a&e features
Rehoboth’s Sundance party returns this weekend
Dance, auction to be held in memory of co-founder Steve Elkins
The Sundance dance party is a Rehoboth Beach Labor Day tradition. (Washington Blade photo by Daniel Truitt)
Sundance 2018
Rainbow XXXI: In the Name of Love
Auction: Saturday, Sept. 1
7-10 p.m.
Dance: Sunday, Sept. 2
7 p.m.-2 a.m.
$80 for both events or $45 for one
Rehoboth Beach Convention Center
229 Rehoboth Ave.
Rehoboth Beach, Del.
302-227-5620
Sundance, the annual CAMP Rehoboth Labor Day weekend tradition, will be somewhat bittersweet this year.
“Sundance 2018: Rainbow XXXI: In the Name of Love” will be held this weekend to benefit CAMP Rehoboth in memory of the late Steve Elkins, who died in March from lymphoma. He was 67.
The late Steve Elkins (left) with husband Murray Archibald. The two founded Sundance more than 30 years ago. Elkins died in March. (Washington Blade file photo by Michael Key)
Sundance was created by CAMP Rehoboth founders Elkins and his husband Murray Archibald in response to the AIDS crisis in the 1980s. Archibald had been Elkins’ husband and partner for 40 years at the time of Elkins’ death. They decided to make Sundance a dance party with the purpose of raising money for AIDS charities. Archibald said in an article of a recent issue of Letters from CAMP Rehoboth that many people were dying and there was no treatment for AIDS at the time.
“It was 1988. We were losing friends left and right. We were still living in New York in those days but spending a lot of time down here,” Archibald says. “It was terrible, and we wanted to do something. It was our 10th anniversary party, Steve and mine, and everybody in our house down here wanted to do something. And I said, well, we wanted to make it a fundraiser. We did a lot of events actually back then — dance events — so we thought that would be a great way to make money.”
The Sundance Auction will be held on Saturday, Sept. 1 with an open bar, food by Plate Catering, music by Stephen Strasser and silent and live auctions. On Sunday, Sept. 2, there will be a dance party from 7 p.m.-2 a.m. with an open bar, Joe Gauthreaux as DJ and special guest Studio 54/Saint DJ Robbie Leslie. Both events will be held at the Rehoboth Beach Convention Center.
There was no auction the first year; it was added the second year. Initially, the auction happened right before the dance, but a couple years later, the auction and dance were separated into different events. Sundance has always been held on Labor Day weekend and has become a tradition.
Sundance has received an increasing amount of support and sponsorship over the years, raising more than $2 million overall.
“It’s grown. It just keeps growing. It has for years,” Archibald says. “We have tremendous community support for it. I think its growth is probably the main thing and the support that it gets. The way we’ve raised money has changed. For a good while, it was only AIDS work, and a lot of it went to Sussex County AIDS Council and helped them stay afloat.”
Archibald says when CAMP got started, its volunteers quickly began expanding AIDS services they were doing and started splitting the money raised from Sundance between CAMP and the Sussex County AIDS Council. By the time the Sussex County AIDS Council closed, CAMP was doing a lot of AIDS work and other kinds of health-related work. The money raised from Sundance has been used for CAMP Rehoboth for years now. Archibald said Sundance raised $6,000 its first year and now raises around $120,000-125,000 per year.
Elkins and Archibald have advocated for LGBT rights in Rehoboth for decades. There was tension between the gay and straight communities in the late ‘80s into the early ‘90s, with one group in town that started a campaign with bumper stickers that read, “Keep Rehoboth A Family Town.” In response, Elkins and Archibald decided to open CAMP Rehoboth, looking to promote inclusion for all.
“During the ‘80s, Rehoboth had grown tremendously as a gay resort. Gay people had been coming here for a long time,” Archibald says. “During that time, there was the Strand, which was controversial because of its location. It was open for seven years. It was a huge club. The Renegade was just outside of town. Those were two big dance clubs, and we had people coming, the crowds had gotten bigger. Everything had changed in that decade.”
Elkins and Archibald wanted to ease stress and build bridges. They developed CAMP Rehoboth with the mindset that it would work within the community, making the decision to not be “in your face” or “radical.” They wanted to work with people. Elkins and Archibald started using the language of making Rehoboth a place with “room for all.” Archibald said that when Elkins died earlier this year, the press was using that language to describe CAMP Rehoboth, showing that it worked.
The influence that Elkins and Archibald have had over the years can be seen on a statewide level, with then-Gov. Jack Markell adding sexual orientation to Delaware’s anti-discrimination law in 2009, which was signed by Markell at CAMP Rehoboth on Elkins’ birthday. Additionally, Elkins and the current president of the CAMP Rehoboth Board of Directors, Chris Beagle, testified in support of the legalization of civil unions in Delaware in 2011.
On July 1, 2013, Beagle and his husband, Eric Engelhart, decided to have their wedding ceremony at the CAMP Rehoboth Community Center because they wanted to make the occasion a celebration for the entire community. Beagle and Engelhart were selected to be the first same-sex couple to marry in Sussex County by then Sussex County Justice of the Peace, John Brady, after the legalization of same-sex marriage in Delaware.
