Arts & Entertainment
Queery: Matt Bailer
The Mixtape DJ answers 20 gay questions
Matt Bailer (Washington Blade photo by Michael Key)
Matt Bailer was at Taint, a party at DC9, a few years ago and he saw Shea Van Horn dancing. Van Horn caught his eye, but not in “that” way.
“He just had this really magnetic way of dancing that made me want to know him,” Bailer says. “I could just tell he was having a lot of fun.”
Bailer, who’s been DJing professionally about five years, guest DJed for Taint at Van Horn’s invitation shortly thereafter. They talked over the summer and made plans to start their own party, having discovered how well their sets complemented each other. That September, they threw their first Mixtape, a party of rotating venues that features “anything you can dance to.” Last month, they had their four-year anniversary party at the Howard. A special “Halloween edition” is set for Wednesday, also at the Howard, starting at 10:30 p.m. ($10 cover). Visit mixtapedc.com for details. The event won Best Men’s Party in this year’s Best of Gay D.C. readers’ poll and typically draws between 800-1,000 music lovers.
Bailer, a Camp Springs, Md., native, DJs full time. He also spins at the weekly Friday Night Kickoff party at Nellie’s and at the ‘90s-themed Peach Pit at DC9 the third Saturday of the month.
After studying theater at Duke in North Carolina in the ‘90s, Bailer went to West Hollywood to pursue a recording career but was soon beset with a crystal meth addiction. After rehab and sobriety meetings that he still attends, Bailer says the key to “reprogramming my brain” was realizing how much better his life has become since those days.
“As time continued to pass, life started getting really good … and the more you kind of realize, ‘Oh well, that’s why I was living in my car before and had no money to my name because I was doing these drugs and now life is really good.’”
But isn’t it tempting spending so much time in gay nightlife circles? Bailer, who DJs full time, says he manages to stay clean because he views his nights out as having a job to do. He doesn’t go out often when he’s not working.
Bailer is single and enjoys music, movies, games and hanging out with friends in his free time. He lives at 14th and T, N.W.
How long have you been out and who was the hardest person to tell?
Since National Coming Out day my freshman year of college which was October, 1994. I’d always told myself that I wouldn’t tell my parents before they were ready to ask, and I wouldn’t lie when they did. It was an adjustment for them, but I was blessed with two amazing parents and a sister who love and support me unconditionally.
Who’s your LGBT hero?
Probably Sophie B. Hawkins. Her song “Damn I Wish I Was Your Lover” changed the way I listened to music and soon thereafter I started writing and recording my own original songs. Also, I don’t know if I’d call this person my LGBT hero per se, but there used to be a drag queen in Washington named Berlene who inspired the hell out of me in the late 1990s. She has since passed away, but she was the first truly ingenious drag performer I ever saw, pushing all the boundaries and working hard for every dollar she made. She also happened to be a very sweet person.
What’s Washington’s best nightspot, past or present?
Well it’s both the truth and shameless self-promotion, but I’ll be having the most fun wherever I’m DJing on any given night, which would be Nellie’s every Friday night, Mixtape on the second Saturday of the month, or Peach Pit at DC9 on the third Saturday of the month.
Describe your dream wedding.
Family, friends, laughter, music, dancing, unicorns, fireworks, Wilson Phillips performing “Hold On” — does there have to be a groom?
What non-LGBT issue are you most passionate about?
12-step programs work. Cancer sucks.
What historical outcome would you change?
The premature cancellations of “My So-Called Life” and “Pushing Daisies.”
What’s been the most memorable pop culture moment of your lifetime?
I remember exactly where I was — in line for the bathroom at VelvetNation — when I found out Madeline Kahn had died.
On what do you insist?
Honesty, kindness and a sense of humor.
What was your last Facebook post or Tweet?
I may sound like an old fuddy-duddy, but sometimes I wish they would collect everyone’s phones when they enter the club and give them back as they leave. Trust me, it’ll be way more fun if you stop texting and dance.
If your life were a book, what would the title be?
Uhhh, I dunno. “Matt Bailer & The Purple Crayon,” maybe? Purple is my signature color.
If science discovered a way to change sexual orientation, what would you do?
I would be grateful for having existed before such regressive rubbish was possible. I am so happy to be who I am. I wouldn’t want to change a thing.
What do you believe in beyond the physical world?
I try to live by the Golden Rule, because karma can be a blessing or a bitch. The Serenity Prayer is an incredibly helpful, often self-fulfilling 10 seconds. I believe there’s a power greater than myself out there, which helps me stay humble and grateful and sober. And I know my amazing mother is watching my fabulous life unfold on the big picture screen in heaven and she’s smiling down on me.
