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NBC revives ‘Hairspray’ just in time
All-star cast says election gives show special meaning
LOS ANGELES — “Hairspray” has always been a peppy musical about a “pleasantly plump” teen in Baltimore who becomes a local superstar, brings her city together and gets the boy.
It’s cutesy and fun on the surface but a deeper look reveals the musical as a dark comedy fighting against racial segregation in 1962. While the musical may seem dated in its wardrobe and copious amounts of hairspray, the airing of NBC’s “Hairspray Live!” on Wednesday, Dec. 7 at 8 p.m. feels oddly current.
In light of the recent election, it’s a sad reminder of life, yet again, imitating art.
The Washington Blade was able to speak with some of the cast and visit the set of “Hairspray Live!” at Universal Studios in California. A brightly colored version of Baltimore lives on the West Coast filled with fake storefronts of the iconic “Hairspray” locations such as Mr. Pinky’s Hefty Hideaway and Motormouth Records. The set of the “Corny Collins Show,” originally based on the real life “The Buddy Deane Show” which aired on WJZ in Baltimore, and the Turnblad living room stood empty waiting for the cast to bring them to life.
The cast was brimming with excitement for the show and some of the younger cast members bonded eating chips and salsa at Ariana Grande’s house the night before.
Harvey Fierstein, who reprises his Broadway role as Edna Turnblad and penned the NBC teleplay, was invited to join.
“Last night, they were texting me at 11 o’clock. All the kids were at Ariana’s house having a party. ‘Harvey, come on out. Come on out,’” Fierstein says. “I’m old. Leave me alone. I’m in bed.”
Baltimore native John Waters’ quirky mind gave birth to the original 1988 film. However, “Hairspray Live!” promises to be closer to the 2002 Broadway version with its teleplay. Fans of the original film won’t be disappointed though if they spy for Easter eggs on set like Divine Pet Food, Edie’s Eggs and Dairy and Waters Plumbing.
One thing for sure is that the events of the musical ring true now more than the last go around.
“Those kids in 2002, we had to educate them about segregation,” Fierstein says. “The black kids would sit out in the hall while the white kids rehearsed, and they started getting a very weird feeling. People started getting very territorial. There was a fight over Little Inez’s doll, whether it would be prettier if it was a white girl’s doll. We were feeling that stuff, and that stuff was foreign. It had to be brought to the show because it was not part of who they were growing up. This group of kids, very unfortunately knows it’s true, and we don’t have to educate them about it.”
Fierstein and Martin Short, who plays Wilbur Turnblad, find themselves concerned but also oddly optimistic about the evolution of the LGBT community under a Donald Trump presidency.
“You know, Donald … I mean I sat with him at a gay wedding. He was not happy to be there … but he was there at the gay wedding,” Fierstein says.
“I think the interesting thing about Donald Trump, who I’ve never met, is we don’t know very much about him,” Short adds. “We know that in 2009 you can see him sitting with Wolf Blitzer praising the genius of Hillary and Bill Clinton. We know that he was a Democrat. We know that he was always pro-choice. So I think that there’s so much opportunism tied to what he is that I’m sure that in private he is much less what his policies will be.”
Fierstein has donned the wig and dress as Edna more than 1,000 times and says he first prepared for the role by following women around at the mall. While both Fierstein and Edna are firecrackers in their own right, he couldn’t help but feel the gender difference.
“I do love that nurturing side of Edna, and I love being around the cast and the kids that way,” Fierstein says. “And I adore her. But there’s a sadness about her that I love too. I’ve always been an overweight person, and to be an overweight woman is different than being an overweight man.”
Grande and Kristin Chenoweth also felt the weight of the timing of the musical and the election. Grande plays Penny Pingleton, Tracy Turnblad’s friend who falls for a black boy named Seaweed, played by Ephraim Sykes of “Hamilton.” Grande, a “Hairspray” super fan, can hardly contain her excitement about taking on her dream role of Penny. Meanwhile Chenoweth is Velma Von Tussle, the show’s racist antagonist. Chenoweth, a veteran Broadway performer, is more quietly understated about her role but her eyes light up when discussing the show’s significance.
While their onscreen relationship couldn’t be further apart, the pair couldn’t have been closer offset, often seen walking arm and arm together.
“I love her like she’s my own kid,” Chenoweth says of Grande.
For these songstresses “Hairspray Live!” airing in a post-Trump world had to happen.