“I gave several press interviews immediately after Steve’s passing in March, and in virtually every one of them I mentioned that I’ve had many proud moments representing CAMP Rehoboth over the years here on the board,” Beagle says. “Next to marrying my husband, Eric Engelhart, on the stage of the CAMP Community Center on July 1, 2013, my other proudest moment was testifying with Steve Elkins for the civil union legislation in 2011. He was a mentor to me in many ways, and he will always have a very special place in my heart for the leadership and difference he made in my life, and countless others. So many of us wouldn’t enjoy the life we have here today, and the protections we’re entitled too, if not for Steve Elkins and Murray Archibald.”
Beagle began volunteering for Sundance in 2006, making this his 13th year helping put it together. He has mostly worked with the decor crew and set-up team, along with Archibald and other key volunteers, many of whom have been helping Archibald for 20 years or more. Beagle also co-founded the Sundance 5k in 2010.
“It amazes us every year how Murray is able to create a visual masterpiece celebrating the particular theme of the year,” Beagle says. “A true camaraderie has evolved over these many years, and it has become a type of family reunion for many of us, something we all cherish very much. And nothing beats the sense of gratification we all share as the auction doors open at 7 p.m. The crowds start pouring in and we see the look of awe and amazement in their faces. At that moment, we know we’ve done good work.”
Natalie Moss began volunteering at CAMP Rehoboth in 1991. Moss has served as treasurer for both CAMP Rehoboth and the CAMP Rehoboth Community Center Project. She is also auction co-chair of Sundance and has been helping with the event for 28 years.
“We send out letters to all the businesses and ask them for donations. Then, we have callers and picker uppers that follow up on the letters and run around town to pick the stuff up,” Moss says. “We have a lot of individual people, as well as businesses, that give us stuff.”
Once the donations for the auction are brought to CAMP, Moss goes through them and lists them on spreadsheets. Once that’s done, the donations are brought over to the convention center where another team of volunteers displays them on the floor. Moss oversees the team that tallies the auction sheets. CAMP made the decision to use old-fashioned bid sheets because they want people to enjoy themselves and to not take away from their experience by them looking at their phones trying to bid on something.
“We get some really, really fun stuff. A lot of quirky things, games, books, glassware,” Moss says. “And the businesses give us gift certificates to restaurants — gift certificates for dinners and lunches and breakfast. Once it’s displayed, it looks beautiful.”
The Sundance auction will also have artwork, jewelry and a 60-inch TV among other things that will be up for bid. Moss says Sundance all comes together with the help of about 200 volunteers and the result has the appearance of a “fabulous-looking disco.”
The Sundance auction started 30 years ago. Organizers have intentionally kept it low tech — all the bidding takes place with paper and pen. (Photo courtesy CAMP Rehoboth)
Moss says working with Elkins was great and that everyone on the Sundance team had their role. She said Elkins did a lot behind the scenes. Elkins would run out and get whatever the Sundance team needed. He would negotiate with the liquor store to get more tonic and mixes, order lunches, pick up the lunches and did some computer work, which included printing pictures for the live auction. Moss said Elkins did everything to make sure the volunteers were taken care of.
“I used to be down here a lot, like I am now, and I’d have the music on. He was a very good singer, he had a very good voice. He used to sing in church. He would come down here and sing to me all the time, so I miss that,” Moss says. “So, Murray came in the other day. I said, ‘Are you going to sing to me?’ and he said, ‘No, you don’t want me to sing to you.’”
Monica Parr, who serves as CAMP Rehoboth’s administrative coordinator, is helping organize Sundance for her fourth year. She is managing the volunteers needed for the front-end production. Parr is working alongside Archibald taking over some of Elkins’ tasks.
“It was a joy to work with Steve. I knew Steve Elkins and Murray Archibald long before I began working at CAMP Rehoboth. I was a volunteer for Sundance almost from the beginning,” Parr says. “Steve was one of a kind. He was the kindest and most generous man you would ever meet. He would make sure that everyone felt welcome at CAMP, and at any event that CAMP Rehoboth sponsored. He will be truly missed.”
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.
a&e features
Introducing the Torchbearers Awards honoring queer, trans women and nonbinary people
Meet the Legends and Illuminators lighting new paths
The Torchbearers Awards are more than recognition—they are a continuation of legacy. They honor the quiet architects of progress in our community: those who organize, advocate, build, and protect, often without fanfare but always with purpose. Rooted in a belief in intentional recognition, this honor names those who carry our movements forward—those who make room for others, who remind us that change is both generational and generative. In a time marked by uncertainty and challenge, these leaders push forward with courage, clarity, and an unwavering commitment to expanding opportunity and equity.
This year’s honorees reflect the full breadth of our community, spanning generations, backgrounds, identities, and industries. From Legends, with decades of leadership and having created pathways for others, to Illuminators, who are lighting new paths with creativity and innovation, each Torchbearer represents the power of intergenerational leadership and the strength found in our diversity. They are organizers, advocates, artists, policy leaders, healers, and changemakers whose lived experiences shape a shared vision for equity and liberation.
