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Many people split sex into two rigid categories: male, with XY chromosomes, testicles, and higher levels of testosterone, or female, with XX chromosomes, a uterus, breasts, and higher levels of estrogen. In reality, men, women, and non-binary people all have varying ranges of these physical traits. Therefore, it’s impossible to exactly define biologically a woman or a man. Yet these definitions exist. Those who identify as intersex do not fit within the two “binary” sexes of man and woman due to differences in biological characteristics associated with them such as hormones, genitals, chromosomes patterns, and more. In other words, an intersex person might have XXX chromosomes rather than the typical XY or XX. According to the Intersex Human Rights Australia organization, there are at least 40 different ways one can be intersex. This trait isn’t uncommon, either — around 1.7% of humans born are intersex. This is comparable to the percentage of red-heads in the human population, so if you’ve ever seen or met a person with red hair, you’ve probably encountered an intersex person as well! Gender, sex, and sexuality are all different, so intersex people can identify in numerous ways; one may identify as intersex in terms of both gender and sex or identify as any gender — with any sexuality.

Andy Warhol painted Liz Taylor, Marilyn Monroe, and Truman Capote with a fan-boy, almost stalker-like, affection (Capote had to tell Warhol to refrain from calling him daily as he once did). As his own super stardom rose, the affection from artist to muse became mutal and the glitteratti of the era sought out the artist to be forever immortalized in Warholian style. True to his “Good Art is Good Business” mantra, Warhol would later take commissions from wealthy, less iconic, clientele who needed to have own original Andy. With this Warhol himself had become an icon in the church he once worshipped — the church of Fame. This gallery, part of the current Warhol survey at The Whitney, serves as a cross section of the art/entertainment/social stratosphere that Warhol catered to as THE portrait artist of his time. Standouts in this gallery include Joseph Beuys, Dolly Parton, Henry Geldzahler, and Versace, all for different reasons. If Warhol was around today who would he be painting? Moguls of the internet? Bad boy heads of state? Hollywood royalty? Tell me in the comments below who you think would make the cut... Ciao for now. I recently was reunited with some old friends — my cassette singles from the late 80’s and early 90’s. See, back in the day we bought singles, individual songs on cassettes that you would buy at Sam Goody, or Tower Records, or HMV, or fill in record store of your choice. If you were around then, I am preaching to the choir. But I know there are a handful of you to whom the concept of going out and buying music, let alone a single song on audio cassette is as foreign as an emoji-less text. Alas entertainment was not always at your fingertips! When I opened the treasure chest o’ music that my friend had fostered through the years, out came a veritable time capsule dating back to the late 80’s to the early 90’s. A flood of memories hit me as I fingered these archaic objects and I was immediately transported to that time in my life. I also became aware of the person I was at that time and the vestiges of my identity that have either faded away or are still clinging on. Look at the selection of music below and you’ll see my interest in R&B, House Music, Freestyle, Hip-Hop - ‘twas the 90’s and that was the lewk and I was cool. Next stop amazon.com to get a boombox to play these things on. Do they still make those?! Do you have music from your past? If so what formats? Do you treasure these objects? Let me know in the comments section below. I went to The Guggenheim and came across Implicit Tensions: Mapplethorpe Now, a stunning, comprehensive show of the photographer’s work. In addtion to the powerful hallmarks of his body of work, including his portraits, S&M series, and floral studies, there were pieces that I hadn’t encountered previously. Three such pieces are Black Bag, Red Bag, and Green Bag. All created in 1971, the three pieces exemplify Mapplethorpe’s interest in the male form and sexuality that would play a monumental role in his artistic production. I thought the use of the grid (a spray painted part of a potato sack) was intresting from a both a formal and conceptual point of view. Also I found his use of banal objects resourceful and inspiring. The artworks possessed a youthful, obsessive quality about them. It was great to discover these pieces that served provide a sketch the artist as a young man. When I was a kid I would peruse my papa’s Playboy magazines and think to myself, MAYBE NEXT YEAR…. You see, I got no boners, no tinglies, NO NOTHIN'. I thought that I just hadn’t reached that stage of puberty yet. The stage when I’d finally realize what the big deal was about seeing nude women on the printed page. Only later, when issues of the catalogue International Male arrived in our mailbox (many thanks to the mailman of my youth!), did I realize that the time had come. Ultimately, time wasn’t the issue — my budding sexuality was. Many years later, I found myself eagerly purchasing a Playboy with fevered anticipation. (My papa would be SO proud!) This visceral impulse wasn’t driven by a desire to get some whack-off material, though. Instead, my urgent need for straight-boy porn was fed by a sex symbol whose power reigned over the straights and gays alike: Kate. Kate Moss came into my consciousness in the ‘90s, with her work for Calvin Klein. Waif-y and titty-free, she was a soft compliment to the hardness that Marky Mark (né Mark Wahlberg) embodied in the ck one ads of that era. While I longed for the masculinity that he oozed, Kate— small, delicate, almost in need of care— was the perfect foil to his cute but brutish demeanor in that campaign. Soon after, she became one of the original “Supermodels”, that storied international gang of muses whose job it was to seduce an unsuspecting public into glutinous consumption of finite resources. Lol. With this anniversary Playboy cover, Moss shows us all that she’s still got what it takes to sell a cover, henny. And, as a maker of things, I really can see what Moss has accomplished. Kate Moss, Inc. works on many levels. She is beautiful and glamorous and nothing if not aspirational: straight boys and gay girls want to fuck her, straight girls want to be her, and the gay boys…? The gay boys just fucking love her. To me, The Kate cover of Playboy symbolizes that “one day” that I was hoping for as a young pre-adolescent. It eventually arrived, maybe not in the way that anyone expected; but, finally, I got a boner from a copy Playboy magazine. What a refreshing experience to hang out with my friend Ray last weekend. They brought me up to The Cape, Ray’s native turf. The comfort with which Ray shapeshifts is always astounding to me. Their androgynous body lends itself to assuming either extreme of the sexes, or just down the middle where Ray likes to play. Heads turned and alot of people complimented their look, but then again, it was Provincetown. How gender non-binary people fare in “real” life might be another story. Or is it? Recently another friend of mine came back from North Carolina where he had an acting gig for a few weeks. He remarked on how many ambiguous people he came across down there, and what’s more interesting, he said they were just part of the fabric in the community. Kinda remarkable for the South, I think. Are things changing? The media seems to be awash with proponents from both sides. I’ll keep on wearing my boots and dresses because that’s how I am comfortable, at least for today. Who knows about tomorrow… Last week I went to Provincetown for the first time. Ironically, I landed in the middle of "Circuit Week" and left on the first day of "Bear Week". Accustomed to the bear crowd as I am, I felt a bit like an anthropologist studying the behavior of a foreign species. Local inhabitants aside, I did enjoy all that this legendary bastion of gay life had to offer. From beautiful scenery to gender-bending muscle queens to drag queen all-stars — my visit to P-Town is not one I will soon forget. Below are just a few shots of my short time there. Have you been to Provincetown? When did you go and what was your experience like? One of my favorite developments, as the patriarchy slowly crumbles under the weight of its own toxic masculinity, has been the mainstreaming of makeup for men. Reams have been written about the growth of the men’s cosmetics market. Think pieces abound about men’s use of products like concealer and foundation to project youthfulness in an increasingly competitive and youth-obsessed job market. That’s great — Seriously. But what I’m really here for, tbh, is beauty boys. The past few years have seen the proliferation of beautiful boys (like James Charles, Manny Gutierrez, and Bretman Rock) all over social media rocking the fuck out of some makeup. Not the utilitarian use of cosmetics to correct perceived imperfections; but, the painting of a face in such a way to project a mood, a character, an emotion. The idea that I have available to me another set of tools with which to express myself is kind of revolutionary to me. Happy 4-20! Recently, a friend of mine from San Francisco visited armed with a variety THC infused consumables. Those from Wisconsin bring cheese, New Yorkers bring bagels, Californians (even the transplants apparently), bring cannabis. The legalization of marijuana in different states in the union has has had a wide effect on distribution, available potency, and, perhaps, not so obviously, branding. Indeed, like it’s more accepted cousins in viceland, tabacco and alcohol, cannabis being designed and packaged in this country in an effort to appeal not only to your dopamine receptors, but also your aesthetics and brand loyalty. A multi-million dollar industry is on the rise and as that number gets higher, so might you. With big business at stake, companies are putting more thought into how their product is packaged and presented. Move over nickel bag, something sexier has hit the streets! Nimbus Edibles utilizes original artwork on their packages customized to match the particular effect intended by the product. This package above contains edibles designed to promote "relaxation, healing and well being". On the outside you get a line drawing of someone with an ethereal fantasy popping out of his (her?) head, and above you have a honey comb pattern with other beings (heads only) floating in the sky. What is also interesting about Nimbus is that the brand credits the artists featured on the package in print. You can now aspire to have your art featured on a really nice bag of (edible) weed! Kin Slips cannabis infused slips come sleekly packaged in a tiny dark blue box embossed with the imprints of leaves of all shapes and sizes. The typography and paper selection make this package of melting cannabinoid strips feel very apothecary-like, luxe, and designed for the on-the-go cannabis consumer who might feel right at home at Urban Outfitters. Foria Weed lube utilizes elegant packaging that speaks to the natural aphrodisiac nature of cannabinoid products. Sophisticated and restrained, the package appeals to a refined user who appreciates a fine wine, a fine cigar, and a fine lubricant that will get them high and at the same time appeal to their visual sensibilities. KY has never been so high. Finally, the ultra modern and sleek package of the Dosist brand dose pens brings to mind the minimal packaging of the “Help” brand remedies, as well as the clean pharma packaging that is so well-satired in the work of Damian Hirst. It is a clean, ultra-designed brand that utilizes a lot of white space, a system of color coding, and a san serif font that espouses a cold air that only medical products can provide. Stoned never looked so Swiss. Does the new wave of packaging in the bourgeoning cannabis market appeal to you? Are you more inclined to sample some if you haven't already? Leave your comments below! The family portrait that is used as the promotional image for "The Royal Tenenbaums" has always been a favorite of mine. Each character, with the exception of Royal himself, gazes at the viewer with an insouciant demeanor that is less-than-inviting, to say the least. This coupled against the soft pink background that frames the image really speaks to the tone shifts that are integral to the film's character. "I always wanted to be a Tenenbaum" is a quote from the film. Spoken by Eli Cash, the words echoed my own sentiments about the family of geniuses. And while each member had their individual winning traits (athleticism, business acumen, writing ability), if I had to choose I would be Margot for sure, an artist whose solemn existence is fill with mystery and pathos wrapped in a brilliant package of a fur coat. Who is your favorite Tenenbaum and why? Respond in the comments below. For more process photos of my work, be sure to view my Instagram Story on the regular.

Equal Representation in Construction Apprenticeships (ERiCA) Grant Program Year (PY) 2023-2025 The California Department of Industrial Relations (DIR) and the Division of Apprenticeship Standards (DAS) announce the availability of $25 million in funding to improve access to training and employment opportunities for women, non-binary and underserved populations within the building and construction trades. The Equal Representation in Construction Apprenticeship (ERiCA) grant funds will be used to cover childcare costs and improve outreach. The Equal Representation in Construction Apprenticeship (ERiCA) grant can help organizations that are already working to assist women, non-binary and underserved communities to enter the construction trades. Community-based organizations, local education agencies, workforce boards, unions and other organizations that support equity in the construction industry are eligible to apply. The funds from this grant will go towards supportive resources for childcare and outreach and community building for women, non-binary and underserved populations. The supportive resources for childcare will go to DAS-registered construction pre-apprenticeship and apprenticeship programs that are hiring parents with childcare challenges. For Supportive Resources for Childcare Pre-apprenticeship: $5,000 per eligible pre-apprentice in a registered pre-apprenticeship program, or Apprenticeship: $10,000 per eligible apprentice in a registered apprenticeship program Proposals under this category of funding must identify how many eligible participants the grant will support. The maximum amount per proposal for this category of funding is $3,000,000. The Funds will also be awarded to bolster outreach and community building to better support women, non-binary and underserved communities interested in a rewarding career in the building and construction industry. For Outreach and Community Building This category of funding is designed to bolster outreach and community building to better support women, non-binary, and underserved populations interested in a career in the building/construction industry. Underserved populations are defined as participants who would be eligible for WIOA Title I funding; Adult, Dislocated Workers and Out-of-School and In-School Youth. The maximum amount per proposal for this category of funding is $2,000,000. If an applicant is applying to both categories of funding, the maximum combined grant proposal cannot exceed $4,000,000. Allowable reimbursable activities include: a. Recruiting and training mentors to support women, non-binary and other underserved populations; b. Providing technical assistance to apprenticeship programs that are working to achieve better representation of women, non-binary and underserved populations in their program both in terms of sourcing and advancement through the program. c. Creating new marketing strategies to recruit more women, non-binary and underserved populations into the trades. Activities could include a hands-on Women’s Career Fair, which provides opportunities to use simulators, hand tools, etc. or other innovative outreach strategies. d. Crafting regional networking among women, non-binary and underserved populations in the trades; e. Initiating intentional cohorting of women, non-binary and underserved populations entering the trades to create a supportive community; f. Targeting outreach and networking with contractors and employers to address any concern around hiring women, non-binary and underserved apprentices; g. Coordinating with public officials at Cal-OSHA and the Labor Commissioner’s Office on trainings on workplace health, safety, and wage and hour rights. Proposals for this category of funding will need to articulate the number of participants served and clearly identify the type of outreach/recruitment that will be used. - Public Agency Eligible Grant applicants are limited to organizations that support equal representation in the construction workforce, including: Local Education Agencies Workforce Development Boards State Registered construction apprenticeship and pre-apprenticeship program sponsors How to Apply State agencies/departments recommend you read the full grant guidelines before applying. Similar to This Grant Agriculture Board of State and Community Corrections Proposition 64 Public Health and Safety Grant Program5 months ago More Details about Proposition 64 Public Health and Safety Grant Program Disadvantaged Communities Board of State and Community Corrections Edward Byrne Memorial Justice Assistance Grant Program6 months ago More Details about Edward Byrne Memorial Justice Assistance Grant Program Employment, Labor & Training Workforce Development Board WORKFORCE ACCELERATOR FUND 116 months ago More Details about WORKFORCE ACCELERATOR FUND 11 Agriculture CA Department of Food and Agriculture 2022 CalAgPlate Grant Program7 months ago More Details about 2022 CalAgPlate Grant Program

Radical Queer Brown Non-monogamous Old-School Femme Lover Evangelical Mystic Missionary Mama First-Gen Appalachian Latina Resister. Alicia has a BA in sociology and a career background as a political community organizer, working on issues ranging from workers’ rights, LGBTQ advocacy, immigration reform, reproductive justice, and racial equality. She began facilitating workshops on sexual wellness and healthy relationships over a decade ago, both in the U.S. and abroad, and was honored to be a presenter at last year’s first annual Sex Down South Conference. She’s currently a songwriting student at Berklee College of Music in Boston, fusing important social issues with positive music. Personal empowerment and community engagement are mainstays of Alicia’s work and art. Ama McKinley, Priestess Before becoming an initiated Yoruba Orisha priestess in 2012, Ama spent much of her younger life suffering under the pressures of contradiction between sexuality & traditional spirituality in the Southern church. She addressed this contradiction by studying all manner of indigenous faiths and sexual customs, in order to prove that perhaps Spirituality & Sexuality are just two sides of the same coin. This study led her to discover the West African faith of Yoruba/Ifa, and the goddess Oshun – one of Africa’s many manifestations of the beauty, power, and divinity of Sexuality. A communicator and teacher at heart, Ama is the the creative force behind the blog You Are The Truth. Her articles and lectures on spirit, sex and life have been featured by Medium and ForHarriet, and she is a contributing blogger for The Huffington Post. When she isn’t writing, she’s often communicating divine messages for private clients (and herself) or talking dirty to her partner, Andrew. You can learn more about her work at AmaMcKinley.com. Anandalila (‘Lila for short) is a Tantric Hatha yoga teacher in Atlanta, GA. offering individual sessions and group classes for people of all persuasions seeking a broader sense of self and connection with the divine. She holds additional certifications in Trauma Sensitive Yoga and Positional Release yoga therapy. When she is not practicing yoga, ‘Lila enjoys reading, writing, art, and, of course, chocolate. www.Anandalila.com Andre Shakti is an educator, performer, activist, and professional slut living in the San Francisco Bay Area. She is devoted to normalizing alternative desires, de-stigmatizing sex workers and their clients, and not taking herself too seriously. Andre wrestles mediocre white men into submission and writes about sex work, queerness and non-monogamy for Cosmopolitan, Harlot, MEL, Vice, and more. She can frequently be found marathoning Law & Order: SVU under a chaotic pile of partners and pitbulls, and yes, she knows how problematic that show is. Visit her on Twitter @andreshakti, on FB as “Andre Shakti”, and at AndreShaktiXXX.com (NSFW). Andy Duran is the Educational Outreach & Affiliate Manager for Good Vibrations. As a trainer for over 15 years, this California bear cub and proud blue collar dandy loves providing accurate and accessible sex information with hopes to arouse curiosity and spread truth. Customer service and sex positivity are more than just buzzwords for Andy, but rather fundamentals that are essential for working in the field of sexual health & pleasure. Customer service and sex positivity are more than just buzzwords for Andy, but rather fundamentals that are essential for working in the field of sexual health & pleasure. Whether it’s product and tech support off hours, or his infamous handwritten notes in each reviewers’ package, it’s no wonder his affiliates have dubbed him the Sex Toy Santa. When not philosophizing about all things sexual, Educator Andy can be found singing George Michael, blushing, and keeping up his teddy bear figure. Annai Lopez-Tavira, MFT, LAMFT Annai Lopez-Tavira, MFT, LAMFT earned her Master of Family Therapy degree from Mercer University School of Medicine’s Atlanta/Piedmont campus in the summer of 2015. She currently is working at Affinity Counseling Center as a Bilingual Child and Family Therapist and utilizes expressive arts and play therapies in order to engage her clients and eliminate the pressures of traditional talk therapy. She is an active member of the Association for Play Therapy and American Association for Marriage and Family Therapy. Annai is currently working on becoming a Registered Play Therapist and is also working on her EMDR certification. Ariel Vegosen is a professional sex educator, workshop facilitator, gender inclusivity trainer, performance artist, liberation advocate, sex and gender identity coach and mentor, writer, ritualist, and consultant. Ariel is the founder of Gender Illumination (www.genderillumination.com) an organization dedicated to creating safer spaces for Trans and gender queer people through the tools of education and policy change. Ariel is well known for creating safer play spaces, using performance as a tool for social justice, go-go dancing, making everything glitter fabulous, playing with gender, and being a rock-start at life. This work has taken Ariel all over the US and internationally. Ariel enjoys being queer, poly, playful, and proud. Ariel believes in creating communities across diverse cultural backgrounds and is committed to working from an anti-oppression lens. Ariel is an ordained Priestess, practitioner, and educator of sacred sexuality. Ariel is a member and co-creator of the Sexual Liberation Collective (sexualliberationcollective.com) Ariel is available for workshops, performing, teaching, coaching, and speaking engagements and can be reached at email@example.com. Asha Leong is a life-long activist and community organizer with over 15 years of experience as a sexual liberator, rabble rouser, and scintillating writer. Through Dreaming Desires Consulting she provides a range of services critical to organizational and personal development. Asha provides expertise around fundraising tactics, social media strategy, and campaign development. She has a passion for queer sexual liberation and provides training, sacred sexuality coaching and shamanic reiki healings. Asha also works as an artist most recently her writing was published in the Femmethology, she is looking forward to being published in Perverts of Color in 2013. Asha’s alter ego drag king Al Schlong graces stages nationwide with his memorizing hip-shaking performance art. Ashleigh Shackelford is a queer, agender Black fat femme writer, educator, and cultural producer. Ashleigh is a contributing writer at For Harriet, a community organizer at Black Future, and the creator of a body positivity organization Free Figure Revolution. Her work focuses on body positivity, desire politics, consent/ survivor trauma, and dismantling anti-Blackness. Ashleigh ranges from exploring how anti-Black violence and fatphobia affect Black women and femme bodies, to addressing the constructs of desire and how they affect the humanity (and violence) you are provided within society. She is currently working on her Masters of Arts in African American Studies at Morgan State University. Brion & Karen Craig Brion and Karen Craig are life and relationship coaches who own Next Chapter Relationship Coaching to help couples and singles transition to their next chapter. They also own Love, Sex and Intimacy Retreats that hosts retreats and events that focus on themes such as The Art of Sacred Sexuality. They operate Brion and Karen Boudoir Photography to create stunning sensual images of women and couples and are the developers of an energy healing modality called the Energy Body Synergy Technique. Cameryn is a playwright/performer, activist, educator, writer, and yes, a phone sex operator. She has been doing phone work for nearly seven years, writing and rehearsing between calls and even taking calls while on tour. Her solo shows have won awards and critical acclaim around North America and in the UK. She is the creator and co-host of Smut Slam, an open-mic storytelling event featuring real-life, first-person sex stories, and the founder of BEDx, a mini-conference for sex geeks in a bar. In her spare time during the warmer months, Cameryn pounds out custom pornography for strangers on her manual typewriter and calls it Sidewalk Smut. Contact her at www.camerynmoore.com Camille Zimmerman (she/her) has worked one-on-one with sexual assault survivors as a crisis counselor for the past three years. Through her work with survivors, as well as her own complex history with sexual trauma, Camille has become fascinated with understanding the nuances of consent. Caroline Black is a student in the dual master’s degree program at Widener University’s Center for Human Sexuality Studies and Center for Social Work Education. Her professional work focuses on advising sexual health promotion and interpersonal violence prevention programs on college campuses. She believes that everyone is entitled to sex positive education that teaches biology, choice, consent, and pleasure. According to Caroline’s uncle, she is a GRITS (Girl Raised in the South), even though she has lived in New Jersey, by way of Texas, since she was 10. Contact her at firstname.lastname@example.org. Cassandra’s foray into sex education began in a Barnes & Noble after a disappointing fourth-grade sex and relationship education class. Her fascination with sexual health and wellness grew from there, and it hasn’t stopped growing since then. Cassandra graduated from New College of Florida in 2015 with a BA with Honors in Literature and Gender Studies, where her thesis focused on modern, feminist adaptations of classic fairy tales. She co-authored New College’s Best Practices Recommendations for Gender Inclusivity in the Classroom, led Title IX working groups, was one of the designers of the “Consent Is [Not]” viral photo campaign, and fought for better trans-inclusive policies on campus. In 2014 she opened the SHARE (Sexual Health and Relationship Education) Resource Center, a 24/7 drop-in center dedicated to providing a safe space to learn about un/healthy relationships and healthier sexual behaviors. She currently is a sex educator with The Center for Sexual Pleasure and Health, where she also works as the Social Media Strategist. When she isn’t teaching, studying, or organizing, you can find her elbow-deep in cake batter or cuddling with any of her three fur-children (hopefully not both at the same time). With a decade of experience alongside queer and trans youth, Cavanaugh’s work focuses on cultivating leadership and autonomy in queer and trans youth and adults. Through arts practice and analysis, he aids leaders in deconstructing institutional systems of oppression and examining the intersections of their identities. He has worked with school administration and faculty members, mental health clinicians, and other youth service providers as well as student unions, summer camps, and experiential education services. In addition to youth and community organizing, Cavanaugh teaches comprehensive sexual health education for queer and trans people and offers consultation, technical assistance, and training for service providers focused on the needs of LGBTQIA+ people across multiple areas. He also sits on the board of Camp Unirondack, a residential youth camp in the Adirondacks, where he previously directed programming. Cavanaugh holds a B.A. from Sarah Lawrence College, with dual concentrations in neuropsychology and sociolinguistics, and a minor focus in applied languages. He is currently pursuing graduate education in social work. Cavanaugh believes in honesty, self-education, and radical kindness. Cazembe Abena/Lord Vesper BDSM can be cold, calculated and brutal. But it doesn’t have to be. For Cazembe Abena and his DOM alter ego, Lord Vesper, BDSM is where Sensuality meets Art meets Spirit. S&M is a medium where Lord Vesper can perform, and take select clients to the edge of their senses, thereby unlocking new doors to their persona and soul, as trust is exercised and healing is experienced. Years of training as an Energy Practitioner and Tantra Practitioner, have given Lord Vesper a unique set of skills and sensibilities beyond your ordinary DOM. This allows him to conduct a communion of sensuality, dominance, restoration, trust, and spirit. For the masses, and those that desire the less intense side of healing work, Cazembe offers services as a Certified Reiki Master Teacher/Healer, Symbologist, Certified Tantra Practitioner, Certified Health Coach, Channeler, and Holistic Practitioner. Charone Pagett (she/her) has been doing Human Rights work for over twenty years. Her primary focus is on disability justice and intersectionality. As a Leather woman, she has facilitated workshops on kink and disability and is proud to be a member of Women in Leather Atlanta (WiLA). Find her at email@example.com Che J. Long Che J. Long hails from Los Angeles by way of Hawaii where at 7 years old she began her organizing work licking envelopes for the Hawaiian land and cultural sovereignty movement. She is a Queer Black Femme, community organizer, and trained herbalist. For the past 8 years, she has dedicated her life to organizing around community based strategies for ending violence. As the former program coordinator of the Safe Outside the System Collective of the Audre Lorde Project and a current member of the Solutions Not Punishment Coalition, Che works with communities most affected by violence to develop political education and campaign strategies that increase capacity for safety and wellness. She uses the languages of guerilla theater to infuse cultural work into the fibers of strategy building. When she is not organizing, Che spends her time at the intersections of Sci-fi and Beyonce. Christopher K. Belous, PhD LMFT Dr. Belous is a Licensed Marriage and Family Therapist, Approved Supervisor, and Clinical Member of AAMFT. He also holds certification as an LGBT Affirmative Psychotherapist and is a Certified Family Life Educator. He currently holds the position of Assistant Professor and Clinic Director for the COAMFTE-accredited marriage and family therapy program at Mercer University School of Medicine’s Atlanta/Piedmont campus in Atlanta, GA. He has practiced therapy for approximately 9 years, and has researched and published in several outlets, as well as presented at multiple national conferences – winning awards for his presentations (e.g., NCFR New Professional Poster Award), and teaching abilities. His primary research and clinical interest is in sex therapy and sexuality. Dalychia Saah, MSW, is a Social Worker with a focus on Black social development and liberation through sexuality. Her research interests include ramifications of historical trauma in Black communities and ways to reclaim our bodies, relationships and sexuality through a pleasure centered manner. She has conducted research using bibliotherapeutic tools to form self-identity and connects this to current work where she uses literature and other art forms from Black creative thinkers to guide community conversations about black femininity, masculinity, and sexuality. Dalychia is the co-creator of Afrosexology, a sexuality education program for Black communities to explore and encourage sex positivity. Danielle M. Tidwell, MFT Danielle M. Tidwell, MFT is a graduate of Mercer’s Marriage and Family Therapy Master’s Program working towards Expressive Arts Degree and Play Therapy Certification. I am an accomplished artist with a background in neuropsychology and a degree in general art. I currently work with children and families as a multicultural marriage and family therapist. I use creative interventions along with artistic techniques to join with clients and help express thoughts and emotions that might be too complex or abstract to verbalize. Interventions such as sandtray and puppet play are techniques that I am utilizing to help clients deal with attachment and trauma issues. I believe that the use of artist creativity in therapy is essential, just as a pencil or brush is to an expressive artist. Desiree N. Robinson, MSW Desirée N. Robinson, MSW is a licensed therapist & holistic practitioner with advanced training in Substance Abuse Assessment and Treatment, Sex Therapy, Tantra and HypnoCoaching. Her practice is a reflection of her life’s mission – to create a world of celebration and understanding for all people. In her practice, Desirée utilizes conscious touch, pranayama, mindfulness, movement therapy in conjunction with didactic methods to access healing for all of her clients. Additionally, she able to offer all of her services with sensitivity and respect for individuals identifying as Plus Size! This is a provider geared toward allowing people to feel validated, supported and – most importantly – to CELEBRATED. Drew Konow is a scholar of American religious history. His work focuses on the intersecting histories of religion and social activism – specifically engaging what they reveal about how difference has been articulated, understood, negotiated, and embodied in America. He holds a Bachelor’s degree in Religious Studies from Southern Methodist University and a Master’s of Arts in Religion from Yale Divinity School. He currently serves as the Scholar in Residence at the Religious Institute. Elisabeth Sheff, PhD, CASA, CSE Dr. Elisabeth “Eli” Sheff is the foremost academic expert on polyamory in the US, and the worldwide expert on polyamorous families with children. Sheff’s first book, The Polyamorists Next Door (2014), details her 15-year study of poly families with kids and was just reprinted in paperback, and her second book Stories from the Polycule (2015) is an edited anthology of writings by poly folks. When Someone You Love is Polyamorous (2016) is Sheff’s shortest book that guides family members and significant others who are trying to understand a polyamorous loved one. Dr. Sheff specializes in gender and sexual minority families, kink/BDSM, and issues facing trans* people. She is the CEO and Director of Legal Services at the Sheff Consulting Group, a think-tank of experts specializing in unconventional and underserved populations. Emmy Johnson (they/them, ze/zer/zem) has worked as a crisis counselor for the last few years. Through their interest in sexuality education, their work with survivors, and their trauma history, they are interested in the limits of consent rhetoric. Ericka Hart is a black, queer, kinky, poly, Sagittarius, cancer-warrior, activist, Sex Educator, and performer. She has taught sex education from elementary aged youth to adults; across New York City for the past five years. The catalyst of her work in sex education was her service as a Peace Corps HIV/AIDs volunteer in Ethiopia (Dec 08- July 10). Currently, she is completing her Masters of Education in Human Sexuality at Widener University and works as the Director of Adolescent Sexual Health at a community-based organization in New York City. Ignacio Rivera is a queer, trans, two-spirit, Black-Boricua Taíno who prefers the gender-neutral pronoun “they.” Ignacio is an activist, writer, educator, filmmaker, performance artist and mother. Ignacio has over 20 years experience on multiple fronts including anti-racist, anti-violence, feminist and LGBTQ movements. Ignacio is the founder of P3, sporadically blogs on WhatTheySaidBlog.com and is one of the founding board members of Queers for Economic Justice. Ignacio is a 2016 Just Beginnings Collaborative Fellow. JBC is a movement building platform designed to initiate, cultivate and fund strategic efforts to end child sexual abuse. Ignacio was named one of 5 Trans Writers who are Redefining Masculinity 2016, Queer as Verbs, 7 Trans & Non-Binary Artists Doing the Work in 2015, Honor 41 in 2014, Trans Artists of Color You Should Know 2013 and recognized as on of the Trans 100 in 2013. http://www.IgnacioGRivera.com http://whattheysaidblog.com Jasmine, Owner of Jet Setting Jasmine LLC. , is a Licensed Clinical Therapist with a Bachelors of Art in Sociology, Masters of Clinical Social Work and Masters in Aging studies. Jasmine is a certified Sexpert, Master Fetish Trainer and contributing product reviewer for California Exotics. She has traveled internationally hosting SexEd Workshops for private clientele and organizations. The Jet Setting Jasmine team highlights the more erotic side of sensuality through Fantasy Flight parties. She places a strong emphasis on empowering, enhancing and redefining sexuality for singles and couples. Jasmine’s high-spirited & unconventional approach to intimacy issues has allowed client’s to explore and address many of their deeply rooted barriers, as well as accept and normalize fetishes. Jasmine brings the unique element of Sexy & Confidence to her clientele, with the development of fitness formats K.I.S.S (Keep It Strong & Sexy) & Steel & Stilettos Fitness™ and Fantasy Flight Fitness! The Royal Fetish Film team develops adult content that is designed and customized to explore Fetish work with clients and adult film stars. She strongly believes that “A Little Sexy Goes A Long Way…”, which defines the journey Jasmine herself has taken while holding the hands of fans across the globe through their exploration of Kink & Sensuality. Holiday Simmons, MSW is a Black Cherokee transmasculine two-spirit activist, athlete, and lover of babies, soccer, and the ocean. He has a background in Social Work, Education, and Performing Arts & Activism. Simmons has worked with youth in foster care, taught GED, has managed education initiatives, and has facilitated numerous creative writing and spoken word workshops with groups of youth, queer and trans* people and women in the U.S. and across the planet. Holiday is currently the Director of Community Education and Advocacy at Lambda Legal, the oldest and largest national legal organization committed to achieving full recognition of the civil rights of LGBT people and people with HIV. At Lambda Legal he focuses on transgender rights, dismantling the school-to-prison pipeline, police misconduct, and amplifying the voices of LGBT Native Americans and two-spirit people. Holiday is based out of Atlanta, Georgia. Dr. Kesi Shaw, CLC, CMFT, NCC, LPC Dr. Kesi D. Shaw is a , certified life coach, certified marriage and family therapist, nationally certified counselor, and a licensed professional counselor who has been providing psychotherapy for the last 12 years. Dr. Shaw has a Bachelor of Arts degree in Human Services, a Master of Arts degree in Professional Counseling and a Doctorate degree in Counseling Psychology. As a single mother, psychotherapist, and part-time writer and poet, Dr. Shaw knows all too well the trials of balancing work, life and everything in between. Using personal experience and education, she commits to “help you find your epiphany” through reflective skill building and solution oriented interventions that are future-focused, proactive, and empowering. There are many adult entertainers but there is only one King Noire. His passion is pleasure and he is driven by freedom, justice & equality for all. King has toured the world via Hip-Hop(Hasan Salaam) and organized as a human rights projects in Guinea Bissau West Africa, Palestine & his home state of New Jersey. King began his career in adult entertainment as a nude model for magazines and adult websites. King’s clients did not take long to introduce him to the BDSM community. The attraction to his dominant nature lead to requests of servitude by submissives and cuckolds. He enjoyed and learned a great deal during years of live shows, fetish trainings and performing for XXX companies such as Scoreland, Bang Bros, Plumper Pass & Private Society. King is currently the co-owner of Jet Setting Jasmine LLC, an intimacy consultation company, with business partner Jet Seting Jasmine. Together, the duo has developed a series of Fantasy Flight parties and Master Fetish Training sessions. King and Jasmine have recently launched Royal Fetish Films, an adult film company that allows client’s to tailor their most intimate fantasies and fetishes and co-produce XXX films. “This is a renaissance for the art of making love”. Greer Williams, our resident southerner, can be seen running from the classroom to the rally to the punk show to the play party any given day. As a queer Arkansan educator, they are constantly working to build power and understanding in the LGBTQI+ community. With art, writing, and connection close to their heart, Greer is always ready to learn, discuss, and inform. ; Jessica Ratchford, a mechanical engineering student, is the Executive director of Kink Underground. Deeply rooted in the LGBTQ community, Jessica works on many activism projects based in Chicago, which include HIV/ Aids, Youth homelessness, and black and brown queer power. ; Whether it’s walking the halls of Congress to talk about nuclear waste or belting out a favorite tune with the Gay Men’s Chorus of Washington, DC, it is hard to miss Samuel Brinton‘s bright red mohawk. When Sam isn’t intently studying nuclear physics papers or educating the mass on kink play, Sam is an ardent activist against the dangerous and discredited practices of conversion therapy as the Co-Chair of the #BornPerfect Advisory Committee for the National Center of Lesbian Rights. ; Aaron Barnes is a British American trans man who has been fighting for gender and sexual equality for over ten years, on both sides of the The Pond. He has a BA in Cultural Anthropology, Human Rights, and Women’s & Gender Studies from Southern Methodist University. He is currently in the process of becoming an ordained interfaith chaplain. In Bristol, England, where he resides, he offers his educational and advocacy services, often working alongside such organizations as the ManKind Project, Gendered Intelligence, and Trans Pride Bristol. He is passionate about bringing spirituality and BDSM into conversations around gender, sex, and intimacy, ideally simultaneously, and always intersectionally! ; While originally Midwestern, Jules is a traveler at heart and most recently spent six months in New Zealand on fieldwork. Their LGBTQ+ community involvement includes work with oSTEM, local trans and LGBTQ+ groups, and most recently Kink Underground. Jules believes that education is vital for empowerment and seeks to share knowledge whenever they can. ; Part time painter, part time submissive, and full time red mohawk supporter. Kevin is Sam’s companion in crime. New to the Kink Underground family, but not to kink, he’s passionate about bondage and submission. Many of you know me but for those who do not; my name is Reverend Deborah Harrison but I am better known as Lady D. I am a Lifestyle Domme and the owner of D&S Lifestyle Enterprises, Inc. I am also a certified master hypnotherapist and I truly believe in holistic healing of mind, body and spirit. As a sex consultant, I counsel and help those in complimentary lifestyles accept who they truly are. For almost fourteen years I ran (People Exchangeing Power), P.E.P Atlanta a BDSM pansexual support group in Atlanta Georgia. This organization provided weekly discussions, demonstrations, support and a play space to help educate those interested in power play relationships in a safe environment. In 2001, I created PEP4POC (People Exchanging Power for People of Color) an inclusionary group created to enlighten, empower and dispel myths and misconceptions concerning BDSM and People of Color. I also helped to organize and am the present President of Onyx Pearls Southeast, a women’s organization focused on female camaraderie, community awareness and service. Onyx Pearls is also the sister organization to The Southeast Men of Onyx. My personal commitment is to help make this community stronger and better and to continue Jill Carter’s philosopy of Each One, Teach One. Sarah Avraham, Esq. a.k.a. Lady Steele Lady Steele was born as a lover of all things BDSM and has been involved in Leather since 1999, where she just recently was gifted her boots by the community leaders. Lady Steele held the position of Social Coordinator for NLA – Atlanta during its inaugural year during its last incarnation in Atlanta and has presented across the U.S. She currently resides in Atlanta where she operates her law practice that primarily serves alternative lifestyles. Education is her passion, especially in the area of educating newcomers in what it is we do. She is also the Co-Founder of the local chapters of both MDHL/fs and the Worthless Bastards (Cigar) Club. Another of Lady Steele’s passions lies in presenting about the law. Her presentations cover many family, civil, criminal, contracts, and business law topics. More specifically, Lady Steele’s favorite legal topics to cover are how to protect BDSM families, poly families, and multipartnered households through legal documentation. Lyndon Cudlitz began his social justice work as a queer trans teen in Portland, Maine and continued it in both his grassroots organizing and full-time work. His experience in sexuality education, queer youth empowerment, and racial and economic justice is strongly informed by his transfeminist and working-class perspectives. Lyndon previously founded and directed a social justice leadership retreat for queer youth in Maine, and currently is the director of training and community education for an LGBTQ center in Upstate New York. Madame Estrella is a genderqueer Femme Domme, and SM Top, who has lived and breathed BDSM for the last twenty-five years. It’s amused her to discover just how useful a degree in Communications and training as a conflict mediator have been in her ongoing exploration and communication about BDSM. Estrella is a respected educator and well known performance artist, and was a pro Domme for twelve years. Estrella has a strong commitment to building ongoing leather community, and finds great joy in sharing her knowledge and skills. She has presented or performed for QSM, Fantasy Makers Academy, The Center for Sex and Culture, The Exiles, Institute for Advanced Study of Human Sexuality, and Twelve Inches of Sin, as well as for conferences including DomDominion, Folsom Fringe, IMsL, and Living in Leather. Although she can wield a whip expertly and enjoys inflicting all kinds of delicious torture, her absolute favorite toys are her mind and spirit, and she most enjoys play that is mentally challenging, and promotes strong connections. A recent transplant from Canada, Mademoiselle Ceci is a powerful Alpha Femme chasing life and adventure. She has been on various portions of her Leather journey for the past decade, and done so more publicly in the past several years. Education, Mentoring and Hedonism are her Passions. In recent years she served as International Ms. Leather’s Seduction manager, a charity-driven evening of burlesque, strip tease, drag, kink, and more. She has also served on the executive board of the International Drag King Extravaganza and the Toronto International Burlesque Festival. Mademoiselle Ceci is producer, choreographer, performer and manager for various shows and Pride stages in Toronto, San Francisco, Baltimore and Columbus. Maggie is the lead organizer of the first Slutwalk Atlanta. She is also the founder of Alright, Rebel- ALREB, a southern grassroots organization formed to maintain a safe place for all but focusing on queer, trans, and poc and support other local groups. She graduated from the University of South Carolina with a concentration on English & Gender Studies. Queer Activism is her passion and she makes an effort to bring visibility to the south with a queer eye. Maisha Najuma Aza Maisha Najuma Aza is a black, queer/lesbian co-parent of two teens, a partner and an ecstatic lover. She is also a certified Tantra sacred intimacy coach, a certified reiki practitioner, a certified massage therapist, and a Shaman priestess, with a Master’s degree in social work. She is the founder of A Life Alive Consulting and Black Girl Tantra (http://www.alifealiveconsulting.com), in Atlanta, GA (and beyond), where she uses the erotic marriage of spirituality and sexuality, to provide sexual healing and experiential workshops. Maisha’s deeply accepting, open and down-to-earth energy makes her work especially powerful! She simultaneously weaves in her Black lesbian activist roots and her social work background to create comprehensive experiential healing sessions that impact the multidimensional aspects of a person’s psycho-sexual, physical, spiritual and energetic world. From Atlanta to Oakland, Seattle to New York to Lima, Peru, Maisha travels, wherever she is called to teach, individual, partner and group sacred intimacy coaching sessions; spiritual consulting; and erotic embodiment classes. Her 19 years in bodywork, 13 years in workshop facilitation, 9 years in mental health, and 17 years in the Leather, BDSM and poly communities; alongside her own spiritual and sexual liberation, inform her deeply transformational work. Mistress Orchid has a formal science degree and has taught such concepts for years. After over 10 years of formally teaching science and mating behavior, she decided to live authentically and open up BDSM toy business. She now travels the world educating about science and sex to a more fun crowd. Monet Magnolia is a fist shakin’ shimmy shakin’ Burlesque Dancer, Vocalist, Performance Artist, Femme/Diva Drag Queen, and avid book nerd. Dr. Natasha Watson Mack Dr. Natasha Watson Mack has over 20 years of experience as a domestic violence and sexual assault counselor working with men who have been physically, emotionally, sexually, psychologically and economically abusive to their partners, and as crisis intervention counselor at an agency for survivors of domestic violence and sexual assault. Natasha does extensive work with teens in the area of sexual dating violence and safer sex practices. At Widener University she studied Human Sexuality earning her 2nd Masters degree. She also obtained her PhD in Clinical Human Sexuality at Widener University. Natasha has also established her own professional relationship and sexuality coaching, counseling, and educating business. She does individual sessions as well as groups, workshops, seminars and professional presentations. She created a series of seminars entitled “Developing Healthy Sexuality through Sisterhood” which were designed to empower women to live sex positive lives. In addition, she does sexual harassment trainings for private businesses and corporations. She brings a tremendous amount of insight to services, reflected in the success stories of the populations she serves. I’m Nichole Little and I am the Founder and Executive Director of Sexual Health Education, Research & Outreach (SHERO). SHERO is a grassroots community advocacy network whose focus is personal development and sexual empowerment for African American Women. SHERO provides workshops, trainings and roundtables, most specifically related to HIV Prevention in communities of color. I am a Sex, Love and Relationship Coach with a focus on Good Black Love. I conduct group, couple and one on one coaching/mentoring in the bay area and across the country. I received my academic education from Merritt College (Oakland, CA) and California State University, Hayward. I completed the Black AIDS Institute’s African American HIV University/Community Mobilization College and I am currently a member of AVAC’s pxROAR Biomedical Community Outreach Fellowship. For more information or to schedule a consultation, contact me at firstname.lastname@example.org. Onyx Keesha & Xen Shinobii Onyx Keesha is the founder of Onyx Keesha Films, with several films and theatrical productions under her belt, Onyx decided to step into the world of Erotica, believing there were few representations of queer women of color on the screen; sex positive and body positive work is what Onyx focuses on. Xen is her first work in her new erotica collection of films, her second film “Moods and Moments” will be released early June. Onyx is proud to have her film selected premiere at the first ever SEX DOWN SOUTH conference and to have it selected as a feature at this years CINEKINK film festival in New York City. Queer Moxie Documentary Panel Heather Provoncha and Leo Hollen, Jr. are Atlanta based filmmakers focused on celebrating and representing the communities on the margins. Their goal is celebrating the history and great stories of our intersecting communities past and present through documentary while pushing our story forward to the future through narrative and other visual media. Queer Moxie is their first feature documentary together celebrating the importance and power in queer performance art. Treah Caldwell Sutphin is the creator of Camellia Cuntwell, Atlanta’s preeminent full figured burlesque heartthrob. Camellia titillated and scandalized audiences from Seattle to Atlanta, Manhattan to Florida in her heyday from 2002-2007. By day Treah is a psychotherapist in metro Atlanta and by night she dreams of bringing Camellia out of retirement with a glittery and devastating return to the stage. For more info on Camellia’s day drag, please check out therapywithtreah.com Vivianna Vavoom was a voluptuous queer femme performer in several of Moxie Cabaret’s shows in 2007-2008. She was the culmination of early theatre and ballroom dancing roots intertwined with a blossoming exhibitionist, fat-positive, sex-positive spirit. Vivianna was eager for the opportunity to share her magic with an audience that only a show like Moxie could lure. A stage where queer people of all sizes, ages and ethnicities could shine. Although only a performer for a short span, the Moxie Cabaret stage provided Vivianna with connections that led her to moonlight as a lingerie and fetish model (Coco Devereaux) for the past 8 years. She is very gracious for Moxie’s role as the glittery stepping stone that shaped the sexuality activist and confident women she would later become. James Darling is a southern born, bay area based trans adult performer, sex educator and director. James was included on the Trans 100 for his work in the adult industry, two time Transgender Erotica Awards FTM Performer of the year, Feminist Porn Awards Heartthrob of the Year and has been nominated numerous times at AVN, XBiz, and Cybersocket as a performer and director. Darling’s rise in porn began with his performance debut on CrashPadSeries.com, and continued with queer and trans porn studios, including T-Wood Pictures, TROUBLEfilms, Alternadudes and Buck Angel Entertainment. In 2012 James launched FTMFUCKER.com, one of the first all FTM porn membership sites and has since released four feature length films. His work has been featured internationally at film festivals, universities and conferences on topics related to trans issues, sex worker rights and privacy. You can find more of James Darling’s adventures on Twitter and Tumblr at JamesDarlingxxx. Caitlin Childs is a queer, intersex, femme writer and community organizer raised and rooted in Atlanta, GA. She is a former sex worker and burlesque performer and was a founding member of Atlanta first all queer burlesque troupe, The Dixie Pistols. Find her online at www.caitlinpetrakischilds.com Rafaella Fiallo, MSW, LMSW is a social worker and sex educator with a passion for working with survivors of sexual abuse and violence. Concentrating on Mental Wellness and believing that an engaging, healthy, and pleasurable sex life is a human right, she works from a pleasure-centered perspective. Additionally, she aims to provide hope to survivors of sexual violence and trauma through encouraging positive sexual attitudes and healthy practices. Rafaella is co-creator of Afrosexology, a program to encourage Black bodies to discuss and discover sexuality in a way that will promote empowerment and liberation. Rebecca Hiles is a dating, relationships, and sexual wellness coach called The Frisky Fairy(www.friskyfairy.com ). She is a writer who addresses issues of polyamory, cancer, sex education, and sex toys. She has contributed to Sexpert.com, xoJane.com, and havs had her writing featured on EverydayFeminism.com discussing her life as a polyamorous cancer patient, among other things. She has spoken at CatalystCon East and West, Poly For All Seasons, AwesomeCon, Rocky Mountain Poly Living, Atlanta Poly Weekend, InfinityCon and Woodhull Sexual Freedom Summit. She is a member of the Poly Leadership Network, and is certified as a sex educator through Planned Parenthood League of Massachusetts. She was voted one of the Top 100 Sex Blogging Superheroes of 2014 and 2015. She is a member and contributor to the Gentle Perverts Social Club podcast. She is co-writing a book on coming out as poly (comingoutpoly.co ) and you can help by submitting your coming out stories there. America’s favorite sex geek, Reid Mihalko of ReidAboutSex.com and Relationship10x.com helps adults and college students create more self-esteem, self-confidence and greater health in their relationships and sex lives using an inspiring mixture of humor, keen insight, and comprehensive sexual health information. Reid frequently speaks at colleges and universities on sexual assault prevention and healthy relationship skills, and regularly appears in the media sharing his views on consent, dating, and shame-free sexuality. Reid’s workshops and college lectures have been attended by close to 50,000 men and women. He has appeared in media such as Oprah’s Our America With Lisa Ling on OWN, the Emmy award-winning talk show Montel, Dr. Phil’s The Doctors on CBS, Bravo’s Miss Advised, Fox News, in Newsweek, Seventeen, GQ, The Washington Post, and in thirteen countries and at least seven languages. Reid is also founder of Sex Geek Summer Camp and Sex Geek School for Gifted Sex Geeks which help sex educators learn valuable business skills that allow them to reach more people, transform move lives, and make a better living as sexperts. Follow Reid on Twitter and Facebook and YouTube – @ReidAboutSex or /ReidAboutSex Roan Sarah Coughtry, MSW, is a healer, sex educator, and transqueer writer based out of Atlanta, GA. With roots originating from the rural farmlands of New York, they’ve lived in many different corners of the country and world, fostering a background in social justice organizing, alternative healing, creative arts, and radical sex positivity along the way. After receiving their Masters in Social Work from Smith College in 2011, they co-founded an advocacy and support group for trans* and nonbinary folks in Albany, NY. In addition to co-founding the Sexual Liberation Collective, they’re a lead producer of the Sex Down South Conference and an organizer of the annual Southern Fried Queer Pride festival in Atlanta. In 2015 they were invited to be on the advisory board of Project AFFIRM, an organization researching trans* resilience, and they regularly facilitate trainings and workshops on gender, sexuality, race, disability, mental health, spirituality and violence prevention. They’re most inspired when they’re out in the community building bridges, facilitating conversations, and kindling the connection between creativity, spirituality, embodied practice and liberation. Learn more about their work at www.roancoughtry.com. Robin Wilson-Beattie, proprietor of sexAbled, is a nationally recognized self and systems disability advocate. After acquiring a physical disability in 2004, Wilson-Beattie has offered presentations at conferences, medical schools, and disability organizations about the intersection of race, disability, sexuality, and kink. Find her at sexabledwithrobinwb.com and @sexAbled. Dr. Ruthie Neustifter Dr. Ruth Neustifter is a recognized relationship expert specializing in sexual well-being and education as well as recovery from intimate partner violence. She works with a diverse range of individuals and relationships, conducts original research, offers workshops, and is available for professional consultation. Ruth Neustifter is an assistant professor and graduate faculty member at the University of Guelph (Ontario, Canada) in the Couples & Family Therapy program. She holds a doctoral degree in Child & Family Development with specializations in Couples and Family Therapy and Qualitative Research. Ruth has a growing list of publications in academic journals as well as in the mainstream press and continues to create original research in her areas of interest. Born and raised in Miami, Sadia is a South Asian Pakistani Guyanese/West Indian, Muslim woman with experience as a peer sex educator and reproductive justice advocate. Sir Claire Black Sir Claire Black (they/them pronouns) is a professional dominatrix, sex and BDSM workshop facilitator, sex-positive events producer and kinky performer based in London but working around the world. They are committed to helping people explore, accept and revel in all facets of their sexuality. They’ve been working in the world of sexuality for 8 years and are absolutely fascinated by the diversity of human turn-ons. Claire is a non-binary gendered creature, and has spent their adult life navigating how to express this, what it means in relationships, in sex, and in work. Shayla D. Tumbling, M.S., NCC Shayla’s mission is to educate people in understanding historical, cultural, generational trauma; the impact it has on our daily functioning and supporting them in developing solutions and healing the trauma in order to have a healthier quality of life. As an Emotional Wellness & Sexuality Empowerment Mentor Shayla supports her clients in developing a healthy balanced relationship with themselves and with others. Her mentorship, coaching, and educational style are integrative, holistic, and sex-positive. She works with clients to better understand how sexuality is integral to their humanity and how to achieve unique healthy relationships with their personal sexuality. Understanding the different levels of Human Connection & Intimacy she is also the co-founder of A Southern Touch Company LLC: A Cuddling & Companionship Company, which specializes in healing platonic touch services based in Atlanta, GA. Sexual Liberation Collective The Sexual Liberation Collective (sexualliberationcollective.com) is an intentional collaboration of folks who are passionate about sexual liberation and healing for all people. We see sexual liberation as a human right and our bodies and desires as sacred. Believing in the possibility of healing for all people, including ourselves, we strive to be a collective that prioritizes people of color, trans* and gender non-conforming folks, people of working class backgrounds, sex workers, women, and all body shapes, sizes, and abilities. The SLC provides sexual liberators with support, advice, and accountability on their personal and professional projects, and provides education and healing to larger communities through facilitating workshops, skillshares, and healing circles. Since its inception in 2013, the SLC has presented at numerous conferences around the country, including Creating Change, Unity Through Diversity, the Woodhull Sexual Freedom Summit, and Sex Down South. Stacey Herrera is a Body, Love, and Pleasure Strategist, from southern California. Her sensuality focused work helps women to enjoy their bodies, cultivate conscious relationships, and live delicious whole-hearted lives. She loves having shame-free conversations about subjects that should be shameless, because “life is sexually transmitted” and she believes that in order to live a wholehearted life, we must include our whole selves. Tal Peretz has engaged in and studied men’s anti-sexist and anti-violence activism for over a decade. His Ph.D. is in Sociology and Gender studies, from the University of Southern California. He is the author of “Some Men: Male Allies and the Movement to End Violence Against Women” (Oxford University Press), co-written with Michael Messner and Max Greenberg. His latest research looks at how intersecting race, class, religious, and sexual identities shape the efforts of two grassroots men’s gender justice groups. His scholarship on men, masculinities, and feminism has been published in academic journals, edited volumes, and popular and activist/professional newsletters. He also contributes to the blog Mascuinities101.com, posting advice for men’s groups that endeavor to ally with women in working for gender justice. Dr. Vertna Bradley Dr. Vertna Bradley is a filmmaker and professor at Carthage College in the Department of Communication & Digital Media. She holds a PhD in Media & Communication Studies with an emphasis on Film & Philosophy, an MFA in Film & Video Production with a Complementary Study in Mass Communication, and a BFA in Film & Video Production. Her first experience in mass communication was traditional and began in 1990, working in print journalism and graphic design. She began film school in 1995. After graduating in 1998, she started working in television production for Time Warner, then for NBC, ABC, and Fox affiliates, where she created a variety of programs, commercials, and news promos. Virginia Goss is a master’s degree student at Princeton Theological Seminary. Along with pursuing ordination, Virginia’s professional passions include social work and creating safe and healing spaces for people within and outside the church. Virginia was raised outside of Atlanta, GA, attended college in Memphis, TN, and it a recent transplant to New Jersey. According to Virginia’s uncle, she is a false prophetess that is ushering in the apocalypse. Feel free to contact her at email@example.com. Yoseñio V. Lewis Yoseñio V. Lewis is a Latino of African Descent female to male transsexual who has been a social justice activist since he was 13 years old. A consultant, health educator, speaker, trainer, facilitator, writer, performer, out poly and kinky person and a spiritual hugger, Yoseñio has been a panelist and keynote speaker at numerous universities and sexuality conferences. He was one of the inaugural honorees of The Trans 100 list. Yoseñio is a Board Member of TASHRA (The Alternative Sexualities Health Research Alliance), a Board Member of the AFFIRM Project Transgender Resilience Study and a member of The Association of Black Sexologists and Clinicians. He is a Certified Restorative Justice Practitioner and has completed the Introduction to the Principles of Kingian Nonviolence and Conflict Resolution. Yoseñio is the founder of Written In The Flesh, an annual Erotic writing and performing experience to uplift the voices of People of Color. He is a co-founder of Big Boys’ Ink™ Productions, a theatrical writing and performing company, and he has been featured in several documentaries about gender identity and the trans* experience. Yoseñio believes that there can be no art without activism and no activism without art. Dr. Zelaika Hepworth Clarke Zelaika S. Hepworth Clarke, PhD, MSW, MEd is a sexosopher, sexual epistemologist, cultural and clinical sexologist, sexecologist, African-centered social worker, and decolonizing autoethnographer. Zelaika received a Bachelor’s degree in Sexuality, Culture and Oppression at New York University. In 2012, Zelaika obtained a Masters in Social Work and Masters in Education of Human Sexuality from Widener University as well as a certificate from the National Academy for African-Centered Social Work. Zelaika has studied internationally in Ghana, Kenya, Uganda, Trinidad, Jamaica, Netherlands, and Cuba. In 2014, Zelaika conducted decolonizing research in Salvador da Bahia, Brazil which focused on exploring Ọ̀ṣunality, an African-centered, sex-positive, post-colonial paradigm that affirms diversity in sensuality, sexual pleasure and eroticism. In 2015, Zelaika received a Ph.D. at the Center for Human Sexuality Studies. Zelaika is committed to intersectional mindfulness, counter-oppressive discourses, the decolonization project, empowerment and increasing sexual epistemic justice and diversity.

After a three-year long campaign to end forced "corrective" and cosmetic surgeries on intersex babies, the activists have finally won. In a historical move, the Ann & Robert H. Lurie Children's Hospital of Chicago in Illinois has apologized for performing "corrective" genital surgeries on children born as intersex. They have also committed to banning the practice henceforth. The decision comes after years of campaigning and advocacy from intersex rights groups, who argued that cosmetic genital surgeries on intersex infants harmed children, CNN reports. The activists have finally won the battle. Intersex is an umbrella term used for folks whose bodies do not conform to the typical "male" or "female" categories. Intersex folks are not as rare as we might think them to be. According to Planned Parenthood, estimates suggest that about one to two in 100 people born in the United States alone are intersex. The hospital posted a statement to its blog regarding the decision on Tuesday. "Historically care for individuals with intersex traits included an emphasis on early genital surgery to make genitalia appear more typically male or female," it shared. "As the medical field has advanced, and understanding has grown, we now know this approach was harmful and wrong. Ann & Robert H. Lurie Children’s Hospital of Chicago and our Sex Development Clinic recognizes this truth. We empathize with intersex individuals who were harmed by the treatment that they received according to the historic standard of care and we apologize and are truly sorry." The hospital claimed that they had been in discussion with activists and those personally affected by "corrective" or cosmetic surgeries. It also announced: "Our internal, and now public, policy is that, in intersex individuals (recognizing those with congenital adrenal hyperplasia [CAH] as potentially a separate patient population) irreversible genital procedures, particularly clitoroplasty, should not be performed until patients can participate meaningfully in making the decision for themselves, unless medically necessary." For activist Pidgeon Pagonis, who identifies as intersex and non-binary but was forced to undergo a clitorectomy at Lurie Children's Hospital - this decision was a cause for celebration. They "just started crying" when they found out and felt a sense of relief. "[Lurie] took me and put me in their factory for boys and girls, basically," they stated. "[Lurie] took my intersex body, threw me on the girl conveyor belt and tried to put me into this box that I was never meant to be." It was Pagonis' concerted efforts to tackle the hospital's oppressive policy that led to this change. Along with intersex activist Sean Saifa Wall, they established the activist group Intersex Justice Project, and held protests for three years outside the hospital. The group also created a petition, which gained popularity and support after it was shared by multiple celebrities such as transgender actress Indya Moore and actress Gabrielle Union. Further to this, activists also attribute the policy change to Dr. Ellie Kim, who championed the cause within the hospital. Dr. Kim, who is also transgender, affirmed, "I think it's a great step in the right direction. There's still a lot of work to be done, to say the least, but at least for now, in my opinion, it's a major victory and a major step forward."

While most women are plus-size, they represent less than 2% of images in media. From Kelli's uninhibited sexual prowess in Insecure to Glow's range of ages, ethnicities, and body types, we're definitely getting better at improving diversity on our screens. There is still, however, a long way to go. So, in a bid to celebrate championing women's bodies whichever way we can, here's four films/plays/TV show you should absolutely catch this Spring. After a freak accident, Kimberley Chambers was left nearly totally unable to walk. Instead o giving up, however, she went from being close to getting her right leg amputated to becoming the third woman in history to complete the Oceans Seven challenge. She then became the first woman to swim thirty miles from the Farallon Islands to the Golden Gate Bridge — navigating the world's biggest great white sharks. So, yep, an incredible woman and athlete rolled into one. Kim Swims, which is released on UK Netflix this month, follows her training journey and is one of the uplifting stories you'll hear this year. A must-see. Available now on Netflix After a resounding success at Edinburgh Fringe, Ell Potter and Mary Higgins' theatre show, Hotter, is now showing at the Soho Theatre. Both are young queer women, who, like many of us, have struggled with their body image and find themselves frustrated by the ubiquity of the British silence around the subject. To help, the duo interviewed women and non-binary people between the ages of 11 and 97 about their bodies, and more specifically about what gets them hot (the play's title is a combination of both their surnames). Snippets of conversation from their Grandmother's community centres offer the most pertinent anecdotes, while the combustion of their Mum's embarrassment is all too familiar with us. If you want a funny but highly relatable show, this is for you. On now until September 7, at sohotheatre.com Hiyori Kon is a prodigy in her field of sumo wrestling. The twenty-year-old is from Ajigasawa, a snowy northern fishing town in Japan and has been competing since she was six. Yet the ancient traditions which dominate the sport in Japan mean women cannot compete professionally. The professional wrestling rings are deemed sacred for men in Japan, and men only. Thank goodness, then, that Little Miss Sumo highlights the ardent misogyny in Japan's national sport. Available for the public to see later on in the year. Next showing at Doc Edge and Sydney Film Festival. Misbehaviour is an upcoming comedy-drama directed by BAFTA-winner Philippa Lowthorpe., based on the true story of the Miss World pageant in London. In the 1970s, the pageant was watched by more than 100 million viewers. Aired on the BBC, they were deemed customary national entertainment, often with a male presenter commenting on their appearance. One day, however, the newly formed Women’s Liberation Movement took over and disrupted the event with their message: 'why do you have to be beautiful to get noticed?' The activists argued it was reductive and only showed one body type (which was true). When the show resumed, the winner was not the Swedish favourite but Miss Grenada — the first black woman to be crowned Miss World, causing an even greater uproar. The film is set to star Keira Knightley, Gugu Mbatha-Raw, and Keeley Hawes. Coming to screens later this year

I realized that I was a lesbian in grade eleven. Here’s how it happened: I kissed a girl for the first time, I discovered the infamous lesbian masterdoc, and I read about a little thing called compulsory heterosexuality. It was 2016, and after years of assuming I was bisexual, I’d finally found the label that I wear to this day. 2016 was a great year for lesbian media – I got to see my sexuality represented in Glee’s Santana and Brittany, in Hayley Kiyoko’s bop “Girls Like Girls,” and in Stef and Lena’s marriage on The Fosters. But despite what these characters and people have meant – and continue to mean – to me, I’ve noticed a trend in how lesbians were depicted when I was a teen: most of them were femmes, and certainly all of them were cisgender. At the time, I didn’t understand why this felt alienating to me. But when I arrived at McGill in 2018 and made my first non-binary friends, I finally got it – and came out, again. It’s not that there was no non-binary representation in the media when I was in high school. As an active member of many Tumblr fandoms – I was dedicated to YouTubers like Dodie and Dan and Phil – I’d interacted with non-binary people in some capacity. I had also engaged with more community-based forms of media created by non-binary folks, like the YouTube channels of Chandler Wilson and Ash Hardell, various fanfictions featuring non-binary characters, and informative comics on my Tumblr dashboard. This content made me feel more comfortable in my gender identity, but it also made me believe that being non-binary was something that only “happened” online on Tumblr, or at Vidcon. Most of my school friends and teachers didn’t understand non-binary genders, and I’d never seen non-binary folks in more mainstream media. I didn’t know how to picture a life where non-binary people existed as “normal” adults. I spent my high school years knowing that non-binary people existed, but I didn’t understand that I could identify that way. Though I was fortunate to have access to these Internet communities, the lack of non-binary representation in popular media convinced me that these identities didn’t exist in everyday life. GLAAD’S 2019 Where We Are on TV report found that of the 488 regular and recurring LGBTQ characters on American scripted primetime broadcast, cable, and streaming programs that year, only five were non-binary. Back in 2016, there were none; only 16 transgender characters appeared on American television. An area of communications studies called cultivation theory has found that watching television may shape the way that individuals perceive reality, and that the lack of representation of queer people on television leads to the idea that queerness is abnormal or rare. Many LGBTQ+ individuals start coming to terms with their identity through film and television. I was lucky to have supportive friends and family members while I was learning about my gender identity, but I wouldn’t have known how to articulate what I was feeling had I not been what my friends refer to as being “extremely online” – that is, spending too much of my time on Tumblr and in various Internet communities. That being said, the representation of non-binary folks is expanding. There are now a handful of non-binary characters in film and television; Asia Kate Dillon appears in John Wick: Chapter 3 – Parabellum as a character called The Adjudicator; Alex Newell plays a genderfluid DJ in Zoey’s Extraordinary Playlist, Syd on One Day at a Time uses they/them pronouns, and there’s even Double Trouble, a non-binary shapeshifting mercenary on She-Ra and the Princesses of Power. These characters make me feel like I belong in a way that the media I watched in high school did not. It’s certainly refreshing to see these characters, but there still isn’t a normalization of non-binary genders in the media. Characters are seldom played by non-binary actors, and they never get to exist in the spotlight. They serve as the best friend, or if they somehow get to have a sexual or romantic life, as the partner. There’s usually a Big Coming Out moment where they have to explain their identity, instead of the character simply being introduced with their pronouns, or being presented as a non-binary person from the get-go. On One Day at a Time, Syd is introduced as part of a joke about pronouns. And although it’s in good taste, it still makes their identity stick out like a sore thumb. She-Ra’s Double Trouble is a rare form of casual representation, yet their presence underscores the fact that this kind of identity only seems to exist in action movies and fantasy worlds, rather than in the real world. As someone who proudly identifies as a non-binary lesbian, it’s frustrating that the most “relatable” example I have of a sapphic relationship is between One Day at a Time’s Syd and Elena. While I find their teen romance heart-warming, and though Syd is an excellent example of a well-written non-binary character, Syd and Elena don’t model my current experience with dating. I often feel like I don’t have any blueprint for who I can become, and for what my dating life could be like. What could being a non-binary adult look like for me? I try to imagine it all without much guidance, which leaves me feeling discouraged and lost. It’s also important to recognize that the majority of non-binary characters on TV and in film are white. According to GLAAD, only 52 per cent of LGBTQ+ characters on television are people of colour. The white-washing of non-binary lives and identities is more than a lack of diversity: it displays a disregard for the rejection of the gender binary that has existed for centuries in many non “Western” cultures, and it ignores the role that colonialism has played in reinforcing the gender binary. Artist Rudy Loewe spoke about the importance of Black non-binary representation in an interview with i-D, saying that “art can be a lifeline for people who are otherwise living in isolated environments, so it can be extremely important to find those points of reference.” The hiring of mostly white non-binary writers and creators also leads to the depiction of non-binary characters of colour who embody white ideas of androgyny, erasing the diverse gender experiences of people of colour. So, what do we do when we don’t see ourselves enough in the media? We make things for ourselves. While Tumblr was the DIY hub for queer kids when I was a teenager, TikTok now has a huge community of non-binary sapphics (sometimes called nblw, for “non-binary loving women”). Popular TikToks include jokes about lesbians having a complicated relationship with gender, comedic attempts to describe gender without using traditional labels, and funny videos about your family knowing you were gay before you did. It’s a dynamic community that makes me feel seen, and it follows a long history of media-making by gender diverse sapphics, who have found a sense of kinship in the creation of zines, podcasts, and more major works like Stone Butch Blues. It’s powerful and important for us to make our own media, and I know that the communities on TikTok will help many people the way that Tumblr and YouTube helped me. That being said, these online communities do come with certain risks. Many past bloggers have suggested that although Tumblr allowed many like-minded people to connect in 2016, there was often a lot of pressure on teens to commit to a specific identity label, and for them to figure themselves out before they felt ready. Having your coming out journey on a public platform can be really difficult – I worry that these pressures will continue to be a problem on TikTok. As many young TikTok users have begun to articulate, the demand for answers to personal questions about pronouns, sexuality, and gender identity is difficult for those who might want to try out certain labels online, but who aren’t ready or able to come out in their personal lives. This concern is particularly apparent on this new platform in a way that it wasn’t on Tumblr, where people like me were lucky to experience relative anonymity instead of using our own likenesses to get views. Everyone deserves to see their reality reflected. I want kids to be able to see genderqueer students in a picture book. I want teens to encounter non-binary adults on their favourite sitcom. I also want to see more sapphic characters that exist for something other than the male gaze; couples that aren’t made up of two conventionally attractive femmes; lesbians who don’t use she/her pronouns; asexual lesbians and elderly lesbians. Here’s hoping for a new generation of representation, beyond the margins of the Internet, that non-binary folks like me can look up to.

Correction: A previous version of this story misidentified Bethany Iverson, co-founder and COO of The Coven, a coworking company.According to Enterprise Rising founder and tribal leader Casey Allen’s frequently updated map of Minnesota coworking spaces, Minneapolis alone has nearly two dozen coworking locations. The greater Twin Cities, St. Paul included, has nearly 20 more. A handful dot greater Minnesota, mostly in regional hubs like Rochester and Bemidji. Minnesota is no outlier. As of early 2019, coworking — also known as flexible office or flex space — accounted for at least 25 million square feet of commercial space in the United States’ 30 largest office markets, according to a CBRE report from a research team led by CBRE global chief economist and head of Americas research Richard Barkham. Driven by rapidly growing national and international brands like WeWork and IWG, coworking is an “increasingly relevant factor in asset valuation,” the report said. Compared with non-coworking transactions, CBRE found lower average capitalization rates in “flex transactions,” suggesting commercial property owners presume flex space is less risky than traditional office — though properties with flex space present do not necessarily perform better than properties without, and properties dominated by coworking may actually present more risk than properties where coworking accounts for a smaller share of total square footage, due to coworking’s typically shorter lease periods. Still, coworking is here to stay, and the Twin Cities’ scene has something for everyone — from Fortune 500s looking to add creative or project-based teams without annexing new long-term space, to startups looking to staff up after successful raises, to independent professionals and creatives seeking social alternatives to the trusty home office. Coworking at enterprise scale In every major U.S. coworking market, the elephant in the room is New York-based WeWork, which operates nearly 600 workspaces worldwide. WeWork operates three Minneapolis locations: on three floors of the Capella Tower, in the central business district; at the Nordic, in the North Loop; and at MoZaic, in Uptown. For solo professionals content with catch-as-catch-can space, Capella Tower’s $200-per-month Hot Desk deal is the brand’s best value in town. At less than $500 per month, MoZaic has the best deal on private offices. With plenty of dedicated desks and suites, WeWork is ideal for multi-person teams and firms that value their privacy. So is New York-based Industrious, another national player with Minneapolis locations in the North Loop’s T3 Building (home to a secretive Amazon IT team) and downtown’s RBC Plaza. With space for 100-person teams at both locations, Industrious works well for suburban enterprises looking to relocate entire creative or tech teams to amenity-rich urban neighborhoods; the T3 Building’s location near Target Field commands a significant premium over RBC Plaza’s 9-to-5 nabe. The Twin Cities’ latest enterprise-grade coworking entrant might be the most disruptive to date. Carlsbad, California-based CommonGrounds opened a nearly 30,000 square foot space this summer at 801 Marquette Ave., two years after a head-to-toe renovation that created what CBRE touted as “the first high-quality ‘creative office building’ of its type” in downtown Minneapolis. CommonGrounds’ differentiator is its workspaces’ modularity. Virtually every piece of its built environments is mobile, including walls, allowing enterprise tenants to quickly and cheaply scale up and down as needs dictate. At another CommonGrounds location, a larger occupant safely removed more than 20 walls in 14 business days at a total cost of about $40,000, said CEO Jacob Bates. For CommonGrounds tenants, “time is everything,” said Bates. “The built environment has to be hackable, flexible.” One thing CommonGrounds isn’t: a top choice for solo professionals. Its bread and butter is small to midsize teams within enterprise organizations. Coupled with Bates’ extensive prior commercial real estate experience, CommonGrounds’ pool of deep-pocketed clients and prospects endears it to funders. Following a $100 million Series A raise, the brand has grown from one location to 18 in about a year, with 10 more openings on the way into 2020. Safe, inclusive, productive The Coven is another ascendant coworking brand with big ambitions and an innovative business model, but that’s about where the similarities to CommonGrounds end. The Coven is a safe space for professionals who’ve historically been marginalized for reasons of identity — in the brand’s own words, “a dynamic, diverse community of women, non-binary, and trans folks who inspire one another to lead more empowered lives.” All four Coven founders came up through the advertising industry, where they worked (together, at times) to advance gender and racial equity. “There are lots of wonderful things about the ad industry, but we were frustrated with pace of change” said Bethany Iverson, The Coven’s COO. The Coven’s 4,800-square-foot Minneapolis flagship location is soon to be supplanted by a 9,500-square-foot space in St. Paul’s Blair Arcade building, set to open in December. The Blair Arcade location will have seven private offices — the Minneapolis location has none — and an all-gender space where members can meet male clients and business partners, said Iverson. The Coven mainly caters to solo clients and early-stage enterprises. According to Iverson, about 30% of its members identify as entrepreneurs, and “a huge percentage” are side hustlers — working steady 9-to-5 jobs when they’re not at The Coven. The balance works in the nonprofit sector or activism. For every five memberships The Coven sells, it gives away one, with preference for members of historically marginalized groups; they’ve given away well over 100 to date, said Iverson. Giving away memberships “helps us ensure that there’s socioeconomic diversity within our walls and make sure our space isn’t just full of people who can afford access to a private club,” she said. That private club is growing. After St. Paul, Iverson is aiming for a late-2020 opening for The Coven’s first non-Minnesota location, in Nashville. With $1.2 million in seed funding and a “tight-knit group of advisers” with deep real estate and finance expertise, The Coven plans to open up to 20 locations in the next five years, largely in “underdog cities” with vibrant creative economies and high shares of women and non-binary entrepreneurs. A novel model? Chicago-based Novel caters to a broad mix of tenants, from solo professionals in spacious shared bullpens to midsize teams in 30- to 40-person suites. With about 2.5 million square feet of space at more than 30 outposts around the U.S., Novel is a major player — if not as well-known as WeWork or IWG. And Novel appears to be doing something right: Its TriTech Center location, a stone’s throw from Government Center station in downtown Minneapolis, recently won “best coworking space in Minneapolis” in the Coworker Members’ Choice Awards, a survey based on peer feedback. With shared desk rates as much as 50% lower than other downtown Minneapolis coworking hubs, the buzz is understandable. Novel’s real differentiator, though, is its business model. It’s rare among rapidly growing coworking brands for actually owning its real estate. Novel owns both TriTech Center and the LaSalle Building, which houses its other Minneapolis location. Generally, Novel’s buildings contain a mix of commercial uses, not just flexspace. TriTech Center has several “legacy tenants,” including a data center, said Brittany Bartelt, Novel’s on-site sales manager. That makes the brand something of a hybrid — merging the stability of traditional commercial real estate ownership with the upside of coworking exposure. We can’t have everything A casual observer might interpret the Twin Cities’ ongoing proliferation of coworking to mean the metro is some sort of flexible workspace mecca. That would be a mistake. Although it’s doing well to make up for lost time, Minneapolis-St. Paul’s coworking variety actually lags some other major metros. To join IWG’s No18, a “cosmopolitan members’ club for business,” you’ll need to relocate to Chicago or Atlanta. (Spaces, a more democratic IWG offering, operates one North Loop location.) CANOPY remains, for now, confined to San Francisco. Invite-only NeueHouse’s distinctly un-Minnesotan model works better in New York and Los Angeles, where its target audience of “prominent creatives” clusters. That’s not to say the Twin Cities isn’t a regional hub for coworking innovation, thanks to homegrown concepts like Fueled Collective and The Coven, whose ambitious expansion plans bode well for the Twin Cities’ reputation as a place where work gets done differently. True to the Twin Cities’ low-key reputation, some of the most successful local coworking products are more about maintaining the trappings of professionalism close to home than breaking the mold. Twin Cities North Chamber of Commerce president and Reserve member John Connelly likes the “beehive” nature of his Roseville home base — he regularly bumps into clients around the office. And he enjoys the inherent synergies of the multi-location model. During a particularly snowy stretch last winter, he worked out of The Reserve’s Edina location, closer to his southwest metro home.

