David Magazine V7-i08 | What Lies Beneath

Photos by: Russ Bowen-Youngblood

BLACK HISTORY MONTH 2023 TRIBUTES VOLUME 4

All profiles by Miko Evans for Meak Productions, Inc.

Photos: PR

DOMINIQUE JACKSON

Dominique Brebnor AKA Dominique Jackson (born March 20, 1975), is a Tobagonian-American actress, author, model, and reality television personality. As an actress, she is most known for her leading role as Elektra Abundance on the FX television series Pose. As a model, she has appeared in Vogue España.

Born in Scarborough, Tobago (Trinidad and Tobago), Jackson grew up with her grandmother. She experienced a traumatic upbringing that included bullying and sexual abuse. Her family and community in Tobago did not accept her as transgender, and she was regularly reprimanded for displaying her natural feminine characteristics. Jackson grew up very religious and was an active member of the church from a young age. When she was a child, her family moved to New York, but she remained living with her grandmother. At age 15, she moved to the United States and lived with her mother in Baltimore, MD. During this period, she met with members of the trans community for the first time.

Jackson did most of her early modeling work for free to develop the right connections. In 2009, she became a resident model for fashion designer Adrian Alicea and walked for the Mercedes-Benz Fashion Week. She also modeled for Vogue España. She walked for the 2021 Mugler show, along with another trans model Hunter Schafer.

In 2018, Jackson was cast as the leading role of Elektra Abundance on the historic award-winning FX series POSE, set in the ballroom subculture scene in late-1980s New York City. The series premiered on June 3, 2018, and attracted critical acclaim. The first season boasted the largest cast of transgender actors for a scripted network series, with over 50 transgender characters/actors. She continued her role as Elektra Wintour in Pose’s second and final third seasons.

See the full profile at DAVIDATLANTA.COM

LEO HOLLEN, JR.

Leo Hollen, Jr. (born and raised in Cleveland, Ohio, March 27) has lived in Atlanta, Georgia, for the past ten years, where he completed college and several short films. He graduated from Georgia State University and studied film, English minor. Queer Moxie is his first feature-length project, which he co-director with Heather Provoncha in 2016 and was featured at the annual Out On Film festival.

Along with directing the film, he was also editor of the documentary celebrating the importance, evolution, and daring spirit of queer performance in Atlanta. Leo and Heather have teamed up again to direct XOXO: For the Love of Football, a documentary celebrating some of the amazing women, on and off the field, who play tackle football.

He is currently a board member and on the planning committee for Out on Film. After completing post-production on his new film project, XOXO, his goal is to complete a pilot, write, and direct more narrative projects. Being a queer black man in the South, he finds it is important as a filmmaker to create art of all mediums as diverse as the world around him. Please find out more about the projects he’s working on at mettleandpluck.com.

AUDRE LORDE

Audre Lorde (born Audrey Geraldine Lorde, February 18, 1934 - November 17, 1992) was born in New York City to Frederick Byron Lorde and Linda Gertrude Belmar Lorde, Caribbean immigrants from Barbados and the Grenadian island of Carriacou. Lorde was the youngest of three daughters. Lorde’s mother was of mixed ancestry and could “pass” for white. Her father was darker than the Belmar family liked, but they allowed the couple to marry because of Lorde’s charm. This colorism would become a factor in Audre’s later estrangement from her family.

Lorde’s affinity for poetry was recognizable at an early age, as her mother inspired her. She would memorize poems and would recite in response to questions rather than prose answers. In her earlier years, she also dropped the ‘“y’ from her name, citing the desire for symmetry between the e-endings in Audre Lorde rather than as her parents intended. Lorde wrote her first poem when she was in 8th grade. She would gain recognition at Manhattan’s Hunter College High School as a wordsmith. At 17, when her poem “Spring” was rejected by the school paper, she submitted it to Seventeen Magazine, becoming a published writer even before college.

After graduating from Hunter College High School in 1951 and grieving the death of her best friend Genevieve “Gennie” Thompson, Lorde left her parents’ home, becoming estranged from her family. She enrolled in Hunter College, part of the City University of New York, where she studied English literature and philosophy. During college, Lorde supported herself by working various jobs, including as a factory worker, ghost writer, social worker, x-ray technician, medical clerk, and arts and crafts supervisor. In 1954, Lorde spent a pivotal year as a student at the National University of Mexico, a period she described as a time of affirmation and renewal in which she confirmed her identity on personal and artistic levels as a lesbian and a poet.

