Et Alors? Magazine 17

et alors?
a flamboyant queer art magazine

‘By writing portraits
on queer artists, Et
Alors? Magazine is
preserving LGBTQ
heritage, both on
a historical and a
contemporary level.’

editorial 17
Comrades,
Identity labels have always been a big issue amongst
sexual and gender minorities. A language matter
that led to the elaborate LGBTQIA, an abbreviation
likely to be often quizzically frowned upon, yet you
cannot blame anyone for trying. Identity labels will
never embrace the complete package and although
we do understand the importance of diversification,
here at Et Alors? Magazine headquarters we’ve chosen
to use the generic term Queer as an umbrella for the
wonderful artists we portrait.
Queer, because we identify ourselves with so much
more than just the L within the summary of capitals.
We’re also women - Caucasian women to be exact -
and we love reading so much our house is smothered
in books. One of us is thinking about buying a drum
kit and the other one is building a photo studio. We
both love to travel and meet people who blow our
minds. We share a dislike for smalltalk. One of us
is a freckled redhead whereas the other one wears
nothing but men’s clothes. We used to live the social
life in Antwerp and Amsterdam but are currently
residing in a small village up on a Spanish mountain.
For now. And yes, we are lesbians, yet consider that
a small part of the complete package that comes
with being the individuals we are. However, we feel
comfortable with the term Queer. The adjective that
stands for – among many other meanings – atypical,
singular, funny and different. And don’t you just love
the sexy w-intonation just behind the q.?
Hence, queer. Like the unconventional work of
writer, public speaker and performer Ivan E. Coyote
who considers themselves a gender failure. Or the
outlandish and remarkable creations of visual artist
Bubi Canal, that carry you along into this magical
world filled with vivid creatures in geometric
shapes and powerful imagery. The unorthodox charity
organization ‘Sisters of Perpetual Indulgence’, using
flamboyant make-up and costumes to underline their
roles as gender activists, their fight against sexual
intolerance and their rebellion against religion.
Square Zair Pair, the funny and extraordinary children’s
‘We’ve chosen to
use the generic
term Queer as an
umbrella for the
wonderful artists
we portrait.’
book about celebrating the diversity of couples in a
community, written by Jase Peeples. An untypical
photo series by Belle Ancell, a photographer who
uses her work to give back to her peers. The eccentric
and ‘all out’ rapper Solomon Ray and the mysterious
Virgin Xtravaganzah, who thinks that if you’re set
out not to be prejudiced, it wouldn’t matter whether
you’re a Catholic, a Muslim or a Buddhist. Because
we should actually all get along.
All of them artists who have two things in common;
they explore diversity, gender, feminism and LGBT
topics on a cultural, artistic and intellectual level,
and we chose them to be featured in the 17th issue
of our flamboyant queer art magazine. Enjoy!
Keep safe, stay gorgeous.
Love,
Fleur & Julian
003

et alors? magazine
march 2016
issue 17
Text & research
Fleur Pierets
Artwork & layout
Julian P. Boom
Contributors
Belle Ancell
Bubi Canal
Christine Knopp
Daniel Peace
Ellie Van Den Brande
JD Forte
Jourdan Tymkow
Studio Prokopiou
table of contents
Editorial
Table of contents
Bubi Canal
Square Zair Pair
Ivan E. Coyote
Sisters of Perpetual Indulgence
Unveiled
Solomon Ray
Virgin Xtravaganzah
Websites
002
004
006
016
024
034
044
050
058
066
Et Alors? Magazine © 2016
www.etalorsmagazine.com
004

fleur & julian say thanks to
Bubi Canal
Tracy Atkins
Renate Breuer
Ingrid Van Den Bossche
Et Alors? Magazine is an ongoing
research project, focused on
documenting contemporary
queer art and LGBT creativity,
solely written and designed by
Fleur Pierets & Julian P. Boom.
Married and female. By using the
conventional magazine format
as a creative platform to publish
in-depth interviews and positive
portraits on musicians, visual
artists, writers and performers,
they challenge and expand the
mainstream understandings
on the specific niche of queer
art. The project both highlights
contemporary artists and the
many creative individuals who
have put their unique stamp on
art history. Et Alors? Magazine is
a time document that continually
captures the zeitgeist of a
changing world, supporting the
creation, the research and
the development of projects
that explore diversity, gender,
feminism and queer topics on an
optimistic, cultural, artistic and
intellectual level.
Subscribe to our quarterly
newsletter, submit your work or
just say hello at
info@etalorsmagazine.com
cover
Artwork Bubi Canal
Location New York, US
Talents Visual artist
Website www.bubicanal.com
© All material in this magazine is copyrighted as indicated.
005

