a&e features
From Gaga hit maker to drag star
Gay producer left the pop world behind to discover his inner woman in Cary NoKey

Cary NoKey’s act is ‘a little ‘Rock of Ages’ to ‘Cabaret’ to ‘42nd Street’ says visionary Rob Fusari. (Photo courtesy Project Publicity)
RuPaul’s Drag Race
Battle of the Seasons
2015 Condragulations Tour
with special guest Cary NoKey
March 8
815 V St., N.W.
$35-65 (VIP)
8 p.m.
It’s almost a show business cliché that often what looks like the best of times in a career from the outside can be some of the darkest times for the entertainer.
That was the case with Rob Fusari, the New Jersey native who found himself one of the most sought-after R&B/pop producers around the turn of the century. His credits are impressive — “No No No” and “Bootylicious” for Destiny’s Child, “Wild Wild West” for Will Smith as well as co-writer and producer for five cuts on Lady Gaga’s smash debut “The Fame” album from 2008, which he co-executive produced.
Yet oddly it took the 37-year-old turning within and discovering his drag alter ego Cary NoKey to find artistic satisfaction. He’ll be in Washington next week to open the “RuPaul’s Drag Race: Battle of the Seasons” tour and filled us in by phone from Cincinnati — where the tour happened to be at the time — on how it all unfolded. His comments have been slightly edited for length.
WASHINGTON BLADE: How did Cary NoKey emerge?
ROB FUSARI: It was about two years ago this month, actually, and it basically came out of a dark time creatively and emotionally after the Gaga record, “The Fame.” I felt I kind of peaked my career as a producer and had this pinnacle moment so in the years following, I was searching for what my next chapter would be, where I was supposed to be creatively and as a person. I thought the move was to try and find and develop another artist but I was finding it really difficult to identify who that person might be despite the thousands of artists I was looking at. It started to become very, very frustrating. … I just couldn’t seem to get that magic going with anyone. … I eventually recorded a vocal of my own one night in the studio on my birthday. I left early and went out for a few hours and when I got back, a group of friends were listening to it and … that’s kind of when Cary NoKey started. It was just one of those moments where it felt like everything I was searching for was right there in front of me somehow but I didn’t see it because I didn’t think of myself as a performer. It started unfolding and progressing in a very natural way.
BLADE: Had you always been interested in drag?
FUSARI: I grew up raised by a mom with very feminine qualities who kind of always treated me as the daughter she never had. Eventually I started to embrace that side of myself and it became almost like a car I could jump into and I just became OK with expressing my fashion sense and some other things I’d been suppressing and some things I was a little fearful of. It became this vehicle in which I found I could express myself in other ways.
BLADE: You said it was frustrating that you couldn’t find another great artist to work with but didn’t you realize a Gaga-caliber success story was maybe one in a million? How realistic was it to try to catch that kind of lightening in a bottle again?
FUSARI: No, because I’d spent a good 10 years in the business by that point and I had hundreds and hundreds of unsigned artists reaching out to me every day, so I had my pick of the litter so to speak. I said if I can’t find the next thing, nobody can. … I met some really strong ones, some really good artists but there’s something else a superstar has that nobody else has that you can’t explain it. This lightening bolt that goes through you that I just couldn’t find.
BLADE: You’ve produced A-list artists and now you’re performing yourself. What the public sees is much different, I’m sure, from what you see. What’s the biggest misconception?
FUSARI: The whole overnight sensation concept is so misleading because it’s an overnight sensation that takes years and years to get to. … I always say to artists, if you’re not willing to give up your life for this, it’s not gonna happen. There’s no in between. I don’t think people really understand the sacrifice, and it’s massive, that people make … The dingy clubs you have to play and having to be on all the time. People watch the Grammys and see the award and the parties and it’s like watching a movie. I’m here to tell you, it’s the opposite. Sure, there are those moments, of course, but what you have to give up and what you have to do to get there is everything.
BLADE: Your single is called “American Dream,” which is a rather serious song. Did you need Cary to tell that story or did she unlock some kind of artistic freedom in you?
FUSARI: Freedom comes in different ways. The freedom you get from your country comes at a very hefty price and I think we all know that, be it taxes, be it culture — it comes with a price. The freedom that drag queens and transgender people have is totally different. … They have a certain peace, a freedom and they’re living their dream that has nothing to do with what our country told us the dream was. It’s almost like we got fooled a bit with the white picket fence … which has really become the exception today. I’m not bashing the country, I love this country, but it’s built on some fallacies and weak ground that needs to be dealt with. … I felt I wasn’t living my own dream and who I am as Cary NoKey until I was able to let Rob Fusari and even Gaga go. I still get asked questions about it and that’s fine, but that chapter of my life has ended and thank God, because it wasn’t the best chapter to be honest. It might have been one of the worst.
