These letters document my journey of monetizing creativity. Take what inspires you and leave what doesn't resonate. xx

I'm very excited to play a part in bringing queer talent, specifically queens, into Desert Five's programming.

The new Beyoncé album has certainly helped with that. When I learned about the new album listening party that we were throwing at Desert Five, I immediately started brainstorming on how to get a queen to perform on our stage dedicate to serious musicians.

I pulled the trigger and texted our creative director about having someone perform two songs from the album.

Well, it actually went more like this: "Hey, I was at a drag brunch and saw someone kill it singing 'Texas Hold 'em.' We should have them perform."

I wasn't actually at a brunch. I wanted it to sound incidental rather than the new gay manager obsessed with drag, pitching drag. I’m probably thinking too much into this.

Well the whole thing worked. They liked the idea and I immediately reached out to La’Don.

I didn't personally know La'Don Armour, but I'm familiar with her talents from the Roc-ettes drag brunch in West Hollywood. I knew this would be the first time most people would be introduced to drag at this venue, so I wanted more of a stunt queen. I wanted a show!

We had a brief chat on the phone about the event. My concern was that the only two songs available from the Cowboy Carter album were TEXAS HOLD ‘EM and 16 CARRIAGES.

I knew 16 CARRIAGES was too slow to perform that night. I asked La'Don if she had a leaked copy of the new album. She didn't, but she did come up with the idea of performing DADDY LESSONS from the Lemonade album instead of 16 CARRIAGES.

Brilliant! It still maintains a country twang and it's upbeat.

UPDATE ON PERFORMANCE:

I'm writing this post-Beyoncé listening party at Desert Five Spot.

Everything was fantastic. But as a perfectionist, I had to let a few details fall by the wayside and just appreciate the night as a whole.

For one. La’Don was unable to do a walkthrough of the space with me prior to the performance. I would have liked to show her what she was able to use in terms of space and maybe map out a little blocking.

Secondly, during the actual performance, the DJ played the wrong edit of the opening track. She played the Beyoncé Dixie Chicks version of "Daddy Lessons."

The crowd didn't notice, but I immediately clocked it when La'Don missed a few words. I started to panic and ushered La'Don off the stage and into the front bar area as if it was part of the act.

She worked the crowd at the main bar and then made her way back to the stage before the song ended. It worked out very well and no one knew it wasn't part of the act.

Also, ushering La’Don off the stage because she was missing some words is hilarious in hindsight.

Lastly, we were supposed to end the first performance and have a quick wardrobe change before wrapping with Texas hold-em. But my dumbass didn't relay that message to the DJ, so the second song continued with La'Don having no choice but to stay on stage and keep on performing in the same outfit.

Again, this was my first time booking talent for Desert Five Spot, and I take full responsibility for all the minor mix-ups.

One thing I learned from my years working as a server at the Cheesecake Factory was to act as the last line of defense. It was my job to check in with the DJ… and repeat the order back to her.

I also realized that my perspective of the night is going to be totally different from others'. I was in my head, over-analyzing "what could have been" instead of enjoying the ride.

I'm excited to bring more of my creativity to this company. One idea I'm exploring is a night themed around The Best Little Whorehouse in Texas, featuring a drag show with live female musical acts. TBD.

Specificity + Homework = Luck

Since managing Desert Five, I've received many inquiries. Guests want to host events, musicians are interested in performing at the venue, and my personal favorite, "Are you hiring?"

Here's where people go wrong with these requests. For example:

"Hey, I'm a musician and I have a band called Uncut Noodles. Would you guys be open to letting us perform?"

First off, Desert Five is not your run-of-the-mill stage. We have acts booked up in advance.

I personally need to get to know you before I pass you along to marketing. That means being a part of the D5 community, showing up to different events so you can learn the programming and become a familiar face.

It's very similar to marriage. There's a dating process before the big ask.

Maybe it's just me, but I think your pitching reflects who you are as a person.

Before I set up "Mother’s Creme Diaries" at Precinct, I visited the venue at least twice a week. I spent months getting to know the management and attending their events.

So, when the time came for my big ask, I had done all my homework. I was ready to provide all the information about my show and how it would complement their current programming.

That brings me to specificity. B-E-SPECIFIC!

