Opinions
Blogging my first overseas vacation since COVID
Chronicling life aboard Celebrity APEX
I will be blogging a number of times during my two-week transatlantic cruise and sharing my thoughts and experiences.
The first thing I found is boarding during a pandemic is a little different. People were given specific boarding times yet most arrived at the port when it was convenient for them as many had early check-out times from their hotel or Airbnb in Barcelona. Celebrity didn’t turn anyone away. There was no Wi-fi at the entrance to the terminal so things got a little complicated as many had the information needed on their iPhone Celebrity app. It worked out and when you got inside to the counter they shared a Wi-fi connection.
I knew in advance from a Facebook connection, some childhood friends whom I hadn’t seen in 21 years were going to be onboard. We ended up arriving at the terminal at the same time and caught up for the next hour and a half as we progressed through the boarding process. We all had to take a Covid test and only those with negative results could board. Of the approximately 1,300 people boarding, less than half the possible number for a full ship, I didn’t hear of anyone getting a positive result.
When my negative result came back I was allowed to board and went to find my stateroom on deck 11. The key was at the door with all my information on it. Celebrity was doing everything to limit crew-to-passenger contact. We were asked to keep masks on in all indoor spaces except when eating or drinking, which on a cruise is often, and the crew are all wearing masks. Luggage was delivered to the door.
Shortly after entering my beautiful stateroom there was a knock at the door and my stateroom attendant, Lenie, had come to introduce herself. She didn’t come in but explained how I could reach her anytime and for safety she would only come into the room when I was out. We chatted for a few minutes and I found out she was from the Philippines, had three children, and had worked for Celebrity for 20 years. She was both charming and efficient.
I then took a walk around the ship and was duly impressed. It is beautiful. I walked through the huge buffet where people were happily eating lunch and saw instead of serving yourself there were servers behind each station filling people’s plates. All passengers had on their masks when getting food, as did the crew serving them. It made for a very safe feeling.
Instead of a group muster each passenger was asked to go to their assigned muster station where you were met by staff who explained emergency procedures. You also had to look at a video on the Celebrity app and were then logged in and confirmed you had done so. All efficiently and safely done.
Then I headed to the sail-away party my travel agent, and friends, Scott Moster and his husband Dustin, were hosting in the Iconic suite. The suite has everything from a peloton cycle to a hot tub for eight. It is incredible. I had the chance to catch up with old friends I had sailed with before the pandemic. Then it was a quick tour of the spa and gym open twenty-four hours a day. A way to assuage guilt over all the food and drink. Then back to the stateroom to finish unpacking and change for dinner with good friends in one of the specialty restaurants, EDEN. That meant long pants and a shirt with a collar. That’s as formal as required on this cruise.
The food was superb and we got to meet the chef, Nicholas. An interesting guy who I will interview during the cruise. The menu was a combination of fresh fish, lobster, to filet mignon, all interestingly prepared.
After dinner it was a stop at the Martini bar where a large group of LGBTQ friends had gathered along with some who would become friends. I was surprised when a guy came over and gave me a hug. I didn’t recognize him with his mask on but turned out he was another friend from my past I hadn’t seen in years. It is clearly a small world and the gay world seems even smaller.
Finally headed to my stateroom around midnight, where turndown service had been done, to get some sleep and prepare for day two, and our first stop, Alicante.
Day two and three on the Celebrity APEX
Time flies when on a cruise; maybe it’s the endless food and drink. All passengers received a letter in their room telling us we would need to report for a Covid test on day 5 the first at-sea day before we get to the Canary Islands. I pre-scheduled mine just before what I planned as my first hour at the gym. I expect to go to the gym on all sea days and there will be eight of those.
Each morning I have had coffee, a bagel and orange juice delivered to the stateroom. I always miss that knock on the door each morning when I am home but then I would miss my daily coffee at Java House so I guess it’s OK.
