Arts & Entertainment
‘I was born to create and entertain’
DJ Nina Flowers was ‘RuPaul’s Drag Race’ premiere season runner-up
Bombastic flowers of extravagant colors and shapes hang from the nightclub’s roof. The half-lit dance floor at times simulates a jungle with exotic plants and butterflies. Some flowers that are placed on the stage symbolize the birth of music, which Nina Flowers generates from her turntables.
Flowers knows exactly what sounds to combine so that the audience goes into ecstasy, a sensation that bounces back instantly and makes you raise your arms to the metallic beat that is more intense with every second. When the music reaches its climax, the lights explode like lightning and Flowers emerges with one hand on her headphones and the other directing the electrifying atmosphere at will at The Manor, one of the most popular nightclubs in Wilton Manors, a gay Mecca in South Florida.
Flowers — a DJ, music producer, former drag queen and makeup artist — is the guest star on this Saturday. Many in the audience pull out their cell phones to film her while they continue to dance, and more than a few of them come to ask for a picture or autograph.
Flowers is widely recognized among the LGBTQ community, especially for her appearances on “RuPaul’s Drag Race.” Flowers finished second in the show’s season premiere in 2009.
A lot has happened in Flowers’ professional and personal life since then. She agreed to an exclusive interview with the Washington Blade via email.
WASHINGTON BLADE: Many have followed your career since you became a celebrity, but how did it all start? What prompted you to pursue a career as a DJ in the first place?
NINA FLOWERS: When I was very young, still a child, I used to accompany my father who helped a friend who was DJing at private parties. From the first time I went to one of these events, it was like love at first sight.
BLADE: What was your training as a DJ?
FLOWERS: I started playing neighborhood parties; family parties; at school, until I built a reputation and then continued to hold private parties and corporate events. At the age of 16 (in 1989) I auditioned for the first time for a position of resident DJ of a new club in San Juan, Puerto Rico, where I am from, and it was there where I obtained my first residency in a club. From there I continued working in many clubs on the island, until I had to move to the United States. And my career exploded.
BLADE: Is it true that back then you performed with a masculine appearance in the beginning?
FLOWERS: Correct and under the name of Jorge Flores, which is my birth name, then under the nickname of DJ Flowers that one of my previous bosses baptized.
BLADE: Precisely from where where does your stage name come?
FLOWERS: Nina is in tribute to my favorite artist, Nina Hagen, better known as the mother of punk rock. Flowers comes from my last name, Flores, in English. As I was already known as DJ Flowers, I decided to keep the relationship between both characters and the brand.
BLADE: How is the process to produce your music?
FLOWERS: It is an extremely fun and creative process. The first thing is that you have to be in those days where the “creative juices” are flowing. There are times that nothing works out, no matter how hard you try. Other days, pure wonders come out. The main thing is to have the knowledge of production and in turn of the program that is used to produce it. Basically (you need to) have a good set of tools, as well as a good team. The magic will be infinite once you have that and the desire to create.
BLADE: How would you define your sound?
FLOWERS: Progressive, sticky, tasty, tribal, different. Quite the opposite of what is commercial or what we hear everywhere.
BLADE: What do you feel behind the booth and surrounded by the public at that moment?
FLOWERS: Excitement, energy! I feel blessed to have the joy of being able to develop what I do with love and at the same time receive the support of those who follow me.
Flowers released her first single “Loca” in December 2009 in collaboration with DJ Ranny. The song reached its highest position (#15) on the Billboard Hot Dance Club Play chart the week of Jan. 30, 2010. She released her first mini-album entitled “Start Your Engines,” a compilation of six original tracks that he made with producer and remixer William Umana, in July of that same year.
Flowers in January 2011 released her dance single “I’m Feelin Flowers” and in July 2012 she released her single “Rock the Beat.”
BLADE: How was your transition from DJ to drag queen?
FLOWERS: Very soft and divine. When I started in the drag scene I was already working as a DJ in clubs, so I already had many friends and followers who supported me at all times. I started in the drag scene in 1993.
BLADE: If you had to define your style of drag, what would it be?
FLOWERS: Authentic, imposing, different, intense, colorful, energetic, androgynous and fun.
BLADE: How do you do it?
FLOWERS: A creation that combines my roots of who I am as a person, of what I like and attracts me, of my feelings and my artistic side.
BLADE: You competed on the first season of “RuPaul’s Drag Race.” How would you describe that experience?
FLOWERS: Incredible. Definitely an opportunity that I will never forget, and that surely opened the doors for me to be discovered throughout the world. It was a blessing for me.
