Latest news with #Bimini
The Guardian
15 hours ago
- Entertainment
- The Guardian
Drag artist Bimini at Glastonbury: ‘How do you police who's going to the toilet?'
It's midday on Friday at Glastonbury – a fairly early call time for a nocturnal drag superstar, but Bimini is already putting the world to rights. The DJ, musician, model, podcaster, author and activist (to name just a few of their other job titles) is taking to the stage for the first of three Guardian Live Q&As this weekend, interviewed by journalist Zoe Williams. And don't worry, all your important style conundrums are being answered: 'Crocs, yes or no?' 'Yeah!' Bimini enthuses. 'They're comfortable footwear at a festival.' It's unclear whether they've packed any for later on, as they kick their heel into the air, revealing 16-in PVC stilettos. The 2025 festival style trend? 'Skimpy,' they say, without missing a beat (they're wearing a union jack corset and teensy leather hot pants). With the all-important fashion business out of the way, the conversation – dotted with questions from Guardian readers – covers anxiety, allyship and why policing body autonomy is 'horrible'. Talk inevitably turns to the recent trans bathroom ban. 'Trans people just want to live their lives,' Bimini says, though they are hoping for more unity: 'What needs to happen is more conversations where we come together and find a solution.' That includes 'honest conversations with trans people, actually allowing trans people to speak about their existence,' they continue. 'They're mocked or ridiculed and I don't think it's a fair representation.' Right now, Bimini tells the crowd, we're in a 'hostile' place, 'and we need to either get really angry and start a revolution or take acid and love each other'. 'That's what's so beautiful about coming to Glastonbury. It feels like utopia, right? Although you probably couldn't live here for ever because you'd be knackered.' They have memories of performing here in 2017, as part of the NYC Downlow's drag coterie; it felt like a simpler time. 'There was still a lot of hope and acceptance. Homophobia and transphobia wasn't as high as it is now.' Even so, they add, Brexit was a catalyst for echo chambers. It 'leads to ideas of, oh, there are other people that think like me, and then that slowly starts to build up, and we get to the place where we're the most divided we've been in a long time'. But back to Glastonbury. On a brighter note, they say, 'I think this year is just about having fun, being radical with it, and standing up for what you believe.' And besides, adds Bimini, 'I've always got something to say'. As Thomas George Graeme Hibbitts, growing up in Norfolk, they always had the acerbic, surreal sense of humour that they're known for. 'Bimini is just a bit more fun to look at.' They studied journalism, as well as international relations, at university, 'so I was always quite into current affairs,' they explain. But drag allowed them to bring that on to the stage and 'I was able to explore politics and perform'. In response to a reader's question about a recent social media post, in which they wrote about a time when they'd fallen out of love with performing, Bimini opened up about their mental health struggles in the aftermath of starring on season two of RuPaul's Drag Race. 'I felt a lot of pressure. There were a lot of different people around me telling me what I should do and how I should be.' They were thrust into 'a different world that wouldn't normally have accepted me. I got caught up and I became a bit depressed.' They're also feeling weary about the politics side of things. 'I've never understood how human rights is a discourse in itself,' they say. 'Surely if there's a war going on and people are trying to flee, we try to help them as much as we can.' Instead, they say, the UK government is doing the opposite: 'It's disgusting.' Bimini refuses to stop being outspoken about what they believe in. For a recent show, they were told to remove the line 'Free Palestine' from one of their songs. In response, Bimini refused to let their song be used: 'I'm not doing it.' Making and playing music, however, has revitalised them. 'I've been making an electro-punk album,' they say, as well as officially remixing Anastacia's 2000 smash I'm Outta Love and getting back into DJing (they're playing two sets across Glasto weekend). Plus, we've nearly at the end of another Pride month. 'This year is so important because we need to come together for the trans community. We need to come together for the migrants, disabled people, anyone that is a minority that doesn't feel like they are being looked after.' As well as inclusivity, they urge collective action: 'We need to fight.' They attended the recent lobby outside parliament to protest against the UK government's bathroom ban. 'What's worrying is the policing of bathrooms. How do you police who's going to the toilet? Is someone checking your genitals? I just think everyone needs to piss in peace.'
