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Images from the Deep South

A photo essay documenting LGBT life in rural Miss., Ala. and La.

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(Washington Blade photo by Michael Key)
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The True Gospel Church of God in Christ is near Jackson, Miss. (Washington Blade photo by Michael Key)

Blade reporter Michael K. Lavers and I earlier this year pitched the idea of going to Alabama, Louisiana and Mississippi to see what LGBT life is like in the South. Living in D.C., we wanted to see for ourselves just how different the experience was for our brothers and sisters who make their homes in places not known for LGBT inclusiveness. Our editor sent us out to gather stories and pictures. We had absolutely no idea what was in store for us.

The Dandelion Project

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Dandelion Project founder Brandiilyne Dear met with the Washington Blade in Laurel, Miss. (Washington Blade photo by Michael Key)

Our first stop after landing at Medgar Evers International Airport in Jackson, the Mississippi state capital, was in Laurel, Miss. where we met with Dandelion Project founder Rev. Brandiilyne Dear. She told us about her life: how she had been addicted to meth, but then found a calling to the pulpit and got sober. She founded a ministry to help the many addicts who live in the Mississippi Pine Belt. Despite all that she had done through the years for her church, when it was found out that she was a lesbian, everyone — even her own family — turned against her and she “lost everything.”

Dear found her calling elsewhere with the Dandelion Project, a social support group and activist organization for LGBT people in Mississippi. She explained that dandelions are seen as weeds; something to be destroyed, yet are beautiful, ubiquitous and “a good thing.”

We spoke with members of the Dandelion Project, including several gender non-conforming youth who were eager to share their stories of social isolation and the violence and hatred they face.

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Members of the Dandelion Project meet in Dear’s Mississippi home. (Washington Blade photo by Michael Key)

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Members of the Dandelion Project gather to discuss issues in a home in Laurel, Miss. (Washington Blade photo by Michael Key)

Despite the daily discrimination they all said they experience, most members of the Dandelion project were proud to continue the fight for equality in their home state. One young person, however, who had just been through a harrowing run for her life from a group intent on doing her harm wished for Mississippi to “fall into the Gulf” of Mexico.

Mississippi Delta

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One of the many ruined structures along Main Street in Yazoo City, Miss. stands as a monument to the tornado which passed through the city four years ago. (Washington Blade photo by Michael Key)

Our next stop was in the verdant but poverty-stricken Mississippi Delta. After passing small farming towns and long stretches of countryside, we arrived at the “Gateway to the Delta,” Yazoo City, where we had an appointment with the newly elected Mayor Diane Delaware. A cosmopolitan woman who had worked “all around the world,” Delaware told us that she had “no problem” with same-sex marriage.

Yazoo City, and indeed the entire Mississippi Delta, seemed to have much bigger things to worry about than marriage equality. Abject poverty was compounded with joblessness to make for a grim future for many residents. A tornado had passed through Yazoo City four years before, leaving vast swaths of the city in ruins. The city didn’t have money or private investment to repair its downtown.

Yazoo City Boys & Girls Club. (Washington Blade photo by Michael Key)

A Ten Commandments marker stands in front of Yazoo City Boys & Girls Club. Such markers are fairly common in Mississippi. (Washington Blade photo by Michael Key)

A street in Yazoo City, Miss. (Washington Blade photo by Michael Key)

Several homes in Yazoo City, Miss. remain shuttered. (Washington Blade photo by Michael Key)

Main Street, Yazoo City, Miss. (Washington Blade photo by Michael Key)

Blocks of Main Street, Yazoo City, Miss. remain largely abandoned. (Washington Blade photo by Michael Key)

Main Street, Yazoo City, Miss. (Washington Blade photo by Michael Key)

A tornado devastated Main Street, Yazoo City, Miss. four years ago. (Washington Blade photo by Michael Key)

We drove deep into the Mississippi Delta to Greenville on the the Mississippi River. There, we met with an out school teacher, Ryvell Fitzpatrick.

Ryvell Fitzpatrick, gay news, Washington Blade

Ryvell Fitzpatrick is a teacher in Greenville, Miss. (Washington Blade photo by Michael Key)

The reluctant pioneer described his life to us as someone who has managed to thrive, despite the difficulties.

We Don’t Discriminate Campaign

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A Mississippi law that opponents argue allows business owners to deny services to LGBT people based on their religious beliefs took effect on July 1. (Washington Blade photo by Michael Key)

Back in Laurel, Dear pointed out the “We Don’t Discriminate” signs on select local businesses. The signs had been placed in store windows following the passage of SB-2681 — the Mississippi Religious Freedom Restoration Act, or so-called “Turn Away the Gays Bill.”

We went to Jackson to track down the organizers of the We Don’t Discriminate Campaign.

