March 2022 :: Spring Queening

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TABLE OF CONTENTS VOLUME 45 NUMBER 13 MARCH 2022

07 FROM The Editor Breaking 08 OFM King Soopers Strike Ends With Tenative Agreement

Biden Vows to put Black Woman on Supreme Court

Health 12 OFM You Need No Excuse to Dine with Drag Queens ART 14 OFM A Chat With Insta_Sketcher Artist Amy Lummus' New Series Explores the Martyrdom of the American Woman

20 OFM DINING

Drag Brunch Deliciousness

22 OFM CULTURE

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Quick Change: Drag through the Pandemic History of 'Cross-Dressing' Willow Pill Alaska Thunderfuck On New Book, New Music, and More Wretchedly Wonderful: One-On-One with the Boulet Brothers

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Thoughts 50 OFM Unlinking Gender Identity and

Gender Expression Queer Girl Q&A: Navagating the Heteronormative

52 OFM Style

Makeup Hacks: I try so You Can Buy Sustaining Sustainable Fashion

Reviews 57 OFM Canna-Bliss Book Reviews

Music 58 OFM Metal Meltdown

March Music Releases You'll Want More Than 'Just A Taste' of the Jawbreakers

62 OFM Astrology March Horoscopes

66 OFM Lust A Lustful Wish

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Love Equality H A ND M A D E IN L AY J E W EL RY FOR ALL

Y O U N G I N T H E M O U N TA I N S . C O M 3 0 7 0 B L A K E S T, U N I T 1 6 0 D E N V E R , C O 8 0 2 0 5

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FROM THE EDITOR

“Get Your Spring Queening On” When I was first introduced to the world of drag, I wasn’t really a fan. I saw a lot of catty infighting, both in the local scene and on RuPaul’s Drag Race, and a lot of the looks didn’t appeal to me. They were super glam, pink, and glittery—not my aesthetic.

Then, our former editor introduced me to “alt drag”—in short, drag that doesn’t depend on gender or social norms. It can be nonbinary or king drag, and it can involve all kinds of looks, including monsterous features; crazy, horror-inspired looks: and all kinds of weird inspiration.

And through that introduction to drag, I also learned about a side of the community that was different, more welcoming and inclusive to someone less tied to a specific gender or sexuality, and more queer, to someone who presents more “alternative” in aesthetic.

My point here? Drag really is for everyone. You don’t have to love Britney Spears, drinking, and traditional drag aesthetic to get behind the longstanding tradition of dressing in drag, performing, and being fabulous. And there’s something for everyone in these pages, whether you’re looking for updates on your favorite queens, local stuff, or a history of “cross-dressing.”

So go out there and get your spring queening on, even if that just means getting rid of some stuff that doesn’t spark joy and dressing fabulously. We’ll see you on the dance floor!

-Addison Herron-Wheeler

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KING SOOPERS STRIKE ENDS WITH TENTATIVE AGREEMENT

By Ray Manzari

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Following failed negotiations between the grocery store chain and its union, United Food and Commercial UFCW Union Local 7—more than 8,700 workers from King Soopers stores in Denver, Parker, Boulder, and Broomfield—went on strike in January.

Previous offers from the company included a pay raise of up to $4.50, depending on department and tenure, with a base pay of $16 an hour for all employees. UFCW sought a raise of $6 for everybody and a starting rate of $18 an hour. Whether they were able to cement those numbers remains to be seen.

Customers unwilling to cross picket lines found other means of grocery shopping during the two-week strike, leaving many parking lots desolate as shelves went unstocked.

Details of what’s been proposed in the new contract have not been made public. On January 31 workers voted whether to ratify the new agreement and have since returned to work.

The union held a press conference prior to the strike, addressing the employees' concerns with the company, as well as the breakdown in negotiations. Their demands included higher wages, better healthcare plans, stricter mask mandates, and increased on-the-job security.

The decision to strike was voted on almost unanimously, and the union posted a video to both TikTok and Twitter on January 2 with captions that read: “Parker Meat, Boulder Meat, Broomfield Meat, and Retail—100 percent voted to strike. Denver Retail—98 percent voted to strike. Denver Meat—97 percent voted to strike.”

Beyond wage increases and benefit packages, King Soopers employees had serious concerns with COVID-19 precautions and on-site security.

The union has reported that there have been 1,000 cases of coronavirus among Colorado King Soopers/Kroger employees and five employee deaths due to the virus.

According to employees, the cases could have been avoided had there been stricter mask and sanitation policies.

Employees were also demanding on-site security in light of a mass shooting that took place in a Boulder King Soopers last March.

King Soopers and UFCW that they had reached a tentative agreement late last month, ending the 10-day strike immediately. Which, if any, employee demands were met have not yet been made public.

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“After months of negotiations and after our members walked out on strike, we have reached a tentative agreement with King Soopers/City Market that addresses the company’s unfair labor practices and ensures that our members will receive the respect, pay, and protection they warrant," Kim Cordova, president of UFCW Local 7, tells 9 News.

"This fight will always be about workers," Cordova adds. "I could not be prouder of our members who put it all on the line to have their voices heard."

"We are pleased that this agreement allows us to put more money in our associates’ paychecks and secures healthcare and pension plans,” says Joe Kelley, president of King Soopers and City Market, in a press statement. “We look forward to welcoming back our associates and customers.”

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Biden Vows to Put Black Woman on Supreme Coourt

By Ray Manzari

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Supreme Court Justice Stephen Breyer announced his plans to retire in late January.

The 83-year-old Supreme Court justice is expected to stay until the end of court term this summer.

In light of Breyer’s retirement, President Joe Biden vowed to nominate a Black woman for the vacancy. Though Biden’s pick will not shift the balance of the court, as she will likely share Breyer’s political alignment, she is expected to be much younger and could serve on the court for decades.

"Our process is going to be rigorous. I will select a nominee worthy of Justice Breyer's legacy of excellence and decency. While I've been studying candidates' backgrounds and writings, I've made no decision except one: The person I will nominate will be someone with extraordinary qualifications, character, experience, and integrity. And that person will be the first Black woman ever nominated to the United States Supreme Court," Biden says during a press conference.

A shortlist of potential candidates had been circulating Washington well before Breyer’s retirement announcement. The following are possible picks for the new Supreme Court Justice.

DC Circuit Judge, Ketanji Brown Jackson Last year, Biden appointed Jackson to the U.S. court of appeals in D.C., which is considered the second most powerful court in the country.

Previously she clerked for Justice Breyer and has degrees from Harvard University and Harvard Law School.

California Supreme Court Justice, Leondra Kruger When appointed in 2014, Kruger was the youngest person to serve on the California Supreme Court. On the California Supreme Court, she authored notable opinions on the Fourth Amendment and police reform.

South Carolina U.S. District Court Judge, J. Michelle Childs

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As a graduate of the University of South Carolina, Childs doesn’t share the Ivy League pedigree held by eight of the nine current Supreme Court justices. It’s a fact that could be seen as an advantage for democrats, as a way to fight back claims that the party has become elitist in nature.

Sherrilyn Ifill, President and Director-Counsel of the NAACP Legal Defense and Educational Fund Ifill recently announced she’d be stepping down from her position at the NAACP, a title she has held since 2013. During her time there, she proceeded over landmark cases that helped fight voter suppression in republican-run states.

Other possible picks include District Judge Wilhelmina "Mimi" Wright, Circuit Judge Eunice Lee, and Federal Circuit Court Judge Tiffany P. Cunningham.

A few additional names have floated around, including Arianna J. Freeman, a Philadelphia public defender nominated earlier this month as a circuit judge, and Melissa Murray, a New York University law professor who wrote the first casebook covering the field of reproductive rights and justice.

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Nancy G. Abudu, a voting rights expert and the head of strategic litigation for the Southern Poverty Law Center who was nominated earlier this month to be a circuit judge for the 11th Circuit, and Anita Earls, a 61-year-old North Carolina Supreme Court associate justice, are also being considered.

Biden and Senate Majority Leader Chuck Schumer have both vowed to move quickly to replace Breyer, likely to name their nominee by the end of February.

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You Need No Excuse to Dine with Drag Queens

By Zachari Breeding, MS, RDN, CSO, LDN, FAND

One of the reasons I have always loved food is how it connects people. At any point in time, food is part of an experience. Whether it be a graduation, birthday, happy hour, house party, a quiet night at home with your loved ones, or even a funeral, food is usually present if not the centerpiece.

The beauty of the versatility of food is that it can match any occasion and bring people together. Research even shows that families that eat together, instead of in front of a TV, have a reduced risk of nutrition-related chronic illnesses such as type 2 diabetes and heart disease. Attending an event, such as a drag brunch, is a perfect occasion to enjoy food with others while not worrying so much about what is being served.

When people eat together, the entire environment around eating changes. Naturally, people are more distracted when others are around. Talking and engaging with those around you means you spend less time mindlessly chewing bite after bite. This delay allows for the body to digest and for you to feel full, resulting in less food consumed overall. The hormone leptin is the one responsible for making you feel satisfied after eating. But if we eat when we are alone, watching TV, or working, we sort of forget that we are eating and keep going until the plate is empty.

Then comes the feeling of extreme fullness because we ate more than we needed to. Leptin doesn’t really activate as soon as we start eating—Otherwise we would never get the nutrients we need. Because leptin takes some time to kick in and tell us to stop eating, we can easily eat more than we need to if we aren’t paying attention. So, we can sort of lean into the idea that it matters more what we are doing while we’re eating rather than the actual foods we are eating. Spending time with others while we are enjoying food is a great way of slowing down and only eating as much as we need to feel satisfied.

Overeating can trigger the pancreas to work much harder than it needs to break down the carbohydrates that we eat. The pancreas is responsible for making insulin, the hormone that helps your body to break down the glucose (the type of energy your body needs that comes from carbohydrates) from foods we eat. If we eat too much, the pancreas has to overwork to break the glucose down, which can eventually cause type 2 diabetes.

Overeating can also mean that we take in more fat and salt that we need, eventually leading to heart disease. Additionally, a type 2 diabetes diagnosis alone increases the risk of heart disease, since the body works in a way that every system works together to maintain overall health. Again, regardless of what the food is, eating too much of anything is never a good thing. This is one of the reasons why you should never feel guilty about what you eat when attending a local drag brunch.

Whether you are hosting friends or family from out of town, trying to cure a hangover, or just want to do something fun to shake up the traditional breakfast, drag brunches bring fabulousness and delicious food for a sickening good time. Though the typical drag brunch menu might not be the epitome of nutrition, the food is meant to bring people together to share in the experience and art of drag.

That is truly one of the best things about food—socializing and fun memories. Food is not always meant to serve only our physical health, it is also meant to serve our mental and emotional health. For me, there is absolutely nothing better than chicken and waffles covered in syrup to go alongside my bloody mary while I watch death drops and dancing from Denver’s best drag artists.

Be sure to strap on your mask; bring a copy of your vaccination card; gather up a pile of singles, and gather your friends for a brunch that you’ll never forget.

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By Rachel Galstad What inspires you creatively to draw?

Well it’s no secret that I love Drag Race, but mostly things I find beautiful, that I want to express through my particular form of creativity or when I want to tell a story. I went through a phase of capturing the lyrics to my favorite songs in sometimes quite abstract illustrations. Anything that speaks to my soul.

How has drag influenced your creations?

Linton Stephens, also known as Insta_Sketcher, is an orchestral bassoonist, broadcaster, equality advocate, and illustrator from the United Kingdom who spends his free time creating drag magic by recreating iconic scenes from our favorite queer passtime, RuPaul’s Drag Race. He uses art as a form of mediation and embraces femininity by blurring the lines of gender.

When was Insta_Sketcher born, and how did you become an illustrator?

I’ve always drawn from when I was a kid. I did art at school right up to A-levels, but then I went to music college and didn’t really make time for it. When I graduated, I was working as a freelance orchestral musician (which is what I do professionally today) and drawing was, and still is, a kind of meditation for me—a way of being creative without the pressure of doing it full-time. When I’m drawing, I don’t think of anything else. But back in my 20s, I wanted to get better at it, so I took a few classes, online courses, life drawing, and books—anything that would help me improve. Then I saw loads of artists sharing their work, and I initially thought it might just be a good platform to have all of my work in one place.

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In two ways, I think: It’s a realm where queerness meets femininity meets flamboyance meets down right absurdity. It’s about the boundaries of aesthetics and fantasy, so it ticks all the boxes as a catalyst for a good illustration. But also the propulsion of drag into the mainstream via RPDR has afforded me an opportunity to explore and accept my natural feminine side which I’ve always been taught to suppress. I’ve done that a lot through finding it in my artwork.

Who was the first drag queen to inspire your fan art?

Following on from what I said about getting in touch with my feminine self, I remember trying to watch RPDR with a lot of internalized homophobia, which made it difficult, and I didn’t love it at first. But I have a very good friend who does drag, Cheddar Gorgeous, and her characters are always so ornate and beautiful. And he himself is a bit of a gym bunny. He always said that drag for him was about blurring the lines of gender, the hyperfeminine on his hypermasculine body.

Anyway, that was a long way to go to say that he was my first drag-inspired illustration.

Why do you believe queer representation is important to showcase?

I grew up suppressing so much of myself that I often wonder how I might have been had I not been taught to hide my queerness. Representation encourages us to embrace every part of ourselves and not to be ashamed, meaning we don’t struggle with those dissonances as we progress into adulthood. But also seeing queerness showcased proudly is important for people who don’t have proximity to our community.

This quote from Bell Hooks sums it up: “Queer not as being about who you’re having sex with (though that can be a part of it), but queer as being about the self that is at odds with everything around it and has to invent and create and find a place to speak and to thrive and to live.”