© Bubi Canal, Emotive Space 2015

ubi
canal
interview fleur pierets

Surrealism meets objet trouvé, meets performance art
and photography. The art of Bubi Canal includes many
disciplines, yet its common thread is the ability to make
you happy. His work is positive, colorful and carries you
along into this magical world filled with vivid creatures
in geometric shapes and powerful imagery. Here is a
glimpse into the disarming universe of Bubi Canal.
You’re originally from Spain, but moved to New
York?
I was born in Santander, Spain, and met my husband
Paul—who is American—in 2010 when I was living
in Madrid. I ended up moving to New York in 2011.
I can’t say it’s been easy to start over. I didn’t know
where to find a photo studio and didn’t have any
friends. But, New York is an inspiring place to live as
an artist. People are very open and it’s a comfortable
place to share your work.
Your work hardly has any reference to current
hypes or trends.
My work represents a fantasy world, a universe where
magic happens and where the sun always shines. It’s
about what I feel and love, so you could say it’s a
projection of my emotions. I’m an optimist and want
that to be reflected in my work. My work changes
as I evolve. It reflects the changes that happen in
my life, like my interest in new technologies. I love
applying their capabilities into my work.
You work with the people and objects that
surround you.
My ideas are simple, and I find the most practical
way to execute them within my means. I use myself
or my friends as models, I shoot mostly in my
neighborhood and my sculptures are made of plastic
toys and found items. My work is an extension of
my life. I can be inspired by a person, location or
garment, for example. I’m always checking second
hand shops for pieces I can use.
What inspires you?
Being open to intuition, ideas for my work come
quite easily to me. I wait and see what comes up.
I feel a connection to Japanese culture; I used to
watch a lot of Japanese TV shows while growing up
in Spain. I’m also a huge fan of Michael Jackson—his
work inspires me tremendously.
What’s your work method?
I don’t have an image in mind at the beginning. I
008

© Bubi Canal, Special Moment 2013

© Bubi Canal, Chrystelle II 2013

© Bubi Canal, Bubi Canal Team 2015

© Bubi Canal, Our Dreams Are Our Real Life 2011

‘I enjoy
myself and
see where
it goes from
there.’
start working with a blank slate, so the end result
is usually surprising to me. I enjoy myself and see
where it goes from there. At times, I’ll start working
on something and don’t even know what shape it
will take. The end result could be an object in itself,
or become a prop for a photo. Sometimes the idea
turns out to be about movement, and then I’ll take it
into the realm of video.
You must have a lot of fun.
I do. I look for the easiest way to create my work, so
the process remains enjoyable while being effective.
How did your first solo show in New York come
to be?
My work was featured as part of a group show titled
Psychopomp, which was curated by Alberto Cortés
and showed at the Munch Gallery in Manhattan’s
Lower East Side. Gallerist Lillan Munch, the owner
of the venue, asked if I’d be interested in doing a
solo show. That led to Special Moment, my first solo
show in New York. I was looking forward to people’s
reactions, which were positive. I’m currently working
on a new exhibition for the Digitaliseum gallery in
Malmo, Sweden, as well as a publication about my
work, with text by Jorge Clar, for Pupa Press.
What’s your biggest dream?
To inspire in the same way I’ve been inspired by
the work of others. Ideally, my creations could be a
catalyst for positivity.
www.bubicanal.com
015

© Christine Knopp

square
zair
pair
interview fleur pierets

Square Zair Pair is an LGBT themed children’s book about
celebrating the diversity of couples in a community. The
story takes place in the magical land of Hanamandoo, a
place where square and round Zairs live. Zairs do all things
in pairs, one round with one square. But one day when
two square Zairs pair for the first time, the village initially
rejects them before learning a lesson in kindness and
acceptance – ultimately realizing different pairs of Zairs
make their village stronger. In conversation with writer and
The Advocate journalist, Jase Peeples.
Why write a children’s book?
Years ago, a friend of mine told me that he and
his husband were having trouble finding children’s
picture books with positive LGBT themes they could
share with their daughter so I wanted to help. Square
Zair Pair is about these creatures that come in two
shapes, round and square. In this magical land that
they live in, they always pair up as one round with
one square. The story is about what happens to the
village when one day two square Zairs pair up, and
they mistreat this brand new couple they have never
seen before. Ultimately, it’s a story that accentuates
the possible differences between couples.
The Zairs don’t have a gender. Was that important?
It was very important to me to have the Zairs free
from gender, because traditional gender identities
bring with them a lot of preconceived notions and
assumption. I wanted to highlight how much we
love to focus on sexuality and gender by removing
it from the equation. When we replace the concepts
of sexuality and gender with two very basic shapes,
round and square, the ridiculousness of arguments
against same-sex couples becomes even more
apparent.
And not writing about sexuality makes it more
accessible for children, no doubt.
Absolutely. Sexuality is indeed never specifically
stated in the book. Instead I used an allegory, which
is a much easier thing to digest, even for someone
who may have reservations about such a story being
read to children. I aimed for 6 to 10 years of age but
I’ve had the honor of reading it to much younger
children and they seem very captivated by it. People
are very receptive.
Did you have books like that, when you were young?
As the son of a librarian, picture books were a very
important part of my experience in how I saw the
018

world as a young child. However, there were never
any stories that positively highlighted the ways in
which I was different as a gay person. And as I got
older I realized there really weren’t many books with
a narrative on different types of families. It’s my hope
that Square Zair Pair can help both young people
who feel they are different, and those who may
come from same-sex families. I hope it can become
an instrument to help realize their differences should
be celebrated, regardless of whom they “pair” with.
How’s the atmosphere in the US when it comes to
LGBT themed books?
When it comes to children’s books it’s a growing
field. You see them more and more these days, but
it’s still an issue that same-sex couples or families
with same-sex parents are seen as “different.” So
I think there’s a lot more work to be done. I would
love for a book like this to be in every school, to be
a part of the curriculum, especially for younger kids.
I would love for it to be a part of ‘Spirit Day’, which
is a day we celebrate to raise awareness against
bullying. I think it’s a perfect tool for a curriculum
that embraces that day and that message all year
round.
Next to being an author, you’re also a journalist
for The Advocate, the oldest and largest LGBT
publication in the United States.
I’ve been with The Advocate for about 5 years
now. I love being part of that voice and I love
highlighting some issues that perhaps other people
in journalism wouldn’t think twice about. When I
wake up in the morning it’s comforting to go to an
office where things that are important to the LGBT
community are discussed, and I love the ways in
which we are aiming to encompass more than just
that group; fighting for rights for women, or for
people of color for example. All these things are
part of our community as well, no matter where we
019