“I think it’s cosmic,” Grande says. “I think it was meant to be. I think the universe had a plan and was like, ‘OK, we need to show these people something uplifting but that will also make you get the point.’ It’s a beautiful show. It’s touching.”
Chenoweth agrees and said her role as an LGBT ally is all the more important.
“It’s interesting being a person — not to get weird — a person of faith, a woman in show business in the 21st century. I guess I have to keep saying those words right there. Because to me, whatever God is to us, we have to be. God is love. And it seems like the opposite of that happens a lot. Instead of acceptance and love, not tolerance, acceptance. That’s my message,” Chenoweth says.
Grande and Jennifer Hudson (Motormouth Maybelle) will be giving “Hairspray” their own twist by singing “Come So Far,” written by Marc Shaiman and Scott Wittman. The song appeared in the 2007 movie version. Both Grande and Hudson admit they are excited for the duet. While “Come So Far” is an upbeat tune, Grande and Chenoweth say “I Know Where I’ve Been,” sung by Hudson inside Motormouth Records, is an emotional rollercoaster.
This isn’t Hudson’s first time in a period musical. However, the mental preparation involved is completely different.
“When I was doing ‘Dreamgirls,’ I had to go back and look at what was happening in the ‘60s,” Hudson says. “I don’t find myself having to do that now. It’s like, turn on the news. It helps us in a way because now we can relate in this day and age. I think it gives the story that much more power and meaning. To us, this is normal. But now, we won’t necessarily see it that way.”
During a panel discussion with the creative team, moderator Dave Karger asked why “now is a good time for ‘Hairspray.’”
Director Kenny Leon couldn’t help but laugh.
“Oh, wow. Man, where were you last Tuesday?” Leon joked. “It’s actually a blessing to be in the throngs of this after last week. And it’s emphasized the role of artists in our world. And so it gave me an opportunity to talk to the company about the importance of what we do.”
The importance of Hollywood’s role as a source of comfort is being highlighted now more so than in recent years. Out actor Billy Eichner, who makes a special appearance as Rob Barker, and Paul Vogt, who plays Mr. Spritzer, see “Hairspray” as especially healing for the LGBT community.
“It was created by John Waters, which is like a gay icon and has always been a great voice,” Eichner says. “He has always been very outspoken about being gay and gay issues and diversity in his casts and the characters. And ‘Hairspray’ is about outsiders, you know? And it’s a great musical and gay people like a great musical.”
“What everyone else considers the normal world that’s his outsiders so I think he likes to show the outsiders and say, ‘Yeah, you have a right to be here’ and a lot of homosexuals and LGBT we feel like the outsiders but we’re not. We’re the same as everybody else and we should be able to just feel that way. I think that ‘Hairspray’ gives you that voice and I think John Waters gives you that,” Vogt adds.
For Vogt, comedy is essential in getting through tough political times.
“You can yell at people and yell at people and disagree with them and fight with them, but then when you do it through comedy, sometimes they’ll hear you,” Vogt says.
Fierstein thinks “Hairspray” is the perfect vehicle for getting that message across.
“The wonderful thing about ‘Hairspray’ is it’s so gentle in its storytelling. It’s the right message. We don’t beat you up,” Fierstein says.
A common thread the cast seemed to share, besides an unwavering passion for “Hairspray,” is that keeping the laughter going keeps hope alive.
“I hear there’s going to be a man playing the mother,” Fierstein jokes. “But I didn’t check anyone else’s penises or vaginas.”
“Well that’s what wrap parties are for,” Short says.
While the cast prepares for the show, so is the actual city of Baltimore. In celebration of “Hairspray Live!” the city will offer “Hairspray” character-inspired cocktails at many of Baltimore’s bars and restaurants. Local hotels will also offer packages with discounts in honor of the show. For a complete list of “Hairspray” activities, visit baltimore.org.
Shaw’s Tavern (520 Florida Ave., N.W.) will also hold a special watch party from 7 p.m.- 1 a.m. with a “Hairspray” sing-along before and after the show.
Catch the rest of the cast including newcomer Maddie Bailie (Tracy Turnblad), Dove Cameron (Amber Von Tussle), Garrett Clayton (Link Larkin), Sean Hayes (Mr. Pinky), Derek Hough (Corny Collins), Andrea Martin (Prudy Pingleton), Rosie O’Donnell (Health Ed Teacher) and Shahadi Wright Joseph (Little Inez) in “Hairspray Live!’
