August 2026

BEN CHAVEZ Premiering a new queer musical Pg.24

NATHANIEL COOK From Houston to the Recording Academy Pg.30

AUG. 2026

LEGACY in MOTION

SARA VAN BUSKIRK Writing songs rooted in authenticity Pg.28

HOUSTON’S LGBTQ MAGAZINE

Dear Prairie View honors Prairie View A&M’s 150-year legacy at the Wortham Center

HARRISON GUY turns Black history, activism, and identity into contemporary dance Pg.42

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DECEMBER 2024

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Harrison Guy Dear Prairie View SEP 4–5, 2026 CULLEN THEATER, WORTHAM CENTER

Can’t-Miss Houston World Premieres

Ben Chavez Last Day, County Fair SEP 25–26, 2026 CULLEN THEATER, WORTHAM CENTER Timothy G. Green and Bonny McCloud, Executive Producing Sponsors.

New/Now is made possible by generous support from the Powell Foundation and the Performing Arts Houston Foundation through the Toby Maddox Fund for New Works.

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FEATURES

24

39

42

28

35

48

24 THE MUSIC ISSUE

28 THE MUSIC ISSUE

Ben Chavez expands his queer concert-musical into a world premiere

Sara Van Buskirk builds community through honest songwriting

30 THE MUSIC ISSUE

35 THE MUSIC ISSUE

39

Nathaniel Cook brings a queer voice to the Recording Academy

Angela Uhegwu blends queer identity with Nigerian heritage

26

LAST DAY, COUNTY FAIR

A SEAT AT THE TABLE

42 COVER STORY

PRAIRIE VIEW RISING

Harrison Guy celebrates 150 years of history in motion

4

AUGUST 2026 | OutSmartMagazine.com

BEYOND THE MUSIC

46

A SHARED CRAFT

Brock Hatton and Lee Barker find new meaning in working together

THE SOUND OF TRUTH

THE ORCHESTRA EFFECT

Ruby Ortiz creates Houston’s first Pride orchestra

48

ROLLER DISCO REVIVAL

Logan Vaden revives the cult musical Xanadu

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D R . SA M CA R R E L L F i n a l i s t Be s t De n t i s t A U S T I N FA U L K W i n n e r B e s t De n t i s t J AC Q U E L I N E CL E M M E R W i n n e r Be s t D e n t a l Hy g i e n i s t M E L I S S A BA E Z F i n a l i s t De n t a l Hygienist

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D E PA R T M E N T S NEWS & COMMENT

17 PRIDE BANNERS SET TO RETURN TO MONTROSE

The new district restores LGBTQ visibility along lower Westheimer.

18 ANCESTRAL THREADS

Shylah Salas draws on her CHamoru

roots to shape art, business, and belonging

OUT & ABOUT 12 CALENDAR 50 WEDDING GUIDE 54 OUT THERE 56 SIGN OUT 58 SCENE OUT

ON the COVER LEGACY in MOTION

Harrison Guy transforms Prairie View A&M’s legacy into a contemporary dance work about identity, memory, and belonging.

Story by Neil Ellis Orts Photo by Sara Buchsbaum @babybxbm 6

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EDITOR’S NOTE Houston has long been home to artists whose work reflects the city’s diversity, and its queer creative community continues to expand across music, dance, theater, and the visual arts. This year’s Music Issue highlights artists who are building careers beyond Houston while remaining deeply connected to the communities that shaped them. Together, they demonstrate how the city’s LGBTQ creatives continue to influence Houston’s cultural landscape while creating new opportunities for queer voices.

We begin with composer and performer Ben Chavez, whose new concert musical, Last Day, County Fair, receives its world premiere through Performing Arts Houston. Expanding a 30-minute workshop into a full-length production, Chavez blends original songs with a story inspired by coming out, family, and belonging. Singer-songwriter Sara Van Buskirk also shares how her forthcoming sophomore album draws from Americana, folk, and country traditions to explore authenticity, healing, and the lasting impact of growing up queer in the church. Houston-born Nigerian musician and visual artist Angela Uhegwu, who performs as S.O.U.L.A.S.P.H.E.R.E., discusses creating work that embraces both her Nigerian heritage and queer identity while centering

LGBTQ representation through music and film. We also speak with cellist Nathaniel Cook following their appointment to the Recording Academy’s Class of 2026, reflecting on artistic collaboration, advocacy, and Houston’s growing presence within the national music community. Rounding out our music coverage is the Houston Pride Orchestra, founded by violist Ruby Ortiz to provide LGBTQ classical musicians and allies with an affirming place to perform while making orchestral music more accessible to new audiences.

Our cover story turns to dance with Houston choreographer Harrison Guy, whose Dear Prairie View honors Prairie View A&M University’s 150th anniversary. Commissioned

by Performing Arts Houston, the production draws on archival research and personal experience to celebrate the broader HBCU legacy through movement and storytelling. We also catch up with Brock Hatton and Lee Barker, whose 15-year relationship has come full circle at the Houston Shakespeare Festival, where one performs onstage while the other helps bring productions to life behind the scenes.

Meanwhile, The Garden Theatre brings the cult favorite Xanadu to MATCH, celebrating the Broadway musical’s enduring appeal through disco, comedy, and unapologetic camp.

Our community coverage looks to both Houston’s history and its future. Pride banners are expected to return to lower Westheimer for the first time in decades, restoring a visible symbol of LGBTQ pride to one of the city’s most historic queer corridors as Pride Houston 365 prepares for its rescheduled August 15 parade. We also recognize the International Day of the World’s Indigenous Peoples with a profile of performance artist and entrepreneur Shylah Salas, whose work celebrates CHamoru heritage while connecting Indigenous identity, queer visibility, and community through art, advocacy, and entrepreneurship.

As always, we thank our writers and photographers, whose work is essential in telling Houston’s LGBTQ stories. And our readers, advertisers, and donors who keep this magazine and the OutSmart Foundation thriving also deserve special recognition. If you believe community-driven journalism is vital in these troubled times, please consider donating to the OutSmart Foundation for LGBTQ News and Media.

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FEBRUARY 2025

69

CALENDAR OF EVENTS

@COR.VIRIDIS

QUEER THINGS to DO

FESTIVAL

PIN LIM

48th Annual Houston Pride 365 Houston Pride 365’s rescheduled celebration returns with live entertainment, local and national talent, immersive activations, community vendors, and Pride experiences, followed by the nation’s largest nighttime Pride parade. tinyurl.com/mp9zu3p8

DALTON DEHART

August 15

COMMUNITY

STAGE

August 5

First Wednesday Happy Hour The Diana Foundation and OutSmart Magazine launch a new partnership with their monthly First Wednesday Happy Hour at Pearl Bar Houston. August’s gathering welcomes The Garden Theatre as the community guest, featuring happy hour specials, complimentary appetizers, door prizes, and a preview performance from Xanadu. tinyurl.com/yc6wsnzr 12

AUGUST 2026 |

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STAGE

July 31–August 9

A Nice Indian Boy Asia Society Texas and Aerial Roots Theatre Company bring Madhuri Shekar’s A Nice Indian Boy to Houston with a warm, witty story of love, family, and tradition as Naveen introduces his white, Bollywood-loving boyfriend to his Indian American family. tinyurl.com/3ft5chmp

August 14–30

Xanadu The Garden Theatre opens its 2026-27 season with Xanadu, the Tony Awardnominated musical based on the Olivia Newton-John cult classic. Packed with roller skates, pop hits by Jeff Lynne and John Farrar, and plenty of camp, the show follows a Greek muse who inspires an artist to create the world’s first roller disco. tinyurl.com/3mdxnefb

@COR.VIRIDIS

COMMUNITY

COMMUNITY

COMMUNITY

Miller Summer Mixtape Miller Outdoor Theatre’s sixth annual Miller Summer Mixtape celebrates Houston’s independent music scene with performances by Sara Van Buskirk, Saint Judas & The Black Hymns, and Rodell Duff. Hosted by Kam Franklin with DJ Mikey Drag, the free concert showcases the city’s diverse sounds, from country and Americana to soul, blues, and rock. tinyurl.com/22nxwvz3

Kindred Spirits Dance The Montrose Center’s annual Kindred Spirits Dance returns to The Ballroom at Bayou Place for an evening of music, dancing, and community. Revived in 2002, the event honors the legacy of Houston’s iconic Kindred Spirits nightclub while raising funds for the Montrose Center’s LGBTQ+ women’s programs. tinyurl.com/y9xvh8r8

The Roaring Red The University of Houston LGBTQ Alumni Network hosts its annual Red Dinner, raising scholarship funds and emergency aid for LGBTQ+ students. This year’s Roaring Twenties-inspired gala features Houston Ballet principal dancer Harper Watters, with Pooja Lodhia and Carlos Hernandez serving as co-hosts. facebook.com/UHRedDinner

Voyage Under the Sea Tony’s Place hosts its annual fundraiser, Voyage Under the Sea, at ARTECHOUSE, transforming the venue into an immersive underwater world with drag performances, themed cocktails, music, and interactive experiences. Proceeds support housing navigation, stabilization services, and other affirming programs for LGBTQ youth. tinyurl.com/c3mpw6mu

August 15

August 15

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August 23

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CALENDAR OF EVENTS

Houston’s most anticipated dining event is celebrating its 23rd year!

QUEERTHINGS to DO

SAVE the DATES

STAGE

September 4–5

Harrison Guy: Dear Prairie View Performing Arts Houston presents the world premiere of Houston choreographer Harrison Guy’s Dear Prairie View, a multidisciplinary work celebrating the 150th anniversary of Prairie View A&M University through dance, music, spoken word, and visual storytelling. tinyurl.com/guy-dear-prairie-view

That’s 38 days of delicious meals & super deals raising necessary funds for the Houston Food Bank.

Around 350 of Houston’s most popular restaurants will serve specially priced, multi-course prix fixe menus.

