Being a drag queen is an essential part of my being. It fuels and amplifies my academic work surrounding gender and performance topics, as well as aids me in the auto-definition of my identity, which many find to be outside of the proverbial box. I identify as a genderqueer artist of color. Let me begin by stating that for me, being a drag queen is both a high art and indicitive of part of my personal identity. It is one of the unique ways in which the difference between a human body and societal misconceptions regarding gender and sexuality may be exposed; meaning that the ideas of masculinity and femininity are merely that: conceptual methods of understanding and communicating power roles, attraction, desire, and existence. Ideas are not people. The idea of femininity does not belong to women and it is not soley projected by women, nor is it created without other lived genders. One begins the construction of their drag persona from the frame or body which they inhabit each day. We build, shape, and color our bodies, some permanently, as do the trans queens with whom I perform, and others just for the evening of the show. We have shared motives and reasons for performing, as well as differing insights and thoughts. Drag requires me to think about theories of excess. These theories are directed toward the altering of the physical body (height, weight, ethnicity) and representational of a complex deconstruction of the performed idea itself. In terms of taste and pop culture, drag has expanded my vision in presenting me the opportunity to appreciate and build pieces with various styles of music. I have experimented with different fashions, from vinyl gothic wear to faux fur and bubble wrap. The concept of performing femininity houses endless possibilities of expression, investigation, and visual appearance. Feathers line the interior of the stairwells wherever I go, as I figuratively ‘flip off’ the heteronormative fashion market. Drag has reinforced the fact that neither fabric nor color is gendered. Socially, I have met some of the most amazingly complex people at, and surrounding, performance events. I am forever in debt to the first two queens who assisted me in learning the basics (how to construct prosthetic boobs, how to stuff one’s hips and derriere, where the lip liner begins and ends…) I will forever remember them with fondness and good thoughts. There are also those icons to whom I look for guidance and improvement in movement, choreography and grace (Mae West, Layla La Rue, & Joey Arias). My present personal challenge is the development of a new show which will be a hybrid of a traditional drag show and a theatrical linear production. Finally, I will always enjoy the process of creating fabulous shows with all of the queens who are my co-performers in various casts. I believe that supporting the performances of others allows the show to achieve a more cohesive sense of fabulosity for both the audience and cast members. Additionally, I have come into contact with those who, for various reasons, elect to stereotype groups and individuals and are not lead by the desire to dialogue and learn from the perspectives and knowledge of others. I do not wish them harm; rather I sincerely hope that they are able to broaden their minds and hearts one day in order to become better thinkers and people- as we all should strive to do. We are all students and teachers at each and every point in our lives. I believe that social justice is born through communication and examination and that one day, the word “prejudice” will be an antiquated notion. And finally, I must thank all of my friends and supporters who see the merit in this fine art of ours. Thank you to all who have stood by me through the positive and negative moments over the past eight years, Miss Jo-Jo Mackie, Mahogany Blue, Barbara Gordon, Gwen Lavyril, Sheri, Adam, Mateo, and so many others.