...</span><span>Brendan Stumpf</span></span></span></figptn></figure></div><div class="css-s99gbd StoryBodyCompannColumn"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">What mak “Jefey” jt a possible third? It’s a edy, and edi, short of Shakpeare’s or Wil’s, are unstable. Over time, they seem to pose more easily than dramas, revealg off flavors. Te, “Jefey” is not an ordary edy; ’s a edy about AIDS, and a romantic edy at that — a genre that shouldn’t have been possible, and wasn’t until Rudnick cid was need. “Comedy is often the only feasible antidote to a pletely jtifiable, but not very entertag hopelsns,” he once wrote. “Sometim, a wisecrack is a weapon.”</p><p class="css-at9mc1 evys1bk0">So “Jefey,” which ran for two years Off Broadway and was ma to a movie 1995, is crafted like a drama, squeezg patible thgs together a small space and forcg them to lli. But bee Rudnick’s characters — an terr rator, a bartenr, a chos boy “Cats” — are profsnally amg, so is the rult. Jefey himself is a gay ter-waer his 30s who, rather than worry about what is safe, cis to rema celibate forever. Everyone around him is horrified at this “one real blasphemy — the refal of joy,” even as one of his iends is dyg. “How dare you give up sex,” says a prit, “when there are children Europe who n’t get a date!”</p></div><asi class="css-ew4tgv" aria-label="pann lumn"></asi></div><div></div><div class="css-s99gbd StoryBodyCompannColumn"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">“Jefey” is full of merriment but you always unrstand that the domtic problems faced by upl straight romantic edi have here been raised to an existential plane. “If you want edi to be really funny you have to have the biggt possible obstacl,” Rudnick says. “And that’s what AIDS hand me and everyone else.”</p><p class="css-at9mc1 evys1bk0">In a way, then, “Jefey” is the verse of Kramer’s “The Normal Heart” and a ccial unterweight to . When “The Normal Heart” opened at the Public Theater jt four years after the first reports of what would soon be lled AIDS, felt ls like a play than like war reportg. Kramer was nothg if not embedd; this was his own story, lightly fictnalized the character of Ned Weeks and happeng real time. Emphasizg that, the set sign by Eugene Lee and Keh Raywood featured on the theater’s walls a nng list of the nam of the ad, along wh the mountg ath toll, subtotaled by state.</p><div class="css-79elbk" data-ttid="photoviewer-wrapper"><div class="css-z3e15g" data-ttid="photoviewer-wrapper-hidn"></div><div data-ttid="photoviewer-children" class="css-1a48zt4 e11si9ry5"><figure class="img-sz-small css-nss59b e1g7ppur0" aria-label="media" role="group"><div class="css-zgakxe erfvjey0"><span class="css-1ly73wi e1tej78p0">Image</span><div class="css-nwd8t8" data-ttid="lazy-image"><div data-ttid="lazyimage-ntaer" style="height:311.9111111111111px"></div></div></div><figptn class="css-1ybnr6m ewdxa0s0"><span aria-hidn="te" class="css-1p4ky1 e13ogyst0">Actors on stage at Theater Four New York cir 1969.</span><span class="css-f4bmw8 e1z0qqy90"><span class="css-1ly73wi e1tej78p0">Cred...</span><span><span aria-hidn="false">Photo by Martha Swope / the New York Public Library</span></span></span></figptn></figure></div></div><p class="css-at9mc1 evys1bk0">The actn largely tracks Kramer’s fur battle to get the ernment, the medil tablishment and gay men themselv to pay attentn to the disaster that was jt begng to engulf them. But Kramer was also battlg the gay theatril tradn, which he saw, even before AIDS, as petty, artificial and sufficiently polil. (He cricized “The Boys the Band” for s “ternalized homophobia.”) “The Normal Heart” is a fierce rrective to those perceived flts, but ’s not merely the rant some people remember. The story of Ned’s public efforts is mirrored his private effort to save his lover, Felix, a closeted New York Tim wrer dyg of AIDS. The play ends wh their “marriage” at Felix’s athbed — a marriage quot bee wouldn’t have been legal New York for another quarter century.