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  • Cumbiatón returns to Los Angeles right in time for Pride season

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    Picture it, West Hollywood, the tension is high in the air as this year’s Project Drag contestants battled each other, one act after the other. Los Angeles Blade was on hand as guest judge for this particular evening, with TV show characters being the theme of the night. Project Drag, created in 2013 by nightlife personality Tony Moore, is THE drag competition when it comes to representing local drag queens. Even though this evening’s edition marked just a few weeks into the competition, it was clear these queens wanted to win…badly.

    LØRELEI, no stranger to a spotlight, took the stage dressed as Smurfette and launched into a frenzy of dancing (backup dancers in tow). Halfway through her act with a dizzying array of jumps and jazz hands, she leapt into the air and smack dab into the DJ! The audience gasped as she teetered on the edge of the DJ’s station. Would she crash into the DJ, taking the whole setup with her? Or would she fall back and crash into the audience? Gravity had its way, and she crashed into the floor in a blurred mess of yellow hair and red high heels. Was this the end of LØRELEI’s time with Project Drag? Like the showperson she is, she turned the moment into a bit, not knowing that weeks later, she would take home the crown.

    Even though LØRELEI wanted the win so much, she came to the competition a consummate performer, mixing her theatre world with her drag skills to put on truly unique acts. She is a true drag queen in the sense that she’s not just about looks. She can command an audience, she is a successful podcast co-host of SHABLAM!, and she co-founded and runs Dionysia, a non-profit organization dedicated to developing long-form theatrical works by drag artists. Oh, and did we mention she’s been touring around the nation with the Taylor Swift Eras Tour: Drag Brunch? When did she even have time to do the competition? It’s what she does, she makes the show go on.

    We chatted with this fabulous queen after her win, in between cities on her current tour.

    What was your first exposure to drag?

    I was always a theatre kid since I was 10, and I was introduced to drag in small doses through Musical Theater. A Chorus Line, La Cage Aux Folles, Kinky Boots – seeing queer representation in this particular medium was formative to my understanding of drag, and knowing that one day I wanted to be a famous drag queen. Through high school, I would dress in drag for Halloween, and by the time I got to college, I started to hit club nights that were 18+ in drag.

    What was your first professional drag gig? How did it go?

    I remember my first “big-time” professional gig was at Queen Kong with the Boulet Brothers back when they produced parties at Precinct in 2018. I competed in their star-search competition, placing 2nd in the Top 3 alongside Kornbread Jete (RPDR S14) and Charles Galin (King of Drag S1). After that, I was added to the rotation as a performer at Queen Kong until they finished producing the party in 2019. My very first booking with them after the competition was a “Satanic Lady Gaga” night, and I performed “Applause” as Charles Manson. I was so nervous, and I was corseting so tight, I think at that age I was corseting down to 21 inches – so I hate to say this, but I threw up onstage during my performance. The audience was shocked – and I was shocked too. But I kept performing and made it work. Around this time, Dragula was picking up speed, and we had seen the likes of Vander Von Odd vomiting on screen as part of the performance, so many thought that what I did was incredibly punk, and I just kinda ran with it. It’s one of my cringiest memories in drag – but I remember after my number, the Boulets came to check in with me and make sure I was okay, and they told me that I did a great job and that they loved the number. The show must go on, I guess!

    What sets your drag apart from other Queens?

    What sets me apart the most from other queens are my inventive performance ideas. I am a conceptual performer with a sense of humor that I express through writing and staging, and many of my performances feel like short-form theatre shows. My palette of references steers away from conventional drag pageantry, and gears more toward the avant-garde, the meta-theatrical and the bizarre. Every performance has a new character, so you never know what to expect from a Lorelei show – but I guarantee that no matter what you will be entertained. 

    You are the winner of Project Drag! What did going through this competition teach you most about yourself? 

    That no matter how cunty you think you are, there is always room to grow. It taught me not to be afraid to try things that might make you uncomfortable. Being in a competition like Project Drag requires you to be vulnerable and receptive to critique, it requires you to risk failing despite your best efforts. There were plenty of times that I fumbled in the competition – literally. One week I fell clear off of the DJ stand (shoutout to my Smurfette performance). But there were also many successes – I won two challenges before hitting the finale, and those were celebratory moments that demonstrated the best of what my drag could be. You have to take the good with the bad, and if you don’t ever swing big, you’ll never get that pay off to celebrate your drag. You have always be a student of the world, and look for ways to constantly improve your craft. 

    What were your biggest challenges in making it through the competition?

