a&e features
Trinity’s tricks of the trade
‘Drag Race’ finalist gears up for ‘War on the Catwalk’ tour

Trinity Taylor (aka Ryan Taylor) says her season was one of the tightest competitions in the history of ‘RuPaul’s Drag Race.’ (Photo courtesy VH1)
Trinity Taylor, one of the finalists from season nine of “RuPaul’s Drag Race,” is on the “War on the Catwalk” tour, which was slated to kick off Thursday in New Haven, Conn. (tickets, dates, etc. here)
The queens come to Washington Sunday night, July 16, at the Warner Theatre. Trinity spoke with the Blade by phone Tuesday from her home in Orlando, Fla.
WASHINGTON BLADE: Where are you right now?
TRINITY TAYLOR: I’m in my bedroom. Are you gonna ask me what I’m wearing next?
BLADE: Sure, why not?
TRINITY: A grungy T-shirt and we’re leaving it there (laughs).
BLADE: Tell us about the tour.
TRINITY: Yeah, well, I was very fortunate that they asked me to host the tour which is kind of nerve wracking because I’ve hosted tons and tons and tons of shows but this is a major tour this season nine tour, so there’s a lot more pressure. So hopefully I do OK. I am, you know, I’ll do what I do best — show my tuck, hopefully make some people laugh and the biggest thing is just entertain because that’s what I am, an entertainer.
BLADE: I thought Trixie was hosting.
TRINITY: We’re both hosting. Maybe certain dates. I don’t know that she’s doing the whole thing.
BLADE: How did you like the format for the “Drag Race” finale this year?
TRINITY: Well obviously I thought it was terrible because I didn’t make the top two (laughs). I’m just kidding. I think it was great for the show. It’s something the show needed because the show was very predictable the past couple of years, you know, the person who wins the most challenges wins. So this was definitely something that was shocking and something different which is good, change is good. I think it got a lot of attention and exposure and that’s good for the show and whatever’s good for the show’s gonna be good for me.

Trinity Taylor (Photo courtesy VH1)
BLADE: Charlie Hides said during the reunion she only got two hours of sleep one night. Is the competition really that intense? Did you sleep well during the run?
TRINITY: So, um, Charlie, I love Charlie, but the reason why Charlie was saying all these excuses was people were putting her on the spot for her terrible lip sync. So she was just grasping at straws. As far as sleep goes, first of all, this is a competition. You’re not signing up to go to a weekend spa. When they say it is “RuPaul’s Drag Race,” it is really a race. You have very little time, the schedule is grueling, the challenges are not easy. … If you’re watching it and you go, “Yeah, I could do that,” well yeah, you maybe could do that if you had the time but when you’re on a time crunch, you don’t have a lot of time and so, you might not do your best. Or you may do phenomenal, but it is a race. So as far as sleep goes, you got plenty of hours to sleep because there was a schedule of when we were done and when we were picked up. But when you had your alone time in the hotel rooms, you did have to make sure you knew your lip sync songs, make sure if you had anything last minute you needed to work on, prepare for, you know, all that’s on your own time. So for her to say she didn’t have enough sleep, that’s really on her.
BLADE: Could you tell she was phoning it in on that lip sync or were you too busy concentrating on your own performance to realize that?
TRINITY: Until I watched it on the episode, I didn’t know what she did. I kind of just zoned out, I was just like, “I’m in the bottom, I’ve got to stay,” and it didn’t matter who I was lip syncing against, I was going to stay, that was my focus. So she wasn’t even there to me, I was just performing.
BLADE: What struck you most watching the show vs. experiencing it in person? Do you see it at all before it airs or you see it with everybody else?
TRINITY: Oh, no that’s the first time we see it. What’s shocking is — I’ll give Alexis as an example. On the show, Alexis didn’t — I liked Alexis, she was not annoying at all, I didn’t see this like person who made excuses and blamed us for not doing well. For some reason it didn’t click in my mind while I was there that she was complaining a lot like that. And then watching the episodes I’m like, “Dang, she really tried to come in for us.” And so seeing it from a different perspective from actually being there, it just registers differently. And also seeing how everything is edited together. Not that they edited stuff that was not true, but just seeing how it all tells a story, it’s very interesting.
BLADE: On “Untucked” there’s often notes for the girls who are leaving in the workroom but it looks like they’re taken in there as soon as they get their makeup off. When do you have time to write notes if you’re — it appears — still out there on the main stage?
TRINITY: Um, what happens, um — I don’t know if I’m allowed to tell you this but I’m gonna tell you anyway — what happens is after they have the person sashay away, that person goes and is sequestered for a short period of time, not long. For us to film the rest of it when she says, “If you can’t love yourself …” and then they play music and we leave. When we leave, we go directly back to the work area, take off our makeup and that’s when we are allowed to do the notes. Then we leave and then the person who’s eliminated is allowed to come back and that’s when they actually pack to leave. But the reason why we get our makeup off is they still have filming to do and they want to get us out of there quickly because we have to be up the next morning.