There are times when describing a record purely by its tones and sonic elements is the proper method, the identity of the record wrapped up mostly in its sounds over other aesthetic elements. Doom and death metal often live in this world, spaces that are often (but not always) driven more by smaller sonic changes than difference in the overall affect or tenor of the music. Holly Herndon, much to her credit (and not at all meant as a sleight the other way around), is not one of those artists; her music, though clearly richer in timbral and sonic characteristics than, say, explicitly lyrical themes, lives not in the sound itself but in the phenomenology of that sound, the images and sensations it provokes rather than the textures of it itself. This is partly, of course, due to the great sonic span of the record. Her new album PROTO moves capably from neo-classical density, post-techno minimalism, vocal chorales, woody slow-motion dance tracks and more. It is hard to typify a sonic core to a record as diverse as this, one which not only marries directness with arthouse abstraction but also displays them in pure form divorced from one another, especially without resolving into a lazier and less holistic track-by-track analysis. First glimpse may persuade you that PROTO does not have an overall identity or affect; this thought, however, would be untrue. The holographic overall of these specific thoughts sequenced after each other the way they are implies a sense of disintegration and reintegration, a death and rebirth captured in miniature. Herndon does not do something as crass as encoding this thought in a melodramatic and obvious narrative arc but instead in the different science fictional and post-fantasy implications of these sounds, the wood and breath of “Alienation” giving way in time to the rushing metallic water and alien choir of “Crawler,” the post-vaporwave deconstructionist synthscape of “SWIM” and the alien self-transfiguration of album closer “Last Gasp.” There is not a specific tale but an implied emotional transformation occurring between each of these tracks, implying a POST to the PROTO of the album title, a physical and metaphysical passage occurring within and between the sounds. The passage may seem at first glance, then, to imply a post-humanity, but this would be a vulgar understanding. Neither does it seem to imply something as nebulous and New Age-y as “self-transformation” or whatever online crystal peddlers are focusing on these days. Instead the sensation feels closer to metamorphosis, the caterpillar becoming a butterfly. Its DNA never changes; these changes seemed to be encoded in its birth, a necessary and ultimately natural shedding. We see in this passage parallels to transness, to those who discover an inner queerness or find inside of themselves a gender they may or may not have always known was there. On a personal note, sitting with the record made me confront a long-standing tingling inside of me that perhaps I was nonbinary, hovering in a nameless, formless place myself; admittedly, this sense may have also colored my interpretation of the record retroactively. But still it feels as though these notions are there. Jlin, who released Autobiography last year to rave reviews, joins Holly Herndon on the track “Godmother,” applying her post-modern and deeply Black approach to electronic music of both the dancefloor and the cerebral headphones variety, paying back a collaboration with Herndon that appeared on Jlin’s debut album. It is a brief track, one that focuses on mutated vocal samples, dissolving and distorting them to insectoid murmurations layered like the wash of rain, the hiss of insect wings, and the thump and crunch of machinery. This knotting peerwork breaks the notion of pretentiousness one might get from such cerebral electronic work, Herndon gesturing not just back into primitivism and forward into futurism but also laterally to a peer network of other capable and incredible artists exploring similar themes in their own work. It is fitting, then, that the cover is an image of Holly Herndon’s face, albeit a mutated and distorted one, a theme recurring over her work and one that highlights the humanity behind the machines and mechanisms. Herndon’s work is not as crass as to be explicitly post-human, nor as self-effacing to be proto-human, but instead is an exploration of the potentialities of the self and methods of self-becoming encoded in rich electronic compositions as satisfying in headphones as through quality speakers. She is yet another brilliant woman in a field increasingly populated by other brilliant women and non-binary folk leading the electronic avant-garde of the early 21st century and a sign of the continued seemingly endless brilliance this wave of composers and producers is capable of. A rich, sonorous and evocative record. Langdon Hickman is listening to progressive rock and death metal. He currently resides in Virginia with his partner and their two pets.

This week’s masterclass is led by Motivational Speaker and Plus Size Virtual Gym Owner Sarah Taylor. Join us in the TCF Style Lounge as we discuss self-love through fitness. It’s #BridalWeek at The Curvy Fashionista, but we know not everyone planning a wedding is a bride! We are excited to bring you rad, non-traditional, plus size wedding outfits and inspiration for non-binary, transgender, genderfluid, and gender diverse folks. If you spend five minutes looking for non-binary plus size wedding outfits on Pinterest or even googling them, the results are disappointing and often still feature thin people that are overwhelmingly white. There are very few options ready-made or off-the-rack available for purchase for gender diverse plus size folks. Many items have to be designed custom, including time for alterations, and require months of advance notice. We know that’s typically the case when it comes to wedding planning, but shopping for fashionable, creative plus size wedding looks for all genders should be less about who you know and more about access. We hope this article helps bring representation to non-binary, transgender, and gender diverse folks looking for wedding outfit inspiration! A huge shout out and thank you to the folks who contributed their own wedding outfits and details to help make this possible – all photos are linked and credited below. Wedding Dress Options for Every Body For gender diverse folks looking for non-traditional, plus size dress options for their wedding look, Hannah Caroline Couture offers custom-made gowns (and a few jumpsuits!) made to stun on your wedding day. Their website allows you to browse by style, silhouette, material, or place a custom order. “We don’t have a set inventory of pre-made garments sitting in a warehouse somewhere. Instead, we make every garment to order based on the style and fit preferences of each customer. “Hannah Caroline Couture Their designs offer a wide range of color and material options, all fully customizable allowing you to curate a perfectly unique look for your wedding day! For folks deciding whether or not to wear a veil, or looking to add flair to their wedding outfit – a cape adds a layer of mystery and intrigue to any wedding look whether it be a dress, jumpsuit or suit. We love this simple yet stunning design from Torrid which goes up to a size 30 in dresses. A cape can also be incorporated with a jumpsuit, dress, or suit- making it a wonderfully neutral piece of formalwear. The Perfect Wedding Suit Navigating the wedding industry and its unnecessary gender norms is an already exhausting experience, but for gender diverse folks, finding the perfect look for the wedding day can involve some trial and error. For example, Rah Foard (they/them) featured above says, “I discovered that holding flowers in my hands made me wildly uncomfortable, so I decided wearing the florals would be more rad and more my style.” Their bold flower sash combined with a gorgeous suit from Bindle and Keep created a stunning wedding look. Bindle and Keep’s “Suits for Every Body” just about sums up their entire mission. They offer custom designed suits at multiple tiers for folks to design and purchase. Their exquisite suit-making experience offers clients a safe place for custom fittings, and their garments include free alterations for the lifetime of a garment. This shop is ideal for folks who may be new to wearing suits or looking to customize their wedding outfit. Another option for folks looking to coordinate suits on their wedding day is Men’s Wearhouse, where Konrad (he/him) and Robert (he/him) found their wedding looks. Konrad says, “We were inspired by classic and complimentary looks. We wore matching suits, while Robert wore a bow tie and I wore a traditional tie.” Purchasing suits “off-the-rack” has its benefits, where couples can typically find coordinating looks, and the immediacy of their purchase allows time for alterations. Men’s Wearhouse offers suits, suit separates, and other formal wear options up to 6XLT, 66-68 Regular, and Long options. Custom Wedding Jumpsuits A jumpsuit is a great alternative for folks who might not enjoy the aesthetics of a suit but aren’t committed to wearing a skirt or dress for their wedding day. This glossy jumpsuit gives all the formal vibes for a wedding and could easily be dressed up or down with a personalized blazer or jean jacket, depending on your wedding’s theme. This jumpsuit by JIBRI goes up to size 28 (in dress size, 54″ bust and 48″ in the waist). Since we’re talking jumpsuits, we would be remiss not to mention Smart Glamour! The clothing brand is dedicated to creating clothes with all bodies in mind, they offer customized sizing up to 15x, and this jumpsuit’s train is removable! Perfect for that transition from wedding to reception. Smart Glamour carries an entire line of wedding and formal attire for plus size gender diverse folks. Their website speaks to their mission, “SmartGlamour is an affordable, inclusive, and customizable ethical clothing line for people of all shapes, sizes, heights, ages, identities, and styles. We make plus size clothing, straight size clothing, petite clothing, tall clothing, and everything in between and beyond. Every design is available in XXS to 15X and beyond. Every item can be customized to fit any and every body.“ Or like these beautiful African inspired jumpsuits by Afrikrea, offering sizing up to 7XL. According to the brand: “At Afrikrea.com, we do not believe in the myth of predefined sizes. Each body is different and deserves an outfit just as unique.” Their stunning jumpsuits are customizable and perfect for folks looking for a non-traditional wedding look! Wedding Flower Arrangements Natural, extravagant bouquets are all the rage in the wedding industry today, but some folks may be looking for unique ways to incorporate flowers in their wedding outside of gender norms. For example, Rah, mentioned earlier, wore their bouquet like a sash for their ceremony instead of in their hands as a bouquet. This couple’s bouquet was filled with bold greens and fanned out leaves from Bespoke Blossoms rather than a traditional flower-filled bouquet. The bright natural green colors contrast with their stunning formal wear, creating an iconic and beautiful look for this photoshoot. Bouquets don’t necessarily have to include flowers, buds, or even blooms and can be an arrangement of whatever plants are meaningful to you or your spouse-to-be. An alternative to holding or even wearing your flowers as a sash is an impressive flower crown, such as is worn by Naomi above, created by Little Botanica! A gorgeous way to incorporate your favorite blooms into your wedding day without the worry of losing a bouquet. Flowers themselves aren’t inherently gendered, but expectations on grooms and brides alike to carry or wear them can lead to frustration for gender diverse folks. Our advice? Do you! Whether you hold, wear, or carry your flowers – if you even have flowers at all, whatever is most comfortable for you is what really matters. Are you planning a wedding? What are you most looking forward to in the planning process?

Empower. Create. Share. 1. @WILDDIVERSITY. I remember the first time I met Mercy Sham. She made me laugh constantly as a group of women, femme, and non-binary individuals gathered in the dark, rainy month of November to binge watch Stranger Things. Her whip-smart one-liners, and spit-your-beer-out-hilarious commentary was all I was living for during *arguably* the most depressing month of Portland winter (up there with December, January…and February). Sham offers this comfort, ease, and warmth that translates to the work she does with Wild Diversity. Wild Diversity, based in Portland, Oregon, is removing barriers to the outdoors. Armed with their community-donated gear library, this grassroots organization facilitates connection with the outdoors for people of color and the queer community in the Pacific Northwest and beyond. In the promotional video, Sham says, “I think Wild Diversity came from my desire to support my community. You know, being African-American in the whitest city in the country can be really difficult because there is a lack of representation for POC and Queer people in the outdoor industry, and representation is important. It’s what makes us feel comfortable and connected.” Already creating a robust community of active POC and Queer outdoorists, Wild Diversity is here to provide a myriad of ways to get outside and enjoy yourself. Coming up for Wild Diversity: PNW Classic Backpacking Trip with the Venture Out Project: September 6th-9th 2018 the organization is hosting a backpacking trip for absolute beginners, and/or seasoned hikers. 2. @littlenows / @LEAD2LIFE. Founded by brontë velez, Lead to Life is a source of healing and connection for Black, Brown, and Indigenous folks impacted by environmental racism. From the first post on their Instagram account: “A People's Alchemy for Regeneration is transforming weapons into shovels/tools and holding ceremonial-tree plantings at sites impacted by violence across Atlanta and Oakland. what we do to the Earth, we do to one another. The project of environmental racism harms the Earth and black/brown/indigenous communities simultaneously. This calls us into exploring how ecological restoration can serve as a practice in restorative justice. our rituals in alchemy are an inquiry in decomposing violence and reimagining what is possible.” Inspired by Mexican artist Pedro Reyes, and an ancient lineage of Swords to Plowshares creators, Lead to Life chose to locate their alchemy and cultural healing work in the U.S. – occupied Turtle Island. Velez was a guest on For the Wild's podcast in which they write about them: "As a black-latinx multimedia artist, life-long student, and designer, their praxis (theory + action) lives at the intersections of critical geography, black liberation ecologies and creative placemaking." VELEZ IS AS ENCHANTING AND INSPIRING AS IT GETS! This past April, Lead to Life put together a series of events complete with a “Peoples Supper,” ceremonies, and a permaculture action day. 3. @JOLIEVARELA / @INDIGENOUSWOMENHIKE. Some of our readers may be familiar with the John Muir Trail, but Jolie Varela, founder of Indigenous Women Hike, is gaining fiery momentum every day to change that. This trail is not John Muir’s. What many known as the “JMT” is actually a segment of ancestral trade routes – routes that Jolie’s Indigenous ancestors traveled. Jolie, a member of the Tule River Yokut and Paiute Tribes, lives in Payahüünadü where her people have lived since time immemorial, what settlers call Bishop, California. Jolie is not here just to set the record straight that the “JMT” is actually Nümü Poyo (though this is a great and exhausting feat in and of itself), but she has also created Indigenous Women Hike as a platform for gathering fellow Indigenous women to work towards healing. It is a vehicle that reaffirms her peoples’ connection to the land through group hikes. Jolie is making great strides in the outdoor industry just in time for the first inaugural hike of Nümü Poyo coming up this summer. Read more about Jolie Varela and Indigenous Women Hike here! 4. @MIKEY.AE / @BROWNENVIRONMENTALIST. With their tender new storytelling series called “#beenoutside,” the collaborative media collective, Brown Environmentalist Media is rewriting the outdoor narrative and amplifying the stories and leadership of BIPOC in nature. On their first post introducing the campaign, Brown Environmentalist writes that #beenoutside is, “…a rally to celebrate the different and many ways that Black, Indigenous, and People of Color have spent time in the outdoors for generations and throughout history, and how BIPOC continue to enjoy time outside today.” Brown Environmentalist has partnered with several organizations of color to amplify representation of BIPOC. Some of their projects include: Brothers of Climbing Springfest, Latinx in the Environment Summit, PGM One Summit, and work with the Pew Research Center. WOAH. BE is a proud member of the coalition Diversify Outdoors. Founder Michael A. Estrada has an impressive track record with his passions for storytelling, environmental justice, and creative engagement, he transitioned in 2016 to documentary journalism, with the ongoing commitment to elevate the voices of communities and people through story and visual representation. BE Media Co. is an aspiration toward a reframed public imagination where BIPOC are seen as the inherent leaders of the environment. 5. @ZEROWASTEHABESHA. We want to express how grateful we are by saying THANKS A FREAKING BUNCH to Brown Environmentalist because it is due to their Instagram account that we found Olivia Lapierre (Firewain Adunia), also known as ZeroWasteHabesha. Lapierre is an Ethiopian American environmental justice community organizer, a self-described Black feminist, and a zero waste enthusiast who focuses her work on environmental racism, environmental reparations, and decolonizing sustainability. Lapierre utilizes social media to share information about the ongoing genocide via environmental racism happening in this country. Recently, Lapierre posted breaking news from the Detroit News, which proclaims that the state of Michigan is done providing Flint residents with free bottled water. ZeroWasteHabesha is a platform to uplift the voices of BIPOC, to bring attention to systemic and structural racism (i.e. police brutality, mass incarceration, school to prison pipeline) and how these phenomena relate to climate justice. Lapierre reminds us in an article published on Loam Magazine’s website, “If you’re not actively dismantling systemic racism then you are participating by being complacent! Staying silent and choosing to be neutral in the face of injustices is upholding white supremacy.” 6. @BELOWGROUND_ACTIVITY. We gotta take a deep breath before introducing our next golden highlight…Critical Ecology, which you can find on Instagram at @belowground_activity, is about “unearthing how marginalized folks experience the environment and science, as well as exploring the transformative power of ecology for justice.” Founded by Suzanne Pierre @puesierre, Critical Ecology is exposing the way, “the rarity of women of color becoming environmental experts is no accident, but by design,” as Pierre says herself. We have put too much trust in scientific data that has been created by the hegemony of whiteness, and Critical Ecology is here as a desperately needed resource to encourage us all to ask questions, demand accountability, and fight for justice for marginalized communities. Pierre is a PhD student studying ecology and biogeochemistry at Cornell University. She is accepting a position as a UC Berkeley President's Postdoctoral Fellow from 2018-2020 in the labs of Dr. Todd Dawson and Dr. Mary Firestone. Pierre reminds us that systematic barriers to entry keep many people outside of science. To overcome these barriers, she worked to develop the first effort to recruit underrepresented minority students to the Cornell Department of Ecology and Evolutionary Biology. Through collaboration with other graduate students, faculty, and administrators, they brought 22 prospective students to Cornell in 2017. Can you get any more IMPRESSIVE?! 7. @AMIRIOFREEMAN / @BEINGGREENWHILEBLACK. Mae C. Jemison. Alice Walker. Cardi B. Marvin Gaye. Angela Davis. Prince. Malcolm X. Assata Shakur. Oprah. Obama. Jenna Wortham. bell hooks. Renee Gunter. Only a few icons that have been featured on the incredibly lush and infinitely magical Instagram account Being Green While Black @beinggreenwhileblack. BGWB exemplifies the relationship between Blackness and closeness to the land. In “'Our Beautiful Statues and Monuments’: An Ode to My Grandfather’s Garden,” published in the digital publication Philadelphia Printworks, Curator of BGWB, Amirio Freeman, wrote, “Black bodies are hefty and weighty with presence, constantly traversing public spaces to disrupt attempts to erase the imprint of Black people in America. Our bodies are “our beautiful statues and monuments” that have been erected and unmoved despite being situated in the most hostile and infertile of soils.” Freeman, originally from Hampton, Virginia, graduated from the College of William and Mary with a B.A. in Public Policy and a minor in Africana Studies. He completed an Honors Thesis on the role of the environment in Afro-Diasporic healing modalities while focusing on diversity and sustainability endeavors. More of his profound work comes in the form of programming and projects dedicated to diversifying sustainability efforts, and he also served as a research assistant for an academic paper regarding Americans’ changing perceptions of poverty, the poor, and public assistance. It is without a doubt that his incredible work encourages thought-provoking and much needed dialogue around Black identities, liberation, nurturance, healing, reconnection, and justice. In the words of Philadelphia Printworks, “praise the Lorde,” for Amirio Freeman and BGWB! 8. @LALOBALOCASHARES. Surviving capitalism and white supremacy is easier when you follow La Loba Loca @lalobalocashares. From warning people that the only “ethical consumption” of white sage is homegrown, so as not to buy it and take this ancestral plant of Indigenous peoples, to going in depth in online courses about radically and consciously menstruating, La Loba Loca is here to impart Brujeria Feminista as a political practice of balance. La Loba Loca is a Queer, Chocolla, Andina, South American migrant, artist, researcher, writer, handpoke tattooist, full spectrum companion/doula, aspiring midwife student, seed-saver, gardener and yerbetera, who facilitates shares and circles on herbalism, plant relations, social justice, healing justice and autonomous health. The horrifying lack of resources and information geared towards Spanish-speaking communities of color, as well as queer and trans communities of color, are major concerns that Loba strives to alleviate. All hail Loba for doing the work of decentering the white supremacist, cisheteropatriarchy by talking about radical self-love, herbal feminist medicine, and remembering and reclaiming “Abuelita Knowledge.” 9. @QUEERECOLOGY. “Going farther than imaginable with the speed of a falcon,” to quote their introductory video, the Institute of Queer Ecology (IQECO) is here to disrupt and reimagine the way we study ecology. The term “queer ecology” refers to practices that aim to disrupt prevailing heterosexist discursive and institutional articulations of sexuality and nature, and also to reimagine evolutionary processes, ecological interactions, and environmental politics in light of queer theory. Fun fact: the IQECO logo is a tribute to Roy and Silo, the famous gay chinstrap penguins in Central Park Zoo. IQECO wrote in a previous Instagram post, “In 1999 they built a rock nest, and attempted to hatch a stone as if it were an egg. Their gesture inspired zoo keepers to give the pair a real egg, from another penguin pair that couldn’t hatch it. Roy and Silo successfully raised a chick named Tango as a result.” QUEER ICONS FOR THE WIN! 10. @NATURECHOLA/ @GETOUT.STAYOUT. In one of her most recent posts on Instagram, Karin Ramos poses delighted and smiling with her arm flexed, cheeks radiating with her natural glow, to show off the beautiful gold bracelet she made herself with the words “Get Out Stay Out,” stamped into the band. Also known as, @NatureChola, Ramos is the founder of Get Out Stay Out, a non-profit that invites kids, particularly youth of Indigenous backgrounds, to run, play, and discover themselves in an outdoor environment. Ramos, Oaxaqueña, Indígena, Ñuu Savi/Scu-iia, addresses hard issues like colonization and colorism on her Instagram. She writes, “Let’s create a better world for the unheard voices of the indigenous people of the Americas (yes..Mexico, Guatemala, Guerrero) stop the derogatory terms and check yourself for racism and biases within your own circle.” From clean ups, to hikes, to multi-day backpacking excursions, Ramos has already positively impacted the lives of countless Indigenous youths and youths of color. Her unrelenting work ethic and personal stamina inspire all of us to keep going. YES!!! Unlikely Hikers is a diverse and inclusive Instagram community featuring the underrepresented outdoorsperson. The platform features fat people, people of color, queer, trans, gender nonconforming folks, people with disabilities and so on. Unlikely Hikers aims to never conflate these experiences, but to explore and build community at their intersections. Jenny is someone who knows that multiple important issues can be addressed at once, which is why not only does she talk about representation of queer and fat LBTQIA folks, but she also notes how necessary it is to acknowledge the land we are on. We LOVE this Jenny Bruso quote from the feature article published in the Portland Mercury about Unlikely Hikers: “It’s funny when people say they go to the outdoors to ‘get away from all of the political shit,’ because the way land is acquired and its history is so fucking politicized,” she says. With that in mind, every hike she leads begins with a speech: In addition to setting guidelines restricting diet or weight loss conversations, she also gives an acknowledgement to the land. “We talk about the land we’re recreating on and who the land belongs to—because we’re on Native land. There’s a lot of language in outdoors culture like ‘crushing miles’ or ‘bagging this mountain.’ [That’s] settler/colonialist bullshit language. I talk about that because I want people to be aware about how they talk about the land. The land gives us so much, and it comes at a price. Native peoples are continuing to lose their lands to this day. It’s not just our playground.” THANK GODDESS FOR JENNY BRUSO.

A list of women and movies to follow that embody feminism “A Wrinkle in Time” “A Wrinkle in Time” follows Meg Murry, played by Storm Reid, whose father, played by Chris Pine, disappears in the midst of discovering a new planet. When Meg gets news that her father is alive and trapped in this planet, she goes on a journey with her little brother and a classmate to bring him back home. Directed by Ava Duvernay and featuring Oprah Winfrey, Reese Witherspoon and Mindy Kaling, this 2018 adaptation is a must-see for young girls as Meg realizes she can do amazing things and overcomes her self-doubt. Chimamanda Ngozi Adichie Nigerian-born writer Adichie has written several novels, short stories and nonfiction pieces, including “We Should All Be Feminists.” The book-length essay seeks to define feminism for the 21st century. Her works of fiction emphasize complex women of color and are well-written examples of intersectional feminism from a multinational perspective. “Spanglish” follows a hard-working immigrant mother Flor Moreno, played by Paz Vega. Flor works for an upper-class family as their live-in maid, and her and her daughter must navigate living in an English-speaking, upper class household. This 2004 James L. Brooks-directed movie takes a comedic route to show the struggles of a Mexican maid as a single mother. As a transgender woman, Cox is an advocate for LGBTQ rights. She rose to fame for her role in “Orange is the New Black” as Sophia Burset and critics praised her for her multifaceted, sympathetic portrayal of a trans woman of color. Cox is outspoken about redefining gender equality to include trans and non-binary individuals. “Hidden Figures” tells the real-life story Katherine Johnson, played by Taraji P. Henson, Dorothy Vaughan, played by Octavia Spencer and Mary Jackson, played by Janelle Monáe, who were the real brains behind the launch of astronaut John Glenn into orbit. Their struggles of being black women in a white and male-dominated field play out on screen. These women are an inspiration, supporting each other and accomplishing the impossible. Chrystos is a Menominee poet and activist whose work focuses on themes of Native rights, feminism and social justice. Chrystos is two-spirit, a third-gender role unique to indigenous culture, as well as lesbian, both of which are central to their identity and influence their writing. Chrystos is known for their uncensored and often biting social and political commentary. “Crazy Rich Asians” Rachel Chu, played by Constance Wu, goes on a trip with her unbelievably wealthy boyfriend Nick, played by Henry Golding, to his home in Singapore. With the classic mean girls at every corner and the disapproval of Nick’s mother, her trip turned from a vacation to a never-ending, unpleasant surprise. This 2018 film based on the novel of the same name is a rom-com for the books. With characters like Rachel, Astrid, played by Gemma Chan, and Penik, played by Awkwafina, the movie focuses on multiple female characters with contrasting personalities and is the first major motion film to feature an Asian-majority cast since 1993’s “The Joy Luck Club.” The movie isn’t just about one woman pursuing a man, but rather it introduces different women from a variety of locations, generations and values. Lizzo is an American hip-hop and rap artist known for her commitment to feel-good music. Her work, both catchy and fun-loving, advocates body-positivity, self-love and acceptance. Lizzo is open about being sex-positive and confident in her own body, and she is just as addicting to watch as her music is to listen to. “Real Women Have Curves” The movie is the story of Ana Garcia, played by America Ferrera, a first-generation Mexican-American navigating her way through womanhood. She lives in a Latino community in East L.A. and fights her traditional family’s prejudices about higher education. This 2002 movie gives insight on the struggles that Mexican-American students face when they are stuck between two worlds. “Real Women Have Curves” is the Mexican version of the film “Ladybird,” with a similar plot of a teenager wanting to grow up and be something bigger than what their parents have in mind for them. Moraga is a renowned poet, playwright, essayist and activist and is famous for her work as a co-editor of the feminist anthology, “This Bridge Called My Back: Writings by Radical Women of Color.” Moraga’s writing and work centers arounds intersections of race, gender and sexuality. Moraga has also helped found La Red Xicana Indigena, an organization that connects and provides a voice for Xicanas across different fields as well as promotes indigenous women’s rights. “The Hunting Ground” This documentary focuses on exposing the rape statistics on college campuses across the country. It features survivors telling their stories as well as the various extents that U.S. college campuses go through in order to cover up sexual assault. The film follows women pursuing their education as they call for an end to harassment and sexual abuse on every level. “The Hunting Ground” was directed by Kirby Dick and brings to light the unfortunate reality that many women face as they try to gain a higher education. The women in the movie don’t just share their story. They call for action, and that is what’s most impactful about this documentary. Writer Jacqueline Woodson has produced over two dozen books for children and adolescents. Her bestselling memoir, “Brown Girl Dreaming,” recounts her experiences growing up in the 1960s and 1970s amid the growing Civil Rights Movement, presenting issues of race and gender to younger readers. 20-year-old actress and activist Amandla Stenberg is very outspoken on issues of race, gender and sexuality. Stenberg uses her fame as a platform to empower queer women of color as well as to address problematic racial ideologies. Stenberg stresses the importance of representation of minority groups and strives to serve as a role model for young people of color. Actress and filmmaker Brie Larson stars in “Captain Marvel” and has said in an interview with Entertainment Weekly that a central theme in the movie is the power of female strength. Released on Mar. 8, the movie boasts a diverse cast and defies misogynist tendencies common in superhero franchises. Larson is an advocate of intersectional feminism and for survivors of sexual assault. Written By: Itzelth Gamboa and Cheyenne Wiseman — firstname.lastname@example.org

Documentary TransMilitary exposes lives of trans service members and their struggles to serve authentically; Ireland medically retired due to government military policies regarding trans service members By: Chris Gilmore and Audrey Cole/TRT Reporters— The multiple award-winning documentary TransMilitary, by filmmakers Gabriel Silverman, Fiona Dawson, and Jamie Coughlin, chronicles the lives of four transgender service members, Senior Airman Logan Ireland, Corporal Laila Villanueva, Captain Jennifer Peace and First Lieutenant El Cook, who vehemently defend their country’s freedom while fighting for their own. According to the New York Times, transgender people are twice as likely to serve as their fellow citizens. Some service members have to serve while concealing their gender identity because of military policies that ban their open service while fighting. Concerned about being discharged or prevented from voluntarily enlisting, they fight from the start for what should be their equal right to serve the United States of America. Available to stream on a variety of platforms since January 2019, the film’s online launch took place days before the Supreme Court decided to uphold Pres. Trump’s ban on transgender military service members—the approximately15,500 transgender officers serving in the U.S. military (the largest transgender employer in the country). The trans men and women in TransMilitary courageously—and willingly—put themselves in the line of fire while serving, to help bring visibility and education, activism and equal rights, to a self-sacrificing cause they serve, live—and die—for. One of them, Army Corporal Laila Villanueva, now medically retired after 12 years of service, sat with The Rainbow Times to discuss the film, the ARMY, the love for the military that she shares with her husband, Logan Ireland, and what has come out of the despair of being “forced” to leave behind a life of service that she never thought would end so quickly. The Rainbow Times: In light of the Supreme Court of the United States decision to uphold President Trump’s ban on transgender service members, why is this documentary important to watch? Laila Villanueva: The premiere of this film could not have come at a better time as Trump’s transgender military ban is facing legal battles. Representation of transgender individuals in the media today is extremely important. TransMilitary is an up-close and personal, colorful and insightful documentary that insists on the importance of films like this to assist in educating, introducing and making people aware of who transgender people are, specifically those who have volunteered to put their lives and livelihoods on the line in order to protect the people of this country and the country itself. Contrary to what some may think, the lives of transgender people are not an experiment at all, nor are their individual decisions to join the military. They just want to live their lives as anyone else does. Q: Looking back (after news broke about the High Court decision), do you regret your participation in the documentary? A: Participating in this documentary has changed my life in ways I never could have ever imagined. My part in this film is just a very small but extremely impactful part of this journey. I do not regret at all being a part of this film. Through this film, I have been afforded the opportunity to forge many great relationships, travel to many different amazing places, and hold many telling conversations surrounding transgender people in the military and society. Through this film, the team and our trans military [service] members have been really able to change hearts and minds across the world. Q: According to the documentary, you left the ARMY with an honorable discharge because you wanted to keep your benefits. When exactly did you leave and under what conditions? Would you have continued serving, had you not been given the grief you were given (dress code, discrimination, etc.)? A: If I were afforded the opportunity to continue to serve, I would definitely still be in the military today. I medically retired from the military in November 2015 under Honorable Conditions. I am very proud to say I am a veteran and have served in the greatest armed forces for the greatest nation in the world. But, obviously, life had very different plans for me. Q: Is Logan still serving? If so, do you fear what this will do to his career and career plans to advance within his branch? Is he an Airman now? A: Logan is still currently serving in the Air Force. While I am not fearful of what this proposed policy will do to his career, it is extremely disappointing. The proposed policy allows him to be grandfathered in and stay in the military, but prevents him from taking the Air Force Officer Qualifying Test, a test that would help him advance his career as an officer in the Air Force. The court’s ruling is irrational, it is biased, and it is hurtful to a lot of troops that are currently serving both here at home and overseas, and even to the ones that have served. Q: If you were face-to-face with Pres. Donald Trump, what would you tell him about this ban? About transgender service members? A: I truly believe that it takes extreme courage to enlist in today’s military knowing the state of affairs overseas and here in the United States. I also believe that transgender people tap into absolute vulnerability to be emotionally engaging and open about themselves in order to be able to work with a team you basically live life with, about all your real-life experiences. By excluding transgender people from being in the armed services, it validates the idea that transgender people are worth less than their comrades. You give up a sense of self when you enlist into the military. It is a selfless act when you become a service member. That is an experience that only the brave 1% of Americans are willing enough to embrace. Q: For those of us, who’ve never been in the military, please help us understand why when your employer discriminates against you and threatens to fire you or requires you to live unauthentically, why would you still want to serve under those conditions? A: Many see joining the military as a calling. The need and desire to be a part of something bigger than just themselves. Though it isn’t an inherent right to serve in the military, it is an opportunity earned through capability and character. The fight for open transgender military service does not seek “a right to serve,” but to show, through both capability and character, that we have earned the opportunity to serve. Exclusion gives credence to the notion that we are somehow less than other service members. It flies in the face of the meritocracy that says the best and brightest succeed. When a person has a calling, they will fight to their last breath to remain and will do their very best to prove, even to the most ardent detractors, of their folly. Q: Where do you think this is going? What hope do you give others trans people wanting to enlist or join the military after the Supreme Court decision? A: It’s hard to assume where this movement will go, especially in a time when anything is possible. At this moment, it’s hard to say whether one should attempt to join the military or not. We have trans folks going into recruiters’ offices and putting in their enlistment packets but being told they have to enlist as their gender assigned to them at birth. It is quite unnerving to hear that. This ban goes against the very practice of measuring a person’s value in the military by what each individual person brings to the table and not by our gender identity. So, it is a gamble making the decision to enlist or not. We have to keep looking forward and have to continue to work even harder. We have to keep moving because our lives depend on it. Q: Tell me, how did you meet Logan? The film talks about having children, how does yesterday’s news affect that too? A: Logan and I met in 2012 from an online support group for TransMilitary members called OutServe-SLDN: Transgender Chapter. We then helped create and build another non-profit organization called SPART*A Trans in 2013-2014. Before we formally met at the annual SPART*A conference in 2014, our relationship was purely professional. But that soon turned into dating and quickly followed was a surprise proposal in Hawaii, orchestrated by Logan with the help of my closest family and friends. And, we married in May 2016. Our plans of having children have not been detoured by the recent news and we still plan on moving forward. Q: What exactly are you doing now? Where do you go from here? A: Currently, I work as a Healthcare Management and Administration Supervisor. The only way from here is up. We have to keep on fighting. We have to continue to believe that it will get better. While visibility does not equate to equality, ignorance does equal fear and fear and silence does equal death. We have to believe and be proactive if we want to change the negative narrative that continues to berate our communities. Q: What were your parent’s reactions when they heard about yesterday’s news in terms of support for you? A: We are very lucky and blessed to have very supportive parents, very supportive family and friends. Their reactions and sentiments echoed that of many other people hearing the news–they were enraged and disappointed. They also had many questions on what was going to happen next in our lives. But we continue to remain positive and humble and realistic about moving forward. Q: How long did you serve and in what branch? A: [I served from] 2003-2015, in the Army. Q: Do you do other transgender-related work? A: Aside from TransMilitary advocacy, I sit on a few boards that cater to the LGBTQ2 Community. I am a board member for Point of Pride … a non-profit organization, created by Aydian Dowling and Jeffrey Main that works to benefit trans people in need through gender-affirming support programs that empower them to live more authentically. … I sit on the Military Advisory Council Board of Outserve-SLDN, as a trans-military consultant providing data and insight on what the trans military community is going through or needs. Also, I often travel and hold open conversations in schools, installations and businesses across our nation advocating for LGBTQ2 youth and veterans. Q: What does SPART*A do and how can others help fund it or how can they become involved? A: SPART*A is a non-profit organization that was founded in late 2012 and stands for Service Members, partners and allies for the respect and tolerance of all. This organization exists solely online and consists of over 850 Soldiers, Sailors, Marines, Airmen, and Coast Guardsmen who are currently serving and identify as transgender. Its membership represents the entire transgender spectrum including non-binary and gender-fluid folks, even though the military does not recognize NB and GQ people. Under the direction of LCDR Blake Dremann, our all-volunteer staff serves as a one-stop-shop for guidance and support while transitioning in the military, or from military to civilian life. This includes how to conduct name changes to starting the transition process with their unit leadership and medical teams. We also offer a safe space for support for the families of our SPART*A members. If you’d like to get involved with SPART*A, you can find us on Facebook or you can visit our website at www.spartpride.org. If you’d like to donate to SPART*A, you can go to www.spartpride.org/donate. All profits go to our Jessie Shipps Emergency Relief Fund to assist those in our trans military community should they need it. Q: When I watched the film, I felt anger for the way you were treated and sadness for your struggle and outcome. What do you say about those reactions? A: I think the audience reactions gives credence to what myself and any normal person would see as disrespectful and mistreatment. People who have watched the film and meet me, often apologize for the way that I was treated. But, I think it is also important to highlight that there is a huge disparity in how trans women, let alone women are treated in hyper-masculine environments because of toxic masculinity. I also live at several intersectionalities: being a woman, being transgender, being a woman of color, being Asian American and Pacific Islander, being Latinx, being raised Catholic, coming from a military family and background, being a spouse and being a veteran. There is a lot to unpack there, but these are the conversations that are important to have. Q: Use three words to describe yourself. A: Three words? Hmmm. If I had to choose I’d say: Determined. Outspoken. Unapologetic. Q: Use three words to describe your love for Logan. A: Three words to describe my love for Logan would be: Giddy. Random. Equal. Q: What is something that people would be surprised to learn about you? A: I think the thing that most people would find surprising to learn about me is that while I love the glam dresses and makeup and hair do’s, if I could actually go to all my events in a sweater, sweatpants and my hair tied in a bun with a box of pizza, I totally would. But you know, I have to clean it up every once in a while. Q: What message would you like to send to trans youth seeing the film and now hearing about this Trans Military ban? A: I didn’t have a person or a mentor to hold my hand going through this journey. No one told me how hard it was going to be. But, I also grew up in a different time. Don’t let the crazy rhetoric of one person, even if they are the leader of the “free world,” detour you from being your authentic self and living your best life. Don’t allow people like them to steal your sunshine. Life is way too short to spend another day at war with yourself. When LGBTQ2 folks decide to be visible and present, and unapologetically authentic, that is the reality that we choose, not one that can be chosen for us. So, LIVE YOUR LIFE!!! Q: Do you ever think visibility places you at risk in the outside world? A: Visibility as a transgender person, let alone a woman, let alone a person of color is inherently placing myself at risk in today’s society. But it is a risk that I am absolutely willing to take if that means we get to actually start having the hard conversations surrounding those things. Q: There are young people who look up to you via social media, what message do you tell them? Where can people find you on social media? A: I receive tons of messages on a daily basis across all social media platforms. I always encourage my followers to be unapologetic about themselves, to harness that sunshine and share the love with those that need it so that they may be able to pass along those planted seeds. It’s tough out there in the world but our love, determination, and will to fight for humanity is what is going to keep moving us forward. You can find me on IG: @laila.ireland, on Twitter: @lailaireland, and on FB: @TheOfficialIrelands.

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Visit theallusionist.org/name-changers to hear this episode and read more about it. This is the Allusionist, in which I, Helen Zaltzman, fashion a pair of wings out of feathers and wax and give them to language with strict instructions for use. It’s still Name Season here at the Allusionist. In today’s show, we’re going to hear a few of your stories of why you changed your names. Thanks so much to all of you who have been telling me about your names, it is never boring. I think there’ll be another episode of this, so if you want to, do record yourself telling me why you changed your name and why you chose the name you chose. The people you’ll hear today have included only as much or as little of their current or past names as would be safe to have aired publicly and that they were comfortable with. For instance, where trans correspondents mention their dead names, that was their decision. Some correspondents remain anonymous. Thanks to Squarespace for sponsoring this episode of the Allusionist, and for providing an all-in-one platform to create and run a website for your long-cherished ideas. For what is your long-cherished idea without a website? An untoasted crumpet, an uncracked egg, an unpopped kernal of popcorn. Make a promise to yourself that you’re actually going to realise your ideas by getting the website rolling. It is a very strong first step, and it is very easy to do: head to squarespace.com/allusion for a free trial; have a go at building your website, using Squarespace’s award-winning templates and easy drag and drop tools; and when you’re ready to launch, use the offer code ALLUSION to save 10% off your first purchase of a website or domain. On with the show. I changed my name because my parents spelled it wrong. Why did I change my name? I didn't like it! I have legally changed my name twice now, first and last. My parents tell this cute story about choosing my name the night before I was born. But as I was growing up, it was one of the most common names for female dogs. I found out when I was about 12 that I was actually named for an actress that my dad had had a crush on when he was a kid, so I thought that was a bit weird and I didn't really want to hang on to that. When I was born my parents could not agree on a name for me, and on their last day in the hospital after I was born they were watching the news and there was a missing children's report on the TV with a little girl named Ashleigh, and I was named after her. Choosing a new name allowed me to drop a lot of the old baggage with the old identity without feeling as though I were betraying it. When I was a kid I was always asking my parents, "What would you have named me if I'd been a boy?" They always answered, "We just knew you were gonna be a girl." I wonder if they would've given me a real answer if they knew why I was actually asking. If they had ever given me a real answer, that would be my name now. As things stand, I had to choose my own name. I changed my name because I was coming into a more identification with Japanese heritage. I am half Japanese and half Caucasian, and I felt like my name, my birth name, didn't represent that. In fact, it didn't. All three of my names, first, middle, last. I always stood out on paper, you wouldn't have been able to tell that I was actually half Asian. It looked completely like a generic white name, so to speak. And I think choosing a name and coming into a name that you feel is appropriate for you is a big step in terms of self discovery. I was Roger. Roger IV. That name always felt weird for me. I eventually realized this is because I'm trans and Roger is a very masculine name. At first I tried to find a name that was a feminine version of it, but none really exist. The closest I got was Regina but I didn't like that either. After years of going by nicknames and little things, I eventually realized I could take part of my name and recycle it. I could take the fourth, and convert it to a Roman numeral, and put it in the center of my name. I got River. And I liked that. Hi, my name is Remy Green, and I'm an attorney in Brooklyn, New York. I practice law, and I'm barred in the state of New York under the name J - and that's a J as a first initial - Remy Green. I was born as Jeremy Maxwell Green. Jeremy is an obviously masculine name, while Remy is at least somewhat androgynous, which better reflects me as a transgender non binary person. I was told that for practicing law while shortening Jeremy to Remy or Jeremy to a J and using it as an initial would be perfectly okay, switching out the first E in Jeremy for a period and a space would be too unconventional. So Jeremy becoming Remy Green was fine. Jeremy Maxwell Green becoming J. Maxwell Green would have been fine. But Jeremy Green becoming J. Remy Green was not. So after confirming that, in fact, one Jeremy could change to J and one Jeremy could change to Remy, I went to court and got another Jeremy added to my name. I changed my name to Jeremy Jeremy Green. So I chose to change my name because before I was aware that I'm trans - because I didn't know that was the identity I could be or that we existed really - I always hated the colours of my name. I didn't realize that I experienced letters not like everyone else because I'm also synaesthetic, so I didn't realize I didn't like my name because of gender reasons; I just thought, I just can't stand these colours, these pinks, these teals, I can't handle them. Which is funny because I love those colors now. I just needed to change my name for so long. I knew that it was important that I that I pick a name that has letters that I love and colours that I love, colours that I paint with, colours that resonate with me. So I named myself Ketch, and I spelled it K E T C H because it mattered it was in the darker teals and burnt reds and things that I that I really enjoy looking at all the time. And bonus points: it turned out it worked for my gender expression too. When my wife and I decided to get married, we wanted to make our own last name, as I've never been too connected to my own. And so what we did is we took the first letter from each of our last names and our mothers' last names and made an acronym out of that in order to make our own last name. My father desperately wanted a boy to carry on the family name to be a third. Instead he got two girls. When I got divorced at the end of my twenties, the thought of reverting to my maiden name seemed an injustice or an affront to my individuality. So I chose the last name Rowan after a magical and protective tree. My name is Rowan. I change my name when I was 18. I'm 26 now. And I changed my name because at the time I was really struggling with my gender identity and I felt a lot of dysphoria being called a very feminine name. And I chose the name Rowan when I was researching names for a story; I came across it and I just had this instant sense that was the name I would have been given if I had been born a boy, like it was my name in another life, and I decided that there was no reason to waste it on this other life when you only get one. And that's why I changed it. Hi, my name is Michelle, formerly Michael, and I changed my name because I was discovering who I was and when I did, I did a transition from male to female so I thought I needed a more female-sounding name. Some people believe that when you become a new person, you need a totally new identity, and with me that's not the case. I wanted to keep sort of the variant of what I was called, I guess you could say, just to pay honour to my parents; they chose that name for me and that name carried me for many years and that was my identity for many years. So I thought to pay homage, as it were, to that identity that when I became who I am today that I would just vary it slightly into more of who I am. I changed my name about two or three years ago when I came out as a transgender man. My name used to be Rachel and now I go by Felix, partially because I didn't know any Felixes. I like that it means ‘lucky’ in Latin, and that it's the root for the word ‘happy’ in Spanish. I think that's kind of nice. Like the idea is as I changed my name, I'm becoming more happy, that is part of my transition. My birth name is not a particularly feminine name but it is identifiably a quote unquote girl's name. I am a non-binary person so that wasn't going to work for me, and after I came out it took a while but I decided that I did want to change my name. And I thought about a lot of different names to use; I had a long list and I tried out a couple of different ones. But I settled on Felix, because first of all it means 'lucky' which makes me smile when I think about it. I only know that because of Harry Potter, because the luck potion is called Felix Felices. So that's what I settled on as my reason. Anytime anyone refers to me by my name, it reminds me that I'm really lucky to not just be queer and be out and be in alignment with who I actually am, but also to be surrounded by such a loving community of people who honour and respect who I am and do so by calling me by my name. I used to be called Righard, which is a South African name and it's quite common in South Africa. But unfortunately, when I moved to the Netherlands, it was really difficult for people to pronounce. When you are meeting new people, which is part of an expat’s life, it is always really frustrating when people spend like the first three minutes of conversation just in a spitting contest to do the G sound, Righard. So I decided to make my life but also their lives easier. And I chose Abraham. And how did I do that? I started with the alphabet and Aaron was already taken, so I just went to the next one, Abraham. ERIN: My name is Erin Artin. BEN: And my name is Ben Artin. When I was growing up in Croatia, my name was Miroslav Yurecic. ERIN: And my name was Yelena Antonic when I was growing up in Serbia. We met when we were both starting grad school in Boston, and pretty soon after we started dating we realized neither of us was loving the experience of having a name that nobody around us could spell or pronounce. BEN: So we figured: why not change them? The whole thing: new first names, new last names. We decided that our new names would have to be unambiguous, because we were tired of being asked how to spell them. ERIN: And we wanted our new names to be easily spelled and pronounced in Serbian and Croatian. BEN: And we wanted them to be short, because if we're going through all this work to pick new names we're going to want to then end up with nicknames. ERIN: Even with those requirements though, there were still way too many first and last names to pick from. BEN: So we decided to add one more requirement, that let us quickly turn the list to a manageable size using a computer program. ERIN: We picked new names that could be spelled with a periodic table of the elements. BEN: Then we field tested the new names for about a year to see how we liked them. We got dinner reservations using our tentative new names for example. ERIN: And when we finally legally changed our names, we kept our old first names as our new middle names. Now we can just say “I used to go by my middle name” when we don't feel like telling this whole story. I had never connected to my birth name of Michael. There were so many of us in grade school that we were all of us addressed by our full names, even by our friends. When I was 12 I told my dad that I didn't like my name very much so he said that I should just find one that I didn't like and have people call me that. So I settled on Cirrus, because I enjoy cloud gazing. I like Latin and all the clouds are named for Latin. It's been professionally very beneficial since it sets me apart in my field as a journalist. There are 66 Michael Woods just in the Bay Area subsection of LinkedIn, but I positively dominate Google search results for Cirrus Wood. So I'm trans and I wanted to change my name. It was pretty clear that I was going to change my first name just by adding an A to the end of it and feminizing it. But I didn't want to just do the feminized version of my middle name, because my assigned middle name was Ahmed and this is at the time when Ahmadinejad was in the news and Ahmedina did not feel like the name that I wanted to have. And so it took me honestly seven years to figure out the middle name that I actually wanted to have, and I ended up choosing Ruya, for two reasons. One. Is because it is Arabic for ‘vision’ or ‘sight’ and I really like my eyes. I have had various types of dysphoria in my life but at all points I really enjoyed the colour of my eyes. They changed from blue to green to grey and I like how they look, and I have always liked that part of my own body, even when I didn't like any other part. I chose the name Leaf because I spend a lot of time in the forest and I like foresty things. But I think more importantly as a trans person, or more specifically as a transgender non binary person, I very much felt singled out and lonely. I spent a lot of time feeling like a freak. I'm almost always the only trans person in the room, and even when there are other trans people around I am probably the only transgender non binary person in the room. I chose the name Leaf because there are a lot of leaves out there, and it sounds pretty silly but honestly I really do go out into the forest and be like, "Wow, look at all of these leaves" and just feel like one leaf among many leaves, and it's very very comforting. And I love my name. My birth name was Amanda Lynn - my middle name was Lynn - after the instrument, the mandolin. And I never really felt like it fit me. And my mom started calling me Amanda Panda when I was a kid. And then it just kind of evolved to where my close friends would start calling me Panda. And then when my wife decided to transition - she is a trans woman and she changed her birth name, her dead name, to her feminine name - I went ahead and changed my name legally to Panda. We did it at the same time in the court together and it was a really nice experience. And I'm glad that I did it. HZ: Here’s one from someone who needs to remain anonymous. “In my mid-20s I took a job with an organisation that monitors far-right extremist activity. Because of the risks involved, I was advised to pick a false name to work under. I picked a first name that sounded not too unlike my own name - one syllable, ending in the same consonant sound - and a surname from somewhere back in my family tree but that had no particular connotations for me. The aim was for it to be as unmemorable as possible. About 5 years on I moved to a different job but would still be working with lots of the same people, so I just kept the false name. I had it till I left that job, 4 years ago, so for about 15 years in all. It quickly became completely normal to me to have two names. I never once accidentally used the work name in my private life or vice versa, and was perfectly comfortable with it. It probably helped me to compartmentalise things, keeping what was a secretive and sometimes risky job separate from my personal life. My wife actively disliked the pseudonym, I think feeling a really uncomfortable cognitive dissonance over it in a way I never did. The conclusion I draw from all this is that our names may be more closely linked with how others see us than with how we see ourselves.” I was doxxed, because some people on the internet felt that I shouldn't be in a position of authority on an internet forum. That ruined my name for me. It had been a name that I had always valued and been proud to have. But it ruined it for me. It took it away. I was engaged fairly shortly after with my longtime boyfriend and I made the decision to change my name to his. It was not an easy decision but ultimately I wanted to have a new name that did not feel tainted by what had happened to me. So that's why ultimately I changed my last name to my husband's. Even though that was something that growing up I never ever believed I would do. And still troubles me sometimes that I had to erase my own identity because of the patriarchy and also what was done to me when I was doxxed. If you google search my original name you will still find horrible things said about me. Personal information, photos, that kind of thing. So it does still hurt that my name was stolen from me in that way. I had to change my whole name and my whole identity really to disappear from an ex partner, and I chose my new names because they're more international. And my first name, the name that I go by, is derived from the meaning for 'foreign' or 'strange', because that's how I felt about my new identity at the time. Although now, over a decade later, I feel that trauma a little less but just today my current partner - we're getting married soon and he was at the registry office filling out his form and he texted me and asked me what my old name was in case they needed it for something. And even typing out the old name made me cry. Because it wasn't my choice. I changed my name because when I was born my name was picked for me by the leader of the cult that I grew up in. My parents joined a new religious movement, also possibly known as an apocalyptic cult, and the charismatic leader of the cult often named children. And so when I was born, my parents went to her and she gave me both my first and my middle name. When I turned 25 I decided to change my name, because I was no longer in the cult and my name was not especially special to me. In particular I picked my new name because my parents had always told me the story about how they had come to the charismatic leader and told her the name that they had thought of. And she said, "No, no, that that name won't work. It's a name for an artist and your daughter needs a name that will be for a fighter, because the world needs soldiers and it needs warriors, not artists." So she gave me that name, and when I reached twenty-five years old I legally changed my name. My first name is the name that my parents had suggested and my last name comes from my partner. It's not his last name but it's part of his name. So it's a little bit more subtle than if I just changed my last name to his. And I'm very happy with my new name. And that is my story. My name is Sam Gladstone and I did not change my name but right for myself but rather for my chosen profession. I am a pro wrestler/drag queen. I go by the name of Rhys Indigo. I chose to have a different name for my in-ring name, simply because my name Sam Gladstone, it doesn't have punch. It's not something that you can hear as announced like "In the ring, Sam Gladstone!" It just doesn't work. Whereas Rhys Indigo is something that people can chant, you can get behind, "In-di-go! In-di-go!" And it helps with a pop, it's something you can sell - and it sticks out. It's familiar but it's unusual. I changed my name many years ago, my last name, because it was a name that I shared with my father and my sister with whom I no longer had a relationship, and I did not want to carry that name anymore. So I chose my maternal grandmother's maiden name. Between the time I was born and the time I went to high school, I was known by three different last names. So there was my name at birth, and then my name was changed legally based upon an adoption by my first stepfather. Then when I started high school, I started to use as an alias the name of my second stepfather. Well it got really complicated when I went to college, because I had records in two different names, neither of which were my original birth name. When I was 19, I was reacquainted with my biological paternal side of my family, and there was a little bit of an expectation that I would change my name back to my birth name. Well, I found out that my father had had a second son, and he named his second son exactly the same name that he named me at birth. So what I did to get rid of all the complications was: when I was 19, I went to my local probate court in my town and I legally changed my name by dropping all of my last names. So now my full legal name is made up of my first and middle names, which is what everyone called me when I was a kid anyways, and I really liked that. So I felt like when I changed my name, I was reclaiming my identity. I changed my name from Kirsten to Kit because I'm a transgender man and I don't identify with my feminine birth name. I chose Kit because it was sort of a nickname that my partner would use with me sometimes. And it just felt better to me. It seems kind of weird to think about my partner naming me in a way, but that's cool. I changed my name before I came out as trans, and initially my dad - even before he knew I was trans - he was kind of offended by the fact that I'd changed my name at all and he would like passive aggressively, outright aggressively, use my birth name instead of my chosen name, which was very frustrating for me. I didn't actually really hate my birth name until he started doing that. I mean, I didn't like it because it didn't suit me genderwise, but then just having that association kind of made it worse in a lot of ways. Since I came out to him as trans, he's still not calling me Kit, but he calls me ‘Junior’, which has a very masculine feel to it to me, but it sort of feels like he doesn't really like the name Kit. I think he's avoiding it. My name is Lysander. And I changed my name because I'm trans, and changing your name in the trans community is somewhat of a rite of passage in the sense that you get to experiment and put words to this blossoming identity that you have. Another factor for me anyway was the fact that my father disowned me after I came out. It's been a strange experience going on hormone replacement therapy, in the sense that it's changing my body to look more like him, which is very confronting. So I can't escape him in that respect; but I can shed his name, and in the process reclaim my identity and my history as my own in that respect. I chose Lysander because I've always loved Shakespeare. And growing up I felt like I was Helena. She was tall like I was tall. She was sort of gangly and awkward and desperate to be loved. But you know transitioning and coming into myself, I feel much more like Lysander now. Who is still passionate and creative and just like the most beautiful soul. And it feels much more close to who I am. This episode is sponsored by Bombas. Now, you might think, uh, socks, they’re just mittens that go on my feet, where’s the room for improvement? Well you wouldn’t get a job at Bombas, because they spent two years on research and development to make socks better, so Bombas socks are seamless, they don’t slip down into your shoes, there’s extra support for your arches and extra cushioning for your sole. Sole as in S O L E not S O U L, but, can you have a comfortable S O U L unless you have comfortable S O L E S? Discuss in your own time. Meanwhile, peruse Bombas’s range of hiking socks, sports socks, dress socks, and children’s socks by visiting bombas.com/allusionist, and save 20% on your purchase by entering the offer ALLUSIONIST in the checkout code space. The Allusionist 2018 autumn live tour is in its latter stages, but there are some tickets left for the shows in Vancouver, Los Angeles and St Paul which are happening in the first half of November. Find out about those at theallusionist.org/events, and while you’re there, click over to the Merch tab, I’ve got some new t-shirts for sale that are Winterval-themed, for all your multi-denominational festivewear needs. Or think of it as your fatigues for the war on the war on Christmas. The Allusionist belongs to Radiotopia from PRX, a collective of the best podcasts on the interwaves. Find all our shows at radiotopia.fm. We can make them thanks to you listeners. Your randomly selected word from the dictionary today is… xoanon, noun: (in ancient Greece) a primitive wooden image of a deity. Try using it in an email today. This episode was produced by me, Helen Zaltzman, with editorial help from Eleanor McDowall and Martin Austwick, who also makes the music for this show. Thanks to all you listeners who told us about your names. You can find the show on Facebook and Twitter - search for allusionistshow. Over on the show’s website, you can hear the other episodes in the Name Season, and indeed every episode of the Allusionist, for each of which there is also a list of additional reading matter and such, there’s the full dictionary entry for each randomly selected word, there are listings for all the live events I’m doing - essentially, for all your Allusional needs, visit theallusionist.org.

Latest: Dissident Dutch author A.H.J. Dautzenberg alleges serious malpractice on the part of Tim Ballard in his new exclusive: Gruesome Consequences of a Hysterical Witch Hunt, in which mistreatment of his friend Marthijn Uittenbogaard and his partner is also exposed. Both remain incarcerated in Ecuador on trumped-up charges. Court date of March 14 and 15 now confirmed (see updates). Transgender youth and attraction to minors |NewgonWiki's series on | MAP culture war and war of adjacency |"Normalization" | "Groomer" | Trans Kids Validity Policing | Lolicon Debate MAP & LGBT Alliances | Proship Pedophobia | Vigilantism | Moral panic Activist model | Feminism Ageism | Censorship | Hoax pedophilia Anti | Pro-recovery | Assimilationism |Template: Adj - This template| The topic of trans youth, in particular, "gender-affirming healthcare", is an often referred to theme in the culture war between, on the one hand, a hostile ideological nexus of conservatives/(trans exclusionary) "gender critical" feminists, and on the other, sympathetic modern social-justice orthodoxy, sometimes known as "wokism". The trans-affirming social-justice alliance has often been linked with attraction to minors and the MAP Movement in the 2020s. This linkage takes two forms, theoretical (as described below), and associative - where the trans-ness or trans-inclusivity of MAPs or vice versa is weaponized by conservatives in political discourse. The controversies surrounding Allyn Walker and Jacob Breslow are striking examples of this weaponization, as are the editorials of gender-critical (TERF) news outlets such as Reduxx, which focus on trans people whose lifestyles involve intersecting queer/invalidated expressions of desire, and thus may "sexually offend". The topic of transgender youth is contentious among MAPs. Some youth liberationists, neutral and pro-c MAPs, have advocated that the ongoing medicalization of transgender youth must be endorsed (or at least accepted), as it would inevitably lead to the abandonment of negative utilitarianism, and adoption of evidence-based approaches with respect to the sexual agency of minors in general. Thus, the topic of transgender youth is said to form an important part of the MAP Movement's adjacency-enabled rise to public contention. Other MAPs and transgender people disagree with this outlook (see section on dissent, below). As mentioned, earlier, there have been some attempts to link the affirmation of transgender-identified youth with minor attraction - sometimes embraced and sometimes rejected by MAPs, and generally rejected by LGBTQ+ people, except for a conservative/"gender-critical" (TERF) subset. The GB News TV columnist Mark Steyn described the theoretical linkage between transgender youth and the pro-c MAP Movement on his show, 6 Oct, 2022: STEYN (with ironic sarcasm): I should add, of course, that pedophilia has absolutely nothing to do with advocating the mutilation of children's bodies by chopping off girls' breasts... and rendering them sterile. They're two quite different things: - One abuses children who can not give informed consent to sex, and - - The other abuses children who can not give informed consent to bodily experimentation. They're two quite different things(!) Steyn correctly identifies that social justice movements (if they are to have any integrity) can not hold two conflicting positions on the ability of minors to give consent in matters of bodily autonomy. Thus, he suspects, any re-appraisal of youth choice concerning gender-affirming surgeries will not only lead to re-appraisal of youth choice in the wider sexual arena, but will be supported by those (pedophiles, in his words) who can see, and take advantage of the fact that the topics are analogous. One commentator on the HTOC Blog puts it this way: If that domino falls, then things are headed quickly toward a reexamination of pedophiles. It’s not politically correct to say that, and most trans people would be horrified by it (understandably), but there’s too much overlap in the substance of the issue for it not to be, even if actively unallied. Ironically, it’s something conservatives are actually right about - though not for the reasons they think, and I certainly do not think conservatives are right about it, let alone anything else. The road of queer rights, and trans rights more specifically, does indeed eventually lead to a place where MAP’s will emerge as a contender for reexamination of their place in society as well. Queer theory will inevitably lead us to a reexamination of the child and the child’s sexuality. It most certainly leads us to a reexamination of the ever contorted puritanical-degenerate horn dog dichotomy adolescents live in (being on the one hand highly sexual, and on the other hand increasingly deprived of that sexuality). If you talk about gay kids, trans kids, queer kids of any kind - you’re talking about kids, and sexuality. Not adults and sexuality, children and sexuality. And the very existence of queer kids is going to force the issue - most notably trans-kids, whose very existence challenges our ideas of depriving youth of bodily autonomy. We cannot on the one hand teach bodily autonomy to protect against abuse, without also eventually confronting the reality that bodily autonomy includes the right to say “yes” and isn’t bodily autonomy if it’s under a command to only say “no”. Furthermore, the more conservatives try to undo the gains made by queer people, under the guise of “protecting” children from “groomers”- a term they utterly misuse and abuse - eventually if you keep calling everyone a pedo - from the right or the left side of the equation - eventually that means people are going to have a long and hard look at pedophilia - just as it did when the worst thing you could be was queer or gay. The associative method we identified in relation to the "gender-critical" (TERF) media is often used alongside the theoretical/political rationale explained above, and can be seen in the "groomer" panic of the early 2020s. Mainstream media outlets tend to veer towards this more simplistic method, although opinion journalists such as Tucker Carlson have attempted to explain the theory behind a "plan" to undermine the institution of American childhood by attacking language and concepts such as gender. A recent informal investigation has identified many trans and non-binary people within the broader population of self-identifying MAPs - possibly as many as 7%. Dissent among MAPs and Trans people Some MAPs and trans-identified people prefer not to encourage the trend of medicalization described at the start of this article, pointing out that medical provision of gender-affirming care is based on a diagnosis of pathology (gender dysphoria), and contend that trans people, like gays, represent normal human diversity, should not be pathologized or "expected to conform to gender stereotypes". Some MAPs oppose medical transition on the basis that it (in their view) mutilates the bodies of children, and should never be put ahead of other forms of less invasive and permanent bodily autonomy. Other MAPs have varying reservations about the philosophical compatibility of trans ideology as a whole, with liberation of boylove and minor attraction: - They may see trans ideology as an extension of the war on masculine eros/the appeal of boys to men. For a more general perspective on male extinction, see Andriette, 2002. - They may see gender-transitioning children, not as a prelude to increasing agency, but as part of the "bourgeois and desexualized" protectionist gaze of western orthodoxy, and thus entirely compatible with CSA norms. - Gender Queer: A Memoir - a 2019 graphic memoir by Maia Kobabe, the author's exploration of gender identity and sexuality in adolescence - ↑ One of many such examples cited by Anna Slatz and Reduxx - ↑ Steyn commentary from around 33.13 - ↑ Comment 1 and 2. - ↑ Podcast - Herzog/Singal and archive - ↑ How the 'left' checkmates the right - Sick Rose (BC), 26 Oct, 2022 - ↑ Castrating the Church: At root, the priest sex hysteria is about extinguishing the male, By Bill Andriette (The Guide, archived on Ipce.info) - ↑ Re: Transgender youth and attraction to minors - Errant (BC), 26 Oct, 2022 - Official Encyclopedia - Facts of life - Child Advocacy - Cyber Activism - TV & Media - Queer Theory - Debating Points: Sociological - Debating Points: Minor-Attracted - Debating Points: Child/Minor - History & Events: International - History & Events: 2020s - Mental Health Industry - History & Events: Moral controversies

Musical communication between adults and young children Please forward this error screen to 77. This article is about the basic activities of a typical human life as defined in most medical contexts. The concept of ADLs was musical communication between adults and young children proposed in the 1950s by Sidney Katz and his team at the Benjamin Rose Hospital in Cleveland, OH and has been added to and refined by a variety of researchers since that time. ADLs are defined as “the things we normally do such as feeding ourselves, bathing, dressing, grooming, work, homemaking, cleaning oneself after defecating and leisure. A number of national surveys collect data on the ADL status of the U. One way to think about basic ADLs is that they are the things many people do when they get up in the morning and get ready to go out of the house: get out of bed, go to the toilet, bathe, dress, groom, and eat. When there is only one remaining area in which the person is independent, there is a 62. Healthcare Designers evaluate environments for their efficacy and feasibility to address Essential, Probable, and Discretionary Activities of Daily Living . Healthcare Designers regard eADLs as those activities we must perform. PUMA SUEDE VELVET HYPER EMB – WOMEN’S Occupational therapists often evaluate IADLs when completing patient assessments. Physical therapists use exercises to assist patients in maintaining and gaining independence in ADLs. The exercise program is based on what components patients are lacking such as walking speed, strength, balance, and coordination. Slow walking speed is associated with increased risk of falls. Exercise enhances walking speed, allowing for safer and more functional ambulation capabilities. Assisting in activities of daily living are skills required in nursing and as well as other professions such as nursing assistants. This includes assisting in patient mobility, such as moving an activity intolerant patient within bed. For hygiene, this often involves bed baths and assisting with urinary and bowel elimination. IADL scale, the Lawton IADL scale and the Bristol Activities of Daily Living Scale. ADL evaluations are used increasingly in epidemiological studies as an assessment of health in later-life that does not necessarily involve specific ailments. Studies using ADL differ from those investigating specific disease outcomes, as they are sensitive to a broader spectrum of health effects, at lower-levels of impact. Sidney Katz initially studied 64 hip fracture patients over an 18-month period. Comprehensive data on treatments, patient progression, and outcomes were collected during this study. Although the scale offers a standardized measure for psychological and biological function, the process of arriving at this assumption has been criticised. ADLs, and the possible value of adding additional functional measures. Life skills programmes may reduce the risk of not improving in day-to-day functioning for general household activity skills when compared with standard care, but, at present it is not possible to be confident about the difference between the two treatments and data supporting this finding are very limited. Life skills programmes may reduce the risk of not improving in day-to-day functioning for laundry skills when compared with standard care, but, at present it is not possible to be confident about the difference between the two treatments and data supporting this finding are very limited. Life skills programmes make no difference to self-care when compared with standard care, but, at present it is not possible to be confident about the difference between these two treatments. This finding is based on data of very limited quality. Life skills programme make no clear difference to the risk of loss to follow up compared with standard care. Data supporting this finding are very limited. People receiving life skills programme scored the same as people receiving standard care. Early Childhood Development Essay Findings are based on data of very limited quality. On average, people receiving life skills programme scored 0. 02 lower than people treated with standard care. There was no clear difference between the groups and this finding is based on data of very limited quality. At present the meaning of these scores in day-to-day care is unclear. Sidney Katz, MD: A New Paradigm for Chronic Illness and Long-Term Care”. Current Diagnosis and Treatment: Geriatrics, Second Edition. Scaling functional status within the interRAI suite of assessment instruments” John”. Archived from the original on 2013-06-28. Cambridge, MA: Massachusetts Institute of Technology. Physical Exercise Interventions for Improving Performance-Based Measures of Physical Function in Community-Dwelling, Frail Older Adults: A Systematic Review and Meta-Analysis”. Extended Exercise Rehabilitation After Hip Fracture Improves Patients’ Physical Function: A Systematic Review and Meta-Analysis”. Life and Works of Sidney Katz, MD: A Life Marked by Fundamental Discovery”. Journal of the American Medical Directors Association. Life skills programmes for chronic mental illnesses”. This page was last edited on 12 April 2018, at 16:30. Patema has lived her whole life underground. Her community forced into the darkness, she roams the tunnels she calls home by torchlight. A film adaption of the TV series depicting the journey of a middle-aged man with a two-month old puppy in search of his mother. Roman Empire, inadvertently travels through time and finds himself in a modern Japanese bathhouse. He takes elements of Japanese culture that he learns back to ancient Rome and is commanded by the Emperor to build a giant spa. Although recognised by the school master for her talent, city girl Hisaki is mistrusted by this remote island community. This event is free to attend but booking is essential. You are able to book a maximum of two tickets for only one screening. Ryudai Takano, renowned photographer, is perhaps best known for his depiction of the nude male form. Growing up in the 70s and 80s, when artists increasingly began to openly discuss gender and sexuality in their works, Takano’s early photographs are concerned with different forms of male beauty and tackle the idea of gender as a non-binary concept. For this special talk, taking place during Photo London where Takano is one of the exhibiting artists, he will introduce his works to date, illustrating how one artist can capture both the exceptional and the ordinary routine. This event is free to attend, but booking is essential. To book your place via Eventbrite, please click here. Photos courtesy of Yumiko Chiba Associates. Photo London, at Somerset House, London, 17th-20th May 2018. Come and see the UK’s most talented young students of Japanese language at the Finals Day of the Nihongo Cup – the Japanese Speech Contest for Secondary Schools! To download a poster for this event, click here. To read our report about last year’s finals day, click here. A captivating exhibition in which UK based experimental artist, Rie Nakajima fuses sculpture with sound. Best known for her work with sound art, Nakajima often uses a combination of kinetic devices, musical instruments and found objects in direct response to architectural space, and experiments with different mediums in order to probe and raise questions from her audience about the definition of art. Taking place at Ikon Gallery, Birmingham, the exhibition will consist of entirely new work and includes a number of collaborative performances with other artists. This also includes a series of free performances such as her music project O Yama O, with Keiko Yamamoto which explores music with no genre and various other collaborations consisting of dance, free sculpture and much more. Sign up here for our monthly e-bulletin. The title is no idle boast. Todd Haynes is back with his past muse Julianne Moore, but it’s her junior co-stars who hold the spotlight in this enthralling adaptation of Brian Selznick’s illustrated novel for young readers. Melancholy adult feelings of desire, longing, fear and regret have coursed through the films of Todd Haynes, often wrapped in veils of repression, while others have explored the defiant release of performative transformation. Haynes has always been a ravishing visual storyteller, and his seventh feature is as seductively crafted as anything he’s made, with exquisite contributions from invaluable frequent collaborators including cinematographer Ed Lachman, production designer Mark Friedberg and costumer Sandy Powell. Amazon Studios is partnering with Roadside Attractions on an awards-season push, beginning Oct. The usual on-camera heavy-hitters, Julianne Moore and in particular Michelle Williams, are confined to supporting roles. Millicent Simmonds, a deaf actress making a gorgeous debut, give the film a warmth and immediacy that should transcend age barriers. Otter Pencil Holder Craft Along with adults drawn by the pairing of Haynes and Moore, smart kids will relish piecing together the clues of the puzzle-like narrative. There’s also significant appeal in the director’s love letter to a lost New York City, a teeming metropolis of infinite possibilities. 12, in Hoboken, New Jersey, in 1927. Ben lives with his aunt and uncle and two cousins, but he returns often to the house on Gunflint Lake where he used to live, full of memories of his mother, a local librarian given to wistful abstraction, killed in an auto accident. Searching through her belongings, Ben comes across an exhibition catalog called Cabinets of Wonder, which contains what he believes could be a clue about his father. She goes to see her latest picture, Daughter of the Storm, an elemental melodrama with organ accompaniment that reduces men and women in the theater to tears, and allows Haynes and Moore to pay rapturous homage to Lillian Gish in The Wind. Haynes films Rose’s story in muted black and white, and the great Lachman’s compositions often recall the intricate detail of Selznick’s pencil drawings in the book. Rose’s section also is silent, aside from the lush strains of Burwell’s wraparound score. Selznick’s screenplay captures the ingenious engineering of the book with all its symmetries, and Haynes avoids the distracting virtuosic fussiness of Martin Scorsese’s Hugo, adapted from the same author. New York becomes a magical destination for Ben and Rose, both of them seeking elusive figures from their past, though the less revealed about what happens to them there the better. It’s not giving too much away to disclose that they each have eye-opening experiences at the American Museum of Natural History. The iconic setting yields some of the film’s most memorable sequences, giving Lachman the luxury of shooting exhibits in both color and black and white. In another of the plot’s countless connective threads, an icy tableau of Minnesota wolves ties back into Ben’s recurring nightmares, while other discoveries jibe with his love for collecting curios. Although it takes place during the interim between the two stories, the 1964 New York World’s Fair plays a key part, especially the Robert Moses-commissioned scale-model Panorama of the City of New York, which echoes Rose’s mini cityscape of paper buildings back in her Hoboken bedroom. The toytown visuals also nod back to Haynes’ own career origins with the Karen Carpenter Barbie doll biopic, Superstar. The way all the various elements come together is a marvelous narrative juggling act. Affonso Goncalves’ liquid editing gracefully eases back and forth between the dual stories, providing charming juxtapositions. The film is more visually intoxicating than performance-driven, though Moore and Williams bring their usual ineffable class and sensitivity to their limited screen time, with Moore taking on a significant additional role in the moving concluding stretch. While it’s something of a departure for Haynes and may divide fans hoping for more of the cool sophistication of Carol, Wonderstruck is unmistakably the work of an artisan whose attention to detail mirrors the role of museum curators celebrated in the story, and whose attraction to the magnetic allure of the past is a defining trait. 70s and rediscovered by outsider-music cultists in 2001. It’s both a perfect child-like closing accompaniment and an appropriate period artifact to cap a genuinely affecting story of children and family that doubles as a work of fabulous cinematic artifice. I think the key is understanding the people. You need to understand not only the English language but also American culture. Expressions, idioms and common sayings reflect American cultural values. A great example of an American English expression is “time is money”. In the United States, we schedule our days based on “clock time”. Many people are constantly monitoring their watches as a way of determining when an activity should begin, when it should end and to avoid being late. Is this true in your culture? We have some advice if you are working and living in the United States. How does time orientation affect your work at an American company? In the American business world, Edward T. Many Americans value schedules, tasks and objectives. They work hard to complete one project before starting the next. The most important thing is to “get the job done. In the United States, it is not uncommon to schedule meetings back-to-back, skip lunch or eat a sandwich at your desk. To work overtime: To work more hours than you are scheduled for, in order to complete a project or a task. To be out of time: To have no time remaining. To have spare time: To have extra time. To be on time: To arrive at a destination at the time that you are supposed to arrive. When you are working at an American company with coworkers from the US and your coworker or boss says that a project is due on Friday at 3pm, he usually means Friday at 3pm. Perhaps in your culture, this could mean Friday at 4pm or 5pm or even the next week. It is important to remember cultural differences when it comes to time! Remember, understanding your own time orientation and how it is different from the time orientation in the United States is the key to succeeding in your career and your daily life in your new culture. My classes with English and Culture have been awesome. I have been taking the classes for almost two months, twice a week and I am really happy about my improvement. Now I feel more comfortable and secure when speaking English and more fluent, too. Orangutan’s are known to be some of the most communicative primates. Their communication ranges from many different calls to many them being capable of using sign language. Nonverbal Communication is a type of communication that occurs without the use of words and is continuous. This includes the act of communicating with one another via body language or other symbolism to convey meanings. It can be communicated through gestures, touch, body language, posture, facial expression, and eye contact. Non-human primates like these have between fifteen and forty different calls in their call system depending on the species. A call system is a type of limited vocal communication system used by apes, birds and some other animals, which use call and song systems. While humans possess a handful call systems, non-human primates have a system ranging from 15-40 calls, depending on the species. Non-human primates use these call systems when they are in the presence of food or danger, when they desire company, or when the animal desires to mark its location to signal pain, sexual interest, or the need for maternal care. Two sign language interpreters working as a team for a school. We use body language, eye contact, gestures, posture, and facial expressions to communicate with one another. Although the majority of nonverbal communication studies first researched by Ray Birdwhistell focus on face-to-face encounters between two or more people, advances in technology are creating new forms of nonverbal communication. Nonverbal communication can be an incredibly effective way of sending and receiving messages from person to person, especially in a foreign country. For example, you can communicate hunger through making a gesture pointing to your stomach or your mouth, a universal sign. Often people will use this rudimentary sign language to speak to others when they need something. Another subtle yet common form of nonverbal communication is facial expressions. Nonverbal communication can also lead to things that people did not mean to communicate. For example a person from American culture sees kissing as a sign of affection but in some Spanish speaking countries, kissing is a way to greet someone. There are also certain ways to kiss someone in those countries depending on what your relationship is to that person. Clothing has been known to be a form of communication or expression, as well. For example, the chief of a Native tribe will dress more extravagant than other members of the tribe, such as a piece like a feathered headdress. Great hunters wear animal skins to show off a kill in some hunter-gatherer communities. Another cultural piece of clothing would be a wedding dress. It is meant to be worn on the day that two people get married and is typically never to be worn again. Florida kindergarten age requirements force parents to redshirt kids Two people not affecting each other’s personal space. Reaction of two people whose personal space are in conflict. Proxemics, coined by anthropologist Edward T. Hall in 1966, is the amount of space that people feel necessary to put between themselves and others as they interact. Proxemics can vary by culture, gender, social setting and individual preference. In China, however, due in large part to its denser population, it is common to leave less than a two-foot gap between you and the person in front of you in line. A diagram representation of personal space limits. Chronemics is a field of study examining the utilization of time in nonverbal communication. Perceptions of time can play significant roles in various forms of nonverbal communication. Monochronic cultures are societies made up of people that appreciate doing one task at a time without interruption or tardiness, people in these cultures tend to believe that time is linear. The contemporary United States is a monochronic culture. People in the US tend to keep very rigid schedules, and usually value punctuality, brevity, and adherence to plans made in advance. In the US, time is viewed as a resource, as is illustrated by the common expression “time is money”. Polychronic cultures tend to see time as fluid and malleable. Share your thoughts about the The Black Parade [Clean] album with the community: Characteristics of polychronic cultures include interrupted meetings, flexible schedules, and higher values placed in people and relationships over punctuality and deadlines. Examples of polychronic cultures are those found in modern Mexico and Egypt. In short, different movements of your body convey particular ideas and kinesics is how nonverbal communication is interpreted, which will greatly vary across cultures. Through body movements, it is possible to send signals, leaning forward when someone is talking to show you are engaged and listening. This term was first used by Ray Burdwistel in 1952, an anthropologist who studies this certain movement. He argued that all movements of the body meant something. He said that nothing was done by accident, and every movement was used to say how the person was feeling. Posture varies from person to person and can be interpreted as nonverbal communication. Posture is a type of nonverbal communication, the position in which someone holds their body when standing or sitting. It is also meant to show a way of dealing with or considering something. Much can be interpreted from a person’s posture such as their view of themselves, their mood, etc. Such behavior can be intended to impress or mislead another individual in a particular attitude or mood. A gesture is a form of non-verbal communication. It is a distinguished physical movement that is an expression of inner thoughts and emotions. Haptics is used to refer to the sense of touch and touching capabilities. Haptics can be broken down and organized into three different fields. Haptic Communication is the way that people communicate based solely through touch. Regulated Care Options This sense is important for humans because it provides information about objects that we touch and it is also a part of nonverbal communications. Haptic Communication is a key to physical intimacy. Haptic Technology is a technology that interfaces with the user through the sense of touch. An example of this might be all of the touch screen cell phones that have become very popular in the U. Haptic Perception is used when we recognize an object by touching it. It involves the combination of the senses in the skin, the position of the hand, and conformation. This is used in many everyday actions. An example of this would be using your hand to dig around in your bag looking for a particular object, like a cell phone or a pen. This haptic is particularly useful for the blind who may rely entirely upon touch in order to identify an object since they cannot see it. An ethnographic representation of haptics in different cultures depends on what is socially acceptable. For example, in the United States it is usually a form of positive touching when you pat someone’s head, but in the Thai culture, it is rude to touch someone’s head. Eye contact is one of the most important forms of nonverbal communication between people. Eye contact signals vary from culture to culture and vary among certain religions as well. For example, in America, someone who is unable to maintain eye contact is seen as not confident, shy, or submissive. In some Arab countries, a person who is unable to maintain eye contact is seen as disrespectful. Some cultures, such as South Asia, might view extended eye contact as challenging, rude, and aggressive. In the Islamic faith, Muslims often lower their gaze and do not look at the opposite gender’s eyes after the initial greeting. This is because lustful glances to those of the opposite gender are prohibited. What is considered harmless flirting in some western cultures may be seen as a form of adultery in Islam. Sign Language is a formal language using a system of hand gestures and movements, typically replacing vocalization. Sign language is the dominant language for the deaf community. Like any other language, it has its own unique structure and linguistic components. Also similar to how most languages are learned, sign language is learned through visualization, practice, and patience. American Sign Language is an intricate language that uses signs made with the hands and other movements such as facial expressions and postures of the body.

