a&e features
Game changers
Pioneering women coaches and researchers share decades of insight
Pat Griffin, Helen J. Carroll and Sue Rankin agree queer women in sports face unique challenges that stem from societal ills. (Photos courtesy Griffin, NCLR and Rankin & Associates respectively)
With Athlete Ally, the You Can Play Project, GO! Athletes, Break the Silence and dozens of others organizations and even gay representation at last in the NBA and NFL, it’s easy to think the era of homophobia in sports is behind us. But three LGBT women who’ve had long and pioneering careers in the field stress two main points: one, it ain’t over yet and two, even in the apparent victories, shades of sexism and stereotypes remain.
Helen J. Carroll, a lesbian, was an acclaimed national championship basketball coach from the University of North Carolina-Asheville before joining the National Center for Lesbian Rights in August 2001 to launch its Sports Project, which works to eliminate discrimination based on sexual orientation and gender identity in sports through advocacy, outreach and litigation. The project works on all levels of athletic competition to ensure that LGBT athletes can compete and participate “open and equally.”
After retiring as associate professor of education from Pennsylvania State University in 2013, Sue Rankin runs the consulting firm Rankin & Associates in which she does climate assessment work for universities. She’s the author of several LGBT books such as “The Lives of Transgender People,” “Campus Climate for Sexual Minorities: a National Perspective” and “Our Place on Campus: LGBT Services and Programs in Higher Education.” For 17 years, Rankin, who identifies as queer, was head coach for women’s softball at Penn State.
Pat Griffin is the founding director of Changing the Game, a GLSEN sports project that focuses on K-12 school athletic and physical education programs. She’s professor emeritus in the Social Justice Education Program at the University of Massachusetts, Amherst and former director of the It Takes a Team! Education Campaign for LGBT issues in Sport. She’s a two-time Gay Games medalist and the author of “Strong Women, Deep Closets: Lesbians and Homophobia in Sports.”
If there’s anybody in the country qualified to discuss the nuances of LGBT people in sports, it’s these three. During lengthy and wide-ranging interviews last week, they talked freely about the impact of having out players like Michael Sam (the St. Louis Rams) and Jason Collins (the Brooklyn Nets), why out women are often shortchanged by comparison and what hurdles the country is still grappling with on these fronts.
“One thing we’ve realized in the Sports Project is that we still have a large number of people out there who are still being discriminated against in individual cases and certainly with transgender players,” Carroll says. “We’re doing a lot of work in that area right now because you’ll often see policies that are adopted against trans players that are in effect for an entire state. That’s going to continue if you don’t have a [National Center for Lesbian Rights] that can back up people legally and work with them pro bono. … I can’t tell you how many times we’ve seen [coaches come out] and get fired on the spot.”
Griffin says, “so much change has happened in the last five years, it boggles the mind … It’s very exciting, but we’re certainly not home free.”
Although in some ways she longs for a day when an athlete coming out will not be considered newsworthy, she also laments the wildly disproportionate amount of coverage Sam and Collins got compared to, say, Brittney Griner, the Phoenix Mercury (WNBA) center who came out in 2013. She says the reasons are multi-layered.
“The piece I always pick up is that it has so much to do with gender expectation and how society reacts if nobody thinks you’re gay,” Griffin says. “If you’re Michael Sam, he could have gone in as a closeted gay man and nobody would have said, ‘Oh, I wonder if he’s gay,’ but if you’re a woman and an athlete, you’re already going against heterosexual orthodoxy because you’re sweaty, competitive, strong, so you’re breaking all those gender expectations and people automatically go, ‘Oh, she must be a lesbian.’ Any woman who exhibits strength and leadership — ask Hillary — or any woman who tells some guy she’s not interested, they go, ‘Oh, you must be a lesbian.’ It’s reserved as a way to let women know they’ve stepped out of bounds and it’s used very effectively to make women have to apologize. It affects men a little differently because of sexism.”
Variations of this phenomenon can also be seen, Rankin argues, in the varying reactions seen in the coming out of, say, figure skating Olympic gold medalist Brian Boitano, whose 2013 coming out at age 50 was seen as wildly overdue, versus still-active players in other sports such as Sam.
“It’s again that sexism and heterosexism coming into play,” Rankin says. “If you’re Brian Boitano in figure skating or even Greg Louganis in diving, these are considered gay sports so having a gay man in them is not seen as a big deal. But in pro football or pro basketball when you have gay players — it’s not really that they’re considered more macho because all sports are grueling — but we see in those sports traits that we traditionally assign to men, if you will or what we think of as a man in our culture, then that sends a different message.”
The three women all say, based on personal experience and their research, that significant numbers of lesbian players on teams for which they played and coached in years’ past, did provide opportunities for community.
Upon moving to Massachusetts for graduate school in the ‘70s, Griffin noticed a “community of lesbian friends” and “a discovery process” on the women’s swim team she coached. She says being fully out at sports conferences as early as 1982 made her feel like a lone voice in the wilderness and a “pariah.”
“I’d have women walk out of workshops at conferences after 10 minutes because they were just too scared to stay,” she says. “Scared that if their administrator knew they were seen at a session on homophobia and sports, they’d lose their jobs. It’s amazing how uncomfortable it was in those years.”
Rankin, who coached softball at Penn State until 1996, remembers a “definite underground within the athletic world for lesbians,” she says. “If you played, you were automatically pegged as being gay.”
And Carroll who says basketball has “pretty much been my life,” remembers the “wonderful experience” she had coaching many years in North Carolina where a kind of “don’t ask, don’t tell”-type policy took hold.
So if those kinds of experiences — at least for women — were relatively common, has homophobia in sports really been that big of a problem?
“This really gets into stereotypes,” Carroll says. “Is it easier for lesbians in sports than gay men? The answer is no, it’s not easier, it’s just different. If it’s so easy, why do we not have more women coming out? … Even if people on the teams know, the women don’t talk about it in the media or do anything to help the movement or help the situation. … From the outside, it may look like it’s this culture where everybody knows, it’s not really a big deal but again, it’s that combination of sexism and homophobia at work.”
Griffin argues that just because some women may not have been castigated for their perceived sexual orientations, that phenomenon probably had a scary downside for gay men.
“If we really knew, there probably are more lesbians playing pro sports than gay men and I’d say the reason for that is that in some ways, when you’re a little boy, you get the femininity beaten out of you or the gay,” she says. “There’s actually research to back this up. It’s less likely that you would find young gay men who have persevered who identified themselves as gay early on to get to the professional ranks. That would be one way to explain that.”
Regardless of the challenges that remain, Carroll says the work she, Rankin and Griffin are doing is pioneering and important.
“What Pat and Sue have really done is they’ve laid a groundwork for people who are doing media articles and research to go back and look at,” she says. “People in media are always asking for statistics and asking, ‘What does this look like?’ What little has been done, for years it was Pat and Sue who were doing it and that was really important. They’ve been working on this for decades to we have people who really know the lay of the land and how the attitudes have changed from the ‘70s and ‘80s up until now. People often say, ‘Well, everything’s changed in the last five years,’ and that’s just not true. It’s been changing for the last four decades but just reached a tipping point in the last five years where we started seeing some movement really, really fast. That never would have happened without all that work in the past.”
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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