Patrick Starrr: The Beauty of Being Boldly Queer

Photograph of Patrick Starrr/Image courtesy of CNN

Patrick Starrr is not just a makeup artist, he is truly a star. A Filipino-American, queer, plus-sized man who built his empire on YouTube and now runs his own brand, ONE/SIZE, Patrick stands as proof that queerness does not limit your power. He shows the whole world what it means to be authentic and confident.

Since he started experiencing hair loss as a young boy and also struggled with being a plus-size size makeup became his language of acceptance. In a world where everyone told him he didn’t fit, he found a way to belong in his own way.  Over time, that personal act of self-definition became public. Patrick began uploading his makeup videos in the early 2010s, a time when men in beauty were not accepted at all. The industry back then rarely made space for people like him, queer, brown, plus-sized, and expressive. He didn’t step back. He said out loud, “I am a man in makeup.” Through his visibility, by existing so boldly online, he became a trend. He created a digital platform for youth who search for belonging. Viewers who had been shamed for being “too feminine” or “too loud” finally saw someone who embraced all those things and was proud in their own skin, they started following him and being influenced by his behavior.

MAC Cosmetics

Courtesy of MAC Cosmetics

He challenged corporations with their marketing techniques, when he collaborated with MAC Cosmetics in 2017. A queer brown man standing at the forefront of an industry that has once rejected people like him. His brand ONE/SIZE embodies his message. “Makeup is one size fits all.”  He redefined beauty through this line. When society refuses to make room for you, you go ahead and make your own safe space. You build your own stage. How beautiful that line is.

Photograph of Patrick Starrr/Courtesy of The Cut

Does being feminine make you weak?

Does being feminine make you weak? Are you denying your manhood by wearing makeup?. These are the questions he presents to the crowd. Masculinity is compassionate. We all must celebrate the right to exist authentically, without an apology.

Patrick has also used his platform for other queer creators as well. During Pride Month 2021, he partnered with Instagram to spotlight LGBTQ-owned brands, the posts that might otherwise remain unheard. The way he presents himself doesn’t really show that he competes with anyone, because he always speaks about building community. We have to make space for others to shine, too. Patrick’s queerness has done what art should do. It has changed the culture. It softened the word masculinity, telling that men can express their feelings through color.

Makeup is my Armor (O/S)

Ultimate Blurring Setting Powder/ Courtesy of O/S

Talking about his makeup brand products like “Go Off” makeup-dissolving mist, Turn Up the Base foundation, and Ultimate Blurring Setting Powder, combine performance with artistry. They are made to enhance confidence.  All these products mentioned have thousands of reviews and 4.5 stars or higher. Many of his best-selling products genuinely deliver.

He once said, “Makeup is my armor.” You don’t have to conceal being queer. Concealers are for dark spots. Each of his tutorials carries a subtle message. But it’s powerful. A makeup brand can do more than layering. It can show how powerful one can be. The care he puts into creating products reflects a deeper purpose, a purpose of celebrating authenticity.

In essence, Patrick Starr has turned makeup into a language. He teaches self-love, which is mandatory. Beauty has no boundaries. Everyone can enjoy color palettes. His work reminds us that when we are true to ourselves, we inspire others to do the same, spreading acceptance, pride, and positivity.

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Imaya is a student of professional writing expected to graduate in 2026. Her writing is grounded in empathy, reminding readers that no one is genuinely alone in their challenges, everyone has their own moments that resonate with each other’s experiences. She works to ensure that even the most ignored voices are acknowledged and appreciated. Aiming to be a lecturer in English literature, she wishes her words to foster connection, equality, and understanding among diverse groups.

Sasha Velour's Big Reveal: Peeling Back the Layers of Drag

“The historical existence of queer people proves that the concept of “normal” can be (and already has been) more expansive than what any person can know. Drag reveals that who we ‘really are’ and how people see us aren’t fixed realities; they can be changed… perhaps just for a night, the length of a song, or even forever.” — Sasha Velour, The Big Reveal.

Image courtesy of sasha velour via facebook

A Scream and a Dream

I first set eyes on Sasha Velour in 2017, when she screamed her way onto the set of RuPaul’s Drag Race. Even louder than her introductory screech: her bizarre makeup and style. I was enthralled by the entire package from the moment I saw it. I mean, how could one not be? This was a bald, gender-fluid queen with a painted-on unibrow unapologetically taking up space in a competition that highly favours traditional ultra-femme drag. Oh yeah, and she won the damn thing. Clearly, RuPaul was captivated by her, too.

Winning season nine of Drag Race was only the beginning for Velour. You don’t have to watch or know anything about the show to appreciate her for who she truly is: one of the most innovative queer artists of our generation.

The World Is Her Stage

Image courtesy of vmagazine

Velour has toured the world several times, most notably with self-produced spectacles including the one-queen show, Smoke & Mirrors. In 2019, I came to our very own Algonquin Commons Theatre to experience that spectacle; little did I know it would be one of the best showcases of art I'd ever witness (or that I’d be attending the college four years later).