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‘Tiger’ burning bright: an interview with Mary Timony
Today’s female-driven music scene wouldn’t be the same without her
It’s hard to imagine what the current female-driven music scene would be like without Mary Timony. From Sleater-Kinney to Haim, from Angel Olsen to Mitski, the influence of Mary Timony is in every note being played, every word being sung. On her new solo album, “Untame The Tiger” (Merge), with its sly nod to Joni Mitchell, Timony has brought her many years of musical experience to the fore, resulting in what is easily her most accessible release. Beginning with the incredible six-plus minute opener “No Thirds” and continuing through the first single, “Dominoes,” and gorgeous numbers including “The Guest,” “The Dream,” and “Not The Only One,” Timony is assured to keep listeners purring along. Timony made time for an interview shortly before the album was released.
BLADE: Mary, I’d like to begin by talking to you about your musical lives in D.C. and Boston. I went to college in Boston in the early 1980s and was constantly amazed by the bands of the era such as Mission of Burma, Human Sexual Response, and ‘Til Tuesday. I moved to D.C. in the mid-1980s to go to grad school, and at the time, the music scene there was dominated by go-go music, and a smaller indie music featuring BETTY and the late Tommy Keene, among others. What do you remember about the music in D.C. as someone who grew up there?
MARY TIMONY: That’s interesting. We kind of did a switcheroo. I’m from D.C. and I moved to Boston. (In D.C.) I learned, as a teenager, about rock shows and rock music from being involved in the punk scene, the post-hardcore scene of kids here. Those are the shows I went to in high school. Basically, the Dischord (Records) bands and stuff. I saw every single Fugazi show from when they started in ’87. Before that, whatever was happening in 1985, hardcore shows by Swiz and Soulside and Kingface and I loved Ignition. Other than that, I would go see bluegrass out in Virginia and I loved go-go. I would go to see (go-go bands) Rare Essence and Trouble Funk. I was very into that stuff; that was really exciting. I think I liked go-go the most out of all of it, actually [laughs]. I would go to DC Space and 9:30 (Club), mostly for local (acts). I don’t think I ever saw BETTY, but I was a teenager then.
BLADE: Was the active music scene in Boston in the early 1990s part of the appeal for you when it came to relocating to Boston to attend Boston University?
TIMONY: The reason why I went there was because I wanted to go to a music program that was in a big university, in case I didn’t wanna study music the whole time, which is exactly what happened. I studied classical guitar for a year and then I didn’t really like the program much, so I transferred to study English. I found out about the (Boston) music scene from friends. We went to The Middle East (nightclub) and TT’s (T.T. The Bear’s nightclub). Then after college, I ended up living right down the street from The Middle East and I was there constantly.
BLADE: Good old Central Square! As a performer playing in bands including Autoclave, Helium, and Ex Hex, and as a solo artist with her own band, it’s not unreasonable to say that Mary, you are someone who plays well with others.
TIMONY: [Big laugh.]
BLADE: What makes you such a good team player?
TIMONY: I didn’t know I was [laughs]. I’ve gone back and forth between doing solo stuff and being in bands. Mostly, I’ve done projects where I’ve written a bunch of songs and I’m trying to…I haven’t done a ton of collaborative stuff really. Ex Hex was fun because it was more collaborative. Wild Flag, the same thing, totally 100% collaborative in every way. But Helium was really my thing, but I got some great people that totally influenced it. I’ve always been doing my own thing but tried to find really good people. Music really is about connection. It’s never as good if it’s only one person’s vision. Usually, if it’s good it’s good because of the connection between the musicians. Music is a social art form, I think.
BLADE: “Untame The Tiger” is the title of your new album. In 1999, Joni Mitchell titled her album “Taming The Tiger.” Are you, in any way, making a nod to Joni?
TIMONY: A little bit because I am a huge fan. I have been since I was 18. But, it sort of came to me because I have a song called that on the record and I’m sure that probably came from ripping off Joni Mitchell. Then I just thought that’s a cool name for a record. Then I thought, “Oh, shit!” [Laughs] It’s already been taken! Then I thought about it and then I forgot about it. Then I thought about it again and finally, I was like, “It’s OK. It’s a little bit different.” And I love her!
