Arts & Entertainment
FanCon’s sudden postponement baffles attendees, vendors
the community has joined together to organize alternative events
Universal FanCon, described as the “first multi-fandom Con dedicated to inclusion, highlighting women, LGBTQ, the disabled and persons of color,” left ticketholders, panelists and vendors baffled after the event was postponed just days before kick off.
The three-day event, which was scheduled for April 27-29 at the Baltimore Convention Center and raised more than $50,000 through a Kickstarter campaign, promised exhibitors, panels, a screening of “Avengers: Infinity War,” among other scheduled events.
On Friday, April 20 Universal FanCon put everyone’s plans to a halt with a statement announcing the event was “postponed” in an email.
Well, thereās the bomb. #UniversalFanCon pic.twitter.com/Az2h9Txjcz
ā Sarah (@seh) April 20, 2018
A statement, including a FAQ, was eventually posted to the Universal FanCon website.
“Based on an evaluation of all the information available, it was decided that it would be irresponsible to move forward with our plans. Although we worked diligently to preserve the vision of an event that fosters true inclusion, diversity, and safety for all of our guests, exhibitors, and attendees; despite working tirelessly for close to two years, we fell short in delivering the event we envisioned,” the statement reads.
A lack of funding is cited as the main issue for the con’s postponement as the statement admits, “costs started to grow exponentially. Unfortunately, the support we were anticipating in terms of ticket sales and sponsorships did not materialize.”
The statement appeared to be altered a few times since its release with one version of the statement inviting traveling guests to join the Universal FanCon team to watch “Avengers: Infinity War.”
Participants who had invested time and money into the event, including flights and hotels, shared their frustrations on Twitter which brought together a community of hurt con lovers.
So I was going to leave this Universal Fan Con mess alone. But if you had cash flow problems as an event why were you giving so much away? Groupon has pulled the event but they sold tickets there. They gave hotel rooms & flights away like candy. None of this makes any sense.
ā Mikki Kendall (@Karnythia) April 24, 2018
This was another red flag.
I kept up with everything through social media and the website, and I wondered how they planned to make or keep any money if they were so hellbent on giving so much away for free or at a discount. But then the sponsorship pleas came… pic.twitter.com/uQuFWSUZlUā DeLaDoll (@TheDeLaDoll) April 24, 2018
This statement is bewildering. I cannot believe you would put this up. To tell people who have bought non refundable tickets that the organizers did too… is flippant, at best. And to offer no refunds… wow.
ā roxane gay (@rgay) April 21, 2018
#UniversalFancon is editing this document in real time. I…I can’t believe this is happening. Don’t they have PR? pic.twitter.com/HvGEnl9uye
ā V. Vza Complex (@ValerieComplex) April 21, 2018
They really invited everyone to still come see Infinity War tho. Like…really put that out there. “Yeah. Fancon is canceled. You aren’t getting a dime back. But drive for 8 hours to come see a movie with us. Lol.”
??People have cause to slap the taste out your mouth for this.
ā Ed @ WICOMICON (@itsedwilliams) April 21, 2018
I am sorry for being so frank but this explanation is absolutely unacceptable. You can’t do this. You can’t decide to just not run a con because it might not be up to your standards. A bad first year con can grow and improve.
ā Tans @ Challenge Day (@Tansuru) April 21, 2018
In a tweet apology, Jamie Broadnax, editor-in-chief of Black Girl Nerds, denied her involvement as a co-founder of the con and insisted she was an “unpaid volunteer.”
Hey everyone. Poking my head out here to tell you that I deeply apologize for what transpired to everyone that has been impacted by Universal Fan Con. This includes Kickstarter backers, exhibitors, guests, registered ticket holders and the affiliates associated with the event
ā Jamie Broadnax (@JamieBroadnax) April 23, 2018
My responsibilities within the organization did not include financial matters. I have learned the hard way that if my name is associated with something, I need to ask hard questions about financials even if it isnāt my job…
ā Jamie Broadnax (@JamieBroadnax) April 24, 2018
However, I am responsible for so many of you in the Blerd community and other marginalized communities being participants of this event. It is because of me and the brand of BGN that you had faith and trust in this convention and shared the vision of being in a safe space…
ā Jamie Broadnax (@JamieBroadnax) April 24, 2018
with people of color, LGBTQ, women and people with disabilities. Because of what has happened, so many of you are now displaced, out of funds, and mistrust not only me but the ideas of communities such as this offering crowdfunding ideas like fan conventions…
ā Jamie Broadnax (@JamieBroadnax) April 24, 2018
I, just like you am frustrated about what has taken place and the fact that I did not consider how much of an impact and damage this would bring the writers and women affiliated with BGN as well as the affiliates of FanCon and their respective communities…
ā Jamie Broadnax (@JamieBroadnax) April 24, 2018
I was an unpaid volunteer, not an officer of the company that organized Universal Fan Con. Iāve decided to step down until further notice as EIC of Black Girl Nerds. There will be over the next few days a new managing editor running the publication in my place….
