Arts & Entertainment

The Kinsey Sicks’ COVID-era creations

‘From a Distance’ parody thrills fans

Published

6 years ago

May 21, 2020

Kinsey Sicks, gay news, Washington Blade — Trixie (Jeff Manabat), Winnie (Nathan Marken), Angel (J.B. McLendon), and Trampolina (Spencer Brown). (Photo by Paco Ojeda)

Sheltering in place but not standing still, veteran Dragapella Beautyshop Quartet-cum-satirical/political group The Kinsey Sicks (kinseysicks.com)—who would have been touring right now, were it not for shuttered venues—have amped up their online presence, with timely new music and a determination to get back on the boards just as soon as the all-clear is called. (The national tour of their “Electile Dysfunction” musical extravaganza has been postponed until further notice, although in the spirit of “subject to change,” it’s presently noted on their website.)

But if anything good can come out of this end-times scenario, count among that short list drag queens who’ve employed everything from gallows humor to heartfelt advice to score-keeping tales of woe to get them out of bed in the morning, in the hopes that one day soon, they’ll be bed-hopping again.

Chief among those able alley cats, The Kinsey Sicks: Trixie (Jeff Manabat), Winnie (Nathan Marken), Angel (J.B. McLendon), and Trampolina (Spencer Brown).

The group, whose “Social Distance” parody of The Divine Miss M’s “From a Distance” dropped at the tail end of March, finds our quarantined quartet biding their time indoors by playing Jenga-for-one, eating peanut butter straight from the jar, binging on Disney+, waiting for that stimulus check, and, sans a man, spooning toilet paper.

Early May’s “Don’t-cha Touch-a, Touch-a-Touch Me!” found our girls one month into self-isolation—feeling the strain of no human touch, and making due with suggestive cameo appearances by bananas and carrots. Still, their collective dry spell finds some solace in non-stop digs at Trump.

“I’ll trade off satisfaction for strong leadership and action,” goes the tune, based on a certain ditty from “The Rocky Horror Picture Show.” And if you don’t get the reference, you’d better hand in your Gay Club Membership Card.

But it was sunny skies ahead, when the bill came due for The Kinsey Sicks to answer our burning inquiries.

BLADE: How did “Social Distance” come about? How was it written/shot, and what sort of feedback has it gotten from fans?

SPENCER/TRAMPOLINA: Anyone familiar with The Kinsey Sicks already knows that the group’s origins were inspired by attending a Bette Midler concert in the ’90s. When her classic hit “From a Distance” got into my head, I immediately sat down and hammered out the lyrics. Then Jeff, one of our other members, whipped up the arrangement and sent the music file for all of us to learn and record. Within a short amount of time, those individual recordings were sent back to him for mixing, and the combined four-part harmony track was then sent out for us to sing along to for reference. Over the next few days, we each got in drag and shot our videos, which were then sent back to me for a few more days of editing.

Finally, after a little more than a week since I was inspired to write “Social Distance,” we released the finished video to our fans all over social media. Their feedback has been nothing but positive. Though we are devastated to cancel our spring tour (something we’ve never done in our 26 years of this group existing), this video is a gift for our fans, and lets them know we’re still here fighting the good fight.

BLADE: Are there other group projects in the works?

SPENCER/TRAMPOLINA: This first video (“Social Distance”) was an experiment. All four members of the group live in different states across the country (Kansas, Maryland, California, and Illinois, presently). Being able to write a parody, get it arranged, learn it, then record it (individually!), and edit/mix everything in a short amount of time is something we’ve never attempted, but having done that and seeing the reaction of fans both old and new, we’re now inspired to create more.

BLADE: What impact did the realities of the HIV/AIDS epidemic have on the group’s worldview, and what parallels, if any, do you draw to the current COVID-19 crisis?

JEFF/TRIXIE: By the time The Kinsey Sicks was formed in San Francisco in the early ’90s, almost a quarter-million people, most of them gay and bi men, died from the epidemic, and San Francisco was one of the epicenters. Although thousands were dead and dying, mainstream American society still had a negative view of the community, and the American government had barely made any response to help. For several years, the LGBT community and its allies were almost entirely alone. And yet there was still a need to find some measure of joy amidst all the pain and tragedy, perhaps a creative yet politically charged way to respond to the incredible injustice from not just politicians, but our fellow Americans. Amid this atmosphere, a group of close friends was inspired to create The Kinsey Sicks.