What’s your advice for LGBT movement leaders?
Keep on truckin.’ Slow but steady wins the race.
What would you walk across hot coals for?
Peanut butter cream pie. My mom used to make it often after we got the recipe from my outstanding piano teacher Mrs. Lloyd-Potts. Coffee is the most complicated thing I can cook, but even I learned how to make peanut butter cream pie ‘cuz it’s so freakin’ good.
What LGBT stereotype annoys you most?
“Glee” pretty much sums them all up.
What’s your favorite LGBT movie?
“Trick.” Runner-up: “Sordid Lives.”
What’s the most overrated social custom?
Oh don’t get me started. It actually relates back to my most recent Facebook post mentioned above, but it drives me INSANE how people seem utterly incapable of enjoying a club or a concert or even just a plain old conversation anymore without constantly disengaging to text or take pictures or video or whatever on cell phones.
What trophy or prize do you most covet?
I’ve already achieved more happiness than I ever dreamed of. I guess the cherry on top would be someone to share it with, but he hasn’t found me yet and I’m doing fine for now on my own.
What do you wish you’d known at 18?
Drugs are bad.
Why Washington?
I grew up in Prince George’s County near what is now the southern end of Metro’s Green Line. Washington is home for me. My sister and father both live less than an hour away. And as long as this city continues to grant me the privilege of making a career sharing music with people — something I’ve loved with all my heart since I was 5 years old — I can’t even begin to think about living anywhere else.
The new monthly 90’s Flashback Drag Brunch premiered at Red Bear Brewing Co. on Sunday, April 26. Performers included Logan Stone, Tiffany D. Carter and Charlemagne Chateau.
(Washington Blade photos by Michael Key)
Celebrity News
Madonna makes rare club appearance in West Hollywood
Gay icon brought ‘Confessions II’ to The Abbey
A line of celebrities, “Drag Race” queens, influencers, media, and West Hollywood socialites lined the block around West Hollywood’s The Abbey, all clamoring to get into the invite-only celebration of owner Tristan Schukraft’s birthday. The rumor, which became verified gossip, was that Madonna, the Queen of Pop herself, would be taking the stage. Of course, the Blade had to be there.
With disco balls and Abbey statues covered in pink chiffon, it was clear. This party was a direct tie-in to Madonna’s much-anticipated “Confessions on A Dance Floor” album sequel, “Confessions II.” That night, the Abbey also unveiled its remodeled dance floor, a fitting collaboration.
The club was filled to capacity with a completely open bar, keeping the crowd liquored up. Go-go dancers in black leather collars and thongs lined the room, and celebrities that included Lilly Allen, Bebe Rexha, Tori Spelling, Julia Fox, Sam Asghari, Daniel Frenzese, Cynthia Bailey, Meredith Marks, Tom Daley, and more filled the VIP booths alongside World of Wonder personalities. It was a veritable who’s who of queer folk and allies.
The lights began to dim, the dance floor began to rumble, and Madonna graphics hit the screens. At around 1 am, it was time. Introduced by Addison Rae, Madonna grabbed the mic and started chanting, welcoming her “gays.” The venue resounded in thunderous chants of “freedom,” “mother,” and “bitch.”
Madonna was not there to perform. She was there to dance. She took the stage for about 15 minutes, keeping the crowd going with her naughty and fun commentary. There is no list that needs to be provided on how Madonna’s career has become part of queer culture. Going back to her dance music roots and going back to her gay fans is smart.
Released in 2005 (yes, it has been that long), “Confessions on a Dance Floor” was an instant hit, with four singles from the album being released. The album’s lead single, “Hung Up,” topped the charts in 41 countries with Billboard calling it the most successful dance song of the decade. The album had hints of 60s and 70s flair, mixed in with dance music prevalent at that time. The music still dominates at queer clubs across the globe.
Madonna knows we need a little queer joy; she also knows that fans miss the Madonna we all knew and loved. With the nation in such turbulence, we all need some comfort, and going back to a time when we felt safer and had more to celebrate just feels good. For the new album release, she has even partnered with Grindr for a limited edition vinyl release and exclusive behind-the-scenes content.
Her night at The Abbey presented snippets of her new music mixed in with some of her classics. The new material sounded good, sounded familiar in an exciting way, and shows that this diva has still got it.
“Confessions II” releases on July 3.
