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Nothing compares to Prince
Gender-bending genius left behind treasure trove of music
Any decent artist has gems lurking beyond his or her hits, but the Prince catalogue is astounding in its scope and quality. (Photo by Chelsea Lauren, NPG Records)
Many of us are still trying to wrap our heads around the fact that Prince is gone.
Through the disbelief and mourning, many have started to look back and take stock of just what a peerless musical legacy Prince left behind. It’s stunning in its quality and quantity, its influence and diversity. Prince was rock’s most prolific artist, a studio wizard, songwriting genius and master musician.
We all know the massive hits, but dig deeper and there’s just as much to love.
I’ve chosen 25 of his best deep cuts — some of the best pieces of studio work he’s ever released, yet much of it will be new to you unless you’re a die-hard. For every “Kiss,” there are a dozen other tracks that you’ll love as much. These are presented chronologically.
1. “Gotta Broken Heart Again” (from “Dirty Mind,” 1980)
A combination of styles, the song’s a charmer that brings a little tenderness to the hard-edged “Dirty Mind.”
2. “Annie Christian” (from “Controversy,” 1981)
Prince creates the kind of new wave synthesized background you’d expect from a Berlin album, and layers it with squealing guitar effects, and a strident vocal in which he accuses Annie Christian of multiple high-profile murders. It’s a uniquely unsettling song that is one of the first examples of Prince’s ability to go far beyond the slick R&B/Pop sound of his first two albums and tackle more diverse subject matter.
3. “All The Critics Love U In New York” (from “1999,” 1982)
This track is hidden away on the double-album masterpiece “1999,” although an edited version did appear as the b-side to “Little Red Corvette.” The song is basically just a wicked groove, a funky beat and a popping bass over which Prince sing/speaks a set of sardonic lyrics. The hook sung during the repetition of the title brings in a sharp melody and flashes of keyboard.
4. “17 Days” (“When Doves Cry” b-side, 1984)
Although its partner b-side from “Let’s Go Crazy,” “Erotic City,” was unquestionably the most infamous and popular of the two, “17 Days” seems to rest in its shadow. It shouldn’t. “17 Days” has a wicked groove of its own, especially from that elastic bass, and a tense and effective vocal by Prince. With its vaguely trippy nature, “17 Days” is an obvious foreshadowing of the full-blown psychedelic to be heard soon on 1985’s “Around the World in a Day.”
5. “New Position” (from “Parade,” 1986)
This taut slice of kinetic funk is built largely by Prince as a solo recording. There’s not much to it, but there doesn’t need to be. Prince plays the frenetic percussion anchored by a clanging steel drum, between which coils a wildly gyrating bass line.
6. “Power Fantastic” (Recorded 1985, not released until “The Hits/The B-sides “1993”)
It required an unconventional recording set-up to get the right sound, but Prince managed to capture the elegant vibe he was seeking. It’s a one-take jaw-dropper with the Revolution recorded as a track for the possible follow-up “Parade,” presumably to be called “The Dream Factory,” but Prince disbanded the Revolution and the follow-up never materialized. Happily this dreamy, elegant ballad was finally made available when it was added to the “B-sides” disc to a 1993 combination.
7. “The Ballad of Dorothy Parker” (from “Sign ‘o’ the Times,” 1987)
A surreal slice of Princely quirkiness from arguably his finest album, “The Ballad of Dorothy Parker” has a stripped down vibe — basically just a few ornate lines of piano and pulses of keyboard all riding a dry and strangely off-kilter electronic pattern on the Linn Drum machine in lock step with a quivering bass.
8. “Anna Stesia” (from “Lovesexy,” 1988)
Widely considered by Prince fans as among his finest pieces of work, “Anna Stesia” is the emotional centerpiece of “Lovesexy.” It builds slowly from a stark piano intro to the stirring chorus at the end repeating, “Love is God, God is Love. Girls and boys love God above.” Both the vocal and musical arrangement are complex, and Prince delivers one of his most impassioned vocals.
