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‘Free to be': participants and spectators fill parade route before start of Sydney Gay and Lesbian Mardi Gras

‘Free to be': participants and spectators fill parade route before start of Sydney Gay and Lesbian Mardi Gras

The Guardian01-03-2025
A bedazzling band of floats and dancers are waiting in the wings ready to snake their way into Australia's grandest celebration of queer culture.
Sydney Gay and Lesbian Mardi Gras participants and a crowd of thousands decked in splashes of florescent pink and yellow, alongside trademark bright rainbows, began filling the parade route in Sydney's queer-capital of Darlinghurst late Saturday afternoon.
'I've been coming since I was 17 … seeing the community gather throughout the evening is enjoyable on its own,' Jed Piasevoli said, as he watched the activity from his street-side camping chair.
'It's a night to embrace all of the queer energy,' his friend Timothy Trisic said. 'It's a chance to let loose and be ourselves for at least one night.'
Among them will be Bhushan Joshi and co, who will be decked out in summer gear with 1980s and '90s vibes, as medical group GLADD's float pumps out a remix of Olivia Newton-John's Get Physical.
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'We want to challenge the shame and guilt that the queer community sometimes feels towards their body or keeping fit,' the emergency consultant said.
Another group marching to a Newton-John hit – Xanadu – will be the Peacock Mormons, a group founded by Brad Harker and husband Scott in 2018 to protest policies enforced by church leadership.
About half of the group's 100 members are from religious backgrounds, including formerly devout Catholic and straight-living Brian Dunne.
He came out at the age of 65 after a cancer diagnosis. Nine years later, he enjoys the full support of his former wife, five children and 13 grandchildren.
'To me, that's more of a Christian attitude than unfortunately what some church people have towards LGBTQIA+ people,' Dunne said.
The 2025 Mardi Gras theme is 'Free to be', a message Harker and Scott work to reinforce to young LGBTQ+ people through the Peacock Mormons group and simple actions such as holding hands on the street.
Mardi Gras was a celebration of how far the community had come while sadly marking an uptick in verbal abuse, threats of violence and assaults, Equality Australia said.
'It's a reminder that for many people in our communities, particularly trans people, such targeted acts of hate are a year-round occurrence and that despite our gains we are still fighting for equal rights and protections in the law,' chief executive Anna Brown said.
Another float will carry a Rocky Horror Picture Show theme, with members of Free, Gay and Happy performing the Time Warp.
The group was founded by Teresa Leggett after she supported her former husband, Michael, to come out.
'He thought it would be better to be dead than gay,' she said, 'so I took him to his first Mardi Gras to show him how amazing the gay community was.'
They attended their first Mardi Gras together more than two decades ago and have returned every year since with an elaborately crafted float.
Being part of the parade was surreal, Ms Leggett said.
'It's a sound you've never heard before, 250,000 people at that very moment wish they were you,' she said.
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Margaret Pomeranz remembers David Stratton: ‘I feel as though one half of me has gone'
Margaret Pomeranz remembers David Stratton: ‘I feel as though one half of me has gone'

The Guardian

time3 hours ago

  • The Guardian

Margaret Pomeranz remembers David Stratton: ‘I feel as though one half of me has gone'

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Step up to the Mike - Scottish Waterboys star is a vision of integrity
Step up to the Mike - Scottish Waterboys star is a vision of integrity