What day of the week do you want to perform and why? Are you the opening or closing act? How long is your show? Will it be ticketed?

When you're specific, it lets me know you did your homework and are a professional. It also helps me give you a definite answer on whether or not you're a fit.

Here's another recent example:

A girl approached me at work about a comedy show. I immediately loved the idea and her vibe, so I gave her advice on how to pitch it to marketing. I told her to tell them it's a once-a-month show and that she'd be willing to try it out on the quietest night, which is Tuesday.

Also, to make sure there is something country in the title.

Well, it's been over a month, and I've not seen or heard from her. Now, if she had popped in on a Tuesday night, scoped out the venue, taken the advice that I gave her, and really doing some homework, I would have personally helped her figure out a way in there. I guess her show wasn’t that important.

People usually drop the ball because they think of themselves and not the other person.

MY BACKSTORY 9.0

"Gas Money n' Dick," I couldn't get that phrase out of my head. I knew I had to do something with it.

After putting MCD on hiatus and taking a break from hookup apps, I was ready to get creative again. I started writing a short film specifically from that Grindr message.

I was also interested in finally getting a shot that I was unable to capture in my previous short film…

Gay penetration.

Yup, a comedy short with a splash of anal sexuality.

But here’s where I messes up.

Instead of thinking logistically about the best possible way to get the film done, I opted for the “cooler” approach. Filming on location in Miami.

I had a trip scheduled to visit family in Florida in June. I thought, "Wouldn't I look so accomplished filming in Miami with local talent and crew?" #ego

I wrote the script fairly quickly. It revolves around a religious mother who finds out her son wants to become a hairdresser on a ride home from Catholic school.

I hopped on OnlyFans and began DM-ing everyone who fit the description of a Latino bottom. Then I jumped on Twitter and had a go there. I also needed to find a drag queen to play the role of mom and a "top" to play the vagrant (we can't use the term homeless anymore).

After ''A LOT'' of back and forths I find this young latino kid who’s very excited to get fucked in a real short film. He sends me a few of his xxx videos assuring me he's up for the task.

To make this easier on myself I asked him if he knew any “tops” who may be interested playing his scene partner. He did.

Lastly, we needed to cast the queen. I was immediately attracted to Queef Latina, a bearded queen based in Miami and offered her the role after one zoom call.

However, as with any film shoot, things happen. My first choice for the role of Carlos dropped out last minute.

Muscle Papi was the “top” who was going to be the vagrant character. Of course, he dropped out shortly after.

I quickly scrambled and eventually found my cast.

My best friend and producing partner Christina even flew down to help me. God bless her for putting up with me.

We shot for a long 12-hour day. It was a very, very challenging day for me. We did a lot of guerrilla filming, which resulted in us being asked to leave one of the locations and losing coverage. Queef Latina was struggling with her lines , which was frustrating because she had the script for a month, and my sound guy was upset because he thought he was involved in a porno.

He asked to not be mentioned in the credits.

Sidenote: "It's always easier to ask for forgiveness than permission." I still live to that motto today.

Everything I had in my mind for this short was drastically changing by the hour. I remember vividly getting in my rental car (which we also used in the film) and driving to grab lunch for the cast and crew. As I pulled up and parked by the sandwich shop, I immediately started bawling.

I was bottling up all my feelings about the day. I found myself asking, "Why? Why am I putting myself through this?" What is all this for?

I quickly regained my composure, grabbed lunch and finished the fucking day.

One thing that did work out was the anal scene. Jake was able to get hard on command and drill Jay.

Gas Money n’Dick was cobble together with my creative editing later that year, but I told myself I was done with short films. #linkbelow

Never again will I do a project without a plan.

That's all for today, folks.

Stay tuned for "Mother's Cream Diaries LIVE," playing in mid-June at the Hollywood Fringe Fest. Dates are to be determined.

Also, I'm really getting into the idea of programming events at Desert Five Spot. I have a few ideas for Pride Month, including a rooftop pool party.

P.S. I'm still on the hunt for a business partner. I'm seeking someone who not only complements my strengths but also brings fresh insight and wisdom to MCD and beyond.

Thank you all for reading xx

If you have any questions or suggestions for the newsletter, please feel free to contact me directly at [email protected]. This is an open creative space!