Back when she was on Drag Race, I went down a rabbit hole of her performances on YouTube. It was one after another; I couldn’t stop. It felt like I was watching my every notion of drag be ripped apart and meshed back together in a new expanded form.

A typical drag performance requires lip-syncing to a song, but sometimes that’s all you see. If you’re lucky, you might see a reveal or two. Velour lip-syncs, and is certainly known for a grand reveal, but she also incorporates other visual elements that are hard to come by at most drag shows. She often uses a projector to display images on the stage, and even sometimes onto herself. Sometimes the projected image even weaves itself into her outfit. It is a beautiful reminder that drag is true visual art.

“Stranger than fiction, better than art!” MY Tattoo of the famous velour quote.

All that to say: once I saw these performances online, I knew I had to see them in person. And, thankfully for Velour’s mission to make her art accessible across the world, I didn’t have to wait long before she came to Ottawa. Not only did I get to see Smoke & Mirrors—which was even more spectacular than I’d expected—I got the chance to meet her, too. They say you should never meet your idols, but I wasn’t disappointed. I handed her a sharpie and asked if she could write one of her famous quotes on a piece of cardstock (which I also supplied). She gleefully complied as I told her my plan to get it tattooed.

A Great Foundation

The big reveal by sasha velour, courtesy of harper & collins canada

Three years after Smoke & Mirrors, I went to her next tour. It was a book tour for The Big Reveal: An Illustrated Drag Manifesto. However, it was also a drag production just as fierce and fantastical as any of her others (she came out disguised as a chair! Then smashed glass on her bald head!).

Of course, I couldn’t leave The Big Reveal tour without the book it’s named after! I brought home a copy and cracked into it immediately, uncovering the layers beneath Velour’s drag. The book is appropriately named, as it reveals a lot about Velour’s art and personal life. She takes readers all the way back to her roots, where the seeds of her drag sprouted.

Velour was fortunate to be raised by people that watered those queer little seeds of creativity. Her grandmother was the first person to put her in drag. Plus, her family would often introduce her to various theatre productions and multicultural events that usually featured drag in one way or another. Once they noticed her taking a liking to everything drag-related, they did the opposite of repress it; they let her flourish.

Not only is Sasha Velour one of the most innovative queer artists of our generation, but also a prime example of how a loving and supportive family can breed some of the world’s best influences and brightest minds. 

Jade McConkey is an eclectic creative, a cat mom, and a Professional Writing student at Algonquin College. More than anything, she is passionate. Jade considers herself an enthusiast of many things, such as crafting, songwriting, drag, and lesbianism. When she is not playing with clay or writing songs that will never see the light of day, you can find Jade watching old seasons of RuPaul’s Drag Race or Glee—the shows that gave her comfort in her queerness. Jade is also the self-published author of “This Journal Will Be Your Future Book,” a guided journal for writers, available on Amazon.

Softcult: Music With a Message

PHOENIX ARNHORN (LEFT) AND MERCEDES ARNHORN (RIGHT) OF SOFTCULT. PHOTO BY KAYLENE WIDDOES.

Canadian grunge-rock duo Softcult is taking the worldwide stage by storm with their dream-pop and grunge sound. From Toronto to Bangkok, Japan, Softcult’s riot grrrl tracks are captivating audiences and leaving them with a new favourite artist to play on repeat.

Twins from Kitchener, Ontario, Mercedes and Phoenix Arnhorn formed Softcult in 2021, after a decade-long run with their previous band Courage My Love. The two felt stifled by their record label, Warner Music Canada, which led to the band’s breakup. 

A Fresh Start

Softcult’s birth was inspired by grunge rock and riot grrrl bands from the '90s, such as The Smashing Pumpkins and Bikini Kill. The band’s name, defined by Mercedes, "...could be anything from a church, a government, a family, a band, even. It’s anything that you don’t really question when you follow your group of people. We’re all in soft cults in society that we don’t realize we’re a part of.” Softcult’s sound draws from personal experiences with mental abuse, misogyny, sexual assault, and the struggles they faced growing up in the music industry.

This time, they didn’t try to write radio singles or aim high; they crafted their authentic sound, and fans came running. Softcult is a breath of fresh air in the music industry, with fiery lyrics and dreamy guitar riffs.

Riot Grrrl Revival

Softcult’s scripture zine covers.

Riot-grrrl culture is at the forefront of Softcult. The band has adopted many traits of the 90s riot grrrl movement, such as making political statements during shows and relying on DIYs. Phoenix handles production and artwork; Mercedes writes, produces, directs, and edits their personal music videos. Softcult releases a monthly zine called SCripture, another riot-grrrl way. Zines gave women in the 90s the opportunity to voice their experiences and enact change regarding sexism and racism in their communities.

The hand-made zines filled with poetry, artwork, and opinion pieces discuss important issues in a raw and compelling way. SCripture Volume 38 is a political statement from the band after the U.S. 2024 presidential election.

One of the Pack

another bish by softcult cover art. courtesy of easy life records.