9. “The Question of U” (from “Graffiti Bridge,” 1990)
Forget the movie — the soundtrack is high quality. “The Question of U” is basically one exquisite verse over a trippy groove, followed by Prince’s guitar histrionics, rhythmic clapping, soaring background vocals and exotic lines of keyboard. Beautiful.
10. “And God Created Woman” (from “Love Symbol,” 1992)
Prince turns the biblical story from Genesis into a gorgeous soul ballad with a touch of a Latin/jazz vibe. Prince’s nuanced vocal is beguiling and the vocal arrangement throughout the song is nothing short of magical.
11. “Pheromone” (from “Come,” 1994)
One of Prince’s darkest and most extreme dance tracks, “Pheromone” boasts a truly massive beat and a throbbing bass. Prince sings the lurid lyrics in a hard falsetto from the point of view of a highly aroused man surreptitiously peeping a couple in the process of enacting a violent sexual fantasy. It’s a stellar track, disturbing in its way but loaded with power and an unusually dangerous vibe for a Prince song.
12. “Shhh” (from “The Gold Experience,” 1995)
Prince scored a hit for young vocalist Tevin Campbell with “Round & Round” from “Graffiti Bridge” in 1990. Campbell’s next attempt to record a Prince tune, “Shhh,” wasn’t as successful. In exasperation, Prince transformed the song into a rock behemoth with some of the most stunning guitar the man ever recorded, plus some of the most devastating, come-hither, sexually charged vocals of his career.
13. “The Same December” (from “Chaos & Disorder,” 1996)
Prince handed Warner Bros. two albums of “older” material in 1996 for them to put out as they chose to complete his contract — “Chaos & Disorder” and “The Vault.” “The Same December” is a buoyant guitar rocker that would have soared into the Top 20 had it been released a decade earlier.
14. “When the Lights Go Down” (from “The Vault — Old Friends for Sale,” 1999)
A long, R&B/jazz flavored slow-jam with booming bass and some jaw-dropping instrumentation, it’s clear that Prince didn’t have it in him to turn in subpar material even for contract filler. Prince nails his sweet falsetto, which doesn’t come in until after two minutes of sublime Latin-groove instrumental introduction.
15. “The Love You Make” (from “Emancipation,” 1995)
This powerful gospel-flavored rock ballad ratchets up the intensity as it approaches a breathtaking climax. Often a stunner in live performance, “The Love You Make” sounds entirely more authentic than almost anything else on “Emancipation.”
16. “Comeback” (from “The Truth,” 1997)
“The Truth” is an all-acoustic album included with the “Crystal Ball” box set of previously unreleased material. Because of its hard-to-acquire status, “The Truth” has not been widely heard. The highlight is the short but exquisitely beautiful “Comeback,” a song presumably written by Prince for his late son. Not often does Prince allow something so nakedly personal to be heard by his audience and the song is worthy of its stature as a touching goodbye.
17. “Wasted Kisses” (from “New Power Soul,” 1998)
This track is indeed a hidden gem — you have to scroll through the CD to track 49 to find it, but it’s well worth the extra clicks. It’s about as bitter a Prince song as you’ll ever hear. We hear gunshots, an ambulance, medical personnel and a flatline all the while Prince is singing, “Why did I waste my kiss on you, baby?/Why did I waste my kisses on you now.” It’s as strange and as chilling a song as Prince has ever released.
18. “I Love U, But I Don’t Trust U Anymore” (from “Rave un2 The Joy Fantastic,” 1999)
Prince’s performance here is emotionally authentic and shows a naked vulnerability we’re not used to hearing from him.
19. “She Loves Me 4 Me” (from “The Rainbow Children,” 2001)
“The Rainbow Children” seems to be Prince’s version of a concept album inspired by the teachings of his new religion. It seems nobody really understood any of it but Prince himself, but that hardly matters. “She Loves Me 4 M” is a classic mid-tempo Prince pop tune built on the lovely interplay between a glistening order and Prince’s guitar. It stands along with anything he has done.