On her return to New York, Lorde returned to school, worked as a librarian, continued writing, and graduated from Hunter College in 1959. She also became an active participant in the gay culture of New York City’s Greenwich Village, entering the “gay girl” scene, in which she was often the only Black woman. Lorde earned a master’s degree in library science from Columbia University in 1961 and worked as a librarian at the Mount Vernon Public Library. In 1962, the self-identified lesbian married attorney Edwin Rollins, a white, gay man.

Throughout her life, Audre Lorde fought for civil rights as an activist and writer. The political nature of her work is evident in essays such as “Apartheid U.S.A.” and “I am your Sister,” which examine how Black lesbians are stereotyped by white and Black people. In general, the voices in Lorde’s work challenge the conventions and norms of a racist, heterosexist, and homophobic society and stress the urgency of fighting against inequality.

See the full profile at DAVIDATLANTA.COM

Trans Director Makes Directorial Debut at Sundance

By Chris Azzopardi

The same music industry that initially embraced D. Smith when she was presenting as a man turned against her when she transitioned. She lost her house, her car and her music studio. This was 2014, the year Smith, who has produced songs for Lil Wayne, Keri Hilson and Ciara, says she was “forced out of the music industry.” Just seven years after exiting that industry, Smith is making a splash with her directorial film debut at one of the world’s preeminent film festivals. This achievement is even more remarkable considering the director who discovered a passion for filmmaking during the pandemic decided to go DIY for her first film, “Kokomo City.”

The film is an uninhibited, fearlessly sexual documentary that explores what life is like for four Black transgender sex workers — a true watershed moment in trans-centric filmmaking. And this is where Smith’s story gets especially emancipatory: “Kokomo City” just premiered as an official selection of the NEXT section at the 2023 Sundance Film Festival to early critical acclaim. “One of the most exciting non-fiction entries to this year’s Sundance is a radical, on-the-ground pulpit from which four Black trans sex workers talk their shit,” wrote Jacob Oller for Paste Magazine. The site BlackGirlNerds.com called it “transcendent genius.” And to the music industry folks who turned against her — Smith recently completed work on a new song, “Man’s World,” for an album Katy Perry is currently recording. As for her directorial debut, Smith described the experience of being at Sundance with the film as “literally a comeback.”

What happened to you during the era in which you were shut out of the music industry for being transgender?

I was pretty busy as a producer. I was working with a lot of people, and it’s so crazy. I’ve done a lot of hip-hop, and people see me dressed [as a man] one day, and then the next day I’m wearing eyeshadow. And guys, people just didn’t know how to handle it, or they didn’t want to handle it. They were embarrassed. And I was pushed to the side. Phone calls weren’t returned, emails weren’t returned, and I just stopped working. And in less than two years, I completely went broke.

Do you feel there’s an undercurrent of internalized homophobia in the hiphop world? Even outside that world, there’s a lot of homophobia and

Photos Courtesy of Sundance Institute, Photo by D. Smith.

transphobia, period. And it sounds like you experienced that. Oh yeah. Firsthand. But what’s so crazy is that your music has nothing to do with how you present yourself. So the fact that people stopped working with me musically because of the way I started to look as if it affected my music… it actually enhanced my music, because I started to feel more like myself. And it backfired. People literally just stopped calling me for work and caused me to be homeless. So [I’m] kind of getting on my feet now.

And now you’re here at Sundance with your directorial debut. What’re you feeling right now?

Oh, I feel… and this sounds cliché, but I feel tremendously empowered. I also am very aware of my position, and I respect it, but I’ve also worked very hard for it. But I just want to use this energy, this moment where I am, to just keep telling great stories and creating music.

When you say position, what do you mean? Because to me, it seems like even with this movie, you being at Sundance, this was not an easy film to get made.

No, no. I mean, I made it by myself. By position, I mean, I’m being acknowledged for my work. How can I say this without sounding arrogant? I did it by myself, most of it. And that took a lot of my life, my time. And nothing’s guaranteed, right?

So to be acknowledged for something that I’ve done with my talent, my Godgiven talent… that’s what I mean by my position. I don’t take it for granted, and I understand where I am right now in my life. So I just want to maximize the opportunity and inspire people.

This being your directorial debut, I was curious about the first time that you picked up a camera and what that experience was like for you?

Someone purchased the camera for me and that in and of itself was very moving for me, because this wasn’t a rich person. This is someone that really made a sacrifice to make that happen. And when I got the camera in my hand, I knew something good was going to come out of it.

