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Michael Tilson Thomas Q&A

The out conductor on his long career in classical music

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Michael Tilson Thomas, gay news, Washington Blade
Tilson Thomas, gay news, Washington Blade

Michael Tilson Thomas says the public ultimately decides what works are retained in the classical canon.

Washington Performing Arts presents the San Francisco Symphony

 

Kennedy Center Concert Hall

 

Saturday, April 16

 

4 p.m.

 

$55

 

washingtonperformingarts.org

 

Though just four performances, the San Francisco Symphonyā€™s current East Coast mini-tour features two programs.

The symphony will perform on Saturday, April 16 at 4 p.m. at the Kennedy Center Concert Hall performing Franz Schubertā€™s Symphony No. 8 ā€œUnfinishedā€ and Gustav Mahlerā€™s ā€œDas Lied von der Erde.ā€ The players will be joined by mezzo-soprano Sasha Cooke and tenor Simon Oā€™Neill. Two days prior, theyā€™ll perform the same program at Carnegie Hall. The symphony will explore works by Copland and Schumann at the New Jersey Performing Arts Center this weekend.

We caught up with Music Director Michael Tilson Thomas, now in his 21st season with the symphony with whom heā€™s shared 12 Grammys, by phone this week. His comments have been slightly edited for length.

Michael Tilson Thomas, gay news, Washington Blade

Michael Tilson Thomas, music director of the San Francisco Symphony, says managing an orchestra like a business is a mistake. (Photo by Bill Swerbenski; courtesy San Francisco Symphony)

WASHINGTON BLADE: Youā€™ve recorded many Mahler symphonies. What is it about his music that continues to resonate with you?

MICHAEL TILSON-THOMAS: His music is very central to my whole view of life and that was evident from the first time I heard his music when I was around 13. This piece in fact, which weā€™re about to play in Washington, ā€œDas Lied von der Erde,ā€ I heard the last movement, the farewell, called ā€œDer Abschied,ā€ and it was stunning, a shock to me to hear music which so completely described the shape of my own soul and what I felt to be my parentsā€™ souls, where all the kind of aching questions about the meaning of life and all sorts of questions which I hadnā€™t even consciously formed, but somehow I just knew this was a testimony that meant so much to me. Part of that was the musical presentation of situations where there can be bitterness or frustration or conflict, but nonetheless thereā€™s still an element of beauteousness as well. For me, the message of the music is to hold on to the beauteousness at whatever the cost. That resonated with me from the first moment and still does.

BLADE: Does the Schubert symphony youā€™re also performing contrast with or complement the Mahler?

TILSON-THOMAS: Schubert (was) ā€¦ using this sort of haunted language that was very Czech-influenced because his parents came from what is now the Czech Republic and of course Mahler did as well, so there is this sort of major/minor haunted harmonic language thatā€™s part of it. ā€¦ On the piano you have a note which you sometimes call E flat or sometimes you call it D sharp. On the piano, itā€™s the same note, but in orchestral music, these two notes are actually different notes. They do different things and they lead in different directions. Schubert and Mahler are both constantly reinterpreting the meaning of a note. ā€¦ Youā€™re being kind of guided, pulled back and forth across the line of the meaning of a single note taking you into a brighter or darker world. Thatā€™s very much what theyā€™re playing with.

BLADE: As you perform around the country and the world, do you sense differences in how the audiences receive the work?

TILSON-THOMAS: I think weā€™re very aware of the different audiences. Theyā€™re ectoplasmic almost. You come off the stage and you can just sense a certain energy and focus in the hall and that does affect the way you feel about the music. Iā€™m fond of saying these big places for me are like national parks that you return to. Youā€™ve wandered there before, but the company with which you find yourself is different and has an enormous influence on what the nature of the experience is going to be.

BLADE: Have you been insulated to some degree in San Francisco from the kinds of challenges many of our other national symphonies are facing?

TILSON-THOMAS: No, I wouldnā€™t say so. Like all the major orchestras, weā€™ve experienced different kinds of crises and growing pains, visions coalescing as different generations have moved through the orchestra. ā€¦ These things are inevitable. Iā€™ve been performing symphonic music now for 50 years. I started when I was 20, so Iā€™ve seen many changes happen in music and society and music coming from China and Venezuela and parts of the world from which we didnā€™t used to see so many people. The growth of all these things is a very positive thing in the big picture. So thereā€™s a very positive growth state and at the same time, there are definitely growing pains in society itself. How are these things going to be sustained and grown and what do young musicians coming into the profession desire? What kind of life do they want to have? All these things are being turned over and discussed even as we speak.