How does it feel to advocate for the LGBTQ community?

Advocacy for any marginalized community is so important to me. I know how it feels to be treated as lesser than because of both my skin color and my queerness. Injustice makes me angry, so I get a lot of satisfaction when I can contribute in whatever way to leveling the playing field.

How would you describe and categorize your own artistic style?

Whimsical but dynamic I think. I wondered for so long how I would develop a ‘style,’ but I think, in the end, style is just a method of creating that feels comfortable and consequently has some kind of recognisable homogeny through each work.

How does it feel to create art that so many queer people resonate with?

It’s that thing again, isn’t it, about representation. As queer people, we restrict ourselves to fit in. When I was in my 20s, if someone called me “straight-acting,” I wore that as a badge of honor. Now, in my life and in my art, I’m pushing against the boundaries of heteronormativity even if it is through illustrated caricatures, in a fun way. The further we push those boundaries, the wider the parameters of what is considered “normal,” and so less people feel excluded in their everyday life, and that’s amazing.

better, and always for myself. That’ll never stop, I don’t think. There is no destination with proficiency.

Anything else you would like to share?

Hmmm, I was gonna do a shameless self promotion, but something has been on my mind recently. As I’ve been digging into the histories of African Americans for a documentary on radio three which airs on February 27 (there’s that shameless plug), I’ve noticed a scary amount of parallels of what pre-unsegregated Black communities went through, to what our transgender spectrum have to endure today, and that worries me.

In my art and my work more generally, I’m under no illusion that anything I do will change people's minds. Conditioning is a tough nut to crack. However, if I can convince anyone of anything it’s to look beyond their proximity and into the humanity of the stories you hear. And hopefully that’s the place to start changing hearts and minds.

To keep up with Linton Stephens, find him on Instagram @insta_sketcher.

Where do you see yourself artistically in the next year?

I’m very much a “see what’s happening in the week when I turn onto the page of my diary,” and not cuz I’m zen or anything; I just don’t have the capacity to focus on more than one thing, ha! Artistically, I always just want to get

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Artist Amy Lummus’

New Series Explores the Martyrdom of the American Woman

By Keegan Williams

Amy Lummus, like many artists, knew that she was meant to create from a young age. There was no other option, and by the time she hit high school, she was already taking commissions and doing henna body art at festivals on the side.

“I didn’t, you know, need a summer job or whatever. I was already making money with my art. Which I think is largely due to the fact that I had a really stellar support system,” Lummus says.

However, from high school through college, Lummus notes that she never connected to art education. After some less-than-ideal experiences with a teacher in middle school, she avoided art classes in high school, and even her art school, highereducation experience didn’t reflect

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how she sees life as a working artist.

Rather, Lummus says that she had to learn a lot of the know-how in the biz on her own, and it goes beyond just technical art skills they harp on in school. She says that being an artist comes with a triple-facet approach: being good at business, being authentic to your soul, and being able to address what’s happening in the world.

“At the end of the day, you have to understand that you are a product, and as much as you want to be true to the soul, it's a very fine line,” Lummus says. “It has to reflect something authentic within your soul and also has to do something societally. So that, I think, makes it a very unique business, but it is, at the end of the day, business.”

Lummus specializes in portraits, pointing to her fascination with the human figure and understanding “this house that we think inside,” the intricacies within the body, going down to the molecular level, and even those things we still don’t fully know about or can’t comprehend, in regard to our bodies and biology.

Lummus grappled with strife in her personal life before the pandemic hit, as her partner of 11 years left her with three small kids, a mortgage, and an artist’s salary.

She began working on the project “Bend the Iron,” the “train speak” term working as a metaphor for what was happening in her life.

“You get stuck in ‘trains of thought,’ and ‘bend the iron’ is

super cool, old-school train speak for shifting the train tracks,” Lummus says. “Someone who’s dealing with this loss and this desperation and all of that—This is what I was working through.”

She says that it was very heavy work, but some of her most noteworthy.

However, as coronavirus hit the masses, she saw that folks coming through the doors to see her work were mourning enough, in addition to taking in the subject matter behind “Bend the Iron.”

Lummus took on a new solo show, with one condition: It had to be a little upbeat, not too sad. So Lummus had to figure out how to best balance, once more, that triad of principles she holds true to her craft: creating something that people want to see, that speaks to society today, but that won’t threaten her own artistic integrity.

“You know, I think the pandemic has taught me how to be a more efficient entrepreneur, and also with an eye on how I want my art to feel to the masses. I think you have to have empathy for the masses.”

She turned back to what she knew: portraiture and the recent experience with her expartner, broadening the scope to focus on women in society today and the issues they face.

“After my experience being in court, going through a fair bit of domestic violence, and then at the end having nothing to show for it, not even a home over our heads, it was like, ‘I have to say something about this,’” Lummus says.

And her new project, “Mettle Martyr,” was born. “Mettle” comes with a trifecta of meaning: “metal,” the substance; “meddle,” to fiddle with or mess something up; and “mettle,” what a person is made of (and, ultimately, the spelling Lummus went with). “Martyr” relates to the idea that women tend to want to self-sabotage, adopting the views of the oppressors in order to alleviate oppression.

“I think as women, the ‘good American woman’ is a martyr, and that’s interesting, because the good American man isn’t,” she says. “It tends to fall within women, especially being a mother and also being a working artist and making that work.”

The series plays with “cute” images of women—sometimes deconstructed, cut apart, meshed with images like skulls—and rather than pairing them with traditional titles, Lummus relays a statistic about women in society.

She wants to challenge folks to think about these realities, though she’ll also pair the images with a matching jest to lighten the mood.

“For instance, there’s a girl next to her car, and she’s got her little suitcase, and the fact is about how a lot of women are made homeless by domestic violence. But then the joke is, ‘Of course, I have emotional baggage, but it’s cute and it matches.’

So you’re still being informed, and you’re still being faced with these truths that are obviously not cute and pleasant, but it’s not in a way that’s necessarily assaulting.”

Speaking specifically to up-andcoming artists, she harps on the same trifecta of principles and pushes women artists especially to recognize they can prioritize making “beautiful” art, though it might be the time to dream bigger.

“I want to make something that will galvanize the spirit of someone who didn’t know that their small voice was heard,” Lummus says.

“We’re looking at martyrdom, and we get in our own way. Even though the quilt is pretty, it might not be able to be a pretty quilt anymore. You might have to make the battle quilt. It might the time; this might be the space; this might be your moment to say it can exist.”

Mettle Martyr runs at the Bitfactory Gallery, located at 851 Santa Fe Dr. in Denver, from March 19 through April 8.

For more from Amy Lummus, find her on Instagram @ALummusArt, on her official website amyleelummus.com, and her henna and body art site , b e auti f u l b o di e sb ya my. c om .

Lummus also says that the reality for women in today’s world ripples into the art space itself, women artists often fighting for representation in the Denver art community and beyond. She notes that the majority of people getting fine arts degrees are women, though this is not seen when pieces are curated for shows. She notes her transition to using “A.L. Lummus” instead of her full first name, seeing a nearly 70 percent increase in acceptance into competitive art shows after the shift.

“I think that women do have a strong voice,” Lummus says, citing inclusive groups like Babe Walls who work with women muralists, though that’s just one group, one niche.

She says lack of accessibility for resources and grants for women is a primary issue in the conversation, alongside women artists claiming the space that is theirs to have.

Photo by Margaret Koning

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Drag Brunch Deliciousness

by Robert Meyers-Lussier

Photo by Robert Meyers-Lussier

The history of both drag and brunches, stretching back centuries, surprised me. Drag’s history dates perhaps most famously to the Shakespearean stage. Brunch was a term first coined by a British gentleman tired of carousing the night before and waking up too late for breakfast the day after in the late 1800s. They first came together behind the closed doors of prohibition, which seems fitting for such a boisterous affair.

Fast-forward to today, and Denver has a thriving drag queen brunch scene. Here are a couple I was able to visit: Hamburger Mary’s Hamburger Mary’s (Denver) hosts a drag brunch every weekend, and they are indeed very popular. However, it is a dining establishment first and foremost, so we ordered food and drinks. To start, I ordered the Loaded Mimosa with peach which was a perfectly tasty mimosa. We ordered the Pretzel Bites as a starter while we were soaking up the atmosphere. It came with a house queso for dipping. The pretzel bites were freshly prepared and the queso had just a touch of heat. For my main course, I ordered the Traditional Benny, which was eggs benedict with a twist. The Canadian bacon was placed on top of the perfectly poached eggs, smothered in a hollandaise sauce. It was served with potato nuggets.

My dining companion ordered the bloody mary with no heat, and it arrived with no heat. For her main course, she ordered the Basic Byotch, which was a solid combination of scrambled eggs, English muffin, and two sausage patties, as well as potatoes.

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“Let's Get The Bill ... Purrr” The drag show at Hamburger Mary’s was a party of the first magnitude. We were offered to buy Jell-O shots as the show was getting set up, and it went uphill from there.

bingo. Some of her banter was expected, but much of it was tailored to the crowd and to her assistant queen. She was funny, warm, and inviting. Anastasia Dupree was a worthy assistant and another crowd pleaser.

After the opening, Mariah Spanic serenaded us with song, as she sauntered throughout the audience. The queens did a fabulous balancing act between the two of them ensuring laughter and spectacle for all.

Another fun component to the event was the queens taking a break from bingo to do things you might expect to see at an evening drag show: a bit of a performance, a bit of dance and a lot of mingling with the crowd. A girl must make some money!

Saturdays and Sundays, shows at 10:30 a.m. and 1 p.m.; call 303-993-5812 to reserve tickets; 1336 E. 17th Ave.; hamburgermarys.com/denver Denver Milk Market On the foundation of what was once a prominent and prestigious dairy block in Lodo arises what is now the Denver Milk Market. One of the unique offerings within these hallowed halls is a drag queen bingo show, held every Sunday starting at 11 a.m. Shirley Delta Blow is the Mistress of Ceremonies every week, joined by another queen that rotates from week to week.

For my meal, I selected from the brunch offerings ( from a collection of 15 different menus). I chose the chicken and waffles. I ordered the chicken with medium heat.

There were three strips of chicken breast, which were cooked perfectly. The spice level was indeed medium and delicious. There was a thin, round waffle beneath which also was prepared well. I also ordered the Bottomless Mimosas; it was a perfectly good mimosa, and someone was always there to make sure I wasn’t left dry.

Sundays, 11 a.m.–2 p.m.; first-come, first-serve with limited seating; 1800 Wazee St., Suite 100; denvermilkmarket.com/ drag-bingo-brunch Triangle Bar There is one other offering I could find currently offering anything like a drag brunch, at the Triangle Bar. They are hosting an event based on a movie showing, with live singing and drag entertainment, where they also offer brunch dishes.

Sundays, 10:30 a.m. and 1 p.m.; buy tickets online; 2036 N. Broadway; thetriangledenver.com

My dining companion saw the lobster roll from the Albina from the Sea offerings, and it was all over for her. She also decided to try the tater tots. The lobster roll was lovingly enveloped in a creamy sauce with good-sized crab claws and crab meat, surrounded by a freshly baked roll. The tater tots were crispy, hot, and lightly salted. She also ordered a Bloody Mary which had a medium spice and was robust in flavor.

Shirley Delta Blow was a master mistress of ceremonies.

Given her background as a teacher and her extensive performance experience, she gave life to the game of

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Quick Change

Drag through the Pandemic

by Brian A.S. Byrdsong

Twenty-twenty was the year of the pivot. Businesses had to change to a new normal (hello Zoom meetings!), folks had to adjust their daily routines (makeshift offices in the bedroom?) to a world where close proximity could very well be deadly. So, what was a performer to do, especially a performer whose very livelihood often depends on people being able to go out and attend a show?

For me, 2020 was a year of embracing new forms of art, and drag was one of them.

Shamy Lee was born on the hardwood floors of my fourth-floor apartment, with an adoring crowd of one (my then boyfriend, now husband). My drag personality began to take shape and form in a world where I really couldn’t step out and show her off. In essence, Shamy is like a child of the pandemic. Shamy, however, is the exception. Many performers across the U.S. and abroad had to change their tactics to make sure they survived.

After all, drag is an art and a business.

I spoke with several queens about their experiences over the past two years and while each one of their experiences differed, there were a lot of similarities in how the pandemic affected their art, their livelihoods, and indeed, drag as a whole Dusty Bucket, Victoria Paige Matthews, Lacey Fauxx, Athena Sylvers: These queens have been rocking it for years, but when the pandemic hit, it forced them to come to terms with a lot about drag. Dusty Bucket, who has performed drag in Ohio for four years, felt like her drag was just hitting its stride 2 2 OFM MARCH 2 0 2 2

and could count on being in rotation in a few shows before the pandemic.

The same sentiment was expressed from all the queens, as Lacey Fauxx (performer for six years) says, “Before the pandemic life was always crazy. I was always on the go. I work a full-time day job, and I was also doing drag as much as a full-time entertainer. I would do shows sometimes Wednesday-Sundays. Sundays were always my long day. I would host my drag brunch at 10:30, host beer bust 4 to 8, and then a show 10 to 12.”

As the pandemic began to tighten its grasp on our community events and queer spaces, the pivot began. For Victoria Paige Matthews, a drag performer since 2005, that meant switching to a new medium to show off her performances: social media.

But she has adjusted and states, “No live audience makes it more difficult.”

This sentiment was echoed by Dusty Bucket, who says, “What's funny, is I got into performing initially with video making in college … but, trying to perform for a camera the same way you do live is not the way. We can't rely on audience feedback, and after a live Instagram show, for example, you're left feeling empty.