During the pandemic, I was walking around the city with my phone just taking pictures of different elements or angles in the city, shooting in black and white. And I was inspired to shoot with this technique and movement. And the documentary came to me. I’m thinking, here I am shooting photographs, but I’m broke. It’s like, how can I make this work for me? And also, how can this be something impactful?

How did the idea of spotlighting Black trans sex workers come to you?

Well, I’ve never had to do sex work, but what inspired me was when I was homeless, sleeping on people’s couches for two years. I’m thinking, “Gosh, I

Liyah Mitchell appears in KOKOMO CITY by D. Smith, an official selection of the NEXT section at the 2023 Sundance Film Festival. Courtesy of Sundance Institute. | Photo by D. Smith

have a lot to show for myself. And it’s still not good enough. I have great music to show for myself and a great reputation in the music industry. And it still wasn’t enough.” People judged me and disconnected from me because of my identity. And I started to think about trans women and how difficult is it for them that don’t even have the amount of talent that I have? And I’m still in a worse position than they are. At least they have their own house, they have their own vehicles. But it inspired me to tell their story.

How did you decide to make some of the artistic decisions that you did for the film? For instance, shooting it in black and white, the music and the overall edgy tone. There’s nothing shy about this work. It’s like, if we’re going to talk about sex, we’re going to talk about sex.

That’s right. But that’s what we do in real life in person. We do that, even if it’s in the privacy of our own homes. So when we go into documentary form, why is it watered down when we’re all doing it in private? It just seems really reductive, and it doesn’t feel fulfilling. And the black and white, I shot it because it represents truth. It’s just simple, but it’s also classy, classic and timeless, and it looks really elevated. And I thought that dichotomy with the girls, with their street personas and their lingo, that it’d be great to have these girls in a raw form shot in black and white.

What do you think is something that has been historically left out of the conversation regarding sex workers that made it even more important to include in this film?

Well, the fact that they’re doing it. And there’s a lot of trans girls that are public figures or celebrities that are still having to do sex work because it’s hard for them to get jobs.

I don’t think most people would assume or know that. Oh yeah, it’s the truth. So these girls are really breaking that old narrative that we are OK, or we are fine because we dress in gowns, or we have a great wig. But the truth is, a lot of girls, a lot of trans women, have to subject themselves to sex work, and that’s the reality.

I mentioned the rich storytelling in “Kokomo City,” and there are some really great moments but also some devastatingly real-talk moments. What’s something that is said during the doc that has stuck with you?

The fact that during some of their calls, some of the sex workers tried to blackmail the clients, or rob them, and that was a shocker. But I’m not surprised because sometimes girls feel like they’re not getting paid enough, or maybe they feel like the guy is going to gyp them from pay. So it’s all these details and possibilities that can happen when a trans woman puts herself in these situations or in the hands of these men. It’s unsettling.

What do you hope this doc conveys about the way Black trans women sex workers are perceived?

This film is about Black trans women, but it’s also about Black people. How we treat each other and the lack of

Dominique Silver appears in KOKOMO CITY by D. Smith, an official selection of the NEXT section at the 2023 Sundance Film Festival. Courtesy of Sundance Institute. | Photo by D. Smith.

love for each other. So I hope that it’s a wakening for Black people as a community. And I hope there’s a level of shame that comes with this film for some Black people that feel like they could have done or should do more to get to know trans people or be kind to trans people.

Are you finding that these women are being accepted more than you expected them to be?

Yeah. Because a lot of times people, especially in the media, they like to create this narrative that trans women are against Black women, and Black women don’t like trans women. And it’s been more Black women who are championing this film than anything. I’m so shocked, to be honest with you. They’re so supportive and like, “Oh my god, I love this film. This has to go.” And so, yeah, this is thrilling.

This interview has been condensed and edited for clarity.

Chris Azzopardi is the Editorial Director of Pride Source Media Group and Q Syndicate, the national LGBTQ+ wire service. He has interviewed a multitude of superstars, including Cher, Meryl Streep, Mariah Carey and Beyoncé. His work has also appeared in The New York Times, Vanity Fair, GQ and Billboard. Reach him via Twitter @ chrisazzopardi.

Koko Da Doll appears in KOKOMO CITY by D. Smith, an official selection of the NEXT section at the 2023 Sundance Film Festival. Courtesy of Sundance Institute. | Photo by D. Smith.

Nasty Pig is a New York-based fashion brand known for its bold and edgy designs.