</p><p class="css-at9mc1 evys1bk0">“The Normal Heart” is nonil not jt for s anger and prcience, though the should be enough to nonize Kramer. The play saved liv, srg s dienc to realy a way that the vague public-health rmatn of the time utterly failed to do. It also reamed the way we would forever look at gay men and gay theater. That did not mean abjurg love as a subject, but rather ennoblg while unrstandg s limatns. Hence the tle, taken om a passage Aun’s poem “September 1, 1939” about the “error bred the bone / Of each woman and each man.” That error is much adlier than mere disease. It is the impossible cravg of the “normal heart”: “Not universal love / But to be loved alone.”</p></div><asi class="css-ew4tgv" aria-label="pann lumn"></asi></div><div></div><div class="css-s99gbd StoryBodyCompannColumn"><div class="css-53u6y8"><p class="css-at9mc1 evys1bk0">Aun, a poet, shows the driv as divergent; Kramer, a dramatist, looks at how they nverge. For him as for most playwrights, the njot them of society and self — twed an embrace that is timate yet suffotg — are the basis of all great theater. Whout the “self” part, a play is rarely engagg. Whout the “society” part, is (no matter how engagg) nsequential.</p><p class="css-at9mc1 evys1bk0">That’s why my non starts when do. For gay playwrights wrg before 1960, the lk between self and society was severed by homophobia: The self uld not engage openly wh society, or not, at least, <em class="css-2fg4z9 e1gzwzxm0"> ont of</em> society. Which don’t mean there were no great plays wh gay characters by gay playwrights: Look aga at “The Glass Menagerie.” Tom — as the performanc by Quto and Mantello the two most recent Broadway revivals make pla — n only be unrstood as a furtive homosexual. But Tom’s crypto-proto-gayns don’t make “The Glass Menagerie” a gay play; ’s merely a great one.</p><p class="css-at9mc1 evys1bk0">Turns out those celebri slummg at “The Boys the Band” mattered. Jt as whe bons vivants had been cultivatg (some might say appropriatg) black Harlem for generatns, the straights and A-listers headg to Theater Four their limos helped rry the news, like a vis, back wh them. I don’t mean to be snarky; this was not always a cultural safari, a hunt for the most exotic new trophi. Some me to learn, to be changed. And yet one of the thgs “The Boys the Band” (and the other plays I’m wrg about) did was to show nongay dienc jt how gay their liv already were. Their sufferg, their hubris, their sens of humor were more faiar than not. Who, after all, had been dog their hair?</p></div><asi class="css-ew4tgv" aria-label="pann lumn"></asi></div><div><figure class="sizeMedium css-sx232s" aria-label="media" role="group" data-ttid="VioBlock"><div class="css-1xb94ky"><span class="css-1dv1kvn">Vio</span><div><div class="css-n27z15" style="paddg-bottom:56.25%"><div class="css-mm3pwi"><div class="css-1g7y0i5 e1drnplw0"><button tabx="100" class="css-1rtlxy" type="button" aria-label="close"><svg width="60" height="60" viewBox="0 0 60 60" fill="none"><circle cx="30" cy="30" r="30" fill="whe" fill-opacy="0.9"></circle><path fill-le="evenodd" clip-le="evenodd" d="M38.4844 20.1006L39.8986 21.5148L21.5138 39.8996L20.0996 38.4854L38.4844 20.1006Z" fill="black"></path><path fill-le="evenodd" clip-le="evenodd" d="M21.5156 20.1006L20.1014 21.5148L38.4862 39.8996L39.9004 38.4854L21.5156 20.1006Z" fill="black"></path></svg></button><div class="css-rdbib0 e1drnplw1"></div><div class="css-18ow4sz e1drnplw2"><div aria-labelledby="modal-tle" role="regn"><hear class="css-1bzlfz"><div class="css-mln36k" id="modal-tle">transcript</div><button type="button" class="css-1igvuto"><div class="css-f40pzg"></div><span>Back</span></button><div class="css-f6lhej" data-ttid="transcript-playback-ntrols"><div class="css-1ialerq"><button tabx="99" type="button" class="css-1t9gw" aria-label="play"><svg xmlns=" width="20" height="20" viewBox="0 0 20 20" fill="none"><path fill-le="evenodd" clip-le="evenodd" d="M8 13.7683V6L14.5 9.88415L8 13.7683Z" fill="var(--lor-ntent-sendary,#363636)"></path><circle cx="10" cy="10" r="9.25" stroke="var(--lor-stroke-primary,#121212)" stroke-width="1.5"></circle></svg></button><div class="css-1701swk"><svg xmlns=" viewBox="0 0 40 36" id="el_0kpS9qL_S"><tle>bars .

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