© Christine Knopp

come from, who we are, whom we love or what we
look like.
‘Be patient and
trust yourself.
Look for others
who are like you
and don’t get
caught up so
much on those
who aren’t.’
What are the significant changes in LGBT rights
that happened over those 5 years?
When I started at The Advocate we did not even
have marriage equality in the state of California, but
today we have marriage equality on a federal level.
I think that’s one of the biggest things. But there
is also the changing landscape of entertainment,
the increase of our visibility and representation in
Hollywood. We are seeing more LGBT characters
and story lines on prime time television that are
seen in millions of homes across America. I know we
can continue to change the world for LGBT people
and I’m trying to do what I can to aid that cause as a
part of The Advocate team.
You won the “Journalist of the Year” 2013/14
award. That’s quite something.
It was a surprise and a wonderful honor. I thought
that was such a marvelous reminder of how much
the world is changing and taking LGBT stories
seriously.
Will you continue writing children’s books?
I’d love to continue writing children’s books. Square
Zair Pair has been in the making for a few years now
so I’m very happy it is finally seeing the light of day.
I’m looking forward to pushing that a little further
for the next year and if the time is right after that for
another book, absolutely!
If you could talk to your younger self, what would
you say?
I would say to be patient and trust yourself. Look
for others who are like you and don’t get caught up
so much on those who aren’t. Believe in yourself
and just keep the faith. It’s easy to get absorbed
in the things that aren’t working, but if we take
a look at how they can work and how they can be
better, especially when we’re younger and we have
something to look up to and inspire us, then we’re
all going to be ok. And that’s exactly why I wrote
Square Zair Pair. This book is what I wished I had
when I was younger.
Square Zair Pair written by Jase Peeples with art by
Christine Knopp. The book is available in hardcover
and in eBook form for Kindle via Amazon.com
023

© Jourdan Tymkow

ivan e.
coyote
interview fleur pierets

On the day of this interview, New York passed a civil
rights law that requires all single-users restrooms to be
gender neutral. A decision of great impact on the daily
reality of trans people and a life-changing event for Ivan
E. Coyote. The award-winning author, renowned performer
and lecturer considers themselves a gender failure;
failing the gender binary which has equally failed them. A
conversation about language, engaging with an audience,
using the pronoun ‘they’, and toxic masculinity.
You stated, “I have failed the gender binary and it
has failed me”. Can you elaborate?
The gender binary is one of the most effective power
structures ever created and is used to perpetrate
horrible things upon each other. The process of
indoctrination begins as soon as the parents find out
what the gender of their child is. They literally start
talking differently, using a different tone of voice,
and expecting different things from boys and girls.
Meanwhile there is so much more to the reality of
gender than just men and women and there always
has been some version of people like me in every
culture. If we acknowledge that fact and respect
it, the whole thing will break down. We would be
chipping away at the foundation of one of the biggest
systems that we use to oppress people and especially
women. Because even in so-called westernized
societies, we still socialize young women differently,
we still tell them what they can and cannot do. I
don’t have all the answers, but what I do know is that
more and more people are emboldened to come out
of the gender closet and that I am a problem that is
not going away. So if we, as a society, say that we
have human rights for everyone, then we have to
decide what that means and act upon it. It’s going to
be good in the long run; it will make the world fairer,
more truthful and more authentic.
What changes do we have to make in order to
create such an ideal world?
One of the things we need to do in order to make a
better world and in order to completely allow people
to express who their real true self is, is unraveling
the concept of unexamined toxic masculinity. It’s
poisoning our society, and some of the biggest
sufferers under that regime are men and boys.
They are expected to perform this ideal masculine
dance that is both not possible and not healthy, but
still we continue to put that unrealistic nonsense
in – for example - movies. A man has big muscles,
026