As a queer and feminist band, the two wanted to be loud about the obstacles that women and feminine-presenting people face both inside and outside of the music industry. The band’s first single, “Another Bish,” was released in 2021, with a mixed-media cover of a woman’s face with a dog’s mouth, and her neck chained on a leash. The lyrics, “I won’t sit, I won’t stay / rollover, obey / I’m just another bish that you’ll never tame,” are rebellious and tell listeners that they won’t be controlled.

Softcult’s music and artwork are their voice. The song, “One of the Pack,” is the band’s feminist anthem. When the track was released, Softcult said in an interview, “...we wanted to celebrate women supporting women… we want anyone listening to our music to know that people of colour, trans women, and non-binary people will always be a welcome and crucial part of our grrrl gang.” The music video features Ontario drag performer Miss Conduct, and meaningful lyrics, such as “Girl, if you need me / you know I’ve got your back / I hope when you see me / you know you’re one of the pack.” The lyrics send an important message to all women that there are people who see, love, and support them. In an overwhelmingly hateful world, Softcult welcomes people of all backgrounds to enjoy their music. 

Softcult’s dreamy, progressive sound and confessional lyrics throughout their discography are reminders that the punk and riot grrrl movement is still alive. This is just the beginning. In 2024, the band opened for both Incubus and MUSE and was nominated for Alternative Album of the Year at the Juno Awards for their 2023 EP, See You in the Dark.

The band’s debut album, When a Flower Doesn’t Grow, is out on January 30, 2026.

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Kayla Latulippe is a level 3 Professional Writing student at Algonquin College. Though she’s still learning, she feels most powerful when connecting with her indigenous (Mi’qmak) heritage. If she’s not studying, she’s indulging in some kind of art–music, writing, photography, painting, and most notably–drag. She was introduced to Canada’s Drag Race in 2020, which skyrocketed into an unhealthy obsession with all things drag, so much so that she started a fan page. Life is a drag, so we know, but she still makes the most of it.

Jameela Jamil – Using Your Platform Right

Her acting career comes second to her advocacy. Body neutrality, social justice, and disability and LGBTQ rights is where her focus lies. Queer actress Jameela Jamil uses her platform in the greatest way a person can – to advocate for those in need.

Creating a Safe Space

JAMEELA JAMIL. PHOTO BY: Sela Shiloni

Jamil is best known for her role of Tahani Al-Jamil from the series The Good Place, which boosted her following to give her the voice she has today. She has created a platform that encourages self acceptance – something Jamil had her own struggles with growing up. At 9 years old she was diagnosed with chronic illness Ehlers-Danlos syndrome, and along with being South Asian and secretly queer, she felt lonely and shameful of herself. During her early teens she developed an eating disorder that followed for years.

Upon the growth of her following and fame, she felt brave enough to speak out about her illness after being told to keep it hidden for years. She had a security blanket of people that cared about her, and she was done being quiet.

Not only does Jamil spread awareness for Ehlers-Danlos, but she is also the founder of the platform Move For Your Mind (formerly known as iWEIGH), which began as an awareness platform for eating disorders and bloomed into a place where anyone can feel safe and seen. She strives to give everyone a voice and aims to cover every group of people so she can create a positive space that brings the world closer. One of Jamil’s staples is “progress not perfection”, as her brand Move For Your Mind is a welcoming space that allows people to not just have a safe space to be, but also a safe space to learn.

Coming Out in the Public Eye

Contrary to the support she has today, Jamil hasn’t always been met with enthusiasm. In 2020, she was the subject of some controversy surrounding the announcement she would be a judge on the drag show, Legendary, centered around the culture of ballroom, which has strong black and Latin American queer roots. Jamil, who is neither black nor Latina and was not openly queer at the time, faced a lot of backlash for having no roots to ballroom culture and taking the opportunity away from someone who does.

The controversy caused a lot of confusion and frustration from those calling her out, defenders of Jamil, and Jamil herself. In the midst of it all, Jamil made the choice to come out as queer. Unfortunately, this only added to the hate she was receiving. Many people took her coming out as an excuse for her choice to be a judge on the show.

JAMEELA JAMIL. PHOTO BY: Nathan Pask

Beyond the controversy surrounding Legendary, Jamil was also criticized during her coming out because she had been with her boyfriend, James Blake, for five years at the time. Many queer women with attraction to men share this struggle, and it’s one of the reasons Jamil hid her sexuality for so long. Many “straight passing” queer women get accused of faking for attention or status. Jamil had feared being labelled performative, and despite her fears coming true, she didn’t let it get the better of her because she knew the message that would send to closeted queer people. Instead, she confronted the issue head on in an interview with The Times. “People are still kind of stuck in the linear and don’t understand the spectrum of sexuality,” Jamil said.  

Following the event, she put out a post on Instagram pouring out her feelings about holding in her sexuality for so many years and the strain it had on her. Although her timing was not the best, she felt as though she was about to explode after holding in her queerness for so long. In her post she urged closeted queer people to come out on their own time. She reminds us that there’s no rush, but know there is a community ready to support you.