    I would say the schedule of the competition was probably the hardest part – this was an 11-week competition, with challenges that are comparable to Drag Race, including group challenges and design challenges. Our weeks were spent crafting, rehearsing, spending, working incredibly hard to stay on top of our game every week, while still balancing life obligations like work or our health. 

    Personally, I was competing in Project Drag while also traveling out of town every weekend as a cast member in the Taylor Swift Eras Tour: Drag Version brunch show. During the competition, I traveled to cities like Albuquerque, El Paso, Oklahoma City, Dallas, San Antonio, Houston, and Austin. Every week, I’d fly out after work on Friday, perform brunch shows on Saturday and Sunday, fly back home Monday morning, and then compete in Project Drag that same night. From Tuesday to Thursday, I balanced my day job, other drag gigs, and prepped as much as I could for the next week’s challenge—before hopping on another flight Friday and doing it all over again.

    It was incredibly challenging, but that’s how badly I wanted to win. Looking back, I’m truly grateful for the experience. With everything I managed to juggle, I can honestly say this was the most drag I’ve ever done in my life—and I love living a life that’s so deeply connected to my craft.

    What do you plan to do with your title?

    I will probably leverage this title as rage bait against my haters for the rest of my life! And also — of course, I want to use this title to platform my own personal creative journey of making drag performance pieces, but also I would like to use it to platform other artists I work with. There are so many drag artists who helped me win Project Drag because they believed in my vision, and I want to give back to those friends and the community at large. With this title, I hope I can be a beacon for drag artists who may feel limited by the artistic scope of doing drag in a club or bar and are looking to bring their artistry to new arenas, like stages, art galleries, and alternative performance spaces. I hope to create new avenues for drag artists to incubate their ideas and develop performances that push the limits of our industry. 

    Theater and drag are two major components of your life. How do your drag and theatre aesthetics complement each other?

    I’ve always considered myself a theatre artist, using drag as my medium. Drag has an important role in theatre traditions all around the world, and I think it is the chosen responsibility of a handful of drag artists to continue that performance tradition and innovate upon it as time passes. I’m inspired by artists like Taylor Mac, John Cameron Mitchell, Hibiscus – who use drag and playwriting as a means of distilling their ideas and insights about the world. In the future, I hope I can produce more theatrical work that uses drag as a means of storytelling, and infiltrate the theatre industry with new works that feature drag artists onstage.

    What is your biggest mission in running Dionysia?

    My biggest mission in running Dionysia is to create a collective of theatre artists and drag artists who help each other in producing more long-form theatrical works that feature queer voices. I would say most theatre queens are known for impersonating or re-creating famous theatre productions onstage, like doing Liza Minnelli or Wicked-themed drag brunch. However, my goal with Dionysia was to make an incubator for drag artists to bring in their own original material and collaborate with others to bring it to life onstage. It’s all about innovating new works to then perform onstage, submit to festivals or grants, and hopefully grow the skill set of each individual artist. 

    How can the queer community best support the drag community?

    The queer community can help support the drag community by joining us at our events, and thus helping us promote our work of creating safe spaces at a time when being queer in public is becoming politicized once again. As drag artists, we do more than just perform onstage: we offer our image and our visibility as a means of indicating to others that we are creating a space that is sacred for our community. As drag artists, we share stories, we contribute to local culture, we help to preserve community and tradition, and we always appreciate audiences who at minimum come to enjoy the show because it motivates us to continue our work. Tipping helps too! 

    How has being a drag queen changed your life the most?

    Being a drag queen has changed my life for the better because it has galvanized my life behind the guiding principle of liberation for obviously queer people, but really of all marginalized people. To me, being able to do drag feels like a proclamation of my freedom – my ability to be whoever I want, when I want. Everyone should have that freedom. I think of that age-old adage “no one is free until we are all free” – and it makes me realize that while I have the liberty to express myself, there are people around the world who don’t have that privilege. I think drag queens in general are especially attuned to the pursuit of justice, and that has helped to guide my life in the direction of being in service to others. Freedom for me means freedom for all – from the USA, to Palestine, no matter who you are or where you’re from. 

    We also love your podcast SHABLAM! What do you love most about the podcast? 

    Of course I love the opportunity on SHABLAM! to discuss my thoughts and opinions, but the best part is being able to do it with my co-host Annie Biotixx. Annie and I have been friends and collaborators for a long while now, and she always keeps me motivated to produce my best work. She competed in Project Drag 5, and although she didn’t make it as the winner of her season, she was a rock for me in my season of Project Drag, providing her support and guidance through all the challenges. She was even featured in my winning finale number! She’s an incredible host and drag queen here in Los Angeles, and a high-value theatre aesthete. Collaborating with her is effortless, and makes my job of showing up each week to record very easy. 