STAGE

September 25–26

Ben Chavez: Last Day, County Fair Performing Arts Houston presents the world premiere of Ben Chavez: Last Day, County Fair, a New/Now commission blending songs and storytelling to explore identity, memory, and self-discovery. tinyurl.com/Ben-Chavez

COMMUNITY

Saturday, October 3

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Katy Pride Celebration 2026 Katy Pride’s 2026 celebrates the strength, resilience, and vibrant diversity of the LGBTQ community in Katy and West Houston. The celebration features 70+ vendor booths, live entertainment, community resources, family-friendly activities, and opportunities to connect with local LGBTQ organizations and allies. tinyurl.com/2s3hva7m COMMUNITY

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Saturday, October 31

The Woodlands Pride Festival 2026 The Woodlands Pride Festival is a free all-ages celebration bringing together thousands of community members for live entertainment, local vendors, food trucks, and family-friendly fun. tinyurl.com/45sn254m

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COMMUNITY

PRIDE BANNERS SET TO RETURN TO MONTROSE The new district restores LGBTQ visibility along lower Westheimer.

by BRANDON WOLF

P

ride banners are expected to return to lower Westheimer as part of a new effort to restore LGBTQ visibility in the heart of Montrose.

The recently approved Montrose Pride Banner District extends along Westheimer Avenue from Taft Street to Montrose Boulevard, passing through an area where Houston’s Pride parades were held for decades before moving downtown.

Pride Houston 365 hopes to have the banners installed in connection with the organization’s rescheduled August 15 parade, although the banners will remain in Montrose after the event.

The effort has been led by longtime Houston LGBTQ community organizer Jack Valinski, who was involved with Pride Houston 365 and its predecessor organization from 1982 to 2005. Valinski began as a volunteer and later became the organization’s leader.

During his tenure, the loosely structured Pride organization formally incorporated in 1992. He also played a central role in moving the parade from Sunday afternoon to Saturday evening in 1997.

Valinski says the first Pride banners placed on metal utility poles along lower Westheimer were installed in 1995. A professional vendor handled the installation and removal.

The idea to revive the banners emerged after Valinski and Pride Houston 365 President Kerry-Ann Morrison attended a demonstration at Taft and Westheimer, where Houston’s rainbow crosswalk had previously been located. Morrison supported the idea, and Valinski volunteered to navigate the approval process.

For months, he worked to identify the appropriate contacts at the City of Houston and CenterPoint Energy.

“There really wasn’t a system in place to apply for this,” Valinski says. “Finally, we got CenterPoint to give us a letter of intent.”

Under the current plan, 10 CenterPoint metal utility poles between Taft and Montrose will be fitted with brackets. Two banners will hang from each pole, with one positioned on each side. Each banner will feature a twosided design.

CenterPoint must still provide final approval before the banners can be installed.

The banners will remain in the district beyond the 2026 parade, although city regulations require temporary banners to be removed after a designated period. Valinski says they could later be reinstalled or replaced with new designs.

“But right now we are just concerned about getting them hung for 2026,” he says.

Former Houston City Councilmember Abbie Kamin had allocated $10,000 from her

District C budget for the project. Mayor John Whitmire, however, told Valinski that he preferred the effort be funded through private donations rather than city money.

According to Valinski, Whitmire has pledged to make the first private contribution.

A public fundraising page is expected to launch after that donation is made.

For Valinski, the banners represent both a return to an earlier chapter of Houston Pride history and a renewed public statement in a neighborhood long associated with LGBTQ life.

Their return would place Pride imagery back above a stretch of Westheimer where generations of LGBTQ Houstonians gathered, organized, celebrated, and made themselves visible.

OutSmartMagazine.com

| AUGUST 2026 17

COMMUNITY

Shylah Salas wears a thrifted look inspired by ancient CHamoru pottery patterns, with symbolic face paint rooted in performance art.

The International Day of the World’s Indigenous Peoples is celebrated each year on August 9. Established by the United Nations in 1994, the observance promotes awareness of Indigenous rights, cultures, and contributions.

Shylah Salas, a queer Indigenous Pacific Islander woman, is a native of the tropical island of Guåhan (also known as Guam), an organized, unincorporated territory of the United States. The country’s name comes from a CHamoru word which means “we have,” signifying an island defined by an abundance of natural resources necessary to sustain life.

Salas recently talked with OutSmart about her life as a Houston performance artist and small-business owner.

Before a serious accident in October 2022, Salas performed throughout the Houston area at community events and festivals, including the Houston Fringe Festival, where independent artists presented experimental and interdisciplinary performances in a cuttingedge environment.

Over the years, Salas explored theater, film, movement art, puppeteering, and dance in a wide variety of venues. An art form that 18

AUGUST 2026 |

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ANCESTRAL THREADS Shylah Salas draws on her CHamoru roots to shape art, business, and belonging.

by BRANDON WOLF photo by LIZZIE PAREDES

resonates most deeply with her is the Japanese avant-garde art of Butoh, which she describes as “a cathartic, meditative, deeply expressive style of movement that allows one to embody stories that only the mind, body, heart, soul, and Mother Nature can tell.”

Salas still participates in Ecstatic Dance Houston, a weekly freestyle movement event at The Interchange. She also enjoys thrifting— piecing together outfits and costumes from

recycled or thrifted material.

Salas owns Tribe Rides, a downtown transportation service that provides event shuttles and conducts tours of Downtown Houston that include sightseeing, mural tours, bar-hopping, and stories about the area. Guests often remember Tribe Rides for incorporating performance art through its “Tribal Space” (aliens) theme. “Kids and weirdos love it,” she says. ➝

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Salas also founded Humble Hustle Strategies, which helps music festivals and event organizers with creative concepts, shuttle services, experiential marketing, and vendor connections. The company exists “to connect humble hustlers (people with ingrained work ethics) and create opportunities for fellow underdogs to thrive.”

As a Chamorrita (a young CHamoru woman) and Houston artist, Salas says she did not always have a strong island community or many artists from her culture nearby. “So, I navigated through many hardships and challenged myself to build those relationships—to the point where it happened organically.” Salas became the first Indigenous/Pacific Island model and brand ambassador with Houston’s Diverscity Clothing Company, and she operates the only CHamoru-owned business in Downtown and Central Houston.

“I make an effort to stay informed about current events back home and continue paving ways to stay connected to our culture. I try to represent Guam and the Commonwealth

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AUGUST 2026 | OutSmartMagazine.com

of the Northern Mariana Islands with pride, humility, fierceness, and a willingness to keep learning,” she says.

A compassionate person by nature, Salas is also involved as a search and rescue volunteer.

She did a considerable amount of animal rescue and disaster relief when Hurricane Laura ravaged Lake Charles, Louisiana.

Salas spent her early years in Guam with her younger sister. Her mother, a flight attendant, earned a college degree while raising her children as a single mother. Salas grew up in a family of educators and athletes; her grandfather, a retired policeman, still tends his ranch.

“I’m grateful for the discipline they taught me,” she says.

An incredibly shy child, Salas found happiness in soccer and basketball, two sports she excelled at. She briefly tried Taekwondo at age 6. “But I was too shy to kick another kid,” she laughs.

Her formative years included several moves to and around the mainland beginning in fifth grade, each bringing challenges,

including bullying. “I encountered racism at an early age. No matter where we moved, it existed. If there are no kids that look like you or are like you, you’ll feel obligated to adopt characteristics from the people you feel accepted by, just to blend in,” she remembers. “I learned adaptability and the importance of resilience.”

By eighth grade, the family was back in Guam, where she attended Simon Sanchez High School and enjoyed some of the happiest years of her early life. Her senior year was spent in Houston. In the classroom, Salas gravitated to language arts/English, art, physics, and history.

But it was sports that became central to Salas’ identity in high school. She competed in volleyball, rugby, basketball, cross country, and soccer; earned awards; appeared often in a local newspaper; and was invited to try out for a NCAA Division III program.

Athleticism ran in the family. Salas’ mother was an all-star athlete in Guam, and her grandmother was a well-known marathon runner who now volunteers for the Guam Running Club.

Salas says the biggest influence on her creativity was her “Papa,” Kenneth Hotaling, a retired Air Force serviceman and highschool history teacher who nurtured her love of music and theater. “Encouraging a child’s imagination and simply playing with them, expands their creativity almost infinitely,” she reminisces. She later attended Houston’s Lone Star Community College, taking a variety of courses and developing a special love for theater arts.

Proud of her heritage, Salas says the history of the CHamoru people spans thousands of years, rooted in their “familian” (family clan)—seafaring people with a deep connection to their land, oceans, and Taotaomo’na (ancestors). CHamoru culture is also known for weaving, carving, fishing, pottery, outrigger canoe-building, and the ancient latte stone—limestone pillars unique to the Mariana Islands that supported traditional homes and remain symbols of strength, ingenuity, and resilience. The stones are celebrated in the Latte Stone Park in Hagåtña, Guam, a Stonehenge-like tourist destination.

“Despite centuries of colonization by Spain, the United States, and Japan during World War II, many communities continue to preserve and celebrate our dying language, cultural arts, and traditions,” Salas notes.

Salas says she never had a traditional coming-out story. Instead, during a disagreement, her little sister outed Salas to their mother. “She ripped the band-aid off! She made it easier,” she now laughs. ➝

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SHYLAH SALAS | CONTINUED FROM PREVIOUS PAGE

When Salas thinks of unsung heroes within the Asian American Pacific Islander queer diaspora, she thinks of people and organizations who protect their communities. One that inspires her is Prutehi Guåhan, a communitybased group dedicated to protecting Guam’s land, culture, and ancestral history. “Monaeka Flores, a Queer founding member of Prutehi Guåhan currently serves as the Executive director.”

Another member of the queer community who has impacted Salas’ life is Kayla Morrell.

“She exceeds the expectations of friendship because she is more than that. She is a soul sister; she’s Shylah’s Ride or Die. Kayla is a hardworking corporate mother, a talented professional aerialist, and one of the most dedicated artists I know. Her consistency, passion, and fortitude deserve to be celebrated.

When you have a chance, catch her performing with Cai Circus.”

Salas was also influenced by Ivan Espinosa, founder and Executive Producer of the Salish Sea Butoh Festival. “Ivan introduced Butoh to Houston—a cathartic, existential experience that completely impacted my life and my relationship with art. He continues to create opportunities for diverse artists to connect and share their work. He is currently

a professor at the University of Colorado Boulder, an ambitiously educated individual, mentor, and established artistic director.

Because of Ivan, I was the first CHamoru to perform and share their culture at the Salish Sea Butoh Festival.”

