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Jamie Grace

Jamie Grace

Photo: Leon Bennett/Getty Images

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Jamie Grace On Her Uplifting Song "Marching On" jamie-grace-her-uplifting-song-marching-life-tourettes-syndrome-and-transformative

Jamie Grace On Her Uplifting Song "Marching On," Life With Tourette's Syndrome And The Transformative Power Of Gospel And Contemporary Christian Music

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The GRAMMY-nominated singer-songwriter talks about the personal journey and universal message behind her inspiring track and how she's advocating for the Tourette's community
Susan L. Hornik
GRAMMYs
Aug 8, 2020 - 5:00 am

Jamie Grace strives to be a beacon of hope for young people who struggle with Tourette's syndrome (TS). Diagnosed with the debilitating disease when she was just 11, the GRAMMY-nominated singer-songwriter creates contemporary Christian music fueled by empowering lyrics inspired by, but not limited to, her condition, as heard on her recent song, "Marching On."

The song carries a message about the importance of resilience in the face of adversity. Its uplifting lyrics unify those who suffer from TS while celebrating their uniqueness: "We are warriors / We are beautiful / Even with our scars / We march on / 'Cause we are fighters," she sings in the chorus. 

While the song grew from her personal experience with living with TS, its underlying theme of positivity is universal, Grace says.

"I intentionally avoided talking about Tourette syndrome in the lyrics ... I wanted people to hear this song and immediately think about something they have faced, but have chosen to continue to press through, whatever that may be," she tells GRAMMY.com.

As an advocate for the TS community, Grace has been vocal about her condition throughout her career. She's actively worked with the Tourette Association Of America (TAA) for the past 10 years. During Tourette Syndrome Awareness Month, which ran from May 15–June 15, she joined the organization for a livestream performance of "Marching On" and worked with the nonprofit on National Advocacy Day in March.

"We are proud to have Jamie as a partner, raising awareness and fostering social acceptance for Tourette' Syndrome, which impacts an estimated 1 million Americans," Amanda Talty, CEO and president of TAA, says. "'Marching On' is an anthem for people in the Tourette community; they are diverse and talented and bring incredible gifts to the world like Jamie!"

Released in May, "Marching On" has since taken a new meaning in the wake of the nationwide protests in response to the killings of George Floyd, Breonna Taylor and other Black U.S. citizens by police. Grace, who's faced racism throughout her life and career, has embraced the song's second life. 

"Now when I sing 'Marching On,' I am reminded of my culture ... the beauty in the color of my skin ... and the many Black men and women who are fighting every day to continue marching on."

GRAMMY.com spoke with Jamie Grace about the personal journey and universal message behind "Marching On" and the healing power of gospel and contemporary Christian music.

You released your song, "Marching On," in May, but it resonates even more so now.

As a songwriter, you never know how people will interpret the songs that you write, even if they are very specifically about something that happened in your life. However, it's rare that I write a song about one thing and once it's released, it begins to take on a new meaning for me. In the last few months, I have shared more than I have before when it comes to my experiences as a Black woman in America. I did lose some followers on social media who oppose the idea of speaking out. But more than anything, I have been privileged to be a part of seeing perspectives shift and eyes opened. 

Over the years, I have faced racism in many of the churches where I was booked to sing, and I have dealt with the daily microaggressions as both an entertainer and in social settings. These experiences have been pushed aside or shot down by many [of my] peers and some of my audience, but I am seeing a shift toward humility and a willingness to listen that I am grateful for.

Even so, the last thing I want is for stories of racism to become emotional bait that do not call for self-evaluation, intentional education and, ultimately, action. And as Black people, though often faced with the struggle, we are many years post action, as resilience is simply a part of who we are. So now when I sing "Marching On," I am reminded of my culture ... the beauty in the color of my skin ... and the many Black men and women who are fighting every day to continue marching on.

Tell me about the inspiration behind the song.

I never want to be seen as a victim. While I want people to be empathetic toward what I go through on a daily basis with Tourette Syndrome, I want my resilience to speak louder than my pain. My friends and I saw Billie Eillish perform at the [2020] GRAMMY Awards. When someone complimented her voice, I casually said, "There's something about us … " alluding to the fact that when you face adversity in your life, resilience is almost an obvious sequel.

I finished "Marching On" just weeks before flying to [Washington] D.C. with the Tourette Association for National Advocacy Day in March, spending intentional time thinking about and praying for kids, teens and adults with TS. Many of us share our stories publicly, but if you stop for a moment and hear about our Tourette, we simply hope that you will stick around and hear the rest of the story, and how in spite of our challenges, we are marching on.

What makes the song so relatable?

I intentionally avoided talking about Tourette syndrome in the lyrics. I did mention a "tic" in the lyrics, but even then, most people have had or known someone who has had a temporary eye twitch or nervous tic. I wanted people to hear this song and immediately think about something they have faced, but have chosen to continue to press through, whatever that may be. 

We have all experienced something in our lives that we cannot control—whether it's our health, family dynamic, the result of a test, job application, loss of a job or even losing a loved one. There is "a time to weep and a time to laugh ... a time to mourn and a time to dance … " [Ecclesiastes 3:4] and I wanted this song to be a bridge of those moments that we all inevitably face.

You recorded your tics and implemented them into the song, with your tics themselves becoming instruments. How did that feel? What does that sound like?

At 28, my tics are vastly different than they were when I was a teenager. When I was growing up, there was a list of 10-12 physical and vocal tics that weren't very easy to disguise, so it was pretty obvious that I had Tourette's. Even so, I would often suppress them, which I shouldn't have, to attempt to present myself as "normal" to my peers. But my tics would always find a way to show up.

As an adult, my tics range from blinking my eyes to hitting my upper chest to making "ah!" and "uh!" sounds to my arms and legs bending repeatedly. Most days, I may not twitch a lot, but when I do, it's pretty obvious. The list of the subtle and bold ways Tourette presents itself in my speech and movements [is quite long], so recording it for a song felt more natural than suppressing it.

Some people with Tourette have explained it like a sneeze. You can hold it in as much as you'd like, but eventually it's going to show back up, and maybe even more intense than it would've been the first time. So pressing "record" and letting those walls fall down felt like pure freedom. Then, as a musician and nerd, I enjoyed chopping up the sounds and making them into music.

