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Queery: Wayne Turner

The attorney and AIDS activist answers 20 gay questions

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Wayne Turner (Blade photo by Michael Key)

Wayne Turner remembers crying on the first day of school — although it was law school at UDC David A. Clarke School of Law and he was 40 years old that day in 2005.

“The founding professor, Edgar Cahn, was there telling us in this big orientation that their mission was to take bad-ass activists and unleash them on the world,” Turner says. “He said, ‘You’re not just here alone, you’re on the shoulders of everyone who’s come through here before.’ It was about seven years since my partner had died and I thought, ‘Yes, I have found my home.’ The tears just started streaming down my face so there I was, crying on the first day of school.”

Turner and his late partner, Steve Michael, who died of AIDS at age 42 in 1998 (Turner took Michael’s body to the White House as a gesture of protest), had what Turner calls a “roller coaster” seven-year relationship in which they dedicated themselves solely to activism and lived “a very hand-to-mouth existence. We were always changing residences, changing phone numbers. We lived a very mission-focused life and it was just like, ‘We gotta do this stuff.’ It was an issue nobody wanted to deal with.” Turner was a founding member of the AIDS advocacy and protest group ACT UP (AIDS Coalition to Unleash Power).

Turner, a Culver City, Calif., native, went to college in Portland, spent time in Europe, then lived in Seattle for about five years where he met Michael. They moved to Washington in 1993 with the express goal of “keeping Bill Clinton accountable” for his AIDS-related campaign promises.

Turner, who remains HIV negative, says going to law school — he earned full scholarships and graduated with honors — was perfect for him.

“I think of it as activism on steroids,” he says. “You gain so much clarity of how things work and how things are supposed to work. I highly recommend it to anyone who is active and involved. It’s like opening up a clock and saying, ‘Oh, that’s how that works.’”

Turner says he now has “his dream job” as a staff attorney at the National Health Law Program focusing on health care quality and access for low-income and disabled individuals enrolled in Medicaid.

He’s single, lives on the H Street corridor in Northeast Washington and enjoys camping and hiking with his dog, Mister, in and around Shenandoah National Park. (Blade photo by Michael Key)

How long have you been out and who was the hardest person to tell?

After the first year of college, my high school friend Robert and I came out to each other.  We were just stating what was plainly obvious to each of us (and everyone else), but we had never talked about it before.

Who’s your LGBT hero?

My late partner Steve and the other amazing frontline AIDS activists, living and dead, who struggle and sacrifice so that others might live.

What’s Washington’s best nightspot, past or present? 

Otter Crossing at the DC Eagle.

Describe your dream wedding.

One where DOMA has been overturned by the Supreme Court so that same-sex marriages are legally recognized by the federal government and in all 50 states.

What non-LGBT issue are you most passionate about?

Single payer health care. It means getting better care for less money from cradle to grave — what’s not to like about that?

What historical outcome would you change?

I wish Mario Cuomo went to New Hampshire in 1992. He would have won the primary, won the Democratic nomination and won the White House. We wouldn’t have had the disaster known as the Clinton administration with DOMA, DADT and the HIV immigration ban and travel restrictions. We might even have seen a Manhattan Project for AIDS, and could very well have a cure by now.

What’s been the most memorable pop culture moment of your lifetime?

Probably when Tinky Winky came out. I mean, we all knew, what with that red purse and all.

On what do you insist?

Punctuality

What was your last Facebook post or Tweet?

“YES WE CAN!” celebrating the Supreme Court decision upholding Obamacare. It is a huge victory, particularly for people with HIV who can qualify for Medicaid without having to wait for an AIDS diagnosis, and can’t be denied health coverage because of a pre-existing condition.

If your life were a book, what would the title be?

“Fasten your seatbelts,” because it has been one bumpy ride.

If science discovered a way to change sexual orientation, what would you do?

Find Ben Cohen.

What do you believe in beyond the physical world? 

There’s something besides the physical world?  I’ll believe it when I see it.

What’s your advice for LGBT movement leaders?