BLADE: Where was the dissatisfaction coming from?
FUSARI: I’m not trying to bash Gaga, but sometimes the shit you have to eat to get to a certain place is not worth it. I can’t change history but I wonder now, was it worth it? It’s not about the money. I’d give the money back in a heartbeat. It’s about integrity, about character about feeling good about yourself and being part of something. The people who work with Cary NoKey, they’re going to stay on board because when the time comes and there’s success, they’ll have a reason to stay on board. You gotta treat people fairly. You gotta look to everyone who helped you along the way. I’m not going to just kick people off the roof.
BLADE: You felt Gaga did that?
FUSARI: Absolutely
BLADE: Was there any talk of working with her on her follow-up?
FUSARI: Absolutely not. I could never have done that anyway. I could never put my creative art and soul into somebody who kicks people off the roof.
BLADE: What would you say to her if you were with her in an elevator today?
FUSARI: Get off.
BLADE: You did a track with Whitney Houston. Did you work it up then send it to her people or were you in the studio together with her?
FUSARI: No, we cut the vocal together in the studio for “Love That Man.” (from the 2002 “Just Whitney” album)
BLADE: What was she like to work with?
FUSARI: To be honest, it wasn’t the best. She wasn’t sober so it was difficult at times. She was battling addiction and she was with Bobby, who was just a nightmare.
BLADE: How did it come about that you are on the “Drag Race” tour?
FUSARI: We were playing out in (New York) a lot and it ended up that we had landed the spot opening for Adore Delano at the Gramercy Theatre. We were thrilled. I love the Gramercy and Adore and we were just thrilled. It was a great fit. All the “Drag Race” folks were there and the executives and creative folks and they asked if we were interested in joining the tour next year, so we said yes. A lot of times things like this are said and it doesn’t come to fruition, it’s just part of the business, but we just finished the Macy Gray tour and right after that, we were ready and it just worked out.
BLADE: What are the queens like on tour?
FUSARI: It’s a blast, I’m so happy. They’re so nice and so classy. They’re pros. You’d think it would be a lot of backstage mayhem and chaos and drama on the bus and so on, but it’s actually really the opposite. Everybody’s really on their game and really pro. I’m really impressed.
BLADE: Do you feel like an outsider since they’re all vets of the show?
FUSARI: It’s weird, I don’t. They’ve accepted me and we definitely hit it off.
BLADE: Are you a gay man who does drag? How do you identify?
FUSARI: It goes so many different ways. It goes sideways, it goes inside out, it changes from day to day and I explore all different sides of it. That’s really the only way I can explain it. Do I want to go full drag tomorrow? Of course, I would do it. Do I want to have a sex change? No, it’s not something I’m looking to do. If somebody wanted to call me a cross dresser, I don’t think I am but you could probably say that about me and I don’t have a problem with it. … The wires just all cross for me in so many different directions.
BLADE: What do you actually do in the show?
FUSARI: It’s basically a way to open the show with something different. It’s more serious, though it can be playful at times. … We keep it simple. I do about a 20-minute set and sing about seven songs and I have a dancer with me. We do some covers but in a very Cary NoKey kind of way. … I do (Gaga hit) “Paparazzi” because it’s a song I wrote and I’m proud of but people get to hear it in more of its original version. Some of it’s very aggressive, almost like Kurt Cobain, but then it’s also kind of Joel Grey-“Cabaret” too. It spans a lot. … I know it’s hard to sit through 20 minutes of new music you don’t know, so we mix it up.

Rob Fusari says discovering his drag alter ego was his own kind of ‘American Dream.’ (Photo courtesy Project Publicity)
a&e features
Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Last month’s Pride celebration in D.C. was so fun. Walking around my first Capital Pride with a $15 lemonade I was loving the madness and the color. Artists and small businesses battling banks you’ve never heard of collecting your personal information so you can spin a wheel to snag free merch. Great music blaring, people actually smiling and enjoying themselves, the “Great” American State Fair could never!
The Monument Stage was on Pennsylvania Avenue, directly in front of the National Gallery of Art and I can’t think of a better venue to see live music. How does someone get on the lineup for Pride? How do we accelerate the visibility of the most talented voices in our community to perform in places like this?
