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Local gay man makes top 10 on ‘The Voice’

Maryland’s Rayshun LaMarr is on Team Adam and hoping for the prize

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Rayshun LaMarr, gay news, Washington Blade

Rayshun LaMarr, a Fort Washington, Md., gay man, is currently in the top 10 on ‘The Voice.’ (Photo courtesy NBC)

Rayshun LaMarr belted out just the first five words of “Don’t Stop Believin’” during his blind audition on “The Voice” before judge Adam Levine slammed his button. Fellow judge Alicia Keys followed suit and before LaMarr had even gotten to the chorus he had the attention of two of the biggest names in the music industry.

LaMarr, 33, originally hails from Chapel Hill, N.C., but now lives in Fort Washington, Md. He performed in Sound Connection, an agency band that performed at weddings and corporate functions, prior to his appearance on the show. He also battled lymphatic cancer, a struggle he openly shared with viewers during his audition where he had support from his partner Alex Holmes, as well as his mother, aunt, father and brother.

He decided to join Team Adam and is now in the top 10 of the reality competition series, which airs on Mondays and Tuesdays at 8 p.m. on NBC. LaMarr has become a fan favorite on the show with his performances reaching millions of views on YouTube. LaMarr took a break from his busy day on set of “The Voice” to discuss the typical day in the life of a contestant, his viral blind audition and what Levine is like behind the scenes.

WASHINGTON BLADE: How did your audition for “The Voice” come about?

RAYSHUN LaMARR: I auditioned for the show about four or five times before but I never made it past the executive producers. They were always like, “Great voice, but not what we’re looking for this season.” So, this particular year I was like the auditions are coming around again and I really want to go but I have a gig coming up. I gotta pay my rent. So I can’t afford to do that and miss this gig and be behind on my rent. So I didn’t go. Maybe two days later I did an open mic at my apartment and I recorded it and posted it on the Internet. Literally, two or three days later, I get a call from this guy saying, “Hey, this is one of the producers from ‘The Voice’ would you like to audition?” Now, I thought it was a joke. We were going back and forth for about a week and a half and I didn’t believe anything until I got my plane ticket. I was like of all times this happened to be the year that I didn’t go and it happened to be the year that they reached out to me.

BLADE: During your audition you revealed you battled cancer. Why was that important to share with the audience and the judges?

LaMARR: I went through the whole chemo and cancer thing. I wanted to let anybody know who had gone through what I went through, or anything similar, that everything was going to be OK. That song was very important to me. I just wanted to relay the message of this is my story, this is why I chose this song, this is the song that helped me through while I was in the hospital. That’s why I took the time to tell them why I chose that song and to tell them that story.

BLADE: Your blind audition blew the judges away particularly Adam Levine and Alicia Keys. What was it like being a regular person with two celebrities fighting over you?

LaMARR: It was super cool. I did not expect them to turn around as fast as they did. Granted, everyone wants all the judges to turn around. But I had no clue it would be so soon. I literally sang “Just a small town girl living in a lonely world,” and it was like bam. Adam turned around and then like five seconds later Alicia turned around. I’m like, “Wow. This is crazy.” Now I’m battling thoughts of I’m super excited but I still have to maintain the song. At that point my life actually just changed right then and there.

BLADE: Alicia was gunning pretty hard to get you on her team. Why did you pick Adam?

LaMARR: I am 100 percent a fan of Alicia Keys and all the judges. However, Adam said something that really stuck out to me. Maybe Adam just said it at the right time and that’s what I was looking for. Adam pointed out some of the flaws that were in my performance. He said, “I want to work with you and make you a world-class singer. I don’t just want to fill your head with all the good stuff. I want to make sure you are prepared and the best person you can be.” I wanted that. I didn’t want to go to a coach that was just going to be like, “You’re great. You can sing really well.” I wanted someone I could just grow with. I’m not saying I couldn’t grow with Alicia, but at that particular moment Adam spoke those particular words that made me want to go to him. I get that question every day. People were like, “I thought you were going to choose Alicia.” I thought I was too, honestly. I literally thought I was going to especially when she walked up on stage. There was a lot of that they didn’t show. It was really interesting. I stood up on stage for 10 minutes while they battled it out.

BLADE: What’s your daily schedule in preparation for the episodes?