Read: Want To Support Protesters And Black Lives Matter Groups? Here's How

What do you think about what is happening in our country right now?

Growing up as a little Black girl in Georgia who rode horses, wore boots, dreamt of playing guitar but also loved hip-hop and smooth jazz, I am not oblivious to what it means to be different and to be treated differently because of it. I have experienced racism since I was a child, and I have heard the many stories of my parents, grandparents and others. While I continue to grieve the injustices that Black men and women face, I am grateful that things are being brought to light.

I do believe that there is hope for our future—I must. I try my hardest to do my part in sharing music that is honest and joyful, in sharing my story in hopes of providing understanding for those whose eyes are just now being opened. And I try to shed light on the activists who are on the front lines of the fight for justice and the calls to action they so graciously share.

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The gospel music featured during the George Floyd memorial in June was so soothing. Can you talk more about the spiritual side of gospel music? Do you think the genre can cross over into mainstream audiences?

Historically, music has been a crucial part of recovery and rejoicing for Black people and people of color. I remember being a little girl and my mom playing Mahalia Jackson throughout the house and making sure that my sister and I knew about Negro spirituals. These songs, while full of hope and joy, were oftentimes written out of places of absolute despair ...

George Floyd did not deserve to be treated the way he was treated and certainly did not deserve to be killed. As I heard "Amazing Grace" at his funeral and later in the service, seeing people get up and clap and sing along to "Every Praise," I realized that the world is seeing who we genuinely are. 

As a people, we have been victimized and brutalized, but we will not allow our voices to be silenced. Whether singing about not turning around when faced with gas-masked injustice or about the grace we still find to face yet another day in the midst of tragedy, we will always sing. But know that our voices don't end when the song does. Our lyrics are a representation of the depths of who we are, and the message in our words is a call to action for us all to create and advocate for significant change.

How have you overcome the challenges of having Tourette's while being a singer-songwriter?

I realized that music was therapeutic for me when I was really young, even though "therapeutic" wasn't yet a part of my everyday vocabulary. It always brought me so much joy to sing songs with my mom in church or to dance in the living room to jazz with my dad or listen to rock music that my older sister, Morgan, loved, though I wasn't positive I was cool enough!

Shortly after my diagnosis, our grandaddy brought over a drum set and a guitar for Morgan and I. He wanted to bring a little bit of joy into our day, but he sparked something in us that, years later, still remains. Our dad is also a drummer, and both our mom and granny love to sing. I remember the entire family staying up way too late, making up new songs night after night.

The physical act of playing music is a literal antidote for my tics. The choice of choosing songs with lyrics that encourage and empower subconsciously start the work of building me up emotionally. 

I am grateful for my therapist, my doctors and my family, of course, but being a singer-songwriter has been one of the greatest parts of having Tourette. Because even though I have a complex condition that often causes me physical and emotional distress, it always pushes me to be creative and find a release that I always enjoy.

How resilient did you have to be when you were growing up?

Fortunately, my family is the greatest support system I could have asked for. I had to learn to bounce back and recover from bullying and the everyday stress of having a neurological condition. However, I always had a safe place at home. I was provided with love, support and understanding, which took some of the pressure off of me to be resilient. If I needed to cry for what seemed like a long time, I could, because their strength was always something I could depend on.

Even so, I didn't realize until adulthood that I had to grow up a lot faster than most of my peers. There was a time when my medication was affecting my heart, so I was put on a heart monitor. Learning how to jump very gently on a trampoline so as to not mess up a heart monitor was a casual lesson for me in middle school. 

Spending nights in the hospital because my tics had caused physical damage was "normal," and my tics being mocked was a part of my life almost every time I was around kids and teens. When you grow up with a medical condition, your mental health is largely dependent on your ability to face and experience excruciating pain and disappointment, yet still find the strength to press on. I am so grateful for a family that provided comfort in my life, allowing me to find that strength.

Do you ever want to perform other kinds of music?

I've always felt privileged to be able to incorporate all styles of music into the kind of music that I make, especially now as I've been producing my music for a few years. I'm definitely a Christian, and I love singing about my journey as someone who truly loves God. And for me, that includes singing about everyday life experiences.

Within the genre of gospel music, there are so many different styles. I grew up on mostly faith-based lyrics, and most people think that means I don't know much about music. But within gospel, there is hip-hop, country, soul, contemporary and so much more.

I play the banjo, and recently did a singer-songwriter-style project with my sister called "Show Love." I also love hip-hop, and I recently shared a single called "Dream Big." One of my favorite things about my faith is that God is leading me through every aspect of my life. So whether it's a song about my husband ("90's Kids") or a song about my relationship with God ("Wonderful"), to me, it is gospel music because it's a part of a story that is so beautiful, I know that it must be bigger than me.

What's next for you?

I will continue to raise awareness by helping the Tourette Association Of America, and I'm releasing music every month for the rest of 2020, including an EP in October that will be released alongside my book, "Finding Quiet." Most people, whether you have Tourette or not, face some kind of anxiety or anxiousness throughout life. The book is about my journey to quieting my mind in our anxious world. The EP features songs that I have written during this journey.

Robert Randolph Returns To Gospel Roots On 'Brighter Days,' Talks Stevie Wonder's Genius, Basketball & More

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House Gospel Choir

House Gospel Choir

Photo: Dan Reid

 
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House Gospel Choir Brings Faith To The Dance Floor house-gospel-choir-rechoired-interview

Meet House Gospel Choir: The London Vocal Group Bringing Faith To The Dance Floor

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GRAMMY.com caught up with House Gospel Choir to discuss their debut album, 'RE//CHOIRED,' their creative process, and how the band's multicultural and multifaith composition creates a welcoming space for both its members and audiences
John Ochoa
GRAMMYs
Oct 30, 2020 - 6:49 pm

Anyone who's ever spent time at a club or festival has experienced the divine power of the dance floor: the rolling bass, the pumping rhythms, the vibrant atmosphere. While the blinding lights of the stage can often look like the gates of heaven opening, it's the communal feeling shared among fellow ravers and concertgoers that truly defines a proper dance floor. 

House Gospel Choir (HGC) know this better than anyone. Uniting the uplifting force of spirituality with the kinetic energy of dance music, HGC is a London-based vocal group bringing faith to the dance floor. Their unique style pairs two very distinct sounds—house music meets gospel—many would never think to combine, but that actually share a musical lineage. While house music is rooted in disco, the genre's pioneers and early tracks sampled gospel singers and hymns and featured spiritual lyrics: See trailblazing house classics like Joe Smooth's "Promised Land" and Underground Ministries' "I Shall Not Be Moved."

