In light of the recent accusation by former drummer Kimberly Thompson that Beyoncé might be a witch, I find that there may be some possible validity in these claims. Let’s investigate.
If you worship Beysus as much as me, then you probably stay updated on the latest tea. In this case, that means that you’ve most likely gotten wind that Yoncé may or may not be a witch. As it stands, former drummer Kimberly Thompson has filed a restraining order against Queen Bey that claims Beyoncé practices “extreme witchcraft” and has used this supernatural abilities to sabotage Thompson’s career, as well as claiming that there were spells of molestation cast upon her. And … I mean … I’m not gonna lie to you, toots; I believe it.
How can one human be so talented? So revolutionary? So ahead of the curve without sacrificing kittens in the name of Satan (another claim by Thompson)? Well, she must be a witch; right? I will confess: there have been a few times that I myself have questioned her otherworldly powers. So let’s cut to the [feeling] chase and dive right into it all. Here is my rather convincing list of 5 times Beyoncé proved that she is definitely and irrefutably a witch.
1. The Last Hairbender
Remember when Beyoncé used her mind (ugh) to make her hair magically do choreography? This is clearly an exhibition of levitation. You can’t tell me this snatched-by-the-gods braid is being controlled by wires. “It’s levioh-yes-Mama-sa, not leviosa.” Light as a feather, stiff as a surfbort. Am I right? Or am I right?
The “Formation” music video accompaniment to the song from Beyoncé’s album Lemonadeis a 21st century cinematic masterpiece and I will fight you on that if you disagree. In the iconic video, Beyoncé poses with her very own coven of witches in sickening witch garb that would have Ryan Murphy himself shaking in his last season Prada shoes. And that headbob action going on? Honey Bey is for sure doing some kind of witch’s dance that only fellow witches know about. Stop interruptin’ her grindin’, mere mortal! Your fave could n-e-v-e-r. Need more proof?
A strong witch gets what she asks for the first time; and if you don’t heed her commands, you will suffer at the hands of her almighty powers. Published in 2010 is a video of Sasha Fierce herself performing her hypnotic and hyperbolic incantation “Diva”. At the 45 second mark of the video, she demands that the lights for her performance be lit up. The light person fails to do so, then Bey shouts, “Somebody’s getting fired!” To make a long story short, the trifling light person who failed to do their job ended up getting fired (allegedly). Did she predict the future? Is she clairvoyant too? WOW! Can you believe?
4. Single Lady in the Water
Only the strongest witches can harness the power to control and move water. Bey always uses water imagery in her videos and live performances (she is a Virgo, after all). Remember that Japanese Crystal Geyser commercial from 2009 in which Beyoncé is controlling the water around her with her super witch powers and it totally wasn’t CGI? Honestly, she’s been letting us have it for years with actual proof that she is 100% a witch.
5. Sisters of the Moon
On May 20th 2001 (my 9th birthday FYI), Destiny’s Child released their legendary chart topping sound-spell “Bootylicious” (which I totally had on Hit Clips). You are a liar if you said this song doesn’t slap. The basis of the song’s production comes from a sample of the 1982 classic “Edge of Seventeen” written by The Ultimate White Witch herself, Ms. Stevie Fucking Nicks.
Hmm … I wonder whose idea it was to use a prominent sample of a fellow witch’s song …? Beyoncé is not afraid to reference, sweetie. And get ready for this jelly: The White Witch even appears in the music video for “Bootylicious”. So, if you’re not convinced Mama B is a witch yet, then you’ve got a big storm comin’.
There you have it folks; and bow down witches. The Supreme Queen Bey is here to remind every single one of you that she is a force to be reckoned with. She has showcased her abilities for years and guess what? She ain’t sorry! Boy, bye. And to Kimberly Thompson: Good luck with that restraining order. Make sure to sprinkle sea salt around your home and smudge yourself with sage to keep evil spirits at bay.
Highlighting non-binary people in the media is important and is slowly happening more-and more; but what’s also important is realizing that being non-binary isn’t a fun fashion trend.
