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Cuban Voters Legalize Gay Marriage and Adoption

more than 79,000 community meetings between February and April to discuss some of the proposed changes, and amended some of its provisions based on community feedback, reports The Associated Press.Cuba’s National Assembly passed the revised code in July before sending it to the voters for final approval.While there are no independent observers of Cuban elections, Reuters reports that scattered local reports of district counts on social media appeared to align with official tallies. The approval of the code marks a significant shift with respect to both the government’s support for LGBTQ rights, and general attitudes towards homosexuality among Cubans.In the early 1960s, after former dictator Fidel Castro took power, many gay people were fired from their jobs and sent to labor camps known as Military Units to Aid Production, reports the Miami Herald.Although homosexuality was later legalized in 1979, many gay men and women reported experiencing discrimination in their daily lives.

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‘Hideous Bastard’ Review: Feeling Monstrous in One’s Skin
 Hideous Bastard (★★★☆☆) features the letters of the album title sticking out of Sim’s grinning face.A devout horror fan who also collaborated on a three-part horror short, Sim leans into his preoccupation with ugliness and monstrosity, and the gruesome image neatly echoes Hideous Bastard‘s deliberate, artful lack of subtlety.From its opening lines, it’s clear Hideous Bastard is a deeply personal work for Sim, which may go some way towards explaining why his foray into solo work has come so long after his xx bandmates Romy Mady Croft and Jamie xx began pursuing their own projects.“Been living with HIV since 17,” he bluntly intones at the end of his album opener and lead single “Hideous,” immediately following the revelation by asking “Am I hideous?” Disclosing his HIV status while also openly reckoning with the attendant shame that has accompanied it throughout his adult life is a devastating one-two punch.While Sim never quite manages to recapture the brilliance and emotional heft of his opener, he remains focused on the intertwined feelings of fear and shame, and the way they weave themselves into our relationships and affect our expectations of the world and ourselves.He comes close to matching the stark, introspective honesty of the title track in his musings on the relationship between shame and queer love on “Fruit,” and in his admission in “Sensitive Child” of the fragility that holds him back from relationships.
Bakery Owners Ask Supreme Court to Hear Religious Refusal Case
fined $135,000 by the Oregon Bureau of Labor and Industries following a 2013 incident in which the Kleins refused to bake a wedding cake for Laurel and Rachel Bowman-Cryer, a lesbian couple of 10 years.When Aaron Klein found out that the custom-made cake was intended for a lesbian wedding, he allegedly said, “We don’t do same-sex weddings” and called the couple an “abomination,” citing the Bible as justification.The Kleins have repeatedly claimed their religious beliefs opposing homosexuality prevent them from providing goods or services for a same-sex wedding.The Bowman-Cryers filed discrimination complaints with the Oregon Bureau of Labor and Industries and the Department of Justice.In response, the Kleins attempted to defend their refusal to bake the cake, “doxxing” the Bowman-Cryers in the process by sharing private information about them, including their address.The Bowman-Cryers were inundated with so many hateful messages and death threats that their two foster children had to be removed from the home for their own protection.The Bureau of Labor and Industries found that the Kleins had violated the Oregon Public Accommodations Law and ordered them to pay financial restitution to the Bowman-Cryers.The Kleins appealed the decision, which the Oregon Court of Appeals upheld. The Kleins then appealed to the Oregon Supreme Court, which declined to hear the case, before appealing to the U.S.
Transgender Man Dies in Assault Following Pride Parade in Germany
The Washington Post.The suspect had been described as between 5’6″ and 5’9″ with a slim frame and a beard, between 18 to 20 years old, wearing flared jeans, a T-shirt, and a bucket hat. He allegedly fled the scene with another male wearing a white T-shirt.The pro-authoritarian, right-wing commentary and opinion site Remix claims the suspect, identified as Nuradi A., is a migrant and former junior boxing champion from Chechnya, a majority-Muslim region of Russia, who had applied for refugee status but had his request rejected by the German government.Typically, that means he should have been deported back to Russia, but Germany halted all deportations back to Eastern European countries following Russia’s invasion of Ukraine and the instability in the region. While Remix and other right-wing sites, as well as fascist political parties, have been eager to link the Münster attack with other anti-LGBTQ attacks committed by Muslim migrants across Europe, some on social media have speculated that Nuradi may be gay himself, possibly having fled Chechnya due to the ongoing purge of gay and bisexual men there.A vigil celebrating Malte’s life and condemning anti-trans violence was held in front of Münster’s historic town hall on Friday night, drawing an estimated crowd of 6,500 people.On Saturday, a judge granted prosecutors’ request to keep Nuradi in detention while he awaits trial.
“American Prophet” Review: Prophets and Losses
American Prophet: Frederick Douglass in His Own Words (★★★☆☆), in its world-premiere production at Arena Stage, wisely draw directly from the source for their expansive, though not exhaustive, biography of the great abolitionist, author, publisher, statesman, escaped slave, and public speaker.The bulk of Douglass’ lines and lyrics in the show are words that the man either spoke or wrote, interpreted and interpolated fluidly by book writers Charles Randolph-Wright and Marcus Hummon.Randolph-Wright also directs, while Grammy-winner Hummon composed music and lyrics for the score, which floats between R&B, pop, and gospel influences, but stays too comfortably within theater conventions.The music doesn’t start down the most adventurous path. Opening with Douglass plaintively singing “What Does Freedom Look Like?” feels way too obvious.The follow-up number, “Going to the Great House,” turns out to be a sharply satirical subversion of happy-dancing-slave tropes, but then shifts into a sober — and, again, very on-the-nose — “Wade in the Water,” complete with choreography reminiscent of Alvin Ailey’s “Revelations.”Fortunately, the show goes bolder in its characterization of Frederick Douglass.