Arts & Entertainment
Best of Gay D.C. 2016: NIGHTLIFE
Blade readers voted for their nightlife favorites
Best Dance Party
Mixtape
Runner-up: BARE by LURe
DJs Shea Van Horn and Matt Bailer host Mixtape, an alternative dance party, on the second Saturday of each month. Locations vary. The fifth annual Mixtape Halloween party is on Monday, Oct. 31 at the Howard Theatre. It’s at the 9:30 Club on Saturday, Nov. 12.
Mixtape (Photo by Dave Claypool)
Best Bartender
Dito Sevilla, Dito’s Bar at Floriana
1602 17th St., N.W.
Runner-up: Dusty Martinez, Trade
Dito Sevilla (Washington Blade photo by Michael Key)
Best Burlesque Dancer
Bella La Blanc
Runner-up: GiGi Holliday
Bella La Blanc is a housewife and mother of three, but unlike most wives and mothers, she’s a showgirl who has found a way to play multiple roles in her life and not just on stage.
La Blanc, originally from Miami, says she was a theater kid who first fell in love with burlesque after watching “Gypsy.” She then watched “Funny Girl” and once she came of legal age decided she wanted to emulate Barbra Streisand’s Fanny Brice. Her journey led her to frequent fetish clubs, at the time the only place to find burlesque shows.
Now La Blanc regularly performs at the Bier Baron Tavern and has her own burlesque production company Glit-O-Rama Productions. She’s also become known for her cos-play of Regina Mills from “Once Upon a Time.”
La Blanc says her showgirl life is an open book for her kids who often see an evening gown and a vat of crystals strung out on the dining room table after dinner in her Northern Virginia home. Events like this make it all the more fitting that her tagline is “The Stepford Wife gone wild!”
For La Blanc, burlesque is all about pride in being who you are.
“As an exhibitionist I love being on stage and I love sparkly things,” La Blanc says. “But I find that self-empowerment, self-confidence is what burlesque is all about. I go on stage and I’m like, ‘Yeah, I’m a 30-something-year old woman. This body has popped out babies and I’m still going to wear next to nothing and shake my bacon.” (Mariah Cooper)
Bella La Blanc (Photo courtesy of La Blanc)
Best Cocktail
Lemon Squeeze
Duplex Diner
2004 18th St., N.W.
202-265-7828
(Second consecutive win in this category)
Runner-up: Watermelon Basil Slush, Logan Tavern
A bartender makes a Lemon Squeeze at Duplex Diner. (Washington Blade photo by Michael Key)
Best DJ
Matt Bailer
Peach Pit, Mixtape
(Second consecutive win in this category)
Runner-up: DJ Tezrah
DJ Matt Bailer (Washington Blade photo by Michael Key)
Best Drag King
Chris Jay
Runner-up: Sebastian Katz
Chris Jay — who identifies as gender non-conforming and goes by Chris Jennings in non-drag endeavors — started drag three-and-a-half years ago, led to the craft by photography.
Interested in finding some different subjects, he happened upon the D.C. Kings four years ago and started shooting as many of their performances as he could. About six months later, he started with the Kings and continues to this day.
“I’m a lover of R&B, so you’ll find me performing that mostly,” Jay says. “My drag persona is me at a thousand, so I’m kind of full of myself and way more outgoing.”
Now with Pretty Boi Drag (the Kings folded two years ago), Jay performs twice a month — the first Sunday of each at Acre 121 and the third Sunday of each month at the Bier Baron. Jay is 36, happily partnered and lives in Baltimore. (Joey DiGuglielmo)
Chris Jay (Photo courtesy of Chris Jay)
Best Drag Queen
Tatianna
Runner-up: Ba’Naka
While Tatianna has been a drag nightlife staple in D.C., for the rest of the nation she had dropped off the radar in between her appearance on the second season of “RuPaul’s Drag Race” and her reemergence in “RuPaul’s Drag Race All Stars 2.”
In her original season, Tatianna, who hails from Falls Church, Va., became a stand-out competitor when she won Snatch Game with her eerily on point imitation of Britney Spears circa 2005. Her taglines, “Thank you” and “Choices” also made her a fan favorite.
In “All Stars 2” Tatianna was booted from the show by fellow queen Alaska not once, but twice. However before leaving she yet again left an impression on the judges with her spoken word performance of “Same Parts,” an ode to men at parties who hit on her and don’t realize she also has the “same parts.”
The local queen also dressed up as T-Boz for her last runway challenge impressing both the judges and fans.