Additionally, Salas credits behavioral therapist Nakita “Coach Kita” Bowman (2025 Pride Houston 365 Gender Non-Binary Grand Marshal) who continues to refer both artistic and entrepreneurial invitations to her.

For Salas, entrepreneurship, art, and culture are often connected. “Each category influenced my inspiration for the other. My business creates opportunities, my art tells stories, and my Pacific heritage reminds me why representation and community matter.

Whether I’m assisting with an event, performing, or networking, my goal is the same: to bring people together and create opportunities for our fellow underdogs to be seen. You can only be the lone wolf for so long. Ultimately, you’ll miss feeling part of a tribe.”

During a dark time in America when inclusion is discredited, Salas says, “Diversity is what gives the United States its character because our country is built from the stories, cultures, and experiences of a melting pot of backgrounds. Indigenous history should

not be erased because these stories are the foundation of this land, to help us understand where the United States of America comes from. Honoring Indigenous cultures isn’t about regressing; It is about honoring the people, traditions, and ancestral knowledge that have survived generations, most significantly, continue to influence the future we are building together.”

To cope with the current anti-LGBTQ atmosphere, Salas finds hope in therapy, trusted friends, political humor, and balancing awareness of difficult realities with breaks from the news. With a sense of humor, she says she also closes her eyes and imagines being with loved ones, living as the fictional Na’vi in Pandora, in the hugely popular Avatar films.

Reflecting on her personal journey, Salas says that her story is “wholeheartedly about perseverance, recognizing your gifts, embracing the beauty of culture, and learning to fall in love with an infinite amount of knowledge in a finite amount of time.”

Representation matters to her. “I always think of the little kids who were like little Shylahs, very shy and nervous, but secretly ambitious. Be the representation that you didn’t get to see growing up. Be that for the little you’s out there.”

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The Music Issue

THE

NEXT ACT Performing Arts Houston gives Ben Chavez the room to realize the full vision of Last Day, County Fair.

by NEIL ELLIS ORTS | photo by SUB/URBAN PHOTOGRAPHY

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B

efore the curtain went up on the 2025, 30-minute version of Ben Chavez’s Last Day, County Fair, he knew it would eventually be a fulllength show. Before the final curtain, Performing Arts Houston agreed with him and was talking to him about how to support his vision.

“It was during that process that Performing Arts Houston approached me,” Chavez says.

“They had seen one of my rehearsals on stage and immediately expressed interest in taking this piece a step further, which was honestly such a huge shock to me. This piece was still so new to me.” That first showing, a part of PAH’s New/Now Houston Artist Commissioning Project, met everyone’s expectations.

“Performing Arts Houston reached out shortly thereafter and said let’s get to work,” Chavez continues, “and so I started dreaming up how I could take this piece beyond a 30-minute iteration, double the amount of songs and the amount of people involved, and I presented it to them. They were all for it.”

The 2025 version of the show had Chavez on stage, singing his songs with three backup singers. Between songs, he told the story that connected the songs and the singers would pop in to play other characters. The 2026 expanded version will have seven performers and an eight-piece band backing him up. “People ask me, ‘What is this? A musical? Is this a concert?’

And I say, ‘Yes, it is all of those things.’ It’s laid out like a concert. You will see the band on stage. You’ll see the backup vocalists. I’ll be at the piano, but the songs—and there’s 13 of them—are all sewn together by a through line.

So, it is a concept album much like The Who’s Tommy or Green Day’s American Idiot. In between the songs we’ll see some scenes play out and some dialog and some little narrations that connect the stories together.”

And the story? As the title says, the action takes place on the last day of a county fair. At the center is an entertainer on one of the fair’s stages—and he’s on the verge of coming out.

For queer people, the coming-out experience is somewhat universal and yet so specific. While Last Day, County Fair isn’t autobiographical,

Ben Chavez brings Last Day, County Fair to the stage, blending original music with a story of queer belonging. it draws on personal conversations between Chavez and his husband.

“I grew up just outside of New York City and there were other queer people around me,” Chavez explains. “I still experienced lots of fears and shame in that process. My husband on the other hand, grew up in a really small town in Mississippi and it was just a totally different experience—not so many outward support systems and allies.” Between the husband’s conversations and Chavez’s imagination, the songs and story emerged.

It’s been documented elsewhere that Chavez met his husband on a stop in Houston while performing in the touring company of the musical, Disney’s Aladdin. That tour, besides leading to marriage and coming-out conversations, is also influencing Last Day, County Fair. Chavez made close, lasting friendships in that company and they’re involved in the PAH production. Jordan Speas is directing the show and Taylor Mackenzie Smith is choreographing, “The three of us are a tight knit trio of friends,” Chavez says. Using their experiences as touring artists, the trio are crafting the show not only for the Wortham Center, but also to translate to other venues. “This premier performance in September is also being coupled with an album release and then the goal is to take this piece on the road,” Chavez

“THIS IS SORT OF MY LOVE LETTER TO HOUSTON AND TO QUEER PEOPLE IN THE WORLD WHO ARE FEELING LOST AND NEED A SENSE OF HOME, A SENSE OF FAMILY.” — Ben Chavez

explains. “I’m looking forward to bringing this piece to stages large and small around the world. This piece could be played in a 5,000seat opera house, but can also be played in a supper club or a small cabaret or a library.”

Chavez becomes animated as he describes his enthusiasm for touring. “I love connecting with audiences around the world through art and seeing how they may react,” he says.

“I’ll never forget when I was in Aladdin, I was always so intrigued by how different audiences reacted to the comedic and the touching moments. Sometimes a certain audience would roll on the floor laughing and sometimes audiences would be totally silent because it was a different sense of humor.”

Chavez is curious to see how Last Day, County Fair will play to different audiences, too. And yes, the album of all 13 songs from the show is scheduled to be released at the time the show premieres, and a single can already be heard streaming on Spotify. “Golden Era,” an upbeat anthem, was released over the Fourth of July weekend.

Chavez often comes back to his surprise and gratitude for the Aladdin tour stop in Houston that introduced him to his husband and gave him a new home city and community.

“Moving to Texas was never on my radar, and when I was on tour in 2019 with Aladdin, I stepped into Houston for the first time and met my husband. During covid I moved to Houston, and I was so blessedly surprised by this incredible city. I was really surprised and my heart was warmed by its diversity and really by its vast queer community, and that really showed me that I could call this city home,” he says.

“This is sort of my love letter to Houston and to queer people in the world who are feeling lost and need a sense of home, a sense of family.”

Keep up with Ben Chavez on Instagram @benchavezmusic.

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Beyond New/Now Two Houston artists reshape Performing Arts Houston’s signature series.

Houston artist showcase. The format would have three artists presenting 30- to 35-minute pieces on one evening.

For their 60th Anniversary season, PAH found they had two artists with proposals that made them rethink that paradigm. Harrison Guy (Dear Prairie View), a previous New/ Now artist, had applied with a new piece, Ben Chavez (Last Day, County Fair) was invited to expand a piece even as it was playing its first iteration.

“We saw that both of these artists had projects that were so much bigger than the 35-minute format that we had created for New/Now,” says Meg Booth, President and CEO of PAH. “At the same time this aligned with our 60th Anniversary season, and we thought how can we go bigger and do something different?”

“We got to know them each individually as artists,” Booth continues. “They’re both very, very different. Harrison creates a historical

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context within a dance and narrative environment. Then of course Ben Chavez is a piano man. He’s more based in musical theater. In working with these two artists, we were so excited about their ideas.”

“Will every New/Now artist get a full evening? We’re not quite sure yet,” Booth says. “We will likely go back to a shared evening, which we love because it’s somewhat of a mixed tape. It gives audiences the opportunity to see three new artists at the same time. But we also have the flexibility where we may be inspired to create something even different with the artists in Houston.”

In a city full of exceptional artists, it’s noteworthy that the two artists that stood out to this premiere presenting organization are both from Houston’s queer community.

WHAT: Last Day, County Fair – part of Performing Arts Houston’s New/Now Series WHEN: September 25-26, 2026 WHERE: Cullen Theater, Wortham Center INFO: tinyurl.com/Ben-Chavez

PERFORMING ARTS HOUSTON

BEN CHAVEZ | CONTINUED FROM PREVIOUS PAGE

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The Music Issue

OPEN CHORDS Sara Van Buskirk headlines Miller Outdoor Theatre ahead of her long-awaited sophomore album.

by DAVID CLARKE

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H

ouston has never lacked musical talent, but Sara Van Buskirk’s music stands apart for its emotional honesty. The Houston-based singersongwriter blends Americana, folk, roots, country, bluegrass, and indie influences into a sound that feels equally at home in Nashville, Austin, or Houston. Yet it’s the intention behind every lyric that leaves the deepest impression.

Van Buskirk (she/they) doesn’t simply want audiences to hear her songs. She wants them to leave changed. “I’m a queer songwriter,” she states. “I write songs that make you feel something. I really hope to radically awaken anyone that listens to my music into action towards love, because I believe that love is an action.”

That philosophy grew from her own journey toward authenticity after growing up queer in the church. If there’s one song she hopes new listeners hear first, it’s her latest single “Comfortable Lie,” which is also the opening track from her forthcoming sophomore album. “It’s a song that explores the duality of life,” she explains, “living as a split person and keeping it together on the journey to becoming your full authentic self.”

“It’s a little autobiographical for me. I grew up queer in the church, and so there was definitely a large part of myself that I shut down,” she adds. “It took years of personal work to realize that I had split myself in two, and that I was living a lie.”

Raised by a single mother in Houston’s Alief community, Van Buskirk says resilience became a choice rather than simply a label.

That perspective has also shaped the artists she surrounds herself with. “I’ve found that queer and other marginalized artists, we’re speaking the same language,” she says. “We’re looking for joy. We’re looking for inspiration with our heads up and strong in the face of adversity and struggle.”

That same outlook fuels her commitment to representation. “I’d love to see more queer artists showing us their work and being unapologetically themselves,” she emphasizes.

“Representation is one of the reasons that I show up the way that I show up, because I want to be for my community what I lacked growing up.”

