a&e features
New Museum of the Bible offers no mention of LGBT issues and scripture
Curators claim material is for visitors to interpret; gay Christians say it could have been much worse
One of many historical Bibles displayed at the new Museum of the Bible in Washington. (Washington Blade photo by Joey DiGuglielmo)
Museum of the Bible
400 4th St., S.W.
Free admission
The team behind the new Museum of the Bible, which opened last weekend in Washington, said all along they wouldn’t “mention homosexuality, abortion or any other political commentary” and they’ve stayed true to their word.
The controversial museum — housed in a massive, 430,000-square-foot building three blocks from the U.S. Capitol in Southwest Washington — was established as a 501(c)(3) nonprofit in 2010. In 2012, museum personnel purchased the former Washington Design Center for $50 million and spent years having it converted into an eight-story structure with two basement levels and two new floors added to the existing rooftop at a total cost of more than $500 million.
All the effort and expense shows. This is no amateur endeavor despite the bumps in the road the billionaires behind it — it’s been largely funded by the Green family, owners of Hobby Lobby — have encountered along the way.
Pottery vessels on display at Museum of the Bible discovered at the Khirbet Qeiyafa, the site of an ancient fortress city overlooking the Elah Valley. Ruins of the fortress were discovered in 2007 about 20 miles from Jerusalem. (Washington Blade photo by Joey DiGuglielmo)
During a media preview last week, a few finishing touches were still being applied. Ladders and cans of paint were seen in several corridors much like they were during media previews for the National Museum of African-American History and Culture that opened last year. The museum’s communications team didn’t hesitate in including the Blade. The Blade has also learned of at least one openly LGBT person on staff at the museum.
Steve Green is president of Hobby Lobby and chair of the Museum of the Bible board. He told media at the museum on Nov. 15 that the purpose of the museum was “not about us espousing our faith.”
“The example I primarily use is in the Bible, it says, ‘In the beginning God created …,’ so we tell that story on the narrative floor but it’s not our position to tell you when God created, so we don’t take a position on whether that’s true or not. We just say, ‘Here’s the Bible story,’ and then you can decide what you do with it.”
Another recurring theme from staff is that the museum is “non-sectarian” and they’ve gone to great lengths to take an ecumenical approach. One exhibit features items on loan from the Vatican and the museum boasts what it claims is the world’s largest private collection of retired Torah scrolls and the second-largest private collection of Dead Sea Scroll fragments, the earliest-surviving manuscripts of the Hebrew Bible.
“Obviously we’re trying to be inclusive,” Green said. “We have the Israel Antiquity Authority, we have the Vatican having space in here, so it’s not about a faith tradition. We have a love for the Bible and we want to include everyone. We want atheists to feel comfortable coming in here because they’ll know, in essence, we’re not pushing our agenda. We’re just trying to educate them on a book. If you wanna believe this book is a novel, fine. Just be educated on what you believe and that’s what we wanna do.”
Steve Green, chairman of the Museum of the Bible board and president of Hobby Lobby, speaks to reporters at the museum on Nov. 15. (Washington Blade photo by Joey DiGuglielmo)
The scope alone is impressive. Museum personnel claim to read every placard, see every artifact and experience every activity in the museum, it would take nine days at eight hours per day.
And while some have expressed relief that the museum has taken a vastly more academic approach than, say, the Creation Museum in Petersburg, Ky., which presents the Genesis account of creation as literally true, the Museum of the Bible is still wildly controversial.
The museum has come under intense criticism — the Washington Post’s coverage has been especially tough — for several issues. Among them are:
• what some consider the Green family’s baggage from their 2014 fight against mandatory employer-provided birth control that resulted in a Supreme Court ruling that struck down the contraceptive mandate part of the Affordable Care Act requiring employers to cover certain contraceptives for female employees. The Greens have paid for newspaper ads espousing the “real meaning” of Christmas and have donated $70 million to Oral Roberts University and other evangelical institutions that lean toward the fundamentalist end of the religious spectrum according to Vox and other outlets.
• a $3 million fine imposed by the Department of Justice in a civil action suit that said the Greens, who started collecting in 2009, had obtained thousands of Iraqi artifacts they obtained without the necessary clearances in 2010 and 2011. The Greens said the seized artifacts were never part of the museum collection and said they’ve “engaged the leading experts in abiding the highest standards of museum guidelines (from the Association of Art Museum Directors) and other organizations. Those are the policies that we will adhere to here at the museum,” Green said last week.
