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Calendar: April 6

Parties, concerts, support groups and more through April 12

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Video Games Live returns to the Music Center at Strathmore with ‘Bonus Round’ on Saturday at 2 and 8 p.m.

TODAY (Friday) 

Busboys & Poets presents First Fridays: A Local Arts Exploration today at 5:30 p.m. in the Zinn room at its Hyattsville location (5331 Baltimore Ave., Suite 104). This event combines a reception, artist talk and the opportunity to meet local artists and see their work. This month presenters are Aaron Sinift, MIchael Singletary, Song Byeok and Human Landscape Dance. Light hors d’oeuvres and wine will be served. This is a free event.

Arlington Gay and Lesbian Alliance, Alexandria Gay and Lesbian Community Association, GoGayDC, GayDigerati, NoVA GL Professionals and D.C. Ice Breakers are some of the groups that will be at a meet-up event at Kora Restaurant (2250 Crystal Drive, #B, Arlington) tonight from 6 to 8 p.m.

Town (2009 8th St., N.W.) presents “Madonnarama” featuring DJ Ed Bailey with performances by the Dance Camp and the Ladies of Town tonight at 10 p.m. Attendees must be 21 or older. There is an $8 cover before 11 p.m. and $12 after.

DJs Joey O and Chord Bezerra will be spinning at Cobalt (1639 R St., N.W.) tonight at 10 p.m. Free vodka drinks from 11 p.m. to midnight. There’s a $10 cover until midnight, then its $8.

Saturday, April 7

Blowoff, a dance party featuring gay DJs Bob Mould and Richard Morel, will be at 9:30 club (815 V St., N.W.) tonight. Doors open at 11:30 p.m. Attendees must be 21 or older. Tickets are $12 and can be purchased at 930.com.

Code has its monthly installment tonight at Green Lantern (1335 Green Court, N.W.). Gear, rubber, skin, uniform or leather dress code will be strictly enforced. Music provided by DJ Frank Wild. Admission is $10. All attendees must be 18 or older. There will be an open bar from 9 to 10 p.m.

Strathmore presents “Video Games Live: Bonus Round” at the Music Center (5301 Tuckerman Lane, North Bethesda) with two concerts today at 2 and 8 p.m. Tickets range from $25 to $76 and can be purchased online at strathmore.org.

Riot Act Comedy Theater (801 E St., N.W.) presents the graduates of Brad Trackman Comedy School at Riot Act in a show today at 3:30 p.m. Tickets are $15 and can be purchased online atriotactcomedy.com.

Burgundy Crescent Volunteers will be working with the Lost Dog & Cat Foundation at Petsmart (6100 Arlington Blvd., Falls Church) from 11:45 a.m. to 3 p.m. as dog handlers for adoption events. All volunteers get paired with a dog to walk around inside and outside the store and be given basic information if someone shows interest in adopting the dog. To volunteer, email[email protected].

Sunday, April 8

Focus-In! Films presents “Howl” as its April Film of the Month and in celebration of National Poetry Month with a screening at Busboys & Poets’s 14th and V streets location (2021 14th St., N.W.) tonight at 7 p.m. The film stars James Franco as a young Allen Ginsberg. This is a free screening.

LGBT science fiction, fantasy and horror group Lambda Sci-Fi is having its monthly meeting today, including election of officers and social with annual blind book exchange at 1425 S St., N.W., at 1:30 p.m. Attendees are asked to bring a snack or a non-alcoholic drink to share. For more information contact James at 202-232-3141 or Peter and Rob at 202-483-6369, email to [email protected], or visit the group’s website at lambdascifi.org.

The D.C. Kings are performing their New King show tonight at Phase 1 (525 8th St. S.E.) at 10 p.m. hosted by Rocky and Vintage Swag. Performers for the night include Avery Austin, Jamie Son, Sabastian Katz and more. Doors open at 7 p.m. and there’s a $10 cover. In honor of Sexual Assault Awareness Month, this show will be a fundraiser for the D.C. Rape Crisis Center. ASL interpretation will be available.

Monday, April 9

Rude Boi Entertainment and Tomboyz Quarterly present a LGBT Reggae and Latin dance partytonight at Patty Boom Boom (1359 U St., N.W.) starting at 7 p.m. There is a $10 donation at the door. Proceeds will support Youth Pride Alliance.