But with making video, I don't have to get things right the first time. I can really use the medium to its advantage rather than a replacement for live shows.”

Athena Sylvers’ (performing for four years) pandemic story was slightly different. She states, “I have been performing throughout the pandemic;

I only stopped for a few months when it started. Between shows, I was also speaking at BLM protests, doing photoshoots, and contributing my art to music videos.”

As so often is the case, things are not 100 percent doom and gloom. Humanity has always found a way to see the bright sides of terrible situations, and this remains the case with drag.

I asked the queens if they’ve seen any positive things happen in drag because of the ongoing pandemic.

Lacey Fauxx’s lockdown revelation made her realize just how passionate she was about the art.

“I think one of the positive things that have come from the pandemic after the lockdown … someone like myself, who is used to being social and going out—It really made me bond and appreciate other entertainers, and it really puts your perspective in place. It made me realize how passionate I am about drag.”

On the other hand, Athena had this to say, “I personally have dived deeper into using my art to send contemplative messages about the state of affairs. There have also been moments I’ve recognized that the pandemic has started discussions about the treatment and compensation of performers and producers. Many have voiced their desires for a shift in the relationship between bars and performers.”

Stock Image outfrontmagazine.com 23

Victoria said that the rising use of Venmo for tips has been a net positive for the art form. She also states that, “People have become more creative in finding ways to perform … It’s gliterally encouraged experimentation with drag and personal drag style,” while Dusty notes, “The virtual shows allowed me to perform all over the world! I got a show in the U.K., in California, and I got to participate in Ohio Burlypicks, where I won Master of Amazement for a video performance. I never expected to do much, not to mention win anything in 2020. I think being alone for so long allowed me to spend more time on what I do, keep editing and polishing, so I feel like I'm coming back better than ever.”

I, too, believe that the increasing use of virtual platforms to showcase art have been a great addition to the world of drag. If it had not been for the queens posting content and tutorials on social media, I don’t know that Shamy would have ever appeared. They gave me inspiration, showed me that it was possible, and OK to try.

That gave me the courage to accept the opportunity to do my first-ever live show in the summer of 2021 (casted

by Athena Sylvers).

Every positive, though, is not without a negative; Victoria laments, “The lack of prior connection makes it even more difficult to get booked Stock Image and appear in shows,” but, she remains hopeful and sees some signs of change, stating that “people in charge of shows are willing to cast newer performers.”

As we enter the third year of the pandemic, many people are getting anxious and worried about another lockdown, myself included. However, there are a multitude you can support your local (and not-so-local) drag performers.

All the queens urge audience members to tip and support on social media, but I think Dusty says it best, “We always love tips! I think shows are more or less back on rotation, at least here in Ohio, and I don't blame anybody who isn't ready to go back yet. But if someone posts a clip from a show, toss a couple dollars in the Venmo or Cash App. “Sometimes we have merch for sale, too! Share the shows that

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are going on with friends. But a big thing, too, is please don't pass judgment on others based on whether you think we should or shouldn't have shows. I wish we all had more support to stay safe out here, but we are on our own … we have to remember to be gracious and understanding, keep moving through our lives, and protect ourselves as best we can.”

As I ended my interviews, some of the queens had one last thing to say: Lacey: “I think the only thing I would like to mention is to please be respectful of entertainers when you go to a drag show. Don’t touch anybody or grab anybody without consent. Tip well! We do live off them like anybody in the service industry, and just go out and have a good time.

Cheering us on and enjoying the show just makes us want to work harder for you.”

Athena: “As things evolve, many of us are wondering if (a lockdown) will happen again, and if it would actually help to eradicate the virus.

As an entertainer, I know that we may soon have to decide what is more important, our art or the health and safety of ourselves and others. When the time comes, each of us will have to choose which risks are worthwhile, and which are not.

Our decisions may determine whether we can continue enjoying our favorite venues and entertainment.”

Dusty: “If you remember how much you needed art and entertainment in a quarantine, you'll know how important it is to be a creator, and support us. If you are a producer or have power to pay others, but you can't afford to pay more than $50, then you can't afford us! If you're an artist, it's OK to demand more and say no when it's not worth it.

I know it's extremely hard sometimes, because it feels like something is better than nothing, but we all must set the standard together. The success of other artists is a success for me and you. I believe we're going to come out of this believing in our worth, beyond just money. Drag brings beauty, humor, and joy, and we need it more than ever.”

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The Humanity of Playing With Gender: An Abridged History of ‘Cross-Dressing’

by Keegan Williams

Stock Image 2 6 OFM MARCH 2 0 2 2

As transphobic folks scream sentiments into the void about there “only being two genders” and ideas (not supported by science OR history) surrounding the perceived, stagnant nature of gender in relation to assigned birth sex, it’s often ignored that gender roles are ever-changing, and playing with opposite-gender and opposite-sex roles and presentation is an ancient practice, recorded throughout centuries of history.

“Cross-dressing” is plainly the practice of wearing clothes of the opposite sex or gender. In today’s terms, it’s often not so simply defined, as folks of all genders work to degender fashion, recognizing that the idea that a garment is inherently “feminine” or “masucline” is solely a societal fabrication.

It’s more about the act itself, which is usually more fleeting, potentially for comfort, power, sex appeal, or self-expression, not a state of being; so while history sometimes has a hard time with the distinction between people who cross-dress and trans and gender-nonconforming folks, people dressing to affirm their correct gender identity is not what we’re referencing here.

In the ancient world, cross-dressing often mirrored the gender-crossing actions of deities. In this context, it was not only tolerated, it was often supported as an act of religious and spiritual devotion. Many cultures associat-

ed this transformation of gender with coming closer to divinity by deconstructing the categories surrounding the human experience.

One of the best-known examples of early gender-bending was Dionysus, who Greek literature scholar Albert Henrichs called the “most versatile and elusive of all Greek gods,” often perceived as human and animal, male and female, young and old. Depictions of Dionysus range from a more masculine, bearded version, to more feminine versions, with a woman’s tunic and saffron veil.

Dionysian festivals also frequently featured role reversals that included opposite-gender dress.

The Sumerian deity Inanna is believed to be capable of either gender presentation to bridge heaven and Earth with gender-altering power. Atum of Ancient Egypt was also depicted androgynously, as said in coffin text, “I am the great He-She.” The earliest recorded historical woman to dress and act like a man was Hatshepsut, an Egyptian from about the 5th century B.C.E., portrayed in a statue wearing a symbolic, royal beard.

And we all know the story of Hua Mulan, which has existed since the sixth century C.E., when a poem called “The Ballad of Mulan” was written.

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The story of Mulan also calls out to the history of women dressing as men, a practice that spans history and culture, to gain social power and privileges women didn’t have, shedding light on the lack of equity and more stringent gender roles surrounding womanhood. Women fought as men on both sides of the Revolutionary War, and at least 400 Civil War soldiers were women dressed as men. In that same era, ordinary women would wear mens’ clothing to obtain higher wages.

Joan of Arc famously fought in a man’s military uniform in the 15th century; George Eliot and the Brontës took up masculine pen names to be published and taken seriously.

History sometimes conflates these women with early trans men from history, but the distinction is that these people were typically not dressing to affirm their correct gender but to expand the societal confines surrounding womanhood. Writer Hilary Mantel recently cautioned against imposing a trans narrative on these people—the belief that women who defied the odds to live fuller lives were simply trans men—pointing, rather, to the very binary confines of gender and the persistent human desire to dismantle those constructs early on.

Of course, there’s the famed Shakespeare era of theater, which sometimes mirrored these very acts in performance (of Shakespeare’s 38 surviving plays, seven featured “cross-dressed” characters, often a female character adopting a male identity for protection and existing in a sort of middle-ground gender category).

Women were also not allowed to perform on stage in Elizabethan England, so men were not only dressing as and playing female characters, but they would also play these roles, essentially a man pretending to be a woman, who is also pretending to be a man.

Just about 100 years later, “molly-houses,” male brothels, became part of queer subculture in England, “Molly” referring to a gay man. Employees and patrons often engaged in cross-dressing, even though they could be (and often were) severely prosecuted for it.

“As folks of all genders work to degender fashion, recognizing that the idea that a garment isinherently 'feminine' or 'masculine' is solely a societal fabrication.”

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In the mid-18th century, laws began spreading to criminalize cross-dressing. One of the oldest laws, dating back to 1845 in New York, said it was a crime to have your “face painted, discolored, covered, or concealed, or (be) otherwise disguised (while) in a road or public highway.” It was initially intended to punish rural farmers who would dress as Native people to fight off tax collectors, but by the beginning of the 20th century, with the increasing belief that “gender inappropriateness” was a public offense, law enforcement began applying these laws (“masquerade laws”) to opposite-gender dress, even if the laws didn’t specifically mention it.

It mirrors the influx of legislation we see today, trying to criminalize the sheer presence of gender variance. “If we don’t like it, then maybe we can just outlaw it and it’ll go away.”

The U.S. fear and panic over LGBTQ people escalated through the 20th century, and arrests revolving around 19th-century masquerade laws became more commonplace. This is where the line begins to blur, as trans people, gender-nonconforming people, drag performers, and cross-dressers were essentially treated the same by law enforcement and the world at large. It was all “wrong” in their eyes, with the larger aim of policing gender-expansive expression beyond the cisgender binary.

As this reached a head through the 60s, a regular police presence at queer spaces leading to violent arrests and sexual humiliation namely in the New York scene, the 1969 Stonewall Riots changed everything. While arrests continued after the riots, they became much less widespread.

Though it’s been more than 50 years since Stonewall, and the confines of a print column can’t begin to fully dive into the dense history of people blurring gender roles, expression, and expectations, we’re still fighting against these same ideas. The gender binary and gender expression is touted as some kind of hard fact, and those who dare to question these fabricated ideas are deviants.

Even our ancestors from centuries past had that distinct need to move past a stringent, two-category system that often keeps us from pursuing a full, authentic experience on this planet. If we resonate in those ancient beliefs, those early religions, we might take a note from history and recognize the ideas around the “feminine” and “masculine” expression are inherently human and not exclusive to any gender.

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outfrontmagazine.com 29

by Denny Patterson

A quirky drag artist who can dig deep and deliver a wicked sense of humor, Denver queen Willow Pill instantly became a fan favorite on Season 14 of RuPaul’s Drag Race, which is currently airing.

Describing herself as an “angelic whore,” except on the days where she feels like being a “demonic fairy,” the bottom line is Willow is not changing for anyone. She does what she wants, when she wants, and you are going to love it.

“I like something to be slightly off because that’s the lens that people have always viewed me through,” she says in her promo interview with Entertainment Weekly. “The queer, young-looking, whimsical kid.

My drag is usually very cute; it’s slightly psychedelic; it’s always a little bit twisted. I like there to be a fashion-forward aspect to everything that has a little bit of an ugly appeal. That’s, to me, how the world is. It’s beautiful in all its facets, but it’s also kind of gross.”

In addition to fulfilling her dreams of competing on Drag Race, Willow is also representing people who face lifelong illnesses and proving that a chronic condition does not have to limit you. She battles a rare but life-threatening disease called cystinosis, which impacts several parts of the body, especially the kidneys.

During her "Meet the Queens" interview for VH1, Willow shared that she has to take at least 20 pills a day.

Willow has received nothing but support from the Drag Race fandom, and we absolutely cannot get enough of her. She took some time to talk with OFM about her experience on the show, using drag as a form of healing, and representing the Mile High City.

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Allow me to begin by asking the big question, how does it feel to see yourself on RuPaul's Drag Race Season 14?

It feels so weird (laughs). It’s like one long, arduous trip. I'd be lying if I said it was all great because it's very odd to see yourself on screen.

It's a bit yucky and exciting at the same time, so I'm kind of learning with each episode to develop a taste for watching myself on television.

What are you ultimately taking away from this experience, and how has it changed your life?

Honestly, the biggest takeaway has been the friendships that I've made with the other girls. I know that's such a pageant answer, but it's true. They have been the best part of this through and through, especially after COVID when your new friends list is quite low because you’re not interacting with new people. It’s been great to meet all of them, dive into their drag, and humble yourself along the way with how there are so many other amazing drag artists. The bonds that I've shared with them, especially a select portion, is life changing.

Drag Race was your first time doing drag since the pandemic started?

Yes. As soon as the pandemic began in the U.S., I touched drag maybe three times, and it was only in those first few months of the pandemic. The day that I arrived into the Werk Room was my first time in drag in a little over a year.

Wow, so you jumped right back into it.

Exactly. I jumped right back into it, and it was kind of scary to go from no drag and having lots of peace to throwing myself back into the chaos.

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What initially made you want to try out for the show, and have you auditioned before?

This was my third time auditioning, and I wanted to be famous and have a lot of attention (laughs). That is partly the truth, but I think I’ve always wanted to be on Drag Race ever since I saw the show. Even before I started drag myself. I just didn’t know it yet. It was kind of something that I yearned for and couldn't quite put into words. I think I just wanted to challenge myself and see if I could really do it, see if I could get on in the first place. Then if I got on, see what would happen and what parts of me would come out.

where I’ve built myself at the sticky little clubs doing comedy shows, sometimes for three people. The scene is still very much developing, and it has its trials and tribulation, but that’s where I’m from, and it means a lot to me. It’s home.

So, you’ve been a long-term, hardcore fan of Drag Race?

Definitely. I’ve watched Drag Race since Season One, episode one, when it was on The Soup with Joel McHale.

By the time this piece is published, we will only be halfway into the season. If you win, what do you hope to accomplish with your platform, and what kind of impact do you hope to make?