On day two we stopped at our first port, Alicante, on Spain’s Costa Blanca. I was truly surprised at how beautiful the city is. I joined friends for what turned out to be a three and a half hour walk as we were allowed off the ship on our own without booking a tour. We visited churches and the main market in town. We strolled along the beach and the harbor with great walking and bicycle paths. Alicante is a wonderful mix of old-world charm and modern amenities. One friend ventured up to the castle, Castillo de Santa Barbara, but since the elevator (the easy way up) wasn’t working and it’s a very long, steep climb up the mountain I passed. We arrived back at the ship around 1 p.m. and headed to the Mast bar on deck 14 for burgers and fries. Then some time back in the stateroom before heading to the martini bar for a drink and then to the beautiful APEX theater to see the Shamrock Tenors, four Irish performers who are not only talented but cute to boot.
We decided to try one of the regular restaurants, those not needing reservations and chose Normandy. The food was good and I had shrimp cocktail, rigatoni, and cherries jubilee for dessert.
After dinner it was up to the Rooftop Garden for ‘Silent Disco’. That is where you get a set of headphones with a few channels of disco music, and you dance to the music only you can hear. It’s really fun but by 11:30 my knees gave out and it was off to bed.
Day three dawned nice and sunny and we were docked in Cartagena, located in the autonomous of the region of Murcia. I had an 8:45 excursion and again had breakfast delivered to the room. We were instructed to head to the theater to meet the tour group and sign in for our ‘Journey to Murcia’. Murcia is a city in south-eastern Spain, the capital and most populous city of the Autonomous Community of the Region of Murcia, and the seventh largest city in the country, with a population of 447,182. It is about a forty-minute drive from the port. It is a fascinating city with an incredible history from the Romans to and Moorish influence. There is a beautiful cathedral, isn’t there one in every Spanish city? This being a national holiday in Spain most of the shops were closed saving some on the tour a lot of money. We strolled around the city with our guide giving us a running commentary on its history for about an hour and a half. She was a little hard to understand because not only did she have a heavy accent but she spoke really fast. But it was still fun and we did learn a lot. We made a second stop outside the city at another church where a wedding was being officiated. The bride was beautiful. Then we headed back to the ship for an early departure. Our tour was the last onboard and we sailed not more than thirty minutes after we got there.
Then it was off to the captain’s reception. I had the chance to chat a few moments with the Captain Panagiotis Skylogiannis, who is as charming as are most Greek men. We also met the rest of the senior crew who run the ship. Many said they would be more than happy to sit and get a cup of coffee with me during our at-sea days so I can interview and write about them.
Then it was back to my stateroom again to prepare for another tough night of food and drinking. We went to see Andrew Derbyshire in the theater for the 7:30 show and then to dinner at Cyprus. After dinner Celebrity hosted the first LGBTQ+ event of the cruise at the EDEN bar. A large crowd showed up, not all gay but they all knew where the fun people would be. The entertainers all showed up there as including the Shamrock Tenors, four talented Irish guys and Andrew Derbyshire, a British actor and singer. We chatted and I will meet him for coffee to do a column on him.
Then about midnight it was back to the stateroom for what some of my friends on board called an early night. Morning would have us docking in Cadiz and we had a private tour planned for over 20 of the people who had booked the trip with Scott Moster, travel agent extraordinaire, taking us to the city of Seville.
Days four and five on the Celebrity APEX
Day four dawned warm and partially sunny as we docked in the port of Cadiz. This was the day we had our private tour of Sevilla planned. The itinerary had been set by two of my friends, Rob Robertson and his husband Carlos Taylor. Carlos lived for a time in Sevilla as a child and has a big family still here. Celebrity, by agreement with our travel agent Scott Moster, made the planned itinerary a formally sponsored tour.
At 8:45 our group of mostly gay and lesbian travelers left the ship for the hour and forty-five-minute bus ride to Sevilla. Our guide described the city and gave us its history as we traveled to our destination. Scott also had the foresight to bring along a few bottles of champagne and orange juice and we were treated to mimosas along the way.
Once in Sevilla were met by a second guide and given electronic devices and earphones so we could follow along as we took a two hour walk to see the sights which included the incredible Plaza de España in the Parque de María Luisa. It was built in 1928 for the Ibero-American Exposition of 1929. It is a landmark example of Regionalism Architecture, mixing elements of the Baroque Revival, Renaissance Revival and Moorish Revival styles of Spanish architecture. Plaza de España has been used as a backdrop in a number of films including Starwars. It is very impressive.
