Arts & Entertainment
Fetishes and festivities
This weekend’s Mid-Atlantic Leather convention has new location
Mid-Atlantic Leather Weekend 2011
Hyatt Regency Hotel Capitol Hill
400 New Jersey Ave. NW
Friday
* Registration — Ballroom level foyer — 4-10:30 p.m.
* Leather Exhibit Hall — exhibit area, Ballroom Level 5-11 p.m.
* Opening Reception (cash bar) — Yorktown Ballroom — 9-11 p.m.
* MAL Bar Crawl Bus — 10 p.m.-2 a.m.
Saturday Jan. 15
* Registration continues — 10 a.m.-5 p.m.
* Leather Exhibit Hall continues — noon-8 p.m.
* Leather Cocktails — Regency Ballroom — 6:30-9 p.m.
* CODE Party — The Crucible — 9 p.m.-2 a.m.
* MAL partner event — discounted admission
for MAL 2001 Full Weekend package holders
* MAL Bar Crawl Bus -—10 p.m.-2 a.m.
Sunday
* MAL Brunch — main lobby — 10 a.m.-noon
* Leather exhibit hall continues
* Mr. Mid-Atlantic Leather Contest — Regency Ballroom — 1 p.m.-5 p.m. (separate tickets are available for this event)
* Reaction — 9:30 Club — 10 p.m.-5 a.m. (separate tickets are available for this event)
The Bootblack Brigade hosts a bar night Saturday starting 10 p.m. at Green Lantern, 13335 Green Court, N.W. — no admission fee
And at D.C. Eagle, 639 New York Ave. N.W., the MAL Weekend welcome begins 7 p.m. Friday and continues through Monday starting at 8 p.m.
More details are here.
It’s back for another year — Mid-Atlantic Leather Weekend.
Once again, Washington becomes this weekend a fantasy scene of leather chaps and cigars, slave collars and chains — with hankie-flagging people seeking the endorphin rush of erotic heat as they cruise hotel lobbies and prowl upstairs corridors for private play parties or hunt exotic thrills at live demos of kink at the Code party. But it’s also the chance to meet old friends and make new ones within the special brotherhood (and sisterhood) of the men and women who embrace leather.
And this year’s gathering happening this weekend, this time at a new hotel, promises once again, according to the sponsoring organization, the Centaur Motorcycle Club of D.C., on its website, to be “one of the hottest leather/fetish events in North America and the world’s largest leather club run.”
“Thousands of leathermen, gearheads, kinksters, rubber freaks and even curious novices from all over the world,” says the promo material, will “come to the nation’s capitol for a weekend of hot, horny fun.”
“We’re literally looking for thousands of people to come for the weekend,” says a confident Larry Barat, the Centaur M.C. promotions chair for the weekend. About 600 or 700 people are expected to register for the full, three-day package, he says, “but we anticipate 2,000 or 3,000 or possibly more to participate in side events organized around the weekend and at the bars,” especially, he said, at the D.C. Eagle and Green Lantern.
The three-day package is $180 in advance or $200 at the door, a package including access to all events and exhibits, said Barat, who also pointed out that “an important new change for MAL 2011” is that entry into the weekend area at the hotel, including for the Leather Exhibit Hall but not the special events, will now require a “Weekend Admission Pass.” The cost for such a three-day pass is $25 if purchased on Friday, $20 on Saturday, or $10 on Sunday or alternatively $10 for any one of those days only.
The D.C.-based Centaur club, now in its 41st year, according to Barat currently consists of about 30 active members. It has sponsored MAL, now in its 31st year, from the beginning. After more than a decade of being housed at the Washington Plaza Hotel at Thomas Circle, it moves this year to the Hyatt Regency on Capitol Hill, because “we simply outgrew that hotel,” Barat says. The Washington Plaza has only 360 rooms, while the Hyatt has about 800.
“Obviously with a new home for MAL, we’re excited about that, but also a little nervous,” he adds, but he has been meeting with Hyatt staff, along with other Centaur event planners, and believes everybody feels that the weekend will be a success.
Another MAL Weekend coordinator, its chairman and fellow Centaur member Patrick Grady met Monday for another meeting “with about 30 hotel managers in the room,” and Grady says “everybody at the Hyatt is very enthusiastic indeed.”
This year, they have booked only about three-quarters of the Hyatt’s rooms because, says Barat, “we were trying to be a bit conservative this year and not over-extend ourselves.” Even so, weekend registration has spilled over into rooms reserved at the Liaison Hotel across the street.