HGC now continue this musical legacy on their debut album RE//CHOIRED, released this month (Oct. 23), which sees the group completely reimagining house classics, like "Gypsy Woman" by Crystal Waters, as well as current dance anthems, including "Latch" by Disclosure featuring Sam Smith. The album also features original tracks from HGC, including collaborations with house legend Todd Terry, and contributions from leading dance producers like DJ Spen, GRAMMY winner Alex Metric, Wookie and Toddla T.

GRAMMY.com caught up with House Gospel Choir creative director and founder Natalie Maddix and member Laura Leon to discuss their debut album, RE//CHOIRED, the group's creative process, and how the band's multicultural and multifaith composition creates a welcoming space on the dance floor for both its members and audiences.

The concept of House Gospel Choir is very interesting and unique. I'm curious to learn more about how you came up with the idea of a gospel choir that sings house music.

Natalie Maddix: I came up with the idea because I love to sing and I love to rave. I love house music and I love singing. I think there's a really strong tradition of gospel vocalists singing all the house tunes I love. Gospel house as a genre, it exists and it's been around for a long time, but I wasn't aware of any other choirs singing [house music] … So yeah, it's mainly just because I like to party, and it's that feeling of being on the dance floor and getting to sing with everyone …

Beyond that, I'm a massive fan of vocalists, and I was always a bit confused as to why I never knew the singers' names on some of my favorite house tunes. So I just started digging and I just found all these other great songs with gospel vocalists on them or vocalists that started off in church, I suppose.

And it just kind of clicked. It actually clicked because I saw there was a Frankie Knuckles quote I read when I was doing some research just about gospel house, and it was, "House music is church for people that have fallen from grace." You know when you read something and it just hits you in your chest? And I was like, "Yeah, that's what that feeling is." 

That's what I love about raving, that community, that communion. I've had some nights out that do feel very spiritual and transcendent in some ways. I think Frankie Knuckles, being the godfather of house, just summed it up perfectly.

Your debut album, RE//CHOIRED—a very clever, fantastic title, by the way—features covers and reimaginations of house classics like "Gypsy Woman" by Crystal Waters as well as newer classics like "Latch" by Disclosure featuring Sam Smith. Can you tell me more about how you approach your song selections when it comes to your covers?

Maddix: The main thing is [House Gospel Choir] started off with the live show. The intention was to have it feel like a DJ set. So the songs were seamlessly all mixed together, but you had live vocalists with it and you had a blooming gospel choir with the DJ. Through just practice and doing vocal arrangements and trying things out, it's like I come to the table with all of my favorite house tunes, and some of them should [be] left alone, should not make gospel versions of some of them.

Then there [are] other songs that really lent themselves to this way of reimagining what the song is. I think the vocal arrangement, the ability to make it into a House Gospel Choir sound, is one side. But the other bit is actually the message ... "Beautiful People" was the first song that we ever learned, and that was the first song I brought to the choir. I just think I needed that message at the time ... the messaging behind that [song] really was one of the big reasons we decided to do that one.

[For] "Gypsy Woman," we listened to it for so many years, and it's just like one of the biggest party records ever made ... and I don't think I'd ever really listened to the words. And then I sat down and I was like, "Wow, she's actually singing about someone being homeless." I found an interview where Crystal Walters was talking about the lady this song's about, and it just really struck me that there [are] so many people that don't have a home.

Like in a really basic way, we're talking about displaced people across all walks of life, not just homelessness. We started thinking about refugees. So the song just took on a totally different meaning and we felt it was a great way to just remind people, encourage people to look around when you're out on the streets. As much as you hear this song all the time and as much as you might walk down the same street every day, there are other things going on inside of that.

The album also features original tracks from the group, like "My Zulu," a collaboration with Todd Terry. Tell me about the creative process behind your original tracks.

Maddix: Our intention behind those originals was most definitely "future classics," because we were like, "We have to be able to make tracks to stand up against these absolute massive hits." Obviously, it's a huge task, but we just thought, "Let's try, let's just do it." We started off with a bit of a wishlist of who we wanted to collaborate with. And we've kind of crossed everyone off that list. It's been an amazing journey ... We just really wanted to pay homage and make sure that those original creators [of the songs] really gave this project the stamp of approval that it deserves. We've taken all the time to make sure that everyone is fully aware and supportive of what we do.

Laura Leon: With the originals, creatively, there's been quite a few different processes; it's not always been the same ... But I think, all the time, the intention is there; we go into the session, we say, "What is our intention?"

There are several tracks on RE//CHOIRED that reference religion and God. It reminds me of conversations I've had with ravers and dance music fans who've said they found religion and salvation on the dance floor. There are a lot of songs and artists who've talked about this "God on the dance floor" concept as well. Could you speak on this house-meets-religion concept? What is the theory there? And how does it relate to what HGC is doing?

Maddix: I grew up in church. So I went to church before I could speak, I suppose. And I did Sunday school religiously for years. I got to a point where, as a teenager, I was probably a little bit confused about the Christian faith I'd, in a way, been given, been born into as more of a birthright than a discovery of that faith. I went to Pentecostal Sunday school, I went to Anglican primary school and a Catholic secondary school. And they were all very different explorations of Christianity and the Bible; I think I was just a bit confused.

I still go to church, but I snuck into my first rave when I was about 13. It was an under-18 [event], so don't worry. Immediately, the feeling of being on the dance floor and singing songs ... I immediately felt the same way I felt like [in] my favorite days in Sunday school when we were all singing and just being together and that sense of community. I found it instantly on the dance floor in a way, but with less restrictions ... So that connection between the two things, having that community and togetherness feeling, is there.

Beyond that, the originators of the sound would have come out of a gospel tradition or a religious tradition, and that is reflected in the music, especially in the early house tracks; I'd say to a certain extent even in current house [as well], but the link is just not directly there. For me, it's the same experience, it's the same expression.