Tatianna can frequently be found performing at Town and has said her favorite celebrities to impersonate are Britney Spears, Ariana Grande and Miley Cyrus. Tatianna has mentioned on “RuPaul’s Drag Race” that she first began doing drag in middle school at age 14.
Since leaving the show, Tatianna is ready to continue working hard on her career.
“You can expect to see me everywhere because I’m traveling the world, dropping new music and saying ‘Yes!’ to any and all projects,” Tatianna told the Huffington Post following her exit from the show. (Mariah Cooper)
Tatianna (Washington Blade photo by Hugh Clarke)
Best Drag Show
Ladies of Town
Fridays and Saturdays at 10:30 p.m.
Town Danceboutique
2009 8th St., N.W.
Runner-up: Pretty Boi Drag
Ladies of Town (Washington Blade photo by Michael Key)
Best Gay-Friendly Straight Bar
Dacha Beer Garden
1600 7th St., N.W.
202-524-8790
(Second consecutive win in this category)
Runner-up: Black Cat
Dacha Beer Garden (Washington Blade photo by Michael Key)
Best Go-Go Dancer/Stripper
Dylan Knight
Runner-up: Christian Lezzil
Dylan Knight (Photo by David Claypool; courtesy Knight)
Tatianna isn’t the only star to launch from Town Danceboutique. Dylan Knight started gyrating lasciviously about 2010 after seeing other go-go dancers there.
He’s a weekly regular at Town and performs there and elsewhere, never taking himself too seriously.
“I just try to be entertaining and cute,” the 25-year-old D.C. resident says.
He’s also honored to win — “It feels good, I didn’t think I would.”
Knight dances nude sometimes and has shot more than 100 gay porn scenes since 2012 (favorite co-star? Colby Jansen).
He got his famous shamrock tattoo at Ocean City at age 18 when he was there for his senior trip. “My boyfriend and I got matching tattoos,” he says. “I’m Irish and pretty lucky, so it fits.” (Joey DiGuglielmo)
Best Happy Hour
D.C. Bear Crüe Bear Happy Hour
Every Friday at 6 p.m.
Town Danceboutique
2009 8th St., N.W.
Runner-up: Number Nine
D.C. Bear Crüe Bear Happy Hour (Washington Blade photo by Hugh Clarke)
Hottest Bar Staff
Nellie’s
900 U St., N.W.
Runner-up: Town Patio
Nellie’s Sports Bar (Washington Blade photo by Hugh Clarke)
Best Live Music
9:30 Club
815 V St., N.W.
(A perennial favorite in this category)
Runner-up: Black Cat
Troye Sivan performs at the 9:30 Club (Photo by Katherine Gaines)
Best Neighborhood Bar
JR.’s Bar & Grill
1519 17th St., N.W.
(A perennial favorite in this category)
Runner-up: Uproar
JR.’s (Washington Blade photo by Pete Exis)
Best Outside-the-District Bar
Freddie’s Beach Bar
555 S. 23rd St.
Arlington, Va.
(A winner of this award many times previously)
Runner-up: Grand Central (Baltimore)
Freddie’s Beach Bar and Grill (Washington Blade photo by Hugh Clarke)
Best Outdoor Drinking
Town Patio
Town Danceboutique
2009 8th St., N.W.
(Second consecutive win in this category)
Runner-up: Dacha Beer Garden
Town Patio (Washington Blade photo by Michael Key)
Best Place for Guys Night Out
Ziegfeld’s/Secrets
1824 Half St., S.W.
(Second consecutive win in this category)
Runner-up: D.C. Bear Crüe Bear Happy Hour
Ziegfeld’s-Secrets (Washington Blade file photo by Michael Key)
Best Place for Girls Night Out
BARE by LURe
Every third Saturday of the month at Cobalt
1639 R St., N.W.
(Second consecutive win in this category)
Runner-up: WhiskHER
BARE by LURe (Washington Blade photo by Damien Salas)
Best Rehoboth Bar
Blue Moon
35 Baltimore Ave.
Rehoboth Beach, Del.
(Second consecutive win in this category)
Runner-up: Aqua
Blue Moon (Washington Blade photo by Michael Key)
Best Rehoboth Bartender
Matt Urban, Blue Moon
35 Baltimore Ave.
Rehoboth Beach, Del.