From there we headed to the Royal Palace and its beautiful gardens and then it was off to the Cathedral of Saint Mary of the See, better known as, Seville Cathedral. It was registered in 1987 by UNESCO as a world heritage site along with the adjoining Alcazar complex. It is the fourth largest church in the world as well as the largest Gothic church and is particularly ornate with over forty-five individual chapels and two huge organs. Christopher Columbus and his son Diego are buried in the cathedral.
Because we spent so much time at these sites we were very late for lunch at the restaurant Carlos had chosen; one owned by friends of his family. They welcomed us with charcuterie and cheese plates, wine, beer and sangria. However, the rest of lunch ended up as takeout as we were really late and our ship was scheduled to leave port at 4:45 and we had been told to be on board no later than 4:30. We double-timed it back to our bus and headed for the port. All went well until we hit a traffic jam and sat for about fifteen minutes. It was increasingly clear we wouldn’t be on-time. Our guide was getting nervous and he called the ship and someone erroneously told him they would sail without us.
Meanwhile our trusty travel agent Scott was on the phone with his Celebrity contact who confirmed as this was an official tour they couldn’t leave without us. Once again we were the last people up the gangway and about five minutes after the last person was onboard the engines started up. The Captain had made an announcement to all the reason they may be leaving late was us. After that excitement it was a great evening with dinner at Cyprus and then a show. The hard life onboard ship continued.
Day five was our first sea-day. No tours and no rushing. For me it was early morning writing and coffee delivered to the room. Then my required covid test and off to the gym. The half hour on the Lifecyle was easy because I was looking out at the sea. The gym isn’t large and because of covid you could only use every other machine. But with only half the number of passengers on board that worked. The gym is open twenty-four hours a day. After my workout I met friends at the buffet for a lite lunch because of course it was crucial to gain back the few calories I may have lost working out. Then it was a lazy day, the kind I love when cruising. I had arranged coffee with Andrew Derbyshire, one of the talented entertainers onboard, to interview him for a column I will write. He is a really nice guy who will be getting off the ship in the Canary Islands; not being an American citizen, he wouldn’t be allowed into the US even though fully vaccinated until November 8th and we dock on October 24th.
Evening began with a Celebrity scheduled LGBTQ+ happy hour and then a nice dinner at the Rooftop Garden, another of the specialty restaurants. Then on to The Club, one of the entertainment venues, to hear Andrew sing. He had the whole room up and dancing, even me. All-in-all another great day onboard Celebrity APEX.
Day Six begins my sea-days on the Celebrity APEX
I woke on day six to a hazy sky and our ship heading to dock in Tenerife. I had been there before and was sad that we were not going to be allowed to head out on our own. There were a number of tours scheduled but I decided to stay on the ship. It was a wonderful lazy day of writing, the gym, and just finding a nice place to sit and read. First though I would have a long lunch with Cheryl and Jeff in the Café, which is the buffet. They are my childhood friends who are onboard. We exchanged old pictures from our iPhones and talked about people we grew up with.
The EDGE series of Celebrity ships, which includes the EDGE, the APEX which I am on, and the upcoming BEYOND scheduled to make its inaugural sail next April, have what is called the Magic Carpet. It is a lounge that can be moved up and down on the side of the ship. On day six it was on deck 14 and it was the perfect place to sit and read. This would be my life for the next seven days at sea. It is the part of the cruise I like the best.
Scott and Dustin invited us all to a sail-away party in their suite at 4:30 and we watched as our ship sailed out of Tenerife for the seven-day crossing to Ft. Lauderdale. Lazy days and fun nights ahead for all of us. On this day Celebrity had scheduled two LGBTQ+ events, one a meet and greet at 6 pm and a second LGBTQ+ PRIDE event at 10:30. Between the two there was a show in the Theater, UPTOWN, three talented young men dancing and singing to Motown and other music from groups who had sung in the famous New York, Apollo theater. Then dinner at the Steak House, another specialty restaurant.
At the evening LGBTQ+ event we met some of the new cast members of the shows replacing those who had to leave the ship in Tenerife. I ran into another person on the ship I first met years ago in DC, Tareq Salahi, known at the time as part of the couple who crashed a White House dinner. His first wife was on the very short-lived series ‘The Housewives of Washington, DC.