Timeline Theatre's newest production, Anna Ziegler's Boy, is a lot of things. It is an account, albeit highly fictionalized, of events that actually happened to a child with mangled genitalia who, as a result of the recommendation of a famous gender doctor, was brought up as a girl. It is the story of a family torn apart by that decision. It is the (much softened) account of the relationship that a child builds with a therapist. It's the story of what happens when that therapist lets you down, when it turns out that he may have cared more about his own faulty theories than about your well-being. It is a tale of a cis boy brought up as a girl because of those faulty theories who ultimately fails so badly at being a girl that he returns to being a boy. And, perhaps most important of all, it is the story of how that boy overcomes the pain and falls in love. It succeeds wildly in all of these things: the brilliantly acted Boy is one of the true joys of the new year. Ziegler altered so much of the story of the real David Reimer, whose genitals were mangled during circumcision in 1972, that a lot of the real horror of the story is lost here. The gist is here, though, along with the pain: the desperate parents seeking help from a self-aggrandizing gender doctor with the controversial theory that gender is "malleable" until age two or three, the boy being raised in a hyper-feminine environment and not being told of his male birth, his struggles in school and at home, and his eventual re-transition to male shortly after learning the truth at age fourteen. Ziegler has softened it though: her motive here is not to excoriate Dr. John Money, the famous doc here called Dr. Wendell Barnes, for his actions but to focus instead on the child, who in real life was known by the pseudonym "John/Joan" and here goes by Adam. It is on Adam that the play focuses: he is a part of every scene; every moment is either with him or about him. Ziegler wants us to be able to understand this boy to whom the unthinkable happened. To that end, scenic designer Arnel Sancianco places these scenes at either end of a huge empty space (the emptiness perhaps symbolic of the unconstructed gender of Money's/Barnes' theories?) between two enormous wall units packed to the gills with memorabilia of lives lived. At one end, up to shoulder height, properties designer Archer Curry's memorabilia represents Adam's current home as a young man without a past: some books, a fish tank, a Star Wars poster. On the other, to the same height, we see Dr. Barnes' office and its framed degrees, etc. Above them both, though, is where the fun begins: on both ends, the dozen transgender members of the cast, crew and staff have placed pieces of their own lives—a dollhouse, a light-up ice cream cone, a truck, a carefully drawn "Welcome" sign—individually lit up sporadically pre-show by lighting designer Jared Goodling and meant to evoke random moments of a childhood that any trans person will tell you pack a whole lot more meaning than they probably should. When your memories don't look as you think they should have, everything has more meaning. Theo Germaine, a non-binary trans actor making their Timeline debut, plays Adam and his alter-ego "Samantha" at various ages as Ziegler's script drifts in and out of time, showing us elements in the sequence she chooses rather than in anything like chronology. The power of Germaine's performance can't be understated. Both as Adam and as Samantha, they have to uncover strong binary forces within themself to play the role. In Adam the primal love and hate seek balance, as the young man struggles with what Dr. Barnes (David Parkes) and his parents (played by Mechelle Moe and Stef Tovar) have done to him at the same time as he is trying to lay the foundation of a relationship with Jenny (Emily Marso), a girl "Samantha" once knew in school. As Samantha, Germaine not only has to channel their inner child (done with voice, mannerisms and physical contortions) but somehow evoke simultaneously both the bond "she" is feeling with Barnes and the pain "she" is unwilling to express to him. It's a remarkable performance. The relationship between Barnes and Adam takes place entirely in flashback, through sessions when young "Samantha" was in grade school. Money's motives in real life may have been suspect, but it's clear that Ziegler wants us to see in Barnes a man who truly believes he can help this family. The bond he establishes over time with "Samantha" is, at least from his perspective, real, and Parkes shows us that he clearly feels that it is reciprocated. When he discovers, later in the play, that the child was lying to him all along (out of fear or a need to please) and that "she" was never comfortable as a girl, he's beyond devastated: he simply can't even believe it. Confronted by an adult, normalized Adam he has never met ten years after their therapy sessions ended, Barnes is utterly broken by the revelation that he was wrong about so much, and Parkes' performance creates real sympathy for this man who has ruined so many lives. Not so difficult to understand is the relationship Adam has with his parents. Moe plays Mrs. Turner as a loving, caring mother who, confronted with something no one should ever be confronted with, makes a bad decision for an understandable reason. There is no point in the play in which she is entirely comfortable as the creeping realization sets in that something is terribly wrong with her child, who is skipping school and getting into fights and failing subjects. Still, it rings true when she says later on, while adult Adam is visiting, "Sometimes I miss her." It's that maternal bond, the connection that never leaves despite all of the pain, that Moe shines in delivering. Meanwhile, Tovar's father is gruff from the beginning, as if unable to process an accident that has stripped his son of his manhood and even more unable to contemplate turning a boy into a girl. His broken-down character—a man who can't hold a job, who drinks too much—cannot seem to find a way to spend real time with "Samantha" despite constant chiding by Barnes to do so. For a long time, it's a thankless role, as Ziegler gives Doug Turner little to do until late in the play, but when Tovar is allowed to let loose, he is ready. A couple of late scenes really let him put his mark on the play. But the central figure in Adam's life right now is Jenny, and that says a lot about the focus Ziegler wanted. This is not the David Reimer story (which ended tragically, with the suicides of both David and his twin). This is a story about overcoming overwhelming odds. And from their first adorable scene together, Germaine and Marso simply project a chemistry that tells you they'll somehow be together in the end. Perhaps it is the symbolic appearance of a poem by Leigh Hunt in Dr. Barnes' office, a poem that Adam reads aloud twice during the play: Jenny Kiss'd MeJenny kiss’d me when we met,Jumping from the chair she sat in;Time, you thief, who love to getSweets into your list, put that in!Say I’m weary, say I’m sad,Say that health and wealth have miss’d me,Say I’m growing old, but add,Jenny kiss’d me. Boy is now playing at Timeline Theatre, 615 W Wellington Ave in Chicago, until March 18. Th-Sat 8 PM; Sundays 3 PM. Tickets are $49 and are available from Timeline Theatre. No half-price tickets are available. Find more information about current plays on our Current Shows page and at theatreinchicago.com. Karen Topham, American Theatre Critics Association member

Idioma e Identidad de Género: Is Life Satisfaction Influenced by Gendered Language? This planned retrospective study will examine the relationship between first language spoken, gender identity, and life satisfaction among MacEwan students. The first language learned and fluently spoken by each subject will be classified as either gendered or non-gendered according to a set taxonomy. Subjects will be asked to self identify as having either a binary or non-binary gender identity. Finally, the Riverside Life Satisfaction Scale will be used to measure the subjects’ current life satisfaction. It is predicted that non-binary individuals who grew up speaking a non-gendered language will report higher levels of life satisfaction relative to non-binary individuals who grew up speaking a gendered language. The results may indicate that the degree of life satisfaction experienced by people who identify as non-binary may be adversely affected by the language they speak. If their primary language is highly gendered we predict a lower life satisfaction because of a mismatch between their gender identity and the language they use to describe themselves and the world around them. Presented in absentia on April 27, 2020 at "Student Research Day" at MacEwan University in Edmonton, Alberta. (Conference cancelled) Faculty Mentor: Sean Rogers Authors retain any and all existing copyright to works contributed to these proceedings.

NEW YORK FOREIGN PRESS CENTER, 799 UNITED NATIONS PLAZA, 10TH FLOOR MODERATOR: Good afternoon and welcome to this New York Foreign Press Center briefing on equity in HIV/AIDS prevention and treatment in New York City. In this briefing we will learn how both the city of New York as well as civil society work to combat the spread of HIV and facilitate access to treatment options for those living with HIV, as well as other support services available in the United States’s largest city. Our briefers today are Dr. Sarah Braunstein and Krishna Stone. My name is Ryan Matheny and I am the moderator for today’s briefing. This briefing is on the record and is being recorded. We will post a transcript and video of this event later today on our website, which is fpc.state.gov. If you haven’t already done so, we ask that you make sure your Zoom profile reflects your full name and the media outlet you represent. We also invite you to turn your camera on should you wish to. Each of our briefers will give opening remarks followed later by a period of questions and answers which I will moderate. First, I am honored to welcome Dr. Sarah Braunstein. Dr. Braunstein is the assistant commissioner of the New York City Department of Health and Mental Hygiene’s Bureau of Hepatitis, HIV, and Sexually Transmitted Infections, or STIs. She has been with the health department since 2010. Dr. Braunstein’s extensive background includes conducting domestic and international clinical studies and epidemiologic research on the prevention and epidemiology of HIV and other STIs for over 20 years. Welcome, Dr. Braunstein. The floor is yours. MS BRAUNSTEIN: Thank you so much, and it’s my honor to be here today. Let me share my screen. Okay, can you see my slides? Just making sure. Okay, wonderful. So today I’ll be talking about our efforts to end the HIV epidemic in New York City. I – here’s a brief outline of my talk for today. I’ll be talking just a little bit about the New York City Department of Health and Mental Hygiene to orient you to the context and the institutional context in which we do our work. I’ll share some data on HIV in New York City using our latest published data from 2020. I’ll describe our New York City 2020: Ending the HIV Epidemic Plan, share some information about select New York City Ending the HIV Epidemic programming and services, and then end with a discussion. So an overview of our New York City Department of Health and Mental Hygiene. We have a very large health department. We have an annual budget of $1.6 million* [CORRECTION: $1.6 billion] and more than 6,000 staff spread across the five boroughs of New York City. The New York City Department of Health and Mental Hygiene is one of the largest public health agencies, in fact, in the world, and the mission of the health department is to work to protect and promote the health of 8 million New Yorkers. Within the New York City Department of Health and Mental Hygiene is the bureau that I have the honor of overseeing, with an annual budget within our bureau of approximately $212 million and more than 440 staff across six programs. The Bureau of Hepatitis, HIV, and STIs oversees all of the health department’s work related to addressing viral hepatitis, HIV, and other STIs. Our vision in BHHS, the name of our bureau, is a New York City without transmission or illness related to viral hepatitis, HIV, and STIs, and we do this – we seek to achieve this vision – by improving the lives of New Yorkers by ending transmission, illness, stigma, and inequities related to viral hepatitis, HIV, and STIs. So to orient us to the context of the HIV epidemic in New York City, I’ll share some data from our 2020 HIV surveillance system. So this slide attempts to capture in data the history of New York City’s HIV epidemic, which, of course, is a long and large one. So this is data from 1981, since we began documenting and capturing AIDS cases, up through 2020. So if you can see the line, the red line, that tracks the number of new AIDS diagnoses each year in New York City. You can see that it peaked in the mid-’90s and then declined precipitously thereafter, after the introduction of highly active antiretroviral therapy. The green line that’s just below the red line tracks the number of HIV-related deaths, or deaths among people living with HIV that are attributed to HIV infection itself, each year in New York City. And again, you can see that that follows the same curve as the AIDS diagnosis line, insofar as there was an increase in the first years of the epidemic and then a steep drop after treatment was introduced and more New Yorkers began taking it. The black line that starts about midway through the graph shows the number of new HIV diagnoses each year in New York City. And we began counting officially reportable HIV diagnoses in New York City in 2001. Each year since, we’ve seen a decline in the number of new HIV diagnoses, or fewer people being diagnosed with HIV. The blue bars in the background of this graph track the growing number over time of people living with HIV in New York City, and of course as more people became diagnosed with HIV, the height of those bars increased over time. Also, though, notably, as people with HIV began surviving longer, those bars increased in height. So in New York City in 2020, we had nearly 1,400 new HIV diagnoses representing about 17 HIV diagnoses per 100,000 population, we had 917 people newly diagnosed with AIDS that year, and we had over 1,900 deaths among people with HIV from all causes. To put this one year of data from 2020 in the context of other recent years of data, here I’m showing the number of new diagnoses of HIV in New York City by year – for New York City – from 2016 to 2020. And you can see just looking at the height of those blue bars that each year, fewer New Yorkers have been diagnosed with HIV. Also importantly, the HIV diagnosis rate, which takes the number of new diagnoses out of the size of the population of New York City, has also decreased. That’s that number and line in the green. That has also decreased year over year. So important progress in terms of fewer people newly being affected with HIV. However, despite this overall progress, we absolutely see persistent inequities in the ways in which HIV is distributed in the New York City population, particularly inequities by race and ethnicity. So this slide attempts to capture that and kind of put it into stark perspective for you, showing in red bars here the number of new diagnoses – the proportion, excuse me, of new diagnoses by race/ethnic group in New York City, and then the blue bars the proportion of that population in the New York City population overall. So, for example, for black New Yorkers, 47 percent of new HIV diagnoses in 2020 were among black New Yorkers compared to black New Yorkers just representing 22 percent of the New York City population. Similarly you see the same disparity with Latino/Hispanic New Yorkers, whereby 34 percent of our diagnoses were in that community in 2020, and they represent only 29 percent of the population. So absolutely we see – and if I had the chance to show you the wealth of data that we have to describe our HIV epidemic in New York City, you would see persistent inequities by race/ethnicity in the ways in which HIV impacts the New York City population. Something we are very concerned with here at the health department. Similarly I’m showing inequities in the distribution of HIV in New York City a different way. We look at our data tracking something called area-based poverty. It’s the percent of a New York City ZIP Code, of which we have about 200, the percent of each population in that ZIP Code that is living below the federal poverty level. And you can see here – and this is the rates of new HIV diagnoses by area-based poverty level, and you can see that persistently across this five-year period the highest rates of new HIV diagnoses were among people and ZIP Codes with the highest levels of poverty. So that’s that black line at the top, and then followed by the sort of second-highest level of poverty in the green line and onward. The lowest proportion or the lowest rates of new HIV diagnoses were experienced by the lowest-poverty-level areas. So again, inequities shown a different way here by poverty level. Another thing we track in addition to new diagnoses of HIV in New York City and their distribution by demographic and other factors is outcomes for people living with HIV. It is critically important that people with HIV receive a diagnosis of HIV, that they receive linkage to care – to HIV care, that they initiate HIV treatment, and that they successfully are sustained on that treatment so that their virus can be controlled. And UNAIDS maintains these 90-90-90 targets for people living with HIV in a certain region or locality, and if you can look at the bars on the left of this graph, it shows New York City’s sort of scorecard, if you will, against the UNAIDS 90-90-90 goals in the year 2020. So looking at that cluster of three bars on the left of the graph, we can see that 93 percent of people with HIV in New York City were diagnosed; just 89 percent of people diagnosed with HIV were taking treatment; and then 93 percent of people diagnosed with HIV on treatment actually achieved viral control, which is important for their own health and for reducing onward transmission of HIV in the population. So New York City as a whole missed one of those goals but achieved the other two. If we look at those goals then by race/ethnic group, which are the bars scanning to the right, you can see disparities immediately in the achievement of those 90-90-90 goals by race/ethnicity with people with HIV of color achieving them less so. So certainly, again, more work to do to ensure that all New Yorkers are receiving the benefits of the progress we’ve made toward improving HIV outcomes. So with that in mind, I’ll talk about New York City’s 2020: Ending the HIV Epidemic Plan. In February of 2019, the U.S. Department of Health and Human Services announced a federal initiative to end the HIV epidemic in the United States, or EHE, and it really was a set of strategies sort of focused on the goal, the overarching goal, of reducing new HIV infections by 75 percent in five years and by 90 percent in 10 years. And the strategies involve a number of pillars, or sort of strategies or key activities to achieve these goals, and they’re listed on the right there. They’re about diagnosing people with HIV; they’re about treating people with HIV; they’re about protecting people from acquiring HIV using biomedical or other interventions that can protect – that can prevent HIV infections; they’re about responding to HIV clusters to intervene and stop the growth of those clusters and serve the people involved in them. And then the sort of overarching goal here – underpinning goal – is to strengthen and invest in the HIV workforce. This federal EHE initiative identified 48 counties, Washington, D.C., San Juan, Puerto Rico, and seven states that were identified as having a substantial rural burden of HIV to devote resources and technical expertise and assistance to, to really make overall progress in our national effort to end the HIV epidemic. And here in New York City, we have four of those 48 counties. So those include Bronx, Kings County or Brooklyn, New York County or Manhattan, and Queens. So the mandate that came with this federal initiative was for regions and localities with EHE counties to develop a local jurisdictional plan to guide their activities toward ending the HIV epidemic. So we in New York City to do so held a – or led a nearly year-long community planning process to really ensure that we were hearing from and embedding the input and needs of communities affected by HIV in New York City in our plan. So the community planning process involved nine virtual listening sessions that invoked over 300 participants. We also administered an online survey, to which almost 620 participants responded. And we used this information gathered through this community engagement to develop a draft plan, which was then reviewed and further shaped by our two primary planning bodies: our HIV Health and Human Services Planning Council of New York and our New York City HIV Planning Group. So they provided feedback on drafts of the plan, and then finally in February of 2021, both groups provided concurrence on the plan. In March of 2021, the next month, we released our New York City 2020: Ending HIV Epidemic Plan, or our 2020 EHE Plan. And this plan really builds on efforts in the state and city over the previous years to develop jurisdictional plans to guide and organize our HIV epidemic – ending the epidemic efforts. The plan, like the New York – sorry, like the federal plan – is organized around these key strategies to diagnose, treat, prevent, and respond to HIV. And importantly, the New York City plan, in recognizing the importance of upstream drivers of our ability to respond to HIV and improve outcomes, we included these two crosscutting issues – social and structural determinants of HIV-related health inequities and HIV service delivery system, with in mind that all activities and all strategies in our local plan make headway to improving these areas as well. Our plan also named what we call priority populations, among whom HIV is disproportionately impactful and historically and currently has had very deleterious effects, and the idea being that our efforts and resources should focus on these priority populations in order to really address HIV holistically and successfully in New York City. So these priority populations are black men who have sex with men; Latino/Hispanic men who have sex with men; black women; Latina women; all people of trans experience and people who identify as gender nonconforming, gender non-binary or gender queer; people with HIV ages 50 and older, and then youth and young adults ages 13 to 29. Efforts to implement this plan are currently underway in New York City and at the health department. Our team is reviewing the plan strategies and key activities to identify either ongoing or planned initiatives that are responsive to each one. And we are, importantly, evaluating gaps in the planned strategies and activities to prioritize new areas for development of initiatives or expansion of current initiatives that will fill those gaps. Implementation, just like development of the plan itself, will be informed by continuous and sort of ongoing opportunities to engage community partners, solicit their feedback, identify changing needs, and include their input so that the plan is fully response to their needs. So in the next few slides, I’ll just talk a bit about some New York City Ending the HIV Epidemic programming and services that are underway in our jurisdiction. Pardon me while I just turn my – there we go. Light just went off. So the first one I’ll talk – I’ll mention is our routine HIV testing in clinical settings. So in March of 2022, the health department launched a new routine HIV testing in clinical settings initiative. And this was really designed to implement and scale-up universal opt-out routine HIV testing in high volume healthcare settings. We know that the – despite a legal landscape that provides for this, we know that the routine offer – universal routine offer of an HIV test is not the reality. And so this really – this set of programming was really to drive that closer to reality. We also aim to build capacity for sustainable models of universal opt-out routine HIV testing in these high-volume healthcare settings really through systems level change to support HIV testing as a matter of routine care. And ultimately, really the goal is to make the universal offer of HIV tests available to all New Yorkers who are accessing services in these settings, without just focusing on specific priority populations, to ensure that all HIV is being detected and that all people living with HIV are appropriately connected to services. In – the next thing I’ll talk about is our PlaySure Network. In 2017, the health department launched something called the PlaySure Network which was a citywide network of HIV testing sites, community-based organizations, or CBOs, and clinics really working together as a collaborative to promote patient-specific approaches to sexual health and HIV prevention, to increase access to prevention modalities such as pre-exposure and post-exposure prophylaxis and to link people who test positive to HIV care. The PlaySure Network, in its first iteration, ran for five years from 2017 to 2022 earlier this year, and over 50 agencies participated. There were over 44,000 client enrollments at these sites throughout the first five years of the PlaySure Network, so a really impactful public partnership sort of at multiple levels of civic society here. And in fact, the activities were designed to really bring services to priority populations, those most affected by HIV, and that did happen. More than 65 percent of clients that received services in the PlaySure Network identified as Latino or black – black, non-Latino, and 5 to 10 percent identified as folks who were unstably housed or homeless, which we know is a major driver of HIV acquisition and poor outcomes once diagnosed with HIV. So we provided appointment support, benefits navigation, linkage to services, really impactful. And 55 percent of people newly diagnosed with HIV through their connection with the PlaySure Network providers were linked to care or immediately started treatment. These are goals of ours. So based on that successful first iteration of the PlaySure Network, we wanted to solicit input from community members and stakeholders and partners about that first iteration. We did so through listening sessions and a survey, and we heard that partners and stakeholders were emphasizing the importance of using a human-centered approach, focusing on strengthening health systems to make these quality care more routine and service availability more routine, the importance of focusing on equity, and really the importance of rooting the work in the principle that inequities in HIV incidents and HIV outcomes are really due to structural racism, sexism, homophobia, transphobia, other systems of oppression that really persist in the United States and in New York City and affect healthcare systems, including those that provide HIV prevention and care. So we took that information, and we announced in August of 2021 the next phase of the PlaySure Network – what we call PlaySure Network 2.0 – with three goals: increasing access to and provision of a comprehensive health package of HIV prevention services that really uses this equity-focused, one-stop shop, holistic, client-centered model for priority populations; that increases provision of client-centered affirming, non-stigmatizing, and anti-discriminatory services, which we know are really sorely needed; and then ultimately decreases inequities in access to and utilization of these services by priority populations. We are in the phase of implementing this PlaySure Network 2.0 in March of this year. We launched PSN – what we call it – PlaySure Network 2.0, and it is offering these – a range of services – universal testing, PrEP, and emergency PEP, immediate antiretroviral therapy, primary care related to HIV, STI testing and treatment, mental health services, substance use services, and as many sorts of wraparound services as we can. And we are continuing to really rely on the commitment and resilience of the providers that are part of this PlaySure Network 2.0 because they are the ones who are best positioned and best experienced in really engaging and meeting the needs of community members. I’ll also just comment that the health department has engaged to I think great impact in a range of activities related to public health detailing. So this notion of public health detailing is bringing information, tools, connection to services to different providers and different spaces to promote essential, preventive, and health promotion. And so it’s really around sharing evidence-based practices with providers who are positioned to deliver them to communities in need. So we’ve done so around PrEP and PEP in the HIV space. We’ve done so as a health department around the importance of breastfeeding, smoking cessation and prevention of smoking uptake, on the HPV vaccine, and adult vaccination as well. And so riffing on that and building on that, the health department in our sort of capacity as conveners and engagement with providers in the HIV space, we completed 59 site visits across 101 HIV primary care sites in New York City over a period of time. And we met with representatives at those sites and presented and shared resources in the HIV space to support their HIV service provision. One of the things that emerged as an area of high need for support by these providers was resources and support to implement immediate initiation of antiretroviral therapy. This is something that has become standard of care in New York State and City in the last few years, and it really speaks to this idea of as soon as someone is diagnosed with HIV, initiating linkage to care so that they can initiate HIV treatment and really as a health and lifesaving intervention that we know is critically important for our individual health with HIV and critically important for reducing spread of HIV at the population level. So in response to this area of need that was serviced through these visits, the health department did formative work to understand what was challenging to these providers around implementing immediate antiretroviral therapy, developed key messages, and then we launched a detailing campaign. It was in person at first, and then had to pivot to a virtual format in 2020, but it really promoted key messages around testing clients and offering HIV testing to detect HIV, initiating antiretroviral therapy as soon as possible after diagnosis, performing genotype resistance testing for HIV to understand potential – rare but potential resistance to HIV medications, and then building clinic workflows around supporting the implementation of immediate antiretroviral therapy. Here are just some images of our immediate antiretroviral therapy public health detailing action kit. We make them approachable and interesting, and of course informative and resource-laden. Another suite of activities I just wanted to mention is what we call our BE InTo Health Intervention, and it is a portfolio of work through which we are funding five agencies to adopt and implement evidence-based interventions. And these are HIV interventions that – behind which there’s an evidence base showing that they work. And so these are – these agencies are implementing an evidence-based intervention of their choice, focused on bringing that intervention to clients of our EHE priority populations. So this is a very – just an example of one of the ways in which we are really ensuring that our efforts and resources are being brought to the communities most in need. Also wanted to mention some work, really important work in the harm reduction space. Our Re-Charge Program is a – what we call an HIV-status-neutral, so it serves people living with and people not living with HIV but potentially at risk for HIV, from a sort of sex-positive, non-judgmental, harm reduction perspective. It’s for men who have sex with men, and transgender people who have sex with men, who use crystal meth. We know this is a particularly vulnerable community with high personal vulnerability to acquiring HIV and then to poor outcomes after HIV acquisition. So the program has many components, which are listed here, but the idea is really to bring a suite of services – including those directly related to but also ancillary to HIV itself – to ensure that this population is getting what it needs to stay healthy. We also have something called the Undetectables Viral Suppression Program, Viral and Suppression Program. It is a program designed to really support and promote this concept of becoming undetectable with HIV or having HIV viral control through the use of medications. But most – first and foremost, it really promotes an anti-stigma approach to HIV care and treatment. So it’s a sort of health marketing platform with a toolkit that includes evidence-based interventions to support adherence to medication, client-centered care planning, directly observed therapy, and also financial incentives for clients who achieve viral suppression. The program in New York City ran from 2017 to 2022 with seven agencies and then was rebid this past summer with nine agencies. And here is an image on the right side of the screen, a really fun, impactful, powerful image from this anti-stigma health marketing campaign. Another thing that we’ve launched in 2022 was to fund – to award funding to two organizations to implement psycho-social support services for transgender, intersex, gender-noncomforming, and gender-nonbinary people with HIV. We know this is a particularly vulnerable group with multiple intersecting needs, and so this portfolio really seeks to support programs that can reach this population and offer them client-centered, trauma-informed, culturally appropriate services. So they range from supportive counseling, linkage to HIV care and treatment, referral to medical and supportive services including gender-affirming care, and then a range of education, prevention, and remediation programming to really address stigma and discrimination. And I’ll just mention that we have a deep history and deep current practice around doing this work in the closest collaboration with community planning groups and advisory bodies. We know this is absolutely essential to the impact of our work and to how it’s received by the community, how it’s taken up by individuals, and just overall to its success. So we have a number of these community partners, including our HIV Planning Group, which helps to inform our HIV prevention activities, our HIV Health and Human Services Planning Council, which develops spending priorities and allocates Ryan White Part A resources to meet the needs of people living with HIV in New York City and our several surrounding counties which form our EMA. The HPG, the HIV Planning Group, has a – and the Planning Council have a Joint Policy Committee which brings together members of those two planning bodies who are really committed to advancing efforts to end the HIV epidemic through strategic community-driven policy advocacy – a really important group that is informed of and responds to legislation and regulations and policies that affect our ability and the shape of our approach to addressing HIV in New York City. We also have New York Knows, which is a partnership between the health department and community-based organizations, community health centers, hospitals, colleges, faith-based organizations, and businesses to promote and provide HIV testing to New Yorkers, identify people with HIV, link them to HIV care and services, connect people to HIV prevention services. And we in the last few years have expanded the focus of New York Knows to addressing other STIs and Hepatitis C as well. We have our SHAG, or our Sexual Health Advisory Group, which brings together sexual health stakeholders from around New York City and it really – it works to advise, sort of go beyond just disease prevention to incorporate sexual health and wellness broadly in our work. We have our Women’s Advisory Board, which is comprised of – it’s a diverse group of dedicated and passionate women leaders in New York City that have close connection with and experience working with and empowering their communities. And we work – that group really works to improve HIV prevention and care through sort of dialogue and action. And then I’ll just end by sharing some exciting news that New York City recently received a 2022 Circle of Excellence Award. So in October at the 2022 Fast Track Cities Conference, the International Association of Providers of HIV Care, or IAPAC, in partnership with its Fast Track Cities Institute, awarded New York City a 2022 Circle of Excellence Award, really in recognition of our local efforts to end the HIV epidemic. There were other Circle of Excellence Award recipients this year, including Amsterdam, Johannesburg, Kingston, Lagos, and Quezon City. You can see here an image of these awards, including New York City’s, and our mayor was there to accept the award on the behalf of the city. Also excitingly during the Fast Track Cities 2022 Conference, New York City signed on to the Sevilla Declaration. So this really builds on the Paris Declaration, which New York City signed onto in 2016, and the Sevilla Declaration commits to placing effective communities really at the center of urban responses to HIV, and it has 10 commitments to which we’ve signed on ranging from safeguarding the dignity and rights of communities affected by HIV to meeting UN goals for community-led HIV responses. So a really exciting both recognition of our work and commitment to deepening and expanding it going forward. And I will stop there and look forward to the question-and-answer session soon. MODERATOR: Thank you so much for that presentation, Dr. Braunstein. Next it’s my pleasure to welcome Krishna Stone, who is the Director of Community Relations at GMHC. Founded as Gay Men’s Health Crisis in 1982, GMHC is the world’s first HIV and AIDS service organization. Krishna has been involved with GMHC since 1986, originally as a walker in the first Annual AIDS Walk New York, later volunteering at GMHC, and since 1993 as a member of their staff. Krishna has received awards from the New York City Department of Health and Mental Hygiene amongst others for her outstanding dedication to combatting the spread of HIV, and in 2021 she was spotlighted by POZ Magazine as one of the top Black advocates who are making a difference in the fight against HIV and AIDS in the United States. Welcome, Krishna. Thank you for sharing a little bit from the perspective of a community organization such as yours. The floor is yours. MS STONE: Thank you, Ryan. Thank you, Sarah, for your presentation. And hello everyone, I thank you for the opportunity to talk briefly about GMHC which was, as you just heard, founded as Gay Men’s Health Crisis in 1982 and it is the world’s first HIV and AIDS service organization. So I’m going to talk a little bit about how and why GMHC started and move through the 40 years as quickly as possible about how the programs and services expanded and working to meet the needs of the people who needed our services, and then also where we are now in terms of the parallels between HIV and AIDS, the HIV and AIDS epidemic, the COVID-19 pandemic, and the monkeypox also known as MPV outbreak, and how we are balancing all of the issues faced by the epidemic, pandemic, and the outbreak and parallel – parallel patterns that we have learned form the HIV and AIDS epidemic. So if you google June 5th, 1981, most likely the CDC report, the morbidity and mortality report will come up, and in that report there is an article written by a number of physicians about their patients, all of whom were gay men, who were presenting with rare infections and ultimately dying very quickly. And that was the first government report even though prior to June 5th, 1981 one of our founders, Larry Mass, Dr. Larry Mass – he’s still alive and wonderful – he wrote an article for a newspaper called the New York Native, which has since closed, asking like what’s going on here, this is what I’m hearing. And then in August 11th – on August 11th, 1981 – our six founders, all of whom were gay men, gathered in the late Larry Kramer’s living room. He died. He’s one of our founders and he died in May of 2020. And they brought their supporters there and they brought a doctor who basically was sharing what he was seeing. And as with many disasters, people do gather together to try to figure out what to do, and so between August 1981 and January 1982 this organization was founded. And also, as well as grassroots organizations, the programs and services developed based on who was coming through the doors, who was calling, what did people need. And the term “urgent care” meant something very different versus the urgent care centers that you see today. So urgent care meant let’s get this person connected to care before they die. So we were trying our best to help, in the early years, people die with dignity. And as we – as I talk further, we were – with the advent of medications in the mid-’90s, we were helping people to live with dignity. So one of the first programs was the hotline, and for some of you, you may be too young to know what an answering machine was, but a telephone was connected to an answering machine in one of our volunteers’ living room. He later became the first paid executive director. And it was basically a message on that machine saying: Please leave your name and number and we’ll call you back with whatever information that we have. And there wasn’t a lot of information in 1982. Another signature program was the Buddy Program, which is still around, which is – consists of volunteers who then ultimately went through trainings to do this work, to visit our clients who were living and dying with AIDS during the early ’80s, and just to provide emotional support. Because what was happening was that our clients at that time were being disowned by family members and friends because there wasn’t enough information. And so the volunteers were able to step in and be supportive and connect them to lawyers if they needed to work on a will, or a therapist who could help them with the impact of the diagnosis of AIDS. And I remember a really fabulous psychologist once saying that when people would hear their diagnosis, whether it was HIV or AIDS, it was like being given a sentence with post-traumatic stress disorder, and I never forgot that. And that still can be the case today when people are diagnosed with HIV. So what we were also seeing as the programs began to develop, as funding started to trickle in, we were developing a legal department. We were having a meals program because people with AIDS were shunned in restaurants – they weren’t welcome – and setting up individual counseling sessions and support groups for people living with HIV and AIDS. And so the programs began to expand, again, based on the needs of the people coming through our doors. And so we moved in – a couple of times in the last 40 years as our programs began to expand. One of the things that is – was very much connected in the early years of the epidemic, and tragically still is, is stigma, which for some folks – which is a word that people are like, “What does that mean?” One of the definitions that I think really says what stigma is, is a mark of disgrace. And so as long as people were and continue to be shamed about who they are and who they have sex with, the shame will continue and affect their health and well-being. And we still continue to see that in – and shame and stigma manifests in many ways. It creates barriers for people to access care, whether it’s HIV testing or care services or HIV prevention programming. So that is still an epidemic in its own right in terms of shame that’s connected to HIV and AIDS. So in the mid-’90s – we’re moving to the mid-’90s now – we – that was the beginning – well, AZT came in at ’88, ’89, and then more medication started to be rolled out in the mid-’90s. So our clients began to live longer and they wanted to address more issues on a long-term basis versus a short-term basis. So again, our programming expanded to include workforce development. People wanted – they started to feel better, so they wanted to go back to work or start work. They wanted to work on their relationships or their family challenges. And so the programming continued. And the populations that Sarah – Dr. Sarah – showed you mirror the clients that we serve, whether they are living with or affected by HIV and AIDS. And so our programming around prevention expanded. Our community outreach continued to expand. You can’t just sit in an office building and expect people to come here. We have to go out into the communities. We have worked in coalition with the health department and our community member – community partner organizations and faith communities and corporations, and so you can’t do this work in isolation. And so here we are. So we are now dealing with – so HIV and AIDS, COVID-19 pandemic, and the monkeypox/MPV outbreak. So what’s happening is that people who are long-term survivors who are living with – who have been living with HIV and AIDS for 15, 20-plus years, 30-plus years, they are being retraumatized because they’re seeing people die of COVID-19, they’re seeing people – or with infections that connect to MPV, and they’re being shamed. Shamed for having COVID-19. Shamed for having monkeypox. So it’s triggering people who have been living with HIV and AIDS for a very long time and it’s causing increases in requests for counseling for mental health and substance use issues, and it’s a lot to balance. And it’s a lot to balance for those who are newly diagnosed with HIV of, like, how do I deal with all of these diseases and illnesses and all the health disparities that are connected to these – the epidemic, pandemic, and the outbreak. Sarah – Dr. Sarah mentioned some of them: homophobia, transphobia, poverty, racism, violence, immigration status, mental health and substance use issues, shame and discrimination. So essentially what I’m trying to say – and then I’ll close – which is that HIV and AIDS today is a multilayered experience. It requires multilayered services and programs and different strategies. You can’t just talk to somebody in one way and say, well, that’s going to fix everything. Here’s a condom. No, it doesn’t work. And so prevention work is multilayered. Services – care services, public policy advocacy. And so it requires all of us trying to understand how this connects to the populations that we serve, and that’s how we’re going to continue to move forward in our work on a daily basis and also with our partnerships. So I’ll stop there. Thank you. MODERATOR: Thank you for sharing your experiences with us, Krishna. And now it’s time for the Q&A portion of this event. If you’d like to ask a question, you can raise your digital hand to be called on, or you can type the question in the chat function and I will read it for you. So I see that Alejandro Rincon from NTN24 has a question. Alejandro, please introduce yourself and ask your question. QUESTION: Yeah, hello, everyone. I’m Alejandro Rincon with NTN24. We report for Latinos in the U.S. and also throughout Latin America. Thank you so much for conducting this briefing. It’s really important to our audience to get a little bit more of the insights. I have two specific questions on – they’re follow-up – they’re follow-ups on what I’ve been hearing on your briefing. First of all, throughout the COVID-19 pandemic we have been discussing it so little how access to care, treatment, and overall services for HIV folks has become more difficult, and this is a pressing issue towards this community. So first I’d like to know if in 2022, as we are in a way getting better in controlling the COVID-19 pandemic, do you see any evidence in Latinos and communities of people of color – has it improved their access in any way or are we still lagging from the COVID-19 epidemic? And then my second question would be related to the – it’s kind of on monkeypox and HIV situation. When we had the first outbreak of the monkey – of the monkeypox, there was a little debate on whether or not we learned the lessons from HIV and how the federal response was simply not up to par to what was expected, meaning we did not learn the lessons. So that said, how do you see overall are the things that we should be doing better? What would you like to see just to be better prepared for a new crisis, and how should we be dealing with this? So whoever wants to take that, I’ll be happy to hear. MS STONE: Sarah, I defer to you on the first question. I can talk about our expansion of work in terms of community outreach for the monkeypox outbreak, and if there’s anything in between. Or – yeah. MS BRAUNSTEIN: Sure. Well, go ahead, Krishna. You — MS STONE: Which one? Which question? MS BRAUNSTEIN: Oh, because you’re speaking to the second question, you want me to speak to the first? MS STONE: I just through we would split it up. I mean, we — MS BRAUNSTEIN: Yeah. MS STONE: So, okay, I’ll say one thing about the first question – and these are great questions; thank you, Alejandro – and then one thing about the outbreak. So what happened for us is that, at GMHC, we had to work remotely. We could not close. That was not an option. And we did continue to reach out to our clients by phone, by email, by the Zoom meetings that began. We did shift out to instead of having congregate meals on site to grocery bag distribution. What we did see and what we were very concerned about was that our testing center had to close and we mailed out at-home test kits, but we were concerned about the fact that people were still struggling to access medical care, HIV testing, and that we might see a rise in new infections a year or two years later. So we’re monitoring that along with our colleagues at the health department. For the monkeypox outbreak, MPV outbreak – I hope they change it to an acronym because that word is crazy – that we had to expand our work to ensure that our clients living with and affected by HIV and AIDS who met the criteria for vaccines, we helped them to navigate what began as a very complicated system, and we advocated for improvements for the system in setting up appointments. We received a grant from the health department – yay – and we have expanded our community outreach in specific boroughs to alert people around vaccines and treatment and care, and we will continue to do social media posts, create discussions, and looking forward to a social media campaign that I’m working on. So that’s where we are – while balancing all the other health disparities that are brought on by the pandemic and epidemic. MS BRAUNSTEIN: Yeah, and I’ll just quickly add, I mean, we – I would say we know and we are seeing even in our data a sort of rebounding of folks accessing HIV testing services, HIV care services, laboratory monitoring for HIV. The things that Krishna spoke about were really very much interrupted by COVID, especially in 2020, and even to some extent persistently through 2021. But we’re seeing at the sort of bird’s eye view here – at the population level, we are seeing and we know that our partners have reopened services and that the sort of telehealth services that a lot of organizations and institutions pivoted to are now being complemented by in-person services again. So I think we are hopeful. I mean, I think we acknowledge that there are still challenges. There have always been challenges in accessing care and services. Those were exacerbated by COVID and there’s still work to be done to return them to where they were but improve them way beyond that. And I will just say absolutely the health department’s – and with our community partners – response to the MPV outbreak 100 percent – I don’t know about 100 percent – to such a large degree relied on and drew and built on experiences from our decades of addressing HIV. The community partnerships that were already well-established in that space were critical to what the health department did during the MPV and is doing during the MPV outbreak. Our relationships with providers and our ability to convene providers and engage them and ensure they were getting access to MPV vaccination for their clients and patients, ensure they were getting access to tecovirimat for MPV treatment, we really – I just – the centering of equity with – in the health department’s response to MPV absolutely came from our, again, many lessons learned and very much an ongoing work to really center equity in our response to addressing HIV in the city. So, really critical, that HIV infrastructure. MODERATOR: Thank you so much, Alejandro. While I look to see if we have additional questions – if we do have an additional question, please do raise your virtual hand or type in the chat box. But while I wait, I wonder briefly, how similar is New York City’s model of both public and nongovernmental support to other comparable U.S. cities? And can you talk a little bit about to what extent and how you collaborate with others around the country, either one of you? MS BRAUNSTEIN: Should I jump in, Krishna? MS STONE: Yeah, before you do, Dr. Sarah, I just wanted to mention that we did – when the MPV outbreak started, we did see that there were some similar patterns that occurred in the early years of the epidemic and COVID-19, which was, again, the one health disparity, which is racism. We were worried that vaccines were primarily going to white gay men. We understood that that was data that was being followed; however, we understood that – from GMHC’s perspective that we knew that the health department and – we had to work – we wanted to work with them to make sure that black and brown communities would receive the same equitable care and support and access to vaccines. So – because we’ve been doing this work for years, so – and we understood that the health inequities that were there then, many are here now, so – but our partnerships are key to decreasing or addressing the health disparities. There you go, Sarah. Go for it. MS BRAUNSTEIN: Sure. So I can address – in New York City we really have enjoyed and benefited from strong local support from local leaders, including our mayoral administration, city council. It actually, in 2015 the sort of predecessor to our current Ending the HIV Epidemic Plan was announced by Mayor Bill de Blasio at the time, was the New York City Plan to End the Epidemic, and this really was a multimillion-dollar investment to expand HIV and sexual health programming and services citywide, to push our ending-the-HIV-epidemic efforts farther and farther. This – that certainly remains a priority of the current administration with Mayor Adams and our city council, who actually have provided over $56 million in local funding to support the health department in this current fiscal year, to support us, our administration of HIV and sexual health programming and services – in partnership with clinical institutions, CBOs across the city. So there’s a lot of engagement and ongoing engagement by local officials with the city health department and the HIV community on how they can support, through resources and otherwise, citywide efforts to end the epidemic. So, we are fortunate in New York City to have that support. I think you also — MS STONE: And sharing best practices — MS BRAUNSTEIN: Or – go ahead. MS STONE: Oh, I’m so sorry. I was just saying that sharing best practices on a local, state, and national level, and even global when we can or international level, is so important. What are you doing? How is this working? How can I be of help? We need to share that information and also the challenges, the successes. Otherwise, we don’t grow in our work. So I appreciate our coalition work. MS BRAUNSTEIN: Yeah. I couldn’t agree more. I mean, we, at the health department, I will say that we sort of really rely on relationships and collaborations and coalition involvement to really support and enhance the work – I think certainly with our community partners here, but also – really also with other health departments around the country. So for example, we are members in NASTAD or the National Association for State and Territorial AIDS Directors. We have membership in that organization, which really works to address HIV and viral hepatitis at the national level through working with other federal partners, through policy advocacy, through resource generation, et cetera. We are also – I was also just recently elected to the board of NASTAD, so it puts us in a better position – thanks, Krishna – in an even better position to collaborate with other jurisdictions who are represented on the board. And it really is – it’s that. It’s that sharing of best practices, lessons learned, common struggles, problem solving toward those common struggles. So I personally – and I think just we professionally – really do rely and benefit from lots of collaborations at those multiple levels that Krishna described. MODERATOR: Well, thank you. I see that we’re coming up on our hour mark, and so I did want to give a final opportunity for any additional questions, if there are any. And if not, I’d like to thank both of our briefers for generously sharing their expertise and time with us, and to everyone who joined us today. As a reminder, a transcript of this briefing will be shared later and available on our website. I’d also like to preview an anticipated Washington Foreign Press Center briefing on December 1st with the U.S. Global AIDS Coordinator and Special Representative for Health Diplomacy Dr. John Nkengasong. The following day, December 2nd, Secretary of State Antony Blinken will speak along with Ambassador Nkengasong and representatives of the Elizabeth Glaser Pediatric AIDS Foundation at a reception in Washington honoring Dr. Anthony Fauci, Director of the National Institute of Allergy and Infectious Diseases at the NIH. A link to further information on registering for that event is in the chat, and portions will be streamed – portions of that event will be streamed that day on state.gov. This concludes today’s briefing. I want to give special thanks to Dr. Sarah Braunstein and to Krishna Stone for joining us today, and for those of you who participated. Have a good day. Goodbye.

Riese has been talking for a long time about Autostraddle hosting its own gay Emmy Awards. It was mostly just a pipe dream, until we turned around in 20GayTeen and realized that — for the first time ever — there were actually more than enough queer characters, shows, and actors for us to really do it. Seeing them all listed out in our voting announcement post was honestly a thrill, and we know you felt it too, because you told us so in the comments: I‘m just having a moment of gratitude for these nominations, and also, that Gillian Anderson is in the category that she’s in. — Amidola This survey was so rude – these choices were brutal. (but also, I love that we had so many options!) — Ellie I am THRILLED to have so many options to choose from that many of these are genuinely difficult decisions. High school me is in disbelief at how much more representation there is now compared with a relatively short amount of time ago. It’s wonderful and it makes me very happy. — rustytiffany OK, how am I supposed to choose between all my faves? But also, such a good problem to have!!! — hiptobequeer How can I possibly choose between my children??? But also this was great and I’m truly shocked & happy by how hard it is to choose in any of these categories. “Man we didn’t hate” made me laugh out loud (and then was ALSO super hard to choose for? what the heck). — Laura R For regular categories, the individual TV Team Votes were weighted more heavily than those of the TEN THOUSAND readers who voted. For fan favorite categories, the winner was 100% determined by reader votes. Without any further ado, here are the winners of Autostraddle’s inaugural Gay Emmys! Outstanding Comedy Series Other nominees: Jane the Virgin, Fresh Off The Boat, One Mississippi, Broad City Before we get to this year’s Outstanding Comedy winner, we must take a moment to honor the overwhelming strength of this category. Lots of winners will tell you “It’s just an honor to be nominated.” Here’s the thing, this time it really is just an honor to be nominated. Out of the six nominees for Outstanding Comedy, a whomping three of them (One Day at a Time, Jane the Virgin, and Fresh Off the Boat) tied as our overall most nominated shows! With a record shattering SEVEN NOMINATIONS EACH! Brooklyn 99 came in just behind them, with five nominations. This category was stacked. In the Emmys, the most anticipated race often comes from the Outstanding Dramas. Prestige dark hours about men (and, in a trend I’m excited for, increasingly women) behaving badly continue to fuel television’s “golden era.” Those type of critics’ bait television shows largely continue to ignore queer women’s stories. We find ourselves in other spaces. Spaces that often are left just outside the gates on the “Can You Believe They Got Snubbed?” list. The fact that Jane the Virgin and One Day at a Time continue to find themselves locked out of the Emmys Outstanding Comedy race year after year is more an indictment of the white, male majority of the Television Academy than it is about the quality of either of those shows. At Autostraddle we are proud that our top three nominated series are all showrun by women. We’re even prouder that our inaugural winner, One Day at a Time, is co-run by a woman of color, Gloria Calderon-Kellett, who is helming one of the most heartfelt, funny, poignant, and diverse half hours on television. — Carmen Phillips Outstanding Drama Series Runner up: Everything Sucks Other nominees: Riverdale, Transparent, How to Get Away With Murder, Halt and Catch Fire Crescendoing, relentless, all-consuming obsession fuels the narrative of Killing Eve, Phoebe Waller-Bridge’s sexy, smart, distinctly feminine action thriller starring Sandra Oh and Jodie Comer as the toxic spy-assassin duo who can’t stop thinking about each other. Watching Killing Eve feels exactly like that: seering obsession. This category was stacked with great, complex dramas, but there’s something just purely intoxicating about Killing Eve that sets it apart. Though it’s the phrase most often used to describe Eve and Villanelle’s dynamic, “cat-and-mouse” hardly covers what Oh and Comer bring to these characters or what’s even on the page. It’s never quite clear whether they want to murder each other or make out. Hunting each other, longing for each other, Eve and Villanelle might be one of the most complex queer relationships on television. But beyond that dripping subtext, it’s just a very good thriller with compelling twists and turns and sharp edges that refuse to be dulled. — Kayla Kumari Upadhyaya Outstanding Sci-Fi/Fantasy Series Other nominees: DC’s Legends of Tomorrow, Marvel’s Runaways, Jessica Jones, Orphan Black Anissa Pierce is the first black lesbian superhero on television, on a show comprised of an entire family of black superheroes. (She’s also, as far as we collectively are aware, the first explicitly lesbian superhero on network television, period, which is a huge deal as it’s very rare for the first lesbian anything to also be a POC.) That, itself, is enough to make it a shoe-in for this category, but Black Lightning is more than just the stats; it’s a really good TV show. It takes all of the best elements of superhero stories — grappling with secret identities and their impact on relationships, how and when to use superpowers, the giant expanse between “good” and “bad” — and it does so without shying away from the fact that the Pierce family is black in Trump’s America. Black Lightning even tackled Charlottesville in season one, centering an episode on a white supremacist confederate monument on Anissa’s campus, and her struggle with containing her own fear and righteous rage (and the accidental manifestation of her powers) when she was provoked within its presence. There are few shows as relevant as this one right now, and even fewer that confront our culture with such triumph. — Heather Hogan Outstanding Lead Actress Playing an LGBTQ+ Character in a Drama Series Viola Davis, How to Get Away With Murder Runner up: Sandra Oh, Killing Eve Other nominees: Judith Light (Transparent), Jodie Comer (Killing Eve), Sherri Saum (The Fosters), Aisha Dee (The Bold Type) Viola Davis is one Grammy — one small, tiny audiobook — away from being the second black woman to ever capture the EGOT; she already has an Emmy, an Oscar and a Tony to her credit. Judith Light is a celebrated actress with nearly 40 years in the business; she is one of just six performers to win back-to-back Tonys. Sandra Oh has a Golden Globe and two SAG Awards already and, whether she wins or not, her Emmy nomination for Best Actress in a Drama is already etched in the history books. There was once a time when actors avoided playing gay; today well-crafted LGBT characters attract our best and brightest. Last year when we were making our Emmy picks, Heather wrote: Viola Davis is one of the greatest living actors in the world, and the fact that we get to see her play a brilliant, glorious, complicated, tortured, triumphant, broken, beautiful bisexual woman every week on broadcast network television is frankly unbelievable. In lesser hands, How to Get Away With Murder wouldn’t have made it a full season. She carries it all and elevates it to a place beyond anything written on a page or suggested by a director. She has deserved every award she’s ever been nominated for, and plenty that she hasn’t, and that includes this one. Yes, including this one. — Natalie Outstanding Supporting or Guest Actress Playing an LGBTQ+ Character in a Drama Series Samira Wiley, The Handmaid’s Tale Runner up: Madelaine Petsch, Riverdale Other nominees: Nikohl Boosheri (The Bold Type), Sara Ramirez (Madam Secretary), Kimiko Glenn (Orange is the New Black), Alexis Bledel (The Handmaid’s Tale) I’m almost tempted to just say, “Samira Wiley won this race in the Emmys just this past weekend, and that’s all you really need to know.” Let’s dig deeper. One of our decisions in creating the “Gay Emmys” was to build a space for acknowledgment and critique. Acknowledgement that the quality of the stories and performances we’re finally receiving as LGBTQ+ women is growing and improving with every year, and Critique that those same performance remain woefully under-appreciated when it comes an Emmys season that’s largely dictated by the tastes of white, straight, cis men. Samira Wiley’s performance as Moira in The Handmaid’s Tale is a perfect intersection of those two competing interests. She’s one of the few actresses (along with Tatiana Maslany, Evan Rachel Wood, and Sandra Oh) who finds herself nominated in both our homegrown awards and the actual Emmy race. And get this, she won in both places! In fact, on Saturday night she made history as part of a first-time ever sweep for black actors in the Best Guest races. Samira’s take on Moira has been emotionally raw. It’s no small feat, considering how little screen time she’s given. She commands the screen and squeezes the most out of every harrowing second. — Carmen Phillips Outstanding Lead Actress Playing an LGBTQ+ Character in a Comedy Series Stephanie Beatriz, Brooklyn Nine-Nine Runner up: Isabella Gomez, One Day at a Time Other nominees: Yael Grobglsa (Jane the Virgin), Kristen Bell (The Good Place), Ilana Glazer (Broad City), Tig Notaro (One Mississippi) If you follow Stephanie Beatriz on any social media, you know just how much this woman is acting when it comes to playing Rosa Diaz on Brooklyn Nine-Nine. Beatriz’s energy is completely divergent from her character; she even transforms her voice for the role. But those are just really fine-tuned acting tools that most capable performers have, not necessarily the kinds of things that make one worthy of a comedic acting win, especially in a category as stacked as this one. Beatriz’s humor is sharp, often physical but also harnessed in the way she punches every syllable, as with her line reading of “That’s Nora Ephron, you idiot.” Beatriz can bring out a softer side of Rosa when she needs to, but she never fully dials down that intensity. She’s always on, even when she isn’t the focus of a scene. She makes a character full of rage and contempt extremely likable (and not despite those characteristics but because of them). — Kayla Kumari Upadhyaya Outstanding Supporting or Guest Actress Playing an LGBTQ+ Character in a Comedy Series Rosario Dawson, Jane the Virgin Runner up: Sheridan Pierce, One Day at a Time Other nominees: Yara Martinez (Jane the Virgin), Luna Blaise (Fresh Off the Boat), Isidora Goreshter (Shameless), Alex Borstein (The Marvelous Mrs. Maisel) Put a group of 50 people in a room, ask them a question and you’ll probably end up with 50 different answers, but, apparently, if you bring a bunch of lady-lovin’ women together and ask them about Outstanding Supporting or Guest Actress, the answer is damn near unanimous: Rosario Dawson. And that’s not a slight on any of the other nominated actresses here — we were positively charmed by Sheridan Pierce’s quirky portrayal of Syd on One Day at a Time; we saw ourselves in Fresh Off the Boat‘s Nicole (Luna Blaise) when she admitted she might like girls over chips with Eddie; we loved Isidora Goreshter’s Svetlana on Shameless (some of us more than others). It’s just the power of Rosario Dawson. The moment Jane Ramos sauntered over to Petra Solano, hand extended with a cocky smirk on her face, and became Petra’s lawyer, she had us… and Petra… and this award. — Natalie Outstanding Lead Actress Playing an LGBTQ+ Character in a Sci-Fi Series Tatiana Maslany, Orphan Black Runner up: Dominique Provost-Chalkley, Wynonna Earp Other nominees: Nafessa Williams (Black Lightning), Lyrica Okano (Marvel’s Runaways), Caity Lotz (Legends of Tomorrow), Chyler Leigh (Supergirl) Though the industry was slow to realize it, the truth is finally out there: Tatiana Maslany is one of the best actors of her generation. Orphan Black was the perfect showcase of that truth, with Tatiana playing every Leda clone with astounding nuance. She never relied on wigs or wardrobe to differentiate them, instead giving each clone their own mannerisms, quirks and postures. She even layered those performances, having one clone mimic another, and it was always subtle and brilliant. In Cosima, we got a lesbian character who, in a pretty bleak landscape of queer rep at the time, was saying things like, “My sexuality isn’t the most interesting thing about me” and “I’m not going to apologize for my heart, okay?” Cosima’s relationship with Delphine was complicated and emotional and the strongest romantic through-line of the whole series, and Tatiana embraced it wholeheartedly, sometimes name-checking the “clonesbians” fans, and being an active, outspoken ally. Sci-fi is too often not taken seriously, for reasons I will never understand — the “real” Emmys don’t even have it as a category at all, making it extremely rare for even the best sci-fi shows to be nominated. Luckily, Tatiana’s talent eventually broke through, and she’s nominated this year for the third time, for Orphan Black‘s final season. I’m excited to honor her for this show one last time. — Valerie Anne Outstanding Supporting or Guest Actress Playing an LGBTQ+ Character in a Sci-Fi Series Katherine Barrell, Wynonna Earp Runner up: Floriana Lima, Supergirl Other nominees: Sara Serraiocco (Counterpart), Mayko Nguyen (Killjoys), Carrie Ann Moss (Jessica Jones), Jes Macallan (Legends of Tomorrow) Oh are you surprised it’s me, Valerie Anne, here to celebrate a Wynonna Earp win? I didn’t think so. This win is great because Nicole Haught is such a special character. She easily could have been a caricature, just Waverly’s hot cop girlfriend (I mean her name is literally a play on that) but as the episodes and seasons progressed it has become clear that she’s important to this story and this show entirely separate of Waverly. Katherine Barrell brings a softness to what could have easily been a rough exterior, and when she’s given the chance, she can give you comedy gold. The two episodes that featured Nicole and Wynonna getting drunk together (actually… both times it was Nicole getting drunk and Wynonna not so much), Kat delivered such smart comedic timing, it was truly a joy to watch. Not to mention every scene between Nicole and Waverly is crafted with such love and care, and Barrell’s performance is so engaging, that the running joke is Haught turns into a heart-eyes emoji every time Waverly is in the room. — Valerie Anne Outstanding Performance by a Straight Actress in a Straight Role Gina Rodriguez, Jane the Virgin Runner up: Rita Moreno, One Day at a Time Other nominees: Constance Wu (Fresh Off The Boat), Kerry Washington (Scandal), Issa Rae (Insecure), Justina Machado (One Day at a Time) “Outstanding Performance by a Straight Actress in a Straight Role” is tongue-in-cheek. When we first brainstormed this category, we doubled over a bit in laughter. Then we narrowed down the nominations, and suddenly nothing was funny. How could we choose between Kerry Washington, Constance Wu, Justina Machado, or Rita Moreno? Every queer woman reading this knows that eye-rolling moment where you see a straight woman on television, and you just want to save her from herself. You want her to not crumple in front of lackluster men who don’t deserve her. You want her not to succumb to the pressures of patriarchy. Hell, you want her (or the actress playing her) to be a meaningful ally to the queer women in her life. More than anything, you want her to have the opportunity to be complicated, messy, emotional, but also dynamic and full and free to love. So few women characters on television are allowed that kind of breadth. Particularly straight women on TV, who are often forced into the (haha straight and) narrow boxes of a “romantic lead.” I’m so proud to award this year’s “Best Straight” to Gina “possibly more bisexual than Jane” Rodriguez. (Although she does still identify as straight, which’s why we included her in this category.) Not only does she continue to knock it out of the park as Jane Villanueva, a straight romantic lead who never loses track of her own self-worth or compass because of men, but her directorial debut behind the scenes gave us “Chapter Seventy-Four” – an episode nominated on its own merits this year for Best Episode with LGBTQ+ Themes. Now, that’s how you do it! – Carmen Phillips Best Episode with LGBTQ+ Themes Fresh Off the Boat, “A League of Her Own” Runner up: Brooklyn Nine-Nine, “Game Night” As a 39-year-old lesbian who came of age in the ’90s when the only queer character on TV was Ellen and she was getting annihilated for it, watching Nicole casually and successfully come out in 1997 on Fresh Off the Boat was a time-traveling balm to my closeted teenage heart. She came out to Eddie a few episodes before, but “A League of Her Own” found her joining the softball team for the local lesbian bar — the Denim Turtle — and coming out to her dad and step-mom. The episode was sweet and poignant and, like the rest of Nicole’s journey to figuring out her sexuality, full of so many glorious ’90s lesbian jokes. “Come to My Window” played at least three times! It was also the episode where Jessica, who has a notoriously broken gaydar, found out “it can go the girl way.” Honey immediately supported Nicole, and it only took her dad nine innings to get there. — Heather Hogan Best Coming Out Story Rosa Diaz, Brooklyn Nine-Nine Runner up: Kate, Everything Sucks! Ah yes, here I am, writing about Stephanie Beatriz again! But, more specifically, her character on Brooklyn Nine-Nine: the tough-as-nails and occasionally eratic (but secretly tender, especially when it comes to protecting and loving her friends) Rosa Diaz. I think it’s safe to say that most of us got queer vibes from Rosa early on (and really just a compound of queer vibes from the VERY GAY dynamics between Rosa/Gina/Amy, if we’re being honest), and there are few things more satisfying than picking up on subtextual queerness and then having the writers deliver. And wowza, did they deliver! It’s still strikingly rare for television characters to identify explicitly as bisexual, to actually SAY the word out loud. But Rosa does so. She boldly claims the identity. And Brooklyn Nine-Nine doesn’t just package this neatly in a single coming out episode and call it a day. Rosa’s coming out feels like a genuine journey, like something that ebbs and flows. It’s easier for her to come out to her friends than to her family. Ultimately, her coming out story is inspiring and hopeful, but it isn’t without its complications either. — Kayla Kumari Upadhyaya Outstanding Performance by an LGBTQ+ Actress in a Comedy Stephanie Beatriz, Brooklyn Nine-Nine Runner up: Lily Tomlin, Grace and Frankie Yep!!!! It’s me again, writing about Stephanie Beatriz!!!! Honestly, it’s no surprise that she ended up dominating these super queer TV awards. It’s not every day that the stars align so that an actor’s own coming-out-narrative unfolds in conjunction with their character’s, but there’s something magical about it when it does happen. There’s something strikingly authentic about Beatriz’s portrayal of Rosa’s bisexual identity. Beatriz, in fact, had some input in the way the character’s coming out story was crafted and has vocally reiterated a lot of the points that Rosa’s story brings to the surface. Rosa pushes back against her parents when they try to deny her bisexuality by saying that she’ll probably end up with a man anyway. Beatriz has similarly called out any attempts to erase her identity, plainly stating that the fact that she recently got engaged to a man in no way negates her bisexuality. She’s making her voice heard in front of the camera and in real life, too. — Kayla Kumari Upadhyaya Outstanding Performance by an LGBTQ+ Actress in a Drama Sara Ramirez, Madam Secretary Runner up: Samira Wiley, The Handmaid’s Tale In the Comedy equivalent of this race, Stephanie Beatriz had a sweep! Yet, in the Drama category we found ourselves split between Ramirez (winning as Outstanding Performance by an LGBTQ+ Actress in a Drama) and Samira Wiley (who beat out Ramirez earlier in this very post for Outstanding Supporting Actress Playing an LGBTQ+ Character in a Drama). Clearly, both of these Julliard-trained women of color are incredibly talented. It’s not just that Sara Ramirez uses her celebrity platform to lift up those most vulnerable in our community, trans folks and bi folks of color who are often forgotten underneath the “rainbow flag.” It’s not just that she was vocal in the crafting of her character’s coming out story this year (though as Kayla just noted, that type of behind the scenes advocacy is still critical when talking about queer and bisexual representation). It’s not just that when approached by CBS about the role of Kat Sandoval, Ramirez told them in no uncertain terms that she was coming to the table as the butch icon she’s quickly become, and not as the remnant memories of Callie Torres that they may have been holding on to. Or maybe, really, it’s all of those things. In every moment, with every fiber, whenever and however she can, Sara Ramirez makes sure we know how much she loves us. She’s triumphant. It’s only fitting that we love her back with the same fervor. After all, if we don’t take care of ourselves, who will? – Carmen Phillips Outstanding Performance by an LGBTQ+ Actress in a Sci-Fi/Fantasy Show Evan Rachel Wood, Westworld Runner up: Maisie Richardson-Sellers, Legends of Tomorrow Other nominees: Tessa Thompson (Westworld), Ariela Barer (Marvel’s Runaways), Aubrey Plaza (Legion), Gillian Anderson (The X-Files) The second season of Westworld was more polarizing than the first, but there’s no denying that Evan Rachel Wood is a force to be reckoned with. A total 180 from sweet, meek Dolores, self-aware Dolores is fierce and rightfully pissed. I don’t think I will ever, for as long as I live, forget Dolores being fired at and continuing to walk forward into the hail of bullets, unflinching. It was such a powerful image. Evan Rachel Wood carried her storyline with her head high this year, and even though her body movements were always quiet and controlled, her presence on screen was deafening. She more than earned this Gay Emmy, and I wouldn’t be surprised if she won an Emmy Emmy, too. Which is extra awesome because she’s so open about her sexuality and being part of our community that her full legal* name is Evan Rachel Wood Bisexual. – Valerie Anne Outstanding LGBTQ+ Director / Producer / Showrunner TIE: Lena Waithe, The Chi and Nahnatchka Khan, Fresh Off the Boat Runner up: Rebecca Sugar, Steven Universe Other nominees: Joanna Johnson, The Fosters; Katja Blichfeld, High Maintenance; Cameron Esposito & Rhea Butcher, Take My Wife According to a recent report, more than 90% of the showrunners in Hollywood in during the 2016-2017 season were white and 80% were male. That diversity (or lack thereof) correlates strongly to who makes up writers’ rooms — showrunners hire who they know, after all — and that dictates the stories we see on television. Hiring an LGBTQ+ director/producer/showrunner is a game-changer. It means we’ll get to know more LGBTQ+ writers and see more LGBTQ+ stories being told. Sometimes that means, we’re the story — that our lives are the central focus of the show, as with Cameron Espositio and Rhea Butcher’s Take My Wife or Joanna Johnson’s The Fosters. Then there are times we are just allowed to exist, woven into the tapestry of other’s stories, as is the case with this category’s winners, Lena Waithe’s The Chi and Nahnatchka Khan’s Fresh Off the Boat. Whether the characters are front burner or side burner, LGBTQ+ showrunners ensure that stories get told with nuance. It’s priceless. That said, it’s possible that I’m being too critical about this, and, really, you just voted for Lena Waithe cause you’re still in your feelings about her haircut — which, I mean, SAME. — Natalie Most Groundbreaking Representation Runner up: One Day at a Time Other nominees: Steven Universe, Take My Wife,You Me Her, Transparent In a mid-season episode of Black Lightning, Jefferson (one of the best men on TV, for sure) is forced to tell Anissa: “All it takes is one cop! One cop to see your color instead of your humanity and decide, better dead than sorry. Look, you are a black woman, you don’t have the luxury of being naive… I don’t want to lose you because you went along with something that you should have walked away from.” What he doesn’t know yet is that guns can’t hurt her. It’s both of these things that make this show so groundbreaking. It refuses to shy away from the realities of being a black family in a country built on and sustained by white supremacy. It comments on police violence. It comments on confederate monuments. It comments on everyday microagressions. It also features a black lesbian character who, it would appear, cannot be killed. “I’ve said before that bullet proof black people is my favorite superhero trope,” Carmen wrote in a season one recap, “but there is also something so sweet about a television lesbian who can’t be shot.” — Heather Hogan Outstanding Male Character Rogelio De La Vega, Jane the Virgin Runner up: Captain Holt, Brooklyn Nine-Nine Other nominees: Evan Huang, Fresh Off the Boat; Daniel “Hondo” Harrelson, S.W.A.T.; Jefferson Pierce, Black Lightning; Lincoln Rice, Broad City It’s hard to live a day on Al Gore’s internet without seeing someone utter those three special little words — men are trash — and 99% of the time, that phrase is uniquely suited to describe men and whatever misogynistic BS they’ve done that day. But on television, as in life, there are always a select few men who prove to us: #NOTALLMEN. You can be heroic, like Jefferson Pierce on Black Lightning and still recognize that you can’t do it on your own. You can be a real leader, like Hondo on S.W.A.T. or Captain Holt on Brooklyn Nine-Nine, who works best by empowering the women around you. Or you could be Rogelio de la Vega, the winner of our Outstanding Male Character category, who works overtime to make the world more beautiful for the women in his life. It’s easy to get lost in Jaime Camil’s portrayal of Rogelio. When he sits and cries with Jane or when he holds Xiomara’s hand through her cancer treatments or when he builds “bro-mances” with Michael and Rafael or when he dons his favorite lavender shirt, Rogelio is quietly rewiring our thinking about masculinity and undoing some toxic tropes about Latino men in particular. We were just too busy laughing to notice. — Natalie Outstanding Animated Series Runner up: Adventure Time Steven Universe is just so many things! It’s the first animated series to show two women kissing on-screen, the first animated series to show two women getting married on-screen, the only animated series on TV to feature almost all women of color as voice actors. It’s got non-binary representation; it’s constantly messing with gender presentation; it’s forever destroying toxic masculinity; it’s dealing with actual depression and actual trauma and finding ways to validate them both. It’s also helmed by non-binary bisexual showrunner Rebecca Sugar, who we just found out is the person responsible for Princess Bubblegum and Marceline’s whole gay deal on Adventure Time. It seems like she took what little she could do there, in terms of queer representation, and multiplied it times a hundred when she got her own show. Steven Universe has changed the game for queer characters on TV forever. — Heather Hogan Outstanding Hairstyling for an LGBTQ+ Character Sara Ramirez, Madam Secretary Runner up: Sandra Oh, Killing Eve Other nominees: Cameron Esposito and Rhea Butcher, Take My Wife; Nafessa Williams, Black Lightning; Sherri Saum, The Fosters; Lyrica Okano, Marvel’s Runaways When Sara Ramirez tweeted out this promo shot of her as Kat Sandoval on Madam Secretary, she very nearly broke the queer internet. We were talking about it in literally every single channel in Autostraddle Slack. Twitter, too, was going berserk. All of it, of course, was especially about her alternative lifestyle haircut, which she’d been sporting since she came out as bisexual. Autostraddle reader Another Rachel said it best: “I’m sorry, but IS THAT HAIRCUT GOING TO BE ON TV? That haircut. Haircut. The way her hair is cut. On tv.” And yes, it was. And yes, it was glorious. (It’s a bonus that when asked about her infamous new hair, Sara Ramirez name-checks black queer Brooklyn barber Khane Kutzwell first.) — Heather Hogan Fan Favorite Couple Waverly and Nicole, Wynonna Earp Runner-Up: Alex & Maggie, Supergirl I’ve already waxed poetic about Nicole, so let me tell you a little about why Waverly Earp is great. Her coming out wasn’t one big reveal, it wasn’t an epiphany or a secret she carried for a long time. It was an evolvement, a realization; and it wasn’t JUST her queerness she was coming into as she became more herself. It was the totality of Waverly. She was realizing she was more than just a small-town gal, that she could embrace the learned-dead-languages-for-fun, bookish side of her, that she didn’t have to be what everyone expected or wanted her to be. She could just be HER. And it just so happened that as she was learning this by way of realizing she could help her sister re: the Earp curse, that she also realized she deserved more than the boy she settled for who didn’t appreciate her favorite things about herself. And it just so happened that during this realization, the hottest cop to ever grace the Ghost River Triangle strolled into her bar. And Nicole loves Waverly for Waverly, and whatever that means to Waverly is fine by her. It’s no surprise to me that these two lovebirds made their way into so many of your hearts and that they won this fan fave category. — Valerie Anne Fan Favorite Out LGBTQ+ Actor Stephanie Beatriz, Brooklyn Nine-Nine Runner-Up: Kate McKinnon, Saturday Night Live We had joked about calling these awards The Violas (for the reasons Natalie listed above) or The Mommis (for the reasons listed in perpetuity on this website) but maybe we should have called them the Beatrizes. She absolutely swept these things! — Heather Hogan Most Devastating Cancellation Runner-Up: One Mississippi In the sixth episode of Everything Sucks!, Kate Messner sees her future — two women holding hands, dancing to Tori Amos’ “Silent All These Years” and kissing — and she knows that she wants it. At that very moment, the fear that’s kept her clinging to a fake relationship is outweighed by the desire to see that future realized. “My whole life, I have been the freak. The girl who nobody picked for dodgeball. The girl who didn’t have a mom. The girl who dressed funny because it was her dad buying her clothes,” Kate admits. “And then, tonight I looked at these people, and I thought maybe there’s a future where I don’t have to be a freak. Maybe I can be who I am and that’s okay.” Kate Messner gave voice to why representation is so important and, sadly, why the loss of Everything Sucks! is so profound. Kate Messner was to a Netflix audience what that Tori Amos show was to that character: a reminder that maybe you can be who you are and that’s okay. Netflix took for granted that there are still so many of us who still need to hear that message. — Natalie Fan Favorite New Show Runner-Up: The Bold Type Queer women were always going to be into Killing Eve because queer women are very into Sandra Oh, but it didn’t take long into the first season of BBC America’s breakout show for queer women to become as obsessed with Killing Eve as Eve and Villanelle are with each other. This is a story we’ve never seen before, not like this, and damn the tropes we just want more! — Heather Hogan Fan Favorite Character Rosa Diaz, Brooklyn Nine-Nine Runner-Up: Nicole, Wynonna Earp We’ll be live-blogging the “real” Emmys next Monday night; hope to see you there!