You know, I haven’t really thought about what will happen if I win. I’m trying to just soak in what’s happening right now. So, I’m going to have to figure that out if it happens. I would love to do so many things. I would love to travel, make music, make movies, do all sorts of crazy shit. Let chaos ensue, and have a very memorable and distinguishable reign.

You are originally from Denver, but currently live in Chicago?

Yes. I lived in Denver from age 0-26, and I just decided it was time to try something different.

But you are representing Denver on the show. What does it personally mean to you to represent the Mile High City?

Representing Denver is exciting because I’m only the second and a half queen from Denver. Nina Flowers kind of represented Denver because she had just moved there at the time when she started, and then Yvie Oddly was the first queen truly from Denver. It means a lot because Denver has been 3 2 OFM MARCH 2 0 2 2

Do you have a hometown bar?

I don’t really have a home bar in Denver, but I would say it’s kind of a mix between Tracks and (the now-closed) Gladys. Gladys is where I did my own shows, and that’s where I developed my skills as a host, a drag queen, and a comedian. Tracks has been a great home for me as well.

How did you discover your passion for drag, and can you talk more about how it has become a creative outlet for you?

Like I said, I’ve been watching the show since I was 14 years old when the first season came out, but I didn’t really begin drag myself until I was 21 because I wanted to wait until I could do the whole thing. Be in the club, perform, drink, have the whole experience. Honestly, what pulled me to drag was just that queer urge to be feminine. When I was first attracted to drag, I don’t really think I knew what I was doing. I just did it because it was a fun thing to do, and I loved the show. I think I understood why I was doing drag later in my career, and it’s a big form of healing for me. I honestly think I had to do drag just to heal myself.

On the first episode, you opened up about your struggles with cystinosis. Were you at all nervous to talk about it on the show since this is something you don't always share?

No, I wasn’t that nervous to talk about it. I’m a very, very open person. I don’t hold that much to myself, so I was kind of excited to talk about it because I hadn’t seen something like this on the show before, at least to the extent I went with it.

You are sending a clear message that a disability or illness is not going to stand in the way of happiness and creative expression.

Absolutely. There are so many artists out there who are either mentally or physically ill or have disabilities.

I hope to represent people that are chronically ill and show a side of it that's not so happy or candy-coated.

Yvie can completely relate to that.

She’s been very helpful, and we’ve helped each other a lot in the process of digesting what drag truly means for us. It’s not quite the same as most drag queens, and I want to share that message.

It’s nice to know that you two are drag sisters. How did you and her initially meet?

The very first drag show I ever did was a student drag show that Yvie was in, and we had kind of seen each other in passing since then. I did some backup dancing for her, but it wasn’t until I did a documentary about her for a college class that we really got to know each other. Then it was a pretty slow friendship build from there. We started gravitating to the same circles, and she didn’t pay much attention to me because I was a junior queen.

They’re a dime a dozen. Eventually, I started to prove that I wasn’t someone to mess with, and Yvie pays attention to someone who’s a threat. It kind of speaks for itself. Then we started to become friends because she grew to have respect for me.

What was her reaction when she found out that you were cast on Drag Race?

She was not surprised. Since this was my third time trying, I think we both felt that this was the time that it was going to happen. There was something in the air. Like, this is it. When I told her, she was like, "Let's get to it!"

Did she offer you any advice before going in?

She did, and Yvie is not really one to lend out advice (laughs). She’s not a very motherly person. I am more that way, but she told me before I left, whatever I’m doing on the show, always choose the option that sounds more fun. That was honestly the best advice I could have gotten. So, everything I do on the show is whatever I think is going to be the most fun for me to have.

Now that you've experienced Drag Race, what advice can you offer to future queens auditioning?

This is such a cliché answer, but just know yourself, and push that to the absolute limit. Shove yourself down their throats, and don’t hold back on just siphoning all of you into that video. They want to see you. Yes, there’s sewing, dancing, lip-syncing, and all that stuff, but you want to brand your personality. That’s what makes the difference between someone who gets on the show and someone who doesn't.

Besides Yvie, are there any other past queens who inspire you the most?

I get a lot of my inspiration from Tammie Brown. I enjoy a queen who's in their own world and doesn't really care about critiques and all that stuff. I have a lot of respect for her. A lot of people like to make fun of her, and she is funny, but she's also kind of a genius.

Since you are a long-term fan of the show, I can only imagine how surprised you were when the Willy Wonka chocolate bar twist was introduced. What were your thoughts on that?

When they introduced the Willy Wonka chocolate bar situation, I was like, "This is some bullshit twist they're throwing to throw us with." They’ve done everything on that show. I wouldn't be surprised if they were going to eliminate us all right there. When you get on the show, you quickly learn to roll with whatever punches they throw at you because every day is something completely different, and they truly do not prepare you for any twist they bring. I wouldn’t have been surprised if we had to lip sync in a fish tank with piranhas.

Before we wrap up, is there anything else you would like to add? Any upcoming project you’re allowed to mention or plug?

I don’t think I can mention anything right now. Everything’s under wraps and in the works, but keep an eye out because I have a lot coming up, and make sure to watch me on RuPaul’s Drag Race!

Stay up-to-date and connect with Willow Pill by following her on Facebook, Twitter, and Instagram @willowpillqueen, or visit her official website, WillowPill. com.

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Spring Queening

with

Dixie Krystals 3 4 OFM MARCH 2 0 2 2

“Both of us can’t look good.

It’s me or the house!”

Photos by Roxanna Carrasco, Words of Wisdom by Dixie Krystals

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“I am sure the cleaning fairy will be here any day now.”

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Photo by Albert Sanchez 3 8 OFM MARCH 2 0 2 2

Alaska Thunderfuck On New Book, New Music, and More

by Denny Patterson

When it comes to being a drag icon, Alaska Thunderfuck checks all the boxes.

First introducing herself on RuPaul’s Drag Race Season Five with her signature “Hiiiieeeee!,” the legendary queen proved to be tough competition. Although she did not win, she came back with a vengeance and snatched the crown on All Stars 2. Since then, Alaska has become one of the industry’s most successful and hardest working artists.

From acting and singing to hosting her own comedy special, to performing in the hottest of sweaty nightclubs and co-hosting the hit podcast Race Chaser alongside fellow Ru Girl, Willam, there’s not much the self-proclaimed alien enchantress can’t or won’t do.

In November, Alaska released her debut memoir, My Name’s Yours, What’s Alaska?, which gives readers an unfiltered look at Alaska’s life and meteoric rise to fame, and she is currently releasing singles from her highly anticipated Red 4 Filth album. This fall, she will kick off the Red 4 Filth North American tour, which will be her first-ever headlining production. As expected, it will feature high fashion, backup dancers, and her signature brand of comedy.

OFM caught up with the drag superstar to talk more about her multiple projects.

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Is there a section of the book that was your favorite to talk about?

Definitely! My favorite part is the before Drag Race Alaska because she’s so chaotic and doesn’t really know what she’s doing, but she’s doing it anyway. Not a lot has changed, but I love going back to that time period.

Of course, you also reflect on the personal and intimate details of your life, such as your very public relationship and breakup with Sharon Needles. Was it challenging to revisit these tougher memories, or therapeutic? Perhaps, both?

It was painful and hard, but like you said, it was also therapeutic. Therapy is not exactly easy. It’s going back to times that were traumatic, hurtful, or heartbreaking, and going deep into them. Then going over them repeatedly to make sure all the commas are in the right place. But yes, it was hard.

I would like to begin by congratulating you on your memoir, My Name Is Yours, What’s Alaska?, which has received very positive reviews. What inspired you to write this book?

It’s something that I’ve always wanted to do and finally got a chance to do it. Drag has given me a chance to do all these crazy things I’ve always dreamed of doing, and this was one of them. I was like, “Why don’t I write a book that’s about my whole life and up to this point?” It turned out to be very reflective, and I’m glad I got to do it.

Ultimately, what do you hope readers take away from it?

I hope they learn from my mistakes, which I guess is the point of anyone sort of telling their story. There’s always something to be gained by saying, “Don’t do the dumb shit I did when I was younger.” My mom cannot get over the fact that I hitchhiked to Burning Man when I was in my early 20s. She never knew about that, and she’s really scandalized by it. To me, it’s like, “Yeah, that’s something that happened.” (Laughs) What was something you learned about yourself throughout the writing process?

I learned that writing is really hard. I’ve always considered myself a writer because I’ve always enjoyed writing, but in doing this process, it shows me how fucking difficult it is to write a book. So, I have so much more respect for book writers everywhere.

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Looking back to the moment you first started drag, did you ever think the path would lead you to where you are today?

Never. I can’t believe it. When I was a little kid, I always dreamed I would be a woman singing songs in a room full of people. I didn’t know what that meant, but then this thing called drag found me and changed my life. Now, that is literally what I do, and it’s so wild that your childhood fantasy can become a real thing. It defies any logic. It makes no sense, but I’m grateful for it every single day.

Speaking of singing, I am loving the new singles from your upcoming Red 4 Filth album. Can you talk more about its concept and inspiration?

I’m obsessed with 90s and early-2000s music because that’s when I first discovered that I love music, and I love listening to the same CD over and over again. Like, my No Doubt CD was burned out, my Ace of Base tape, Toni Braxton’s Secrets CD—They are all such a part of me, and I hope kids still experience music that way. That music imprinted on me so much, so I was like, “Why don’t we take that kind of sound and feeling and update it? Make it new again.” So, we did that. We’ve been doing that with all these different genres and sounds, and it’s been really fucking cool.

How would you say Alaska is constantly evolving as a musical artist?

I like doing stuff that I haven’t done before and exploring new things. On this album, I’m singing more than I ever have before, so I had to learn how to use my voice, and that kind of stuff interests me. I just do it because I like it.

Unfortunately, the Red 4 Filth tour has been postponed to later this year thanks to COVID. As your first-ever headlining production, what are you looking forward to the most about it?

I’m really excited about the people that it’s going to bring together, which is why we had to postpone it. We’re in this moment right now where this virus is spreading so much and so fast that the audience would be unsafe. Secondly, the crew to mount a tour like this is a bunch of people, so getting us all in one place to do it right now was impossible. So, we had to postpone it, and that was the right choice. When we start the tour, I am looking forward to bringing these people together. I get to work with some amazing dancers and creative people, and I’m super excited about that.

password, but maybe if you watch the music video for the song, “Red,” there might be a secret message at the end of the music video. That is if you want to join the super-secret Alaska fan club. This is an exclusive just for you! Other than that, I encourage you to get drunk on SERV Vodka with my picture on it. Drag queens and vodka is the perfect pairing.

Stay up-to-date and connect with Alaska by following her on Instagram @theonlyalaska5000, or visit her official website, AlaskaThunderfuck.com.

Now that you have some more time, do you plan to make any tweaks or changes to the show or keep everything as is?

Probably. I’m just that way. I’m changing shit right up until that last minute.

You are constantly juggling multiple projects at once.

How do you manage them all?

I take things moment by moment and day by day as much as I can, and I like to quote the movie Don’t Tell Mom the Babysitter’s Dead. The boss, Rose Lindsey, says to the girl who just got hired, “Don’t feel overwhelmed. Just do one thing at a time.” I think that is timeless life advice.

Not only are you a winner of RuPaul’s Drag Race, but you are also a hardcore fan of the show, What are your thoughts on the current season, and is there anyone you see as a frontrunner yet?

Oh my God, I love it! I’m having so much fun, and we have to keep in mind that these girls are doing drag during a difficult time. The supply chain is a real-ass thing for drag queens because most of our job is getting shit sent from over there to over here, then gluing it to ourselves.

That is a huge part of our job, and it’s really difficult to do that right now. To do fittings and commission pieces. The fact that they’re able to go there, look great, and do this is remarkable. I’m having a great time watching. As for the standouts, I think Kornbread was a standout the second she was on Meet the Queens. It’s also exciting to see Kerri Colby. Those are my LA girls.

And we have our first heterosexual male drag queen, Maddy Morphosis.

Yes! We can’t run around saying drag is for everyone, and then be like, except you! If you want to do drag, God bless you.

I still have my fingers crossed that there will be a winner season of All Stars in the future. Who would you want to compete against?

Gosh, the winners are so good. I don’t want to compete against any of them! Could you imagine having to go against Aquaria or Bob the Drag Queen? It makes my heart race just thinking about it. They’re all too good!

Before we wrap up, are there any other upcoming projects or anything else you would like to mention or plug?

There is a thing on my website called Code Red, and if you click it, it asks you to put in a secret password.

Now, I’m not going to tell you how to get the secret o u t f r o n tm a g a z i n e.co m 41

Wretchedly Wonderful

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One-On-One with The Boulet Brothers

by Denny Patterson

Hello, uglies!

Fresh from the deepest depths of Hell, the Boulet Brothers are the drag mothers the world needs to see more of. Known individually as Dracmorda and Swanthula, they have changed the landscape of queer entertainment for more than 15 years by simply giving a platform to weirdos, misfits, and outcasts. Along with serving charisma, uniqueness, nerve, and talent, they are giving us drag, filth, horror, and glamour.

The powerhouse duo is known for creating legendary nightlife events and have always been celebrated for their inclusive nature, but they rose to great prominence in 2016 after opening the doors for drag monsters across the country to showcase their looks and talents in a competition series called The Boulet Brothers’ Dragula. Consistently leveling up in production and entertainment value, the show not only proves that drag is everywhere, but that it exists in various shapes.