To get a fuller picture of the beginnings of the group, and to trace its origins to the current political atmosphere, it’s worth watching a remarkable monologue by Emeritus member Ben Schatz (“Rachel”), a Harvard-trained civil rights lawyer, former director of the National Gay and Lesbian Medical Association, and one-time presidential adviser on HIV issues, who created the first national AIDS legal project and authored Clinton’s HIV policy during the 1992 presidential campaign. The video can be found on YouTube.

Our worldview is still heavily influenced by this genesis. It’s embedded in our DNA. For decades, The Kinsey Sicks has produced works commenting on that nexus of politics, culture, and sexuality through drag and a cappella, and we will continue to be influenced by, comment on, and respond to the world around us that way.

There can be parallels made between the HIV/AIDS epidemic and the current crisis, such as the extreme measures by the GOP to use tragedy for their own political gain, and to pit communities against each other whilst hoarding more power. However, the swift response of the government on all levels—from federal to state to local—and the mobilization of the majority of Americans to support those in crisis is much different. Back then, it was several years before the federal government even acknowledged the existence of AIDS/HIV, let alone begin the search for treatment.

Today, the Coronavirus response has been a matter of weeks or months, and the search for a vaccine has become a national priority. However, for both times, higher powers have acted in ways that merit a critical response from artists—and for us, as it was then, it’s a response of the musical variety.

BLADE: Has this forced time away from public performance impacted the group’s output, and approach to using online/social media as an expression of your artistry?

SPENCER/TRAMPOLINA: Absolutely! When we’re not on stage, the group is always working behind the scenes on how we can effectively produce new material, and the traction that this new video [Social Distance”] has gotten really inspires us to keep going.

BLADE: Has the group had any notable virtual interactions with fans during this period of social distancing?

SPENCER/TRAMPOLINA: The Kinsey Sicks is no stranger to social distancing. Many, many, of our audiences have been avoiding us for years. So we keep our virtual interactions with fans to a minimum for their safety.

BLADE: This one is for every member of the group: The all-clear is called and we’re allowed to gather in public again. What are the first things you’re going to do?

NATHAN/WINNIE: As soon as we can go out in public, I look forward to getting back on the campaign trail with The Kinsey Sicks, sampling all the delectable vegetarian fare from coast-to-coast.

JEFF/TRIXIE: I can’t wait to go back to modern life’s basic public pleasures: dinner-and-a-movie dates with my favorite boyfriends, shopping sprees with my favorite sugar daddies, and multiple anonymous hookups via my favorite apps.

J.B./ANGEL: I’m planning a three-way with Mitch McConnell and social scientist Peter Navarro. It might not happen, but I’m trusting my intuition on this one.

SPENCER/TRAMPOLINA: Vote.

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Arts & Entertainment

Washington Blade’s Pride on the Pier returns June 13 to kick off D.C. Pride week

Pride on the Pier officially launches Pride Week in D.C.

Published

4 hours ago

May 11, 2026

Staff reports

The Washington Blade’s annual Pride on the Pier celebration returns to The Wharf on Saturday, June 13, 2026 from 4-9 p.m., bringing thousands of LGBTQ community members and allies together for an unforgettable waterfront celebration to kick off Pride week in Washington, D.C.

Now in its eighth year, Washington Blade Pride on the Pier extends the city’s annual celebration of LGBTQ visibility to the bustling Wharf waterfront with an exciting array of activities and entertainment for all ages. The District Pier will offer DJs, dancing, drag, and other entertainment. Alcoholic beverages will be available for purchase for those 21 and older.

“Pride on the Pier has become one of the signature moments of Pride in D.C.,” said Lynne Brown, publisher of the Washington Blade. “There’s nothing like watching our community come together on the waterfront with live music and incredible energy as we kick off Pride week.”

Pride on the Pier is free and open to the public, with VIP tickets available for exclusive pier access to the Dockmaster Building. To purchase VIP tickets visit www.prideonthepierdc.com/vip.

Additional entertainment announcements, sponsor activations, and event details will be released in the coming weeks.

Event Details:

📍 Location: District Pier at The Wharf (101 District Sq SW, Washington, DC)
📅 Dates: Friday, 13, 2026

⏱️ 4-9PM
🎟️ VIP Tickets: www.PrideOnThePierDC.com/VIP

Theater

National tour of ‘Gatsby’ comes to National Theatre

Out actor Edward Staudenmayer talks playing the show’s gangster

Published

1 day ago

May 10, 2026

Patrick Folliard

Edward Staudenmayer plays Meyer Wolfsheim in ‘The Great Gatsby.’ (Photo courtesy National Theatre)

‘The Great Gatsby’
May 12-24
The National Theatre
1321 Pennsylvania Ave., N.W.
$59-$196
Thenationaldc.com

Often dubbed “The Great American Novel” for its depiction of ambition and self-invention alongside the reversals of success, F. Scott Fitzgerald’s “The Great Gatsby” says it all in a fast read.

