a&e features
Do we still need D.C. Black Pride?
Activists weigh in on relevance of annual events in Trump era
D.C. Black Gay Pride Day, May 28, 1994. (Washington Blade photo by Doug Hinckle)
In 1991, I was a 30-year-old Air Force captain and closeted. I had worked hard to earn my degree and commission and loved the Air Force.
But “Don’t ask, Don’t Tell” was the law and I was always looking over my shoulder. Living two lives was physically and spiritually exhausting. I did go to the numerous bars that existed in D.C. at the time — they were fun, exciting and even dangerous. Gay bashing and HIV/AIDS were real hazards to living your life
I remember walking onto Banneker Field for the first DC Black Pride on Saturday, May 25, 1991 alone. It was the first time I was out in public, outside of the gay bar havens, with a group of black gay people, who looked like me and were dealing with the same issues I was dealing with. It was uplifting, refreshing and empowering. I bumped into a colleague from my office in the Pentagon who was in the Navy. We were not out to each other before. We laughed out loud, hugged and have been great friends ever since.
Now, 26 years later, LGBTQ people serve openly in the armed services. We have marriage equality at the federal level; and D.C. has some of the most LGBTQ positive laws in the world. Do we still need Black Pride? I posed this question to several LGBTQ leaders and activists. Here’s what they had to say:
Sheila Alexander-Reid, director, Mayor’s Office of LGBTQ Affairs, Washington, D.C. “Yes — People want to celebrate themselves with their own community and still do not see a lot of their community at Capital Pride.” She followed up by applauding Capital Pride’s efforts to make its board more diverse by including Ashley Smith and SaVanna Wanzer who are both African American. “If the leadership is not diverse, then outreach is not diverse, then attendance is not diverse.”
Sheila Alexander-Reid
(Washington Blade file photo by Michael Key)
Dr. Anika Simpson, co-chair, Equality March for Unity and Pride. “Yes — we need safe places for Black LGBTQ people to come together to refresh and recreate; to come together in joy, solidarity and protest. The Equality March [set for June 11 in D.C.] intentionally has a majority of person of color leadership team, which has shifted the focus of the march. The mission centers very explicitly on those LGBTQ people who have been silent and neglected. There are 12 co-chairs: nine are black, Latino or Native American; the remaining three are white. Four are transgender or gender non-conforming.” Simpson added that this organization “shows the possibilities of where queer movements should go in the future.”
Ryan Bos, executive director, Capital Pride. “Yes, DC Black Pride offers that safe space for black LGBTQ people to learn and celebrate. Capital Pride is and will continue to help sponsor DC Black Pride.” Ryan stated that, “Capital Pride has a good relationship with DC Black Pride and that he’d continue to look for ways to foster partnerships.”
Peter Rosenstein, LGBTQ activist, planning committee member, Equality March for Unity and Pride. “Yes, DC Black Pride is still needed as a safe place for black LGBTQ people to come together and celebrate. It’s important that all voices are heard. On June 11, everyone needs to come together for the Equality March and resist — be unified to support and protect full civil rights for everyone – leaving no one behind.”
Abdur-Rahim Briggs, president and CEO, Project Briggs. “Yes, we still need Black Prides because of racism in the gay community. I do not see Capital Pride reaching into the black community.” Briggs does participate in Capital Pride. He has judged floats in the past and loves to march in the Pride Parade. He commented, “I would like to see more whites participate in Black Pride to build more bridges.” He’d also like to see more corporate funding to support Black Pride but he is wary of corporate control.
Ernest Hopkins, co-founder of D.C. Black Pride, legislative director, San Francisco AIDS Foundation: Yes — “Answer the question with a question, What is DC Black Pride to you? It still raises money to combat HIV/AIDS. It still provides a safe space, builds community and annual events that focus on black LGBTQ issues. The question answers itself — Yes!” Hopkins added, “There is one misconception that I must clear up. DC Black Pride was never a response or an alternative to Capital Pride. The original, Black and Lesbian Gay Pride Day, was established as a tool to sensitize the black gay community to the problems we were having with HIV/AIDS. Our friends were getting sick and needed money for rent, food and burial expenses.”
Chuck Hicks, community organizer, LGBTQ leader and historian. “Yes — Absolutely. The first Black Pride was held in D.C. as a fundraiser to help people struggling with HIV/AIDS. Welmore Cook took a leave of absence from Best Friends of DC Inc. to form the first black gay HIV/AIDS organization in DC to combat the disease. The Black Lesbian and Gay Pride Day Inc. eventually became DC Black Pride. Memorial Day weekend was chosen in homage to The Children’s Hour celebrations held at D.C.’s Club House. Black Prides became an expression of our lifestyle and culture that has spread worldwide. This wonderful result was completely unplanned. Black Prides also give black LGBTQ artists and entrepreneurs an opportunity to prosper.”
