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On race and privilege in the LGBT community

Filmmaker John G. Young’s ‘bwoy’ debuts in LA

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bwoy interview, gay news, LA Blade

Jimmy Brooks as Yenny in ‘bwoy.’ (Photo courtesy John G. Young)

People are properly amazed at what “Moonlight” was able to accomplish with its small $1.5 million budget, but consider this: That’s 75 times what writer/director John G. Young had to work with for his latest feature, “bwoy.”

The tale of an upstate New York man who, after tragically losing his young son, escapes into his first gay relationship with a much younger Jamaican man he meets online, “bwoy” will open on Friday, March 31 at the Laemmle’s Music Hall for its first limited engagement run. Young will be on hand for Q&A sessions about the film and its production process after the 7:30 p.m. screening on March 31, and after the 9:55 p.m. showing on April 1.

“bwoy” is Young’s fourth feature, and his first since 2009’s “Rivers Wash Over Me.” The Village Voice hailed Young’s first movie, 1995’s “Parallel Sons,” as one of the most promising independent films of the decade.

We spoke to Young about his latest, and the challenges of working on a shoestring.

Los Angeles Blade: What inspired the story for ‘bwoy’?

Young: It was inspired by several ideas. First, that online relationships allow us to mold how we present ourselves to each other, that it can be about omitting information as much as outright lying. Second, how a virtual relationship can still have intimacy, that real feelings and affection can develop for people without ever meeting physically. And finally, how people who are dealing with grief and denial can use anything to distract themselves from dealing with who they are and what they’re really feeling.

Blade: Where did the title come from?

Young: It refers to the Jamaican patois for “boy.”  But often “bwoy” is used in conjunction with “batty bwoy,” a derogatory phrase used against gay men in Jamaica.

Blade: Have you had a long-distance online relationship like the one in the film?

Young: I’ve certainly had long distance relationships as well as online friendships. It doesn’t take much imagination to combine the two. With the Internet you can put yourself anywhere in the world — which means you can flirt with others as if you’re living anywhere, even if you’ve never been there.

Blade: Your films have all focused on biracial relationships. Assuming it’s no coincidence, why is that an important element in your work?

Young: I’m definitely interested in the way race, ethnicity, sexuality and privilege work. Of course as I’ve matured — “Parallel Sons,” my first feature, was made over 20 years ago! — my vantage point has changed. Yet I’m still interested in these themes, because they’re often the fabric, however unacknowledged, of our lives. Why and how do we objectify the “other”? How do we act out unconsciously with and towards others? How does sex interrupt and confuse these questions? What does it mean to have privilege in the LGBTQ community?

Blade: Upstate New York also seems to always feature in your films — do you live there? What makes the area a good film location?

Young: I was raised in upstate New York and have a weekend house there, so for me the area is a great location, because I have a strong emotional connection to it. I’ve also always been fascinated with the fact that you can have areas of New York State that are only several hours from NYC, but feel more like rural Kansas. In “bwoy,” I wanted to capture the gray bleakness of winter upstate, something I know well, and how it can contribute to isolation and loneliness, another theme in the film.

Blade: Do you tend to use local actors?

Young: Sometimes I use local actors in small parts, but I really believe in finding the best actors for the role in question. I’d much rather find an actor who can really inhabit the character, even if they don’t entirely fit the physical description.

Blade: Have you spent much time in Jamaica, and do you feel connected to the plight of gay people there?

Young: I’d like to think that I feel connected to the plight of marginalized and persecuted people anywhere, but for LGBTQ folks in Jamaica it’s still especially dangerous: Consensual sex between men can still be punished with up to ten years of hard labor. Of course, Jamaica sells itself as a paradise, an idea that appeals to Brad, the lead character in my film, who’s desperate to escape his life. The question in the film is: Who is a Jamaica a paradise for? The wealthy tourists who often don’t leave the resorts they visit, or the homeless gay teenagers who are forced to live under bridges and in gullies?

Blade: I’ve read that you made ‘bwoy’ with just $20,000, is that right? How were you able to do it so cheaply? How does that compare to the budgets you’ve had for other films?