THEY THEM US is an intense relationship drama that follows a group of friends in their mid-20s as they carve their niche in the world. They’re part of a unique generation that’s empowered enough to unpick the meaning of gender, test their sexuality and challenge the binaries that have bound older people. They’re products of the #metoo, feminist, politically polarised world in climate crisis that has called people to be bold and take action. The precinct that brings this group of young people together is a new women’s football team, Victoria Park Women FC in East London. Driven by strong episode hooks, series one follows SUZE, a young gay woman and her journey towards a non-binary they/them identity as SKY. It’s uncharted territory for them that comes with unexpected consequences for them, their friends and partner. Written and directed by Jane Marlow, the pilot shot in London during November 2019 is currently in post production. If time was really up; if women had half the seats in UK Parliament, formed half the CEOs in business, had equal input in the judiciary, police force, health service, media, shared half the wealth, power and influence with men, what would the UK look like? IN EQUALITY WE TRUST is a creative documentary project that attempts to discover what an equal society might look like by asking women one simple question: which areas of our society would you most want to change or challenge if you had the power? The responses we gather from our online survey will form the basis of the film.

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Khloe Rios, who filmed the cellphone video, said the group was chatting and eating tacos and quesadillas when the straight couple approached. Transgender bar Boo man accompanying the woman grew aggressive, Rios said, and slapped her coworker and pushed. The group stood up and huddled around one another for protection, she said. Korean Actor Confesses He Used To Cross Dress And Work At A Transgender Bar They asked the man to get his wife Trwnsgender exit the restaurant. She said the employees were gentler with the couple, who were escorted out, than with the group. Whether in public, or inside of a private Transgender bar Boo, all Angelenos deserve the freedom to coexist in harmony. Although we cannot comment on an ongoing investigation, rest Transgender bar Boo the LAPD will thoroughly investigate the incident at Las Perlas. Transgender bar Boo said the group called the police but that the couple left before officers arrived. Before leaving, she said, the man grabbed a piece of metal from the street and threatened them. I feel sad. Sorry, this content is not available in your region. I feel anger. Las Perlas plans to open a location in West Hollywood, according to Eater. About Us. Brand Publishing. Times News Platforms. Real Estate. Facebook Twitter Show more sharing options Share Close extra sharing options. Downtown L.A. bar hiring new security after forced removal of transgender women Boo Sarah Parvini. Follow Us. More From the Los Angeles Times. Transyender magnitude 3. His record since has angered some in Transgender bar Boo cannabis industry. Gavin Newsom led the campaign to legalize recreational marijuana in California. LAPD acknowledged the incident on Twitter and said it could not Transgendr on an ongoing investigation. Rios Tompkins houses Jakobsberg her group wasn't asked to leave until they were already being escorted. By CNN. Join List of free sex website in Sweeden Log Into Facebook. 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The left is becoming increasingly hostile. They are forcing everybody to take a political stance. Now an anti-American anthem protester demanded people support one Democrat cause. U.S. Women’s National Soccer Team star Megan Rapinoe talks more about politics than she does soccer. It doesn’t seem as though she ever discusses the nuances of the sport or matches; it’s always something political. Rapinoe is stridently left-wing, meaning anybody that does not agree with her is somehow morally deficient, her parents included. She admitted she was baffled that they voted for Donald Trump. Now Rapinoe is back on the pulpit stumping for abortion in light of the recent decision by the Supreme Court to overturn Roe v. Wade. Rapinoe said during a Zoom call with reporters, “How sad a day this is for me personally, for my teammates, for just all of the people out there who this is going to affect…Pro-choice means that you get to choose…Pro-choice allows other people to be pro-life if that is what works for them or that is what their beliefs are or if that is where they’re at in their life. Pro-life doesn’t allow anybody to make a choice.” Choice ends at the taking of another life, which is why the abortion debate exists in the first place. With the overturning of Roe, each state will get to draft its own abortion laws. So deep-blue states like New York and California will continue to allow for abortion up until the point of birth, no questions asked. In fact, California is debating whether or not to allow babies born after a botched abortion to die. Former Virginia governor Ralph Northam argued in favor of that ghoulish position. Rapinoe continued, “Obviously, you can understand from an individual perspective how difficult it is to live in a country where you have a constant, unrelenting violent tide against you, an onslaught as a woman…And it would be as a gay person, and as a non-binary person, as a trans person. Whoever this is going to affect because it affects a lot more than just women or cis [gendered] women. It really does affect us all.” It’s amazing how leftists suddenly remembered what the word “woman” means. Rapinoe recently argued that biological males should be allowed to compete in women’s sports. But now that the abortion debated has been re-ignited, all of the nonsensical gender arguments go out the window. Rapinoe added, “We know that this will disproportionately affect poor women, Black women, brown women, immigrants, women in abusive relationships, women who have been raped, women and girls who have been raped by family members. Who, you know what, maybe just didn’t make the best choice. And that’s no reason to be forced to have a pregnancy.” First, rape and incest are exceedingly rare reasons for abortion. Rape and incest account for 0.085% and 0.001% of all abortions, respectively. Many states already carve out exceptions for rape and incest, but that does not matter because pro-abortion zealots still would not be in favor of restricting abortion with those hard cases off the table. Also, studies show that women making over $47,000 are more likely to have an abortion than women below the poverty line. Progressives like Rapinoe always use minorities and poor people as mascots for what they want to do. Rapinoe also added an appeal to men, saying, “You’ve been silent to us, as a whole…Stand up, say something. This is your wife, this is your sister, this is your friend, this is your girlfriend, this is the mother of your children. This is all of us. And you are allowing a violent and consistent onslaught on the autonomy of women’s bodies, on women’s rights, on women’s minds, on our hearts, on our souls.” Rapinoe completely ignores that women make up nearly half of the pro-life movement. Leftists demand they get their way regardless of the law or the opinions of others who disagree with them.

As an elementary school teacher, you may think your students are too young for discussions about gender. But did you know that children as young as four years old already express discriminatory beliefs based on gender? The earlier we can empower children with the belief that all gender identities (including their own) deserve respect, the better prepared all students will be for success. Here we’ll discuss what gender equality is, how it differs from gender equity, and why both gender equity and equality need to have a place in your curriculum. Then learn how to make your classroom a safe and welcoming place for all students. What Are Gender Equality and Equity? First, let’s explain what we mean by gender. Gender is here defined as a student’s social identity as male, female, or non-binary—the last of which refers to students who identify as a gender other than “male” or “female.” Gender definitions also include transgender students, who identify as a gender that is different from their biological sex. Gender equality involves empowering all students and providing them with the same human rights. It also includes correcting biases students hold about themselves or gender identities other than their own. As a teacher, you’ll work with many students, some of whom might have trouble understanding their own or other students’ gender. That’s why it’s so important to be aware of and find ways to affirm your students’ identities. You can positively change the way your students see both themselves and others. According to the ACT Center for Youth, true gender equality can be reached when these three needs are met for all students: - Equitable access and use of resources - Equitable participation - Safety or freedom from violence And how is gender equality different from gender equity? It can be helpful to look at gender equality as the end goal and gender equity as the means to get there. Gender equity refers to promoting fairness in education, as well as confronting stereotypes and biases that have historically limited a student’s potential. When we achieve gender equality, all students will be free to pursue their education without fear of discrimination or harassment because of their gender. The Importance of Gender Equity and Equality in the Classroom Why confront gender bias in the classroom as early as possible? A survey involving over 2,000 children ages 4 to 16 found that from an early age, children make assumptions that confirm gender stereotypes. Children learn how to think about themselves and others from the messages they hear in society. And often, these messages include stereotypes about gender that stick with them for the rest of their lives. In the classroom, students often encounter implicit or explicit assumptions about gender. For example, girls interested in STEM subjects may be discouraged if others say such topics aren’t very “feminine” pursuits. And the prevalence of this stereotype may be linked to the fact that more than 50% of all women in STEM ultimately leave their field due to hostile work environments. Also, 75% of all transgender students report feeling unsafe at school, which affects their academic achievement in very serious and harmful ways. You can make a difference for younger students by teaching them to find strength in their gender identity and to treat kindly those with different identities than their own. According to Today’s Parent writer Gordon Nore, children are often already thinking about their gender and how it relates to the world around them. As a teacher, you can help facilitate their thoughts and discussions in healthy ways. You can also promote better understanding among your students for those who are different from themselves. Four Ways to Promote Gender Equity and Equality in Education Looking for ways to discuss gender equality issues in your classroom and move towards gender equity? We’ve put together four examples of how you can promote gender equality for all of your students. Be a Role Model for Your Students Students, especially younger children, often learn by imitation. As a teacher, be aware of your own assumptions about gender and try to correct your biases as you notice them. In relevant situations, empower your students to believe in their potential to achieve their dreams regardless of their gender identity—and that their gender is a strength, never a weakness. Also, use language in class that is inclusive of transgender and non-binary students, such as using the name and pronouns that a student goes by, even if it is different from their school records. Don’t Connect Gender to an Ability or Personality Trait Sometimes our language can reinforce assumptions about gender. Be aware of the language you use in class, and avoid making assumptions about anyone’s ability, profession, or personality based on their gender. For example, TeachThought suggests you include a female construction worker or male nurse in a class assignment (such as a story problem) to challenge your students’ assumptions and promote gender equity. It can also be helpful to avoid making wide generalizations about gender in class, such as the assumption that boys are louder and girls are quieter, or assuming that all of your students identify as their birth sex. Include Gender Equality in Your Curriculum Many textbooks are problematic when it comes to gender. Often they don’t include many notable female figures, tokenize the experiences of women, and stereotype gender roles in harmful ways. If you’re able to pick the textbook you use, try to find one that is known for its equitable treatment of gender. If not, try to supplement your curriculum by teaching your students about both men and women who challenged their society’s ideas about gender and changed their communities in meaningful ways. It can also be helpful to include gender non-conforming and transgender people in your curriculum to help students with these identities feel represented and accepted. Teach Students to Be Aware of Personal Biases One of the best ways to confront gender discrimination in the classroom is by simply making your students aware of it. Teach students about implicit bias, or beliefs we might hold about ourselves or others because of sexist messages we have heard. Tell your students that many people hold these biases, and it doesn’t mean they are bad people. The important thing is for students to acknowledge their own assumptions. Once they do, they can challenge them to actively change those assumptions—to recognize that a person’s abilities are not linked to their gender. 1. TeachThought Staff. 6 Ways You Can Promote Gender Equality In Your Classroom. Retrieved from teachthought.com: teachthought.com/education/6-ways-can-promote-gender-equality-classroom/. 2. Elesapiens Staff. Strategies to promote gender equality in the classroom. Retrieved from elesapiens.com: https://www.elesapiens.com/blog/strategies-to-promote-gender-equality-in-the-classroom/ 3. Briggs, S. How to Teach Students About Gender Equality. Retrieved from opencolleges.edu: https://www.opencolleges.edu.au/informed/features/gender-equality/. 4. United Nations Development Programme. Almost 90% of Men/Women Globally Are Biased Against Women. Retrieved from undp.org: https://www.undp.org/content/undp/en/home/news-centre/news/2020/Gender_Social_Norms_Index_2020.html. 5. Klein, S. Handbook for Achieving Sex Equity Through Education. Retrieved from eric.ed.gov: https://files.eric.ed.gov/fulltext/ED290810.pdf. 6. Bailey, S.M. Shortchanging Girls and Boys. Educational Leadership, May 1996, 53(8), pp. 75-79. 7. United Nations Staff. Gender Equality: Why it Matters. Retrieved from un.org: https://www.un.org/sustainabledevelopment/wp-content/uploads/2018/09/Goal-5.pdf. 8. ForbesWomen Staff. Why We Need Gender Equity Now. Retrieved from forbes.com: https://www.forbes.com/sites/ellevate/2017/09/14/why-we-need-gender-equity-now/. 9. ACT for Youth Center of Excellence. Understanding Gender and GenderResearch, Facts, and Findings. Retrieved from actforyouth.net: www.actforyouth.net/resources/rf/rf_gender1_1213.pdf. 10. National Center for Transgender Equality. Youth & Students. Retrieved from transequality.org: https://transequality.org/issues/youth-students 11. Welcoming Schools Staff. Affirming Gender in Elementary School: Social Transitioning. Retrieved from welcomingschools.org: https://www.welcomingschools.org/pages/affirming-gender-in-elementary-school-social-transitioning/ 12. Smith, M. J., & Payne, E. Binaries and biology: Conversations with elementary education professionals after professional development on supporting transgender students. The Educational Forum, 2016, 80(1), pp. 34-47.

Targeted sources of support for the adult trans, gender diverse, non-binary and intersex community in Victoria. Bisexual Alliance Victoria Inc. is a non-profit volunteer-run organisation dedicated to promoting the acceptance of bisexuals in LGBTI and mainstream society, providing a fun, safe space where bisexuals can meet, make friends, and talk about their experiences, and informing the bisexual community about relevant news and opportunities for activism. TGV is excited to announce our brand new Trans Day of Visibility campaign: #BeSeen The brand new website for the campaign can be found here: http://tdov.org.au With information about the day, information about events, trans pride lanyards, and much more! We had a lovely time this weekend to kick off Midsumma! Thank you to everyone that came at visited us at Trans Central! gc2b is a trans-owned company based in Maryland. They provide accessible, comfortable, and safe binding options designed by trans people, for trans people. Intersex Human Rights Australia is an independent support, education and policy development organisation, by and for people with intersex variations or traits. Their work focuses on human rights, bodily autonomy and self-determination, and on evidence-based, patient-directed healthcare. The VGLRL mission is to change society to achieve equality, human rights and social justice for lesbian gay bisexual transgender and intersex Victorians. This includes laws and regulations but also the relationships within and between every neighbourhood and institution of society. Free anonymous telephone and web based counselling, information and referral service for the gay, lesbian, bisexual, transgender, intersex and queer community. Minus18 aims to improve the health and wellbeing of, and provide a safe environment for, same-sex attracted and gender diverse young people in Australia, seeking to empower them to feel comfortable and confident in their sense of identity and assisting them to grow as happy, healthy individuals well into the future.

Sly has a unique perspective to bring to media inquiries and interviews. As an "out" non-binary trans man who has lived in the queer community & provided mental health and LGBTQ+ therapy for twenty years, Sly has valuable insights that bring richness and nuance to discussions of gender identity, masculinity, sexuality, trauma, mental health, and coping. Sly is also a writer & photographer who has created local events in his community to encourage community building and connection...and reflection on the embodied experiences of what it means to hold and live in between various identities. The Guardian - Complex Trauma vs. BPD in Sexual Assault Survivors Global News - Sober Curious Raw Talk Podcast - Episode 77 "Trans Health: True to Self" University of Toronto - Podcast on Anti-Oppressive Social Work "Passing Into Oblivion" (memoir excerpt) Grit Lit - Naked Heart Festival "Spectrums of Sanity: Mental Health and the Writer" (Panel) - Naked Heart Festival (Em)Bodied Love: Iterations of Self Desire - A NOW MUST SEE Photo Narrative Exhibit of Queer and Trans experiences of oppression and self-reclamation. That's So Gay (TSG): Fall to Pieces - Photo exhibit at The Gladstone Hotel Toronto On Transgender Grief - Transfaith.org "What Transphobia Looks Like: A Primer for Family, Friends and Loved Ones" - The Scavenger Initiating Liminal & Inclusive Community Spaces - Feminist Lab of Memory II Sarkisova, Sly. (2014). Beyond Suffering As A Measuring Tool. In L.E. Erickson-Schroth (Ed.), Trans Bodies, Trans Selves: A Resource Guide for the Transgender Community. New York: Oxford University Press. Sarkisova, Sly. (2015). Resisting the Binary: The Role of the Social Worker in Affirmative Trans Health Care. In B. O'Neill, T.A. Swan, & N.J. Mulé (Eds.), LGBTQ People and Social Work: Intersectional Perspectives. Toronto: Canadian Scholars Press. Sarkisova, Sly. (2017). Under A Queer Blue Sky. In T. McCaskell et al. (Eds.), Any Other Way: How Toronto Got Queer. Toronto: Coach House Books. Conferences & Trainings: Acting Inwards: Trauma and Coping in Cis/Trans Men - Gay Men's Sexual Health Opening Your Practice to Sexual & Gender Diversity: A Kink and Poly Positive Approach - BESTCO (Board of Examiners in Sex Therapy and Counselling in Ontario) Navigating Intimacy Through Trauma Histories - Regional HIV/AIDS Connection Professions and The Movement - Guelph University, OPIRG Symposium ...more available upon request.

Built with Indexhibit PLEASE NOTE: A NEW VASTLY UPDATED WEBSITE/PROJECT GALLERY IS COMING VERY VERY SOON! APOLOGIES THAT THIS SITE IS NOT UP TO DATE. ALL ENERGIES ARE BEING PUT INTO THE SITE DESIGNED BY THE FABULOUS ZANKO LORECK Will Saunders (he/him) - born 1983 in Stockton-On-Tees, UK - is a sound artist working predominantly in the performing arts. Will lives and works in Cologne, Germany. A queer, self-taught musician, he studied Sonic Arts at Middlesex University London and completed his PhD (Music) at Westminster University, London in 2019. Will shapes collaborative, interdisciplinary performance projects, working with many musicians, theatre makers, choreographers and visual artists in Germany, the UK and internationally. Recent projects have engaged with the fluid continuum of identity and involved periods of funded practice in Japan and Brazil. Key collaborators to date include Lea Anderson, Steve Blake, Dickie Beau, Hans Diernberger, Ayesha Hameed Anna Homler, Theresa Hupp, Sarah Kenchington, Lucía Imaz King, Gwendolin Lamping, Lucy Parker, Stephan Reusse, and Simon Vincenzi. Projects with work from Saunders have been exhibited or performed internationally, including @: The Southbank Centre, London; Göteborg International Biennial for Contemporary Art; The Theatre Centre, Toronto; Centre for Contemporary Art, Glasgow; Fuhrwerkswaage Kunstraum, Cologne; Centro em Movimento, Lisbon; The Barbican Centre, London; Kunstmuseum Celle; Alte Feuerwache, Cologne; Sadler’s Wells Theatre, London; IBT International Festival, Bristol; Festival of Women, Ljubljana, Slovenia; The Goethe Institute, Salvador da Bahia, Brazil; Ichiuroko Gallery, Tamashima, Japan; Glasmoog Raum für Kunst, Cologne. The multimedia project "#360baleado", which currently is exploring the representation of trans* and non-binary performance art, was nominated for the Kölner Kultur Preis 2021. The music theatre piece "Mint Condition" from Saunders and Theresa Hupp was nominated for the Kölner Theater Preis in 2019. The project "#360baleado" from Hans Diernberger and Saunders was made possible and initiated during a residency at Vila Sul at the Goethe Institute, Salvador da Bahia, Brazil, 2018. The video/sound installation “LANYC” from Hans Diernberger and Saunders was selected for the Marl International Media Art Awards, 2016. Dickie Beau’s “Camera Lucida” theatre show, with sound and music concept from Saunders, was the winner of the Oxford Samuel Beckett Theatre Trust Award, 2014.

It seems to us that the Biden administration is hiring folks without looking into their qualifications. Some of Joe’s top staff are horribly unqualified for their jobs, but because they are of a certain identity, they are praised by the media. One of his deputy assistants appeared to be hired only because he was “non-binary.” A bald man with a mustache who wore women’s evening gowns. But the entire administration was humiliated when this man was arrested twice for stealing luggage at airports. And now, his biggest crime is landing him in hot water, once again. From The Post Millennial: 35-year-old Sam Brinton, a biological male who identifies as non-binary and former deputy assistant secretary for spent fuel and waste disposal in Biden’s Office of Nuclear Energy, was arrested again this week for an alleged baggage theft dating back to 2018, when Brinton allegedly took a Tanzanian fashion designer’s luggage. This is an odd one. Sam Brinton worked in Biden’s Office of Nuclear Energy. Call me crazy, but that sounds like a department that requires the very best and brightest. Instead, Biden hired a guy known for dressing like a woman and wearing makeup. Sam Brinton soon became known for stealing women’s luggage at various airports across the country. He was outed when an African fashion designer, Asya Khamsin, proved Brinton stole some of her clothing. These were custom-made dresses, one-of-a-kinds. And Sam was posting pictures of himself online wearing them! So, not only is he a cross-dresser, but a kleptomaniac! He had already been arrested twice for baggage theft. Now he is being charged again for robbing this woman’s personal and very expensive clothing and other items. Boy, Joe sure can pick ’em, huh? The administration fired Brinton, only after he was wanted by police. This is what happens when an administration places “identity” over integrity. I’m sure Brinton thought he could do whatever he wanted because he wore a dress. That might have flown in the Biden administration, but not in the rest of the country. But this is typical with Biden’s officials. They fail at their jobs daily, be it the State Department, the Department of Transportation, or the Pentagon. But they get away with these failures because they are the “right” race or sexual identity. - Former Biden official is being charged, again, for stealing a woman’s belongings. - Sam Brinton is a “non-binary” cross-dresser accused of stealing a fashion designer’s luggage and wearing her clothing. - Brinton has been charged two other times for stealing luggage at airports. Source: The Post Millennial

Welcome and thanks for visiting my website! I've recently relocated to Sacramento, and am now offering services to the greater SAC region. I also welcome folks from neighboring areas such as Stockton and Modesto. I am a licensed Marriage and Family Therapist in the state of California. I did clinical training through the AIDS Health Project and Dimensions Clinic and have worked at several agencies since then such as Stars and Kaiser Permanente, as a clinician, clinical supervisor, and program director. I have extensive experience working with folks with depression and anxiety, communication and relationship issues, and more serious mental health concerns, such as bipolar disorder. I'm extremely knowledgable about the therapeutic needs of the LGBT community, including coming out issues, relationship/couples issues, and conception, pregnancy and parenting concerns. I'm also a nationally known expert in the affirming model of gender identity, and work with trans and non-binary youth and adults. I enjoying working with people of all ages, cultures, and gender identities, and especially welcome teens and young adults to my practice. As an author, I have more than 30 years experience writing for the alternative press and publishing books. My articles and essays have appeared in hundreds of news outlets ranging from the Bay Guardian to Art Forum. I was a founding editor at Curve magazine, where I regularly wrote music and book reviews. Watch for me in the forthcoming documentary "Ahead of the Curve." Over the years, I have been profiled in many newspapers and magazines including the NY Times. I have written, edited, or co-written several books, the best known of which is The Transgender Child, which I cowrote with Stephanie Brill, and which has been read by many thousands of people all over the world. It has even been translated into German! My writing has won several awards including the 2013 IPPY award for Transitions of the Heart: Stories of Love, Struggle and Acceptance by Mothers of Transgender and Gender Variant Children. Fun links to learn more: Here are links to my books, including the 2013 IPPY Award winner Transitions of the Heart. Me, on TV! A while back, I had the honor of appearing on Bay Sunday to speak about my work and promote Transitions of the Heart, an award winning book I edited. Here is a link if you are interested in watching it on YouTube: Watch Rachel on Bay Sunday! And a timely interview in the NY Times, too Check out this New York Times feature, a Women in the World column about new options for transgender children. Click here to read the New York Times interview If you wish to e-mail me, you can do so at RLPepper@Hotmail.com. Please put "contacting Rachel Pepper" in the subject line. You can also reach me via phone at my confidential private practice number, 510-359-8756. If I don't answer, please do leave a message. © 2015, 2016,2017, 2018 All content rights reserved Rachel L Pepper, nothing may be reproduced without my written permission

We are seeking a bilingual (French and English) Capacity Building Coordinator to join the Canadian Women’s Foundation’s Community Initiatives team. This position supports learning and knowledge sharing among funded organizations and the Foundation’s capacity building and knowledge mobilization contributions to the women’s and gender justice sector. This position is public facing and hands-on. It supports efforts across the Foundation’s departments to strengthen fundraising, grant making, systemic change, and thought-leadership activities. Reporting to the Director, Community Initiatives (Policy), this position is key to the Foundation’s work to advance gender justice by supporting women, girls, and Two Spirit, trans, and non-binary people to move out of poverty, out of violence, and into confidence and leadership. The Capacity Building Coordinator will be part of a close-knit, creative, and results-oriented team driven by shared values and purpose, in a collaborative environment with many internal and external stakeholders. Salary range $45,000 to $55,000

- This event has passed. Described as tango for the new millennium and the ‘under 30 crowd,’ Buenos Aires-based Tanghetto was one of the first Argentine groups to fuse classic tango with the sounds of dance music (house/trance/techno), complemented by a multimedia light and image show. In addition to turntables, synthesizers and samplers, the band’s instrumentation includes bandoneon, violoncello, acoustic piano, acoustic guitar, and electronic and acoustic drums. Tanghetto was founded in 2002 by Max Masri and Diego S. Velázquez. This was the time of the Argentinazo, a period of civil unrest and rioting in Buenos Aires during Argentina’s financial crisis of 2001 and 2002. It precipitated a burst of young Argentine orquesta tipicas like Fernández Fierro. It was kids playing tango classics with rock and roll energy. Tanghetto has this element too. But instead, the musicians play rock and roll with tango energy. Masri explains, “Our group is a fundamental part of Argentine electrotango and world electronic tango. It is also part of tango. It is an artistically non-binary project, and has been inclusive from the beginning.” In its 20-year career, Tanghetto has performed at the world’s most important tango festivals, as well as at prestigious venues like Lincoln Center in NYC, La Ballena Azul in Buenos Aires’ CCK (Centro Cultural Kirchner) and the O2 Arena in London, UK. With eight albums released, the ensemble has won two Gardel de la Música Awards and obtained three Latin Grammy nominations.

The 4th edition of Final Girls Berlin Film Festival will take place in Berlin, Germany from January 31st to February 3rd, 2019, and today we have the full list of film screenings to share with you. FGBFF showcases horror films that were directed, written, and/or produced by women and non-binary filmmakers from across the globe. This year the program consists of seven feature films, eight curated short blocks. This edition’s shorts will also highlight Vera Miao’s ‘Two Sentence Horror Stories’. Inspired by the viral fan fiction of two sentence horror stories, the anthology series features disturbing updated tales of horror and haunting for the digital age. In addition to the visual smorgasbord, FGBFF v4.0 will be presenting four filmmaker panels that will be dissecting some of horror’s more nuanced topics ranging from intersectionality in slasher flicks to an analysis of gender and body horror. To round out this year’s offering the fest will also host a Pretty Deadly self-defense workshop. Festival Co-Director Elinor Lewy says “We’ve got a jam-packed and highly international program which expands and challenges definitions of the horror genre” and fellow director Sara Neidorf adds "Final Girls is bringing you a whole different spin on the genre-- exploring different fears and fantasies, with more diversity behind and in front of the camera, and a critical gaze on the structures and systems plaguing society." CAM (dir. Daniel Goldhaber, USA, 2018) CAM is a technology-driven horror film set in the world of webcam porn. It follows Alice, an ambitious camgirl, who wakes up one day to discover she’s been replaced on her show with an exact replica of herself. As this copy begins to push the boundaries of Alice's internet identity, the control that Alice has over her life vanishes. While she struggles to regain what she's lost, she slowly finds herself drawn back to her show and to the mysterious person who has taken her place. HOUNDS OF LOVE (dir. Ben Young, Australia, 2016) In mid-1980s Australia, seventeen-year-old Vicki Maloney is randomly abducted from a suburban street by a disturbed couple. As she observes the dynamic between her captors, she quickly realizes she must drive a wedge between them in order to survive. TIGERS ARE NOT AFRAID (dir. Issa López, Mexico, 2017) A gritty fairytale about a gang of five street children trying to survive the horrific violence of drug cartels and the ghosts created by the Mexican drug war. Ten-year-old Estrella has three wishes, the first of which is that her missing mother returns. Her wish comes true, but she returns in the form of spectral visions. Her intuition leads her to join a gang of orphaned boys, with whom she must fight real-world and supernatural evils. A beautiful mix of fantasy and reality and an exploration of the powerful strength and resilience of children amidst the tragic horrors surrounding them. This film, which has been compared to Pan’s Labyrinth, has received sweeping critical acclaim and has been a much-discussed favorite at numerous film fests around the world, including Fantastic Fest (USA), where it premiered. FELT (dir. Jason Banker, USA, 2014) Amy, a San Francisco artist, is haunted by a recent trauma. As she veers dangerously close to a complete emotional and psychological breakdown, she plunges into the world of her art as a coping mechanism. She re-appropriates the male form by creating an alter ego that assumes power and domination. When Amy meets Kenny, a seemingly nice, down-to-earth guy, she decides to open herself up to him, hoping he can restore her faith in mankind. NANCY (dir. Christina Choe, USA, 2018) Amy, a San Francisco artist, is haunted by a recent trauma. As she veers dangerously close to a complete emotional and psychological breakdown, she plunges into the world of her art as a coping mechanism. She re-appropriates the male form by creating an alter ego that assumes power and domination. When Amy meets Kenny, a seemingly nice, down-to-earth guy, she decides to open herself up to him, hoping he can restore her faith in mankind. GOOD MANNERS (dirs. Juliana Rojas & Marco Dutra, Brazil/France, 2017) Set in São Paulo, the film follows Clara, a lonely nurse from the outskirts of the city who is hired by mysterious and wealthy Ana to be the nanny of her soon to be born child. Against all odds, the two women develop a strong bond. But a fateful night marked by a full moon changes their plans. With powerful visuals and impeccable cinematography, GOOD MANNERS is a genre hybrid - an unexpected and wild werewolf movie unlike any other and a poignant social and racial allegory on modern-day Brazilian society. Talks and Workshops Hysteria and Demonic Possession: A Psychoanalytic Investigation Mary Wild leads a talk that focuses on cinematic representations of demonic possession as a manifestation of unresolved unconscious conflict. Iconic depictions of possession are startlingly similar to fits of hysteria, where language no longer functions normally. Words, memories, experiences, and impulses become ‘trapped’ in the interior psychic space, forced under house-arrest in the hysteric’s body, and manifesting in chilling ways. About the instructor: Mary Wild is the creator of the PROJECTIONS lecture series at Freud Museum London, applying psychoanalysis to film interpretation. Burn it to the ground: Looking back at the problem of intersectionality in 80s slasher films and the way forward & Gender and Body Horror: A New Paradigm of Terror. 'Burn it to the ground' begins with an intersectional analysis of three slasher films from the 80s - an era of horror frequently critiqued for its marked lack of nuanced characters and, more pertinently, presenting a cookie-cutter version of American society that is markedly lacking in diversity. Lang compares with modern horror films that seek to create a more fulsome depiction of intersectional characters: Tragedy Girls, Boo!, May, People Under the Stairs and others, to examine a spectrum of bodily representation. For her second talk at FGBFF Lang will look at the way women and trans bodies have been used in horror films as sites of terror and metaphors for the monstrosities of psychological/sexual trauma in a film taking examples from Teeth, Rabid, In My Skin, Raw, Thanatomorphose, Contracted and others. Lang will also examine and discuss how horror films deal with gender dysphoria and trans characters in a variety of films like Psycho and Silence of the Lambs, and the early works of David Cronenberg. About the instructor: Alison Lang is a writer and editor based in Toronto, Ontario. She writes about music, horror movies, DIY culture, and other weird things. Feminist Takes on Technology and Reproductive Horror A graphically illustrated tour through the mutant offspring, weaponized tools and evolutionary agendas of feminist reproductive horror films that explore brave new worlds of reproductive technologies. From the Alien series through Evolution and beyond, we'll look at the badass, broody bitches from post-pill cinema leading up to today. About the instructor: Alanna Thain is Associate Professor of Cultural Studies and World Cinemas at McGill University in Montreal. She is the author of Bodies in Time: Suspense, Affect, Cinema (U. of Minnesota Press 2017). She is also a member of the Montreal Monstrum Society. What If She Fought Back? Pretty Deadly Self Defense Workshop Pretty Deadly Self Defense takes scenes from six of our favorite classic horror films and turns them around on the bad guy. Here's your chance to learn some self defense techniques to fight back against villainous favs Jack, Jason, Freddy, Candyman, and more! Pretty Deadly Self Defense is a self-trust building, self-empowering, self-defense program based in Berlin. Find out more info on their website http://prettydeadly.org Short Film Programs -My Monster (Dir. Izzy Lee, USA, 2018, German Premiere) -Instinct (Dir. Maria Alice Arida, USA, 2017, German Premiere) -Sell Your Body (Dir. Jannelle Yee, USA, 2017) -Pages (Dir. Shaan Couture, France/USA, 2018, European Premiere) -Supine (Dir. Nicole Goode, Czech Republic/Canada, 2018, German Premiere) -Puppet Master (Dir. Hanna Bergholm, Finland, German Premiere) Obsessions -Two-Sentence Horror Stories: Singularity (Dir. Vera Miao, USA, 2017, European Premiere) -Real Artists (Dir. Cameo Wood, USA, 2017) -Just After Midnight (Dirs. Anne-Marie Puga & Jean-Raymond Garcia, France, 2017) -Enid (Dir. Brad Netherclift, Australia, 2016) -42 Counts (Dir. Jill Gevargizian, USA, 2018, German Premiere) -Dreams From The Ocean (Dir. Carolina Sandvik, USA, 2018, German Premiere) -Asian Girls (Dir. Hyun Lee, Australia, 2017) Social Horror -Devil Woman (Dir. Heidi Douglas, Australia, 2018, German Premiere) -Knock Knock (Dir. Kennekki Jones-Jones, USA, 2018, European Premiere) -Dulce Hogar (Dir. Giovana Olmos, Mexico/Canada, 2018) -My Final Girl: Black Women in American Horror (Dir. Laura Spark, UK, 2017) -11 Minutes (Dir. Hilda Lopes Pontes, Brazil, 2018, German Premiere) -Catcalls (Dir. Kate Dolan, Ireland, 2017) -Baptism (Dir. Mackenzie Bartlett, USA, 2017) A Real Scream -All Men Must Die! (Dir. Kate Beacom, USA, 2018, European Premiere) -Allen Anders - Live at the Comedy Castle (Dir. Laura Moss, USA, 2018, German Premiere) -Control (Dir. Kimmy Gatewood, USA, 2018, European Premiere) -Panic Attack (Dir. Eileen O'Meara, USA, 2018) -Pink Trailer (Dir. Macey Isaacs, USA, 2018, German Premiere) -Cherry (Dir. Paul Holbrook, UK, 2018) -Polyfilia (Dir. Scarlett Anderson, UK, 2018, European Premiere) -Evströnger (Dir. Silvia Conesa, Spain, 2017) -The Party (Dir. Mackenzie Bartlett, USA, 2018) -The Only Thing I Love More Than You Is Ranch Dressing (Dir. Sydney Clara Brafman USA, 2018, German Premiere) -Mouse (Dir. Celine Held & Logan George, USA, 2017) Long in the Tooth -I Am Albert (Dir. Aurélia Raoull, France, 2018) -Entropia (Dir. Marinah Janello, USA, 2018, German Premiere) -The Old Woman Who Hid Her Fear Under the Stairs (Dir. Faye Jackson, UK, 2017, German Premiere) -Shell Phone (Dir. Miren Mujika, Spain, 2018, German Premiere) -Grammy (Dir. Jill Gevargizian, USA, 2015, German Premiere) -Centrifugado (Dir. Mireia Noguera, Spain, 2017, German Premiere) -La Proeza (Isaac Berrocal, Spain, 2018, German Premiere) -Two Sentence Horror Stories: Second Skin (Dir. Ryan Spindell, USA, 2017, European Premiere) Growing Pains -Caroline (Dir. Celine Held & Logan George, USA, 2018) -Little (Dir. Brittany Brock, USA, 2018, German Premiere) -TiCK (Dir. Ashlea Wessel, Canada, 2018, German Premiere) - ¿Quieres que hoy te bese? [Do You Want Me to Kiss You This Time?] (Dir. Miriam Ortega Domínguez, Spain, 2018, German Premiere) -A Death Story Called Girl (Dir. Nathalia Beahand, USA, 2018) -Silhouettes (Dir. Sarah Brill, USA, 2018, International Premiere) -Lucy’s Tale (Chelsea Lupkin, USA, 2018, European Premiere) Flesh and Blood -Blood Runs Down (Dir. Zandashé Brown, USA, 2018) -Hana (Dir. Mai Nakanishi, Japan, 2018, Berlin Premiere) -Colony (Dir. Catherine Bonny, Australia, 2018, European Premiere) -Ma (Dir. Vera Miao, USA, 2017, European Premiere) -The Pig Child (Dir. Lucy Campbell, UK, 2014) -9 Steps (Dir. Marisa Crespo & Moises Romera, Spain, 2018, Berlin) -Nose Nose Nose EYES (Jiwon Moon, Korea, 2018, German Premiere) -I Am Albert (Dir. Aurélia Raoull, France, 2018) -Friendsgiving (Dir. Samantha Kolesnik, US, 2018) -Nepenthes (Dir. Ariel Hansen, Canada, 2018, German Premiere) -EAT ME (Dir. Helena Aguilera, Mexico, 2018) -Road Trash (Dir. Natasha Pascetta, USA, 2018, German Premiere) -Nightmommy (Dir. Maïra Rachmadiev, The Netherlands, 2018) -Call Girl (Dir. Jill Gevargizian, USA, 2014) -Hair Wolf (Dir. Mariama Diallo, USA, 2018) -Donor (Dirs. Lori Alex & Aria Sini, Canada, 2018, German Premiere) -Eternity (Dir. Pina Brutal, Germany, 2018) -Feast (Dir. Melissa Kunnap, USA, 2018, European Premiere) -The Stare (Dir. Louisa Weichmann, Australia, 2018) -The Body Corporate (Dir. Stepanka Cervinkova, Australia, 2018, International Premiere)

Bay Area Derby is proud to co-present two films with Frameline43’s San Francisco International LGBTQ+ Film Festival! Please join us in celebrating these unique stories! Total Running Time: 86 min In French and English with English subtitles Thursday, June 27 at the Landmark Theaters Piedmont at 7PM This exciting pair of French DIY episodics explore gender and activism in the arenas of sports and filmmaking. In Océan, we follow Parisian activist and filmmaker Océan as he travels to San Francisco to promote Kiss Me! at Frameline after coming out as trans. In Gender Derby, meet non-binary artist and roller derby star Jasmin and their friends as they discuss and celebrate their community on and off the track.

The new musicial Head Over Heels drew some pretty strong criticism from New York Times theater critic Ben Brantley. His criticism was met with criticism, and his review has since been significantly edited. The paper issued a statement to accompany the revisions. Why the Sturm und Drang? A few of the sentences were a less than perfect treatment of the play's queer themes. Which are many. And Mr. Brantley does not appear to be a fan of camp in the first place. To my reading, most of the now-missing sentences objected to the play's many puns about transgender and non-binary identity as somewhat heavy handed. To me and many others with transgender/queer identities, this is both fine and good fun. A long way of saying: Brantley's critique has a strain of "kids get off my lawn" to my ear. Anyway, My Mom and I went last night because it sounded very awesome to us. Here's the description: HEAD OVER HEELS is the bold new musical comedy from the visionaries that rocked Broadway with Hedwig and the Angry Inch, Avenue Q and Spring Awakening. This laugh-out-loud love story is set to the music of the iconic 1980's all-female rock band The Go-Go's, including the hit songs, “We Got the Beat,” “Our Lips Are Sealed,” “Vacation,” Belinda Carlisle's “Heaven is a Place on Earth” and “Mad About You.” I mean, come on. My mom — who had her hip replaced six months ago — and I were dancing in the aisles. But it's not for everyone. She put it well: "It's the gayest show I've ever seen on broadway." This is quite a statement. When she's feeling well, mom will see six shows in a week. That's a decent sample, and allows for a simple theory about the controversy: maybe it's a little too gay for Broadway, at least as policed by Mr. Brantley. To me and perhaps to others, this is a fundamental achievement. Almost like discovering a new element of the periodic table. The play's time on Broadway may have all the stability of unobtanium, or whatever else our best and brightest have cooked up in laboratory conditions, but it will have a certain gravity to many of us. Not least because Peppermint's broadway debut is the first time a trans woman has originated a role on Broadway. So you should go while it's still up. Last night's show was not well enough attended. And we had a lot of fun: If you liked this post you should subscribe to my newsletter.

Bristol SU believes that bullying, harassment, sexual harassment and violence, assault and discrimination are not acceptable. The University Security Services operate 24/7 and their contact number is 0117 3311223 (emergency number) or 0117 928 7848 (non-emergency number). If you feel unsafe on or around campus call Security or go to your nearest University building and ask someone to phone Security for you. You can also use the Report and Support system to report any concerns or speak to an Adviser from the University’s Student Wellbeing or Residential Life Services for advice and support. Contact Wellbeing Access to do this. You can report and get support for yourself or on behalf of someone else. Please be reassured that all services will treat your report sensitively and confidentially. As well as the above for issues such as bullying and harassment you can make a formal complaint using the University’s Acceptable Behaviour Policy. You can contact a Bristol SU Just Ask adviser to discuss and get advice on making advice. Below is information on support you can access in the community from other organisations. Somerset and Avon Rape and Sexual Abuse Support (SARAS) SARSAS provides a helpline, email, live chat and self-help resources to support people who have experienced rape or sexual abuse either recent or historically. They support girls, boys, women, men, trans and non-binary people. Helpline: 0808 801 0456 A group of six local organisations working to support victims of hate crime and discrimination. You can find out more information and how to contact the organisation directly by clicking on the logos on the website.

Milan FW22: the top five trends store buyers need to know Those watching the Milan fw22 collections entered a parallel universe on the third day of the shows when Russia invaded its neighbor Ukraine. Certainly it begs the question, is it frivolous to watch fashion shows at the very moment one country declares war on another? Perhaps it could be conceived in that way, but the show must go on, especially after two years of mostly digital presentations. The trickle down effect from the major and indeed, some of the minor, fashion weeks is immense, providing work for thousands and thousands of people and creating revenues larger than the GDP of many small countries. In any case, fashion trends reflect the cultural zeitgeist so if you want to know what's happening in the world you could do worse than watching the current shows. For several years now, the main cultural conversation has centered upon gender fluidity. The fashion world has answered the call, with fashion brands all over the world using non-binary and transgendered models, showing skirts and dresses for men and designing broad-shouldered tailored suits for women. More and more often men's and women's wear are shown simultaneously. Several Italian designers including Fendi, Versace, Blumarine and Dolce & Gabbana went a step further showing looks that combined both masculine and feminine details in a single outfit. Nowhere was this more evident than at Prada; a singlet or a wool blazer decorated with a ring of feathers around the upper arm worn over layers including a crystal embellished sheer midi-length skirt. As seen throughout the pre-fall and fw22 seasons, designers including Elisabetta Franchi, Andreadamo and Dolce & Gabbana showed skin baring looks in head-to-toe black. At Roberto Cavalli, Fausto Puglisi showed fetishistic "cage" tops and dresses with cutouts and metal rings. Fendi showed sheer black dresses that revealed black lingerie beneath. At Versace there were latex leggings under a corseted mini dress and Julia Fox in the front row with a latex-wrapped ponytail! The puffy nylon sporty trendsees no signs of abating and Milan was no exception. At Anteprima, that meant puffy nylon ochre colored outerwear and scarves. At Max Mara, quilted burnt orange nylon pants had zips on the sides and were teamed with second skin cashmere sweater and matching balaclava and a pair of ochre colored nylon pants were shown with a ribbed mockturtle neck sweater. Canasa and Daniela Gregis both showed nylon bomber jackets. Tartan and Plaid Following on from the pre-fall collections, Milan designers showed many outfits rendered in tartan and plaid fabrics. Some used it in an anarchic way, perhaps a nod to the kilted Scottish warriors who fought the English, or more recently Vivienne Westward's punk movement of the late '70s. Case in point, Francesco Risso showed an earth-toned tartan skirt with a shredded satin pink top and overlong red and black pants. At AC9, oversized pleated plaid pants were shown with a long line bra and long fingerless organza gloves. Gucci collaborated with Adidas this season and the result was a collection that included many show stopping looks. In one, a yellow and brown tartan skirt was shown over classic blue Adidas track pants and teamed with a tailored look on top. At Roberto Cavalli, Fausto Puglisi showed a layered mini kilt over an all-in-one printed with roses and thorns. With each passing year, there is a growing desire for clothing in trans-seasonal colors. Winter white has been trending for many seasons now and this coming fall will be joined by various pastel shades more traditionally associated with spring. At Fendi, icy pink, green and lavender, work back to pearl grey and a pop of red. At Jil Sander, Easter egg colors of pale yellow, lavender and peach were worked into a palette of earth tones and monochromes. Marco Ramhaldi's sporty collection of mostly knit pieces was rendered in pastels. At MM6 Maison Margiela showed a group of looks in pale colors including a peachy toned parka.

The #ReadMyLips Campaign Will Send A Giant Vagina Statue To The White House In Support Of Women's Rights Even before the infamous Access Hollywood tapes revealed how Donald Trump speaks about women in private, gender equality was one of the topics defining the 2016 election. Two months into his presidency, it remains a pressing issue, and the #ReadMyLips campaign from Mogul will share women's concerns with President Trump in an unorthodox manner — a giant, letter-filled vagina sculpture delivered to the White House. For the campaign, Mogul, a women-focused social media platform, is gathering messages from women across the world regarding women's rights and healthcare under the Trump administration. "Here is your opportunity to write a message to President Trump on what you want from him over the next four years," reads the #ReadMyLips website. These thoughts, concerns, and hopes will be printed out and sent to the White House inside the aforementioned vagina sculpture on April 21. The method of delivery is a reference to Trump's past remarks about grabbing women "by the p*ssy." By collaborating with Saturday Night Live prop fabricator Dan Castelli to send Trump a larger-than-life vagina, #ReadMyLips intends to remind everyone that women's bodies are deserving of respect. Following November's election results, students in 24 universities, including NYU, Cornell, and Yale, took to Mogul to express their thoughts about Trump's upcoming administration. Soon, students at universities in other countries joined in, and Mogul created the #ReadMyLips campaign, which takes a "more is merrier" approach — participants of any political affiliation are welcome. "The more people we have helping to write these messages about these important issues, the bigger statement we can make and bigger impact we can have," reads the campaign's website. "Through this movement, we can send a message loud and clear: nobody has the right to deny a woman the freedom to make decisions over her own body," says Oxford organizer Sasha Skovron in a statement provided to Bustle. "President Trump poses a great threat to this freedom, and so whether an American citizen or not, #ReadMyLips stands for women everywhere." In a perfect world, we wouldn't have to send the White House messages inside a sculpture of a vagina for the administration to pay attention to gender equality. However, female anatomy remains a taboo in many ways, and #ReadMyLips uses this to its advantage; it's hard to ignore a message when it's delivered in a gigantic vagina. Furthermore, the sculpture is a reminder that there's nothing shameful about having a vagina — a sorely-needed reminder in the wake of the recent treatment of women's healthcare. "By having the statue as this shape, it empowers women to be proud of their sexuality and bodies; women have nothing to hide, we only have our determination, spirit, and strong minds to be proud of," says Cornell organizer Michelle Wen. It's worth noting that the campaign is not without its flaws. By its very nature, it equates womanhood with vaginas; however, not all women have vaginas, and not all people with vaginas are women. In fact, one of the major criticisms of participants in the Women's March in January was the plethora of p*ssy imagery. This imagery reinforces the idea that gender is defined by genitals, which has been pointed out to be exclusionary and alienating for many transgender and non-binary people. The statue is certainly eye-catching, though, and it makes its point hard to ignore. If you're interested in participating, head over to Mogul to send your own message to President Trump.

Mizuho bank has revised its rules governing housing loans to expand the scope of “same-sex partner” under the definition of “spouse”. This makes Mizuho Bank is the first bank in Japan to provide this expanded housing loan accessibility to same-sex couples at all branches throughout the country. This amendment to existing rules makes it easier to extend to same-sex couples the same eligibility as married couples when applying for housing loans. Since July of this year, Mizuho has been the only bank in Japan to accept a certificate of partnership issued by Shibuya ward as legal proof of a same sex partnership when applying for bank services. Mizuho now expands that accessibility by designating same sex couples as spouses and not partners.This means Mizuho will also accept, as proof of partnership, other designated documents, thus making the certification process less restrictive. This progressive policy is an early response to increased societal awareness of individuals who identify as LGBT (an acronym for lesbian, gay, bisexual, and transgender, and here also includes all other non-heterosexual sexual orientations and non-binary gender identities). You can read the press release here.

Join Andrew O’Neill and a diverse group of LGBTQ+ heavy metal fans as they recount some of the best queer stories from the Home of Metal on Sunday 14th Nov at Subside Bar in Digbeth. Tickets from HERE Heavy metal, spawned in the West Midlands half a century ago, has become one of the world’s most popular and distinctive forms of culture. Now it’s time to celebrate the queerness that’s always been part of metal – if sometimes hiding in plain sight – in a scene that’s endlessly theatrical in music and costume, blending escapism, fantasy and outsider culture. For the last few months, Home of Metal and SHOUT have been talking to LGBTQ+ metal fans in the West Midlands to gather queer perspectives on metal culture – and metal fans’ views on queer culture. Join award-winning comedian, rock musician, writer and ‘psychedelic non-binary whirlwind’ Andrew O’Neill, the team behind acclaimed podcast Hell Bent for Metal, and a diverse group of LGBTQ+ heavy metal fans to hear some of the best queer stories from the Home of Metal. This project and event is part of SHOUT, the festival of queer arts and culture for Birmingham and the West Midlands. It aims to amplify the voices of lesbian, gay, bisexual, trans and queer people and communities from across our city and region, and start new conversations and tell new stories about LGBT+ life.. Taking place 5-28th Nov 2021. You must be logged in to post a comment.

“Live your truth.” That is a popular saying these days. But what does that saying really mean? What is the result of actually sticking by your right to “live your truth”? And finally, how is our truth, whatever we define it to be, going serve us in the eternities? To live your truth is used in many ways, all of which have slight variations of meaning, depending on who is using it and how it is being applied. That broadness is part of what makes this statement both so difficult to pin down and so appealing to the masses. In effect, it can mean whatever you want it to mean, because you can apply it equally well in any way you choose to apply it. Here are some examples of how people use the phrase. Tom is into meditation and some of the eastern ways of thinking. In his yoga classes and his meditation readings he is told to look within himself and find his true self. Once he is in touch with his true self whatever this true self dictates he do with his life is what he should pursue. This is how he will be true to himself and live his own truth. I’m not exactly sure what any of that means, or how it applies to Tom’s life, but there are whole libraries full of books these days that all tell you to look within yourself and find out who you really are and to be true to that identity, whatever it is. By remaining true to your perception of yourself, your personal identity, you are living your truth. Becca feels she has found her truth in the herbs and natural healing products she makes and sells. They have changed her life and have given her a sense of purpose. She promotes them through her online store and in her social media posts. Living healthy through natural medicines and eating more herbs is her truth. Bob feels stifled by the Church’s restrictions on how he lives his life. He sees nothing wrong with the love he feels for his significant other. His truth is being denied by the suffocating rules and regulations of his religion, so he goes and finds a different one that will either approve or at least not be critical of how he has chosen to live his life. He can now feel fulfilled, because there is no one condemning how he lives his life, and he feels his happiness can now be lived unfettered by conventional biases toward his choices. What do these three example have in common? Each person is living their truth in a different way, yet all three are basing their truth on the same thing. All three of them are finding their individual truth in the same location. Can you identify it? I did a search on the Internet (where else do we search these days?) and found more than half a million references to books, movies, videos, posts, talks, etc. of people advocating living your own truth. That is a lot of people weighing in on this topic, and a lot of people making money off selling this philosophy. As I look at each of just the three examples I presented previously, the overriding attribute of one’s own truth is that your truth is whatever you decide it is. If your truth comes from a source outside of yourself then it isn’t really YOUR truth, now is it? Hmmm. This could be problematic. Have you ever asked a room full of children or young adults (or older adults for that matter) what they would like to do? In a room of 50 people, how many of the same response do you get? That is the very problem with defining truth in such a personal way. When we are each allowed – nay, encouraged – to define our own truth then no one else can tell us our truth is wrong. When we live a system of “truth” that is individual and unique to each one of us, doesn’t that make us a society of one – a country of one inhabitant? This brings up the question, “What is truth?” Is truth really so malleable that each person can mold it into whatever shape or definition they choose? Is that how we think the universe is built? It is precisely because our society has begun to think we can define truth for each individual, and no one has a right to contradict any one person’s truth, that such things we always were taught were absolute, like gender, has now entered the realm of “gender fluid.” If I want to define my gender as non-binary today, but as a toadstool tomorrow, who are you to contradict me? And how dare you use a pronoun to address me that is inappropriate for a spore-bearing fungi! Truth as truth In the Doctrine and Covenants the Lord teaches us a most important lesson about what truth is and how to view it. In Doctrine and Covenants 93:24–25 we read the oft quoted definition of truth. What we also rarely get quoted is verse 25 where the Lord tells us where all other versions of truth come from. 24 And is of things as they are, and as they were, and as they are to come; 25 And whatsoever is or less than this is the spirit of that wicked one who was a from the beginning. Many years ago a politician became filthy rich by making a movie called “An Inconvenient Truth.” Interestingly enough, most of what he presented in his movie was not based on truth at all. And this is the nature of all things that do not measure up to the Lord’s definition of truth. Any principle that cannot stand the test of time becomes suspect as to its truthfulness. And since we only know one source who has, who is, and who will be living in eternity (God) we must rely on His definitions for what truth really is, as anything else falls short by definition. Now this is an inconvenient truth, that if we want to live a life that is based on actual truth, things as they really are, have been, and really will be, we must get it from an eternal source. Any other source is prone to change. We see this all the time in the sciences. What they promoted as God’s own truth that the earth was flat, fell flat in the end. What they promoted as an earth-centric celestial system, didn’t fly either. Everything that science tells us is the truth today is susceptible to be changed to a different truth as soon as the next discovery is made. The truths of this world are always and forever only as good as our current information, so our “truth” is constantly changing. The only eternally relevant truths must be had from God, who is the only one who knows them. The manual for Come, Follow Me (Mosiah 4-6) has this quote in it – “I can’t change. That’s just the way I am.” This is what people say who want to live their own truth. The truth of the matter is this. We can live our own truth for as long as we are in mortality, but the rest of the universe is based on the truth as God understands it. All celestial laws are based on His understanding of the way the universe works, not ours. So we may live a lie for as long as we are here on earth, but the moment we leave here and return home, we are back on His turf, living by His rules. So where does living our own truth get us? In Abraham 3:25 the Lord told Abraham that we were all on earth to be proved, or tested. 25 And we will them herewith, to see if they will all things whatsoever the Lord their God shall command them; Why are we here? Is it to find our own way by defining our own truth? Are we supposed to decide for ourselves how we will live? (That was a trick question, because the answer to that is yes, we do decide, but if we don’t choose to obey our Father then we have to answer to His laws for our disobedience.) The purpose of our mortal lives is to see if we will conform to God’s will. Without conforming to His will and doing things His way we will never become like Him and be able to live with Him. That is the whole purpose and point to having scriptures, prophets, priesthood, revelation, prayer, etc., etc. These tools are given to us by our Father in Heaven to help us change to become like Him. We don’t have to, of course, but if we ever want to return and live with Christ and our Father, we will have to accept the truth that there is only one source for truth in the universe, and it isn’t mine, and it isn’t yours.

International Day Against Homophobia, Transphobia and Biphobia The International Day Against Homophobia, Transphobia and Biphobia was created in 2004 to draw the attention to the violence and discrimination experienced by lesbian, gay, bisexuals, transgender, intersex people and all other people with diverse sexual orientations, gender identities or expressions, and sex characteristics. The date of May 17th was specifically chosen to commemorate the World Health Organization’s decision in 1990 to declassify homosexuality as a mental disorder. The Day represents a major global annual landmark to draw the attention of decision makers, the media, the public, corporations, opinion leaders, local authorities, etc. to the alarming situation faced by people with diverse sexual orientations, gender identities or expressions, and sex characteristics. It would take until May 2019 before the WHO would take steps to declassifiy being Transgender as a mental disorder under the definition of Gender Incongruence. WHO officials voted to move the term they use for transgender people—gender incongruence—from the organization’s mental disorders chapter to its sexual health chapter in the 11th revision of its International Statistical Classification of Diseases and Related Health Problems. That revision takes effect worldwide on Jan. 1, 2022, in preperation for this change some countries are implementing the change earlier. We’re celebrating IDAHOBIT with the launch of our website. Whether you’re trans or cis, there’s something for you. Today and everyday, TransActual are breaking the silence around transphobia. Take a look at the website and share share share….Meer weergeven Hilary Cooke CEO of MGSD Centre advised ‘Today 17th May is International Day Against Homophobia, Transphobia and Biphobia (IDAHOBIT). Medway Pride represents all LGBTQI+ communities and their fight to stop Discrimination and Hate Crime. To support the cause of equality for our Trans Brothers and Sisters, Genderqueer & Non-binary people we have shared a new resource released today. #StoptheHate #IDAHOBIT www.hatecrime.app Medway Pride supports the reduction of Discrimination and Hate Crime against all communities. Together we can reduce discrimination and bring understanding of each other, reduce fear and hate. We encourage the reporting of hate crime, hate incidents and anti social behaviour Use the www.hatecrime.app to report crime to Kent Police or True Vision and please complete the Hate Crime Survey via the App which gathers feedback on the experiance of reporting hate crime or ASB, for both current and historic events.(Edit)

Outspoken Women is a resource for women and non-binary individuals in the open source tech industry by providing them with support, mentorship programs and financial scholarships to speak at events seeking underrepresented speakers and attendees. Outspoken Women originated from a single tweet. I was constantly seeing event organizers requesting more women speaker applicants. There are diversity initiatives for so many areas like this that I assumed there was already a solution out there. I googled and googled and googled some more. Nope. I couldn’t find a thing. (PS: Since then I did find another initiative like us). Sure, there are plenty of organizations for women speakers, but none that focus on open source technology. The next day I did some brainstorming and decided to register outspokenwomen.io. Our core mission is to help create a more diverse audience at open source tech conferences and events. Our goal is to create offerings that contribute to that mission. At our roots, we are a directory of awesome, women speakers, but we are also so much more than that. What We Offer Our community contains of three core audiences; speakers, event organizers & our supporters. Most of what we strive to do caters towards speakers. As a speaker, you can create your speaker profile and be showcased in our speaker directory. There is no approval process or requirements to join. There is two other core programs that we offer to speakers, a mentorship program for aspiring speakers and a scholarship offering for speakers needing travel assistance. Our mentorship program is just kicking off and we hope it can help increase the number of women speakers we see at tech events. Scholarships are available as there are funds available — we definitely depend on awesome people like yourself or your organization to help contribute to these funds. We provide a place for event organizers to join our community, share their events & post their call for papers. By sharing their events on our website, it allows our speakers to be notified of their events and submitted to their call for papers, as they are available. Organizers can also search our speaker directory and reach out to those they may want to speak at their events. And if they are looking for representation at their events, we have an awesome crew of Outspoken Ambassadors that attend events and share the Outspoken Women mission with attendees. We would not be able to offer our scholarships, purchase swag and be a successful community without our supporters. We have been blessed with a great group of supporters thus far that have helped us along the way. We have been able to pay travel for one speaker to date and purchase stickers to hand out at events. We hope that number grows exponentially as we grow. We rely on our supporters to be able to continue those efforts. We encourage supporters to share their encouragement for our mission. It helps our speakers and event organizers see that there is a strong community behind our efforts. Bringing It All Together We bring our different audiences together through our website, social media networks, slack team and our newsletters. If you are interested in joining out great community, there is a number of ways you can get involved. And if you love our mission so much that you want to be a part of it, we are always looking for awesome volunteers. Thank you for reading about our mission, I hope that I have inspired you in some way or another to get involved in Outspoken Women! Tessa Kriesel, Founder & Executive Director

Cara Delevingne Valerian Abbs Cara Delevingne, known for her acting and modeling career but also has some less-known facts that help her stand out more. From her struggles with depression and body image and her ventures to the world of sexual toys and her willingness to talk about her pansexuality Here are 10 fascinating facts about the multi-talented Delevingne. Problems with depression and Body Image Despite her enviable beauty, Cara Delevingne struggled with anxiety and depression over her body during her teenage years. She was ridiculed for her small chest, and began menstruating later than other women, being called “frigid” and “flat”. At the age of 15 depression slowed her down and she was forced to drop out of school. Interview with BBC, she spoke about her time in which she stated, “I hated myself for being depressed, I hated feeling depressed, I hated feelings.” However, Delevingne came from a extremely wealthy family and everybody believed she should be automatically happy, they didn’t understand her mental state. Homophobic in her Youth Cara Delevingne struggled to understand her sexuality while growing up in a world where it was not discussed. For a while, she found same-sex partnerships to be demeaning and considered herself a homophobe. When she spoke to The Guardian, Delevingne said, “I know I’m the luckiest girl in the world, I understand all this and I wish I could appreciate it. It’s just that there’s something dark inside me that I can’t shake.” Delevingne believes that she is pansexual and falls in love with the person, regardless of gender and gender identity. The actress explained she could also be attracted to transgender or non-binary people. When she spoke to Variety, Delevingne said, “However an individual identifies, whether it’s a ‘they’, a ‘he’ or a ‘she’, I fall in love with the person – and that’s what it’s about. I’m attracted to the person as such.” Marriage and Relationships In the year 2019, Delevingne got married in Las Vegas to actress Ashley Benson However, they soon split up. She has also been romantically connected to actress Michelle Rodriguez and singer Miley Cyrus. Her public display of her sexuality has been met with both support and criticism. The Film Industry is facing threats coming from the Film Industry Delevingne was a target of producer Harvey Weinstein, who threatened her career if she did not cover up her sexuality and find a male partner for an “cover”. However, Delevingne refused to listen to Weinstein and continued speak out about her sexuality and relationship. Business with an Sex Toy Company Delevingne is a part of a business partnership with a sex toy company and tests the products herself. She’s candid and open about her participation in the industry, and sees it as an opportunity to spread the message of sexual wellness and liberation. Secret Vaginal Tunnel Delevingne has a secret vaginal tunnel in her villa, which was a gift from a friend. The tunnel was created by an artist, and serves as an emblem that women’s empowerment as well as empowerment. Delevingne recently ventured into the world of NFTs by making a video of her dancing in the hidden vaginal tunnel of her home and selling it as a special digital collectible. The video showcases her daring and unflinching attitude, as well as her willingness to explore new avenues and challenge boundaries. Despite some criticisms of her acting abilities, Delevingne continues to pursue her passion for acting and has appeared in a variety of films and TV shows like “Valerian and the City of a Thousand Planets,” “Suicide Squad” and “Carnival Row”, it’s clear that Delevingne is not limited by the opinions of others about her talents and skills and continues to push herself. Inspiration and Role Model Delevingne’s story has been an inspiration to many. She has been open regarding her struggle and progress towards self-acceptance, she is an example of how to be honest with oneself regardless of what other people may think or say. She has spoken out about body positivity and inclusivity and has used her platform to speak out for marginalized communities. Her actions demonstrate that it’s okay to not know everything and it’s okay to be different and unique. Cara Delevingne began her career as model at 10, signing with Storm Model Management. She soon became famous and was soon an one of the top sought-after models in the industry, walking for top brands like Burberry, Chanel, and Fendi. She’s an example of what it takes to go from being a model into a brand, and how to make an impact in the fashion industry. Delevingne is also well-known for her charitable efforts, she has been a global ambassador for Women’s Cancer Research Fund and actively supports mental health charities and organizations like The Samaritans and the National Alliance on Mental Illness. Additionally, she has donated to organizations that fight against discrimination and racism. Delevingne can also be regarded as a performer, and has released several songs and music videos and has collaborated with different artist such as Pharrell Williams. Social Media Influence Delevingne is a popular presence on social media and is known for her candid post and relatable material which have helped her build a fan base and a loyal following of supporters. Model and actress Delevingne has successfully transformed from a model to an actress, and has been praised for her roles in films such as “The Face of an Angel” and “Tulip Fever”.

Pinup of the Month for June - Dottie Sin-Claire Dottie Sin-Claire is sweet as pie and keen as mustard - she's the fastest Pinup to complete her interview questions so far! From Melbourne, Australia, Dottie is a shoe addict (well, who isn't!) and burlesque performer with a rather sassy side that she doesn't try to hide. She has some great advice and we've really enjoyed her interview (and gorgeous pics from Vamp Studio). How did you choose your Pinup name? I watch a lot of RuPaul's Drag Race so I put a lot of pressure on myself to come up with an awesome alter-ego. At first it was going to be Baby Sinclair but I realised that's the name of the baby dinosaur on that Dinosaurs TV show. I didn't want to be a scaly little baby so I finally decided on Dottie Sin-Claire - Dottie because I'm an air-head, and Sin-Claire because I'm just a bit naughty and I'd like to be clairvoyant. That way I wouldn't have to waste so much time worrying about the future and could focus more on being a sassy, confident lady. Dottie Sin-Claire is also my burlesque name - I can't have too many personalities lest I break my brain-banana trying to keep up! Why do you love pinup? I have adored vintage clothing and hairstyles for years. The pinup girl is a classic and timeless concept - the phenomenon will always exist in one shape or another. I love looking at pinups and being inspired by retro beauty and the quirky personalities in all the pictures. Pinups have gone from being vapid objects of male fantasy to empowering women, non-binary people, and men to embrace who they are and who they'd like to be (even if who you'd like to be is a male fantasy- that's okay, you do you!). Being a pinup makes you feel a bit cheeky and it feels wonderful to let that playfulness out in an environment where you're in control of your body and who sees what parts of it. Would you like to share your favourite beauty tip? Don't stick the mascara wand in your eye - it's painful and you'll be crying black for a solid hour. After that you're good - just wing it and don't be afraid to colour outside the lines. Tutorials are all well and good but finding your own style is even better. When I do my make-up I'm often inspire by the show 'Who Wants To Be A Millionaire?' - if I don't know what's going on with my face, I either do 50/50 (a different style on either side), ask the audience ('guys, does this look good?'), or phone a friend ('Babe, I need you to do my make-up for me!'). I can really recommend having a little sister who is better at this than you are. What’s your favourite aspect of the Pinup and Rockabilly subculture? The body positivity is absolutely the best thing. There are no rules, just a whole lot of love for one another. Even when it's done competitively there is a sense of community and very little cattiness. It's just a bunch of people unifying through a love of classic beauty and putting modern-spins on tradition. There's always a different reason why someone chose to become part of the pinup world and a lot of the stories are really inspiring and fascinating. I think the culture is very feminist and I love that. When did you know that pinup was the right thing for you? After doing theatre and burlesque for a bit, pinup seemed like a fairly natural progression. It's only in the last few years that I've learnt to love myself and the body I have, and funnily enough it took showing a fair amount of flesh in front of complete strangers for me to realise it. When I did my first showgirl photoshoot recently it really awakened something in me - a desire to put myself out there and dare the world to accept it. Some people collect stamps. I'm a show-off at heart. What advice would you like to give to new pinups? Don't be afraid to look stupid. People always hold themselves back and say they're worried what others will think - but I believe it's a fear of facing who you are and what you think of yourself. If you try yourself on for size you might really enjoy what you find! In fact I can almost guarantee it. Oh, and you can never have too many shoes. Never. Favourite business shoutout! I wanna give a huge shoutout to Maison Burlesque in Melbourne! They're primarily a burlesque dance school but they also hold regular pinup hair and make-up classes, as well as crafternoons where students learn to sew and sequin costumes. It is a beautiful place with many beautiful faces, each of them so talented and inspiring. The dance teachers (Dolores, Poppy, Jane, Bettie, and Domino) have taught me so much about confidence and class. I highly recommend The Vamp Studio for your pinup needs, it's the photography salon at Maison Burlesque that made the lovely photos you see in this interview. Photographer: 42nd Street Photography Styling: Poppy Cherry Are you our next Pinup Of The Month? Find all the details on how to enter, here!

Driving the initiative for diversity in the digital arena and the growing metaverse Daz 3D, a subsidiary of Tafi Co and a leader in 3D digital art, and the Institute of Digital Fashion (IoDF), a digital strategy and innovation institute that is a driving force in digital diversity and inclusion in the fashion industry, today released the first drop in their much anticipated partnership, a non-binary and photorealistic digital double, Catty 8.1. This release was developed with queer team members to represent queer voices and builds the foundation for these companies' longer term partnership and the goal of IoDF's work with Daz, to shift characterization into representation. Catty 8.1 was released for Pride on, to mark the anniversary of the Stonewall riots in , and can be found in the Daz 3D marketplace. Catty 8.1 is a gender-nonconforming digital double of IoDF's Creative Director and Co-Founder, Cattytay (she/they), sculpted and artistically realized by Daz and its most talented creators, while collaborating with IoDF on concepts and creative direction to authentically note the subtle codes of the queer universe. The bundles will also feature queer fashion at pivotal moments throughout modern LGBTQ+ history with references ranging from club culture to picket lines. "As technology advances and our visual identities move more into digital spaces, we didn't want to keep iterating on the quality of our figures without properly representing people from all communities — forwarding our values of innovation and inclusivity in 3D art," said(he/him), President of Tafi and Daz 3D. "Inclusivity must be thought of in the first stages of development, because it is much harder to 'tack on' later," said(they/them), Production Coordinator at Daz 3D. "If we ask the important questions around representation at the start, we can spend more time inventing limitless realities." "An important part of our work at IoDF is giving marginalized voices a space to be accurately represented and to push fairer representation. It was important to support the curation of this bundle for the queer space and for our queer community during Pride alongside Daz 3D," said Cattytay (she/they), Creative Director and Co-Founder of IoDF. "With our GLo-CAL networks of makers and artists we have the ability to amplify these changes which starts by listening to those makers. We are the bridge between the industry, those that are using the tools and the developers of those tools; the software companies," said(she/her), CEO and Co-Founder of IoDF. Together, Daz 3D and IoDF are seeking to activate change and propel digital diversity to ensure all underrepresented communities in the physical world are not left behind in the digital world. Cattytay's digital double is the first release in a longer anticipated partnership between Daz 3D and IoDF as they both work to champion digital representation within 3D content, fashion, and the larger expansion of the metaverse.

To start a booking, all you need to do is head over to the Contact, fill out the form with as much details as possible, and then I will get back to you with more info, a quote, and scheduling information.Read More Hello everyone! I’m currently in the process of updating my website, but some exciting news. I’ve been on tour with Transilient for 3 weeks now. We’re traveling the US currently on Transilient’s 3rd tour (my first with them). Transilient has become a project that’s very close to my heart and my personal goals as a photographer and film maker; sharing stories. “Transilient is a traveling photo and interview-based project. We candidly document transgender and gender non-conforming people in their day-to-day lived realities using only their voices. The project attempts to humanize, educate and destroy the assumption that trans folks are solely defined by their physical experience and their oppression. To bring about understanding and tackle transphobia we aim to weave transgender lives into the overall human experience instead of merely focusing on the transition. Our objective is to create a platform that is accessible to all people, in and out of the trans community.” -wearetransilient.com This tour is about 7 weeks long, going through 17 different states, meeting tons of various trans and non-binary folks and sharing their stories. This specific tour is being sponsored by It Gets Better. The takeover on all their social media started yesterday (October 22nd) You can find our stuff being shared on their Instagram (@ItGetsBetter), Twitter (@ItGetsBetter), and their Facebook page (@ItGetsBetterProject). So far we’ve been to: Kansas City, Missouri, Salt Lake City, Utah, Seattle, Washington, Portland, Oregon, Boise, Idaho, Casper, Wyoming, Missoula, Montana, and a short break for the team at the beautiful West Glacier National park. This trip has totally changed my life in a lot of ways. I’m just so grateful for an opportunity like this to fall into my life. I’ve been doing video work and photography work through tour along with some graphic design for a state-by-state campaign we’re running while on the road. It has been truly life changing and inspiring to hear all the stories that we’ve heard. It’s also interesting to see how some stories are so similar to another, but the bottom line is we’re #MoreThanTrans. We’re more than our transitions and we’re humans doing typical things like everyone else. We’re artists, military, mail mans, government officials, etc. WE ARE EVERYWHERE. #WontBeErased Also, we have paired up with an awesome printing company, TransfigurePrintCo to print hoodies and t-shirts for tour. (Seen above; Model Basil Soper; executive director of Transilient) If you buy one before October 31st you’'ll receive $5 off from the regular price they will be sold at. The hoodies are so soft and comfortable. The t-shirts are just as soft as well. While you’re there make sure you check out all the other amazing designs and stuff that Transfigure is putting out. :) Talk to ya’ll soon A preview of the first two weddings of the season, announcement of Wedding category to Portfolio, and a little short write I did about photographing weddings.Read More Welcome to my site! Click here, to learn more about the layout and how to get around effciently! :)Read More

At diversity club this week a month or so ago, we are going to learn about Third Culture Kids, and you can read about what this is in the short article linked here: As supplementary material, here is an infographic and a recent nytimes article: INFOGRAPHIC: The Modern Third Culture Kid –Abie and Nina (I remind you that you can bring your own lunch if you would like to eat while we meet.) Was it already a month ago that our Diversity Club discussion was on data, algorithms and prejudice? For a short introduction to the topic, see this piece from the New York Times: https://www.nytimes.com/2015/07/10/upshot/when-algorithms-discriminate.html?_r=0 For a more in-depth discussion of this issue – specifically, as it relates to workplace equality – here’s an interesting piece from The Guardian: https://www.theguardian.com/technology/2016/aug/03/algorithm-racist-human-employers-work At last diversity club we most recently we discussed “lookism”, the way that physical attractiveness can drive bias. We have found a short article about provocative scientific controversy to help spark discussion: https://blogs.scientificamerican.com/guest-blog/the-data-are-in-regarding-satoshi-kanazawa/ For an overview and introduction to lookism, also see this article: http://curvylife.com/plainness_penalty/ For diversity club last week, we discussed the definition of “diversity” and how it might change over time or between groups. To help focus this, we read a short, but perhaps provocative, piece from the Atlantic: The Weakening Definition of ‘Diversity’ Millennials think that diversity is less about race and gender than it is about different “experiences.” What does this mean for America? GILLIAN B. WHITE MAY 13, 2015 Last week the IHME diversity club discussed a recent JAMA viewpoint on “Medical Education and the Minority Tax”. I think this is a good way to frame an important issue: A Piece of My Mind May 9, 2017 Medical Education and the Minority Tax Kali D. Cyrus, MD, MPH1 Author Affiliations Article Information JAMA. 2017;317(18):1833-1834. doi:10.1001/jama.2017.0196 I sat down at the large conference room table surrounded by the other medical students, some of whom I recognized from earlier stops on the residency interview trail. As they continued their conversations, I looked around, realizing I was once again the only interviewee who is black. I kept gazing around the room, only to find more faces staring back that did not look like me. Hanging grandly from the walls were faces, painted in watercolor, framed in bronze, and undoubtedly of really important men … really important white men. Early this month, the IHME Diversity Club discussed the recent paper, Transgender Population Size in the United States: a Meta-Regression of Population-Based Probability Samples, by Meerwijk and Sevelius from AJPH: https://www.ncbi.nlm.nih.gov/pmc/articles/PMC5227946/ This helped us dig into trans and non-binary gender and how it relates to our work in health metrics. For Diversity Club this week we are going to discuss stereotypes. What are stereotypes, and why do they exist? We have selected a technical paper of modest length to be the focus of this discussion: Susan T. Fiske. Warmth and Competence: Stereotype Content Issues for Clinicians and Researchers. https://www.ncbi.nlm.nih.gov/pmc/articles/PMC3801417/ (Since this is running from 12:30 to 1:30, it seems worthwhile to remind you that you can bring your own lunch if you would like to eat while we meet.)

