Connect with us

Arts & Entertainment

A low-key Black Pride

Organizers plan a more substantive event this weekend

Published

on

ButtaFlySoul and Rayceen Pendarvis at last year's Black Pride event in Washington. (Blade file photo by Michael Key)

Editor’s note: the full Black Pride schedule is here.

When D.C. Black Pride, the five-day celebration of the metropolitan area’s black LGBT community, unfolds this week, it will be with notably less fanfare than in years past.

Vendors won’t be as prevalent. Crowds are expected to be smaller and more local. Panel discussions on issues affecting the community will number fewer.

It’s a change to D.C. Black Pride as many know it — and organizers say it’s a good thing.

“It’s not bad – the fact is that Black Prides, including D.C., have to reflect on what it is we can do to make a difference in the lives of people in our community,” says long-time event organizer Earl Fowlkes, a 14-year veteran of Black Lesbian and Gay Pride Day Inc., the 501(c)(3) that oversees the event. “We’re doing much more advocacy and much more community service.”

After a generation hosting one of the nation’s premier Memorial Day events for black gays and lesbians, the organization is shifting attention toward a slate of year-round workshops it says better serve an audience with changing priorities.

It means lower-key Pride celebrations with fewer offerings. But organizers say the tradeoff is attention to practical issues that matter to black gays and lesbians more than all-night parties and rainbow flags.

“It’s really about being relevant and being around for the next 20 years,” Fowlkes says.

Make no mistake — the event running from Thursday through Monday will feature many long-time staples: The writer’s forum, film festival and a poetry slam with a $250 grand prize are among the audience favorites that haven’t gone anywhere.

But changes also are apparent: A long-running vendor marketplace, for instance, has disappeared. Panel discussions on topics like depression in gay black men, meanwhile, will number fewer than in recent years.

Part of the reason is economic.

“We have scaled down some of our expenses so we can really focus on being a year-round organization,” Fowlkes says, adding the group also has been impacted as nonprofit donations have slowed.

In 2011, the organization plans community outreach surrounding domestic violence and LGBT foster parenting. Providing career-building help, targeting youth and transgender men and women especially, is another goal.

It’s a return to basics for the event, founded in 1991 to help raise money for HIV/AIDS organizations as well as provide a Memorial Day meeting ground for area gays and lesbians of color. The event has since grown to attract up to 30,000 attendees, Fowlkes says. This year, like last year, is expected to bring in about 15,000 as some would-be attendees head to fledgling Black Pride events around the country.

“In many ways, [D.C.] Black Pride is a victim of our own success,” says Fowlkes, who heads the International Federation of Black Prides, a growing umbrella group representing 35 black prides from Toronto to San Diego. “People see that it’s not difficult to do [an event] and people who are entrepreneurs have taken advantage.”

At the same time, the audience is changing, he says.

“Some people were coming to the Pride in the early years when they were 23,” he says. “Now they’re in their 40s and now coming to our form of celebration is not as refreshing and new as it was.”

Jack Hairston understands that sentiment. An attendee since the early ’90s, at 49, he said he’s lost interest in the party aspects of Pride. He says organizers are on the right track by shifting gears, but also need to ramp up efforts to reach the next generation of black gays and lesbians.

“They think it’s all about parties and D.C. is not giving the best parties anymore – so why even come?” he says. “[Leaders] need to recruit the right people across the age groups to keep it relevant.”

Fowlkes says crossing generational boundaries is a high priority for the group. This year, for instance, he says the board included two young adults who later bowed out due to scheduling conflicts. Also, among the panel discussions planned for this weekend is one titled, “Does the Black LGBT Community Really Care About Black Youth?”

But the fledgling efforts ring hollow for B. “Breeze” Bennett, a 25-year-old area party promoter and community personality. She could think of only one person under age 35 who is directly involved with the group and saw little outreach on the many e-mail lists she belongs to.

“It seems like they’re definitely interested in spirit,” she says of the Black Pride board’s efforts to recruit young leaders. “I would just like to see more action behind those sentiments and more resourceful outreach – just a bit more gumption.”

