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Dancing for ‘Queen’ Janet Jackson

Tyce Diorio reflects on his time with the icon as she prepares for Rock Hall induction

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Tyce Diorio, gay news, Washington Blade
Tyce Diorio, on left, dancing with Janet Jackson on her 1998 ‘Velvet Rope’ world tour. (Photo courtesy of Diorio)

Janet Jackson has made innumerable contributions to popular culture, from chart-topping music to pioneering videos to memorable film roles. She’s a bestselling author, a philanthropist and outspoken advocate for racial, gender and LGBTQ equality. She’s a fashion icon, a sitcom star and award-winning writer. 

But perhaps the work for which she will be best remembered is as a dancer. 

From strutting alongside Paula Abdul in 1986’s breakthrough “Nasty” to her oft-imitated solo performance in “Pleasure Principal” to the militaristic “Rhythm Nation” to the mid-tempo grooves with Jennifer Lopez in “That’s the Way Love Goes” and beyond, Jackson has created some of the most iconic dance moves in modern music. 

And so, as the Rock and Roll Hall of Fame belatedly prepares to induct Jackson on March 29, it seems fitting to talk to one of her best-known dancers, Tyce Diorio, about her legacy and her importance to the dance world. 

Diorio first came to Jackson’s attention after he auditioned and was booked for her “If” video, the second singlefrom 1993’s “janet.” album. He said mastering Jackson’s intricate choreography can be like solving a math problem.

“Every part of the choreography of ‘If’ is a masterpiece,” Diorio said in an interview with the Blade. “[Choreographer] Tina Landon is such an expert at building a piece of work around an artist, she did it so well. You know good choreography when it’s still being done 25 years later. It feels so good to do even still today, it’s still relevant.”

After the “janet.” album, Diorio auditioned and was hired for the follow-up project, “The Velvet Rope,” accompanying Jackson on a hit world tour and appearing in more videos, including the No. 1 smash single “Together Again.” He describes that period of his career as life changing, performing all over the world and on major award shows. 

“‘Velvet Rope’ was a masterpiece album,” Diorio said. “The tone and message were so brave and so individualized and personal but also resonated with us on the tour. And she really pushed the envelope creatively as artists should do.”

He described the tight bond that developed among the dancers and the close involvement Jackson had in all areas of production, from the dancers’ hairstyles to their moves. 

“We had tattoos, piercings, different colored hair, no one was doing all that on the music scene. Janet has always been one of those artists that was groundbreaking,” he said. “It’s so rare that an artist is so involved in a project from the makeup and hair to the choreography, she was involved in every portion of it.”

Also on “The Velvet Rope” tour was the upstart group NSYNC, which Jackson featured as her opening act for part of the tour. So Diorio knew the group’s lead singer, Justin Timberlake, who would later share the stage with Jackson during her infamous Super Bowl performance.

“When NSYNC started as opening act they were very friendly and fun,” Diorio said. “We all had a nice rapport.” 

Reflecting on the Super Bowl controversy, Diorio says, “things happen.”

“I thought the Super Bowl performance was fantastic and so well designed in terms of the set and choreography and the way Janet performed with the dancers,” he said. “So for me in terms of the controversy I don’t have any thoughts on that. What happened was an unfortunate situation that just happened and we all move on from it.” Agreed.

Jackson is known for letting her dancers share the spotlight and many have gone on to tremendous success on their own, from Abdul and Lopez to Jenna Dewan and Diorio, who won an Emmy Award for his work on “So You Think You Can Dance.” Diorio is in production on his 16th season as a judge on the hit show now, which will air this summer on Fox. The LA-based dancer/choreographer, who’s gay, also recently finished shooting a film in Europe called “High Strung.”

Diorio has danced and choreographed for a number of major pop stars, going on tour with Paula Abdul when he was just 19. Later, he appeared in Ricky Martin’s video for hit song “Livin’ La Vida Loca” and danced in Jennifer Lopez’s debut tour. 

But it’s his work with Jackson that remains “transcendent.”

“When I took the stage with her it was an otherworldly experience. You can’t explain it fully. There are no words. It’s transcendent. You feel like you’re in another space and time, it’s such a journey.”

It’s difficult to put into words the experience of performing on stage in front of 20,000 screaming fans — the adrenalin rush and the stamina required to pull it off night after night — and the feeling when the tour ends.

“When the tours were over it was bittersweet but I go back to my life and that’s magical too,” Diorio says. “I feel lucky in my life whether I’m in front of millions of people or not. That’s the challenge in our business, separating those moments from the rest. It’s like a chapter in one’s life. All good things come to an end.”

Last year, Diorio received an unexpected call from Jackson’s team, inviting him along with many of her previous tour dancers to a reunion in L.A. and a blockbuster performance of “Rhythm Nation” at the Hollywood Bowl. The performance — part of her “State of the World Tour” — can be found on YouTube. In it, dancers from all of her previous tours take the stage to recreate those iconic moves. Then Jackson took time to introduce each dancer to the audience.