BLADE: I’m currently reading Ann Powers’ book “Traveling: On the Path of Joni Mitchell,” which comes out in June.
TIMONY: Oh, I’m definitely going to have to read.
BLADE: Yes, please add that to your reading list. “Untame The Tiger” is your first new solo studio album in 15 years. Are there things you write and sing about on your solo records that might be out of place on an album you would record with another one of your musical outfits?
TIMONY: Yes. That’s why this ended up being a solo record. I guess it was because of the tuning of my guitar. They were more or less finished songs. I wanted the songs to sound kind of acoustic. I also wanted to play with a bunch of musicians who I really love. All those things just made it seem like a solo record. If I’m writing for a band, like Ex Hex, which is basically the other band that I do right now, they’re not finished. I bring them in (to the band members) with that band in mind.
BLADE: I love the lush instrumental section on “Thirds” and the psychedelic sounds of “Looking For The Sun” and “The Guest.” Were there things you were listening to while writing the songs for “Untame The Tiger” that were inspiring to you?
TIMONY: I was listening to a lot of music, a ton of stuff. I don’t ever try to purposely emulate anything very often, but I can’t help it. I’d rather be influenced by stuff without really thinking about it too consciously. I always have loved listening to The Left Banke’s instrumentation and The Moody Blues’ string parts. Most of the string parts come from trying to emulate The Moody Blues [laughs] or The Left Banke. I’m obsessed with The Left Banke.
BLADE: “Walk Away Renée,” right?
TIMONY: Yes. This guy, Michael Brown, was such a genius. He wrote so much stuff as a teenager. His dad was a string arranger. Anyway, I love those string parts. I was listening to this prog-rock band The Strawbs and this early (Ronnie) Dio band Elf. (The Flying) Burrito Brothers and The Byrds, too. I love Fairport Convention and Steeleye Span. Richard Thompson and I was really obsessed with Gerry Rafferty’s early solo record called “Can I Have My Money Back?” I love that record. I was listening to it a ton when I was arranging the songs.
BLADE: Why was the song “Dominoes” selected as the first single from “Untame The Tiger?”
TIMONY: I don’t know. I let other people tell me [laughs]. I really hate sequencing records and I hate choosing singles. I’m just too close to it. I can’t tell what people are going to like or not. A lot of times, the ones that I like are not the ones that other people like. I asked (the people at) the label and they suggested that. I think it’s more poppy sounding. Dave Fridmann mixed that one and “Don’t Disappear” and he’s a genius mixer. and these mixers are always very pleasing and accessible sounding. I think that has something to do with it, too.
BLADE: Earlier, we talked about your long history of playing music with others, which reminded me of your guest spot singing “All Dressed Up In Dreams,” written by gay singer/songwriter Stephin Merritt for his band The 6ths’ “Wasps’ Nest” album.
TIMONY: He’s such a genius!
BLADE: How did that come about?
TIMONY: When I moved to Boston, for a year I lived with Claudia (Gonson of Merritt’s band The Magnetic Fields), who is his drummer. I lived in a group house in Cambridge. I was friends with Claudia, and Stephin lived a few blocks away. She told me he was making this record with guest singers they wanted to go over and sing on it. I went over there one day and he taught me the song and I sang on it. I think he’s one of the best songwriters of the last 50 years or whatever.
BLADE: I completely agree. As someone who has collaborated with Stephin, are you aware of an LGBTQ+ following for your own music?
TIMONY: I don’t know. I think maybe a little bit. I’d love that. I love everybody who can connect with it, because all I’m trying to do is connect with people.
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Sherry Vine is turning 60 — and she’s not quitting anytime soon
Legendary drag queen coming to D.C. for new show, ‘Smoke and Mirrors’
There are many things Sherry Vine is proud of. Throughout her 33-year-long career, the drag queen has accomplished so much — she’s released music, launched her own variety show and toured across the United States and Europe.
But what she loves the most about her career is making people laugh.
This calling to be a comedy queen started before her formal drag career. In high school, she remembers taking part in the musicals, and Vine would find joy in making people laugh by wittily changing song lyrics.
“Then it just evolved into doing that as the act,” Vine said in an interview with the Blade.
From the beginning of her career, she’s made singing live parodies a central part of her performance as a drag queen. And for her 60th birthday, she knew she wanted to put on an extravaganza.
