a&e features
NBC revives ‘Hairspray’ just in time
All-star cast says election gives show special meaning
From left in back are Ephraim Skyes, Jennifer Hudson, Martin Short, Dove Cameron; (middle row) Ariana Grande, Garrett Clayton, Harvey Fierstein, Maddie Baillo, Kristin Chenoweth and (front row) Shahadi Wright Joseph and Derek Hough. (Photo by Brian Bowen Smith; courtesy NBC)
LOS ANGELES — “Hairspray” has always been a peppy musical about a “pleasantly plump” teen in Baltimore who becomes a local superstar, brings her city together and gets the boy.
It’s cutesy and fun on the surface but a deeper look reveals the musical as a dark comedy fighting against racial segregation in 1962. While the musical may seem dated in its wardrobe and copious amounts of hairspray, the airing of NBC’s “Hairspray Live!” on Wednesday, Dec. 7 at 8 p.m. feels oddly current.
In light of the recent election, it’s a sad reminder of life, yet again, imitating art.
The Washington Blade was able to speak with some of the cast and visit the set of “Hairspray Live!” at Universal Studios in California. A brightly colored version of Baltimore lives on the West Coast filled with fake storefronts of the iconic “Hairspray” locations such as Mr. Pinky’s Hefty Hideaway and Motormouth Records. The set of the “Corny Collins Show,” originally based on the real life “The Buddy Deane Show” which aired on WJZ in Baltimore, and the Turnblad living room stood empty waiting for the cast to bring them to life.
The cast was brimming with excitement for the show and some of the younger cast members bonded eating chips and salsa at Ariana Grande’s house the night before.
Harvey Fierstein, who reprises his Broadway role as Edna Turnblad and penned the NBC teleplay, was invited to join.
“Last night, they were texting me at 11 o’clock. All the kids were at Ariana’s house having a party. ‘Harvey, come on out. Come on out,’” Fierstein says. “I’m old. Leave me alone. I’m in bed.”
Baltimore native John Waters’ quirky mind gave birth to the original 1988 film. However, “Hairspray Live!” promises to be closer to the 2002 Broadway version with its teleplay. Fans of the original film won’t be disappointed though if they spy for Easter eggs on set like Divine Pet Food, Edie’s Eggs and Dairy and Waters Plumbing.
One thing for sure is that the events of the musical ring true now more than the last go around.
“Those kids in 2002, we had to educate them about segregation,” Fierstein says. “The black kids would sit out in the hall while the white kids rehearsed, and they started getting a very weird feeling. People started getting very territorial. There was a fight over Little Inez’s doll, whether it would be prettier if it was a white girl’s doll. We were feeling that stuff, and that stuff was foreign. It had to be brought to the show because it was not part of who they were growing up. This group of kids, very unfortunately knows it’s true, and we don’t have to educate them about it.”
Fierstein and Martin Short, who plays Wilbur Turnblad, find themselves concerned but also oddly optimistic about the evolution of the LGBT community under a Donald Trump presidency.
“You know, Donald … I mean I sat with him at a gay wedding. He was not happy to be there … but he was there at the gay wedding,” Fierstein says.
“I think the interesting thing about Donald Trump, who I’ve never met, is we don’t know very much about him,” Short adds. “We know that in 2009 you can see him sitting with Wolf Blitzer praising the genius of Hillary and Bill Clinton. We know that he was a Democrat. We know that he was always pro-choice. So I think that there’s so much opportunism tied to what he is that I’m sure that in private he is much less what his policies will be.”
Fierstein has donned the wig and dress as Edna more than 1,000 times and says he first prepared for the role by following women around at the mall. While both Fierstein and Edna are firecrackers in their own right, he couldn’t help but feel the gender difference.
“I do love that nurturing side of Edna, and I love being around the cast and the kids that way,” Fierstein says. “And I adore her. But there’s a sadness about her that I love too. I’ve always been an overweight person, and to be an overweight woman is different than being an overweight man.”
Grande and Kristin Chenoweth also felt the weight of the timing of the musical and the election. Grande plays Penny Pingleton, Tracy Turnblad’s friend who falls for a black boy named Seaweed, played by Ephraim Sykes of “Hamilton.” Grande, a “Hairspray” super fan, can hardly contain her excitement about taking on her dream role of Penny. Meanwhile Chenoweth is Velma Von Tussle, the show’s racist antagonist. Chenoweth, a veteran Broadway performer, is more quietly understated about her role but her eyes light up when discussing the show’s significance.