Watch: Positive Vibes Only: Kierra Sheard And Karen Clark-Sheard Deliver Striking Performance Of "Something Has To Break"

I think House Gospel Choir's project is really important because there doesn't seem to be any conversation about faith in mainstream culture at the moment. So it's just to have that conversation. I consider myself to be a spiritual person. There are loads of different types of faiths within the choir … We have people from all walks of life within the choir. We have people that came [who] have no faith and are figuring it out. My only thing is, there is definitely something, and I'm all right with people not being able to describe it or explain it.

But when we sing a gospel song and you look into the audience of people that maybe have just come for a rave and they're crying or they're having those moments, I think it's just worth a conversation, and House Gospel Choir is here to facilitate that conversation rather than pretend it doesn't exist. Because there's just so much we can't explain. As clever as human beings are, there's a lot going on that we don't have access to. So why not look and share experiences and ideas and faith?

The idea and practice of religion can often be a dividing topic, particularly here in the U.S. where you have the so-called "religious right" and dedicated faith communities heavily involved in politics as well as a rising atheist population. Seeing how your music discusses religion so openly, how have fans been reacting to your music and your approach to religion? Are fans accepting of the religious themes in your music? Are you seeing any backlash or negative reactions?

Maddix: I think for people that love dance music, house music, electronic music, there's a real acceptance of this style of music and the message has been there for a long time, so there's almost no problem there ... These are songs that are explicitly about faith and gods and the Bible that maybe people aren't even aware of, but they accept them because they move them in some way. When you encourage conversation about the meaning behind songs or the message behind songs, people are quite open to it. That's how I feel about it, and that's what I found most dance music fans have felt.

We actually do have a lot more religious followers or Christian followers, I think, especially since lockdown when we started doing our a cappella videos. We did a cover of "Optimistic" by [vocal group] Sounds Of Blackness, and I think that resonated with people at a time where they just needed to feel optimistic … So I think it just brought more people into the space.

If you go through our followers on Instagram, it's really surprising. Some of [their handles] are like "prayedup97" and someone else might be "danceallnight81." And they're all there, they're all in the same room. And that is essentially what House Gospel Choir is. It's us with all of our different beliefs, all of our own issues, all of our own struggles—being in the same room. I think that's what is reflected in our fan base.

There's definitely been some questions from our more religious followers, once or twice, about the length of our skirts and such and such. But I don't think it's possible to rave in a long skirt, personally. [Laughs.]

I'm glad you brought up the composition of the group itself. I read that it's composed of more than 150 members from all religions, all backgrounds, all ethnicities. Tell me why that was a deliberate choice.

Maddix: We live in London, man. I think it's similar to New York. If you are able to share what you have with the biggest audience possible, it's just good. I think because we came at it [from] an angle from two things: singing, which anyone of any race of any religious belief can do; and raving and being together. I think those two things are real good levelers or nice entry points for a lot of people.

Being in London, having such a diverse population, it just happened naturally … Our members are from all over the U.K., actually. There [are] Scottish people in there, there [are] people from outside of London. In the same way that New York has that kind of migratory aspect to it—someone might not have family members in that town or that city—London's a similar thing. I think it also brings together people that want to belong somewhere ... It's just a home for anyone that wants that experience.

Watch: Jekalyn Carr Speaks To The Unifying "Power Of Love" | Positive Vibes Only 

Leon: It provides like a second family, like you said, because there are a lot of people from outside of London ... To be able to come together in a safe space where you can just be yourself—even from personal experience, from a mental health perspective, it really helps being together with like-minded people that just want the same thing and to just let your hair down ...

But no matter what, everyone's got each others' backs ... I think we're all just aiming for the same thing, so [we're] all on the same page. Essentially, Nat is the driving force behind this movement. So it is her final word, and everyone respects that. Everyone just wants to work for the greater good and provide a space to fully be yourself [with] no judgment at all.

What is House Gospel Choir's mission statement? What is your ultimate goal for the group?

Maddix: My main thing was always to remind people that we are one. It's my mantra. I've noticed that so many people are using it now ... So many people are waking up to the idea that there's more that unites us than separates us. All these things that are supposed to make us so different, when you really get down to it and sit in a room or share space with people that feel very different to you, you realize there's not a lot of difference between who you are as human beings.

That is the message at the top and the end of our live show. That's how we always wanted people to leave feeling. I think during the pandemic, that's expanded a little bit more as well. It's about joy and it's about finding those moments and pockets to enjoy life and really witness and experience beautiful moments and beautiful things with anyone that's near you. It's just to remind people that joy is still required. With everything going on, just remember that you can feel two things at once. You can be sad and still find something joyful in your day or in your week. And singing is a good way to feel joyful.

Hispanic Heritage Month: Lucía Parker & Henry Alonzo Talk The History & Globalization of Latin Contemporary Christian Music

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Brandon Lucas

Brandon Lucas

Photo: Tony Bee

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Brandon Lucas On Hope, Dr. Cornel West & New Label brandon-lucas-talks-staying-hopeful-working-dr-cornel-west-empowering-dance-producers

Brandon Lucas Talks Staying Hopeful, Working With Dr. Cornel West & Empowering Dance Producers Of Color

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GRAMMY.com recently chatted with the Inglewood-born singer/producer, who shared nuggets of wisdom from working with Dr. Cornel West, his vision for his new label, the music that moves him and more
Ana Monroy Yglesias
GRAMMYs
Oct 9, 2020 - 4:50 pm

One might not expect activist/author/scholar Dr. Cornel West to put out house music bangers, but thanks to singer/producer Brandon Lucas, this is one gift the craziness of 2020 has brought us. For the debut release on Lucas' Purple Label Sound imprint, "Got That Hope" features a much-needed inspirational sermon from West set to a pulsing, energetic house bass line and echoed by Lucas' enchanting vocals.

It's the debut dance track from the Inglewood-born artist, who got his start singing in his local gospel choir and later in an R&B group. He first worked with West around 2008, helping him bring his powerful words online and into the digital space. They will be releasing more music together next year, as part of their shared vision to honor dance music's Black roots. This is also the mission of Purple Label Sound, to uplift fellow up-and-coming house music producers of color and bring in more a diverse audience with it.

"You can't talk about the great funk tradition without talking about house, techno music, all different kind of bodies—straight, queer, trans, all connected through the depths of their humanity and allowing what is inside of their souls to overflow. That is what the rave is all about. That is what the groove is all about," West said in a press release for the song.