Recently, there has been a huge rise in non-binary representation in the media. Models, musicians, and actors who identify as non-binary/agender/genderfluid/non-conforming are getting the buzz they deserve after not having been represented in mainstream media for such a long time. It’s refreshing to see non-binary folks presented to the public on a larger scale; but something that needs to be said is this: non-binary existence is not a temporary statement, and our truth isn’t your trend. Thinking positively, this rise of representation should continue to skyrocket in months and years to come.
What prompted this piece was the backlash aimed at the August 2017 issue of Vogue which featured Zayn Malik and Gigi Hadid on the cover with the tagline, “Shop Each Other’s Closets”. Styling cis people in a gynandrous way is nothing new — this is fashion, sweetie — but the choice of the models that was made by Vogue made being gender-fluid or non-binary seem as though it were the newest, late-summer/early-fall trend. The August cover would have been more refreshing to see celebrities or models who actually identify as non-conforming grace the cover of Vogue (*cough*,Anna Wintour … girl. You approved this?). A simple Google search of genderfluid/non-binary celebrities could have steered the Vogue editorial staff in the direction of hiring actual non-binary people to grace the cover. Nevertheless, it is exciting to see non-binary individuals gain tons of positive attention in different areas of the art world; and in the images below, I’d like to showcase a few.
Ruby Rose — an Australian, genderfluid actor, model, and DJ that presently prefers to use feminine pronouns — has most recently been cast as the leading role of Batwoman in the the CW Network’s forthcoming series of the same name. (Fingers crossed that the show does not flop and is actually a success!) Rose landed some of her largest fame when she appeared in seasons 3 and 4 of Netflix’s original series, Orange Is The New Black. Mind you, Rose appeared in only 9 episodes:
Alok Vaid-Menon from College Station, Texas rose to fame as one half of the poetry duo, DarkMatter with Janani Balasubramanian. Alok has been a vocal social and political activist for feminists and the LGBTQ+ community for many years. Alok now has a book of poems entitled, “Femme In Public”, which was released in 2017 and has been featured on LogoTV, in Out Magazine, as well as in Vogue. (Hello, Anna? It’s me again … Put Alok on the cover. *wink*).
Rose McGowan recently came out as non-binary identifying. Rose has been a vocal proponent for the #MeToo movement (founded by Tarana Burke in 2006) and shattering what was left of the glass ceiling in Hollywood by speaking out against sexual assault and harassment towards women, men, and the trans community. Rose’s book Brave was published in January 2018 from Harper Collins imprint HarperOne., The memoir focuses on the experiences McGowan had in Hollywood both professionally and with sexual assault. Rose recently won GQ’s Man Of The Year Award for her activism — a kind affirmation of non-binary identity from a publication that largely panders to cis, straight audiences.
Angel Haze is a rapper from Detroit who identifies as agender. Angel has become a huge name in hip-hop and has been nominated for a GLAAD Media Award as well as an MTV Video Music Award. Angel is currently working on their sophomore album. Angel Haze recently changed their name to ROES, but still remains on social media under their original stage name.
These are just few names of many non-binary/non-conforming/agender/genderfluid people that are making big waves presenting themselves to the public loudly so that they are being seen. No one will soon be forgetting a single one of them anytime soon, because, again, our truth isn’t your trend. These non-binary/agender people are beacons of light, giving people within our community hope that they can achieve the same level of exposure, fame, and greatness that these folk have. Their presence just affirms that we can change the way we are displayed in the media. We are here to be seen, to grace magazine covers, lend our voices and our images to the masses.
Many non-conforming individuals have been subject to bullying and prejudice throughout their childhoods; and most still experience it in adulthood. It all comes from people with a lack of exposure to, as well as a lack of education on the subject of, people who neither label themselves to meet a certain gender-specific criteria that is the summation of eons of destructive societal constructs. Because in spite of what the LGBTQ+ community’s flag may boast, the lives of non-binary people are not all rainbows and glitter for most of us. That being said, however, increasing the visibility of our community by seeing people from it become big-name stars is an important thing as it not only inspires us to make sure ourselves are being represented, but also exposes cis people/straight people who do not identify the same way as non-conforming folks to the lush diversity of this community. They can see that we are all human and that we are all going through life just as they are with very similar difficulties, trials, and tribulations. It also aids in educating them by increasing visibility of the way we present ourselves to the world by showing them that this is not a scary thing. It’s not terrifying at all. It’s our truth and it isn’t their trend. The point begins and ends here: we nonbinary, agender, non-conforming, and genderfluid people are here, we exist, we are making change, and we aren’t afraid to take charge. We are carving out our space in pop culture and the media, and we aren’t going anywhere anytime soon.