While their onscreen relationship couldn’t be further apart, the pair couldn’t have been closer offset, often seen walking arm and arm together.
“I love her like she’s my own kid,” Chenoweth says of Grande.
For these songstresses “Hairspray Live!” airing in a post-Trump world had to happen.
“I think it’s cosmic,” Grande says. “I think it was meant to be. I think the universe had a plan and was like, ‘OK, we need to show these people something uplifting but that will also make you get the point.’ It’s a beautiful show. It’s touching.”
Chenoweth agrees and said her role as an LGBT ally is all the more important.
“It’s interesting being a person — not to get weird — a person of faith, a woman in show business in the 21st century. I guess I have to keep saying those words right there. Because to me, whatever God is to us, we have to be. God is love. And it seems like the opposite of that happens a lot. Instead of acceptance and love, not tolerance, acceptance. That’s my message,” Chenoweth says.
Grande and Jennifer Hudson (Motormouth Maybelle) will be giving “Hairspray” their own twist by singing “Come So Far,” written by Marc Shaiman and Scott Wittman. The song appeared in the 2007 movie version. Both Grande and Hudson admit they are excited for the duet. While “Come So Far” is an upbeat tune, Grande and Chenoweth say “I Know Where I’ve Been,” sung by Hudson inside Motormouth Records, is an emotional rollercoaster.
This isn’t Hudson’s first time in a period musical. However, the mental preparation involved is completely different.
“When I was doing ‘Dreamgirls,’ I had to go back and look at what was happening in the ‘60s,” Hudson says. “I don’t find myself having to do that now. It’s like, turn on the news. It helps us in a way because now we can relate in this day and age. I think it gives the story that much more power and meaning. To us, this is normal. But now, we won’t necessarily see it that way.”
During a panel discussion with the creative team, moderator Dave Karger asked why “now is a good time for ‘Hairspray.’”
Director Kenny Leon couldn’t help but laugh.
“Oh, wow. Man, where were you last Tuesday?” Leon joked. “It’s actually a blessing to be in the throngs of this after last week. And it’s emphasized the role of artists in our world. And so it gave me an opportunity to talk to the company about the importance of what we do.”
The importance of Hollywood’s role as a source of comfort is being highlighted now more so than in recent years. Out actor Billy Eichner, who makes a special appearance as Rob Barker, and Paul Vogt, who plays Mr. Spritzer, see “Hairspray” as especially healing for the LGBT community.
“It was created by John Waters, which is like a gay icon and has always been a great voice,” Eichner says. “He has always been very outspoken about being gay and gay issues and diversity in his casts and the characters. And ‘Hairspray’ is about outsiders, you know? And it’s a great musical and gay people like a great musical.”
“What everyone else considers the normal world that’s his outsiders so I think he likes to show the outsiders and say, ‘Yeah, you have a right to be here’ and a lot of homosexuals and LGBT we feel like the outsiders but we’re not. We’re the same as everybody else and we should be able to just feel that way. I think that ‘Hairspray’ gives you that voice and I think John Waters gives you that,” Vogt adds.
For Vogt, comedy is essential in getting through tough political times.
“You can yell at people and yell at people and disagree with them and fight with them, but then when you do it through comedy, sometimes they’ll hear you,” Vogt says.
Fierstein thinks “Hairspray” is the perfect vehicle for getting that message across.
“The wonderful thing about ‘Hairspray’ is it’s so gentle in its storytelling. It’s the right message. We don’t beat you up,” Fierstein says.
A common thread the cast seemed to share, besides an unwavering passion for “Hairspray,” is that keeping the laughter going keeps hope alive.
“I hear there’s going to be a man playing the mother,” Fierstein jokes. “But I didn’t check anyone else’s penises or vaginas.”
“Well that’s what wrap parties are for,” Short says.
While the cast prepares for the show, so is the actual city of Baltimore. In celebration of “Hairspray Live!” the city will offer “Hairspray” character-inspired cocktails at many of Baltimore’s bars and restaurants. Local hotels will also offer packages with discounts in honor of the show. For a complete list of “Hairspray” activities, visit baltimore.org.