All MAL attendees will be on the same floors. Organizers hope next year to fill the entire hotel.
Grady says his first MAL Weekend began when he joined the Washington Plaza Hotel as its director of catering in 1997 and a month later hundreds of MAL Weekend participants thronged the hotel, the second year at that venue, and he got his first real look close-up at the leather community.
“I was a newbie in ’97,” he says, “and I didn’t know their community even existed.”
He was taken in by the friendly vibes and soon, he says, he began to frequent the Eagle and then to hang out with the Centaurs. By 1999 he had sunk his own roots deep into the leather world.
Grady says that after that first weekend, “I couldn’t wait to see everybody back in ’98,” and he was drawn to the sense of community that he found, especially in the Centaur MC. Yes, he knows that some LGBT people are uncomfortable with the more taboo aspects of the leather world — the BDSM sexuality — but he says the reality is that the leather world — and the Centaur club — is “very diverse.”
“We have members who have motorcycles and those who don’t, who are large and skinny, tall and short, and the only real common denominator is that we like one another,” he says. “Some are hard-core leather folk and others are just out for a good time.” But he admits that “when we gather together sometimes we are a little much for some people — we tend to be very gregarious.”
His objective this year is simple: “to make new friends and renew old acquaintances,” a goal echoed by Barat, who says “our aim is to have fun and make sure everybody who comes has fun, so they can meet new people and explore new things.”
The signature events, says Barat, are the Leather Cocktails reception Saturday evening, the buses for the MAL bar-crawl, the CODE party at the Crucible S&M club Saturday night into the wee hours of Sunday morning, the Mr. Mid-Atlantic Leather Contest Sunday afternoon, and the finale event, the Reaction dance at the 9:30 Club from 10 p.m. Sunday until 5 a.m. Monday. Throughout the entire weekend also, another big draw is the Leather Exhibit Hall located on the hotel’s Ballroom level, with dozens of vendors of gear, books and other paraphernalia.
The MAL Weekend in 1998 was “the first big leather event” he ever attended, though he had lived a leather lifestyle “on and off” since he was 19. Now 50 and a U Street resident for the past seven years, by day Barat works on international public health issues for the U.S. Government.
For him, owning a bike is important to the leather lifestyle, and though he recently sold his own Harley Davidson “Fat Boy,” now he says he can’t wait until the weather gets warm again to get his next new bike. Though he says another D.C.-based club, the Spartans, “are more into motorcycles,” the Cenatur M.C. still sponsors runs two or three times a year, usually to Skyline Drive and into West Virginia and back.
Like Grady, Barat was won over by the welcoming vibes of community he felt at his first MAL Weekend: “I was really kind of shocked at how friendly everyone was,” and how eager people were to teach him about the things he didn’t know, and he also began to understand the wide variety of lifestyles subsumed under the leather label.
The gay male leather subculture has existed, according to most accounts, since the late 1940s, when it grew out of gay men who had typically worn uniforms during World War II and mustered out and were looking for a way to sustain the homosocial world and its rituals and rules of masculine identity they had experienced during wartime. Soon these men found their way into the culture of biker clubs, and for them the lure of leather signified a code of dress rooted for most — though not all — in sexual activities, often defined by the sexual practices loosely grouped under the label of BDSM.
“Leather is a term that includes dressing up and getting into sexual scenes when dressed up, acting out certain sexual fantasies like getting flogged, at one end of the spectrum, but you don’t need to dress for BD events,” Barat says.
At the other end of the spectrum, he says, people just like the feel of leather and the thrill of the road and the ride.
“And it’s everything in between,” he says,”plus, it’s not just leather alone anymore – there’s rubber, there’s sports-gear, there’s uniforms. And now there’s also a lot of young guys into dressing up as super heroes and comic book heroes.”
“It’s a whole range of of people and the nice thing about the community is that it’s very accepting,” Barat says. “You see a guy in full leather gear talking to a guy dressed up like Batman talking to a guy dressed up in full rubber.”
For many, participation is a chance to distinguish themselves from mainstream sexual activities. For some it can mean immersion in sexual kink. For others, just wearing the trappings of black leather is the main point, an erotic fashion statement expressing heightened masculinity.
The pioneering gay motorcycle clubs — the Satyrs of Los Angeles, established in 1954, and others like the Warlocks of San Francisco — reflected that same sense of disaffection with the postwar mainstream. It also provided an archetype for gay men who resisted effeminate stereotypes. For years, Larry Townsend’s “Leatherman’s Handbook” was the guide by which rank in the leather community — slave, boy, sir and master — was determined.