‘I know I can only
affect my little corner
of things, and part
of that is fighting for
my own human right
to just be, and to go
through the world.
Step by step.’
fires guns and gets the girl in the end. Our boys are
lost with those kind of role models. If we take that
apart, and give women the right to their own bodies
and education, a lot of things would change. I’m not
interested in a gender revolution just so we can all
wear what we want, that would be a nice byproduct,
but I’m talking about liberation for women and men
and everyone else. I’m not even sure if I can wrap my
mind around how fundamental a change that would
be. I know I can only affect my little corner of things,
and part of that is fighting for my own human right
to just be, and to go through the world. Step by step.
Is your personal use of the pronoun ‘they’ a part of
those steps?
‘They’ is the pronoun I feel most comfortable with.
Is it perfect for me? No. For years I struggled using
the pronoun ‘she’ because that’s what I was raised up
with. It’s hard to describe how uncomfortable that
feels if you have never experienced it. In my book
Gender Failure I try to describe it as somehow being
carved away at. Often, the media can only understand
trans people if they still “fit”: Trans people are all right
as long as they look like Caitlyn Jenner and the only
thing they want is to become a woman. I don’t want
to be a man but don’t feel like a woman either, and
that’s a difficult place to be in, yet that is my authentic
self and there is nothing harder than spending an
entire lifetime trying to cover up your authentic
self. Using ‘they’ was not an easy decision to make
and it still isn’t, because after 11 books, multiple
awards, 3 films and 6 live shows, some people still
reduce me to nothing but a pronoun. They’re falling
back on these grammar rules, which are not even
actually correct since the use of ‘they’ as a singular
pronoun goes back to the 16th century, to Chaucer
and Shakespeare, who both employed it. Language
changes all the time to incorporate the people who
are utilizing it. And that’s what it’s supposed to do.
15 years ago ‘Google’ was not even a verb or a word.
Now we’re using it all the time and it’s even in the
dictionary. It’s been incorporated because there was
a need for it. So I’m sure that when somebody really
digs their heels in, it’s not actually grammar that is
the problem. They are resisting that change because
it makes them uncomfortable, and it has nothing to
do with language.
You are called a queer author, does that match
with how you identify?
I’m situated in an interesting place on the gender
spectrum but when I speak to people to whom my
work resonates, it’s often about much more than
just the queer themes. I also write about working
class dynamics, for example, or about big families, or
about the Yukon, where I come from. All those things
are an important part of who I am. But I do mostly
write things that are drawn from personal life, which
obviously colors and flavors my non-fiction work.
It wouldn’t be accurate to remove myself from
those experiences but labels tend to limit both our
readership and us. What makes me want to write
is the ability to increase the narrative. To put more
stories about queer life out there, about those of us
who don’t really align with the gender binary. At the
same time I resist being put in a box. I’m a writer.
Period. There is a place where those labels cease to
be effective but if I’m only writing stories for queer
people, it’s not going to increase us being understood
by those who are not exactly like us.
Is that the reason why your prose is very
accessible?
I don’t know, I think it’s just my style, my nature as
029

an Tymkow

‘I realize that a
lot of people are
never moved by
their every day
job so I try to be
grateful.’
a writer. I was an electrician while I was working on
my earlier writing career so I don’t consider myself
an intellectual. I’m a storyteller. My aim is to have
things resonate with people so that they can find
some personal truth, some way of relating it back
to their own story. Dressing it up and making it
complicated, especially when it doesn’t need to be,
is not engaging. All that intellectualized stuff would
get in the way of the level of engagement that I am
looking for in a reader.
Is performing a way to be closer to your readers?
I started live storytelling before I got published so
it was always a part of my art practice. Sometimes
when I pick the right story, in the right order, in the
right place and I approach it with the right heart,
I have these moments of spiritual connection
between the audience and myself. You can have
this moment of looking inside each other’s hearts –
seeing a glimmer of the true humanity of the other
person. It doesn’t happen all the time but those
moments are pretty magical. I realize that a lot of
people are never moved by their every day job so I
try to be grateful.
What’s your motivation for speaking in high
schools?
One of my main motivators for speaking in public
high schools is because my cousin Christopher, who
I was really close to growing up, committed suicide
when he was 21. I think he was gay, but we don’t
know and we will never know, but he was a misfit
and was horrifically bullied all the way through
school. I think it’s very important to talk about how
we treat each other and how that affects us. I know
that’s hard to believe when you’re 15 years old, but
all those things don’t disappear when you graduate.
It’s a moment in our lives where we’re learning to
believe or not believe in ourselves, it’s the moment
when we decide if we matter. So I try to have a one
on one about school bullying and respect on a Friday
afternoon, in a gymnasium of 600 kids with the
attention span of a music video. I can tell you; it’s
not a job for the faint of heart.
You are a role model for many; did you have one
when you were younger?
Not exactly, but there were a lot of woman in my
family who challenged the rigid ‘70’s gender box
and therefore inspired me as a young human. Yet if
I have to name someone, it would be Annie Lennox
doing her Elvis drag at the Grammy’s in 1984. It got
me on another planet.
What would you say to a young kid who looks up
to you?
I have struggled with depression my entire life and
one of the things that gets me through the harder
days is knowing that these things cycle in and cycle
out. And things get better when you actively work to
make them better; when you seek out a community
or build a community, when you take action. I tell kids
at school that art, writing and music got me through
school and through life. You need to seek the things
that make you feel good. You need to seek them out
and you need to do them, and then you need to do
them again. Not because you want to be the best
but because the act of doing them is life affirming,
constructive, therapeutic and joyous. Feeling good
comes with a qualification and it involves some work
on your part.
www.ivanecoyote.com
Ivan has a new book, Tomboy Survival Guide (based on
the stage show) coming out with Arsenal in Fall 2016.
033

