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Among the findings, the authors note that one-third of lesbian couples and 20.1 percent of gay male couples without a high school diploma are in poverty, compared to 18.8 percent of different-sex married couples; African American same-sex couples have poverty rates more than twice the rate of different-sex married African Americans; and, among women 18-44 years old, more than a quarter of bisexual women are poor (29.4 percent) and more than 1 in 5 lesbians are in poverty (22.7 percent).
The first two to clear the Tennessee Senate and House and get signed into law by Gov. Bill Lee deny minors access to gender-affirming health care and ban \"male and female impersonators\" from taking the stage on public property or where anyone under 18 could be present, effectively categorizing drag as sexually explicit adult entertainment that's harmful to minors. On top of those measures, Republican lawmakers are advancing a bill that will further limit drag by requiring professional performers to obtain permits, another allowing government employees to refuse to solemnize same-sex marriages on the basis of religious beliefs and a third that would legally define gender as a male-female binary prescribed by a person's anatomy at birth. Still another under consideration would prevent insurance companies that cover gender transition treatment anywhere in the U.S. from working with Tennessee's Medicaid program, TennCare.
But legal experts like Kathy Sinback, executive director of the American Civil Liberties Union of Tennessee, point to dangerous ambiguity in lawmakers' choice of wording. The fact that the statute names \"male and female impersonators,\" rather than drag queens and kings, she notes, opens the door to conflating the art and craft of dressing in drag with the everyday embodiment of transgender, nonbinary or gender-nonconforming people, music-makers included.
\"It is definitely broad enough to include trans people,\" Sinback observes. \"I think the intent is to be able to enforce it against anyone who [legislators] feel is not complying with the gender norms that they think they should be exhibiting. Anyone who's dressed as a sex that they were not assigned at birth is a 'male or female impersonator' in their point of view.\"
Bullens has been in the music business for half a century. Early on, he grew acutely aware of the scrutiny of certain performers' outward gender expression in certain climates. He knew from age 3 that he was a boy in a girl's body, and dressed accordingly. That continued when he got a big break in the '70s singing backup for Elton John in stadiums, and labored to build a solo career with a rousingly kinetic stage presence, his style \"to swing a Les Paul and jump off pianos and not be frilly.\" Back then, the industry still viewed him as a woman, and the androgyny that suited him personally didn't boost his professional image the way it did some cis male rockers of the era. \"It was difficult to move through the world as who I was, but I couldn't be anything different,\" he recalls. \"I lost record deals because I wouldn't dress like a woman. I lost professionally because I wouldn't conform.\"
What Bullens is unsure of is whether he'll stick around in Nashville, where he and his wife bought a house in 2020, to do that: \"I mean, do you think I want to live there if I can't perform there If living in the state of Tennessee further restricts my being, why would I live there And it's not because I would be running away from the problem. It's because it affects me as a human being. I'm not 21; I'm not 31; I'm not 41. I'm an elder now. Where am I going to live the rest of my life Where am I going to be free to be who I am\"
He's not the only one contemplating leaving Tennessee. Adeem the Artist has been measuring the kind of upbringing they want to give their young kid, whom they describe as having \"a very elastic understanding of gender,\" against tightening constraints in their home state. Already Adeem's had a foretaste of a selective and subjective crackdown; last year, at a festival near Knoxville, they were hurried off stage mid-set, and later learned that they'd been accused of \"talking about sexually explicit things in front of children,\" on account of singing a dreamy, bashful song about kissing a guy, mentioning they/them pronouns and wearing a romper. They don't want to also be denied future chances to provide their child with a different type of festival experience that they shared last year: watching a Dolly Parton impersonator together. \"It was a really sweet and important moment I was grateful to give my kid,\" they explain. \"And the idea that somebody's bigotry could restrict my freedom to take my kid to an event like that, to expose them to an artistic expression, is just bewildering.\" 59ce067264