New York Times
3 days ago
- Sport
- New York Times
76ers draft Baylor star V.J. Edgecombe with No. 3 pick
The Athletic has live coverage of the 2025 NBA Draft The Philadelphia 76ers selected V.J. Edgecombe with the No. 3 pick Wednesday night in the NBA Draft. Edgecombe, 19, averaged 15 points, 5.6 rebounds and 3.2 assists for Baylor in his only collegiate season. The 6-foot-5 guard finished the season ranked second among Baylor players in points and assists, and third in rebounds. He shot 34 percent from 3, hit half of his 2-pointers, and made 78 percent of his free throws. His biggest impact was on defense, where he led Baylor with an average of 2.1 steals and was third in blocks with 0.6 per game. Advertisement A freshman from Bimini in the Bahamas, Edgecombe entered the draft after starting 33 of the Bears' 35 games this season. Their season ended in the second round of the NCAA Tournament with an 89-66 blowout loss to Duke. Edgecombe also competed in four games for the Bahamian national team during the 2024 FIBA Men's Olympic Qualifying Tournament, where he averaged 16.5 points, 5.5 rebounds and 3.8 assists. Edgecombe is one of the safest prospects in the draft. He's an elite athlete functionally on the court, and his defense is genuinely tremendous. He is disruptive all over the court on the defensive end and makes opposing players' lives miserable. On offense, Edgecombe is a shooter off the catch who started to show an ability to knock down shots from 3 off movement. He also knows how to cut and play off the ball well, as we've seen in a variety of situations. His mentality to do whatever helps the team most also projects well into his being a positive-value player who helps winning basketball teams throughout his career. Ultimately, Edgecombe's upside will be tied to whatever level you think he can reach on the ball. Do you buy into his work ethic enough to think he will become a player who can create advantages at the NBA level with his athleticism? Right now, there is a bit of a skill deficit when it comes to handling the ball and shooting pull-ups. He's also not that nuanced in ball screens. I've been using the comparison of Gary Harris if you attached a jet pack to him throughout the season for Edgecombe. That player is probably a top-40 player in the NBA at his ceiling, given that Harris, without this level of athleticism, had a three-year stretch in Denver in which he averaged 15 points, three rebounds and three assists on 47/39/80 shooting splits while getting All-Defense votes in two of those three years. I might be a touch lower than the consensus on Edgecombe's ceiling. Still, a top-40 player projection that I feel is relatively safe makes Edgecombe a top-five player in this class. — Sam Vecenie Western Conference executive No. 2: 'I think he's more like Cam Thomas than an All-Pro player or something like that. But Edgecombe, to me, has more upside (than Thomas). I like him better offensively — athletically. I like him better defensively. I think he's more of a versatile, all-around player than Cam is. Probably a little more playmaking. … This kid's going to score in his own right, too. He isn't going to be a 12-point-a-game scorer or anything. He's athletic as hell, so he's going to get out on the break and get some points there. He'll do some driving in the half court and get some points there, get fouled. And guys with that profile who weren't just horrendous offensive players in college but who are highly athletic and work at it, they get better offensively in the league. You've got unlimited opportunities to work on your game. Everybody's got practice facilities and the code to get back in. … I'm not saying he's going to be a perennial All-Pro player, but I think he'll be pretty good. And I'd be surprised if he failed.' Advertisement College general manager: 'From the jump, he was a super-mature kid. When coaches are talking, eyes on them. Very coachable. Wants to learn. Wants to get better. Never late. First in and last to leave. Just things you have to tell guys — sometimes you're telling guys who are five- or six-year pros — for him, it came naturally. … Very mature, but there were some things (in FIBA competition) he wasn't used to, the physicality. If the team has direction and has leadership, he'll be fine. He'll be everything they want and more. He's such a good kid, and he's coachable. At Baylor, they were so quiet at the offensive end in the first half. And in the second half, he just takes over.' Western Conference scout No. 1: 'From the end of the season until now, his jumper has gotten better. It was flat during the year. … When he came to Chicago and shot, I was like, 'Whoa.' He doesn't have that flat shot no more. He's gonna be all right. Because he's so athletic. He can handle the rock and pass the ball. I'm not comparing him to Ant (Anthony Edwards), but whoever gets him is gonna be surprised how he can put the ball on the floor and make plays for others. Look at him at Baylor. He wasn't hogging. He wasn't even the main offense. He was scoring, shot it OK. But he always made passes and made plays for others. And he can defend. I think he can guard twos and ones. He's a combo. Second-side ballhandler. I think he'll be able to guard ones and twos easy. And then later against certain threes, if they go small-ball three. He can guard 6-6 guys — some of them. And he's not gonna back down. He's a tough kid, comes from a tough area.' Eastern Conference executive No. 1: 'To me, I think he could be the second-best player in this draft. He's a little raw basketball-experience-wise, but he's a great kid. Stephon Castle was rookie of the year. The biggest reason was he was able to defend right away. This guy can do the same thing. He's not a bad shooter.' — David Aldridge This story will be updated.
