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He loves Annie’s and will until the end
Mano continues to bring infectious passion to his job at iconic restaurant
It’s rare for a restaurant to thrive for more than 75 years. Rarer still is a restaurant whose history is so deeply intertwined with the growth and resilience of a minority community. Annie’s Paramount Steakhouse in Washington, D.C.’s Dupont Circle is one of those exceptional places — a cornerstone not only for the city of Washington, but also for its vibrant queer community.
Several factors contribute to a restaurant like Annie’s becoming a foundational space of cultural and historical significance. Its welcoming atmosphere, fostered by a warm and inclusive staff goes beyond mere hospitality. The decor doesn’t just acknowledge Washington’s LGBTQ community — it proudly celebrates it. And, of course, the award-winning food and drinks leave a lasting impression, making Annie’s a true icon in the nation’s capital.
When walking down 17th Street, where Annie’s is located after 76 years (even after moving three blocks north of its original location on 17th in 1985), it becomes understandable how this stretch of street has always been the heart of the “gayborhood,” regardless of season or political administration. The rainbow flags on nearly every light pole and stickers in nearly every window signal this place is not only a safe space for the LGBTQ community, but a place where being queer is worth celebrating.
Annie’s Paramount Steakhouse has long been a beacon of unwavering support for the LGBTQ community, particularly during times when openly identifying as LGBTQ was met with societal stigma or worse. This dedication, which started back in 1948, has cemented Annie’s as more than just a restaurant — it’s a queer haven and cultural landmark.
Georgia Katinas, the general manager of Annie’s and granddaughter of Annie’s founder George Katinas, told the Blade supporting the D.C. LGBTQ community is a key part of running Annie’s.
“I see Annie’s as a pillar of the LGBTQ community, and it’s important to me to continue that legacy,” said Katinas. “Getting involved in our community in many different facets, supporting LGBTQ nonprofits and organizations, hosting kickball brunches, hiring LGBTQ/queer members of the community — all of that’s incredibly important to me, and it’s an honor. I take the family legacy very seriously, and I really am proud to continue it and to show up on behalf of my family and on behalf of the community and continue to be here.”
One of Annie’s unique legacies is its connection to the High Heel Drag Race, a beloved LGBTQ event on the Tuesday before Halloween. It started as a race between Annie’s and gay bar JR.’s in 1986, and has grown into a vibrant mini Pride celebration on 17th Street now managed by the mayor’s office.
Although it takes a collective effort to transform Annie’s into the James Beard Award-winning restaurant it is today, one server has stood out for decades. Since 1975, his infectious attitude and heartfelt care have made him a cornerstone of the Annie’s experience, drawing loyal customers back time and again.
Mano, with his instantly recognizable horseshoe mustache and ever-present smile, has been a key part of the institution that is Annie’s for as long as most regulars can remember. Hired as the first male staff member in 1975, Mano has remained a key face for the restaurant going back to when Annie herself served food on the dining room floor.
“We treat every customer like a member of our family,” Mano told the Blade during a recent interview discussing his lengthy career in the restaurant. “Ninety-nine percent of the people feel like regulars, and that 1 percent are on their way to becoming them.”
For 49 years, Mano has been a beloved fixture at Annie’s, his passion for the job evident to everyone around him — from coworkers behind the bar to guests in the booths. Known for gestures like cutting steaks for diners, Mano’s dedication once saw him working seven days a week, a testament to his love for being part of the Annie’s team.
“I feel every day better than the day before,” he said. “I love the people more than the day before. I look forward to loving them more. I can’t predict the future. The past is experience. Right now, at the moment, I am enjoying it.”
Despite his glowing appreciation for Annie’s, Mano has had to cut back from working at the restaurant as much as he once did. As he has grown older, Mano has slowly taken a day or two off from his work schedule.
Katinas became emotional when reflecting on Mano’s history with the restaurant.
“He wants the guests to have the perfect experience,” Katinas said. “He takes training very seriously. He has his own systems for how he counts money and uses the computer. He’s very particular but always so kind about it. When I watch him train new people now, I remember when he trained me. It’s very intentional and intense in moments because he cares so much.”