Shaw’s Tavern (520 Florida Ave., N.W.) will also hold a special watch party from 7 p.m.- 1 a.m. with a “Hairspray” sing-along before and after the show.
Catch the rest of the cast including newcomer Maddie Bailie (Tracy Turnblad), Dove Cameron (Amber Von Tussle), Garrett Clayton (Link Larkin), Sean Hayes (Mr. Pinky), Derek Hough (Corny Collins), Andrea Martin (Prudy Pingleton), Rosie O’Donnell (Health Ed Teacher) and Shahadi Wright Joseph (Little Inez) in “Hairspray Live!’
From left are Maddie Baillio as Tracy Turnblad and Harvey Fierstein as Edna Turnblad in ‘Hairspray Live!’ (Photo by Brian Bowen Smith; courtesy NBC)
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.)
The Blade may receive commissions from qualifying purchases made via this post.
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Award-winning D.C. chef reaching new culinary heights
Anthony Jones of Marcus DC competing on ‘Top Chef’
In Anthony Jones’s kitchen, all sorts of flags fly, including his own. Executive chef at award-winning restaurant Marcus DC, Jones has reached culinary heights (James Beard Award semifinalist for Emerging Chef, anyone?), yet he’s just getting started.
Briefly stepping away from his award-winning station, Jones took a moment under a different set of lights. Recently, he temporarily gave up his post at the restaurant for a starring small-screen slot on the latest season of “Top Chef,” which debuted in March. (The show airs weekly on Bravo and Peacock).
Before his strategic slice-and-dice competition, however, Jones, who identifies as gay, draws from his deep DMV roots. In the years before “Top Chef” and the top chef spot at Marcus, he was born and raised in Sunderland, Md., in southern Maryland, near the Chesapeake.
Early memories were steeped in afternoons on boats with his dad bonding over fishing, and wandering the garden of his great-grandparents spread with fresh vegetables and a few hogs. “It was Southern, old-school ethics and upbringing,” he said. “Family and food went hand in hand.” Weekends meant grabbing bushels of crabs, dad and grandma would cook and crack them. Family members would host fish fries for extra cash. In this seafood-heavy youth, Jones managed time to sneak in episodes of the “OG” Japanese “Iron Chef” show, which helped inspire him to pursue a career in the kitchen.
Jones moved to D.C. after graduating from college, ending up at lauded Restaurant Eve, and met famed chef Marcus Samuelson, who brought him to Miami to be part of the opening team for Red Rooster Overtown. After three years, Jones moved back to D.C., where he ran Dirty Habit, reinventing and reimagining the menu, integrating West African flavors and ingredients.
Samuelson, however, wouldn’t let a talent like Jones stay away for too long. Pulling Jones back into his orbit, Samuelson elevated Jones to help him open his namesake restaurant Marcus DC, which has been named a top-five restaurant by the Washington Post. Since then, Jones has been nominated as a semifinalist for the RAMMYs Rising Culinary Star in 2026 and won the Eater DC’s Rising Chef award in 2025.
Samuelson’s Marcus is a tour de force interpreting the Black Diaspora on the plate, from the American South to West Africa, along with his signature “Swedopian” touches. Yet it’s Jones who has deeply informed the plate, elevating his own story to date. Marcus DC is primarily a seafood restaurant, which serves Jones well.
“Where I’m from is seafood heavy, and as I’ve progressed in my career, I’ve moved away from meat.” Veggies and fish are hero dishes. His own dish, Mel’s Crab Rice, was not only lauded by the Washington Post, but is framed by his youth carrying home the crustaceans from Mel’s crab truck. It’s a bowl of Carolina rice, layered with pickled okra, uni béarnaise, and crab. Jones also points to a dish on the opening menu, rockfish and brassica, paying respect to a landmark D.C. institution, Ben’s Chili Bowl. Jones reverse engineered a favorite bowl of chili that’s seafood instead of meat forward, leveraging octopus and rockfish along with different riffs of cauliflower: showing his intellectual, creative, and cultural sides.
While “Top Chef” is showing Jones’s spotlight side, he also lets his identity show at work. “In the kitchen, I make sure we’re inclusive. We don’t tolerate discrimination. Everyone that’s here should feel confident to express themselves. There are so many different flags in the kitchen.”