ā Jamie Broadnax (@JamieBroadnax) April 24, 2018
Her statement confused FanCon followers who posted screenshots of Broadnax’s Twitter bio that included “co-founder of FanCon.”
Joi is correct about that poor statement. It dodges culpability.https://t.co/WDAQaMTDv2#FanCon pic.twitter.com/443KmAO65x
ā Clarkisha Kent: Dragger of Scammers @ WICOMICON āļø (@IWriteAllDay_) April 21, 2018
Universal FanCon executive director Robert ButlerĀ also released a series of tweets blaming hotel management for the cancellation.
In the interest of clarity and transparency (and suspecting that tweets would be deleted) I saved the tweets from the #UniversalFanCon co-founder from yesterday. I’m not trying to sling mud at people, but I do think it’s important if they’re just catching up. #FanCon pic.twitter.com/B3NOO2n4W8
ā therese ??āāļø (@bamfpire) April 21, 2018
FanCon stated that an effort to refund ticketholders would be made although details were not clarified. According to some Twitter users, refunds have slowly trickled in.
So it looks like refunds for regular ticket holders are going out, one of my friends used my email when she bought her ticket and I just got this. Iām hearing refunds for the Infinity War screening are going out too. #FanCon #UniversalFanCon pic.twitter.com/Ehqv3kslno
ā Danyi (@SinEater_Danyi) April 24, 2018
In response to the many disappointed participants, the community banned together to recover time, money and potential exposure.
WICOMICON 2018, a pop-up convention atĀ 1100 Wicomico St., Baltimore, Md. is on Saturday, April 28 from 10 a.m.-7 p.m.
Tickets are $10 and $5 for FanCon ticketholders. Kids 12 and under are free. The event will feature exhibitors, panels, cosplay contests and appearances from members of the cast of ‘The Magicians” and “Killjoys.”
The pop-up con was a last minute group effort by Nerds of Color, Black Heroes Matter, The New Release Wednesday Show’s Patrick Michael Strange, theblerdgurl, Syfy Wire’s contributing editor Karama Horne, Carbon-Fibre Media’sĀ AndrĆ© Robinson and Be A Boss app CEO Elijah Kelley.
Amazing what we can do as a community when faced with a challenge. ? Honored to be affiliated with a group of partners who pulled this event together in record time. BigUps @MSHINDOKUUMBA who blessed us with the epic art!!! INFO: https://t.co/0MA22r7V4Z pic.twitter.com/T1PHbHYmBs
ā Black Heroes MatterĀ® (@BHMatter) April 23, 2018
DJ Meagan āDucky Dynamoā Buster has also organized Universal FanCon Redemption Function, a dance party where artists, vendors and guests are invited to dance and sell their merchandise at The Depot (1728 N Charles St., Baltimore, Md.) on Monday, April from 7-11 p.m.
Theater
Talented pair of local queer actors tackles āLittle Shop of Horrorsā
Fordās production features terrific score
āLittle Shop of HorrorsāĀ
Through May 18
Fordās Theatre
511 10th St., N.W.
$33-$95
Fords.orgĀ
Ever since premiering off-Broadway in 1982, āLittle Shop of Horrorsā has drawn a devoted following of avid audiences as well as performers eager to act in the show. Now playing at Fordās Theatre, the doo-wop, dark comedy features a terrific cast including a wildly talented pair of local queer actors whoāve longed to appear in the show since they were kids.
Set in the urban 1960s, Alan Menken and Howard Ashmanās hit show with a terrific score follows the wacky rise of Seymour, a nebbishy florist in a Skid Row shop who changes his fortunes by unintentionally marketing an exotic, human eating plant.
Chani Wereley, 28, who plays Seymourās love interest Audrey, a hyper femme downtowner with an edge, has had her on eye the role for years. Wereley says, āAudreyās been around the block more than once, but I approach her as a person who moves through the world with love and hope.ā
The queer D.C. native adds, āOn long trips to visit family in Canada or Florida, the first thing weād do is pop a āLittle Shop of Horrorsā video [film version] into the carās VHS player. Iāve watched is so many times, I could quote the whole movie to you.ā
After auditioning to play Audrey in director Kevin S. McAllisterās production at Fordās, Wereley never thought sheād book the part, and when they said she got it, she cried.
