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Conflict and profound loss: the AIDS epidemic and religious protest
Part 2 of our series on the history of LGBTQ religion in D.C.
(Editor’s note: Although there has been considerable scholarship focused on LGBTQ community and advocacy in D.C., there is a deficit of scholarship focused on LGBTQ religion in the area. Religion plays an important role in LGBTQ advocacy movements, through queer-affirming ministers and communities, along with queer-phobic churches in the city. This is part two of a three-part series exploring the history of religion and LGBTQ advocacy in Washington, D.C.)
The Gay Liberation Front of DC previously organized a Gay Pride Week in 1972, by the efforts of Chuck Hall, Bruce Pennington, and Cade Ware. Deacon Maccubbin was still perplexed how Washington, D.C., which had a diverse gay scene, albeit a segregated one, did not have a large festival to gather together like that in New York. Together with former Gay Activists Alliance president Bob Carpenter, Maccubbin set out to plan a Pride event specific to the city, and on June 22, 1975, “Gay Pride Day” was the first officially recognized Pride celebration in D.C. The first Gay Pride Day was scheduled one week in advance of the Christopher Street Liberation Day parade in New York City so that LGBTQ D.C. residents could participate in that parade alongside others along the East Coast.
One year later, the timing sparked controversy because Gay Pride Day fell on June 20, also Father’s Day. John Wilson’s opponent in the Democratic primary election spoke out against Wilson’s support of holding Pride Day on the 20th. His opponent argued that Wilson was “an embarrassment to the city for introducing a Council resolution allowing Gay Pride Day to fall on Father’s Day.” Similarly William Stahr of Baltimore shared in a column in The Washington Star that the Council decision “is outrageously anti-social because the encouragement of homosexuality weakens society by undermining the family.”
LGBTQ community representative David L. Aiken wrote a letter back to the editor of The Washington Star on June 18, 1976 explaining the community’s decision.
“Gays do not threaten fatherhood, motherhood, or any other traditional values. Many people who are fathers or mothers have a realization that there is another side to their personality that can be expressed through gay love. The two are not mutually exclusive. What gay pride does challenge, however, is the bigoted assumption that heterosexual relations are the only kind about which it is polite to speak.”
Many Catholic priests in the area were upset that it fell on Father’s Day as well, which is celebrated in American Catholic churches with a special Mass that day, but the organizer of the second annual Gay Pride Day, Frank Akers, then a staff member at the Washington Blade, reported that the 1976 Gay Pride Day “was a success spiritually, if not financially.”
But the success of the 1976 Gay Pride Day was followed shortly after by the start of the HIV/AIDS pandemic. In the late 1970s, the HIV strain arrived in the United States and men who had sex with men were disproportionately affected. While LGBTQ individuals still faced intense persecution in secular and some religious spaces, the visibility of religiously motivated homophobia only grew and grew as conservative religious leaders like Anita Bryant and Jerry Falwell argued that HIV/AIDS was God’s punishment for the “promiscuity” of LGBTQ individuals. He made this especially clear in a discussion with MCC founder Troy Perry on July 6, 1983. Like many major cities, Washington, D.C. was hit hard but affirming organizations worked to provide care for LGBTQ people.
In 1982, D.C.’s MCC partnered with the Whitman-Walker Clinic, the NIH, MCC Baltimore, and Georgetown University Hospital to host one of the first AIDS forums in the nation (the event was held at the church). At a time when people were still weary of contact with HIV-positive individuals, water baptism was held by Faith Temple at Calvary Baptist Church in D.C. in 1986. This occurred at a time when many churches were not baptizing persons known or thought to be HIV positive or had AIDS. On Oct. 12, 1991, the NAMES Project Chapter and the Clergy Commission on AIDS coordinated the display of pieces of the AIDS Memorial Quilt at DMV churches, from St. Augustine Catholic Church to New Bethel Baptist Church to the National Cathedral.
The National Cathedral first began its ministry around HIV/AIDS in 1986, hosting a conference that same year to address how religion and religious communities can serve as allies and caregivers. The National Cathedral also displayed the quilt and organized services around the memorial in 1988, the year of the national tour of the Quilt, as well as in 1990, 1993, 1994, and 1996. Most recently, The Washington Cathedral also hosted the AIDS Memorial Quilt in July 2012, on the quilt’s 25th anniversary. From July 17-26, the Cathedral honored all those who died from AIDS and individuals who are living with HIV/AIDS. Dr. James Curran spoke during the interfaith memorial service at the Cathedral on Saturday, July 21.
However, at the same time, the Dignity chapter meeting at Georgetown University was forced to move to St. Margaret Episcopal Church after the Vatican released a letter by Cardinal Joseph Ratzinger claiming that LGBTQ individuals are “objectively disordered” in October 1986. Social and violent homophobia continued into the early 1990s, especially as focus on family rights were conflated with anti-LGBTQ legislation in the late 1980s. Another resurgence of family rights would occur in the late 2010s and early 2020s with the election of Donald Trump as president in 2016.
