a&e features
Generational shift
Millennials emerge as most LGBT-friendly group in history
David Cahn, left, and Jack Cahn are authors of ‘When Millennials Rule: the Reshaping of America.’ (Photo courtesy the Cahns)
In their new book “When Millennials Rule: the Reshaping of America,” David and Jack Cahn, 20-year-old, identical twin journalists and undergraduates at the University of Pennsylvania, investigate what will happen to the political culture in the United States when their generation is in charge.
The Cahn brothers spent five years investigating the “political identity” of the millennial generation, those born anytime from the early ‘80s to about 2000. They traveled across the country and talked to more than 10,000 young people about their views. The Cahns, both straight, drew interesting conclusions about LGBT millennials as well.
But do their conclusions about LGBT millennials and their allies ring true? The answer seems to be yes.
A large focus of the Cahns’ book is how technology has shaped and defined the millennial mindset. David Cahn says that technology has also made the process of coming out easier because you can inform a larger group of your LGBT status rather than having to spread the news by word of mouth.
Sultan Shakir, executive director of Supporting and Mentoring Youth Advocates and Leaders (SMYAL), an organization that works with LGBT youth, says technology is largely responsible for the way millennials view the world.
“What we’re seeing with millennials is a desire for equality and a voice that is amplified more than other generations due to social media and other technology,” Shakir says.
Soleil Solomon, a 21-year-old transgender woman and Cinema Studies major at Oberlin College, agrees. She says that technology has empowered millennials, making them more open minded.
“With the rise in use of social media and methods of communication, we’re able to understand experiences that have formerly been seen as completely foreign to us,” Solomon says. “As a result, when we consider our identities within a greater societal framework, we have more breathing room to consider why we hold certain views.”
Cahn also notes that social media has made the question of LGBT rights a more personal one.
“Seeing photos of LGBT friends online makes this a personal issue for many straight Americans,” he says. “[This has] helped accelerate the rate at which our generation has welcomed and been supportive of the LGBT community.”
Nora Bess, a 20-year-old, queer communications major at the University of Texas, Austin, points out how dating apps like Tinder and Grindr have helped normalize LGBT relationships and dating.
“As problematic as they might be, Tinder and Grindr bring non-heteronormative sexuality out of the dark,” she says. “Before, there was this whole mentality that LGBT sexuality was OK as long as it wasn’t on display.”
She says the upcoming election makes this more crucial than ever.
“We’re in a time when LGBT folks, people of color and other minorities have never had such visibility and such legal protections,” she says. “That scares a lot of people. Donald Trump is a businessman by trade. His biggest strategy so far has been getting people to buy in based on fear.”
In their most recent research, the Cahns found Trump extremely unpopular among millennials.
David Cahn also sites a recent USA Today and Rock the Vote poll that shows that voters under 35 would choose Hillary Clinton over Trump by 52 percent.
“A big reason Trump is failing so spectacularly to attract millennial voters is that his divisive rhetoric about gays, blacks, Hispanics and immigrants is repulsive to a generation that believes so fundamentally in the importance of diversity and accepting people for who they are,” he says.
Frankie Yara Colon, a 22-year-old queer, gender-non-conforming, musician and artist from Amherst, Mass., agrees with Cahn’s analysis about Trump, but as a Latinx person, Colon thinks his popularity represents something far more sinister than just a violation of millennial values.
“Trump [represents] millions of people actively condoning murder and displacement of marginalized peoples,” Colon says. “[He is] a clear mirror of the most warped parts of the American consciousness surrounding the treatment of bodies that have been historically and [are] currently contested.”
Colon has been heartbroken by Trump’s success, but despite having grown up in a largely white and conservative community, Colon has seen very few millennials supporting Trump.
But could Trump’s failure among millennials be because they are generally more accepting than Gen Xers or Baby Boomers, the two generations preceding them?
The Cahns certainly think so. They concluded that the millennial generation is the most LGBT-friendly generation in history. A recent Reuters poll finds 54 percent of Americans and 56 percent of millennials think that businesses should not be able to refuse services to LGBT people on the basis of religious beliefs.
Shakir agrees with the Cahns. In his experience at SMYAL, he’s seen that millennials are generally more accepting of LGBT people. Colon also agrees.
“During the Bush era, I remember there being so much resistance toward LGBT people,” Colon says. “‘Gay’ was still all the kids’ favorite word to throw around at something slightly uncomfortable or odd. Dialogue around trans people was non-existent.”
Colon says within the last five years they have seen a lot of their peers have a change of heart as they enter the world.
The increase in acceptance is also due to the fact that, according to David Cahn and a poll conducted by the Williams Institute, 7 percent of people aged 18-35 identify as LGBT, as compared with 4 percent of Americans overall.
Shakir says these statistics ring true. He says there’s no doubt that more millennials are more out than previous generations.
“Some of that is due to increased acceptance … and some is due to an increased spotlight,” he says.
Solomon agrees. She says that because information is readily available to more people than ever before, millennials are able to read about and understand their identities more fully.
“Instead of suppressing their feelings, they are able to reach out to others and confide in them,” Solomon says. “This confidence allows for a bigger and more accepting community.”
With this information, Colon thinks millennials have potential to reform the actions of the previous generation because their “failings are so clear in front of us.”
“A lot of [progress] can be accredited to social media and increased visibility, bringing realizations that they already know, love and could be hurting LGBT people in their lives,” Colon says. “A lot of it is stepping into a world that no longer belongs to our parents and realizing there’s so much to reckon with.”
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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