There is certainly not a talent gap, but there is a visibility gap. Chappell Roan went from playing for two people in a parking lot to owning the main stage at Coachella in one year. Whether it is shadowbanning or bias in AI, algorithms have been shown to suppress queer artists. In a digital age, how can queer people break through and show the world how talented they are?
Allison and Matt of Rainbows in Revolt are on a mission to make openly LGBTQ+ artists’ voices heard. Their goal is to find “musicians whose queerness is central to their identity as an artist,” and accelerate them to a place where they can actually reach fans.
The only time queer events seem to be in the spotlight is June, but this should be year round, according to Allison and Matt. Rainbows in Revolt wants to act as a “nucleus” for different sub-communities, finding common ground in the universal language of music.
Matt and Allison founded Rainbows as a way to make cheaper, higher quality merchandise for queer artists. While Rainbows has already pledged 20% of their profits to the LGBTQ+ community, with 10% to Whitman-Walker Health and 10% to LGBTQ+ organizations in need, this is just the beginning of the work that they do.
Rainbows “does the dirty work” that artists normally struggle to do on their own with limited resources. Interviews, artist profiles, social promotion, playlist discovery, radio outreach, and merch-funded support. This work is normally expensive, time consuming, and requires lots of different skills. Musicians don’t want to be editing clips to post online. Standup comedians don’t want to make graphics for their tour dates. They want to write more. They want to focus on their craft.
In addition to helping artists find their audience, Rainbows has built other digital tools to help queer people connect, including an interactive Safe Space Map for most major cities. It is hard to know which places are truly safe and supportive just from a simple Google search. Attitudes and actions change, and there should be a simple way for queer people to find other places that align with them. The Safe Spaces Maps are all up to date, and are tagged and filterable. Instead of relying on forums and word of mouth, Rainbows has created a centralized way to find authentic community quickly.
I had a chance to talk with Allison and Matt at Pride where Lily Erin, one of their signature artists, was performing on the Monument stage. Lily Erin is a folk singer who is familiar and forging her own path. Her bittersweet sound echoes through Acadia, and her garb mirrors the New England athletes I grew up with. Gorp Core meets streetwear. A graphic tee, hiking shorts, and creamsicle Jordans.
Her debut single, “Bus Stop,” tells a sad story about unconditional love, and the conditions that still seem to come with it. Graduating into lockdown, Erin needed a new way to connect with herself and others. Lily made “Bus Stop” without an intention to share it, but doing so was a liberation. People have been responding to her honesty around queer-ness, family, and the “ghosts which haunt us” even in the daytime.
Rainbows in Revolt has helped Lily Erin go from bars and backyards to The Monument Stage at Pride. This is a meteoric rise, and a testament to both Erin’s talent and the work of Rainbows to promote her. “A little encouragement goes a long way with early artists,” and by “planting a seed” Rainbows is already seeing their artist garden grow. Community is power, and Erin is a perfect example of how effective simple modern techniques of promotion can be.
A next step for Rainbows is putting on shows themselves. On Oct. 3, Rainbows in Revolt will host an Evening with Ray Boltz at the National City Christian Church. Boltz grew up in the Catholic Church and for many years was the soundtrack to many services, youth camps, and church groups. He was celebrated by millions until he came out in 2008. Allison remembers her community “never playing his music again.”
Rainbows in Revolt is helping him to return to the church, and proving that identity does not need to be exclusive. We live in a complicated world with complicated lines being drawn. Boltz proves that these lines don’t exist, and will be breaking down barriers to bring together communities. To Allison, “a trans woman standing next to a straight white man in church is a powerful teacher.”
The Safe Space maps bridge all types of spaces, and one of the unlikely ones is, perhaps, churches. Matt said that “BYU has only nine safe spaces around their campus and seven of them are churches.” Not all churches are anti-gay, and many times they are the only place for people to find community.
Rainbows in Revolt is just getting started bridging gaps and building community.
a&e features
Summer in the City: Free exhibits, movies, more fill D.C.’s calendar
America 250 celebrations continue
From late-night museum visits and outdoor jazz concerts to free movie screenings and America250 exhibitions, Washington’s summer calendar is packed with events that don’t charge admission. Here’s a look at some of the free activities happening across the District through September and beyond.