Jones says that he didn’t fully express his gay identity until fairly recently. He felt reluctant coming out to certain family members, “you’re scared to tell them about being different,” he says, and while that anxiety ate at him, “I’m lucky and fortunate to have unconditional love and that weight off my shoulders.”
Today, “I’m me all the time, Monday to Sunday. I’m honest with people, and my staff is honest with me.”
“Being a chef is hard,” he says, “and being a chef of color is even more difficult.”
Yet his LGBTQ identity is a juggling act, he says. “I need to keep that balance, because once someone finds out something about you, their opinion can change, whether you want it or not.”
Being on a whole season of TV cooking competition, however, might mean millions more might have an opinion of him (Jones has appeared on TV already, on an episode of “Chopped”). To prepare, he says, “I’ve just kept a level head. It’s just an honor to be on top chef with amazing people happy to be there.”
Plus, this season is set in the Carolinas, and Jones attended Johnson & Wales University in Charlotte, N.C. “It’s a full story of my life, now a monumental moment for me.”
Jones also recently was nominated for a James Beard Foundation Award. “JBF has been a north star, a dream for so long. I always had this goal on my wall.”
Being at the top spot at Marcus DC, making waves through his accolades, and cooking on Bravo means that Jones is highly visible. “I think that if someone has a similar background to me, and can see our story, trajectory, and success, they can have more ability to be themselves. This is my goal.”
Back at Marcus, Jones has plenty up his chef’s white’s sleeves. A new spring menu is in the works. He’ll be launching a new tasting menu “dining experience,” he says, and has plans to work on more events and collaborations with chefs and friends to bring in new talent and share the culinary wealth.
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Introducing the Torchbearers Awards honoring queer, trans women and nonbinary people
Meet the Legends and Illuminators lighting new paths
The Torchbearers Awards are more than recognition—they are a continuation of legacy. They honor the quiet architects of progress in our community: those who organize, advocate, build, and protect, often without fanfare but always with purpose. Rooted in a belief in intentional recognition, this honor names those who carry our movements forward—those who make room for others, who remind us that change is both generational and generative. In a time marked by uncertainty and challenge, these leaders push forward with courage, clarity, and an unwavering commitment to expanding opportunity and equity.
This year’s honorees reflect the full breadth of our community, spanning generations, backgrounds, identities, and industries. From Legends, with decades of leadership and having created pathways for others, to Illuminators, who are lighting new paths with creativity and innovation, each Torchbearer represents the power of intergenerational leadership and the strength found in our diversity. They are organizers, advocates, artists, policy leaders, healers, and changemakers whose lived experiences shape a shared vision for equity and liberation.
This award is our love letter to queer and trans women and nonbinary people who carry the flame when it would be easier to let it dim. To those who consistently show up, who use their voice and visibility and stand firm, often without recognition, so that others may live more freely and fully. The Torchbearers Awards celebrates not just what has been done, but the enduring spirit, responsibility, and collective care that ensure the work continues, and that the flame is always passed forward.
Co-Creators of the Torchbearers Awards: Shannon Alston, June Crenshaw, Heidi Ellis
Torchbearers Awards Advisory Board: Aditi Hardikar, Lesley Bryant, Jasmine Wilson-Bryant, Stephen Rutgers
ILLUMINATOR AWARDEES
- Representative Sharice Davids (she/her), (D, KS-03)
— U.S. House of Representatives - Greisa Martinez Rosas (she/her/ella)
— Executive Director, United We Dream - Paola Ramos (she/her)
— Journalist & Correspondent - Meagan A. Fitzgerald (she/her)
— Journalist & Correspondent - Jessica L. Lewis (she/her)
— Founder / Producer, Play Play DC - Savannah Wade (she/her)
— Founder, OAR Agency - Suhad Babaa (she/her)
— Filmmaker/ Former Executive Director of Just Vision - Ashlee Davis (she/her)