BLADE: Are you pressured to perform film scores or saw away under pop acts or that sort of thing to bring in new people? Or have you tried to stave off that sort of thing?

TILSON-THOMAS: Thereā€™s a balance that needs to be struck and thereā€™s always going to be a concern of having too many programs that would be apart from the central mission of the orchestra. Not just in symphony orchestras but with any arts organization. Thereā€™s a lot of talk about searching for sustainable business models ā€¦ but these are not businesses. These are idealistic organizations that are communities of people that were established to share a particular art as a living tradition and strengthening and preserving that and passing it on to many generations. Thatā€™s the real purpose. Itā€™s necessary perhaps in each new generation to remind ourselves thatā€™s what weā€™re doing and what we need to do.

BLADE: Your bio makes reference to your work ā€œreimagining the concert experience.ā€ In what ways have you done that?

TILSON-THOMAS: Iā€™ve been very involved with multi-media, new technology and something of a pioneer in using the online resource Internet2 to reach people with educational messages in territories around the world. ā€¦ Most recently with a process called LOLA, an information system that reduces online latencies and makes it possible now within a thousand kilometers to perform music with someone as if youā€™re really in the same room with them. ā€¦ With the New World Symphony, weā€™ve done a lot of work in video that has been ahead of the curve. Not just concert performance videos ā€¦ but creating kind of art installations inside the concert hall.

BLADE: Have you always been out professionally?

TILSON-THOMAS: Oh, I donā€™t know. Thatā€™s hard to answer. Joshua (Robison) and I got married a couple years ago but weā€™ve been together 40 years. Since the very beginning, we were together very clearly with no disguise and that goes back quite a ways at this point. To us, that didnā€™t seem so remarkable. We worked together in a production company that makes a lot of different musical products and education projects happen around the world and weā€™ve always done that. We havenā€™t been involved, as many others have been, in any courageous crusade of one type or another. We supported those things and I have such respect for people who did that. On the other hand, people now say it was somewhat extraordinary that we were living our lives that way in terms of being transparent about being together then and that was unusual, I guess, at the time.

BLADE: How gay are our orchestras in general?

TILSON-THOMAS: Iā€™d say a very rough number would be maybe 10 percent or something like that. Maybe more.

BLADE: Perhaps more in San Francisco?

TILSON-THOMAS: Not necessarily. Orchestras are very individual animals. It was, of course, different when I first began conducting. In any major orchestra there might have been one or two people who were not even out but everybody just kind of knew they were gay. As opposed to now when there are many people in all the major orchestras who are LGBT and itā€™s not in any way a big deal and certainly not with the many young musicians. If people are thinking they might make music with someone, whatā€™s going on with their gender or sexuality is of no interest whatsoever. If youā€™re talking about where youā€™re placing the third of a major chord or issues of tuning or articulation, then thatā€™s a big deal.

BLADE: Itā€™s interesting when you see the kinds of people given the Kennedy Center Honors over time and how popular acts are now being inducted much more often than performers from the classical arts. At the same time, thereā€™s a lot of hand wringing in our symphonies and opera companies and so on. I could give tons of examples. Is society being slowly dumbed down over time?

TILSON-THOMAS: Well there are different kinds of occasions that serve different purposes. There are lots of awards and prizes that are given for certain types of work, like the MacArthur Fellows or the Pulitzer Prizes or the great number of other awards and prizes that are given to people whose names would be little known to the general public, but which nonetheless exert quite an influence within various arts worlds. ā€¦ Some of these things are much more of an occasion in certain realms than something like the Grammys or the Oscars or those kinds of things which are really more shows. It used to be that if you were from the classical arts and you were up for a Grammy, you would go to the Grammys and you were presented with it there. That no longer happens. Something might happen in a hotel lobby earlier in the day or something because those awards are not in the mainstream.

BLADE: They only give out about six on the air anymore out of 90-some categories or whatever it is.

TILSON-THOMAS: Yeah, well, I guess in any art there will always be different sides. You have people doing quite specific work which they know from the beginning will appeal to a small number of people. Other people are working in much wider areas but itā€™s extraordinary at this particular moment, the diversity of work that is taking place. Itā€™s really quite remarkable the very interesting experimentations with styles that a lot of people are doing. A lot of people are writing and thinking new thoughts, way more than you would think based on the gloomy predictions that are often made about the future of all of this. Itā€™s not quite the way it looks from the outside when you see all the young people out there creating new work.

