Get Out! GAY Magazine – Issue 578

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ISSUE #578
COVER
JOSEPH OSTER
FROM ATLAS
SOCIAL CLUB
PHOTO CREDIT:
WILSONMODELS
PUBLISHER MICHAEL TODD
MIKE@GETOUTMAG.COM
DESIGN AND WEBSITE AGOTA CORREA
AGOTA@GETOUTMAG.COM
CELEBRITY INTERVIEWER EILEEN SHAPIRO
@EILEENSHAPIRO3
CONTRIBUTORS WILSONMODELS,
JIM SILVESTRI, & OTHERS TITLED WITHIN.
MJT / Gooth Entertainment, LLC is a free publication designed to promote
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All content - including but not limited to photographs, interviews, articles and
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week in pictures >> BY WILSONMODELS / wilsonmodels.blogspot.com
WRESTLEFEST NYC WEEKEND AT EAGLE NY
WRESTLEFEST NYC WEEKEND AT RED EYE

“Bad Things”
Choosing the Chaos, Naming the Truth
With “Bad Things”, the artist Novul steps fully into
the fire—no apologies, no polish, no safety net. Born
from a moment of brutal self-honesty, the track confronts the
uncomfortable reality of knowingly choosing chaos: letting toxic thoughts,
patterns and impulses linger, even when you know better. Rather than smoothing
the edges, “Bad Things” thrives on tension, urgency, and unease, capturing the
breathless spiral between awareness and impulse.
INTERVIEW >>>
BY EILEEN SHAPIRO
CELEBRITY CORRESPONDENT
Hello, Novul. “Bad Things” leans into the
idea of choosing chaos even when we know
better. What was the moment of self-honesty
that sparked this song, and why did you feel
now was the right time to release it?
“Bad Things” came from a moment of brutal
self-honesty — realizing I wasn’t confused, I
was choosing the chaos. I knew better, but I
was still letting certain thoughts, patterns and
people have access to me. I released it now
because I’m done pretending that growth is
clean or pretty. The song lives in that tension
between awareness and impulse — knowing
the truth, but still wrestling with it. That felt
honest, and honesty felt more important than
being polished
The production is intentionally breathless
and urgent, almost uncomfortable at
times. How did you decide to lean into that
chaos sonically rather than polish it into
something safer?
I didn’t want the song to feel safe, because the
feeling it’s describing isn’t safe. The breathless,
almost overwhelming production mirrors what it
sounds like in my head when my thoughts start
spiraling.
Polishing it would’ve softened the truth. I’m
really intentional about letting discomfort
live in the music — the chaos is part of
the story. When something feels slightly
unhinged or urgent, that’s usually where it’s
most honest.
The line “When the toxic talks to me”
feels especially raw and intimate.
Was that lyric drawn from an internal
dialogue you were having, and how do
you hope listeners relate to it?
That line is 100% internal. “When the toxic
talks to me” is about that voice in your
head you recognize as unhealthy, but still
listen to anyway. It’s not always another
person — sometimes it’s your own thoughts
replaying old patterns, fears, or impulses.
I hope listeners hear it and feel seen, not
judged. Most of us know what that voice
sounds like, especially in moments of
vulnerability. The song isn’t about fixing it —
it’s about naming it. There’s power in that.
You’ve described your music as
“controlled chaos.” How does “Bad
Things” represent an evolution of
that concept compared to your earlier
releases?
I’ve always lived in chaos creatively, but
earlier on I was reacting to it.

spiral faster and grab you
immediately, the way a
thought does when it starts
to take over.
Visually, the imagery
surrounding this release
is striking and cinematic.
How important is the
visual world to your
storytelling, and what do
you want audiences to
feel when they watch the
video?
Letting it escalate early
made the experience
more confrontational and
immersive. Instead of
easing people in, it pulls
them straight into the
mental space the song lives
in — restless, urgent, and
unresolved.
With “Bad Things,” the chaos is intentional.
It’s designed, directed and self-aware. That’s
where the control comes in.
Originally, this song started as a slower,
more guitar-driven idea. What changed
creatively when you allowed it to spiral
into its final, more confrontational form?
This song represents me trusting my instincts
more — letting things feel intense without
over-explaining or cleaning them up for
comfort. It’s less about proving something
and more about standing in it. That shift
feels like real evolution to me. The guitar
was always meant to feel like the beginning
of a thought — almost calm, but not settled.
I realized pretty quickly that I didn’t want to
sit there for too long. I wanted the song to
The visual world is just
as important to me as the
music — it’s all part of the
same story. Shooting the
video in my hometown of
Saskatchewan made it feel
grounded and visceral. It
was minus 20 degrees,
I was racing through the
snow on snowmobiles with
my brother and his friends,
and it genuinely felt a little dangerous —
which matched the energy of the song.
It was a family affair in the best way, bringing
my vision to life in an environment that
shaped me. The fire was intentional too — it
represents that toxic intensity, the chaos you
know you shouldn’t touch but still do. I want
people to feel thrown into it when they watch:
cold, heat, speed, and emotion all colliding at
once.
You’ve built momentum through strong
editorial support and live performance
experience. How has touring and
performing shaped the confidence and
fearlessness we hear on this track?