Dracmorda and Swanthula caught up with OFM to talk more about Dragula, which recently wrapped up its fourth season, as well as having visibility on the show, why LGBTQ people resonates with the horror genre, and kicking off the official Season Four tour with their twisted troupe of supermonsters I would like to begin by asking, what are you looking forward to the most about the upcoming Season Four tour of The Boulet Brothers’ Dragula?

Drac: While we love and enjoy tormenting contestants and audiences on television, there simply is no substitute for the real thing! Drag is most certainly best experienced live.

SWAN: The Season Four tour is an experience unto itself, and we love sharing the energy, gore, and glory with a live audience. Additionally, we get such a thrill to watch our monsters on stage entertaining the crowds and receiving the love they deserve.

Season Four concluded in December, and it was quite a wild ride. Is there a moment that stood out to you the most?

DRAC: It really was a wild ride.

SWAN: I think that the decision to put forward a final four instead of a top three was certainly a standout moment on Season Four. The entire cast was so stellar this season, it

was impossible to narrow it down to just three monsters.

Everyone was performing at such a high level and came from such a distinct perspective as a queer artist. We felt each of them had earned a spot in the grand finale episode.

You even had to intervene with the workroom drama.

Were you surprised by how vicious it was getting?

DRAC: We’ve seen our share of greenroom drama and cat fights, but the drama this season was literally bubbling out of the cauldron. It was a little surprising to see the temperature rise so high, but ultimately, I think it reflected the intensity of the competition.

Dahli won the competition, and Saint was one of the runners-up. Both competed on previous seasons, as well as The Brothers’ Boulet Dragula: Resurrection. Do you think they had more of an advantage over the other contestants?

SWAN: I don’t think so. Experience on the show may have given them a sense of knowing what filming might feel like, but every cast and season of the show is extremely different. Nothing can prepare you for the personalities you will be pitted against or the challenges you might face on any given season.

DRAC: Also, if you can’t perform and perform consistently, you will go home. Season Four was a great example of that. Some contestants would win one week and be up for extermination or elimination the very next week. You either have your skills sharpened or you don’t, and no amount of filming previously can replace that.

In your eyes, what specifically made Dahli a winner?

DRAC: I want to start by saying all four of our finalists could have won and held the title of Dragula. They were all that good.

SWAN: Dahli won this season because they outperformed the rest. Dahli is a natural stage performer with magnetism and strength. It didn’t matter if they were portraying a campy Nosferatu creep at the beach, a bridge troll, or a rock ‘n’ roll god; the spirit of a performer shined through all of them. It’s that spirit that earned them the win.

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Can we expect another season of Resurrection or another version of All Stars in the future?

SWAN: We have such sights to show you!

There are talks about another Resurrection special, but it may not be what audiences are expecting.

DRAC: We also plan to find new and exciting ways to feature the artists that audiences know and love from previous seasons. As you get to know us more, you will learn to expect the unexpected.

I was very excited to hear that Dragula was renewed for a fifth season. Can you tell us anything about it yet?

SWAN: That is in its complete infancy stages, but we will approach it with the same excitement and intensity we’ve approached the previous seasons.

We want to keep things pushing forward on all fronts. More drag, more drama, more fear, and more death.

Dragula has been inclusive since the beginning and has celebrated ‘AFAB’ queens, drag kings, nonbinary performers, and trans performers.’

How important is that visibility to you?

SWAN: That visibility is extremely important because it is real. Women have been doing drag forever.

Trans performers have been a part of the drag community forever. Drag kings have been around forever.

The queer community is diverse, vibrant, and amazing, so naturally, we would have our cast reflect that.

Why do you think queer people resonates with the horror genre so much?

DRAC: Queer people resonate with the horror genre so much for many reasons. There is actually a very rich history of queerness and horror on the silver screen, and queer coding has been a part of Hollywood history for almost a century.

For decades, “cross-dressers,”

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trans people, homosexuals, and basically anyone who wasn’t straight and cis were portrayed in films as mentally ill, murdering psychopaths.

Being vilified is something many queer people have always been able to relate to, and here we have the film world literally conflating queerness with the monsters in horror movies. Examples would include Silence of the Lambs, Dressed to Kill, Texas Chainsaw, Massacre, Psycho, Sleepaway Camp, Fright Night, Interview with the Vampire, The Bride of Frankenstein, Dracula’s Daughter, and the list goes on.

SWAN: There is also an element of being able to relate to the monsters because like the monsters in horror, queer people are often misfits and outcasts. Take Frankenstein’s monster, for example. He is an abomination that has no place in society. In fact, he is so misunderstood that a mad mob hunts him down to be destroyed.

It is sad, but these are relatable narratives to a lot of queer people.

Are you two still hosting the Creatures of the Night podcast?

If so, how is that going, and what can we expect on future episodes?

SWAN: Yes we are! We adore Creatures of the Night, and we were excited to be able to include a segment on the finale episode of The Boulet Brothers Dragula. As far as the future, you can expect more hauntings of history, more interviews from the horror world, and more blood spilled about all our upcoming projects.

Are there any horror movies coming out this year you are most excited about?

DRAC: We are both extremely excited about the upcoming Halloween Kills!

Stay up-to-date and connect with Dracmorda and Swanthula by following them on Facebook, Twitter, and Instagram @BouletBrothers, or visit their official website, bouletbrothersdragula.com.

Images Courtesy of The Boulet Brothers o u t f r o n tm a g a z i n e. co m 45

Mainstream Media : Drag and the Future

By Keegan Williams

Photo by Justine Johnson 4 6 OFM MARCH 2 0 2 2

Despite Major Strides,,We Still Have Work to Do

I

t’s hard to deny that drag culture today is more popular than ever before, with a strong hold on mainstream media inviting queer and straight people alike to kiki collectively.

The impact of drag in today’s world is measurable and clear, as drag scenes boom in cities across the country, though it all calls into question: How far have we come, and has drag’s in media and beyond truly evolved in a way that is inclusive and representative of our diverse LGBTQ community?

RuPaul’s Drag Race is enjoying its 13th year in production with Season 14, arguably with a tighter grip on culture than ever before. Ru himself has been at the center of controversy throughout the show’s duration.

Without diving into the transphobic challenges and language ever-present through some of the show’s seasons—or his infamous comments to The Guardian insinuating that he would “probably not” allow a trans woman on the show and that a transitioning woman has an unfair advantage over cis male competitors— many have questioned the cis-male-dominant casts year after year, even though the franchise has opened the doors to allow more gender-diverse competitors.

“My drag was born in a community full of trans women, trans men, and gender-nonconforming folks doing drag. That’s the real world of drag, like it or not. I think it’s fabulous, and I will fight my entire life to protect and uplift it,” Sasha Velour tweeted after the interview was published.

Obviously, Ru is one person, a queer elder with his own experience, and just one showrunner, not the epitome of drag culture. Though, as the most prominent drag show on the air today, sending messages to queer, trans, cis, and straight people alike, it ushers in conversations surrounding the true origins of drag as an artform for all people, not just cis men who want to play a hyper-femme character.

While the casts have become more gender-diverse through the years, an eruption of conversation spurred from the casting of Maddy Morphosis, a cis, straight man and drag queen. Of course, drag is for everyone, but many folks argued whether or not it was right for this slot to be taken by Maddy over performers that traditionally haven’t gotten the same platform.

“This is not to say that straight men shouldn’t do drag or be on the show,” writes Huck Mag’s Joe Parslow. “Instead

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the point is this: When a straight man is on the show at a moment where the representation of trans and/or nonbinary people is only just starting to feel like it has gained a critical mass (to give just one example of the issues of ‘diversity’ on Drag Race) feels like a kick in the teeth to those communities and performers.”

Parslow also calls into question how the conversations surrounding Maddy Morphosis point to liberal identity politics, where the ideas of inclusion and including everyone become the most important questions, rather than asking, “What does it mean to include everyone?” or “Who is drag for, by, and about?” While Parslow notes these questions don’t have easy answers, he suggests the wider diversification to simply show that “everyone has a seat at the table” isn’t the same thing and suggests that maybe, “the table is broken in the first place.”

TIME spoke with drag historian and videographer Joe E. Jeffreys shortly after Ru’s comments to The Guardian, asking him specifically what he would say to the comment that, historically, drag performers in queer spaces were men.

“Drag kings have always been out there, they just don’t get as much attention. Murray Hill has been a New York City icon for years. Judith Butler talks about how men—and this is the power of masculinity— are seen as unmarked. People don’t see men as this thing that can be impersonated. But now mass culture is beginning to see that yes, there are breaks.”

He also said, in reference to a New York Times article asking if this is the “golden age of drag,” posing that this might just be the “Ru Era” of drag.

“RuPaul has done wonderful things for drag. He has managed to get a generally non-drag-consuming public to understand drag as an art form, which is no small feat. But at the same time, the show has only made opportunities for those contestants. If it was a true golden age of drag, at least in my estimation, I would see mass audiences flocking to the drag shows at my local bars.”

As many queer people have pointed to the problems on Drag Race representing the problems that exist in real-life queer spaces, there have also been a number of conversations surrounding racial inclusion and how non-white drag performers are treated within the community.

In 2018, Pride looked at the Instagram following of every queen who placed in the top half of their Drag Race or All Stars. Of the 67 top-half performing

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queens to date, 32 were white or white-passing, 18 were Black, 12 were Latina, and five were Asian. The analysis excluded Tyra Sanchez, Kenya Michaels, and Rebecca Glasscock, who were all inactive on Instagram.

Among the remaining 64 competitors, the data showed that white queens averaged 622k followers. The 10 Latina queens sit near the 558,758 average mark, though it’s largely because of the massive followings of Valentina, Adore Delano, and Biance Del Rio. The other seven sat much lower than the average, the closest sitting at 441k.

Black queens overall had significantly less followers, an average of 418k. Bob the Drag Queen called attention to this reality on Twitter: “Sometimes Drag Race makes me realize other things about the world. NOT ALL, but a lot of the most popular queens fall into the thin white category.

And NO black queens, except @RuPaul, have over a million followers. It’s not the show. It’s the fandom.”

Denver drag performer Heroine Kills recalls RPDR as their first-ever exposure to drag, followed

by The Boulet Brothers Dragula, recalling their amazement that so many people could see these performers and root for them from all over the world.

“Opening drag culture to society after so many years of having to be secretive, private, contained is no small feat,” Heroine says. “However, it does seem that drag in pop culture is often reduced to white, cisgender, male, thin, able-bodied ideals, while local communities have surpassed that. A soccer mom would much rather see Trixie Mattel baking a cake than watch myself or my friends onstage—because that’s what she thinks drag is.”

It’s true—Should you do a bit of digging, you’ll find all kinds of alternative, off-the-wall drag all around Denver, and the country, embracing the craft as a flexible performance artform, a storytelling mechanism, sometimes a display of sadness, comedy, or shock, and it’s not always necessarily the neat package you might see airing weekly on VH1.

Denver’s own Yvie Oddly was one RDPR winner that challenged some of these ideas on the small screen, showing her true self rather than “keeping things safe for people’s viewing pleasure,” in the words of Heroine, who is friends with Yvie.

When they first got into drag about five years ago, Heroine says the queer nightlife scene was still “a bit confused and not very welcoming.” As one of a handful of AFAB performers in Denver at the time, they say

it seemed like it was a constant struggle to earn the respect of more seasoned professionals in the scene.

“While people have become more open to different styles of drag, I do feel that it’s still a constant battle to be fully seen and heard, but we’ll just keep getting louder and louder until we have everyone’s attention,” Heroine says. “There is still a divide between different people and drag styles, often cliques and groups that don’t get along, but I feel that we’re able to come together as a community when we really need to.”

Drag performances also often take place in bars, which can present issues, not only for people in recovery and those with a history of substance abuse, but also for folks with disabilities. April Crowley discussed how these two ideas are related in the column, “Disability in Drag: Embodying Masculinity.” Crowley doesn’t suggest that queer bars and parties should be dry, but rather that it’s worth looking into how drag kings, gender-diverse performers, and those with disabilities could flourish in dry or semi-dry spaces.

recognize that shows like Drag Race and Dragula are entertainment and, of course, are not fully representative of the communities they represent.

As soon as we start getting frustrated with the way drag is portrayed on screen, it’s worth revisiting our local drag scenes and the abundance of creativity flourishing throughout them. The LGBTQ community and drag scene are ever-evolving, and Heroine says there will always be more work to be done.

“We as performers are in a scene that’s constantly changing and growing, and we either keep up or risk making our spaces unsafe or uncomfortable for our community members.”

Keep up with Heroine Kills on Instagram @heroine_killz.

“Alcohol and problems with access go hand in hand in LGBTQ+ spaces,” Crowley writes. “The ubiquitous gay bar, where much of gay and drag cultures were formed, is typically a lush place that doesn’t pay much mind to access for folks with disabilities. This extends to the larger culture, of course, but as a subculture so often focused on inclusion, we miss the mark when we don’t consider the different ways in which our bodies move through spaces and on stages.

“This translates to dehumanization, desexualization, and infantilization of disabled adults. When people are at their least inhibited, they forget to analyze positionality like they normally would, and the mind fills in a lot of blanks wildly incorrectly.”

As time has gone on, Heroine says it’s been easier to get booked, though they’ve noticed their friends with disabilities face issues surrounding accessibility.

“I believe every drag/queer space should have ramps, plenty of seating, and overall more understanding of those who need it,” Heroine says. “I’ve met a lot of amazing performers over the course of the pandemic, often in digital drag shows—people who aren’t always able to be on a stage were putting on shows in the comfort of their own homes on their own time—and their art was incredible. I’d love to see more of that!”