BLADE: Would you say the works of Mahler and Schubert donā€™t carry quite the cultural gravitas they might have a generation ago perhaps?

TILSON-THOMAS: I saw something in San Francisco the other night and one of the pieces on the program was written in 1199. It was the earliest and the most recent piece was written in 1963. So itā€™s extraordinary how much has changed in that period of 7- or 800 years. There were certain things about that piece from 1199 that were very reminiscent of works by Steve Reich or John Adams and that are still very influential in contemporary musical thought. A composer like Schubert or Mahler, the reaction to whom at the time was often hostility or incomprehension, over time it has been proven that there was something in that music that people wanted to come back to. Ideas that proved to be so powerful, so moving and so authentic that people wanted to hear them again and again and itā€™s fascinating because itā€™s the audience that makes that decision. I can be a big fan of some particular composer and can champion that composer through many times and create situations in which their music will be presented, but ultimately 10 or 15 or 20 years later, it will be the public that decides if that music means enough that they want to hear it again.

BLADE: Has audience etiquette improved or deteriorated to any noticeable degree over the course of your career?

TILSON-THOMAS: Itā€™s very different in different places and even on different evenings. These things are very different from city to city and country to country. Even in San Francisco, thereā€™s a certain sense of what the character of the audience is like. The Wednesday night audience, the Thursday night audience, theyā€™re all slightly different in their reactions and in their focus. We created a new series called SoundBox which is designed for people whoā€™ve never been to classical music concerts before with very experimental repertoire and it uses video projection and other things and is kind of set in a club atmosphere. Drinks are served and you have 20 minutes of music then 20 minutes of lounge-type activity and then the music comes back. Well, in fact these audiences are more quiet and focused than the subscription audience can be. Theyā€™re totally focused. When the music starts, theyā€™re totally in it. What for me has been particularly gratifying is that with some of this earlier music weā€™ve been doing, we did one piece by Monteverdi from 1610, so many young people came up and said how transporting it was and you think, ā€œGod, hereā€™s something from 400 years ago that can reach out and have that kind of emotional effect.ā€ That really is one of the greatest treasures of my life.

Michael Tilson Thomas, gay news, Washington Blade

Michael Tilson Thomas (Photo by Spencer Lowell; courtesy San Francisco Symphony)

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Boomer Banks brings beats to MAL Weekend

From porn to the DJ booth, ā€™I’m the happiest I’ve ever beenā€™

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Boomer Banks (Photo by Greg Endries)

If you enjoy gay adult films, there is a high likelihood you have seen or at least heard of Boomer Banks. His tattoos, muscles, masculine presence, and thick mustache have made him one of the most recognizable ā€” and awarded ā€” Latinx gay adult performers in the industry. This weekend, Banks heads to the nationā€™s capital to partake in Mid-Atlantic Leather weekend.

 As D.C. polishes its leather gay apparel for the annual MAL weekend, Banks, alongside a slew of other gay adult performers and leather lovers, is getting ready to make adult content, meet fans, buy some new leather goods, and perform in the name of sexual expression.

This year will be different for Banks compared to his past MAL weekends, though. He will still be go-go dancing as he has in years past, but this year he has a new hat on ā€” headlining DJ. The Blade sat down with the 44-year-old performer to discuss his sex work career, the changing industry, and his passion for DJing.

On Friday night, Banks is one of three headlining DJs for the main dance event of the night, UNCUT XL. He explained that his love for music has always been there, but since the death of his best friend, with whom he connected on a shared love of music, his sets mean more than ever to him now. 

ā€œI loved music for my whole life,ā€ Banks told the Blade when asked about how he got started in music. ā€œMy proximity to legendary New York DJs has always been there. I lost my best friend and brother over two years ago, and it just caused a lot of changes [for me]. We both loved music so much … I was talking to one of my DJ friends [about this connection to music], and they were talking to me, and all of a sudden I’m at their studio, playing around with the controller and all that, and it just happened. Here we are, two years later, and now I’m headlining at MAL with some legendary DJs that I have been a fan of since I was young.ā€

Banks went on to explain that this connection and newfound passion for DJing is what has made his career shift from studio porn to a solo career easier. He also said the continued support from his house music fans has made him want to work even harder on creating memorable sets.

And create memorable sets he has. Banks has headlined events all across the country over the past two years ā€” from Provincetown to Rehoboth Beach and even headlining Folsom, which is the biggest leather event of the year. He explained that he has one overwhelming emotion ā€”gratitude.