Houston audiences will have several opportunities to experience that firsthand this summer. Van Buskirk headlines the sixth Annual Miller Summer Mixtape at Miller Outdoor Theatre on August 15, hosted by Kam Franklin, before performing at The Mucky

“I REALLY HOPE TO RADICALLY AWAKEN ANYONE THAT LISTENS TO MY MUSIC INTO ACTION TOWARD LOVE, BECAUSE I BELIEVE THAT LOVE IS AN ACTION.” — Sara Van Buskirk

Duck on August 16 and Hotel Lucine in Galveston on September 13. Those performances are among the few places fans can hear songs from her long-awaited second album, which remains unreleased despite being creatively complete.

For more than a year, Van Buskirk has been crowdfunding the project, raising money not only for mixing, mastering, vinyl production, and paying fellow musicians, but also for the marketing campaign she believes the record deserves. “I don’t want to release my album and risk my career on a maybe,” she reveals. “I want to do everything in my power to expand my market and give my music the chance that it deserves to be heard by as many people as possible.”

Beyond that, she jokes that independent artists have to wear countless hats. Many independent artists have to be their own managers, marketers, content creators, and fundraisers. “It’s a lot of hats to wear, and it’s fun,” she laughs. “Thankfully I look good in hats.”

Still, waiting to release music she’s already finished hasn’t been easy. “It kills me,” she says bluntly. “There’s more, and I’m just sitting on all of it. So, as a performer, it drives me crazy.”

Until then, live performances remain the only place audiences can experience much of Van Buskirk’s newest work. “I believe that writing songs and sharing them is what I was put on this planet to do,” she points out. “I take it very seriously.”

That sense of purpose is reflected in the response she receives from audiences. Fans have told her they went home inspired to create after her concerts, while others have cried during performances or even watched their

Apple Watches record elevated heart rates throughout the show. “I feel my audience,” she elaborates. “I love my audience. They’re everything to me.”

The forthcoming album captures Van Buskirk at her most vulnerable. Among its most personal songs is “Put Me in the Ground, We Can Grow,” which uses the imagery of a seed buried in darkness before blooming as a metaphor for transformation. “Making this particular record has been a truly transformational experience,” she points out.

Like a seed, “I’ve died a thousand times,” she continues. “I have to die to grow. And the seed dies over and over again, and it bears delicious fruit. So, I’m here to grow, and I’m here to bear fruit.”

For Van Buskirk, that transformation isn’t just personal. It’s communal. “I don’t think that you can create safe spaces for others without telling your story honestly,” she posits.

“I’m here to be my full authentic self, honestly, loudly, proudly, so that I can kick doors open for other people.”

Ultimately, her definition of success extends well beyond album sales. “A fully funded album isn’t just one album,” she explains. “This launches my entire career forward.”

And asked what she hopes people will be saying a year from now, her answer is refreshingly simple: “I love her. She’s making music that makes me feel seen and inspired.

Have you heard this new album? Do you want to go to a show with me?”

Keep up with Sara Van Buskirk on Instagram @saravanbuskirk.

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The Music Issue

A NEW VOICE at the GRAMMYS Houston cellist Nathaniel Cook joins the Recording Academy’s Class of 2026.

by DAVID CLARKE | photos by MARY LOCK

For Nathaniel Cook, joining the Recording Academy’s Class of 2026 was more than a career milestone.

It was affirmation of a musical journey that has been guided by curiosity, collaboration, and an unwavering commitment to authenticity.

The Houston-based cellist was about to begin an Orangetheory class when the email arrived. “I immediately ran outside,” Cook recalls. “I started texting my friends and family.

I was writing, ‘Oh my God, it happened. I’m so excited.’ It was a huge adrenaline rush.”

Now among the voting members who help determine the Grammy Awards, Cook joins the Recording Academy at a pivotal moment for both the music industry and LGBTQIA+ representation. As artificial intelligence reshapes music production and conversations around equity continue to evolve, they see an opportunity to advocate for artists whose voices have too often been overlooked.

“As a queer artist, it’s clear that—politically—sometimes it’s easier to be silenced,” Cook admits. “I think at the Recording Academy level, having a voice and having a seat at the table as a queer person, allows us to say, ‘Hey, these are the places in which we have been historically underrepresented,’ or ‘It feels like we may need to reevaluate why it is that this person is getting recognition over that person because the music is just as good.’”

“You have to have the marginalized voices in the room,” they add. “I’m excited to be a part of those conversations and to help maybe 30

AUGUST 2026 | OutSmartMagazine.com

eliminate some blind spots for folks.”

Music has been part of Cook’s life almost from the beginning. Raised in a deeply musical family, they began playing piano at age two before setting their sights on the cello. “I knew when I was about nine years old that I was going to play the cello, and no one believed me,” they remember. “But I was very determined that that was what I was going to do.” And, by their early teens, Cook had landed their first paid performance and discovered they could build a life doing what they loved.

That career has taken them far beyond the traditional classical stage. Cook has performed with rock bands at House of Blues, collaborated with spoken-word artists in Houston, played Indian classical music, appeared alongside Andrea Bocelli, and worked on projects for Disney and HBO. “My work as a musician is dynamic,” they explain. “I hope that the experi-

“I REALLY HOPE THAT MY MUSIC CONNECTS WITH PEOPLE, THAT IT’S A LITTLE CAPSULE OF TIME WHERE NOTHING ELSE REALLY MATTERS.” —Nathaniel Cook

ence that you receive when you’re listening to me perform is someone who is pulling from all of these vast experiences.” Above all, Cook emphasizes, “I really want people to have a good time.”

That expansive artistic approach also informs Cook’s perspective on visibility.

While they have seen classical music become increasingly welcoming to LGBTQIA+ artists, they acknowledge that progress has been gradual. “I’ve seen that change take place,” they point out. “Audiences are like, ‘We don’t care about that.’ And as audiences are changing, the classical world is like, ‘Okay, it’s time for us to adapt as well.’”

Cook hopes their own visibility encourages younger queer musicians to embrace who they are without compromise. “My hope is that by being out and vocally who I am, that there are younger folks who feel ‘Oh, it’s okay. I can do that too,’” they state. “Don’t be afraid just because someone said ‘No.’ There’s someone else who’s going to say ‘Yes,’ I promise.”

That optimism has been tested before.

Shortly after completing their cello studies, Cook was diagnosed with rheumatoid arthritis, forcing them to stop playing and relearn their instrument from the ground up. Later, the COVID-19 pandemic erased an entire year of booked performances almost overnight.

Rather than walking away from music, Cook adapted.

“Every day, I did a little technical exercise no matter how badly it may have sounded to me,” they reveal. “Slowly, I was able to get back my facilities in my hands.” ➝

“MY HOPE IS THAT

BY BEING OUT AND VOCALLY WHO I AM, THERE ARE YOUNGER FOLKS WHO FEEL, ‘OH, IT’S OKAY. I CAN DO THAT TOO.’” —Nathaniel Cook

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NATHANIEL COOK | CONTINUED FROM PREVIOUS PAGE

“YOU HAVE TO HAVE THE MARGINALIZED VOICES IN THE ROOM. I’M EXCITED TO BE A PART OF THOSE CONVERSATIONS AND TO HELP MAYBE ELIMINATE SOME BLIND SPOTS FOR FOLKS.” —Nathaniel Cook

During the pandemic, they also transformed a spare bedroom into a recording studio, learned guitar, and created what they now call their “pandemic recordings.”

Cook explains, “It also pushed me again to be more creative and say, ‘Yes, it’s a setback, but what can we do? What can I do to get through this?’”

Additionally, Houston has become an important part of Cook’s current chapter.

Having lived in the city for just over two years, they explain that they have been struck by how eager artists are to collaborate across disciplines. “What surprised me about the art community is how connected people want to be with one another and how many spaces there are for us to connect,” they observe. Meeting dancers, actors, sculptors, and visual artists has inspired new creative possibilities.

Offstage, they’ve also found a sense of belonging in Houston’s LGBTQIA+ community. “I love being up here in the Heights, but also being in Montrose,” Cook says of where they live and hang out. Visits to the Menil Collection and evenings in the neighborhood often feel surprisingly familiar. “Every time I’m out somewhere, I see someone that I know,” they share. “It doesn’t feel like I live in this multi-million population city.”

As Cook looks ahead to new recording projects and interdisciplinary collaborations, they remain focused on creating music that offers audiences something increasingly rare, which is a chance to simply be present. “I really hope that my music connects with them,” they say, “that it’s just this little capsule of time where nothing else really matters and you just get to be there with the music.”

“If you don’t enjoy the music, then I haven’t done my job,” Cook concludes.

Keep up with Nathaniel Cook on Instagram @nathaniellcook

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The Music Issue

ON HER OWN WAVELENGTH S.O.U.L.A.S.P.H.E.R.E. blends queer identity with Nigerian heritage.

by ALEX MENDOZA

COURTESY

A

ngela Uhegwu, who performs as S.O.U.L.A.S.P.H.E.R.E., is a Houston-born Nigerian musician, videographer, and visual artist. Her visual catalogue on her YouTube channel features a variety of work including live performances and music videos. Her main

instrument is the ukulele, and her introduction to music comes from her upbringing in an African household with plenty of parties and celebration through song.

For Angela, the inclusion of both her Nigerian and queer identities is pivotal in her work. Most notably, her music video for Lov’in the W.R.O.N.G 1 features her in a relationship with another woman. Outside of that project,

Angela makes a constant effort to incorporate queerness within her work by hiring videographers and crew to be part of visuals that depict same-sex couples.

Despite being constantly surrounded by music growing up, her decision to pursue music as a career was not received well by her family. ➝

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“Being a musician in an African household… was very hard for me,” Angela explains. “It wasn’t that I was gay in my home, but it was that I was a musician in my home.When my parents came to America, they really only focused on the ‘serious jobs,’ so that’s where I had so much pushback when it came to support from my family.”

Angela found support in her community through the T.R.U.T.H. Project, a non-profit organization whose mission is to educate and mobilize LGBTQ communities of color and their allies through social arts that promote mental, emotional, and sexual health.With the guidance of Kevin Anderson, founder and CEO of the organization, Angela was able to see her passion as something sustainable.

“The T.R.U.T.H. Project may have been a big stepping stone in my journey in music and just being who I am as an artist,” Angela says.