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Campbell’s Bakery owner Mitchell Moore is the founder of the ‘We Don’t Discriminate’ campaign. (Washington Blade photo by Michael Key)

We spoke with the founder: a self-described “straight, married, Republican, Christian” entrepreneur named Mitchell Moore who was disgusted that his bakery, the only wedding cake bakery within the Jackson city limits, would be used as a rallying cry for homophobes in the state Senate to justify the anti-gay bill. Following the interview, Moore gave us a large box of confections.

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Eddie Outlaw owns a barbershop and salon in Jackson, Miss. (Washington Blade photo by Michael Key)

My reporter traveling companion got a beard trim as he interviewed salon and barbershop owner Eddie Outlaw. Outlaw and his husband Justin McPherson, the subjects of the documentary, “A Mississippi Love Story,” told us about their involvement in the campaign.

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Justin McPherson Outlaw and Eddie Outlaw, owners of a hair salon and barber shop in Jackson, Miss., married in California last year. (Washington Blade photo by Michael Key)

We met with a group of LGBT rights advocates who spent their evening drinking beer, eating hors d’oeuvres and stuffing envelopes with “We Don’t Discriminate” stickers.

Activists in Jackson, Miss. fill envelopes with 'We Don't Discriminate' literature. (Washington Blade photo by Michael Key)

Activists in Jackson, Miss. fill envelopes with ‘We Don’t Discriminate’ literature. (Washington Blade photo by Michael Key)

They were all excited by the success of the campaign in generating buzz around the nation, and hopeful about change to come.

Late at night, we met with performance artist Constance Gordon in the dressing room of a club frequented by LGBT people of color. She explained to us the intersection of race, class and gender and other dynamics in play in Mississippi. Like most we spoke with, she was proud to be from Mississippi, though she acknowledged the rampant discrimination that LGBT people face in her home state.

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Constance Gordon is a performance artist and promoter in Jackson, Miss. (Washington Blade photo by Michael Key)

The next day, before moving on to Louisiana, we met with HIV/AIDS service providers and advocates at Open Arms Healthcare Center in Jackson. We met the “AIDS Lady,” as she referred to herself, Charlotte “Dot” Norwood. She told us of the struggles that many clients face, including accessing healthcare, finding jobs and even getting enough to eat.

Charlotte “Dot” Norwood, gay news, Washington Blade

Charlotte “Dot” Norwood has spent years in the fight against HIV/AIDS. (Washington Blade photo by Michael Key)

We also had the pleasure of meeting client-turned-advocate Antwan Matthews. He related to us his story of being a great student but being kicked out of his home when his family found out that he is gay and HIV positive. Despite all of that, he managed to become a peer HIV educator and put himself through college. He is looking forward to graduating with a degree in biology soon.

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Antwan Matthews is a student and peer HIV educator. (Washington Blade photo by Michael Key)

Baton Rouge

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Carol Frazier, on upper right, greets fellow LGBT rights advocates at a restaurant in Baton Rouge, La., on July 12, 2014. (Washington Blade photo by Michael Key)

We left Mississippi behind and drove south to Baton Rouge. We stopped at Bistro Byronz to meet with members of PFLAG Baton Rouge, Equality Louisiana, Louisiana Trans Advocates and Baton Rouge Pride. Michael tried to start the interviews, but the ebullient Carol Frazier of PFLAG insisted that in the South, people eat together before they get down to business. We polished off our crawfish étouffée and listened to stories from the gathered activists about their lives and work.

Many of those gathered at our table struggled with poverty and employment, like transgender woman Ksaa Zair who had difficulty in finding a job because of her gender presentation and had to resort to illegally attaining hormones over the Internet because she could not afford proper medical care in the U.S., or her roommate Sergio Oramas who worked as many overtime hours as he could at a warehouse, yet struggled to pay rent.

Other advocates we spoke with dealt with loss, like Frazier: her gay son had committed suicide. She then dedicated her life to helping LGBT people as the president of PFLAG Baton Rouge until health issues forced her to take a less active role.

All of the assembled activists had come together as a close-knit community. After Hurricane Katrina, tens of thousands of people moved to Baton Rouge and the nascent LGBT community began to solidify. The city’s first Pride celebration was held in 2007, organized by Tom Merrill and other members of Baton Rouge Pride.

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From left; Tom Merrill and Rick Cain are organizers of Baton Rouge Pride. (Washington Blade photo by Michael Key)

After many hugs and farewells to our friendly dining companions, Michael and I left the sweltering heat of Baton Rouge and drove through the swamps of Louisiana to New Orleans.

New Orleans

After spending an evening touring the French Quarter and sampling crawfish pie and signature “hand grenade” drinks on Bourbon Street, Michael and I got some much-needed rest.