On day seven I woke up to a hazy day at sea, calm waters which we can only hope will be replicated for our whole Atlantic crossing. I started my day going to a talk given by Melinda Bates, who had written a book on the Clinton Administration where she served eight years in the visitor’s office of the White House. I had met her on a previous cruise and had lunch with her so really went just to say hello. Then it was going to be what I looked forward to; gym, writing, reading, eating and drinking, and just being lazy in luxurious surroundings with fun people. What more can anyone ask for.
Seven Sea-days on Celebrity APEX
The sea-days on Celebrity APEX have been as wonderful as I anticipated. The knock on the door every morning at 7:30 a.m. with my coffee delivered by a smiling, at least his eyes are as he is wearing a mask, room service waiter. Then a couple of hours doing the second edit of the book I am writing. Somehow being at sea has given me the head space I needed to get back to it. Then off to the gym.
Despite the apparent incompetence of the Celebrity PR agency, I did get the chance to meet the Captain on the second day of my cruise and he agreed to sit down for a short interview. He is a charming and totally open guy willing to talk about his life. I will be doing a column on the interview shortly after I am off the ship.
He even agreed to set up a tour of the bridge for me and friends Rob and Carlos. It was arranged by Icaro, the concierge, a charming Brazilian. We were met outside the bridge by security and wanded down. The bridge is larger than I thought it would be and the very nice 2nd mate Alex, took time to give us a detailed explanation of how they steer this beautiful ship. In some ways it looks like a little more complicated video game. But then those playing video games aren’t responsible for the lives of a crew of 1,250 and nearly 3000 passengers when the ship is full.
The days at sea pass quickly, which is sometimes surprising when you are really doing nothing but being lazy and figuring out what beautiful venue to go to for your next meal or a drink. The Martini Bar or Café Al Bacio are some of the great places to drink and relax on the ship.
Our ever-attentive travel agent Scott and his husband Dustin hosted another party in their suite, the Iconic Suite, and I met some people I hadn’t yet seen in the past days onboard. Some of them signing up with Scott to go on next year’s October 29th APEX transatlantic cruise out of Rome. I am one of them and have even given a deposit for the October 30th 2023 transatlantic cruise on The BEYOND, Celebrity’s newest ship which will set sail on its first cruise in April of 2022. It is amazing how addictive cruising can be but I guess if you need to have an addiction this isn’t a bad one to have.
The Iconic suite is located in what is called the ‘Retreat’ on the ship. It is the more expensive suites and villas with their own restaurant, sun deck, bar and pool. While I can’t afford to book a stateroom in the Retreat I am lucky some of my friends can. They have invited me to join them there occasionally for a drink and dinner.
Reality is the rest of the ship is just as beautiful and on this cruise, which sailed with less than 50% capacity, it is especially nice. The five specialty restaurants are fun to go to and the regular dining rooms are great. In all of them you can have filet mignon or lobster, among a wide variety of choices. One restaurant a little different is The Petit Chef. There you have a show play out on your table and plate from cameras above showing the preparation of each course on your empty plate. Immediately after the show for each course your food is presented looking exactly like the filmed version. It is a fun two-hour dinner with everyone in the restaurant eating the same food at the same time.
The talent in the APEX theater, The CLUB and other venues including EDEN has been incredible and the entertainers are happy to mingle with the guests, which has been fun. We have seen shows with talent like Andrew Derbyshire, The Shamrock Tenors, UPTOWN, Three DIVAS, and the performers in Caravan, among others. I will be writing a column on Andrew Derbyshire after the cruise. All-in-all one couldn’t ask for more.
On board you often feel you have escaped the world and the daily news cycle. Occasionally it does raise its head as they have BBC, MSNBC and Fox News on shipboard TV. Every once in a while, someone starts talking politics to me as they know I write about it in the Washington Blade. One of our group told me about lying on a lounge in the sun next to two women talking about how they hate Biden who isn’t the real president. So even here you can’t totally get away from stupid. Then we heard every Senate Republican voted against allowing debate on the Voting Rights Act. Depressing to say the least, disgusting in fact.
