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Todrick Hall takes Howard ‘Straight Outta Oz’

YouTube sensation draws eclectic fan base for D.C. tour stop

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Todrick Hall, center. (Photo courtesy ATV Marketing)

Todrick Hall, center. (Photo courtesy ATV Marketing)

The Howard Theater was transformed on Monday. Viral YouTube, MTV and “American Idol” star Todrick Hall took fans out of the sold-out D.C. theater and into Oz Angeles, performing a musical theater version of his visual album, “Straight Outta Oz.”

The 20-song, “Wizard of Oz”-inspired visual album features big names like Nicole Scherzinger, Perez Hilton, Jordin Sparks, Wayne Brady and Joseph Gordon Levitt, but Hall remains the brightest star in his show onscreen and onstage.

In “Straight Outta Oz,” Hall takes viewers through the story of his life growing up in rural Texas, finding his first love as a gay man, having his heart broken and moving to Oz Angeles to blow money and chase fame. The show even hints at Hall’s 2013 gig writing a song for Virgin America by having his character write a jingle for “Flying Monkey Airlines,” although there are no allusions to his time on “American Idol” or his MTV show. The tour still has dates remaining throughout Canada and the U.S. through Aug. 12.

While the show sticks pretty strictly to the visual album, there are a few bonus songs to surprise audiences. For those who have watched the video, this can make the show a bit predictable, but Hall’s fans at the Howard couldn’t have cared less, dancing and singing along to every lyric.

The theater was filled with giddy, smiling groups of teenagers and middle-aged women, straight and gay couples, even many small children who seemed to adore Hall just as much as everyone else. As his viral Youtube music medleys played during intermission, the audience turned the break into a dance party. A rogue voguer even had to be escorted off stage.

Hall takes hip-hop and does it better than half the rappers on the charts with songs like “Expensive” and “Dumb.” Not only that, but he does it in drag, looking hotter and rapping harder than Nicki Minaj and all of her alter egos (he also does a killer Disney princess impression of her in his “Mickey Minaj” video). The theater erupted as he rapped around the audience and dropped it low as a boss-ass witch for “Wrong Bitch,” a song celebrating black pride against police brutality. In the visual album, Bob the Drag Queen raps along with Hall in the “Wicked”-esque song, fighting against the police “dropping houses” on their “beautiful green brothers and sisters.”

While the show is largely centered around Todrick and his story, Hall shares the stage with a killer cast and diverts the plot to send a few important messages to the audience.

Amber Riley (“Glee”) sings as Todrick’s mother in the visual album, but Teresa Stanley (Broadway’s “Rock of Ages,” “The Color Purple”) brings the character to life on stage for a much more believable performance. In “Lions and Tigers and Bears” and “See Your Face” she belts out emotional lyrics about a mother’s undying love for her son. Of course, a mother can only be so patient, and in a funny, sassy song not on the album she warns Todrick that she’ll “whoop his ass” if he doesn’t call her back.

Other standout performances include Chester Lockhart, who plays Todrick’s posh, social media-obsessed friend as well as an outstanding member of the ensemble, and Vonzell Solomon, whose vocal range is a highlight in many roles throughout the whole show.

Hall breaks away from his Oz-obiography to make a point about gun violence and pay tribute to Trayvon Martin, Christina Grimmie and the Pulse Nightclub victims in the soulful song “Water Guns,” which received a standing ovation at the Howard. In “Dumb” he raps about equal rights and takes shots at shallow celebrities with lyrics like, “If I have blue button eyes and blonde hay/Would I make the magazine on the best page?/Be the leading man, if I was less gay?/If I was a woman would you try to give me less pay?”

In a show that could so easily stick to being all about him, Hall takes the high road and uses his platform to speak out for causes he believes in — a rare move reminiscent of Beyonce’s “Formation.”

Hall pushes the boundaries of what a pop artist can do, say and dress like in today’s world. He makes kid-friendly videos parodying Disney princesses and pop icons that make me look back at a childhood raised on “Kidz Bop” in regret. He raps better than Nicki, Drake and Lil’ Wayne combined, and isn’t afraid to spit fire with substance to fight for a less whitewashed, heteronormative and violent society. His pop and musical songs are infectiously catchy. “Papi,” “Little People,” and “If I Had a Heart” could be instant broadway classics.

Despite already having been tied to big names such as “American Idol,” “RuPaul’s Drag Race” and MTV, YouTube has made Hall more famous than any TV show ever could. His channel has more than two million subscribers and his most popular video, “Disney Dudes” from 2013 has 17 million views. “Straight Outta Oz” has almost two million views after just one month.

Like many other YouTube sensations, Hall capitalizes on this by taking his act off screen and on stage. He recently told Playbill that his goal is to take “Straight Outta Oz” to Broadway within a couple years. With the profound talent Hall has along with such a dedicated fanbase, that seems like a definite possibility.

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History

Julius’ Bar ‘sip-in’ laid groundwork for Stonewall

Tuesday marked 60 years since four gay activists held protest

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(Washington Blade photo by Ernesto Valle)

While Stonewall is widely considered the birthplace of the modern LGBTQ rights movement in the U.S., a lesser-known protest inside a Greenwich Village bar three years earlier helped lay critical groundwork for what would follow.

Tuesday marked 60 years since the Julius’ Bar “sip in.”

On April 21, 1966, four gay rights activists — Dick Leitsch, Craig Rodwell, John Timmons, and later Randy Wicker — walked into Julius’ Bar and staged what would become known as a “sip-in” to challenge state liquor regulations on serving alcoholic beverages to gay men — with a drink.