• accusations that Hobby Lobby owners neglected to do their due diligence in acquiring the artifacts that got them in trouble. At the time, they said, “the company was new to the world of acquiring these items and did not fully appreciate the complexities of the acquisitions process. This resulted in some regrettable mistakes. The company imprudently relied on dealers and shippers who, in hindsight, did not understand the correct way to document and ship these items.” According to museum tax records cited by the Washington Post, Hobby Lobby donated about $201 million in artifacts to the museum, about 2,800 of the Greens’ 40,000-piece collection.
• a sense that the museum’s mission has shifted from inception to fruition. Perhaps, some would argue, for the better, yet it casts doubts on the owners’ intentions. According to Vox, in 2011, the museum’s nonprofit tax filings stated its purpose was “to bring to life the living Word of God, to tell its compelling story of preservation and to inspire confidence in the absolute authority and reliability of the Bible.” By 2013, the wording said simply that “we exist to invite all people to engage with the Bible.” “It felt in the last few years like they were moving from running in the primary to running in the general election,” says Matthew Vines, a prominent gay evangelical writer. “Now you’re going to focus on reaching the center and not just activating the base anymore. Now it feels more like a normal, general-election campaign.”
• the role of the National Christian Foundation, a Georgia-based organization with a mission to “advance God’s kingdom,” that has given millions of dollars annually to churches and civic groups, many of which, according to the Washington Post, are “engaged in court fights against same-sex marriage, abortion rights and other social policies.” The foundation directed about $163 million to the museum between 2013-2015 according to the Post, which cited tax returns for its information. While the museum touts that 50,000 donors have given money to the museum, which does not charge admission and is registered as a public charity, 89 percent of 2016 donations came from the National Christian Foundation; it was 96 percent in 2015, Museum President Cary Summers confirmed to the Post.
• several claims of dubious action made by Candida R. Moss, a theology professor at the University of Birmingham, and Joel S. Baden, a professor of Hebrew Bible at Yale Divinity School, in their new book “Bible Nation: the United States of Hobby Lobby” in which, according to the Post, they claim the Greens have “exploited tax-exempt rules to financially benefit from their acquisitions” and “have probably purchased forgeries, items of questionable provenance and possibly even looted antiquities.” The book also claims the Green Scholars Initiative has hired a disproportionate number of scholars with similar evangelical backgrounds and that while they maintain the Greens are well-intentioned, they accuse them of dumbing down on biblical scholarship. That they “believe it is possible to tell the story of the Bible without interpretation betrays not only their Protestant roots and bias,” the authors write, “but also their fundamentally anti-intellectual orientation.”
It’s a concern echoed by some LGBT believers as well. Because the museum just opened and few have had a chance to experience it directly, some were hesitant to say much although concerns were expressed.
Fred Davie, vice president of Union Theological Seminary, said the Bible is not a simple book.
“The way these ancient texts have been put together and then blessed by various religious bodies is very, very complicated,” Davie, who’s gay, said. “We have to be careful because most believers’ understanding of scripture in my experience is pretty much at a very basic, almost Sunday school level. … The Bible as we know it has been used to do lots of bad things to God’s creation, both creatures and flora and fauna throughout history — everything from enslaving people to denigrating women and relegating them to a lesser roles to all forms of oppression against LGBT folks.”
Davie said he’s been encouraged by media accounts he’s read that state the museum staff has attempted to be non-partisan and ecumenical, but also said the whole concept of a museum such as this could be problematic.
“You want to try to give them credit for making scripture accessible to large numbers of people and to make it popular … but it is very complex and to attempt to present the museum as an amusement is fraught with pitfalls. If they have tried to be balanced, you know, God bless them, but what I worry about is that it will simply reinforce a Sunday school, simplistic notion of scripture.”
Davie says faulty and overly simplistic interpretations of scripture historically have been used to marginalize many such as African Americans, women and gays. To approach the museum as a vehicle for entertainment, he says, could backfire with similar consequences.
Despite the curators’ claims that they aren’t getting into controversial issues such as homosexuality and abortion, the museum doesn’t tiptoe around all controversy. The second floor is devoted to the “impact of the Bible” and the “Bible in America” and goes from the book’s role in the formation of the United States culminating with “Civil Rights and beyond: equality and religious freedom.”