But since we can’t do anything about it at the moment it’s back to enjoying yourself; eating and drinking without guilt. I know the people I am traveling with will go home after our two-week respite and continue to fight for equality and our Democracy. I am truly fortunate to be traveling with such a great group of people.
I hope you enjoyed hearing about some of my time on the ship and I will be doing some additional columns once I am back on dry land which will be in two days. Even great times have to end. I wholeheartedly recommend a cruise on the Celebrity APEX to anyone who enjoys travel.
Peter Rosenstein is a longtime LGBTQ rights and Democratic Party activist. He writes regularly for the Blade.
Opinions
Why we need to protect ‘sacrilegious’ art
Australia sets dangerous precedent for classifying LGBTQ works as offensive
On July 8, Divine Playhouse opened inside a deconsecrated 158-year-old former church on Kent Street in Sydney, Australia. Although the organizers had a permit and received a $100,000 grant from Create NSW to host events in the previously unused space for a whole year, the organizers were forced to shut down after just three days of operations after receiving a tenant breach notice about “offensive trade” under the 1919 Conveyancing Act.
A day after the Divine Playhouse opened, Redevelop, the company leasing out the church (that was deconsecrated almost a century ago) to Heaps Gay Events cited a clause in their contract that prohibits tenants from noisy business. The clause didn’t include any note about political or religious imagery, but even so, Redevelop wrote that Divine Playhouse “insulted and mocked the sincerely held religious beliefs of millions of Christian Australians.”
On opening night, members of conservative Christian and Catholic groups including Fit for the Kingdom and Prodigal Sons protested (without proper authorization) the live music, cabaret shows, and performances they argued mocked the Christian faith. Protesters called drag queens dressed as nuns (the legitimate vestments of the Sisters of Perpetual Indulgence) and events like the Sunday Mess, a brunch party that incorporated religious imagery, “equivalent to hate speech” according to the Redevelop landlords and their lawyers.
But as reports show, the organizers were aware of concerns from the nearby Christian community and made changes in good faith to address those concerns before opening, including changing the name from Unholy Playhouse to Divine Playhouse. Organizers intentionally changed the name in order to make it more inclusive, rejecting the idea that they were mocking religious beliefs in their performances.
But this has not swayed members of conservative Christian groups who, on opening night, shouted at attendees that they “should be ashamed” and were “disgusting.” Redevelop gave the organizers two days to cease operations. As The Guardian reported, volunteers and organizers took down signage and painted over a mural that had all been commissioned for the year-round residency.
While the organizers initially explored whether they could sue for discrimination against LGBTQ+ individuals, the organizers decided to cancel all upcoming events and close the space to protect performers, as protesters filmed people entering and leaving the event without their consent on opening night. Along with facing a breach of contract, Meta also shut down all of Divine Playhouse’s social media accounts, along with personal accounts and LGBTQ+ community accounts. This is an increasingly common problem for queer content creators.
Now, the LGBTQ+ community is in a justified uproar, and conservative Christians in Australia and beyond are furious about what they are calling “offensive art.” The lease violation sets a dangerous precedent for classifying LGBTQ+ art as offensive, which could lead to laws or local restrictions that could be used by developers to discriminate against people who they deem “offensive,” i.e. LGBTQ+ individuals and organizations. This already exists in the United States, where racial covenants enforcing segregation remain on the books.
As theater lecturer Charlotte Farrell wrote, there is a long history of art and performance in church spaces, but Farrell largely cites art in more progressive Christian spaces as opposed to Catholic ones. Queer art in Catholic spaces (including operational and consecrated Catholic churches) do exist, including God is Trans: A Queer Spiritual Journey hosted by the Church of St. Paul the Apostle in New York City in 2023 (although this show also generated controversy).
With the risk of empowering conservatives to lobby for laws or restrictions that would allow them to deny renting to “offensive” people or on the grounds that a person’s art is “offensive,” I argue further that there is an urgent need to call out what this situation was–the explicit attempt to equate queer art that challenges religious institutions, trauma, and abuse as inherently “offensive” and to use this to deny an artist and community’s right to exist in a space.
