a&e features
Marsha P. Johnson and pal Sylvia Rivera key players in Stonewall legacy
Filmmaker, family, young trans people recall New York LGBT icons
Ten-year-old Xander came out as nonbinary-femme this year to their elementary school. Transgender service member Terece began transitioning to female while still a sailor on active duty. Both recognize their historical debt to Stonewall activist Marsha P. Johnson.
According to many sources and records, Johnson was an African-American self-identified drag queen and regular at New York’s Stonewall Inn, a mafia-owned gay bar catering to a crowd of mostly queer minorities, gender non-conformers and homeless youth.
On June 28, 1969, the bar was raided by police and many reported Johnson and others fought back, resulting in rioting and later a commemorative march that would evolve into modern Pride parades.
Johnson and Sylvia Rivera, a trans woman of color and her friend, would go on to found STAR, Street Transvestite Action Revolutionaries, a charity and shelter for homeless transgender teens.
After decades of activism punctuated by poverty, homelessness and mental illness, Johnson died in 1992 under suspicious circumstances. Rivera would die 10 years later from liver cancer after a lifetime devoted to trans activism.
But it’s a history Millennial and Gen Z genderqueer youth like Terece and Xander have had to learn on their own.
“I have heard of Stonewall,” says Xander, who uses they/them pronouns. “I’m actually reading a book about the Stonewall riots … and I listen to a queer history podcast.”
“I know a little about the Stonewall uprising,” Terece says. “I’m learning on my own. I went to school in the ‘90s … so anything regarding LGBT rights has been self-study in my adult life now.”
Both are aware of its impact on their lives.
“I am aware of Marsha P. Johnson and her role in the Stonewall events,” Terece says. “To me Marsha is a trans woman of color who saw abuse and misjustice within her community and decided to take a stand. She is a figure of which we look to for guidance for how trans people should be treated.”
Xander is just starting to hear about people like Rivera and Johnson. Some previous wrongs are slowly being righted. Johnson’s likeness is front and center on a new YA book called “What Was Stonewall?” by Nico Medina. In 2018, Johnson received a lengthy obit in the New York Times in its “Overlooked” series that supplies obits of those initially overlooked at the times of their deaths.
Albert Michaels, Johnson’s nephew (who’s straight), says Johnson’s legacy and name recognition are sadly uneven.
“I’m finding … especially in her hometown of Elizabeth (N.J.), Marsha’s not really known there,” Michaels says. “Every time something goes on (to commemorate her) I post it to my Facebook page or post it to a community page. I mean, here, nobody really knows about Marsha, straight community, trans community or otherwise. Even when I did an interview the other day in front of Stonewall and I went inside for the first time into the bar, no one really knew about Marsha. There was one guy who knew … and yet they all had these T-shirts and were selling them for Pride. But there would be no Pride or no Stonewall if this whole event didn’t happen.”
Though he was just 8 in 1969, the weight of the loss adds emotion to his voice.
“It’s sad to me. I went there (to Stonewall Inn) for some kind of enlightenment … and I felt very disappointed. … I never saw Marsha in New York and to this day that is one thing that I regret. That I never went to search for Marsha, never walked the streets with Marsha … and to see things through Marsha’s eyes.”
David France, director and producer of the Netflix documentary “The Death and Life of Marsha P. Johnson,” did meet Johnson in New York after moving there in 1981 and deeply appreciated the opportunity.
“The queer community was still a very small and geographically bounded community and all gay life centered on Christopher Street,” he says.
France’s voice lifts as he remembers a happier time as well as “Marsha’s joy.”
“Christopher Street had a number of prominent characters,” he says. “And the most prominent of them was always Marsha. If you got in with Marsha, you felt like you had found a home. She made you feel at home. I was introduced to her in 1981 and not that she and I were friends, but I can say she served as a kind of an ambassador’s role to newcomers as they arrived in the city. And especially to the young people that she took under her wing. And I felt that in a small way she had bestowed some of that attention on me and I especially looked up to and felt grateful for that.”
Michaels also appreciated Johnson’s motherly attention.
“I knew Marsha all my life as a kid,” Michaels says. “When my memories shift of Marsha, I go back to the ‘70s and that 8-year-old kid.”