But by the 1980s, and perhaps even earlier, a rebellion arose against old guard role rigidity, and instead there was a new emphasis upon choices and personal self-identity, in which a person might consent to begin and end as either slave or master or switch back and forth. In this new world of greater flexibility, leather practitioners defined themselves as “new guard,” and an increasing number of pan-sexual clubs evolved as well.
“There’s a generational aspect to it,” Barat says. “The old guard has to do with fixed attitudes concerning dominance and submissiveness, and in the old guard ‘D’ and ‘s’ is not just something that one does in sexual play, but something one lives 24/7.”
He says it’s now more flexible and all a matter of self-identification, not following rules.
Barat says he is a good example of this transition.
“I began as old guard and in the past I identified as a boy and more recently as a sir, but now as I get older I’ve stopped labeling myself, and now I see myself as a new guard kind of guy.”
As for the Centaurs, he says that some are into BDSM and others are not, but it’s not a primary focus of the club.
“Some of us wear leather and are into gear and not so kinky, and there others who are kinky and don’t necessarily wear a lot of leather.
Meanwhile, pop culture itself has absorbed the look of leather and the feel of erotic alternatives. Witness the numerous popular images of Elvis from the 1960s fully clothed in black leather and then 1970s heavy-metal bands such as Kiss, Black Sabbath and Judas Priest who were cloaked in leather. The latter’s lead singer Rob Halford, himself openly gay, wore a leather costume on stage as early as 1978. Soon codpieces and even harnesses proliferated on metal-rock costumes, as such gear became appropriated by internationally successful bands like the L.A. metal band Motley Crue.
Now numerous lesbians also identify as leatherwomen and a leather pride sticker adorns the guitar of singer Joan Jett. San Francisco leather and lesbian activist Pat Califa co-founded one of the first lesbian S&M groups, Samois, and became a prolific contributor to lesbian BDSM literary erotica and sex handbooks. Leather and Lace, an “old guard” woman’s BDSM social group, was founded in Los Angeles in 1980, and in New York City there was LSM – the Lesbian Sex Mafia.
Another demographic shift in leather, says Barat, has come as younger leathermen and leatherwomen enter the worlds of leather kink, fetish and gear. It used to be mostly men over 40 graduating into the leather lifestyle, he says, “but now guys get into this lifestyle at a very young age and we’re seeing guys at our events in their early twenties.”
Barat admits, however, that leather “was once so taboo and is still not fully accepted within the larger gay community.” He hopes these attitudes are changing, but that “large parts of the gay community are still very intolerant of leather folk.” He says “there are very conservative gay people, who think we should all be monogamous, live in the suburbs, have children and go to church.”
Several entertainment guests will perform. Comedy duo Dick and Duane (Richie Cohen and Duane Tragis) are slated along with the traditional Mr. MAL 2011 contest Sunday afternoon and the Reaction party at which DJ Susan Morabito will spin.
Arts & Entertainment
Horror genre has evolved into space to explore queer identity
Forbidden love among topics explored
Spooky season is here, making it a fantastic time to talk about queerness and horror. More precisely, it’s a chance to explore how the horror genre emerged and transformed our perspective on queer identity.
Horror is far more political than most people realize.
Personally, if sci-fi was the genre that helped me understand what it feels like to be different, it was horror that truly allowed me to explore queer relationships and queer rage.
Let’s dive into how horror as a book genre has evolved — moving from portraying queer and transgender identities as monstrous threats to becoming a space where queer people can process our own fears, rage, sexuality, and trauma: from the deeply queer undercurrents of vampire fiction to the liberating “monstrosity” of trans rage.
The ‘monstrosity’ of transness
It’s 2026, so let’s begin with the elephant in the room — or rather, the biggest conservative scapegoat in our community (thanks for actual political monsters). But trigger warning: trauma crawls to the surface like a monster breaking through.
Imagine two scenes:
Fifteen-year-old me, a trans teenager who didn’t yet know they were trans, was reading Thomas Harris’s “The Silence of the Lambs” (1988) for the first time (yes, for me it was first the book, then the movie.) I “encountered” Buffalo Bill, a serial killer who used human skin to make a female costume because he wanted to be a woman. How did I feel? Cringed out, humiliated, and even more determined to hide. And I wasn’t yet permitted myself to think that I’m trans, but I felt terrible without knowing why. It was one more message from mass culture: if you think you belong to a gender different from the one assigned to you at birth, you are a “psycho.” The intersection of ableism and transphobia is striking in stories like this. People with mental illnesses, who in real life are much more often victims than aggressors, are portrayed as dangerous to society, while transness is presented as a mental illness.