Taking the Opportunity

In the age of social media, celebrities are given this incredible opportunity to spread awareness and influence people on self acceptance and growth. Jamil has taken that opportunity, and we need more people like her to follow suit. Awareness goes farther than we think, and advocacy saves more than we know.

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Olivia Senecal is a second-year student in the Professional Writing program at Algonquin College. While she doesn’t have a solid preference to one genre, she likes to write about things that come from the heart. Making space in her work where queer people feel seen is a strong goal of hers, as growing up she struggled to find that space for herself. In her spare time, she’ll likely be found lying on a patch of grass somewhere or thinking about Caitlyn Kiramman from Arcane.  

Greer Lankton's Dolls: An Expression of the Self and the Bodies we Live in

About Greer Lankton

IMAGE COURTESY OF WESA

Greer Lankton is a transgender visual artist who is well-known for her uncanny, eye-catching, handmade dolls. She was born in Flint Michigan in 1958 and died in 1996 as a result of an overdose. Lankton transitioned from male to female when she was 21 years old.

Lankton was interested in dolls from a young age, however as a child her parents were not supportive of this interest and did not allow her to have dolls. This sparked Lankton’s artistic aspirations as she began making puppets from various materials, such as socks and pipe cleaners.

As Lankton’s abilities, and her interest in art, grew, Lankton’s parents supported her artistic endeavors, though they were still uncomfortable with Lankton’s gender and sexuality. Lankton began studying in Brooklyn, New York, at the Pratt Institute in 1979.

In 1981, Lankton met Paul Monroe, the owner of a dress shop, at the Civilian Warfare gallery during Greer’s first independent show. Monroe was in awe of Lankton’s work and was intrigued by the doll’s glamour and haunting beauty.

In 1983, the two moved in together and by 1987 they got married. They divorced in 1993, though Monroe claims the divorce papers were forged by Lankton’s mother and that the two never actually divorced before Lankton’s passing.

Dolls as a Reflection of the Self

IMAGE COURTESY OF XTRA

Lankton’s art work often reflects the difficulties she faced during her transition and her struggles with drug use and anorexia. The dolls she created explore concepts of gender, body image and sexuality. She also used her art to challenge traditional gender norms and societal beauty standards.

Her dolls range from the size of regular dolls, to life-size versions. These dolls are occasionally based on real people, such as the iconic drag queen, Divine and other queer icons such as Candy Darling and Teri Toye.

 Her work became more popular once she met her gallerist, who suggested she take photographs of the dolls. These photos are often of the dolls in different arrangements, sometimes Lankton herself is featured in these pictures as well.

The dolls were often made using whatever materials Lankton had around. Common items she would use included old t-shirts, paint, bottles, old umbrellas and anything else she could get her hands on. She would build these dolls up and dress them, finishing their look with glass eyes. Lankton felt that the dolls weren’t just creations, but extensions of our exteriors, and a statement about the “human condition”.

Greer Lankton’s Lasting Impact

IMAGE COURTESY OF THE MATTRESS FACTORY

Though Greer Lankton’s life was cut short, her impact is still far-reaching. Over her lifetime, Lankton made over three hundred dolls. That number becomes even larger if the dolls she remade are taken into account. The dolls that Lankton left behind are possessed by different institutions and people, such as the Mattress factory, David Newcomb, MoMA, Monroe and various other private collectors. In this way, Lankton remains an extremely relevant part of queer art and culture.

While Lankton was alive, she found community in a place called the Mudd Club, where she came into contact with other queer artists and stars. This community was the inspiration for many of her dolls, which were often displayed in the windows of Monroe’s dress store called Einsteins.

Lankton’s unique dolls, and interesting photographs continue to inspire conversations about gender and sexuality. Her art captures the beauty, and the horrors of having a body, reflecting societal and individual feelings about living in a body that experiences constant adversity and growth.  

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Jessica Fraser is a Professional Writing student at Algonquin College. She has also spent time studying English at Lakehead University and has taken many queer studies courses. She has written in a variety of different formats, such as poetry, short stories, essays, and research papers. She mainly writes fiction and the genres she focuses on are horror, sci-fi, and fantasy.

The Art of Softness- Kehlani

Image courtesy of Pari Dukovic / The New Yorker, May 8, 2020

Queer artistry has always existed, but it wasn’t openly celebrated. In recent years, however, the industry has begun to shift, where listeners demand constant representation and inclusivity and more artists are rising to meet the demand. Among the most influential is Kehlani. She’s unapologetically and beautifully queer.

Kehlani Parrish, born in California, first stepped into the industry in 2019. She was a member of a band before and later branched out into a solo career. Her career quickly captured attention on Soundcloud and then everywhere. Sold-out tours marked her career with Grammy nominations and the collaborations with big names in the industry gained her commercial recognition, but her true legacy lies in speaking the truth out loud and clear. Kehlani identifies as queer and non-binary. She uses both "she" and "they" pronouns. When almost all the industries were dominated by other representations, leaving a tiny space for other experiences. Kehlani is changing that tradition by including queer love and relationships in her music and in her lyrics. Their 2017 single Honey is about women loving women, she sings it with such tenderness. More recently, songs like Melt from their 2022 album Blue Water Road paint lifelike pictures of queer intimacy, grounding it in everyday beauty.