Mano’s presence and unwavering commitment to delivering impeccable service at Annie’s elevates him above many in the food service industry. His contributions also reinforce Annie’s cornerstone role in Washington’s queer history. When asked what sets his legacy—and by extension, Annie’s legacy within the LGBTQ community—apart from that of a server at any other restaurant, one word stood out in his response: respect.
“Give yourself some respect,” Mano said. “Give them [the customers] all the respect you want for yourself. If you cannot respect yourself, you cannot respect anyone else. I am a mirror reflecting you. When you are sitting at the table, I am a mirror reflecting you.”
Katinas explained Mano’s passion for Annie’s is infectious and has helped shape the culture of the restaurant. She also explained that his passion reflects how Annie ran the restaurant in years prior, with caring about people at its center.
“He takes young servers under his wing,” Katinas explained. “He takes busboys who don’t speak the shared language, and he treats them with such compassion and generosity. Annie was someone who would always sit and talk with you. She would put her hand on your shoulder and really listen. And Mano does that too.”
“We’re all busy, we’re all running around, but Mano really will sit and take the time to get to know you and to listen to your troubles or happy moments, anything,” Katinas added. “He makes sure, even if he’s across the restaurant and someone walks in the door, he’ll yell ‘Welcome in!’ The sense of hospitality is in his blood.”
Not only is he one of the most passionate people in Annie’s at any given moment, but Katinas also highlighted that he cares about the people and history of Annie’s in a truly unique way.
“He’s like the lighthouse captain,” she said, tearing up and smiling. “He has to be tethered to the building. He doesn’t get too far from it and is like, ‘No, no, I’m going to be at my post.’ He’s always there in the front, and everyone knows to expect him there.”
“He’s got a heart bigger than his entire body,” bar manager Scott Paxton chimed in. “He would do anything for just about anybody. He’s the first one to get here, he’s the last one to leave. He’s the most dedicated out of all of them. He’s always offering to help.”
“For a lot of us, he’s the first person that we met,” Paxton added. “This place has been here for a long time with a long legacy, but he is a big part of that legacy. And so you wander in here for the first time and he’s the person that you meet first.”
“You don’t know where to sit or who’s who, but you probably end up sitting with Mano in his section and so it sort of becomes like your home base,” he said. “There are hundreds and hundreds and hundreds of people that come through here and that’s their first contact with anyone and people that request him. And 40 years later, they come in on Wednesday night and they want to see him.”
Mano’s final thoughts about the restaurant reflected what multiple staff and guests have made clear — he loves Annie’s and will until the end.
“I wish them the best success,” Mano said pointing to Katinas, Paxton, and other staff working at the bar. “And they’re going to have it thanks to everybody, all these years of support for this place.”
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Jason DePuy on coping with homophobia in ‘Big Brother’ house
First drag queen contestant on CBS show fought to stay positive
One week after Jason DePuy (known as Salina EsTitties on “RuPaul’s Drag Race”) was bullied and eventually evicted from CBS’s “Big Brother” house, the queer drag performer is still emotionally processing his feelings.
During his 24 days in the reality TV competition, DePuy often had a rough time, with fellow cast member Kamuela “Kamu” Kirk making homophobic comments and feeling isolated.
In a conversation with Head of Household Rick Devens, Kirk left viewers upset when he said, “Bro, miss me with the drag stuff. Miss me. I’m still an MMA guy, and I have an image to uphold.”
Former “Big Brother” contestant Frankie Grande called his words ‘homophobic’ and ‘gross.’ Another comment, where Kirk said he wanted to end DePuy’s career, also received strong backlash online.
Now that he is out of the house, DePuy has been shocked and deeply touched by the love from “Big Brother” fans and former contestants. We chatted with DePuy for this Blade exclusive.
“To know that my community was rallying for me outside the house was the most wonderful thing. Seeing how much people were just wanting to shower me with love was incredible. Even my friends, I went to say hi and give them a hug, and they’re like, ‘Uh, uh, come here.’ They had to hold me and let me know America was feeling for me in a way that I had no idea.”