So far in her artistic career, Angela has come across multiple experiences that made her begin to explore the spiritual aspect of her craft. Having performed on multiple occasions, Angela noticed how her music provokes a physical reaction from audience members, with one person coming up to her after a show in tears. Angela herself is not unscathed from this type of response, as there has been an instance in which she listened back to an unreleased song and became emotional, finding there being an entire story within it.“I felt like my soul started to write my music, and with those songs that I do perform, I feel like they’re charged with an energy that can be felt by people … so I’m just learning more about this spiritual aspect of music and the energy in the songs,” Angela says.

Angela plans on returning to Houston after moving away two years ago, her experiences at both Baltimore and Los Angeles further inspiring her to connect more with her Houston community. Interconnectedness and community is at the core of S.O.U.L.A.S.P.H.E.R.E, as Angela’s music, lyricism, and visual work conveys feelings of loss, uplift, and is undeniably queer. Projects such as her music videos include family members and friends, further enhancing the overall feeling of familiarity prevalent within both her Nigerian and queer identities.

“My biggest accomplishment is just using my voice, because even being like an African child and a girl, I felt like having a voice was not really a popular thing,” Angela explains.

“Just being able to continue to exercise that is something I’m proud of—and it makes me nervous, but I do it anyway and try my best.”

“MY BIGGEST ACCOMPLISHMENT IS JUST USING MY VOICE… IT MAKES ME NERVOUS, BUT I DO IT ANYWAY AND TRY MY BEST.” — Angela Uhegwu (S.O.U.L.A.S.P.H.E.R.E.)

Keep up with S.O.U.L.A.S.P.H.E.R.E on Instagram @s.o.u.l.a.s.p.h.e.r.e.

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The Music Issue

For decades, Houston’s LGBTQIA+ community has found harmony through organizations like Pride Chorus Houston and the Houston Pride Band. Now, a new ensemble is ensuring string, woodwind, brass, and percussion musicians have a place to call home.

The Houston Pride Orchestra (HPO) was founded to provide what Executive Director and President Ruby Ortiz (they/them) calls “a safe space for our musicians to make beautiful music together without fear of persecution.”

“We also would like to provide an outlet for our queer and ally audience members to experience queer joy in a less conventional setting,” Ortiz says.

For Ortiz, the idea had been years in the making. Inspired by Pride Band, Pride Chorus Houston, and especially the International Pride Orchestra, they realized Houston, home to one of the nation’s largest LGBTQIA+ communities, deserves a dedicated queer orchestra of its own. “I had this idea in the back of my head, for years, of a Pride orchestra, and I was just waiting for somebody to create it,” Ortiz recalls. “And then after years of nobody doing

More Than an Orchestra Houston Pride Orchestra is creating a home for queer musicians.

by DAVID CLARKE | photos by FRANCINE K. GRATTAN it, I thought, ‘Okay, I will do it myself.’”

That vision became reality after Ortiz performed with the International Pride Orchestra during WorldPride 2025 in Washington, D.C. “It was the best musical experience of my entire life aside from our first concert,” they say.

“Before I even left for D.C. to attend [WorldPride], I knew that I had to create the Houston Pride Orchestra.”

Beyond creating another performing ensemble, HPO exists to challenge a culture

that has too often left LGBTQIA+ classical musicians feeling isolated. “We created this ensemble with the hope to provide an environment where our musicians can rehearse and perform in a classical music setting, where we don’t have to worry about getting microaggressed, looked at funny, or be the victim of homophobic or transphobic rhetoric,” Ortiz reveals. “Our queer musicians and audience members, we all deserve not just to be tolerated, but to be celebrated.” ➝ OutSmartMagazine.com

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HOUSTON PRIDE ORCHESTRA | CONTINUED FROM PREVIOUS PAGE

That mission resonated immediately. Hosted by Emerson Unitarian Universalist Church, HPO’s inaugural concert drew an almost full house, while auditions for the upcoming season have attracted more than 80 musicians. “It is really heartwarming to see how many people want to be a part of this ensemble,” Ortiz gushes.

“We’re just really excited to provide these musicians with the safety and comfort of a mostly queer ensemble.”

The orchestra is already looking ahead to an ambitious second season, including four concerts and a collaboration with Pride Chorus Houston. “In future years, I think my biggest desire for this ensemble and my biggest goal is to just be able to pay everyone,” Ortiz confesses. “I want to pay all of our musicians, our staff, our personnel, and our conductors,” they add. “We’re all volunteers, and I’m hoping that we can find enough funding to be able to pay everyone for their time and expertise.”

For audiences, Ortiz hopes HPO becomes an accessible entry point into classical music, an art form they believe has too often felt out of reach. “I’m hoping that our audience members will have the opportunity to experience something brand new at one of our free concerts, maybe feel some hope in belonging,” they say.

“The ultimate hope would be to inspire people to go out into our community and do some good as well.”

For more info, visit houstonprideorchestra.org.

IN FULL HARMONY

Ruby Ortiz builds Houston’s Pride Orchestra.

R

uby Ortiz never planned on becoming a violist. “I stumbled across orchestra completely by accident in sixth grade,” they laugh. “I chose viola at random, in an act of desperation during my first day of middle school.”

What began as chance soon became purpose. “I quickly fell in love with the act of creating something from nothing and also the community and found family that came along with being in orchestra,” Ortiz remembers.

“The biggest thing that keeps me going every day in regards to both this organization and my work in education is just the opportunity to provide experiences like performance opportunities for musicians who otherwise wouldn’t have those opportunities.”

After years of teaching orchestra across

Executive Director Ruby Ortiz leads Houston Pride Orchestra, an ensemble dedicated to celebrating LGBTQ musicians and expanding access to classical music.

the Houston area, Ortiz says their students shaped their leadership philosophy as much as they shaped young musicians. “The most important thing that I try to keep with me after being in the classroom for so long is to listen more than you speak and ask for help,” they explain. “Leading collaboratively, leading as a community, is far more important and fruitful than just being a figurehead.”

That collaborative approach has become essential as HPO grows, but it was also born from personal experience. Ortiz recalls being told “that my pronouns don’t make sense” and later leaving a teaching position after being “bullied out of the classroom” over displaying a Pride flag. “Nobody ever stood up for me. Nobody cared, it felt like,” they emphasize. “After those experiences, I have

never felt so alone.”

Those moments reinforced why creating HPO mattered. “As professional musicians, we also do our best work when we feel safe,” Ortiz imparts. “That’s what I feel when I’m sitting in the viola section of the Houston Pride Orchestra. So that’s why that representation is so important.”

Asked what advice they would offer young queer musicians, Ortiz doesn’t hesitate.

“There’s a great quote going around right now that I fully believe in: ‘Do it scared,’” they state. “I was terrified starting this organization. I thought I would fail it all. I still sometimes have those thoughts.”

“Do it scared because the outcome could be something you never would’ve dreamed you could achieve,” they conclude.

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ARTS & ENTERTAINMENT

DANCING THROUGH HISTORY Harrison Guy transforms Prairie View A&M’s legacy into a contemporary dance work about identity, memory, and belonging.

by NEIL ELLIS ORTS | photos by SARA BUCHSBAUM

Houston choreographer Harrison Guy, founder of Urban Souls Dance Company

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AUGUST 2026 | OutSmartMagazine.com

D

ancer, choreographer, and creative force behind Houston’s Urban Souls Dance Company, Harrison Guy, is always plumbing the depths of Black history, especially looking for the stories that aren’t always told—a feat for a corner of history that is already often hidden. For Guy, these histories always intersect with the personal.

Take his new work, presented by Performing Arts Houston the first weekend of September, Dear Prairie View. That Prairie View A&M University (PVA&M), an HBCU (Historically Black College or University) just north of Houston, is celebrating its 150th anniversary might have been enough to capture Guy’s attention, but his personal connection to the institution is life shaping. It was where he, as a young student, first saw concert dance.

“I had the opportunity to see the Classic Dance Ensemble, which is the modern dance troupe at the university, perform at a campus event,” he recalls. “I was very moved by the performance. They had a lot of gentlemen dancing, and I had never really seen guys do any type of modern dance. I’ve always had dance as a part of my life in some kind of way, but definitely not taking any dance classes and understanding the art form in that way.”

Guy was hooked. He auditioned for the Ensemble and started taking dance classes.

Eventually, he left PVA&M to pursue dance opportunities. “They didn’t have a dance major at the time,” he explains. “They had a dance minor, but I was not really interested in majoring in anything,. because once I figured out I wanted to dance, it was what I wanted to do.”

He took an opportunity to study at the Alvin Ailey School in New York City, where he studied not only dance technique, but also explored the business and marketing end of dance. He brought all that knowledge back to Houston, where he’s been making dance ever since.

Building on that personal connection to the university, Guy proposed Dear Prairie View to Performing Arts Houston’s New/Now Houston Artist Commissioning Project, following up on his inclusion in the first cohort of artists ➝

“IT’S MY GOAL TO TEACH PEOPLE ABOUT HOUSTON, NOT JUST IN HOUSTON. MY PIECES ARE DESIGNED FOR EVERYBODY TO COME AND LEARN ABOUT THE HUMAN STORY WE CAN ALL CONNECT TO.” — Harrison Guy

Dancers Courtney Sherman Allen (l) and Dunia Burani perform in Dear Prairie View, Harrison Guy’s exploration of Prairie View A&M and HBCU history.

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DEAR PRAIRIE VIEW | CONTINUED FROM PREVIOUS PAGE

in 2021. Up until now, the New/Now evenings have always been shared programs, featuring three artists on the bill. With Dear Prairie View, Performing Arts Houston, planning its own milestone 60th anniversary, decided to offer Guy something more. They saw in the proposal a full evening presentation.

Given the expansion of time onstage, Guy’s vision for the piece expanded. What was first a piece narrowly focused on Prairie View is now an exploration of HBCU culture more broadly, seen through the lens of PVA&M’s history.

A single narrative has become several. “It is definitely a piece that has a lot of storytelling because that’s what I do dance-wise,” Guy confirms, but not only “telling the story of how the school was founded but also looking at several human-interest stories.” He describes the evening in three acts, the first act focusing more on the social aspect of being on campus, dating and fraternity and sorority life, the second act looking at the history of activism at PVA&M, with the third act being a broader celebration of the HBCU experience.