The Herald Scotland

timea day ago

  • The Herald Scotland

Step up to the Mike - Scottish Waterboys star is a vision of integrity

Folk might be the first genre applied to the Waterboys, but you could bung in punk, rock and roll, country, rhythm and blues and, er, chamber music. Eclectic, ken? The man himself, son of a college lecturer, is right literary, making a show and album aboot yon W.B. Yeats, and spending much time at Findhorn, the New Age (getting on a bit now, mind) community in the northeast of Scottishland. He formed the Waterboys in 1983, taking the name from a line in a Lou Reed song. The band's first single was A Girl Called Johnny, and their first group appearance on the BBC's Old Grey Whistle Test. Discernible inlfuences on their imaginatively titled debut, The Waterboys, included Patti Smith, Dylan, Bowie, Van Morrison and U2. Still, nobody's perfect. Their first tour began in Frankfurt, with Eddi Reader providing backing vocals for the first two gigs. 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Although resultant album Dream Harder produced two top 30 singles, some fans thought it 'disappointingly mainstream' and, disombobulated by his own drift from Celtica, Scott fetched up at the aforementioned Findhorn, seeking solace in esoteric spirituality. Here, not unnaturally, he found himself 'playing the Monty Python theme with the Findhorn Ceilidh band at a Burns Supper in the Community Centre while people from five continents danced the Gay Gordons'. It happens. Actually, it happened during one of his many stop-overs, including working there for a year. His first experience of communal meditation had hooked him: 'Wave upon wave of electrifying inspiration passed through me … [and] I walked out of the Sanctuary dazed and thrilled.' Aye. 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But the big influence was always Yeats. For a fortnight in 2005, Scott read through his collected works over and over until certain words sparked the glimmer of a song. After two weeks, he had 10, later doubled to 20 and, with fiver more years' work, forming the basis for An Appointment With Mr Yeats. In 2010, this show had its world premiere in Dublin's Abbey Theatre, which Yeats had co-founded. Featuring a 13-piece lineup, the five-night show of 'psychedelic, intense, kaleidescopic … rock, folk and faery music' quickly sold out, receiving standing ovations and rave reviews. An album version, released in 2011, reached the top 30. As well as Yeats, Waterboys' concerts and albums have also featured the works of Burns, George MacDonald (Room to Roam), and Sufi poet Hafez. Greek god Pan has also made an apperance, as has Native American spirituality. 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Little Trouble Girls review – monstrous choirmaster spikes a sublime Catholic coming-of-age tale
Little Trouble Girls review – monstrous choirmaster spikes a sublime Catholic coming-of-age tale

The Guardian

timea day ago

  • The Guardian

Little Trouble Girls review – monstrous choirmaster spikes a sublime Catholic coming-of-age tale

This elegant and mysterious debut from Slovenian director Urška Djukić, with its superb musical score and sound design, reinvents the cliched idea of a Catholic girl's sexual awakening. It's also proof, if proof were needed, that no teacher in the world can be as cruel and abusive as a music teacher. We have already seen JK Simmons' terrifying jazz instructor in Damien Chazelle's Whiplash and Isabelle Huppert's keyboard monster in Michael Haneke's The Piano Teacher; now there is Slovenian actor and musician Saša Tabaković playing a demanding, yet insidious choirmaster in charge of a group of talented, vulnerable teenage girls. The film incidentally has a lesson for any teenage person watching: if a music teacher asks you to sit next to them on the piano stool with no one else in the room and murmurs 'You can confide in me' … you can't. The English title is taken from Sonic Youth's Little Trouble Girl, but otherwise this is strictly a matter of holy music. (The Slovenian original is Kaj Ti Je Deklica, which means 'what's wrong with you girl?'). Lucija (played by newcomer Jara Sofija Ostan) is a shy 16-year-old who is a member of her Catholic school's female choir; with her sexy, worldly, mercurial best friend Ana-Marija (Mina Švajger) she joins the choir's special trip across the Italian border for a week in Cividale del Friuli near Trieste; they rehearse in a nunnery, a lovely building with a courtyard featuring an olive tree, which is to assume a poetic quality as Lucija gazes at it during sleepless nights. To the intense irritation of the choirmaster, building work is going on, the noise from which disrupts his rehearsals, and darkens and complicates his mood. The girls look dreamily at the semi-clothed men doing the work, whom they also spy on as they go swimming, and there are many games of spin-the-bottle and truth-or-dare after lights out. The choral sequences of the film are wonderful, and the simple business of rehearsing, of taking music to pieces and putting it back together, is gripping. Tabaković's choirmaster is brilliant and demanding, with a born musician's natural severity but, as we are to see, something darker. The film's sound design is stunning in the sequences when we hear the girls' breathing exercises which themselves become a kind of eerie choral setpiece that mimics unconscious sexual excitement. Lucija and Ana-Marija boldly ask a kindly nun, Sister Magda (Saša Pavček) what it is like to do without physical pleasures and she tries honestly to answer that there is fulfilment in sublimating them into devotion to Christ. Is that what is happening with their music? Is that what the film is showing us: that their sexual development is being systematically suppressed, dammed, re-routed into religious music? Or could it be that sexuality is merely the inauthentic, immature version of music? Then there is the fateful, intimate encounter between the choirmaster and Lucija; he asks her to confide what troubles her, and Lucija rashly gives her an answer that deeply displeases and disappoints him, with awful results. It is then superseded by a kind of epiphany coda, enigmatically taking us forward to the next stage in Lucija's life. This is an utterly absorbing and outstandingly acted film. Little Trouble Girls screened at the Edinburgh film festival.

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