BLADE: How did you feel when you finished in second place?
FLOWERS: No particular feeling. I was sad, of course, because obviously we all want to win. But if it didn’t affect me, it was because it wasn’t meant for me. I was very proud of my role in the show, and I know that I performed in the best possible way. At the same time BeBe Zahara Benet (the winner) and I became super good friends during the filming, and in the end I was very happy for her. She did an incredible job and worked as hard as I did, so to me she deserved it as much as I did.
BLADE: You did, however, win the Miss Congeniality award during the first season’s reunion special, making you the first runner-up to win the title and the best Miss. Could we call it your revenge?
FLOWERS: I think so (laughs).
BLADE: You were on RuPaul’s show in 2009, 2010 and 2012. What did you learn and how many opportunities has this television show brought to your career?
FLOWERS: Based on what I learned, the important thing is to be sure of yourself and to lose your fear of those things that we sometimes tell ourselves that we cannot do or achieve; to be positive at all times; and face any challenge that comes our way.
In terms of opportunities, it gave me global exposure, opening doors that I never dreamed would be there for me.
BLADE: I understand there is a Nina Flowers Day. Can you explain how it happened? What happens on your day?
FLOWERS: (Then-Denver Mayor) John Hickenlooper in 2009 gave me the honor of naming May 29 as Nina Flowers Day. This was in gratitude from the community and the city for the impact that I had brought to Denver after participating in the program and being one of its residents. They were all very proud of me. The reality is that I have never stopped touring the nation and internationally since the show happened, so I never had the opportunity to organize any event to commemorate the day.
BLADE: Why did you decide to abandon your career as a drag queen, even though you were so renowned in that world?
FLOWERS: Very simple. When I decided to stop it was simply because I needed new challenges in my life. I needed a change. I already knew it was time to conquer other territories. In my case the territory of music, which has always been my priority and my number one passion.
BLADE: You remain in drag, however, when you perform as a DJ. Why?
FLOWERS: It’s part of the Nina Flowers brand. A brand that took many years of preparation, sacrifice and is recognized worldwide. Why am I leaving her behind?
BLADE: DJ, drag queen, makeup artist … Which of your facets fulfill you the most as an artist?
FLOWERS: The entertainment. I was born to create and entertain. In the three facets I have the opportunity to develop myself in what I love so much, but my passion is music.
BLADE: How has the current pandemic affected you, taking into account that the entertainment industry has been one of the most affected areas?
FLOWERS: It has unfortunately affected me a lot financially, because almost all events in 2020 were cancelled. There were some cities that managed to have events. I worked on some of them, which caused a lot of personal attacks by COVID Karens, who only dedicate themselves to personal attacks on social media. This affected me emotionally, but it didn’t stop me either. All of us who have agreed to work during the pandemic have our reasons, our obligations, our needs. No one has the right to point out or judge anyone for their decisions, much less without knowing the reasons for being. For my part I continue and will continue forward. Nobody stops me. Nightlife will be the last to recover. Hopefully we will all recover from this global hit very soon.
In an effort to continue creating and not lose connection with her fans, Flowers has presented her most recent musical chapter “Resurgimiento” through the Twitch and Zoom platforms.
BLADE: What are you working on right now?
FLOWERS: On music. This is my life, my reason for being. It’s all I do
BLADE: Tell us a bit about Nina Flowers offstage. What are you like at home?
FLOWERS: Completely different. A little introverted, quiet, reserved, homey. I love cooking. I really like sewing and photography. Happily married for almost 14 years. I love animals and I am very family oriented.
BLADE: Is your personal life as successful as your professional one?
FLOWERS: Yes, thank goodness!
BLADE: What are those goals or dreams that you still haven’t achieved?
FLOWERS: I’ve already conquered the music circuit of the gay community. I would love and dream of a transition to the “straight community.” Someday it will be! I am already recognized as a DJ, so my goal for the moment is to achieve the same level of recognition or more as a music producer. Today that is my focus.
The Gay Men’s Chorus of Washington perform “The Holiday Show” at Lincoln Theatre (1215 U St., N.W.). Visit gmcw.org for tickets and showtimes.
(Washington Blade photos by Michael Key)
Santa will be very relieved.
You’ve taken most of the burden off him by making a list and checking it twice on his behalf. The gift-buying in your house is almost done – except for those few people who are just so darn hard to buy for. So what do you give to the person who has (almost) everything? You give them a good book, like maybe one of these.