20. “Reflection” (from “Musicology,” 2004)
The final track from Prince’s 2004 comeback “Musicology” — a year in which Prince launched his first major U.S. tour in ages and also saw him steal the show at the Rock and Roll Hall of Fame, “Reflection” may be the musical highlight — a charming piece of nostalgia set to gentle acoustic guitar, like a photograph faded with time.
21. “Love” (from “3121,” 2006)
“3121” earned Prince his first No. 1 album in America since the ‘80s, and it’s easy to understand why. It’s a super-slick and modern collection of first-rate pop and R&B, and “Love” is one of the album’s highlights. Although it was never a single, the song has an irrepressible groove, jittery keyboard, a strong melodic hook and Prince sounds his confident best.
22. “All the Midnights in the World” (from “Planet Earth,” 2007)
Prince’s 2007 album “Planet Earth” was the first to prominently feature old Revolution mates Lisa Coleman and Wendy Melvoin substantially in 30 years. It’s a gentle song that doesn’t fit with much of what Prince has been doing in recent years, which is no doubt part of its luminous charm.
23. “Future Soul Song” (from “20ten,” 2010)
“20ten” is generally not regarded as one of Prince’s finest efforts, but it’s not nearly as bad as some would have you believe. There are indeed gems, like the electronic powerhouse “Beginning Endlessly,” the lithe and funky “Sticky Like Glue,” and especially the gorgeous ballad “Future Soul Song,” with an old school groove, sumptuous keyboards and with Prince shifting from his soulful slower register during the versions to his most feathery falsetto for the chorus.
24. “Way Back Home” (from “Art Official Age,” 2014)
“Most people in this world were born dead, but I was born alive.” It’s a line impossible to forget and impossible to argue. “Way Back Home” is Prince’s transcendent ballad from his triumphant 2014 release “Art Official Age,” a smart collection of fresh pop and R&B. The vocal harmonies and the sincerity in Prince’s voice make “Way Back Home” the standout. It’s sheer beauty and heart on an album loaded with terrific songs.
25. “Revelation” (from “HITNRUN Phase 2,” 2015)
The final Prince album during his life was released in December 2015, “HITNRUN Phase 2.” Happily, it’s an album worthy of his catalogue. “Revelation” is the type of stripped-down ballad that Prince can crunch out by the dozen, but they’re all different and usually worthy of attention. He is careful to keep the song melodically interesting — he’s not trying to create a boring Top 40 hit. He delivers a superb falsetto and a blistering guitar solo. On the strongest track from his last album, Prince could still bring it at the highest quality.
a&e features
Television loses a legend, longtime ‘Will & Grace’ director James Burrows
Iconic hitmaker leaves behind a legacy of telling LGBTQ stories
You don’t have to be a pretentious film major to name 10 movie directors. But naming television directors is not that simple. They’re the unsung heroes of your favorite shows, and the late James Burrows was the television director. He passed on June 19, but his DNA runs through television history.
He directed over 1200 episodes of television and over 50 pilots. He co-created “Cheers” and directed many episodes of long-running series like “Friends,” “Taxi,” “Frasier,” “The Big Bang Theory,” and “Two and a Half Men.” You also may remember him from playing a heightened version of himself on the Lisa Kudrow comedy “The Comeback.”
He has left an indelible mark on the LGBTQ community. As recently as last year, he directed the series run of “Mid-Century Modern” starring Nathan Lane, Matt Bomer, and Linda Lavin. He was also a longtime director of “Will & Grace” and directed every episode of the series revival. He even directed the unaired “Absolutely Fabulous” pilot with Kathryn Hahn, Kristen Johnston, and Zosia Mamet.
Not to mention he’s worked with queer icons throughout history, including Betty White and Stockard Channing on their single-season series, and Jennifer Coolidge in “2 Broke Girls.”
He started his career on shows like “The Mary Tyler Moore Show,” “Rhoda,” “Laverne & Shirley,” and the first four seasons of “Taxi.”
He continued to work steadily and directed successful pilots that went to series for “Roc,” “3rd Rock From the Sun,” “Dharma & Greg,” and “Wings.” He directed multiple episodes of “Friends,” “Caroline in the City,” and “Frasier.”