Written by Sarah DeLappe, and co-produced by Crow’s Theatre and Toronto’s fiercely independent theatre ensemble The Howland Company, The Wolves is an energetic and powerful play that honours the complexity of teenage girls by exploring how they interact and support one another on the soccer field. HOW UTTERLY REFRESHING. Founded five years ago when members Courtney Ch’ng Lancaster, Ruth Goodwin and Hallie Seline were recent graduates, The Howland Company was created to provide opportunity. “It’s hard to get noticed as an up-and-coming actor. You have to produce your own work,” says Lancaster, director of The Wolves. “It grew to become not only about opportunities but [also about] telling stories where we got to play people our own age, our own experience, and our own generation.” The Wolves, which they first discovered on the New Play Exchange, a site dedicated to strong plays written by women, ticked all the boxes: “It’s been so exciting having a cast with ten women and non-binary actors, most of whom are the same age,” says Lancaster. “We never get to do that. You are so often the solo ingenue in a room with a bunch of older people, a bunch of dudes.” Beyond getting to work with a talented young group, Lancaster, Goodwin and Seline found the Wolves storyline to be original and energizing. “We get Mean Girls and things like Clueless, but we rarely get to see a band of young warrior women going through a trial together and coming out the other side,” says Lancaster. As a soccer player in her youth, Seline loves acting out this role. “I identify with it so much. Being on a soccer team, a dance team, or any kind of group of young women, you get to see the power play that happens amongst the group. The girls are constantly shifting and deciding who they are, depending on who they are surrounded by.” As I watched the cast kick around a ball in rehearsal and banter while stretching, be it high school gossip or their thoughts about major global issues, I was instantly brought back to that chapter of my life, so much so that I could feel the wet grass on my ankles and see the mist on the morning field. “These women go through highs and lows, they’re complicated and flawed, and they have huge hearts. It’s a very specific high school girl who is playing elite soccer on Saturday mornings. They’re hoping to get scholarships for university, which implies a certain level of academic achievement that they need to hit,” says Goodwin, who, like Seline, is finding it to be an exhilarating experience to both produce the show and play one of the girls. “They’re doing all this while going through the changes of being sixteen and seventeen years old.” It’s not a type of character often shown on screen or on stage, but it is done so with brilliance in The Wolves. The Wolves is playing at Crow’s Theatre until October 27, and it is recommended for age eleven and up. Don’t miss out on this brilliant show that will have you revisiting your own youth from an entirely new vantage point.

By Hannah Dee, Aberystwyth University On the 21 and 22 September I went to London for STEM Gamechangers at the Alan Turing Institute, which is in the British Library. The aim of the day was to try and build initiatives which could push forward the problem of diversity in STEM (Science, Technology, Engineering and Maths), and I was there representing Aberystwyth University and BCSWomen. We BCSWomen work with other organisations in tech and with other women’s groups, but we don’t talk as much to other disciplines (e.g. Physics), or to organisations dealing with other aspects of diversity. Which is a shame because a lot of our problems are shared. The two-day event featured a mix of networking, inspirational keynotes, and some brainstorming and solution inventing; it concluded with a pitch to some judges about the solutions we’d brainstormed. The Alan Turing institute, as a venue, is very cool. For example, in the large meeting room (called Enigma) there was a set of Paolozzi prints on loan from Dame Stephanie Shirley. The big themes coming out of the event were nearly all to do with . This is the way that people often don’t just have one protected characteristic, and the way in which these different characteristics can complement or exacerbate the experiences of individuals. Diversity and inclusion needs to be able to deal with not just women and men, but non-binary people, gay people, trans people, disabled people, old and young people, people with mental health problems and any combination of these. The pitch my group ended up developing involved building a more caring STEM profession. We all have different experiences and bring different things to the table, and we also have different roles at different times in our lives, we might be fine now but develop a disibility, or caring responsibilities, for example. It’s not possible to assume that everyone’s able to be the “ideal scientist” working 70 hours a week and devoted to the cause of science. This applies to students as well as researchers and professors. Our idea was to share experiences, (“the bad bits, the best bits and the ways to be better”) so we can help people to be more kind. We built a little prototype mock-up of how the system would look, and thought through the semantic structure and organisation (largely tag-based) and structure, with plans for content and review. It could be really nice. We didn’t win any funding but I am not sure that’s going to stop us. The rest of this blogpost has summaries of the keynote speakers: Tabitha Goldstaub, Emma Chapman, Ozak Esu and Alfredo Carpineti: The first keynote was from Tabitha Goldstaub of CognitionX. Her talk looked at artificial intelligence and ethics, which fitted really well with a lot of work that BCSWomen have been doing with our AI Accelerator program. Ethically there are some big issues, and these are linked to two underlying problems. Garbage-in-garbage-out (if you have biased training data you’re going to learn those biases), and the problem of monocultural teams. We need to ask the questions: - Where’s the data coming from? - Who’s in the room? The second keynote came from Emma Chapman, and was a mix of the personal and political. As a 2nd year PhD student, she was told that if she wants kids it’s going to be a problem. Later, when she was on maternity leave, she was shut out of the library. Then she was involved in a sexual harassment incident, followed by what sounds like a long, horrible and drawn out sexual harassment case. To realise she’s dealt with all of this and more and reached the heights she has (Royal Astronomical Society Fellow!) is a truly amazing. The best bit of Emma’s talk was her 7 point advice for changing things… - Be polite. Don’t get your guns out straight away. - Separate policies from people. - Start small. Go for the little fish then shame the bigger fish into following. Institutions are terrified of shame. - Find Allies. Reform is a relay race. - Be forgiving. Us v them allows everyone down - Love the small victories. Change is incremental. You changed something, Eat CAKE - Walk away. Take time out when you need to. Put your oxygen mask on first. - Sometimes, you have to Get Angry. Yes I realise that’s 8 points, but I like number 8. Ozak Esu was keynote number 3, and she won the IET Young Women Engineer award in 2017. Her talk was another mixture of personal story and tips. Diversity is about the mix. Coming to the UK from Nigeria, race was a new one for her as in Nigeria “hello we are all black“. In the UK she found that this could shrink you in a way. As the only black person a conference of 800, she got asked “Where’s the coffee?”. Turning this around in a laugh-out-loud moment for the whole audience, she advised us: Always wear black to conferences, you can then guilt trip people into coming to your presentation when they mistake you for serving staff. Her advice to us all was to pay it forward, mentors and role models helped us, so we need to send the elevator back down and take the time to mentor. The final keynote we had was Dr Alfredo Carpineti, founder of Pride in Stem, and a staff writer on IFL Science. In his own words, an astrophysicist, journalist, raging homosexual. Why raging? Well he says if you’re not raging, you’re not looking hard enough. People keep saying that science only cares about science itself : this is just not true. LGBTQ+ people are recipients of more harassment, have to hide their private life, and are expected to act “less gay”. This is worse for our trans sisters and brothers. Alfredo showed us some frankly alarming statistics about the experiences of LGBTQ+ staff working in STEM, however when we look at the experience of students it’s just as bad. Sexual minority status implies 9% less likely to complete a stem degree. I think it’s apt to finish on a quote from Alfredo: “Some science happens in a physical vacuum. No science happens in an historical vacuum.”

Dating, drugs and other issues facing teenagers today crop up in season three of Netflix’s One Day at a Time. A reimagining of Norman Lear’s 1975 sitcom, the comedy follows three generations of a Cuban-American family, focusing on single mom and military veteran Penelope (Justina Machado), raising Elena (Isabella Gomez) and Alex (Marcel Ruiz)—two strong-willed, mega-millennial children—all the while enlisting the “help” of her old-school mother Lydia (Rita Moreno) and her building manager-turned-invaluable confidant. Season three finds Penelope with a new love interest, Elena coming up with a title for her non-binary girlfriend and Alex trying to justify vaping weed. Netflix’s trailer also highlights guest star Gloria Estefan as Penelope’s estranged sister Mirtha, along with guest stars Stephanie Beatriz and Melissa Fumero of Brooklyn Nine-Nine’s, India de Beaufort (Kevin (Probably) Saves the World) and Alex Quijano (Fresh Off The Boat). One Day at a Time premieres February 8 on Netflix.

THE DISCOMFORT OF EVENING by Marieke Lucas Rijneveld Written by 28 year old Dutch literary sensation, Marieke Lucas Rijneveld, her first novel is already a best seller here in the Netherlands. Originally published in 2018, it has been translated into English by British literary translator, Michele Hutchison. The book was this week awarded the International Booker Prize. The £50,000 prize is shared between the author and translator. Mariike Rijneveld was born in Nieuwendijk in the Netherlands. She grew up and still lives and works on a dairy farm. The young Dutch literary star, who grew up in a strict Reformed Protestant farming family, identifies as non-binary and uses the pronouns ‘they’ and ‘us’, when referring to herself. Her novel delves into some of the discomfort she experienced growing up in this environment. The discomfort was exacerbated after the death of her 12 year old brother in an ice-skating accident. The original title of the novel, De avond is ongemak may be translated directly from Dutch as ‘the evening is uncomfortable, inconvenient, even awkward’. The Dutch word, ‘ongemak’ incorporates all of these and gives a flavour of the poetic language of the novel. Rijnveld brought out her first collection of poetry in 2015, Kalfsvlies (Calf’s Caul) for which she won the C.Buddingh’ Prize. Some have suggested that the novel is in many ways a natural extension of this poetry collection. It is filled with imagery and metaphors that are inspired by the quotidian details of rural Dutch life, seen through the eyes of a child. Translator, Hutchison, agrees that it is the poetry of the novel that stands out and which she most enjoyed translating. She also particularly liked the book’s ten year old child narrator, Jas, whose quiet, intelligent gaze takes in the slow disintegration of her family in wake of her brother’s death. The author’s own brother died when she was three. Rijnveld admits that this was such a major occurrence in their lives, that the impact was intense. ‘I’d known for a long time that if I were to write a book, this would be the starting point’ she says. The young writer also acknowledges the inspiration she drew from fellow Dutch writer, Jan Wolkers. Author of Terug naar Oostergeest (Back to Oostergeest). Considered one of the great post-war Dutch writers, Wolkers returns to his childhood home in this novel and describes it with the kind of graphic, often disturbing images that characterize parts of Rijnveld’s novel. The young writer explains that they shared the same religious upbringing and he too ‘writes a lot about nature, sexuality and belief’. She admits to having a large portrait of him above her desk and imagines that he smiles at her when she has written well. The Discomfort of Evening begins with young narrator, Jas, asking God to spare her pet rabbit and take her brother instead. She is worried that her rabbit will end up on the table for dinner at the hands of her unsentimental farmer father. Then her brother falls through the ice while skating and drowns and the events develop from there. Hutchison describes the novel as ‘dark’ and agrees that it definitely ‘gets under your skin’. ‘Disturbing’ and ‘unflinching’ have also been used to describe the book. Booker Prize judge, Valeri Luiselli talks of the ‘strange, disquieting , solitary world of the highly perceptive and intelligent child narrator’. The novel is undeniably powerful and we await the judges decision with interest. Souwie Buis

Data Compression in Shared Web Hosting The ZFS file system which runs on our cloud web hosting platform uses a compression algorithm called LZ4. The latter is substantially faster and better than any other algorithm out there, especially for compressing and uncompressing non-binary data i.e. internet content. LZ4 even uncompresses data faster than it is read from a hard drive, which improves the overall performance of sites hosted on ZFS-based platforms. As the algorithm compresses data really well and it does that very quickly, we're able to generate several backups of all the content stored in the shared web hosting accounts on our servers on a daily basis. Both your content and its backups will need reduced space and since both ZFS and LZ4 work very quickly, the backup generation will not influence the performance of the web servers where your content will be kept. Data Compression in Semi-dedicated Servers Your semi-dedicated server account will be created on a cloud platform which is run on the advanced ZFS file system. The latter uses a compression algorithm known as LZ4, which is a lot better than alternative algorithms in terms of compression ratio and speed. The gain is apparent particularly when data is being uncompressed and not only is LZ4 much quicker than other algorithms, but it is also faster in uncompressing data than a system is in reading from a hard disk. Because of this Internet sites running on a platform that uses LZ4 compression perform better because the algorithm is most effective when it processes compressible data i.e. web content. An additional advantage of using LZ4 is that the backups of the semi-dedicated accounts that we keep need much less space and they're generated faster, which enables us to have a couple of daily backups of all your files and databases.

Cara Delevingne Suki Waterhouse Sufing Cara Delevingne, known for her acting and modeling careers, also has a few less-known facts that help her stand out more. From her battles with body image and depression, to her ventures to the world of sex toys and her openness about her pansexuality, here are 10 interesting facts about the multitalented Delevingne. Problems with depression and Body Image Despite her beautiful appearance, Cara Delevingne struggled with depression and insecurity about her body throughout her youth. Her body was constantly ridiculed due to her small chest and started menstruating later than other women, being called “frigid” and “flat”. At the age of fifteen depression struck her and she was forced to leave school. When she spoke to BBC, she spoke about her time in which she stated, “I hated myself for being depressed, I hated feeling depressed, I hated feelings.” But, Delevingne came from a wealthy family, and everybody believed she should be happy by default, but they didn’t understand her mental state. Homophobic in her Youth Cara Delevingne had a difficult time understanding her sexuality while growing up in a family that did not discuss it. For a time she found the idea of same-sex relationships to be disgusting and considered herself homophobic. When she spoke to The Guardian, Delevingne said, “I know I’m the luckiest girl in the world, I understand all this and I wish I could appreciate it. It’s just that there’s something dark inside me that I can’t shake.” Delevingne believes that she is pansexual and is in love with the person regardless of their gender and gender identity. She explained that this means that she might also be attracted to non-binary or transgender people. When she spoke to Variety, Delevingne said, “However an individual identifies, whether it’s a ‘they’, a ‘he’ or a ‘she’, I fall in love with the person – and that’s what it’s about. I’m attracted to the person as such.” Marriage and Relationships In the year 2019, Delevingne got married in Las Vegas to actress Ashley Benson, but they later broke up. She’s also been romantically linked to actress Michelle Rodriguez and singer Miley Cyrus. Her public display of her sexuality has been met with both support and criticism. The Film Industry is facing threats from the Film Industry Delevingne was a target of her producer Harvey Weinstein, who threatened her career if she did not cover up her sexuality and find male partners for a “cover”. But Delevingne did not listen and continued to open about her sexuality and relationship. Business with the Sex Toy Company Delevingne has a partnership with a sex-toy company and is the one who personally tests the products. She’s open and honest about her work in the business and believes it is a way to promote sexual wellness and liberation. Secret Vaginal Tunnel Delevingne has a hidden vaginal tunnel in her villa, which was a gift from a friend. The tunnel was made by an artist and serves as a symbol for female power and freedom. Delevingne recently ventured into the realm of NFTs by creating a short video of herself dancing in a secret vaginal tunnel inside her house and then selling it as a special digital collectible. It demonstrates her brave and unafraid attitude and willingness to try new things and break boundaries. Despite some criticisms of her acting ability, Delevingne continues to pursue her passion for acting. She has been featured in a variety of films and TV shows such as “Valerian and the City of a Thousand Planets,” “Suicide Squad” and “Carnival Row” It is evident that Delevingne is not limited by the opinions of others about her talents and skills and continues to push herself. Inspiration and Role Model Delevingne’s story is an inspiration for many. She has been transparent about her struggles and journey towards self-acceptance, she is an example of the importance of being self-assured regardless of what others might think or say. She has spoken out about her mental health, body positivity and inclusiveness and has utilized her platform to advocate for communities that are marginalized. Her actions demonstrate that it’s not necessary to know everything and that it’s okay to be different and unique. Cara Delevingne began her career as a model at the age of 10, when she joined Storm Model Management. She soon became famous and was soon among the highest sought-after models in the fashion industry and walked for the top designers like Burberry, Chanel, and Fendi. She’s a symbol of how you can go from a model to an established brand, and how to make an impact in the fashion industry. Delevingne is also well-known for her charitable work. she has served as a global ambassador for the Women’s Cancer Research Fund and actively supports mental health charities and groups like The Samaritans and the National Alliance on Mental Illness. Additionally, she has given to groups fighting discrimination and racism. Delevingne can also be regarded as a performer. She has released numerous songs and music videos and has collaborated with different artist like Pharrell Williams. Social Media Influence Delevingne is a popular presence on social media and is known for her candid post and relatable material, which has allowed her to cultivate a large following of fans and supporters. Model and actress Delevingne has made the transition from a model to an actress, and has been praised for her roles in films such as “The Face of an Angel” and “Tulip Fever”.

The Union of Students in Ireland (USI) is calling on both houses of the Oireachtas to respect the Joint Oireachtas Committee on the Eighth Amendment report to repeal the Eighth Amendment from the Irish Constitution. The question on Eighth amendment should be decided on by students at the polling booth, and should be facilitated by holding a referendum in May 2018 following from the committee’s clear recommendation. Speaking ahead of the Dáil debate on the report, USI President Michael Kerrigan said, “We welcome the outcomes from the Eighth Committee because it shows there is merit in providing facts on this issue to prove how the Eighth Amendment damages people’s lives. The debate must not be derailed by smoke and mirrors and shouting matches. The debate must have women’s* healthcare at heart with a desire to seek and listen to the facts.” Mr Kerrigan went on to say, “While we welcome discussion on legislation allowing for access to abortion in the first 12 weeks of pregnancy, the work done by the Citizens’ Assembly and the Eighth Committee must be upheld otherwise over a year of hard-work will be nothing but a piece of theatre. We urge that discussion and questions from members of the Oireachtas show compassion and care towards women when the debate takes place tomorrow in the Dáil.” USI is calling on the Oireachtas to fully support the Eight Committee’s report, and for Taoiseach Leo Varadkar to commit to a referendum being held in May, ensuring students would be in a position to cast a vote on the Eighth Amendment. * The language of reproductive justice activism tends to centre around women and women’s bodies and women’s rights. Generally, access to abortion services is framed as exclusively a women’s issue. Trans men and non-binary people do get pregnant and may need abortion services. Reproduction justice and access to abortion services is incredibly important to trans people and young people in Ireland, a position supported by both the USI and TENI (Transgender Equality Network Ireland).

Far in the future, space exploration is dominated by the Company. To explore any new planets, teams of scientists must purchase packages through the Company. In a recent expedition, a team followed by a self-aware Security Unit becomes aware that the only fellow team on-planet has gone dark. Why this book?: Sounded interesting and like it might get me out of my slump. I started this book because I didn’t know what else to read, and I had heard good things about it. I didn’t really know what to expect, because the summary wasn’t very specific, but I knew that I was going into a hard sci-fi novel with a possibly unreliable narrator. For not expecting much, I was pretty impressed with what I got, although I do have to admit that I’m a bit. . . wary of some of the ways that Murderbot (yes, that is SecUnit’s name, or at least what it calls itself.) The story was what really pulled me in, despite a confusing beginning. All Systems Red starts off with a bang, literally, and it was hard to follow at first. Action was happening but I didn’t know what, or how to describe what happened because it wasn’t described that well. As the story progresses, told from Murderbot’s point of view, you as a reader get a unique look at the situations from someone who honestly doesn’t really care. That was fun, and before you get tired of it, Well’s begins to develop Murderbot and it’s relationship with the humans (“my humans”) into something that is heartwarming. While the plot itself is what drew me in, and despite some parts being confusing, the story was ultimately cherry-topped with the dynamic characters and their contrasting relationships with Murderbot. Now, my main problem with this story isn’t the fact that the writing wasn’t definitive, or that I got a lot of the characters confused because some were hardly touched on. My problem is actually Murderbot. Murderbot uses it/its pronouns (Murderbot itself uses them privately, so that’s what I’ll use) so as more and more information is doled out about what Murderbot actually is, and what it’s past actually was like, I got a little iffy. Of all of the characters, Murderbot is the only one that is presented as genderless. Wells even goes into the fact that Murderbot doesn’t have genitals . . . which was a little unnecessary? Like, thank you for letting me know but do I really have to know what someone’s genitals are to say “yea, they’re not male or female”. So, just the connotations with that made me step back after thinking about it for a while. Is Murderbot genderless because it doesn’t have genitals, and if so, what does that say about non-binary people? Why did the audience need to know what genitals Murderbot had — or didn’t have? Also, the fact that Murderbot, a SecUnit, is literally a “mass murderer” (it’s own words), I just feel weird that, in the first book of this series, Murderbot is the only non-binary character. I was told that there will be a second enby character in the second novel, but with what I mentioned above I’m not sure if I want to see Martha Wells’s second attempt at an enby character. It makes me wonder if she’ll want to verify if the enby was AFAB and/or AMAB, and that’s just unnecessary and offensive. Final Rating: ★★★½☆☆ I’m really conflicted on this book and the series. While I really loved the story and Murderbot as a character (and I related to it a lot), I was also really wary of the enby representation after sitting on this review for a while. I really struggled with this, because I read this book in a night and thought I would be gushing in this review. But instead I’m just really unsure. Would I Recommend? Unless you’re enby, don’t tell me how to read a character. I read Murderbot as an entertaining character that was ultimately ruined when the author tried to make it about genitals and mass murdering. I’m not sure if I’ll be personally continuing the series, but I’d be interested in seeing how she takes on this supposed second enby in the upcoming sequel. Published: May 2nd, 2017 Page Count: 144 Genre: Science Fiction Synopsis: via Goodreads In a corporate-dominated spacefaring future, planetary missions must be approved and supplied by the Company. Exploratory teams are accompanied by Company-supplied security androids, for their own safety. But in a society where contracts are awarded to the lowest bidder, safety isn’t a primary concern. On a distant planet, a team of scientists are conducting surface tests, shadowed by their Company-supplied ‘droid — a self-aware SecUnit that has hacked its own governor module, and refers to itself (though never out loud) as “Murderbot.” Scornful of humans, all it really wants is to be left alone long enough to figure out who it is. But when a neighboring mission goes dark, it’s up to the scientists and their Murderbot to get to the truth. 2 thoughts on “Review #160 // All Systems Red (The Murderbot Diaries #1) – Martha Wells” […] #159 // The Atrocities – Jeremy C Shipp Apr 13th: Blog Update: Sporadic Posting Apr 28th: Review #160 // All Systems Red – Martha Wells May 1st: Audiobooks, Ableism, and Knitting May 4th: Review #161 // Ethan Frome – Edith […] […] they can get away with minimal effort because of the SFF setting. Books like River of Teeth and All Systems Red are just two of the books that come to mind when I think of “well-developed worlds with […] You must log in to post a comment.

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About STEM Cafe: STEM Cafe is a free tutoring program open to any student looking for help with math, we aim to create a fun and collaborative environment. In year's past, STEM Cafe has been a part of the WRRC's Women in Science and Engineering (WISE) program that supported efforts towards the recruitment and retention of women within STEM (Science, Technology, Engineering, Math) fields; however, this program has been expanded to support folx of all marginalized gender identities (womxn, WOC, Trans*, gender non-conforming, non-binary folx, etc). This year, STEM Cafe will occur weekly on Tuesdays from 4:30pm-6:30pm at the WRRC (1st floor of North Hall) in the Conference Room. Snacks and refreshments are also provided! Tutors can volunteer one to two hours of their week to aid students with their coursework in an informal, noncompetitive setting. Tutors are encouraged to acknowledge this work as "Academic Service" on their CV. Thank you for considering volunteering at the Women's Resources and Research Center, tutors play an integral role in the existence and success of Math Cafe! Thank you for continuing to support students in math fields! We are in need of tutors for the following times and dates: If you have any questions, please email Danielle or Johana at email@example.com.

Gazes and Spaces was an art show that we curated during queer qandī festival. The festival was the first event that we organised in QTI Coalition of Colour, a network we founded to raise awareness about issues face by QTIPOC and for building a community for queer POCs. Read more about the festival in Cambridge News. Elmira Zadissa and Ramona Zadissa often work in an interdisciplinary manner, exploring the intersection of arts and politics. With this work, they question the idea of Queer Safer Spaces as safe only when one complies to identify with the norm. It is a response to the experience of being unsafe and made invisible in so-called queer safer spaces where only parts of one’s identity are accommodated for. By being expected to disrobe from those parts which do not fit the normative narrative, minorities are invited to a gentrified definition of Queer Spaces where the only those with the privilege of normativeness can enjoy being Safe. The nonconforming parts of one’s identity are pushed out into the toxic margins of these Queer Safer Spaces. April Lin is a visual artist who explores the interstices of movement, visual media, and identity. Currently, April is studying a Master of Arts in Screen Documentary at Goldsmiths University. Odes to Queers is a statement. We want to disturb any subconscious assumptions where queer = white or queer = Western. Queerness existed in our cultures for long before cisheteronormativity was imposed via modernisation, colonisation, and imperialism. These photographs are odes to our existences, to the futures our presences represent, to the disruptions we claim. We are queer, and we will allow you to look at us, if we feel like it. Sometimes we will return the gaze, if we want to. Ornella Ospino is a non-binary trans AfroLatinx self-taught London based artist and community organiser, drawing black and brown gender non-conforming bodies in a way that is true to the beauty and stories of their community. Using Spanglish they archive their existence through radical softness and centring their diasporic queer black and indigenous gender non-conforming communities, to document their existence, lives, feelings and emotions. Being queer, black, trans, and a child of Colombian Caribbean migrants, their art is heavily shaped by their life. They centre these narratives, which are overwhelmingly never featured in art. Ornella has continuously worked for their community and believes in the power of solidarity and holistic work in the arts. Consequently, their work does not only archive the existences of their community but is also a method of communal healing and resistance. TextaQueen is known for using the fibre-tip marker (aka ‘texta’) to draw out complex politics of gender, race, sexuality and identity in vividly detailed works on paper. Their practice focuses on imagining an ever- expanding created universe representative of the psychic survival process of a person of colour amongst cultural and colonial legacies. Eve of Incarnation references the biblical story of Eve cast out of the Garden of Eden. In this imagined mythology, an allegory of emigrant experience, Eve is a divine yet earthly entity who has swum across time and tides from the artist’s ancestral lands of Goa, India to find themselves on the shores of Boonwurrung country – what is colonially named Point Nepean National Park, Victoria, Australia. They drape their naked self in the ‘fabric’ of the landscape– the indigenous and invasive plant species, seaweeds and rocky crags becoming ‘nature couture’. The images reference the artifice of high fashion photography as a resistance to ethnographic projections onto the brown-skinned body in the landscape. Commonly the ‘nature nude’ photographic genre depicts white bodies in images of supposedly passive, feminine fragility, even though the presence of those bodies on that land is most often the result of colonial violence. These works attempt to acknowledge the artist’s own neo-colonial presence as a being whose ancestry belongs elsewhere, yet desires connection to the country they ‘find themselves’ upon. It is science-fiction that the artist exists on these lands – a result of the apocalyptic colonisations of the lands of India and Australia. Myah Jeffers is a dramaturg, director and portrait photographer based in London. Her work is focused on Black experiences, particularly through a queer lens. She is specifically interested in uncovering performance and presentation of identities, in a bid to reveal truths that lay at the root of her subjects. Myah uses portraiture as a weapon against racism, classism and homophobia through illuminating Black and queer joy as acts of resistance. Pitch. is an interrogation into where Blackness, queerness and football intersects. This body of work offers a nostalgic portrayal of a kick about, as the sun sets against the backdrop of an old stomping ground. However, these images also juxtapose this nostalgic softness, with an act of resistance to the inherent racism, homophobia and sexism that are still at the root of the game. Historically, the culture surrounding football leaves no room for anything deemed as “other”. As a result, these images symbolise a desire to challenge the “norm” and uncover the layers of bias and injustice that the game embodies. Pitch. is an act of resistance and an ode to Justin Fashanu. The festival also included workshops and talks. Above is an imaga of Alex Leon, mental health activist and Dr Mónica Moreno Figueroa, a Senior Lecturer in Sociology at the University of Cambridge in conversation about Race, Sexuality and Mental Health. Yu-Chen Lai, above and Joyce Man, from the QTI Coalition of Colour, chaired the panel discussion on Queer and Trans Global Activism. Panellists in the Queer and Trans Global Activism panel, from right Senthorun Raj (Lecturer in Law at Keele University), Ornella Ospino (illustrator and activist), Nour Abu Assab (co-founder and co-director of the Centre for Transnational Development and Collaboration) and TextaQueen (artist).

Hi there, I’ve tried searching the forum for this and also spent probably a couple hours trying to figure it out in Max… The purpose is simply to select between two audio paths without click sounds occurring. So this is real-time audio and selecting on the fly.. using a single button that engages one audio path when pressed down (that incorporates a tremolo effect) and another audio path (disables the tremolo) when released. I think I get mixed up when considering trigger messages with multiple arguments: I’m unsure when the next bang will occur since, in this case, the trigger object is mixed up with audio signals which are constant signals when turned on. Anyone know a simple way to deal with these types of scenarios? Not sure I get what you are trying to say in that last paragraph. In any case, when switching audio paths its best to use audio objects which can have their gain controlled variably ( ie line with *~, or matrix~ in non-binary mode) to do the actual switching – which will then actually be signal ramping to avoid the click problem. Check matrix~ help- especially binary non-binary mode distinction to see one way to switch signal i/o paths while avoiding clicks. Edit: between reading and posting noob_meister was here!

Transgender awareness training is needed for many professionals in Ireland, according to a study from researchers in Cork. Fiachra Ó Súilleabháin and Máire Leane, who lecture future social, youth and community workers in University College Cork, held the study with a group of young transgender people. Their work revealed a frustration from participants at the lack of trans awareness and recognition from education and health workers. “It shouldn’t be up to minority groups to explain or justify their existence, it’s up to the majority to welcome and cherish them,” Ó Súilleabháin told the Irish Examiner on March 12th. The study showed that the young trans people felt more uncomfortable than unsafe about things such as being careful holding hands with their partner in public. One participant in the study said that every trans person they knew had to explain being trans to counsellors. “It is important to recognise the significant socio-legal changes which have taken place in Ireland with the Gender Recognition legislation and recent announcement of increased health service provisions for trans people. What is striking in our work with third-level students is how gender binaries (man/woman, male/female) continue to be embedded into Ireland’s culture,” Ó Súilleabháin said on behalf of himself and Leane. The Irish Government approved the Gender Recognition Act in July 2015. This allows all adults to legally self-declare their own gender identity. “Based on our research with trans and non-binary youth, we are of the opinion that gender (and sexualities) studies should be included in the curricula of academic programmes for professions. This would ensure that students get trans-awareness training during their third-level education and training,” he added. In March, UCC became the first Irish college to fly the Transgender Pride Flag. Dean O’Reilly, DCU LGBTA society chairperson, thinks there is a definite need for more professional training on this issue. “There are still many individuals that are not aware, are not informed and do not understand what transgender issues are nor do they feel they should know anything about them. From things such as aiding the coming out process to more basic necessities such as healthcare… greater education on trans and non-binary issues is imperative in contemporary Ireland,” said O’Reilly. Image Credit: Think Progress

In the Vanishers’ Palace A dark Beauty and the Beast retelling, where they are both women and the Beast is a dragon. Aka “f/f dragon ship” aka “dark sapphic rellings are the best”. - Finalist for Lammy Award 2018, “LGBTQ SF/F/Horror” Published worldwide by JABberwocky Ebooks. Also there is a (gorgeous) print edition! From the award-winning author of the Dominion of the Fallen series comes a dark retelling of Beauty and the Beast. In a ruined, devastated world, where the earth is poisoned and beings of nightmares roam the land… A woman, betrayed, terrified, sold into indenture to pay her village’s debts and struggling to survive in a spirit world. A dragon, among the last of her kind, cold and aloof but desperately trying to make a difference. When failed scholar Yên is sold to Vu Côn, one of the last dragons walking the earth, she expects to be tortured or killed for Vu Côn’s amusement. But Vu Côn, it turns out, has a use for Yên: she needs a scholar to tutor her two unruly children. She takes Yên back to her home, a vast, vertiginous palace-prison where every door can lead to death. Vu Côn seems stern and unbending, but as the days pass Yên comes to see her kinder and caring side. She finds herself dangerously attracted to the dragon who is her master and jailer. In the end, Yên will have to decide where her own happiness lies—and whether it will survive the revelation of Vu Côn’s dark, unspeakable secrets…Buy now Here’s some fan art of Yến and Vũ Côn by Laya Rose: Reviews and praise Gorgeously atmospheric queer fantasy (…) Like Jane Eyre if Rochester was a woman plus a dragon. Zen Cho, author of The Terracotta Bride and Sorcerer to the Crown Another stellar offering by Bodard. Her signature intensity is on display in this tale of people (and dragons) struggling to survive in the ruins of an alien conquest. Emotionally complex relationships interweave with richly drawn and deftly nuanced world-building. Kate Elliott, Author of the Court of Fives series A transformative experience. With dragons. Fran Wilde, Hugo and Nebula nominated author of The Bone Universe and The Gemworld series Gorgeously written… A postcolonial postapocalyptic f/f Beauty and the Beast where the Beast is a dragon & the castle is Escherspace… amazing idtastic scenes worthy of anime. Likhain, Hugo-award nominated artist one of my favourite books of the year.. a gorgeous, precise, and searing queer re-invention of the Beauty and the Beast story. I loved it. It’s exactly the story I needed to read, and every time I go back to it (even to check spelling), it draws me in again. I really can’t recommend it highly enough. Superbly depicted with magnificent economy… understated but intense… beautifully realised. This author’s novellas are masterclasses in storytelling, worldbuilding and imagination packed into small spaces. Hugely recommended. I always love a good re-imagining of my favourite fairy tale, and this one is exceptional—dark, ethereal, and enchanting. intriguing… recommended for fans of de Bodard’s previous works, or for readers who enjoy diverse, lushly described fantasy. the bar was high, and In the Vanishers’ Palace easily cleared it… An atmospheric gem of a retelling. Do yourself a favor and pick up a copy. I am feeling particularly blessed by Aliette de Bodard this year… she graces us with this stunning f/f retelling of Beauty and the Beast in which the Beast is a dragon, with an all-Vietnamese, almost all-female (and non-binary) cast, and I. am. in. love. .. I need a physical copy of this book, and so do you. Cécile O., Netgalley As a reframing of a classic fairy tale, In the Vanisher’s Palaceis subversive and bold; as a romance, it is tentative, touching, and sweet. Joel Cunningham, Barnes and Noble Every bit as glorious it sounds: a post-apocalyptic f/f Beauty and the Beast. A battle between fear, desire, duty and respect. Also, DRAGONS. Haunting and beautiful. A dark gender-fluid recasting of Beauty and the Beast with multidimensional dragons that just falls over into novella length and should be on awards ballots Jonathan Strahan, The Best Science Fiction and Fantasy of the YearBuy now Add the book on goodreads Need more (spoiler-free) info? Here are the AO3 tags for the book: bi character, lesbian character, non-binary characters, no bury your gays, gruesome death not of main character, righteous paladin scholar of justice, dutybound stern dragon who cares, dragon romance, weird medical shit, monstrous absent masters, escherscape palace, ruins of the world, non Euclidean geometry palace, dragon family, all POC cast, token male character, curious scientist kids, linguistic geekery, magic in writing, entirely too much food, flirting using fruit, all women are badass, badass healers, embarrassing scene in loved one’s bedroom, tea and kisses, flirting with the river, healing oneself, all Asian cast, all Vietnamese cast, disastrously impulsive kid, disastrously inquisitive kid, tinkering with deadly stuff, lesbian slash bisexual romance, terrible secrets, kindness is a character’s undoing, all the queerness, palace where every door hides death, combo plagues And here are a couple Pinterest boards for the novel, one from me and one from Lucille from A Dragon in Space Follow Aliette de Bodard’s board In the Vanishers’ Palace on Pinterest. Follow Lucille’s board In the Vanishers’ Palace on Pinterest.

About the Team As one of DoorDash's core operations teams, Customer Experience and Support Ops, ensures that when there are bumps in the last mile, there's always someone there to help make things right. Our team designs and manages DoorDash's large and growing global network of support centers to create the best customer experiences, with the ultimate goal of delivering an outstanding customer experience as reliably as possible. About the Role We are looking for a Merchant Experience Partner to partner with our high value merchants for a respective book of business to help solve their most pressing issues and provide the opportunity to improve their overall merchant experience as we continue to increase our last-mile logistics platform. As a Merchant Experience Partner, you will play a crucial role within the Merchant Support team by providing our merchants with a direct contact for all of their support needs and focusing your efforts on ensuring overall Merchant success on the DoorDash platform. You will build long-lasting relationships with our Merchants through excellent customer service and strategic problem solving. Not only will you partner with our Merchants, but you will work with Account Owners and own a book of business as their support contact. You will have demonstrated experience delivering effective execution and communication, and be excited to solve one of our most challenging problems. You will be a part of a new program to shape support as a differentiator in the marketplace through high-quality, white-glove service. You're excited about this opportunity because you will… - Collaborate and troubleshoot on important issues for Merchants for a respective book of business, including but not limited to payment issues, portal issues, menu updates, and other advanced support issues - Build relationships with Merchant partners by being main contact and expert for our high revenue Merchants for their support operations - Promote retention and overall Merchant success through service and proactive outreach via phone, email or zoom call - Prioritize and escalate issues in partnership with our teams - Develop an expertise in how DoorDash's systems and resources work, and how to use them to promote positive outcomes for our Merchants - Validate and track Merchant feedback to inform updates to our products and tools We're excited about you because… - 3 or more years of experience with account management, customer support, hospitality or in related field - You are Bilingual in French and English (mandatory) - High School Degree or GED required. Bachelor’s degree preferred. - Knowledge of Salesforce (or other CRM software), and the ability to view and interpret dashboards. - Basic proficiency with Microsoft Suite and G Suite - Basic knowledge of excel tools and formatting functionality. - Experience with SQL is a plus - Experience providing advisory and partnership-level support through both proactive and reactive interactions with customers - Experience advocating for customer experience within a team or initiative - You excel at building relationships - You excel at determining prioritization - You're creative - You love thinking about new opportunities for process improvement Why You'll Love Working at DoorDash... - We are leaders - Leadership is not limited to our management team. It's something everyone at DoorDash embraces and embodies. - We are doers - We believe the only way to predict the future is to build it. Creating solutions to lead our company and our industry is what we do -- on every project, every day. - We are learning - We're not afraid to dig in and uncover the truth, even if it's scary or inconvenient. Everyone here is continually learning on the job, no matter if we've been in a role for one year or one minute. - We are customer obsessed - Our mission is to grow and empower local economies. We are committed to our customers, merchants, and dashers and believe in connecting people with possibility. - We are all DoorDash - The magic of DoorDash is our people, together making our inspiring goals attainable and driving us to greater heights. - We offer great compensation packages and comprehensive health benefits. At DoorDash, our mission to empower local economies shapes how our team members move quickly and always learn and reiterate to support merchants, Dashers and the communities we serve. We are a technology and logistics company that started with door-to-door delivery, and we are looking for team members who can help us go from a company that is known for delivering food to a company that people turn to for any and all goods. Read more on the DoorDash website, the DoorDash blog, theDoorDash Engineering blog, and the DoorDash Careers page. DoorDash is growing rapidly and changing constantly, which gives our team members the opportunity to share their unique perspectives, solve new challenges, and own their careers. Our leaders seek the truth and welcome big, hairy, audacious questions. We are grounded in our company values, and we make intentional decisions that are both logical and display empathy for our range of users—from Dashers to Merchants to Customers. Pursuant to the San Francisco Fair Chance Ordinance, Los Angeles Fair Chance Initiative for Hiring Ordinance, and any other state or local hiring regulations, we will consider for employment any qualified applicant, including those with arrest and conviction records, in a manner consistent with the applicable regulation. We're committed to supporting employees' happiness, healthiness, and overall well-being by providing comprehensive benefits and perks including premium healthcare, wellness expense reimbursement, paid parental leave and more. Our Commitment to Diversity and Inclusion We're committed to growing and empowering a more inclusive community within our company, industry, and cities. That's why we hire and cultivate diverse teams of people from all backgrounds, experiences, and perspectives. We believe that true innovation happens when everyone has room at the table and the tools, resources, and opportunity to excel. Statement of Non-Discrimination: In keeping with our beliefs and goals, no employee or applicant will face discrimination or harassment based on: race, color, ancestry, national origin, religion, age, gender, marital/domestic partner status, sexual orientation, gender identity or expression, disability status, or veteran status. Above and beyond discrimination and harassment based on "protected categories," we also strive to prevent other subtler forms of inappropriate behavior (i.e., stereotyping) from ever gaining a foothold in our office. Whether blatant or hidden, barriers to success have no place at DoorDash. We value a diverse workforce – people who identify as women, non-binary or gender non-conforming, LGBTQIA+, American Indian or Native Alaskan, Black or African American, Hispanic or Latinx, Native Hawaiian or Other Pacific Islander, differently-abled, caretakers and parents, and veterans are strongly encouraged to apply. Thank you to the Level Playing Field Institute for this statement of non-discrimination. If you need any accommodations, please inform your recruiting contact upon initial connection.

There are lots of reasons why women and non-binary people decide to shave their heads. Some like the idea of not having to spend hundreds of dollars on hair care products and hours combing through tangled curls every day. Some shave their head as a way to express themselves, try out a new style, and experiment with gender identity and social norms. For others, it’s a way to honor victims of cancer. During quarantine, shaving your head seems to be more popular than ever, with many people turning to TikTok to document their DIY cuts, though the trend is certainly not new. I spoke with six young Jews who’ve shaved their heads about why they chose to buck social conventions, and how the experience has shaped their identity. Imagine this: You’re on a cruise ship, sailing across the equator, as tons of college students shave their head in an ancient nautical tradition. That’s exactly what roommates Gill Fertig, 19, from New York, and Lucie Jadow, 21, from Connecticut, experienced while studying abroad on Semester at Sea from January to March 2020 (the voyage ended early due to COVID). Each semester, as the Semester at Sea ship crosses the equator, all students onboard celebrate by kissing a fish, jumping into a pool of fake fish guts, and kissing King Neptune’s ring. After bowing down to King Neptune, some voyagers partake in optional head-shaving to commemorate the day — a tradition that Semester at Sea has held decades. On the Spring 2020 voyage, at least 20 students, faculty, and family members shaved their heads. Both Gill and Lucie spent months debating whether to go bald at the upcoming head-shaving ceremony. Gill asked everyone she knew for advice and made a pro/con list to help her decide. Lucie spent hours journaling to decide whether the choice was right for her. In the emails that Gill sent to her parents and friends back home, she faced stern disapproval from worried parents and her boyfriend. Ultimately, she feels she did it out of spite, to show that it was her own decision to make. As someone who normally relies on other people’s opinions, Gill says shaving her head “felt super freeing … I was able to show myself that I am capable of making a big decision in my life.” She admits she was worried that she wouldn’t look as good as some of the other girls with shaved heads, but soon realized that “I won’t [look like her], because I am not her, but I looked like me, and that’s okay.” As a self-described girly girl, Gill discovered that even though short hair is typically considered more masculine, she could still be her girly, feminine self with short hair. Lucie, coming off of a time in her life when she made decisions more impulsively, said she wanted to carefully consider this decision and make sure shaving her head was what she truly wanted. However, the moment she looked in the mirror and saw her buzzed hair for the first time, she realized “it was a step in the right direction of aligning with my true self,” and that for the first time in her life, “my outsides matched my insides.” Lucie emphasized that she didn’t shave her head because it was trendy or simply for looks, but for a more symbolic reason, writing on Instagram, “it’s a stripping away of all things superficial that we may use to hide behind or mask what lies beneath/within … it’s not exactly an unwanted exposing of the self but an awakening, an acceptance of the real, raw self that’s always been there.” But you don’t have to participate in maritime tradition to shave your head. In fact, you don’t need any reason at all. When Bekah Pinkham, from California, was serving in Americorps at age 19, she impulsively shaved her head in someone’s bedroom. She said it was a way to stay cool in the Puerto Rico heat, and a fresh start since her hair was damaged from being dyed many times. For Hadar Pepperstone, 20, from New York, and Matty Powell, 20, from Wisconsin, shaving their heads was a way to raise money for pediatric cancer and honor children who had passed away. They both shaved their heads at separate events for St. Baldrick’s, an organization that raises money for pediatric cancer research. Knowing that lots of other people in their school or synagogue were also shaving their heads was comforting, and knowing that they were supporting a worthy cause helped them cope with any social pressures they may have faced. Overall, though, they said they felt very little, if any, judgement from others. Although most of the people I interviewed did not face much judgement from others due to their haircut, they shared that many people made assumptions about them because they had short hair. Hadar said some people referred to her as “sir” when she had a shaved head, and she realized that label didn’t fit with her own sense of her identity. Shaving her head was a way to discover which identities felt comfortable, and which didn’t feel comfortable. For some women like Gill, having short hair is a way to embrace other aspects of femininity than just hair, and for others, like Lucie, it’s a way to express oneself in a less feminine way. The resounding message is that hair doesn’t define who you are. Tauby Mintz, 22, from New Mexico, who teaches religious school at a Conservative synagogue, explained that it was “emotionally freeing” to shave her head. “Having shaved hair feels like more of a match with my identity, how I express myself and with the clothes that I wear, right now at least,” she explained. Although she loves her shaved head, she misses being able to braid and play with her hair. She explains hair’s connection to gender identity, stating that “identity is ever-changing and really fluid, but I have more peace with that now.” Tauby emphasizes that hair is a way to affirm and express identity, but it isn’t binding. Just because someone has a certain hairstyle doesn’t mean they are a certain type of person. Rather, she explains, it’s more of a broad way that people can express themselves without “having to ascribe to a certain box” and allows for change and fluidity in gender expression. Everyone I talked to said they felt a sense of connection and a shared experience with others who have shaved their heads. Bekah described seeing a woman at the supermarket with a shaved head and feeling an instant bond because of their matching look. For those interested in shaving their heads but feeling nervous about the big move, there are a few things you can do to make yourself feel more prepared. Hadar recommends researching ways to style short hair beforehand so that you’re prepared for every stage of growth. Plus, she likes to remind people that you can always accessorize with a wig or hat. Gill, who faced a lot of pressure when deciding to shave her head, says that being confident in why you want to shave your head is important. Matty says, “I promise your head isn’t a weird shape… that’s what everyone threatened me with. People try to scare you into keeping your hair on your head, but at the end of the day it’s not their decision, it’s yours.” When asked if they would recommend other people shave their head, there was a resounding “DO IT!” Lucie cautioned, however, that the experience might not be for everyone. She points out that shaving your head is “just one way to achieve that kind of empowerment,” but not the only one; it’s about finding what will create the best sense of empowerment for yourself. If you’ve read through this article without considering chopping off your hair, congratulations. But if you have even a whisper going through your mind that is making you consider grabbing the clippers one day, Tauby warns that whisper probably isn’t going away anytime soon. “If you’re thinking about shaving your head, that is not going to go away until you shave your head.” Header image design by Emily Burack. Photo of woman by David Sacks/Getty Images, background via Jose A. Bernat Bacete/Getty Images.

- January 2023 2022 brought the LGBTQ community some emphatic highs and lows. The lows included Brittney Griner's arrest in Russia, Florida's Don't Say Gay law, a blizzard of anti-trans legislation across the nation, violence and threatened violence against drag events and Prides, and the murders at Club Q in Colorado. The highs included the Biden administration securing Griner's release, the electoral rainbow wave, and the passing of the Respect for Marriage Act. As to George Santos, the recent discovery that the apparently gay congressman-elect is a serial fabulist belongs in the category of the year's lows. Or the year's low comedy. Take your pick. - November 2022 Image by M. Maggs from Pixabay Tell me if I'm being too touchy. Yesterday was an emotional day. It was Transgender Day of Remembrance, and it was the day we all found out about the killings the night before at Club Q in Colorado Springs. So my emotional equilibrium was in doubt by the time my sister and I went to hear humorist David Sedaris give a reading in downtown Seattle. Not helping that equilibrium in the least was the fact that, both at dinner and later at the show, I spotted a woman I've long had a crush on clearly on a date that appeared to be going just splendidly. Anyway, I remarked to my sister as we ate that I expected the very openly gay Sedaris to acknowlege the painful events of the day. But he didn't. Not a word. And that irritated me. Were my nerve endings just too raw? Did I expect too much from a celebrity with a huge straight following? Was it unreasonable to hope for a balm for sadness in an atmosphere of amusement? I really don't know. But I'm still irritated. Do you think I'm being too sensitive? No need to add any asides about my having been trapped in a restaurant and a theater with my crush and her date. I already know I'm too sensitive about that. Fortunately, I'm able to see the humor in the situation. I'm planning a screenplay. Image by Andreas Lischka from Pixabay This morning I was prepared to post about its being Transgender Day of Remembrance, when we hold up and mourn all the trans folks lost to violence in the past year. Then I read about last night's shootings at an LGBTQ club in Colorado Springs. An armed 22-year-old murdered at least five people and injured 18 others. Two competing stories about the loss of innocent queer lives. If Nov. 20 were a person, it would be in the fetal position. - October 2022 Image by Clker-Free-Vector-Images from Pixabay Earlier this month, a 19-year-old killed two people outside an LGBTQ bar in Bratislava, Slovakia's capital city. In a screed against queers, Jews and others, the alleged gunman noted that he was inspired by the Buffalo supermarket shooter. Swell. Of all the things America has given the world, this European found inspiration in a white supremacist's murderous rampage on Blacks. Couldn't he have become enthusiastic over a different American export? Like basketball? Or video games? Or Cheese Whiz? - June 2022 Europe saw the very worst and the very best of the Pride experience yesterday. In Norway, a gunman killed two people and wounded 21 at a gay bar in the capital city of Oslo. The alleged shooter was a 42-year-old Norwegian citizen of Iranian origin. He's believed to be a radicalized Islamist with a history of mental illness, and had been on authorities' radar since 2015. Apparently he fell plum off. On the advice of police, the Pride parade was cancelled. But several thousand people marched spontaneously, waving rainbow flags and chanting in English, "We're here, we're queer, we won't disappear." Kudos to them for their defiance. As to chanting in English, perhaps the sentiment isn't as catchy in Norwegian. The prime minister and members of the royal family laid roses near the bar. Crown Prince Haakon told reporters, "We must protect the right in Norway to love whomever we want." I'm an anti-royalist, but I feel a sudden urge to curtsy. Over in the Polish capital city of Warsaw, thousands marched in the Equality Parade, reportedly the largest queer event in central Europe. Joining the Polish paraders were hundreds of Ukrainians, representing LGBTQ organizations from around that besieged nation. The joint Pride was a marvelous show of queer solidarity across borders—and a reminder of what will happen to the Ukrainian LGBTQ community if the Kremlin wins this war. Pride was born of struggle years ago in New York City. In Europe in 2022, there's still plenty of struggle to be had. If you attended a Pride this month and your greatest difficulty was choosing an outfit, please keep a thought for our compatriots, abroad and here in the States. We all hope for the day when, in every part of the world, a Pride struggle means nothing more taxing than trying to avoid your ex. Today is the sixth anniversary of the Pulse nightclub massacre. Yesterday authorities found 31 Patriot Front members crowded into a U-Haul near a Pride event in Idaho. Some LGBTQ folks will understandably argue that we should start packing heat. But I still believe it's only lesbians who should be packing, and that has nothing to do with guns. - April 2022 Image by Aibor omokhodion from Pixabay PinkNews reports that two men have been given life sentences for raping a lesbian teenager in South Africa. One of the men, while raping her, asked her to be his girlfriend. The only response I can think of is, "Naturally. And if you beat my head in with a hammer, I'll want to have your children." - March 2022 Image by Mary Bettini Blank from Pixabay You've heard how Russian invaders have been targeting the Ukrainian city of Kharkiv. According to reports, that didn't go well for one group of Russian soldiers. It's unclear whether these soldiers were AWOL or avoiding Ukrainian resistance or what, but they tried to hide in the basement of a building. It turned out their hiding place was the office of the local LGBTQ organization, some of whose members discovered, beat and captured the Russians. I'd like to think that instead of beating them I'd have forced them to pay a month's rent and wear glitter, but who can say? The source of this story is Viktor Pilipanko, a Ukrainian LGBTQ rights activist and veteran who just rejoined the army. "This is our war, the Ukrainians, but we have also been fighting as LGBTQ people, and I'm sure that the comrades in Kharkiv understood that," said Pilipanko. "We are confronting a tyrannical, homophobic enemy." That's certainly true. While life for queers in Ukraine is no picnic, it's better than Russia, where a certain shirtless leader's toxic masculinity and political desires have led to queer repression. The U.S. revealed that Russia's "kill list" of Ukrainians includes a number of LGBTQ people. LGBTQ Ukrainians are fighting for their country and their lives. They couldn't be more inspired if Cher promised to sing to them in the trenches. - December 2021 Image by Gerd Altmann from Pixabay It's the last day of 2021. This lousy year began with then-President Donald Trump dispatching his yahoos to the Capitol; I'll never get over the figurative and literal assault on democracy that followed. The pandemic plagued the country and the world the entire blessed year. Inflation hit. The climate changed. The U.S. withdrew chaotically from Afghanistan. Billionaires blasted themselves into space, and alas, came back. In LGBTQ news, 2021 saw more transgender people murdered in this country than ever before. I wouldn't blame Baby New Year if he chose to crawl back into the womb. But the year wasn't a total washout. Looking through the queer lens, I was thrilled that male football, hockey, soccer and baseball players came out, and pleased that "Dancing WIth the Stars" included a female couple and its British equivalent had a male duo. Trans and non-binary folks competed at the Olympics. A male country star came out, and as far as I know, Dolly Parton didn't even have to push him to do it. In terms of a person of the year for our community, there are many options, but I'm going with rapper and singer Lil Nas X. His music video showing him sliding to hell on a pole and giving Satan a lapdance set the tone early in 2021. All year he was not just ubiquitous, but an unapologetic gay Black man. And those Uber Eats ads he made with Elton John felt like gay history encapsulated. It's been quite a journey from the Yellow Brick Road to Old Town Road. So what will 2022 bring? I think it's fair to say expectations are low. After the planet grappled with the Delta and Omicron variants in 2021, my hope is 2022 won't force us to learn the entire Greek alphabet. Nobody would benefit from that. Not even Greeks. - November 2021 I just returned from a Transgender Day of Remembrance memorial. Seeing the faces of the many trans people killed over the past year in this country, and hearing how they died . . . it's deeply emotional stuff. As a result of being ignorant that TDoR is a well-established abbreviation for Transgender Day of Remembrance, I did have one amusing moment this evening. A trans woman was telling me how she used to organize her school's TDoR (pronounced "Tee Door") remembrance, and I misheard her and spent the next few minutes trying to figure out why a community college in Washington state would memorialize bullfighters. - June 2021 Page 1 of 1, totaling 11 entries

SASKATOON — A Saskatchewan mother hopes a court decision ordering the province to allow gender markers to be removed from birth certificates when requested — even for children — will help to further change people's attitudes. Fran Forsberg of Saskatoon filed a human rights complaint four years ago on behalf of her now 10-year-old daughter Renn to have the gender box on her birth certificate that was marked with an 'M' changed to an 'F.' She further asked that the box be removed all together. Earlier this week, the provincial government agreed to the change and a judge in Regina ordered the move, opening the door for changes to all government identification in Saskatchewan and setting a legal precedent in Canada. "I'm just so glad it's over and I am so happy for other children, as well as other non-binary people," Forsberg said Friday. "Hopefully this will start the ball rolling for people educating and opening their minds and hearts for the rest of the world. "There's no reason to have gender on government ID or birth certificates. No reason at all." A second youth, 17-year-old Jordyn Dyck of Regina, joined the complaint last year. Jordyn's father, Dustin Dyck, said they were overjoyed by the decision. He said Jordyn has been bullied for being non-binary and hopes being able to show proof with new ID will stop most of it. Saskatchewan is not the first to make the change. Earlier this month, Ontario started allowing residents to opt out of displaying a gender designation on their birth certificates. But the Saskatchewan Human Rights Commission says Saskatchewan is the first to be ordered by a court to allow the removal of gender boxes on the documents. The commission took the two complaints to court and, although there was supposed to be a hearing, the government agreed beforehand that its Vital Statistics Act violates its Human Rights Code. Justice Lana Krogan then ordered that Renn and Jordyn receive new birth certificates in the coming days and that the province amend its legislation within 45 days. Lawyer Larry Kowalchuk, who represented the two youths, said the decision forces the government to fix the problem for others. "It will allow everyone in Saskatchewan who has a case or who is about to have a case to have their marker changed, regardless of age, from 'F' to 'M' or 'M' to 'F' or to have no marker at all," he said. He added that the judge's ruling will likely apply to other forms of identification in Saskatchewan — driver's licences and health cards — and can act as precedent in other provinces. The Saskatchewan Ministry of Justice did not respond for a request to comment on the decision. But David Arnot, chief commissioner of the Saskatchewan Human Rights Commission, said the province has indicated it will comply. He said the ruling will take care of eight other complaints currently before the commission. Alberta, the Northwest Territories and Newfoundland allow for non-binary markers, such as an 'X', on their birth certificates. But Arnot said an 'X' can still mark some people for discrimination. "Certainly we know that trans and fluid people face discrimination with housing and employment and in some cases travel. So this is seen as an important step forward." The federal government introduced gender-neutral passports last August, allowing people to mark gender boxes with an 'X.' Ottawa also now offers a gender-neutral option on applications for social insurance numbers.

My informal definition of procedural generation is a term for a program with a system of play or use with constraints where each time you run the program it results in significantly altered gameplay, mechanics, and/or visual output. The goal is to produce surprising outcomes that were not 'hand-coded' by the designer. Not surprisingly, this field is full of programmer-artists or programmer-gamers as part of the joy of these systems is that even the designer can be surprised by and challenged by their own programs; in fact, they are usually the best judge or player for their own systems built on their own goals and constraints. In mainstream games the most commonly cited examples of procedural generation to produce surprising outcomes, mechanics, and environments tend to be: roguelites, generally a 2d realtime platformer; or top-down realtime strategy game with randomly-generated levels, mechanics and challenges (example: Faster Than Light); 2d partially-generated platformers like Spelunky; or generated seemingly-infinite worlds like the 3d space exploration game No Man's Sky. Other procedurally-generated games include a crop of card games of many types such as Slay the Spire. These games are probably fine, but I'm less inclined to be interested in game mechanics especially as they relate to fighting or space exploration. The following are some games that signficantly feature procedural generation that I've recently tried. I learned about this relatively recent game from the Eggplant podcast (previously: Spelunky Showlike). It's a deckbuilding narrative-driven speculative / magical realist game. You are the owner of a shop in a fringe desert community, the child of a matriarch that built up the shop and was part of a caravan of traders that wandered between towns and cities to find items to sell in her shop back home. Your mother has passed and you're now in charge. You take up your mother's position, joining the caravan's regular travels on the desert roads. The mechanics of this game are truly singular. The game is vividly beautiful, with digitally-rendered tableaux, almost like generated cutscenes. The main mechanic of the game is that you select a person to talk with, you play a card matching game, and while the game is played you engage in a conversation. Depending on how well you and the person you converse with match, your conversation goes smoothly or can devolve. You may be rewarded in your successful matching/conversation, or not. And the conversations drive the strong story arc. Signs is a deckbuilder. As you complete a round of conversation/matching you select a previous card to destroy and choose a new one to add to your hand. The matching works somewhat like dominos, with some additional special effects cards. The mechanic and strong narrative are compelling but the pace at times felt lethargic. I found the matching games challenging and tiring, but you are able to save your progress automatically, and come back later. So I played the game over approximately 4 sessions of 45 minutes to an hour. Even when I was consistently 'losing' the matching/conversations I found the narrative engaging enough that I did want to see what would happen at the end of the game. Would the caravan move on from my town? Would I build up my little shop? Would I find out more about my mom's journeys? There was enough there, and the procedural-generation was significant enough that I think I may try playing again sometime to see some other outcomes and try some other strategies. One other thing worth mentioning: this was one of the few games to prominently feature women, non-binary and POC characters that I've played, and this played well in the story as well. My big takeaway was how I loved the compelling story arc that changes based on gameplay actions, and I started wondering how this can be featured in other games and stories that make use of procedural generation. I highly recommend listening to the Eggplant podcast interview with the creator Dyala Kattan-Wright. Moon Hunters is a 5-year-old game by Kitfox games led by Tanya X. Short, editor of the procedural generation tome Procedural Storytelling in Game Design and Procedural Generation in Game Design, with Tarn Adams of Dwarf Fortress. In other words, she literally wrote the book(s) on procedural generation! Like Signs I thought this game was pretty unique. Kitfox describes it as a '1 to 4 player co-operative RPG personality test RPG in a rich, ancient world that's different every time you play.' This is a top down action roguelite. You pick one of four characters to play and it generates a mythology. The main goal is to travel and explore the world, in search of a missing Moon goddess. You can play solo, but I played the game perhaps 3 or 4 times of an hour or two each with a friend over the Internet in the co-op mode. I was pleasantly surprised by how well this worked. The main use of procedural generation in this game was to generate the levels. This generation created rough-hewn outdoor worlds of enemies and loot, and often included coming across a special character who advanced the loose story. How you respond to that NPC (with kindness, with anger, etc) alters your character in some way, and advances the story. You also had a choice of options at the end of these levels, like crafting using food items or resting to regain health. The pace of this game was much faster than Signs. It's not turn-based. In other words, enemies would attack and you needed to keep fighting, look for power-ups / health items or else. I died a lot, but the mechanic of bringing your fellow player back to life (like in Contra!) was really helpful. Like Signs I finished one complete story-arc game at the end of 3 or 4 sessions. In a certain way I enjoyed the procedural generation but didn't always think it was significant enough. As I mentioned at the beginning of this post I'm not always the most excited about 'killing enemies' type games, and even though this game featured some story, procedurally-generated levels and strong female characters, it wasn't always enough to make the game feel significantly more interesting to me than other roguelites. For example, I have no interest in playing popular roguelite game The Binding of Isaac, so perhaps this says more about my tastes than anything else. But I was glad I played it. I don't think I'll necessarily play it again though, which for me is a sign that the procedural generation was interesting but ultimately the mechanics and genre wore me out. Caves of Qud is an 'early-access' prominent Roguelike game begun originally in 2014, and though it uses tiles, it still feels the least accessible to new players of any of the games here. There are several dozen key commands, and I've played it for perhaps 6 or 8 hours in many smaller sessions, but I don't feel like I'm much of an expert at this game. There's many layers of strategy and knowledge that I have still to learn. Unlike the previous two games, I'm still playing this one. But also unlike the previous this one really requires quite a bit of research. You have to read and watch some tutorials to even really get started. So you have to be committed. It's not a game for casual players in that sense. It's compared favorably along with Dwarf Fortress, which itself has long been described as 'the most complex video game ever made.' So comparatively Caves of Qud is also incredibly complex, though not as infinitely complex, and maybe half as difficult to learn! :) Getting Started with Dwarf Fortress The story in Caves of Qud feels a bit looser than Signs, though that may be because I didn't advance far enough and because you can wander the world rather than complete the quests. Essentially, you are in a magical realist far future 'after the fall' type game where broken technology litters the landscape and dangerous mutant animal creatures roam. There is some handcrafted content like pre-made dungeons, villages and quests. And that's mixed with procedurally generated graveyards, NPC's, items (like books), personalities, weapons. This game is the most like a traditional oldskool roguelike game. As a roguelike fan, perhaps that's why of the three I find this the one I'm most able to return to even though it's also the less groundbreaking. The overworld is the main part of this game. You wander the map, occasionally running into snapjaws or other mutant creatures, looking for dungeons, where you descend on quests. I've never made it that far. You can try to do the quests or just wander around and enjoy the open world. In addition to the game there is a CoQ discord server that is highly active. So much so that immediately after signing up I left, never to return. This is a game I'll continue to play as each time I do play I find more to explore and enjoy and I'm getting a bit better with each play. I love crafting my body using the myriad mutation options, and seeing how I can do a bit better. The devs are highly active, posting about new features on Fridays. Most recently they added more of an 'adventure mode' that is focused on exploring the world instead of pursuing quests. I haven't tried downloading this new version yet, it's a slight hassle for more to update, but I'm looking forward to trying it soon. One other note: I found adding Caelyn Sandel's The Qud Survival Guide to be the (simple) add-on that really helped me get into the game. It's minimal but provides a nice scaffold into beginning the game. Highly recommended for your first time or two playing.

By Bridget Manley, publisher Ellie Tjaden, Lee Jenkins and Finn Maddox, students at Harrisonburg High School and members of the Gay-Straight Alliance, have weathered COVID shutdowns, masking and remote learning as part of their high school experience. But they have also experienced another strange phenomenon. As they navigate questions and feelings about their own identities, they have watched as conversations about the LBGTQ community have escalated, finding their ways into school board meetings in Harrisonburg and across the country. “I genuinely feel violated, having a grown adult person go to a meeting, and talk about my body and my identity as if it’s a political issue,” Finn Maddox told The Citizen. “It makes me feel so scrutinized, and so uncomfortable in myself.” Maddox uses they/them pronouns, as does Jenkins. Tjaden prefers she/her. Some parents and conservative political leaders have raised concerns about “parental rights” by saying that schools have implemented policies allowing students to choose gender identities, pronouns and preferred names without out consulting the parents. At some meetings, those positions have drowned out discussion of the rights of non-binary and trans students. The Virginia General Assembly amended the Virginia Human Rights Act in July 2020 to include gender and sexual orientation, thus protecting LBGTQ people from discrimination, including in educational institutions. The Virginia Department of Education under former Gov. Ralph Northam issued guidance to Virginia schools to allow students to use restrooms and go by pronouns and names that match their gender by which they identified. This fall, Gov. Glenn Youngkin overhauled many of those guidelines, but the changes are still in limbo as the state’s Education Department works through more than 71,000 public comments regarding the new policies and possible contradictions to state law. Locally, the Harrisonburg School Board has faced some upset parents and others who don’t have children in the school system, who have raised concerns about gender affirming books, bathroom policies and use of pronouns. For the members of the Gay-Straight Alliance, the attention has stirred anxiety and worry about the safety and mental health of non-binary and trans students. “The aspect of having your identity being actively debated over is debilitating,” Maddox said. Lee Jenkins, meanwhile, has questioned why their identity is being turned into a political agenda. “It’s a non-political topic that people are making political,” Jenkins said. A safe space becomes a club for advocacy The Gay-Straight Alliance, which has been around since the opening of Harrisonburg High School in 2005, has 20 active members as well as a dozen more semi-active supporters. The club provides a space for students who are exploring LBGTQ+ issues and their own sexual and gender identities, as well as for seeking acceptance and like-minded friends. The group’s meetings used to be smaller and more mundane, Tjaden said. “We would complain about our love lives, and then go home,” Tjaden said with a laugh. But following COVID, more students joined the club. Maddox said they came out as non-binary at the end of their freshman year of high school, right before COVID shut down schools. “That year was a very big time for me to process my identity, because I’d been feeling off, or different, since I was a kid, and I didn’t have a word for it,” Maddox said. “So when I found out what non-binary and trans meant, I felt safe. I felt at home in that identity.” When Maddox came back to school their junior year, they attended a Gay-Straight Alliance holiday party. “It’s given me a space to connect with other people in the community and help stand up against people making us feel unsafe, and I think that’s important for any community to have,” Maddox said. Meanwhile, controversy was brewing in school board meetings across the country and in the Valley, and the group started to advocate for themselves and their identities, including pushing back against book-banning in their school. Then the Harrisonburg school board was sued by several teachers and parents, who said that their rights as parents and teachers were being violated by the board’s gender policy. And the day the lawsuit went to court in November, the group decided to stage a walkout. They thought about 30 students might walk out. It turned out that hundreds did. “We had people that we thought would never come out,” said Tjaden, who organized the event. School athletes — including the high school football team — walked out and held signs and shouted their support. “I was not expecting some of the football guys to get on top of the cafeteria tables and scream ‘trans rights’ with a sign over their heads, which honestly made me really happy,” Jenkins said. During speeches, people in the crowd would cheer and shout their support, and Gay-Straight Alliance members said they felt the “loud love.” “A lot of the trans and non-binary people who are a part of GSA were just bawling their eyes out because they felt so empowered and felt supported by our school community,” Jenkins said. “Why is my identity a political debate?” The night of the student walkout, a meeting of the Harrisonburg School Board turned contentious as community members filled the public comment period both against and in support of transgender students. The following day, as students arrived for classes at Harrisonburg High School, they were greeted by a man on school property holding signs that read, “DNA defines gender.” Lt. Chris Monahan of the Harrisonburg Police Department told The Citizen that the high school’s School Resource Officer issued the man a trespassing order and escorted him off campus. The man came back later in the day, but stood down the street, off school property. “It was just awkward to know that there was somebody actively standing outside our school, like a 30-40 year-old guy holding a sign outside of our school, telling us that our identity was against something,” Maddox said. After all, Maddox said, safety and compassion were main reasons behind the walkout. “We were advocating for our safety in the walkout,” they said. “What we were doing was saying is that [this behavior] is presenting an issue to the safety of trans kids.” All three Gay-Straight Alliance members said that while they feel they have a very supportive school community, they have also experienced harassment and misgendering by some on campus. They have been called slurs and been shoved by other students in the hallways. According to the students, one teacher at school intentionally uses students’ dead names — names given at birth that the students no longer use — even though they have been using their chosen name for years. “My birth name was very hard to find in the system, and he found it,” Maddox said. “He proceeded to call me by my birth name in class, singled me out, called me “she” and my birth name, and I was sitting in the corner of the room sobbing.” Multiple studies have shown that using a person’s chosen name and pronouns lowers depressive symptoms, suicidal ideation, and suicidal thoughts in transgender youth. And the three students pointed out that teachers have used nicknames for other students when asked to do so. Jenkins, Maddox and Tjaden want people to know that they are not “promoting kidnapping,” as one commenter said at a recent school board meeting. But they are promoting safety of the trans community and the “basic human right” to live in a way that is authentic to them. “Identity is a basic human right,” Tjaden said. All three Gay-Straight Alliance members said they want to continue the dialogue with community members to dispel misconceptions about their identities and have “one-on-one conversations” about why angry words can lead to violence against their communities. “They have the right to protest, they have the right to speak their mind just as we do,” Maddox said. “But the difference is that their actions are hurting us, and ours aren’t.” Journalism is changing, and that’s why The Citizen is here. We’re independent. We’re local. We pay our contributors, and the money you give goes directly to the reporting. No overhead. No printing costs. Just facts, stories and context. We’re also a proud member of the Virginia Press Association. Thanks for your support.

