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Renaissance, a love letter to Black queer innovators, comes at a precarious moment in history.
Photo: Mason Poole Nile Rodgers got a million-dollar inkling in 1979 when he stepped into the bathroom at the Gilded Grape, the legendary [mob-owned drag bar]( on Eighth Avenue in Manhattan beloved by a colorful cast of regulars that included Andy Warhol. The bathroom, Rodgers would later recall in his 2011 autobiography Le Freak: An Upside Down Story of Family, Disco, and Destiny, was packed with Diana Ross impersonators. âSuddenly it dawned on me that Diana was an iconic figure in the gay community,â wrote Rodgers, who had just agreed to write and produce Rossâs next album. He met with his Chic bandmate Bernard Edwards and hatched a plan âto have Diana talk to her gay fans in a slightly coded language.â Nearly a decade into her solo career, the ex-Supreme was searching for a team to tailor songs to her lived experiences after years of vocalizing her songwritersâ stories. Calling Rodgers and Edwards yielded [âUpside Down,â]( her first No. 1 hit in four years, and [âIâm Coming Out,â]( the jam where Ross signals artistic rebirth while blessing the Gilded Grape girls with a message of pride and power that girded the community through death and disenfranchisement, as the AIDS crisis claimed gay men, the U.S. government dragged its feet, and far too many Americans wondered whether this was divine retribution for going against Biblical wisdom. [Read The Story »]( Devour pop culture with us. [Subscribe now](for unlimited access to Vulture and everything New York. The Latest TV Recaps ⢠Evil: [Pregnancy Problems](
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