Young: Yes, bwoy was made for 20K. All of my films have been made with what is considered “micro budgets.”  For this film I worked backwards, looking at the physical resources I had and the money I could raise. I then developed a story around those resources. With budgets this small, I look at the story itself as the actual production value — of course along with the acting! Human pain can be explored just as easily and just as profoundly on the set of a multimillion-dollar blockbuster as across a kitchen table in a no-budget indie. Luckily, I was able to work with Novo Novus Productions on this — they have a great track record of producing super-low-budget films, and are committed to creating movies which feature stories about LGBTQ people of color.

Blade: Do you prefer working with small budgets? Are there things you would’ve done differently in bwoy if your budget had been larger?

Young: Every indie filmmaker will tell you that the most important thing money buys you is time. So there are probably a few things that I would have done differently had I had more money, but mostly for me it would have been having a few extra days to shoot.  On a 10-day schedule, two extra days can make a big difference.

Blade: What have some of your own favorite films been recently?

Young: Ahhhh! So many good films! I really appreciated Moonlight of course, especially because of the conversation it’s created between LGBTQ people of color and those who don’t identify as such. I’m fascinated by what constitutes a “gay” film and what doesn’t. Does it matter in this case if most of the actors and director identify as straight? How do the characters in Moonlight both reinforce stereotypes and push back against them? It’s been a long time since any film, let alone a Best Picture winner, has created a place for this kind of self-probing conversation. I do want to mention that I think the film owes a debt of gratitude to queer filmmakers of color who’ve come before, including Nisha Ganatra, Stephen Winter, Marlon Riggs, Cheryl Dunye, Rodney Evans, Dee Rees and Patrik-Ian Polk, to just name a few.

Blade: What do you do besides making films?

Young: I teach screenwriting and film production at Purchase College in Westchester, New York. But, I also love to build things with my hands. Because making a film can take years, I really enjoy the immediacy of creating an object in several hours or days, and then being able to have the results.

Blade: What’s your next project?

Young: I’ve been working on a longtime labor-of-love project that chronicles the relationship between Juan Dubose and Keith Haring during the heyday of New York’s East Village art scene.

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Michael Kearns, the Godfather of LGBTQ+ authenticity

Michael’s work has been described as “collisions of sex and death, of eroticism and grief,” but he has truly dug to an even deeper level

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Michael Kearns by Keida Mascaro

HOLLYWOOD – The arc of LGBTQ+ history over the past 50 years has been one of constant upheaval and evolvement. From a period when it was both illegal and insane to be gay, through the achievement of being able to serve openly in the military, to marriage equality and the ability to create families to today’s fight against the tyranny against Trans people, the movement has not stopped to take a breath.

Michael Kearns, the first recognized “out” actor on the Hollywood landscape, has been a visible presence through it all. More importantly, he has always” been visible on the gay scene. In the seventies he epitomized the free love and erotic freedom that many gay men lived. He was featured in classic gay porn movies and did a PR stint as the face of the “happy hustler.”  

“That was my introduction to a lot of people,” Michael told me when we sat down for a chat on Rated LGBT Radio. “I kind of captured the zeitgeist of the times, the freewheeling seventies. We forget that there was that period of time when sexuality was joyful and exciting and thrilling.”

In the eighties he was visible in mainstream media as a gay man playing gay men characters. In 1983, Michael was cast in a minor role on the Cheers Emmy winning episode “the Boys in the Bar.”  He was instantly recognized for his gay sexual iconic status by LGBTQ audiences, even though the population at large did not know who he was. The casting director who fought for his casting was Stephen Kolzak, who would himself become a prominent AIDS activist before he died at 37 in 1990. Stephen casted Michael to make a statement. He wanted to signal to the LGBTQ community that Cheers had our backs. “He was one of the only ones that had the guts,” Michael remembers.

“There were a lot of stereotypes in television regarding gay portrayals. I was pegged and cast in some of those roles. I did play the stereotype, but rather than a straight guy playing those roles, I brought authenticity. I was real. Straight guys playing gay would always spoof the role. They were always ‘winking’ and signaling to the camera ‘I am not really that way.’  So, the performances are by in large horrible, even with some academy award winners. The actors were constantly saying that it was not who they were—if they weren’t making that clear on the talk shows, they were doing it in the performance itself.’ Michael says.

