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Bah, humbug! Pandemic exacerbates holiday blues

Take steps to reduce, even eliminate, seasonal stress

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holiday blues, gay news, Washington Blade
Idyllic scenes of the holidays may not pan out this year thanks to COVID. But with some planning, you can stay positive and help others less fortunate.

Feasting on turkey with your family. Hanukkah Harry. Santa. “A Christmas Carol.” Sugar Plum fairies. Lighting candles to celebrate Kwanzaa. Ringing in the New Year!

It’s the holidays! Happy! Happy!

Not so much. Especially during the pandemic, and if you’re queer.

There are always holiday naysayers who dread Thanksgiving, loathe “It’s a Wonderful Life” and shout, “Bah, humbug!”

Yet, in the pandemic, many of us have the “holiday blues” more acutely than we did in past holiday seasons, psychologists and LGBTQ advocates told the Blade in interviews.

The term “holiday blues” is bandied about often. Yet, its meaning isn’t always clear. The “holiday blues” isn’t a mental illness, said Elaine Rodino, a psychologist in private practice in State College, Pa.

“It’s not a diagnosable ailment. It’s a feeling of malaise,” she said, “of anxiety – of discomfort that occurs during the holidays.”

But just because the “holiday blues” isn’t pathological, doesn’t mean that feelings of anxiety, stress and sadness during the holidays aren’t painful.

Our holiday stress is nearly always related to our childhood experiences, Rodino said. “For example, if we grew up with an alcoholic parent, we’ll recall how that parent would ruin the holidays,” she said, “it would start out fine. But, by the end of the night, the parent would be drunk, hostile – angry.”

On the other hand, we may recall our childhood holidays as having been absolutely perfect. “You might remember that your Mom baked 300 cookies. They were the best in the world,” Rodino said. “You’ll feel guilty because your present doesn’t match up to your memories of past perfection.”

The pandemic with its restrictions, illness and financial losses adds an added layer of stress to the holidays, especially for the LGBTQ community and other vulnerable groups.

“One way to deal with holiday stress is to volunteer,” Rodino advised, “to soup kitchens. Include vulnerable people in your Zoom events.”

Don’t be intimidated by past holiday rituals. “Create your own traditions,” Rodino said. “If we did everything like people did in the past, we’d do things like they did in the Middle Ages.”

From Hallmark movies to endless holiday music playlists to ads showing families merrily gathering before the fire, we’re led to expect that the holidays will be filled with happiness and togetherness.

We experience the “holiday blues” when our holidays don’t live up to these cultural expectations, said Nicholas Grant, a clinical psychologist and president elect of GLMA (Health Professionals Advancing LGBTQ Equality).

In addition to this stress, many LGBTQ people experience overt or subtle homophobia or transphobia when they gather with their family of origin for the holidays, Grant, who is queer, said.

The pandemic has added layers to holiday loneliness and insecurity.

You can take steps to reduce, if not totally eliminate, holiday stress, Grant added. “Use technology like Zoom to see family and friends who you can’t see in person,” he said.

Be proactive about who you want to see over the holidays, Grant advised. If you feel that connecting with someone in your family would be stressful for you, limit your time with them. “My Dad and I have no relationship as of this year,” Grant said, “because of his behavior and politics. It’s brought up for me: how do I want to experience this holiday season?”

Doing something that’s enjoyable to you and in line with your values is a great way to cope with the holidays, he added, “whether it’s writing poetry, riding a bike, baking bread or volunteering.”

For information on coping with the “holiday blues” or finding a therapist, Grant recommends Psychology Today, psychologytoday.com.

Most cisgender, heterosexual people who go home for the holidays, even if they are of a different faith, are culturally similar to their family of origin, said psychologist Keely Kolmes. “That’s not true for all queer folks,” said Kolmes who identifies as nonbinary. “Their families often direct micro aggressions at them, leaving them feeling isolated.”

Sometimes, homophobia or transphobia can be physically unsafe. But, even subtle micro aggressions, such as a snide comment on a celeb coming out, can be hurtful, they added. (Kolmes uses the pronouns they/them.)