ā€œI’m really grateful that Zach [RenovatĆ©s] and everybody at Kinetic and Bunker have really taken a liking to my storytelling through music, because that’s what it is for me,ā€ Banks said. ā€œI like taking people on a journey. It’s usually my journey. But I read the crowd, I read energy, and I’m always smiling, and that’s the only place that I do smile. I feel like people often categorize me as intimidating, and a lot of times that’s what I got in the porn industry. But with DJing, the people are always like, ā€˜You’re so happy up there. You’re smiling all the time.ā€™ And, yeah, I’m the happiest I’ve ever been, and it’s exciting. I love doing it, and I’m grateful and very humbled that people are seeing that this isn’t just a gimmick.ā€

He went on to explain that this happiness wasnā€™t always at the base of his work ā€”especially when he was involved with the studio porn system with CockyBoys and Raging Stallion. Various factors, including race, he shared with the Blade, were why it was less than enjoyable at times. But it provided a platform in which he was able to grow and gave him an opportunity to help newcomers in the industry.

ā€œWhen I got into porn, other brown men were not nice to me; other people of color [were not nice to me]. I thought that it would have been different. So when I was established, I made sure not to do that. I have a few little Banks boys that I nurtured into the industry, and, not to claim them, but it’s just so that they had someone to talk to because I didn’t have that.ā€

Despite some structural problems within the industry, Banks felt he was able to get what he needed from the career, including a paycheck and a platform.

ā€œPorn did work out for me,ā€ he said. ā€œI was very fucking successful, and I was not white. I did the work, but I just couldn’t keep doing it any more. It wasn’t good for my mental health, and so I knew how to bow out. Who knows? It [studio porn days] might happen again. I don’t know, but I know for today, I love music. It’s my heart. I’m grateful for the platform that sex work gave me because it’s given me a heads up with the music.ā€

That music has kept him going. More specifically, New York house-style music has kept him going. Banksā€™s ability to take in the music he loves has made him a stronger DJ, he said. 

ā€œ’Iā€™m a New York house DJ,ā€ he said. ā€œThat’s the style that I bring. The craziest it gets is like tech house and maybe some early 2000s mid-2000s circuit music. It’s what I grew up with and what I love and what I like to put out there. I’m really grateful that I was not only showing up to these gigs, but I was absorbing the art that is music in a way that it seeped into my pores and my soul, that now I can share how I feel about music, and that’s exciting.ā€

 He touched on how although many people can be fans of DJ music, it takes more to become a successful DJ.

ā€œThe thing about music is you can’t fake music tastes. You can learn all the knobs and the technical parts of DJing, but if you’re not playing good music, and if the room isn’t vibing, it doesn’t matter.ā€

When asked about the current political climateā€”seeing as the host hotel for MAL weekend is a mere half mile from the Capitol buildingā€”Banks reflected on the importance of weekends like this for the LGBTQ community, which is increasingly facing the backlash of conservative politicians.

 ā€œWe are in uncertain times,ā€ he said. ā€œThese are the weekends where we’re able to be who we are. And it’s unfortunate that we have to still have these events to express ourselves. Because a lot of these guys, they wait their whole year for this weekend to be able to express themselves. With what’s going on with the world, they’re basically being told that these are the only places they can. I know that in New York we live in a bubble. I know in D.C., we live in a bubble. But I want to show people that are coming from the middle of nowhere that they can have a good time, and even if it is for this weekend, they can rely on us. I want our community to know that I am here for them.”

You can find Boomer Banks headlining Fridayā€™s main dance event UNCUT XL from 10 p.m. to 4 a.m. at REPUBLIQ Hall (2122 24th Pl NE) and go-go dancing during Saturdayā€™s PERVERT XXL party at A.I. Warehouse (530 Penn St., N.E.) from 10 p.m. to 4 a.m. as well as on X @Boomer_Banks and on Instagram @baconlvr.

For more information about MAL events visit leatherweekend.com or kineticpresents.com.

Boomer Banks (Photo by Greg Endries)
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D.C. gets leathered up

Your guide to Mid-Atlantic Leather Weekend

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The annual MAL Weekend kicks off this week with dance parties, an exhibit hall, and much more. (Washington Blade photo by Michael Key)

Half a mile from the Capitol building on New Jersey Avenue, the Hyatt Regency Washington is getting ready for one of the cityā€™s biggest, gayest, and kinkiest weekends of the year ā€” the annual Mid-Atlantic Leather (MAL) Weekend.