Houston’s very own Teresa Zimmermann talks to About Magazine about starring in the titular role of Violet at the Queensbury Theatre, life as a professional actress, her role in The Anthony Project, and her love of the LGBTQ community.
(HOUSTON) – If you’re an avid theatre-goer or at least an enthusiastic karaoke-er, you’ve probably seen her face around Houston a time or two. But even if you haven’t, you’ve certainly heard her voice, whether it be at Guava Lamp, Stages Repertory Theatre, and now in Violet, where she stars as the titular lead, which opened just last night at the Queensbury Theatre. Her name is Teresa Zimmermann; that’s Teresa with no H and Zimmermann with two Ms and two Ns. She’s the host of Sunday Karaoke — affectionally referred to by its regulars as Theatre Karaoke — at Guava Lamp on Waugh from 8 PM to midnight, and has been acting in the theatre scene of Houston for years.
But Zimmermann wasn’t always so sure that the stage was her calling, in spite of the fact that she grew up in a strong performance family. For a long time, Teresa was convinced she’d go to beauty school and learn the ins-and-outs of hair and makeup. But her life took her down a different road to Sam Houston State University, where she graduated with a degree in musical theatre, and eventually led her to live performances everywhere from here on the land in Texas to in the sea as a cruise ship singer. Now, as previously mentioned, she stars as Violet in new Queensbury Theatre’s production of the Broadway sensation of the same name. And before About Magazine goes to see the show tonight, we got a chance to talk to Teresa about her life, her career, the show, and what we can expect coming up.
Anthony Ramirez: If you could sum up who Teresa Zimmermann is in three words, what would those words be?
Teresa Zimmermann: Driven. Focused. Passionate.
You are a full-time artist/performer/voice coach. Tell us what a normal day in your life is like?
I wake up, sleepily kiss my boyfriend goodbye as he goes to work, then I guiltily lay in bed for a little while longer. If I have something on the schedule, I’ll make a little bit of breakfast, sit down at the kitchen table and go over what I need to for the week — that is, until my cats start to lay all over my materials … and me. Lately, it’s been the script for Violet. Soon, it’ll be some new music I’m learning for gigs with the band, Danny Ray, and the Acoustic Production. Sometimes, it’s music for my students at Vivaldi Music Academy. When I’m rehearsing for a show, my days are much busier. But there are times when I’m not rehearsing or performing anything, and those days are filled with everyday to-do’s like watching Real Housewives, taking care of the apartment, planning dinner, socializing, going to the theatre, exercise, or more work-related things like preparing for an audition, researching repertoire, or reading plays. It’s not so much that my days are always full, but my week has a lot of varied work, whether it’s hosting karaoke, teaching voice, rehearsing, or performing, or even house-sitting. My goals are to prioritize and streamline my workload, prevent burnout, and only do work that involves my passion … in other words, find and/or keep the side gigs that I love, while maintaining a career in the theatre. I consider myself very, very lucky, and I’m so grateful that I am able to do that!
How did you find your way to the auditions for Violet? And can you tell people who may not be familiar with the show a little more about it?
I first saw that Violet was part of Queensbury’s 2018-2019 season on social media, and I was ecstatic. I love the show and the music, so I stayed vigilant watching for audition postings online and checking their website daily. Knowing I had a block of time between the closing of The Great American Trailer Park Musical and my next show also helped motivate me to really go for the part. So not only did I want this show, I felt like I needed this job (cue music: A Chorus Line’s “God I Hope I Get It”). I received my offer a short time after the audition and immediately began preparing.