LaMARR: First of all wardrobe, hair and makeup is always first. We wake up at the crack of dawn to go there. Yesterday, we had vocal lessons. Soon as you get your new song we go into a live rehearsal, which is filmed. We practice the song the best that we can. After that we go to dry blocking, which is pretty much on the stage giving you stage directions on where you’re going to go. After dry blocking, you may have another meeting. It all depends on what team you’re on. After your other meeting you have to go to wardrobe and get out of all the stuff you got into. We may have another meeting at the end of the night. Today, we have an iTunes recording. After that, we come back home and we start our very early morning the next day. It’s really tough now. But I like it. It’s something that pushes me to keep going. If I’m sitting around idle, I’m like “What are we doing?” So this is pretty good for me.

BLADE: How much interaction do you get with your coach?

LaMARR: Now that we’re in the top 10, we get a lot of interaction. The other day we had the chance to go to one of Adam’s private studios where he recorded his first hit album. We had one-on-one time, we got to sing for each other. We probably get to see them and talk to them two or three times a week.

BLADE: What’s Adam like to work with?

LaMARR: Adam is the best. He’s super cool. The way you see him on TV, he’s like that. Although he may be portrayed as an a-hole sometimes, he’s not. He’s very honest and genuine. That’s another thing that I appreciate about him. He knows what he likes. He knows what he doesn’t like and he isn’t afraid to tell you. But it’s all in love because he wants the best for you. I’m like a sponge just soaking everything up when I’m around Adam. We call him Papa Adam. He’s one of those people when you walk into the room it’s like, “Hey, what’s up Adam?” and he’s like, “What’s up Ray? Let’s do this song.” You feel comfortable. It’s not everyday you get the chance to work with somebody you’re not afraid to sing around or think that because they’re on this other level that you are beneath him. He puts you on the same level as he is. He talks to you like a regular human being like he is.

BLADE: During knockouts you sang “Fallin,” one of Alicia Keys’ biggest hits, in front of her. Did that make your performance more nerve-wracking?

LaMARR: Absolutely. That particular week I had a breakdown. That was the first and only one that I’ve had since then. Number one, why would they give me an Alicia Keys song? It’s a female song and Alicia Keys is going to be sitting in front of me. She wrote, produced and sang the song. How do I do the song and not overdo the song, not under-do the song and still have respect and integrity for the song in front of the artist and the writer? That was challenging. I was scared up until I got up on stage.

BLADE: Former “The Voice” judge Christina Aguilera recently told Billboard she disliked filming the show because it’s “not about music” but “about making good TV moments.” What’s your experience been?

LaMARR: Well, I disagree. Yes, it’s a television show and yes, we do have to capture some moments. But 90 percent of the show is about music. I’ve never experienced anything else on the show. The only time that’s about creating television moments is during our interviews. But when it comes to the music part, it’s just great. It’s actually real. This is one of the most honest and real shows I’ve ever seen or worked on before. It’s mainly about the music but the story part comes in interviews, B-roll or when you have free time and they want to get into your story. But it’s definitely still about the music.

BLADE: “The Voice” is a popular show but the winners’ careers don’t take off like winners on “American Idol” or “America’s Got Talent.” Why do you think that is?

LaMARR: Honestly, I have no clue. I know some of the winners are really, really good. I have noticed that some of the runners-up have been a little more successful than the winners. Not sure if that’s because winners are restricted by the contract handed out at the end of the show. If I am the winner, hopefully I’d be one of the winners that changed the game and changed that outlook on winners of “The Voice.” Even if I don’t win at this point, I’ve gotten further than I had expected to get. I am super OK with whatever happens. I’ve made so many connections. I have so many great friends that I’ve met here. It’s just the beginning for me. Whenever I do go home it’s the start of a new journey and I’m super excited about it. I’ve already gotten some gigs lined up. I’m like the happiest kid on the block.

Rayshun LaMarr says it was nerve-wracking to sing an Alicia Keys hit in front of the singer/judge. (Photo courtesy NBC)

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Rehoboth author’s new book tackles love, loss, and the allure of P-town

Will Freshwater’s series concludes with ‘The Dark Horse’

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Author Will Freshwater’s new book ‘The Dark Horse’ is out now.

For those of us who have experienced the allure of Provincetown, there’s no mystery about why author Will Freshwater set his series of three books there. 

It’s not just about the scenic, remote location, or the many fine restaurants and spirited bars and nightclubs and theme weekends. Not just the picturesque harbor and its famed magical light. It’s about a shared sense of community unique among LGBTQ destinations.

Freshwater, whose latest book “The Dark Horse” is out now, lives in Rehoboth Beach, Del., with his husband Stephen Cremen. And although Rehoboth became home after Freshwater retired from a career as a corporate attorney at Verizon in 2021, P-town always beckons. He first visited during the height of the AIDS crisis.