The weekend, which has a long and fabled history that spans two different hosting Motorcycle Clubs (MC), multiple host cities, thousands of LGBTQ people dressed head to toe in leather, and as the Centaur MC website explains, all began with an hour of cocktails and a cock ring. 

In 1976, members of the Links MC gathered in a room at New York City’s Waldorf-Astoria hotel to mingle and discuss shared interests (including leather and various sexual proclivities), when one of the partyā€™s guests accidentally dropped his cock ring on the bathroom floor. The loud clang of a cock ring against the tile floor made everyone in attendance laugh. At the next party the Links MC hosted, another member intentionally dropped his cock ring on the floor too, calling back to the prior partyā€™s fun and a tradition was established.

The event grew in popularity among LGBTQ leather lovers, moving to various East Coast cities before finding a permanent home with the Centaur MC in Washington in 1984. Since then, the city has hosted the Leather Cocktail party each year and has expanded to include an exhibitor hall, where leather makers and other kink product creators showcase their wares, the prestigious Mr. MAL Contest, and multiple high energy (and clothing optional) dance parties.

Leather Cocktails in 2013. (Washington Blade archive photo by Tyler Grigsby)

MCs comprised exclusively of queer members have been documented since at least the mid-1950s, with the Satyrs Motorcycle Club of Los Angeles being one of the earliest known examples. During the McCarthy era, when LGBTQ individuals were subjected to brutal discrimination due to unfounded fears that being queer was synonymous with being un-American or even suggested Communist leanings, the groups provided an essential refuge. While such fears were baseless, the formation of these clubs offered a vital safe space for queer people to express themselves in an environment where their identities were not just stigmatized but often criminalized. These MCs became much more than places for sexual expression ā€” they were havens of protection and solidarity, offering a sense of community that would have been nearly impossible to find in the hostile, post-WWII social climate.

This year’s MAL is set to be the biggest year yet with four days of kinky queer fun. It all begins on Thursday at the Hyatt Regency Washington (400 New Jersey Ave., N.W.) with the Full Package/Three Day Pass Pick-Up from 5:30-8:30 p.m. Here guests who have purchased a Full Weekend Package can collect their wristbands.

On Thursday from 9 p.m.-3 a.m., the MAL kick-off Kinetic BOOTCAMP dance party will whip you into shape as international DJs Alex Lo and Dan Slater start off the weekend right. The venue has not been named yet, but Kinetic Events, which oversees this yearā€™s official MAL dance parties have said the space will soon be announced and will ā€œbe complete with play zone designed for maximum seduction.ā€

(Washington Blade photo by Michael Key)

After beginning MAL weekend on the dance floor, Friday is full of events to keep the kinky vibes going. From 3-10 p.m., guests who have not picked up their Full Package Pass on Thursday can continue to collect them in Capital Room A on the lobby level (located behind the north tower elevators) of the Hyatt Regency Washington. If you haven’t purchased a pass, no worries, both day and weekend passes for MAL hotel events are available for purchase online or at the hotelā€™s entrance from 3-10 p.m. 

The passes vary in price depending on what day(s) you attend. The 3-day pass is $45 plus processing fees and provides access to the Hotel and Exhibitor Hall for the entire weekend, as well as the Mr. MAL Contest on Sunday. The Single Day Pass is $20 plus processing fees and allows access to the Hotel and Exhibitor Hall on either Friday or Saturday. The Sunday Day Pass is $30 plus processing fees and includes access to the Hotel and Exhibitor Hall on Sunday, along with entry to the Mr. MAL Contest. To purchase your pass online visit at sickening.events/e/mal-weekend-2025/tickets or at the hotel’s entrance.Ā 

To get in an elevator up to a hotel room a staff member will check for a hotel room wristband. Non-registered guests can only access host hotel rooms if they are escorted by a registered guest with a valid wristband. Registered guests are permitted to escort only one non-registered guest at a time. Non-registered guests with a wristband who are already in the hotel before 10 p.m. may remain until midnight. However, non-registered guests without a wristband will not be admitted after registration closes.

A scene from the 2024 Mr. Mid-Atlantic Leather competition. (Washington Blade photo by Michael Key)

The Exhibit Hall is located on the ballroom level below the lobby. This year is slated to have 29 exhibitors selling leather and kink goods that range from harnesses to jockstraps and everything in between. The Exhibit Hall will be open on Friday from 4-10 p.m., on Saturday from 11 a.m.-6 p.m., and Sunday from 11 a.m.-5 p.m.