sisters of
perpetual
indulgence
interview fleur pierets
photos belle ancell

Early 1940: the U.S. military dishonorably discharged
thousands of gay servicemen in San Francisco during World
War II because of their sexuality. Many settled in the area
now known as The Castro District when the former middleclass
owners fled to the suburbs, leaving large amounts of
attractive real estate open. The Castro’s first gay bar, the
‘Missouri Mule’, opened in 1963 and the neighborhood grew
to become an upscale, fashionable urban center in the 1970s.
Activist Harvey Milk opened a camera store and the district
turned into a thriving marketplace for all things gay.
In 1980, the area was hit hard by the AIDS crisis
and a small group of gay men started to wear
nuns’ attires in public situations, hereby attracting
attention to social problems in their neighborhood
and to heckled the weekly church members who
saw it as their duty to come over and preach about
the immorality of homosexuality. Herb Caen from
The San Francisco Chronicle printed their name
when they organized their first fundraiser and the
Sisters of Perpetual Indulgence became a fact. Over
the years their appearance has changed: the 14th
century Belgian nun’s theme remains the same but
they’ve added flamboyant make-up and costumes
to underline their roles as gender activists, sexual
intolerance and their rebellion against religion.
Since the Sisters’ formation in ’79, this non-profit
charity organization raises over $40.000 per year
for AIDS and LGBT related causes, and is globally
represented with over 600 members, going by
names such as Sister Florence Nightmare and
Sister Angelina Holi. Interested in joining? Sister
Alma Bitches, president of the Vancouver Sisters
of Perpetual Indulgence, tells you how.
How did you get involved with the Sisters?
I once went to one of their bingos during a Bear
event in San Francisco. It was probably one of
the most fun times I’ve ever had at that point in
my life so I needed to know more about them.
What really made an impression on me was that
these guys had this hairy, bearded masculine look
and yet they were wearing all this make-up and
colorful veils. For some reason I thought that was
pretty awesome. When I looked them up I found
out that they were all about charity, which fitted
me perfectly because I was searching for a way to
do things for my community. It may sound cheesy,
but I wanted to make the world a better place.
The moment the Sisters originated in Vancouver, I
joined them.
036

It’s quite a process to become a member.
There are four levels to membership over a
minimum of one year to become a fully processed
member. Everybody is welcome to join up as what
we call an Aspirant. You meet with our Mistress of
Novices who answers all the questions you might
have, and you have to formally introduce yourself
at our business meeting. That’s fun because we all
applaud for you. As an Aspirant you’re not expected
to do anything but to come with us to events and to
observe the Sisters in action. On that level you can
decide if you are actually seeing yourself doing this.
After two months you become a Postulant. We vote
you in as a probationary member of our charitable
society. We give you a member’s handbook and ask
you to start thinking about a name, as you have to
come up with a unique name that’s never been used
before. You’re required to come to a certain amount
of events and help out. You’re still not supposed to
come out with our signature white face, until you’ve
reached the next level four months later, when we
vote you in as a Novice member. As a Novice you
can either become a Sister or - if the make-up and
dressing up doesn’t appeal to you - you can become
what’s known as in Vancouver as a Paladin, meaning
warrior of light. In six months time you have to plan a
Novice project, an event that you have to execute to
the best of your ability. Yet if you’re not passionate
about throwing parties or events, you have to come
up with a project that helps the Sisters raise their
visibility. You are allowed to wear the headpiece
but only with a white veil, that’s how you can be
distinguished from a full member who wears colors.
After one year you set up your resume and we put
you up for consideration. Our first reverent mother
here in Vancouver was really great because she
never wanted to get anyone to that voting meeting
without them knowing that they were going to be
successful. We kept this a positive and respectful
tradition.
037

‘Everybody is
welcome to try.
As long as we
respect where
everybody is
coming from,
then we should
be able to do
what we do.’
Why such a strict policy?
We never call people and ask if they want to
become a Sister, it’s something that you are called
to do. People want to join in but they have no idea
how much work it is and how much time you have
to put into it. We have to follow very strict rules
from our government because we are a charitable
society within this country. We do have quite a few
rules about conduct and as a member you have to
support the mission at all times and to the best of
your ability. The Vancouver Sisters take their duty
very seriously. I for example, like most of my fellow
members, don’t drink or do drugs but like to do our
work with a clear head. Even if you have a Facebook
account that’s dedicated to your Sister’s persona,
you cannot complain or be negative, since one of
our missions is to spread universal joy. We’re always
very conscious about things like that.
What are your charitable causes?
Our main goal is to support those living with HIV
and to stop the spread of the disease, which ties
us into the worldwide Sisters mission. But we also
try to abolish homelessness, since that’s a great
issue in Vancouver. We give money to the MAP
Van, a project that for seven nights a week provides
outreach services to women working on the street.
Their purpose is to increase sex working women’s
health and safety, particularly in those areas where
there are few or no services open late at night.
We have the HUSTLE program, a health initiative
for male and trans sex workers, we have school
programs in rural communities where they give
talks on homophobia. You can see why we have a
lot of money to raise.
Are there enough members for this amount of
work?
I’ve been around for 5 years now and there was
a time where only 3 of us went out every night,
working the doors at nightclubs, organizing events.
As you can imagine that was pretty tough. Currently
we’re at 12 full members but unfortunately a lot of
people move away because Vancouver is a very
expensive city to live in. That’s just one of those
things. But on the other hand it’s not all bad because
we are sending people with these amazing hearts to
places where they have maybe never heard of the
Sisters or where there’s an abbey trying to get off
the ground. We’re sending them a member to the
rescue.
You had a female member in Vancouver. Is that
something you encourage?
People are always shocked when they find out that
not only men can be Sisters. It’s probably 90% gay
men, but there are also trans Sisters, female Sisters
and non-binary Sisters. Everybody is welcome
to try. As long as we respect where everybody is
coming from, then we should be able to do what we
do. The female Vancouver Sister for example was a
Muslim and she probably has no idea just how much
she has taught me about what Muslims are like or
could be like. All I knew was what was on the news
so I never thought they would join a group of gay
men, or support something queer. It’s always more
productive to welcome people and learn something
about them, than to judge them because they are
different. The Sisters are all about being different so
who are we to criticize?
www.yvrsisters.blogspot.com
043