“I don’t think we’ll ever experience anything like that again,” he said. “The community welcomed anyone who showed up on the ferry looking for love and support; it was a transformative experience.”

Freshwater’s parents worried that he’d never find a “normal,” happy life as a gay man, but P-town put those fears to rest.

“I saw people who were plenty happy and living lives that were what they wanted to be,” he recalls. “I had never been able to hold my boyfriend’s hand and walk down the street; young people can’t conceptualize that. It felt like home for me … it felt welcoming, a warm place where I could be myself.” 

So, naturally, the protagonist in his series of books, John Wells, travels to P-town from D.C. to find himself. 

The first book in the Provincetown series, “Favorite Son,” is a familiar read to any gay man of a certain age who worked on the Hill in the 1990s — the sting of the closet, the need to be the best at work, and the chance meetings of romantic partners while riding the Metro. The story of John Wells, a senior Hill staffer, takes a turn after tragedy sends him reeling to P-town to heal. 

The second book in the series, a prequel titled “The Light Reflected,” takes readers back in time when the main characters — all gay men — are in their 20s. Freshwater says it wasn’t a conscious decision to write a prequel, but that it evolved out of wanting to show younger readers what life was like for gays at that time.

“We did stupid stuff and made stupid mistakes and ran away,” he said. “As a reader I often want to know what made a character a certain way. I was aware of my audience and in my generation I had the older mentors that shared our history and they died; I wanted readers to see what it’s like for these characters to be in their 20s not just their 30s. I wanted to give that perspective to younger readers because I don’t know how they’re going to experience that if not through books.” 

The new book, “The Dark Horse,” finds the characters Danny and Peter/John in domestic life in Boston where Danny runs the family business. Everyone is feeling restless and a bit miserable. 

“It’s about what happens after the fairy tale,” Freshwater said. 

The book also confronts the issue of unresolved feelings for past boyfriends, which takes the characters back to Provincetown. There’s a shocking plot twist at the end of the second book, an unexpected ending for the romance genre, that is resolved to satisfaction in the final book. 

“You won’t know until the final four pages of the book how it resolves,” he notes.

This is the shortest book in the series and Freshwater says it took just 11 months to complete, compared to six years for the first book and eight years for the second book.

“There’s a great sense of closure and I can always visit these characters but I’m excited to move on and do new things.” 

Indeed, Freshwater is working on several new projects, including a book set in Rehoboth that he’s co-writing with a friend, the gay romance author B.J. Irons. Freshwater is writing one character, a Rehoboth local who manages an inn on Baltimore Avenue and wants to “break out of his shell.” Irons is writing the other main character, a developer from Los Angeles who moves to Rehoboth to open a large resort across the street from the inn. The book explores their friendship and business rivalry. 

Rehoboth became home for Freshwater and Cremen thanks largely to the pandemic.

“I’d been coming here since age 3 because it was the closest beach to Pittsburgh,” he said. “When I was in law school I got introduced to a guy who had a house on the beach between Rehoboth and Dewey so I used to come down a lot in the mid-1990s and became hooked.” 

The couple bought a house in Rehoboth in 2018 and split their time between there and a home in New Jersey. 

“When the pandemic started, we went to Rehoboth for two weeks thinking it would all blow over quickly and then never went back.”

 The couple began questioning their stressful lifestyle of maintaining two homes and corporate jobs. So they sold the New Jersey house and moved full time to Rehoboth in 2021. 

In addition to the new book, Freshwater is writing a children’s book using the classic “Velvet Rage” as inspiration. It features a puppy with a pink spot on his cheek while all the others in the litter have a black spot. The dog wears a mask to conceal his difference, but when it comes out everyone accepts him.

“It thematically speaks to not hiding who you are,” he said.

Freshwater offers sound advice to aspiring writers struggling to find their voice and overcome writer’s block.

“It always starts with an idea or character or theme and then you develop a broad outline and then work your butt off,” he said. “Decide when you’re going to write and make a commitment that you’re going to do it, like an athlete who commits to practice every day from 3:30-5:30. Don’t wait for inspiration, just commit to writing every day, and then edit, edit, edit until it feels like what’s inside your head.”

 The new book is self published because Freshwater craved creative freedom. 

“I’m not sure what traditional publishers have to offer anymore,” he said, “like YouTube for musicians, if you’ve got what you think is a high quality manuscript, put it out there and it will generate a following.” 

Freshwater will read from “The Dark Horse” at an event on Saturday, March 23, 5-7 p.m. at Top of the Pines (56 Baltimore Ave., Rehoboth Beach). His books are available at Amazon and anywhere books are sold. 

(Amazon screenshot)
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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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