This award is our love letter to queer and trans women and nonbinary people who carry the flame when it would be easier to let it dim. To those who consistently show up, who use their voice and visibility and stand firm, often without recognition, so that others may live more freely and fully. The Torchbearers Awards celebrates not just what has been done, but the enduring spirit, responsibility, and collective care that ensure the work continues, and that the flame is always passed forward.
Co-Creators of the Torchbearers Awards: Shannon Alston, June Crenshaw, Heidi Ellis
Torchbearers Awards Advisory Board: Aditi Hardikar, Lesley Bryant, Jasmine Wilson-Bryant, Stephen Rutgers
ILLUMINATOR AWARDEES
- Representative Sharice Davids (she/her), (D, KS-03)
— U.S. House of Representatives - Greisa Martinez Rosas (she/her/ella)
— Executive Director, United We Dream - Paola Ramos (she/her)
— Journalist & Correspondent - Meagan A. Fitzgerald (she/her)
— Journalist & Correspondent - Jessica L. Lewis (she/her)
— Founder / Producer, Play Play DC - Savannah Wade (she/her)
— Founder, OAR Agency - Suhad Babaa (she/her)
— Filmmaker/ Former Executive Director of Just Vision - Ashlee Davis (she/her)
— Global Head of Inclusive Outcomes, Ancestry - Jazmine Hughes (she/her)
— Journalist and Former Editor at New York Times Magazine - Queen Adesuyi (they/she)
— Policy Advisor & Organizer, ReFrame Health & Justice - Michele Rayner, Esq. (she/her)
— Civil Rights Attorney, State Representative (Florida House of Representatives) - Gaby Vincent (she/her)
— Sports/Cultural Commentator and Community Leader - Jenny Nguyen (she/her)
— Founder & Owner, The Sports Bra - Denice Frohman (she/her)
— Independent Artist, Poet / Performer - Vida Rangel (she/her)
— Founder, Our Trans Capital - Roxanne Anderson (they/them)
— Executive Director, Our Space - Ann Marie Gothard (she/her)
— Co-Founder & President, Pride Live (Stonewall National Monument Visitor Center) - Diana Rodriquez (she/her)
— Co-Founder & CEO, Pride Live (Stonewall National Monument Visitor Center) - Wendi Cooper (she/her)
— Founder / Executive Director, Transcending Women - Toya Matthews (she/her)
— City of San Antonio, Texas - Mayor Gina Ortiz Jones (she/her)
— Sports/Cultural Commentator and Community Leader - Charity Blackwell (she/her)
— Poet, LGBTQ Advocate & Community Leader - Wilhelmina Indermaur (she/her)
— Director of Communications, Tyler Clementi Foundation - Em Chadwick (she/her)
— CMO, For Them & Autostraddle - Kylo Freeman (they/he)
— CEO, For Them & Autostraddle
LEGEND AWARDEES
- Sheila Alexander-Reid (she/her)
— Executive Director, PHL Diversity, Philadelphia Convention & Visitors Bureau - Cassandra Cantave Burton (she/her)
— Interim Director of Thought Leadership & Senior Research Advisor, AARP - leigh h. mosley (she/her)
— Photographer / Educator, PhotoFlo Photography - Jenn M. Jackson, PhD (they/them)
— Assistant Professor of Political Science; Author & Columnist, Syracuse University - Jordyn White (she/her)
— COO, Washington Prodigy / VP of Leadership Development & Research, HRC Foundation - AJ Hikes (they/them)
— Deputy Executive Director, ACLU - RaeShanda Lias (she/her)
— Digital Creator, RL Lockhart - Donna Payne-Hardy (she/her)
— Educator, EEO Specialist, Founder of NBJC, Former Leader at the Human Rights Campaign - Courtney R. Snowden (she/her)
— Principal, Blueprint Strategy Group - Gaye Adegbalola (she/her)
— Musician & Activist, Musician / Inductee of the Blues Hall of Fame - Cheryl A. Head (she/her)
— Independent Author, Novelist (Crime Fiction) - Letitia Gomez (she/her)
— The American LGBTQ+ Museum, Board Chair - Lynne Brown (she/her)
— Publisher, Washington Blade - Shay Franco-Clausen (She/Her/Ella/Queen)
— Political Strategist and Organizer - Melissa L. Bradley (she/her)
— Founder & Managing Partner, New Majority Ventures - Meghann Burke (she/her)
— Executive Director, NWSL Players Association - Victoria Kirby York, MPA (she/they)
— Director of Public Policy & Programs, National Black Justice Collective - Joli Angel Robinson (she/her)
— CEO, Center on Halsted - Jeannine Frisby LaRue (she/her)
— CEO, Moxie Strategies - Alice Wu (she/her)
— Film Director (Saving Face, The Half of It) / Screenwriter - Storme Webber (she/her)
— Interdisciplinary Artist / Educator, University of Washington - Kim Stone
— CEO of the Washington Spirit, Washington Spirit - Mickalene Thomas
— American Visual Artist, Mickalene Thomas Studio - Erika Lorshbough (any/they/she)
— Executive Director, interACT - J. Gia Loving (she/ella)
— Co-Executive Director, GSA Network
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