Runner-up: Jamie Romano, Purple Parrot
Matt Urban has been behind the bar at the venerable Blue Moon for 14 years. His friendly, reserved demeanor keeps the customers coming back year after year. He says the best part of the job is “meeting so many different people and catching up with friends.” Originally from Wilmington, he lives in Rehoboth with his wife.
Matt Urban (Photo courtesy Urban)
Best Rooftop
Uproar Lounge & Restaurant
639 Florida Ave., N.W.
Runner-up: Nellie’s
UpRoar rooftop (Washington Blade photo by Hugh Clarke)
Best Singer or Band
Frankie & Betty
(Second consecutive win in this category)
Runner-up: Wicked Jezabel
Frankie & Betty (Washington Blade photo by Michael Key)
Best Transgender Performer
Gigi Paris Couture
Runner-up: Lady Dane
Gigi Paris Couture started performing 20 years ago. She was just hanging out in drag one night at a bar and one of the performers was a no-show.
“They asked me to perform and I liked it,” Couture, a veteran of Ziegfeld’s, Town, Freddie’s, Cobalt, Perry’s and many others, says.
She performs weekly and works by day as a stylist at the Cosset Aveda in Crystal City, Va., near where she resides in Alexandria.
Couture, who’s single, says many trans performers work right alongside drag queens. She acknowledges there is “occasional tension, but nothing major.”
“There’s always something funny at every show,” Couture says. “That’s the nature of the business. A pastie can come off, duct tape might fall off or a piece of jewelry might fall on someone’s eggs during brunch. Little funny things that make people laugh.”
She’s happy to win this new category, a Washington Blade Best of Gay D.C. first.
“It’s an honor to be acknowledged for something I have enjoyed doing for so long.” (Joey DiGuglielmo)
Gigi Paris Couture (Photo courtesy of Couture)
To see winners in other categories in the Washington Blade’s Best of Gay D.C. 2016 Awards, click here.
Books
‘Mighty Real’ explores history of LGBTQ music
From Judas Priest to Whitney, something for every taste
‘Mighty Real: A History of LGBTQ Music, 1969-2000’
By Barry Walters
c.2026, Viking
$35/496 pages
Step, step, tap, back step.
Shimmy in a circle, left hand waving over your head, shake your tail feathers, repeat to the beat. Once there was a time when you could do any dance in your sleep, but it’s been a while. So read “Mighty Real” by Barry Walters, and see if your toes don’t tap.
Fifty-seven years after Stonewall, and here we are: LGBTQ musicians still face scrutiny for their sexuality because, says Walters, music isn’t created for gay listeners. No problem: LGBTQ artists and writers have often penned lyrics carefully in order to say what can’t be said, “coding” songs for gay audiences that straight (and ignorant) listeners can dance to and enjoy with apparent obliviousness.
Walters offers “just a few” examples.
Lou Reed sang about trans people in the late ‘60s and offered a rallying song for the Gay Liberation Front in 1972, the latter of which felt like a message to a then-11-year-old Walters. Janis Joplin claimed she was straight, but she had several girlfriends. Motown singers often offered sometimes-ambiguous lyrics.
John Lennon’s hand placement on the back cover of Sgt. Pepper’s Lonely Hearts Club Band made Walters begin to understand that he was different from other boys.
David Bowie is on his list, of course, as is Bette Midler, Elton John, Donna Summer, and Queen. You’ll find Judas Priest here, Green Day, and punk music. The Village People are included in this book, also Grace Jones, Duran Duran, and Cher, Whitney, Melissa, Latifah, and the lyrics from several blockbuster movies.
Two of Prince’s band members were lesbians, and they heavily influenced his albums. Diana Ross’s “I’m Coming Out” cemented her position in LGBTQ culture, and Michael Jackson’s inclusion here takes much careful consideration.
Read about Olivia Newton-John and the B52s. And then there’s Sylvester, for whom Walters has a soft spot in his heart. Sylvester’s death still makes Walters cry.
In his preface, author and music writer Barry Walters points out that music is what you make it and that it’s interpreted differently by each individual. To that end, this book naturally consists of preferential history and personal opinions about singers, bands, albums, and songs.
Agree or disagree. That’s where much of the appeal lies in “Mighty Real.”
Here, Walters wraps his memories around his choices, giving readers room for their own views, memories, and list making. Music-loving readers might also be surprised to note who’s not on Walters’ list – there aren’t many country performers here, for example, and the overall list focuses entirely on music from roughly 1968 to the year 2000, mostly on the kinds of songs you’ll want at the club or party. Again, discuss, and curate your own playlist.