Trinity Taylor (Photo courtesy VH1)
BLADE: Your boyfriend was so hot in the finale. I was jealous. Are you still together and how are things going?
TRINITY: Um, we broke up that night actually. No, just kidding, we’re still together. He’s still a doll and I am very blest to have him in my life. He’s very supportive.
BLADE: Remind me his name.
TRINITY: His name is Leo. He’s just a great guy.
BLADE: Have fun with that.
TRINITY: Oh trust me, I do.
BLADE: I was enthralled by Valentina at first but later, especially at the reunion, she struck me as really fake nice and she got a lot of flak from the other queens. What’s your take on her?
TRINITY: Well I love Valentina. Me and her are probably the closest from this season out of all the girls. On the show, I hated her. I thought she was a diva. She got a really great edit. There were several girls who got really great edits. Like the producers for some reason just didn’t see what we all see, but like Valentina was a diva brat on the show, she was. Kind of like what you saw in the reunion. Valentina in person though, as you get to know her, she really is a diva. But like it’s just different. Getting to know her and interacting with her in person in everyday life vs. on the show is different. She’s a diva and she has this grandiose aura about her all the time, even as a boy. It’s not fake but I can see how it could come across fake because it came across fake to me on the show but that’s just how she is.
BLADE: On the makeover episode with the crew it showed you back there helping your partner with his tuck. Were you actually taping his dick back or just handing him the tape and telling him what to do? That must have been awkward doing that with a straight guy.
TRINITY: His name is Rizzo. It was not awkward at all for me. Obviously he was, you know, a beautiful man. First of all, he didn’t want to be taped but he knew that was part of my schtick as an entertainer is my tuck and if he’s gonna be my partner, he’s gotta have a fierce tuck too. I told him you’re gonna have to shave everything because if you don’t, you’re gonna hate yourself. So he shaved everything except his ass, he shaved everything in the front. We couldn’t tape him like my tape which is tape to skin, so we put a pair of tiny, tiny, tiny underwear on him and we taped over the underwear because you can’t have tape on hair. That would be a nightmare. I didn’t have my hands on his penis but I was back there to like really, really help him. After he got the tape on, I had some hands on helping him but, you know, I tried to keep it professional as much as I possibly could, taping on top.
BLADE: Who was your favorite celebrity judge?
TRINITY: Oh absolutely Lady Gaga. She just was very genuine. I felt like she was genuinely interested in what we were doing and what we had to say and in “Untucked” she actually came back there and did a one-on-one critique with us and told us bluntly what she thought and I believed everything she said. She’s very wise about her experience in the industry and the advice she gave us was, she just was very genuine and heartfelt. I liked her. A couple of the judges were just there because they were asked to be there but she was actually excited to be there.
BLADE: Is Cheyenne Jackson as hot in person as he looks on TV?
TRINITY: Oh girl, he is a Daddy. I would sit on his face. He is, yes, he is beautiful. And he’s got like this swag about him, like, I don’t know, this smooth, cool guy attitude. And he’s hot, yes.
BLADE: The reunion seemed especially bitchy this year. Why?
TRINITY: By then, we’d seen the show and we got to see what everybody truly said, some of which we hadn’t known before. That’s why a lot of the girls were not as friendly like they were on the show because they got to see the true side of people and they wanted to voice their opinion.
BLADE: How are you and Eureka now? Think you’ll get along OK on the tour or have you spoken to her lately?
TRINITY: I hate her. I think she’s a terrible human being. (laughs) She’s actually a cool girl. I have no qualms with her at all. We’ve actually talked since the show. The thing with Eureka is, I didn’t have any beef with her. I beat her (in a previous pageant). Why would I have a beef with somebody I beat? To me, she was holding onto a grudge because I had beaten her. That’s where the beef came in because she had something against me. As far as like since the show, we have some similar personality traits but also some real differences and I don’t feel like our personalities mesh well for long periods of time like being on a show together for many, many days, that’s where you get a lot of conflict. But I like Eureka. I think she’s very talented, I think she has a lot to offer and I think she’s going to slay season 10. She’s very funny, so I feel like we’re in a good place.
BLADE: What’s the Ruvealed going to be that starts June 29th? Is that just outtakes or do you know?
TRINITY: I think it’s just you get to see clips that weren’t put in the show because of time. Like an extended version of the show. More outtakes, more things you haven’t seen yet, stuff like that.
BLADE: Some years it seemed there was a clear frontrunner like Bianca or Violet. This year it felt to me like you could have made a good case for any of the top four. I know it’s hard to say when you’re in the middle of it, but do you agree?
TRINITY: No, this was to me, and I’m not trying to be biased, I’m a fan of “RuPaul’s Drag Race” even though I’ve been on the show. I watched all the season past as a fan and this season, the cast was probably collectively the strongest cast they’ve ever had, as far all the girls brought it. All the girls have fashion, all the girls brought it in the challenges, so they are a very talented group of girls so that’s why there wasn’t a clear standout winner like when Bianca won or when Bob won or Violet won. There was just more competition. Like you said, there was a valid case for each of the girls in the top four of why they could have won and that makes for better TV, that makes for better competition. I hope that every year from now on, they do that good a job of casting where they actually pick top-notch girls from start to finish. That way, you don’t know who’s going home.
BLADE: The “Drag Race” wiki said at one point you considered transitioning to further your career. Is that true and do you think, like this was something some fans said about Peppermint, is transitioning — not that it’s bad or wrong by any means — but at some point does that become a different thing from the art of female illusion?
TRINITY: OK, so to answer your question, yes that is true. To answer the last part of the question first, being a trans person whether you’re a trans woman or a trans man, that is completely different from being a drag queen, drag king or an entertainer. I have really good friends who never entertained or don’t entertain anymore who are trans. Being trans is who you are on the inside. Being an entertainer or being a drag queen is a hobby or your job or your creative outlet. You can be both, like Peppermint, but being trans is completely different. Now years ago when I was first starting pageants, I contemplated transitioning not because I felt I was trans, but because I felt the pressure from pageants because a lot of really well-known, successful pageant entertainers are trans and I felt that was the route I was gonna have to take if I wanted to be successful. I’m glad I didn’t go down that route because I am not trans and you should never transition for the wrong reasons. You should transition because that is who you are and that’s how you feel on the inside, not because of pressure from a job or wanting to further your career.

Trinity Taylor (Photo courtesy VH1)
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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