Vine is coming to the Woolly Mammoth on March 9 while on tour for her new show “Smoke and Mirrors,” performed and written by her. It’ll include new parodies, from Bruce Springsteen to ABBA. The D.C.-based drag queen Tara Hoot will be a special guest at the show.
There’s a lot that led up to this milestone year for Vine. It all started with developing her character more than 30 years ago.
Developing Sherry Vine
Vine describes her persona as a down-on-her-luck showgirl from Las Vegas with a heart of gold.
She was always obsessed with stars like Joey Heatherton and Stella Stevens. Not to suggest those stars are down-on-their-luck showgirls, Vine said, but she wanted to evoke a sex kitten mentality. Her character eventually morphed into what it is today from these inspirations.
But at first, Vine said she thought she had to look funny to be funny.
“I didn’t care about the makeup. I didn’t wear big breasts. I just thought I had to look like a clown,” Vine said.
When she moved to New York City in 1992, she was surrounded by queens who balanced being funny and gorgeous simultaneously. That was eye-opening for her, she said.
Now, she relishes surprising people, she said. She’s been told she looks “too pretty” to be taken for a comedy queen, but that’s OK with her.
“I want to walk out on stage, and anyone who’s never seen me, maybe they’re like, ‘Oh, she looks good,’” Vine said. “And then I started singing about poop and penis and they’re like, ‘Oh my gosh, she’s so stupid.’”
When she was starting out as a drag queen, Vine reflected that she didn’t envision doing drag as a career. She remembers not wanting to commit to it. She wanted to be a movie star, she said.
“I kind of fought it. I loved it,” Vine said. “But I was like, I’m not doing this as a career.’”
But once she let go of fighting it, her career exploded. She got connected with RuPaul and was on two television specials in the 1990s. That support was crucial, Vine said, and helped her believe in herself more.
“I was like, ‘Oh, OK. If this person thinks that I have something, then maybe I do,’” Vine said.
Drag has changed — a lot
The drag scene has changed drastically. Vine credits a lot of this transformation to “RuPaul’s Drag Race.”
“When we started doing drag 30 years ago, no one in their right mind would have been like, ‘I’m going to do drag so I can make a lot of money and be famous,’” Vine said.
Before RuPaul’s iconic single “Supermodel (You Better Work),” one of the only examples of drag the average consumer saw was “Mrs. Doubtfire,” Vine said.
“You had to have a passion for it,” Vine said. “You had to have a calling.”
When Vine started, drag was a fringe art form that had an audience of mostly gay men.
Nowadays, it’s mainstream. Drag is enjoyed by a much wider audience, and is more of a way to become famous. When Vine was coming up in the industry, there were few ways to get on TV and in films as a drag queen, short of playing a character that was murdered on “Law & Order,” she said.
But even though drag has evolved and grown in popularity, Vine’s advice to drag queens has stayed the same over the years.
“Don’t try to do something because you think someone else is doing it successfully,” Vine said. “Find what you do, and then exploit and explore that.”
Looking back, looking ahead
Out of her multi-decade run as a drag queen, Vine said she’s most proud of the longevity of her career. There are a few people who have been in it as long as she has — Lady Bunny and Miss Coco Peru, for example. Few others have made it as long as Vine, she said.
She stresses that she can’t take credit for creating things, but she takes pride in being one of the first drag queens to go viral on YouTube in the 2000s. Her “Bad Romance” parody, released in 2009, racked up more than 6 million views over the years.
In the next few years, she’s looking into doing more television and film projects. Her latest show, “The Sherry Vine Variety Show,” just wrapped filming its third season. Creating this show is fulfilling a childhood dream of hers, she said. It’s an homage to “The Carol Burnett Show,” which Vine grew up watching.
Whether it’s performing on camera or onstage, Vine doesn’t see herself quitting anytime soon.
“I love performing and drag as much now as I did 33 years ago,” Vine said. “So I don’t see ever stopping.”
To get details on how to buy tickets to “Smoke and Mirrors,” visit woollymammoth.net/productions/sherry-vine.
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Girls Rock! DC empowers young people through music, social justice education
Organization founded in October 2007
Girls Rock! DC, an organization operating at the intersection of art and activism, is dedicated to empowering young people through music and social justice education.
Since its founding in October 2007; Girls Rock! DC has been creating a supportive, inclusive and equitable space that centers around girls and nonbinary youth, with a special emphasis on uplifting Black and Brown youth. At the core of Girls Rock! DC’s mission is a unique approach to music education, viewing it through a social justice and equity lens.
