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Jake Shears on his book, tour, album and gay life in the Big Easy

Glam gender-bender plays 9:30 Club on Halloween

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Jake Shears, gay news, Washington Blade

Jake Shears says an announcement is coming soon about his Halloween D.C. show. (Photo by Raphael Chatelain)

Jake Shears needed some time to find his footing.

“After more than a decade as one of pop music’s most cocksure and buoyant frontmen,” his press bio says, “Shears suddenly found himself alone and adrift a few years ago, nursing a broken heart and staring down an uncertain future.”

Since the early 2000s, Shears had anchored Scissor Sisters, the glam-pop band known for hits like “Filthy/Gorgeous,” “I Don’t Feel Like Dancin,’” “Fire with Fire” and “Let’s Have a Kiki.” They went on indefinite hiatus after the 2012 album “Magic Hour” but it took some time for Shears, who found himself single in 2015 after the demise of a decade-plus relationship, to figure out what was next.

After relocating to New Orleans in search of inspiration, he’s come roaring back in 2018 with a January stint as Charlie in “Kinky Boots” on Broadway, the February release of his memoir “Boys Keep Swinging” and his eponymous debut solo album, which came out last month to solid reviews. He kicks off a North American solo tour next month and plays Washington’s 9:30 Club on Halloween.

He spoke to the Blade by phone Sept. 7 from his apartment in New Orleans. His comments have been slightly edited for length.

WASHINGTON BLADE: Was it hard adjusting to the humidity?

JAKE SHEARS: No, I love it. I’m heading to London tonight and I’m just thinking like, “Oh God, I can’t just walk outside in a tank top and gym shorts 24 hours a day there.” I love it down here so much. It’s a pretty good life.

BLADE: So you live in New Orleans pretty much all the time now when you’re not touring?

SHEARS: Yeah, I’m walking into my apartment right now. I split my time. I end up all over the place but it’s where I am for long stretches of the year. … I spend about a third of the year here.

BLADE: Do you get recognized much there when you’re just out doing your normal routine?

SHEARS: Well it’s like a small town here so you kind of get to know everybody anyway and then on weekends, like Decadence was last weekend and there were lots of gays in town so yeah. But other than that, not really. It’s just a really small town here so everybody already kind of knows one another.

BLADE: What’s gay life like in the South? Just with friends, dating, sex — all that.

SHEARS: Well down here you don’t necessarily want to date other locals. … If you do sleep with somebody down here, you’re gonna see them for the rest of your life so you have to really think about whether you want that or not. But it’s just a funny little thing. It’s a sexy place to be. There’s always a huge influx of tourists so there’s always fresh faces and not only that, it’s people who are happy to be here and it’s a good vibe overall. It’s a very romantic city. You don’t have to wear a lot of clothes. It kind of fosters romance and flirtiness.

BLADE: You said in another interview you went there seeking inspiration. How long were you there before that really hit and the songwriting started?

SHEARS: About a week, maybe two weeks. It was pretty early on. I think it was more about the decisions I’d made in my life. I was making some big decisions just for myself that I needed to make. I really needed to change my life and once I made the decision to do that, moving to New Orleans was kind of symbolic and was part of that. And, you know, when that happens, when I’m happy and on the right path, I start writing songs. It didn’t take very long.

BLADE: I read that you recorded the album in live takes straight through and said that was nerve wracking. Now that it’s all done, was it worth it?

SHEARS: Oh my God, yeah. I couldn’t be happier with this thing. It’s been a big project and it’s nerve wracking in a way because just over the whole thing, I put a lot on the line. I hope I get to make a record like this again someday — just making a record exactly the way I want to. As far as the cost/benefit analysis, it cost me a lot. Just financially and time wise and all that stuff, but the benefit on the other side is that I’ve made something I’m just incredibly happy with and proud of.

BLADE: Was it hard to keep it fresh doing take after take in the studio?

SHEARS: No, no, no, no. When you’re recording like that, everybody was so rehearsed. It was really exciting. It never got boring, that’s for sure.

BLADE: When you were writing and/or recording “Creep City,” did you have a hunch it would be the first single or did that come later?

SHEARS: You know, it was really a toss up. I don’t think there was a really obvious first single on this record. I think it could have been a whole bunch of songs. I chose that song because I felt it was really good overall and I felt it really represented the whole album just sonically and I just felt like it was a great liftoff for the record. … I could also visualize a video for it. It’s one of my favorites on the record. It just sort of represented the whole thing in a way.