He added: “To see that reality was just overwhelming, and I couldn’t ask for more.”
Known as a messy player in the house, DePuy often had to fight to stay positive and stand up for himself.
“No one was coming to my rescue. In real life, it’s easy to block people, but in the house, I didn’t have that luxury, so I had to find it within myself to learn how to speak up for myself in a way that wasn’t nasty or biting. I didn’t attack anyone personally, which is what I was the most proud of.”
DePuy acknowledged he has had a history of putting his foot in his mouth when it came to certain “Drag Race”moments, being in the public eye, and making a fool of himself. “I’ve learned my lessons; to see how I handled myself in the ‘Big Brother’ house was amazing.”
While DePuy has been sober for 14 and a half years and has a strong spiritual foundation, in the Big Brother house, he often felt like he couldn’t communicate what he was feeling.
“As a queer person, a person of color, a drag queen, I have to be very careful about how I move. I don’t have the luxury or privilege to just act a certain way or say a certain thing. I have to be very careful; I’m representing me. But who I am is a Latino, a person of recovery, a drag queen, a queer person in the community. I know that there’s a lot of pressure that comes with that. I felt it was safer for me to sit there and just breathe than try to do anything crazy.”
He continued: “I couldn’t speak to the personal attack that was happening in the house, because in my mind I was like, ‘no, this is a game, and I have to play it, put that aside.’”
Not only can viewers watch the episodes, but they can also watch the live feeds of what’s happening. Seeing the fans’ social media posts from people who had watched the episodes and the live feeds also contributed to DePuy realizing that his feelings of discomfort were valid.
“To know that I wasn’t delusional in those moments, that others could see what was happening, has been a lot to take in. Fans and friends let me know the comments made went beyond the game…I’m like, ‘Oh, so my instincts were correct.”
One of the most poignant moments on the live feeds occurred when DePuy was crying, alone in his room, and said how he missed his gay community.
“I really missed my friends. I missed my queer community. We’re so colorful. We’re so loud. We’re so vibrant. We speak off the cuff, and we’re very truthful and honest with how we speak, and it’s fun. We have fun lingo.”
DePuy had to censor his expressions in the house. “Because I can say one thing, but it can mean something different to straight people than it does with my queer brothers and sisters. So, there was a sense of code-switching that I had to do. I had to even put aside some of my queerness in a way sometimes to fit in.”
DePuy was thrilled to be the very first drag queen to ever be cast on the show.
“I’m honored to have been chosen. There’s a million drag queens out there, and to know that I was a contender to come in the house and not even be in drag was like a wow for me. I’m over here in Hollywood, running around these streets with a wig and heels just to make a dollar to survive, and I have to rely on drag to do that. And then to be offered this opportunity and be given the privilege to say, ‘hey, you don’t have to put on the wig for you to be valuable here,’ is just insane to me.”
Prior to his shows, DePuy has been hustling for 15 years, flipping burgers and doing drag at night.
“That has been my life these past since I was 17. So it’s been a long journey; the opportunity to do this out of drag is a very big blessing. I’m honored and grateful to be the representation of my community.”
If you missed Jason on “Big Brother: Unlocked,” the episode can be seen on CBS.com. He will be back on the show for the finale.
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Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard
Last month’s Pride celebration in D.C. was so fun. Walking around my first Capital Pride with a $15 lemonade I was loving the madness and the color. Artists and small businesses battling banks you’ve never heard of collecting your personal information so you can spin a wheel to snag free merch. Great music blaring, people actually smiling and enjoying themselves, the “Great” American State Fair could never!
The Monument Stage was on Pennsylvania Avenue, directly in front of the National Gallery of Art and I can’t think of a better venue to see live music. How does someone get on the lineup for Pride? How do we accelerate the visibility of the most talented voices in our community to perform in places like this?
There is certainly not a talent gap, but there is a visibility gap. Chappell Roan went from playing for two people in a parking lot to owning the main stage at Coachella in one year. Whether it is shadowbanning or bias in AI, algorithms have been shown to suppress queer artists. In a digital age, how can queer people break through and show the world how talented they are?
