a&e features
For God’s sake?
Filmmaker says ‘ex-gay’ camps exist in U.S.
David, a victim of the abusive practices employed at Escuela Caribe as depicted in the documentary ‘Kidnapped for Christ.’ (Photo by Katrina Marcinowski)
You’re sleeping soundly in bed when suddenly you’re being yanked awake.
Men crowd your bedroom and force you from your bed. Your parents stand idly by and watch. You’re disoriented and confused as they take you from your home, put you in a car and drive you to the airport.
No one will answer your questions. You board a plane for the Dominican Republic leaving your friends and family behind. Your new home is now a religious camp/school in the quick span of one day. There is no way out.
This is what happened to David, a gay 17-year-old honor student from Colorado; Beth, a 15-year-old from Michigan; Tai, a 16-year-old girl from Boston; and countless other teenagers sent to stay at Escuela Caribe, a non-denominational Christian behavior modification school for teenagers.
“Kidnapped for Christ,” a documentary by filmmaker Kate Logan and produced by pop singer Lance Bass (of ’N Sync fame), follows these three teenagers during part of their stay at what Escuela Caribe called a “therapeutic boarding school.” It premieres on Showtime Thursday at 7:30 p.m.
Logan was a film student in college working on a project. As an evangelical Christian, she wanted to document the supposedly good work Escuela Caribe was doing for wayward teens. The school allowed her and her crew to film on campus, interview students and show what day-to-day life is like there.
“We got permission to film there because we had no idea anything controversial was happening,” she says in an interview with the Blade from Los Angeles. “I thought I was making a short, heartwarming film. Investigative journalists wouldn’t have gotten permission. We got permission because we were naïve.”
The film was always meant to follow the students around and get their insights on how they felt about the school. But the more Logan interviewed the students and saw how they were living, it became clear that abuse was at the forefront of this so-called behavior modification school.
David was one of the students Logan frequently interviewed during her stay. In the film, he says that once he came out to his parents they sent him away to Escuela Caribe for “relationship issues.” David never explicitly told the school he is gay. During his interviews with Logan, David becomes increasingly hysterical and frightened as he talks about the punishments the students receive for bad behavior and the amount of control the staff has over students.
David is forced to out himself to the school after a private conversation with a fellow student, who is bisexual, is overheard. In the film, he describes how shameful he felt having to tell everyone his sexual orientation. But it would be the last time it would be recognized.
Logan says the gay conversion therapy used on David was more of a gay aversion therapy.
“There wasn’t anything specific geared toward converting David from being gay. They denied it existed and never let him address it.”
Punishments toward these students ranged from bizarre to inhumane. Logan observes one girl standing outside facing the wall for hours on end. There would be morning bedroom checks by the “house father” or “house mother,” fellow students given more authority. Clothing hangers had to be spaced apart at a certain angle, shirts buttoned up on the hangers and shoelaces tucked inside the shoes.
If anything was not done in accordance with the rules, the “house father” or “house mother” would throw the clothes or shoes on the floor or even in the trash.
The worst punishment was being sent to “QR” or “the quiet room.” Explanation on the quiet room was vague but the consensus is that students were left in an isolated room with just a sheet for days and beaten.
Beth was sent to Escuela Caribe for severe panic attacks and a suicide attempt. The film shows that she is not allowed to do anything without the permission of the “house father.” She asks permission to sit down for dinner and even enter a room. She claimed it was done for her own good to keep her from hurting herself.
Tai, sent to Escuela Caribe by her parents for drugs and stealing, is agitated with the system like David. She wants to come home and says she will do “whatever it is I need to do” to get home. This includes going on Escuela Caribe’s yearly summer hiking trip and playing in the mud — a trip that is meant to be fun but that all the students despise. Tai confesses to Logan in a whispered conversation she hates it and thinks the practices at the school are suspicious.
David frequently tries to send messages to his friends in the outside world by asking a student leaving Escuela Caribe to find them and even asking Logan to send a letter pleading for help escaping to his best friend. Both times the school discovers his attempts and he is punished severely. Meanwhile, as Logan documents David’s struggles to get out, she also shows David’s friends and teachers wondering where he has disappeared to and trying to bring him home.
Executive producer Mike Manning, who is bisexual and a former cast member of the “Real World D.C.,” is friends with David and took a personal interest in the film.
“It was kind of a happy accident,” he says. “David was a friend of mine from Colorado. He stayed with me in L.A. and told me he was doing this film. He told me about it and I asked how could I help.”
Shortly after Bass was shown the film, he took an interest in the story and came on board as another executive producer.
Escuela Caribe has since shut down and re-opened under a new name, Crosswinds. Logan says their practices are still much the same. Crosswinds has only commented about “Kidnapped for Christ” to say that they are not the same institution as Escuela Caribe.
Crosswinds isn’t the only teen behavior modification school of its kind. There are more throughout the world and many in the United States, none of which are government regulated. Logan says she has spoken with students who have attended these schools in the United States and their experiences are the same as Escuela Caribe, if not worse.
Logan now says she is no longer Christian and considers herself agnostic. She attributes making this film as one of the factors for her change in beliefs.
“Most of the staff were normal people and harming students because they said God wanted them to do it. That kind of scared me. I left the school not able to pray. They said God sent them here and God sent me here to expose them, so who is right?”
Despite what has transpired, Logan is optimistic about evangelical Christians changing their views about gay people.
“In 20 or 30 years they will look back and feel embarrassed,” she says.
Manning agrees.
“I absolutely think there’s hope,” he says. “I attend a church in L.A. and they are very accepting. They are very forward thinking. Being a part of that community, there’s no doubt in my mind Christians will get it one day.”
a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.
Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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