BLADE: Would you say this is your breakup album? That’s such a thing, were you conscious of wanting to avoid any clichés?

SHEARS: I don’t know if I can answer that. I don’t think it feels like a breakup album. I mean, this isn’t Beck’s “Sea Change.” It’s a pretty fun record. I don’t think it’s really about a breakup, I think it’s more about reassessing myself and sort of rediscovering who I am in this moment in time and I think it has less to do with a breakup necessarily, although that’s in there. Would you say that?

BLADE: Well, listening to it, I felt it was very bombastic and joyous so I was surprised when I read the lyrics and saw how dark some of it is.

SHEARS: Yeah, I love that and that’s one of my favorite things to do. I have like a real big dark streak in me and I love making happy, really fun music that has heavier themes to it. I just love that juxtaposition. That’s absolutely there, but it was really important to me to make, you know, a fun record with different colors to it. I love making my ballads too. That’s definitely part of what I do.

BLADE: Why did you feel now was the time for a memoir?

SHEARS: I wrote the book at the same time I was making the album and I thought it was really good as I was sort of reassessing where I am and who I am now, I had to go back and reassess where I’ve been and what I’ve done and I think they both kind of informed each other and it was sort of a good way to put certain things to bed in a way and make peace with certain things. It’s kind of a cliché to say it was good therapy but in a way it was good to reevaluate parts of my life while I was making this new thing and it was awesome to get to do both of them together.

BLADE: Would you like to do more Broadway or was “Kinky Boots” a one-off?

SHEARS: No, I do, I do. I love it so much. I mean, theater is a world I love being in. I love writing theater and making musicals. Now I love being in them. I definitely am going to continue. Now that’s part of my DNA and I absolutely would love to be in another show and I’m going to be writing more shows.

BLADE: How vocally taxing was it compared to your regular stuff?

SHEARS: I gotta say, it was really hard. Those Cyndi Lauper songs are no joke. They’re really tough and I worked and worked really hard at it. You know, your voice gets stronger and everything but doing eight shows a week like that, it’s also cumulatively exhausting and so by the end — I did about a hundred performances — I was really having to crank up the engine to get that final high note and the big punch at the end of the song. So it was super challenging, yeah.

BLADE: When you’ve been off the grid for a while, do you have to get back in shape or do you always stay pretty trim?

SHEARS: Goodness (laughs). I’ve got my moments. I’m a Libra so I have a lot of balance in my life. I work really, really hard and I play really, really hard. I really try to keep a balanced existence. I’m constantly just trying to take care of myself in the midst of the chaos of what I do.

BLADE: But you never just put on 20 pounds when you’re off the road for a year or something like that?

SHEARS: Oh, I’ve had moments of not being as in shape as I wanna be but I’m doing the best to take care of myself when I’m eating well or whether that’s just getting enough sleep and not drinking too much. I just do my best to try to feel as good as I can because otherwise life just isn’t much fun.

BLADE: Where did that cool vintage car in the “Big Bushy Mustache” video come from?

SHEARS: It’s my neighbor’s, LeRoy. I’m looking out right now at his back yard. He’s in the video too. The videos you see from this album are basically community productions. I made those videos out of my pocket on a shoestring and everybody from the locations to the costumes — everything that you see, people pitched in, everybody got together and it was so much fun. It took over a hundred people to make those videos and that’s one of the things that really warms my heart. It was a whole bunch of people banding together. The “Creep City” video — that’s just a snapshot of the New Orleans community.

BLADE: Is it going to be hard sequencing in Scissor Sisters material with the new stuff on tour?

SHEARS: No. I’ve just done a bunch of shows in the U.K. and it’s a really good pace I’ve got with the Scissors stuff. I’ve chosen certain songs very strategically and it’s fun mixing them up. I went out of my way to make sure this new stuff is part of the same body of work. I wanted it to feel that way and I wanted to be able to present it all as my body of work. In the show, it definitely goes together.

BLADE: You’re playing our market on Halloween. Do you have a costume planned or will your show be much different that night?

SHEARS: Oh, we have a big announcement to make about it that we’re saving but yeah, it’s gonna be really special. I’m just saying for now — nobody plan your costume just yet. There will be an announcement coming that I’m really excited about. You’ll find out soon.

BLADE: Are you touring with people who played on the album?