Now imagine an adult me, a couple of years after coming out as trans, reading Andrew Joseph White’s young adult horror novel “Hell Follows with Us” (2022). It portrayed actual monsters and a trans boy, Benji, turned into a monster by his cultist family. I felt joy and sympathy for Benji, who stood up against the apocalyptic cult that destroyed humanity, despite his parents raising him to destroy what was left of the human race. His trans rage and rebellion felt justified, and the main character never felt like a pathetic freak.
This is the main difference between classical portrayals of trans people in horror and the changes made by trans authors and creators reclaiming the genre.
When Harris wrote “The Silence of the Lambs” and Jonathan Demme directed the movie (1991), the story made it clear that Buffalo Bill was not a “real” trans person and that real trans people were harmless. But this raises an important question: how can we decide who is a “real” trans person and who isn’t if someone’s gender identity differs from the one assigned to them at birth? The trope of an aggressive, perverse person who “wants to be a woman” has existed throughout modern fiction, with the “Psycho” (1960) movie being another famous example, that stigmatizes cross-dressing and gender non-conformity and, by association, trans women.
Aggressive trans characters and trans characters in serial-killer fiction have every right to exist. White’s young adult horror novel “You’re No Better” (2026), which is coming out this October, features a trans autistic boy trying to prove that he is nothing like his famous serial-killer father. There is also the transgender novel “Manhunt” (2022), featuring two trans women, Beth and Fran, who survive by hunting men transformed into monsters.
Honestly, I’m currently querying a vampire novel with a trans teenager who runs from his transphobic MAGA family and has literally become a monster, so it would be hypocritical of me to object to controversial or monstrous trans characters. They can be violent — but not because they are trans. They can be driven to become monsters by society, but not because of their supposed “perversion.”
Trans horror written by trans and trans-friendly authors can help process rage and alienation. Many trans horror authors reclaim the label of “monstrosity” without turning their characters into caricatures, perverted villains, or pathetic creatures, as often happened in more classical, cis-hetero normative horror.
Queer romance and forbidden love
For me, “The Vampire Chronicles” by Anne Rice was my first introduction to non-judgmental, queer-centered fiction as a teenager. As Rice famously observed, all her vampires are bisexual, and it was remarkably brave to publish books in the 1970s and 1980s where queer families, desire, and drama were simply part of the plot without any silly sensationalism. The 1994 film adaptation of “Interview with the Vampire” was the movie through which many people I knew who weren’t into queer stories first saw these dynamics onscreen. And the new AMC’s “Interview with the Vampire” (2022-current) TV series is, in my opinion, one of the best representations of messy queer relationships between traumatized people, addressing family trauma and the intersection of race and queerness. I recommend it even more than “reality-based” shows such as “Heated Rivalry” or “Queer as Folk.”
Gothic literature has always had a queer undercurrent. From Lord Byron’s homoerotic image of the undead to the lesbian desire of “Carmilla” and the obsessive relationships surrounding “Dracula” (book published in 1897), vampires have long been associated with forbidden desire, sexuality, and relationships outside social norms. “Carmilla,” published in 1872 by Joseph Sheridan Le Fanu, still resonates with the lesbian community today. “Carmilla” is unapologetically queer, declaring romantic passion for the human woman Laura without hiding her desires. Of course, “Carmilla” is literally a monster — but how else could an author write a forbidden queer love story in 1872?
New retellings of “Dracula” and “Carmilla” have become even more increasingly queer. Kat Dunn’s “The Hungerstone” (2025) is a sapphic story about feminine agency and the relationship between Carmilla and Lenore, a bisexual British woman in Industrial-era Sheffield, framed around sapphic emancipation and forbidden love. “Dracula” has also inspired plenty of retellings, most notably S. T. Gibson’s “A Dowry of Blood” (2021) — an explicitly polyamorous, bisexual retelling told from the perspective of one of his brides. It explores abuse and the importance of breaking codependency in queer relationships — a topic underrepresented in more “serious” fiction.
Vampires have also become a cross-cultural way to speak about queerness. For example, Dawn Chen’s “A Vampire in Beijing” that will be published in 2027, offers a sapphic story about the modern Chinese queer community and its unique struggles.