Too many so-called leaders seem to mistake photo-ops and cocktail party receptions for actual accomplishments. On-the-ground activists are providing the real leadership. Look at marriage equality — activists in Massachusetts propelled that issue forward in 2001 with Goodridge v. Dept. of Public Health. The national groups have been playing catch up ever since.

What would you walk across hot coals for?

Nothing. I have nice feet.

What LGBT stereotype annoys you most?

Victimhood. It perpetuates the perception that we are weak. Pity is no substitute for demanding respect and dignity.

What’s your favorite LGBT movie?

“Carrie,” the original with Sissy Spacek and Piper Laurie. It shows us that the best way to deal with high school bullies is to turn a fire hose on them.

What’s the most overrated social custom?

Saying “bless you” when someone sneezes. (See “physical world” response above).

What trophy or prize do you most covet?

Raphael Nadal.

What do you wish you’d known at 18?

That Apple stock would have been a really good idea.

Why Washington?

Sometimes at night I walk the dog around the Capitol. I’ll sit on the West steps and look out over the city, with stars and the moon and the Mall and the monuments and the glistening city lights, and I think “this view, at this moment almost makes up for the excruciating summer heat and humidity.” Almost. Actually, I really love D.C. I just wish I had a couple of senators and a representative.

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Theater

Talented pair of local queer actors tackles ‘Little Shop of Horrors’

Ford’s production features terrific score

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Chani Wereley (Audrey) and Derrick D. Truby Jr. (Seymour) in the 2024 Ford’s Theatre production of Little Shop of Horrors. (Photo by Scott Suchman)

‘Little Shop of Horrors’ 
Through May 18
Ford’s Theatre
511 10th St., N.W.
$33-$95
Fords.org 

Ever since premiering off-Broadway in 1982, “Little Shop of Horrors” has drawn a devoted following of avid audiences as well as performers eager to act in the show. Now playing at Ford’s Theatre, the doo-wop, dark comedy features a terrific cast including a wildly talented pair of local queer actors who’ve longed to appear in the show since they were kids. 

Set in the urban 1960s, Alan Menken and Howard Ashman’s hit show with a terrific score follows the wacky rise of Seymour, a nebbishy florist in a Skid Row shop who changes his fortunes by unintentionally marketing an exotic, human eating plant.  

Chani Wereley, 28, who plays Seymour’s love interest Audrey, a hyper femme downtowner with an edge, has had her on eye the role for years. Wereley says, “Audrey’s been around the block more than once, but I approach her as a person who moves through the world with love and hope.”

The queer D.C. native adds, “On long trips to visit family in Canada or Florida, the first thing we’d do is pop a ‘Little Shop of Horrors’ video [film version] into the car’s VHS player. I’ve watched is so many times, I could quote the whole movie to you.”

After auditioning to play Audrey in director Kevin S. McAllister’s production at Ford’s, Wereley never thought she’d book the part, and when they said she got it, she cried.  

Similarly, Tobias A. Young, 34, the pansexual actor who voices the part of the bloodthirsty plant affectionately dubbed Audrey II, explains his intense interest in the work: “I started watching the film in ’86. Growing up as a little gay boy in Calvert County, Md., I wanted to be blonde Audrey [played by Ellen Green in the movie]. I didn’t know much about musicals at the time, but I was absorbed.” 

When asked by Ford’s to play the voracious plant Audrey II without auditioning, his reply was an unhesitant “yes.” 

Voicing a role requires Young to sing from backstage in a black box rigged with monitors and a mixing board. He says, “people ask if I’m singing from inside of the ever-growing, scary plant. No, I’m not, and that’s fine. But let’s face it, actors love to be seen on stage, but I don’t feel entirely unseen as Audrey II.”

He’s worked hard and successfully with formidable puppeteers Ryan Sellers and Jay Frisby to bring parts of himself to the carnivorous plant — his sassiness, own movements, and even a tilt of his head; their efforts have drawn the actual Young into the show. 