While it’s easy to harp on the role of media in shaping these conversations, it’s also crucial to

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a Im k c Sto

ge

Unlinking Gender Identity and Gender Expression

By Keegan Williams

he distinction between gender identity and gender expression is often misconstrued, or crammed into one ill-fitting package. The concepts, and their sometimes arbitrary societal link, impact and often restrict people of all genders in how they show up in the world and how they are perceived.

T

So, let’s get into it.

Gender identity is a person’s internal and individual experience with gender, their sense of being a woman, a man, both, neither, or somewhere else entirely in the gender spectrum.

Creator @monstersincooperated responded to a TikTok comment asking in jest, “So womanhood is just some magical girly feeling and not a biological reality?

Gotcha,” affirming, “You say that like it’s silly, but yes!” Agender creator @h.mourland stitched the video and expanded on the topic, explaining gender as a qualia, a fancy philosophical term for a subjective mental experience, just like our individual experiences of taste, color, and smell.

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“We do not think qualia; we feel them,” Mourland says. They cite neuroscientist and philosopher Antonio Damasio, who said feelings come before language.

“What that means to me is that we could not possibly utilize language to describe the full scope of a feeling. We can utilize language to attempt to describe our feelings, but we will never get all of it in there. Gender is the same; it defies definition; it is a purely subjective experience.

Nobody can take that from you.”

In that vein, if you were to approach multiple women, men, nonbinary people, and asked each explicitly, “What makes you know you are (their gender) innately in your brain, without referencing your anatomy or assigned sex at birth?” I can guarantee the responses from each gender will differ abundantly.

Because each person’s experience with gender is subjective, people

are going to express their gender identity in an abundance of ways, built from their lives and experiences surrounding gender.

For nonbinary folks specifically, let’s remember the phrase is telling us what a person’s gender is not (binary); it’s not some neatly packaged third gender that sits somewhere between “man” and “woman.”

Conversely, gender expression is how a person publicly expresses and presents their gender, including behavior and outward appearance, along with a person’s pronouns and chosen name.

A woman may present in a way society views as masculine: short hair; bulky, earth-tone clothing; no makeup; maybe she wears a binder, but her womanhood is no more or less real than another woman who consistently wears dresses; heels; has glamorous, long hair; and loves to rock her cleavage. The same is true for men and nonbinary

Beyond the Binary folks; gender expression does not equal gender identity, and disconnecting the two concepts benefits everyone, including cisgender people.

Folks will often look at a person and make a judgment as to what gender they believe that person is based on their gender expression, which further points to the need to disconnect gender identity and expression as always intrinsically fused.

The fact is, people of all genders have an abundance of innate features and genetic factors that defy how we arbitrarily facilitate masculinity and femininity. Society looks at a defined jaw line, broad shoulders, muscles as “masculine,” or large hips, small hands, and a soft voice as “feminine,” even though it’s very clear looking around in the world that all people have these features, their assigned sex at birth aside.

We just take it upon ourselves to say that’s a “masculine woman” or a “feminine man” when these attributes aren’t exclusive to one assigned binary sex at birth.

Beyond genetics and bodies, the ideas that a dress is feminine, that short hair or body hair is masculine, that nonbinary folks have to be androgynous, are solely ideas.

It’s a modern fabrication based on Westernized gender ideas that ultimately date back to the way Europeans viewed the “correct” expression of gender among themselves, white people. And these ideas ripple into the broad understanding of gender we see today and the societally imposed restrictions surrounding it.

As a starting point, I’ll offer up some advice I gave to my parents last year in a conversation around my gender and pronouns. In part to ease my pronouns transition, but on a broader level to push my parents to begin dissociating perceived gender with a person’s actual gender identity, I recommended they begin referring to folks who have not yet disclosed their gender (like strangers in public, service workers) with gender neutral, they/them pronouns until they know otherwise.

Just because a person is presenting a certain way, we don’t inherently know their gender identity.

It’s a small step that can begin to break down some of these false connections we’ve made in our head surrounding gender identity versus expression. For a little extra homework, revisit the above prompt and apply it to yourself, “Only in reference to my feelings and subjective experience surrounding gender, what makes me (my gender)?”

You might be surprised by your response.

Nonbinary author, performer, and speaker Alok Vaid-Menon spoke on this topic recently, saying when we think about what a man or woman “looks like,” it has been definition by white people, with BIPOC folks never taken into consideration.

“When European colonists would go to Indigenous lands across the world, they would write in their journals, ‘Why are these men wearing dresses? Why are these women barechested?’ They never thought to ask, ‘Maybe that garment is not a dress,’ because actually, many peoples across the world wore skirts, and that wasn’t a gender marker; it was just their cultural item. Or maybe these people didn’t experience being bare-chested as a form of nudity. Maybe they had their own understanding of nudity that was, like, not having tattoos or not wearing piercings. They never actually asked people, ‘How do you understand society and gender?’ They took a Western, colonial idea of gender and evaluated people.”

Though this criminally brief primer on the topic barely scratches the surface, I challenge anyone reading this column to start interrogating and disconnecting their perceived links between gender identity and gender expression, if they have not already.

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Beauty Beat Makeup Hacks: I try so You Can Buy

By Angel Omar Rivera

Even if you aren’t necessarily on makeup-Tok (makeup TikTok), you may have seen some of these hacks used all over the internet on Facebook, Instagram, and even Pinterest. These five hacks usually originate on TikTok, in all of its creativity, giving regular users and pros a platform to interact with one another on a personal level.

Stock Image

However, some of these hacks have been used by professional makeup artists around the world for years now, for magazines, campaign shoots, fashion, and makeup brands. With all this being said, I wanted to try some of these hacks to give you an idea of what to expect if you aren’t so makeup savvy yourself.

White concealer to brighten the face Makeup enthusiasts have been looking for ways to get that instant Instagram glow under foundation without breaking the bank on skincare or additives like the Cover FX Custom Enhancer Drops or the Tarte Shape Tape Glow Wand, both of which cost as much as a foundation itself. This hack seeks to help people GET the glow with as little coin as possible.

I am here to say, don’t do it. White concealer is an amazing tool for makeup artists getting models runway ready to help draw more attention to the face being hit with obscenely bright lights, where details and dimension can be muddled by said lights; if you really want to get the same no-show glow, get a concealer that is the same undertone as yours but two to three shades lighter than what you have. This will instantly change your look from Mary Sue to Marry You! Blush and //or bronzer under foundation.

If you are someone who loves foundation but can’t seem to get your blush or bronzer to look natural on your face, this may be the hack for you. It is quite simple—Just put your colors under your foundation.

However, the hack does have a few stipulations. First, depending on the coverage of your foundation, you may need to choose colors that are a bit more saturated to show through more full coverage products, go for brighter pinks/reds, slightly deeper browns, and you should get some natural color that is easier to correct. I will note that this technique works well under powder foundations.

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Setting your setting powder.

YES. if you want to use your favorite Airspun powder or any powder that may cause flashbacks, USE A SETTING SPRAY! This will not only lock in a bit of moisture to some of your products but also increase comfortability on matte products and virtually eliminate flashback.

Over lining your lips.

While, yes, overlining your lips can bring you some more visual appeal online, in person, the drama of overlined lips can bring a few unwanted stares toward the upperlip area (which is great if you are Trixie Mattel, but annoying if you are trying to look office-glam). Instead, opt out to using a lip scrub when you want your lips to look extra juicy. Then, through applying the lip liner with the broad sides of the pencil, this gives you a tamer overdrawn lip while also naturally enhancing the dimension of your lips.

Lip wings for the Bratz look.

This hack by far is probably the easiest to test out and probably the most successful. Either with a deep brown or black lip liner, line your lips as you would normally; then bring a “wing” out of each corner of the lips (three to four millimeters). Finally, fill in the lip with your favorite color. This is quite easy, but I do recommend using a lip brush to help softly blend the colors together without mixing them. The contrast of the thick line and blended color will give you the pout of your dreams.

It’s really easy to see something work on camera, but to make it work in real life can be a bit of a learning curve. Don’t sweat it; makeup is an entry-level hobby that takes years to master. Stay beautiful!

Sustaining Sustainable Fashion.

By Angel Omar Rivera

W

hen it comes to fashion, it can be hard keeping up with trends and giving yourself enough closet space to accommodate.

Even more so, there’s the countless waste that comes from used and bruised garments. According to the Environmental Protection Agency, the clothing and textile industry created 13 million tons of waste in 2018, with only a small percentage (about 13 percent) of it being recycled.

Mind you, things are not all bad, as the fashion industry is looking at ways to make sure clothing can last longer but also be sustainable. When I say sustainable, I am talking about recycled garments: vegan leather, upcycling, and even biodegradable rubber and plastic.

Keeping that in mind, what small steps can we take to make sure we can also play a part in keeping our fashion and footprint as green as possible?

One thing that can be easy (but tedious to do) is taking the time to actually sort through the clothes that you have and deciding what can be kept, what needs to go, and what needs to be reborn.

This will give you a solid idea of the kind of things you like to wear if you hadn’t already had an idea. The two piles for going and reviving can either, A. be sold at a secondary retailer/ donated or B. taken to a recycling plant or to a retailer who recycles clothes.

H&M accepts most textiles and will offer you discounts based on how much you bring in. The “keep pile’’ can obviously stay, but don’t be afraid to give up a few pieces that may have seen more than a

Stock Image lifetime of wear. It is easier to shop for yourself when you don’t have a mound of laundry pestering you to be washed.

Now, it is foolish to assume most people can afford to replace clothes seasonally or annually. This is where local thrift stores and social media come in handy. Depending on the quality of your clothing, it may be worth your while to get on Facebook Marketplace, or even reach out to someone on Craigslist looking to swap clothing. In this case, one person’s faux pas is another’s avant garde. Keep in mind, this is a hugely social situation, so if you are not too keen on speaking with too many people, it is a good idea to start with online resellers or local thrift spots.

Now, can we really talk about sustainability without upcycling pieces? Upcycling in simple terms is just making something new out of the old which can hold a better use or be of better value than its original. Not every person can be great with clothing sheers and a sewing machine; that’s why upcycling is left up to the user. Think using old t-shirts to help lesson breakage on hair or acid washing old denim to keep it on trend. The best part about upcycling is that you can even add extra things to create something new or something interesting. Fabric paint and bedazzling are amazing and userfriendly ways to breathe life into a piece while also being a creative outlet.

Some of these things may seem simple but in reality can create an even bigger impact on the way

fashion is worn and its impact on our environment. Realistically, it is most certainly not the sole purpose of the consumer to prevent textile waste or climate change. However, as a citizen of this Earth, it is important that we all lay a helping hand to ensure there is a place for us to wear our fashion. As important as it is to use to express ourselves, it’s also of utmost importance that we can continue wearing our garments.

“Upcycling, in simple terms, is just making something new out of the old which can hold a better use or be of better value than its original.” outfrontmagazine.com 53

Navagating the Heteronormative

Queer Girl Q&A with Eleni Stephanides

: Since coming out, I’ve gone Q to many queer events, namely drag shows. I always have so much

fun at them. It’s truly wonderful to see people in my community being comfortably themselves as they fill the room with their vibrant queer energy.

And yet, as soon as I step foot outside these spaces, I go right back to passing as straight. I know there are bigger issues, and this is more a minor annoyance than a real hardship, but any tips for navigating our heteronormative world? As much as I love drag shows, to live life in a queer bubble and only spend my time in LGBTQ enclaves just doesn’t seem realistic. **I mean this more generally, but also in terms of meeting other queer people I might like to date. I want them to know I swing their way and that they can approach me! : I feel your struggle. It’s no A secret that the world is designed with hetero interests in mind, with

queers as an afterthought. In my 13 years of living out and proud, I’ve encountered heteronormativity across innumerable situations.

Over the years, older Latina ladies joked about bringing me back a husband from El Salvador while we sipped coffee at a previous job.

Kids I babysat have asked “What kind of boys do you like?” as we ate from a shared bowl of popcorn while watching The Suite Life of Zack and Cody. Various Lyft passengers have repeatedly launched the “Do you have a boyfriend?” question as conversational ice breakers.

Once at a doctor’s appointment, after I answered “No” to the “Are you on birth control?” question, the doctor immediately assumed that the reason for this was because my partner was using condoms.

Perhaps my favorite: “Are you selling these for a friend?” a man once 5 4 OFM MARCH 2 0 2 2

asked, gesturing to the lesbian romance novels I was selling at a flea market in Uruguay.

These were all innocent comments, many of them made by kind people.

Yet in a subtle way, they all still reinforce LGBTQ people’s “other” status.

Especially when I was younger, and LGBTQ visibility was far lower than it is now, many days I felt involuntarily cloaked in a robe of invisibility—with the onus on me to decide when and how to pull it off.

As many queer people will tell you, heteronormativity turns coming out into a lifelong process.

Is it hopeless then? Not at all! Here are a couple tips for navigating this hetero world as your beautiful queer self.

the heterosexual masses, where otherwise we would blend in.

Do things you love.

One time, a girl came up to me when I was on my own at the river delta.

It was one of the only times I’ve been approached by a woman out in public, and I picked up definite queer vibes from her.

Nothing ended up happening, but our brief interaction did give me hope—that maybe we queers can be approached in “heteronormative spaces,” at random or unexpected moments. Maybe when we’re pouring energy into what makes us happy, others are attracted to that—regardless of gender or sexual orientation.

From what I understand, aesthetics first came to represent sexuality back in the 1940s, so that lesbians (butches and femmes) could locate one another and pair off more easily.

So consider going to the park to paint, a cafe to write, or a grassy field to work out with a soccer ball—any activity that puts you in your element without the shield of friends that can at times intimidate others from approaching us. Basically, do what you love, away from your cocoon (as far as COVID permits). If a bystander chats you up, that’s just the caramel atop the rainbow ice cream.