D.C.’s Different Drummers Marching Band is kicking off its new season tonight with an open house at L2 Lounge (3315 Cady’s Alley, N.W.) at 7 p.m. For more information, email band director at[email protected].

Tuesday, April 10

D.C. Bi Women will have its monthly dinner at Dupont Italian Kitchen (1637 17th St., N.W.) tonight from 7 to 9 p.m.

Cobalt’s (1639 R St., N.W.) weekly “Flashback: ‘70s/’80s/’90s Retro Dance Party” is tonight with special guest, ‘80s pop star Tiffany performing live. There is no cover for this event and doors open at 9 p.m.

Kaiser Chiefs play Rams Head Live (20 Market Place, Baltimore) tonight with Spacecamp. Tickets are $25 and can be purchased online at tickets.ramsheadlive.com. Doors open at 7 p.m.

Wednesday, April 11

Rainbow Response is holding its monthly meeting tonight at the D.C. Center (1318 U St., N.W.) from 7 to 8 p.m.

Busboys & Poets presents Wednesday night Open Mic Poetry hosted by “2Deep” the Poetess in the Cullen room of its 5th and K location (1025 5th St., N.W.) at 9 p.m. Wristbands are $4 and will be sold in the Global Exchange store beginning at 11 a.m.

The Lambda Bridge Club meets tonight at 7:30 p.m. at the Dignity Center (721 8th St., SE — across from Marine Barracks) for duplicate bridge. No reservations needed; newcomers welcome. Visit lambdabridge.com if you need a partner.

The Big Gay Book Group will meet tonight at 7 p.m. at 1155 F Street, N.W., Suite 200. The book discussed will be “The Boys in the Band” by Mart Crowley. For more information, visit biggaybookgroup.com or e-mail biggaybookgroup@hotmail.com.

Thursday, April 12

D.C. Lambda Squares, a local gay square dancing group, is having its annual meeting tonight as well as its weekly club night with advanced and challenge at National City Christian Church (5 Thomas Circle, N.W.) from 7:30 to 9:30 p.m.

Stonewall Bocce meets tonight at Nellie’s (900 U St., N.W.) at 6:30 p.m. For more information, visit stonewallsports.org/bocce.html.

Touchstone Gallery (901 New York Ave., N.W.) presents two new exhibits “Spirit and Enigma” featuring ceramic sculptures by Bill Mould and “String theory” featuring works by Elena Tchernomazova. The gallery is open from 11 a.m. to 6 p.m. For more information, visit touchstonegallery.com.

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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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Movies

Neo-noir ‘Femme’ offers sexy, intense revenge fantasy

A work of real and thrilling cinematic vision

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George MacKay and Nathan Stewart-Jarrett star in ‘Femme.’ (Photo courtesy of Utopia)

They say “revenge is sweet,” and it must be true. Why else would so many of our popular stories, dating all the way back to “Medea” and beyond, be focused on the idea of getting “even” with the people who have done us wrong?

It’s a concept with obvious appeal for anyone who has felt unjustly used by the world – or, more accurately, by the people in it – but that has particular resonance, perhaps, for modern queer audiences, long used to being relegated to the status of “victim” in the narratives we see on our screens. In “Femme” — the new UK indie thriller helmed by first-time feature directors Sam H. Freeman and Ng Choon Ping, now in limited theatrical release and expanding wider over the next two weeks — it provides the irresistible hook for a gripping tale of calculated vengeance in the face of anti-queer violence. Like the best of such stories, however, it’s as much a cautionary tale as it is a wish-fulfillment fantasy.

Set in London, it centers on Jules (Nathan Stewart-Jarrett), aka Aphrodite Banks, a popular drag performer in the city’s queer club scene who, after a performance one night, steps out in full costume to buy a pack of cigarettes and becomes the victim of a traumatic “gay bashing” incident at the hands of a young man goaded to violence by a thuggish gang of friends. Months later, though he’s recovered from his physical injuries, he is still deeply affected by the inner scars that linger. Robbed of the confidence that allowed him to perform, he’s withdrawn into a reclusive life, until concern from his friends and housemates prompts him to finally venture out into the world for a night of cruising at a gay sauna – where he encounters his bully doing the same thing. 