Allison and Matt of Rainbows in Revolt are on a mission to make openly LGBTQ+ artists’ voices heard. Their goal is to find “musicians whose queerness is central to their identity as an artist,” and accelerate them to a place where they can actually reach fans.
The only time queer events seem to be in the spotlight is June, but this should be year round, according to Allison and Matt. Rainbows in Revolt wants to act as a “nucleus” for different sub-communities, finding common ground in the universal language of music.
Matt and Allison founded Rainbows as a way to make cheaper, higher quality merchandise for queer artists. While Rainbows has already pledged 20% of their profits to the LGBTQ+ community, with 10% to Whitman-Walker Health and 10% to LGBTQ+ organizations in need, this is just the beginning of the work that they do.
Rainbows “does the dirty work” that artists normally struggle to do on their own with limited resources. Interviews, artist profiles, social promotion, playlist discovery, radio outreach, and merch-funded support. This work is normally expensive, time consuming, and requires lots of different skills. Musicians don’t want to be editing clips to post online. Standup comedians don’t want to make graphics for their tour dates. They want to write more. They want to focus on their craft.
In addition to helping artists find their audience, Rainbows has built other digital tools to help queer people connect, including an interactive Safe Space Map for most major cities. It is hard to know which places are truly safe and supportive just from a simple Google search. Attitudes and actions change, and there should be a simple way for queer people to find other places that align with them. The Safe Spaces Maps are all up to date, and are tagged and filterable. Instead of relying on forums and word of mouth, Rainbows has created a centralized way to find authentic community quickly.
I had a chance to talk with Allison and Matt at Pride where Lily Erin, one of their signature artists, was performing on the Monument stage. Lily Erin is a folk singer who is familiar and forging her own path. Her bittersweet sound echoes through Acadia, and her garb mirrors the New England athletes I grew up with. Gorp Core meets streetwear. A graphic tee, hiking shorts, and creamsicle Jordans.
Her debut single, “Bus Stop,” tells a sad story about unconditional love, and the conditions that still seem to come with it. Graduating into lockdown, Erin needed a new way to connect with herself and others. Lily made “Bus Stop” without an intention to share it, but doing so was a liberation. People have been responding to her honesty around queer-ness, family, and the “ghosts which haunt us” even in the daytime.
Rainbows in Revolt has helped Lily Erin go from bars and backyards to The Monument Stage at Pride. This is a meteoric rise, and a testament to both Erin’s talent and the work of Rainbows to promote her. “A little encouragement goes a long way with early artists,” and by “planting a seed” Rainbows is already seeing their artist garden grow. Community is power, and Erin is a perfect example of how effective simple modern techniques of promotion can be.
A next step for Rainbows is putting on shows themselves. On Oct. 3, Rainbows in Revolt will host an Evening with Ray Boltz at the National City Christian Church. Boltz grew up in the Catholic Church and for many years was the soundtrack to many services, youth camps, and church groups. He was celebrated by millions until he came out in 2008. Allison remembers her community “never playing his music again.”
Rainbows in Revolt is helping him to return to the church, and proving that identity does not need to be exclusive. We live in a complicated world with complicated lines being drawn. Boltz proves that these lines don’t exist, and will be breaking down barriers to bring together communities. To Allison, “a trans woman standing next to a straight white man in church is a powerful teacher.”
The Safe Space maps bridge all types of spaces, and one of the unlikely ones is, perhaps, churches. Matt said that “BYU has only nine safe spaces around their campus and seven of them are churches.” Not all churches are anti-gay, and many times they are the only place for people to find community.
Rainbows in Revolt is just getting started bridging gaps and building community.
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Summer in the City: Free exhibits, movies, more fill D.C.’s calendar
America 250 celebrations continue
From late-night museum visits and outdoor jazz concerts to free movie screenings and America250 exhibitions, Washington’s summer calendar is packed with events that don’t charge admission. Here’s a look at some of the free activities happening across the District through September and beyond.
Museum exhibitions
The Renwick Gallery is presenting State Fairs: Growing American Craft, an exhibition that looks at unique and unconventional crafts from the 19th century to the present. It will run until Sept. 7, and admission is free.