When asked about surprises in his research, Guy admits, “There are tons that I found out and then of course I have to edit down because I can’t tell everything.” Something he had not considered before his time in the university’s archives was the story before the founding. “I originally was going to start the piece with these eight gentlemen, they’re

“ONCE I FIGURED OUT I WANTED TO DANCE, IT WAS WHAT I WANTED TO DO.” — Harrison Guy known as the Unknown Eight because we don’t have their names,” he says. “That is kind of where we’ve always been taught that the story starts.”

But then Guy came to understand something more. “We have these Black politicians after Reconstruction that played a large role in pushing for this opportunity to have a college in Texas,” he says. The archives opened his eyes to the work in the Texas Legislature that made the university possible. “That was the story that really made me take some steps back. So, the story actually starts at Juneteenth now, which doesn’t have anything to do specifically with Prairie View but certainly the world changed after Juneteenth, and so learning about those [legislators] was an opportunity for me to reshape how I wanted to start the story.”

Let it not be said that Harrison Guy is doing only one thing at a time. As this story is

being written, a project that is an expansion of Urban Souls is the Black Arts Movement Houston, which is preparing its first cohort of fellowships, a group of Black artists who are committed to the Black community but also committed to the larger life of Houston. He sees this project as building leaders to sit at decision-making tables, not only in the arts communities but in civic organizations and school boards. “There’s some staple things we want to work on; one of them is racial healing for the city and how could Houston become a model city for how it handles racial equity and really looking at Black artists being at the forefront.”

With that community mindedness, Guy hopes audiences will come to Dear Prairie View, regardless of their connection to the university. “When you do a piece about a place, oftentimes people don’t know if the show is for them,” Harrison recognizes. “It’s my goal to teach people about Houston and not just in Houston, so my pieces are designed for everybody to come and learn about the human story that we can all connect to. I think it’s a piece that everyone will enjoy.”

WHAT: Dear Prairie View – part of Performing Arts Houston’s New/Now Series WHEN: September 4–5, 2026 WHERE: Cullen Theater, Wortham Center INFO: tinyurl.com/guy-dear-prairie-view OutSmartMagazine.com

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ARTS & ENTERTAINMENT

THE SHARED STAGE A longtime couple finds a rare chance to create theater together, onstage and behind the scenes

by DAVID CLARKE

F

ifteen years after meeting at Texas A&M, Brock Hatton and Lee Barker have come full circle. Back then, Hatton was trying to find his place in the university’s theater program while Barker was already making a name for himself onstage. Their first production together was Dangerous Liaisons, and it found Hatton painting scenery while Barker performed under the lights.

“We met at that theater party,” Hatton recalls. “We became pretty good friends quickly after that.”

Their friendship soon turned into an onstage romance during The Beggar’s Opera, complete with what Barker jokingly describes as “a little controversial” kiss for Texas A&M audiences at the time.

They began dating that summer and, as Hatton puts it, “As soon as we started dating, it felt like we were forever.”

“We don’t get to work together a whole lot,” Barker says, “which is one of the reasons that Houston Shakespeare Festival is an important opportunity for us this year.”

From their Texas A&M beginnings, the couple’s individual careers have taken an unexpected turn. Hatton is now the actor bringing characters to life, while Barker helps create the worlds that audiences step into through scenic painting and prop artistry.

This summer, at the Houston Shakespeare Festival, Barker serves behind the scenes while Hatton appears in both The Tempest & The Comedy of Errors. It marks a rare opportunity for the couple to experience the creative process side by side.

As a new faculty member at the University of Houston, Barker has enjoyed introducing Hatton to his daily world. “It’s fun having Brock come and visit, see my shop, and see where I work,” Barker states. “It’s also been very, very exciting and nice being able to see him when I run up with a prop or to take a note.”

For Hatton, simply sharing the same workspace has been a gift. “Being able to be in the same space all day is just a really cool gift,” he beams. “I’ve really loved that we could take our lunches together.”

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AUGUST 2026 |

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Brock Hatton (l) and Lee Barker collaborate at the Houston Shakespeare Festival.

The collaboration has also deepened each man’s appreciation for the other’s craft. “It’s really cool being on something that he created,” Hatton says of Barker’s scenic work. “It’s very cool having our characters on stage be affected by the stuff that he has made happen.”

Some of those pieces carry personal significance. While preparing sets for The Tempest, the couple spent time together in Galveston collecting driftwood that ultimately became part of the production. “It’s just cool seeing the stuff that we have found together actually add to the show,” Hatton explains.

Their shared profession has also become one of the foundations of their relationship.

“There’s a level of understanding that we both have,” Barker says of the challenges of working in the arts and balancing a relationship.

“Theater is something we’re really passionate about, and sometimes it needs to take priority.”

That mutual understanding has helped them navigate long-distance contracts, late-night rehearsals, and months spent apart while working. “Because we both are so ingrained in this world, we both understand what each other’s going through,” Hatton admits.

“Sometimes we’ll just be gone for months at a time,” Hatton continues. “Those are the toughest contracts that we’ve ever had to take,

but I think they make us appreciate these opportunities that we get to work together more.”

Their admiration for one another extends beyond their relationship. Hatton marvels at Barker’s ability to transform a script into a physical world. “Lee has a very cool way of looking at a script and seeing beyond just what is in there,” he gushes. “His mind-boggling transitional set pieces are some of the coolest things that he creates. He has a skill for designing furniture that is one thing in one scene, and then it will turn and become a completely different thing.”

Barker, meanwhile, praises Hatton’s extraordinary memory. “The amount of stuff that he has to memorize is absolutely dumbfounding,” Barker emphasizes. “Learning two full Shakespeare shows is a feat.”

Their partnership also extends into mentoring Houston’s next generation of theater artists. Barker, who teaches scenic painting, prop artistry, and carpentry at the University of Houston, finds purpose in helping students build confidence alongside practical skills.

“Showing these students these skills that can also be taken into home repair, daily life, and hobbies, are very important,” Barker says.

“Getting to see them learn something practical and useful is very inspiring.”

Both men hope audiences leave Miller

Outdoor Theatre this summer with a renewed appreciation, not only for Shakespeare, but also for the communal experience of live performance. “I hope people walk away with the sense of community that comes with seeing a live performance,” Barker says. “Going out, being in the environment, and seeing and feeling and reacting to all of the things happening on stage with other people is part of the magic of theater.”

Hatton shares that hope. “I hope that people take away that Shakespeare is approachable,” he reveals. “I hope this inspires people to see theater, not just at Miller, but also in the other theater houses around the city.”

After 15 years together, their story is ultimately one of partnership in every sense.

Whether building a set, stepping into character, or simply sharing lunch during rehearsals, Barker and Hatton continue proving that some of the best performances are the ones created together.

WHAT: The 52nd Annual Houston Shakespeare Festival presents The Tempest & The Comedy of Errors WHEN: July 30 – August 8, 2026 WHERE: Miller Outdoor Theatre in Hermann Park INFO: uh.edu/shakespeare

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ARTS & ENTERTAINMENT

XANADU ROLLS INTO HOUSTON The Garden Theatre brings the cult Broadway musical to MATCH with camp, disco, and roller skates.

by BRETT CULLUM | photos by PIN LIM

Miles Estes stars as Sonny Malone in Xanadu

If you are Generation X or of a certain age, the theme song to the 1980 film Xanadu likely lives rent-free in your head. At the time of its release, it was supposed to be Olivia Newton-John’s triumphant return to the screen after Grease had broken box office records for a movie musical. But Xanadu turned out to have a mess of a plot, and only the soundtrack with ELO and Olivia Newton-John’s songs did very well. The movie was doomed to become a campy cult classic with a great musical score.

Flash forward to 2007, when Kerry Butler and Cheyenne Jackson led a fully realized Broadway musical with a book by Douglas Carter Beane and music and lyrics by Jeff Lynne and John Farrar, about a magical muse 48

AUGUST 2026 | OutSmartMagazine.com

who inspires a man to build a roller disco. And surprise, surprise, the stage version was a bona fide hit. This summer, Logan Vaden of The Garden Theatre heads up a Houston production of Xanadu that will skate into the MATCH on August 14th and roller boogie on until the 30th. The show is self-described as “children’s theater for middle-aged gay folks.”

Xanadu’s story follows the simple journey of a beautiful, magical Greek muse named Kira. She descends from the heavens of Mount Olympus to Venice Beach, California, in 1980 on a quest to inspire struggling chalk artist Sonny Malone to achieve the greatest artistic creation of all time—a roller disco! But she does what no Greek daughter of Zeus should ever do.

She falls in love. The 1980 film starred Olivia Newton-John, ended Michael Beck’s career,

and was the last film of screen legend Gene Kelly. When asked why he wanted to bring Xanadu to the stage, Logan Vaden proclaimed, “I love a jukebox musical. I love something where you can just go, laugh, have such a good time, and forget the outside world. I don’t like things to be too heavy, especially when they come to my musicals. And Xanadu just fits that perfectly.”

Logan Vaden has been running The Garden Theatre as producing artistic director for five years, and Xanadu opens its sixth season.

Logan also works in fundraising for Theatre Under the Stars, and ironically, that company’s artistic director, Dan Knechtges, choreographed the Broadway show and was nominated for the Tony Award. When asked about the possibility of his boss, Dan, seeing his version,

“I THINK THAT THE QUEER COMMUNITY, JUST TO QUOTE LIZA MINNELLI, HAS TASTE.”

Logan stated. “I’m so nervous about it. And you know what’s funny is that our choreographer is Courtney Chilton, who’s done so many Garden Theatre shows by now. And Courtney has also worked with Theatre Under the Stars a million times and knows Dan very well. It would be fun for him to get to see what Courtney and I have done with it.”

Heading up the musical Xanadu for the Garden Theatre are Kristen Herrink as Kira and Miles Estes as Sonny, playing the Olivia Newton-John and Michael Beck roles from the movie. Kristen observed about Xanadu, “It actually struck me fairly deeply. I found it to be surprisingly relevant as a reminder of where we can find joy in this world. You can be that inspirational force for yourself and for anybody, and it’s about human connection and the thrill of creating that moment.” When asked about the challenge of bringing Xanadu to life, Miles waxed philosophically: “I would say I am less scared, but more just wanting to do it justice, the funness and the stupidity of it, still keep it camp, and not falling on those skates.”