Brandon Lucas · Got That Hope - Extended (feat. Cornel West)

Read: How Contemporary Musicians Are Embracing The Spoken Word Album

GRAMMY.com chatted with Lucas right before he delivered a killer debut [virtual] festival set for Rave The Vote, a star-studded voter engagement concert series aimed at mobilizing the dance music community. He shared nuggets of wisdom from West, his vision for the label, the music that moves him and more.

So, you recently released your debut single, "Got That Hope," with none other than Dr. Cornel West. Amazing! What is the message and feeling that you hope listeners get when they hear it?

Music, I think, is a medium that crosses cultures and languages and color lines and political stances, and it brings people together. This song is a message of hope. And during this unprecedented time of literal craziness, it's something to get people moving and grooving and all that beautiful stuff, because you have to find the joy in your struggle to even get through it. So that's what this song is about, but also giving people that stimulus like "Hey, there can be some hope," and getting them to move into that mode.

Whatever you went through during this pandemic, whether it's been good or bad, whether you're affected by the political climate and the racial strife, I think that everyone is exhausted right now. Dr. West always says, "I'm not an optimist, but I'm a prisoner of hope." It's basically saying "Hey, I don't see anything that's going great right now, but I'm going to stay hopeful because that's the only thing that's going to sustain us."

I love that. It's real.

Right? I'm telling you, it's real. And by the way, not to talk too much and not get to your questions, but I created this music at the top of the pandemic, around March. And I was talking to Dr. West yesterday, he reminded me, he was like, "Brother, you remember when you told me you were with your friends in the desert?" And this is when it was hot on the streets, on Fairfax and Beverly where I live, it was going down. And my friends who were semi-public figures, they were like, "Brandon, there's protests." And I couldn't even go home because there was a curfew, but I just felt convicted being in the middle of the desert with my White friends just chilling, while they were not thinking about it.

Fast forward to a couple days after, I wrote him a letter about it, I told him what was going on, everyone was so amazing, this awakening I think has been so powerful for many people across political lines and racial lines. I think that this song of hope brings everyone together in that mindset, because we are so divisive, we need something that pushes us together.

Can you tell me more about Dr. Cornel West's lines in it?

He says, "Still got that hope in you, but you don't talk about the hope, you enact the hope. And it's in your music, that is the blues, a narrative of a catastrophe lyrically expressed but doesn't allow the catastrophe to have the last word."

Okay, so I started working with Dr. West back in 2008, 2007, something like that. And this is when he first came out with his book Hope on a Tightrope. Hope has been a part of his messaging for a long time. Right now, in the news he talks about how he feels that Biden is a neo-liberal disaster, and Trump is a neo-fascist catastrophe. This is Dr. West. He does not hold back how he feels, and he's going to tell it like it is no matter who it is, you know?

But to that point, we can't let catastrophe have the last word. You're going to go through things. Bringing it back to house music, house comes from that black music tradition where these people from cast-out communities would come to warehouses to party all night and to let that funk out, right? These are your Black, brown, and a lot of queer communities coming together, and the roots of the Black tradition is letting that suffering speak through your music. And we've seen that throughout history. With my music and with this label that we're launching, Purple Label Sound, we hope to bring that back in a meaningful way for house music, in a way that makes sense and that's been in the Black tradition for years.

I would say the Black tradition is the American tradition. It's very American. So it's not really a racial thing, it's really about bringing us back to the roots of who we are with this music, and adding that extra culture to it.

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I want to talk more about dance music's roots. As you said, it was created by Black, brown, and queer people—and that's not necessarily reflected in the overall space currently. How do you believe that the dance community as a whole can better celebrate, honor and return to its roots?

In the same way I think a lot of industries should. But, to that point, I feel that the dance community is one of the most inclusive communities that I know. I've been doing music and been in the entertainment world for years. I'm from L.A., from Inglewood, so I've been in it. I grew up in the gospel church, and in the R&B world. I was signed to an R&B group back in the day, I did that whole boy band thing.

But when I found house music, around 2010 or so, I found these communities to be so inclusive and so welcoming, the people all the time that you meet in it. It's a beautiful thing. So, to that point, I think that the dance community is in a unique position to do it, but it takes stepping outside of your comfort zone. It takes doing that work to go outside of just who your friends are. A lot of times, your friends don't look like you just because of where you live and who you're about, you know?

And there are a lot of amazing Black Americans or Europeans from the African diaspora who have been killing it for years in the dance industry, like Jamie Jones, Seth Troxler, and the other giants. They get the recognition. Because they've been in it, those of us who are also in it now are a little bit more digestible to people. I think, just like a lot of communities, that unconscious bias runs through, that people don't think about. People who are good people, who are not racist, just go for who makes you feel comfortable, who are your friends. And that's it.

So, with this label, we're going to be a little bit more intentional about—and it's not exclusively Black and brown artists, by the way, but it's what we're focusing on—marketing our artists in a way that I know that these artists of color should be marketed. It can't be cookie cutter. We're going to do it in the traditions of the Bad Boys, the No Limits and the Cash Moneys—the way dance music is marketed today is not the only way.

I honestly feel that most Black people today, when they think of EDM or deep house or house music, they just think "oh, that's techno." A lot of them don't have any clue that it came from us. That's because what gets put on a pedestal, what gets pushed out there to the mainstream, is not what sparks their ears. And by the way, urban music, Black music, the biggest market [today] for that music is White people. So it's not like if we push more of an urban voice in the dance community that it's not for everybody—it's going to be for everybody. It's just making it more accessible to ears who are more used to a more urban thing. That's it.

Read: Aluna On New Album 'Renaissance' & Making Dance Music Inclusive Again

This has me thinking of a really great conversation I had with Aluna recently—I love her and I'm super inspired by what she's doing now as a solo artist.

She's awesome.

She talked about how she, as a Black woman, felt like an outsider in the dance world even though she was part of a duo putting out big dance hits. Once she learned who first created dance music, she realized it's the way things are being marketed and who's being pushed to the top, and she wanted to change it. And she talked about seeing one or two Black girls dancing in the front at their shows, so she was asked "Where are the other Black girls and what can I do to make this feel more inclusive?"

Well, to that point, I know a lot of girls who love techno, and a big handful of them are Black. But it's not a lot of our faces in those scenes, and I've been in the dance community, going to a lot of shows in the underground and music festivals, so I've been around the scene for a long time.