Advertisement
FUND LGBTQ JOURNALISM
SIGN UP FOR E-BLAST

Photos

PHOTOS: Denali at Pitchers

‘Drag Race’ alum performs at Thirst Trap

Published

on

Denali performs at the Thirst Trap Thursday drag show at Pitchers DC on April 9. (Washington Blade photo by Michael Key)

Denali (@denalifoxx) of “RuPaul’s Drag Race” performed at Pitchers DC on April 9 for the Thirst Trap Thursday drag show. Other performers included Cake Pop!, Brooke N Hymen, Stacy Monique-Max and Silver Ware Sidora.

(Washington Blade photos by Michael Key)

Continue Reading

Arts & Entertainment

In an act of artistic defiance, Baltimore Center Stage stays focused on DEI

‘Maybe it’s a triple-down’

Published

on

Last year, Baltimore Center Stage refused to give up its DEI focus in the face of losing federal funding. They've tripled down. (Photo by Ulysses Muñoz of the Baltimore Banner)

By LESLIE GRAY STREETER | I’m always tickled when people complain about artists “going political.” The inherent nature of art, of creation and free expression, is political. This becomes obvious when entire governments try to threaten it out of existence, like in 2025, when the brand-new presidential administration demanded organizations halt so-called diversity, equity and inclusion (DEI) programming or risk federal funding.

Baltimore Center Stage’s response? A resounding and hearty “Nah.” A year later, they’re still doubling down on diversity.

“Maybe it’s a triple-down,” said Ken-Matt Martin, the theater’s producing director, chuckling.

The rest of this article can be found on the Baltimore Banner’s website.

Continue Reading

Books

Susan Lucci on love, loss, and ‘All My Children’

New book chronicles life of iconic soap star

Published

on

(Book cover image courtesy of Blackstone Publishing)

‘La Lucci’
By Susan Lucci with Laura Morton
c.2026, Blackstone Publishing
$29.99/196 pages

They’re among the world’s greatest love stories.

You know them well: Marc Antony and Cleopatra. Abelard and Heloise. Phoebe and Langley. Cliff and Nina. Jesse and Angie, Opal and Palmer, Palmer and Daisy, Tad and Dixie. Now read “La Lucci” by Susan Lucci, with Laura Morton, and you might also think of Susan and Helmut.

When she was a very small girl, Susan Lucci loved to perform. Also when she was young, she learned that words have power. She vowed to use them for good for the rest of her life.

Her parents, she says, were supportive and her family, loving. Because of her Italian heritage, she was “ethnic looking” but Lucci’s mother was careful to point out dark-haired beauties on TV and elsewhere, giving Lucci a foundation of confidence.

That’s just one of the things for which Lucci says she’s grateful. In fact, she says, “Prayers of gratitude are how I begin and end each day.”

She is particularly grateful for becoming a mother to her two adult children, and to the doctors who saved her son’s life when he was a newborn.

Lucci writes about gratitude for her long career. She was a keystone character on TV’s “All My Children,” and she learned a lot from older actors on the show, and from Agnes Nixon, the creator of it. She says she still keeps in touch with many of her former costars.

She is thankful for her mother’s caretakers, who stepped in when dementia struck. Grateful for more doctors, who did heart-saving work when Lucci had a clogged artery. Grateful for friends, opportunities, life, grandchildren, and a career that continues.

And she’s grateful for the love she shared with her husband, Helmut Huber, who died nearly four years ago. Grateful for the chance to grieve, to heal, and to continue.

And yet, she says of her husband: “He was never timid, but I know he was afraid at the end, and that kills me down to my soul.”

“It’s been 15 years since Erica Kane and I parted ways,” says author Susan Lucci (with Laura Morton), and she says that people still approach her to confirm or deny rumors of the show’s resurrection. There’s still no answer to that here (sorry, fans), but what you’ll find inside “La Lucci” is still exceptionally generous.

If this book were just filled with stories, you’d like it just fine. If it was only about Lucci’s faith and her gratitude – words that happen to appear very frequently here – you’d still like reading it. But Lucci tells her stories of family, children and “All My Children,” while also offering help to couples who’ve endured miscarriage, women who’ve had heart problems, and widow(ers) who are spinning and need the kindness of someone who’s lived loss, too.

These are the other things you’ll find in “La Lucci,” in a voice you’ll hear in your head, if you spent your lunch hours glued to the TV back in the day. It’s a comfortable, fun read for fans. It’s a story you’ll love.

The Blade may receive commissions from qualifying purchases made via this post.

Continue Reading

Popular