Back by popular demand, DC Health is partnering with Nasty Pig to provide preventative health services including MPox vaccines, Doxy PEP, HIV Testing, Narcan kits, and Fentanyl test strips. Their booth with these services will be available on Friday from 3-10 p.m. and on Saturday from 11 a.m.-6 p.m. at Capital Room B (located behind the north tower elevators next to Room A). 

Also on Friday, the Centaur MC is holding its Welcome Reception from 6-8 p.m. on the ballroom floor. After the Centaurā€™s Welcome Reception, there will be an International Mister Rubber (IMR) Social from 8-11 p.m. in Congressional Room A. 

Friday nightā€™s dance party KINETIC UNCUT XL will be at REPUBLIQ Hall (2122 24th Place, N.E.) and has been billed as ā€œlargest and most debaucherous MAL event yetā€ with a ā€œlabyrinth of play zonesā€ and two dance floors. DJ and adult film creator James Anthony kicks off the night and then allows for you to choose where to dance ā€” either in room 1 with DJ Alex Ramos playing tribal beats or room 2 with DJ and adult creator Boomer Banks playing a tech house set. The dance party goes from 10-4 a.m. so make sure those boots are shined and ready to move. 

On Saturday MAL will host its annual Puppy Mosh in Regency Ballroom C from 11 a.m.-1:30 p.m. During the Mosh, pups and their handlers can enjoy a playful puppy playdate while immersing themselves in pup culture. There are strict rules surrounding the Puppy Mosh. The Mosh Monitor has final say and has the right to eject anyone from the Puppy Park for violating the rules. For the full set of Puppy Mosh rules visit leatherweekend.com/puppy-park-rules/.Ā 

Immediately following the Puppy Mosh the Super Hero Meet-Up will be held in Capital Room A from 1:30- 3 p.m., where cosplayers and comic book enthusiasts can gather for an erotic meetup celebrating a rendezvous of capes, curves, and vibrant spandex.

From 2-6 p.m. on Saturday, the Onyx Fashion Show will take place in Congressional Rooms A & B for people of color to highlight Black brilliance in leather. 

The Leather Cocktail Party that started it all will be held 7-10 p.m. in the Regency Ballroom. Only those with the Full Package Pass can attend and are encouraged to show off their leather and kink fantasy. 

The Leather Cocktail Party isnā€™t the only cocktail party happening on Saturday; from 9-11 p.m., the MAL Cocktail Party will be in Congressional Room B for other MAL attendees to mingle and get a drink. 

The last event of Saturday is the KINETIC and MatinĆ©e Groupā€™s PERVERT XXL dance party. Beginning at 10 p.m., this will mark the first time that a dance party on MAL Weekendā€™s Saturday night is an official MAL event. The dance is at A.I. Warehouse in Northeast (address TBA) and has a slew of talent for the celebration. Gigi Goode from ā€œRuPaulā€™s Drag Raceā€ will ā€œwhip the crowd into submissionā€ as DJs from around the world, including Erik Vilar (Brazil), Eliad Cohen (Israel), and Paulo (Los Angeles) play non-stop beats all night long (or at least until 4 a.m. when the party ends). In addition to drag royalty and internationally acclaimed DJs, the dance is held in a multi-level warehouse in Northeast D.C. complete with immersive lights, lasers, and play zones. 

On Sunday at 1 p.m., the Mr. MAL Contest will be held in the Regency Ballroom. This highly sought after title gives one man the power to become the Mid-Atlantic Leather man of the year. The sash and title come with some requirements though: 1. You must be male, 2. You must be a resident of North America, 3. Must be at least 21 years of age, and 4. You must self-identify as gay. Additionally, if you enter, you must be prepared to represent the title as a contestant in the International Mr. Leather (IML) Contest in Chicago on Memorial Day Weekend 2025. Currently the list of applicants has hit its limit but if you are interested and can meet the criteria you can email [email protected] to be put on a standby list.

From 6 p.m. to 12 a.m. on Sunday, MAL will hold its Game Night in Capital Rooms A & B.

Last, but certainly not least, the final event and dance party of the weekend is the KINETIC LUST party, the perfectly sensual and sexy way to end MAL 2025. The party goes from 10 p.m.-3 a.m. as Grammy-nominated Abel and DJ Sam Blacky will end your weekend right with ā€œdark, sexy beats and pulse-pounding rhythmsā€ as erotic porn star performances and exclusive play zones are explored. 