She's right. I've been in worlds where, when you're Black, you're the only face there. But I think it's really a mindset thing. And, from the start, I understood that there was some connection that I felt. When I first heard house and techno songs, like from Kaskade and Above & Beyond, and Avicii, all of those back in early 2010, Eric Prydz—I felt a connection to it. I was like "Whoa, that chord is kind of like a church chord. Oh wait, I know this song, we used to sing that at church." Or "Oh, this is like an R&B track."

At first, I was excited because I loved the music and the musicality. And even with artists like Skrillex, [where some] people were like, "Oh, this noise," I understood what he was doing musically. I understood the chords. It was crazy sounds but I understood it as an artist and as someone who's been in gospel and R&B forever. For a lot of my friends in that space it was new to their ears, but knew when it was a remake of an old classic song that my mom used to play. I knew Black people would love this music if they were exposed to it the right way.

And I think you're right, what gets elevated a lot of times, is non-urban music. When people think dance music, techno music, house music, you don't think urban music. But it's not either/or. There can be urban music that is deep house, that's tech house. But to be honest, I think that a lot of the Black artists that get pushed to the forefront are people who've been doing it forever. The legends, who should be respected, and who we should be pushed forward and lauded. But what about the new cats? Everyone that people talk about, they're in their fifties. We love them, and they're amazing, but who's got next?

And I am talking to Black and brown artists in the space, who are excited about what we're doing [at Purple Label Sound]. The A&Rs, they just don't get it, they just don't get me. They think it's too urban. What's "too urban?" House music is urban, technically, it started off that way. Since then, there's been amazing contributions worldwide, including from the European scene, in Italy, in Sweden. At the root of it, I think if you elevate the right music in the right way, I think it can cross everybody. You know what happened was, and I always say this, I think Beychella made a big impact on house music.

I had a lot of my Black friends who went to Coachella for the first time [in 2018]. They'd been hearing about Coachella, for a while, but when Beyoncé was headlining, it was like, "We're going to Coachella." When they finally went, I had so many friends like, "I'm going back. Oh my gosh, EDM. Wow, this is amazing. Now I get it." Now they feel the music and the culture, and they're starting to understand it, because of Beyoncé.

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Related: Beyonce Created A Space To Celebrate Black Culture At Coachella & More Things 'Homecoming' Taught Us

I want to talk a bit more about Purple Label Sound, because "Got That Hope" is also the debut release from it. What's your hope and vision for the label?

Purple Label Sound came about before even my foray as an electronic artist. I created a few songs, I started creating them during the pandemic. I had time for myself with the self-isolation. And really, it was like, "Wow, what am I about? What do I want to do?" And then the racial strife started to happen, and I created a song with Dr. West. But even then, I didn't understand what I wanted to do as an artist. Of course I was going to release some music, but my focus has always been to elevate other people's point of views, and to take other people to the next level.

I've been working with talent on the music end, on the influencer end and on the actor end for years. My day-to-day, what I do best, is to take people's voices and take them to the next level, and then to great careers. That's what I want to do with this label, is to elevate careers and use my resources and my expertise as an artist, and as an entertainment executive, to help these voices be elevated and marketed the right way to support their ventures. And then I realized I should be putting myself out there too. And the music just kind of ballooned into something where, I was like "I guess I should be doing this as well."

It got to the heart of it. I kept having a lot of people come to me and talk about loneliness. I'm one of those strong friends, where friends talk to me a lot. And it was a reoccurring theme of loneliness and "what am I about?" The music that we're initially putting out is what we call deep gospel. We want to inspire people. That's how came about.

My next release, "Is My Living in Vain," is coming up soon and we're dedicating it to a comrade, a brother of mine, a friend who took his life during this pandemic. He came up with us in the industry, he was an A&R executive. I think you guys have a charity in his memorandum actually, the Quinn Coleman Fund.

I really want to make sure that during this time of pandemic, house music still has a place. It's about joy, about dancing, and about partying, but you have to do that to get through the darkness, right? And so, that's why we're talking about hope, we're going to be talking about loneliness, talking about being introspective, and having music that can move us and get through this.

Yes, Purple Label Sound is about elevating these underrepresented voices, but really it was a call to action for myself—and to the world at large—to take everything that I've done in my life and bring that together to create this label to make an impact on the music industry.

What's one of the biggest things you've learned from working with Dr. Cornel West over the years? I'm sure that's hard.

Yeah, there's so many nuggets. At one point I was inundated with his message so much, it's like I have his talking points in me. He stays on message. He's been saying "last year is the same thing as this year, same thing as two years ago." But I think the biggest thing [I learned] is leadership through service, and using your success and everything you have to generously elevate other people around you. That's the only way you become great. Greatness comes from using, as he says, "the magnanimity of your success." I think that's the biggest one, but there's another big one that's helped me throughout my career, my life, my friendships, and just getting through everything. It's, again, leading through love and service. Being a leader, and leading with your heart, with love and with service.

And one more, I really love how he has a good balance of telling it like it is and being a freedom fighter. He's also amazing at having really thoughtful and curious intellectual discussions with people who he may not agree with. To be honest, the only times you ever see him being in a heated debate is when the other person is disrespecting him. He always says something like, "I'm a gangster, but I'm coming by the blood of Jesus." I really respect how he's always been able to balance having engaging conversations with people across the political spectrum that don't agree with him. There's a mutual respect, and you can intellectualize and hold to your convictions and disagree with someone and hold them accountable and still love and respect them.

That's the hard work.

Yeah. Usually when you hold people accountable, you do it out of love. If you don't care, you won't say nothing.

Watch: Positive Vibes Only: Kierra Sheard And Karen Clark-Sheard Deliver Striking Performance Of "Something Has To Break"

That's real. What kind of music did you grow up listening to?

So early on, it was a lot of, obviously, gospel. I grew up with Kirk Franklin and the Clark Sisters. The song I have coming out, "Is My Living in Vain," is a deep house cover of the Clark Sisters, who just had a Lifetime biopic come out about then, amazing. J. Moss, Fred Hammond and all those guys, and Yolanda Adams. But also, of course, Michael Jackson and Prince. My three titans going into high school were Missy [Elliott], Erykah Badu and Lauryn Hill. And I would say also the neo-soul vibe of Erykah, D'Angelo, Musiq Soulchild. Those are the people who I've studied.