This magic continued into the 2000s with him directing the pilots for “Two and a Half Men,” “The Big Bang Theory,” and multiple episodes of “Mike & Molly,” and the entire return series of “Will & Grace.”
What was the secret to his success? He’d enact the “fun clause” in his contract. In his words, “Life is too short to deal with obnoxious leads,” he shared. “So as long as the writing is good and the cast is fun, I’m going to enjoy the experience.”
He had the magic touch, having multiple pilots turned into long-running series. He was nominated for an Emmy 24 times in 26 years and worked consistently until a year before his death.
The secret was the way he brought the cast together. He describes, “it was my job to mold them into an ensemble, and they did round into a group of people who loved each other.”
This earned him 11 Emmy Awards and five Directors Guild of America Awards, including being awarded the inaugural DGA’s Lifetime Achievement Award for Television Direction.
In a 2003 interview by the Television Academy, he was asked how he wants to be remembered, and he said, “That every night forever you can tune in somewhere, and there’ll be a show I did.”
He’s survived by his wife, Debbie, four daughters, seven grandchildren, and the countless people whose careers he launched and the countless viewers he inspired with his television legacy.
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D.C. prepares to party as Pride celebrations kick off Saturday
Bars, clubs have busy lineups; Pride on the Pier returns
Capital Pride’s date change isn’t slowing down the festivities. Back in December, the Capital Pride Alliance shifted the calendar for Pride celebrations in the nation’s capital from the second weekend of June to two weeks later to the weekend of June 20-21 to not conflict with President Trump’s birthday and 250th anniversary of America celebrations, with the aim that “our community can gather safely and without unnecessary barriers… We are protecting our space and preserving Pride as a powerful act of visibility, solidarity, and resistance.”
On the heels of WorldPride last year, the city shows no sign of slowing down. Instead, restaurants, bars, clubs, and neighborhoods are taking the opportunity to be even more visible. The Blade has put together a (non-comprehensive) list of parties, activations, and activities across town:
Pride on the Pier returns on Saturday, June 13 to the Wharf on the Southwest waterfront. The event, sponsored and hosted by the Washington Blade, is free and runs from 4-9 p.m. There will be vendors, DJs, and drag performances all day. VIP tickets are $25 and come with air conditioned party room, private bathrooms, and free cocktail. More details at prideonthepierdc.com.
Capital Pride Official Opening Party: RIOT! is the official opening dance party of Capital Pride, taking place Friday June 19, 9 PM-3AM. The 2026 edition headlining performer is Myki Meeks, a finalist of “RuPaul’s Drag Race” season 18; Bob The Drag Queen will perform a special set. DMV-area DJs and performers include: Bambi, Baphomette, Bumper, Cake Pop!, Connor, DJ Ed Bailey, DJ Diyanna Monet, Evry Pleasure, Jakknife Complex, Mari Con Carne, Pussy Noir, WessTheDJ. Trade owner Ed Bailey is producing the event.
Kinetic Presents brings the heat across the entirety of Pride weekend as well. It again is partnering with Capital Pride Alliance to produce four events over four days this Pride, including the Official Main Event on Saturday (the Friday official event is at Echostage). Kinetic’s parties are splayed across various D.C. venues, with special performances, massive productions, shirtless dancers, play zones, dance-forward audio and visuals, and international DJ talent. Thursday, June 18 at 10 PM at District Eagle is Lust, with music by Dan Slater and TOMI. Friday, June 19 at 10 PM is UNCUT XXL Heavy Load, at A.i. Warehouse in Union Market District, with music by Alex Acosta, Felipe Lira & Mitch Ferrino; the party is a “high-octane night of muscular house and tribal rhythms.” Saturday, June 20 at 10 PM brings that official main event, Kinetic Toy Land, at Echostage, with music by GSP & Matt Suave. Alaska Thunderfuck headlines. Sunday evening June 21 at 10 PM closes with discoVERS at SAX. A portion of tickets supports the DC LGBTQ+ community through Capital Pride Alliance.