Gay life in the South

The St. Louis Cathedral in the French Quarter of New Orleans is a spot popular with tourists. (Washington Blade photo by Michael Key)

The next day, we met with activists in Metairie, La. who told us of the ups and downs of LGBT life in the New Orleans area. PFLAG New Orleans Co-President Julie Thompson, who had lost her gay son due to a medical emergency in the middle of a hurricane, beamed proudly about the time she went to Southern Decadence with him and how nice everyone was to her at gay bars. She, and the others gathered, spoke of how different everything was after Katrina and how the once-vibrant LGBT community of New Orleans was only now getting to where it was before the levees burst.

Hurricane Katrina

Co-President of PFLAG New Orleans Julie Thompson recalled many happy memories with her late gay son. (Washington Blade photo by Michael Key)

Louisiana Trans Advocates President Elizabeth Anne Jenkins told us how the destruction of the city meant the wholesale dismantling of an infrastructure for support for the local trans population, from doctors to support networks.

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Elizabeth Anne Jenkins is the president of Louisiana Trans Advocates. (Washington Blade photo by Michael Key)

Michael and I wanted to see the devastated Lower Ninth Ward for ourselves. There were rows and rows of foundations with no houses, empty streets with only weeds on the block. But there were bright spots. The Make It Right Foundation had rebuilt a portion of the neighborhood with gleaming, eco-friendly, hurricane resistant homes.

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Several eco-friendly homes have been built in the Lower Ninth Ward. (Washington Blade photo by Michael Key)

But, it only took a trip across the bridge to the Upper Ninth Ward to see that the region is far from recovered. Many homes remain boarded shut, overgrown with creeping vines.

Hurricane Katrina

Several homes remain shuttered in the Upper Ninth Ward of New Orleans nine years after Katrina. (Washington Blade photo by Michael Key)

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Homes in the Upper Ninth Ward of New Orleans have been reclaimed by nature and sit abandoned. (Washington Blade photo by Michael Key)

HIV in New Orleans

That evening, we met with peer educator Timothy Thompson of the New Orleans AIDS Task Force for dinner in the French Quarter. He told us of the problem of the stigma of an HIV-positive diagnosis driving many to avoid being tested. Many misconceptions about HIV/AIDS persist among people that Thompson had met with, including fears that HIV could be spread by sharing a meal.

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Timothy Thompson is a peer educator with New Orleans AIDS Task Force. (Washington Blade photo by Michael Key)

In the morning, we made our last stop in New Orleans: Belle Reve. Belle Reve is a residence for people with HIV that provides medical care and helps residents to get back on their feet. Vicki Weeks, its executive director, told us of all of the programs offered at the center and proudly guided us around. She, and other staff and residents, had been through a traumatic several months living as refugees in the aftermath of Katrina. But the center is now restored and provides life-saving treatment to people who are often at the end of their rope.

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Belle Reve Executive Director Vicki Weeks shows photos of the hurricane damage to the Belle Reve facility. (Washington Blade photo by Michael Key)

One such resident was Carl Green who had lost his job after it was discovered that he was HIV positive. He became homeless and without access to medical treatment, deteriorated rapidly. Belle Reve took him in and nursed him back to health.

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Carl Green is a resident at Belle Reve. (Washington Blade photo by Michael Key)

We also met with Miss Eddie who had ridden out Katrina in New Orleans before becoming a resident at Belle Reve.

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Miss Eddie told the Blade, ‘It’s a great blessing being here,’ in the Belle Reve facility in New Orleans. (Washington Blade photo by Michael Key)

Gulf Coast

We left New Orleans and drove to the Mississippi Gulf Coast. Where houses once stood along the shore, now only foundations remained. Many had rebuilt, but the scars of the hurricane were ever present.

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Foundations are all that remain of many homes along the Gulf Coast in Gulfport, Miss., destroyed during Hurricane Katrina. (Washington Blade photo by Michael Key)

Our first stop on the coast was to meet Jeff White and John Perkins, co-founders of the Mississippi Gulf Coast Lesbian and Gay Community Center. We shared queso and a margarita with them at a Mexican restaurant in Gulfport. They told us of how it was difficult for LGBT people to be out in any capacity in the area. They were even worried that the people in the restaurant might be looking at us. White then related a horrifying story about how he had been repeatedly raped by a teacher at his private Baptist school as an openly gay teenager to make him “hate men and change.”