Donny Hathaway, Kim Burrell. You know, R&B, soul and gospel. And of course, I'm a West Coast dude, I'm from Inglewood, so, I love, love Snoop Dogg, Dr. Dre, Ice Cube, and DJ Quik and Suga Free. I'm a West Coast hip-hop guy, for sure. I love Biggie, love all of the people on the East Coast, Wu-Tang and all them. All those are great, but I am West Coast, I love it.

Read: Gene Farris Talks "Space Girl," Rave Safety & The Return Of The "Bedroom DJ"

And what was sort of the point when you first got into house music, or first were curious about it and sort of dove into that scene?

Well, I've always been into four to the floor songs. Anytime when Justin Timberlake came out with his stuff with Timbaland, like "SexyBack." When Britney [Spears] came out with "I'm A Slave 4 U," and Madonna came out with her songs. I was always into drive-y songs, the disco songs.

But I really understood what it was when I started to hear it in college, when Afrojack had a song playing at the time. I was in the music industry program at USC, and a lot of my friends were into house music. I was exposed to really good stuff, really quick and dove deep into it. So that's how I got into it, by my friends around me in college. I started going to raves, and I really started really listening to the music. My roommate would just give me playlists, and I dove right into it immediately in like 2010, as soon as I got a whiff of it. My first rave was HARD Haunted Mansion or some shit. [Laughs.]

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What's your biggest hope for 2021?

I hope that our nation can heal. And I hope that we can party again, man. [Laughs.] I want to travel! I want to go back to Mykonos. I want to go to Tulum, and Croatia, and Ibiza. Shit, I want to go to Miami and New York! I want to travel the world again, and I hope that we can heal as a nation, and as a world. That's my biggest hope, that we can heal, and that people have done the work that this pandemic, and this unique time in history has given us the opportunity to do.

It's really unique, and I'm so blessed to have—I saw that early on in my team. Me and my best friend, Marquees Ezekiel, we were at his house, working from home. He had just built an at-home gym, because we couldn't work out anywhere and had to work out. And the idea of this label just came about. It was like, "Let's go." It's so amazing how God moves, and how that inkling of idea, three, four months ago became this. But it's not overnight. I've been doing this music thing for years. I've been in the industry for years, and it's beautiful, it's crazy how the universe guides us, places everything in the right mode, to set it up the right way to be here and to talk to you.

Soul Clap Wants You To Rave The Vote This 2020 Election

Positive Vibes Only: Kierra Sheard

Kierra Sheard

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Positive Vibes Only: Kierra Sheard positive-vibes-only-kierra-sheard-karen-clark-sheard-maria-menounos

Positive Vibes Only: Kierra Sheard And Karen Clark-Sheard Deliver Striking Performance Of "Something Has To Break"

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The two-time GRAMMY-nominated gospel singer-songwriter is joined by her mother, four-time GRAMMY-winning gospel icon Karen Clark-Sheard, in a heartwarming performance that speaks to the social justice movements happening across the U.S. today
John Ochoa
GRAMMYs
Sep 27, 2020 - 12:00 pm

Whether the last seven days went well or proved challenging, rest assured that you can now end your week on a high note with another blessed episode of Positive Vibes Only, GRAMMY.com's new digital series offering motivation, affirmation and uplifting energy.

This week's episode is a special double dose of love and worship. 

Two-time GRAMMY-nominated gospel singer-songwriter Kierra Sheard delivers an emotionally powerful and visually stunning performance of her new single, "Something Has To Break," a standout track off her newly released, chart-topping album, KIERRA. As an added bonus, Sheard's mother—the four-time GRAMMY-winning gospel icon and The Clark Sisters founding member, Karen Clark-Sheard—elevates the heartwarming performance to sky-high levels.

Interwoven with striking images from the current nationwide Black Lives Matter protests, this unique performance captures the fervent energy and emotional spirit of the social justice movements happening across the U.S. today. 

Ahead of the performance, Maria Menounos, a beloved media personality, actress and host of the "Better Together With Maria Menounos" series, offers some words of wisdom about the power of knowledge for achieving personal growth. 

GRAMMY.com's newly launched Positive Vibes Only series aims to affirm audiences everywhere as the country continues to face the COVID-19 pandemic and racial reckoning. The series will feature upcoming performances by Christian music artists Hannah Kerr and Wande; Latin GRAMMY-nominated group Miel San Marcos; GRAMMY-nominated singers Koryn Hawthorne, Mali Music and Natalie Grant; and GRAMMY-winning singers Kalani Pe'a and Lauren Daigle. 

Spoken word artist J. Ivy, poet Sabrina Benaim and internet sensation and actress Tabitha Brown are among the speakers who will open each episode. 

Positive Vibes Only posts every Sunday at noon PST/3 p.m. EST on GRAMMY.com and via the Recording Academy's official YouTube channel, Facebook page and Instagram profile.

Jonathan McReynolds Takes You To Church With A Blissful Performance Of "God Is Good" | Positive Vibes Only

Leiomy Maldonado on the set of HBO Max's "Legendary"

Leiomy Maldonado on the set of HBO Max's "Legendary"

Photo: Barbara Nitke/HBO Max

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Leiomy Maldonado Talks "Legendary" & Trans Issues leiomy-maldonado-how-her-hbo-max-show-legendary-giving-masses-real-ballroom-experience

Leiomy Maldonado On How Her HBO Max Show "Legendary" Is Giving The Masses A "Real Ballroom Experience"

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As a judge on the hit voguing competition TV series, the hard-working trans dancer, model and activist is once again mainstreaming modern-day ball culture and shining a light on the fierce art of voguing
Susan L. Hornik
GRAMMYs
Jul 11, 2020 - 2:04 pm

Leiomy Maldonado eats, sleeps and drinks voguing, a highly stylized type of dance originating in New York City's LGBTQ+ Black and Latinx underground ballroom scene between the '60s and '80s.

Known as the "Wonder Woman Of Vogue," the hard-working trans dancer, model and activist is known for her work in mainstreaming voguing and ballroom culture. In addition to being the first openly trans contestant on MTV's "America's Best Dance Crew," she choreographs the ball scenes on FX's Emmy-winning drama, "POSE." She's also worked with celebrities like Beyoncé, Britney Spears, Lady Gaga, Janet Jackson, Willow Smith and Icona Pop.  