    What do you want listeners to walk away with after listening to SHABLAM?

    At the end of the day, I want listeners to walk away feeling like they belong to an online community that supports them. Ultimately it’s a comedy podcast, so I always want people to laugh – but humor is such a great tool for building community. I feel through recording SHABLAM!, we are sharing our jokes, our vocal stims, whatever makes us laugh to build a shared language that we can use to identify who is part of this online community, and who share our values and principles. We create a space for people to find each other!

    What are your biggest challenges in being a drag queen in SoCal?

    Compared to other cities, I think the SoCal drag scene, particularly in Los Angeles, is uniquely suited to support many different types of drag, thanks to our sprawling geography. From West Hollywood to Downtown, from the Valley to the Inland Empire, there are countless pockets around LA that each celebrate a distinct style of drag. This diversity makes it possible for many people to pursue and succeed in drag.

    However, that same strength also presents a challenge: everyone is looking to succeed, and the scene is highly competitive. The geography that fosters diversity also makes it difficult to make a name for yourself across all these different drag communities. Successful drag queens in SoCal know how to navigate between these various pockets. They show up professional, prepared, and with a strong point of view that sustains them over time. It takes patience, tenacity, and a commitment to continually growing your skill set and network. 

    You are touring with Taylor Swift Eras Tour: Drag Brunch Version! What Taylor Swift song most speaks to you presently and why?

    Yes! I’ve been listening to a lot of her music for our show, and I would say that the song that speaks to me the most… on tough days, it’s “Anti-Hero” from Midnights. I think any artist can relate to the feeling of self-sabotage, and as I get older, I realize I have a lot of learning to do. But on good days – I believe in “Karma” from Midnights. I feel at ease in knowing that the universe is working for me, and what is meant for me will not pass me by. Winning Project Drag has amplified both of those feelings, and I know in my heart that this title was meant for me.

    Do you get up to any shenanigans (wink, wink) while on tour?

    My PARENTS are going to want to read this article, you FREAK! Lol, I’m kidding – yes, of course, there are plenty of shenanigans, and if you are interested, might I direct you to Season 2 of my podcast SHABLAM! Where, in addition to dissecting Project Drag week-to-week in real time, we discuss my escapades while on the road. Last thing I’ll say is get tested, get on PrEP, remember that undetectable = untransmittable! Mwah!

    What kind of legacy do you want to create with your theatre and drag?

    I’d like to leave a legacy as a thought leader in the school of theatre and drag. I want to hybridize performance theory, queer history and drag performance to create innovative works that push the limits of how drag can be used in storytelling. I want to be added to the canon of drag artists who are lauded by the global theatre community, and leave in my legacy a collection of dramaturgically astute, advanced works of drag theatre. 

    What is your message to the community this Pride season?

    Where do I even begin with all the chaos that has ensued in Los Angeles since the election of our current administration? ICE raids terrorizing our communities and kidnapping our neighbors is a crime beyond comprehension. It has rightfully left many of us feeling scared and hopeless, but I encourage the community to remain firm in our pursuit of justice and to fight back against Facism! Donate, Protest, Educate, Engage – do whatever you can to make it clear to any authoritative power that Los Angeles will not be fucked with! Especially the queer community! Today, we stand on the shoulders of queer ancestors who have endured similar treatment of threats and intimidation, and we have persevered. We will always be here! And no human is illegal on stolen land!

    Follow LØRELEI on IG.

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    Gisselle Palomera

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  • The little idea that could: These queer, Latinx, DJs are shifting the scene in LA

    The little idea that could: These queer, Latinx, DJs are shifting the scene in LA

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    By Ally LeMaster & Luke Feeney | HARTFORD, Conn. – When LGBTQ+ activists, lawmakers and students gathered at the Capitol on Feb. 28 to honor the life of Nex Benedict, a nonbinary teenager from Oklahoma, their loss felt a lot closer to home than the nearly 1,500-mile distance. 

    “We gathered together today as a community to grieve the loss of Nex Benedict, a beautiful 16-year-old child, and to try and make sense of what is absolutely senseless,” said Rev. Aaron Miller of Metropolitan Community Church in Hartford. 

    Benedict, who used both he/him and they/them pronouns, died by suicide a day after getting into an altercation with three girls in an Owasso High School bathroom, according to the Oklahoma Chief Medical Examiner. Their death has sent shockwaves across the country, causing LGBTQ+ activists to renew scrutiny of Oklahoma’s anti-transgender school policies.