So why did curators delve into the issue of the Civil Rights Movement but avoid LGBT rights? The museum has exhibits devoted to topics one might not expect such as the Bible in fashion, the Bible in pop culture and others.
Seth Pollinger, director of museum content, said deciding what to include and what to leave out is an ongoing challenge for any museum, especially a new one. His role is to work as a liaison between the designers and scholars and curators. He said the team worked hard to assemble content that is “authentic and sincere and on track with reliability and constructive to the overall message of how everything fits together.”
As for possible LGBT issues in the future, Pollinger said, “I think we’re working on it.”
“I think these are the kinds of discussions that we hope to have and areas we hope to grow in in the future,” he said.
Was there a sense that some topics such as LGBT rights and the Bible might be easier to avoid because they’re so divisive? Pollinger said yes and cites how the Bible historically was used both to justify and condemn slavery, though no pro-slavery items or exhibits are in the museum.
“That was one example where we had to weigh whether or not we could do that from a social standpoint and present those things without doing something that would be offensive,” he said.
He also said that even with eight floors and 430,000 square feet, space is always an issue.
“You want to make sure you’re able to cover a wide spectrum of views and in some cases we felt like we had a very small amount of real estate available,” Pollinger said. “In the future, as we start to feature a balance of views within a small space, we can have more dialogue on that. We just felt that for opening day, we just didn’t have that all solved yet.”
Matthew Solari of BRC Imagination Arts worked on two animated films shown at the museum, one on the Old Testament, another on the New. He’s worked on similar projects for other major museums such as the Kennedy Space Center, the Epcot pavilions and more.
“When we were deciding whether this was something we wanted to throw our energies and talents into, we had several escape hatches at various points along the way where we could have gone the other direction and left,” Solari said. “But we never did. We never felt pressured in any way to say or do something we felt was betraying the promises that were made to us as storytellers in the beginning and also what we thought were going to be stories that were going to be welcoming and kind to people as opposed to people that were going to be finger wagging and thou shalt not. We weren’t interested in doing any of that kind of stuff and we were given a very wide berth. They were an excellent client to work with.”
Vines, founder of the Reformation Project, an agency that works to advance LGBT inclusion in the church, who came to prominence with the 2014 publication of his book “God and the Gay Christian: the Biblical Case in Support of Same-Sex Relationships,” said he’s “cautiously optimistic” about the Museum of the Bible.
He points to recent events in the evangelical world in which World Vision, a “sponsor-a-child” program, backtracked quickly when about 10,000 evangelicals threatened to pull their child sponsorships if the organization opened its doors to hiring gay staff, and InterVarsity Christian Fellowship, a college campus ministry, which took a renewed and harder stance against LGBT-affirming staff last fall.
“Culturally these groups are very similarly situated in terms of their support bases and … I find it encouraging that the Museum of the Bible did not feel compelled to do something similar. I could easily see a number of donors wanting to put strings on their donations and say there had to be one part of the museum that said marriage was one man, one woman for life,” Vines said. “I don’t know the politics and dynamics of those conversations but clearly that didn’t end up happening and I just appreciate, not even knowing all the back story, that the museum is not taking an oppositional position. That is a kind of progress.”
The entrance to Museum of the Bible on 4th Street in Southwest Washington. (Washington Blade photo by Joey DiGuglielmo)
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What ‘Queer Eye for the Straight Guy’ can still teach us
Producer David Collins on lasting impact of hit series
It’s hard to imagine where LGBTQ+ television would be without “Queer Eye for the Straight Guy,” the trailblazing reality series that premiered in 2003.
Each episode of this Emmy-winning show saw a group of gays converge on a struggling man — the titular straight guy — and offer nonstop wit while organizing his endlessly messy life. This program about a group of homosexual helpers took the world by storm, furthering the love of gay television begun by shows like “Will and Grace” but bringing it into the growing medium of reality TV. Of course, it wasn’t perfect; “Queer Eye for the Straight Guy” often cast its experts less as multi-faceted queer folks and more as sources of early 2000s gay jokes. But despite these pitfalls, it’s undeniable that the original program explored the realities of being gay in a way audiences had never seen before. It was a monumental piece of LGBTQ+ representation, and its success is largely owed to the man who fought to get this show made: producer David Collins.