The musical itself is based on the short story “The Ugliest Pilgrim” by Doris Betts. It follows Violet Karl, from the rural Spruce Pine, North Carolina, as she travels through the South on a Greyhound Bus in September of 1964, just after the Civil Rights Act had been passed. She is on a journey to a televangelist preacher to heal and erase a scar caused by a blow to the face from a loose axe blade. On this pilgrimage, Violet becomes acquainted with a new world she’s never really been exposed to in the mountains. What unfolds is a beautiful story about following your heart, allowing yourself to forgive and heal, and what it means to recognize inner beauty in others and yourself.
The original Broadway production starred Tony Darling Sutton Foster. How does it feel being so talented that you’ve been entrusted with a role brought to life by such a star?
Phew! Well … to make something very clear, I am no Sutton. I think her legs are actually as long as I am tall, for one. And she can kick her face without throwing her back out. I mean, I can totally do that too … I just … don’t feel like doing that at the moment. Gimme a week.
But truly — being given this opportunity has been mind-blowing. Roles like this only happen every so often, so I’m savoring every bit of it. I feel like this feast of a character has been plated so beautifully and is so emotionally rich that I am sometimes doubtful that I can eat it all up. I would not be able to do it without the support and talent of the people around me on and off the stage — my beautiful (and local!) cast, our diligent crew, and our creative team leading the way. They inflate my wittle-baby-actor ego with love and humble me with their talent and hard work, all at the same time.
What do you think you bring to the production that maybe hasn’t been done before for Violet?
I cannot speak for other productions of Violet because I have not seen them, nor have I been in them, but I truly hope I can bring a sense of emotional depth that is honest and that feels as authentic to the audience as it does to the human body performing the behavior. Every part in this show has life flowing in and out of it; real-life perspective within concrete, predetermined, and written circumstances. I hope to convey the feelings of shame, hope, disillusionment, self-discovery, and so much more in a way that lets people know this isn’t just performance, it has all been felt at one time or another (by all of us). I hope they see it come through the vessel that is this character so that they can go through that process with us.
What are your top three favorite musicals and top three dream roles?
Only three?! Fine. Fine!
Chicago, Wicked, and Urinetown. Roles are a bit switched up though … Roxie Hart in Chicago, Elphaba/Nessa (don’t sleep on Nessa, y’all!) in Wicked, and Reno Sweeney in Anything Goes.
You originally thought you were going to go to beauty school, in spite of being raised in a performance family. What was the moment you knew this was what you were supposed to be doing?
Every month, usually the week between paying rent and my next paycheck, I start to wonder if I’m doing the right thing. But something happens when I wait in the wings to remind me that this is my vocation. It started my freshman year of college before tapping onto the stage for Thoroughly Modern Millie [another Sutton Foster beauty], throughout my time at Sam, and happens in every professional show I’ve done since. I feel like a specific goal is in sight, even if it’s just for the next two hours. Even if it has nothing to do with me, personally. I’ve got a job to do, and it was given to me, specifically, to do. I have an obligation to show up, and that feels very fulfilling to me.
You’re very involved with Houston’s LGBTQ community — a large part of which intersects with its theatre community. Can you tell us what those two communities mean to you personally?
Almost all of my friends are involved in the theatre in some way, and are champions of self-expression, which is, also, important to the LGBTQ community. So it’s no surprise that in both communities I am encouraged to be myself. I feel at home with both. I’ve chosen to surround myself with those two communities because I know I will find people, friends (“framily”) — the good people out there, that make me feel safe, and that encourage me to do the same for my peers. However, it would be dishonest of me to disregard the critical environment in both; judgment, exclusion, and negativity are all aspects of our communities that we need to work on. That being said, something I love about both communities is that we are among the first ones to say, “Ok then, let’s work on it.”
Can you give us a little glimmer of what other projects you have on the horizon post-Violet?