By the late 1990s and early 2000s, many more congregations were moving to become open and affirming. On Dec. 11, 2001, Bruce Pennington moderated a panel discussion “Creating Communities of Faith” featuring Faisal Alam, Jerry Goldberg, Andrew Hudson, Bob Miailovich, Dan Schellhorn, and Michael Vanzan. Ten years later, the DC Metropolitan Community Church celebrated 40 years of service to LGBTQ Washingtonians. As one of the first Metropolitan Community Churches in the DMV area, DC’s MCC was instrumental in founding the New Life MCC of Hampton Rocks, Norfolk, Va., in 1977, MCC of Northern Virginia, Oakton, Va., in 1981, Open Door MCC in Boyds, Md., in 1982, and Holy Redeemer MCC College Park, Md., in 1998.
That same year in 2011, Dignity/Washington hosted the National Convention of Dignity USA in D.C., during which four long-term Dignity couples from across the country were married by Dignity/Washington members under the new DC marriage equality laws. A number of other congregations also became actively involved in Capital Pride events, including the Cleveland Park UCC, First Congregational UCC, and Westmoreland UCC. The three groups hosted a UCC welcome book with other churches every year at the Capital Pride Festival up until the COVID-19 pandemic.
At the same time, new religious communities developed. Wiccan, neo-pagan, and pagan communities have long been spiritual refugees for LGBTQ communities, and pagan faith communities were first established in the DMV in the early 2010s. Also in 2011, Circle Sanctuary Ministers Jeanet and David Ewing founded the Potomac Circle Ministries in Northern Virginia to minister to pagans in the DMV area. In March 2013, Circle Sanctuary founder Rev. Selena Fox and other Circle Ministers attended the Marriage Equality rally in front of the U.S. Supreme Court, and she participated in the interfaith service at the Lutheran Church of the Reformation in Washington, DC. In November 2013, Jeanet and David Ewing performed a same-sex wedding in front of the Supreme Court in Washington, D.C.
What followed was a year of interfaith LGBTQ ministry in the DC area, which is celebrated every June with a Pride Interfaith Service held at a different DC worship space. The service is coordinated by DC Center Faith, the successor to the Celebration of the Spirit Coalition and the Washington Area Gay/Lesbian Interfaith Alliance which have been hosting interfaith services since 1983. In fact, much of the history of DC’s LGBTQ+ religious communities was recorded in November 2014 at an event organized by Center Faith called “Stepping Out” hosted at the Westminster Presbyterian Church, SW, D.C.
Center Faith partnered and still partners with Jewish, Christian, Muslim, Hindu, Sikh, Buddist, Unitarian universalist, Centers for Spiritual Living, Pagan, Wiccan, and Earth Religions faith communities who are supportive and inclusive of LGBTQ individuals. Through Center Faith, local faith leaders made strong connections through which they would gather and protest for LGBTQ rights. For example, faith leaders gathered together in front of the Supreme Court on Oct. 8, 2019 for the MoveOn Rally right as the Supreme Court heard a case that would overturn LGBTQ individuals’ right to work and allow employers to fire someone because they were LGBTQ.
Later into the 2010s, LGBTQ organizations exploring religion and humor came to be part of the D.C. area. The DC House of the Sisters of Perpetual Indulgence, “The Abbey of Magnificent Intentions” was approved by the United Nuns Privy Council in April 2016. Just as Deacon Maccubbin and David L. Aiken had done 30 years earlier, fighting back against conservative religious pushback to holding the Gay Pride Day on Father’s Day in 1976, the DC Sisters of Perpetual Indulgence came together on Oct. 8, 2022 to hold their fifth annual Lavender Mass — a counter event to the Red Mass. The Red Mass is a Catholic Mass held on the first Sunday of October to honor Catholics in positions of civil authority, like the Supreme Court Justices.
That Lavender Mass took place right before the March for Reproductive Rights following the overturn of Roe v. Wade in June 2022. This important moment in DC’s LGBTQ+ religious history will be explored next, reviewing the impact of this event right as the original founder of the Lavender Mass is stepping out of this role before moving out of the Capitol.
Emma Cieslik is presenting on LGBTQ+ Religion in the Capital at the DC History Conference on April 5. She is working with a DC History Fellow to establish a roundtable committed to recording and preserving this vital history. If you have any information about these histories, please reach out to Emma Cieslik at [email protected] or the Rainbow History Project at [email protected].
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
Trump’s war threats trigger rare 25th Amendment discussion
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New book celebrates 1970s dance music icons
Report: Grenell wants Russian ambassadorship
Risking it all for love during World War II
D.C. is the place for the Democratic Socialists of America
PHOTOS: The Bonnet Ball
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