Set against the excesses and energy of the Roaring Twenties, “The Great Gatsby,” novel and now the same-titled hit Broadway musical with a jazz/pop original score by Jason Howland and Nathan Tysen, tells the story of Nick Carraway and his friendship with Jay Gatsby, an enigmatic millionaire intent on reuniting with ex-lover, Daisy Buchanan.

It was during a four-month 2025 run in Seoul, South Korea, that out actor Edward Staudenmayer first played the show’s heavy, Meyer Wolfsheim, a gangster who helped Gatsby make his murkily acquired fortune. As Meyer, Staudenmayer opens the second act with, appropriately enough, “Shady.”

Now three months into a year-long North American tour, the show is poised to enjoy a brief run at Washington’s National Theatre (5/12-5/24).

While putting on his eyeliner prior to a recent Wednesday matinee at Chicago’s Cadillac Palace Theatre, the upstate New York-based actor shared about Gatsby and a life in theater.

WASHINGTON BLADE: Despite your good looks and terrific voice, you’re rarely the leading the man. How is that?

EDWARD STAUDENMAYER: I’m definitely a character man. I’ve been painting lines on my face to play old men since I was in high school. I was the youngest freshman in college playing old Uncle Sorin [in Chekhov’s “The Seagull”].

There have been many villains. Some darker than others. Meyer Wolfsheim is a very bad guy, but he doesn’t haunt me once I’m offstage. I play a lot of pickleball.

BLADE: Is it true that like so many of Fitzgerald’s characters, Wolfsheim is famously based on someone the writer encountered in life.

STAUDENMEYER: That’s true, Wolfsheim is pretty much a direct portrayal of real-life mobster and 1919 World Series fixer [Arnold Rothstein].

BLADE: When did the 1925 novel first surface on your radar?

STAUDENMAYER: Like many of us, I was assigned “The Great Gatsby” in high school. It was short, and filled with sex and illicit activities. I thought it was great. Definitely wasn’t a Judy Blume novel.

Interestingly, the book wasn’t originally a huge a success for Fitzgerald, but because it was about war and having the girl at home, they gave it to GIs leaving for WWII. After returning, a lot of those guys went on the GI Bill and became English teachers. They assigned the book to their students.

BLADE The idea that the book’s first-person narrator, Nick Carraway, is gay and enamored with Jay Gatsby is long discussed among readers and scholars. Does the musical touch on that?

STAUDENMAYER: Yes, there’s conjecture about Jay and Nick, and it’s implied in our show. It’s also implied about Jordan Baker, Jay’s fleeting romantic interest. Ultimately, she’s a confirmed bachelor, and a professional golfer who only wears pants.

Our performers are really good. Josh Grasso who plays Nick is fantastic. I’ve had to stop watching him in his last scene; it’s not good for Meyer Wolfsheim to take his curtain call crying. Our Gatsby, Jake David Smith, is good too. He’s gorgeous like Superman and sings like an angel.

BLADE: Do you ever imagine backstory for your characters whose sexuality is undefined?

STAUDENMAYER: I do, but not with Wolfsheim. I don’t see it. I’m trying to be as butch as possible with this ruthless killer.

BLADE: Have you had to do that in your career?

STAUDENMAYER: For a long time, I wore a mask to hide my gayness. I worked hard on being believable, that I was into the girl or that I was a tough guy.

It’s a different world now, and it’s so refreshing to be around the younger actors today; they’re remarkably open and comfortable.

BLADE: What was your coming of age like?

STAUDENMAYER: I played high school football in Palm Springs [he chuckles, alluding to the arid gay mecca], and I was pretty good too. But much to the chagrin of my parents and coaches, I quit the team to act in our senior year play. My super butch dad played semi-pro football and he was an ex-cop. I’m named after him. While I didn’t become my dad, I’ve played him often on stage. He was a true Gaston [the bumptious rival in “Beauty and the Beast”]. And like Gaston, he used antlers in all his interior decorating.

BLADE: Did he live to see your success in theater?

STAUDENMAYER: He did. Life was challenging growing up but the last 10 years of his life we couldn’t get off the phone with each other [his voice catches with emotion]. He accepted me entirely, and we became very close.

BLADE: Looking ahead, is there a part you’d especially like to play?

STAUDENMAYER: Like all baritones I’d love to play Sondheim’s “Sweeney Todd.” I’ve come close but it hasn’t happened yet. There’s still time.

