Arts & Entertainment
Best of Gay D.C. 2016: NIGHTLIFE
Blade readers voted for their nightlife favorites
Best Dance Party
Mixtape
Runner-up: BARE by LURe
DJs Shea Van Horn and Matt Bailer host Mixtape, an alternative dance party, on the second Saturday of each month. Locations vary. The fifth annual Mixtape Halloween party is on Monday, Oct. 31 at the Howard Theatre. It’s at the 9:30 Club on Saturday, Nov. 12.
Best Bartender
Dito Sevilla, Dito’s Bar at Floriana
1602 17th St., N.W.
Runner-up: Dusty Martinez, Trade
Best Burlesque Dancer
Bella La Blanc
Runner-up: GiGi Holliday
Bella La Blanc is a housewife and mother of three, but unlike most wives and mothers, she’s a showgirl who has found a way to play multiple roles in her life and not just on stage.
La Blanc, originally from Miami, says she was a theater kid who first fell in love with burlesque after watching “Gypsy.” She then watched “Funny Girl” and once she came of legal age decided she wanted to emulate Barbra Streisand’s Fanny Brice. Her journey led her to frequent fetish clubs, at the time the only place to find burlesque shows.
Now La Blanc regularly performs at the Bier Baron Tavern and has her own burlesque production company Glit-O-Rama Productions. She’s also become known for her cos-play of Regina Mills from “Once Upon a Time.”
La Blanc says her showgirl life is an open book for her kids who often see an evening gown and a vat of crystals strung out on the dining room table after dinner in her Northern Virginia home. Events like this make it all the more fitting that her tagline is “The Stepford Wife gone wild!”
For La Blanc, burlesque is all about pride in being who you are.
“As an exhibitionist I love being on stage and I love sparkly things,” La Blanc says. “But I find that self-empowerment, self-confidence is what burlesque is all about. I go on stage and I’m like, ‘Yeah, I’m a 30-something-year old woman. This body has popped out babies and I’m still going to wear next to nothing and shake my bacon.” (Mariah Cooper)
Best Cocktail
Lemon Squeeze
Duplex Diner
2004 18th St., N.W.
202-265-7828
(Second consecutive win in this category)
Runner-up: Watermelon Basil Slush, Logan Tavern
Best DJ
Matt Bailer
Peach Pit, Mixtape
(Second consecutive win in this category)
Runner-up: DJ Tezrah
Best Drag King
Chris Jay
Runner-up: Sebastian Katz
Chris Jay — who identifies as gender non-conforming and goes by Chris Jennings in non-drag endeavors — started drag three-and-a-half years ago, led to the craft by photography.
Interested in finding some different subjects, he happened upon the D.C. Kings four years ago and started shooting as many of their performances as he could. About six months later, he started with the Kings and continues to this day.
“I’m a lover of R&B, so you’ll find me performing that mostly,” Jay says. “My drag persona is me at a thousand, so I’m kind of full of myself and way more outgoing.”
Now with Pretty Boi Drag (the Kings folded two years ago), Jay performs twice a month — the first Sunday of each at Acre 121 and the third Sunday of each month at the Bier Baron. Jay is 36, happily partnered and lives in Baltimore. (Joey DiGuglielmo)
Best Drag Queen
Tatianna
Runner-up: Ba’Naka
While Tatianna has been a drag nightlife staple in D.C., for the rest of the nation she had dropped off the radar in between her appearance on the second season of “RuPaul’s Drag Race” and her reemergence in “RuPaul’s Drag Race All Stars 2.”
In her original season, Tatianna, who hails from Falls Church, Va., became a stand-out competitor when she won Snatch Game with her eerily on point imitation of Britney Spears circa 2005. Her taglines, “Thank you” and “Choices” also made her a fan favorite.
In “All Stars 2” Tatianna was booted from the show by fellow queen Alaska not once, but twice. However before leaving she yet again left an impression on the judges with her spoken word performance of “Same Parts,” an ode to men at parties who hit on her and don’t realize she also has the “same parts.”
The local queen also dressed up as T-Boz for her last runway challenge impressing both the judges and fans.
Tatianna can frequently be found performing at Town and has said her favorite celebrities to impersonate are Britney Spears, Ariana Grande and Miley Cyrus. Tatianna has mentioned on “RuPaul’s Drag Race” that she first began doing drag in middle school at age 14.
Since leaving the show, Tatianna is ready to continue working hard on her career.
“You can expect to see me everywhere because I’m traveling the world, dropping new music and saying ‘Yes!’ to any and all projects,” Tatianna told the Huffington Post following her exit from the show. (Mariah Cooper)
Best Drag Show
Ladies of Town
Fridays and Saturdays at 10:30 p.m.