Modeled after the sit-ins that challenged racial segregation across the American South, the protest was designed to confront discriminatory practices targeting LGBTQ patrons in public spaces.

At the time, the Mattachine Society — one of the country’s earliest gay rights groups — was actively pushing back against policies enforced by the New York State Liquor Authority. One of those policies could have resulted in the loss of liquor licenses for serving known or suspected gay men and lesbians. The participants had visited multiple establishments, openly identified themselves as homosexual, and requested a drink — with the anticipation of being denied.

Their final stop was Julius’, where reporters and a photographer had gathered to document the moment. When Leitsch declared their identity, the bartender covered their glasses and refused service, reportedly saying, “I think it’s against the law.” The next day, the New York Times ran a story with the headline, “3 Deviates Invite Exclusion by Bars,” cementing the moment in the public record.

Though initially framed with disrespect — the term “sip-in” itself was coined as a play on civil rights protests — the action marked a turning point. It brought national attention to the systemic discrimination LGBTQ people faced and helped catalyze changes in how liquor laws were enforced. In the years that followed, the protest contributed to the emergence of licensed, more openly gay-friendly bars, which became central social and organizing spaces for LGBTQ communities.

The Washington Blade originally covered when the bar was officially added to the National Park Service’s National Register of Historic Places in 2016.

Today, historians and advocates increasingly recognize the “sip-in” as a key pre-Stonewall milestone. According to the New York City LGBTQ Historic Sites Project, the protest not only increased visibility of the early LGBTQ rights movement but also exposed widespread surveillance and entrapment tactics used against the community.

Marking the 60th anniversary of the event, commemorations have taken place in New York and across the country. Reflecting on its enduring legacy, Amanda Davis, executive director of the NYC LGBTQ Historic Sites Project, spoke about the event.

“Julius’ Bar is a place you can visit and viscerally connect with history,” said Davis. “We’re thrilled to have solidarity locations across the country join us in commemorating the ‘sip-in’’s 60th anniversary and the queer community’s First Amendment right to peaceably assemble.”

For current stewards of the historic bar, the responsibility of preserving that legacy remains front of mind.

“It’s a privilege and a responsibility to be the steward of a place so important to American and LGBTQ history,” said current owner of Julius’ Bar, Helen Buford. “The events of the 1966 Sip-In here at Julius’ resonated across the country and inspired countless others to stand proud for their rights.”

The timing couldn’t have come at a more important moment, Kymn Goldstein, executive director of the June L. Mazer Lesbian Archives, explained.

“At a time when our community faces renewed challenges, coming together in resilience and solidarity reminds us of the power in our collective resistance,” Goldstein said.

The American Civil Liberties Union, an organization dedicated to defending rights and liberties guaranteed by the Constitution, is currently tracking 519 anti-LGBTQ bills across the U.S. The majority are targeted at restricting transgender rights — particularly related to gender-affirming care, sports participation, and the use of public bathrooms.

Some additional groups and bars that held their own “sip-in” as solidarity events to uplift this historic milestone are from across the country include:

Alice Austen House at Steiny’s Pub, Staten Island, N.Y.

Bellows Falls Pride Committee at PK’s Irish Pub, Bellows Falls, Vt.

Brick Road Coffee, Mesa, Ariz.

Brick Road Coffee, Tempe, Ariz.

Dick Leitsch’s Family at Old Louisville Brewery, Louisville, Ky.

The Faerie Playhouse & LGBT+ Archives Project of Louisiana at Le Cabaret, New Orleans

Harlem Pride & John Reddick at L’Artista Italian Kitchen & Bar, New York

JOYR!DE KiKi at Loafers Cocktail Bar, New York

Matthew Lawrence & Jason Tranchida / Headmaster at Deadbeats Bar, Providence, R.I.

Mazer Lesbian Archives at Alana’s Coffee, Los Angeles

New Hope Celebrates at The Club Room, New Hope, Pa.

Queer Memory Project at the University of Evansville Multicultural Student Commons / Ridgway University Center, Evansville, Ind.

Sandy Jack’s Bar, Brooklyn, N.Y.

St. Louis LGBT History Project at Just John Club, St. Louis

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PHOTOS: National Champagne Brunch

Gov. Beshear honored at annual LGBTQ+ Victory Fund event

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Gov. Andy Beshear (D-Ky.) speaks at the LGBTQ+ Victory Fund National Champagne Brunch on Sunday, April 19. (Washington Blade photo by Michael Key)

The LGBTQ+ Victory Fund National Champagne Brunch was held at Salamander Washington DC on Sunday, April 19. Gov. Andy Beshear (D-Ky.) was presented with the Allyship Award.

(Washington Blade photos by Michael Key)

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PHOTOS: Night of Champions

Team DC holds annual awards gala

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Team DC President Miguel Ayala speaks at the Night of Champions Awards Gala at the Georgetown Marriott on Saturday, April 18. (Washington Blade photo by Michael Key)

The umbrella LGBTQ sports organization Team D.C. held its annual Night of Champions Gala at the Georgetown Marriott on Saturday, April 18. Team D.C. presented scholarships to local student athletes and presented awards to Adam Peck, Manuel Montelongo (a.k.a. Mari Con Carne), Dr. Sara Varghai, Dan Martin and the Centaur Motorcycle Club. Sean Bartel was posthumously honored with the Most Valuable Person Award.

(Washington Blade photos by Michael Key)

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