unveiled
interview fleur pierets
photos belle ancell

Belle Ancell is a queer community photographer living
in Canada. Amongst her series there is “Unveiled”,
portraits of the Vancouver Sisters of Perpetual
Indulgence. In-depth photographs and representations
of people who are, just like Belle herself, looking for a
way to give back to and to strengthen their community.
Why choose the Sisters of Perpetual Indulgence
as a subject?
Because they are so beautiful. I used to see them
around and at first I thought they were drag
queens, or performers, clowns. I didn’t realize
they were philanthropists who contribute a lot
of their time and money to the community. As an
order, they take their commitment very seriously
and are actually taking vows for life. I just wanted
to do something to honor them because I don’t
think a lot of people understand who they are and
the importance of what they are doing. At least I
didn’t.
Are you a part of the order?
They made me an Angel. An Angel is someone
who, in some way, has contributed to the Sisters
of Perpetual Indulgence. It’s an honorary title and
a way for them to thank me for the project and the
portraits.
The project is your way of giving back to the
community, can you elaborate?
It’s to give back, to highlight and to acknowledge
certain aspects. I love my community and I truly
think there’s not enough imagery out there that is
positive and beautiful. I want to put that out into
the world by documenting our lives. I didn’t know
anything about queer history when I was younger.
Not via schools, not anywhere. Now, as I’m getting
older, I’m starting to learn more about the activists
that paved the way for me to sit at my job and be
completely ‘out’, to be queer and feel more or less
safe. So yes, I think it’s important because there is
still so much work to be done.
Talking in terms of ‘we’ is a very recent
development since you didn’t come out until you
were 32 years old?
And until then I had absolutely no idea. I was 32,
living in a tiny town in Canada where there was
046

‘I feel like it’s my purpose to use this
gift of photography to make all the
wonderful things that happen in our
community common good. Yes, these
personal projects are definitely the
core of who I am.’
nothing but stigma, negativity and homophobia.
There was no queer content available in the late
‘80’s, nor were there any movies or TV-shows on
the subject matter. I didn’t know where to find the
reading material and the Internet wasn’t as evolved
as it is now, so there was absolutely no way for me
to find those queer artists. I slowly clued in via a
same-sex couple that moved into my village. All of a
sudden it just clicked. So I can say it took me a while
to wake up. I wasn’t self aware and very, very much
in denial.
And all of a sudden you find yourself in a
community.
I feel so fortunate; I wouldn’t change this for
anything. We’re minorities, however you interpret
it, so we look out for each other and support each
other. We have our own culture, art, music, and it’s
an amazing feeling to be part of that kind of queer
movement.
You use the word queer. What’s your personal
definition of the word?
I discovered the word queer about 15 years ago
and it just clicked. To me it’s everything I am. I’m
not lesbian or gay; I’m queer. Finding the exact
language to describe your community is an ongoing
discussion, but I feel confident with the word. That
some older people feel uncomfortable with the
term - because it was used violently against them
– is something I try to respect in our conversations.
But it’s evolving every day, everything is changing,
language is changing and I’m open to everyone’s
perspective. There are a lot of people who are
working hard to make space for everyone and trying
to find the right language and even working on their
own prejudices. Because we’re all human and we all
have misconceptions. It’s an evolution and we all
need to be open to listening and caring.
What would you like to achieve with your work?
I’d like to be remembered for contributing to the
community. Documenting it, showing the beauty
of the community, the challenges. I’m currently
working on a series called ‘Aging Out’ and it’s
about LGBT elders and the unique challenges they
face as they age. People are starting to realize the
value of connecting with our past. We need that.
Recently I was at a circle with LGBT people from all
different ages, ranging from 20 to 70 years old, and
we all told our coming out story. It was exciting to
discover that although there were differences, there
were also many commonalities. I feel like it’s my
purpose to use this gift of photography to make all
the wonderful things that happen in our community
common good. Yes, these personal projects are
definitely the core of who I am.
www.belleancell.com
049

solomon
ray
interview fleur pierets
photos jd forte

In 2008, Solomon Ray released two street mixtapes
that got him invited to Eminem’s radio show, Shade 45,
on Sirius XM. What followed was a huge Internet buzz,
a large amount of followers from all over the world and
more than ten thousand copies sold. Several EP’s later
the rapper came out with Le Garçon, greeted by iTunes as
one of 2014’s “best new releases by a new artist” and the
first single landed Vevo’s top five of R&B songs. Despite
his success and positive feedback, the artist announced
his retirement, due to depression, on Facebook. But last
month he released a beautiful cover of Beck’s Guess I’m
doing fine so it looks like Solomon Ray is back!
What made you decide to come back?
Creativity. You cannot tell an artist not to create and
you can’t take a break from something that you
love. Ultimately it was my love for music and the
notion that we are placed on this earth for a reason
that wanted me to reengage. So I tuned out all the
superficial stuff that I kept seeing and moved on.
Stuff like what?
I’m an artist who identifies himself with what he
makes. Which makes me quite sensitive about my
work. I think I got to a point in my life where I got
depressed because I didn’t see where I was going
and let outside influences dictate how I felt. I started
to constantly focus on how someone else had more
advantages than me. After a while it became so
depressing and stifling that I needed a break.
Did it have something to do with your coming out?
If you asked me this question four years ago I would’ve
said yes and my response would be that I probably
would not have told anybody that I was gay. Now I
realize it was never really a choice because this is who
I am. Now I have this “I don’t give a fuck about pretty
much,” attitude so I would never be silent about it.
I can imagine it’s quite challenging, being gay in
the rapper scene.
Being in this industry since 2008, you can feel a glass
ceiling when you’re gay. It’s something that I’m aware
of, yet I try not to give it too much weight. I’m also
aware that it’s even harder for other people because
I do know that it’s still a stigma to be gay in the black
community. If you’re a gay rapper then you are already
fighting against a lot of prejudices, but if you’re a gay
rapper and you’re black and you live in America, then
that really works against you. I’m a mixture of black and
white so visually I can slide in. But there are a bunch
of extremely talented men who don’t get the same
attention as I do because of their color.
052