Both Wereley and Young possess gorgeous, emotive voices as evidenced by Wereley’s striking rendition of Audrey’s “Suddenly Seymour,” and Young’s soulful “Feed Me (Git It).” Additionally, both actors are also big on queer representation in theater. 

When her young pals were listening to Britney Spears, Wereley was dancing to retro tunes like “Mashed Potato Time,” and her favorite song to this day, the Shirelle’s girl group anthem “Will You Still Love Me Tomorrow.” As Audrey, Wereley eschews the character’s usual platinum hair for a bouncy brunette, cherry-streaked wig, tight pencil skirts, swing coats, and her very own half-sleeve tattoo. 

“It’s important for people to see themselves on stage,” she says. “Seeing me or someone like me is inherently interesting. Being that person on Instagram or with the institution, cast, or audiences is meaningful. It’s important.”

In 2011, a couple years after finishing high school, Young landed a part in “Dream Girls” at Toby’s Dinner Theatre, and he’s been working professionally ever since. Growing up, he didn’t see a lot of himself – Black and queer – on social media. He now wants to be open and honest for those out there who might not feel seen, he says

An introvert who lets everything loose on the stage, Young says, “theater is a safe space for queer people. That’s the first place we feel safe, particularly in school. And this is why we need theaters in schools, now more than ever.”

He adds, “What’s great about Ford’s is its surprises, especially when they switch up casting. It’s meaningful to see the shows you love, but why not see them with a twist? Using unexpected actors and incorporating queer people just makes it that much better.”

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Nightlife

D.C.’s gay DJ collective CTRL returns

Electropop group resurfaces at Trade on March 30

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CTRL is back after a six-year absence.

Finger lasers, confetti cannons, drag shows, photo booths, throwback tunes, and a touch nerdy: after a long break, D.C.’s gay DJ collective CTRL is throwing its first party in six years.

Born in an Eritrean restaurant more than a decade ago, this longstanding gay nightlife electropop group is resurfacing with a comeback event at Trade on March 30.

Gay DJs Adam Koussari-Amin, Jeff Prior, Devon Trotter, and Brett Andreisen hosted the first CTRL party at now-closed restaurant Dahlak, on the corner of 18th and U Streets. After a year of hosting pop-ups in that restaurant’s dining room, they upgraded down 18th Street to now-closed gay club Cobalt. There, the parties grew: drag shows, a pop-up photo booth from David Claypool, and quirky activations like throwing hot dogs into print-outs of Putin’s mouth. Their productions grew as well, like producing the now-defunct Brightest Young Gays (BYG) Pride events at Wonderbread Factory and Union Market and the ‘Get Wet’ pool party with David Brown’s Otter Crossing at the Capitol Skyline Hotel.

CTRL wasn’t done. The group received its biggest stage yet after a call from Ed Bailey, the owner of now-closed gay club Town, as well as current gay bars Number 9 and Trade. At Town, the opportunity “allowed our creativity to flourish with even bigger performances, bigger photo experiences, crazier hand-outs, and the same electropop dance vibes our fans had come to know us for,” says Koussari-Amin.

CTRL pressed pause when Town shut down, which “was a huge loss to the LGBTQIA+ community and D.C. nightlife in general,” says Koussari-Amin. After that, it hosted an occasional spinoff called QWERTY. Post-pandemic, Koussari-Amin has spent a few nights solo as DJ at Trade and other venues.

After connecting with Jesse Jackson, the Trade general manager, as well as with Bailey, who agreed to host the inaugural event, Koussari-Amin was determined to shift CTRL back to life.

However, getting the old band back together proved to be a challenge. While the rest of the group have either left Washington, D.C., or are pursuing other projects, Koussari-Amin received their blessing to stay on and find new members. 

“When it came to finding new partners, both DJ Dez [Desmond Jordan] and DJ Lemz [Steve Lemmerman] were obvious choices,” he says, noting that “they also have distinct styles and interests.” Dez has a residency at Pitchers and Kiki as well as pop-ups, and Lemz throws events like Sleaze and BENT.