Each day of MAL a Recovery Meeting will be held in the Yosemite Room (located on the conference level/ second floor) from 10-11 p.m. with an additional session on Saturday from 11 a.m.-12 p.m. to provide a safe space for anyone who is struggling with addiction or for anyone who needs to take a sober step away from the weekend’s events. 

All weekend there will also be a Bootblack station where MAL attendees can get any leather goods cleaned and polished. The money donated to the Bootblacks for their work helps raise money for a local charity (that changes each year) and to cover the Mr. MAL travel fund. Donā€™t forget to tip.

A scene from Mid-Atlantic Leather Weekend 2024. (Washington Blade file Key)

Even though the weekend is called the Mid-Atlantic Leather Weekend, leather is not required. There are some rules regarding outfits though. All expressions of kink are encouraged. Attendees in years past have worn everything from leather to rubber, to furries and even regular street clothes. Just make sure that they abide by the hotelā€™s dress code rules ā€” in publicly accessible spaces (lobby, hallways, ballrooms, exhibit halls), nudity is not allowed. Men may walk around the hotel shirtless, in a jock, or in chaps with a jock. Women are not permitted to be shirtless or have their nipples exposed. If you are dining, your buttocks must be covered, and at least a vest must be worn.

Please note that all events are 21+ and require an ID check, including every day of events at the Hyatt Regency host hotel. Please make sure you bring your photo ID. Also note that all MAL ā€œFull Weekend Packageā€ pass holders have access to the LUST Sunday Closing Party.

For any additional information on official MAL weekend events and policies, please visit leatherweekend.com or kineticpresents.com.Ā 

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Looking back at the 10 biggest A&E stories of 2024

Menendez brothers, Chappell Roan, ā€˜Wicked,ā€™ and more

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(Photo of Cooper Koch in 'Monsters' courtesy of Netflix; screen capture of Imane Khelif via YouTube. Washington Blade photo of Oprah Winfrey by Michael Key)

Reflecting on a year in queer entertainment is never one dimensional. You get stories of joy, hate, and everything in between.

And 2024 was no different. For every Chappell Roan, you get a J.K. Rowling. But looking back on this year is vital in recognizing what progress was made in LGBTQ spaces, and which areas need more attention to make a better 2025.

Though there are no 10 stories that are truly ā€œthe most important,ā€ here are some events that represented the good, the bad, and the gloriously gay this year.

#10: Joaquin Phoenix abruptly exits gay film: ā€œJokerā€ star Joaquin Phoenix reportedly exited a gay romance film days before production was set to begin, stirring up a controversial storm in Hollywood.

Sets were built and distribution deals were already made, which left many owed compensation. 

Described as a detective love story featuring two men in the 1930s, the film was allegedly made to receive an NC-17 rating and to feature authentic and graphic sex scenes.

#9: Adele snaps back at homophobic fan:What better way to kick off Pride month this year than Adele publicly humiliating a fan who shouted a homophobic comment?

The singer was performing her Las Vegas residency show when an audience member shouted, ā€œPride sucks.ā€ Her response was appropriately filled with profanities. 

ā€œDid you come to my fucking show to say Pride sucks? Are you fucking stupid?ā€ Adele said. ā€œDonā€™t be so fucking ridiculous. If you have nothing nice to say, shut up, alright?ā€

A video of the interaction went viral online, and fans rallied on social media to show their support of the singer.

#8: Oprah receives GLAAD recognition: Oprah Winfrey received the GLAAD Lifetime Achievement Award in March. It was a culmination of her strong history of support for the LGBTQ community.

Winfrey used her platform on her self-titled show to raise awareness of HIV/AIDS and LGBTQ bias and hold open discussions to challenge stereotypes and promote acceptance.

ā€œWinfreyā€™s unique blend of empathy, wisdom, and storytelling resonated with audiences, making her one of the most beloved and influential figures in media history,ā€ Los Angeles Blade publisher Troy Masters wrote.

Oprah Winfrey speaks at the Democratic National Convention in August. (Blade file photo by Michael Key)

winner after 25 seasons.

Asher HaVon, who performed on team Reba McEntire, became a staple on the show for his hypnotic and rich tone. From Selma, Ala., HaVon also represents the fight for equality. 

When former President Barack Obama visited Selma in 2015, HaVon sang for him and 200,000 other people at the historic Selma Bridge crossing.