“Which artist would do something like this? There’s no one else who could pull this off,” Diorio recalls. “It was magical, we were all blown away. Being on the stage, we came together so seamlessly. We all knew each other, we were so inspired and motivated, an awe-inspiring moment. It only happens once. One for the books.”

Asked to name one Jackson song he’d like to choreograph, he said “Runaway.” His favorite choreography to perform? “Throb.” The hardest to perform? “Rhythm Nation.” What’s more stressful — performing on the “Oprah Winfrey Show” or “Saturday Night Live?” Oprah. “Because it’s Oprah!”

Diorio says it was an honor to dance for Jackson because she chooses all of her own dancers personally.

“Working with Janet and her being who she is, it’s something special … so you feel so special if she chooses you,” he said. “To the dance community she’s such an icon and such a queen. It was my absolute dream to dance for her.”

To say that Jackson’s career is in resurgence mode would be an understatement. In 2015, she released “Unbreakable,” her seventh No. 1 album, making her only the fourth act in music history to chart No. 1 albums in four consecutive decades (along with Barbra Streisand, Bruce Springsteen and U2). She followed that with the “Unbreakable” tour, took a break to have her son, Eissa, then launched her massively successful “State of the World Tour,” which played 76 dates across North America and two recent shows in Japan. She was last year’s Billboard Icon Award recipient, then picked up several more awards in 2018, including the Icon Award at the BMI R&B/Hip-Hop Awards; the Inspiration Award at the MNET Asian Music Awards; the MTV Europe Global Icon Award and the Impact Award from Radio Disney, to name a few.

In August, she debuted a new single, “Made for Now” with Daddy Yankee, her 20th No. 1 Billboard Dance single; a Spanish version spent a month atop the Mexican charts. In December, the Rock and Roll Hall of Fame announced she would — finally! — be inducted on March 29. And earlier this month, Jackson announced a 15-date Las Vegas residency called “Metamorphosis” beginning in May and will co-headline the U.K.’s Glastonbury Festival in June. 

Given all her success, fans and critics have wondered why it took the Rock Hall so long to induct her. Jackson was first eligible in 2007. 

“The important part is that she is being inducted now,” Diorio says. “It doesn’t always make sense, you have to keep doing what you do. In terms of Janet, it’s so great that she’s being honored in this way. Everything has its right time.”

Indeed, but others have speculated that a combination of the Super Bowl scandal and other less apparent factors led to the delayed induction. Perhaps Jackson’s most prominent cheerleader for Rock Hall induction is Mike Litherland, who has worked since 2012 to get Jackson into the Hall. He started a Facebook page that year titled, “Induct Janet Jackson into the Rock & Roll Hall of Fame,” which has more than 120,000 followers. Why does he think it took so long for the Hall to induct her?

“I blame the nomination committee from years and years ago,” Litherland said. “It still had that ‘boys club’ mentality. Thankfully, the R&R Hall of Fame Foundation completely overhauled their nomination committee in 2015 and brought in fresh, smart, music industry experts. They eliminated some of the dead weight and injected that new blood into the mix. They added several key women as well — previously there were only a handful of women. I think that had an incredibly positive impact.”

Litherland was in his car when he heard the news about Jackson’s induction.

“As soon as I heard Janet’s name, I leaned back a little in the car seat and just beamed from ear to ear,” he said. “And I have to admit that I got a little teary-eyed. It feels good to finally have Janet’s induction come full circle. I’m beyond thrilled for her because she’s so deserving of this honor.”

He’s attending the induction ceremony and hosting a pre-party, as well as an after-party featuring DJ Aktive, Jackson’s touring DJ. For information and tickets, visit the #InductJanet Facebook page.

Fans of other artists yet to be inducted have reached out for advice thanks to the success of Litherland’s social media campaign for Jackson. He’s heard from fans of Duran Duran, Whitney Houston, Carly Simon, George Michael and others hoping to emulate his success. So what’s next for Litherland’s campaign?

“I took a bit of a break from the #InductJanet social media pages after the induction announcement,” he said. “I just needed to take a breather. It’s tons of work and I’ve committed a lot of time, energy and money to the movement along the way. Ultimately, I think I’ll continue and just run it as a general Janet fan page since the Rock Hall focus is now officially behind us.” 

Jackson will be inducted by Janelle Monae at the ceremony held at the Barclays Center in Brooklyn. The other six 2019 inductees are: The Cure, Def Leppard, Stevie Nicks, Radiohead, Roxy Music and The Zombies.

Tyce Diorio returns this summer to Fox’s ‘So You Think You Can Dance.’ (Photo courtesy of Diorio)
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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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