    Gov. Ned Lamont, one of more than 100 attendees at the Hartford vigil, vowed: “We’re not going to let that happen in Connecticut. That’s not who we are.”

    But many advocates say state leaders could be doing much more to support Connecticut’s LGBTQ+ students.

    Gov. Ned Lamont attends vigil at Connecticut state capitol honoring nonbinary teen Nex Benedict. (Screenshot/YouTube Fox61 Hartford)

    Among state lawmakers, the debate is far from settled. Connecticut has some of the most comprehensive legal protections in the country for transgender individuals, yet for the past two years, Republican lawmakers have supported legislation the LGBTQ+ community takes issue with — for example, banning trans athletes from competing in school sports and mandating schools to notify parents when a child starts using different pronouns. 

    For a state often labeled as a “safe haven” for trans children, many LGBTQ+ students say they still face hatred in school based on their identity. 

    Surviving school

    Ace Ricker, an LGBTQ+ advocate and educator, says “navigating” life as a queer person in Connecticut was far from easy. 

    Ricker grew up in Shelton. He came out as queer at 14 years old to his family but only told a few friends about his identity as a transgender man.  

    Everyday in high school, he would show up with his hair in a slicked back ponytail, wearing baggy T-shirts and jeans. 

    No bathroom felt safe to Ricker in high school. At the time, he only used the women’s bathroom, where he says he experienced verbal, physical and sexual abuse. 

    “The few friends I had, I was telling them, ‘Hey, if I go to the bathroom and I don’t come back in 10 minutes, come and check on me,’” said Ricker. 

    One year in high school, he opened up to his civics class, sharing that he was a part of the LGBTQ+ community. He said he thinks that led school administrators to assign him to what he called “problem student” classes. 

    “I was seen in school as a rebel or a problem,” said Ricker. “I barely got through graduating because through school, it was about surviving— it wasn’t necessarily learning.” 

    Ricker graduated in 2008, but stories like his are common among LGBTQ+ students in Connecticut. 

    Leah Juliett, a nonbinary activist who uses they/them pronouns, graduated from Wolcott High School in 2015. Like many trans and nonbinary students, Juliett originally identified as queer and later came out as nonbinary at 19 — the year they found out what “nonbinary” meant. 

    “I came out in high school. I was relentlessly bullied,” said Juliett, “My school binders were thrown in the trash and had milk poured over them. My school locker was vandalized on my birthday. I would get harassing messages and things like that on social media.” 

    Juliett says they were one of the few openly gay kids in school who not only had to deal with bullying but watched as local lawmakers proposed legislation to limit their rights. 

    “It becomes deeply hard to exist,” Juliett said. “I was engaging in self harm, suicidal ideation. All of this is a result of not being supported by my town, by my community, by my peers, by my family— all of it.” 

    In recent years, parents of LGBTQ+ students in Connecticut have brought their concerns to the federal Department of Education.  

    In 2022, Melissa Combs and other concerned parents reported Irving A. Robbins Middle School in Farmington to the Education Department’s Office of Civil Rights after school administrators declined to investigate an incident where students ripped a Pride flag from the wall and stomped on it. 

    Combs is the parent of a transgender son. During her son’s time at the middle school, she said he faced relentless bullying, where he dealt with students telling him to kill himself, getting called slurs and was assaulted by a student. 

    Two years later, the OCR investigation is still ongoing.

    “We entered into this knowing that it was going to take a lot of time,” said Combs. “We entered into it with the hope that we could make some positive changes to the school climate in Farmington.”

    Since opening the investigation, Combs tried to reenroll her son in Farmington public schools, only to pull him back out again. She says not much has changed in the school culture. 

    “There’s still a lot of work to be done,” said Combs. “It was, again, a horrible experience.”

    Events like this pushed Combs to take the issue up with the state legislature. Combs founded the Out Accountability Project that has the goal of “understanding” local issues affecting  LGBTQ+ youth. She says she’s been having these conversations with lawmakers. 

    “I’ve spent a great deal of time in the LOB [Legislative Office Building] so far this session,” Combs said. “What I’m sensing is not only support, but a sense of urgency in terms of supporting families — families like mine across the state.”

    The legislation

    Republican lawmakers in state houses across the country have introduced a variety of legislation targeted at LGBTQ+ students. In 2023, more than 500 of these bills were introduced around the country, with 48 passing. Since the beginning of this legislative session, Benedict’s home state of Oklahoma has considered over 50 different pieces of legislation regarding LGBTQ+ children.

    In Connecticut, the “Let Kids be Kids” coalition, a group of elected officials — including legislators Mark Anderson, R-Granby, and Anne Dauphinais, R-Killingly — and religious leaders and parents advocated for two bills for the Education Committee to consider. 