With her latest project, serving as one of the judges on HBO Max's hit voguing competition TV series, "Legendary," Maldonado is once again pushing modern-day ball culture to the masses. 

During each episode of "Legendary," individual teams, known as "houses," compete in themed "balls," which feature a variety of creative categories like fashion and dance challenges, including voguing, posing and walking—all while wearing incredible costumes and outfits. As the show progresses, houses are eliminated until one team is left "slaying." The winning house achieves "Legendary" status and takes home a $100,000 grand prize.

"The world got to see ballroom culture via 'POSE,' and the struggles of the community," Maldonado tells GRAMMY.com. "It opened doors for a show like 'Legendary,' where now you get to see the real deal. It's raw and authentic, not scripted, not made up: a real ballroom experience."

"Legendary," which is hosted by "King Of Vogue" and actor/MC Dashaun Wesley, sees Maldonado offering the houses sage advice on what it takes to win ballroom competitions each week. Celebrity judges Law Roach, who has styled stars like Zendaya, Ariana Grande and Celine Dion; actress/host Jameela Jamil; and breakthrough rapper Megan Thee Stallion round out the judges cast.

Following the breakout success of "Legendary," which just wrapped its debut season Thursday (July 9), HBO Max has renewed the series for a second season, which will film in Los Angeles and will feature all the original judges and host. (Online, the show has taken a second life: The “Legendary" TikTok dance challenge has received over 2.6 billion views, surpassing Megan Thee Stallion's own viral challenge for her track "Savage," which has over 30 million videos.)

GRAMMY.com spoke with Maldonado about music's important role in voguing and ball culture, the dire situation trans women are facing today and the 30th anniversaries of the iconic ball culture documentary, Paris Is Burning, and Madonna's epic song, "Vogue."

What drew you to voguing and the underground ballroom scene?

I fell in love with voguing back in 2003. This was a way for me to find myself through dancing; I could express all this emotion and frustration I was going through as a young teen transitioning. When I became part of the ballroom scene, that's when I really started educating myself on the importance of the culture [and] why it plays such a big role for our community. I just knew this was the place for me.

This year marks the 30th anniversary of Paris Is Burning, the definitive documentary on underground LGBTQ+ ballroom culture. How has the film impacted you?

Paris Is Burning was one of the most important films that showcased our culture to the world. It touched on the immense struggles the trans women were dealing with. Listening to them speak was incredible. That movie really inspired me to do something with my talent and bring ballroom to the forefront.

2020 is also the 30th anniversary of Madonna's song, "Vogue," which brought voguing to mainstream culture. 

In a good way, it was amazing for voguing to have been given a spotlight. That song put voguing on the map; we would have never had that chance otherwise. It was, of course, groundbreaking; it paved the way for voguing to be seen and accepted. 

Still, I feel like it should have been more than just one situation. A lot of times, people just use something for the moment, instead of understanding the bigger picture of it. Honestly, when that song came out, it wasn't about the voguing or the community. As opposed to now, when you are seeing voguing [and] ballroom, it's about the community. I feel like that is a huge difference. It's a different type of celebration.

Leiomy Maldonado on the set of HBO Max's "Legendary"

Leiomy Maldonado on the set of HBO Max's "Legendary" | Courtesy Photo: HBO Max

"Legendary" stands upon the shoulders of "POSE."

Yes, "POSE" highlights voguing culture, showcasing moments that happened in real ballroom history. While it is a scripted show, some of the things that have happened on "POSE" have happened in ballroom. The fact that these stories are being told [is] so important. 

The world got to see ballroom culture via "POSE," and the struggles of the community. It opened doors for a show like "Legendary," where now you get to see the real deal. It's raw and authentic, not scripted, not made up: a real ballroom experience.

How has music played a role in voguing?

Music has been very important to ballroom and voguing. For every category [competition], there is a style of music that gets played, so the people can be [and] feel in that theme or character. With ballroom, it changes so much; there is a lot of variety, artistry [and] talent. Things are going to change; you are not just going to be stuck with one DJ, with one commentator on the mic. You are going to get different flavors and styles. That is so beautiful. Without music, the world would kinda suck! Music makes the world go round! Now you get to see how ballroom culture inspires the world.

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As one of the show's celebrity judges, what does Megan Thee Stallion bring to the table? 

Megan brings a lot of love and inspiration. She wants to make sure each team is comfortable in their skin doing what they are doing and are engaging with the audience. As a performer, she understands being onstage and what it takes to command that attention, showing that you are confident.

Read: How Black Trans Artists Are Fighting To Achieve Racial Justice & Amplify Queer Voices

While "Legendary" celebrates trans culture, we are living in a world where countless trans women of color have been killed. What's it going to take to change this? 

People forget that trans folks are human. I truly don't understand what the struggle is. As humans, we have feelings, we have compassion. But when it comes to trans women of color being killed, you don't really see much of that.

A lot of the frustration nowadays comes from the fact that our own people of color are not fighting for us. That's hurtful and heartbreaking, because when men and women of color are being taken from us, we are out there fighting on the frontlines with them because we are all fighting together as people of color. 

But when it comes to trans people being killed, it's like, "Oh no, their lives don't matter." What's important is for allies, people in the community, etc., to be visible, loud and protecting us to the utmost, not only when it's your friend. 

A few weeks ago, I put up a fake obituary on my Instagram just to alarm people, like, "Hey, this could be me." For many of the responses, it was an awakening call for them, like, "Wow, I never thought about that." People need to understand that this shouldn't only be important if it happens to someone close to you. We are all one community, and are all in this together. 

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There is a lot of solidarity between the LGBTQ+ community and Black Lives Matter movement. Let's talk about their intersectionality.

The Black Lives Matters movement was started by two women of color, and they are part of the (LGBTQ+) community. That alone is mind-boggling to me. We need to be vocal about the protection that we deserve and are in need of.

That needs to trickle down within the community as well. A lot of times, we deal with transphobia, misunderstanding, miscommunication from people who are gay, lesbian and bisexual. That to me is equally mind-boggling. We need to put the work in and understand how important it is for us to be together.

How do you see the music of ballroom evolving?

I would love to see the hip-hop community be more accepting of ballroom, even to have collaboration. I feel like a lot of these barriers that are being held onto should be broken down. We need to start appreciating people for their talent and what they bring to the table. Forget about gender and labels. 

Want To Support Protesters And Black Lives Matter Groups? Here's How

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