Macon Magazine

OCTOBER/NOVEMBER 2022 | maconmagazine.com 55 leader and host, explains her experience in management roles in the work world prepared her for directing. But in-demand DJ B3, otherwise known as Khalil Blount, might be the "secret sauce" to The Tribe's takeoff, according to the queens. Blount is the signature mix master for The Tribe, but he does so much more. He said his role is multifaceted: "It's the audiovisuals. I make sure their microphones are good, the sound is good. I create the atmosphere. I also help with the financial dealings. We all put our heads together and make sure things happen." STICKING IT TO THE MAN The Tribe has multiple engagements a month, and combined with rehearsals, the girls describe themselves as "booked and busy," said Smith, who performs as Yutoya now as their full-time job. "It's gotten to the point now where I'm getting paid my worth. I don't even have to travel as much. We've created so many opportunities here at home." It hasn't come without challenges, though. Smith only started performing more frequently after getting fired from their day job. Walker said they believe that even now, The Tribe is still unfairly judged because they are LGBTQ+. "We're never taken seriously, as seriously as many unprofessional acts. You could have a very unprofessional singer, for example, but we are the ones being called divas," they said, highlighting a term that is often used against queer people to paint them as difficult or problematic when they assert their rights. In the case of The Tribe, the group ensures that all performance requests are agreed to in writing at least a week ahead of an event in order to combat this perception. Blount agrees but remains optimistic: "There's a lot of venues that see what we're doing and say we aren't for them. But we've done a lot of 'first-evers' in other venues." He believes the quality of their work speaks for itself, preferring to work with the queens for their talent and professionalism over a number of other gigs. Smith said they think that their common persistence and creativity is what will keep The Tribe in their positions. They believe that "just because you aren't booked somewhere this weekend, doesn't mean you can't work on your craft… When your time comes, you need to be ready." The winds of change aren't lost on these queens of transformation. Walker thinks that the heart of drag is its chameleon nature and the relationships within it that create a true legacy for the company: "I'm teaching my children, when the torch is handed to them, not to blow it. I think drag in Central Georgia is going in a more positive direction. Those who take it over will really continue sticking it to the man." This attitude shows that drag is ultimately about more than the best nails or the coolest choreography. It's a statement of bold, colorful, sparkly defiance against bottling up authentic self-expression. Smith also sees their journey as a continuum, stating: "We're bringing back the culture that existed before we came. And we're going to leave a legacy with the newer queens and kings." Drag existed before The Tribe in Middle Georgia in gay clubs that are no longer around and later on in certain heterosexual clubs that would do drag nights, and The Tribe is careful to pay homage to the drag pioneers that allowed their group to become so popular in the region. And The Tribe has no intention of limiting its sparkle: both Smith and Blount expect more travel outside of the region is in the cards for The Tribe. FROM LEFT TO RIGHT: Yutoya Avaze Leon (far left) and The Tribe Macon perform at The Grand Opera House, Nicole Rose prepares costumes backstage, Christina Leon in her dressing room pre-show

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