    The Trans Flag flying above Connecticut State Capitol.
    (Photo Credit: Connecticut Senate Democrats)

    The first piece of legislation would have forced teachers to disclose to parents if their child started using different pronouns at school. The other would have required student athletes to participate in sports with members of the gender they were assigned at birth. 

    “Kids are best protected when parents are involved,” said Peter Wolfgang, the president of the Family Institute of Connecticut, during a February Let Kids be Kids press conference at the Capitol. “The state should not come between parents and their children.”

    The Education Committee declined to raise the bills, and neither concept got public hearings. This hasn’t thwarted future plans by the coalition.

    We’ve seen undeniable research that trans students face an inordinate amount of bullying and stressors in their lives. – Rep. Sarah Keitt, a Fairfield Democrat

    “I am actually very encouraged, because we grew awareness at the General Assembly this year,” Leslie Wolfgang, director of public policy at the Family Institute, wrote in a statement to the Connecticut Mirror. “This session was just the first step in a multi-year process to grow awareness and look for ways to balance the needs of all children and their families in Connecticut.” 

    Debates during the current legislative session have revealed nuanced views among lawmakers on transgender rights. General Assembly Democrats sparred over gender neutral language in House Bill 5454, which seeks to direct more state and federal funding toward mental health services for children, caregivers and parents. Members of the Appropriations Committee debated whether to use the term “pregnant persons” or “expectant mothers,” with two Democrats calling for an amendment to include both terms, saying they felt the bill was more inclusive that way. 

    Still, the legislature has advanced several bills this session that propose to expand rights and protections for LGBTQ+ individuals in Connecticut, and they heard testimony from the public on an effort to extend Shield Laws — laws meant to protect individuals who seek abortions from other states — to include gender-affirming care.

    On April 10, the Senate passed Senate Bill 327, a bill aimed at creating a task force that would study the effects on hate speech against children. 

    The legislation calls for the group of educators, social workers, religious leaders and civil rights experts to file a report by the beginning of next year with their research and recommendations. The group would also study the environments students where face the most hateful rhetoric and examine if hate speech is primarily conducted by children or adults.  

    “We’ve seen undeniable research that trans students face an inordinate amount of bullying and stressors in their lives,”  Rep. Sarah Keitt, D-Fairfield, said in an interview with the CT Mirror. “A lot of that comes at schools and we need to do much more to protect them.”

    The bill is currently on its way to the House.

    In February, Senate Bill 380, An Act Concerning School Discipline, passed out of the Education Committee. The bill includes proposals that would require services for the youngest children who receive out-of-school suspensions and continues work initiated last year to collect survey data from schools on the “climate” facing their more vulnerable student populations. This year’s bill would also require school administrators to clarify the motivations for any bullying incidents — if they’re due to a student’s race, gender or sexual orientation, for example.

    Another proposal comes as an amendment to the state constitution that would prohibit the discrimination on the basis of sexual orientation and gender identity under the Equal Protection Clause. While Keitt expressed support for the amendment, she was doubtful on the likelihood of it passing. 

    “It is such a short session, we have very little time, and if we were to take up the constitutional amendment, it would mean that we wouldn’t be able to get other more pressing needs — not to say that those protections aren’t important.” Keitt also pointed to the statutory protections already in place statewide. 

    Another piece of legislation, House Bill 5417, would require local and regional boards of education to state a reason for removing or restricting access to public school library materials and prohibits such boards from removing or restricting access to such materials for reasons based on race, political disagreements or personal discomfort. 

    Book bans, primarily targeting novels about people of color and LGBTQ+ community, have increased over the past few years in towns like SuffiledNewtown and Brookfield.  

    “I think that it really protects gay and transgender authors of color,” Keitt said. “It allows our children to have a broader educational experience and protects our libraries from political attacks.”

    Policy already in place 

    While state lawmakers have been considering new legislation, many LGBTQ+ advocates say they’d like to see more enforcement of existing legal protections for queer people.

    Public Act 11-55 was enacted in 2011, prohibiting discrimination based on gender identity or expression. This, among other protections, is why Connecticut is often heralded as a “safe haven” for transgender and nonbinary individuals. 

    But many advocates say the LGBTQ+ community, and those designated to protect them, are often uninformed of those legal protections.  

    “You can pass all the laws you want, but if you don’t provide communities with resources to implement those laws, they aren’t as useful as they should be,” Matt Blinstrubas, the executive director of Equality CT, said. “We haven’t invested enough into educating people.” 

    According to Mel Cordner of the LGBTQ+ advocacy group Q Plus, one of the most concerning trends they see in schools is when educators are unaware of the protections students have. 