His early memories of Johnson and the riots add color to the often white, middle-class narratives younger generations like Terece and Xander are reading.
“Marsha was quite blunt and quite frank with me,” Michaels says. “She would talk about harassment from police and people mistreating her and how people were evil to each other. Telling me be true to myself and don’t let anyone change me, and to get my education. Basically, the things that a mother or a father would tell their children, basic things in life to try to get you along.”
She once spoke of getting shot in the butt by a taxi driver. And of being beaten by cops and her “johns.”
“She was straight with me,” he says. “She said you gotta be aware. And that actually helped me. That helped me be who I am today.”
Although he was young and didn’t understand the significance of it at the time, Michaels remembers Johnson coming home shortly after Stonewall frustrated and angry.
“I think she said there was some kind of riot,” he says. “And that she was tired of ‘them pigs’ and they couldn’t take it anymore and they finally stood up for their rights.”
“Half of it went in and half of it went out, but I remember pieces of it,” he says.
France fills in some of the gaps with his own research and personal knowledge.
“Marsha and Sylvia were a partnership,” he says. “Marsha helped raise Sylvia … and they did everything together using different strategies.”
They built one of the first trans empowerment organizations called STAR and embraced the “people power movement” of the ‘60s and ‘70s,” he says. They envisioned it becoming the chief activist trans movement and tried to build community with other iconoclastic groups of the era such as the Black Panthers.
France says Johnson and Rivera helped start “today’s conversation” about gender nonconformity and civil rights.
“They were the first people who conceptualized the idea that the trans community was a distinct community,” he says. “With a deep sense of the unifying goals and needs … they organized specifically around that. I think this had not ever before been conceptualized in that way. In that way I think they were genuine revolutionaries.”
However, France describes a pervasive lack of acceptance even among gays, culminating in Rivera being ostracized from the movement. Some didn’t want “transvestites” seen as part of their efforts. Rivera jumped on the stage at the 1973 Christopher Street Liberation Day Rally (i.e. New York Pride) and argued for trans inclusion in the movement.
France says seeing so much racism, transphobia and trans murders, especially for trans women of color, inspired him to explore Johnson’s death. He was hired by the Village Voice to investigate her murder in 1992 but never solved it.
“I remembered Marsha and her gift and (her death) being a significant tragedy in the community from the early ‘90s. I remember it because I was up there and I knew Marsha,” he says.
“That was a terrible year,” he says, noting he lost a partner to AIDS about the same time. “And I always felt like I had let that story down and had let Marsha down as a result. And I felt that if I could tell her story with some power I could really find a way to bring attention to this new unaddressed epidemic of violence against the trans community … that was my goal when I started the film.”
Johnson’s nephew also felt her death personally. He says the criminal justice system failed her and others in similar situations.
“First thing I knew about her murder,” he says, “is basically from what the police report said. She was going to different community functions … and initially the police had her death down as a suicide. (Later) people were calling our house, trying to get in contact with us. They saw Marsha and (said she) didn’t appear suicidal. So, we were trying to get that report changed.”
Unfortunately, not much progress has been made in the investigation.
“As far as we know, it’s in some kind of limbo,” France says. “Does that mean it is still an active file? They will not report that to us … so, we don’t know if they advanced the investigation.”
Today, Michaels attends Black Trans Lives Matters events “to lend support” on behalf of his slain, pioneering aunt.
“I think Marsha’s legacy is important to all walks of life, no matter what your sexual orientation is and no matter what your gender expression is,” he says. “You always have the people who are trying to lead the way as examples. Marsha and Sylvia, what they started; this is not over. They lit the flame, but this is not over.”
France says modern trans organizations have their origins in Johnson and Rivera’s work.
“We would not be having this discussion today if it were not for them,” he says. “They gave us the framework for this discussion.”
Johnson’s nephew speaks of continuing her legacy.
“I keep in touch with Sylvia Rivera’s adopted daughter, Xenia. We were talking about even starting up another program like STAR, but I’ve never done anything like that before so I have to get in contact with the right people.”
Michaels remains hopeful.
“Xenia is an advocate and she’s been keeping me up to date on what’s been going on,” he says. “And we sort of said, ‘Wouldn’t it be great if Sylvia and Marsha kind of rose again?’”
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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