‘I know that I’m going to be taken
care of and as long as I trust that
instinct, everything will be ok.’
What’s the main difference between the moment
of your retirement and now?
When it comes to music, the difference is that
I don’t use rules anymore. I don’t hold on to
formats in songwriting. Those formats are great
because they are catchy but I try to use a different
approach. The big personal difference is that I don’t
stress as much anymore because I learned that my
art and my gift is none of my business. It’s been
given to me so it’s my purpose in life. I know that
I’m going to be taken care of and as long as I trust
that instinct, everything will be ok. Stepping into
a new project with that mindset is very freeing. It
literally allows me to be myself. Before I was afraid
to be outspoken, to speak up. Now I don’t really
care about the small things anymore.
Do you still care if people like your work?
It’s always nice when people like something
you’ve made, if they identify with it or find a story
to connect with. I love that. But if they don’t like
it, than that’s also fine. If they are not coming to
concerts or if they are not buying my records, I
don’t really have the space in my life to care about
them. Everybody should get to a point where they
realize that people’s opinions about what you are
wearing, how you are doing your hair, who you’re
sleeping with, doesn’t really matter if they’re not
paying your bills or have a huge influence on your
livelihood.
How about future dreams?
I’ve already accomplished what I wanted. As a
creative person I don’t care what it does, where it
goes. I just need to make something. If I have an
idea in my mind, all I’m trying to do is to get that
idea out. Once it’s out, I’m on to the next project.
What would you say to an aspiring young rapper?
To be honest, I would advise them to stay in school
and become a lawyer. If you go to bed at night and
you cannot sleep because you have to create, then
follow your passion. But if you can go to sleep and
wake up perfectly fine, you need to go to school.
Because there is no money in music anymore,
there is no benefit. You have to do this because you
need it. Very few get rich and famous and even a
lot of people on the billboard top 100 don’t even
have the money I have. Since finding out that harsh
reality I try to tell kids to think about it, because it’s
one of the toughest jobs to get into.
But you would never trade.
Never! It’s been a fantastic ride and I’m very much
enjoying it!
www.solomonraymusic.com
057

© Daniele Peace

virgin
xtravaganzah
interview fleur pierets

As an impersonator of the Virgin Mary, performance artist
Virgin Xtravaganzah talks about how Mary actually loves the
gay community and that people got it wrong in the books.
That God doesn’t care whether you’re gay or straight; he
just wants you to be a good person and get over these trivial
limitations. A conversation about working from an outward
place, the joy of performing and identification with an icon.
You’ve just returned from some gigs abroad.
You’re quite busy these days.
It’s been quite a big year in terms of my development
on the scene. Last year I won a drag competition
and started to perform the Virgin Xtravanganzah
persona on a regular basis. It seems like people very
much respond to the character.
Why do you think that is?
I think because it’s intriguing. The story of the Virgin
Mary, the legend, is very much built into our psyche,
even if you are not a Christian. To see that kind of
icon impersonated by a drag queen with a mustache,
is quite attention grabbing.
How did you come up with the concept of
impersonating the Virgin Mary?
I was, as I call it, casually raised Catholic. I was never
baptized but I went to a Catholic school so as from a
very young age, I got acquainted with the Bible. I’ve
always been very drawn to dramatics and loved the
over-the-top archetypes in fairytales. I had a similar
feeling about the Virgin Mary. She was, and still is,
a mysterious creature. Did you know that there are
only 14 lines in the Bible about her? We don’t know
anything about her and still, she’s everywhere: she’s
on the altar and in paintings, as well as there are
millions of statues to light a candle in front of. She
has such a presence in the church yet she has no
voice. So I thought; what would it be like if she was a
modern day 14 year old girl? What would she sound
like if she were growing up today? So I gave her this
American valley girl accent and I started to create an
identity.
Do you identify with your character?
I do, yes. I like to put myself into a 14-year old
person’s mind frame, approached by the creator of
the universe who said: “Would you like to have my
son and be immortalized for the rest of all eternity?”
060