 “It seemed important to come back to the nightlife table with an experience that could complement all the amazing experiences that have even built up since CTRL threw its last event at Town. Bringing back both the DJ collective and the CTRL event with Dez and Lemz means new voices, perspectives, sounds, and excitement.”

“CTRL is an opportunity for the community to come together, enjoy music, drinks, and good vibes,” adds Jordan, noting that for him, it’s an event that celebrates queer identity.

And after months of planning, CTRL will kick off its monthly party series at Trade on March 30 for the first gig after its glow-up.

The trio says that its core inspiration “is driven by the indie and electropop favorites of new and old, like Goldfrapp, Ava Max, Charli XCX, … We’re also all huge fans of slut and trash pop music like Kim Petras, Slayyyter, Cupcakke,” as well as pop diva remixes, new bops, and songs that reside inside and far beyond the expanse of Top 40.

CTRL is also bringing back its activations that complement the tunes. Summer Camp is set for drag performances, David Claypool is back with his photo booth, and Koussari-Amin promises “to have all sorts of weird and wacky handouts like we used to.”

After the March premiere, April’s party is “CTRLella”, a Coachella send-up. Future events will feature various different themes, and they plan to throw a party during Capital Pride; they’re also looking to be a central part of Trade’s expansion into the adjacent space.

 Koussari-Amin says that “the event’s signature experience [is] a lynchpin in connecting D.C.’s expanding generations of queer folks, giving everyone a safe space to let loose and feel a rush no matter who they are.” 

For his part, Bailey continues to support CTRL and its collective intention, expressing its essential nature as a party for partiers by partiers. “CTRL is the kind of party that represents what people want. It’s just a real party by real people that just want to hear good music and dance with their friends.”

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Celebrity News

HRC releases ‘Queer Renaissance Syllabus’

Beyoncé’s hit album inspired curriculum

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Beyoncé performs at FedEx Field in Landover, Md., on Aug. 6, 2023. The Human Rights Campaign has released a curriculum that her "Renaissance" album inspired. (Washington Blade photo by Isabelle Kravis)

In a move aimed at celebrating the beauty, brilliance and resilience of the LGBTQ community, the Human Rights Campaign unveiled the “Queer Renaissance Syllabus” that Beyoncé’s “Renaissance” album inspired. 

Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s Historically Black Colleges and Universities Program, the syllabus includes a variety of academic articles, essays, films and other media rooted in Black queer and feminist studies. Each piece is directly inspired by the tracks on Beyoncé’s Billboard 200-topping dance album, “Renaissance.”

Beyoncé’s album “Renaissance” stands as a cultural milestone, celebrating the Black queer roots of dance music while shedding light on overlooked Black queer artists. Inspired by her late-Uncle Johnny, the album not only garnered critical acclaim but also shed light on the often marginalized contributions of Black queer artists. Winning four Grammys and yielding chart-topping hits like “Break My Soul” and “Cuff It,” the album sparked discussions about economic impact and cultural representation.

Amid its success, legislative challenges arose, with Florida and Texas enacting bans on DEI initiatives in public colleges. Recognizing the album’s transformative potential, HRC developed the “Queer Renaissance Syllabus” to leverage its impact for education and activism.

Tailored for educators, youth-serving professionals, DEI practitioners, higher education leaders and admirers of Beyoncé’s artistry, the syllabus aims to encourage meaningful discussions, enrich lesson plans, and explore innovative ways to honor the vibrancy and significance of LGBTQ individuals and their culture.

With six themes anchoring the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism,” it provides a comprehensive exploration of various facets of LGBTQ experiences and expressions. Fan-favorite tracks from the album are paired with scholarly readings, offering insights into empowerment, self-acceptance and the transformative power of artistic expression. The syllabus also reinforces HRC’s efforts to highlight, amplify and re-center Black and queer voices.

By providing links to articles, books, podcasts and interviews, each associated with a song from the album, it celebrates the rich cultural heritage and contributions of the Black queer community.

The concluding section of the syllabus includes Beyoncé’s tribute to O’Shea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to “Renaissance” songs at a gas station. HRC also includes a statement that condemns hate crimes.

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