9:30 Club always comes in clutch for the LGBTQ community. Already in June, it produced Kitty Kat Ball on June 7, and Kiesza performed on June 8. On June 20 at 10 PM, the famed Mixtape party hits the stage, care of gay DJs Shea van Horn and Matt Bailer, who have spun together for coming up on two decades. Mixtape has been held at several venues across the city over those years, and now settled on 9:30 Club for Pride. On June 25 at 7 PM, Big Freedia – the bounce artist from New Orleans – hits the 9:30 Club scene for the eighth time, as part of the Big Freedom Tour.
Crush: New this year from the 14th Street bar is the Pride Pop-Up, sitting pretty in the parking lot at 1820 14th St., N.W., at the corner of Swann Street by the start of the Pride Parade route. Hours are Friday from 2-10 PM and Saturday from 12-10 PM. Friday evening features Grizzly Bear Happy Hour, a DJ will set up shop on Saturday, and for those needing another layer, there’s a Crush merch store. Co-owner Mark Rutstein “has always wanted to throw a party in that parking lot, so he did,” said co-owner Stephen Rutgers. Note that Crush (the bar) will have a cover on Friday and Saturday.
Kiki: Over at Kiki, there’s a full slate of Pride-themed programming all week. Tuesday, June 16 at 9 PM brings karaoke; Wednesday, June 17 at 7:30 PM is trivia; Thursday June 18 at 9PM is “Night of 1000 Tatianna’s Drag Show”, and Friday June 19 at 9 PM brings the Juneteenth Serve Drag Show. Saturday, June 20 at 10 PM, post-parade, is a Pride Dance Party with DJ Lemz. Sunday daytime at 5 PM is the Father Figures Daddy Issues Special Drag Show; and after the festival at 8 PM, DJ Tezrah hits the tapes.
Jane Jane: Right along the parade route, gay-owned Jane Jane has transformed its space into a “No Kings, Yas Queens” activation in a direct response to the America 250th commemorations happening downtown, from the colorful window installation, to merch (including a custom bandana and tank) to disco wig installations. Events include industry night on Mondays, donations to LGBTQ charities, and to-go cocktails during the Pride Parade.
Shaw’s Tavern: Gay-owned Shaw’s Tavern on Florida Avenue celebrates Pride week with a full lineup of themed events, entertainment, and specials, including Pride trivia on Monday, June 15 at 7:30 PM, bingo on Tuesday, June 16 at 8 PM, a cabaret on Thursday, June 18 at 9 PM, Juneteenth Drag Brunch on Friday, June 19 at 12:30 PM, and both a pre-parade brunch (10 AM-4 PM) and post-parade party (5-9 PM) on Saturday, June 20. Sunday, June 21 at 7 PM brings Mama’s Sunday Supper & Drag Pride Show in the evening for anyone who is still awake.
Trade: This classic has a weekend of events, starting on Thursday, with Tiburon Pride Edition, a Latin Dance party in the Shark Tank. On Friday, the bar opens early (at 2 PM), with all-day happy hour and the Jx&Evry Show. On Saturday, the bar opens at noon, offering a prime parade viewing spot from its windows. There will be the CLASH drag show hosted by Tatianna and Crimsyn, and Sweet Spot party that night. On Sunday, the bar opens for normal hours at 2 PM, with DJs Adam K, Alex Love, and WESSTHEDJ.
Pitchers: The multi-level bar in Adams Morgan is hosting a Pride-themed show on Thursday, June 18 at 10 PM, with drawstring bag giveaways – the only kind of bag that will be allowed into the bar during Pride weekend. The show features drag queen Kyle Sonique Love.
Barrel House Cafe and Bar: Also by the parade route on 14th Street, Barrel House Cafe takes advantage of its large patio to have a slate of events during Pride week, including Schism, a drag and burlesque show on June 18 at 10 PM, as well as an all-day Pride party coinciding on parade day.
Bunker: Bunker again plays host to a series of afters. Friday night (Saturday 3:30 AM) is Unhinged, and Saturday night (Sunday 3:30AM) is Unholy. The regular Saturday night party (10 PM) brings in Venetian and Tiara Missou. All parties have cover charges.