“It’s a place where people can come explore their interest in music in a safe environment, figure out their own voice, and have a platform to say it,” Board Vice Chair Nicole Savage said.
This approach allows D.C.’s young people to build a sense of community and explore their passion for social change through after-school programs, workshops and camps.
The organization’s roots trace back to the first rock camp for girls in August 2001 in Portland, Ore. Similar camps have emerged worldwide since then, forming the International Girls Rock Camp Alliance. Girls Rock! DC is a member of this alliance, contributing to the larger community’s growth and advocacy for inclusivity in the music industry.
Girls Rock! DC’s annual programs now serve more than 100 young people and 20 adults, offering after-school programs and camps. Participants receive instruction on the electric guitar, the electric bass, keyboards, drum kits and other instruments or on a microphone and form bands to write and perform their own original songs. Beyond music, the program includes workshops on underrepresented histories in the music industry, community injustice issues and empowerment topics that include running for office and body positivity.
“I’ve been playing shows in the D.C. music scene for about six years, and I feel like Girls Rock! DC is the perfect amalgamation of everything that I stand for,” said Outreach Associate Lily Mónico. “So many music spaces are male dominated and I think there is a need for queer femme youth in music.”
The organization’s commitment to diversity and inclusion is evident not only in its leadership but also in the way it creates a safe space for queer and nonbinary individuals. Language is a crucial component, and Girls Rock! DC ensures that both campers and volunteers embrace inclusivity.
“It is a very open and creative space, where there’s no judgment,” Zadyn Higgins, one of the youth leaders, emphasized. “It is the first time for a lot of us, to be in a space where we’re truly able to be ourselves.”
In creating a safe environment, Girls Rock! DC implements practices that include name tags with preferred names and pronouns, along with pronoun banners that help kids understand and respect diverse identities.
“It’s really cool to watch these kids understand and just immediately get it,” said Higgins.
Girls Rock! DC is also more than a music education organization; it’s a community where individuals can embark on a transformative journey that extends beyond their initial participation as campers. Many start their Girls Rock! DC experience as enthusiastic campers, learning to play instruments, forming bands and expressing their creativity in a supportive environment. The organization’s impact, however, doesn’t stop there. This inspiration leads them to volunteer and intern within the organization.
The unique progression from camper to volunteer or intern, and eventually to a full-fledged role within the organization, exemplifies Girls Rock! DC as a place where growth is not confined to a single week of camp but extends into an ongoing, impactful journey. It’s a testament to the organization’s commitment to nurturing talent, empowering individuals and fostering a lifelong connection with the values for which Girls Rock! DC stands.
One of the highlights of Girls Rock! DC is its summer camp, where kids between 8-18 learn to play instruments, form bands, write songs and perform in just one week. Higgins shared a poignant moment from a showcase,
“To see them go from, like, crying a little bit about how scared they were to going out on the stage and performing their little hearts out was so sweet,” said Higgins.
Nzali Mwanza-Shannon, another youth leader, agreed that the camp is the highlight of the program.
“The summer camp, I’ve met so many friends, and it’s always kind of scary coming up to the end, but after we get to perform and everything, I’m so grateful that I’ve gotten the opportunity to perform and meet new people and be so creative and do it all in a week,” said Mwanza-Shannon.
Forty-three young people who showcased their original songs and DJ sets at D.C.’s legendary 9:30 Club attended the first Girls Rock! DC camp in 2007. They performed to a crowd of 700 enthusiastic fans. The organization since then has grown exponentially, with each passing year bringing more energy, vibrancy and fun to the camp experience.
Since the pandemic, however, the organization has struggled financially, experiencing a funding shortage as well as reduced growth in attracting new members.
Augusta Smith, who is a youth leader and a member of the band Petrichor, expressed concern about the potential impact on the unique and friendly environment that Girls Rock! DC provides.
“We’ve kind of been really slow and barely making enough money. And this year, we’re having a funding shortage,” said Smith.
The impact of Girls Rock! DC extends beyond musical skills, fostering leadership, self-expression and a passion for social change through creative collaboration and community power-building. Mwanza-Shannon hopes to be a part of Girls Rock! DC for a long time,
“I want to keep on meeting new people,” said Mwanza-Shannon. “I want to keep on being able to perform at these different places and have different experiences.”
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