Music & Concerts

DJ Chanel Santini is bringing the heat and some gender-fluid diversity to XBIZ Miami

Pool party celebrates most charismatic personalities, creative artists in adult entertainment

Published

1 day ago

May 10, 2026

Susan Hornik

DJ Chanel Santini (Photo courtesy of Miss Lainie PR)

Chanel Santini has crossed over to being a DJ, performing at clubs all over the country. Now known as Santini, they will be making music and hyping the pool party, DJ-ing at XBIZ, the conference for adult creators and digital players, in Miami.

Taking place on Monday to Wednesday, the event honors the most charismatic personalities and creative artists in entertainment.

“I am honestly so excited — getting to DJ in Miami Beach is literally a DJ’s dream!” Santini told the Los Angeles Blade.

“I thought it would be a good opportunity because I haven’t been around my industry peers in a long time. It’s a great event to network and show off the new me!” said Santini.

While Santini is unsure what music they will be playing, they want everyone to have a good time. “My goal is to ignite the dance floor and play great music that everyone will vibe to. My sound includes house music, bass house, tech house, and I always like to throw a little bit of hip-hop in my sets.”

Santini loves how DJ-ing brings people together.

“Music really ignites us all! It is so universal, no matter what language you speak. I think it’s the best high in the world when you play a banger track, and everybody on the dance floor screams loudly. You can’t describe that feeling until you’re up there on that stage.”

Santini describes DJs as the “modern rock stars” in today’s world.

“I always feel like such a superstar when I’m up on that stage. The best feeling is after my set when I have people come up to me and say, ‘Thank you for sharing that amazing music.’ That’s how you know that you’re a good DJ — I love when I get those types of compliments!”

*DJ Chanel Santini / Photo courtesy of Miss Lainie PR*

While sometimes it’s hard to please everyone’s musical tastes, Santini endeavors to try! “You just have to go out there and give it your all and be the best DJ that you can be,” he noted.

Santini, who had previously identified as transgender, recently decided to transition back to being gender fluid.

“It’s definitely been a journey, but I’m definitely happier in my own skin now than I was. I don’t go by he/him pronouns. I don’t go by they/them either. I guess I just really don’t have a preference. Whatever you see me as is your opinion. I’ve learned over the years that I’m not trying to be one specific thing. I’m just Santini. I’m just me.”

Santini acknowledged they felt respected more when dressed as a woman.

“I think it’s just because femininity runs the world. When I started to de-transition, I felt like I had to just be a boy all the time. But I’ve realized over the years that I don’t need to stick to one specific thing. I am always gonna be feminine, and that’s OK.”

Recently, Santini has been embracing their feminine side more.

“I definitely feel more comfortable in female presentation, and more powerful when I’m on stage dressed as Chanel. I love DJ-ing in drag because there are so many straight male DJs in the world. It’s almost like a superhero when he puts on his cape! I think it makes me confident and stand out more as an artist.”

And because Santini loves makeup and fashion, they can incorporate that into their sets. “I’m not just bringing you good vibes and good music. I’m bringing you a show/ production!”

Santini is already working on big plans for the future.

“I’m opening up for a huge Pride block party in my hometown, Albuquerque, N.M., on June 12 and 13. It’s a two day festival and I’m super excited for this opportunity. I’m even hiring backup dancers and a choreographer.”

Santini plans to go “all out” for this show.

“It’s gonna be the biggest crowd that I’ve ever played for,” Santini enthused. “I’m putting my heart and soul into this performance, especially because it’s Pride in my hometown, and that means so much to me. I know the younger me would be so proud.”

Santini remembers going to Pride when they were younger and telling themself they couldn’t wait to be up on that stage.

“I’m truly living my dream right now, and I’m so excited for the future. The last 10 years of being in the adult entertainment business have been great and have given me major success. But I always knew that I didn’t want to be in this industry for long.”

Santini acknowledged that, in the recent past, it was a struggle.

“I’ve been trying to find myself and figure out what I wanna do next with my life. Now that I’ve found this passion for DJ-ing, it makes me want to go far in this business.”

In addition to being a DJ/artist, Santini is starting college next semester.

“I’m gonna get my degree in audio engineering,” Santini enthused. “I can’t wait to start producing my own tracks. I especially can’t wait till the day I’m headlining a major festival! I know with a little bit of patience and hard work that I can get there! I just have to continue believing in myself.”

Santini wanted to thank all of their fans for their support. “Truly, if it wasn’t for them, I wouldn’t be able to fund my art in the way that I have. I’m truly grateful. And I’m excited for the future!”