Town Danceboutique
2009 8th St., N.W.
Runner-up: Pretty Boi Drag
Best Gay-Friendly Straight Bar
Dacha Beer Garden
1600 7th St., N.W.
202-524-8790
(Second consecutive win in this category)
Runner-up: Black Cat
Best Go-Go Dancer/Stripper
Dylan Knight
Runner-up: Christian Lezzil
Tatianna isn’t the only star to launch from Town Danceboutique. Dylan Knight started gyrating lasciviously about 2010 after seeing other go-go dancers there.
He’s a weekly regular at Town and performs there and elsewhere, never taking himself too seriously.
“I just try to be entertaining and cute,” the 25-year-old D.C. resident says.
He’s also honored to win — “It feels good, I didn’t think I would.”
Knight dances nude sometimes and has shot more than 100 gay porn scenes since 2012 (favorite co-star? Colby Jansen).
He got his famous shamrock tattoo at Ocean City at age 18 when he was there for his senior trip. “My boyfriend and I got matching tattoos,” he says. “I’m Irish and pretty lucky, so it fits.” (Joey DiGuglielmo)
Best Happy Hour
D.C. Bear Crüe Bear Happy Hour
Every Friday at 6 p.m.
Town Danceboutique
2009 8th St., N.W.
Runner-up: Number Nine
Hottest Bar Staff
Nellie’s
900 U St., N.W.
Runner-up: Town Patio
Best Live Music
9:30 Club
815 V St., N.W.
(A perennial favorite in this category)
Runner-up: Black Cat
Best Neighborhood Bar
JR.’s Bar & Grill
1519 17th St., N.W.
(A perennial favorite in this category)
Runner-up: Uproar
Best Outside-the-District Bar
Freddie’s Beach Bar
555 S. 23rd St.
Arlington, Va.
(A winner of this award many times previously)
Runner-up: Grand Central (Baltimore)
Best Outdoor Drinking
Town Patio
Town Danceboutique
2009 8th St., N.W.
(Second consecutive win in this category)
Runner-up: Dacha Beer Garden
Best Place for Guys Night Out
Ziegfeld’s/Secrets
1824 Half St., S.W.
(Second consecutive win in this category)
Runner-up: D.C. Bear Crüe Bear Happy Hour
Best Place for Girls Night Out
BARE by LURe
Every third Saturday of the month at Cobalt
1639 R St., N.W.
(Second consecutive win in this category)
Runner-up: WhiskHER
Best Rehoboth Bar
Blue Moon
35 Baltimore Ave.
Rehoboth Beach, Del.
(Second consecutive win in this category)
Runner-up: Aqua
Best Rehoboth Bartender
Matt Urban, Blue Moon
35 Baltimore Ave.
Rehoboth Beach, Del.
Runner-up: Jamie Romano, Purple Parrot
Matt Urban has been behind the bar at the venerable Blue Moon for 14 years. His friendly, reserved demeanor keeps the customers coming back year after year. He says the best part of the job is “meeting so many different people and catching up with friends.” Originally from Wilmington, he lives in Rehoboth with his wife.
Best Rooftop
Uproar Lounge & Restaurant
639 Florida Ave., N.W.
Runner-up: Nellie’s
Best Singer or Band
Frankie & Betty
(Second consecutive win in this category)
Runner-up: Wicked Jezabel
Best Transgender Performer
Gigi Paris Couture
Runner-up: Lady Dane
Gigi Paris Couture started performing 20 years ago. She was just hanging out in drag one night at a bar and one of the performers was a no-show.
“They asked me to perform and I liked it,” Couture, a veteran of Ziegfeld’s, Town, Freddie’s, Cobalt, Perry’s and many others, says.
She performs weekly and works by day as a stylist at the Cosset Aveda in Crystal City, Va., near where she resides in Alexandria.
Couture, who’s single, says many trans performers work right alongside drag queens. She acknowledges there is “occasional tension, but nothing major.”
“There’s always something funny at every show,” Couture says. “That’s the nature of the business. A pastie can come off, duct tape might fall off or a piece of jewelry might fall on someone’s eggs during brunch. Little funny things that make people laugh.”
She’s happy to win this new category, a Washington Blade Best of Gay D.C. first.
“It’s an honor to be acknowledged for something I have enjoyed doing for so long.” (Joey DiGuglielmo)
To see winners in other categories in the Washington Blade’s Best of Gay D.C. 2016 Awards, click here.
Theater
Talented pair of local queer actors tackles ‘Little Shop of Horrors’
Ford’s production features terrific score
‘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.”
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.”
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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