Collins spoke with the Blade from his Los Angeles home, where he’s spent the past few years living with his husband and his two daughters. David spoke fondly of his many years in the industry, detailing how it feels to be such a huge part of LGBTQ+ history. He explained, however, that he didn’t initially set out to alter how queer people were seen on television. “I never went out to make gay television,” said the producer. “I went out to tell great stories.”
“I’m a hillbilly from Ohio, and I thought I was going to be an editor,” David laughed, looking back on his career. “I interned at the Cincinnati Film Office, and I showed up to work my very first day, and the film commissioner was like, ‘Get to the airport right now and pick [someone] up. Don’t talk to them.’ Well, I ended up picking up Jodie Foster.” Collins raved about this car ride that changed his life, with the pair becoming friends and Foster pushing him to become a producer who puts their own media out into the world. Eventually, he did just that, and after learning about the wild new genre that was reality TV, he pitched a series to Bravo: “Queer Eye for the Straight Guy.”
“I was obsessed with Esquire magazine, and they had five categories: fashion, grooming, interior design, culture, food, and wine. So I gave them each a gay, and the Fab Five were born!” Collins said, describing how viewers quickly fell in love with the concept and earned the program four seasons and an Emmy for Outstanding Reality Program. He spoke about how proud he felt creating a show that centered real gay people, not characters in a story, remembering, “To stand in the middle of Times Square and look up and see this massive billboard with the original Queer Eye guys…it wasn’t even a dream come true, because it wasn’t a dream I had even fathomed.”
With his series, people were watching actual gay men and learning the realities of a queer culture that had always been portrayed as a danger to society. Collins tearfully recounted hearing about queer people using the show as a way to connect with their family, saying, “What I’m most proud of that’s come out of Queer Eye [are] the conversations that that series has allowed to have people around their kitchen tables with little boys in Ohio like me who were scared to death that they were going to burn in hell because their pastor was telling them that they were a sinner.”
Now, for all of its trailblazing, the program wasn’t wholly positive; the show’s focus on the central ‘straight guy’ meant it rarely delved into the lives of its Fab Five. Collins regretted that lack of depth but understood that earlier audiences weren’t accustomed to such a nuanced look into queerness — that would have to wait for the reboot.
When “Queer Eye” came out in 2018, audiences were introduced to not only a new Fab Five, but a whole new format (that didn’t rely on a straight person). Now, the series would assist queer folks and allies alike, spotlighting these individuals as well as the queer experts helping them improve their lives. The show has been applauded for its amazing makeovers, but where it truly stands out is its representation, offering a look into individuals across the country and the struggles — along with the immense joys — of being queer in America today.
Fans were disappointed to hear that “Queer Eye” would be ending after its 10th season, but David stressed that they wouldn’t have to be sad for long. “What I will say to you is this: hang tight,” he teased. “There’s yet another version of ‘Queer Eye’ to come, and we’re working on that now.” In the meantime, Collins is continuing his work with new shows like the “House of Stassi,” a series centered on “Vanderpump Rules’”prolific waitress. He’s excited about these new projects, but emphasized that his heart will always belong to “Queer Eye for the Straight Guy” and all that it continues to do for viewers 19 years after its finale.
“It’s not about your new outfit or your new couch or your new whatever. It’s about your humanity,” said Collins, speaking about the core lesson he hopes people take away from the Queer Eye franchise. “It’s about seeing yourself. It’s about dignity. It’s about how confidence breeds success.”
A valuable message that queer folks can benefit from even more now than they did in 2003. And, while it’s unclear just what lies ahead for this franchise, one thing is for sure: “Queer Eye for the Straight Guy” helped people everywhere understand the power that exists within our queerness. It’s a truth that has impacted countless pieces of LGBTQ+ television today, and it’s one that Collins promises to keep alive through whatever hit show he creates next.
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Jason DePuy on coping with homophobia in ‘Big Brother’ house
First drag queen contestant on CBS show fought to stay positive
One week after Jason DePuy (known as Salina EsTitties on “RuPaul’s Drag Race”) was bullied and eventually evicted from CBS’s “Big Brother” house, the queer drag performer is still emotionally processing his feelings.