Performing live has stripped away a lot
of fear for me. When you’re on stage,
there’s no room to overthink — you
either commit or you disappear. That’s
shaped how I approach recording now.
Touring taught me to trust intensity and
presence. “Bad Things” carries that
energy — it’s bold, confrontational and
fully committed, the same way I have
to be every time I step on stage. That
confidence didn’t come from playing it
safe; it came from showing up over and
over and owning the moment.
“Bad Things” feels like a statement
piece kicking off a new chapter. What
does this song set up emotionally or
creatively for what’s coming next in
2026
“Bad Things” sets the tone emotionally.
It’s about honesty, tension and not
diluting intensity for comfort. Creatively,
it opens the door to a more fearless
chapter, where I trust my instincts and
let things feel sharp, cinematic and a
little dangerous. What’s coming next in
2026 builds on that energy. It’s bolder,
more intentional and more self-directed.
I’m less interested in explaining myself
and more interested in creating worlds
people can step into and feel something
immediately.

> BY JOEY AMATO
PRIDE JOURNEY
Stonewall National Monument Visitor Center
Solidarity—a lively exhibit celebrating
love, community and queer joy—the
frame establishes the mood for what
comes next. It’s not just a space to learn
about history, but a place where you feel
yourself become part of it.
The outrage that erupted earlier this
month when the federal government
demanded that the large Pride flag
be removed from the park across
from Stonewall Inn–and the resulting
replacement of the flag by angry
activists–points out that Stonewall
is still a lightning rod that brilliantly
illuminates the importance of queer
history and rebellion.
And the Stonewall experience can
be immersive too. As I stepped into
the Stonewall National Monument
Visitor Center (51-Christopher Street;
adjacent to Stonewall Inn), the first
thing that greeted me was my reflection
framed by the words “See History Be
History.” It felt like both a welcome
and an invitation. As part of the Wall of
The Visitor Center occupies part of
the original Stonewall Bar. Much of
the original interior of the Stonewall
Bar had been lost. However, one
architectural detail, the archway, was
able to be preserved. Privately operated
by cofounders Ann Marie Gothard and
Diana Rodriguez, the Visitor Center is
the result of six years of dedication
to returning this historic site to the
LGBTQ+ community. For Diana, the
project is especially meaningful.
She comes from four generations of
military service members, including
her Uncle Tony, a Vietnam veteran
who returned home seriously ill
but continued serving others as
an administrator at the Veterans
Administration (VA) in New York City.
When he passed away at just 47, his
family learned he had died of AIDS. No
colleagues from his military unit or the
VA attended his funeral. Today, the flag
laid on his coffin, along with his medals
and dog tags, are displayed inside the
center. The tribute honors him—and
countless members of a generation lost
to HIV/AIDS whose stories often went
unrecognized.

Inside the 2,100 square foot space,
57 years of queer history have been
carefully curated into a series of
immersive exhibits. The Stories
of Stonewall grounds visitors in
the evolution of the building, the
neighborhood, and the uprising that
reshaped LGBTQ+ activism. The exhibit
also honors Marsha P. Johnson and
Sylvia Rivera, two revolutionary figures
in trans history whose courage and
advocacy helped drive the movement
forward.
One of the most powerful add-ons
comes from Mark Segal, who was at
Stonewall on the night the rebellion
began. As curator of the exhibit’s
historical context, he shares firsthand
memories of the events leading up to,
during, and after June 28, 1969. His
experience brings a personal immediacy
that turns history into something vividly
alive.
That sense of continuity carries into the
Stonewall National Monument Theater
and the Stonewall Generations exhibit.
Visitors can watch videos and listen to
reflections from activists and allies—
including Marsha P. Johnson, Sylvia
Rivera, Mark Segal, Adam Lambert and
Chelsea Clinton—who speak about the
ongoing struggle for LGBTQ+ equality
and how the legacy of Stonewall shapes
the activism of today. Their voices form
a bridge between past and present.
The Visitor Center encourages
participation through two interactive
exhibits created in partnership with
the Parsons School of Design: (We)
ave Made History and Setting the Table.
(We)ave Made History highlights young
activists shaping the future of the
movement. It represents where LGBTQ+
advocacy is headed, complementing the
rest of the center’s focus on where the
community has been.
A particularly memorable touch is
a fully functioning 1967 Rowe AMI
jukebox featuring a playlist curated by
DJ Honey Dijon. Marsha P. Johnson
recalled that “I Heard It Through the
Grapevine” by Marvin Gaye was playing
during the police raid. Hearing it now
deepens its symbolism. In an era when
queer spaces couldn’t advertise their
existence and gathering openly could be
dangerous, people often found places
like Stonewall through whispers and
quiet networks—you genuinely “heard it
through the grapevine.”
As you explore the photographs,
stories, and music, the night of the
Stonewall Rebellion feels closer than
expected. The space pulls you into
the emotions of that moment when
frustration, courage and unity combined
to spark a movement that changed
LGBTQ+ history.