SHEARS: Oh yeah. Mr Hudson is on bass, Craig Pfunder is on guitar who does all the music director stuff, he plays guitar on my record. Mr Hudson, I wrote a bunch of songs with. Right now I’ve got Patrick Hallahan from My Morning Jacket on drums and I’ve got this amazing saxophonist, this awesome guy named Stephen J. Gladney on sax. So this is a pretty crackerjack band. It’s a great band.

BLADE: Was it an easier transition to the stage than usual since you recorded these songs live in the studio?

SHEARS: In a way because a lot of these songs were originally written with either guitar or piano. When you start small with a song then make it bigger, it just makes it easier. It was written in a very different way from the way I normally always wrote stuff. It’s been fun to play it from the top. It hasn’t been a huge challenge.

BLADE: I know it’s a much different style of music, but do you feel much kinship with Rufus Wainwright? For so many years, you two were about the gayest thing we had pretty much.

SHEARS: Oh my God, absolutely. I think you can hear, he’s a huge influence on my music and we’ve always been friends and I think he’s amazing, just a one-of-a-kind person. I think he’s brilliant and hilarious and I just love him a lot and I’m proud — if he’s my peer and part of my generation of music or if we’re viewed on any kind of level together, then I’m really proud of that.

BLADE: Lots of male pop singers today are doing the falsetto thing like you. Who has the best male falsetto voice?

SHEARS: You mean right now?

BLADE: Any era.

SHEARS: I would just have to say the Gibbs. You know, I was just listening to “Nights on Broadway” last week and it’s just so good. There are moments where they could do it perfect, then they could also do it ragged and imperfect as well and it just sounded so good. So I mean, I feel like they’re kind of the kings of that.

BLADE: Have you heard Troye Sivan’s new record?

SHEARS: Just the singles. I gotta sit down and listen to the whole thing. I’m really excited about it. What do you think?

BLADE: I like it. It’s so nice to see someone singing about gay life so unabashedly.

SHEARS: Seriously. I’m so happy about it. I love the singles and it seems like people are absolutely loving the album. I’m glad you reminded me of it. I’m gonna give the whole thing a listen today. But yeah, I want to see that really go through the roof. He deserves it and it’s just time. I just think we’ve waited long enough. It’s time for a big, queer just pop star and yeah, I just think it’s time so I’m very excited.

BLADE: Do you have any pet peeves about celebrity culture of the way it’s covered in media?

SHEARS: There’s nothing I hate more than a headline that says somebody is “clapping back” at so and so. Or so and so, “claps back.” Basically just news stories about people fighting on Twitter. That’s a pet peeve of mine. It’s just the snake eating itself.

BLADE: Why do you think the Scissors were bigger in the U.K. than the U.S.? Does the Hot 100 here just reflect more of the hetero, rednecky parts of the country?

SHEARS: Well I think it was just a narrative that took hold and I can pinpoint the top of that narrative. I talk about it in my book. We were over there working for like six months before we broke over there and at that time, album releases were staggered so we released in the U.K. in February and we didn’t come out in the U.S. until July so we broke in the U.K. in June. So when we put out our record, we were just getting started again and the New York Times wrote a little sidebar with the headline that said, “Scissor Sisters hot over there, cool over here” and I credit that one thing in the New York Times, that really snarky little piece to starting that narrative. I think that’s why I still get that question. I don’t think we entirely got a fighting chance over here but over the years, it kind of leveled out. By the time we put our our fourth record, we were at the Palladium two nights, we were at Terminal 5 two nights, so the whole thing leveled out. We had extraordinary success over there, the kind of success that barely anybody has anywhere, so I don’t necessarily — I just think it was an extraordinary moment and I’ve never ever felt we were less successful over here at all. … It doesn’t really bother me. But I think that’s the origins of it, this tale of the Scissor Sisters on both sides of the Atlantic.

BLADE: Any birthday plans? (Shears turns 40 Oct. 3)

SHEARS: I was going to Mexico City with a bunch of my friends and now they’re going but I had to cancel. Some work stuff came up so I’m heading to London tonight. I’m really excited about the work I’m doing, don’t get me wrong, but I’m kind of missing my own 40th birthday which is kind of sad. So no, I don’t really have any plans. Believe it or not, I think it might just be kind of a quiet, reflective one.

BLADE: Did you ever think about doing a solo album when the Scissors were together or was there just not really time? It’s not unheard of.