Art has historically been a vital way not just to evangelize but also to challenge religious institutions that use their power and influence to not just isolate and abuse LGBTQ+ people and other marginalized communities but to systematically oppose their rights. Take for example Sinead O’Connor’s protest performance on the October 3, 1992 episode of Saturday Night Live. O’Connor, who had experienced severe institutional confinement in a Magdalene Laundry run by the church and had experienced intense physical and emotional abuse by her devout mother, tore up a photo of Pope John Paul II.
While she originally planned to hold up a photo of a refugee child, she swapped it with a photo of the pope after singing an a cappella version of Bob’s Marley’s “War” where she changed the lyric to “child abuse.” She looked at the camera and said “fight the real enemy” before throwing the pieces to the ground. At the time, the Irish singer faced intense backlash and a lifetime ban from SNL, but as more information came out about her time in the Laundry, her mother’s emotional abuse, and systemic sexual abuse and people attempting to cover it up in the Catholic Church, people today recognize her protest as the start of a vital conversation.
For some people, O’Connor became a secular saint, a prophet exposing systemic sexual abuse before people were willing to confront the lived experiences that survivors were sharing and religious leaders were covering up. Dr. Margaret Kennedy, founder of Ministry and Clergy Sexual Abuse Survivors and author of “The Courage to Tell,” wrote for Premier Christianity that “when she tore apart a picture of the Pope on Saturday Night Live in 1992, she was preaching.”
Is O’Connor’s religious liberty to preach through this act of protest not equal to that of her critics? Did O’Connor, like anyone at the Divine Playhouse, threaten any religious person?
No, they made a statement about religious institutions and people that continue to abuse people. If that can be targeted so can any other form of protest or acts of resistance that threaten systems of power.
Protest art like O’Connor’s is at the bedrock of human rights in any democratic country. When people stop creating art or move out of spaces out of fear of precipitating anti-LGBTQ+ violence, or are forced out because of claims of lease violations, the whole society loses a vital way to challenge and confront abuse and exploitation. There is a need not just to legally protect people creating protest art but also protest artists themselves so that their work cannot be censored or attacked on the grounds of religious liberty.
To be clear, protecting people’s rights to create protest art is not the same as allowing people to insult or desecrate the imagery of marginalized faiths that face persecution and misrepresentation in the United States today. It’s also not a license for anti-religious bigotry or violence that hurts anyone. Instead, the protection of protest art is a protection of the right to protest itself, the right to challenge and grapple with institutional abuse and religious trauma in ways that cause no one physical harm.
As James Thorpe, co-chair of the Night Time Industries Associates, explained to The Guardian, “Christians have a right to preach, protest and stand outside Divine Playhouse and pray. Queer artists have the right to make art that is confronting, irreverent, and yes, offensive.” Thorpe says that LGBTQ+ artists and communities, and all marginalized groups, have a fundamental right to create art that unsettles people, that challenges social systems that prioritize and sacralize a cisgender, heterosexual norm intrinsically connected to Christian nationalism.
Because in a society where Christian nationalism is fast becoming mainstream, protest art, sacrilegious art is the only language that far right religious groups understand. At the heart of the issue is civility politics, or a strategy used by conservative and far right groups to argue that marginalized communities censor their protests and calls for change to be “respectful.” What respectful is and who deems it respectful is deeply subjective, often the creation of a dominant social group like Christians in the United States.
If far-right forces want to call LGBTQ+ protest art like that at the Divine Playhouse “offensive” or “sacrilegious” so be it. Yes, calling our art, our identities, “offensive” is a form of bigotry, a practice of hate. It reminds many of us raised in high control religious spaces that we are outsiders to the very religious systems that raised us and cultivates the same shame, guilt, and abuse that caused many of us to leave or explore affirming religious or spiritual traditions.
But calling art “offensive” doesn’t change or invalidate the fact that it is a fundamental exercise of our right to free speech, and our fundamental human right to create art that unsettles and upsets people in positions of power. It also doesn’t change the fact that for many of us, creating protest art is a spiritual practice, a form of sacred resistance that helps us challenge systems that have long abused us through purity culture, conversion therapy, and cultures of shame.
Protecting the right to create protest art isn’t just enshrining our right to free speech but for many of us, our right to practice a spiritual act of resistance. And in a time where LGBTQ+ identity, people, and bodies are deemed “offensive. Because at its core, this isn’t just an issue about art anymore, it’s about protecting our right to exist in public spaces and our right to create safe spaces for ourselves.