“I advise clients when they go home for the holidays to have an escape plan with a friend or trusted family member,” Kolmes said, “for where they can go or what they can do if things go wrong.”

LGBTQ people seeking support (such as support groups or friendly religious events) during the holidays should contact LGBTQ centers and queer-friendly houses of worship in their communities, Kolmes advised.

We often hear this overwhelming, anti-LGBTQ religious voice, said Michael Vazquez, HRC Religion & Faith Program Director. “Yet, the intensity of that voice is disproportionate,” Vazquez added, “the overwhelming majority of American people of faith are welcoming and affirming of LGBTQ people.”

“Going home – being with the family for Hanukkah, Christmas, Kwanzaa – it’s important to remember,” he said, “it’s not antithetical to be both LGBTQ and a person of faith.” (For more information, visit hrc.org/resource/religion-faith.)

Many queer people (especially trans people) are struggling to survive during the pandemic, said Anneliese Singh, a counseling psychologist and chief diversity officer at Tulane University. “I think, too, with this election, during the holidays, many of us are going to have to set boundaries with those of our families who supported Trump,” Singh, who identifies as gender queer, said.

Sometimes Trump supporters separate their votes for Trump from their love for their queer loved ones, she added, “but, for us, a vote for Trump means a vote against ourselves.”

LGBTQ people should reclaim their religious traditions – from Kwanzaa rituals to Advent services, Singh said.

“Another way to move through the ‘holiday blues,’‘ she added, “is to have a daily set of gratitude boxes. Not cheesy gratitude. But gratitude that we’re queer and survived and thrived.”

Singh and her partner connected 10 years ago during the holidays.

“Christmas Eve is a special night for us,” she said, “it’s when we first got together. Every Christmas we think: How do we want to celebrate our relationship?”

Even before the pandemic, the holidays were difficult for queer and trans youth, said Adalphie Johnson, director of programs for SMYAL (Supporting and Mentoring Youth Advocates and Leaders). “Some are homeless. Some are in unsafe spaces,” she said, “they’re not able to express themselves as far as clothing, etc.”

Youth are often unable to bring their partners to family holiday gatherings. “The pandemic with its social distancing adds to the social isolation,” Johnson said.

SMYAL is working to create safe virtual holiday events for youth, said Johnson, who is queer. “We’re sending out gift cards so they can order food and virtually eat together,” she added. “We ensure that the young people have all the fixings and trimmings.”

When young people get together with their families, SMYAL advises them to have one or two people they can call or text if they feel unsafe.

During her youth, “the most difficult thing during the holidays was that I didn’t know who in my family – like my aunts – would accept my girlfriend,” Johnson said.

(For more information and resources, visit: smyal.org, thetrevorproject.org, gsanetwork.org and glsen.org)

The holidays can be hard for everyone of every age, including LGBTQ elders. Older LGBTQ people are more likely to feel lonely during the holidays because they’re more likely to live alone, be single and not have children, said Bill Gross, assistant director of special programs for SAGE.

SAGE’s services for older LGBTQ people range from a friendly visitor program to a hotline run by volunteers trained in crisis counseling. The hotline, open 24/7, 365 days a year, including the holidays, provides free support in English and Spanish (with translation services in 180 languages). (For information, visit sageusa.org.)

Richard Daniels, a performer, is a member of SAGE’s New York City affiliate. Daniels was in “Help,” a play by poet and writer Claudia Rankine. The play shut down after two previews because of COVID. “The holidays will be no different. We’ll still be in quarantine,” Daniels said.

Daniels and his husband love Thanksgiving. “We’re Jewish. We don’t do much for Hanukkah or Christmas,” he said, “but Thanksgiving’s the one holiday where we love to get together with people — family, friends, out-of-town visitors — people with nowhere to go.”

“We still have much to be grateful for,” Daniels added, “we don’t drink. But we’d love to share a piece of pie on Zoom on Thanksgiving.”

‘With this election, during the holidays, many of us are going to have to set boundaries with those of our families who supported Trump,’ said Anneliese Singh, chief diversity officer at Tulane University.
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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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