There is nothing to apologize for

Music Kehlani HD wallpaper by miroha, via Alpha Coders. Free for private, personal use

For her queer fans, she sings out loud, “there’s nothing to apologize for, nothing to dilute.” She made her listeners not outsiders, but someone who lives the story. Kehlani creates music without altering queerness. She sings about desire and the joy of embracing your identity. She represents imperfections as a strength, every song of hers speaks about self-care and loving who you are, singing it as a necessary part of living rather than a weakness. For queer communities, where mental health struggles are obviously common due to the pressure from society, this honesty is like a warm hug. Words hold power. Her words hold higher power. Her voice carries far beyond queer spaces alone. Her collaborations with mainstream artists like Justin Bieber, Cardi B and Zedd took her music into every group of people. All kinds of love need to hear her lyrics loud and clear, the meaning they hold is absolutely alluring.

Kehlani and her daughter Adeya Kehlani/Instagram

Mother

Her love songs are not just about love, they are about healing and growing internally. Her artistry is advanced and continuously evolving. She resists being reduced to representation alone. Expand conversations about love and identity rather than boxing them is what she is showing us. Another defining aspect of Kehlani's life is the way she manages being a mother. And the way she navigates parenthood. In 2019, she gave birth to her daughter and ever since then, she has been very open about the challenges she faces and the way she handles them. The queer parenting has often been riddled with stereotypes, yet Kehlani shows a different possibility. She sees queerness as a guide, not a separation from family life.

Image courtesy of Atlantic Records / Amoeba Music. Kehlani – Blue Water Road [Teal Vinyl].

Kehlani has been fully herself without erasing any part of her, opens doors for the next generation who seek constant validation from society. She is more than a singer, more than a performer, she is an excellent storyteller who refuses to separate art from truth. For queer fans, her music is a lifeline, a reminder that love, desire and family can be sung in all their fullness. Kehlani is making queerness a part of the main story.  

Kehlani never encourages loudness to prove queerness, her visibility feels radical in its softness. She lives it, the queerness. Every lyric, every video, every choice she makes reflects a quiet, confident truth.  It feels so natural, almost like not asking permission to exist.

Queerness in music is not a trend, it is a revolution. But it’s still in progress. Artists like Kehlani made the stage wide open. As Kehlani continues to evolve, she’s making even the most average powerful. The most powerful we can ever be is being ourselves fully. Kehlani’s legacy will help many realize the power within. Through every verse and confession, Kehlani proves that vulnerability can be the loudest kind of power, one that transforms pain into release.

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Imaya is a student of professional writing expected to graduate in 2026. Her writing is grounded in empathy, reminding readers that no one is genuinely alone in their challenges, everyone has their own moments that resonate with each other’s experiences. She works to ensure that even the most ignored voices are acknowledged and appreciated. Aiming to be a lecturer in English literature, she wishes her words to foster connection, equality, and understanding among diverse groups.

"Pay it No Mind" - The Legacy of Marsha P. Johnson

Sylvia RIVERA (LEFT) AND MARSHA P. JOHNSON (RIGHT). COURTESY OF DIANA DAVIES, NEW YORK PUBLIC LIBRARY.

Marsha P. "Pay it No Mind” Johnson was a leading figure in the New York City gay rights movement of the 1960s and 1970s. Johnson was a transgender woman, drag queen, an advocate for gay and transgender rights, for homeless LGBTQ+ youth and those affected by H.I.V. and AIDS. 

Johnson was known as a flamboyant, joyful person, but also a determined activist as a major part of her legacy. The phrase “Pay it No Mind” references what Johnson would tell people who speculated about her gender identity.

Early Life

Johnson was born on August 24, 1945 in New Jersey. She was assigned male at birth, born Malcolm Michaels Jr., but from a young age Johnson enjoyed wearing clothes for girls. She openly expressed herself until she was bullied and sexually assaulted when she was 13.

After graduating from Thomas A. Edison High School, 17-year-old Johnson moved to New York City with just a bag of clothes and $15 — and adopted the name Marsha P. Johnson.

An Honourable Legacy

Johnson’s activism began during the early morning police raid on the Stonewall Inn in 1969. The gay men’s bar was a haven for LGBTQ+ people to socialize safely without being harassed. Since it was illegal to serve alcohol to gay people at the time, the bar was raided for serving liquor without a license–13 were arrested. Johnson, alongside close friend Sylvia Rivera, was a part of the riot and led protests that flooded the streets for the next six days, and here began the gay rights movement in New York City.

Johnson and Rivera led the first gay pride parade on June 28, 1970. This influenced many gay rights groups to form, such as the Gay Liberation Front and Gay Activists Alliance–both of which Johnson called out for excluding transgender people. The two women expressed their anger against the transphobia in the gay rights movement in the early 1970s, so much so that they started their own organization.