Founded by David Lauterstein and Frederick Kearney in 1994, the brand has established a reputation within the gay and urban hip hop communities for creating unique and stylish clothing that pushes the boundaries of traditional men’s fashion.

With their new collection for Spring 2023, Nasty Pig’s founders are taking the brand to an even higher level. They are redefining men’s fashion by combining high-quality materials with innovative designs that feature bold graphic prints and asymmetrical cuts. Their range of pieces from jackets to shirts, shorts, and accessories, are all comfortable, functional, fashionable, and dripping with sex.

We spoke with Nasty Pig’s newest model, New York City- based Doryin, who showed off the latest collection.

Whatledtoyourcareerasafashionmodel?

I’ve always enjoyed being able to express myself through fashion. As a model, I become a chameleon. I embody the brand. I think it’s really fun to explore a persona I may not be in my everyday life.

Shooting for Nasty Pig must be a thrill. I appreciate the brand; their sex positivity and their conscious effort to embrace everyone’s sexy side. I highly admire their ethos.  Also, the team I work with is

effective, humorous, and respectful.

In your everyday life, do you prefer wearing briefs, jocks, or boxers?

I am definitely a brief guy, the peach sits well in them.

Where did you grow up?  I was born and raised in Northwest Ohio with my mom and two siblings.

Were you always so fit?

I was an all-season athlete growing up, but I wasn’t in the jock crowd. I was moreso a one-man-wolfpack, involved in a lot of friend circles. I was a good student, too. I was one of those who didn’t have to try too hard but still got great grades.

Did you go to college?  I went to The University of Toledo. My plan was to move to a big city and go into medical device sales.

Lucky for us, you found your way into fashion modeling. The best part of modeling is working with the people behind the camera, and the quality content that’s made when the work is all done. The worst part is how long it can take to get the perfect shot!  It’s not as easy as it looks.

How important is it for models to be active on social media? I would say it’s very important.  Social media is essentially a model’s portfolio

Finding Doryin

By Paul Hutnick

Photos: Nasty Pig

Load Sunga in Black / Pink, $65 at nastypig.com

today.  It is important for a model that his or her pages be vibrant and show off their many facets.  It helps to build a fan base and that helps to book gigs.

Do you share everything on your socials?  I leave out my personal drama and any shenanigans that might occur at any afterparties I attend.

How often do you go to the gym?  I work out seven days at a time and then take two days off. My favorite body parts to work on are my chest and glutes.

What is your idea of perfect happiness? Being in the warmth with my friends and feeling at peace.

What is your most treasured possession? A piece of jewelry that was gifted from my boyfriend.

What is the trait you most deplore in others? People who feel that the only way to relate is by bringing up something negative.

What are your thoughts on Black History Month? It is important. In order to progress towards a future of true equality and peace, all Americans of every color and persuasion must recognize and have conversations about the struggles Black people have endured. I believe Black History should be celebrated every day.

View the entire collection at NastyPig.com.

Photos by: Russ Bowen-Youngblood

Reveal Trunk Short in Pink / Neon Green, $75 at nastypig.com

Expedition Flight Suit in Army Green ($189 at nastypig.com) and the Duo Chain.

Steele Jean 2.0 ($99 at nastypig.com), the Brawn Sleeveless Shirt, and the Collar Chain.

Nana’s Boys: Truths in Lockdown

By Matt Bearden

Nana’s Boys, written, produced, and directed by Ashton Pina, is a Black gay film many viewers could relate to. It is one of Breaking Glass Production’s LGBT movies and features two long-time partners, played by David J. Cork and Jared Wayne Gladly, in a citywide lockdown in their New York City apartment. The film is limited in cast, setting, scene cuts, and dimensionality; it presents, however, among its limitations, alternative ways to wrestle with life altering conflicts.

Q Nichols (Gladly) attempts to celebrate Amari Lewis’ (Cork) 30th birthday with karaoke, friends, catering, vacation, and proposal. Amari is reluctant for a celebration, struggling to find purpose in his own life, whereas his partner Q aims to be the youngest partner at his law firm. The story shifts when the camera shakes, an explosion is heard, and an emergency broadcast alerts New York City to stay indoors. A utility explosion cuts off New York City, leaving viewers, Amari, and Q perplexed, confused, and scared. In this strange lockdown, these two characters—one navigating through the wanes of day to day experiences, the other overly optimistic, Type A, and caretaker— learn secrets from one another as time ticks by for the city lockdown to be lifted.