Emma Cieslik is a D.C.-based museum worker and public historian.
Opinions
Not all trans people are the same
Media, activists need to do more to challenge stereotypes
It’s interesting how the mainstream media, especially the conservative part of it, likes to write about transgender subculture when they should speak up about trans people.
How often do you see mentions of blue or purple hair, Marxism, specific clothing styles and ecology when you see a mention of a trans person?
It happens more often than it should. It looks like the mainstream media, even the ones that don’t demonise us, sincerely believe that being trans means sharing a whole bunch of characteristics that have nothing to do with having a gender identity different from the one that was assigned at birth.
Here are four reasons why it may create problems, and what to do about them.
1. A subculture idea
The assumption that being trans is part of a subculture creates a very specific kind of discrimination, because the mainstream audience who read those stories sincerely believes that being trans is a personal choice or a trend in the same way as being a K-pop fan, a goth, or a metalhead. It basically means that being trans is nothing more than a trend, and trends, as we all know, can change. People who believe in this idea are more likely to speak about “gender ideology” and “propaganda trends” and less likely to listen to scientists and studies around trans issues, or to different experiences of what it means to be trans.
Even if trans people made a choice to be trans, they shouldn’t be discriminated against. In a democratic, free country, no one should be punished for choosing what to do with their body. And hate for subcultures is a real thing that leads to violence. But the problem is that, despite there being a trans subculture, most trans people are statistically not part of it. But where are they in activism?
2. Misleading about goals
Let’s be honest. We are partly to blame for this stereotype. And before you stop reading, let’s just think about the topics most people discuss before the average protest or radical Pride event. Or let’s imagine trans-friendly events. They are mostly leftist, and people at these events share the exact same interests, hobbies, and political positions.
At my last protest about the new draconian Equality and Human Rights Commission guidelines in the U.K. that say trans people can only use public places according to the sex assigned to them at birth, we were speaking about anything else. For example, some speeches were about abolishing “bourgeois democracy,” speaking up for socialist revolution, and saying some other things I definitely couldn’t support.
I’m not against socialism, but I’m against the idea that all trans people are socialists. That is inherently misleading, at best, and harmful, at worst. I support universal basic income and free healthcare, but not revolution or Marxist reform. If I were a cis person who generally supported trans rights but knew too well about the Russian Revolution of 1917 and how it ended for indigenous people and queer people, if I were a bystander, I wouldn’t stop at a protest like that. I probably wouldn’t even believe that the situation is as bad as they are saying.
There is nothing bad about inviting a socialist speaker. The problem begins when all trans events become socialist events. Those protests don’t look like protests for trans rights – they look like protests for socialist revolution or just like a rebel teens gathering.
3. Self-fulfilling prophecy
At the protest I mentioned and at other similar protests, including the ones from the U.S. I saw online, there weren’t a lot of “traditionally” trans people — the ones you may have been able to see in old TV programs about trans experiences, where trans people were presented to be more gender-conforming.
Most activists are young, white, poor but not extremely poor, citizens of the country where they are living, gender-non-conforming, leftist, and non-religious. They like trans horror, drag queen shows, drawing and reading MfM romantasy. And despite the fact that I just finished writing my own trans horror novel, I wonder — where are the other trans people? With different hobbies and lifestyles?
Where are all those “traditional” trans women from old TV shows who like make-up and want to give birth to kids if only it was possible, and trans men who like to spend their time drinking beer in pubs and going to the gym with their bros? I think we need them more than we think. They may give new ideas and perspectives. And they need us.
Why don’t we see them? Why do we see so few trans refugees who came from Middle Eastern, Asian, and African countries? May they be triggered by the world then because the U.S. had the worst dictatorship on the planet, or that the U.K. is a fascist country when they saw something worse than the British government or even MAGA? For some trans person who survived Bashar al-Assad in the Syrian government or fled Eastern Turkestan, such slogans would feel like gaslighting — and I knew because I met many refugees.
Why, finally, do so many trans activists have similar clothing styles, similar interests, and similar experiences?