Johnson and Rivera both struggled with homelessness for most of their lives, which inspired them to form Street Transvestite Action Revolutionaries, an organization dedicated to protecting transgender youth, specifically transgender people of colour. Though short-lived, the two wanted to provide safety for the often shunned people in the LGBTQ+ community.

“I was no one, nobody, from Nowheresville, until I became a drag queen”

DRAG PERFORMANCE GROUP “HOT PEACHES". COURTESY OF DIGITAL TRANSGENDER ARCHIVE.

Johnson’s bright personality and colourful outfits captivated audiences. Red high heels, shimmery dresses, and most notably, plastic flowers and fake fruits in her hair—were staples in her wardrobe. Johnson began performing in the drag group Hot Peaches in 1972, in both New York clubs and on a tour in Europe. The theatre group performed their shows in small theatres, highlighting the gay experience in a campy way, written by Jimmy Camicia. The group wore sparkling outfits with platform boots and boas.

In 1975, Andy Warhol included Johnson in his Ladies and Gentlemen portfolio, featuring black and Latin drag queens. With this portfolio, Warhol embraced the identity of the queer and drag community while addressing issues in the LGBTQ+ community at the time.

A Complicated Death

On July 6, 1992, Johnson’s body was found in the Hudson River. She was 46 years old. The police initially ruled her death a suicide, but friends and local activists believed otherwise. This caused major outrage in the LGBTQ+ community–activists and protesters flooded the streets with “Justice for Marsha” signs, calling on the New York Police Department to further investigate her sudden death. The police later ruled her death a drowning by undetermined cause. Johnson’s case was reopened in 2012 and is still open to this day.

Marsha P. Johnson is recognized as a powerful force who made invaluable contributions to gay rights movements in the 1970s, up until her death in 1992. Her joyous personality spread to everyone who knew her. 

“Darling, I want my gay rights now. I think it’s about time the gay brothers and sisters got their rights… especially the women.” - Marsha P. Johnson

OBITUARY OF MARSHA P. JOHNSON. COURTESY OF NEW YORK TIMES, DIGITAL TRANSGENDER ARCHIVE.

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Kayla Latulippe is a level 3 Professional Writing student at Algonquin College. Though she’s still learning, she feels most powerful when connecting with her indigenous (Mi’qmak) heritage. If she’s not studying, she’s indulging in some kind of art–music, writing, photography, painting, and most notably–drag. She was introduced to Canada’s Drag Race in 2020, which skyrocketed into an unhealthy obsession with all things drag, so much so that she started a fan page. Life is a drag, so we know, but she still makes the most of it.

Jamie Babbit – Lesbian Icon and Pioneer for Queer Media

Jamie babbit, 2011 PHOTO: JASON LAveris

In the late 90’s, queer representation in film was uncommon among the mainstream. Good representation? Nearly non-existent. Jamie Babbit was determined to change that narrative. Now recognized as one of the most important pioneers for LGBTQ+ media, Babbit worked her way up in the filmmaking industry through her strong passion for directing even without a film school degree. She had made a name for herself by working her way onto projects with well-known directors, but understood you can’t work on other people’s projects forever or it’s all you’ll ever do. Looking for fulfillment from the hunger for self-representation, she took it into her own hands. She turned down a six-figure project to begin her debut film, But I’m a Cheerleader.

 “I get good grades, I go to church, I’m a cheerleader!”

But I’m a Cheerleader follows young Christian high schooler, Megan, who gets sent to a conversion therapy camp called True Directions. Megan, however, has not even realized she’s a lesbian before she’s sent away from everything she knows. Between trying to understand herself and people telling her she needs to change, all Megan wants to do is fix things and go home. But when a friendship blooms between her and another girl in the camp, Graham, she starts allowing herself to explore her own feelings.    

poster for but i’m a cheerleader. image courtesy of lionsgate

Despite the heavy topic of conversion therapy, Babbit took an unexpected approach to the story. She directed an over-the-top satire that shows different perspectives of being gay compared to other films featuring queer characters at the time. Conversion camps are a twisted attempt at getting queer teenagers to repress their identities, but at True Directions all their lessons are packed with queer innuendos. Everything they try to teach the teenagers seems to have the opposite effect. The house itself is painted with technicolour schemes and holds plastic elements, giving it the feel of a dollhouse. Babbit wanted to show how ridiculous and artificial it all is, because you can’t truly change who a person fundamentally is. But the satire doesn’t overshadow the heartfelt story between Megan and Graham as they learn to live as themselves.

 Too Gay for It’s Time

Babbit’s aim was to create a film that could uplift her community during a time where they were constantly brought down. Homophobia was rampant at the time of the film’s release, especially being around the initial AIDS epidemic. Queer people faced discrimination and hate while also losing the people they loved to an illness no one wanted to care for. But when Babbit released the film she faced backlash not just from her straight audience, but her queer audience as well. The film was so heavily criticized that it was seen as an utter failure. The negative reviews can likely be attributed to homophobia, but at the same time, many people just weren’t ready to talk about the things Babbit said in her film. A story about a femme lesbian in a hyper-gay setting while exploring topics of gender stereotypes, diverse queerness and conversion therapy was unfortunately a bit too much for the people of 1999.