ā€œFor the rest of us, in the LGBTQ community, in the dance clubs, and in the hearts of ones needing a new diva to love, Asher has arrived,ā€ Los Angeles Blade reporter Rob Watson wrote in May.

#6: Out and proud: Many notable celebrities came out this year, including country singer Maren Morris, track star Trey Cunningham, actor Julia Fox and former ā€œSaturday Night Liveā€ star Sasheer Zamata. From sports stars to country idols, these icons are paving the way for LGBTQ visibility in underrepresented entertainment spaces.

#5: Defying box office charts: Jon M. Chuā€™s ā€œWickedā€ is ā€˜Popularā€™ with audiences, to say the least.

Roughly one week into its box office run, it became the biggest-grossing movie based on a Broadway musical in North America. It beat previous smashes like ā€œGreaseā€ and ā€œMamma Mia!ā€ Beyond providing audiences with a faithful yet unique adaptation of the popular book and play, it also gave us numerous viral interviews between its two leading ladies, Ariana Grande and Cynthia Erivo, as well as a plethora of fan cams gushing over out actor Jonathan Bailey.

Your move, ā€œWicked: Part Two.ā€

#4: Emmys and Grammys and Tonys, oh my!: It was a historic year for queer representation at the biggest nights in entertainment. Jodie Foster collected her first Emmy for her role in ā€œTrue Detective: Night Country,ā€ while Jonathan Groff accepted his first Tony for his role in ā€œMerrily We Roll Along.ā€

The Grammys were huge for women and queer artists, recognizing performers like Billie Eilish, SZA, Miley Cyrus, and Victoria Monet. It was a much different story than in 2018, when Grammy organizers responded to a lack of female recognition by telling women to ā€œstep up.ā€ 

#3: Misinformation fuels hate at Olympics: Olympic boxer Imane Khelif was the center of right-wing rage during this summerā€™s Paris games after many prominent celebrities and personalities said she is transgender. Khelif has differences of sex development (DSD), which is a group of rare conditions that causes oneā€™s sex development to differ from most others. Women with DSD can have both an X and Y chromosome, which is typically only found in men, but it doesnā€™t make one transgender or intersex.

The facts didnā€™t matter to public figures like J.K. Rowling and Elon Musk, who were mentioned in a cyber harassment lawsuit after spreading misinformation online about Khelifā€™s identity. Rowling labeled Khelif a ā€œmaleā€ on X, while others called for Khelif to be banned from competing. This outcry over false claims about her identity overshadowed her gold medal win.

Imane Khelif, left, and Angela Carini, right. Khelif has filed a lawsuit that accuses JK Rowling and Elon Musk of cyberbullying. (Screenshot via YouTube)

#2: The rise, not fall, of a Midwest princess: It was a stellar year for women and queer performers, headlined by Chappell Roanā€™s rapid ascension to fame. The singer drew global recognition with notable hits like ā€œHOT TO GO!ā€ and ā€œGood Luck, Babe!ā€. 

More importantly, as a member of the community herself, fame never got in the way of her pro-LGBTQ messaging. She dedicated her Best New Artist VMA win to the ā€œqueer youth in the Midwest.ā€ Roan, whoā€™s from Missouri, also used her platform to support the art of drag. She enlisted local drag queens to open her shows this year, and gained instant approval when paraphrasing Sasha Colbyā€™s famous saying: ā€œIā€™m your favorite drag queen’s favorite drag queen.ā€

#1 Ryan Murphy strikes controversial gold again: The ethical implications of ā€œMonsters: The Lyle and Erik Menendez Storyā€ were hotly debated when it debuted on Netflix in September.

Some loved the showā€™s aesthetic and its gripping portrayal of the two brothers who killed their parents in 1989. Others criticized it for its flimsy factual representation and glorification of murder through its two overly attractive leads. Whatever your opinion, thereā€™s no denying the showā€™s impact, which sparked a national debate over releasing the brothers from prison early. With LA electing a new district attorney in November, the push for an early release remains in the headlines and a strong possibility.

Regardless of your opinion of the show, thereā€™s no denying the cultural impact it sparked. Out creator Ryan Murphy isnā€™t new to producing shows that divide people while generating ratings. The first installment of the ā€œMonsterā€ anthology, centered on Jeffrey Dahmer, was a huge hit despite facing intense scrutiny for similar creative decisions.

Cooper KochĀ andĀ Nicholas Alexander ChavezĀ star in ā€˜Monsters.ā€™ (Photo courtesy of Netflix)
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