© Studio Prokopiou, headpiece by Hysteria Machine

Would you dare to say no if it were you? The point is
that we will never know what went through Mary’s
head, her internal monologue, when that happened.
She definitely didn’t know what she was getting into.
I think that’s something a lot of people can identify
with. Everybody is young at one point and makes
decisions that they look back on and question if that
was actually what they wanted to do with their life.
In my incarnation of Mary, she has become a drag
queen and came back to earth to do all the things she
didn’t really get to do as a religious icon.
You’re very thorough when it comes to your drag
identity.
My drag is very different from a lot of other drag
queens since many of them work from a different
place than I do. They work from an inside-out kind
of way; they take something from deep within
themselves, put a magnifying glass on it, and that
explosive image is what becomes their drag. Whereas
for me, I’m not the Virgin Mary, obviously, so I took
a character outside of myself and experimented with
what happens if I internalized and regurgitated that.
This became my drag character. It came from an
outward kind of place instead of something coming
from the inside out.
You are a trained actor. How did you become a
performance artist?
I’m originally from Oregon, USA and I came to the UK
to study drama. I’ve always been an attention seeker
and I’ve always liked being watched doing silly things
in a very broad context. I really thought acting was
the thing I wanted to do but over the years I got a bit
bored. I felt it was something else that I wanted to
offer, something that didn’t come from somebody’s
script or from a casting director. As an actor you’re
always at the whim of somebody else’s idea. I can play
Hamlet, but I did not create Hamlet. I didn’t create
the Virgin Mary, but I did create Virgin Xtravaganzah
and she’s an original concept. Through her I can be
more authentic as an artist then I can be as an actor.
Can you put all your creativity into one character?
I can. I love the performative art form and I’m just as
much a writer as I am a drag queen. I write all my own
material, I sing live instead of lip-syncing and I take
pop songs and rewrite them to tell the story of the
Virgin Mary in a comic sort of way. Basically I’m the
Weird All Yankovic of Catholicism.
‘Joy is really
powerful. If you
enjoy doing what
you are doing,
people respond
to it, always. It’s
like magic.’
Is the art of performance limitless?
In it’s potential, it is, but there must be limits in the
way you approach it. If you set out to just explode
your soul all over an audience, there’s not going to
be any structure and people might not understand
what they are seeing. I find there is a limit and
structure to performance art and I don’t believe
you can just do whatever you want; there has to
be some kind of boundary to be set for yourself.
However, once those boundaries are in place, you
can completely lose control. If you only set out to
lose control, it’s actually more limiting. You have
to make choices in order to be professional and in
order to tell the exact story you aim for. Not just give
birth to a vision but to give that vision a language, so
that people can understand. Art that doesn’t do that
becomes vague.
062

© Studio Prokopiou

© Studio Prokopiou, headpiece by Bambi Blue

Is it important for you that people understand
the context of the performance, because of its
religious theme?
To be honest, I’m surprised that I haven’t had more
backlash. We’re talking very few comments on
social media. Maybe it’s because I try to base as
much of my work as possible on my intelligence. I do
not make fun of the Virgin Mary and I don’t set out to
be blasphemous. Because by the end of the day, the
things that I stand for and the things that I talk about
in my songs are about how she actually loves the
gay community and that people got it wrong in the
books; that God doesn’t care whether you’re gay or
straight. He just wants you to be a good person and
get over these trivial limitations. If you set out not
to have prejudice, it wouldn’t matter whether you’re
a Catholic, a Muslim or a Buddhist, and we should
actually all get along. So if people are really listening
to what I’m actually saying, and hopefully most
people do, they’ll notice that I’m far from offensive.
Yes, I have foul language sometimes, but that’s also
part of the character; not wanting to be the good girl
all the time but to be human.
You’re living in the UK, could you do this kind of
show in the USA, where you come from?
I have no idea to how receptive America would be
to what I do. I don’t know because I never tried and
it’s one of my goals to go to New York next year
and actually see how people feel about my work.
The Brits are very open to – I’m not going to say
intelligent art, because that may say I’m intelligent –
but intellectualized art. They’re very receptive to wit
and to humor in particular, they don’t take things very
seriously. Now America, with it’s very fundamental
religious foundation, is different, and in many
ways I think Virgin Xtravaganzah would be more
controversial in a place like America then it would
be in Europe. I also feel that the London attitude
towards drag is much more free than in America,
where it’s considered female impersonation. I like it
more to be androgynous; to use my mustache and
my skinny frame instead of being a copy of the Ru
Paul’s Drag Race contestants where everybody has
the boobs, the hips and the wig.
Are you inspired enough to give the character a
long lasting life?
I am! I was actually just talking to my husband today
that I could actually see Virgin Xtravaganzah as an
old woman. There are some drag queens - and I’m
looking amongst others to Dame Edna - who are
older. They are artists who managed to keep the
art of drag alive, far past what many drag queens
have been able to do. When I get older I think it
would be really interesting to see the Virgin less as
a teenager but more as an older and wiser woman.
It sounds like you very much enjoy what you are
doing.
I do love it, it was an original idea that hadn’t been
done before and it makes me very happy. Joy is
really powerful, even if everybody talks about how
good art always comes from depression. If you
enjoy doing what you are doing, people respond to
it, always. It’s like magic.
What would you say to a 14-year old person,
living in the middle of nowhere, who’s very
inspired by your work?
I grew up in a very small town so I know exactly what
you are talking about. If you’re living in the middle
of nowhere and really want to be an artist, it would
be very easy for me to say that you should move to
the big city and become a great artist. It would be
easy to say, “follow your dreams, do what you want
to do”. No doubt that’s an important part, but you
also have to understand that life is working within
the confines and the limits that you have. There’s
always specificity and there’s always complexity,
and the more specific you can be with your dreams
and aspirations, the better. I came to the UK to go
to drama school and I spent years out of work as an
actor. I was working in a call center and I was very
depressed; I knew I wanted to be a performer but I
was constantly looking for somebody else to give
me the opportunity. Whether it was my agent or a
director, I was constantly looking outside of myself
for someone to figure out who I am. It was only
when I hit rock bottom that I realized I wanted to
do something because it was fun. And that’s when
things started happening. So, before anything,
find the idea. Whatever that idea is. Find that
vision, find that fantasy, whether it’s performance
art, writing or painting. Find it first, and then go
for it.
www.virginxtravaganzah.com
065

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© 2016 | www.etalorsmagazine.com