District Eagle: Beyond the Kinetic party on Friday, June 19 brings Gear Night at 10 PM; Saturday, June 20 at 10 PM is LOBO presents PRISM, and Sunday, June 21 is Sundaze wit Papi at 6 PM.
African Art Museum: On Thursday, June 18 at 5 PM, this Smithsonian museum is hosting a free event with artists and curators celebrating its exhibit, “Here: Pride and Belonging in African Art,” “based on years of close collaboration and dialogue with African visual art practitioners who claim belonging in the LGBTQ+ community, however they define those terms,” according to the museum.
KNEAD Hospitality & Design: The gay-owned KNEAD restaurant group (including spots like Gatsby, Mi Vida, Succotash The Grill) is featuring the GLITTERATI cocktail, made with Tito’s, St-Germain Elderflower, Butterfly Flower, ginger, and yes, glitter. A portion of proceeds from every Glitterati cocktail sold will benefit The Trevor Project. The cocktail will be sold throughout June.
The Fountain Inn is partnering with Rhodium spirits (Rhode Island’s first LGBTQ+ owned distillery) all month, making cocktails like gimlets and espresso martinis featuring Rhodium’s liquors. Proceeds benefit SMYAL, an organization dedicated to empowering LGBTQ+ youth.
Hard Rock Cafe: Hard Rock DC is taking part in the chain’s annual “LOVE OUT LOUD” campaign, with Pride merch, specials on June 20, and a donation to The Trevor Project.
a&e features
Fighting ‘Rainbow Panic’ in museums
Here’s how we can resist the escalation of anti-LGBTQ censorship
Back in February of 2025, I wrote a piece for New York City-based arts publication Hyperallergic about the importance of museums stepping up for their LGBTQ staff. I was right to be concerned. Over the last three years, censorship of LGBTQ histories and art has exploded in the museum field. Discourse surrounding censorship of art and artifacts reflects galleries, libraries, archives, and museums (GLAM) institutions’ push to erase LGBTQ stories, language, and people from not just exhibitions but also the wider museum field.
Many now recognize this rush of censorship in the early 2020s as the “rainbow panic,” first coined by historian Wendy Rouse in her piece published in July 2025.
While LGBTQ censorship in GLAM institutions is not new, the recent push to censor queer and trans histories under the Trump administration began in May 2024 when members of the City Council of Lubbock, Texas cut funding for the First Friday Art Trial due to the inclusion of a drag performance.
Additional cancellations followed, including in February 2025, when the Art Museum of the Americas canceled “Nature’s Wild With Andil Gosine” scheduled to open in March. While the museum did not say why, some of Gosine’s work that was set to be part of the exhibition reflected on LGBTQ identity and activism in the Caribbean.
That same month, the National Park Service removed mentions of transgender people from the Stonewall National Memorial website, now seen as a watershed moment in queer erasure. In response, the LGBTQ+ History Association issued a statement warning about the recent moves to censor and erase LGBTQ history and art.
The Association was right to be concerned because the following month, Trump released his Executive Order titled “Restoring Truth and Sanity to American History” where he targeted the National Museum of American History, National Museum of African American History and Culture, and the American Women’s History Museum.
But it wasn’t just erasure, it was also intentional renaming. Also in February 2025, the Scottsdale Museum of Contemporary Art changed its traveling exhibition of work by women, queer and trans artists, changing the title that was originally “transfeminisms.” By June, the Art Institute of Chicago changed the title of an exhibition of Gustave Caillebotte’s work and removed discussions of gender and sexuality from the wall text that were included when the show was displayed in Paris and Los Angeles.
In the last year, censorship has especially escalated with Amy Sherald cancelling her show “American Sublime” at the National Portrait Gallery (and moving it to the Baltimore Museum of Art) and art scholar Ignacio Darnaude writing in an Out op-ed that the National Portrait Gallery (NPG) exhibition “Felix Gonzalez-Torres: Always to Return” did not include information about the artist’s queer identity or the work’s connections to AIDS. The National Portrait Gallery has denied claims of erasure.