    “I’ve had teachers [say] you can’t do any kind of hormone therapy or puberty blockers or anything until you’re 18. Or require kids to get parental permission to change their name in the school system, which you don’t need to do,” said Cordner. “Staff are either fooled by their administrators, or they just assume that kids don’t have certain rights.” 

    When the Nex Benedict news hit, that rocked our whole network of career kids really, really hard because every single one of them went, ‘Oh God, that could have been me.’ – Mel Cordner Q Plus

    While the Department of Education must keep a list of instances of bullying, advocates say many queer students do not report their harassment because they are not comfortable coming out to their families. 

    “I’ve grown up with many trans kids who only felt safe being openly themselves at school,” said Juliett. “And even then they were subjected to bullying and harassment, but they couldn’t be themselves at home.”

    “When the Nex Benedict news hit, that rocked our whole network of career kids really, really hard because every single one of them went, ‘Oh God, that could have been me,’” said Cordner. “There were a couple kids I was worried about enough to reach out to personally, because that was them — that exact situation of being cornered and assaulted in a bathroom physically has happened in Connecticut schools more than once.”

    Filling the gaps

    Bullying, isolation and lack of support from family members are few of many reasons why gay, bisexual and transgender youth have a disproportionately high suicide rate. 

    According to The Trevor Project, a nonprofit suicide prevention organization for the LGBTQ+ community, queer young people are “more than four times as likely” to attempt suicide compared to their straight, cisgender peers. In a 2023 study, the nonprofit found that 41% of LGBTQ+ youth have “seriously considered attempting suicide” within the past year. Youth of color who identify as trans, nonbinary and queer experience even higher rates.  

    Concerning statistics like these are why many LGBTQ+ advocates have taken it upon themselves to create a community-based support system for queer youth. 

    Metropolitan Community Church in Hartford/Facebook

    Miller, a Christian pastor from Metropolitan Community Church in Hartford, works with community members across the state to provide services like “Trans Voice & Visibility 365,” a ministry dedicated to helping transgender individuals get their basic needs, and at the Yale Pediatric Gender Program, a support center for people children exploring their gender identity. 

    Miller creates a place at his church where he can “celebrate” transgender and nonbinary people and coordinates with other LGBTQ+ groups like Q Plus to throw events where kids can explore their identity by exchanging clothes and trying on different outfits. 

    “Kids want to be themselves. We’re encouraging them to be themselves,” said Miller. 

    It’ll never stop surprising me how many people work with teens and think they don’t work with queer teens. – Mel Cordner Q Plus

    While Miller helps build community for many transgender individuals, he finds himself on the front lines of many near-crisis moments. Miller said he once stayed up through the night talking a child out of killing themself after their family abandoned them. 

    Miller’s church is part of a support network for families he calls “medical refugees” — transplants from places like Oklahoma and Texas, where they faced death threats and allegations of child abuse. The church community helps these families find housing, medical services and other support.

    “The two greatest commands that we were given in a Christian understanding is to love God and to love each other as we love ourselves,” said Miller. “And yet, we’ve been telling people that they can’t love themselves or they’re not lovable, and that other people aren’t going to love us either.” 

    Cordner founded Q Plus in 2019 “with the goal of filling gaps” for LGBTQ+ youth programs. Q Plus operates in nine towns and cities across the state while providing a variety of resources for students from support groups to game night. 

    The organization also provides services aimed at adults that include programs that help parents better engage with their LGBTQ+ children as well as professional development trainings for school staff on the best ways to interact with queer students. 

    “It’ll never stop surprising me how many people work with teens and think they don’t work with queer teens,” said Cordner. 

    Q Plus also has a program where the organization is contracted by schools to “review and revise policies” to support LGBTQ+ students.  

    “[The] bottom line is always listen to your kids,” said Cordner. “They will tell you what they need.” 

    Connecticut Mirror is a content partner of States Newsroom. Read the original version here.

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    Ally LeMaster

    Ally is a CT Mirror 2024 legislative intern. She is a senior at University of Connecticut studying English and journalism. In addition to The Connecticut Mirror, she acts as the editor-in-chief of Long River Review, UConn’s undergraduate-run literary magazine and works as a research assistant on The Mansfield Training School Memorial and Museum project, recording and writing about disability history. She has also written for The Daily Campus, her university’s newspaper.

    Luke Feeney

    Joining Connecticut Mirror as a legislative reporting intern for the 2024 session, Luke Feeney is a senior at the University of Connecticut. He is currently studying political science and journalism and expects to graduate in June. At UConn he is currently a columnist for their student-run newspaper, The Daily Campus. In his weekly column he explores politics, international relations and current events. In addition, he is a member of the Daily Campus Editorial Board.