Nowadays, certain signifiers serve a similar purpose, albeit in a less binary way; androgyny and wider variations of gender presentations can also connote queerness (think tattoos, piercings, partially shaved heads, even biceps).

Lastly, if someone assumes you’re straight, gently correct them. It doesn’t need to be a big thing. I’ve gotten better at this with time, and it’s so routine now that it rarely feels awkward anymore.

Of course, the idea that sexuality “looks” a certain way is itself heteronormative.

Like meateaters, people with diabetes, and individuals born in Muncie, Indiana, we queers run the full gamut when it comes to appearance.

So there you have it, reader—Do what you love, adopt queer signifiers, and assert yourself.

Adopt queer markers.

Still, adopting signifiers is a way for us to find each other “out in the wild.”

Through them, we can differentiate ourselves at least somewhat from

The world still operates under heteronormative assumptions, but I’m confident that, with time, LGBTQ visibility will only continue to expand—thus rendering presumptions of any person’s sexual orientation obsolete.

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Canna-Bliss Check out these unique offerings, either legal around the U.S. or in the great state of California.

A Golden State Flower Pre-Rolls Flower connoisseurs can typically feel out pretty quickly if a pre-roll will be a sub-par or average experience, but this is surely not the case with A Golden State’s line of pre-rolled joints. For one, the packaging is gorgeous, with each joint neatly stuffed color-coordinated boxes matched with the strain’s category (sativa, indica, hybrid). Each strain (indicas Snow Dream and Night Sky, hybrids Mountain Shadows and Caramel Apple, and sativas Sunbeam and Lava Flower) is incredibly aligned with the descriptions on the box, noting exactly how the user will feel along with some of the tastes they might expect, all very true to their classification.

The immaculately packed joints burned smoothly, tasted even better, and this consumer had to put each joint out about halfway through because of the flower’s potency.

The next time you find yourself in California, get the real Golden State experience, and pick one of these up!

Leilo Kava Drinks Leilo isn’t cannabis and isn’t alcoholic, but it will surely mellow you out. Kava is a plant that grows naturally throughout the Pacific Islands, enjoyed internationally for thousands of years and known for its calming effects. Leilo is Asian-American owned and operated and the only pre-packaged kava drink, coming in four unique, sparkling (and tasty!) flavors: Ginger Lemon, Raspberry Hibiscus, Blackberry Orange, and Tango Berries.

I felt the effects almost immediately—Leilo definitely wasn’t too sedating and didn’t come with any of the psychoactive headiness weed offers, but I immediately noticed the lack of any lingering anxiety or tension. It was clearly relaxing, though I didn’t find it challenging to continue with some afternoon work or even a walk around the neighborhood after finishing the beverage.

Also, maybe my largest qualm with cannabis, no cumbersome munchies! They are sold online, alongside nationwide, independent retailers, gyms, spas, and health centers. For folks looking for alcohol or cannabis alternatives, definitely give Leilo a shot!

outfrontmagazine.com 57

OFM NEW MUSIC This month’s must-catch new releases from the artists you already love and the musicians you need to know.

Wallows

Tell Me That It’s Over Ever-evolving band Wallows announce their highly anticipated sophomore album, Tell Me That It’s Over, produced by themulti-GRAMMY-AwardWinning Ariel Rechtshaid (Vampire Weekend, Haim,Adele). It contains 10 tracks informed by everything from lo-fi post-punk to indie-folk to early90s dance-pop psychedelia. TMTIO is a thrilling continuation of the sonic exploration first began on Wallows’ 2019 album, Nothing Happens.

Releases March 25, 2022.

Luna Li Duality

Korean-Canadian multiinstrumentalist, songwriter, composer, and producer Luna Li drops her intricate debut album, Duality.

Wrestling otherworldly ambitions to the ground, Li embraces the notions of vulnerability and identity in order to better understand the collective.

Capable of both detonating an incendiary riff or slipping into the splendor of celestial strings, the album’s power lies in its most delicate moments. By honing her intuition as an artist capable of taking risks and refining the contours of a melody to best serve the song, Luna Li invites enough space for her ideas to breathe.

Maia Friedman

Under the New Light Playing like a fulfilled journey, Under the New Light may be Maia Friendman’s debut solo album, but it is an entirely flushed out vision. Friedman’s voice lends a unique quality of warm comfort that permeates the air, and her role is that of the wounded healer, one who has gained wisdom through darkness and grief. Yet, rather than share the details of her own struggles, she builds a cloud of safety for those who might have pain of their own.

Releases March 11, 2022.

Releases March 4, 2022.

Baird

Kee Avil

Shane Parish

The final installment in his trilogy of debut albums: BIRDSONGS VOL. 3 contains warmth in song that runs the gamut of emotions, such as the encapsulation of joy felt specifically when anxiety of a new crush leaves way to pure elation. Leisurely, yet not downtempo, these tracks are lighthearted but not lacking substance. It’s a prime example of Baird’s ability to exhibit breadth while staying in line with his own brand of genre-bending, sometimes R&B-inspired, other times Bossa Nova-tinged indie rock.

Releases March 11, 2022 .

Montreal-based artist Kee Avil combines guitar, voice, and electronic production into songs that teeter on the edge of collapse while trudging along as through sticky wax. In her debut, full-length LP, she takes her sound in a new direction as she weaves in elements of improvisation while leaning into her noisy, avant-pop resonance she is familiar with.

There’s a way in which long-standing musical traditions get idealized and then fossilized and Liverpool stands in total opposition to that with its emotional and unpredictable versions of these old melodies.

The entire record consists of reinterpretations of old sea shanties, but the music never feels academic.

Initially arranged for acoustic guitar, the electric arrangements emerged at the eleventh hour and Parish brings a roughened sorrow to the songs.

Releases March 4, 2022.

Birdsongs, Vol. 3

5 8 OFM MARCH 2 0 2 2

Crease

Releases March 11, 2022.

Liverpool

Metal Meltdown Where is the Diversity?

By Addison Herron-Wheeler

The great thing about Denver? Head out on any given night, and you can probably catch a metal and drag show. If timing is on your side, you can even catch both.

And there is a lot of crossover between the two experiences. At both, expect dirty bathrooms, a very flexible start time, and lyrics that may make outsiders uncomfortable.

But there’s one huge difference. Walk into any drag show in Denver, and you’ll definitely see some diversity. Don’t get me wrong; there’s a lot more work to be done. Black performers and other people of color continue to bring up that there aren’t enough queens of color, and kings and nonbinary performers can attest to the fact that there is not enough inclusion of those who aren’t just cis, male, white drag queens.

But in general, especially

in Denver, you’ll see performers of color, and you’ll see kings, queens, and in-betweens, even if they’re still the minority.

Walk into any metal show, on the other hand, and you won’t see much diversity at all. Very rarely, if you’re catching my band, or a handful of other bands in town, you’ll see a show with a woman on the bill. If you’re catching Of Feather and Bone, a local Indigenous metal band, or Primitive Man, a band with a Black member, you’ll get some racial diversity on your bill. But outside of a very small handful of exceptions, you’ll just see cis, straight, white men at every single show.

Why? Well, there are definitely a lot of reasons, reasons I have discussed at length with my colleagues.

The most obvious is, drag is a queer space, and metal is traditionally not, despite

the leather daddy aesthetic that has been passed down from Judas Priest.

And then there’s also the metal gatekeeping, the racism and sexism that is a part of the genre, and the boys’ club attitude many metalheads have.

But, although metal may not ever be as queer a community as drag, it’s 2022, and we need to be making all spaces more inclusive for POC, queer folks, women, and everyone else. So, if you want to go to a metal show and be in that space, I’d encourage you to show up.

If you’d like a queer buddy to attend with you, I’m always down for a good metal show. Hopefully, as we insist on being seen and insert ourselves into new spaces, more diversity will become a reality.

outfrontmagazine.com 59

You’ll Want More Than ‘Just A Taste’ of the Jawbreakers

By Denny Patterson

ustralian duo Kali A Forni-Kate and Sabrina Babyslut are not just drag sisters; they are producer/DJ hybrids delivering equally sickening beats and looks.

Known as the Jawbreakers, these Down Under dolls are gearing up to drop their debut EP, Just A Taste.

“We are super excited to release this EP, considering it’s been in the works for about three years now,” Kali exclusively tells OFM. “We’ve had a lot of the songs sitting there and ready to go since pre-pandemic. It was a great lockdown project because COVID canceled so many gigs and festivals that we had booked. So, it’s incredible to finally have it out in the open.”

“And it’s just a taste because there is 100 percent more to come,” Sabrina adds.

Working in conjunction with Vicious Recordings, the same label that discovered Avicii when he was a teenager, Just A Taste dishes out dance, pop, and tech house songs suitable for clubs and partygoers at home enjoying a late-night kiki. The EP also reflects the group’s live DJ shows that emphasize that they are not only playing the party, but they are the party.

“With our style of music that we DJ, we play such a broad range, considering that we’re two drag queens,”

6 0 OFM MARCH 2 0 2 2

Kali explains.

“People assume that we’ll only play pop, electropop, and genres that are very mainstream queer. Something that we have always prided ourselves on is our ability to not only enjoy those genres, but also venture into other areas like tech house, electro house, and even K-pop. With the inspiration behind this EP, we were trying to create something that is literally what’s in the name. It’s just a taste. It’s a tasting platter of different styles that we’ve picked and delved into. Ultimately, I think we used three different genres for this EP, which has been amazing.”

The EP’s first single, “Boyfriend,” was released in January and is a modern-day remake of Ashlee Simpson’s 2005 hit that chronicled her stealing Wilmer Valderrama from Lindsay Lohan. The Jawbreakers version features vocals from Amunda, formerly from Operator Please.

Initially meeting in 2016 while performing at a Britney Spears tribute in Melbourne, Kali and Sabrina immediately clicked and realized they had a lot in common. Both come from middle-class, nuclear family backgrounds, and both discovered their passion for drag while doing musical theater.

Once they learned of their shared interests in musical

production, they decided to join forces. Six months later after buying a mixer, they were in business as the Jawbreakers.

“We’ve had straight DJs hit on us and others wonder who the random chicks were in the booth,” she says.

“But way more people have shown their support and “There is an age gap their desire to see us succeed.” between us, but somehow, we balance each other out,” “I also think things are slowly Kali says. “Also, we don’t changing because of shows fight. We’ve never really like RuPaul’s Drag Race,” had an argument about Kali adds. “When I started, anything. There are times all I did was get into drag, where we’re not connecting go out clubbing to get free or we’re not seeing each entry and drinks, party, and other’s vision, but then that’s what it was all about. one will go away for about This was nine years ago. half an hour, come back, Since then, obviously, it has then everything merges become clear that this is very together. It’s not like your much a career path for some idea is better than mine or people. They are passionate, mine is better than yours. driven, and take it seriously.”

We can clearly connect, and we make fireworks.” As for the future, Kali and Sabrina hope to collaborate The Jawbreakers have with big-name artists and already headlined several continue to play at festivals international festivals and events around the including Sydney Mardi world. They hope Just A Gras and Milkshake Taste is only the beginning.

Festival in Amsterdam, and their next big gig will “We are going to aim for be Summer Camp Festival the stars because we know performing alongside Years we can do anything we put and Years, Big Freedia, our minds to,” Kali says. and The Veronicas. They are also slated to perform Stay up-to-date and connect the next Goodlife U18 with the Jawbreakers by event, as well as Adelaide following them on Instagram Festival, St Kilda Festival, and TikTok @JawbreakersDJ. and Melbourne Pride. Just A Taste will be available April 1 on Spotify and all other While their unique look has music streaming platforms. helped attract attention to their work, Sabrina admits that performing as hyperfeminine drag artists has made it harder for fans and the music industry to take them seriously.

Photo by Brianna Da Silva outfrontma ga zine.com 61

Horoscopes March 2022

By Alanna L.P.

Welcome to Alanna L.P.’s Uplifting Horoscopes. These are very general readings that will resonate with many but not all of you. That’s OK! Take away what makes sense, and leave what doesn’t behind. If you want a deeper understanding of what to expect this month, read your sun sign, your rising sign, and your moon sign.

You can find what these are by going to cafeastrology.com to get a free birth chart reading.

Aries Dearest Aries, this month, you are being called to eliminate fears through making new connections.

Now is the time to revolutionize your life. Get involved in your community, and seek out spirituality. If you’re looking for love, this could lead you to a relationship based on comradery. The meaning you seek lies in acts of compassion.

Mantra: When I win, everyone wins.

Taurus Embrace freedom and follow your dreams.

If you do, you’ll turn heads so fast you’ll give people whiplash! You’ve got something to say, and everyone wants to hear it, so be large and in charge. You’ll attract many lively, energetic people that will make success inevitable. Let your friends introduce you to the right people.

Mantra: My dreams are coming true.

Gemini

It’s time to embrace your passions and quench that insatiable thirst for life you’ve been feeling. Go forth with fire and ferociousness, and you’ll go far. If the humdrum of life is getting to you, dear Gemini, it’s time to shape your career plans around the new and improved version of you. Your new image is sure to get you the attention you deserve and bring many new, pleasant surprises. Act with honor and integrity, and justice will rule in your favor.

Mantra: March comes in like a lion and goes out like a lamb.

6 2 OFM MARCH 2 0 2 2

Cancer You’ve grown in wisdom and understanding, dear Cancer, and now it’s time for big life changes. If you YOLO, you’ll grow. For those of you in love, resist the urge to push your partner away if you feel nervous about how close you’re getting. This is the time for a new lesson about being vulnerable in love. For those in serious relationships, if you’re thinking about marriage, now is the time to pop the question. Seeds that are planted now will certainly grow by summer’s end.