What it's like to be queer in Tokyo in 2020 We asked the queer community in Tokyo about their struggles, hopes and dreams. As part of Pride Month, i-D Japan interviewed 9 queer people living in Tokyo and asked them about the challenges they face in today’s society. Amity Miyabi, 18 What was it like growing up in Tokyo? I actually didn’t grow up in Tokyo at all, I lived in America for the first 18 years of my life. But after moving to Tokyo last year, I’ve felt so much freedom and confidence in my identity in away that I hadn’t before. I came here with the impression that Tokyo is a mix of all kinds of people from all kinds of backgrounds, and it has been exactly that. For the most part, I feel like I can be myself here, even when there are people who may not be fully accepting or understanding of my identity. What does equality mean to you? Equality in the present context seems like something easily definable as minorities and marginalised individuals having the same rights and freedoms as the majority, but to me, it is most important for the focus to be on how that point of “being equal” is achieved when the starting point is already drastically unequal. Even within the LGBT community, there are groups that experience more or different hardships than others, particularly transgender people. If you could pass on a message to the next generation, what would it be Don’t shrink yourself for others. I spent so much of my youth suppressing myself and beating myself up over my identity, and looking back, things like this only result in regret. I want the next generation to be full of people who are able to live their lives confidently as their true selves, and have no regrets about it. For now, it is up to us to create that supportive environment for them. Dalen Wang, 27 What do you do? I’m an exchange student majoring in fashion. Does your gender affect your fashion style? If it does, how? I’ve actually never thought about it, but I think it partially does. When I lived in China, I didn’t hide the fact that I’m gay, but I used to wear masculine clothes. After I moved to Tokyo, I started wearing feminine clothes and make-up, and realised that it’s what I like. What is your image of an ideal relationship? My image of an ideal relationship is living like a family, supporting and helping each other. I’m not planning on marrying someone though. I see marriage as a relic of the past. Do you use any dating apps? I prefer to meet people in real life. If you want to hide your identity, using an app does the trick. But if you want to show yourself as you are and live according to that, I think it’s possible to spontaneously meet someone that matches your personality and needs. What is your ideal first date? Go to the beach and watch the sunset. Is there anywhere in Tokyo that you would consider your safe space? The beaches. To me, the ocean is some sort of an “outside world”. Whether you are an exchange student, a gay person, or even just a human being, everyone experiences that feeling of wanting to escape from your problems. In these quiet and beautiful places, without the sound of racism or prejudice, is where I feel most at peace. Is there any LGBTQ+ movement or artist you are paying attention to now? I’m following purple millennium, a magazine about the LGBTQ+ movement written by some friends of mine, and a collective called Reing. What do you do? I am a creative diva, working with photography, fashion design, make up, styling, dance and drag performance. I am a Creative Director for REING, a Tokyo-based creative agency looking to challenge Japan’s rigid gender standards and design a new non-binary future through marketing, fashion and art. Does your gender affect your style? If it does, how? I am gender-plural which means I identify as she, he, they, it, queen, henny, boy, whatever label you want to try putting on something that can’t be labeled anyways. If people want to think of me as a lady with hairy legs, or a man in a dress I don’t mind, as long as I’m having fun and looking fabulous. Do you use any dating apps? I met my current boyfriend on Grindr and we’ve been together for two years now. Honestly, I would never recommend any dating app to anyone. I downloaded Grindr amidst a pool of self-loathing and insecurity but got lucky and found a great guy. My experience with dating apps has always been that they make something so complex into something very two dimensional. Do you have a safe space in Tokyo? Could you tell us the reason? New Sazae in Shinjuku 2-chome. It is the only place on earth when I feel spirituality. Dancing in the disco lights I forget I exist and I feel light, eternal, pure bliss. What was it like growing up as a member of the LGBTQ+ community in Tokyo? Tokyo and its community of LGBTQ+ individuals has been the place where I was able to mature as a queer individual but I wouldn’t say I ever formed part of the community. Almost all the major communities that form in most cities end up being restrictive and reject individuals who don’t fit their standard. My community ended up being people who were queer but far removed from any sort of “group”. What do you do? I am a photographer and I study Japanese language and culture at Rikkyo University in Tokyo. What does partnership mean to you? At work or in my love life, I guess an ideal partnership would mean to create something powerful with someone, having the same goals and make these goals come true. I’m a big romantic and it’s also the case when I collaborate when I am taking photos. I need mutual love. Do you use any dating apps? I use Grindr, I guess because it is the most used, wherever you are in this world. But it’s very different in Tokyo to the way people use it in France, where I come from. A dating app is a strong tool to analyse the community you belong to. It helped me understand the Japanese approach and expectations, what people can and can’t say. I also learnt a lot about Japanese sex slang, which was very useful. Do you have any safe spaces in Tokyo? Without any doubt I will say New Sazae, this disco bar in Shinjuku. This place is magic. When you enter, you just feel home. You can be young, old, gay, lesbian, bi, trans, in drag, straight, Japanese, foreign, none of this matters there.Everybody meets, talks and dances together. My first time there about 2 years ago was a revelation. You feel safe there, you can be whoever you want. What was it like being a member of the LGBTQ+ community in Tokyo? When I travel, LGBTQ+ people are the ones making me feel home. Tokyo is no exception. When I arrived, I started to hang out in 2-chome, the gay district in Tokyo. I think that’s where I met most of the craziest and the most adorable people I know. The LGBTQ+ community in Tokyo is a beautiful mix of foreigners and Japanese people, it was easy to feel part of the community here. Compared to Paris, Tokyo is easier regarding to how you present yourself to the outside world. People in Tokyo won’t make you feel bad about the way you look. Everybody minds their own business, they don’t try to interfere. When I’m dressed to go out in Tokyo, I feel totally free as a gay man wearing the clothes or the make up I love. Is there any LGBTQ+ movement or artist you are paying attention to now Right now I am supporting this organization called G.L.I.T.S. You’ve all heard about the recent events with the numerous transsexual people, mostly black trans women, who are still being killed today just because of their gender identity. So for the last few months, G.L.I.T.S have been providing temporary housing to Black trans people in NYC. They raise funds, buy buildings, and welcome the trans people who need help. Sui and Kien Does your gender affect your fashion style? SUI: I always wear whatever I want. Fashion is freedom, in my opinion. What is your image of an ideal relationship? SUI: I’m very communist about love and relationships. The couple’s combined effort to build your future is what makes an ideal relationship. Do you use any dating apps? SUI: When I lived in China, I was using RELA, which is for lesbians only. I met my first girlfriend through an app. It’s a new way of meeting people, born from the new generation. What is your ideal first date? SUI: Anything goes if I can be myself. What was it like as a member of the LGBTQ+ community in Tokyo? SUI: After coming to Japan I was able to face my complex. I think I became more honest. I don’t know if it’s thanks to the environment I am in or the friends I made here, but I think I grew up because of the community I am part of. Does your gender affect your fashion style? If it does, how? KIEN: It doesn’t, I’m a walking lesbian. What does freedom mean to you? KIEN: To me, freedom means not being tied down by society’s standards. If you allow your thoughts to be free, you can do whatever you want. If you could pass on a message to the next generation, what would it be? KIEN: I want them to be happy to be themselves. Isn’t being perfect just boring? What do you do? Just doing what I like and having fun. What is your image of an ideal relationship? One way to achieve happiness. Do you use any dating apps? I’m more interested in meeting people directly. Is there anywhere in Tokyo that you would consider your safe space? There isn’t a specific place in which I feel especially at ease being myself. I always want to be honest with myself. What do you like best about yourself? I’m not ashamed of the body I was born with. I am proud of my female genitalia. What does freedom mean to you? Freedom is being able to decide who you are and express yourself however you want. What does equality mean to you? Living in an environment where there’s always something to learn. **If you could pass on a message to the next generation, what would it be?**Be honest to yourself. Keishi Yanagisawa, 23 Does your gender affect your fashion style? If it does, how? It does! I was able to escape the stereotypical concepts of how a man should look, and now I always try to maintain my skin and body. I feel the need to put my efforts into staying beautiful. Do you use any dating apps? I’m using Bumble. I’m not really searching for love, but since I live in Japan I use them to find English native speakers to teach me the language! What is your favourite film or TV series? Boys Don’t Cry. It’s based on a real story, the protagonist, a transman falls in love with a girl, when the girl’s older brother finds they kill him. When I found out that in reality people aren’t accepted for their gender, I wanted to build a society where diversity is accepted for everyone. Is there anywhere in Tokyo that you would consider your safe space? Probably Harajuku. I absolutely love the kind of places where you can be free about your own fashion style. Is there any LGBTQ+ movement or artist you are paying attention to now?Richie Shazam. Her posing and fashion sense are very distinct and I think she’ll become more and more viral! Her energy inspires me and it’s one of the people I would love to meet in New York. If you could pass on a message to the next generation, what would it be? I really want everyone to live freely and have fun. In my case though, I was bullied and discriminated against for my gender because of that. Even if it’s not about gender, you absolutely can’t give in to anyone who’s bullying you. What do you do? PR and modelling. What is your image of an ideal relationship? Someone who knows you deeply, and lets you grow up. My ideal relationship is based on mutual respect and being comfortable with each other, being yourself. What is your ideal first date? I’m not really good at talking about this, so probably just a walk or something in the park. Is there anywhere in Tokyo that you would consider your safe space? I always feel safe hanging out with my friends. Everyone has a different background so people might have different opinions, so we listen and accept each other, and if we don’t agree on something we talk about it together. What was it like growing up as a member of the LGBTQ+ community in Tokyo? I’ve been taught many things by the community: creativity, self-expression. It’s a big inspiration for me. But I feel like there is still a lot of prejudice and many problems in the community. If you could pass on a message to the next generation, what would it be Believe in yourself and do what you want, however you want! What do you do? I’m a drag performer and artist. Does your gender affect your fashion style? If it does, how? My style is pretty much “fuck genders”. What is your image of an ideal relationship? I’m a strong independent bitch, so I’ve never had a proper partner, so I honestly don’t know what a relationship is.. What is your favourite film or TV series? Call me gay and make fun of me, I don’t care. I love Ryan Murphy’s works. **Is there anywhere in Tokyo that you would consider your safe space?**There’s an event called Beauty Blenda by Haus of Gaishoku which is like a home to me, a safe space. It’s my starting point, where I performed as a drag performer for the first time. It’s full of diverse performers and artists, which is very stimulating, I now get to meet a lot of people and experience many different things there. What do you like best about yourself? When I’m performing. When I’m surrounded by everyone’s smiles and clapping, I feel that’s what I’m living for. What does equality mean to you? Sometimes I doubt that an equal world may even come to be. On the other hand, inequality actually exists, and not everyone gets equal chances and rights in life. One of the most important examples in regards to this is the Black Lives Matter movement, especially in America. I think that the first step towards “equality” would be for everyone to be interested in such problems, study their history and do something about it. If you could pass on a message to the next generation, what would it be Learn about yourself, accept yourself, love. Photography Idan Barazani Casting and creative director Taka Arakawa

Trans 101: FAQ 中文 | English (Click to expand) Q: Why can’t transgender people just be gay? / Isn’t transition homophobic because it forces gay men and lesbians to become straight women and straight men? Being gay is about who you love. Being transgender is about who you are. Many trans people first experience gender dysphoria in childhood, long before puberty or any sexual feelings. It’s a common misconception that transgender people are simply extremely feminine gay men or extremely butch lesbians who think life would be easier as a straight woman or man, or to make it easier to attract partners. However, like everyone else, transgender people can be straight, gay, bisexual, asexual or any other sexual orientation. For example, some transgender men are attracted to men, and being told to “just be lesbian” would not address their discomfort with their sex. Q: Why can’t transgender people just be feminine men or masculine women? / Doesn’t this reinforce sexist stereotypes about what men and women ‘should’ be like? Another common misconception conflates gender expression (being masculine or feminine) with gender identity (being a man or woman). People point out that just because a girl might enjoy stereotypically male activities like sports, it doesn’t mean she’s really a boy. This is true. Many women are not feminine, and enjoy and excel in many things that society typically labels ‘male’. However, they still see themselves as women and wish to be perceived by others as such. When people refer to women, they feel included in that reference. When they think of the opposite sex, they think of men. When they are attracted to someone, they think about being their wife or girlfriend, not husband or boyfriend. When they think of their future, they see themselves as old women, not old men. The same is true for transgender women. The desire is to be seen as a woman and/or have a typical female body, not to be feminine. Being a feminine man would thus do nothing to address the problem – all the more so if they would feel most right as a masculine woman. Even if it were the case that all trans women were feminine and all trans men masculine, it would still not be fair to place more blame on trans people for asserting their gender identity. For instance, it would be a double standard to criticise a trans woman for wearing a dress and thus playing into female stereotypes, while not criticising a cisgender woman for doing the same. Q: Is being transgender a mental illness? No. While gender dysphoria is considered a mental illness, this refers to the distress experienced from being transgender, and not the state of being transgender itself. Medical authorities recommend transitioning as the appropriate treatment for gender dysphoria. Right now, it is the only solution that has proven to be effective in resolving (rather than suppressing) the condition. Prolonged untreated gender dysphoria does correlate highly with increased mental health problems that may not fully resolve even after transition, such that many transgender people do suffer from mental illness. However, many transitioned trans people are as mentally healthy as non-trans people of the same gender, with outcomes strongly affected by factors such as poverty, employment, abuse, and level of social acceptance. Other transgender people experience mild or negligible gender dysphoria and may be mentally healthy regardless of whether or not they decide to transition; for them, transition would make them happier, but they are fine without. Mental health outcomes have been very positive – sometimes outstripping the general population – in transgender people who transition early in supportive environments. Significant positive effects on mental health are associated with transition in general, especially the start of hormone therapy. Q: How is being transgender different from believing you’re a duck or attack helicopter? Someone who truly believes that they are a duck (and isn’t, in fact, a duck) would often fit the criteria of a diagnosable mental illness such as schizophrenia. They would experience other observable symptoms of the illness such as hallucinations or hearing voices. They would likely find it difficult to function on a day-to-day basis. Their delusions involve things that are provably false – for instance, that they have feathers and a beak. There are also cases where schizophrenic patients experience delusions of being the other sex. However, this manifests in the same way they may believe themselves to be a duck, and does not resemble gender dysphoria in transgender people. For instance, a schizophrenic man may be convinced that he is the Queen of England with the body to match, and remain oblivious to all evidence otherwise. Whereas a transgender woman is perfectly aware that her body is what’s typical for men, not women. When she says that she’s a woman, she is speaking about her internal sense of self, not what body parts she has. She is not deluded about her physical state or how other people view her (as male), and it’s precisely that awareness and lack of delusion that leads to her distress and desire to transition. While rare, delusions can sometimes manifest in an otherwise sane individual. As such, it is theoretically possible for a cisgender person to be genuinely deluded into believing they are transgender when they are not, and vice versa. However, given that it is not currently possible to distinguish such cases, and that their experience of dysphoria may be identical to that experienced by transgender people, transition would be the practical course of action if they meet the guidelines for requiring it. If treatment produces negative effects (such as inducing gender dysphoria in the other direction), it can easily be halted; whereas if this alleviates their distress and improves their daily function and well-being, it would arguably be in their best interests to continue. The same would hold true if in fact all transgender people were deluded about being trans. Regardless of the cause, transition has proven to be the only effective cure for gender dysphoria. The emphasis should always be on acknowledging a person’s pain and seeking the best way to address it, rather than to dismiss their pain or assume it’s not true. Q: How can I know if I am transgender? There is no objective test that can tell you if you are transgender. The desire to be another sex may sometimes have other explanations. In those scenarios, transitioning is likely to worsen rather than improve the situation. However, if you are feeling uncomfortable with your sex, here are some questions that might help guide you along in determining what’s behind these feelings, and to figure out your identity and what steps (if any) you should take to transition. (Do note that these are just guidelines. There are no right answers, and transgender people may not always give the same answers, but these can act as a starting point.) - Do you feel pressured to do certain things or behave a certain way because of your sex? If you were given complete freedom to live life the way you want, as a member of your sex, would the discomfort go away? Say you’re often bullied for acting too feminine for a man and made to feel like you can never be good enough. In a world where feminine men were celebrated and you were allowed to be as feminine as you liked, and your parents were proud of you just the way you are, would you still be uncomfortable being seen as a man? What about in a world where the majority of men were stereotypically feminine, and being masculine was a rarity? If you think you may be transgender solely because you enjoy things that are atypical for your sex, you are probably not transgender, but a masculine woman or feminine man. Focus instead on finding ways to explore that side of yourself, or ways to gain the freedom to do so if you find yourself restricted in that area, and see if that solves your discomfort. - Does the thought that you may not be transgender upset you or provide relief? Why, or why not? - If you feel restricted and frustrated by female gender roles and having to deal with sexism, being talked down to, sexualised, considered inferior or otherwise mistreated due to your sex, does your pain stem primarily from that sexism or also from being female? If there was full gender equality and you no longer had to deal with any sexism, would you then be content living as a woman? What about in a world where gender roles and stereotypes were flipped and it is men who suffer through all that? In such a scenario, would you still wish to be male? Would you merely tolerate being female for the benefits? Or would you then fully enjoy being female? Some girls and women who have experienced sexual abuse may view transitioning to a male (or neutered) body as one way to escape further abuse, or to separate themselves from their past. They associate being male with being safe, strong and protected from further harm, and it is this need for safety that drives their desire to transition. Some trans men may also harbour similar feelings, the difference being that the desire to be male exists independent of this fear (in as much as it is possible to discern). Consider that transgender people as a whole are much more at risk of sexual assault than the general population, and while transitioning may reduce the risk for trans men, it will not wholly eliminate it. In certain situations, it may even make it worse. If you are someone in this situation, you may want to consider your reactions to having to choose between two options: one in which you are female but assured a safe life free from sexual or emotional abuse, and one in which you are male but subject to sexual abuse. If this causes your desire to be male to disappear completely, trauma is likely to be a major component of your dysphoria, and transition may not solve your distress. (It may in fact worsen it, if you start recognising your body as male and fearing it as well, while losing access to female spaces and being put in more situations where you need to be around strange men.) Whereas if it reduces but does not eliminate that desire, there may be more going on. As always, there are exceptions – such as a trans man with a history of sexual trauma whose aversion to additional abuse overrides any dysphoria he feels. - All teenagers go through a period of identity formation and trying to work out their place in the world. This may sometimes extend to gender. If you are a pre-teen or teenager whose feelings about your gender are more questioning in nature than distressing, consider giving yourself time to mature and figure out who you are before making any big decisions. Teenagers may grapple with what it means to have a female body in a society that often sexualises, infantilises and demeans such bodies, or a male body in a society that places certain expectations (sex, violence, NS, emotional repression, disposability) upon such bodies. If, however, you experience distress about your sex that seems unusual in scope and degree compared to what your peers are going through, you may wish to look further into this with a trusted counsellor. - As a thought experiment, invent a attractive fictional character of your assigned sex with the personality traits, interests, talents, relationships and social reputation that you would personally love to have. How would you feel if you were that person? Would everything be perfect, or would your sex still bother you? - If you are uncomfortable with the sexed characteristics of your body (chest, genitals, etc), does this discomfort stem from how people react to them, what they symbolise, and how they indicate your belonging to a particular sex, or from the material fact of their existence? If people no longer reacted that way, and the symbolism changed, or even if they were instead an indication that you were of the other sex, would you still be uncomfortable with those characteristics? e.g. if most women had penises and it was known as a female rather than male organ, would yours still feel wrong? (Or, would you still want to obtain one?) - If you are dealing with homophobia, either from others or yourself, and you feel that you cannot freely love the people you love, or have your relationships deemed as valued and legitimate as that of straight people, would your pain still exist in a world where homosexual relationships were valued and celebrated as much as heterosexual ones? If you could freely find a partner and love them, with the full blessings and support of your religion, family and society, would you still be uncomfortable with your sex? - If you desire to transition just so that somebody will love you, please don’t. This may take the form of wishing to please a parent who wanted a son or daughter and scorns you for being the ‘wrong’ gender, or a crush who isn’t attracted to people of your sex, or a partner whose family will never accept their child in a homosexual relationship. People change, and attitudes change, but transition is a very personal thing that will have major and permanent impacts on the rest of your life. If you were not transgender to begin with, doing so would also induce the same gender dysphoria that causes transgender people so much distress. Never transition for somebody else. - In rare cases, people with OCD may fixate on the (false) idea that they are transgender and should transition. If you have a history of OCD (diagnosed or suspected) and the thought of transitioning fills you with immense fear because you like your body and gender and don’t want to be another sex (but are afraid you secretly want to), and these thoughts persistently intrude and interrupt your daily functioning, you are unlikely to be transgender. Please seek help from a professional counsellor or psychiatrist trained to deal with OCD. (Likewise if you are a trans person with OCD who is plagued with paranoid thoughts and the immense fear that you might not be trans after all and might be making a big mistake, even if you’re wrecked with dysphoria and desperately want to be the other sex.) - If you were given a magic button that could instantly and painlessly change your body to the one of your desired sex, and nobody would judge you for it and there would be no awkwardness to deal with, would you press that button? Would you stay that way? - When you hear the phrase ‘opposite sex’, do you think of men or women? How do you feel about your answer? Does it feel normal, or does it feel wrong? - If you were all alone on a desert island with nobody to see or judge you, would you still be uncomfortable with your sex? - If you were given the chance to create an ideal, permanent human body for yourself, what sex would it be? - When you imagine yourself in your ideal romantic relationship, what sex are you? Are you a straight or gay couple? Or something else altogether? - When you imagine yourself as an old person having lived a long and contented life, what sex is that person? While gender dysphoria and body dysphoria often come together, this is not always the case for everyone. Some people may be happy socially transitioning, but experience no dysphoria with their body and thus not seek to medically transition. They might be happy living their lives as a woman with a typically male body or vice versa, where any distress comes only from how society reacts, rather than their bodies. Others may be relatively content living as their assigned gender but experience a great sense of wrongness over the sexed characteristics of their body. They might thus seek medical transition, where social transition then naturally occurs as they start looking more like and being recognised as that sex. (In rare cases, this may induce gender dysphoria, and lead to, say, somebody born male realising that he feels most at ease living as a man but with a typically female body.) Yet other people are non-binary, and are most comfortable with a body and/or gender expression that is not strictly male nor female but both, neither, or that changes over time. Yet others come to realise that their gender dysphoria was a by-product of other issues (such as those laid out in the list above), and that transitioning would not be appropriate for them. Some people who do experience body dysphoria may also find it to be manageable, and decide not to seek medical intervention. They may also choose to pursue some treatment (e.g. hormone therapy) but not others. Ultimately, what you should be asking is not “am I transgender?” but: - In an ideal world, which gender would I want to be seen as? - Which sex do I want my body to look like? - Am I willing to make permanent changes to achieve those goals? Your answers can help you determine your course of action. Q: If I experience gender dysphoria, does that mean I have to transition? No. Whether or not you transition is ultimately a very personal decision that should not be made lightly, and is something you’ll have to decide for yourself. Transition may be liberating, but can also often be painful and come with a high cost – not just financially but in terms of your safety, relationships, career, and so on. Don’t rush into anything, but give yourself time to think this through. Many transgender people spend years grappling with our identities and whether or not to transition (and to what degree) before taking any action. Some people change their minds multiple times before coming to a decision. That’s normal, because transitioning can be scary, and is often a last resort for many people. Some transgender people find that they are eventually able to accept living as their assigned gender, and even find happiness over time. Others find this impossible after years of trying. Others find ways to compromise – such as by dressing more masculine or feminine, or by adopting male/female/unisex nicknames. Yet others find that it helps to privately affirm their identity as men, women or other but continue living outwardly as their assigned gender. For example, a transgender woman may acknowledge that she is a woman, in order to have that internal peace of mind, but also decide it is best for her to continue living as a man with a typically male body. There is no one-size-fits-all solution. How you choose to resolve or live with your gender dysphoria will depend on your specific case. When it comes to medical transition in particular, here are some questions you might want to ask to figure out if various treatments are right for you: - Does my discomfort with my body stem more from social ideals of what men and women ‘should’ look like, or a more fundamental disconnect? i.e. if nobody could tell I was trans and found me conventionally attractive for my gender, just as I am now, would the discomfort still be there? - Is my body dysphoria bad enough to significantly interfere with my day-to-day life and normal functioning? - Am I willing and able to be on lifelong hormone therapy? - Do I have any medical conditions that may make HRT or surgery risky? (please consult a doctor.) - Do I want to have my own biological children in future? Q: Do all transgender people take hormones or have surgery? Q: How long does hormone therapy last? Lifelong hormone replacement therapy (HRT) is needed to maintain the body’s masculinisation or feminisation. If the gonads (ovaries or testes) have been removed, it becomes medically necessary for health. However, some trans people choose to only go on HRT for a while to achieve certain permanent changes (lower voice, breast growth, etc) and cease it after, whereupon some changes will reverse. Q: How does someone become transgender? There is a robust collection of studies pointing towards a biological basis, in particular the role of prenatal sex hormones. Some such examples are: - A large-scale study of 400 trans women discovered significant variants (compared to cis men) in several genes associated with sex hormone -signalling, which would possibly affect sex hormone levels in development and cause atypical sex differentiation in the brain. - A correlation between 2D:4D finger digit ratios (the length of one’s index finger to that of one’s ring finger) – which is an indicator of prenatal testosterone levels – and gender identity. One study found that transgender men on average have significantly more masculine digit ratios compared to both control males and control females, indicating anomalously high testosterone exposure in the womb. - In a study of women who had been exposed to a now-banned estrogenic drug (DES) during pregnancy, almost a third of their male children were gender dysphoric and identified as female or non-binary. This is a rate of a hundred times the natural occurrence of transsexualism and is too high to be coincidental. Visit this page for several compilations of such studies. Transgender identities may also be a natural part of human sexual diversity. A typical man has XY chromosomes, penis and testes, a deep voice, facial and body hair, and so on. Others have less masculine bodies – low testosterone levels, higher voices, sparse facial or body hair, but still think of themselves as men. A small minority are mildly intersex: they might have micropenises, be unable to urinate standing up, have feminine skeletal structures – but still see themselves as men. A smaller minority are severely intersex, including those with XXY chromosomes (Klinefelter’s Syndrome), those born without penises, those who have uteruses, ovaries or vaginas (sometimes in addition to male organs), but also still consider themselves men, even though some of these might have been raised as girls and been unaware of their intersex status until adulthood. Even further along that spectrum, an even smaller minority of men have XX chromosomes, uteruses, ovaries, vaginas, and all those other typically-female sexual characteristics, but, like all those before them on that spectrum, also consider themselves men and might desire more masculine bodies. These are transgender men. It would be stranger if that group did not exist and the spectrum ended abruptly. Biology would thus seem to predict the existence of transgender people – people who have most or all the physical characteristics typical of the other sex – given that human bodies have been discovered to exist everywhere else on the sexual continuum in huge variation. Another theory has to do with how humans form in-group / out-group associations when very young. A few people may for some reason form the ‘wrong’ associations and be psychologically imprinted with a cross-sex gender identity – i.e. whatever neuropsychological process happens to make a cisgender girl ‘feel’ like a girl is set in motion in the brain of a male child, resulting in a transgender girl who ‘feels’ like a girl in the exact same way other girls do, despite her body. This is also likely influenced by biological factors that may predispose some people towards being transgender. Ultimately, what makes somebody transgender is likely to be complex and not easily ascribed solely to biological, psychological or social influence. Within the trans community itself, there is a lot of variation in how those identities manifest, suggesting that different combinations of causes may be at play in each individual. One trans person may have a strong sense of their body being the wrong sex, another may be fine with their body but have a strong sense of being another gender, and yet another may not feel right as either a man or woman. About 0.3% of the population or more is transgender. Transgender people have existed across all cultures throughout history. Estimated numbers have increased of late as greater information has led to better awareness and acceptance, causing more trans people find it safe to come out and transition. Q: Why are so many transgender people over-the-top feminine or masculine? Many transgender people, especially women, are often accused of portraying caricatures of womanhood or manhood in their mannerisms, interests and appearance. There are a few reasons for this. Firstly, for those who have not undergone any medical transition, dress and behaviour are the only ways they have to express their gender identities. If a trans woman who has not medically transitioned goes around with short hair and in unisex clothes, acting in a neutral or masculine manner, everyone would naturally perceive her as a man. Dressing up and being exaggeratedly feminine is thus one major way of correcting that assumption. This is most prevalent right after coming out. As they progress in transition and start to be consistently known or read as their gender no matter how they dress, most eventually tone it down to what feels more natural. Secondly, trans people are under immense pressure from society and healthcare providers to ‘prove’ that they are their gender. A trans woman who doesn’t present herself in an overtly feminine manner thus runs the risk of not being taken seriously. There are multiple stories of trans women being denied transition by doctors because they turned up for an appointment in jeans and T-shirt, and were accused of not being serious about transition until they turned up in heavy makeup and flowy dresses. Thirdly, there’s the freedom that comes with finally being able to express a long-repressed identity. A trans woman who has had to repress her feminine side for years will naturally go slightly wild when she finally has the freedom to do all the feminine things she always wanted. Early transition is a time of discovering oneself and figuring out the kind of woman, man or non-binary person you are going to be, which may mean lots of experimenting with different clothing styles and mannerisms. A similar process happens to all teenagers, but stands out more in transgender people who transition in adulthood, as most other people would have outgrown that phase by then and have settled in their identities. Q: What about transracial people who identify as another race? The term ‘transracial’ originally applied to children adopted by parents of a different race, which may affect their sense of racial identity and belonging. The term has since come to refer also to people like Rachel Dolezal who claim to identify as a different race than that they were born. People then ask why such identities are invalid if transgender identities are considered valid. Most of the time, people who claim to be transracial are unable to explain what it means to ‘be’ that race without resorting to stereotypes that are often racist and closely associated with class status. e.g. people in the West tend to describe being rich, educated and articulate as ‘acting white’, which implies pretty bad things about what non-white people are supposed to be. Or a non-Asian person may talk about how they love Asian culture and thus consider themselves Asian. But racial identity is not as much about culture or interests, or even biology, as how you are perceived and treated by the world because of how you look. For example, there are rare cases of biracial twins who look like different races, and effectively are different races, despite having near-identical genetics and upbringing. How they interact with the world, how they see themselves, and how the world responds to each of them would be very different, and is what forms their racial identity. Race itself is a social construct that changes over time. Indians are technically Caucasian, but are presently categorised as Asian; Irish and Italians were once not considered white, but now they are; America used to consider anyone black if they had just 1/16th African ancestry; and so on. The ways we group people into races is ultimately arbitrary, with no strict definitions. This further muddies what it means to identify as a different race. If you had been born in a different time or different country, you might very well have been considered another race. Within each race there is also so much physical variation in features and skin colour, where in fact intra-racial populations exhibit a much greater genetic diversity among themselves than between different races. Likewise with gender, simply having masculine or feminine traits isn’t what makes someone a man or woman. Being transgender isn’t about being a masculine woman or feminine man who might as well be the other sex. It’s about having a core gender identity that somehow formed at odds with what’s expected for someone’s body, often very early in life (though it may not be recognised till much later) and which affects every part of how that person views, relates and interacts to the world, as well as the socialisation they absorb. This indelibly shapes who they are, as it does with children adopted by different-race parents. That is not the case for people who decide they are a particular race merely because they share stereotypical traits with that race (that may not even apply in a different country). People sometimes do develop a genuine transracial identity, in the sense of genuinely seeing themselves as part of that race. This happens most commonly for those who are racially-mixed but identify wholly as just one of those races; in rare circumstances, it could conceivably happen with people who have no biological links to that race, but who were perhaps raised among them and treated as one of them. This would however be a psychological identity-formation process, rather than a biological one. Q: People with Body Dysmorphic Disorder (or anorexia) are treated with psychiatric help, not surgery. Shouldn’t transgender people also be treated with therapy instead of allowed to change their bodies? While the two conditions may seem similar on the surface, they have different causes, different manifestations, and more importantly different treatments that have been reliably proven to work. Body Dysmorphic Disorder (BDD) is a condition in which a person becomes obsessed with imagined defects in their body. Someone with BDD might wrongly perceive their normal-sized nose as gigantic, for example. After they’ve undergone surgery to make it tiny, they may still be distressed at the misperception that it is huge. This is a psychiatric issue, and more surgery would not fix the problem. Anorexia is a similar condition where a thin or average-sized person may wrongly believe they are fat, and losing weight does not ease the distress. Whereas a transgender man might want to remove his breasts, and after surgery successfully gives him a flat chest, he doesn’t continue thinking he has huge breasts. If he did, that would be a manifestation of BDD. Individuals with BDD respond successfully to psychiatric treatment and medication. Whereas when psychiatric treatment is attempted for transgender individuals, the distress often increases and does not go away. Instead, allowing hormonal therapy and surgery as desired does successfully provide that relief. Q: Is it true that transitioning and surgery increase suicide risk in transgender people? No. It greatly reduces it. The misconception arises from comparisons between transgender people and the general population, not between transgender people who have transitioned and those who have not. See this page for more information. Q: Do people regret transitioning? Only a small minority do, about 1 to 2%. Sometimes it is because they were not transgender to begin with. See this page for more information. (Chinese translation by Shou Chenyan from the University Scholars Programme, NUS) - 问：跨性别者和女性化的男人/男性化的女人有何不同？ 性别转换不会加 - 问：对于身体畸形恐惧症、厌食症患者来说，医生会让他们接受精神科治疗，而不是让他们通过手术改变自己的身体。 难道跨性别者不应该也接受精神科治疗，而不是允许他们改变自己的身体吗？ 同性恋在于你爱的是谁，而跨性别在于你是谁。 很多人错误地认为，跨性别女人就是女性化的同性恋男人，他们进行性别 转换或因为他们觉得自己是女人，或因为他们憎恶自己的同性恋身份，又 或因为他们想变成女人以此来吸引直男。这种想法反过来也存在于人们对 跨性别男人的认知上。然而，这些观点和事实是有出入的。就最基本的来 说，跨性别者事实上从直男直女到同性恋男女都有。很多跨性别者最早在 孩童时期，还远未经历青春期或性觉醒的时候，就已经有了性别焦虑症。 像其他任何人一样，跨性别者可以是异性恋、同性恋、双性恋、无性恋， 或其他的性向。调查显示，四分之一至三分之一的跨性别者是同性恋（相 对于他们自我认同的性别来说，而不是出生时被赋予的性别）；相似数量 的人是异性恋，还有三分之一是双性恋或者其他性向。 事实的确是这样。许多女人外表看起来并不女性化，她们在许多社会通常 划分为“男性”的领域里享受其中，并取得杰出成就。 尽管如此，她们仍 视自己为女人，也希望他人视自己为女人。当人们提到女人时，她们会认 为自己是包含在这个被提及的群体里的。而对她们来说的“异性”，是指 男性。当她们被某人吸引时，她们会想象自己成为对方的妻子或女友，而 不是丈夫或男友。 当她们想象自己的未来时，她们会想象自己成为老妇人，而不是老年男人。 不是。虽然性别焦虑症被认为是一种精神疾病，但这种疾病指向的是由于跨性别的状态而感受到的焦虑，而不是指向跨性别这个状态本身。 医疗权 威将性别转换推荐为性别焦虑症的合适治疗手段。 目前，性别转换是唯一被证明有用的解决（而不是压制）性别焦虑症的方法。 拖延不治疗的性别 焦虑症和心理健康问题的增加高度成正比，这些心理问题可能在转换后也 没法得到解决，导致许多跨性别人士承受精神疾病的折磨。 对于在支持性的环境里很早就进行性别转换的跨性别人士，他们的心理健 康水平是高出平均水平的。 一般来说，性别转换和对心理健康的显著积极效果是相联系的。 有些人真的相信自己是一只鸭子（实际上不是），这样的人基本上会被诊 断为有精神疾病，比如精神分裂症。 他们还会有其他的可察症状，比如幻视、幻听等脱离现实的表现。 这样的人很可能进行日常生活都有困难。 他们的幻想包括一些很明显是不真实的事情，比如他们身上长了翅膀或动物 的喙。 有些精神分裂症患者的确有自己是相反的性别的幻想。 然而，他们的这种 幻想，与他们认为自己是鸭子一类的幻想是以同样的方式体现出来的，这和跨性别者的性别不安症是不同的。比方说，一位精神分裂症患者可能幻想自己是英国女王，在他的这种幻想里，自己的身体也是女人，他自己是 看不到与他幻想相反的事实的。 而相反，对于一个跨性别女人来说，她完全能认识到，她的身体是一般情况下男人而不是女人会拥有的身体。 她说自己是女人，是在说她内在的自我认识，而不是她的身体性器官是女性的。 她不会幻想自己的身体是女性的，也不会幻想别人把自己的身体看成是女性的，而这种认知正是她痛苦和焦虑的来源，因为她内心认为自己是女性，却又清楚地知道自己的身体 是男性的。 这样的矛盾才导致她渴望性别转换。 没有任何一项足够客观的测试能证明你的性别认同到底是什么，然而，如 果你对自己的性别感到不舒服、不满意，以下问题或许可以帮你认识到你这种不舒服的原因，从而了解你的性别认同，并帮你了解如果要进行性格 转换，你应该采取什么措施。 有时，想成为和自己生理性别相反的性别并不一定是因为跨性别，而是另 有原因。如果是这种情况，进行性别转换会使情况恶化，而不是得到改善。 请注意，以下的信息只做引导之用，不是硬性规定。 这个问题没有完全正 确的答案，就连跨性别人士自己也不一定总会给出相同的答案。然而，你可以用这些引导性的问题作为你的起点。 - 你会觉得你的生理性别导致了你的行为受限吗？如果你有绝对的自由按你想要的方式以你的生理性别生活，这种对于你生理性别的不舒服感会消失吗？假设你是一个经常因为不够阳刚而被欺负的男生，身边的人让你感觉你永远不够好。如果这样的你生活在一个完全接纳女性化男人的世界，你可以想多女性化就多女性化，你的父母也会支持你做自己本来的样子，那你还会对自己的男性身份感到不舒服吗？如果你认为自己是跨性别的理由仅仅是你喜欢通常属于异性的事物，那很可能你不是跨性别，而是女性化男人/男性化女人。 你可以试着寻找其他方法，给自己带来做喜欢的事的自由，看看你对你生理性别的不适感会不会由此减轻。 - 如果你由于女性的身份受到性别歧视、物化，遭受不公对待，那你对自己女性身份的痛苦主要来源于性别歧视，还是真的对自己的女性身份的不认同？ 如果你生活在一个男女完全平等、没有性别歧视的时代，你会愿意以女人的身份生活吗？ 再假设世界上的两性地位是反过来的，女人占主导地位而男人受压迫，你还是会希望成为男人吗？ 在这种情况下，你会因为女人的地位优势而选择做女人吗？ 你会完全接受并享受自己的女性身份吗？ 一些遭受过性虐待的女孩/女人把性别转换当成一种逃避更多虐待的方式 或摆脱自己的过去的方法。对她们来说，男性身份意味着安全和免受伤害， 而她们对性别转变的渴望也是出于这种对安全感的需要。而对于真正的跨性别男人来说，尽管他们中也有人有相似的恐惧和对安全感的需要，但他们对男性身份的渴望在这种恐惧之外也是独立存在的。 跨性别人群总体来说会比一般人承受更大的遭受性暴力的风险，而尽管手 术变性可能会让这种风险变小，但没法消除这种风险，而在特定的情况下 还可能使风险更大。 试想一下你自己在这两种身份之间选择：作为女人，有安全保障地生活，不用担心会遭受性暴力或精神虐待，还是作为男人生活，但要承受会遭受性暴力的风险。 如果这样的选项让你成为男人的渴望 完全消失，那你对自己性别的不安应该主要来源于创伤，而不是跨性别。 这种情况下，性别转换不会减轻你的痛苦和焦虑（相反，如果你开始害怕自己的男性身体，且因为生理上的转换加入了男人的社会群体，身边出现 更多的男人，你的痛苦和焦虑可能会加重）。 然而，如果面临这样的选项，你想成为男人的渴望还是没有完全消失，那你更有可能是真正的跨性别。 不过事情总有例外，对于一个经历过性创伤的跨性别男人，他对于更多虐待的逃避可能强烈过了任何其它他感觉到的对自己性别的不安。 - 所有的青少年都会经历一个自我身份的建立过程，找到自己的位置 这个过程有时也发生在性别身份的建立上。如果你是正处于发育期 的青少年，而你对你的性别的感觉更多是疑惑、探寻，而不是焦虑、痛苦，那我们建议，给你自己一点时间，让自己先成熟起来，在做重大决定之前先完全了解自己，找到自己的位置。 青少年对自己身体的不满有可能是出于社会对于不同性别所强加的价值，比如女性身体总是被物化、贬低，而拥有男性身体意味着特定的责任或负担（性能力上的要求、暴力、服兵役等）。 然而，如果你承受着在范围和程度上都超出同龄人的对自己性别的焦虑、痛苦，我们建议你 找一位专业咨询人士更深入地去了解这个问题。 - 如果你对自己的性征（胸部、性器官等）感到不舒服，这种不适感的来源是人们对于你的性征的反应，它们象征的影响，它们所代表 的你的性别从属，还是仅仅是它们的存在？ 假如，这些性征带来的人们的反应、它们象征的影响和代表的性别从属都发生转变，你还会对这些性征产生不适感吗？ 比如，如果阴茎变成了女性的性器官，大部分女性都拥有阴茎，你还会对自己拥有阴茎感到不舒服吗？ - 如果你面临着来自于自己或他人的恐同情绪，觉得因为你的性别你无法自由地去爱自己想爱的人，或者你的恋爱关系因此被认为是不正当的，假设你生活在一个同性恋和异性恋同样正常的世界，你还会对自己的性别感到痛苦吗？ 如果你的宗教、家庭、社会支持并祝 福你去爱任何你想爱的人，你还会对自己的性别感到不舒服吗？ - 如果你想性别转换只是为了有人爱你，请不要这样做。 此类性别转换的动机可能以以下的形式显现：希望取悦想生男孩/女孩，认为你的性别是错误的父母、喜欢上一个在性向上不被你的性别吸引的人，或者想要被一个反对同性恋关系的家庭接受。 人是会变的，你的想法也可能改变，但性别转换一旦进行就会对你产生终生影响。 如果你本身不是跨性别，性别转换可能反而会给你带来性别不安症等负 面影响。 性别转换是一个个人的选择，永远不要为了别人转换。 - 在很罕见的情况下，有强迫症（OCD）的人可能会（错误地）产生 他们是跨性别的想法，认为自己应该进行性别转换。 如果你有强迫症的病史（包括被诊断和怀疑为强迫症），而你有性别转换的想法会给你带来很大的恐惧和不安（因为你喜欢你的性别，并不想转换，然而同时又担心自己潜意识里想转换）,影响你的正常生活，那你很可能不是跨性别。 这种情况请咨询专业人士或治疗强迫症的精神病医生。 同样，如果你是有强迫症的跨性别者，承受着偏执的妄想，即使你有强烈的性别不安症，想进行性别转换，你还是担心自己不是跨性别并会做出错误的决定，也请咨询医生。 - 如果按一个按钮就可以让你瞬间无痛苦转变为你想要的生理性别，并没有人会因此评判你，你会按下这个按钮吗？ 你会想要一直保持这样的身体吗？ - 当你听到“异性“这个词的时候，你脑中出现的是男人还是女人？ 你对自己的反应有什么感觉？你觉得你的反应正常吗？ 还是错误的？ - 如果你有机会可以为自己创造一个理想的、永久性的身体，你会想 要什么性别？ - 你想象中的理想恋爱对象是异性还是同性？ 还是其他性别？ 虽然性别焦虑症与对身体的不满和焦虑经常同时出现，但也不是所有人都两者兼有。 有些人对自己的身体没有不满，所以只需要接受社会角色上的性别转换，而不需要用医疗手段在生理上变性。 他们可能觉得有一个男性 身体的同时以女人的身份生活下去（或者相反）是完全可以接受的，他们的焦虑和痛苦只来源于社会对他们性别身份的看法，不来源于自己对自身身体的看法。 还有些人可能对自己的性别身份没有不满，但强烈地觉得自己的性征是错误的。 这样的人可能会去接受手术变性，同时社会性别角色也会随着身体的改变自然而然地转换。 （在罕见情况中，这反而可能带来性别不安症，比如一个生理上是男性的人发现他最适合作为男人生活，但同时拥有女性的身体。） 不是的。 转换与否最终还是一个个人选择的问题，在这件事上，你只能自己做决定，而且，不应该轻率决定。 性别转换也许可以解放自我，但同时也经常伴随着痛苦，和经济、人身健康、人际关系、职业等多方面的高昂 的代价。 在自己想清楚之前，不要过于急切地去做任何事情。许多跨性别者在采取行动之前经历了很多年的挣扎，才能想清楚要如何看待自己的性别认同，要不要转换，以及转换到什么程度。 有些人在做决定之前会改变很多次想法。 这都是正常的，因为转换的确可以是一个可怕的过程，对很多人来说 也是万不得己才会采取的最后办法。 有些跨性别者发现自己最终可以接受以被赋予的性别生活下去，并找到快乐，另一些人在多年的尝试后，还是觉得自己没法办到，而有些人会采取折中办法，比如在衣着上打扮得更接近于自己认同的性别，或者给自己取 更接近自己认同的性别的或者中性的别名。 还有一些人发现，对外以他们 被赋予的性别生活，但在私下里确认自己认同的性别，对他们来说可以起 到帮助。 比如说，一个跨性别女人可能会私下里对自己和亲近的家人朋友确认自己跨性别的身份，以此给自己一个内在空间，并让家人朋友把她当做女人。 但是，拥有男性身体的她还是照常像男人一样生活。 每个人的情况不一样，对她来说，可能这就是最好的处理方法。 没有一种方法是适合所有人的，是化解你对自己性别的焦虑，还是带着它生活下去，都取决于你具体的情况。 如果你想通过医疗手段进行转换，你可以先问问自己以下几个问题，来确 认自己是否适合这样的转换： - 我对自己身体的不满，是真的来自于根本上的身体与性别认同的不 一致，还是仅仅来自于社会对于男人和女人理想外表的要求呢？比方说，如果没有人跟我说我是跨性别者，反而觉得我的身体很有异 性吸引力，我还会对自己的身体感到不舒服、不满意吗？ 如果想要维持身体的男性/女性特征的话，需要进行终生的荷尔蒙替代治疗（HRT）。 如果摘除了性器官（睾丸/卵巢），由于健康需要，这样的治疗就更是必须的。 但也有一些跨性别人士只进行一段时间的荷尔蒙代替治疗，以此达到一些身体特征的永久改变（比如更低沉的嗓音，胸部的发育等等），在此之后就会停止疗程。 但是，停止治疗之后，之前完成的转变可能会反弹。 - 研究发现，食指与无名指指长比例（这个比例显示了一个人的产前睾酮水平）和性别认同有关联。 平均来说，跨性别男人比非跨性别男人和女人的食指与无名指指长比例都要高很多，这显示出他们在母胎里接触到异常高含量的睾酮。 - 一项针对孕期接触过己烯雌酚（雌激素药物，现已被禁）的妇女的研究发现，她们生下的男婴里，接近三分之一都有性别焦虑症，并在性别上认同自己为女人或非二元（类似于非常规性别）。 这样的 几率比平均上跨性别者出现的几率要高一百倍，很难是巧合。 一个典型的男人有 XY 染色体、阴茎、睾丸、低沉的嗓音、面部和身体的毛发等等。 而还有其他男人，他们的男性特征并没有那么明显 – 他们可能有更低的睾酮水平、更高的嗓音、更稀疏的毛发，但他们仍视自己为男人。 也有很小一部分人有轻微的双性人特征：他们可能有（比正常尺寸小很多的）小阴茎、无法站立着小便、拥有偏女性化的较为纤细的骨架，但他们也还是视自己为男人。 还有更小的一部分人有很严重的双性人特征，比如 有些人有 XXY 的染色体组合（克氏综合征），有些人出生时没有阴茎，有些人长有子宫、卵巢、阴道（这其中有一部分人是在有男性性器官的同时还长有这些女性性器官），但他们也还是视自己为男人，即使他们中有些人是作为女孩被抚养大的，还有一些人甚至在成年之前都不知道自己具有双性人特征。 更少数的一些男人有 XX 染色体、子宫、卵巢、阴道等所有通常长在女性身上的性器官，但是他们也像之前列举的人一样，视自己为男人。 他们可能会渴望拥有更男性化的身体。 这些人就是跨性别者。 还有一种理论说，跨性别和人在幼年时与内团体/外团体建立的联系有关。 有些人会建立“错误”的联系，在心理上形成和自己的生理性别相反的性别身份，换句话说，让生理上是女性的孩子认同自己是女人的这样一个心理神经学过程在一个生理上是男性的孩子身上发生了。 这样的一个跨性别女孩与其他非跨性别女孩一样，都“感觉“自己是个女孩，尽管她的身体不同于一般的女孩。 这种联系的建立有可能是受了带有跨性别倾向的基因影响。 不管跨性别的成因是什么，这种成因绝大多时候都很复杂，没法单纯地用生物学、心理学或社会因素的影响去解释。 在跨性别社群内，人们的性别表达也各有不同，这显示了不同的人成为跨性别者可能是出于不同的原因。 有些跨性别者可能会强烈地觉得他们的身体对于他们认同的性别来说是错误的，有些人可能对自己的身体没有不满，但对相反的生理性别的认同格外强烈，还有些人对自己作为男人和女人都感到舒适、满意。 总人口中，大约 0.3% 是跨性别者，他们在各个历史阶段和不同的文化里都有出现。 随着更多人开始觉得承认自己的跨性别身份和进行性别转换是安全的，跨性别者人口的估计最近几年有所上升。 这样的现象有几种原因。 首先，对于那些没有通过医疗手段变性的人来说，穿着打扮和行为举止是她们表达自己性别的唯一方式。 一个没有通过医疗 变性的跨性别女人如果不打扮得女性化，而是外表和举止都很中性化（比 如留短发、穿中性的衣服、举止很男子气概，等等），那大家自然而然会 把她当成男人对待。 所以她们女性化的打扮，一方面是为了纠正周围人对 她们性别的臆断。 因为此类原因而作非常女性化的打扮，通常发生在跨性 别女人刚向周围人表明自己性别身份的初始阶段。 当她们进展到采用医疗 手段变性，或不论怎样穿着都始终被视作女人的时候，大部分人最终都会 愿意将自己过于女性化的风格降低到一个更自然的程度。 其次，跨性别女人承受着来自社会和医疗服务提供者的巨大压力，需要“证明”自己是女人。 如果一个跨性别女人不把自己展示得过于女性化，她可能就会遭受不被认真对待的风险。 跨性别女人在见医生的时候因为打 扮中性而被拒绝性别转换要求的例子司空见惯，她们只有在化上大浓妆、穿上优雅的衣裙之后，人们才会觉得她们想进行性别转换的要求是认真的。 再说了，许多时候，跨性别者的自我都是经过多年压抑之后才得以释放。 一个压抑自己性别身份多年的跨性别女人在终于得到表达的自由，可以没有顾忌地去做她长久以来想做的女性化的事时，自我表达得夸张、狂热一些也是一件自然且很能理解的事。 性别转换的早期也是一个自我发现的阶段。 在这个探索自己风格和定位的阶段，去尝试多种不同的衣着和举止风 格是很正常的，就像每个青少年都会经历一个自我探索期一样。 只不过由于有些跨性别者在成年之后才进行转换，而这时大部分其他人已经过了青春期的探索阶段，找到了自己的风格和定位，所以他们的尝试和探索在人群里会更显得尤为突出。 “跨种族”一词最早用在被不同种族的家长收养的小孩身上，因为他们这种被收养的经历可能会影响他们的种族身份认同感和归属感。 这个词后来逐渐演变为用来指代那些声称自己的种族认同和自己出生的种族不同的人，例如瑞秋•多利兹，有着美国白人血统，却认为自己是个美国黑人。 有些人可能会问，如果“跨性别”可以成立，那为什么“跨种族”是不成立的呢？ 大多时候，当被问起什么是种族身份的核心，声称自己是跨种族的人都没 法给出很好的解释，只会诉诸于一些带有种族歧视意味的、和社会阶级紧密相关的刻板印象。 比如说，在西方，如果一个人富有、教育水平高、善于表达，他通常会被认为表现得像白人。 而人们对于非白人的刻板印象，就是与这些形容词截然相反的。 又比如说，一个种族血统不是亚洲人的人声称自己是亚洲人，而他有这种种族身份认同的原因是他特别喜欢亚洲文化。 种族作为一个社会建构概念，在政治影响下，在不同时期有不同的定义。 例如，爱尔兰人和意大利人曾经不被当做白人，但现在是。 曾经在美国，任何有十六分之一的黑人血统的人就会被视作黑人，但是现在我们会将这 样的人看作白人。 印度人其实在血统上属于高加索人（白种人的一种），但现在却被划分为亚洲人。 这样的例子还有很多。 在不同的时期，一个人可能会被划分为不同的种族，这样的流动性让跨种族身份认同更难以定义。 而且，同属一个种族的人在身体特征上也会有很大的不同。 事实上，一个种族内的基因多样性甚至超过了不同种族之间。 同样的，对于性别来说，仅仅拥有男性/女性的外貌特征并不足以让人成为男人/女人，因为外貌特征并不是性别的本质。 许多人错误地认为这就是跨性别。 跨性别并不在于成为一个男性化的女人/女性化的男人，而在 于一个人核心的性别身份认同与他的生理性别不相符。 这种性别身份认同和生理的偏差常常在人生早期就已出现（尽管有些人可能很久之后才会发 现），影响着一个人如何看待这个世界、与他人交往、以及社会化的过程 在有些情况下，一些声称自己是跨种族者的人是真的认为他们属于自己认同的那个种族。 最常见的是混血儿，他们身上带有多种族的血统，但他们 可能只对其中一种种族产生认同。还有很少的一部分跨种族者和他们认同 的种族没有血统上的联系，但这种种族认同就是一个心理上的身份认同构 建的结果了。 身体畸形恐惧症是一种精神病，患者会过度的关注自己臆想出来的，不存 在的身体缺陷。 比方说，一个身体畸形恐惧症患者可能会错误的认为自己正常大小的鼻子过于巨大。 就算通过手术让鼻子变得已经很小，他们可能还是会错误地觉得自己的鼻子很巨大，并仍然因此焦虑痛苦。 这样的问题属于精神科的范围，就算接受更多的手术也没办法解决。 厌食症与身体畸形恐惧症相似，也是一种精神病，是指一个很瘦的或正常身材的人错误地认为自己很胖。 在这种情况下，就算他们瘦下来，这种对身材的焦虑和痛 苦也不会减轻。 而跨性别的状态是不一样的。 一个跨性别男人可能会想移除自己属于女性特征的乳房，但是他不会在做完手术，拥有了平坦的胸部之后，还认为自己有很大的乳房。 如果他有这样的错误认知的话，这就是身体畸形恐惧症的体现了。 不会。 恰恰相反，性别转换和手术极大地降低了跨性别者的自杀倾向。 这个误解来源于把跨性别者的自杀率和人口平均自杀率作比较，因为跨性别人群的平均自杀率是要高出人口平均水平的。 但这并不是进行了性别转换的跨性别群体和没有转换的跨性别群体之间的比较，所以不能用来说明性 别转换会提升自杀的风险。 只有很小一部分人（大约 1-2%）会。 在有些这样的情况里，这些人其实本来就不是跨性别者，所以他们转换之后才会后悔这个决定。

ARTICLES, ESSAYS & INTERVIEWS Leslie writes about motherhood, mental illness, grief, houses/homes, architecture and design. She drives a deep interest in place and how that shapes us, as well as the interstitial connection of family, dysfunction, and the symmetry and parallels of nature. Photography: Western Michigan Review, Summer 2023 Prose Poetry: “Clothes on the Line,” May 2023 A visual review of INFORMATION DESK: An Epic Poem by Robin Schiff (PRH Poets, August 2023) for DIAGRAM. An interview with Alice Carriere, author of EVERYTHING/NOTHING/SOMEONE: A Memoir (S&G, August 29) “The Mothers,” for Pact Press’ Fall 2024 anthology, Becoming Real: Women Reclaim the Power of the Imagined through Speculative Nonfiction. A Conversation with Jasmine Brown, author of TWICE AS HARD (Beacon Press, Feb 2023) and Cassandra Jackson, author of THE WRECK: A Daughter’s Memoir of Becoming a Mother (Viking, May 2023) for Hippocampus Magazine A Dialogue-in-Review with Priscilla Gilman, author of THE CRITIC’S DAUGHTER (W.W. Norton, Feb 2023), for North American Review. Hybrid: “Ampersand & Ephemera” in DASH Literary Journal, May 2023 (print only) Photography: Wild Roof Journal, Spring-Summer 2023 Poetry: Trundle & History of Present Illness. Neologism Poetry Journal, vol. 71 April 2023 A Conversation with poet Pattiann Rogers, author of FLICKERING; The Flicker That Connects All Life (Penguin Poets, April 4 2023), LiteraryHub, April 2023 Model Home: A Study Under Compression, a photo essay in miniature, On the Seawall, April 2023. Poetry: “Crevasse” Ballast Literary Journal, April 2023 and in dialogue with Luke Johnson. Poetry: “Collapse” Empyrean Literary Journal, March 2023. A conversation with Tanya Frank, author of ZIG-ZAG BOY: A Memoir of Motherhood & Madness (Viking, Feb 2023), Hippocampus Magazine, spring 2023. Prose: “Pink” in Pink Plastic Houses, February 2023. Prose: “The House” in Heimat Review, January 2023. “Answers to Queries,” a hybrid piece about an genealogy mystery. ELJ Editions/Scissors & Spackle, Fall 2022 A review-in-dialogue with Nicole McCarthy, author of A SUMMONING (Heavy Feather, Review, 2022), CRAFT Literary, Winter 2023. A conversation with Gayle Brandeis, author of DRAWING BREATH: Essays on Writing, the Body, & Loss (Overcup Press, Feb 2023), Hippocampus Magazine, spring 2023. A Conversation with Juliet Patterson about her memoir, Sinkhole: A Legacy of Suicide (Milkweed Editions, September 2022), Hippocampus Magazine, November/December 2022 A review-in-diagram featuring Your Hearts, Your Scars (Bellevue Literary Press, January 2023) by Adina Talve-Goodman, edited by Hanna Tinti and Sarika Talve-Goodman, DIAGRAM, 2023. A conversation with Kathryn Gahl, author of The Yellow Toothbrush: A Memoir of Trauma and Mercy (Two Shrews Press, 2022), touching on aspects of maternal mental health, abandonment, filicide, and more, MER, November 2022. A review-in-conversation with Sarah Fawn Montgomery, about place, displacement, feeling haunted, and more in her essay collection, Halfway from Home (Split/Lip Press, Nov 2022), Hippocampus Magazine, November 2022. A Conversation with Erin Keane, EIC of Salon on her journalistic memoir, Runaway: Notes on the Myths that Made Me, exploring forensics, films, fashion, and so much more in her complicated family dynamics (Belt Publishing, September 2022), Autofocus, November 2022. A dialogue-in-review with Su Cho about her debut collection, The Symmetry of Fish (Penguin Poets, October 2022), The Cincinnati Review, Fall 2022 “Interiors,” prose. SEPIA Journal, Issue 6. October/November 2022 A conversation with Sheila O’Connor: Elegantly Exploring the Nonlinear about The Evidence of V: A Novel in Facts, Fragments, and Fictions (Rose Metal Press, 2019), Fractured Literary, October 2022 An essay-in-review: Artifacts, Essays, and Exploring a Non-Binary Genre featuring Kristine Langley Mahler’s “Curing Season: Artifacts” (University of West Virginia Press, October 2022), Brevity Magazine In Conversation with Lauren Acampora: Constructive Friction, featuring The Hundred Waters (Grove/Atlantic, August 2022), The Millions, October 2022. In Conversation with Sabine Hossenfelder, author of Existential Physics: A Scientist’s Guide to Life’s Biggest Questions (Viking, August 9 2022), Hippocampus Magazine. Point of Entry: Writing Workshops in the Treehouse. The Smart Set, August 25, 2022. In Conversation with Carla Zaccagnini, author/artist of CUENTOS de CUENTAS (K.Verlag/Amant, spring 2022), The Millions, August 1, 2022. The Emotional Weight of Space: Symmetry in Chaos, Levitate Magazine, spring 2022. In Conversation with Marie Myung-Ok Lee, author of THE EVENING HERO: I write to Find Out (Simon & Schuster, May 2022), The Millions, May 19, 2022. The Midwessay: Fragmented Thoughts on Being a Missouri Girl in ‘the north,’ Essay Daily, May 9, 2022. In Conversation with Maud Newton, author of ANCESTOR TROUBLE: A Reckoning and Reconciliation (Random House, March 29, 2022), Hippocampus Magazine, May 2022. In Conversation with Kim Adrian, author of The Twenty-Seventh Letter of the Alphabet, The Florida Review, spring 2022. Breaking Ground, the tiny journal, April 2022. Making Space: Cicadas & My Mother, ANMLY, April 2022. The Rural Hours (#37)The Visual Verse Anthology, March 2022. In conversation with Mary Laura Philpott, author of BOMB SHELTER: A Memoir in Essays (Atria, April 2022) Hippocampus Magazine, March 2022. In conversation with Siri Hustvedt, author of MOTHERS, FATHERS, & OTHERS (Simon & Schuster, December 2021), The Rumpus, early spring 2022. Nickels on Eyes, Flash Frog Literary In conversation with Dr. Galit Atlas, author of EMOTIONAL INHERITANCE (Little, Brown Spark, January 25 2022), Hippocampus Magazine “A Conversation with Donald Antrim, author of ONE FRIDAY IN APRIL: A Story of Suicide & Survival, Hippocampus Magazine. “A Conversation with Laraine Herring, author of A CONSTELLATION OF GHOSTS: A Speculative Memoir,” Hippocampus Magazine. “Baby Jars,” Agapanthus Collective “Thresholds,” A Door = Jar Literary Magazine SPEAKING OF APRAXIA: A Parents’ Guide to Childhood Apraxia of Speech, audio edition, narrated by author, Penguin Random House July 6 “Saying Good-bye to Childhood One Book at a Time,” Literary Mama “Local Woman Writing: A Walking Tour with Mary Kubica,“ Women Fiction Writers “Navigating Choppy Waters,” Moms Don’t Have Time to Write: Travel “Fourteen,“ Mutha Magazine “A Reading List of Memoirs on Motherhood & Mental Illness,” The Mighty. “Reading to Write: Leslie Lindsay on the Long Journey to her Memoir,” Read Her Like an Open Book. “Disinheriting Madness & Other Traits,” Runs in the Family|Psychology Today. “My Mother’s House,” Semicolon Literary Journal. Snapshots: The Old Farmhouse. The Family Narrative Project. Suite of Poetry: “My Mother’s Madness.” Coffin Bell Journal, Vol. 3. No. 3. “Material That Matters,” Brave Voices Literary Magazine, No. 4. [Print only. Reprinted here] Reader’s Response. Poets & Writers Magazine September/October 2019 [Print Only]. “Children, Caution,” Cleaver Magazine. Issue 24. “Phantom Tears.” Ruminate: The Waking. “Material,“ Pithead Chapel. Vol. 7, Issue 5. Pretentious Backside. Common Ground Review, Vol. 19, Issue 2. Visit website “Is Writing a Memoir Automatically Therapeutic?” A Craft Essay on Writing about Mental Illness. Cleaver Magazine. “My Mother is Crazy.” Manifest-Station. “Sorting.” The Nervous Breakdown. Speaking of Apraxia: A Parents’ Guide to Childhood Apraxia of Speech, updated, 2nd edition. Woodbine House, 2020. Also available in audio. MODEL HOME: Excavating My Mother’s Mental Illness Contact: Murray Weiss|Catalyst Literary Management murray (at) catalystlit. com

Amaze’s Amazing Futures project runs free sessions for girls, young women and non-binary people with SEND on a monthly basis. The group sessions, for 14 to 25s, have fun games and activities, and are an opportunity for everyone to get to know each other and have fun. Over time, young people can be matched with a volunteer for one-to-one peer support, if they want it. There’s also a mixed peer support group, as well as drama group ‘Dramaze’. The groups are free to attend, but places are limited. If you’d like to know more information about the sessions, contact Sue Winter on 07483 111648 or by emailing her here.

A few days ago I found myself in a medical walk-in clinic, perusing the latest issue of a women’s fashion magazine while I waited to see the doctor. (Thankfully, doctors’ waiting rooms are no longer the repositories of stale news magazines and nothing else.) Although I consider myself fairly up-to-date when it comes to fashion trends, I was taken aback by what I saw on the pages of the magazine. I saw men–at least I assumed they were male models–dressed in ruffled bodices and high heels. There were ‘man-spreading’ girls–I believe they were women–sporting suits and ties and clunky boots. I literally could not tell who was male or who was female by the clothes they were wearing or by their body shapes or facial features or hairstyles or their postures. And that was the point. This issue of the magazine had nothing to do with the latest styles in women’s clothing; this was all about gender identity. There is a movement afoot to do away with the male-female binary. Until recently, biological sex and gender were regarded as the same thing and the terms were used interchangeably. Before the time of ultrasounds, new parents waited to hear those all-important words from the doctor or midwife. who would say one of two things after examining the newborn’s genitalia, “it’s a boy” or “you have a girl.” The child would then be raised as either a boy or girl and eventually become an adult man or woman. Social activists and certain ‘experts’ now claim that biological sex and gender are not the same: sex refers solely to biological characteristics, e.g., genitalia and hormone levels, while gender has to do with an individual’s internal, personal sense of being male or female. A problem arises when an individual’s perception of themselves as male or female does not line up with their actual ”plumbing’: a condition formerly classed as the psychological disorder, gender dysphoria. Today we use the adjective ‘transgender’ to describe such individuals–represented by the T in LGBTQ. From 0.25% to 1% of the population in Canada and the US is believed to be transgender. Once gender was separated from biological sex and came to be based on personal feelings, new categories appeared. Some individuals identify now as neither male nor female but as non-binary (NB), meaning that they locate themselves outside the male-female dichotomy. Others describe themselves as ‘gender fluid’ meaning that they sometimes identify as male, on other occasions as female–their gender can vary at random, or alter with changing circumstances. Some label themselves neutrois, meaning neither male nor female, but neutral. There’s even an new adjective to describe those whose biological sex and sense of personal gender align (like the vast majority of the human race): we are ‘cisgender’. The idea that there are more than two genders is being promoted by no less an organization than the Associated Press (AP). In their 2017 stylebook–the writing and editing resource for newsrooms–the AP directs news writers to avoid using the words “both,” “either,” or “opposite” when talking about gender, to reject any reference that would imply there are only two genders. That news writers are following this latest edict was confirmed for me recently when I heard a news presenter refer to “all genders.” Astonishingly, assigning a gender at birth based on biology is now viewed by some as a violation of a child’s human rights. A Canadian woman who identifies as non-binary and transgender wants to keep her newborn’s gender off the child’s birth certificate. ‘They’ want to avoid placing “restrictions on the child that come with the boy box and the girl box.” Are there really more than two genders, as the social activists claim? Science says “no.” A female has 46 chromosomes, which includes two Xs. A male has 46 chromosomes, including an X and Y. It is this Y chromosome which is dominant and carries the signal for the embryo to grow testes. Maleness or femaleness is embedded in the very DNA of individuals and remains unaltered by surgery or hormone therapy. An individual may decide he or she is non-binary, but his or her DNA would say otherwise. Interestingly–but not at all surprising to me–science supports the biblical and traditional view of gender. We have barely begun to see the consequences of making gender a matter of personal feeling! An male inmate in a Canadian prison who now identifies as female has won the right to be transferred to a women’s prison, thanks to recent legislation passed by the Canadian government. He/she is being allowed to do this, despite not having begun sex-change surgery. Back to the gender-bending fashion magazine in the doctor’s waiting room: It was obvious to me that the editor was ‘on board’ with the move to do away with this whole male-female notion. In retrospect: I can’t remember whether I even liked any of the clothes I saw in the magazine. But then, it wasn’t about clothing anyway. This was essentially a propaganda piece.

Much has been made of Hamlet’s fatness. Is he or isn’t he? There are those who say “fat” here means “sweaty” or “full.” But, as Isaac Butler pointed out in his essay on this topic a few years ago, given how fat is used in the rest of this play, fat probably means fat. But what I find interesting is an assumption that Gertrude calling Hamlet fat means that Hamlet is fat, as if no mother ever called her son fat, even though he was not. As if no mother ever had body dysmorphia that she projected onto her children. I’m very happy for Hamlet to have any type of body. In general, I believe all bodies are good bodies and that Hamlet should be able to be played by any one of them – male, sure but also female, trans, non-binary and questioning. He could be fat, thin, muscular, weedy – but also disabled and non-disabled. So whether or not the character is written to be fat means nothing to me, really. Gertrude calls him fat because sometimes mothers do that sort of thing. Especially in a time that was perhaps not quite as fat phobic as the times we live in now. Even in our own time, there are cultures that find fatness much less taboo – that might call someone fat with affection and/or love. Maybe that’s what Gertrude is doing here. That’s how I played it when I played the part. Who knows if it read – but it helped me to say what I felt was an insult at the time. After a lot of exposure to fat activism, I’d feel less worried about it. It’s fine if Hamlet is fat. It’s fine if his mother calls him so. Even if he’s not.

Upcoming Kids Activities and Events Looking for kids activities and things to do with your family in the Twin Cities? Check out our upcoming events and activities to plan a family outing to The Works Museum. Join us for bonus drop-in activities on select Saturdays. Included with your Museum admission, these pop-up events feature a special project, partner organization, or unique theme. Our signature events are the biggest days of the year in the Museum. Featuring all sorts of hands-on activities and demonstrations with our corporate, education, and non-profit partners, our events bring engineering and STEM to life in a uniquely kid-friendly way. Developed for kids ages 4-13 and their grown-ups, each event digs into a specific area of STEM. Pack up your family and come spend a day with us. We’re always about the “E” in STEM – engineering! Experience Tech Fest, our family fair celebrating all things engineering & technology. Explore with live demos by scientists and engineers, hand-on projects, family activities, and more! It’s our biggest event of the year. She Engineers Events Part of our She Engineers initiative, these events introduce girls* and their families to women working in STEM fields. Explore engineering experiences with girls in middle school, high school, universities, and beyond at these special events. *The Works Museum is committed to improving gender equity and representation in STEM. Our programs for girls are inclusive and welcoming to gender expansive students (cisgender and transgender girls, non-binary or gender non-conforming students, and any other girl-identifying youth). Meet robots of all shapes and sizes, built and programmed by kids, teens, and professionals. See demos by local robotics experts, learn about robots used in local industry, and experiment with kid-friendly robotics! Summer and School Break Camps Okay, so you know your child enjoys engineering, design, or other STEM subjects. What’s next? Our summer and school break camps offer opportunities to dig deeper into topics. Have a general question about our activities and events? Want to submit a suggestion for an Explore It! Saturday event? Please reach out to us using the button link below:

|Definition||A spectrum of gender identities that are not exclusively masculine or feminine| |Subcategories||Various, see below| |Associated terms||Androgyny, queer, third gender, transgender, two-spirit| |Flag name||Non-binary pride flag| |Part of a series on| Non-binary[a] or genderqueer is an umbrella term for gender identities that are neither male nor female—identities that are outside the gender binary. Non-binary identities fall under the transgender umbrella, since non-binary people typically identify with a gender that is different from their assigned sex, though some non-binary individuals do not consider themselves transgender. Non-binary people may identify as an intermediate or separate third gender, identify with more than one gender, no gender (agender), or have a fluctuating gender identity (genderfluid). Gender identity is separate from sexual or romantic orientation, and non-binary people have a variety of sexual orientations, just as cisgender people do. Non-binary people as a group vary in their gender expressions, and some may reject gender "identities" altogether. Some non-binary people are medically treated for gender dysphoria with surgery or hormones, as trans men and trans women often are. Definitions and identity The term genderqueer originated in queer zines of the 1980s as a precursor to the term non-binary. In addition to being an umbrella term, genderqueer has been used as an adjective to refer to any people who are perceived to transcend or divert from traditional distinctions of gender, regardless of their self-defined gender identity. Individuals may express gender non-normatively by not conforming into the binary gender categories of "man" and "woman". Genderqueer is often used to self-identify by people who challenge binary social constructions of gender. The term genderqueer has also been applied by those describing what they see as a gender ambiguity. Androgynous (also androgyne) is frequently used as a descriptive term for people in this category. This is because the term androgyny is closely associated with a blend of socially defined masculine and feminine traits. However, not all genderqueer people identify as androgynous. Some genderqueer people identify as a masculine woman or a feminine man or combine genderqueer with another gender option. Being non-binary is not the same as being intersex, and most intersex people identify as either male or female. Some people use enby (from the letters 'NB') as a short form of non-binary. Many references use the term transgender to include genderqueer/non-binary people. The Human Rights Campaign Foundation and Gender Spectrum use the term gender-expansive to convey "a wider, more flexible range of gender identity and/or expression than typically associated with the binary gender system". Agender people ('a-' meaning "without"), also called genderless, gender-free, non-gendered, or ungendered, are those who identify as having no gender or being without a gender identity. Although this category includes a broad range of identities which do not conform to traditional gender norms, scholar Finn Enke states that people who identify with any of these positions may not necessarily self-identify as transgender. Agender people have no specific set of pronouns; singular they is typically used, but it is not the default. Neutrois and agender were two of 50 available custom genders on Facebook, which were added on 13 February 2014. Agender is also available as a gender option on OkCupid since 17 November 2014. Bigender (also bi-gender or dual gender) people have two gender identities and behaviors. Identifying as bigender is typically understood to mean that one identifies as both male and female or moves between masculine gender expression and feminine gender expression, having two distinct gender identities simultaneously or fluctuating between them. This is different from identifying as genderfluid, as those who identify as genderfluid may not go back and forth between any fixed gender identities and may experience an entire range or spectrum of identities over time. The American Psychological Association describes the bigender identity as part of the umbrella of transgender identities. Some bigender individuals express two distinct personas, which may be feminine, masculine, agender, androgyne, or other gender identities; others find that they identify as two genders simultaneously. A 1999 survey conducted by the San Francisco Department of Public Health observed that, among the transgender community, 3% of those who were assigned male at birth and 8% of those who were assigned female at birth identified as either "a transvestite, cross-dresser, drag queen, or a bigendered person". A 2016 Harris poll conducted on behalf of GLAAD found that 1% of millennials identify as bigender. Trigender people shift among male, female, and third gender. Demigender people identify partially or mostly with one gender and at the same time with another gender. There are several subcategories of the identity. A demi-boy or demi-man, for example, identifies at least partially with being a boy or a man (no matter the sex and gender they were assigned at birth) and partly with other genders or with no other gender (agender). A demiflux person feels that the stable part of their identity is non-binary. Genderfluid people often express a desire to remain flexible about their gender identity rather than committing to a single definition. They may fluctuate among differing gender expressions over their lifetime, or express multiple aspects of various gender markers at the same time. A genderfluid individual may also identify as bigender, trigender, or pangender. Transfeminine is a term for any person, binary or non-binary, who was assigned male at birth and has a predominantly feminine gender identity or presentation; transmasculine is the equivalent term for someone who was assigned female at birth and has a predominantly masculine gender identity or presentation. In 1992, after the publication of Transgender Liberation: A Movement Whose Time Has Come by Leslie Feinberg, the term transgender was broadened to become a term for gender variation in general. This is highlighted in 1994, when activist Kate Bornstein wrote "All the categories of transgender find a common ground in that they each break one or more of the rules of gender: What we have in common is that we are gender outlaws, every one of us." The term genderqueer came into use during the mid-1990s among political activists. Riki Anne Wilchins is often associated with the word and claims to have coined it. Wilchins used the term in a 1995 essay published in the first issue of In Your Face to describe anyone who is gender nonconforming. They were also one of the main contributors to the anthology Genderqueer: Voices Beyond the Sexual Binary which was published in 2002. Wilchins stated they identify as genderqueer in their 1997 autobiography. The internet popularized the term genderqueer, as a wide audience was able to be reached very quickly. In 2008, The New York Times used the word genderqueer. In the 2010s, this term became more popularized as many celebrities publicly identified as gender nonconforming. In 2012, the Intersex & Genderqueer Recognition Project was started to advocate for expanding gender options on official documentation. In 2016, James Shupe was the first person to have a non-binary gender on official documents in the United States. Pronouns and titles |Common non-binary pronouns| |According to a 2021 survey, the five most popular pronoun sets used by non-binary people are they, he, she, none/avoid pronouns, and it.| Some non-binary/genderqueer people use gender-neutral pronouns. In English, usage of singular 'they', 'their' and 'them' is the most common; non-standard pronouns – commonly referred to as neopronouns – such as xe, ze, sie, co, and ey are sometimes used as well. Some others use conventional gender-specific pronouns 'he' or 'she', alternately use 'he' and 'she', or use only their name and do not use pronouns at all. Many use additional neutral language, such as the title 'Mx.' Many non-binary/genderqueer people use the gender they were given at birth to conduct everyday business, as many institutions and forms of identification – such as passports and driver's licenses – only accept, in the sense of recorded recognition, binary gender identities. However, with the increasing acceptance of non-binary gender identities and the rise in wider societal recognition, this is slowly changing, as a greater number of governments and institutions recognize and allow non-binary identities. Multiple countries legally recognize non-binary or third gender classifications. Some non-Western societies have long recognized transgender people as a third gender, though this may not (or may only recently) include formal legal recognition. In Western societies, Australia may have been the first country to legally recognize a classification of sex outside of 'male' and 'female' on legal documentation, following the recognition of Alex MacFarlane's intersex status in 2003. The wider legal recognition of non-binary people – following the recognition of intersex people in 2003 – in Australian law followed between 2010 and 2014, with legal action taken against the New South Wales Government Registry of Births, Deaths and Marriages by transgender activist Norrie May-Welby to recognize Norrie's legal gender identity as 'non-specific'. India's Supreme Court formally recognized transgender and non-binary people as a distinct third gender in 2014, following legal action taken by transgender activist Laxmi Narayan Tripathi. While the United States does not federally recognize a non-binary gender, in 2016 Oregon became the first state to recognize a non-binary gender identity. Following Oregon, in 2017 California passed an act allowing citizens to identify as "non-binary" on official documents. As of 2019, eight states have passed acts that allow "non-binary" or "X" designations on certain identifying documents. One of the main arguments against the inclusion of a third gender identifier in the U.S. is that it would make law enforcement and surveillance harder, however countries that have officially recognized a third gender marker have not reported these issues. In the United States there are no explicit laws to protect non-binary people from discrimination, however it is illegal for an employer to require employees to conform to sex stereotypes. Various countries throughout history have criminalized transgender and non-binary gender identities.[better source needed] In India, hijras and other non-binary identities were criminalized under the Criminal Tribes Act from 1871 onwards, referring to such individuals as "criminal castes." In the United States, the majority of respondents to the National Transgender Discrimination Survey chose "A gender not listed here". The "not listed here" respondents were nine percentage-points (33 percent) more likely to report forgoing healthcare due to fear of discrimination than the general sample (36 percent compared to 27 percent). Ninety percent reported experiencing anti-trans bias at work, and 43 percent reported having attempted suicide. The majority of reported discrimination faced by non-binary individuals often includes disregard, disbelief, condescending interactions, and disrespect. People who are non-binary are also often viewed as partaking in part of a trend and are thus deemed insincere or attention-seeking. As an accumulation, erasure is often a large form of discrimination faced by non-binary individuals. Misgendering is also a problem that many individuals face, be it intentional or unintentional. In the case of intentional misgendering, transphobia is a driving force. Also, the use of they/them pronouns is lumped into the larger, controversial, subject of safe spaces and political correctness, causing push back, and intentional misgendering from some individuals. In the case of unintentional misgendering, it is often expected for the person who is misgendered to console and forgive the person who made the mistake. Symbols and observances Many flags have been used in non-binary and genderqueer communities to represent various identities. There are distinct non-binary and genderqueer pride flags. The genderqueer pride flag was designed in 2011 by Marilyn Roxie. Lavender represents androgyny or queerness, white represents agender identity, and green represents those whose identities which are defined outside the binary. The non-binary pride flag was created in 2014 by Kye Rowan. Yellow represents people whose gender exists outside the binary, purple represents those whose gender is a mixture of – or between – male and female, black represents people who have no gender, and white represents those who embrace many or all genders. Genderfluid people, who also fall under the genderqueer umbrella, have their own flag as well. Pink represents femininity, white represents lack of gender, purple represents mixed gender or androgyny, black represents all other genders, and blue represents masculinity. Agender people, who also sometimes identify as genderqueer, have their own flag. This flag uses black and white stripes to represent an absence of gender, and a green stripe to represent non-binary genders. A 2019 survey of the Two-Spirit and LGBTQ+ population in the Canadian city of Hamilton, Ontario, called Mapping the Void: Two-Spirit and LGBTQ+ Experiences in Hamilton showed that 19% of the 906 respondents identified as non-binary. A 2017 survey of Canadian LGBT+ people called LGBT+ Realities Survey found that 4% of the 1,897 respondents identified as non-binary transgender and 1% identified as non-binary outside of the transgender umbrella. A 2011 survey conducted by the Equality and Human Rights Commission in the UK found that 0.4% of the 10,039 respondents identified as non-binary. It does not allow inference about the share of non-binary people in the whole population, since the survey sample was not necessarily representative. The purpose of the survey was to test if respondents are willing to answer questions about their transsexual status.:4-5 |Look up non-binary in Wiktionary, the free dictionary.| - Genderqueer fashion - Gender neutrality - Gender variance - List of fictional non-binary characters - List of people with non-binary gender identities - Transcending Boundaries Conference - Gender transitioning - Also spelled nonbinary. The term enby, from the abbreviation 'NB', is also used. - Bergman, S. Bear; Barker, Meg-John (2017). "Non-binary Activism". In Richards, Christina; Bouman, Walter Pierre; Barker, Meg-John (eds.). Genderqueer and Non-Binary Genders. Critical and Applied Approaches in Sexuality, Gender and Identity. Palgrave Macmillan. p. 43. ISBN 978-1-137-51052-5. - Richards, Christina; Bouman, Walter Pierre; Seal, Leighton; Barker, Meg John; Nieder, Timo O.; T'Sjoen, Guy (2016). "Non-binary or genderqueer genders". International Review of Psychiatry. 28 (1): 95–102. doi:10.3109/09540261.2015.1106446. hdl:1854/LU-7279758. PMID 26753630. S2CID 29985722. Archived from the original on 26 June 2019. Retrieved 9 June 2019. - "Supporting & Caring for Transgender Children" (PDF). Human Rights Campaign. Retrieved 8 April 2021. - "Trans + Gender Identity". The Trevor Project. Archived from the original on 4 July 2018. Retrieved 11 October 2019. - Beemyn, Brett Genny (2008). "Genderqueer". glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture. Chicago, Illinois: glbtq, Inc. Archived from the original on 25 April 2012. Retrieved 3 May 2012. - Bosson, Jennifer K.; Vandello, Joseph A.; Buckner, Camille E. (2018). The Psychology of Sex and Gender. Thousand Oaks, California: Sage Publications. p. 54. ISBN 978-1-5063-3134-8. OCLC 1038755742. Archived from the original on 28 May 2020. Retrieved 4 August 2019. - Whyte, Stephen; Brooks, Robert C.; Torgler, Benno (25 September 2018). "Man, Woman, "Other": Factors Associated with Nonbinary Gender Identification". Archives of Sexual Behavior. Heidelberg, Germany: Springer Science+Business Media. 47 (8): 2397–2406. doi:10.1007/s10508-018-1307-3. PMID 30255409. S2CID 52823167. 2 out of 7479 (0.03 percent) of respondents to the Australian Sex Survey, a 2016 online research survey, self-identified as trigender. - Winter, Claire Ruth (2010). Understanding Transgender Diversity: A Sensible Explanation of Sexual and Gender Identities. Scotts Valley, California: CreateSpace. 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They may identify as the gender ‘opposite’ to their assigned gender, or they may feel that their gender identity is fluid, or they may reject all gender categorizations and identify as agender or genderqueer. - Hendrie, Theo, ed. (2019). X Marks the Spot: An Anthology of Nonbinary Experiences. p. 238. ISBN 978-1-0809-6803-9. - Dahir, Mubarak (25 May 1999). "Whose Movement Is It?". The Advocate. San Francisco, California: Here Media. p. 52. - Shaw, Susan; Lee, Janet (23 April 2014). Women's voices, feminist visions : classic and contemporary readings (Sixth ed.). New York. ISBN 978-0-07-802700-0. OCLC 862041473. - Girshick, Lori B. (2008). Transgender Voices: Beyond Women and Men. Hanover, New Hampshire: University Press of New England. ISBN 978-1-58465-645-6. OCLC 183162406. - Shaw, Susan M.; Lee, Janet (2015). Women's Voices, Feminist Visions (6 ed.). New York City: McGraw-Hill Education. - Walsh, Reuben (December 2010). "More T, vicar? 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Hundreds of people flocked to Parliament square to protest against controversial changes to the Gender Recognition Act that are being considered by the Government. According to reports in the Sunday Times, Downing Street is considering scrapping measures drawn up under Theresa May’s Government to enable transgender people to change their birth certificate without a medical diagnosis. The Government is also said to be preparing new safeguards to protect female-only spaces – including refuges and public lavatories – to stop them being used by those with male anatomy. Parliament Square was packed this afternoon with people calling for support of trans people’s rights in the UK. Protesters held signs that read “love is love” and “trans rights now” as they listened to speeches. The event organisers said they had seven demands for the Government including the protection of the right to self-identification. They also called for “the promotion of gender neutral and inclusive spaces including toilets” and for official recognition of gender neutral and inclusive spaces including toilets. The Sunday Times report said that the proposals were “basically ready” and it was being slated for publication by the equalities minister Liz Truss at the end of July before MPs break for the summer. People gave speeches in Parliament Square at the trans rights protest (Liam Beattie) Liam Beattie, 28, attended today’s protests to support his trans partner. He told the Evening Standard: “With Trans Pride cancelled, today’s protests were such an important moment to amplify the voices of trans and non-binary people who are really concerned about reports the Government may roll-back on existing rights. “Having theses speeches outside Parliament really mattered as we’re now expecting Liz Truss to announce plans regarding the Gender Recognition Act in the Commons within the next few weeks. Trans rights supporters demonstrated in Parliament Square on July 4 (Rebecca Nicole Williams) “The diversity and passion of these voices showed why any roll-back needs to be challenged and the Government needs to be held to account on delivering changes it has yet to deliver. “I was proud to be standing with my trans boyfriend today and voice that trans lives matter and cannot be ignored.” Many showed support on social media for the protesters while others claimed the changes to the Gender Recognition Act were to protect womens’ rights. Piers Morgan responded to a question on Twitter about why people were against trans people’s rights to suggest they were defending womens’ rights. He said: “Are they ‘against trans people’ or against trans rights damaging women’s rights?” The organisers of the event said on Facebook that the changes to the Gender Recognition Act were discriminatory towards trans people. “We’ve been harmlessly using spaces that match our gender forever without issue, and people proved that they support us doing so,” said the organisers in the event description. “This is a peaceful protest to demand that our rights not be removed.” A No 10 source previously told the PA news agency that the details of the response were yet to be finalised, and the Prime Minister would have the final say on the recommendations.