 Hitting the Hearts of Young People

megan and graham in but i’m a cheerleader

However, in the midst of all the negative reviews the film struck hearts with young people. At the time of release, many other films depicted lesbians as scandalous or even threatening. Babbit changed that with her characters. The protagonist, Megan, is very feminine, which challenges the idea that lesbians are supposed to be masculine; an idea long ingrained in the minds of queer women that make it hard for some to accept themselves. But there is no image of what being gay looks like, which But I’m a Cheerleader represents beautifully with its diverse array of characters. Babbit gave her community something she and many other queer people longed for during their adolescence; the act of being seen.   

 Influencing the Future

But I’m a Cheerleader has become a cult classic over the 25 years since its release, and since then we’ve seen an increase in queer characters hitting the mainstream. Babbit opened a whole new door to queer filmmaking with her courage to put out the film despite the backlash she knew she’d receive. Lucky for us, giving good representation to her community was more important than any other opinions she would receive. To this day, But I’m a Cheerleader continues to be recognized as a turning point for LGBTQ+ media, and holds a special place in the hearts of queer people everywhere.

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Olivia Senecal is a second-year student in the Professional Writing program at Algonquin College. While she doesn’t have a solid preference to one genre, she likes to write about things that come from the heart. Making space in her work where queer people feel seen is a strong goal of hers, as growing up she struggled to find that space for herself. In her spare time, she’ll likely be found lying on a patch of grass somewhere or thinking about Caitlyn Kiramman from Arcane.  

Leave Your Mark Like Keith Haring

Keith Haring, 1986. Image courtesy of the New York Times.

A Brief History of a Brief but Impactful Life

Keith Haring was an artist and a proud voice of the queer community during a pivotal era. His queerness wasn’t the obvious focus of his art, but it certainly bled through. He showed the closeted queers of the 80s that it is possible to be yourself, take up space and leave your mark.

Haring didn’t let his sexuality stop him from doing anything. In fact, he followed its lead. Shortly after he started “experimenting”, he moved to New York City. There, he felt like he could embrace himself to the fullest and live the life meant for him.

“I had started sleeping with men…I decided to make a major break. New York was the only place to go,” he told David Sheff in his 1989 interview for Rolling Stone.

Untitled, 1982. Photographer: Ivan Dalla Tana. Image courtesy of the keith haring foundation.

New York City not only become his home, but also his canvas. The subway system started it all. When Haring came across a blacked-out advertisement, what he really saw was an opportunity. He got the idea, immediately ran above ground and purchased chalk, then returned and drew his first subway piece. Many of these pieces are now featured in The Modern Institute in Glasgow.

Before these pieces were being featured in museums, they were being stolen from the subway and re-sold. Haring noticed this, as well as commercial objects featuring his art emerging across the world, and was shocked that he’d gained such popularity before he’d even had an exhibition.

Well, he went on to have several exhibitions, features, murals, etc. And, as his popularity continued to rise, Haring began to lean into the commercial aspect. He opened the “Pop Shop” in New York City in 1986, which sold items displaying Haring’s classic imagery and most popular pieces. It also sold displays of other artist’s work, such as Andy Warhol’s.

Andy Warhol was an inspiration to Keith Haring, and later also became a friend. Warhol was one of many that Haring lost to AIDS. He lost two friends and an ex-lover within two months. Then, in 1988, Haring himself was diagnosed with AIDS.

Keith haring (left) and Andy Warhol (right), 1985. Photographer: nan goldin. image courtesy of museum brandhorst.

In “An Intimate Conversation,” the year after his diagnosis, Haring stated, “No matter how long you work, it’s always going to end sometime. And there’s always going to be things left undone. And it wouldn’t matter if you lived until you were seventy-five. There would still be new ideas. There would still be things that you wished you would have accomplished…Part of the reason that I’m not having trouble facing the reality of death is that it’s not a limitation, in a way. It could have happened any time, and it is going to happen sometime. If you live your life according to that, death is irrelevant. Everything I’m doing right now is exactly what I want to do.”

Haring was a beacon of light during one of the darkest times in our community’s history. Even in the face of death, he remained positive—in his own twisted kind of way.

Crack is whack, 1986. Image courtesy of the keith haring foundation.

Keith Haring died in 1990, at only 31 years old. He accomplished so much in such a short time and his impact will live on forever. Before he died, he set up the Keith Haring Foundation to support AIDS-related organizations, as well as a few others. When he was alive, he often used his money for good and donated to many important charities, especially as he gained more recognition. But even before his career takeoff, he was making an impact. He made art that spreads interpretative but important messaging (some pieces more blatantly than others). A popular character of his, known as “Debby Dick” is the symbol of Haring’s safe-sex campaign. He also had a very popular mural that displayed the words “Crack is Wack”. What was most important to him, however, was making art that is accessible to the public; “Taking it off the pedestal...giving it back to the people.”