Similarly, Tobias A. Young, 34, the pansexual actor who voices the part of the bloodthirsty plant affectionately dubbed Audrey II, explains his intense interest in the work: āI started watching the film in ā86. Growing up as a little gay boy in Calvert County, Md., I wanted to be blonde Audrey [played by Ellen Green in the movie]. I didnāt know much about musicals at the time, but I was absorbed.ā
When asked by Fordās to play the voracious plant Audrey II without auditioning, his reply was an unhesitant āyes.ā
Voicing a role requires Young to sing from backstage in a black box rigged with monitors and a mixing board. He says, āpeople ask if Iām singing from inside of the ever-growing, scary plant. No, Iām not, and thatās fine. But letās face it, actors love to be seen on stage, but I donāt feel entirely unseen as Audrey II.ā
Heās worked hard and successfully with formidable puppeteers Ryan Sellers and Jay Frisby to bring parts of himself to the carnivorous plant ā his sassiness, own movements, and even a tilt of his head; their efforts have drawn the actual Young into the show.
Both Wereley and Young possess gorgeous, emotive voices as evidenced by Wereleyās striking rendition of Audreyās āSuddenly Seymour,ā and Youngās soulful āFeed Me (Git It).ā Additionally, both actors are also big on queer representation in theater.
When her young pals were listening to Britney Spears, Wereley was dancing to retro tunes like āMashed Potato Time,ā and her favorite song to this day, the Shirelleās girl group anthem āWill You Still Love Me Tomorrow.ā As Audrey, Wereley eschews the characterās usual platinum hair for a bouncy brunette, cherry-streaked wig, tight pencil skirts, swing coats, and her very own half-sleeve tattoo.
āItās important for people to see themselves on stage,ā she says. āSeeing me or someone like me is inherently interesting. Being that person on Instagram or with the institution, cast, or audiences is meaningful. Itās important.ā
In 2011, a couple years after finishing high school, Young landed a part in āDream Girlsā at Tobyās Dinner Theatre, and heās been working professionally ever since. Growing up, he didnāt see a lot of himself ā Black and queer ā on social media. He now wants to be open and honest for those out there who might not feel seen, he says
An introvert who lets everything loose on the stage, Young says, ātheater is a safe space for queer people. Thatās the first place we feel safe, particularly in school. And this is why we need theaters in schools, now more than ever.ā
He adds, āWhatās great about Fordās is its surprises, especially when they switch up casting. Itās meaningful to see the shows you love, but why not see them with a twist? Using unexpected actors and incorporating queer people just makes it that much better.ā
Finger lasers, confetti cannons, drag shows, photo booths, throwback tunes, and a touch nerdy: after a long break, D.C.ās gay DJ collective CTRL is throwing its first party in six years.
Born in an Eritrean restaurant more than a decade ago, this longstanding gay nightlife electropop group is resurfacing with a comeback event at Trade on March 30.
Gay DJs Adam Koussari-Amin, Jeff Prior, Devon Trotter, and Brett Andreisen hosted the first CTRL party at now-closed restaurant Dahlak, on the corner of 18th and U Streets. After a year of hosting pop-ups in that restaurantās dining room, they upgraded down 18th Street to now-closed gay club Cobalt. There, the parties grew: drag shows, a pop-up photo booth from David Claypool, and quirky activations like throwing hot dogs into print-outs of Putinās mouth. Their productions grew as well, like producing the now-defunct Brightest Young Gays (BYG) Pride events at Wonderbread Factory and Union Market and the āGet Wetā pool party with David Brownās Otter Crossing at the Capitol Skyline Hotel.
CTRL wasnāt done. The group received its biggest stage yet after a call from Ed Bailey, the owner of now-closed gay club Town, as well as current gay bars Number 9 and Trade. At Town, the opportunity āallowed our creativity to flourish with even bigger performances, bigger photo experiences, crazier hand-outs, and the same electropop dance vibes our fans had come to know us for,ā says Koussari-Amin.
CTRL pressed pause when Town shut down, which āwas a huge loss to the LGBTQIA+ community and D.C. nightlife in general,ā says Koussari-Amin. After that, it hosted an occasional spinoff called QWERTY. Post-pandemic, Koussari-Amin has spent a few nights solo as DJ at Trade and other venues.
After connecting with Jesse Jackson, the Trade general manager, as well as with Bailey, who agreed to host the inaugural event, Koussari-Amin was determined to shift CTRL back to life.
