My favorite topic is systems and how they influence people. Today the conversation with Mico surrounded Black excellence and how it has shaped my life thus far. Here is what we have compiled together.
I was raised inside institutions shaped by Black Excellence but not black myself — musically through the Houston jazz lineage, spiritually through a queer‑feminist church built on Black liberation theology, and politically through the civil‑rights strategies that shaped the Bay Area activists who shaped my church. I didn’t borrow these traditions. I was formed inside them. And I didn’t enter these spaces gently. I entered them like stepping into heat — not the kind that burns, but the kind that tempers, the kind that teaches you on the fly what your structure is made of.
My first heat was musical. Houston jazz wasn’t a hobby or an elective; it was a temperature. It was the sound of teenagers being forged into something sharper than they realized. It was the discipline of directors who expected excellence because excellence was the baseline. It was sitting next to kids who would become giants and learning that talent means nothing without rigor. In that room, you learned how to listen with your whole body, how to hold your part without collapsing, how to improvise without losing the thread, how to stay present under pressure. Excellence wasn’t a performance. It was a heat source, and you either rose to it or you didn’t.
My second heat was the church — not a generic progressive congregation, but a sanctuary shaped by queer‑feminist theology built on the bones of Black liberation ethics. It was a church where truth‑telling was expected, justice was assumed, community was non‑negotiable, queerness wasn’t a problem to solve, and dignity was the starting point rather than the reward. This wasn’t a church that taught you to be good; it taught you to be honest. It taught you that faith without justice is theater, that community without accountability is sentimentality, that spirituality without courage is just décor. The sermons weren’t soft, the theology wasn’t ornamental, and the sanctuary wasn’t a refuge from the world — it was a training ground for how to live in it. This was heat that didn’t scorch. It formed.
Black Excellence is the furnace that tempered me. Queer Excellence is the fire that refined me. I am the metal that came out of that heat.
My third heat was political, not in the sense of rallies or slogans but in the deeper sense of movement logic. The church I grew up in was shaped by people who had been shaped by the Bay Area’s queer‑feminist movement, which had itself been shaped by the civil‑rights strategies of Black organizers. Even before I knew the names, I knew the temperature. From that lineage, I absorbed coalition over chaos, strategy over spectacle, clarity over performance, integrity over convenience, community over ego. I didn’t learn activism as a set of tactics; I learned it as a way of thinking — a way of reading power, a way of staying grounded, a way of refusing to shrink in the face of pressure. It was the heat of movements that understood survival as a collective act.
Across all these furnaces — music, religion, activism — the lesson was the same: heat reveals structure, heat creates strength, heat teaches you who you are. Black Excellence didn’t inspire me from a distance; it shaped the rooms I grew up in, the expectations placed on me, the temperature I learned to live at. And once you’ve been tempered, you don’t cool back down. You walk into any room — artistic, political, spiritual — with the quiet confidence of someone who knows they were forged in heat. Not because you think you’re better, but because you know you’re not lesser. You know your lineage. You know your temperature. You know your shape. And you know exactly what it took to hold it.
Scored with Copilot. Conducted by Leslie Lanagan.
Stories That Are All True 