Because it’s a self-fulfilling prophecy. When trans activists create this kind of culture, they accidentally gatekeep all other trans people who may feel less comfortable within a subculture that has its own rules, style, and ideology, even if none of those things have anything to do with being trans.
4. Media misrepresentation
When the media — conservative and not very conservative — sees the same thing, it doesn’t matter if we are speaking about a trans man who is traditionally masculine and wants a traditional family, or if we are speaking about soft, nice gay boys who happen to promote socialist revolution like many modern stereotypical trans activists. It is equally misleading.
I hate the idea that we need to pretend to be more convenient and normal in order to be accepted by society, because society has never worked that way. But pretending to be accepted by the community is no better.
Trans people are different — and sometimes problematic — and despite the core of activist trans culture, we can have some distinctions when we speak with the media. We should never try to tell people that all trans people are similar.
Now, when trans rights are under attack, it is more important than ever to show that all trans people are just people. We are different, like everyone else. We have our rights, even if we are wrong. Even if we are ugly. Or struggle with inner transphobia. Or some of us internalise traditional roles, or; the opposite, too weird for any culture and subculture. We can make mistakes. But we are not a political party or a monolithic group. Being trans is not a lifestyle, because we have different lifestyles.
Trans kids need to see that they can be whoever they are and still be true, real trans people. And the media should always be questioned when they try to push all trans people into the frame of a subculture.
But to do so, we need to look at our activism and at the representation we are creating.
Opinions
Black Educated Lesbians: A movement rooted in community
Organization’s annual conference is part of a much larger mission
When people hear the word “conference,” they often imagine a weekend event that begins on Friday and ends on Sunday. For Black Educated Lesbians (BEL), our annual conference is only one part of a much larger mission.
BEL was founded because Black lesbians deserve spaces intentionally created with us in mind. Too often, we are overlooked in conversations about health, leadership, philanthropy, education, and community. We exist at the intersection of multiple identities, yet organizations and institutions frequently assume our needs are being met by broader groups. Our lived experiences tell a different story.
BEL is a national nonprofit organization dedicated to creating opportunities for Black lesbians and Black queer women through leadership development, wellness programming, research, education, and community building. While our conference has become one of the few events in the country centered specifically on Black lesbians, our work continues year-round.
Throughout the year, BEL hosts virtual wellness sessions, leadership development opportunities, financial education workshops, community discussions, and mentorship programs designed to help our members thrive personally and professionally. We are also investing in the next generation through our EmpowerHER initiative, connecting Black queer youth with mentors, resources, and leadership opportunities.
Research is another critical part of our work. We are committed to ensuring Black lesbian voices are included in conversations about healthcare, mental health, economic opportunity, and overall well-being. Data drives policy, funding, and services. If our experiences are absent from the research, our needs often remain invisible.
Our annual conference, taking place Sept. 18–20 in Hapeville, Ga., brings this mission to life. Attendees will participate in conversations about physical and mental health, healthy relationships, financial literacy, entrepreneurship, leadership, aging, women’s health, and sexual wellness. The conference also creates opportunities to build meaningful relationships, support Black-owned businesses, and connect with professionals and organizations that understand our community.
Creating spaces like this is not easy. As a small nonprofit, every workshop, meal, scholarship, and resource requires fundraising, partnerships, and countless volunteer hours. Yet we continue because our community deserves spaces where they can simply exist, learn, heal, and grow without explanation.
What makes BEL unique is not simply that we serve Black lesbians. It is that Black lesbians lead every aspect of our organization. We understand the importance of creating programs that reflect our lived experiences rather than asking our community to fit into spaces never designed for them.
Community is not built during moments of crisis. It is built through consistent investment, authentic relationships, and showing up year after year. That is the work BEL is committed to doing.
Whether someone joins us as an attendee, sponsor, volunteer, donor, or community partner, they become part of something much larger than a conference. They become part of a movement dedicated to ensuring Black lesbians are seen, heard, valued, and supported.
As we prepare to welcome attendees from across the country this September, we invite readers to learn more about BEL, support our mission, and help us continue building spaces where Black lesbians don’t just survive, they thrive.
LaJoya Johnson is founder and executive director of Black Educated Lesbians, a national nonprofit dedicated to advancing leadership, wellness, and education for Black lesbians and Black queer women.
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