Museum exhibitions
The Renwick Gallery is presenting State Fairs: Growing American Craft, an exhibition that looks at unique and unconventional crafts from the 19th century to the present. It will run until Sept. 7, and admission is free.
The Arts and Industries Building, located next to the Smithsonian Castle, is presenting the exhibition Voices and Votes: Exploring Democracy Across America. The exhibition features the development of American independence and what that has meant over time, beginning with the Revolutionary War. Admission to the museum is free, and the exhibition runs until Sept. 7.
The National Gallery of Art presents Dear America, an exhibit featuring more than 100 pieces of work, including letters, photographs, and drawings that depict American landscapes and depictions of freedom. The exhibition will run until Sept. 20.
The National Museum of Women in the Arts is exhibiting Burnished: Pueblo Pottery until Sept. 27. The exhibit features pottery from the Southwest, and while most of the pottery belongs to women artists, a few also reflect those who have advocated for women.
Extending past this summer, the exhibition ¡Puro Ritmo! The Musical Journey of Salsa will be at the National Museum of the American Latino until July 2028. The exhibition shows how Afro-Cuban music has become a staple in the U.S. Admission is free.
The Martin Luther King Jr. Memorial Library will feature the exhibition District Vibes / American Pride: How DC Changed American Culture, which will highlight all of the ways D.C. has impacted American life. The exhibit will run until Sept. 27.
At the Folger Shakespeare Library, the exhibit Imagining Shakespeare: Mythmaking and Storytelling in the Regency Era will be on view through Aug. 2. All the portraits on display come from the Boydell Shakespeare Gallery in London.
The United States Botanic Garden will be open until 8 p.m. on Aug. 20 and Sept. 17, as part of America’s State Flowers: An America250 Celebration. The evenings will include live music, mocktails, ice cream, and snacks.
The National Gallery of Art Sculpture Garden will have extended hours, staying open until 8 p.m. Wednesday to Saturday until Sept. 3.
Live performances
On Aug. 7, the postgame Nationals concert series will continue with Jordan Davis performing. To see the concert, guests just need to buy tickets to the Nationals game.
Jazz in the Garden will run each Friday until Aug. 14. The event has free admission, but those interested have to enter a lottery due to the high demand for the event.
From May to October, Capital Harvest Market occurs every Wednesday from 10 a.m.-2 p.m. at the Ronald Reagan Building and International Trade Center. The market features fresh foods, crafts, and recipes for unique dishes. A full list of vendors is available on Capital Harvest’s website.
Live! Concert Series on the Plaza will feature live performances at Woodrow Wilson Plaza until Sept. 25. The performances run Monday to Friday from 12-1 p.m. Admission is free to the performances.
DowntownDC Live! at Anthem Row is running until July 30, with free performances every Thursday from 5:30 p.m. to 9:00 p.m. The final performance will feature HUE and a vintage flea market hosted by Get Flee Marketplace.
Located in Adams Morgan, AdMo Vibe will present live performances every Thursday at 6 p.m. in Kalorama Park. Guests are encouraged to check out Adams Morgan before and after shows, and it is an event for all ages.
Other events
Union Market is hosting drive-in movies on Aug. 8, featuring “Monsters, Inc.”, and Sept. 12, featuring “Wicked.” On Aug. 8, the parking lot will open at 7:30 p.m., with the movie starting at 8:25 p.m. On Sept. 12, the parking lot will open at 6:35 p.m., and the movie will start at 7:30 p.m.
Sunset Cinema at the Wharf will also be available one day a month. On Aug. 12, “10 Things I Hate About You” will premiere, and on Aug. 26, “Project Hail Mary.” No tickets are necessary.
The Library of Congress will also show movies. On Aug. 6, guests are invited to watch “Apollo 13.” The movie will be shown at 8 p.m., with additional live performances beginning at 7 p.m.
For fans of Asian media, the Okaton convention will be at Walter E. Washington Convention Center from July 31-Aug. 2. Festivities will include cosplay contests, skits, live music, and panel discussions.
Washington Spirit’s season also begins in August. The Spirit is Washington’s National Women’s League, with matchups occurring between the San Diego Wave, the North Carolina Courage, the Orlando Pride, and the Bay FC.
a&e features
Summer in D.C. brings sports, Restaurant Week, festivals, and more
Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.
Dining
Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.
New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:
- Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
- The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
- Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
- Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.
Sports
- Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements.
- Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.
Festivals
- Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
- Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods.
- The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
- All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
- Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.
Art and Music
- United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club.
- The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
- Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
- ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
- 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
- Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
- Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