Unrecognizable and anonymously masculine out of his drag persona, Jules finds himself beginning a dangerous and duplicitous game in which he plans to “out” his former attacker – whose name, as he learns, is Preston (George MacKay) – in the most humiliating way possible. As his scheme begins to play out, however, he encounters an obstacle: in getting to know the closeted Preston, he is surprised to discover not only empathy for someone living their life in terrified camouflage, but a mutual attraction that develops despite the horrific history between them.

Framed as a self-described “neo-noir” story, a designation that implies a certain flavor of moral ambiguity as much as it does a tense and shadowy tale of intrigue or a psychologically complex tone, it’s a movie that relies heavily on style in order to sell its conceptual premise. Realistically, we might question the boldness that permits our protagonist to enact such a potentially hazardous scheme, but in the context of its genre trappings we are lulled into accepting it. And while most of us are likely “jaded” enough to question the possibility of tenderness between its two leading characters, the accepted conceits of the film noir form are enough to sell it to us – or at least allow us to grapple with it alongside Jules, whose righteously Machiavellian master plan is threatened by the feelings he “catches” in spite of himself.

That, of course, is part of the whole point. “Femme,” though it establishes itself by virtue of its very title as a testament to the struggle to “pass” for straight in a world that places a value judgment on perceived adherence to a strict norm for gender and sexuality, hinges on the idea that such things aren’t quite as clear-cut as we want to make them. Despite the black-and-white certainty we cling to when it comes to the subject of abusive or toxic relationships, there’s an emotional component that can only be ignored or dismissed at our peril, and even our most resolute intentions can be undermined by the shades of gray we discover in our hearts. 

Freeman and Ng – who also wrote the screenplay, adapting their own BAFTA-nominated short film from 2021 (starring Harris Dickinson and Paapa Essiedu) into a feature-length expansion – seem bent on challenging our snap judgments, on forcing us to sympathize with our oppressors by showing us the ways in which they, too, are prevented from living a fully authentic life by the expectations of their cultural environment. Even more challenging for many modern audiences, perhaps, may be the unavoidable observation that, in enacting his plan of revenge, Jules crosses the line between being a victim and being a victimizer – a fine point that may trigger uncomfortable implications in a social environment that has become marked by divisive moral constructs and hardline ethical posturing.

Before we scare you off with discussion of high-concept themes and “culture war” rhetoric, however, it’s crucial to bring up the elements that lift “Femme” above and beyond the level of so many such narrative films and makes it a somewhat unexpectedly potent piece of cinematic storytelling – and all of them have to do with the skill and intention behind it.

As to the former, the movie’s first-time directors manage a remarkable debut, steeping their film in moody, genre-appropriate visuals and murky morality. They pave a path beyond the easy assessments proscribed for us by conventional thinking, and force us to follow our sympathies into a disquieting confrontation between what we “know” as right and what we feel as true; at the same time, they push back against any natural sentimentality we might have about the situation, stressing the toxicity of the relationship in the middle of their film, the ironically-reversed insincerity of its dynamic – and, perhaps most importantly, the reality of the defining circumstances around it. While we might find ourselves longing for a happier resolution than the one we expect, the film makes no pretense that these two men might overcome the deep denial and traumatic associations – not to mention the calculated lack of honesty on the side of its de facto protagonist, to achieve some kind of “happy ending” between themselves. Nevertheless, we hope for it, in spite of ourselves.

That delicate dynamic works largely because of the movie’s lead actors. Both Stewart-Jarrett (“Candyman”) and MacKay (“Pride”, “1917”) deliver fully invested, utterly relatable performances, finding the emotional truth behind their interactions with as much palpable authenticity as they bring to the chemistry between them. They force us to abandon our preconceived ideas about each character by finding the human presence behind them, and it makes the story’s final outcome feel as heartbreaking as it does inevitable.

As for intention, “Femme” – which premiered at last year’s Berlin International Film Festival and went on to gather acclaim across the international film fest circuit – might be a little hard to take for the easily triggered, we won’t deny it. Still, it’s a work of real and thrilling cinematic vision that goes beyond easy morality to highlight the tragedy that comes from being forced to live behind a mask for the sake of societal acceptance. It’s also exciting, smart, and unexpectedly sexy – all of which make it a highly- recommended addition to your watchlist.

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