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    The preceding article was previously published by The Rhode Island Current and is republished with permission.

    The Rhode Island Current is an independent, nonprofit news outlet focused on state government and the impact of public policy decisions in the Ocean State. Readers can expect relentless reporting with the context needed to understand key issues affecting the lives of Rhode Islanders.

    We’re part of States Newsroom, the nation’s largest state-focused nonprofit news organization.

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    Gisselle Palomera

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  • Eden Muñoz Leads a Showcase of Mexican Music at 713 Music Hall

    Eden Muñoz Leads a Showcase of Mexican Music at 713 Music Hall

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    Eden Muñoz
    Como En Los Viejos Tiempos Tour
    713 Music Hall
    August 17, 2024

    I wasn’t expecting to cry at a concert, but last night my emotions got the best of me and the tears rolled down my face. On stage was Eden Muñoz, formally of the Norteño-Banda group Calibre 50, and the song that caused me to shed a tear was “Corrido De Juanito.” It tells a story of a Mexican man who crossed over to work in the United States to obtain a better life, working long, hard hours in constant fear of deportation, all the while longing to revisit his home and family back in Mexico. His mother dies and he isn’t able to pay his last respects, and all he wants to do is hug his father once again.

    And yet, through all of this, he’s still supremely proud to be “Mexicano hasta al tope!” After a quick scan through the crowd, I wasn’t the only one feeling sentimental while listening to this song. It just hits so hard, especially hearing it live in a room full of your fellow Mexican community, knowing that we have all experienced some form of these hardships at least a few times in our life.

    But like true Mexicans, with good music playing we are able to transition from sadness to joy in an instant. And out of all the Regional Mexican concerts I’ve seen this year, Eden Muñoz has probably been my favorite so far. He began the show with “A La Antigüita” which provided a jolt of energy into the crowd, causing yelps of joy and dancing through 713 Music Hall.

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    Eden Muñoz exudes a love for life and country that resounds loudly in his music.

    Photo by Marco Torres

    I remember being introduced to the music of Muñoz’s former band Calibre 50 while I was visiting Monterrey, Nuevo Leon over 10 years ago. There was something magical about his attitude and songwriting, a love for life and country that resounded loudly in his music.

    Muñoz was surrounded on stage by a large banda orchestra, with an entire brass section of trumpets, tuba, and trombones joining in harmony with the saxophones, clarinets, and accordion. He wore an oversized button up shirt, jeans, boots, and a dark black cowboy hat, which he often tilted down and at an angle to cover his gaze, providing a mysterious aura around him.

    Do you ever see somebody and say “that guy really loves his job!” That’s exactly what I felt as I watched Muñoz dance across the stage, playing his accordion and laughing with the crowd. “I get emotional when I drink” he said en Español, holding his glass of tequila (or maybe whiskey) high as he toasted the crowd with a “salud, raza!”

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    Eden Muñoz provided an energetic and lively set during his performace at 713 Music Hall.

    Photo by Marco Torres

    He took a seat and traded his accordion for a guitar, strumming the opening notes to “Simplemente Gracias” along with the piano player and saxophone. A fan near the front row took this opportunity to propose to his girlfriend at his very moment. They caught the attention of Muñoz, who stumbled over his lyrics as he congratulated the couple.

    “I wrote that song six years ago for my soon-to-be wife, specifically to sing at our wedding” said Muñoz as the crowd clapped for the happy couple. He asked their names, which were Luis and Riley, and toasted his best wishes once again.

    Les gustan los corridos, Houston?!” he asked before playing “Javier El De Los Llanos” and “Consejos Gratis.” I swear, the list of hits that Eden has written is so extensive, and all are crazy good.

    One of the highlights of the evening was the “Ruleta de Homenajes” that picked a seemingly random Mexican music legend for the band to cover. Last night, this included tributes to Selena, Valentin Elizalde, Vicente Fernandez, Joan Sebastian, Chalino Sanchez, Ramon Ayala, and Marco Antonio Solis. My favorite though was probably the cover of “Como Estás Tú” by the cumbia group Liberacion. If I had a date to this show, I definitely would have danced to this one!

    This show really felt like a celebration, as if the banda was playing en la feria or at a jaripeo. I’m sure Muñoz and his banda could easily play another two or three more hours, but alas… all good things come to an end.

    Gracias Eden. Simplemente, gracias!

