a&e features
But what I really want to do is direct
Careers of gay filmmakers explored in new book
(Image courtesy Columbia University Press)
Author Emanuel Levy is a wealth of delightful anecdotes and insightful analysis about the movie industry. His ninth and latest book, which he describes as both his most ambitious and personal to date, examines the careers of five openly gay male directors.
“Gay Directors, Gay Films?,” slated for release on Tuesday, Aug. 25 from Columbia University Press, combines Levy’s close readings of about 70 movies with detailed examinations of the directors’ careers and his personal interviews with the filmmakers to create a compelling group portrait of five of the most influential directors working today.
Levy says his life has been dominated by a passion for film. He has had a long and distinguished career as both a film professor and film critic, which, he writes, has “been a way of anchoring myself in both the reel and the real world.” Levy has taught at Wellesley College, Columbia University and University of California-Los Angeles. He has been the chief film critic for Variety and Screen International. He’s also programmed a number of film festivals and served on juries at a number of prestigious international competitions, including Cannes and Sundance.
Among his books are biographies of George Cukor and Vincente Minnelli, two prominent Hollywood directors who were both marginalized and celebrated for their work on “women’s films” and musicals. Levy says, “They were quite a contrast. Cukor was openly gay; Minnelli was not. But both of their careers were negatively impacted by their sexuality.”
After writing about auteurs who were not able to explore explicitly gay material in their movies, Levy says it was a relief to look at the careers of five present-day directors. “It’s a different kind of research and excitement when you deal with contemporary directors whose careers are still evolving,” he says.
They were the first generation of gay directors who were able to live openly gay lives and deal with explicit LGBT material in their movies. All were born after World War II (they now range in age from 53-69) and began their careers in the late 1970s and early 1980s. Their careers were shaped by the rise of the LGBT rights movement as well as the reactionary response to increasing gay visibility and the devastating impact of the AIDS epidemic.
The five directors Levy writes about offer a rich picture of contemporary international queer cinema. They are:
- The prolific Spanish writer and director Pedro Almodóvar, best known for vibrant farces like “Women on the Verge of a Nervous Breakdown” and moody melodramas like “All About My Mother.” He helped launch the careers of Antonio Banderas, Carmen Maura and Penelope Cruz. As Levy notes, his work is known for breaking down traditional film genres as well as “contesting the supposedly stable relationship among sex, gender, desire and sexual practice.”
- British director Terence Davies, praised for his distinctive visual style, whether in films inspired by his tough working-class childhood in Liverpool or in his adaptations of literary classics. His most accessible work, an adaptation of Edith Wharton’s “The House of Mirth,” helped star Gillian Anderson break out of her “X-Files” mold.
- American Todd Haynes, best known for “Velvet Goldmine” and “Far From Heaven”; his early movies “Poison” and “Safe” helped launch the career of Julianne Moore. According to Levy, his movies explore the fragile stability of middle-class suburbia and characters that cannot be constrained by rigid social structures.
- American Gus Van Sant, known for a diverse body of work that shines a spotlight on outsiders who have been marginalized by mainstream society. His best-known films include “Drugstore Cowboy,” “My Own Private Idaho,” “To Die For,” “Good Will Hunting” and “Milk.”
- Renegade filmmaker and Baltimore native John Waters, who describes himself as the “Prince of Puke.” His collaborations with Divine ranged from the gross-out masterpiece “Pink Flamingos” to the more mainstream “Hairspray,” which has ironically become the basis for a hit Broadway musical. Waters elevated trashy films to art-house status.
Levy draws some fascinating parallels between the careers and works of these five disparate directors. Not surprisingly, each of them examines people who have been marginalized by mainstream society and look at the social, political and economic forces that have shaped these outsiders. Because of this, their work is implicitly political. As Levy writes, “by turning their cameras on marginalized figures, they subvert the normal social hierarchy.” Collectively, they made gay cinema “more explicit, accessible and acceptable.”
And just as each has been shaped by changing social norms about homosexuality, each has been shaped by changes in the economics of the film industry. All of them have been able to move between the artistic freedom of small-budget independent releases and the larger budgets and audiences of mainstream releases.
Levy has dedicated the book to his late partner Rob Remley, who died of cancer in 2011. This is the first book he has written since Remley’s death and Levy has missed his partner’s support. “He was a very good editor,” Levy says. “He paid excellent attention to detail, which I’m not always good at.”
The two met in 1981 (the year that Almodóvar started his career, Levy notes) and their first date was seeing the John Waters movie “Polyester” (Levy says Waters still “gets a kick out of that.”).
While Levy’s thoughtful discussions of the films and filmmakers are deeply informed by his academic training, the book is lively and entertaining. It’s likely to spark heated debates between LGBT cinephiles and will encourage audiences to watch old favorites with a fresh eye and to seek out titles they missed.
Like everyone else in the film industry, Levy is hoping for a sequel.
“It will be nice to update it three or four years from now,” he says.
He hopes the revised book will include a new chapter on French director François Ozon (“8 Women”) and upcoming works by four of the directors in the current book. “Carol” by Todd Haynes received cheers at the recent Cannes Film Festival, where “A Sea of Trees” by Gus Van Sant was loudly jeered. “Sunset Song” by Terence Davies will premiere at the Toronto Film Festival this fall and Almodóvar’s “Silencio” will be featured at Cannes next year.
Levy is thrilled that the official book launch for “Gay Directors, Gay Films?” will be at the iconic Provincetown Book Store in the famous LGBT resort town.
“John Waters used to work there in the 1960s,” Levy says. “He still remembers handing out fliers for ‘Mondo Trasho’ there. I hope he’s able to make it to the book launch.”
Emanuel Levy says gay directors contribute a distinctive eye to their material. (Photo courtesy HFPA)
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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