Michael soon morphed into an HIV positive man playing HIV positive characters, while off camera becoming a visible and vocal AIDS activist. “It was a new kind of cliché. They had to always make me look horrible. The ghastlier the better. They could not have an HIV character who looked normal—as I did when I arrived at the set. Finally, I had enough and refused to do that anymore.” Michael then immersed himself in theater where he found greater character honesty and truth.

 As gay men captured their identities in the 90s as husbands and fathers, Michael was there too—becoming one of the first gay men to adopt a child.  It is that role, as a father, that Michael has said is his greatest.

Today, Michael has been a driving force behind QueerWise, a multigenerational writing collective and performance group. Through QueerWise, Michael gives poetic voice to talent that would otherwise be voiceless. Its members include published poets, writers of fiction and non-fiction, playwrights, singers, musicians, social activists, dancers, actors artists and teachers. 

This weekend, on Sunday October 17th, QueerWise launches its latest work, The Ache for Home. 

“The Ache for Home is a video presentation of heartfelt stories from formerly homeless/unhoused individuals in and around West Hollywood. It was developed through a mentorship program facilitated by QueerWise members. The production represents citizens-turned-writers who share their inspirational stories from those glamorous streets and sidewalks, ranging from soaring self-acceptance to narratives of truth-telling defeats,” states Michael. The production can be seen on QueerWise’s YouTube Channel starting 5pm October 17.

The Ache for Home features a young cis male with a passion for music and art, who finds joy “when I can put a smile on someone’s face and give back”, a retired mixed race bisexual government worker who is a voracious reader and literacy advocate, two trans males share their experiences of living on the street, and a former resident playwright who was homeless for 44 days and nights in the city. “I am thrilled at our inclusion of transmen in this work,” Michael says. “It is a poorly represented community within a poorly represented community.”

On current controversies with media and transgender targeting, particularly the Dave Chappelle issue, Michael remarks, “I am glad it is generating passion. It is bringing up conversation on the plights of black trans women who are victimized at an alarming rate, we should not say victimized… we should say murdered. I am glad we are shedding light on that.”

Michael’s work has been described as “collisions of sex and death, of eroticism and grief,” but he has truly dug to an even deeper level. The Ache for Home takes its inspiration from the Maya Angelou quote, “The ache for home lives in all of us, the safe place where we can go as we are and not be questioned.” Michael Kearns work has always encouraged us to go, and live, “as we are.” He is the amalgamation of eroticism, grief, healing, and appreciating the richness of life itself.

He is the godfather of LGBT+ authenticity. In earlier days, he may have represented sex, he may have walked us through a period of darkness and death into the arms of the creation of the new family. He has now brought us home, and when we look at him, we see a new quality.

Wisdom.

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Rob Watson is the host of RATED LGBT RADIO, a national podcast and he’s one of the founders of the evolequals.com.

A gay dad, business man, community activist and a blogger/writer, Watson is a contributor to the Los Angeles Blade covering entertainment, film, television, and culture with occasional politics tossed in.

********************

Listen to the show here:

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Schock treatment: an interview with Gina Schock of the Go-Go’s

Drummer on her new book and upcoming Hall of Fame induction

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Too much of the Go-Go’s is never enough. In the 40 years since the all-female punk band burst on the scene with its unforgettable debut album “Beauty and the Beat” to some of the band members’ solo careers that followed its break-up to its ongoing reunion and the eye-opening 2020 documentary about the band, we just can’t get our fill. 

But wait, there’s more! Gina Schock, the Go-Go’s legendary drummer (she’s got the beat!), has just published a sensational coffee-table book, “Made In Hollywood: All Access with the Go-Go’s” (Black Dog & Leventhal Publishers, 2021) that features photos from Schock’s own stock, as well as her own personal recollections of her life in music. She made time for an interview before the publication of the book as well as the Go-Go’s long-awaited induction into the Rock and Roll Hall of Fame later this month.

GREGG SHAPIRO/WASHINGTON BLADE: I’d like to begin by congratulating you, as well as the rest of the Go-Go’s, on your upcoming induction into the Rock and Roll Hall of Fame. How do you feel about it?

GINA SCHOCK: It took so long for this to happen, and at first we were sort of like, “Hell’s bells! We don’t even care anymore.” Every year, we’d think “Maybe it’s gonna happen next year,” and it just wasn’t happening. Then it happens! We were all dumbfounded. We couldn’t really believe that we were nominated and then we got inducted! Everybody was pleasantly surprised. This is kind of great, kind of neat. I’m really happy about this now [laugh].