“Lockdown” may be triggering for viewers with COVID pandemic trauma or cities facing crises that may issue mandated lockdowns or curfews. It could also signal for an apocalyptic scenario, popular among modern television. Nana’s Boys does not pursue those routes, conscious of the realworld its viewers gather from.

Amari struggles with who he is as he turns 30—an introspective struggle many young viewers (myself included as I approach my 30th) can find themselves facing. He questions returning to dentist school, being a photographer, and how to measure up to Q’s ideal life. Q has it planned out: law partner by 35, married by 40. Here is another quality viewers could relate to if their partner holds a significantly profitable career compared to their own. These few character traits make Amari and Q relatable.

As the secrets Q has withheld comes out through games where they relive memories, their relationship is tested and believability of the story diminishes. Both characters make decisions that will leave viewers in daunting disbelief as Amari and Q circumnavigate these revelations. Despite these choices, there is no violence, brutality, or screaming and shouting. While this may go against instinct—Q lays down bombshell after bombshell, as does Amari in the film’s penultimate scenes—there is a message that can be examined: not all conflict needs aggression. Amari has one moment that demonstrates what it feels like to have the world crumble around you when betraying news is delivered (the finest moment of the whole film, honestly). From there, he continues to interact with Q in grace, friendliness, and possibly forgiveness.

Viewers can find Nana’s Boys on AppleTV, Amazon, and YouTube. Viewers who wish to know more about Ashton Pina and the film’s creation can visit nanasboys.com.

Photos by: Russ Bowen-Youngblood

Dining

BARS

BARS not on map

BARS

Photos by: Russ Bowen-Youngblood

BARS & CLUBS MIDTOWN

BLAKE’S ON THE PARK blakesontheparkatlanta.com

227 10th St NE

BULLDOGS

893 Peachtree St NE

FRIENDS NEIGHBORHOOD BAR friendsonponce-atl. com

736 Ponce De Leon Ave NE

MY SISTER’S ROOM mysistersroom.com 66 12th St NE

X MIDTOWN fb.com/XMidtownX 990 Piedmont Ave NE

THE T modeltatlanta.com 465 Boulevard SE

CHESHIRE

HERETIC hereticatlanta.com

2069 Cheshire Bridge Road

BJ ROOSTERS bjroosters.com

2043 Cheshire Bridge Road NE

A snapshot of Gay Atlanta’s favorite destinations. View their ads in DAVID & visit their websites for weekly event listings.

SNAPS

WESTSIDE MARQUETTE

868 Joseph E. Boone Blvd NW

840ATL 840 Joseph E. Boone Blvd NW

ANSLEY

ATLANTA EAGLE 1492 Piedmont Ave NE

FELIX’S 1510 Piedmont Ave NE

THE HIDEAWAY 1544 Piedmont Ave NE

MIXX mixxatlanta.com 1492 Piedmont Ave NE

OSCAR’S oscarsatlanta.com 1510 Piedmont Ave NE

WOOFS woofsatlanta.com 494 Plasters Ave NE

EAST ATLANTA, GRANT PARK & EDGEWOOD

MARY’S marysatlanta.com

1287 Glenwood Ave SE

SISTER LOUISA’S CHURCH

sisterlouisaschurch.com

466 Edgewood Ave SE

DINING MIDTOWN

10TH & PIEDMONT SOMETHING NEW COMING SOON

991 Piedmont Ave NE

G’S gsmidtown.com

219 10th St NE

HENRY’S henrysatl.com

132 10th St NE

LA HACIENDA lahaciendamidtown. com

900 Monroe Dr NE

DEKALB

LIPS ATLANTA atldragshow.com

3011 Buford Hwy NE

RETAIL MIDTOWN BARKING LEATHER AFTER DARK barkingleather.com

1510 Piedmont Ave NE

CHESHIRE

SOUTHERN NIGHTS VIDEO

2205 Cheshire Bridge Rd NE

ANSLEY

BOY NEXT DOOR MENSWEAR boynextdoormenswear.com

1447 Piedmont Ave NE

GCB & PLEASURES brushstrokesatlanta. com

1510-D Piedmont Ave. NE

FITNESS

MIDTOWN

URBAN BODY FITNESS

urbanbodyfitness.com

500 Amsterdam Ave N

CHESHIRE

GRAVITEE FITNESS graviteeatl.com

2201 Faulkner Rd NE

SPAS/BATHS ADULT

FLEX SPA flexspas.com

76 4th St NW

EMAIL info@D A vi DA t LA nt A .co M for fr EE BUSI n ESS LIS t I n G S t HE r E IS roo M for Y o U!