Memoir and biography
The person who loves digging into a multi-level memoir will be happy unwrapping “Blessings and Disasters: A Story of Alabama” by Alexis Okeowo (Henry Holt). It’s a memoir about growing up Black in what was once practically ground zero for the Confederacy. It’s about inequality, it busts stereotypes, and yet it still oozes love of place. You can’t go wrong if you wrap it up with “Queen Mother: Black Nationalism, Reparations, and the Untold Story of Audley Moore” by Ashley D. Farmer (Pantheon). It’s a chunky book with a memoir with meaning and plenty of thought.
For the giftee on your list who loves to laugh, wrap up “In My Remaining Years” by Jean Grae (Flatiron Books). It’s part memoir, part comedy, a look back at the late-last-century, part how-did-you-get-to-middle-age-already? and all fun. Wrap it up with “Here We Go: Lessons for Living Fearlessly from Two Traveling Nanas” by Eleanor Hamby and Dr. Sandra Hazellip with Elisa Petrini (Viking). It’s about the adventures of two 80-something best friends who seize life by the horns – something your giftee should do, too.
If there’ll be someone at your holiday table who’s finally coming home this year, wrap up “How I Found Myself in the Midwest” by Steve Grove (Simon & Schuster). It’s the story of a Silicon Valley worker who gives up his job and moves with his family to Minnesota, which was once home to him. That was around the time the pandemic hit, George Floyd was murdered, and life in general had been thrown into chaos. How does someone reconcile what was with what is now? Pair it with “Homestand: Small Town Baseball and the Fight for the Soul of America” by Will Bardenwerper (Doubleday). It’s set in New York and but isn’t that small-town feel universal, no matter where it comes from?
Won’t the adventurer on your list be happy when they unwrap “I Live Underwater” by Max Gene Nohl (University of Wisconsin Press)? They will, when they realize that this book is by a former deep-sea diver, treasure hunter, and all-around daredevil who changed the way we look for things under water. Nohl died more than 60 years ago, but his never-before-published memoir is fresh and relevant and will be a fun read for the right person.
If celeb bios are your giftee’s thing, then look for “The Luckiest” by Kelly Cervantes (BenBella Books). It’s the Midwest-to-New-York-City story of an actress and her life, her marriage, and what she did when tragedy hit. Filled with grace, it’s a winner.
Your music lover won’t want to open any other gifts if you give “Only God Can Judge Me: The Many Lives of Tupac Shakur” by Jeff Pearlman (Mariner Books). It’s the story of the life, death, and everything in-between about this iconic performer, including the mythology that he left behind. Has it been three decades since Tupac died? It has, but your music lover never forgets. Wrap it up with “Point Blank (Quick Studies)” by Bob Dylan, text by Eddie Gorodetsky, Lucy Sante, and Jackie Hamilton (Simon & Schuster), a book of Dylan’s drawings and artwork. This is a very nice coffee-table size book that will be absolutely perfect for fans of the great singer and for folks who love art.
For the giftee who’s concerned with their fellow man, “The Lost and the Found: A True Story of Homelessness, Found Family and Second Chances” by Kevin Fagan (One Signal / Atria) may be the book to give. It’s a story of two “unhoused” people in San Francisco, one of the country’s wealthiest cities, and their struggles. There’s hope in this book, but also trouble and your giftee will love it.
For the person on your list who suffered loss this year, give “Pine Melody” by Stacey Meadows (Independently Published), a memoir of loss, grief, and healing while remembering the person gone.
LGBTQ fiction
For the mystery lover who wants something different, try “Crime Ink: Iconic,” edited by John Copenhaver and Salem West (Bywater Books), a collection of short stories inspired by “queer legends” and allies you know. Psychological thrillers, creepy crime, cozies, they’re here.
Novel lovers will want to curl up this winter with “Middle Spoon” by Alejandro Varela (Viking), a book about a man who appears to have it all, until his heart is broken and the fix for it is one he doesn’t quite understand and neither does anyone he loves.
LGBTQ studies – nonfiction
For the young man who’s struggling with issues of gender, “Before They Were Men” by Jacob Tobia (Harmony Books) might be a good gift this year. These essays on manhood in today’s world works to widen our conversations on the role politics and feminism play in understanding masculinity and how it’s time we open our minds.
If there’s someone on your gift list who had a tough growing-up (didn’t we all?), then wrap up “I’m Prancing as Fast as I Can” by Jon Kinnally (Permuted Press / Simon & Schuster). Kinnally was once an awkward kid but he grew up to be a writer for TV shows you’ll recognize. You can’t go wrong gifting a story like that. Better idea: wrap it up with “So Gay for You: Friendship, Found Family, & The Show That Started It All” by Leisha Hailey & Kate Moennig (St. Martin’s Press), a book about a little TV show that launched a BFF-ship.