This leads us to the most recent happening when in February 2026, a Pride flag was removed from the Stonewall National Monument after a directive from the Trump administration. Thankfully, later that month, protesters re-raised the flag. In April 2026, the National Park Service agreed to restore the Pride flag at the Stonewall National Memorial and keep it up permanently. But even with this victory — the result of queer and trans organizing — attacks on LGBTQ histories remain.
As the histories we fought to collect and interpret are censored and erased, through museums’ compliance-in-advance as well as government discrimination and decree, we (I write as a queer GLAM worker) see a willingness to sacrifice those histories and our communities for institutional safety, funding, and government support.
Please know the LGBTQ community will remember the hard truths we learned this past year — that we and our histories were expendable. If we can be cast aside, hidden, or disowned, whose histories are safe? How can (and can we) rebuild trust in the institutions that failed us this past year? It’s not just the LGBTQ community. In fact, just this January, the National Park Service removed signage from the Independence National Historical Park in Philadelphia that referenced slavery at the President’s House Site.
Please help us to fight the erasure of queer and trans histories and communities. Please stand with the LGBTQ community (and LGBTQ+ GLAM workers) against the violence we are facing — not just outside museums, but inside them too.
For ways that you can help to fight historical erasure, including against the LGBTQ community, please consider the following:
Consume queer history content. Whether it be by visiting exhibitions, listening to a podcast, going on a walking tour or lecture, or buying queer history books, your presence and money speak volumes. And learn your local queer histories. Often, we focus on the large-scale histories that surround the Stonewall Uprising, Compton Cafeteria Riots, and other pivotal moments, but there’s queer history all around us. It’s time to learn and celebrate these histories.
On that topic, volunteer and contribute your time to local LGBTQ history initiatives. Everyone is based in different parts of the country, so another great option for access are online projects like The Pink Triangle Legacies Project, Queer Zine Archive Project, Queer Digital History Project, and Invisible Histories. Everyone has skills, especially GLAM workers, to support the work of these independent history groups.
Financially support and visit grassroots LGBTQ+ archives and museums. Despite mass censorship and violence over the past year, queer and trans history workers have created and facilitated groundbreaking exhibitions and community action at the Museum of Transology (specifically the TRANSCESTRY exhibition), the Museum of Transgender Hirstory & Art, and other grassroots archives, libraries, and museums created by and for our communities.
Queer and trans museum workers refuse to be silenced and shut out of institutions that have long ignored our histories. The work that we do to seek representation is too important, too urgent, to abandon. We look to these grassroots efforts as models for how our institutions can preserve and tell queer and trans histories because many of them were founded themselves during times of censorship and violence.
Find and support your local LGBTQ (and other) employee resource groups and other organizations pushing for transparency and accountability at your workplaces. Right now, many of these groups have gone underground. Where you can, provide mutual aid and financial and organizational support to these groups, and you can be an advocate (especially if you have privilege and protection) for these organizations and their efforts.
Support the unionization of GLAM workers — show up for pickets and use your attendance and money to support institutions that support and invest in their LGBTQ cultural workers. This past year has been incredibly difficult for LGBTQ museum workers — from censorship and erasure of our histories to the firing of and discrimination against LGBTQ federal workers, federal agencies have denied our existence, cut off lifesaving care for LGBTQ people, and ordered the termination of employee community resource groups.
Mobilize and fight against anti-LGBTQ legislation affecting your queer and trans GLAM colleagues (and your neighbors). As goes LGBTQ histories and representation, so goes rights for queer and trans museum staff. The best examples of this are the experiences of queer and trans federal and trust workers. Call your representatives, participate in resistance efforts, and contribute to mutual aid supporting people most hurt by the legislation.
Hope is not lost! LGBTQ history, as I can attest, is not going anywhere, but amid the rising tide of censorship and erasure, there has never been a more important time to show up in support of LGBTQ preservation, curation, and education efforts. As the victory surrounding the Pride flag at the Stonewall National Monument represents, these are hard-fought battles but ones that we can win with your support.
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