Dear DAVID

QMy partner and I have been together for a long time, and we have a deep and fulfilling relationship. One thing I’d like to change is our sex: we have sex somewhat frequently, but they are always quickies right before work, bed, or going somewhere. It’s like it is only fulfilling the physical part of having sex and not the intimate part, if you follow. And sex is always an intermission and never the main attraction. I deeply desire my partner, and I want to grow our intimacy, so how do we get that back?

ASex is a physical need and release, but ultimately sex is about the intimate connection you achieve with a partner. It seems like you have had that type of connection, so of course, it can be frustrating if it’s veered off to being more about the physical release thing instead. Ask your partner if he has noticed the switch, and if he’d like to get the intimate connection back – that’ll also give you an excellent opportunity to let him know that you miss him intimately. Next, instead of having unplanned, sporadic quickies, plan a romantic, sexy night where you take time to be all about each other. You don’t necessarily have to have sex, but after courting each other all night long, that may end up being the outcome.

Another little exercise that builds an erotic, intimate connection is to lie next to each without touching and revealing a sexual fantasy to each other. Keeping it entirely in the head – at least for a while – helps to switch the sexual connection from the merely physical to an all-body experience. Low-key sex and quickies are fun, but not nearly as fulfilling as drawn-out sex in terms of pleasure and intimacy.

Socializers Club x DAVID Launch Party

@X Midtown

February 23, 6:30-8:30

The Socializers and DAVID have teamed up to bring you a very special edition of the #1 networking event in Atlanta. Come to celebrate the re-launch of David Magazine, get your cover photo shoot, swag, performances, amazing raffle prizes, and much more!

Glitz!

@ Mary’s | February 23, 7 pm 12 drag competitors are going head to head in the weekly drag competition put on by the queer and quirky folks over at Mary’s in East Atlanta Village.

SOS/CTRL

@ The DRUNKEN UNICORN|

February 24, 9 pm

You’re invited to SOS/CTRL, an all SZA drag show and dance party, and enjoy performances of SZA’s music - everything from SOS to CTRL and beyond!

Heretic Harness Party

Lady Camden at MSR

@ My Sister’s Room |

February 25, 9 pm

RuPaul’s Drag Race season 14 top 2 finalist Lady Camden is coming to headline at My Sister’s Room. VIP Meet & Greet tickets are available via Eventbrite.

Steamhouse Lounge Oysterfest 2023 @ 1093 Peachtree St NE| February 25, 11 am – 6 pm

Come get your roasted and chargrilled oysters with a side of live music and a full bar. Tickets via Freshtix.

BEY DAY

@ The Basement | February 25, 10 pm

Get ready for the fiercest, flawless-est, most bootylicious party in honor of the Queen’s album release. Break out your best Freakum Dress and let’s get in Formation.

Drag Brunch with Lady Camden

@ City WInery | February 26, 1 pm

Enjoy this boozy drag brunch featuring special guest Lady Camden, runner up of RuPaul’s Drag Race season 14! Tickets at Citywinery.com.

@ Heretic|

February 24, 10 pm – 3 am Break out your harness and gear for a night of dancing with DJ Seth Breezy.

Brooke Lynn Hytes

@ X Midtown | February 24, 8 pm

Join Brooke Lynn Hytes for a special viewing party, meet & greet, and show starring the Ru girl from Canada’s Drag Race.

Atlanta All Stars Week FINALE

@ Future Atlanta | February 28, 9-11 pm

The 7-week drag competition to name Atlanta’s top all-star comes to a close. Hosted by LaLa Ri and judged by Phoenix, Tahjee Iman Star, and Niesha Dupree, the quest for Atlanta’s all-star title is near, and the judges are ready to award the title and a cash prize of $10,000.

We all have those moments of ‘wait, did they just say that?’ Lucky for you, we compile the best of the best right here on this page. Want to join in on the b*tch session? Submit your own nuggets to info@davidatlanta.com.

If your bestie hasn’t seen you in the worst drunk state of your life, are they even your bestie?

Someone told me signing my emails with “best” is passive-aggressive, so I’m changing it to “See you in hell” to eliminate any confusion.

Don’t ask me “what’s your 5-year plan” – I haven’t been to the dentist in years!

Gay alert: When you went to a Super Bowl party, and people were actually talking about football

Friendship soulmates are 100% a real thing.

Gaslighting me doesn’t work, because I don’t trust my memory, and I don’t care what actually happened.

I say “I’m down for whatever” – but really I’m down for three things and two of those are napping and sleeping.