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Jeff White and John Perkins are the co-founders of the Mississippi Gulf Coast Lesbian and Gay Community Center. (Washington Blade photo by Michael Key)

We drove along the coast to a mall in nearby Biloxi, where we met with Jennifer and Jena Pierce and a trans man who preferred to remain anonymous. The Pierces married in Connecticut last December, yet lived in Mississippi. They had considered moving to a place more accepting of their relationship, but decided to stay for the sake of their young daughter who is in school. The married couple had faced discrimination on a number of occasions. Jena Pierce told us that an employee at the DMV office loudly gathered her coworkers and told her she could not change the last name on her driver’s license because the state would not recognize her marriage. The DMV worker proceeded to publicly embarrass her, leaving her sobbing in her car.

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Jennifer and Jena Pierce are a married couple in Biloxi, Miss. (Washington Blade photo by Michael Key)

Jennifer Pierce had also experienced discrimination when trying to take a family leave day to take their daughter to the doctor’s office. Her workplace wouldn’t let her go because their daughter isn’t her biological daughter — even though the people making the decision had been guests at the Pierces’ wedding reception.

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A trans man on the Gulf Coast preferred to remain anonymous but spoke to the Blade about his experience as a trans man living on the Gulf Coast. (Washington Blade photo by Michael Key)

Alabama

It was in the early evening when we pulled into the parking lot of Laps on the Causeway, a sprawling restaurant along a thin stretch of land in the middle of Mobile Bay. Michael and I battled a swarm of gnats to meet with Lane Galbraith on the outdoor deck of his favorite restaurant. The trans man who had founded LGBT Wave of Hope, a Mobile LGBT advocacy organization, told us of the pervasive closet of Alabama and the struggles of the LGBT people who live there.

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Lane Galbraith is the founder of LGBT Wave of Hope in Mobile, Ala. (Washington Blade photo by Michael Key)

Our final leg of the trip was something that I had been looking forward to for weeks. We drove to Montgomery, Ala. to visit the Southern Poverty Law Center (SPLC). There was as much security at the SPLC as one would expect at the White House. After passing through many checkpoints, I wasn’t even allowed to take pictures inside the massive building. The SPLC’s precautions were well-founded however, as the watchdog organization had been targeted many times by hate groups resulting in fire bombings. We visited the Civil Rights Memorial and got background on the SPLC’s LGBT-specific cases. We met with SPLC lawyers David Dinielli and Sam Wolfe who specialize in LGBT issues.

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Southern Poverty Law Center Deputy Legal Director David Dinielli and lawyer Sam Wolfe met with the Washington Blade at the Civil Rights Memorial in Montgomery, Ala. (Washington Blade photo by Michael Key)

After meeting with the lawyers, we were granted a visit to the SPLC’s Civil Rights Museum. Upon seeing a display that related the horrifying death of a man in an anti-gay attack, my traveling companion started sobbing. I felt a strange confluence of emotions from the mental and emotional toll our trip had taken as well. After we left the museum, we walked in silence around Montgomery. Signs of the Confederacy were all around us, including the Confederate “White House” of Jefferson Davis.

South, gay news, Washington Blade

The circular Civil Rights Memorial in Montgomery, Ala. lists martyrs to the cause of civil rights, with a blank spot left for people who came before and those who are yet to come. (Washington Blade photo by Michael Key)

On the last day of our trip, Michael and I were both mentally exhausted, but we had one more important person to talk with. Kathie Heirs of AIDS Alabama met us in her offices in Birmingham to talk about the strides made in combatting the HIV/AIDS epidemic in the state.

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Kathie Hiers is the CEO of AIDS Alabama. (Washington Blade photo by Michael Key)

Michael and I dropped off the rental car at the airport in Birmingham and had a silent drink together while waiting on our flight back to D.C. The many stories I had heard were swirling around in my head and I was too close to it then to make sense of it. I did know two things: I would never take living in a place like Washington for granted again and I would never again succumb to the comforting lie that our full equality had already been won nationwide. The people we had met in the South were amazing and courageous and had built a community in difficult circumstances. Most all of the people we had spoken with had a sense of pride of place and felt a duty to make their town or city a more welcoming home for the next generation of LGBT people.

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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

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Mary Timony is back with a new album. (Photo by Chris Grady)

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.

Mary Timony (Photo by Chris Grady)
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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’

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Sherry Vine performs in D.C. on March 9. (Photo courtesy of Sherry Vine)

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 

(Photo courtesy of Sherry Vine)

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.

(Image courtesy of Sherry Vine)
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Girls Rock! DC empowers young people through music, social justice education

Organization founded in October 2007

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Youth leaders of Girls Rock DC! (Washington Blade photo by Michael Key)

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.”

Lily Mónico (Washington Blade photo by Michael Key)

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. 

Zadyn Higgins (Washington Blade photo by Michael Key)

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.

(Photo courtesy of Frankie Amitrano of Girls Rock! D.C.)

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.”

(Photo courtesy of Frankie Amitrano of Girls Rock! DC)
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