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Awesome Con returns next weekend packed with queer content
Organizers say D.C. much geekier than is often assumed
Revelers gather at last year’s Awesome Con in Washington. Attendance has spiked in recent years. About 70,000 attended in 2017. (Washington Blade file photo by Michael Key)
Geek culture fans usually flock to conventions in New York City or San Diego to see their favorite stars and connect with fellow nerd enthusiasts. However, as fan conventions have become a pop culture phenomenon, D.C. has slowly been gaining steam as a convention hotspot.
Awesome Con returns to the Walter E. Washington Convention Center (801 Mt Vernon Pl., N.W.) for its fifth consecutive year on Friday, March 30-Sunday, April 1. For three days, people can indulge in nerdy pleasures featuring hours of celebrity guests, exhibits, panels and connecting with fans of “Star Wars,” “Smallville,” “Guardians of the Galaxy” and more.
Awesome Con founder Ben Penrod, a self-proclaimed “big nerd,” never expected his passion project to become the largest geek event in the D.C. area.
Penrod grew up in Annapolis, Md., with a love for comic books and superheroes that eventually grew into buying and selling comic books on eBay in the late ‘90s to make extra cash for more comic books. In 2009, Penrod went full-time selling comic books and began to travel to conventions across the country. He continued on to found Annapolis Comic-Con and Southern Maryland Comic-Con with Third Eye Comics founder Steve Anderson before Penrod decided to branch into Washington.
“People think of D.C. and they don’t immediately think of fans of comic books and pop culture,” Penrod says. “But the people that you would think of as a typical D.C. resident, like an attorney or a lobbyist or a federal employee or somebody in the military, I think that the representation of science fiction, superhero and comic book fans among those people is so high that Washington, D.C., is one of the best nerd communities in the entire country.”
The first Awesome Con kicked off in 2013 at the Convention Center with an attendance of 7,000 people. The event gained attention throughout the region and Awesome Con 2017 saw a spike in attendance with 70,000 guests.
Over the years, fans were invited to see their favorite celebrities in person for autographs, photo-ops and panels. In the past, the guest list has welcomed stars from hit shows such as “Doctor Who, “Star Trek” and “The Walking Dead.” This year, the lineup includes “Star Wars” breakout star John Boyega, Stephen Amell and out actor John Barrowman from CW series “Arrow” and the “Guardians of the Galaxy” cast including Dave Bautista, Pom Klementieff, Michael Rooker and Sean Gunn.
Penrod says celebrity guests are chosen based on a combination of fan demand and TV shows and movies currently trending. The convention has roots in science fiction, but Penrod admits sometimes he purposely seeks out stars purely for nostalgia.
The cast of ‘90s sitcom “Boy Meets World,” Ben Savage, Rider Strong and Will Friedle, are on the guest list this year. While the show went off the air in 2000, it maintained a strong fan base through re-runs on the Disney Channel.
“It was meant to be this comic book convention with sci-fi, superhero celebrities. But what it’s turned into is this really broad celebration of pop culture and whether that means we’re doing the ‘90s nostalgia stuff with ‘Boy Meets World,’ that doesn’t really have a sci-fi, superhero realm of things, but it definitely fits. But you can’t pinpoint exactly why it fits,” Penrod says.
The convention also includes programming geared toward specific interests and groups.
Future Con, where science meets science fiction, will feature panels such as the “Science of ‘Black Panther,’” “Harry Potter and the Genetics of Wizarding,” “What’s Happening Now to Make the Sci-Fi Space Travel We See in Movies a Reality” and more. Programming is in partnership with the biggest names in science such as NASA, National Geographic and the Smithsonian.
“We didn’t just start Future Con because we thought it would be a good idea,” Penrod says. “We had so much involvement and so much outreach from all these governmental organizations, science-based organizations, whether it was NASA, the Smithsonian, the Science Channel. We had all of these people reaching out to us. We’re like, ‘This is special and nobody else could do this. Except D.C.’”
Awesome Con Jr. offers kids an experience crafted especially for them with character meet and greets with Paddington Bear, Buddy from the “Dinosaur Train,” Ranger Rick, “Dragon Ball Z” characters and the Easter Bunny. In between photo-ops, kids can attend panels such as “Intro Spells for Young Witches and Wizards,” participate in live art contests and play video games.
As for LGBT-specific content, Awesome Con has joined forces with Geeks Out, a non-profit organization based in New York City for the LGBT geek community. Together, they created Pride Alley, both a physical space and group of programming for LGBT patrons.
Pride Alley is part of Artist Alley, which highlights arts, crafts, comics and more from LGBT creators. There are also panels that focus specifically on queer identity and fandom.
“The Queer Gamer Meetup: with D.C. Gaymers” offers a place for LGBT people to meet and play video games on Friday, March 30 at 5:30 p.m. “GAAAYS IN SPAAACE,” is a panel on LGBT representation in “Star Trek” on Saturday, March 31 at 12:30 p.m. “Slash of Our Ancestors,” a panel on the history of same-sex fan fiction, takes place on Sunday, April 1 at 2:15 p.m. Geeks Out will be hosting Snikt: D.C., the official queer after party of Awesome Con, at the Dew Drop Inn D.C. (2801 8th St., N.E.) on Friday, March 30 at 9 p.m.
It also wouldn’t be a convention without cosplay. In addition to the con’s daily cosplay contests, Pride Alley offers the panel “Sexuality in Cosplay: Nuff Said” on Friday, March 30 at 8:45 p.m. featuring representatives from NYC nightlife, an LGBT therapist and cosplayers.
Geeks OUT President Nicole Gitau praises Awesome Con for giving the LGBT community a home at the con.
“The group at Awesome Con, they’re really great,” Gitau says. “They really wanted to increase the visible presence of diversity on the floor. I can only commend them for that. Conventions are known for not always having been the most welcoming of spaces. I think that’s changed a lot in the last few years. It’s nice to see that Awesome Con is really committed to that.”
Penrod says Awesome Con needed Pride Alley because LGBT fans were already engaged in the convention.
“It was important because we knew that community was very well represented in our fans, in our people who are already exhibiting and at the con, and the creators who are making comics, TV and movies,” he says. “We knew that in this world of nerd stuff and geek culture that the LGBT community is a very big part of things. I wanted to take the opportunity to make that a focus at Awesome Con.”
For Gitau, who identifies as queer, the LGBT geek community is a haven she hopes can make the general geek community have “positive associations in their life” of LGBT people and to “think differently about the social climate we’re in right now.”
“One of the fun things about this is to be amidst a group of people who understand not only my cultural references but also my cultural critiques,” Gitau says. “There’s sort of a safety. Geeks, we love things passionately. That is what makes us geeky about a thing. But when you love something you want it to be better. And that ability to have free conversation is what is really exciting for me.”
Pride Alley (Washington Blade photo by Michael Key)
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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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
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