Mantra: “A loving heart is the truest wisdom.”

– Charles Dickens

Leo

You may feel like running a marathon right now, Leo. This is because in all areas of your life, you are being called to invest in the future. Your love life may be fun and playful, but if you’re in a committed relationship, your ferocious sexual appetite may make your partner(s) jealous. Make sure to talk things out with everyone openly and honestly.

Keep a finger on the pulse of your partner(s)’ feelings with your intuition to gauge when you need to speak up. Unexpected financial blessings are on the way, but this could lead to even more conflict. Again, be smart and look ahead.

Mantra: I choose my battles wisely.

Virgo It’s your time to shine, Virgo. You’ll be on overdrive. Everything will revolve around your work, even romance, so go get that money! If you want to win, get in the gym. It will pay off . Let your words influence others in the name of peace. Feel the light/dark, balance, and the approach of the Spring Equinox in the Northern Hemisphere. This will unlock new ways of thinking and feeling that will reshape your life.

Mantra: Forgiveness helps maintain equilibrium.

Libra Things may be tough, but there are countless reasons to smile. This may be a time when you’re called to heal childhood traumas. Surrender to the healing process and find strength. It will lighten the load so just go with the flow. This is a time to be cheerful and fun. If you do this, you’ll attract the one. Keep your finances tidy and your money tight. It’s a hard fight, but you’re gonna get it right.

Take care of yourself and remember to love YOU, sweet Libra. Your worth is worth so much more than gold.

Mantra: “Money can’t buy me love.” –The Beatles

Scorpio Ask yourself the big “whys” this month, Scorpio. This is all about you and only you. Make yourself at home; get focused, and get organized! It’s a sign of strength to let yourself be vulnerable with your family and friends. You’re emotionally intelligent enough to know that the advantages of opening up outweigh your fears. This isn’t a time to begin deep, romantic relationships, so keep it light and fun.

Mantra: Laughter is the best medicine.

Sagittarius You might start thinking about money in new and beneficial ways this month, Sagittarius. In fact, your whole value system may be changing. But be careful with your words when speaking your truth. Expect lots of guests this month, so take time to show off your home improvements. This is also the time to set boundaries with those who take advantage of your hospitality. If you feel exhausted by the constant traffic, make sure to enjoy some downtime.

Mantra: A strong mind builds a strong foundation.

Capricorn Between good budgeting and generous gifts, you’re comfy and cozy. People will come to you asking you to teach them about something you know a thing or two about. Let your gifts inspire others. Connections made through feelings, words, and ideas will be auspicious. Those looking for romance may find love if they go for someone who is not their type.

Mantra: “You might just make it after all.” –“Mary Tyler Moore Theme Song” by Sonny Curtis

Aquarius Time to be your own best friend, Aquarius. The heat is on and friendly competition is going to satisfy what you crave.

Continue to be kind to yourself, and recognize that giving your best is always worth it. You may receive an influx of gifts or cash that will make a big difference. Believe you are worthy, and receive with gratitude. Any disruptions in your home life at this time will teach you what you need to know to avoid this kind of situation again.

Mantra: “A flower does not think of competing with the flower next to it. It just blooms.” —Zen Shin

Pisces This is a time to have new adventures, meet new people and enjoy life! Enjoy your freedom and connect with those who inspire you. New experiences may change what you’re focusing on in life. If you’re out to take a lover, trust they won’t kiss and tell.

Mantra: The world is my oyster.

Alanna L.P. is the owner of Magdalena Tarot, an occult lifestyle brand.

She is known best for her internationally renowned predictions based on tarot, numerology, and astrology. She was also the resident psychic for Witch Way Magazine from fall, 2015-fall 2016 and interned with Biddy Tarot. If you enjoy her horoscopes, check out Magdalena Tarot Magazine on Amazon. She lives in Denver, Colorado. outfrontmagazine.com 63

OFM

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WILD CORGI PUB

255 S. Broadway St. Denver (303) 733-1156 Facebook- @lildevilslounge

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LIPSTICK DISCOTEQUE

CHARLIE DWELLINGTON’S 1103 N. 1st St. Grand Junction (970) 241-4010 charliedwellingtons.com

5660 W. Colfax Ave. Denver (720) 669-3470 Facebook- @lipstickdiscoteque

829 E. Colfax Ave. Denver (303) 832-2687 xbardenver.com

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900 E. Colfax Ave. Denver (303) 839-8890 charliesdenver.com

3452 Walnut St. Denver (720) 257-5342 millersandrossi.com

#VYBE 1027 N. Broadway St. Denver (720) 573-8886 303vybe.com

776 N. Lincoln St. Denver (720) 598-5648 denversweet.com $2 Taco Tuesdays with $5 House Margaritas Wednesdays Big Gay Trivia 7pm Sunday Bears on The Roof Beer Bust 4-8pm

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Fabulous Book Reviews

by Brian A.S. Byrdsong

If You’re a Drag Queen and You Know It

by Lil’ Miss Hot Mess.

A beautifully illustrated childrens’ book that will be a fun, joyous, nightly read for the kids, with the possibility to make it into a fun song! It features inclusivity on every page and makes sure the entire book is full of beautifully styled illustrations. Available May 17.

Special Topics in Being a Human

by S. Bear Bergman I never knew how much I needed to care for myself until I picked up this book. What Bergman has given us is a how-to on caring for not only ourselves but our relationships. If you’ve ever questioned why things are going the way they are, or beat yourself up about your own feelings, Bergman’s book is for you.

Shockadelica by Jon O’Bergh Drag and horror should go together like peanut butter and jelly. And Jon O’Bergh’s Shockadelica proves that to be true. Relatable characters, witty dialogue, and interesting interludes make this a book that must be on your to-read list for 2022.

In the Palace of Flowers

by Victoria Princewill This book starts off with examination of the protagonist, Jamila, and her surroundings.

What follows is a story of intrigue and intellect.

If you have not yet read this, mark it down on your list as a must-read for 2022. outfrontmagazine.com 65

A

s I walked down the hallway after work, I noticed the dressing room open, and I peaked in. I saw a performer, and I wasn’t sure if they heard me approach or not. I couldn’t believe it: The queen whom I was seeing, I’ve looked up to for a while! This performer has been my favorite drag queen at this club; they were the reason I applied for my job here. I was eager to meet them and see if they could possibly teach me a little something.

back and asked if I was touching myself while I was watching him clean up his dressing room.

This drag queen was so beautiful and so very talented. The way she moves her body when she performs, it’s almost as if she’s giving a whole new meaning to the song she was performing to. Every curve of her body left little to the imagination, but certainly left you wanting more.

The woman now standing before me began to trace along her chest with her fingertip and asked if she was still my favorite queen. I told her, if it was possible, she was even more so now. I said, I wished so much for her to be a woman. She asked if I’d like to make love to her, and I said more than anything.

I told him, no, of course I wasn’t. I said I just could believe my favorite queen was in front of me, and I couldn’t believe that he ... He placed his hand over my lips and stopped me from speaking. He unbuttoned his top and let it fall to the floor and slid off his underwear and kicked them off toward the wall.

His breast plate looked so real.

I gently pulled out and began to kiss her neck. I traced every inch of her body with my tongue. I came back to her breasts, the very breasts I wished so much to be real. I leaned in and traced her nipples with my tongue and then gently started to suck on them. I could tell she was really enjoying that because she started arching her back and breathing heavily. Her hands wrapped around her head, and she let out a loud moan. I stood up and slid my strapon back in, and she started to scream for me to do it more, and do it harder.

I thrusted faster, and she told me not to stop. I clenched my jaw and uttered how bad I’ve wanted this for so long! With her jar clenched as well she said “Fuck yeah,” with a gentle breath almost underneath each word. Her hand wrapped around me and lightly clawed my back as she let

A Lustful Wish

By Alex Burnel

I couldn’t stop staring at his nipples. I could see them perfectly through the sheer top he was wearing. How I wanted to place my lips on those breasts. I closed my eyes and pictured running my hands over and around this pair of breathtakingly beautiful breasts.

I heard the door creak from me pushing up against it, and my eyes shot open. I was now finding myself face to face with my favorite queen, whom has never met me and is still wearing almost nothing. She adjusted her underwear to attempt to cover up more, but there was little she could do with underwear not much bigger than a shoestring.

He pulled me in and shut the door.

He pushed me against the wall and leaned in really close. He asked me what the hell I was doing just standing outside his doorway, watching him. I started to answer, and he pulled my head up from being fixated on his breastplate. He stood 6 6 OFM MARCH 2 0 2 2

She asked me what my pronouns are, and I said, “They,” placing a hand on her chest, I was told, “She.” She started to take off my clothes and brought me to the sofa. She laid down, and I got onto my knees and looked upon her beautiful body. She grabbed a strap-on from under the sofa and handed it to me. I strapped it on and buried my face between her legs. I could feel her body quiver with each stroke of my tongue. Her hands pulled me in tighter as she started to moan louder and louder.

I couldn’t remember if anyone else was still at work, but at this moment, I didn’t care. I stood up and slowly slid into a part of this beautiful body I never thought I would be inside.

My own body was shaking with excitement. Sweat was now covering our bodies, and her moans started to get louder. She pulled me in close and started to kiss me with her soft and supple lips, which made my heart race even more than it already was.

out a moan with a hint of a yell that would’ve caused people outside of the club to need a smoke. I collapsed onto the amazing woman and rolled onto my back as she and I started to work to control our breathing again.

She whispered that next time, she’s topping me. I laughed and told her, “Deal!”

Good Heart, Better Wardrobe

by Aaron McCauley

A

s she slipped into her heels that were, truthfully, a half-size too small, Trisha caught a glimpse of the opening number gown hanging behind her in the mirror. The red lace over a nude illusion trickled down into an ostrich feather-lined trumpet skirt. She smiled as she sat staring at its reflection.

Trisha flashed back to the day something like this first became a dream.

She stood in her mother’s bedroom mirror, admiring how she looked. With an ensemble of a mismatched striped sweater with a tribal print skirt and sequin heels, she puckered her lips for the “Vivacious Vixen Red” lipstick her mother wore.

She twirled around, giggling as the fabric flowed around her. Though she was only 6 years old, she knew this freedom was what she would pursue for the rest of her life. She was too distracted to hear the thudding footsteps approaching. It was too late to hide before she heard his angry voice.

“Tyler,” her father yelled, “what the HELL are you doing?!” Daniel Waters

was an intimidating man.

His lumbering stature and thick beard left no room for kindness. Tyler stopped spinning and froze in fear. His father blocked the doorway, and with no other exit, there was nowhere to escape. Daniel leapt forward and heaved his crying child over his shoulder and marched down the stairs.

“Daddy, no! Daddy, please!” Tyler begged with his father, sure of what punishment was to come.

As Mr. Waters traipsed past the kitchen to take his child outside for discipline, Tyler saw his distressed mother by the sink.

“Mommy,” he screamed, “Help! Please!”

“Daniel, leave him be!

He’s just playing around.

There’s no need for this!”

Meredith Waters was a kind and loving mother.

Always dressed as though she would be meeting someone important, Tyler idolized her elegance.

While her appearance caused people to think she was cold, Tyler knew she dressed like that because of what she had been taught as a girl: Have a good heart and a better wardrobe. She adored her

only child, and became a place of refuge for Tyler when his father expressed his disgust in his flamboyant nature.

“Meredith, stay out of this.

He needs to learn this faggy shit isn’t right!”

“It’s just a pair of heels and some lipstick. He’s a child, for Christ’s sake.”

Meredith knew her son wasn’t like the other boys in town. Instead of football, he begged to be in dance classes. While his classmates wrestled on the playground, he would spend extra time with the music teacher learning piano. Tyler Waters was different, and Meredith loved him for it.

“You know this is wrong, and I’m going to teach him the way my dad taught me about being a man.” He began to unbuckle his belt as he held Tyler over his knee. Tyler squirmed but couldn’t break loose of his father’s monstrous hands.

He cringed as he heard the buckle jingle. Daniel began to wrap the belt around his hand when he heard the unmistakable click of his revolver. He turned to see his wife aiming right between his eyes. “Meredith, what in God’s name do you …”

“He’s not sick in the head.

He’s 6, fucking 6, Daniel.

Now let him go, or I swear to God, I’ll make sure you never get to see what he becomes.”

“Meredith, put that gun down now.”

Daniel stared at her, unsure of what she would actually do to protect Tyler.

“One ... two ... “ “Three minutes until I need you on that stage, Ms. Sparxx!”

Trisha’s assistant burst in the door. “Right, almost ready! Just got to zip up the dress. Do you mind helping me?”

Hailed as the new queen of pop, Trisha’s first single had gone triple-platinum in just a matter of a month. From opening for her drag mother in that run-down bar three years ago to becoming an international pop star with a sold-out tour, Trisha still couldn’t wrap her mind around it all. As she stood waiting for the stage to rise up to the anxious crowd above, her assistant leaned in.

“First row, stage right, seats two and three— They’re both here.”

As she ascended into the beaming lights, a roar erupted from 12,000 fans.

And right where she said they were, Mr. and Mrs. Waters stared up in awe at their baby.

“Who’s ready to party with this drag queen?” she boomed into the mic.

As the crowd erupted, she looked down at her parents. Trisha felt tears well up. Daniel smiled as Meredith mouthed the words “I love you.”

“I think you all know this first one … ‘Good Heart, Better Wardrobe.’”

“I’m giving you until the count of three to let my baby go.” outfrontma ga zine.com 67