BLADE: At the same time, your memoir “Made in Hollywood: All Access with the Go-Go’s,” is being released. What did the experience of writing such a book mean to you?

SCHOCK: Actually, Gregg, it’s not a memoir. Kathy (Valentine) wrote a memoir. Mine is actually a book of photography.

BLADE: Right, but you also tell your story in the book.

SCHOCK: There’s a lot of writing in it, too. But I basically put this together because I had tons and tons of photographs. I’ve been moving them all over. Putting them in the closet here, under the bed there. I was like, “I have to do something with this. All these years of taking photos of the band.” Of course, everybody in the band was like. “Gina, you really need to put a photo book together!” I finally found the right guy to do it with and he helped me get it together, organize it, and help me work on the book. I couldn’t believe that along with the list of my credits will be photographer and author. It’s kind of mind-blowing. Things that you don’t think you’re capable of, and then when you have an opportunity to do something and maybe make a difference…certainly for The Go-Go’s. This needed to be out there. This is way long overdue; a book of photos with all of us. Photos that I’ve had that people have never seen. Also, you’re getting these photos from a band member’s perspective. With writing from one of the band members about what was going on during that period of time.

BLADE: I’m sure that looking at the pictures brought back lots of memories, but were you also a journal or diary keeper?

SCHOCK: Check this out! I don’t have a journal, but since 1978, Gregg, I have been keeping daily planners every single year. I’ve written down things that were going on during that time period. Not big, long stories, but this happened today, that happened yesterday, next week we’re going to be doing this. I used that as my reference. It was invaluable in the process. I now need to make room for them in the closet. I’ve got them all in drawers in cabinets in my office. It’s like, “OK, there’s no more room here [laughs]!” They were invaluable, like I said, in putting this together. What exact date did this happen? What was going on in November of ’83? It was important to have.

BLADE: Do you see the book as an extension of Alison Ellwood’s 2020 Go-Go’s documentary?

SCHOCK: No, but I’ll tell you that 99% of the photos in Alison’s documentary are mine.

It’s not an extension of that. This book has been in the works for decades. I just needed to find the right person to help me get it together. But when Alison was interviewing, I’d show her a photo and she would say, “Gina, can we come back and get some of these photos for the documentary?” I was like, “Of course, you can!” The majority of what you saw are my photos.

BLADE: The book is full of marvelous personal history details, such as performing with the late Edith Massey, known to many from her performances in some of John Waters’ movies. What do you think Edie would think of the book?

SCHOCK: She would be, [imitating Massey] “Oh, Gina, I’m so happy about your book! Finally, it’s about time!” Bless her heart and soul. I was doing an interview yesterday and I said, “If it wasn’t for Edie, I don’t know if The Go-Go’s would exist. Certainly not in the way that they have for the last more than 40 years. Things happen in a magical way, how it all comes together. No one really knows why somebody meets someone on that particular day at that particular time, and then something comes out of that that you can’t believe. Edie gave me the opportunity to come out to LA and San Francisco and New York and actually play in clubs. We got to play at Max’s Kansas City and CBGB’s; what a thrill that was. Then to come to LA and do three nights of the Nuart Theater and then play The Warfield up in San Francisco. That was the first time I’d ever been on a plane! After doing that with Edie, the minute I got back to Baltimore I realized it was time to make a move. It gave me the courage to believe that I could go back to any one of these places and I’m going to do something! By the way, Edie was such a lovely person. A sweetheart.

BLADE: Another scoop for the readers that I loved was the part about the Go-Go’s performing with ska in the early 1980s, leading to the collaboration with Terry Hall on the song “Our Lips are Sealed,” which was a much bigger hit for the Go-Go’s than for Terry’s band Fun Boy Three. Do you know how he felt about that?

SCHOCK: I have no idea how he felt, but I’m sure he was happy because all Terry Hall  was hearing was “ka-ching, ka-ching, ka-ching [laughs].” I think Terry was quite happy about that. I would be. When Jane brought in the song, she was scared to death to play it for us because it was basically like a love letter that she readjusted a little bit lyrically and put some chords and a melody to. She played it for us, and we were like, “Jane, this song’s great!”