During his 24 days in the reality TV competition, DePuy often had a rough time, with fellow cast member Kamuela “Kamu” Kirk making homophobic comments and feeling isolated.
In a conversation with Head of Household Rick Devens, Kirk left viewers upset when he said, “Bro, miss me with the drag stuff. Miss me. I’m still an MMA guy, and I have an image to uphold.”
Former “Big Brother” contestant Frankie Grande called his words ‘homophobic’ and ‘gross.’ Another comment, where Kirk said he wanted to end DePuy’s career, also received strong backlash online.
Now that he is out of the house, DePuy has been shocked and deeply touched by the love from “Big Brother” fans and former contestants. We chatted with DePuy for this Blade exclusive.
“To know that my community was rallying for me outside the house was the most wonderful thing. Seeing how much people were just wanting to shower me with love was incredible. Even my friends, I went to say hi and give them a hug, and they’re like, ‘Uh, uh, come here.’ They had to hold me and let me know America was feeling for me in a way that I had no idea.”
He added: “To see that reality was just overwhelming, and I couldn’t ask for more.”
Known as a messy player in the house, DePuy often had to fight to stay positive and stand up for himself.
“No one was coming to my rescue. In real life, it’s easy to block people, but in the house, I didn’t have that luxury, so I had to find it within myself to learn how to speak up for myself in a way that wasn’t nasty or biting. I didn’t attack anyone personally, which is what I was the most proud of.”
DePuy acknowledged he has had a history of putting his foot in his mouth when it came to certain “Drag Race”moments, being in the public eye, and making a fool of himself. “I’ve learned my lessons; to see how I handled myself in the ‘Big Brother’ house was amazing.”
While DePuy has been sober for 14 and a half years and has a strong spiritual foundation, in the Big Brother house, he often felt like he couldn’t communicate what he was feeling.
“As a queer person, a person of color, a drag queen, I have to be very careful about how I move. I don’t have the luxury or privilege to just act a certain way or say a certain thing. I have to be very careful; I’m representing me. But who I am is a Latino, a person of recovery, a drag queen, a queer person in the community. I know that there’s a lot of pressure that comes with that. I felt it was safer for me to sit there and just breathe than try to do anything crazy.”
He continued: “I couldn’t speak to the personal attack that was happening in the house, because in my mind I was like, ‘no, this is a game, and I have to play it, put that aside.’”
Not only can viewers watch the episodes, but they can also watch the live feeds of what’s happening. Seeing the fans’ social media posts from people who had watched the episodes and the live feeds also contributed to DePuy realizing that his feelings of discomfort were valid.
“To know that I wasn’t delusional in those moments, that others could see what was happening, has been a lot to take in. Fans and friends let me know the comments made went beyond the game…I’m like, ‘Oh, so my instincts were correct.”
One of the most poignant moments on the live feeds occurred when DePuy was crying, alone in his room, and said how he missed his gay community.
“I really missed my friends. I missed my queer community. We’re so colorful. We’re so loud. We’re so vibrant. We speak off the cuff, and we’re very truthful and honest with how we speak, and it’s fun. We have fun lingo.”
DePuy had to censor his expressions in the house. “Because I can say one thing, but it can mean something different to straight people than it does with my queer brothers and sisters. So, there was a sense of code-switching that I had to do. I had to even put aside some of my queerness in a way sometimes to fit in.”
DePuy was thrilled to be the very first drag queen to ever be cast on the show.
“I’m honored to have been chosen. There’s a million drag queens out there, and to know that I was a contender to come in the house and not even be in drag was like a wow for me. I’m over here in Hollywood, running around these streets with a wig and heels just to make a dollar to survive, and I have to rely on drag to do that. And then to be offered this opportunity and be given the privilege to say, ‘hey, you don’t have to put on the wig for you to be valuable here,’ is just insane to me.”
Prior to his shows, DePuy has been hustling for 15 years, flipping burgers and doing drag at night.
“That has been my life these past since I was 17. So it’s been a long journey; the opportunity to do this out of drag is a very big blessing. I’m honored and grateful to be the representation of my community.”
If you missed Jason on “Big Brother: Unlocked,” the episode can be seen on CBS.com. He will be back on the show for the finale.
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Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Last month’s Pride celebration in D.C. was so fun. Walking around my first Capital Pride with a $15 lemonade I was loving the madness and the color. Artists and small businesses battling banks you’ve never heard of collecting your personal information so you can spin a wheel to snag free merch. Great music blaring, people actually smiling and enjoying themselves, the “Great” American State Fair could never!