Toxic Twitter - Triggers of Violence and Abuse Against Women on Twitter Violence and abuse against women on Twitter comes in many forms and targets women in different ways. Women who experience multiple and intersecting forms of discrimination offline often find that violence and abuse online also targets their different identities. Non-binary individuals can also face targeted and misogynistic abuse online for not conforming to gender norms of male and female. When I was elected in 2015 and even during my election campaign, I found myself at the other end of horrific levels of abuse. And the question is: why might that be? Is everyone receiving the same levels of abuse? Is it women? Is it because I’m a BAME (Black Asian Minority Ethnic) woman? Triggers of Violence and Abuse Women are targeted with violence and abuse on Twitter for a variety of different reasons. Sometimes it is for speaking out about certain (often feminist) issues and sometimes it is because they are public figures. A joint statement by the United Nations Special Rapporteurs on Violence against Women and Freedom of Expression highlighted how violence and abuse against women online can “chill and disrupt the online participation of women journalists, activists, human rights defenders, artists and other public figures and private persons.” When asked about what triggers abuse against her on Twitter, UK writer Danielle Dash explained, “The amount of abuse on Twitter depends on what you post. For example, if you talk about the EU, if you talk about race, if you talk about race and politics, if you talk about race and politics and gender, if you talk about rape – those are some of the triggering things that will attract the attention. It’s like a dog whistle to them.” UK journalist Nosheen Iqbal emphasized how the abuse she receives on Twitter is often sparked by writing strong opinion pieces. She also emphasized how the abuse can spiral out of control if someone with a large following is the original perpetrator of the abuse. She notes, “On Twitter, the general abuse I receive comes after I write opinion pieces. Expressing an opinion or a strong opinion will get you roasted online…The most memorable is when someone has a large following and all the followers jump in. You just don’t expect it – you shouldn’t expect it. Attitudes to women are heinous online.” Sometimes, perpetrators of abuse will seek trending hashtags to target Twitter users who identify with feminist causes or concerns. For example, in October 2015, the popular feminist hashtags #TakeBackTheTech and #ImagineAFeministInternet were targeted by an organized Twitter attack with thousands of misogynistic tweets and memes. The attack was in response to a tweet chat organised by the Internet Governance Forum Best Practice Forum on Countering Online Violence and Abuse meeting to discuss the impact of such violence and abuse. The organizer of the tweet chat also received an email in her personal inbox that stated the Twitter attack aimed to “destroy” the campaign. Women from marginalized communities can also be targeted for violence and abuse on Twitter because they are viewed by some people to represent the opinions of an entire community. UK journalist and campaigner Shaista Aziz explains, “I actually don’t think there are that many visible Muslim women with public platforms, so when you do have one, you become the individual that everything is targeted to.” Women also experience violence and abuse online in response to opinions about a range of matters that are not necessarily related to feminism or gender equality. For example, UK women’s rights activist Sian Norris described how she once tweeted about how much she disliked an Amazon advertisement featuring British broadcaster Jeremy Clarkson and was told to drink floor polish as a response. Women who are public figures are often particular targets of violence and abuse online, including on Twitter. A report by the Association for Progressive Communications and Hivos found that prominent women bloggers, journalists and leaders are regularly subjected to violence and abuse online, especially when it is related to fields where men have been traditionally held as experts, such as gaming, politics and technology. The public nature of journalism and the dependency of journalists on social media platforms to report the news or express opinions about current affairs makes female journalists prime targets for targeted violence and abuse. In the words of Dunja Mijatović, former Organization for Security and Co-operation in Europe Representative on Freedom of the Media, “Female journalists and bloggers throughout the globe are being inundated with threats of murder, rape, physical violence and graphic imagery via email, commenting sections and across all social media…Male journalists are also targeted with online abuse, however, the severity, in terms of both sheer amount and content of abuse, including sexist and misogynistic vitriol, is much more extreme for female journalists.” Many of the female journalists we spoke to emphasized how important Twitter, in particular, is to their work. Journalists are often expected to be active on Twitter to push stories out to their readers and to attract new audiences. In fact, journalists use Twitter to build their social capital by breaking news in their communities - which translates into more readers and which can attract more advertisers and result in economic gains. Female freelance journalists we spoke to stressed that they are reliant on Twitter for networking and securing employment. For many female journalists, not being on Twitter simply isn’t an option. Due to the reliance on Twitter as a platform deeply connected to their profession, female journalists have had to come to terms with the fact that what they post on social media platforms will often be met with violent and abusive commentary. When asked about her experience of violence and abuse on Twitter, Scottish journalist Vonny Moyes told us, “The majority of the abuse I receive is Twitter-based because I have a very active Twitter profile and following – part of which is necessary for the job I do. You can’t really be a journalist without being on Twitter these days because it’s where news breaks. Its where a lot of my work comes from… …I guess I would say I have come to expect everything I post online, whether it’s a tweet or a piece of writing to have some type of pushback. It’s become as if I have had to develop combat navigation skills, not just to do my job but to be a woman occupying space on the internet.” In some instances, threats of violence and abuse against female journalists are so severe that high-profile female journalists take multiple precautionary measures in case the threats made against them online transpire offline. For example, in September 2017, BBC Political Editor Laura Kuenssberg was assigned bodyguards while covering a political party conference. In January 2018, UK Channel 4 news presenter Cathy Newman had to bring on specialist security experts to verify online threats made against her, including threats on Twitter. Women in politics have also been particular targets of violence and abuse online. A study by the Inter-Parliamentary Union showed that social media platforms, including Twitter, have become the number one place in which violence and abuse against women parliamentarians is perpetrated. By attempting to silence and exclude the voices of women in politics, violence and abuse online are yet another challenge to women’s political engagement. Violence and abuse against women Members of Parliament (MPs) in the UK have been of particular concern in recent years. For example, in January 2018, MP Anna Soubry submitted multiple tweets to the police containing death threats against her. In September 2017, Amnesty International used machine learning to measure and analyse online abuse against women MPs active on Twitter in the UK between 1 January and 8 June 2017, with a particular focus on the six weeks leading up to the UK General Election. The analysis reinforced the way in which online abuse targets different identities and found that Diane Abbott, the Shadow Home Secretary and first black female MP in the UK - alone - received almost half (45.14%) of all abuse against women MPs active on Twitter in the UK during this period. Diane Abbott said, “I welcome scrutiny, and I welcome engagement, and I welcome debate. That’s why I was so positive about these online platforms. But the problem is when people are not engaging in debate or scrutiny but just showering you with abuse — saying that you are a nigg*r, that you are a prostitute, threats against your safety. It’s just abuse which has no political content and which actually people wouldn’t say in a meeting or to your face.” First Minister of Scotland, Nicola Sturgeon agrees. She told Amnesty International, “I think we have to be very vigilant about genuine and legitimate criticism crossing that line and becoming unacceptable abuse. I think for politicians that threshold is higher…When that kind of commentary crosses a line and becomes threatening or just downright abusive, then I think politicians, just like anybody else, have a right to call that out and say that’s not acceptable…Online abuse poisons the well of political engagement for a vast majority of people who want to use those mediums in a really positive way.” Amnesty International’s research also found that violence and abuse against women cuts across all political parties in the UK demonstrating that targeted violence and abuse against female politicians is a bi-partisan issue that does not pay heed to political boundaries. Women’s Rights Activists Threats, intimidation and harassment have been part and parcel of many women’s experiences of standing up for human rights. The United Nations Declaration on Human Rights Defenders reaffirms rights that are essential for women’s rights activists - including the rights to freedom of expression and opinion. But as activism has evolved to include social media platforms as a powerful place to organize and share information about human rights abuses – threats, intimidation and harassment against women’s rights activists have also moved to these same platforms. Multiple United Nations Resolutions have explicitly recognized the risk of violence and abuse and against women’s rights activists online. Women’s rights activists are targeted on social media platforms like Twitter because they stand up to injustice. US blogger and reproductive rights activist Pamela Merritt shared multiple examples of how her work as a women’s rights activist has led to her being targeted with threats of violence and abuse on social media platforms, including Twitter, “When I did a series of blog posts about police killings of black people I got tweets and comments saying I am an ‘ugly fat black b*tch and that I deserve to die’ or ‘you wouldn’t be upset with the cops if some giant nigg*r rapes you.’ If you write about abortion or about sexual violence then you are going to get a rape threat like ‘you should be raped’ or ‘I wouldn’t be upset if somebody raped you’. I did a post about black, queer women and got a bunch of comments about how ‘they should f*ck the queer out of you’ and ‘you just haven’t been f*cked well’.” Pamela Merritt’s experiences are not isolated. A 2013 global monitoring survey conducted by the Association for Progressive Communications on sexual rights and the internet showed that while 98% of sexual rights activists see the internet as critical for their work, 51% of activists received violent and threatening messages online. A 2017 UK study conducted by the University of Northumbria titled ‘Online Abuse of Feminists as An Emerging form of Violence Against Women and Girls’ found that Twitter was the social media platform used most commonly by respondents for feminist debate (80%). It also found that respondents experienced the most abuse on Twitter with some respondents reporting that abuse started when they began to use Twitter. The study found that 88% of the respondents who use Twitter regularly for feminist debate had experienced abuse on the platform. UK reproductive rights activist Dawn Purvis told Amnesty: “I have faced multiple layers of abuse on social media platforms, both on Twitter and on Facebook, both because I’m a woman and because of the stand I take on certain issues. On Twitter I was threatened and told that I deserved to be killed. I’ve been called a murderer, a killer, I’ve been called anti-woman - I’ve been called all sorts of names.” It is important to stress that violence and abuse against women online is not only limited to women in the public eye. Women without a large or significant public following can also be targeted on Twitter. For example, Rachel*, a 19-year-old woman in the UK with just over 350 followers on Twitter described an experience where she posted a tweet about sexist behaviour towards her alongside a popular feminist hashtag. She detailed the level of abuse she received as a result, “The hashtag is there to be a supportive tool and to make women feel like they are not alone. But the more popular the tweet becomes the more abuse you get. I had tweets saying ‘you are such a little b*tch’ or ‘Jimmy Saville should have raped you’.” The Intersectional Nature of Violence and Abuse against Women Online Women have the right to live free from discrimination, both online and offline. The right to non-discrimination is a core provision in all international human rights standards. The UN Committee on the Elimination of Discrimination against Women states, “Discrimination against women’ shall mean any distinction, exclusion or restriction made on the basis of sex which has the effect or purpose of impairing or nullifying the recognition, enjoyment or exercise by women, irrespective of their marital status, on a basis of equality of men and women, of human rights and fundamental freedoms in the political, economic, social, cultural, civil or any other field.” Additionally, UN General Assembly Resolution 68/181 affirms that violence and abuse against women on social media platforms can be a form of systematic gender discrimination against women. It states, “…information-technology-related violations, abuses, discrimination and violence against women, including women human rights defenders…with a view to discrediting them and/or inciting other violations and abuses against them, are a growing concern and can be a manifestation of systemic gender-based discrimination…” However, any analysis of violence and abuse against women online should not solely be seen through a gender lens. Women who face discrimination because of their different identities offline often find that violence and abuse against them will target those same identities on Twitter. This is because an individual’s race, religion or sexual orientation, for example, can have just as much of an effect as gender — if not more — on how that person is treated both in the physical and digital world. In the case of online violence and abuse, women of colour, religious or ethnic minority women, lesbian, bisexual, transgender or intersex (LBTI) women, women with disabilities, or non-binary individuals who do not conform to traditional gender norms of male and female, will often experience abuse that targets them in unique or compounded way. US Professor Kimberlé Cranshaw, who coined the term ‘intersectionality’ explains: “Intersectionality is a lens through which you can see where power comes and collides, where it interlocks and intersects. It’s not simply that there’s a race problem here, a gender problem here, and a class or LBGTQ problem there. Many times that framework erases what happens to people who are subject to all of these things." International human rights standards explicitly recognize the negative impact of intersecting forms of discrimination on the ability of women and girls to exercise their human rights. Almost every single woman interviewed for this study who has experienced multiple or intersecting forms of discrimination offline stressed to Amnesty International that the violence and abuse they experience on Twitter reflect these same forms of discrimination. US journalist Imani Gandy explains her experience as a woman of colour on Twitter, “I get harassment as a woman and I get the extra harassment because of race and being a black woman. They will call white women a ‘c*nt’ and they’ll call me a ‘n*gger c*nt’. Whatever identity they can pick they will pick it and use it against you. Whatever slur they can come up with for a marginalized group – they use.” Imani’s experience was echoed by many others. UK journalist Charlie Brinkhurst-Cuff simply stated "I’ve never had abuse only because I’m a woman – it’s almost always had to do with my race". Scottish Parliamentarian and Leader of the Opposition Ruth Davidson told Amnesty International that the abuse she faces is both misogynistic and homophobic. She said, “..Because I’m openly gay – I was the first openly gay leader of a major political party in the UK- and particularly when I started, there was a lot of homophobic abuse. I have a lot of young gay followers on my Twitter, and for me it’s important to call that out….Every now and again, every month or so, I’ll retweet or push back on some of the homophobic abuse because I think it’s important that people see that sort of language is not acceptable – you don’t have to take it.” US writer and presenter Sally Kohn, an openly lesbian woman, has had similar experiences on Twitter. She explained how her gender and sexual orientation both play a part in the abuse she receives. During the interview with Amnesty International she read out real-time comments she was receiving in response to a tweet she had posted a day earlier. The Twitter responses she received had nothing to do with the subject matter and included, ‘Are you a boy or a girl?’ and ‘Are you – are you just really a man?’ Former UK Politician Tasmina Ahmed-Sheikh also explained to Amnesty International how the abuse she receives on Twitter targets every aspect of her identity. She explained, “I am from a Scottish Asian community. I am a Muslim. And I’m a woman. So it’s everything. It has an exponential effect, so people will pile on the abuse for a variety of different reasons. Some of them because you are all of these things, and some because you are one of these things, or two of these things, which makes it so much more difficult to deal with, because you just wonder where do I start with this?” Irish Politician from Belfast Michaela Boyle told Amnesty International that the abuse she has received on social media platforms not only focuses on her appearance but also targets the fact that she has a disability. She told us, “I have a physical disability and that has often been commented on - about how I should ‘get that disability fixed’. And that to me is derogatory. You know, I don’t care how my physical disability looks to others, I am comfortable in my own skin with it.” Because intersectional discrimination is rooted in power and patriarchal structures, individuals who refuse to conform to gender binaries of male and female are also at risk of targeted abuse, especially if they are ‘femme’ presenting. Travis Alabanza, a trans, femme, non-binary UK actor and poet explains, “I’m more interested in how we are all experiencing misogyny, and that’s why this violence online is happening to us. Not because of how we identify but because we’re all experiencing misogyny under the patriarchy.” It is imperative that social media platforms like Twitter recognize the underlying factors that trigger online violence and abuse against people to ensure that their response both reflects and addresses these different experiences. Any approach to combatting violence and abuse on the platform that is not intersectional will only continue to further silence women from marginalized communities. The study describes ‘abuse’ as ‘harassment and sexual harassment, threats of physical and sexual violence, flaming and trolling, stalking, electronic sabotage, impersonation and defamation—and definitions, drawn from relevant contemporary research’. It also states that asking about ‘general’ and specific (‘the last incident’) experiences captured the range and specificity of abuse without focusing disproportionately on experiences which might skew the data towards the ‘worst’ incidents. Responses indicate that abuse can be experienced over extended periods, so an individual ‘incident’ can consist of a single communication or of many, over weeks or months. The concept of intersectionality was first coined by US legal academic Kimberlé Crenshaw in 1989 when she argued that the experiences of African-American women in the US were excluded from both feminist and anti-racist discourses. She argued that African-American women suffer different forms of discrimination than African-American men or white women. Understanding the experiences of African-American women requires analysing discrimination on the basis of both gender and race and how they interact, otherwise anti-racist analysis alone may risk narrowly focusing on (or prioritizing) the experiences of African-American men, and gender analysis alone may risk prioritizing the experiences of white women. As the concept has developed, intersectionality approaches recognise that everyone’s identity is made up of multiple components – including based on one’s sex, race, nationality, sexual orientation, gender identity, religion, language(s) spoken, caste, class, disability, age, marital status, place of birth, and place of residence. People may identify (or be identified) more strongly with some of these factors more than others, and this may change over time.

Symposium Announcement and Call for Papers Are You There, Law? It’s Me, Menstruation April 9, 2021 The Columbia Journal of Gender & Law is pleased to announce a call for papers for its Spring 2021 symposium: Are You There, Law? It’s Me, Menstruation. This symposium explores the intersection of law and menstruation. Over half the population menstruates for a large portion of their lives, but the law has mostly been silent on the issue. Virtually all people with female biology menstruate, although not all who menstruate are girls or women. A truly inclusive law reform movement will take all who menstruate into account, without regard to race, economic class, age, or gender identity. A legal system that takes into account the biology of over half the population is the foundation for a more just society. Judy Blume’s young adult classic, Are You There God? It’s Me, Margaret, first captured readers’ attention fifty years ago, but only recently have periods entered the public discourse. The “tampon tax”—the state sales tax on menstrual products—is currently the subject of multi-state litigation and legislative advocacy. Public awareness of the unfairness of the tax has inspired many people to start speaking and mobilizing about other obstacles, including the lack of employment-related accommodations for menstrual needs, the lack of access to safe and affordable products (particularly in schools and prisons), and the anxiety and harassment that menstruating students can face at school. Increasingly, litigation is being brought about some of these issues, and some states and localities are also taking action on their own, notably by requiring free menstrual products in settings like prisons, schools, and shelters. “Period poverty”—being unable to afford menstrual products—remains an obstacle to school, work and full participation in public life. The Symposium will be held at Columbia Law School on April 9, 2021. The conference will include a full day of panel discussions and will be open to the public. The program concludes with a reception celebrating the journal’s thirtieth anniversary. To be considered for a paper presentation at the symposium, please submit an abstract of your proposed paper by 5:00 p.m. on August 15, 2020 to firstname.lastname@example.org. Abstracts should be no longer than 500 words and should relate to the conference theme. Possible topics might include: - Affordability, availability, or safety of menstrual products. - Challenging the state sales tax on menstrual products. - Menstruation-related discrimination and harassment in employment, education, and/or other contexts. - Menstrual education in schools. - Menstruation-related challenges unique to prisoners, incarcerated people, and visitors and employees in carceral facilities. - Menstruation-related needs of homeless and low-income individuals and families. - Cultural stigmas and taboos related to menstruation. - Lawyering and social movements that are inclusive of all who menstruate, including trans boys and men, people with gender fluid identities, and people with non-binary gender identities. - Research related to health issues connected with menstruation and menstrual products. - Environmental issues related to menstruation, including access to water, disposal of menstrual products, and toxic chemicals used in menstrual products. - Alternatives to commercial menstrual products, including micro-lending for financing of menstruation-related small businesses. - Human rights concerns, including the right to dignity, the right to education, and/or the right to employment, and their connection to menstruation. - The relationship of popular culture, including Judy Blume’s Are You There God? It’s Me, Margaret, to the understanding of menstruation. - The use of female empowerment and feminist messaging in selling menstrual products and menstrual education. - Menstrual-related activism, including litigation and legislative reform. - Coalition-building between and among groups around issues related to menstruation. Successful proposals will include a discussion of how the selected topic relates to the law. Interdisciplinary approaches and perspectives from outside the legal academy are very welcome. Selected speakers will be notified by September 15, 2020. The selected speakers from this Call for Papers will have the opportunity to publish their papers in a special symposium issue of CJGL. All such papers will be due by February 1, 2020. They must be no more than 3,000 words and should be lightly-footnoted. The abstracts will be posted to CJGL’s public website, and the complete versions may be made available prior to the symposium on a password-protected site to all symposium participants. Registration and Transportation There is no registration fee associated with the conference. There are funds available to cover the reasonable transportation costs and accommodations for speakers coming from outside the New York metropolitan area. Short On-Line Essays In connection with the symposium, CJGL invites expressions of interest in contributing short essays (100-500 words, including footnotes) on any aspect of law and menstruation, or reflections on the influence of Judy Blume’s book and its legacy for generations of readers. Essays will be hosted on the CJGL website beginning in early 2021 and are intended to be written for a general audience. We warmly welcome contributions from students, faculty, attorneys, activists, artists and others. Contributions may take the form of personal reflections, cultural critiques or other menstruation-related topics of the author’s choice. Short essays do not have to be in a traditional academic format. To be considered for contribution of a short essay, please submit a short (2-4) sentence proposal by 5:00 p.m. on August 15, 2020 to email@example.com. Selected contributors will be notified by September 15, 2020. Final versions of short on-line essays will be due November 1, 2020. Questions about logistics of the program can be directed to CJGL Symposium Editor Jenna Rae Lauter: firstname.lastname@example.org Other questions can be directed to the Symposium’s faculty conveners: Professor Bridget Crawford (Elisabeth Haub School of Law at Pace University) email@example.com; Professor Emily Gold Waldman (Elisabeth Haub School of Law at Pace University) firstname.lastname@example.org; and Professor Margaret Johnson (University of Baltimore School of Law) email@example.com.

- Research article - Open Access Analog regulation of metabolic demand © Sonnenschein et al; licensee BioMed Central Ltd. 2011 - Received: 22 October 2010 - Accepted: 15 March 2011 - Published: 15 March 2011 The 3D structure of the chromosome of the model organism Escherichia coli is one key component of its gene regulatory machinery. This type of regulation mediated by topological transitions of the chromosomal DNA can be thought of as an analog control, complementing the digital control, i.e. the network of regulation mediated by dedicated transcription factors. It is known that alterations in the superhelical density of chromosomal DNA lead to a rich pattern of differential expressed genes. Using a network approach, we analyze these expression changes for wild type E. coli and mutants lacking nucleoid associated proteins (NAPs) from a metabolic and transcriptional regulatory network perspective. We find a significantly higher correspondence between gene expression and metabolism for the wild type expression changes compared to mutants in NAPs, indicating that supercoiling induces meaningful metabolic adjustments. As soon as the underlying regulatory machinery is impeded (as for the NAP mutants), this coherence between expression changes and the metabolic network is substantially reduced. This effect is even more pronounced, when we compute a wild type metabolic flux distribution using flux balance analysis and restrict our analysis to active reactions. Furthermore, we are able to show that the regulatory control exhibited by DNA supercoiling is not mediated by the transcriptional regulatory network (TRN), as the consistency of the expression changes with the TRN logic of activation and suppression is strongly reduced in the wild type in comparison to the mutants. So far, the rich patterns of gene expression changes induced by alterations of the superhelical density of chromosomal DNA have been difficult to interpret. Here we characterize the effective networks formed by supercoiling-induced gene expression changes mapped onto reconstructions of E. coli's metabolic and transcriptional regulatory network. Our results show that DNA supercoiling coordinates gene expression with metabolism. Furthermore, this control is acting directly because we can exclude the potential role of the TRN as a mediator. - Metabolic Network - Flux Balance Analysis - Digital Control - Transcriptional Regulatory Network - Effective Network A single Escherichia coli chromosome comprises 4.6 Mb and must be compacted at least ~103 fold to fit inside the bacterial cell. Despite tremendous compaction the nucleoid is a dynamic structure adapted to varying rates of replication and different transcriptional requirements resulting from changes in environmental conditions. This double requirement of compaction and differential gene expression implies that bacterial chromatin must possess a high degree of spatial organization. Recent investigations indicate that the maintenance and utilization of negative supercoils in the DNA is central to both issues . In the protein-free DNA molecule, DNA superhelicity is partitioned into a twist component, Tw, which is reflected in a twisting or untwisting of the double helix for positively and negatively supercoiled DNA respectively, and a writhe component, Wr, which is a measure of the three-dimensional path of the double helical axis. In a closed topological domain these quantities are related to a change in linking number (ΔLk) from the relaxed state such that ΔLk = ΔTw + Wr. Negative supercoiling can facilitate both DNA folding and compaction as well as the untwisting of DNA which is required for the initiation of transcription and replication . Gene promoter regions are generally characterized by high deformability, being susceptible to duplex destabilization under conditions of superhelical stress [3–5]. The cellular promoters can be thus understood as devices channeling the free energy of negative supercoiling to localized, biologically relevant sites in DNA. Several studies using different promoters and promoter derivatives revealed that there is a distinct, yet characteristic, coupling between the superhelical density of DNA and the activity of a particular promoter [6–8]. A change of supercoiling could thus globally and differentially affect the efficiency of channeling superhelical energy at distinct promoters, allowing coordinated change of gene expression activities to occur. We want to emphasize that the terminology of "digital" and "analog" control as contributions to gene regulation, which has been introduced in Marr et al. , is intended to emphasize the qualitative difference between regulation mediated by transcription factors and regulatory action exerted by DNA topology. We are aware that (1), when zooming into the elementary process of transcription factor diffusion and binding etc., digital control has many graded, non-binary properties and (2) stabilization of specific structural modes of the DNA by NAPs can be viewed as a discontinuous, discrete features of analog control. However, the advantage of dissecting the digital ("on or off") and analog ("more or less") logic of transcriptional regulation is in integrating the distinct types of information into a holistic approach, while separately each approach falls short of describing this multifaceted phenomenon. In the bacterial cell the abundant nucleoid associated proteins (NAPs), including FIS, H-NS, HU, Lrp, Dps and IHF, fulfill the role of packaging and dynamic constraint of superhelicity. These NAPs are assumed to be mediators of analog control exerted by long-range nucleoprotein structures formed by binding of multiple low affinity sites in the chromosome as opposed to digital control exerted by low concentrations of dedicated transcription factors binding specific DNA sites with high affinity . In particular, this combination of a global state (i.e. the superhelical density) and local states (domains and chromatin) is responsible for the spatial transcript patterns observed along the chromosome [10, 12–14]. DNA supercoiling is homeostatically controlled by topoisomerase I, which leads to DNA relaxation, and DNA gyrase which introduces negative supercoils into the DNA . Furthermore, the superhelical density is responsive to a range of physiological conditions, e.g. the growth phase (; see also Figure 1B), phosphorylation potential of the cell and stress conditions . It is precisely this physiological dependence that prompted us to ask whether DNA supercoiling is a global regulator relating the chromatin structure and transcription to metabolic demand [10, 19]. Furthermore, we show that the regulatory control exhibited by DNA supercoiling is not mediated by the transcriptional regulatory network (TRN), as the consistency of the expression changes with the TRN logic of activation and suppression is strongly reduced in the wild type in comparison to the mutants. Our data are evidence for an optimal conversion of supercoiling into metabolic adjustments by NAPs. While it is true for eukaryotes that the multi-level organization of gene regulation obfuscates the connection between mRNA and protein levels, let alone metabolic fluxes, and it seems that most of the control on metabolism is contributed by the post-transcriptional levels , the situation is known to be quite different in prokaryotes where transcription and translation are tightly coupled [23, 24]. So it is valid to analyze the role of transcriptional regulation in order to understand bacterial homeostasis and the metabolic state of a cell. To our knowledge, this work is first to show directly on a system-wide level the coordinated regulation of cellular metabolism by DNA supercoiling and NAPs. An important feature of our approach is that we analyze subnetworks of the overall metabolic gene network defined by the data at hand. These effective networks contain only the active components (differentially expressed genes) under the given conditions (alterations in the superhelical density) and are analyzed from a network-topological perspective. The connectivity of these gene-centric effective networks is thus a result of the underlying reaction-centric topology, together with the observed gene expression pattern. Deviation of this connectivity from randomness is what we will in the following call metabolic coherence (MC). A second, more refined definition of effective metabolic gene networks, which will also be used in the following, requires both a significant expression change for one of the associated genes and a non-zero metabolic flux predicted for the encoded reaction using flux balance analysis under specified environmental conditions. In order to validate our results on a broad scale we use network reconstructions from multiple independent databases and also apply different methods to handle gene-reaction mappings as well as currency metabolites (see also Methods and Additional file 1: Supplemental Text S1). In the following we will present our results for the different variants of the metabolic coherence for the four gene expression profiles from Figure 2. Figure 4A displays the pattern retrieved from the gene network based on the EcoCyc pathways. The wild type expression data exhibit the strongest coherence with the metabolic network (high MC). The wild type also shows the strongest MC for the KEGG network compared to the three mutants, however less clearly than for the EcoCyc case (see Figure 4B). Figure 4C gives the MC pattern for the i AF1260 gene network, from which we manually removed currency metabolites. In this in silico model of E. coli metabolism, we again observe a strong MC for the wild type and low values for the mutants, with the double mutant exhibiting the lowest amount of coherence. Flux balance analysis (FBA) is a quantitative approach for computing steady-state fluxes on metabolic networks . It allows us to study whether the observed systematics are enhanced, when only active links in the metabolic network are taken into account. Using the i AF1260 model, we computed a steady-state flux distribution that maximizes biomass production under a rich medium condition and eliminated all inactive links from the network. The resulting MC is shown in Figure 4D. Strikingly, the restriction to active fluxes enhances the previous pattern (from Figure 4C), i.e. the gap between the wild type metabolic coherence and the MC values of the three mutants. The key observation from Figure 4 so far is that changes in gene expression levels brought about by changes in supercoiling energy in the genome have a strong metabolic interpretation: the agreement of these expression changes with the metabolic network is significantly above randomness (as measured by the metabolic coherence). When severely perturbing the internal mechanisms of chromatin organization (by eliminating FIS and/or H-NS from the system), metabolic coherence goes down. Robustness of the result Network analysis has established itself as an efficient way of exploring biological systems ([9, 29]; see also Additional file 1: Supplemental Text S1). Nevertheless, network treatment of metabolic systems is accompanied by certain difficulties and we check the robustness of our results against many of them. In order to solidify this initial result, we need to look in detail at several issues, which can potentially affect our analysis (see also Additional file 1: Supplemental Text S1): (i) Gene to reaction mapping. While all our analyses have been performed with gene-centric graphs, the reaction-centric graph serves as the starting point for assessing metabolic information (in particular, the activity of metabolic fluxes). Decisions are therefore necessary, how to relate the reaction level with the gene level. The procedure of mapping genes (i.e. the layer of information, where expression changes occur) onto reactions (i.e. the layer of information, where the metabolic network is evaluated) can have an impact on our result. Excluding ambiguous gene to reaction relations in a step-wise fashion permits us to investigate if our results are sensitive to this issue. (ii) Treatment of currency metabolites. Currency metabolites are compounds in metabolic reactions balancing charge, energy, phosphate etc. They are distinguished from main metabolites (which define the metabolic pathway structures) only by biochemical knowledge or, qualitatively and indirectly, due to their very high degree in the metabolic network (resulting from their involvement in a vast number of reactions). The treatment of currency metabolites is an important issue in the discussion of the topological properties of metabolic networks (see, e.g., ). An approximate way of eliminating currency metabolites from metabolic network representations is to remove a certain percentage of highest-degree metabolites. Alternatively, one can use a database, where metabolites are already labeled as main metabolites and currency metabolites, respectively. This information is included in the most recent variants of the KEGG database (e.g., release 51.0; see ). In the E. coli FBA model i AF1260 , this information is not available. In order to obtain a currency metabolite free version of i AF1260 we used either a threshold to remove 4% of the most highly connected metabolites (threshold heuristic; comparable to the procedure described in ) or a manually curated network (resembling the procedure described in ; see also Additional file 1: Supplemental Text S1). (iii) Differences between metabolic databases. Using intersections of the different metabolic reconstructions of E. coli allows us to focus on the commonalities between them. (iv) Definition of the growth medium for determining the active metabolic reactions via FBA. All these points are addressed in the following. (ii) In order to evaluate the influence of the gene-reaction mapping on our results, we computed MC values for all databases using the following configuration: (a) Taking all multiplicities into account, (b) excluding cases where a single or multiple genes are associated with two consecutive reactions and (c) taking only reaction links (pairs of reactions sharing a metabolite) into account, which are associated with two single distinct genes (see also Additional file 1: Supplemental Text S1 and Supplemental Figure S2). (iii) We also computed signatures for different intersections of all available databases. By doing so, we gradually remove uncertain connections between genes, nomenclature issues and differences in the level of chemical detail captured by the different databases. This increases the confidence of the used gene network. The intersection of the gene networks from KEGG, EcoCyc and the i AF1260 model constitutes hereby the network with the highest confidence as it includes only connections being present in all databases. It should be noted that the differences in the results under variation of the database are also due to the balance between enhancing the systematic contribution (e.g., by eliminating currency metabolites) and retaining a large enough network to extract statistically meaningful quantities. (iv) Different treatments of currency metabolites in case of the i AF1260 network (see Additional file 1: Supplemental Text S1 and Supplemental Figure S3 and S4): (a) manual curation, (b) threshold heuristic and (c) no treatment. (v) Recently, flux-coupling networks have been intensely studied in terms of their organizing principles and their relation to gene expression data. A flux-coupling gene network coming from , which has been obtained from the i JR904 E. coli model, is analyzed here. It is subdivided into three subsets: (a) The total network, and two subsets, i.e. (b) fully and (c) directionally coupled gene pairs. The overall trend seen in Figure 5 is that metabolic coherence is highest in the wild type. The mutants' expression patterns, while displaying a positive MC, are not as well aligned to the metabolic network as the wild type. This effect is particularly clear when only switched-on fluxes are taken into account. In this case the metabolic coherence directly measures the coherence of the expression pattern with the pattern of metabolic fluxes. Furthermore, we find a similar pattern for the fully-coupled flux-coupling gene network, which indicates that besides the topological matching also other metabolic relationships are perturbed in the mutants. Qualitatively speaking, considering intersections and restricting the analysis to fluxes, which are predicted active by FBA, enhances the dominant signal of high wild type metabolic coherence compared to the mutants. Growth medium complexity Link to digital control Is the strong metabolic coherence found for wild type E. coli a direct consequence of chromatin organization (analog control) or is it mediated indirectly through the transcriptional regulatory network (TRN)? From we know that digital control (i.e. the consistency of the analyzed gene expression patterns with the TRN) is low in the wild type (compared to the FIS and H-NS mutants) on the network-wide scale, indicating a buffering effect of the TRN. In this study , digital control has been measured using the digital CTC (Control Type Confidence), a measure very similar to our metabolic coherence (see Methods), that evaluates the coherence of patterns of differentially expressed genes with the TRN. Beyond the standard digital control strength from we also integrate the signs of the expression changes with the regulatory information on the corresponding links in the TRN (see Figure 7B and Methods). This is an elegant method for strengthening the direct link between supercoiling and the metabolic network: not only is the pattern of supercoiling-induced gene expression changes meaningfully distributed on the metabolic network, but also the transcriptional regulatory network does not provide an adequate interpretation of the data (see Figure 7). Changes to the superhelicity of the bacterial chromosome cause patterns of gene expression changes , which have been discussed from a signal processing point of view , a global perspective (including an enrichment analysis of metabolic pathways) , and in the context of transcriptional regulatory and spatial gene-proximity networks (spatial proximity on the genome) . Our main result, the high metabolic coherence of supercoiling-induced gene expression changes in wild type E. coli, as opposed to mutants lacking the NAPs FIS and H-NS, provides further evidence for a regulatory role of DNA supercoiling. It is robust across several metabolic databases and over a wide range of environmental conditions, when taking flux-activity predictions into account. Furthermore, it is not qualitatively affected by technical details of defining the metabolic network. We can only bring these MC values down by mutations perturbing the machinery of chromosomal organization. These mutants are still viable, but their pattern of supercoiling-induced gene expression changes shows a markedly reduced metabolic coherence. They are, in fact, close to random expression changes, suggesting that the altered overall superhelical density and topological barriers in these mutants [10, 12] preclude efficient channeling of the changes of superhelicity into metabolism. Furthermore, the low consistency of the wild type expression patterns with the TRN topology (digital control) and its encoded regulatory logic (TRN consistency), suggest that the transcriptional regulation of enzymatic genes is primarily accomplished by chromosomal organization, i.e. the concerted interplay of global supercoiling and NAPs. Quite contrary, the stronger consistency of mutant expression changes and TRN topology and logic support the view in that the TRN is buffering the lack of NAPs. The results presented here, while providing a fairly clear picture of the interplay between mechanisms of gene regulation and metabolism, provide several incentives for our analysis as obvious steps for future work: at the core of our analysis is the metabolic coherence. It would be helpful to compare this measure with related attempts of quantitatively comparing gene expression data with metabolic information . Also, if suitable data are available, we would like to extend our analysis to other organisms. A more careful discussion of the gene-reaction mapping from a network perspective is certainly necessary in order to go from our observation of metabolic coherence to a more detailed interpretation. It also may be helpful to manually construct metabolite, reaction and gene mappings between i AF1260, KEGG and EcoCyc, in order to better understand the strong differences in MC between the databases. On a broader level, we believe that the general approach of defining and comparing control strengths and topological coherence measures associated with distinct biological processes and, in this way, dissecting gene expression patterns, may be a useful perspective for systems biology investigation, where a multitude of influences shape a process at hand. In those cases where the control type under investigation is network-based (like the metabolic coherence defined here), control strength evaluates effective networks (defined as the currently active part of the static background network). Such effective networks are a novel and highly instructive way of exploring the relation between network architecture and dynamical processes (see, e.g. , for an analysis of effective gene regulatory networks and , for a theoretical study of effective networks). A detailed description of materials and methods is given in Additional file 1: Supplemental Text S1. Gene-centric metabolic networks We represented metabolism in form of a connectivity network of metabolic genes. We define metabolic genes G as DNA units that encode enzymes or parts of enzyme complexes. Let the gene product of gene G 1 be involved in reaction R 1 and that of G 2 in R 2. In the gene-centric metabolic network we study here, the two genes G 1 and G 2 are directionally connected if and only if the same metabolite exists among the products of R 1 and the substrates of R 2. Networks representing the full metabolism of E. coli K12 MG1255 have been constructed from the following sources: the EcoCyc pathways were extracted from the pathways.dat file contained in the flat-file distribution (EcoCyc version 13.6). Neither signaling nor superpathways have been considered in our analysis. The KEGG pathways were retrieved from a distribution of xml files (ftp://ftp.genome.jp:21/pub/kegg/xml/organisms/eco/; extracted on 20 November, 2009) describing the different pathways included in the KEGG database. The in silico reconstruction i AF1260 was obtained in SBML format from the BIGG database . In order to avoid irrelevant connections coming about due to highly abundant compounds, e.g. ATP or other cofactors, sometimes termed currency metabolites , we utilized data sources (EcoCyc, KEGG) where these metabolites already have been removed on a reaction to reaction basis. In lack of this information (like in i AF1260) we employed a threshold on the metabolites' connectivity degrees to exclude those factors prior to network construction or removed them manually (see also Additional file 1: Supplemental Text S1 and Supplemental Figure S4). For each effective subnetwork N the ratio of connected nodes to overall nodes was calculated as the metabolic coherence ratio MCR. To make this measure robust against sample size effects we transformed it into a z-score, the metabolic coherence MC, by mapping random gene sets of the same size (i.e. the number of genes/nodes in the effective subnetwork G) onto the overall static network, thus constructing random effective networks N' with associated MCR' values. The MC was computed using 5000 realizations of the null model. A jackknife test was sometimes used to verify the robustness of the MC. The MC was recalculated 100 times while randomly removing 10% of the expression data. The E. coli transcriptional regulatory network was obtained from RegulonDB (version 6.4). Only links between transcription factors (regulators) and metabolic genes (as found in the EcoCyc network) were considered for the digital control and TRN consistency analysis. Digital control was measured in form of the digital CTC, as described in , with the exception that the ratio of connected nodes to overall nodes was used instead of the ratio of connected to isolated nodes. Methodologically, this method is similar to the MC computation. The consistency of effective TRN subnetworks (TRN consistency) was calculated as the ratio of consistent links (i.e. the regulatory logic encoded on the links is consistent with the expression signs on the nodes; see Figure 7B) to overall effective links. Similar to the MC, this ratio was transformed into a z-score. Shuffling the expression signs of the effective nodes was used as a suitable null model. 5000 realizations of the null model were used for the z-score transformation. Constraint-based models and especially flux balance analysis (FBA; ) and its variants allow the prediction of steady-state flux distributions for genome-scale metabolic models by solving a linear optimization problem under various subsidiary conditions. This approach has been used thoroughly in the past to tackle a wealth of questions regarding the metabolic capabilities of different organisms [40, 41]. For the computation of flux distributions under varying media conditions, we started from a rich medium, removing medium components one by one under the condition that biomass production is not disrupted until a minimal medium composition was reached. We should mention that a large number of trajectories through the traversed media space exists. The transcript profiles analyzed in this study were obtained by DNA microarray analyses using genetically engineered E. coli LZ41 and LZ54 strains containing norfloxacin-resistant topoisomerase gene alleles to selectively inhibit either DNA gyrase or topoisomerase IV activity and respectively induce either relaxation or high negative supercoiling . The generation of the fis and hns single mutants of E. coli LZ41 and LZ54 strains, their growth and treatment conditions are described in . The fis and hns double mutants were generated by P1 transduction of mutant alleles from donor strains into the E. coli LZ41 and LZ54 strains used in previous study for investigation of the effects of single mutations . The strains were grown in 2 × YT medium at 30°C. Total RNA isolated from exponentially growing LZ41Δfis Δhns and LZ54Δfis Δhns strains after brief (15 min) treatment by norfloxacin was subjected to DNA microarray-mediated transcription profiling using OciChip E. coli K12 V2 Arrays according to OciChipTM-Application Guide (http://www.ocimumbio.com) as described in . Introduction of the fis and hns mutations in the LZ41 and LZ54 strains did not alter the global supercoiling response to drug addition . By adding norfloxacin to the LZ41 and LZ54 strains and their mutant derivatives we could vary the superhelical density σ density in opposite directions and distinguish gene transcripts associated either with relaxation (↓σ density ) or high negative supercoiling (↑σ density ) in each genetic background. In brief, for each comparison two biological replicates with two technical replicates were performed, resulting in a total of 8 hybridizations. Scanned array images were analyzed using the TM4 software package . Spot intensities were quantified and the quality of each spot was verified by calculating a quality control (QC) score depending on signal-to-noise ratio for every channel and calculating p-values for each channel (as result of a t-test comparing the spot pixel set and surrounding background pixel set) using the TIGR Spotfinder software. Data was normalized by locally weighted linear regression . A one-class t-test was applied to obtain differentially expressed genes within each data set (significance level α < 0.05). The microarray data has been deposited to the ArrayExpress database (ArrayExpress accession numbers: E-MEXP-462, E-MEXP-463, E-MEXP-3049, and E-MEXP-3050.) We would like to thank Balazs Papp for helpful discussions regarding the flux-coupling analysis. Furthermore, we want to thank Miriam Grace and Moritz Beber for helpful comments on the manuscript. - Travers A, Muskhelishvili G: DNA supercoiling - a global transcriptional regulator for enterobacterial growth? 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Maia celebrates: International Non-Binary People’s Day Thursday 14 July marks International Non-Binary People’s Day. The day was first introduced in 2012 and was chosen as it is precisely between International Men’s Day and International Women’s Day – not that non-binary identities are that easily defined. If you are unsure about what identifying as non-binary means, Loughborough colleague, David Wilson has previously written a fantastic blog post that covers this. Why is celebrating our non-binary community important? Occasions like today give us the opportunity to celebrate and highlight the diversity within our community. We are also afforded a chance to reflect on the progress being made towards equality for the non-binary community and acknowledge that there is much more we can do to make our society more inclusive to all. Sharing stories from those who identify as non-binary and resources that aid understanding increases the visibility of non-binary people and helps us move towards increased representation. How can we support non-binary staff and students on campus? The importance of inclusive language Consider including your preferred pronouns during introductions or in email signatures. Normalising the practice of sharing them makes it easier for people whose pronouns are less obvious and makes the environment more inclusive. The University template for email signatures (please note sign-in is required to access this page) now includes the option for including your pronouns. More information on supporting others in understanding how pronouns can support inclusive practice is also available. As well as sharing individual preferred pronouns, you can think more generally about ways to make your language more gender-inclusive: - When addressing groups of people try ‘folks’ or ‘everyone’ rather than ‘ladies and gentlemen’ - You can refer to colleagues or students by using the singular ‘their’ instead of ‘his/her’ eg when my colleague finishes their work - Consider whether using titles is necessary and if so give a range of options such as Mx (pronounced Mix or Mux) as well as Mr and Mrs. Examples of this include providing options on forms, in surveys and on delegate badges Teaching and Research The University has provided guidance to support gathering data on Gender and Sex which may be useful when reviewing survey design. Trans and non-binary staff and students also have the option of sharing a preferred name. For students there are times when this is not the default name displayed within our IT systems. Please consider taking the time to double-check a student’s preferred name – for example by looking on their co-tutor dashboard. This is important when communicating directly with students and also if sharing lists, such as for group work. Support for staff and students The University has a range of support available, including the staff and student networks: - Maia Network: Loughborough’s Women’s Network welcomes trans-women and non-binary people - LGBT+ Staff Network welcomes all staff that identify as trans and any other minoritised gender identity as well as allies of the community - LSU’s LGBT+ Student Association provides a mix of support, advocacy, education and fun for LGBT+ students Meredith (they/them) and Emily (she/her) Advocacy and Allyship Champions – MAIA Equality, Diversity and Inclusion Reflections, comments, discussion and opinion on EDI topics from Loughborough University staff and students

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Short Case Study: How a non-binary approach helped a Financial Services organisation (FinCo) adapt to a new business model. Triggered by spiralling costs and a forthcoming legislative and regulatory change that would open the market to fierce competition, FinCo’s CEO set a bold, purposeful strategy to transform the organisation. To be successful she needed to navigate the conflicting demand for rapid service innovation, whilst simultaneously maintaining a focus on quality customer service. Underpinning the tension between the need for innovation-driven growth, disciplined cost management and customer-focused stability of quality service offerings were a number of interlinked tensions. First was a tension between maintaining business as usual by continuing to provide tailored services to existing customers, while at same time undergoing a process of strategic repositioning to attract a new profile of customers with completely different needs. The focus on providing stability and reassurance to FinCo’s existing customers was also in conflict with the need to aggressively seek drive innovation of product and services. Furthermore, FinCo’s legacy of delivering high quality customer service with little eye on the bottom line was confronted with the commercial reality that this model was unsustainable; FinCo needed to do both. A range of strategic decisions, underpinned by the both-and (non-binary) approach mindset, were made to ensure that both elements of the tensions were met. FinCo’s visionary CEO helped foster a both/and mindset. Refusing to compromise on either element of the tension, she created an environment where both could be possible. She role modelled a both/and approach and encouraged the Board, executive leadership team and the employees from all levels of the organisation to adopt both/and thinking. An organisational narrative was developed to reflect a new culture that embraced the seemingly competing values of innovation, disciplined commerciality and tailored customer service. A regular schedule of cadence calls was among steps taken to familiarise staff with the competing tensions and potential trade-offs. This included reframing the strategic plan around an ideal customer that incorporated elements of both existing and new customers. Teams were encouraged to focus discussions on opportunities and benefits, as well as exploring risks and challenges. KPIs were established to drive the desired behaviours. The trade-off between managing costs and growing the business was approached with a paradoxical mindset that could incorporate both of the seemingly contradictory elements. This was reflected in tough decisions involving significant redundancies and outsourcing, which helped reduce operational costs. At the same time new business units were created to focus on innovation. This included an OmniChannel Team, tasked with ensuring customers could access new products and support services across all channels, platforms, and devices. To manage the tension between business as usual and the need to innovate, FinCo adjusted the organisational structure. New, dedicated interdisciplinary project teams were established to focus on growth and innovation. The teams focused on both: the new member acquisition as well as on product and service innovations. At the same time cross functional teams were also put in place to reduce organisational silos and encourage communication and collaboration across the organisation. These cross functional teams with fewer management layers allowed decision making to be sped up, yet at the same time input was sought after from research, manufacturing, finance and legal experts. This has ensured that the most informed decisions were made. The approach allowed fast moving agile teams to coexist with staff who had deep member relationships and extensive industry knowledge. FinCo’s both/and approach helped the organisation transition to a new business model and embrace a new culture of working together to achieve seemingly competing goals. They found creative ways to manage tensions and to realise both/and solutions. After 3 years the organisation had maintained its legacy customer base and has also grown a new member cohort attracted by innovative products and services, all while offering personalised service and consistent returns. This was achieved through embracing rather than avoiding the contradictory tensions between member preferences, commercial considerations, and competitive pressure and adopting a fresh mindset where seeming either-or choices were re-framed as both-and solutions.