Xanadu is a romantic comedy about a boy and a girl, but something about it feels very gay,

very queer. When I asked Logan Vaden about that, he stated, “I don’t really know. I don’t know if it’s the costumes, I don’t know if it’s her riding off on a winged horse at one point, I don’t know if it’s the disco balls. Maybe the fact that there are boys prancing around in short togas. I mean, there are so many things that could attribute to it, but there is not really a single thing that is actually, quote, gay, unquote, about it. There’s no queer love story. I think that the queer community—just to quote Liza Minnelli—has taste.”

Whether it is the instantly recognizable early ’80s music from ELO and Olivia NewtonJohn, the campy story, the skimpy costumes, the flashback to when we rollerskated everywhere, or the giddiness of being reminded of where joy and inspiration come from, Xanadu should be August’s sure bet of pop musical joy for the queer community.

WHAT: Xanadu WHEN: August 14th through August 30th WHERE: Midtown Arts & Theater Center Houston (MATCH), 3400 Main St. INFO: tinyurl.com/xanadumatch

Logan Vaden, founding artistic director of The Garden Theatre

INSTAGRAM

— Logan Vaden

Kristen Herrink as Kira OutSmartMagazine.com

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AUGUST 2026 49

WEDDING GUIDE

SMALL-TOWN LOVE GOES VIRAL Seth and Avery Brown-Hickman turned a hometown connection into a lasting partnership.

by DAVID CLARKE photos by BRAVE McRAVEN, CINDY MAIYER and TAYLOR HICKMAN

Seth (l) and Avery Brown-Hickman 50

AUGUST 2026 | OutSmartMagazine.com

Some readers may recognize Seth Brown-Hickman from his quick-witted vehicle walkarounds and entertaining behind-the-scenes moments from the showroom floor. Seth’s Facebook and Instagram Reels have attracted a growing audience, turning the East Texas car salesman into an unexpected social media personality.

What began as a way to build his business has evolved into something much larger, offering viewers an authentic glimpse into his personality, his marriage, and life in smalltown Texas.

“I was trying to do what I was told and get on social media and build my brand,” Seth explains. “It started with just little voiceovers or this or that, and then it just randomly started hitting. It definitely has taken off.”

Behind those viral videos is a love story nearly a decade in the making. Seth, 28, and Avery Brown-Hickman, 25, both grew up in Cold Spring, a town of roughly 2,000 people north of Houston. Although they attended the same schools and church, their nearly threeyear age difference meant they mostly knew each other from afar.

It wasn’t until one Friday night football game that everything changed. “I remember we locked eyes, and we were kind of checking each other out,” Seth recalls. “Then he drops something on the ground, goes to get it, gets back up, and we’re still holding eye contact.”

Avery also remembers the moment just as vividly. “I just broke eye contact to see if he was still looking at me,” he notes. That same evening, Avery made the first move by messaging Seth on Instagram. After talking online for six months, Seth finally suggested meeting in person.

“Avery was super bold,” Seth says. “I think I took it from there though.”

Their first official date was delightfully low-key. The teenagers visited the Sam Houston Statue in Huntsville, went for a hike, grabbed sushi, and headed to the movies. It also included one memorable culinary prank.

“It was my first time actually ever eating wasabi,” Avery remembers.

Seth laughs remembering the moment. “I said, ‘Here, you just eat this.’ And then he picks the whole thing up and puts it in his mouth! I was thinking, ‘Whoa!’” Despite the spicy introduction, the relationship quickly blossomed.

Coming out wasn’t something Avery had fully navigated before they met. In fact, Avery came out to his mother while the relationship was beginning. “I came out to my mom and she was very accepting,” Avery reveals. “We were

in a relationship, and I told her ‘Hey, this is my boyfriend.’”

For Seth, the relationship was equally groundbreaking. “This is also my first boyfriend,” he says. “Where we’re from, there’s no [LGBTQ] community.”

Growing up together ultimately became the foundation of their relationship. “We’ve literally figured out how to do this life together,” Seth admits. “We don’t give up on each other.

We don’t plan on giving up on each other.”

Avery agrees. “We had a really solid, deep connection at the very beginning.”

Their personalities balance one another in ways that continue to strengthen their marriage as well. “Avery keeps my life together,”

Seth states. “I like to think I zest his life up, but he keeps mine functional.”

Avery smiles before offering perhaps the most fitting description of his husband. “Like Taylor Swift said, ‘He’s like a human exclamation point in any room he goes into.’” Adding, “He brings the fun to my life.”

Long before Seth proposed, the couple had already developed a tradition around Valentine’s Day. They officially began dating the day before Valentine’s Day after Avery surprised Seth with a handmade gift filled with photos from their earliest memories together.

“It was all handmade,” Avery explains. “I just remember giving it to him, and I said, ‘Are we ready to make this official?’” ➝ OutSmartMagazine.com

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AUGUST 2026 51

WEDDING GUIDE | CONTINUED FROM PREVIOUS PAGE

A little more than five years later, Seth returned the favor with a carefully orchestrated proposal. He planned a picnic at a local park while quietly recruiting family members to hide nearby in disguises.

“We had our little picnic,” reminisces Avery. “Then I hear somebody screaming. Sure enough, it was his sister, my sister, my brother, and family and friends.” The surprise left him speechless. “It was just completely breathtaking. I just started shaking my head yes and had my hands over my mouth.”

When it came time to plan their wedding, the couple initially explored traditional venues before life intervened. “My car got stolen,” Seth says. “It just became this big fiasco.”

Rather than postponing indefinitely, they shifted course. On February 11, 2024, exactly seven years after they first got together, Seth and Avery married in the backyard of Seth’s childhood home, surrounded by family, lifelong friends, and the woods where he grew up.

“It was better than I imagined!” Avery beams. “Thinking back on that day, it was wonderful. I wouldn’t have had it any other way.”

The ceremony reflected the couple’s shared creativity and determination. “We built everything by hand,” Seth recollects. “For the pews, we took a fallen tree and cut it into sections.”

Their two beloved rescue dogs, Olive and Gus, also played starring roles.

52

AUGUST 2026 | OutSmartMagazine.com

“We walked down the aisle to ‘Enchanted’

by Taylor Swift. The violin version,” Avery remarks. “Seth and I had our friends walk our puppies down the aisle.”

For Seth, months of preparation made the ceremony feel almost sacred. “It just felt like this ritual that we were getting ready for,” he shares. “When everything started happening, I just started crying.”

Avery’s favorite memory came moments later. “Walking down the aisle to everyone congratulating us,” he states. “And of course, the food after the ceremony.”

If there was one defining theme of the day, it was family. The Brown-Hickmans planned the wedding themselves, but nearly every relative contributed something meaningful.

“Our families played a really big part in the wedding,” Avery explains. “From sisters helping organize to cousins doing florals, and from a sister doing photography to brothers helping with labor. Even our good friend officiated the ceremony. It was a full-blown Brown-Hickman ceremony.”

“It takes a village,” says Seth, echoing that sentiment.

Their officiant, Michelle Thomas, wasn’t a professional wedding officiant. She was someone Seth met while delivering groceries through Shipt during the pandemic. She was a generous tipper who eventually became a close

friend, and later, the person who married them.

Floral arrangements came together with help from Seth’s cousin Chloe Brown, while longtime friend Brave McRaven photographed and filmed the celebration alongside Avery’s sister, Taylor Hickman. After the ceremony, Joe’s Italian hosted the reception.

“It was mostly family,” Avery shares. “But Seth and I used to work for a company, Joe’s Italian, and they hosted our after-dinner ceremony and did a phenomenal job. The owner was so kind to us.”

Looking ahead, the couple hopes their growing online presence eventually helps them build something of their own. “Eventually me and Avery do hope to come together and build something of our own,” Seth mentions. “It’d be cool if this persona and our relationship ends up feeding into something even better.”

Until then, anyone shopping for a new vehicle can find both husbands at Kramer Autoplex in Livingston. For the BrownHickmans, whether helping customers find the right vehicle or continuing to build the life they’ve imagined together, they’re proving that some of life’s greatest journeys can begin in the smallest of towns.

WANT TO TELL YOUR STORY? Email us at letters@outsmartmagazine.com

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JULY 18, 2026 OUT AT THE RODEO’S 2026 WILD WILD WET POOL PARTY Out at the Rodeo’s Wild Wild Wet Pool Party transformed Montrose Country Club into a lively celebration of summer, bringing together LGBTQ community members and allies for an afternoon of music, poolside fun, and connection. Guests floated in the pool, relaxed under umbrellas, and danced to country and disco-inspired sets by DJ Stephen Jusko.

Cowboy hats, swimsuits, and colorful floaties added to the festive atmosphere, while the event blended casual summer vibes with community spirit. A portion of ticket sales supported Out at the Rodeo’s year-round programming, making the gathering both a fundraiser and a celebration of queer friendship, visibility, and summer fun.

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2006-2025

OCTAVIO BARRIOS, MD

LUCIA MANGLE, MPAS, PA-C

RENAISSANCE FAMILY CLINIC

www.doctorbarrios.com

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AUGUST 2026 55

SIGN OUT

by KEVIN CASEY

ECLIPSE SEASON BEGINS The Solar Eclipse in Leo ignites change before the year’s final eclipse in Pisces closes the cycle.

ARIES (Mar. 21–Apr. 19) When you’re on your game, it’s difficult to resist you, and this is especially true this month when Venus moves into Libra on August 6. Venus in Libra makes you quite magnetic, Aries, as it brings out the charmer in you. If there’s been tension in an existing relationship, this is your chance to smooth things over. If you’ve had your eye on a certain someone, it’s time to shoot your shot. The fiery and dramatic Solar Eclipse in Leo on August 12 ignites a six-month process of endings and new beginnings. The biggest changes will most likely involve self-expression, creativity, romance, children, risk-taking and fun. The Lunar Eclipse in Pisces on August 28 brings to light what was once hidden or kept secret.

TAURUS (Apr. 20–May 20) The headline news in the cosmos this month is the Solar Eclipse in Leo on August 12. You’re an earth sign and Leo is a fire sign, so you’re not really vibing with this eclipse. Your cautious nature plays in your favor this month. Think twice about any real estate deals or loaning money to a family member. If you’ve had a rough go of it with co-workers, Venus’ move into Libra on August 6 can help you smooth over any tensions.