The Monument Stage was on Pennsylvania Avenue, directly in front of the National Gallery of Art and I can’t think of a better venue to see live music. How does someone get on the lineup for Pride? How do we accelerate the visibility of the most talented voices in our community to perform in places like this?
There is certainly not a talent gap, but there is a visibility gap. Chappell Roan went from playing for two people in a parking lot to owning the main stage at Coachella in one year. Whether it is shadowbanning or bias in AI, algorithms have been shown to suppress queer artists. In a digital age, how can queer people break through and show the world how talented they are?
Allison and Matt of Rainbows in Revolt are on a mission to make openly LGBTQ+ artists’ voices heard. Their goal is to find “musicians whose queerness is central to their identity as an artist,” and accelerate them to a place where they can actually reach fans.
The only time queer events seem to be in the spotlight is June, but this should be year round, according to Allison and Matt. Rainbows in Revolt wants to act as a “nucleus” for different sub-communities, finding common ground in the universal language of music.
Matt and Allison founded Rainbows as a way to make cheaper, higher quality merchandise for queer artists. While Rainbows has already pledged 20% of their profits to the LGBTQ+ community, with 10% to Whitman-Walker Health and 10% to LGBTQ+ organizations in need, this is just the beginning of the work that they do.
Rainbows “does the dirty work” that artists normally struggle to do on their own with limited resources. Interviews, artist profiles, social promotion, playlist discovery, radio outreach, and merch-funded support. This work is normally expensive, time consuming, and requires lots of different skills. Musicians don’t want to be editing clips to post online. Standup comedians don’t want to make graphics for their tour dates. They want to write more. They want to focus on their craft.
In addition to helping artists find their audience, Rainbows has built other digital tools to help queer people connect, including an interactive Safe Space Map for most major cities. It is hard to know which places are truly safe and supportive just from a simple Google search. Attitudes and actions change, and there should be a simple way for queer people to find other places that align with them. The Safe Spaces Maps are all up to date, and are tagged and filterable. Instead of relying on forums and word of mouth, Rainbows has created a centralized way to find authentic community quickly.
I had a chance to talk with Allison and Matt at Pride where Lily Erin, one of their signature artists, was performing on the Monument stage. Lily Erin is a folk singer who is familiar and forging her own path. Her bittersweet sound echoes through Acadia, and her garb mirrors the New England athletes I grew up with. Gorp Core meets streetwear. A graphic tee, hiking shorts, and creamsicle Jordans.
Her debut single, “Bus Stop,” tells a sad story about unconditional love, and the conditions that still seem to come with it. Graduating into lockdown, Erin needed a new way to connect with herself and others. Lily made “Bus Stop” without an intention to share it, but doing so was a liberation. People have been responding to her honesty around queer-ness, family, and the “ghosts which haunt us” even in the daytime.
Rainbows in Revolt has helped Lily Erin go from bars and backyards to The Monument Stage at Pride. This is a meteoric rise, and a testament to both Erin’s talent and the work of Rainbows to promote her. “A little encouragement goes a long way with early artists,” and by “planting a seed” Rainbows is already seeing their artist garden grow. Community is power, and Erin is a perfect example of how effective simple modern techniques of promotion can be.
A next step for Rainbows is putting on shows themselves. On Oct. 3, Rainbows in Revolt will host an Evening with Ray Boltz at the National City Christian Church. Boltz grew up in the Catholic Church and for many years was the soundtrack to many services, youth camps, and church groups. He was celebrated by millions until he came out in 2008. Allison remembers her community “never playing his music again.”
Rainbows in Revolt is helping him to return to the church, and proving that identity does not need to be exclusive. We live in a complicated world with complicated lines being drawn. Boltz proves that these lines don’t exist, and will be breaking down barriers to bring together communities. To Allison, “a trans woman standing next to a straight white man in church is a powerful teacher.”
The Safe Space maps bridge all types of spaces, and one of the unlikely ones is, perhaps, churches. Matt said that “BYU has only nine safe spaces around their campus and seven of them are churches.” Not all churches are anti-gay, and many times they are the only place for people to find community.
Rainbows in Revolt is just getting started bridging gaps and building community.
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