It has been my pleasure to feature, and perhaps educate you about, the one and only Keith Haring. His art speaks for itself, but it is important that we continue to tell the stories of those who lost their lives to AIDS, to honour their legacy and always stand up to erasure and misinformation.

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Jade McConkey is an eclectic creative, a cat mom and a Professional Writing student at Algonquin College. More than anything, she is passionate. Jade considers herself an enthusiast of many things, such as crafting, songwriting, drag, and lesbianism. When she is not playing with clay or writing songs that will never see the light of day, you can find Jade watching old seasons of RuPaul’s Drag Race or Glee—the shows that gave her comfort in her queerness. Jade is also the self-published author of “This Journal Will Be Your Future Book,” a guided journal for writers, available on Amazon.

Speaking the Unspoken: Carmen Maria Machado's "In the Dream House" and Opening up Conversations about Abuse in Queer Relationships

In the Dream House and Intimate Partner Violence

COURTESY OF INDIGO BOOKS

In the Dream House is a haunting memoir about the intricacies of violence and abuse in queer relationships, a topic often not talked about. Same sex relationships are often glamourized and violence within them is usually swept under the rug. Any conversations about intimate partner violence are almost always centred around cishet individuals, where the man is the perpetrator and the woman the victim.

 Lesbian relationships, specifically, are also prone to being touted as “easier” or “less trouble” according to women in cishet relationships. Ask any lesbian and they will almost certainly tell you they’ve heard it all before.

These stereotypes make it difficult to open up conversations of the abuse that happens in queer intimate relationships and makes it seem less important, or less frequent, than it is. It also minimizes the abuse that is spoken about and fuels the idea that queer intimate partner violence is not as bad as cishet intimate partner violence.

In her memoir, In the Dream House, Machado uncovers the issues within her own relationship and the complications of abuse and manipulation. She does this by inviting the reader into her relationship, and into a terrifying version of the house her and her partner shared. She shows how sudden and unexpected abuse can become. How any self-confidence is whittled away to self-doubt and shame. How your expectations can crumble around you even as you desperately try to keep things from falling apart.

Machado explores why people stay in toxic relationships and how she managed to break free from her own. She discusses this all while using poetic language and powerful metaphors. Not only is Machado’s In the Dream House an emotional story about the reality of queer intimate partner violence, but it is also a beautifully written masterpiece that effortlessly moves the reader with each turn of the page.

Who is Carmen Maria Machado?

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Machado is an American author that has written and published a variety of essays, short stories, critiques, novels and poetry. She received her MFA from the Iowa Writer’s Workshop and has won many awards, such as the Lambda Award for LGBTQ Nonfiction, the Lambda Literary Award for Lesbian Fiction and the Shirley Jackson Award to name a few.

Machado’s most well known works include her memoir, In the Dream House, her collection of short stories, Her Body and Other Parties and her graphic novel, The Low, Low Woods. Though she has also written many other pieces of work and has contributed to other essay collections and anthologies.

Machado has been inspired by a variety of authors, including Shirley Jackson, Joanna Russ, Gloria Naylor, Kelly Link and Sofia Samatar. Most of these writers produce work that is fantastical and horror focused, which is unsurprising considering Machado’s own work tends to reflect horror and the fantastic.

Carmen Maria Machado’s Contributions to the Queer Community, Culture and Writing in General

Machado unapologetically centres queer experiences within her works and creates opportunities to discuss difficult topics that aren’t always spoken about when people talk about queerness. The most notable example of this is the previously mentioned exploration of queer intimate partner violence in In the Dream House.

In a broader sense, she has also changed the way we think about memoir and storytelling with the unique layout and merging of genres in In the Dream House. She has expanded the potential that literature holds for both queer and cishet writers.

COURTESY OF INDIGO BOOKS

Machado often focuses on the queerness of horror, while also acknowledging the genres problematic tendencies when looking at homophobia and racism throughout the history of horror. She contributed to the collection of essays, It Came From the Closet: Queer Reflections on Horror, which explores what the horror “genre gives and takes from queer people.”

Machado is an integral part of the queer writing community. She has aided the community through her discussions of taboo and unexamined parts of queerness, the prominence of queerness within the horror genre and the unique way she writes and frames her works.

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Jessica Fraser is a Professional Writing student at Algonquin College. She has also spent time studying English at Lakehead University and has taken many queer studies courses. She has written in a variety of different formats, such as poetry, short stories, essays, and research papers. She mainly writes fiction and the genres she focuses on are horror, sci-fi, and fantasy.

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Blog Summary

We’re here, we’re queer, and we’re about to show you what uncloseted creatives have to offer. From music to video games, drag to literature, queer art has always been loud and proud. In this blog we take you through the work that queer artists produce, the impact their queerness has on their creations, and the need-to-know about the artists themselves. Though queer art is vast and diverse, it is rarely given the attention it deserves. Our blog showcases the charisma, uniqueness, nerve, and talent that all queer creatives possess.