However, getting the old band back together proved to be a challenge. While the rest of the group have either left Washington, D.C., or are pursuing other projects, Koussari-Amin received their blessing to stay on and find new members.
āWhen it came to finding new partners, both DJ Dez [Desmond Jordan] and DJ Lemz [Steve Lemmerman] were obvious choices,ā he says, noting that āthey also have distinct styles and interests.ā Dez has a residency at Pitchers and Kiki as well as pop-ups, and Lemz throws events like Sleaze and BENT.
āIt seemed important to come back to the nightlife table with an experience that could complement all the amazing experiences that have even built up since CTRL threw its last event at Town. Bringing back both the DJ collective and the CTRL event with Dez and Lemz means new voices, perspectives, sounds, and excitement.ā
āCTRL is an opportunity for the community to come together, enjoy music, drinks, and good vibes,ā adds Jordan, noting that for him, itās an event that celebrates queer identity.
And after months of planning, CTRL will kick off its monthly party series at Trade on March 30 for the first gig after its glow-up.
The trio says that its core inspiration āis driven by the indie and electropop favorites of new and old, like Goldfrapp, Ava Max, Charli XCX, ā¦ We’re also all huge fans of slut and trash pop music like Kim Petras, Slayyyter, Cupcakke,ā as well as pop diva remixes, new bops, and songs that reside inside and far beyond the expanse of Top 40.
CTRL is also bringing back its activations that complement the tunes. Summer Camp is set for drag performances, David Claypool is back with his photo booth, and Koussari-Amin promises āto have all sorts of weird and wacky handouts like we used to.ā
After the March premiere, Aprilās party is āCTRLellaā, a Coachella send-up. Future events will feature various different themes, and they plan to throw a party during Capital Pride; theyāre also looking to be a central part of Tradeās expansion into the adjacent space.
Koussari-Amin says that āthe eventās signature experience [is] a lynchpin in connecting D.C.ās expanding generations of queer folks, giving everyone a safe space to let loose and feel a rush no matter who they are.ā
For his part, Bailey continues to support CTRL and its collective intention, expressing its essential nature as a party for partiers by partiers. āCTRL is the kind of party that represents what people want. Itās just a real party by real people that just want to hear good music and dance with their friends.ā
Celebrity News
HRC releases āQueer Renaissance Syllabusā
BeyoncĆ©ās hit album inspired curriculum
In a move aimed at celebrating the beauty, brilliance and resilience of the LGBTQ community, the Human Rights Campaign unveiled the “Queer Renaissance Syllabus” that BeyoncĆ©ās āRenaissanceā album inspired.
Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s Historically Black Colleges and Universities Program, the syllabus includes a variety of academic articles, essays, films and other media rooted in Black queer and feminist studies. Each piece is directly inspired by the tracks on BeyoncĆ©’s Billboard 200-topping dance album, “Renaissance.”
BeyoncĆ©’s album “Renaissance” stands as a cultural milestone, celebrating the Black queer roots of dance music while shedding light on overlooked Black queer artists. Inspired by her late-Uncle Johnny, the album not only garnered critical acclaim but also shed light on the often marginalized contributions of Black queer artists. Winning four Grammys and yielding chart-topping hits like āBreak My Soulā and āCuff It,ā the album sparked discussions about economic impact and cultural representation.
Amid its success, legislative challenges arose, with Florida and Texas enacting bans on DEI initiatives in public colleges. Recognizing the album’s transformative potential, HRC developed the “Queer Renaissance Syllabus” to leverage its impact for education and activism.
Tailored for educators, youth-serving professionals, DEI practitioners, higher education leaders and admirers of BeyoncĆ©’s artistry, the syllabus aims to encourage meaningful discussions, enrich lesson plans, and explore innovative ways to honor the vibrancy and significance of LGBTQ individuals and their culture.
With six themes anchoring the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism,” it provides a comprehensive exploration of various facets of LGBTQ experiences and expressions. Fan-favorite tracks from the album are paired with scholarly readings, offering insights into empowerment, self-acceptance and the transformative power of artistic expression. The syllabus also reinforces HRCās efforts to highlight, amplify and re-center Black and queer voices.
By providing links to articles, books, podcasts and interviews, each associated with a song from the album, it celebrates the rich cultural heritage and contributions of the Black queer community.
The concluding section of the syllabus includes BeyoncĆ©’s tribute to OāShea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to āRenaissanceā songs at a gas station. HRC also includes a statement that condemns hate crimes.
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