Virgo season begins on August 22, putting you in the mood for romance, parties, and creativity, while the Lunar Eclipse in Pisces on August 28 can bring to light the true intentions of someone you considered a friend.

GEMINI (May 21–June 21) You love action, Gemini, and you’ll have plenty of it this month. Love planet Venus enters Libra on August 6, stirring up the romance sector of your chart. Kindness 56

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August brings the last two eclipses of the year.

In astrology, eclipses act as catalysts for change. The first is the Solar Eclipse in Leo on August 12. At its most simplistic level, this eclipse can help us reconnect with our passion. If you’ve been feeling bored and listless, a Solar Eclipse in Leo can inject some excitement and vitality into your life. The fiery element of this eclipse can push you to get motivated and be more spontaneous. The Lunar

Eclipse in Pisces on August 28 is the last eclipse of 2026. Because this eclipse occurs in the sign of Pisces, it carries a very mystical vibe. Those who are more grounded and rational call all this talk woo-woo. Be that as it may, we’re being asked to see our lives and the people in them from a deeper perspective. We gain this deeper perspective by surrendering our need for control and paying attention to the coincidences happening all around us. We begin to see the signs and symbols the cosmos sends our way, reminding us we haven’t been forgotten.

to others is always a good thing, but it counts big time this month. You’re fun by nature, and when you couple that with an extra dose of kindness, you become magnetic to others. The Solar Eclipse on August 12 puts your daily life into overdrive. Trying to keep up with all the texts, emails, phone calls, and DMs can feel overwhelming this month. Others will have to queue up until you can get back to them. Transportation is linked to this eclipse, so some of you Geminis will consider getting a new car, and the Lunar Eclipse in Pisces on August 28 has you in your feelings and ruminating about the past.

maybe rethinking your life direction. Whatever changes you might be considering are really about letting go of an identity that just doesn’t work for you anymore.

There are certain roles you just don’t want to play anymore because you’ve outgrown them. Gift-giving Jupiter remains in your sign for the rest of the year, blessing you with a little luck and a boost of confidence when it comes to taking risks and new beginnings. The Lunar Eclipse in Pisces on August 28 has you cleaning out your closets both literally and figuratively.

CANCER (June 22–July 22) This month’s Solar Eclipse in Leo on August 12 triggers a six-month process of endings and new beginnings around money and security. This is a financial reset that clears out old financial situations like credit card debt. What you value and your definition of success get an overhaul. Venus enters Libra on August 6, highlighting the most important thing in your life, home. Let’s be honest, Cancer, if your home situation isn’t settled, then you’re not settled. This is your month to get your home situation exactly as you need it. Virgo season officially begins on August 22. If you’ve got siblings, they’ll probably be a focal point this month. If you’ve thought about taking a class or buying a new car, this is your time to do just that.

LEO (July 23–Aug. 22) Leo season reaches its peak with the Solar Eclipse in Leo on August 12. This eclipse is the beginning of a sixmonth process that has you Leos thinking about some much-needed change like a new look, a new job or

VIRGO (Aug. 23–Sept.22) Your moment in the spotlight is coming later this month, Virgo, but first the Solar Eclipse in Leo on August 12.

Being ruled by high-energy Mercury, you tend to be a bit anxious and high-strung, and this eclipse on August 12 not only urges you to slow down and get some quiet time but it also activates a six-month process that illuminates the ways you might be sabotaging your own success. Your new year occurs on August 22 when the Sun enters Virgo. This is your moment to get honest about what you really want. Things get a bit tricky with the Lunar Eclipse in Pisces on August 28. This eclipse highlights relationships. Stay true to yourself, Virgo, and resist the temptation to accommodate others’ needs instead of your own.

LIBRA (Sept. 23–Oct. 23) The Sun’s transit this month through the sign of Cancer highlights work and career. Mercury retrograde stirs the pot at work with miscommunications, delays, and misunderstandings. You’re great with people and you’re a master at navigating your way through conflict without getting your hands dirty, but that may be a tall order

this month. Your feelings could get the best of you, and that isn’t necessarily a bad thing. It may be time to speak up and set boundaries. New Moons are about new beginnings and the New Moon on July 14 could result in a promotion or a new job offer, while the Full Moon in Aquarius on July 29 says it’s time to prioritize fun, pleasure and romance.

SCORPIO (Oct. 24–Nov. 21) The Solar Eclipse in Leo on August 12 is a difficult energy for you Scorpios to handle. Changes at your workplace, career changes and redefining your career goals are all hot topics for the next six months. Mercury, the planet of communication, will be in Leo from August 9 to August 25. You’ll need to watch your tongue at work, especially around August 10 and 11, when Pluto makes a difficult aspect to Mercury. Don’t take the bait when coworkers attempt to pull you into a power struggle. The Lunar Eclipse in Pisces on August 28 warns that fear and anxiety could be getting the best of you right now.

This eclipse encourages you to pause and take a deep breath before acting or reacting. You’ll be glad you did, and you’ll go to bed with a clear conscience.

SAGITTARIUS (Nov.22–Dec.21) When Venus moves into Libra on August 6, you may find yourself expanding your friend circle, networking, attracting helpful people, or receiving raises and bonuses at work—any or all of these outcomes are possible. The Solar Eclipse in Leo on August 12 is right up your bohe-

mian alley, giving you the green light to travel, return to school, take a class, learn a new skill, or earn a certification in a field that interests you. The Sun’s move into Virgo on August 22 reminds you that approaching work with a spirit of service and helpfulness always blesses you, Sagittarius. Finally, the Lunar Eclipse in Pisces on August 28 may have you thinking about moving, buying a home, or redecorating your current living space.

CAPRICORN (Dec. 22–Jan. 19) In case you’ve forgotten, the Solar Eclipse in Leo on August 12 is a wake-up call reminding you Capricorns that you’re built to initiate and lead. Let others call you a control freak. You’re meant to be the boss, manager, president, or CEO, so stop playing small and step into those leadership opportunities coming your way over the next six months. If you’ve taken some hard knocks in the love game, Mars’ move into Cancer on August 11 encourages you to dust yourself off and get back out there. Virgo season begins on August 22, stirring up your need for some travel and adventure, especially to foreign destinations. Disagreements and tensions with a sibling, co-worker or neighbor get smoothed over with the Lunar Eclipse in Pisces on August 28.

AQUARIUS (Jan. 20–Feb. 18) This month is a deep dive and wake-up call around old, worn-out emotional patterns, and the Solar Eclipse in Leo on August 12 is your turning point. This eclipse initiates a six-month rebirth process around relationships.

You’re getting rid of the excess baggage by cutting ties with those who drain and deplete you. Prioritizing everyone else’s needs and demands at the expense of your own well-being leads to burnout. You get a chance to choose differently when Virgo season begins on August 22. Admitting you have your limits and being clear and direct when it comes to your needs is the game-changer. The Lunar Eclipse in Pisces on August 28 says it’s time to get honest about your finances.

Ignoring reality or a lack of attention to detail will cost you now.

PISCES (Feb. 19–Mar. 20) Leo season continues for most of the month and reaches its peak with the Solar Eclipse in Leo on August 12. Self-care, getting organized, and paying attention to details remain a top priority. Things take a romantic turn when Venus slips into Libra on August 6 and Mars moves into Cancer on August 11. The relationship theme continues when Virgo season begins on August 22.

When it comes to relationships, you’re quite sensitive, trusting, and romantic. You’re also easily wounded. The Lunar Eclipse in Pisces on August 28 is an opportunity to clean up some of your love and relationship karma.

Selling yourself short and sacrificing your needs just to be in a relationship is out, and standing up for yourself is the new you.

Connect with Kevin at popastrologyreadings.com or on @p0pastrology.

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SCENE OUT Photos by DALTON DEHART AND CREW

The Normal Anomaly presented its annual Black Like That Community Festival at The Hall at Ironworks on June 27, 2026. Pictured are Teriko Ross St. James and Ian L. Haddock.

On June 30, 2026, LGBTQIA+ Leaders for Lesley Briones hosted a community reception in support of Harris County Commissioner Lesley Briones at Pearl Bar. Pictured are Blake Ellis, Commissioner Lesley Briones, and Zak Miller.

On July 6, 2026, River Oaks Theatre hosted a screening of the Sarah McBride documentary State of Firsts, followed by a panel discussion featuring local transgender political and community leaders.

Pictured are Joelle Espeut and Dylan Forbis.

The hosts of Christmas in July presented their annual Christmas in July celebration at South Beach on July 12, 2026. Pictured are the hosts of Christmas in July.

The Harris County LGBTQIA+ Commission held its Advisory Board meeting at the Montrose Center on July 15, 2026. Pictured are Brandon Mack, Matthew Donovan, Maria Gonzalez, Ramiro Fonseca, Victoria Cordova, Roy Rivera, and Austin Davis Ruiz.

On July 17, 2026, the Montrose Center’s TransWellness Program presented Drag United in celebration of International Day of Drag at the Montrose Country Club. Pictured are staff members of the Montrose Center and drag performers.

OUT at the Rodeo hosted its annual pool party on July 18, 2026. Pictured are attendees enjoying the pool at the Montrose Country Club.

The Empire of the Royal Sovereign and Imperial Court of the Lone Star presented the Mr. and Miss Lone Star Houston competition at Barcode on July 19, 2026.

Pictured are Miss Lone Star Houston Tisha Flowers and Mr. Lone Star Houston 2026 Patrick Montoya.

The Executive and Professional Association of Houston held its monthly dinner at Traveler’s Cart on July 21, 2026. Pictured are Edgar Gil-Haro, Cory Fendel, Belma Pucar, and Colton Larson.

Legacy Community Health’s Wellness Bar presented Cocktails and Community on July 24, 2026. Pictured are Ray Purser, Ivan Bocanegra, Breanna Foster, and Bryan Hlavinka.

The Montrose Softball League Association hosted its end-of-season closing ceremony and awards presentation at Home Run Dugout on July 26, 2026. Pictured are the 2026 Jerry Award winners, Kara Manwaring and Tony Wilkerson.

On July 29, 2026, the Greater Houston LGBTQ+ Chamber of Commerce hosted a ribbon-cutting ceremony celebrating SalonTrose. Pictured are Brandon Clements, Joe Mendoza, SalonTrose staff, Tammi Wallace, Meagan Kuharski, and Rachel Bickham.

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