David Bruinooge, founder, Equality March for Unity and Pride. “Yes, people should celebrate anyway they want. So yes. Communities can come together in many different ways. The various Prides celebrate their unique identities. Communities should come together to celebrate their uniqueness and see themselves.” Asked what motivated his interest in the Equality March, he said, “It is even better when we can all come together and celebrate together. The Equality March centers the margins to highlight those that have been forgotten and neglected. More people must be educated to support [LGBTQ] people who live in the margins. We need to mobilize our community and allies and rally behind the voiceless and poor. It is time that those issues are centered. We need to stand together as one.”
Earl Fowlkes, executive director, Center for Black Equity. “Yes, Black Prides are annual events driven by attendance. If they were not relevant, no one would come. Our Prides provide an opportunity to celebrate being black and LGBTQ — a duality that has to be addressed and acknowledged. Black Prides have workshops, poetry slams, plays and visual arts. Black Prides are also social. Social media doesn’t replace socializing face-to-face. The big parties are important too as we lose black bars and clubs.”
The Center for Black Equity supports 32 member Black Prides that include major cities across the U.S., DC Black Pride and London. “I’m encouraging the other Black Prides to come to support the Equality March. All hands on deck.” Fowlkes is an Equality March honorary co-chair and he also feels that the march is important and must not fail due to lack of local support.
Earl Fowlkes (Washington Blade photo by Michael Key)
Khadijah Tribble, Ground Game, organizer, Equality March for Unity and Pride. “Yes, we need safe spaces and we need to be visible. We need DC Black Pride as long as we have people who are challenged about coming out and need resources. DC Black Pride has social as well as political consciousness and focus. Local D.C. politicians find some way to connect to DC Black Pride.” Tribble said she would like to see DC Black Pride workshops put more focus on “building, and rebuilding organizations, to create pipelines for new leaders, activists and entrepreneurs.” She would also like to see, “a method to pass national-level issues identified by Black Pride organizations to the DNC and Congressional Black Caucus for resolution.
Khadijah Tribble (Washington Blade photo by Michael Key)
Devin Barrington Ward, president, Impulse Group DC. “Yes, we need Black Prides now more than ever. As DC and the country change, it is more important than ever to have spaces created by and for black people to contribute to Chocolate City. DC is changing and gentrification is a fact not just a discussion. It’s harder for black folks to have black spaces, which is so important.” Asked if DC Black Pride was missing anything for younger people, he said, “As the president of Impulse group DC, I have the luxury and responsibility to create the things that are missing.” Ward recognizes his privilege as a cis-gender black queer man. “Trans people will think differently. Our spaces will always be inclusive of trans and gender nonconforming folks.” Impulse Group’s mission is to educate gay, bisexual and queer men about HIV.
Whitman-Walker Health has announced Devin Barrington Ward will become its new communications director. (Washington Blade photo by Michael Key)
Dr. Ron Simmons, executive director emeritus, Us Helping Us. “Yes, the initial purpose of DC Black Pride was to raise money for HIV/AIDS organizations. Black gay men and lesbians need to be affirmed and see themselves as part of empowerment. You don’t see yourself at white pride. The events they have may not be what you need. It is like the difference between going to a white club and a black club.” Asked about the Equality March, he replied, “I think people must participate in the national march. We must be seen as part of the national community. As a young person, going to the gay march showed me I was not alone. Everyone should actually march and go to the rally.”
Ron Simmons (Washington Blade photo by Michael Key)
Jamil Fletcher, publisher, SWERV Magazine. “Yes, we still need to celebrate Black LGBTQ Pride. We actually need it now more than ever given the state of the world today. At the root, Black Prides are about building community. A community that is empowered, healthy, financially strong, educated, and vibrant. Those of us living at this unique intersection of being black and queer know too well the challenges within our community. Pride affords us an opportunity to come together in a way that embraces all of our identities without condition.”
It was a unanimous, resounding “yes,” we still need DC Black Pride for the health and vitality of black LGBTQ communities. As the White House submits its budget to Congress this week, it’s clear that health and social services programs are being reduced to levels that threaten LGBTQ communities, particularly those already living in the margins. Moreover, several states are pushing anti-LGBTQ legislation, bringing a renewed sense of urgency to both Black Pride and the upcoming Equality March for Unity and Pride
Marvin Bowser is a lifestyle blogger and Blade contributor. Follow him on Instagram @FirstBroDC.
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.
a&e features
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
Calendar: April 10-16
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Key lifestyle changes can help patients cope with diabetes
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