Setting the Table reimagines the dinner
table as a symbol of queer gathering,
chosen family and connection.
Visitors are invited to answer a simple
question: Who would you invite to
dinner? Responses are written on
napkins and placed at a setting on the
table. Some are heartfelt—such as “My
Bubi, because she passed when I was
young and I wanted more time with
her.” Others bring humor and joy, like
“RuPaul and the last dinosaur before
the meteor hit.”
Yet the feeling that stayed with me
most wasn’t tied to a single artifact.
It was the overall atmosphere. Even
surrounded by strangers, I felt
connected, safe and free to absorb
the experience without hesitation.
The center radiates the same spirit of
community and courage that Stonewall
has come to symbolize.
No matter how you identify, the
Stonewall National Monument
Visitor Center welcomes everyone.
Its message—rooted in belonging,
support and love—is universal.
And that makes it an essential and
unforgettable stop on any trip to New
York City.
To learn more and to plan your visit, go to www.stonewallvisitorcenter.org.
Photo credits: Kent Johnson and EDG Architecture + Engineering

week in pictures >> BY MIKE TODD
VANESSA WILLIAMS - 54 BELOW NYC

> By GetOutMagazine
ZEE MACHINE
is an independent pop artist whose
high-voltage performances and
emotionally candid songwriting
have made him a standout voice in
the modern queer pop landscape.
Blending massive hooks, infectious
choruses and searing, guitar-driven
production, his music lives at the
intersection of vulnerability and
spectacle, inviting audiences into
songs that feel both cathartic and
communal. His work centers queer
joy, desire and self-reckoning,
creating space for listeners to feel
seen in their messiness and their
power.
His breakout came with a series of
viral moments on TikTok, where
tracks like “FCKSHTUP,” “Everybody
Wants It,” “See Me Naked,” “Good
Boy,” and “The Radio” introduced
a rapidly growing audience to his
bold, unfiltered pop sensibility.
That online momentum quickly
translated into real-world
connection, with ZEE MACHINE
becoming a defining presence at
Pride festivals and live events across
the country, including Boston,
Indianapolis, Phoenix, WeHo Pride,
Milwaukee and Omaha. His live
shows are known for their theatrical
energy and frontman charisma,
turning performances into acts of
shared release rather than passive
spectacle.
ZEE MACHINE’s debut EP,
Brainchemistry, a fully self-funded
and self-written release, debuted
in the Top 50 of the iTunes Pop
chart, marking a pivotal moment
in establishing his voice as an
independent artist. His follow-up
EP, CAN I BE HONEST…?, along with
its deluxe edition, has since earned
nearly five million streams and
charted in the Top 10 on iTunes Pop
and Top 20 overall on release day.
Across his catalog, ZEE MACHINE
has amassed over 20 million
streams across platforms, reflecting
a growing global audience for his
work.

Along the way, his music has
drawn recognition from industry
tastemakers including Mark Ronson,
Dave Audé, Adam Lambert and
Bonnie McKee, opened for Jordy on
his 2024 Sex With Myself tour and
he was featured on People.com.
In 2023, he received a Breakout
Artist nomination at the Queerties,
alongside Chappell Roan and Omar
Apollo.
Beyond his solo work, ZEE
MACHINE has toured the U.S.,
Canada, and the UK on two sold-out
runs with his duo project Tears &
Gearz with fellow artist and friend
Bentley Robles, building devoted
fan communities across borders and
solidifying his reputation as a one of
the most compelling live acts within
the independent pop and queer
music scenes. A Berklee College of
Music–trained vocalist and multiinstrumentalist
originally from
Milwaukee, he brings both technical
discipline and emotional immediacy
to his songwriting and performance.
Now entering his next creative
era, ZEE MACHINE has recently
landed on Spotify’s New Music
Friday with his single “Magnetic”
and he’s begun collaborating with
songwriting legend Bonnie McKee.
With new releases on the horizon,
he continues to expand his sonic
world, creating pop music that is
unapologetically queer, emotionally
charged and built for connection,
both in headphones and in rooms
full of people.