BLADE: We are all saddened by the recent passing of Charlie Watts, drummer for the Rolling Stones. In your book, you wrote about the Go-Go’s opening for The Rolling Stones. Can you please say a few words about what Charlie meant to you as a fellow drummer?

SCHOCK: There were two drummers that were my heroes growing up. That was Charlie Watts and John Bonham (of Led Zeppelin). Those two guys are part of the reason I started and kept playing drums. To think that many years later I actually got to meet my hero and talk to him. I got to sit on his drum kit! I talked to his drum tech!

That was one of the biggest thrills of my life. Then to be able to just open for the Stones, I mean, God! Wow, what a thrill! He was, of course, a gentleman. Very quiet kind of guy; soft-spoken. A lovely guy; very personable, very sweet. I didn’t have a lot of time to talk to him, but when I did my heart was pounding. I couldn’t believe it. Meeting David Bowie was the same sort of thing. You have such adoration for these people. The impact they have on your life in many ways, not just musically.

BLADE: You put some personal thoughts and experiences in the book, including your open-heart surgery to correct an atrial septal defect, yours and the band’s encounters with drugs and recovery, the break-up of the band and issues with songwriting revenue. Was it painful or freeing to revisit these subjects?

SCHOCK: It was a little bit of both. It brought up some really heavy things that went down. But all those things have been ironed out and taken care of. Everything is good now and it has been for many years. The songwriting splits were a big part of why the band broke up. It seemed very unfair to me. I have to tell the truth [laughs]. I have to be honest with the people that I’m working with. They are my family, and nobody can hurt you worse than somebody in your family. I think I explained it all in the book the best that I can.

BLADE: Following the original break-up of the Go-Go’s, you formed the band House of Schock with Vance DeGeneres, brother of Ellen DeGeneres. What are the chances that, aside from the Smothers Brothers, two funny people would come from the same womb?

SCHOCK: Yeah, right [laughs]? It’s crazy, right? Vance was fresh out of New Orleans and I don’t know how I met him; (through) a friend of a friend or something. We hit it off right away. I don’t like to do anything by myself, Gregg. I always want a partner in crime. I like a team! That’s why I always want to be in a band. I never want to be a solo anything. I like being in a band. I like having other people to bounce ideas off of. I’m not the greatest at anything, but I’m pretty good when you put me with somebody else who’s talented as well. Vance and I worked great together. Ellen had just come to town and she was just starting out in the comedy clubs. We’d meet and have dinner. She’d ask me lots of questions about who I thought was a good agent to see. It was very sweet to watch everything happen for her. One of the funniest things, I told this to somebody the other day, I’ll never forget this. Ellen said to me, “Gina, do you think if I make a lot of money one day, would you sell me your house [laughs]?” I don’t remember what I said, but I’ll never forget her asking me that. Because Ellen could buy a city block!

BLADE: In 2018, the Go-Go’s went to Broadway with the musical Head Over Heels, featuring the band’s music. What was that experience like for you?

SCHOCK: That was another unbelievable moment being in the Go-Go’s. To think that this punk band, so many years later, has a musical on Broadway is absurd. But it happened! It’s another crazy thing that just happened! There’s a lot of work involved, don’t get me wrong, and years and years of being in this band and working our butts off to achieve the status that we have in the industry. But it was still an incredible thrill. To meet all the Broadway actors and all, my God, those people can really sing and act! I was never a big fan of Broadway, but I am now. I was knocked out! They’re so fucking talented. It’s such a thrill to watch them interpreting our songs woven into this 17th-century short story.

BLADE: Recently, Belinda’s son (James) Duke (Mason), posted a happy birthday message to you on social media in which he referred to you as his “Auntie.”

SCHOCK: Yes! I love Dukie! I watched that little boy grow up. I just adore him. I will always be in his life. He’s very precious to me.

BLADE: When Duke came out, Belinda became a very outspoken advocate for the community. Would you mind saying a few words about your connection to the LGBTQ+ community?