Theater
World premiere of ‘Everything, Devoured’ oozes queer energy
Nonbinary playwright Katherine Gwynn delivers ferocious ghost story
‘Everything, Devoured’
Through May 10
Nu Sass Productions
Sitar Arts Center
1724 Kalorama Road, N.W.
$25 (general admission)
Nusass.com
As if the world weren’t already hideous enough, Kore, the trans woman protagonist in nonbinary playwright Katherine Gwynn’s “Everything, Devoured,” wants to summon a demon to her humble Chicago apartment. While her friends think it’s just a bit of afterwork fun akin to reading horoscopes or Tarot cards, Kansas born Kore is dead serious.
Nu Sass Productions’ world premiere of Gwynn’s play oozes queer energy. Messages come across as if delivered by blow horn. It’s not afraid of expository dialogue or padding a singular moment of queer joy.
In a truly intimate black box at Sitar Arts Centers in Adams Morgan just down the block from Harris Teeter, scenic designer Simone Schneeberg deftly creates the generic flat whose ordinariness is only overshadowed by some weak attempts at individuality, but that’s all about to change.
Plans have been made, and Kore (June Dickson-Burke) has invited her nearest and dearest to her place.
Her nonbinary lesbian partner Julian (Tristan Evans) has cheap red wine and weed on the ready. Dinner is in the oven. Soon, lively trans masc bestie Dante (Selena Gill) arrives bearing a hostess gift – it’s the specially requested bag of pig blood, integral to the evening’s fun. In little time, the twentysomething friends will have painted a pentagram circled with salt in the middle of the living room floor. Candles are lit. Sacred words are spoken.
Shifts in light and sound by designers Vida Huang and Di Carey, respectively, signal contact with the beyond. Much to the friends’ surprise, they’ve successfully summoned a demon and it’s a real doozy: Ronald Reagan as demon drag queen.
Costumed in a corseted pinstripe suit adorned with a few Gaultier cones, the pronoun-less guest star from the underworld makes quite an entrance – a full-on lip sync to Madonna’s “Vogue” replete with huge flashing eyes, an evil smile and darting tongue.
Spectacularly played by O’Malley Steuerman (“actor, DRAGster, playwright, and producer from Baltimore”) Ronald Reagan as demon drag queen is lewd, taunting, and reads with the kind of sharp wit that puts other queens in the shade.
The entertainment doesn’t stop there. Soon, the demon is juggling provocative props (fleshy dildo, a baby doll, and a copy of Marx) or performing sock puppetry to a 1982 recording of journalist Lester Kinsolving asking about the “gay plague” to which Reagan’s Press Secretary Larry Speakes charmingly replies, “I don’t have it … do you?” That proved a real knee slapper in the pressroom.
Throughout the play’s early scenes, a young man sits unnoticed at Kore’s kitchen counter. Now and then, he comments with a disapproving harrumph or a distinctly gay one-liner. He’s privy to all, but the lady of the house is unaware of him until he joins the party. His name is Michael (Christian Harris). He died in 1989 and has been hanging around ever since.
Wry and undeniably spectral, Michael is the play’s link to queer past. He remembers the hurts and horrors of the AIDS epidemic, but not so much about the emergence of ‘genderqueer’ as an identity label, reflecting a shift toward a broader gender spectrum. That came later.
Without doubt, the uniformly queer cast is committed. They play their queer characters with authenticity, lending a realness to queer people’s valid concerns and fears in the current atmosphere. (For instance, anarchist/barista Dante accuses Julian of hiding out in their safe role of social worker at a nice nonprofit; and Kore speaks about the fear surrounding the Kansas bill making it illegal for transgender people to display their gender on a driver’s license.)
Based in Chicago, Gwynn has written a queer play with a punch; and prior to ever being staged, this new work was prestigiously named both a 2025 O’Neill Semi-Finalist as well as 2025 Bay Area Playwrights Festival Finalist.
Billed as a ferocious queer ghost story, “Everything, Devoured” doesn’t disappoint. In the hands of queer co-directors Tracey Erbacher and Ileana Blustein, Gwynn’s fevered yet thoughtful and quick paced but penetrating piece unfolds compellingly.
Intuitive staging and chemistry among players, especially two hander scenes involving Kore, display a quiet intensity that feels true to life. Other scenes bring out the anger, protectiveness and some divisiveness among the friends. Gwynn’s informed and powerful writing is brought to the fore.
Nu Sass Productions has been uplifting women and marginalized genders in all aspects of theater since 2009. The company’s two-part name stems from “Nu” (Chinese for woman) and “Sass” (sassy).
Its latest offering fits the bill and then some.
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