SHEARS: It never really crossed my mind as something I really wanted to do. I always thought a solo record would feel really sort of narcissistic. I never really thought of myself as a solo performer. I was always kind of shy about that. Even when I would do appearances without the band, I would always feel very much like, “Why am I here, I don’t really belong here.” I’ve always kind of had that self doubt thing when I was by myself. So no, I don’t really. But it’s been a little bit of a personal — I hate the word journey — but it’s been like a little bit of a road to get to the spot where I can, you know, feel like there’s a reason for me to be singing on my own.

BLADE: You’ve played a lot with genderfuck in photos and magazine shoots. Do you like to wear dresses or paint your nails in your regular life?

SHEARS: Oh, I love wearing big frilly dresses (laughs). Especially in New Orleans. Like for Decadence, I have a naughty nurse uniform. Everybody was in harnesses and I have my little candy striper outfit. So, I don’t know, it’s just that I have a good time wearing a dress sometimes. I don’t even really think about it. I’m just kind of drawn to what feels good.

BLADE: Do you think there will be deluxe reissues of the Scissor Sisters albums eventually? Are there many outtakes from those sessions? B-sides and alternate takes and stuff like that.

SHEARS: My dream for the 10th anniversary of “Night Work” is to do — there’s a whole album that’s attached to that that was scrapped. There’s this whole lost record to that that I would love to put out in 2020. I’m hoping Babydaddy and I can get together to do that. I would love for people to hear that stuff. Just great songs.

BLADE: This is all just sitting on a hard drive somewhere?

SHEARS: Yeah, yeah, yeah. Totally. And there’s a lot of it. There’s hundreds of songs.

BLADE: What was the longest or most arduous video shoot you ever did?

SHEARS: The “Comfortably Numb” video. It was two days in a big water tank in Devon, England and …. it was a very, very, very tough video to shoot. I got very sick afterwards.

BLADE: You’ve talked about enjoying the freedom the solo record has afforded you but it also seemed like you held an enormous amount of influence in Scissors. I know you dug in your heels about the controversial Mapplethorpe butt photo for “Night Work,” for example. So how strong was that itch really?

SHEARS: Well the thing about being a band is you just want everybody, yeah, you’ve got your vision and what not but also you want everybody to be happy and you want everybody to feel like they’re represented. I definitely had my own vision for the band that was implemented in many ways, but at the same time, the thing that’s nice about doing stuff by myself is that I don’t have to worry about making everybody happy. … All I have to worry about is making myself happy and that’s an amazing feeling creatively and it’s made me feel very liberated in a lot of ways.

BLADE: Are you seeing anybody now?

SHEARS: No, I’m not. I wish I could but I’m not physically in the same place enough now to really be able to spend enough time with anybody that it would really make sense. I don’t know if it’s gonna be possible for me for awhile because (of that) which is kind of a bummer. I’d love to be in a relationship. I’m definitely romantic and I get lonely and I would definitely love to have that connection with somebody. But it wouldn’t be fair to somebody else to not be around.

BLADE: Do you have a type?

SHEARS: I used to think I did but now I’m really only truly attracted to somebody when I spend a lot of time with someone and get to know them. Maybe it’s just a thing about getting older but it’s a lot more about personality to me now and I can get surprised by somebody. I’ll always realize that somebody can be right in front of you and you don’t even know it yet. So my thing is just about getting to know somebody and that’s what I’m into. It could be any kind of type, but it’s just more about who somebody is.

BLADE: Are you and your ex on speaking terms? Were you able to salvage any friendship out of that?

SHEARS: Oh yeah, absolutely. I love him very much and I’m proud of him and he’s an amazing person. He was actually just calling my phone a few minutes ago when we were talking. But yeah, absolutely. And we co-parent a little border terrier so we’re very much still connected.

BLADE: Were there any epiphanies about yourself that surprised you writing the book and album?

SHEARS: I think the main thing that I learned from all of it is I used to kind of think that there was always some kind of a deadline all the time and I think I just really learned, just as far as the work itself, I just want to make good stuff that I love and that’s totally satisfying to me. So whether it takes another five years for me to write another record now, I really don’t care just as long as it’s something that I love and that means something to me. That’s the most important thing about putting stuff out in the world. And by the way, that’s a lesson I keep learning over and over and over again since day one. It’s always something I keep realizing.

Jake Shears, gay news, Washington Blade

Jake Shears says it took time to find his creative footing after the Scissor Sisters parted ways six years ago. (Photo by Greg Gorman)

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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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