SCHOCK: I don’t know what my relationship really is. All I know is that I’m who I am. I’m a musician and I will fight for anything or anybody that has had a difficult time in society. Just live your life. Society creates its own do’s and don’ts and rights and wrongs for people, which is just a load of crap to me. Everyone should be allowed to be who they are, and love who they want to love, and marry who they want to marry. Love is love; it has no gender. It’s the most important thing we can give to one another. It’s what this world needs now more than ever. Never think for a second you haven’t got the right to love whomever you fall for because love is always right. It is a human right! 

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Everything you need to know about WorldPride 2021

Party in Scandinavia with the happiest people on Earth

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Confetti rained down in New York’s Times Square at Stonewall 50 WorldPride New York’s closing ceremony two years ago. (Blade photo by Lou Chibbaro, Jr.)

By Mikey Rox| NEW YORK – It’s been two years since Stonewall 50 – WorldPride NYC 2019 became the largest international Pride celebration in history, but the “bye” year of 2020 wasn’t due to the pandemic. 

The global celebration has been held every odd-numbered year since 2017 given its massive logistical undertaking (with sporadic celebrations in 2006, 2012 and 2014 before then), and WorldPride Copenhagen – Malmö 2021 couldn’t have come at a better time. 

Hundreds of thousands of cooped-up queer revelers and allies will flock to the twin host cities in Denmark and Sweden, respectively, from Aug. 12-22, to party with the happiest people on the planet, a delightful distinction provided to the Scandinavian countries by the United Nations’ famous World Happiness Report. (The United States ranked No. 19 in the most recent report, FYI.) 

So what’s in store for this year’s all-out progressive-flag-flying festival? Read on for more.

Two LGBTQ anniversaries in Denmark

If you can believe it, it’s been 70 years since Danish doctors in 1951 performed the world’s first successful genital reconstruction surgery, a medical marvel that provided hope to transgender people the world over. This year is also the 50th anniversary of the founding of the Gay Liberation Front’s Danish chapter, which has been instrumental in blazing trails toward equality for the country. Look how far it’s come.

Opening ceremonies kick off in Copenhagen

In conjunction with Copenhagen Pride, WorldPride will officially start late afternoon on Aug. 13, but in adherence with COVID-19 protocols the opening ceremony won’t be held in WorldPride Square (at least not as of press time; things could – and probably will – change). That potential snafu notwithstanding, Denmark welcomes vaccinated U.S. travelers, and if any testing is needed, both PCR and antigen tests will be available free to everyone, including tourists, 24/7. Copenhagen is OPENhagen again.

WorldPride Square will be open for the rest of the fest

WorldPride Square, a makeshift village of sorts (similar to the Olympics) located within Copenhagen’s main square, will provide a gathering place for all attendees that have traveled far and wide. LGBTQ+ and non-governmental organizations spanning the globe will set up shop in the square to greet pedestrians, provide information, and invite folks to get involved. Art exhibits also will be a centerpiece of the village, alongside a street-food market and bars with plenty of space to relax. 

EuroGames will be held simultaneously

If you enjoy watching athletes compete in variety of sports that range from boxing and badminton to dancing and dodgeball, add the spectator-friendly EuroGames to your list of to-dos while you’re in Copenhagen. If you want to get hands-on, consider signing up to become a volunteer at the games, to be held Aug. 18-20; EuroGames’ website is currently accepting those applications. 

Spread out and explore other WorldPride villages

While WorldPride Square will serve as the jump-off for the 10 days of festivities, other available villages will allow crowds to spread out and explore their individual interests. In addition to Sports Village for EuroGames athletes and fans, other villages will focus on kids and families, youth, women, and the queer community, among others. Programs and content of these villages will be target-audience specific but open to everyone.

You might have a brush with royalty

Mary, Crown Princess of Denmark, Countess of Monpezat, is patron of Copenhagen 2021, making her the first-ever royal to serve in the role for a major LGBTQ+ event. Say hi if you spot her; she knows a queen when she sees one.

Despite pandemic protocol, the show will go on

Organizers have said in an official statement that despite some COVID-19 restrictions, they’re “continuing to plan for full delivery of all Copenhagen 2021 events taking into account the guidance and recommendations” of government agencies. Doubling down, organizers have promised they will not cancel or postpone events. 

Now there’s only one thing left to do: Let’s go!

Mikey Rox is an award-winning journalist and LGBT lifestyle expert whose work has been published in more than 100 outlets across the world. Connect with Mikey on Instagram @mikeyroxtravels)

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