The Guardian
3 days ago
- Entertainment
- The Guardian
Guardian Live heads to Glastonbury: Bimini, Steven Frayne and The Libertines take centre stage
We get it – not everyone can brave the mud, queues and early morning tent saunas. But that doesn't mean you can't be part of the action. This year, Guardian Live is setting up camp in the Theatre & Circus area at Glastonbury Festival with a series of exclusive interviews at The Astrolabe. Every day from Friday to Sunday at 12 noon, you'll find us asking the questions that matter, and maybe a few that don't, to some of the most fascinating figures gracing the Worthy Farm fields. First up on Friday is none other than the musician, DJ, activist and drag performer – Bimini. Known for their breakout turn on RuPaul's Drag Race UK, their punky political edge and boundary-breaking style have since taken the fashion world, music scene and literary landscape by storm. Now, they're turning their sharp wit and glittering charm to Glastonbury for a candid chat. Want to know Bimini's favourite festival lewk? You know what to do, send us your questions here. Saturday sees a magical twist, as Steven Frayne – the artist formerly known as Dynamo – joins us to pull back the curtain on life behind the illusions. From levitating in front of Christ the Redeemer to dodging traffic on the Thames, Frayne has redefined modern magic for a new generation. Submit your questions here and we'll make them appear in the interview as if by magic. We're closing out the weekend with a bang – or possibly a jangly riff – as Libertines co-frontmen Peter Doherty and Carl Barât join us for a rare live interview together. Expect tales of indie anthems, chaotic tours, poetic turns and, perhaps, the odd surprise. Got a burning question about Up the Bracket, band bromance or Britpop beefs? Leave your comment on the article and make your voice heard. We'll be capturing the highlights from these sessions and sharing them online soon after, complete with your questions. So go ahead and don't just be a spectator. Be a part of the show. Ask something weird. Ask something wonderful. Just ask.
Yahoo
5 days ago
- Yahoo
Paddleboarders make 82-mile journey from Bimini to Lake Worth Beach for cystic fibrosis
Hundreds of paddleboarders completed and 82-mile journey from Bimini to Lake Worth Beach to raise awareness and funds for cystic fibrosis.
Yahoo
20-06-2025
- Entertainment
- Yahoo
Bimini gives Rolling Stone UK their rundown of top queer artists for Pride Month
Happy Pride Month from all of us at Rolling Stone UK! We've decided to mark the occasion by handing our platform over to Bimini. We all know them as the breakout star of RuPaul's Drag Race, but it goes without saying they've done so much more since then, including a successful foray into music which included 2023's When The Party Ends EP. So, to mark Pride, who better than to guide us through some of the UK's leading Queer musical artists? Over to you, Bimini! Big Wett doesn't just push boundaries, they show up with a wrecking ball and smash the entire binary. From the moment they hit the scene it was clear this wasn't pop as usual. This was sweaty, sex-positive, femme-fronted rebellion with a bassline. Big Wett makes music that sounds like a chaotic night out where you end up on someone's shoulders, lipstick smeared, screaming the lyrics with your top half off and your whole heart out. It's a full-body experience filthy in the best way but underpinned by a cheeky, clever sensibility that flips the male gaze on its head. They've taken this deliciously dirty DIY pop energy and turned it into a movement one that says sexuality can be absurd, loud, joyful, and political. Big Wett isn't just performing they're liberating the dancefloor one horny, glorious track at a time. Kiimi exists in that sweet, rare space where technical brilliance meets emotional depth. They're a classically trained musician who traded scores for synths and thank the rave gods they did. There's something almost celestial about the way they build tracks glitchy, haunting, cinematic, then suddenly plunging into pulsating, chest-rattling drops that feel like therapy through BPM. Their sound is duality delicate and destructive. It makes you want to throw your head back and sob under a strobe light. But it's more than just music it's healing architecture. And as a non-binary producer in a space that's long been hyper-masculine and gatekept, Kiimi is quietly but radically reshaping who gets to make the noise and what that noise can say. Artful, emotive, and defiantly expansive. What Rebecca Black has done is nothing short of cultural reclamation. She went from being the internet's punchline to becoming a defiant queer icon, and not through apology or rebranding, but by owning the chaos and flipping the script. Her hyperpop renaissance