Together against the monsters
Another major trope in queer horror is queer people, especially queer youth, fighting monsters together. Those monsters may be supernatural, as in “The Dark We Know” (2024) by Wen-Yi Lee or “This Raging Sea” (2025) by De Elizabeth, where groups of bisexual, queer kids fight side-by-side with an old evil. Ultimately, these external threats represent a conservative society, oppressive stereotypes, and real-world mental health struggles.
Although horror historically mostly exploited queerness for sensationalism — harming real-world queer people in the process — today it has transformed into one of the most effective spaces to explore queer identity and trauma in our own language.
Photos
Center for Black Equity honors leaders, activists at BE. Gala
Miyake-Mugler, Oakes co-host annual awards ceremony
The Center for Black Equity held its annual BE. Gala at Conrad Washington, D.C. on Saturday, Oct. 5. Lolita Leopard Miyake-Mugler and Anthony Oakes co-hosted the awards ceremony.
Honorees included journalist and producer Justin Stewart; nonprofit leader Nikki Alexander; HIV advocate Marlene McNeese; the nonprofit organization FreeLux Project; actress Monroe Alise; public health advocate Tori Cooper; Manassas Park Vice Mayor Darryl G. Moore; Rev. Dr. Carmarion D. Anderson; Bishop Steven Sawyer; government relations professional Courtney Snowden; Senior Deputy Director of HAHSTA at D.C. Health, Clover Barnes; and Texas state Rep. Venton C. Jones.
The event was presented by Gilead.
(Washington Blade photos by Michael Key)






























Books
In ‘The Lost Brontë,’ a complicated lie can lead to danger
New book features sweetly romantic girl-meets-girl twist
‘The Lost Brontë’
By Catherine Friend
c.2026, Bywater Books
$22.95/335 pages
Mom always said to tell the truth.
One lie leads to another and another and you have to remember them all until pretty soon, you’re caught. Fibs are hard, mistruths are messy, even little white social lies can destroy trust. Worst of all, as in the new novel, “The Lost Brontë” by Catherine Friend, a complicated lie can lead to danger.

Though Lilianne Loxley was very young when she lost her parents, she understood that her uncle didn’t really want her. As time passed, though, Lily made herself useful to Uncle, writing and signing letters for him and she became a good companion, helping him with his collection of Brontë memorabilia. Uncle was a keen enthusiast.
She had no idea that his obsession was out of control and he was deeply in arrears. The day Lily learned of his debt was the day she learned that he’d agreed to send her to his debtor’s home to work off the money owed.
It was so sudden. One minute, Lily was at Loxley House, happy and loved by Uncle’s staff … and five hours later, she was at Crag Thorn Manor, home of Lord Bexton, who informed her that she’d be working on his ledgers – work that seemed routine, but Lily tackled it.
Uncle always did say she was headstrong.
But would headstrong be enough to survive, when she was restricted from most of the Manor, when she was forced to dine with Brexton and his slimy friend, or – the worst! – when Brexton told Lily that her next task was to forge a letter from Emily Brontë? And then an entire manuscript?
Lily struggled to do what was right. She had to get Uncle out of debt but this last order horrified her. Did she dare refuse Brexton’s orders and commit a crime? It was unthinkable!
The only brightness in the whole situation was Wren, the ladies’ maid assigned to Lily’s room. Wren was adorable with freckles and the sweetest smile. But with everything else happening at Crag Thorn Manner, could Lily act upon her feelings?
This time of year, you may come to crave dark, spooky stories, and “The Last Brontë” fits those needs perfectly with its Gothic deliciousness. Think: Daphne du Maurier-type, stormy-night squirms with a dangerously chaste, sweetly romantic girl-meets-girl twist for fun.
If it’s been awhile since you’ve read a Gothic novel, you’re in for a nice reminder of why you love them here. You can almost tick off the must-haves: a novel like this is nothing without a foreboding stone manor with damp walls; stone steps to a dank basement; a mysterious portrait; and a nearby bog, and author Catherine Friend gives readers every one of them. You’d be disappointed if there was no ghost, wouldn’t you? Ha. You can practically feel the cold blow through the attic, right? Yeah, it’s that kind of book.
If you’re a fan of the Brontës, you’ll like this novel. If you love Gothic mysteries or Victorian romances, ditto. “The Lost Brontë” is good, no lie.
The Blade may receive commissions from qualifying purchases made via this post.
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