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    Marco Torres

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  • Peso Pluma Delivers a Knockout Performance at Toyota Center

    Peso Pluma Delivers a Knockout Performance at Toyota Center

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    Peso Pluma
    Éxodo Tour
    Toyota Center
    July 26, 2024

    According to Billboard Magazine, the fastest growing music genre in the U.S. is Latin music. And although much of that can be attributed to reggaeton artists such as Bad Bunny and Karol G, the driving forces behind this growth are Regional Mexican and corrido artists such as Peso Pluma and Fuerza Regida. So it was no surprise that Peso’s concert at Toyota Center on Friday night hosted a capacity crowd, all eager to see one of music’s hottest young stars in action.

    Classical music filled the arena as the house lights dimmed. It was a scene that would be recreated several times before the night ended, creating a dark and moody environment as the concert was divided into four acts plus a finale. The familiar strings and vocals of “O Fortuna” sounded over the stage, along with a voiceover proclaiming that “an antihero is among us.”

    The tracks “La Patrulla” and “La Durango” kicked off the setlist, with Peso elevated from beneath the stage on a black and gold throne, surrounded by his banda. He hurt his foot at a show last month, and has continued to tour wearing a boot, walking with crutches, and dancing while hopping on one leg. His throne would serve as his main supporting act all night, never far from his side.

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    Billboard Magazine claims that the fastest growing music genre in the U.S. is Latin, driven by Regional Mexican artists such as Peso Pluma.

    Photo by Sean Thomas

    It didn’t take long before hearing one of Peso’s most viral hits, as the horn section for “AMG” caused a loud cheer throughout the Toyota Center. Accompanied by the requinto of the bajo sexto, Peso spit out his lyrics with staccato brevity and confidence. His voice is not that of a crooner or smooth balladeer, but rather a sharp vocal wordsmith that resonates above the bold musical compositions.

    Black was the tone for the outfits of everyone on stage, from Peso to his band and dancers. The fist few songs were performed as he wore a black, sparkled ski mask. When he finally removed it, Peso smiled wide and made sure the audience felt seen. It is a handsome, somewhat devious smile, fitting for the tall, lanky güerito from Zapopan, Jalisco. “Rubicon” marked the end of Act 1.

    Act 2 was more relaxed than the intro, with tracks such as “Luna,” Reloj” and “Bye” fully pulling Peso into his sad boy era. Singing about running the streets of Jalisco and Sinaloa in a Jeep or Mercedes then shifting into a song of heartbreak is part of Peso’s mystique, and is definitely one of the reasons his fans love him. The stage was illuminated from below and flickered as Peso and his crew moved in unison with the mood of the tracks. The audience showed appreciation with chants of “Peso! Peso! Peso!” The popular track “Ella Baila Sola” marked the end of this section of the show.

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    Singing about running the streets of Jalisco and Sinaloa then shifting into a song of heartbreak is part of Peso Pluma’s mystique, one that was on full display at Toyota Center.

    Photo by Sean Thomas

    Act 3 was for the club, with “QLONA” and “La Bebe – Remix” leaning more onto the dembo and reggaeton Peso Pluma, which was just fine for his fans who were busy dancing in the aisles across the arena. Peso was surrounded by a troupe of talented dancers, both female and male, who worked hard to keep the energy up even as Peso hobbled along on one leg. If the show was this good with Peso in a boot, imagine how crazy his act must be when he is back at 100 percent?!

    Act 4 included a few crowd favorites, with “Hollywood” showcasing Peso’s acoustic guitar capabilities, followed by “PRC,” “La People 1 & 2,” “El Gavilan 1 & 2,” and “Rosa Pastel.” It was during this section that Peso made it clear that he is the evolution of the Mexican corridos heritage, showcasing artists such as Chalino Sanchez, Ramon Ayala, Los Cadetes de Linares, Joan Sebastian, Jenni Rivera, Los Tucanes de Tijuana, and Valentin Elizalde on the video board before showing the new generation of Gerardo Ortiz, Natanael Cano, Eslabon Armado, Luis R. Conriquez, Junior H, and himself.

    The final act included a few of my personal favorites, with “El Azul” and “Lady Gaga” sounding out before the night came to a close. “Muchas gracias, Houston!” yelled Peso as he requested everyone to turn on their cell phone lights. The dancers surrounded peso with bright red flares in their hands, and two dancers waved flame throwers back and forth with the music. “Vino Tinto” and “TEKA” ended the evening, and I left the arena feeling excited for the future of Latin music.

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    Peso Pluma is the evolution of the Mexican corridos heritage, playing in front of a sold-out capacity crowd at Toyota Center on Friday night.

    Photo by Sean Thomas

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    Marco Torres

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