Well, Anthony, I’ll be working with you next! I’ll be performing at a reading for your sitcom script, The Anthony Project, in affiliation with About Media. [Zimmermann will be playing the antagonist of the show, Erin, a conservative Christian who works at a fictionalized version of About Magazine on Sept. 29th]. I’ve also got a few gigs lined up with my band, and while I’m not at liberty to tell you exactly what my next theatre production is, I’ll give you three very obscure hints that likely very few people will get: chains, the bear that ran away from the park zoo, and capons.
Omigod I know what it is!!!
Violet opened at the Queensbury Theatre last night and continues performances through Sept. 23rd. You can then see Zimmermann in the About Magazine stage reading of its forthcoming sitcom The Anthony Project on Sept. 29th, as well as every Sunday at Guava Lamp hosting karaoke. A full review of Violet will be available from About Magazine tonight.
A review of Anthony J. Caruso’s LGBTQ film shot in Austin, TX, Brotherly Love.
(AUSTIN) – At nearly two hours, Anthony J. Caruso’s slow-paced film, Brotherly Love, feels a bit long; some of the characters might be seen as negative stereotypes; and yet there’s something oddly likable about this low budget indie, shot on location in Austin with a local cast.
Auteur Caruso stars as Brother Vito, a young gay man torn between his life with his gay friends and the vows of poverty and celibacy he’s about to take as a brother with the Catholic church. As the story opens, Vito, who lives in a monastery, still goes out cruising with his gay best friend Tim (Chance McKee). Vito desperately wants to jump into the car of the hot man who’s checking him out, but he stops himself, thinking of his upcoming vows. He goes to the White Party with Tim, where he feels out of place.
Vito doesn’t know what to do. He genuinely loves God and the church, but also loves his former life. He seeks counselling from Sister Peggy (June Griffin Garcia), a friendly, understanding nun, who thinks that Vito needs to get away for awhile so he can think things over. Vito is driven halfway across the country to spend the summer living and working in a halfway house for people with AIDS. There he meets Gabe (Derek Babb), a friendly, lonely landscaper who immediately takes a liking to Vito. The attraction is quite mutual, with Vito once again feeling torn between his love for the church and his natural desires. Will Vito remain true to his vows, or will he give in to Gabe’s not-to-subtle come-ons? The two are obviously falling in love, despite Vito’s pretending otherwise.
Vito and Gabe make for a hot, sweet couple. Actors Caruso and Babb have great onscreen chemistry, with Babb giving a particularly fine performance as a man who cannot live without love in his life. We learn that Gabe was once married.
“Now I have an ex-wife who hates me, a mother who cries whenever she talks to me and a father who fired me from the family business,” Gabe says sadly. Babb expertly conveys the emotions of the sweet, loving Gabe, who knows that he and Vito would be perfect for each other, if only Vito would open his eyes. Caruso is also quite good as he battles his mixed emotions.
Other aspects of the film don’t work quite as well. Chance McKee, as gay best friend Tim, appears to be a good actor, but his role is written as a stereotype. Tim is an over-the-top queen–he’s too over-the-top to be believable. He’s loud and brash, and talks endlessly about parties, clothes, and hot guys. We never learn who Tim is, all we’re told is that he likes to party a lot.
At one point Vito and Gabe meet a friendly lesbian couple, one of whom is an ex-nun who left the church to be with the woman she loves. That woman turns out to be a character who makes Tim seem tame in comparison. She’ll do anything for attention–after Sunday church services she smears chocolate cake on her face and laughs hysterically. It’s embarrassing to see a middle-aged woman carrying on like that. This character is a victim of bad writing–less would have been more.
Another flaw in the film is that the AIDS house where Vito is supposed to be working is presented as an afterthought. Vito shows up and meets the residents, who talk about Barbra Streisand a lot. With one exception, the house residents are not seen again until the end of the film. At no time during the film is Vito shown doing the work he was sent to the house to do–he spends the entire film with Gabe. How did the church elders and the house residents feel about that?
While far from a perfect film, Brotherly Love still entertains due to the terrific chemistry between Caruso and Babb. The burgeoning love story between these characters is sweet and romantic, and their scenes together are well written. They make Brotherly Love worth checking out. The fact that both men are nice to look at is an added plus.