a&e features
Longtime Creating Change conference organizer looks back
Boston’s Sue Hyde says diversity was always key component of annual event
Sue Hyde speaks at the Creating Change Conference. The long-time Boston resident is stepping down after decades overseeing the annual event. (Photo courtesy the Task Force)
Even in big U.S. cities with diverse residents, activist groups sometimes default into overabundances of white, gay, cis men. Organizers of Creating Change, the annual conference of the National LGBTQ Task Force, knew from the start they wanted diversity, but it didn’t just happen. Not by a long shot.
One of the founding principles behind the conference was to “build a stronger, more confident, more skilled, more connected and more representative LGBTQ political movement,” says longtime organizer Sue Hyde.
“People say Creating Change is one of the most diverse LGBTQ political events they attend and we worked hard to make that happen,” Hyde says. “We wanted a conference that would bring people together across age, across race, across income and across geography in the sense that we were very interested in attracting people from not just urban or suburban but also small towns and rural areas.”
She doesn’t know the median age of attendees but at the 2017 conference in Philadelphia, 47 percent of attendees were 30 or younger. About 49 percent identified as something other than European/Caucasian and 30 percent reported incomes of $35,000 or less. Another 22 percent identified as either gender non-conforming or transgender. Seventeen percent were from small towns and rural areas.
“From the get go, we were very conscious of wanting the attendee base of Creating Change to be reflective of who we believed the LGBT communities were comprised,” Hyde says.
The 30th annual Creating Change Conference is Jan. 24-28 at the Marriott Wardman Park in Washington. About 3,500 are expected; 1,500 have signed up for a Capitol Hill lobby day that’s part of the event. The theme is “Learn. Connect. Resist.” The Task Force bills its event as the “foremost political, leadership and skills-building conference for the LGBTQ social justice movement.” The primary goal each year is for the conference to “build the LGBTQ movement’s political power from the ground up to secure our overarching goal of full freedom, justice and equality for (LGBTQ) people in the United States.”
Registration is still open and several tiers are available including daily rates ($180), conference passes for students/limited income ($210), regular ($475), senior and youth rates, sponsoring rates and more. Full details at creatingchange.org.
Moving on
It will also be Hyde’s last. One of the conference founders, Hyde has been its director every year except 1990-1993 when she left the Task Force for a few years to work on some other community organizing projects in the Boston area where she lives to this day despite the Task Force’s Washington headquarters. Hyde, 65, will continue to work on queer and social justice issues in a new role with the Wild Geese Foundation, an organization that works to make grants more accessible. She will continue to live in Massachusetts with her partner/wife of 35 years, with whom she has two adult children.
Her resignation inspired a spate of glowing comments. Task Force director Rea Carey said in a statement that Hyde’s impact on the movement of three decades is “immeasurable and unmatched.” Former director Urvashi Vaid called her “one of the most effective organizers with whom I have ever worked.”
Beth Zremsky, a longtime activist and with “28 or 29” Creating Change conferences notched (she doesn’t recall for sure but knows she missed a couple years), probably the record holder, says she feels Hyde’s supreme strength has been her ability to give the conference what it needed along the way to grow and evolve.
“She’s been able to adapt Creating Change both to respond to the issues of the day but also to really be inclusive of the people who are there,” Zremsky says by phone from her home in Minneapolis. “It’s never perfect, but she’s figured out a way to embody the values we say we care about. We say it’s about everybody bringing their full self but to be able to offer a space for 4,000 people to be their full selves, that takes a ton of intentionality. Everything from gender-neutral bathrooms, interpreters, food for all the low-income people so they can come and not worry about getting fed, I could go on and on. I often use Creating Change as an example of what it would really look like to create an intentional community just for five days that’s completely seen and completely held so they can do the work we need to do as a movement.”
Growing pains
And, as one would imagine, 30 years of conferences don’t happen without some snags along the way. Some are logistical. Hyde remembers one year the conference was at a fully unionized hotel but organizers failed to realize members of the audio-visual team also needed a union salary, significantly higher than what had been budgeted. Planning the conference is a year-round effort for Hyde and her team of four who work only on the conference (other Task Force staff members work on the conference and other duties).
Hyde mostly shrugs off any suggestions of rancor along the way and says, having worked under 10 Task Force directors over the years, each of whom “had their own idea about what they thought the programming should look like,” a few hiccups were to be expected.
“Yeah, I’ve taken a lump or two but it comes with the territory,” she says. “But along with the lumps have been a great deal of very satisfying and really gratifying experiences of bringing together now thousands of people who are committed equally to securing freedom and justice and equality and liberation so the lump is not really what I want to remember or think about. I tend to think much more about the incredibly beautiful metabolism of Creating Change and our movement coming together every year. It’s a political organization but also a family reunion.”
Zremsky sees it slightly differently.
“One of the things Sue is a master at, as is Urvashi, is the idea that for something to be a movement, it needs to move,” Zremsky says. “They’ve kept Creating Change moving with the movement and Sue is one of the most graceful people I know when it comes to dealing with conflict and allowing conflict to be a growth opportunity. She leans into it as a way to sort of say, ‘Hey, this is our growth point.’”
The conference started as an outgrowth of the second National March on Washington for Lesbian and Gay Rights in 1987. Then Task Force director Jeff Levi “looked at us like we’d lost our minds,” Hyde recalls when she and others pitched the idea.
“He thought we were crazy but he agreed to go forward, which was a good thing, and pretty much left it in the hands of me and Urvashi to deal with the logistics,” Hyde says.
Making it work
A group of attendees at the 2017 Creating Change Conference. (Photo courtesy the Task Force)
The conference is held in a different city each year. This is the second time it’s been in Washington. The first was in 1988 for its inaugural event though it was held in Bethesda, Md., in 1989; Arlington, Va., in 1991 and Alexandria, Va., in 1996. Several cities have hosted twice including Detroit (’95 and ’08), Minnesota (’91 and ’11), Denver (’09 and ’15) and Dallas (’94 and ’10) among others. Hyde says she can’t name a favorite host city but has enjoyed seeing integration among activist circles increase upon returning to areas years later. It was especially pronounced in Detroit, she says.
About 300 folks attended the first conference in 1988. Peak attendance was in 2016 in Chicago with about 4,600. It’s been between 3,000-4,000 for the past few years.
Hyde guesses the first conference budget was around $65,000. She can’t say what it is for 2018.
And although the Task Force does not view the conference as a moneymaker, its goal, Hyde says, is “to do better than break even. Exact figures, she says, are impossible to fully extricate from the overall Task Force operations because of the carryover of staff, supplies and overhead that aren’t designated fully to either the conference or other Task Force areas. There have been times the conference has not broken even, but it’s been rare.
Calamities have been few. A 1996 tornado made it impossible for the keynote speaker to fly into Alexandria from California. A substitute who could arrive by train from New Jersey was quickly found. Hyde says that was the biggest logistical snafu she recalls.
One of the most tedious aspects to pulling it off each year is going through the more than 600 proposals submitted for session topics each year only about half of which can be approved. Hyde says it’s important that each is given careful consideration.
On the conference floor itself, Hyde says she has her game face on.
“I’m the trouble-shooter in chief, so when things are going a little bit awry, I am often involved in pulling people together so it’s not like going to your own dinner party. You have 3,000 people in a building. I believe in customer service and I try to treat every conversation as though it’s the first conversation of the day even if it’s the 100th. I try to give people my full attention, my best problem-solving skills and my best conflict mediation skills.”
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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