— Global Head of Inclusive Outcomes, Ancestry - Jazmine Hughes (she/her)
— Journalist and Former Editor at New York Times Magazine - Queen Adesuyi (they/she)
— Policy Advisor & Organizer, ReFrame Health & Justice - Michele Rayner, Esq. (she/her)
— Civil Rights Attorney, State Representative (Florida House of Representatives) - Gaby Vincent (she/her)
— Sports/Cultural Commentator and Community Leader - Jenny Nguyen (she/her)
— Founder & Owner, The Sports Bra - Denice Frohman (she/her)
— Independent Artist, Poet / Performer - Vida Rangel (she/her)
— Founder, Our Trans Capital - Roxanne Anderson (they/them)
— Executive Director, Our Space - Ann Marie Gothard (she/her)
— Co-Founder & President, Pride Live (Stonewall National Monument Visitor Center) - Diana Rodriquez (she/her)
— Co-Founder & CEO, Pride Live (Stonewall National Monument Visitor Center) - Wendi Cooper (she/her)
— Founder / Executive Director, Transcending Women - Toya Matthews (she/her)
— City of San Antonio, Texas - Mayor Gina Ortiz Jones (she/her)
— Sports/Cultural Commentator and Community Leader - Charity Blackwell (she/her)
— Poet, LGBTQ Advocate & Community Leader - Wilhelmina Indermaur (she/her)
— Director of Communications, Tyler Clementi Foundation - Em Chadwick (she/her)
— CMO, For Them & Autostraddle - Kylo Freeman (they/he)
— CEO, For Them & Autostraddle
LEGEND AWARDEES
- Sheila Alexander-Reid (she/her)
— Executive Director, PHL Diversity, Philadelphia Convention & Visitors Bureau - Cassandra Cantave Burton (she/her)
— Interim Director of Thought Leadership & Senior Research Advisor, AARP - leigh h. mosley (she/her)
— Photographer / Educator, PhotoFlo Photography - Jenn M. Jackson, PhD (they/them)
— Assistant Professor of Political Science; Author & Columnist, Syracuse University - Jordyn White (she/her)
— COO, Washington Prodigy / VP of Leadership Development & Research, HRC Foundation - AJ Hikes (they/them)
— Deputy Executive Director, ACLU - RaeShanda Lias (she/her)
— Digital Creator, RL Lockhart - Donna Payne-Hardy (she/her)
— Educator, EEO Specialist, Founder of NBJC, Former Leader at the Human Rights Campaign - Courtney R. Snowden (she/her)
— Principal, Blueprint Strategy Group - Gaye Adegbalola (she/her)
— Musician & Activist, Musician / Inductee of the Blues Hall of Fame - Cheryl A. Head (she/her)
— Independent Author, Novelist (Crime Fiction) - Letitia Gomez (she/her)
— The American LGBTQ+ Museum, Board Chair - Lynne Brown (she/her)
— Publisher, Washington Blade - Shay Franco-Clausen (She/Her/Ella/Queen)
— Political Strategist and Organizer - Melissa L. Bradley (she/her)
— Founder & Managing Partner, New Majority Ventures - Meghann Burke (she/her)
— Executive Director, NWSL Players Association - Victoria Kirby York, MPA (she/they)
— Director of Public Policy & Programs, National Black Justice Collective - Joli Angel Robinson (she/her)
— CEO, Center on Halsted - Jeannine Frisby LaRue (she/her)
— CEO, Moxie Strategies - Alice Wu (she/her)
— Film Director (Saving Face, The Half of It) / Screenwriter - Storme Webber (she/her)
— Interdisciplinary Artist / Educator, University of Washington - Kim Stone
— CEO of the Washington Spirit, Washington Spirit - Mickalene Thomas
— American Visual Artist, Mickalene Thomas Studio - Erika Lorshbough (any/they/she)
— Executive Director, interACT - J. Gia Loving (she/ella)
— Co-Executive Director, GSA Network
Minimal version of ‘Streetcar Named Desire’ heading to Dupont Underground
Comings & Goings
An effort to increase the number of psychiatrists of color
Calendar: April 10-16
BLUF leather social set for April 10 in Rehoboth
Tenn. lawmakers pass transgender “watch list” bill
Vance speaks at Orbán rally in Hungary
White House ends protections for trans students in multiple school districts
LGBTQ groups condemn Trump’s threat to destroy Iranian civilization
Report: Grenell wants Russian ambassadorship
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Tennessee4 days agoTenn. lawmakers pass transgender “watch list” bill
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Hungary5 days agoVance speaks at Orbán rally in Hungary
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The White House5 days ago
White House ends protections for trans students in multiple school districts
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Iran4 days ago
LGBTQ groups condemn Trump’s threat to destroy Iranian civilization