Who doesn’t have a giftee who loves music? You sure do, so wrap up “The Secret Public: How Music Moved Queer Culture from the Margins to the Mainstream” by Jon Savage (Liveright). Nobody has to tell your giftee that queer folk left their mark on music, but they’ll love reading the stories in this book and knowing what they didn’t know.
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Theater
Studio’s ‘Mother Play’ draws from lesbian playwright’s past
A poignant memory piece laced with sadness and wry laughs
‘The Mother Play’
Through Jan. 4
Studio Theatre
1501 14th St., N.W.
$42 – $112
Studiotheatre.org
“The Mother Play” isn’t the first work by Pulitzer Prize-winning lesbian playwright Paula Vogel that draws from her past. It’s just the most recent.
Currently enjoying an extended run at Studio Theatre, “The Mother Play,” (also known as “The Mother Play: A Play in Five Evictions,” or more simply, “Mother Play”) is a 90-minute powerful and poignant memory piece laced with sadness and wry laughs.
The mother in question is Phyllis Herman (played exquisitely by Kate Eastwood Norris), a divorced government secretary bringing up two children under difficult circumstances. When we meet them it’s 1964 and the family is living in a depressing subterranean apartment adjacent to the building’s trash room.
Phyllis isn’t exactly cut out for single motherhood; an alcoholic chain-smoker with two gay offspring, Carl and Martha, both in their early teens, she seems beyond her depth.
In spite (or because of) the challenges, things are never dull in the Herman home. Phyllis is warring with landlords, drinking, or involved in some other domestic intrigue. At the same time, Carl is glued to books by authors like Jane Austen, and queer novelist Lytton Strachey, while Martha is charged with topping off mother’s drinks, not a mean feat.
Despite having an emotionally and physically withholding parent, adolescent Martha is finding her way. Fortunately, she has nurturing older brother Carl (the excellent Stanley Bahorek) who introduces her to queer classics like “The Well of Loneliness” by Radclyffe Hall, and encourages Martha to pursue lofty learning goals.
Zoe Mann’s Martha is just how you might imagine the young Vogel – bright, searching, and a tad awkward.
As the play moves through the decades, Martha becomes an increasingly confident young lesbian before sliding comfortably into early middle age. Over time, her attitude toward her mother becomes more sympathetic. It’s a convincing and pleasing performance.
Phyllis is big on appearances, mainly her own. She has good taste and a sharp eye for thrift store and Goodwill finds including Chanel or a Von Furstenberg wrap dress (which looks smashing on Eastwood Norris, by the way), crowned with the blonde wig of the moment.
Time and place figure heavily into Vogel’s play. The setting is specific: “A series of apartments in Prince George’s and Montgomery County from 1964 to the 21st century, from subbasement custodial units that would now be Section 8 housing to 3-bedroom units.”
Krit Robinson’s cunning set allows for quick costume and prop changes as decades seamlessly move from one to the next. And if by magic, projection designer Shawn Boyle periodically covers the walls with scurrying roaches, a persistent problem for these renters.
Margot Bordelon directs with sensitivity and nuance. Her take on Vogel’s tragicomedy hits all the marks.
Near the play’s end, there’s a scene sometimes referred to as “The Phyllis Ballet.” Here, mother sits onstage silently in front of her dressing table mirror. She is removed of artifice and oozes a mixture of vulnerability but not without some strength. It’s longish for a wordless scene, but Bordelon has paced it perfectly.
When Martha arranges a night of family fun with mom and now out and proud brother at Lost and Found (the legendary D.C. gay disco), the plan backfires spectacularly. Not long after, Phyllis’ desire for outside approval resurfaces tenfold, evidenced by extreme discomfort when Carl, her favorite child, becomes visibly ill with HIV/AIDS symptoms.
Other semi-autobiographical plays from the DMV native’s oeuvre include “The Baltimore Waltz,” a darkly funny, yet moving piece written in memory of her brother (Carl Vogel), who died of AIDS in 1988. The playwright additionally wrote “How I Learned to Drive,” an acclaimed play heavily inspired by her own experiences with sexual abuse as a teenager.
“The Mother Play” made its debut on Broadway in 2024, featuring Jessica Lange in the eponymous role, earning her a Tony Award nomination.
Like other real-life matriarch inspired characters (Mary Tyrone, Amanda Wingfield, Violet Weston to name a few) Phyllis Herman seems poised to join that pantheon of complicated, women.
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