isn't just catchy it's cathartic. It screams 'You thought you knew me? Watch this.' Her vocals have matured into something wild and elastic, dancing across glitchy production with a kind of empowered theatricality that gives shades of Charli XCX, but with a revenge-arc edge. And let's not forget this is someone who was dragged globally at 13. Now she's dropping bangers in latex, collaborating with queers across the genre, and proving that resilience can be art. This isn't a story about just surviving, bitch she thrived. That's punk. I. JORDAN's music doesn't ask for permission it grabs your hand and drags you to the dancefloor. Their sound is urgent, sweaty, bright and explosive, like being chased through a neon maze of joy and rage. But beneath the rave chaos, there's precision. You can feel the structure the tension and release, the political bite buried under euphoric highs. They remixed mine and ABSOLUTE. tune Keep On Dancing and injected it with this turbo-charged queer stamina that makes you want to march, scream, kiss, and spin all at once. And culturally? I. JORDAN is walking the talk. Their openness about identity, their refusal to box themselves in, and their commitment to accessibility in dance spaces is as much a part of the work as the beats themselves. This is music as resistance raw, radical, and real. Before most people knew the term 'queer techno revival,' ABSOLUTE. was already leading the charge. Their journey from underground London clubs to international festival stages has been built on pure vision, community power, and that unmistakable sixth sense behind the decks. When ABSOLUTE. plays it's not just a DJ set it's a sermon in sweat, ecstasy, and queer transcendence. There's an emotional arc to their sound hard yet hopeful, relentless yet healing. And just when you think they've peaked they surprise you. Their project Night Maneuvers with Dot Major? That's them again pushing forward blending club euphoria with live performance in a way that reimagines what rave culture can look and feel like. They aren't just serving beats they're curating emotional awakenings. Queer liberation but make it four to the floor. Geo Jordan is what happens when soul, identity, and production collide in all the right ways. Their work doesn't just sound good it feels important. Geo's sonic world is tender but tough, rooted in R&B and electronic textures, but pushed into something altogether more fluid and futuristic. Their new music (which I am lucky enough to have HEARD before it's released) It's genreless in the most beautiful way. Their voice floats over minimalist beats like a balm soft, aching, purposeful. But it's not just about the sound it's the message. Geo is creating space for trans joy, trans grief, and everything in between. Their art isn't performance it's a practice. They're not just making music they're making room for people to feel seen. In an industry that still sidelines Black queer voices, Geo is offering something rare vulnerability that doesn't beg for approval, but demands to be heard. Jaguar – has always had that presence that makes you lean in. For years she was the tastemaker and gatekeeper of the underground, championing queer talent, Black excellence, and femme-forward dance music on BBC Introducing and beyond. She curated the soundtrack for our sweaty late-night liberation before most people even knew her name. But now she is flipping the mic on herself and thank God for that. Her move into releasing her own music feels less like a pivot and more like an ascension. It gives range, rage, and renaissance. Her voice cuts through you. It is soul and steel all at once. One moment you are dancing and the next you are spiralling about your ex. Jaguar does not just sing she channels. Her sound holds space for softness and strength, emotion and euphoria, and the result is a beautifully femme, powerfully queer spiritual experience in club form. The scene is better because she is in it and now that she is on the mic too there is no stopping her. She is a true force and we are lucky to witness the glow up and the takeover. Bentley isn't writing breakup songs he's scoring full pop operas of emotional destruction and post-heartache glamour. Think if Robyn made out with Troye Sivan in the bathroom of a glitter-covered gay club at 3am that's the vibe. His voice glides across tracks with this perfect mix of heartbreak and hedonism, sadness and sass. He's taken what could have been trauma and turned it into a disco ball. Bentley is unapologetically pop but make it flesh and blood pop. And in a time where queer male artists are still often boxed into clichés, Bentley's showing you can be emotional and extra, damaged and divine. His songs don't just slap they validate. Heartbreak has never sounded so anthemic or looked so good in thigh-high boots.