August 11, 2021 / mascara / 0 Comments I Said The Sea Was Folded by Erik Jensen Reviewed by JOSIE/JOCELYN DEANE The first poem, chronologically, in I said the sea was folded begins I don’t know if you read poetry I don’t know if I write it. Jane Hirshfield tells the speaker of the book, in another, that poems “are a diary note/ to remember what happened”. Poetry— its writing, language and the ways it can make sense of love/wounded time— is the first preoccupation of Erik Jensen’s book, in spite of its promotion as “love poems”. If I said the sea was folded has a unifying trick, it is the framing of poetry— as an activity, an artefact, a mediation of language— as inherently concerned with itself. This isn’t new— every kind of poetry is implicated by the limits of its field— but through its dramatization, Jensen makes it the engine of his poems, and the narrative at their core. It insists that any kind of therapy or catharsis poetry can affect first passes through the poem as a text, revelatory and profoundly alienating at the same time, for reader and speaker. It’s no surprise that the book ends with a gloss on what is inexpressible, as “the background against which/ anything I could express has its meaning”; any poetry concerned with itself-as-poetry ends in the same place, turns liberating and restrictive. Most of the poems directly enact this passage through themselves—and the medium of the speaker— detailing their own construction. The book is divided into 3 non-linear chronological segments, starting from the end of a relationship. Some play on a motif that appears across each segment, decontextualizing as time rewinds. Poems refer back to each other, to their germ at the beginning of the relationship, only to emerge bitter and accusatory at the end. A poem about the love language of turtles— precious in its inexpressibility through human terms, its lack of projection— is foreshadowed by its later, first appearance, when the speaker spits why did you shout last night, when all we wanted was to feel the simple, placable love of a turtle stacked up on a turtle? Other works— ‘Pinter’s Betrayal’, ‘Nick Payne’s Constellations’— use non-linear time to excavate the normativity of works inspired by love: inverting the dramatic arc of meet cute, juxtaposing romantic gestures with their fizzling out, coupling them the self-interest. It has the effect— ironically— of emphasising the radical contingency of romantic relationships. Something portrayed as normal/monolithic is tessellated with a thousand shards of gender-play, class signifiers and naturalisation. Addressing their partner, the speaker defines the poems in their book, subject and object, as “the ways I’ve tried to look”, approaching their partner’s non-binary self, “broken off in the parts I’ve wanted to see”. This “trying to look”, defined by its engagement with failure, finds its corollary in the inexpressibility of poetry, that “Words are not enough… they exist too much/ for the people that made them”, as the speaker reports their partner saying. If the poems pass through themselves in I said the sea was folded, that passage involves reaching for each other, and— through each other— the absent beloved, remote in space/ time and— the speaker dramatizes— driven away by the normativity of poetic discursiveness and— the speaker insinuates— the speaker’s own norminess, their reproductions of those norms in speech. The poems as a result are sparse, connotative, to the point of vagueness, the recording of imagistic details, juggling/juxtaposing poetic diction with simple, deliberately banal records of the relationship, as if to invite and stave off interpretation. They “hold in place/even when the other/is no longer here”. Linguistic reference, not only to themselves but as a whole, becomes a key technical, thematic and ethical concern of the poems. Through reference they transcend, feed back into each other’s use of metaphor/imagery and establish a poetic whole out of the disjointed timeline, all while their essential emptiness and arbitrariness are emphasised. Individually, the poems can read as circling a void. A list of vague, deliberately poeticized descriptions of trees “fixed against the sky… their branches bent/as if the cold had stunted them”, “hedges of agapanthus” and “money/after it had been spent” conclude with “I suppose what I’m trying to say is/ I love you”, direct address immediately couched in/ out of the speaker’s suspicion of language and its stock trade. In one poem the speaker’s grandmother offers a warning, in two lines, “against poems/ she said they are forever”, the rest of the blank page almost a literalisation of this. There’s a sense of almost-tragic irony in the poems: they enact a double movement between sense-making and performative contradiction. In the prologue Jensen offers a mea culpa to the poem’s addressee: “I wish I met you now/but of course I met you then/and the rest of that time/is just what happened”. Reading through the book linearly, using the poetry’s logic to piece the continuity together, following the speaker’s own desire to “let you be/ to feel it for yourself”, we end in a place full of promise and retroactive empathy that cannot be real. It’s in this continually moving/retreating space that the ethical desire of I said the sea was folded lives. In writing “love poetry” where the beloved is conspicuously absent, their construction put in air-quotes, Jensen tries to build a space where the deferral of reference comes to signify a queer, non-binary being, the “background against which/ whatever I could express has its meaning” . In this he mirrors, and directly draws on, Maggie Nelson, citing her “complaint/about the instability of likeness” that retroactively informs the poetics of the book. As the speaker murmurs: “one tree is like another tree/but not too much”. In this space hollowed out by the poems— Jensen implies— a love poem that can adequately represent a non-binary beloved, from a cisgender perspective, can take shape. A kind of representation— the paradox is intentional— predicated on inexpressibility, the perfect silence of a “good ally” that doesn’t overstep their boundaries. Jensen frames this as a hard won ethical lesson on his part, after the breakup, “Nothing occurs in order/although it takes a whole life to realise/so I haven’t”. At the same, it’s a lesson predicated on cis incomprehension, and inevitable tragedy. If the cisnormativity of love poetry is critiqued through the book’s structure/poetic style, it seems to conclude in a fatalism complementary to “good allies”: I will inevitably, tragically misrepresent you in my poetry, and I’m truly sorry. My intentions were good. Cis people, this is what you must take heed of to avoid my sorry fate, the limits of my poetic language and world. If the poems of the book set up a negative dialectic, opening up space for non-binary reference/critique, the cis speaker remains an unmoved mover, perfectly still, separated from all that gender through their work. But the true issue is, as a non-binary person, I can’t believe in the inexpressible. Or at least the version reified by Jensen or Nelson. A reckoning with what being non-binary implies— a critique of colonial gender construction, the ongoing role of gender in upholding white patriarchy and capitalist accumulation, the kind of limiting subjectivity that is affixed to the “non-binary beloved”— seems beyond it. If non-binary space— Jensen writes— is a kind of via negativa, I couldn’t think of something more obstructive to it than this deployment of the “inexpressible”, or the poetry it suggests. It makes me think of the tweet: a weeping voice tells someone that they can’t simply say everything is a gender. The person, unmoved, points at a weird cloud, a cat, a sloth-mug: gender, gender, gender. What does this all add up to? A series of finely detailed, observant poems that don’t hang together? A structure and poetics that turns that lack into a good technique, a kind of join-the-dots that performs an interesting self-critique of poetic language and tradition, which— like Nelson’s work— is more important for what it crystalizes than opens up? In the end, I’m encouraged to take this kind of poetry from cis lovers of non-binary people, in the same way I’m encouraged to accept good allyship… What I have time for in the work I should appreciate, and the idea of the inexpressible I’ll try to disabuse, to prevent it causing potential mischief among the good cis people. Meanwhile, I’ll be over here with my partners. - Nelson, Maggie. The Argonauts, Minneapolis, Greywolf Press, 2015, print. JOSIE/JOCELYN DEANE is a writer/student at the University of Melbourne. Their work has appeared in Cordite, Australian Poetry Journal and Overland, among others. In 2021 they were one of the recipients of the Queensland Poetry Festival Ekphrasis award. They live on unceded Wurundjeri land. July 7, 2021 / mascara / 0 Comments Song of the Crocodile by Nardi Simpson Reviewed by PIP NEWLING To read Song of the Crocodile is to immerse yourself in an unfolding relationship to place. You may not recognise it immediately but the profound connection to place shared by Simpson through this story is a slow build to love, yearning, recognition and respect for Country. The novel is a confident and accomplished debut by Nardi Simpson, a Yuwaalaraay woman best known for her singing and song writing as a member of the Sydney band the Stiff Gins. It is a profound intergenerational Australian story of family and Country that deserves to be as celebrated and well-read as Tim Winton’s Cloudstreet. The novel illuminates a way of thinking, of loving and of living. Simpson’s musicality, the fluid way she uses language, both English and Yuwaalaraay, throughout underscores the narrative by creating landscapes of emotion. It reveals connectedness and relationship across time and place, allowing language and Country to breathe. Song of the Crocodile is a lyrical achievement of story, language, and heart. Set in a time resembling the 1950s, the book opens with Simpson walking us into Darnmoor, a small regional town in the north-west of NSW with the tag line ‘Gateway to Happiness’ on its welcome sign. We see the early morning quiet streets, the shuttered shops and the war memorial in the centre that provides the focus for the town. We walk through the town, leaving the ‘inoffensive, modest and calm’ façade of Darnmoor, to the Council tip, a bora ground now covered in the town rubbish, and then on further to the Mangamanga, a great river near where the local Aboriginal people live on a place called the Campgrounds located at the end of Old Black Road. This introduction sets the foundation for all that will follow; the demarcation of bodies, dreams and knowledge, and what happens when boundaries are pushed. Powerfully, the story is told only through the experience of the Aboriginal characters. The white characters are significant actors, changing hopes and lives, but they are not the emotional or narrative focus. The story is of three generations of women, Margaret Lightning, her daughter Celie Billymil, and Mili, Celie’s daughter. Living on the Campgrounds and working in Darnmoor, Margaret is quiet and hardworking, navigating the white town with caution. She works at the hospital, doing the laundry and walks into town each day using side streets to reach her destination. The demarcation of race occurs in the hospital too, with Aboriginal patients installed on a side verandah with Margaret acting as their nurse, cleaner and counsellor, and conduit to the white management. Racism is ever present, in the demand that the sheets used for the Aboriginal patients are burnt rather than washed and re-used, in the level of care for the Aboriginal patients, the amount of information Aboriginal patients are provided about their health. Celie is a kind, calm constant energy in the story. She suffers loss with dignity and determination to provide a future for Mili, her daughter, and she uses her knowledge of the town to create opportunity. Mili is the future generation. She lives in change, where her newly fashioned hopes are regularly pushed down and obstructed by the white systems of power in the town. Mili becomes a bridge between the Aboriginal and white worlds, a burden of much weight. Ancestors feature too, some being stars, trees and dust. They are ever present and active, guiding and preparing the earthbound people for the future while drawing on the old ones for advice and support. The sky-bound observe from the ‘the roof of the plains’ and move across the Milky Way, called Warrambool in Yuwaalaraay language. Some ancestors that drive the story are Jakybird, the Songman who brings the choir together for the song of the crocodile; Garriya, the malevolent single-minded crocodile who lies in the earth far below the town waiting for his chance to return; Margaret and Celie’s lightning kin who herald the rain; Murrudhi Gindamalaa (Laughing Star) who protects and provides for the newly dead; Malawildhuulmuranga (the Littlest Shadow at the Darkest Time Before the Dawn) who disappears into dark nights hiding diamonds, stars, within her; and Burrenjean, (the featherless bird) the human form of magpie lark who ‘makes the country sing’ despite being name-called as mudlark. Her feather father reassures her of the significance of her earth-bound origin when he tells her: ‘The mud is the beginning of our connectedness. The beginning of our responsibility, the reason we are needed… What is mud but the joining of all that is above and all below?’ (p210) Simpson seamlessly conveys the world above, on and below the plains as one. Her telling of Aboriginal philosophy, of Country, belonging and lore, details consequence and relationship for all creatures, not just human. In Song of the Crocodile, all things are elemental and connected; all things are in fluid relationship to each other, including the writer and reader. Her inventive way of weaving Yuwaalaraay words and meaning throughout the English without direct explanation, creates space and invites the reader to read in a different way, from a different angle. There is no singular understanding or story in this novel. It is layered and readers will find different connections within it. The characters experience connections, often surprising themselves. By the river, when the women gather to comfort Margaret, who has been disrespected and disappointed (again) by white townspeople actions, Idy, an older Aboriginal woman, begins singing. Margaret joins in. She knows the words, and the power of the song, but can’t remember when she learnt it. Celie and Mili both, find comfort from tragedy in the Double D, an ancient coolabah tree by the river that saw the boras, long before the town was first laid out. Another tree, where Celie’s husband died, along the Old Black Road, draws Celie, newborn baby Mili and Celie’s young nephews: ‘Aunty Ceil, Nan told me about the trees, how they remember everything. How they hold memories for people… But here, around here, is where he lived too. Aunt, sit down. … Nan taught me all about it. They hold life. The bad stuff they take away through their roots and release it into the ground.’ (p67) For Malawildhuulmuranga, her connection is planetary, as her Dhaa explains, ‘You are a daughter of dawn, the only thing separating darkness from light and the only thing that joins them.’ (p82) Jakybird assesses and marvels at Paddy, Mili’s son who is in deep despair: ‘He watched Paddy sway into town, messy, loose, stumbling, but erect. This must have been powerful magic, remaining upright when all conspired to pull him down’. (p344) Paddy reminds Jakybird of Garriya, now crocodile but who was once a friend, and the connection is made again between the ancient and the now. The connection of life and death is always close too. At one point, Wil, Mili’s husband who has died, tries to reach Paddy his son, to induce a flicker of hope in Paddy’s heart: ‘High in the star, Wil moved memories into his son. They were only colours: the deep blue of a uniform, the bright orange of a council hat. Flashes of smiles, places they’d been, or the feel of a fishing line or the ruffling of his hair.’ (p350) Connection is everywhere in this story, connection to all creatures, to the past and to the future. Even when the characters feel most alone, the reader knows they are not. Demarcations and boundaries The town geographically delineates between Aboriginal and white clearly. Darnmoor, as most real Australian towns did, corrals the local Aboriginal people outside the white perimeter, past the rubbish tip at the end of the Old Black Road. The history of this practice extends back through to the first settler fence-builders and town planners on this land. For instance, the town I grew up in, Taree on Biripi Country on the NSW mid north coast, pushed/ took/stole/drove local Biripi people to a reserve, Purfleet, south of the town across the river. Song of the Crocodile reveals these practices as oppressive, common and complex. Some Aboriginal people are allowed inside the unspecified fence, but this comes with negotiation and always a cost. We see the cost to Margaret first: ‘When the purple bush blooms began to thin then disappear and the edge of a tared road loomed ahead, Margaret’s voice began to soften. At the street sign, she pushed the notes further into the back of her throat, constricting their flow and burying them within her body once again. As her shoes hit the asphalt of Charity Street, she fell completely silent.’ (p11). In the novel, just as in the real world, Aboriginal women use their intimate knowledge of the white world strategically, while the white characters have no insight into how little they understand of – or are required by – the Aboriginal world. This considered and deliberate reveal, of how an oppressed people know their oppressors intimately while the oppressors have no clue, was a highlight in the story for me. White actions have impacts on the Campgrounds community. These impacts are frequently dismissed – or even unimagined – because white people believe they hold the power and can choose not to notice, not to listen. We see the impacts roll down the generations affecting people and land the same. The white settler idea of progress – unsustainable growth through exploitation of land and people – clashes fundamentally with the integrated, cyclical nurturing and honouring connections to past, present and future that most of the Aboriginal characters carry in the story. The Darnmoor inhabitants praise the achievements of white men above all else. Like many real Australian towns, the townspeople invest in appearances not community, in short term thinking, unsustainable futures and ignore or decry other ways and other people. The town rubbish tip placed on the bora grounds is just one example. Another is the construction of a levee around Darnmoor to hold back flood waters. The town celebrates the completion of the levee, but the levee creates further demarcation between the Aboriginal and non-Aboriginal people of the area. When Mili’s tears begin to flow, and all the travesties of humanity she has had to endure come to fruition, the danger of ignoring Country is clear. Garriya gathers his energy and slowly surfaces, the sky inhabitants dance the old bora grounds, which never disappear or age no matter how significant their apparent destruction appears, and: ‘… the townspeople watched the levee, holding their breath, waiting to see if the mound would breach, wondering if all they had created would be destroyed and washed away.’ (p401) These practices of demarcation – white choices – are damaging and shamefully long-lived ones. They are still present in many towns across Australia. Through fiction, Simpson powerfully writes the truth of the contemporary relationship between Aboriginal and non-Aboriginal people. Jakybird warns the sky inhabitants, sitting around icy fires in Warrambool, the Milky Way, that the singing of Garriya ‘… is a hard one; some of you will die a second time in its singing’. (p354). Darnmoor is not a generative gateway, and certainly not one to happiness as that welcome sign states. Warrambool, the literal heavens, is a gateway to the next place, for some a return to the earth, for others to sing again, others to sleep and wait some more. The act of singing is also a gateway, for it is part of culture, of belonging, of the turnabout of the world. It leads us to another place, another future. The novel itself is a gateway too. Its landscape is wide and considered as Simpson tells the truth of our ongoing relationship with First Nations people of this Country. She details the changes to landscape that compound negatively and highlights the lack of accountability and short-sightedness of our settler society. While Song of the Crocodile is a local, family saga, it speaks to our national story, and Simpson, with heart, attention and tenderness, shows readers a perspective that most of us will never have imagined before. This is what great fiction does, implicates and expands the reader’s emotional and philosophical terrain. Towards the end of the novel, Malawildhuulmuranga asks one of the old ones ‘… why do you want to destroy it?’ and he answers, ‘How do we begin again, if, first, we don’t let go?’. (p365) These are powerful cycles of renewal. We know change will only be made if we learn the lessons of the old ones. There is hope here, in this story, if we listen and learn. PIP NEWLING was born on unceded Wirrayaraay Country, grew up on Biripi Country and lives and works on Dharawahl and Gadigal Country. She thanks all Elders from these lands, past, present, emerging and future, for blessing her with the health Country provides and the opportunity to benefit from their custodianship. July 6, 2021 / mascara / 0 Comments Michael Aiken is a four-time recipient of a unique and delightful child, and the founder, owner and servant-in-chief of Garden Lounge Creative Space, Sydney’s only specialist poetry shop and licenced café. His first poetry collection, A Vicious Example (Grand Parade 2014) was shortlisted for the Kenneth Slessor Poetry Prize, the Mary Gilmore Prize and an Australian Book Design Award. His second book, the verse novel Satan Repentant (UWAP 2018) was commissioned by Australian Book Review for their inaugural Laureate’s Fellowship, as selected and mentored by David Malouf. His most recent poetry collection is The Little Book of Sunlight and Maggots (UWAP 2019). Artemis, the moon, and a handball: nightscape Playing with the moon blue in my shadow while you, my little guy smile about slugs, treetops, old school or new, proper service during King’s Revenge… Practicing your Spongebob voice mein kinderlein, lÖcken running on the field again There are no accidents Said the turtle to the panda Said the panda to the giant panda Said the child to the man and the man realises he is a man and the child goes on realising nothing, realising little Nothing will come of nothing a serpent consuming its tail like it, a queen the people talking the Odyssey on its journey through space family all put to sleep, the world all gone to sleep the world all gone… Steps into water There are no accidents You’re a great dad I’ll be your mirror Now the glass is absolute July 6, 2021 / mascara / 0 Comments The Other Half of You Michael Mohammed Ahmad Reviewed by MICHELLE HAMADACHE The Other Half of You isn’t written just for all the readers out there who get what it’s like to be the child of migrant parents. It’s not just written for those who know already what it’s like to deal with growing up in a home where the culture on your doorstep is interpreted as threatening by the adults in the house. It’s not just written for those who know what it’s like to grow up where the only home you have known, Australia, consistently rejects you by asking you to be something other than yourself in order to belong. Arab people in particular, Muslim people more broadly speaking—for they are not interchangeable terms—are overwhelmingly regarded with suspicion and hostility here, and that changes what it is possible to say now. If a book is going to avoid being trapped in a fallen language, where everything it says or does judges and is then in turn judged by others, then it is remembering that stories are uncertain, sometimes difficult, gifts that matters most. Stories are the threads that draw together disparate communities and bind new ways of knowing to a collective consciousness, to forge the newly imagined community. The Other Half of You is as much about what is, as what might be, and in its gritty, graphic and unforgettable detail, it contains the storyteller’s ability to exchange lived experiences in such a way that those experiences are not just shared with the reader, but integrated, via memory, via the body, as stories with lessons for living. It is the rubber-gloved hand on the delicate skin of a penis that conveys, unforgettably, the lesson: raise daughters solely to be wives to the detriment of all (especially their husbands); marry against your will and risk self-destruction, and, like all the lessons to be imparted by The Other Half of You, these two lessons are underscored by the prevailing moral: if anything is going to get us through the shit we’re in, it’s love. The Other Half of You marks the end of Bani Adam’s bildungsroman spanning The Tribe and The Lebs. Regardless of whether Michael Mohammad Ahmad intends to continue with Bani, the journey to adulthood ends here. This is because in the birth of Bani’s son Kahlil, and the father’s story of his conception given to his son, a fiercely poetic and mature voice emerges. It is a voice that also channels the energies of rich literary genealogies, that draw together Tolstoy and Thomas Mann, most resoundingly Lebanese diasporic writer and poet Kahlil Gibran’s The Prophet, for whom Bani’s son is named and from where the novel’s epigraph is drawn. Ahmad also nods to The Book of Khalid, an experimental novel by Ameen Rihani written in 1911, and sometimes referred to as the first Arab novel (with all the contentions that come along with ‘firsts’ and the novel as form and genre). Ahmad formally organises his novel into three parts, each referring to time and destiny, ‘All That Was’; ‘All That Is’; and ‘All That Will Be’. It is loosely structured as an address, or as a gift, to Bani’s newborn son, Kahlil. In order to explain just how an Alawite Muslim forbidden to marry outside the tribe ends up with his Anglo-Australian wife Oli and their baby, ‘my half-caste, half-insider, half-outsider’, Bani begins with the story of his unconsummated first love, Sahara. Sahara is a Christian Lebanese girl he met online living in a housing commission flat in Glebe with her single mother. It is Bani’s father’s discovery via gossip of this relatively innocent, but consuming, first love that precipitates Bani’s disastrous arranged marriage to Fatima. Fatima is a nineteen-year-old girl looking to escape her father’s household, and it is the inevitable implosion of that marriage that sees Bani ultimately, through despair rather than defiance, reject his marriage and fall into the arms of Oli. Bani meets Oli at the PCYC boxing gym. It is Ahmad’s strength that he harnesses the metaphoric potential of places like the PCYC. Here, in the egalitarian, if brutal, world of boxing, racial and homophobic epithets abound, yet the atmosphere is inclusive. The boxing ring, despite its violence, its duelling opponents, ironically flattening binaries of us and them, while upholding identities, is a place that binds rather than divides, through the shared understanding of a set of rules that are agreed upon and entered into freely, without eradicating differences. The gym upholds identities, forming something like a Foucauldian heterotopia—a space that exists within the dominant hegemony of white settler Australia. Bani’s father’s disposal store, like the PCYC where he trains, is another example of the powerful representation of places that resist. The store is aptly named Cave of Wonders and is stocked with wares that draw a variety of customers seeking sleeping bags and the possibility of bartering. Here, Ahmad strategically deploys the history of many Syrian and Lebanese migrants to Australia who were granted provisional, limited, unequal resident status based on their role as ‘hawkers’. Many chose to anglicise their names and erase their origins in order to be accepted into an Australia hell-bent on whiteness. Jumana Bayeh discusses Patrick White’s problematic characterisation of a Syrian hawker in her Southerly essay, ‘Australian Literature and the Arab-Australian Migrant Novel’. Bayeh poses a perspicacious question: ‘But what story could be uncovered if we were able to hear the Syrian narrate his own life and his experiences in Australia?’ (131). This challenge underscores the silences and erasures that have characterised Australia’s literary spaces to date. The presence of the store in the novel returns this lost history, as does Bani’s acknowledgment of his own family’s history of naming (Bani/Benny 295). In his representation of Cave of Wonders, Ahmad creates a space of reversals, while also memorialising the history of a group of people who came to Australia with a conditional and ambivalent welcome. With its intertextual reference to A Thousand and One Nights, the Cave is a place that gives Bani the opportunity to read Persian poetry, to escape family and wife. It is also where misogyny and racism are given open mic, but where, as the owner’s son, Bani gets to call the shots and thus level the playing field. As always, the representations of sexist and racist outbursts are framed by the novel’s ideological focalisation that captures what is with a deliberate and crafted goal: to bring into the literary space the flawed, the ugly, the inappropriate, the shocking—the human. When Bani grapples with the limits of his own conflicted mixture of feminism and tribalism, it is a dramatized battle that Ahmad is orchestrating. The mix of autobiography and fiction is part of its fascination: that age-old dilemma concerning itself with ontological distinctions between fiction and lie; truth in fiction. The ideological focalisation of the novel is not sexist or misogynistic, though it certainly represents both standpoints through its characters. As with The Tribe and The Lebs, this third novel in the series draws on Ahmad’s lived experience. The fictional mode of The Other Half of You means its characters and storylines are both metaphoric and literal. The strength of Ahmad’s prose often rests in his ability to strikingly and relentlessly bring to life scenes: characters, action and setting, from weddings to fights, capturing them in a mix of vivid language and heightened observation. But most importantly, Ahmad’s prose frames these situations in Bani’s unique mix of insouciance and wisdom. At stake in the story of the love affair between Bani and Oli and the birth of Kahlil, is the knitting together of what, up until The Other Half of You, has been divided, or at least incongruent: the world of children descended from Anglo-Saxon heritage and the world of children descended from everywhere else, and in a context where racism divides and culture prohibits, the romance plot between Oli and Bani is a powerful and productive trope. If Oli’s characterisation never matches the unforgettable Sahara and Fatima, it is in part because her character is understated. It was always going to be a tough gig for a pale girl with thin arms to compete with Bani’s first love, the hirsute and stocky Sahara, whose thirst to understand apostrophes was quenched during a pizza night in Glebe. Likewise, it is hard for Oli to be as memorable as Fatima, whose desire to leave her father’s house is realised in her marriage to Bani, living in a converted garage, wearing only a G-string and watching never-ending episodes of Friends. Coming at the end of the novel and with so much at stake, a lot of pressure was placed on the realisation of Oli’s character and the introduction of an Anglo-Australian parallel backstory. It is perhaps deliberate that the White girl and her family didn’t hold-up to the depth and the vibrancy of the realisation of the Adam family, Sahara or Fatima. Even the disastrous arranged marriage to Fatima is propelled by love. It is a marriage Bani enters into from love for the father, the family, the tribe. If willpower and looks alone make a marriage, then on paper the marriage between Fatima and Bani should have been rock solid. Ahmad deploys the perspective of the older narrator which imbues the entire section with a sense of impending disaster, but also allows the younger Bani to blindly suffer through the honeymoon and marriage as they unfold with tragi-comedy and bathos. Perhaps the most poignant moment of the book is the father’s outcry, ‘I should have let him go’. This cry echoes throughout the rooms of this book, because ultimately, Ahmad is telling the story of the break and the fold between father and son, the present and posterity, and of histories based not on continuity but on ruptures. In many respects, the love Bani feels for his world with all its bathos and brutality, courage and fierceness establishes The Other Half of You as the work of a storyteller, rather than novelist or memoirist. The novel is strongest when it shares experiences, whether lived, observed or imagined, in their raw materiality, boldly capturing what is. This is not lack of craft, rather it’s a concerted effort to create a territory free of the relentless drive towards conformity, or permissible difference that characterises much of contemporary Australian multiculturalism. Within the pages of The Other Half of You, anger, frustration, ignorance and despair hold centre stage with forgiveness, acceptance and the transformative power of love. The novel doesn’t try to silence what is unpalatable about lived human experience. While there might be more information than Kahlil (or any child) wants to know from his father about their conception, and the various sexual experiences that led to that conception, the body is centred as a way of knowing. The ‘over-sharing’ draws attention to the conceit, The Other Half of You is fiction after all, while also consciously drawing on the relentlessness of a confessional mode that breaks down social mores and prioritises the need for a story to be told over and above other considerations. Randa Abdel-Fattah describes writing as a Muslim writer in Australia as the necessity of writing from a double position: a need to write for a Muslim audience, while writing to a white audience. She describes the frustration of her experiences of being refused the right to write a literature of universal concern, needing to particularise her story, and have it ‘kept’ particular, so that it is heard in a mainstream culture where whiteness is normative. Received literary wisdom that the universal is reached by way of the particular doesn’t apply for everyone. Negotiating this challenge is a task that the writer writing into a minor literature, such as Australia’s, faces, in addition to all the other authorial challenges. I am not sure that the language exists yet for a relationship of love between marginalised Arabic and Muslim communities and a white settler Australia, but I am sure that it will take novels like The Other Half of You, and writers like Mohammad Ahmad, to bring that language into being. Consider The Other Half of You as a difficult, uncertain gift. In the words of Kahlil Gibran’s The Prophet: receivers of the gift, remember, gratitude should have no weight ‘lest you lay a yoke’ upon giver and receiver alike (29). We should have the ability to receive literature as a living thing that needs to grow and change and fail and succeed, all within a single book, so the greater thing of literature, beyond major and minor concerns, might continue to thrive. Works drawn upon or cited: Randa Abdel-Fattah, ‘The Double Bind of Writing as an Australian Muslim Woman’, Mashriq & Mahjar, Vol. 4 No. 2, 2017, pp. 97-117. Jumana Bayeh, ‘Australian Literature and the Arab-Australian Migrant Novel’, Southerly, Vol. 79 No.1, 2019, pp. 129-149. Walter Benjamin, ‘The Storyteller’, Illuminations, trans. Harry Zorn, Pimlico: London, 1999, (83-107). Kahlil Gibran, The Prophet, Heinemann: London, 1926, repr. 1973. Anne Monsour, ‘Tell Me My Story: The Contribution of Historical Research to an Understanding of the Australian Lebanese Experience’, Mashriq & Mahjar, Vol. 4 No. 2, 2017, pp. 9-39. Ameeni Rihani, The Book of Khalid, Melville House Publishing: New York, 2012. MICHELLE HAMADACHE has had publications in Australian and international journals. She teaches creative writing at Macquarie University. ‘Zohira’, a short story appeared in the British Journal of International Writing 2021. July 4, 2021 / mascara / 0 Comments We are thrilled to launch our first issue as Mascara’s new team, after almost one year since our last issue ‘Covid Contingencies’. It has been difficult to keep track of time amidst all the challenges we are facing in our communities on a local, national and international level. These challenges that have permeated our lives, our screens, our minds and our writing. We recall the many lockdowns in Melbourne, particularly the trauma caused by the hard lockdowns in the North Melbourne and Flemington towers, revealing the discrimination and systemic racism that underpins our government’s responses when it comes to migrant communities. Globally, the ongoing fight to dismantle colonialism and white supremacy is sandwiched between the continuous action against police brutality, the enormous increase in Asian hate crimes in the US, and the oppression and dispossession of Palestinians. Amidst the grief, the anger, the disbelief, we find the way forward is through community and collectiveness. Which is why we are honoured to continue Mascara’s work to push against racism and expand the literary space for talented CALD and First Nations creators, allies and writers extending craft to new experimental territories. This is displayed in issue 26 where we bring together the work of nine poets and three works of fiction as well as the 2020 Deborah Cass Prize winners. The inaugural Mascara x Bundanon Writers Residency announced this year is also a reflection of our need for creative extension. Congratulations again to Deborah Cass prize winner Anith Mukherjee and the two runner ups, Dasha Maiorova and Sahib Nazari. This issue also includes fifteen reviews that we have published throughout the year, offering close and critical considerations on a range of diverse and urgent new publications. Our beautiful and vibrant cover art was created by Melbourne based writer and artist Eloise Grills. This year, with two Melbourne based editors we have extended our bases across both Sydney and Melbourne and are excited about engaging more closely with Melbourne’s literary scene. We are delighted to publish reviews on books written by Jennifer Mackenzie and Shu-ling Chua as well as publishing work from Josie/Jocelyn Deane and Dani Netherclift. We are deeply thankful to be funded this year by Creative Victoria and the Australia Council for the Arts. We hope to provide opportunities to support Victoria’s dynamic literary community as well as maintain our Australia wide and global outreach with exciting projects in the near future. Thank you to all our contributing writers and thank you readers for your patience and support. In this Naidoc week of Healing Country this issue proudly features reviews of Nardi Simpson’s Song of the Crocodile by Pip Newling, Timmah Ball’s review of Evelyn Araluen’s DropBear and Anne Brewster’s review of Karen Wyld’s Where Only the Fruit Falls as well as poetry by Samia Goudie and Paul Collis. We thank our First Nations editor, Lyndsay Urquhart whose knowledge of elders, community and language is enrichening. We acknowledge that the lands we live and work on are unceded Aboriginal Country. Mascara has flourished because of our dedicated collective of past commissioning editors, guest editors, and co-founding editors. Their support, encouragement and continued work with the journal is enormously appreciated. We are delighted to take this issue live and excited for Mascara’s next steps, for our upcoming special issues and other forthcoming projects. Editors Anthea Yang & Monique Nair July 3, 2021 / mascara / 0 Comments Nathanael O’Reilly is an Irish-Australian residing in Texas. His books include (Un)belonging (Recent Work Press, 2020); BLUE (above/ground press, 2020); Preparations for Departure (UWAP, 2017), named a Book of the Year in Australian Book Review; Cult (Ginninderra Press, 2016); Distance (Ginninderra Press, 2015); Suburban Exile (Picaro Press, 2011); and Symptoms of Homesickness (Picaro Press, 2010). More than 200 of his poems have appeared in journals and anthologies published in thirteen countries, including Antipodes, Anthropocene, Backstory, Cordite, fourW, FourXFour, Headstuff, Marathon, Mascara, Postcolonial Text, Skylight 47, Snorkel, Strukturiss, Transnational Literature, Westerly and The Newcastle Poetry Prize Anthology 2017. From Ballarat to Brisbane After Joe Brainard I remember falling out of a pine tree at number 2 Waller Avenue in Ballarat I remember my eyes puffing up after playing in waist-high grass on the vacant block down the street and the pretty nurse sticking a needle in my bum at the hospital I remember riding a black horse sixteen hands high while wearing red gumboots and red corduroy jeans I remember burning my tongue with tomato soup at recess in the shelter shed at Redan Primary School I remember the neighbour’s German Shepherd nipping at my arse when I scaled the fence after retrieving a tennis ball from their backyard I remember riding my red bike into a puddle beside Lake Wendouree sinking in mud up to my handlebars I remember carving my initials into a branch high up inside the eucalyptus tree with a pocketknife I remember breaking my mate’s thumb while taking a mark playing footy on the oval at lunchtime in grade one I remember moving from Ballarat to Brisbane when I was six – leaving behind my mates and everything I’d ever known I remember standing in the dirt driveway of 50 Larbonya Crescent, Capalaba on New Year’s Day thinking It’s 1980! I remember my mate Ian finding a wallet stuffed with eight fifty-dollar notes at the shopping centre and buying a dozen cinnamon doughnuts I remember playing barefoot lunchtime rugby and red rover ripping uniforms and skinning knees I remember the headmaster summoning me to his office giving me six of the best for playing outside in the rain July 3, 2021 / mascara / 0 Comments Paul Dawson’s first book of poems, Imagining Winter (IP, 2006), won the national IP Picks Best Poetry award in 2006, and his work has been anthologised in Contemporary Asian Australian Poets (Puncher & Wattmann, 2013) and Harbour City Poems: Sydney in Verse 1888-2008 (Puncher & Wattmann, 2009). His poetry and fiction appear in journals such as Meanjin, Southerly, Westerly, Island, Overland, Cordite Poetry Review, Peril Magazine, Australian Poetry Journal and The Sydney Morning Herald. Paul is currently an Associate Professor in the School of the Arts and Media at the University of New South Wales. Thanks for the poems, Covid-19 Here’s me, face-masked in a supermarket swamped by white people, who are angry all over again about the yellow peril now an invisible airborne enemy speaking in tongues through the inscrutable hospital-blue fabric that obscures my features, that signals its silent intent while I peer at the shelves, ensconced in the conch-shell of my mask – until the bald, wobbly-eyed face of a Woolworth’s worker appears suddenly beside me and barks: ‘Social distancing still applies in here!’ Oh sorry, what was I doing? SOCIAL DISTANCING STILL APPLIES IN HERE he repeats, as if I can’t hear as if English escapes me, as if this is groundhog day as if his words were a talisman to keep the threat at bay. Yes, I say, but I don’t know what I was doing? And then, from behind, a woman’s voice chimes in to explain that she had complained because I was blocking her path, now averting her gaze as she swerves her trolley past, and I am left with my own trapped breath, watching the worker move on to stack shelves within hugging distance of a white couple, within a whisper of their faces as they contemplate trays of beef mince. I refrain from repeating his talisman back to him because really I want to scream it hysterically in his face because I take it personally, because I’m not from, and have never been, to China, because I know that’s the wrong response and maybe this had nothing to do with race anyway and why the fuck did I wear this mask in the first place? And I can’t help but think of Pauline Hanson, circa the turn of the millennium and all the incidents like this, which I thought had been eradicated as if the trope of Asian contagion that lay dormant while Islamic terrorism helped fashion Hanson’s comeback has now been revived in a virulent new strain that cannot be warded off by hoarding toilet paper for this behaviour is every bit as Australian as our coming together to battle the bushfires that tear across the nation, and to be Asian-Australian in a pandemic is – like hoarding – to be suddenly un-Australian, where one minor encounter can unmask the searing loss of belonging, the sense of impotence, the persistent second-guessing of one’s own thoughts, that typically present as asymptomatic on all those inscrutable faces. July 3, 2021 / mascara / 0 Comments Vasilka Pateras is a Melbourne-based poet and emerging writer whose work is published in n-SCRIBE, Mediterranean Poetry, The Blue Nib and Poetry on the Move. She regularly reads as part of the Melbourne Spoken Word community. The curve of my spine with the clarinet’s call I am in its grip pure majestic phrasing a gentle hop step of feet if there was a verse this would be it if there was a curse it would be my love for the life of notes that gather as we gather in the oro a step in unison a circle’s embrace this is our protest of release in the rattle and clack of I wipe the sweat from my brow the clarinet’s hold into the unknown frayed across new and old worlds trying to pick up the lost stitch in this I am found Melbourne how do I love you? industry, billboards stream flat grey basalt plains of the west into freeway channels of fast fast fast how do I love you true wog wogness of north Veni vidi vici market square of Preston from the ravages of war to tamed lions, eagles lemon trees lemon scented fruit of dislocation how do I love you endless endless suburbs of east Metricon, Glenville and anon faux Provincial, Federation, Bungalow Californian the home beautiful of low maintenance thinking to the row row of hedge groves how do I love you foreign beige of aspen dales and vales lap of bay against the hush hush hush how do I love you oh Yarra, smell of brown the glass sheen of Maribyrnong, canals of Elwood concreted Moonee Ponds creek do I dare dip my feet? how do I love you oh big city heart playground of successive elites huddled laneways of mystery artisanal, literary, labyrinths cannibalised by capital that cannot been seen once crane adorned now pandemic forlorn oh Kulin Nation people, country, language with stories of legend and lore I hail the cries for restitution of what was and is yours yours yours 1. Translations from Macedonian: pusteno – to release/let go/set free oro – folk dance July 2, 2021 / mascara / 0 Comments Gemma Parker is a poet and a teacher at the University of Adelaide. Her poems and essays have been published in Transnational Literature, Award Winning Australian Writing, Writ Poetry Review and the Tokyo Poetry Journal. She was the 2016 winner of the Shoalhaven Literary Award for Poetry. She is a PhD Candidate at the University of Adelaide as part of the JM Coetzee Centre for Creative Practice. She is one of the project managers of the Raining Poetry in Adelaide festival for 2021. She lives in Adelaide with her husband Guillaume and their two children. Studies in Moonlight The sparkle on hickory or white-oak leaves seemingly wet with moonlight strikes one to the heart. One suddenly misses the capital, longing for a friend who could share the moment. – Yoshida Kenkō (c.1283-1350) I don’t even know what a hickory leaf looks like. I yearn to write poems about moonlight, the wet darkness, solitude. Far from the light-noise of cities, to write in a place of true night, in the medicinal north. To compose more than opportunistic poems about the marginalia of life. Doesn’t one also miss the rush of loneliness, and long for distance from every capital? July 2, 2021 / mascara / 0 Comments Samia Goudie is a Queer Bundjalung woman currently living on Ngunnawal country. She has published widely both as an academic working in health and the arts, and as a film and digital story maker. Samia is a member of Canberra based UsMob writers and FNAWN, First Nations Australian writers network. She has received an AFC mentor award for a short award winning film US Deadly mob and has had four documentaries screened and toured at festivals. Her various digital story projects are available on line and archived with the state library Old and FNQ’S Indigenous knowledge centres. Samia received a Fulbright fellowship in 2006 based around research in creative practices using digital story telling as a method to archive oral stories using new media and as a curative healing practice in First Nations communities dealing with intergenerational trauma. She has had multi media/word/installations and exhibitions of visual art and poetry at various locations including the Wollongong gallery, M16 gallery Canberra, ‘Territories’ at Laboratory of Arts and Media (LAM/LETA) University of Paris. Her multimedia/artwork has been is held in private collections nationally and internationally. Samia has been publishing poetry and short stories more frequently over the last several years and has works published in the Southerly, IWP Iowa press, Wakefield press, Norton and Norton, 3CCmedia journal, Aiatsis Press, Too Deadly: Our Voice, Our way Our business (Us Mob Writers anthology), Giant Steps (2019) and What We Carry (2020), Recent Work Press and Routledge press. More recently she was highly commended for her submission to the Varuna First Nations Fellowship which gives access and support to Varuna’s residential writing space in the Blue Mountains. She has also won support and runner up with the Boundless Indigenous Writers Mentorships, supported by the NSW Writers centre and Text publishers, which matched her with Melissa Lucashenko as a mentor for her current work in progress, which is a novel. Won’t fit in The box Don’t fit, won’t fit, can’t fit Believe me I tried Even the box rejected me There must be something wrong I contorted, twisted My shape, my voice My hair, my hands, You even tried to alter my soul I was never enough Even when you medicate me, debate about me, Aint nothing wrong with my voice, my hands, MY shape My gender, my colour who I am I am large and round have limbs bound with the roots of trees I can touch the sky Why would I give any of that up? To fit in your box There is fear haunting us in shadows Now walking amongst us in full sunlight My friend, tells me, In her community nearly all the Elders lie dead. There is fear haunting us in shadows All those Stories gone All the language lost Who will teach the young? Was it like this When the tall ships sailed in? Fear grips my broken heart And now like the last cruel blow her 11-year-old niece There is fear haunting us in shadows She attends funerals everyday They drive hours to stand in long lines hoping today they can get a Vaccine Instead of body bags She asks for prayers Please pray for us She always ends her posts, It’s raining here I’m so far across the southern sky Across the wide ocean a dark afternoon On a good day I spend time outside under open sky Seeking solace where none seems possible There is fear haunting us in shadows I choose to turn towards the sun Miigwech means loosely, thank you, in Anishinaabemowin also known as Ojibwa. However, it has also a tone that conveys respect and request, recognition and integrity. Gratitude.

DCA Member Relations Admin Coordinator Tara Somerville shares what it means to get it right – and wrong – with trans and non-binary employees. DCA CEO Lisa Annese, spoke with Joel Clapham, the Founder and Chief Mental Health Champ of Hearten Up, a program dedicated to mental health first aid and suicide prevention training. DCA CEO Lisa Annese, spoke with Chris Varney, founder and CEO of the I CAN Network – an organisation that empowers people on the Autism spectrum – to better understand neurodiversity and get his unique perspectives as a leader with autism successfully employing 38 employees with autism. The momentum generated by the US Black Lives Matter movement has seen Australian organisations question their own systemic inequalities. However, many feel they lack the capability to channel this energy into achieving real change respectfully, inclusively and confidently. In two new COVID Conversations, DCA CEO Lisa Annese speaks with Rachel Nicholls, Board member of engineering and design consultant Arup Australasia, and John Price, a Commissioner for corporate regulator ASIC, to discover how their organisations are going about the business of recovery Natasha Stott Despoja, founding Chair of Our Watch, the national foundation to prevent violence against women and their children, and DCA CEO Lisa Annese, examine the scourge of domestic and family violence in our society, and how organisations can make a difference. In the second of our ‘COVID Conversations’ with DCA members, Clare Harding from Deloitte Australia explains that prior investment in planning for the virtual office has paid off, equipping them with the necessary resources and mind-set to scale up as the crisis unfolded. With the potential impact of COVID-19 on our health system and economy generating fear and uncertainty in the community, supermarket employees – deemed essential workers – have emerged as the unsung heroes of the pandemic frontline. A spotlight on DCA Board member, Amanda Revis. An exploration of grief with academic Lauren Breen, Associate Professor in Psychology at Curtin University. Jeremy Fernandez is an Australian journalist and television news presenter with the ABC. Here, he talks to DCA about diversity and inclusion in media. To mark the International Day for the Elimination of Violence against Women, which falls on Novmber 25th, DCA speaks to Our Watch CEO Patty Kinnersly about attitudes, culture and prevention. DCA Board Member Tim Fawcett talks about the opportunity gender equality offers men. Veteran John Bale founded Solider On in 2012 to support services for returning service people and their families, including career assistance and employment opportunities. DCA board member Stephen Barrow busts 'controversial' diversity and inclusion myths. SBS's Ricardo Goncalves reflects on diversity in Australian media ... or the lack of. In this new series of ‘meet the board’, we introduce you to DCA’s custodians, beginning with Abbie Wright. Mental health. One CEO lays bare his experiences, and shares his advice to others. 'We’ve seen no shift in employment of people with disability for 20 years' - Australian Network on Disability Businesses without previous experience of disability worry that there will be additional cost and risk associated with employing people with disability. The evidence shows different, says Suzanne Colbert, CEO of Australian Network on Disability.

Our Counselling Services team provides FREE personal and academic counselling to any registered Mount student in a relaxed, inclusive, and confidential environment. We are committed to supporting students of all diverse identities. The Health Office, located on the second floor of Assisi Hall, is available to help students with matters such as guidance and paperwork on Gender Affirming surgeries, hormone injections, Pre- and Post-Op Care, and referrals to specialists. They also host various events such as the Health Clinic for Trans, Non-Binary and Questioning Students. Located besides the Students’ Union, the Wellness Centre offers a range of supports and services including socials and de-stressers, as well as the Wellness Pantry where students can check out foodstuffs and other goods. The MSVUSU Pride Centre offers Mount students and community members support via resources, campus campaigns and events. Located in room 111A of the Rosaria Student Union Building, just inside the Crows Nest Computer Lounge. Queer Student’s Representative The Queer Student’s Representative sits on the Mount Saint Vincent University’s Student Representative Council to act as a liaison between the Student’s Union, the Pride Centre, and the Queer constituency on and off campus. The Queer Rep also is responsible for ensuring that the Student’s Union and Pride Centre are adequately concerning and acting on issues and concerns of the LGBTQ* community. The Queer Rep is most importantly an ally and advocate for MSVU students. Harassment and Discrimination Advisor MSVU’s Harassment and Discrimination Advisor acts as a confidential, fair and impartial resource to the University community on all aspects of harassment and discrimination. The Advisor offers advice and support to any student, faculty or staff member who has concerns about harassment or discrimination. The Advisor also works to resolve informal complaints of harassment and discrimination and, when required, refers formal complaints to an external investigator for investigation. Gender-inclusive washrooms are available across the Mount campus in the following locations: - Seton Academic Centre (453) - Rosaria Student Centre (402) - Evaristus Hall (212, C303, C304, C408, 409, 421, 453) - Margaret Norrie McCain Centre for Teaching, Learning and Research (113) These washroom are also labelled on the Campus Map.

Campaigner Christie Elan-Cane has lost a High Court action against the Government’s policy on gender-neutral passports. Elan-Cane’s case argued that the Government policy of obligatory female or male gender markers on passports was “inherently discriminatory”. High Court judge Mr Justice Jeremy Baker refused to rule the government policy as unlawful. However, the judge was satisfied that, “right to respect for private life will include a right to respect for the claimant’s identification as non-gendered.’’ It is the first time that a judge in a UK court has make such a statement about non-binary gender in reference to the right to a private life. Sascha-Amel Kheir, non-binary activist and Gendered Intelligence’s Volunteer Coordinator gave the following statement on the ruling: “I’d firstly like to thank Christie for the time, effort and emotional labour that not only must have gone into this case but the three decades of campaigning leading to this point. It is an issue that affects many people personally, including myself, and something Christie has fought tirelessly for many years. While the decision from the court is not the best case scenario, it is also not the worst. For the first time a court in the UK has recognised that forcing people who identify outside of the gender binary to choose a M or F marker for documentation violates one’s right to a private life under the European Convention on Human Rights*. It was noted that the Government is currently conducting a review of gender recognition policies with the long expected consultation on the Gender Recognition Act 2004 and this seems to have been important for the court when drafting its judgement. Hopefully, the judgement will be considered during the GRA consultation process, especially now that it has been found to be a human rights violation. If not, it at least sets a strong foundation for strategic litigation if the consultations do not lead to the necessary changes in policy and legislation.” You can read more about the ruling on Christie’s own blog.

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One of the best realistic packers I’ve purchased This packer isn’t too big or small and creates a nice bulge both in underwear and under pants/shorts/etc. And if you have paxsies packing underwear the packer fits in their pouches very nicely. I would definitely recommend wearing boxer briefs with this packer because I don’t think it would be a nice feeling for it to be flying around in your pants. But other than that this is a very solid packer. It’s one of the packers I wear the most. Overall, great packer. I like the durability and realism. Only thing that bothered me was the balls. The depth of them were a bit much for my personal preference, but I took a knife and trimmed them down on the back side to fit my needs. Also, I don't care for the asymmetrical balls. Thought I'd give it a try, but it just took a while to get used to the longer side rubbing against my thigh. Everything I expected, and then some I’m so picky with packers and have been eyeing this one for awhile. The shape and ‘hang’ of this packer feels so nice in pants. The silicone quality is phenomenal. It feels so lifelike. No smell to it and no cornstarch is necessary. It’s firm but provides a perfect natural contour that feels apart of you. It’s amazing to look at, every single detail is executed so precisely and perfectly down to the every skin pore, wrinkle, and vein. My favorite packer by far. I’m excited for this company. AMAZING!!!! absolutely in love . okay hi my names tate. so i’ve had a lot of prosthetics and all of them always felt uncomfy in my pants too me. then i bought this and OH MY GOD. Not only is it such high quality it’s also so comfortable that i forget it’s not my actual anatomy. It’s so realistic looking. even the tab has skin like details and textures that just make it so much more dysphoria relieving. i got color A and i was nervous before i really like a red tip but bro it’s so gorgeous and realistic that you don’t even need that. It is a harder material it’s not gonna be stretchable and squeezable like the Mr.limpy BUT the material also isn’t so hard that it feels like a rock up against ur anatomy. Personally i think it passes the grab test very well and the buldge from it is the perfect size. ( i’m 5’6) The attention too detail in this prosthetic is what really made it amazing. reaching down into my underwear and being able too feel the extra for skin around the tip makes it feel so much more real. It also shipped relatively fast considering i’m in the US. it took maybe 1-2 weeks. honestly this product comfortably and realism wise is better then my gender cat. If i had more money i would so buy many other products from this company because i’m so in love with this one.

and Other Under-Represented Founders Looking to launch or grow your business? Check out the following resources for funding, mentorship, and other assistance, all tailored to entrepreneurs who are women, people of color, and/or LGBTQ+. Accelerators, incubators, and fellowships This nonprofit serves women entrepreneurs in Ohio and northern Kentucky with in-person and online instruction, mentoring, and networking. Some participants compete for funding in an annual pitch competition. The Capital Network Fellowship for Female Founders This Boston-based nonprofit offers a six-month fellowship for women entrepreneurs, with workshops, mentoring, and networking. digitalundivided BIG incubator Geared to Black and Latinx women entrepreneurs, this fifteen-week program in Newark, New Jersey, provides instruction, mentoring, and networking. FastTrac NewVenture 50+ In partnership with New York City’s Department of Small Business Services, this six-week bootcamp serves women entrepreneurs over age 50, teaching them business basics. The New York City-based program provides women entrepreneurs with training and mentorship. LGBTQ+ Entrepreneurial Accelerator Program (LEAP) The Columbus, Ohio-based program offers instruction, mentoring, and networking to entrepreneurs who are part of the LGBTQ+ community. This twelve-week accelerator in Cincinnati supports tech-driven companies led by women and minorities. Morgan Stanley’s Multicultural Innovation Lab This six-month accelerator, based in New York City, serves women and other diverse founders building technology or technology-enabled start-ups. Participants receive instruction, mentoring, funding, and workspace. This Washington, D.C.-based nonprofit helps women entrepreneurs start and grow businesses. It offers several accelerators, such as Health Innovation Hub, Tech Innovation Hub, and New York Fashion Tech Lab, and hosts “helpful feedback-driven” pitch sessions called Dolphin Tank at locations throughout the country. Women Innovating Now (WIN) Lab Run by Babson College, this five-month accelerator serves women entrepreneurs in Boston and Miami with coaching, networking, and mentoring. Women’s Startup Lab This Silicon Valley-based organization hosts an accelerator for women-led tech start-ups and a pitch event called WiSE24. Books to read Launching While Female: Smashing the System That Holds Women Entrepreneurs Back By Susanne Althoff Based on interviews with over a hundred women and nonbinary founders, this book explores the hurdles these entrepreneurs face and proposes ways to make the start-up world inclusive and equitable. Leapfrog: The New Revolution For Women Entrepreneurs By Nathalie Molina Niño with Sara Grace Nathalie Molina Niño, who launched her first tech start-up when she was twenty, draws on her own extensive entrepreneurial experience and that of other successful founders and executives. The result is fifty “proven hacks” to help you launch and grow your company. The book pays special attention to the hurdles faced by women of color. Be an InventHer: An Everywoman’s Guide to Creating the Next Big Thing By Mina Yoo and Hilary Meyerson This compact, practical book walks you through the step-by-step process of starting a business, focusing on companies that manufacture consumer products. Co-author Mina Yoo invented the Heroclip, a gadget that functions as a third hand, and weaves in her personal story. Venture capital firms and funds This fund—named for the year Ada Byron Lovelace wrote some of the earliest computer algorithms—invests in women-led tech companies. It’s headed up by Tracy Chadwell. Founded by Tricia Black, this firm invests in companies with diverse leadership teams, especially in industries related to commerce, care, and connectivity. Calling itself “the first female-focused fund in Houston,” this group invests in companies in a variety of industries. Started by Arlan Hamilton, this firm invests in companies with founders who are women, people of color, or LGBTQ. BBG Ventures sprang from an initiative called #BUILTBYGIRLS and invests in consumer-tech start-ups that have at least one woman founder. It’s led by Susan Lyne and Nisha Dua. BELLE Capital USA This fund invests in women-led companies in the following sectors: digital/mobile/internet, technology-enabled products and services, life sciences/medical devices/health IT, and clean-tech. Whitney Wolfe Herd, creator of the Bumble dating app, is behind this fund, which invests mostly in companies founded and led by women of color and people in other under-represented groups. Headed up by Samara Mejia Hernandez, this firm seeks out start-ups led by women and other under-represented entrepreneurs, and specializes in what it calls “overlooked businesses.” This firm invests in technology and tech-enabled companies with at least one woman leader on the team. It’s led by Kathryn Cartini, Elisa Miller-Out, and Erica O’Brian. This Hillsboro, Oregon-based fund, founded by Nitin Rai, invests in under-represented entrepreneurs, including women, people of color, and veterans, in a range of industries. Arian Simone and Keshia Knight Pulliam launched this fund that invests in companies led by women of color entrepreneurs. Female Founders Fund This fund, started by Anu Duggal, invests in women-founded and led ventures, focusing on e-commerce, web-enabled services, marketplaces, and platforms. This fund, led by Jesse Draper, invests in consumer-technology companies with at least one woman on the founding team. Harlem Capital Partners This firm invests in founders who are women and people of color, whose companies focus on tech-enabled products or services. It was started by Henri Pierre-Jacques and Jarrid Tingle. This group of women investors seeks companies based in the Southeast and led by women entrepreneurs. Founded by Sue Heilbronner and Elizabeth Kraus, MergeLane invests in start-ups with at least one woman co-founder or leader. This firm invests in companies with at least one woman co-founder, focusing on cyber, blockchain, artificial intelligence, machine learning, and consumer-facing start-ups. Alexsis de Raadt St. James started Merian Ventures. Plum Alley Investments This membership-based group of investors seeks out companies led by women entrepreneurs and gender-diverse teams. Plum Alley was launched by Deborah Jackson and Andrea Turner Moffitt. This group’s funds prioritize investments in companies with “inclusive and gender-balanced teams.” Portfolia was founded by Trish Costello. This firm, founded by Jenny Abramson, funds women-led companies that use technology to address major challenges in our society, such as healthcare and environmental sustainability. Founded by Pocket Sun and Elizabeth Galbut, this firm invests in companies led by entrepreneurs who are women and people of color. This firm invests in software companies, focusing on those in the Southeast and led by diverse teams. This fund invests in companies with gender-diverse management teams, especially in the sectors of enterprise SaaS, consumer internet, and educational technology. Entrepreneurs in the Pacific Northwest and California are preferred. The fund, led by a large group of women who are entrepreneurs themselves, invests in companies with at least one woman founder. This network of angel investors invests in start-ups that include a woman “in a position of leadership who holds equity and executive influence.” This group invests in companies with at least one LGBT founder, senior executive, or board member. Since 2015, over half of the start-ups that have received an investment have had a woman founder or senior leader. This angel network invests in businesses that are women-led, often focused on B2B and B2C technology, health care, and consumer products or services. Next Wave Impact This investment group, started by Alicia Robb, focuses on companies that have women and/or people of color on the founding team. Founded by Natalia Oberti Noguera, this angel group seeks entrepreneurs who are women or non-binary femmes. Other funding options Black Girl Ventures Started by Shelly Bell, this organization hosts pitch competitions for Black and Brown women entrepreneurs with crowdfunded winnings. Coaching and networking are also offered. Cartier Women’s Initiative This global contest offers prize money and business and financial coaching to women entrepreneurs whose companies meet at least one of seventeen United Nations Sustainable Development Goals. Founded by Vicki Saunders, this international program (formerly known as SheEO) financially supports companies led by women and nonbinary people. Participants also receive networking and advice. This platform helps women-led businesses raise money through rewards-based crowdfunding. Coaching is also available. Tory Burch Foundation Capital Program This program, a partnership with Bank of America, helps women entrepreneurs secure affordable loans through community lenders. Women’s Enterprise Action Loan Fund This group, founded by Vicki Weiner, offers interest-free loans ($5,000 to $10,000) and mentoring to women business owners in the New York metro area. The loans have no credit rating or guarantor requirements.

How a broad-based alliance closed down an Atlanta jail This blog originally appeared on Medium, Oct. 22, 2019, by Xochitl Bervera How an alliance of formerly incarcerated women, trans and queer leaders, and immigrant justice organizers closed down an Atlanta jail Now, they’re helping transform it into a Center for Equity, Wellness, and Freedom Black, and/or formerly incarcerated, and/or trans and/or gender nonconforming, and/or disabled, and/or poor, and/or immigrant. This is who once filled the 1,100 beds in Atlanta’s City Jail. The City Jail has been one of the tools used to divide and conquer these communities. But over the last five years, something unexpected has happened. These communities came together to wage a series of powerful campaigns to free people from incarceration. The Communities Over Cages: Close The Jail ATL Campaign fought for and won reforms that, on their own, would have temporarily kept one or another group of people out of the Jail. Taken together though, the nightly count has decreased from 700 to 300 to 150 to 72. By July of 2020, it will be zero, where it will remain. This is how we closed a city jail, and why we won’t rest until we transform it into a vibrant Center for Wellness & Freedom to serve the very people it once harmed. The first time Ms. Marilynn Winn, Director of Women on the Rise, said “I think we’re ready to launch the campaign to close down the jail,” I balked. We were sitting on the front porch of our office, the Blue House/La Casa Azul. I remember going silent, a smile on my face, no doubt, but a big lump of hesitation in my throat. Not because I didn’t believe the jail should be closed (I knew it should be closed), but because I knew how many different interests relied on that jail to make a profit or secure their paycheck. That jail had lucrative federal contracts, was fed by a police force accustomed to arresting people for the most minor ordinance violations, made millions for bail bond companies, and had a charismatic Chief Jailer that endeared himself to our elected officials by using “voluntary” labor to clean up the city’s neighborhoods at no cost to them. I calculated the years it would take and the fights it would require. The list of opponents it would fire up seemed endless. I was exhausted just thinking about it. And a little terrified. A campaign to close the jail would be poking a dragon. The beast was already stomping around damaging our communities, but to holler “Close the jail!” would bring its fiery focus and attention directly on us. We would, with this campaign, set in motion a whole series of events, attacks, and counter-attacks. Were we ready? Of course, we had been getting ready for years. I’m the Director of the Racial Justice Action Center which houses two organizations, Women on the Rise and the Solutions Not Punishment Collaborative (SNaPCo), and together with our ally organizations across the city, we had been laying the foundation for years to take this Goliath on — and win. With SNaPCo, we had built a unique and powerful organizing force in the city of Atlanta that took on criminalization and sought nothing short of the total transformation of our city’s public safety system. SNaPCo was unique because it brought together the diversity of the Black trans community (including trans women, trans men, non-binary and gender non-conforming people, and others in the trans community) together with formerly incarcerated women — some queer, some straight, the majority cis — to fight back against the hyper criminalization of our communities. We wanted to move resources away from our punitive criminal legal system and into much needed services and support for our communities. Together, between 2012 and 2018, SNaPCo and its member organizations organized to end police misconduct and violence against trans people, “banned the box” on employment applications, stormed the court house and police department when transphobic prosecutors and cops demeaned and endangered trans people, and passed legislation to create alternative-to-arrest programs that provided supports and services to our city’s most marginalized. We repealed “quality of life” offenses, reclassified possession of marijuana (so it was no longer punishable by jail time), garnered pressure and attention to the police shootings of our people, and won seats on our police civilian review board and changes in policing policy and procedure. We also worked alongside allies and comrades to pass municipal bail reform. With all these reforms, we watched the population inside our city jail plummet. Because, despite the claim that the police were making arrests for public safety, when the city could no longer arrest or detain people simply for being poor, hundreds and thousands fewer arrests and detentions were made.We also watched attitudes change and momentum grow toward a new vision for community safety. We forced decision-makers to address trans communities and listen to the wisdom of formerly incarcerated people. We had packed city hall so many times (and won), that our council members grew alert (and respectful) when they saw us coming in our black and red T-shirts. When our Pre-Arrest Diversion program went from campaign to legislation to a successful, dynamic program keeping people out of jail and promoting harm reduction throughout the city, a council member called us “the best organizers in the city” because we highlight injustice and bring demands — but we also bring solutions from the most impacted and the work to get it done. When the nation erupted into Black Lives Matter protests in the summer of 2016 in the wake of yet another round of police murders, Atlanta rose up. The young people of SNaPCo were right there in it, closing down highways and demanding an end to the epidemic which included lost lives at the hands of APD. This powerful movement shifted our work and campaigns in ways we couldn’t have predicted as it shifted the political landscape. Even the most in-denial elected official had to admit that at least elements of our criminal justice system are racist and violent. Concepts of the “New Jim Crow” were now in the popular media and public discourse. And, in our city, as across the country, there was a scramble for solutions to stop police violence and end mass incarceration — which is what we had been fighting for all along. So in late 2017, it was time. After all our reforms, we still had a giant, 440,000 square foot jail sitting in the middle of our downtown, sucking $32.5 million dollars each year out of the city’s budget, all in the name of “safety.” It was time to not just change policy, but to force the city to put its money where its mouth was — to divest from this jail and invest in our communities. At that time, the jail had a daily population lower than 150 people per night on what we called the “city” side. But the city had also contracted with Immigrations and Customs Enforcement (ICE) to hold close to 300 immigrants inside the city jail. Still, the jail was more than half empty — and the cells that were full caged people for violating city ordinances (spitting on the sidewalk, open container, disorderly conduct), traffic laws (driving too close, driving with a suspended license) or immigration rules. Ms Marilynn said it. It was time to SHUT IT DOWN! In early 2018, Women on the Rise, our membership based project led by formerly incarcerated women, many of whom have spent time inside the city jail, and the Racial Justice Action Center officially launched the Close the Jail ATL: Communities Over Campaign, partnering with SNaPCo and many other powerful organizations across the city. For 6 months, we built our Alliance to over 50 organizational members, spanning issues of immigrant rights, housing, HIV, LGBTQ issues, and reproductive justice. We packed city hall, held press conferences, met with every elected official we could find, and produced materials that explained why the jail must be closed. Our members shared their powerful experiences of lives disrupted by this jail and these kinds of arrests. We had hard conversations with the jail’s employees and released policy briefs that called on the city to ensure the workers got a “lift up” not a layoff, supporting labor rights while clearly holding that no one should be locked in a cage to provide a job for someone else. We combatted the myth that the jail was a “help” to those it locked in cages, provided evidence of the exploited inmate labor program, and exposed the fiscal absurdity of the facility. Alliance members Project South and Georgia Detention Watch released a detailed report highlighting the terrible conditions and treatment of the immigrant detainees in the facility and together we rallied at the jail and at city hall until our throats were sore and our voices heard. And then came Trump’s separation policy at the border. And another round of protests erupted. The first time I was part of a crowd of thousands Black, Brown and white Atlantans, chanting “NO MORE CAGES” I got goosebumps. That hadn’t always been a unified cry — and now it was. Thousands of people joined our calls for an end to horrific immigration policies and made the connection between border family separation and the separation and destruction of families at the hands of the criminal legal system. People were having the simple yet radical realization — that humans of any age shouldn’t be locked in cages and that racism was fueling these injustices. Mayor Bottoms has since said publicly that when she watched the nightmare at the border, she heard our voices in her head (after hearing us so many times in City Hall) saying “you can do something about this.” And so she did. In September of 2018, the Mayor permanently ended the contract with ICE making a bold statement that “Atlanta will no longer be complicit in a policy that intentionally inflicts misery on a vulnerable population without giving any thought to the horrific fallout.” This was a vital victory for the campaign as it swiftly removed the then-largest population of people in the building and one of the biggest monetary interests — ICE contracts had brought in roughly $3 million dollars each year to the city. Not long after that, we achieved the campaign’s second victory. After months of education and pressure, the Mayor went on Fox 5 nightly news and declared that Atlanta would “no longer be in the jail business” and that she planned to close the City Jail! While we celebrated that night, we also knew that this was just the beginning. Bridgette Simpson, an organizer for Women on the Rise, and a formerly incarcerated woman said, “Without community pressure, we knew the city might just sell the jail to the County for use as another jail, or they would take the savings and give it to the police department. If what the community needed was going to prevail, we were going to have to organize to bring the city our vision. We weren’t fighting for just closure, but for transformation, for redemption. We knew that this place which had done so much harm to our communities needed to be repurposed into a center for wellness and freedom — a place that served all our people.” And thus was born the idea of creating and passing legislation to create a Design Team or taskforce made up of people in the community who would guide the big process of how to repurpose this giant facility. We kept saying, “it’s not the mayor’s decision, not the fancy downtown developer’s decision. It’s the community’s decision and especially the people who have been disproportionately harmed by this building. Poor people. Homeless people. Black and Brown people. The formerly incarcerated. Trans and gender non-conforming people. Immigrants.” So together, in a membership meeting, we began to craft the language for the legislation and on May 20th, 2019, exactly a week after we hosted a big education and lobby day at City Hall called Day of Redemption, the council voted 11–1 to pass a bill that created a design team with community leadership to together guide the transformation of the city jail into a center to benefit the community. On a hot and sunny morning in late May , less than 18 months after officially launching the campaign, Mayor Bottoms stood alongside dozens of Women on the Rise and SNaPCo members and our ally organizations in front of the jail to sign the legislation and launch the Reimagine Atlanta City Detention Center Taskforce and Initiative. Standing next to the mayor, Ms. Marilynn took microphone and said to a cheering crowd, “Today is a good day for the City of Atlanta and for all the people this city has historically left out and locked away. As a Black woman whose life was harmed by this jail, I will now be part of the taskforce to transform it. Anyone and everyone who has been caged here, come join this movement. Now is our time!” We celebrate our victories and yet the work is not done until the building has been transformed in the communities’ vision. Stay tuned and join the movement by: If you live in Atlanta: Sign up for emails at www.closethejailatl.org and attend the next Reimagine ACDC Taskforce meeting on October 29th at 5pm, 768 Hank Aaron Dr SE. Formerly-incarcerated and detained people, attend Women on the Rise’s Formerly-Incarcerated & Detained People’s Townhall on November 1st at 6pm, 504 Fair St. SW If you live outside of Atlanta: Donate to the campaign, sign up for emails at www.closethejailatl.org to spread the word and let people know everywhere that together, we are powerful enough to shut down jails and transform our cities!

And The Winner Is… Georgia Beith discusses MTV's introduction of gender neutral award categories and what it means for the future of awards. “Acting is the ability to put yourself in someone else’s shoes, and that doesn’t need to be separated into two different categories.” These were Emma Watson’s words as she accepted the MTV Award for “Best Actor in a Movie” as a result of her role as Belle in Beauty and the Beast. Her acceptance speech not only expressed her gratitude for receiving the award, but also her joy at it being the first ever gender neutral award for acting. While the MTV Awards are not renowned for being the most prestigious, in comparison to awards like the Oscars or the Emmy’s, the 2017 awards mark a milestone for gender equality in Hollywood. Many, like Watson, expressed their approval of the move. Billions’ actor Asia Kate Dillon, who presented Watson with the award, perfectly summed up the motivation behind merging the male and female categories, eloquently stating that “the only distinction we should be making when it comes to awards is between each outstanding performance”. Dillon, who made history as the first ever non-binary character on TV, previously challenged the Television Academy on its binary classification of categories – neither of which Dillon subscribes to. Merging the male and female categories into one seems logical, as there is no justifiable reason why they should be awarded separately. Unlike sports, for example, there is no real difference between the performance of a male and a female actor, since such awards on judged on the quality of the acting alone. Proposals for similar mergers have been thrown around for years, but criticisms and concerns have prevented them from being imposed until now. Some criticisms are the expected shouts of the change being “ridiculous” and “unnecessary” and a threat to traditional gender roles. However, other criticisms are based in genuine concern that if such changes were widely introduced, it would only serve to exacerbate the sexism within the entertainment industry. The worry is that, if male and female actors were nominated in a single category, then this would lead to female actors being pushed out in favour of their male counterparts. In 2016, women only made up twenty-nine per cent of lead roles, as reported by San Diego State University’s Center for the Study of Women in Television & Film. Considering the fact that this low percentage was actually a historic record, the likelihood that women would achieve the same number of nominations as men is unlikely. The more prestigious accolades, such as the Academy Awards and the Golden Globes, have their winners decided upon by an exclusive body of industry professionals. These bodies are overwhelmingly male, which naturally lessens the opportunity for woman to receive proper recognition. One only has to look at the Academy Award for “Best Director” to see that moves towards gender neutral awards would not work as intended, as it has only seen four female nominees in its eighty-eight-year history, despite being open to directors of any gender. Following MTV’s lead in gender neutrality is a goal that the entertainment industry should strive towards. But if such a change was not backed up by efforts to increase diversity and representation in a wider sense, then it would be essentially useless, and might even serve to hamper existing efforts. And, now that the precedent has been set, gender neutral awards seem the only obvious choice for the future. Photo Credit: Irish Film Institute ‘A bride of hate to me and death / Tigress, not woman’ (Euripides, Medea) Medea: a monster, a mother, or a murderer? Victoria Bastable reviews her week with By Jove Theatre company and how their ‘Season of Violent Women’ has made her question the dehumanisation of violent women in culture from Ancient Greece to the […]

Scottish Daily Mail Health staff told to call patients ‘they’ HEALTH bosses are being told to refer to staff and patients as ‘they’ rather than ‘he’ or ‘she’ to avoid offending transgender people. Courses offered by NHS Lothian, in tandem with the Scottish Trans Alliance and LGBT Health and Wellbeing, encouraged staff to use gender-neutral pronouns at home and work to try to get used to them. The aim is to enable staff to support transgender patients, by using the correct form of address. But staff have raised concerns that the training goes further than that and encourages people to change the language they use in their personal lives so it becomes more ‘natural’. Among tips for supporting transgender patients, staff are advised: ‘Don’t assume you know which pronouns and titles people prefer – ask what they prefer’; and ‘think about how you call for people in waiting rooms – ensure that you don’t accidentally use old names or titles’. A source at NHS Lothian who attended an hour-long session said: ‘They were telling us to refer to each other using the term “they”. If we started using “they” in our personal lives it would become natural when we go into the workplace.’ The manager said she was worried about offending older patients by not referring to them as Mr or Mrs. She added: ‘I asked [the course leader] whether this could be an issue with elderly patients if I was referring to them as “they”. They may feel that their dignity has been compromised, which goes against our core values of safety, dignity and respect. They couldn’t answer.’ Scottish Trans Alliance manager James Morton did not respond to inquiries yesterday but told The Times its staff member who co-facilitated the NHS Lothian training session did not give the advice on pronouns. LGBT Health and Wellbeing did not respond to a request for comment. Alison McCallum, director of public health and public policy at NHS Lothian, said: ‘NHS Lothian is committed to promoting equality, diversity and human rights. A series of transgender awareness workshops was held for staff in December 2017 to promote good working practice and also to remind them to be mindful and respectful of their patients and colleagues. ‘Learning outcomes included exploring the appropriate terms and definitions relating to transgender and non-binary people, including the use of non-binary pronouns.’ A spokesman for women’s rights campaign group forwomen.scot said: ‘We believe many patients will find this insulting and dehumanising. We are worried the drive to encourage a culture of gender neutrality in medicine will have adverse effects. ‘So many conditions present differently depending on the patient’s biological sex. Doctors need to be able to treat the body of the patient and not worry about validating identity.’ ‘Insulting and dehumanising’

By MCN Board Member, Desi Gonzalez I’m thrilled to announce the 2019 MCN Advisory Board for diversity, equity, accessibility, and inclusion! The mission of MCN’s DEAI Advisory Board is to represent and advocate for the interests of the MCN community on these matters. We were overwhelmed by the support and enthusiasm for MCN’s new initiative in DEAI—we received over 40 incredibly strong candidates for 16 spots on the Advisory Board. Over the next year, the Advisory Board will support and guide the work of MCN in DEAI initiatives and begin our ongoing process to make the organization—and the field of museum technology—more inclusive. I’m excited to welcome our new advisors, who bring a rich panoply of backgrounds, perspectives, and experiences to our efforts. Congratulations, and I’m looking forward to getting to work! Rumana Chaudhuri (she/her) is a visitor experience volunteer at the National Museum of the American Indian, helping pioneer human-centered design at the museum. She looks forward to strengthening diversity, equity, accessibility, and inclusion at MCN and to initiating DEAI-based transformation in museums. Rumana attended Wellesley College, Georgetown University, and George Washington University. Jim Fishwick (he/him) is an award-winning director, performer, and experience designer based in Melbourne, Australia. He is currently an assistant curator at the Australian Centre for the Moving Image and general manager of Jetpack Theatre Collective. He enjoys promoting queer, trans and non-binary representation in the arts. In her work as a museum producer and journalist, Erin Harper (she/her) is especially interested in telling stories that challenge common narratives and amplify essential voices. As a member of the LGBTQ community, Erin continuously stands up for inclusion and equality in both the personal and professional realm. Nora Hernandez (she/her) is an Exhibits Fabricator at the Ah-Tah-Thi-Ki Museum. Her exhibit designs have created palpable experiences for underrepresented stories of the Seminole Tribe of Florida. Hernandez is developing an online hub called Atomic Carrots for museums that want to design and fabricate impactful exhibits. Scarlett Hu (she/her) is the Assistant Director of Getty Digital. In her IT career of 30+ years, she has created opportunities for underprivileged minorities and made attempts to close the digital divide whenever she can. She is an immigrant and a strong believer of “America Can”—she brought an outsourced department back home and won the Help Desk Institute Team Excellence Award in 2014. Wided Rihana Khadraoui Wided Khadraoui (she/her) is a Business Development Associate with Art Processors. Previously she managed a commercial art space. She holds an MSc in Comparative Politics from the London School of Economics and an MA from CSM in Arts and Cultural Enterprise. She is passionate about technology’s potential to foster diversity and inclusion in the creative sector. Ryan King (he/him) is the Digital Experience Designer at the Smithsonian’s Freer|Sackler. Ryan is the co-chair of the Smithsonian GLOBE (LGBTQ) Employee Group and the F|S accessibility task force, and an active member of the AAM LGBTQ Alliance. Rooted in experiences as a 1.5 generation immigrant in the largest Korean diasporic community in America, Yvonne Lee (she/her) has advocated professionally for strategies of inclusion including Los Angeles County’s Cultural Equity and Inclusion Initiative. She is the Head of Collection Information and Digital Assets at the Los Angeles County Museum of Art. Nameiko Miller (she/her) lives in Nassau, Bahamas where she works as a museum curator. She graduated from the University of Florida in 2018 with an MA in Museum Studies. Her master’s thesis, “Beyond the Walls: Inclusion, Equity and Community Engagement in Museums,” examines issues of racial equity and inclusion in museums. A. Andrea Montiel de Shuman Andrea (she/her) is a Digital Experience Designer based in Detroit, where she has lived since immigrating from Mexico in 2013. She has been involved a variety of nonprofits that exposed her to consistent DEAI needs. Currently, she is interested in exploring opportunities to use digital in serving traditionally underrepresented audiences, especially indigenous communities. James Neal (he/him) is a Senior Program Officer in the Office of Library Services of the Institute of Museum and Library Services (IMLS) in Washington, DC. He cultivates and manages discretionary grants in the domain areas of digital inclusion (broadband access and digital literacy), privacy, open data and civic technology, open education resources, and e-books. Alessandra (she/her) is currently a Digital Coordinator at David Zwirner Gallery in NYC. She recently received her Master’s Degree in Emergent Digital Practices from the University of Denver where she researched art, tech, and disability. In Denver, she managed the online presence for the newly-formed Art of Access Alliance, a partnership between arts organizations highlighting access programs for disability communities. Mimosa Shah (she/her) is the Adult Program Coordinator at Skokie Public Library, where she develops, manages, and evaluates public programs. As secretary of the library’s Equity, Diversity, and Inclusion Committee, she’s committed to helping increase staff’s knowledge and awareness of issues related to DEAI and how it affects our community. Halee Sommer (she/her) is the Editorial Associate at the Jewish Museum in New York City, where she bridges the realms of marketing and digital, streamlining all audience-facing content. Halee’s area of focus on the DEAI advisory board is to build strategic initiatives to make MCN economically accessible for all. Lanae Spruce (she/her) leads the award-winning social engagement team at the Smithsonian National Museum of African American History and Culture. She is working to build the museum’s digital presence to foster learning, creativity and shared discovery as a means to transform our understanding of the African American experience, American history, race, and modern society. Coleman Tharpe (he/him) strives to create inclusive and positive working environments within his companies by evaluating intersectionality, privilege, and power against policies, procedures, and culture. He holds degrees in Anthropology and Radio-Television-Film from the University of Texas at Austin and splits his time between Austin and London.

Cara Delevingne Saint Laurent Cara Delevingne, known for her acting and modeling careers is also a host of less-known facts that help her stand out even more. From her struggles with body image and depression as well as her explorations to the world of sex toys, and her openness regarding her pansexuality Here are 10 fascinating facts about the multitalented Delevingne. Problems with depression and Body Image Despite her stunning beauty, Cara Delevingne struggled with depression and insecurity about her body throughout her youth. She faced ridicule for her small chest, and began menstruating later than other women, being called “frigid” and “flat”. At the age of 15, depression brought her down and she had to temporarily drop out of school. In an interview with BBC she talked about her time in which she stated, “I hated myself for being depressed, I hated feeling depressed, I hated feelings.” However, Delevingne came from a wealthy family, and everyone thought she must be automatically happy, they didn’t understand her mental state. Homophobic in her Youth Cara Delevingne was unable to comprehend her sexuality, growing up in a family where it was not discussed. For a time she believed that same-sex marriages to be disgusting and considered herself a homophobe. In an interview with The Guardian, Delevingne said, “I know I’m the luckiest girl in the world, I understand all this and I wish I could appreciate it. It’s just that there’s something dark inside me that I can’t shake.” Delevingne believes that she is pansexual and falls in love with the person, regardless of gender or gender identity. The actress explained that she might be drawn to non-binary or transgender people. When she spoke to Variety, Delevingne said, “However an individual identifies, whether it’s a ‘they’, a ‘he’ or a ‘she’, I fall in love with the person – and that’s what it’s about. I’m attracted to the person as such.” Marriage and Relationships In 2019, Delevingne got married in Las Vegas to actress Ashley Benson, but they later ended their relationship. She’s also been romantically associated with the actress Michelle Rodriguez and singer Miley Cyrus. The public display of Delevingne’s sexuality has been met with both support and criticism. Risks emanating from the Film Industry Delevingne was a target of her producer Harvey Weinstein, who threatened her career if she didn’t cover up her sexuality and find male partners to serve as an “cover”. But Delevingne didn’t listen, and she continued to be open about her sexuality and relationships. Business with an Sex Toy Company Delevingne is a part of a business partnership with a sex toy company and tests the products herself. She’s candid and open about her participation in the business and believes it is an opportunity to spread the message of sexual wellness and liberation. Secret Vaginal Tunnel Delevingne has a hidden vaginal tunnel inside her home, which was a gift from a friend. The tunnel was designed by an artist, and serves as an image of female empowerment and liberation. Delevingne recently entered the world of NFTs by making a video of herself dancing in the secret vaginal tunnel inside her house and then selling the video as a unique digital collectible. It demonstrates her brave and unflinching attitude, as well as her willingness to explore new avenues and break boundaries. Despite criticisms about her acting skills she has continued to pursue her love of acting. She has been featured in a variety of films and TV shows such as “Valerian and the City of a Thousand Planets,” “Suicide Squad” and “Carnival Row” It’s evident that Delevingne is not limited by other people’s opinion on her talents and skills, and continues to challenge herself. Inspiration and Role Model Delevingne’s story is an inspiration to many. She’s been candid about her struggles and her journey to self-acceptance, she is an example of the importance of being true to oneself regardless of what other people might think or think. She has been vocal about mental health, body positivity and inclusion and has used her platform to speak up for communities that are marginalized. Her actions demonstrate that it’s okay to not know everything and it’s fine to be different and unique. Cara Delevingne began her career as a model at the age of 10, when she joined Storm Model Management. She quickly rose to fame and was soon among the highest sought-after models in the fashion industry and walked for the top designers like Burberry, Chanel, and Fendi. She’s a model of how you can go from being a model into the status of a brand and also how to make an impression in the fashion world. Delevingne is also known for her charitable work. she is a world-wide ambassador for the Women’s Cancer Research Fund and actively supports mental health charities and organizations like The Samaritans and the National Alliance on Mental Illness. Additionally, she has donated to organizations that fight against racism and discrimination. Delevingne is also a musician and she has released several songs and music videos and has collaborated with different artist including Pharrell Williams. Social Media Influence Delevingne has a large following on social media and is known for her candid post and relatable material, which has helped her to cultivate a large following of fans and supporters. Model turned actress Delevingne has successfully transformed from being a model into an actress and has been recognized for her roles in films such as “The Face of an Angel” and “Tulip Fever”.

“What’s on your mind today, Carletta?” I don’t tell her my children. Their faces, the first thing I used to see each morning, whining about being hungry. The sound of their voices calling my name, Mama, over and over again. And their laughter filling up what used to be our home. I miss that. Them and having a home. “Nothing really.” I say, instead. It’s hard to keep a straight face with this lady. It’s like I’m being interrogated. The same old thing, every week. Her sitting across from me in that wooden chair, the seat padded with floral. And me on this ugly brown couch, with my arms crossed, ready for the session to be over. I shift in my seat, trying not to look or seem as annoyed as I actually am. “How was your visit with your family yesterday?” She says, kind of glancing at me over her glasses. Here she go trying to play this little game again. She knows good and damn well those people, whoever they are, ain’t no family of mine. “Some folks visited me yesterday pretendin’ to be my mama and my children. The visit was fine. I just go with the flow at this point.” I say. “You don’t believe the people who visited you yesterday are your family?” I’m getting annoyed at her audacity. It’s been like this every week since I been here. The same old questions. About these damn strangers. When she know well as I do my mama been dead and my kids have been taken. And they made it so I can’t remember when and where they took them. “They not. Those kids look damn near grown. And that woman, she kind of favor my mama. I mean they got the same color eyes, but…my mama been dead for years. So I don’t know who that is.” “Do you remember how old you are, Carletta?” My body gets warm like it does when a rage is brewing inside of it. I want to scream, but I don’t. I’m not gon’ let these folks drive me crazy. “I know exactly how old I am. Thirty-two years old. What you askin’ me that for?” “Well. You said the children who visited you yesterday were too old to be yours. How old were you when you had them?” “That’s none of your business. And another thing, you people are really sick. You really are.” “I know you are frustrated, but I would like us to reach an understanding about your family. Can we move forward with our session?” “No. I’m ready to go ‘cause you bout to work my last nerves.” I say, fighting back the urge to knock her out of that chair. “Okay. We can end our session early today and pick back up next week. How does that sound?” She says, sounding a little more defeated than usual. I leave her office, walking quickly down the long, narrow hallway that makes me feel like the walls are closing in on me. My assigned room has a mini-couch and twin bed with a tv hanging from the ceiling. There are sunflowers sitting in my window. Those people bring me fresh ones every week when they visit me. I sit on my bed, exhale, and stare out the window. My eyes burn hot with tears and the grief stabs me in the stomach, an unbearable pain. I keep retracing my memories trying to pinpoint when it happened. When my life broke up into a million little pieces that I can’t figure out how to put back together. I know all of this is some scheme to break up my family. To make me forget I ever had one. Except I got a picture of the five of us together–me, my three boys, and my baby girl standing in our front yard. We were all dressed up in our Sunday finest. And my baby girl had on her favorite little yellow lace dress. I keep this picture hid away in my bible–Psalm 23–so they don’t know I got it. So I can remember. So I can remember the part of my life they keep tryin’ to take from me. Jeremiah Kyrie. That’s what I name my baby boy in my head before I even say it out loud. And before I could fix my mouth to tell them I had decided on his name, a white woman comes in and places her hand lightly on my forearm. “Sweetie, I’m gonna take him on down to the nursery so you can get some rest.” She said with a smile that seemed honest. And so I believed her. That she was gonna take my baby down to the nursery. Her face was softer, not stiff and unmoved like the other white women nurses. So I figured she’d do right by me and my baby. I don’t remember much of what happened after they told me my baby was gone. But I do remember saying, “What you mean gone?” And I could feel the inside of my chest turning to ice right before I start screaming about the white bitch that took my baby. So I reckon they must’ve knocked me out with something ‘cause I probably got to screaming and threatening to whoop ass. I woke up, still in the hospital with my sister, Sue, standing over me. And she rubbing my head saying, “We gon’ get through this.” And I say, “Sue, where my baby?” And she say, “They say he dead. Say he came out dead.” And my heart hurt so bad I think it might just give out. “But Sue, he wasn’t cause I held him. And I felt his breath. And I had named him. I named him Jeremiah Kyrie ‘cause that’s what he looked like. And I felt him, Sue. He was here. He was here.” Sue looked at me with sad eyes, trying her best to hold the wetness forming in them. Her mouth was slightly open, but nothing came out. She just looked at me with those eyes and let me ramble and cry and scream and wouldn’t let them dope me up when I got so loud they could hear me down at the nurse’s station. After a while she apologized for not being at the hospital to protect me. And I tell her between fits of tears that it ain’t her fault it’s them. And we just weep for my baby boy together til the hospital staff get tired of all the commotion and discharge me. I never went to I.D. the body ‘cause I knew my boy was still alive and they had took him. And I didn’t want to imagine what they did with him. I refused to. But I did know for certain he wasn’t dead ‘cause killing black baby boys is just like throwing away money to them. And I reckon they think I’ll forget my baby. But the image of his face, peach-stained and eyes too new to open, won’t leave me. Because I’m his mama. I won’t ever forget. “Let me tell you what they used to do back during slavery,” Grandma Lou said while she cut greens for supper. “Learned this straight from my own mama. They separated the mamas from the babies. And that’s how come everything so fucked up now.” “Your mama was a slave, Grandma Lou?” I ask ‘cause I figured that’s the only way she could of known about what was going on during slavery times since Grandma Lou always talking about her mama only making it to the fifth grade. Grandma Lou gives me that look like when she’s ‘bout to throw her shoe at me and La’Daniel when we get to hittin’ back and forth. “They ain’t teachin’ ya’ll shit at that school house, is they?” She says, shaking her head and laughing. “Well, how she know then ‘bout what happened way back then?” “She know cause her mama told her and her mama’s mama told her. And so on and so forth.” Grandma Lou cut her eyes at me before getting up to throw her greens in the pot. La’Daniel was sitting next me, stuffing his mouth with some watermelon she had cut up for us. “So either way somebody Mama was a slave then for it to get passed down. But how come they was takin’ the kids?” “Don’t get cute.” Grandma Lou says before finishing the story, even though I wasn’t being cute, I was just sayin’. “That’s how they kept control. You a slave and having the nerve to love something, the thing you done created in your own body. That’s too much power to them. They take the babies from the Mama ‘fore they can even learn to love ‘em.” “Dang. Where the daddies was?” La’Daniel says, surprising me ‘cause I didn’t realize he was even paying attention. “The daddies was in the fields. And they couldn’t do nothing no way, but take it.” “That’s real sad, Grandma Lou,” La’Daniel said with a pitiful look on his face that only brought more attention to his eyes, slightly droopy like Mama’s. “It was sad. But that’s how it was back then. Still like that really. They just figured out new ways to do it.” Grandma Lou said, her usually relaxed face twisting into a frown. “Okay Grandma Lou, but what this got to do with us?” I say, cause I’m trying to see the whole point since this started with me asking how come Mama left us again. “Chile, this world ain’t never did right by black folks, especially the women. And I did what I could, but the world got to your mama first. I’ll just say that. But one thing about it, it ain’t make it so she don’t love ya’ll cause she do. Don’t ever think she don’t.” Grandma Lou says, trying to convince me, like always, that Mama loves us. But more like making excuses for her, I think. “Well if she love us how come she keep dropping us off here all the time? That sound like love to you La’Daniel?” I say, looking over at La’Daniel who quickly looks away and down at his bowl of watermelon. She can do no wrong in his eyes, even when it’s right there. He just too young to understand real life. “Let me tell you something. I know your mama ain’t done right by ya’ll and I can’t tell you how to feel, but I know one thing, this the best thing she could of done for you. ‘Cause if I didn’t have you, the state would. And that’s just the fact of the matter. No matter what happens I’m gonna keep ya’ll together as long as I got breath my body. And she know that. That’s why ya’ll here.” Grandma Lou says without blinking, and for a second I think she might hit me for sassin’ her about Mama. But she don’t. She kind of smiles at me in that way when you feel sorry for somebody. “Okay, I guess.” I say, feeling the bottom of my stomach tense up. Grandma Lou took a deep sigh, before sitting back down at the table with us. She clasped her hands together in front of her and just looked at us for a few seconds. “Listen. She gon’ do right one of these days. Right now, she trying to save herself. Ya’ll too young to understand what that is. So just pray for her, and never stop loving her. That’s your mama. And can’t nothing change that.” I know the conversation is over once Grandma Lou gets up again and walks over to the cabinet to get our plates for supper. I decide to let it go for now. Maybe there is some things I don’t know. But all this sounds like her choosing. Choosing the same thing over and over again. And whatever that is, it don’t include us. Danielle Buckingham is a Black Southern writer from Mississippi. She is a 2017 Voices of Our Nation fellow, and has been published in On She Goes. Her most recent writing explores memory, mental illness and inter-generational trauma among Black families in the deep, rural south. Raising Mothers is a free online literary magazine for BIWOC and non-binary parents of color. As little as 1 coffee a month goes a long way towards supporting our artists and writers while keeping us ad-free. Become a patron today.

Our hope is in ourselves On March 8, International Women's Day, large numbers around the country took part in protests, stay-aways and other events as part of "A Day Without a Woman" and an International Women's Strike to shine a light on the role of women workers. In Chicago, some 650 people attended an indoor rally at the Chicago Teachers Union headquarters, where speakers representing the struggles for trade unions, Black Lives Matter, Palestinian justice, LGBTQ rights, Planned Parenthood and more. Here, we print a speech, edited for publication, from the Chicago event by, a graduate student at the University of Chicago, and a member of the International Socialist Organization and the UofC Resists coalition. I'VE BEEN asked to say a few words about what Trump's America looks like for queer, trans, non-binary and gender-nonconforming people. The short answer, from where I stand, is that it looks really scary--and a lot of people are in far more precarious positions than I am. But I, as a socialist, as a queer and gender-nonconforming woman, and as the proud sister of a brave trans man, am afraid. I am afraid because Donald Trump does things like rescind Obama's executive order which had given trans students, like my brother, the right to use the bathroom they wished to, and I am afraid because I know the real, human cost of policies like that one being issued from the White House. No less than seven trans women of color have been murdered in this country in the last two months alone: one of them right here in Chicago. Her name was Tiara Richmond. She was just 24 years old. So more than afraid, I am angry. I am angry at Trump and the people who support him, because they do everything they can to embolden the ugly forces of bigotry which already exist in our society--a society in which trans people are fully twice as likely to be unemployed as non-trans people and a society in which the life expectancy of Black trans women is just 35 years. Those statistics remind us that we cannot allow our anger to begin and end with Donald Trump. We must also be angry because after eight years under Obama, trans and queer and gender-nonconforming people are still not legally protected in their workplaces, and thousands of queer and trans folks are still homeless and hungry. - - - - - - - - - - - - - - - - WE MUST be clear about the fact that Trump is a hideous symptom, and the escalation, but not the cause of a society in which a myriad of bigotries, including queer and transphobias, are both pervasive and institutionalized, and purposefully so. It is the entire political establishment--constituted by both Republicans and Democrats--that is complicit in upholding that oppressive and exploitative status quo. Republicans and Democrats alike have failed queer people, they have failed working people, they have failed women, and they have failed all marginalized communities. I do not believe that hope for the oppressed can be based within that political establishment. The Democrats expect that bathroom bills and marriage equality are enough to win the allegiance of queer people, but in isolating those issues, they ask us to forget the thing that we know: all issues are queer issues, because there are queer people of every color, faith and nation on this earth, and because all people--not only queer people--are adversely impacted by things like rigid gender norms and heterosexism. So when the Democrats ask us to put our "radical" demands aside in order to campaign for them and the lesser evil they promise us, we must remember what that lesser evil really looks like for oppressed people. Barack Obama's lesser evil looked like thousands of unarmed Black people shot down by cops, it looked like millions of xenophobic deportations, it looked like a generation of young people in crippling debt, it looked like pipelines poisoning our water and orphans in Iraq, and Syria and Palestine. The Democratic Party and their lesser evilism surely cannot be our hope, but that doesn't mean there is no hope. There is hope--it is right here. In this room is our hope! Our hope is in the millions of people who have marched over the last two months, for women's rights, for immigrant rights and in solidarity with Muslims and refugees. Our hope is in the people who have been part of the Black Lives Matter movement and the heroic struggle at Standing Rock and in the Chicago Teachers Union teachers, who fight to stop schools in Black and Brown neighborhoods from closing. Our hope is in the thousands of people who took the streets of Chicago just last week to fight for trans* liberation. It is us, we, the workers and the marginalized, who have the power and the motivation to fight for and win more than just a lesser evil. We can win a better world: if we are organized, if we are unapologetic and independent in our aims, and if we are united in our commitment to stand in solidarity with all oppressed people--whatever they look like, wherever they come from, whoever they pray to and whoever they love. On this International Women's Day, and on every other day, we must remember that none of us are free until we all are free, and that opening the borders and ending the wars and closing the prisons, and winning education and health care and reproductive justice and a living wage for all--those are women's issues, those are queer issues, those are everybody's issues!

Jennifer Jeaurond has been employed with the federal government working in the areas of policy, law and regulation for the past 15 years. She is the vice-chair of the PSAC Pride Committee for the National Capital Region. Jennifer passionately serves and advocates for the LGTBQ2+ community — whether in the public service or as a dedicated community volunteer. She has run information booths for International Day Against Homophobia and Transphobia in federal government departments and continues to fight for LGBTQ2+ inclusion within Justice Canada. As a leader in eradicating stigma and discrimination in the workplace, she has developed workshops, information sessions and educational resources in both official languages for all Justice Canada employees. She actively facilitates training initiatives for senior management to provide resources on non-binary inclusion in the workplace. This Pride month, she and a co-worker launched the ‘Justice Positive Space Initiative’ which provides LGBTQ2+ staff and allies an opportunity to connect and learn from one another. Jennifer loves to volunteer and has organized and ran multiple charitable campaigns at the federal and municipal levels, including fundraising for United Way and organizing a thrift shop initiative within federal buildings, with 100 per cent of profits going to a First Nations community in need.