The Arts and Industries Building, located next to the Smithsonian Castle, is presenting the exhibition Voices and Votes: Exploring Democracy Across America. The exhibition features the development of American independence and what that has meant over time, beginning with the Revolutionary War. Admission to the museum is free, and the exhibition runs until Sept. 7.
The National Gallery of Art presents Dear America, an exhibit featuring more than 100 pieces of work, including letters, photographs, and drawings that depict American landscapes and depictions of freedom. The exhibition will run until Sept. 20.
The National Museum of Women in the Arts is exhibiting Burnished: Pueblo Pottery until Sept. 27. The exhibit features pottery from the Southwest, and while most of the pottery belongs to women artists, a few also reflect those who have advocated for women.
Extending past this summer, the exhibition ¡Puro Ritmo! The Musical Journey of Salsa will be at the National Museum of the American Latino until July 2028. The exhibition shows how Afro-Cuban music has become a staple in the U.S. Admission is free.
The Martin Luther King Jr. Memorial Library will feature the exhibition District Vibes / American Pride: How DC Changed American Culture, which will highlight all of the ways D.C. has impacted American life. The exhibit will run until Sept. 27.
At the Folger Shakespeare Library, the exhibit Imagining Shakespeare: Mythmaking and Storytelling in the Regency Era will be on view through Aug. 2. All the portraits on display come from the Boydell Shakespeare Gallery in London.
The United States Botanic Garden will be open until 8 p.m. on Aug. 20 and Sept. 17, as part of America’s State Flowers: An America250 Celebration. The evenings will include live music, mocktails, ice cream, and snacks.
The National Gallery of Art Sculpture Garden will have extended hours, staying open until 8 p.m. Wednesday to Saturday until Sept. 3.
Live performances
On Aug. 7, the postgame Nationals concert series will continue with Jordan Davis performing. To see the concert, guests just need to buy tickets to the Nationals game.
Jazz in the Garden will run each Friday until Aug. 14. The event has free admission, but those interested have to enter a lottery due to the high demand for the event.
From May to October, Capital Harvest Market occurs every Wednesday from 10 a.m.-2 p.m. at the Ronald Reagan Building and International Trade Center. The market features fresh foods, crafts, and recipes for unique dishes. A full list of vendors is available on Capital Harvest’s website.
Live! Concert Series on the Plaza will feature live performances at Woodrow Wilson Plaza until Sept. 25. The performances run Monday to Friday from 12-1 p.m. Admission is free to the performances.
DowntownDC Live! at Anthem Row is running until July 30, with free performances every Thursday from 5:30 p.m. to 9:00 p.m. The final performance will feature HUE and a vintage flea market hosted by Get Flee Marketplace.
Located in Adams Morgan, AdMo Vibe will present live performances every Thursday at 6 p.m. in Kalorama Park. Guests are encouraged to check out Adams Morgan before and after shows, and it is an event for all ages.
Other events
Union Market is hosting drive-in movies on Aug. 8, featuring “Monsters, Inc.”, and Sept. 12, featuring “Wicked.” On Aug. 8, the parking lot will open at 7:30 p.m., with the movie starting at 8:25 p.m. On Sept. 12, the parking lot will open at 6:35 p.m., and the movie will start at 7:30 p.m.
Sunset Cinema at the Wharf will also be available one day a month. On Aug. 12, “10 Things I Hate About You” will premiere, and on Aug. 26, “Project Hail Mary.” No tickets are necessary.
The Library of Congress will also show movies. On Aug. 6, guests are invited to watch “Apollo 13.” The movie will be shown at 8 p.m., with additional live performances beginning at 7 p.m.
For fans of Asian media, the Okaton convention will be at Walter E. Washington Convention Center from July 31-Aug. 2. Festivities will include cosplay contests, skits, live music, and panel discussions.
Washington Spirit’s season also begins in August. The Spirit is Washington’s National Women’s League, with matchups occurring between the San Diego Wave, the North Carolina Courage, the Orlando Pride, and the Bay FC.
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Jason DePuy on coping with homophobia in ‘Big Brother’ house