This is a hefty book, but the chapters are browse-able and generally short enough to read in under five minutes. It’s nostalgic, yet also serious in the history it presents. This is the kind of book you want to leave near your album collection, or wherever you get your tunes. But finding “Mighty Real” is your first step.
The Blade may receive commissions from qualifying purchases made via this post.
The Gay Men’s Chorus of Washington performed “Soul Divas” at the Lincoln Theatre over the weekend. The show featured songs popularized by Tina Turner, Aretha Franklin, Diana Ross, Gladys Knight, Whitney Houston and more.
(Washington Blade photos by Michael Key)
Theater
Timothy Nelson on the premiere of his opera ‘Song of Sakuntala’
Story of love, loss, redemption unfolds amid Indian classical music
‘The Song of Sakuntala’
IN Series
In Washington and Baltimore
Atlas Performing Arts Center, 1333 H St., N.E.
(Selected dates June 6-14)
Baltimore Theatre Project, 45 W. Preston St., Baltimore
(June 19-21)
$25-35
Inseries.org
As the artistic director of IN Series, Timothy Nelson rarely blows his own horn, but for the world premiere of his own opera “The Song of Sakuntala,” he’ll make an exception.
During a recent interview squeezed in between afternoon and evenings rehearsals, Nelson took time to talk about his opera (while nearby his “blessing of a husband” prepared a giant dinner for the entire cast and crew).
As smart and gracious as ever, Nelson explains that he wrote the opera a decade ago at a low point in his life: He was divorcing and wanted to immerse himself into something musical, all-consuming, a project tantamount to writing a thick novel.
At the time, Nelson’s mentor, the influential American stage and opera director Peter Sellers, pushed him to write again. Nelson recalls, “I hadn’t composed for some time. I wanted to see if I could do it, and I wanted to revisit Indian classical music.”
He adds, “There was never any anticipation of it being produced. It was a way of processing and dealing with life in a healthy way.”
Adapted from Kālidāsa’s 5th-century dramatic masterpiece, “The Song of Sakuntala” brings together Western baroque and Indian classical musical traditions into a story of “love, loss, memory, and redemption.” His libretto, a reflection of South Asian storytelling, includes the words of the great Indian poets Tagore, Naidu, and Vidyapati.
The story follows “a prince and a woman of the forest who fall in love and wed in secret. He departs, and she later seeks him out, only to have him deny all recognition of her. She disappears in sorrow; he spends the rest of his life searching. At the end, in the same forest where they first met, they find each other again and are transfigured.”
At 90 minutes, the uninterrupted piece features three singers (Aryssa Leigh Burrs, Teresa Ferrara, Marvin Wayne Allen) accompanied by an instrumental ensemble led by acclaimed sitarist Rajib Karmakar, who specializes in bridging Indian and Western classical traditions, and conducted by Nelson who also joins the music making on drone and harmonium.
Burrs plays the prince. Originally written for a countertenor, Nelson imagined a man singing the role but ultimately cast a woman to play the part.
Because the piece is “fiendishly difficult in almost unnecessary ways,” Nelson explains with a wicked chuckle, he knew that Burrs had the talent and sharp brain required for the role.
The prince is cruel without explanation. Despite that, 40-something Nelson admits to relating to the opera’s prince: “In midlife, you reflect on your mistakes. At least for now that’s how I feel. I might have felt different earlier and it could change later on.”
Nelson lived in India for nine months, backpacking and studying in different places, absorbing different musical styles and playing pieces as varied and complex as any Western music.
And while based in D.C., IN Series performs in both Washington and Baltimore using various borrowed venues. “The Song of Sakuntala” is playing at both the Atlas Performing Center in D.C. (6/6-6/14) and Baltimore’s beloved Baltimore Theatre Project (6/19-6/21) with its terrific acoustics.
In a past conversation, Nelson who lives in Adams Morgan, shared that all audiences bring something specific to the table. Baltimore tends to attract more risk taking while D.C. audiences often lean into the intellectual side of what the company does.
At the helm of IN Series for eight years, Nelson has relished reimagining opera and musical theater, but only recently did he decide to program his latest work. The way in which “The Song of Sakuntala” blends Western and non-Western music is very much a part of the IN Series music brand, so it seemed the perfect selection to close the season.
“I do this humbly with great hesitancy. And I know it feels a little unseemly to cheer on your own work, but I will say, it’s a piece that is successful in sitting in both places (Western and South Asia) and the Indian musicians on board are responding to it.”
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