a&e features
D.C. gets leathered up
Your guide to Mid-Atlantic Leather Weekend
Half a mile from the Capitol building on New Jersey Avenue, the Hyatt Regency Washington is getting ready for one of the city’s biggest, gayest, and kinkiest weekends of the year — the annual Mid-Atlantic Leather (MAL) Weekend.
The weekend, which has a long and fabled history that spans two different hosting Motorcycle Clubs (MC), multiple host cities, thousands of LGBTQ people dressed head to toe in leather, and as the Centaur MC website explains, all began with an hour of cocktails and a cock ring.
In 1976, members of the Links MC gathered in a room at New York City’s Waldorf-Astoria hotel to mingle and discuss shared interests (including leather and various sexual proclivities), when one of the party’s guests accidentally dropped his cock ring on the bathroom floor. The loud clang of a cock ring against the tile floor made everyone in attendance laugh. At the next party the Links MC hosted, another member intentionally dropped his cock ring on the floor too, calling back to the prior party’s fun and a tradition was established.
The event grew in popularity among LGBTQ leather lovers, moving to various East Coast cities before finding a permanent home with the Centaur MC in Washington in 1984. Since then, the city has hosted the Leather Cocktail party each year and has expanded to include an exhibitor hall, where leather makers and other kink product creators showcase their wares, the prestigious Mr. MAL Contest, and multiple high energy (and clothing optional) dance parties.
MCs comprised exclusively of queer members have been documented since at least the mid-1950s, with the Satyrs Motorcycle Club of Los Angeles being one of the earliest known examples. During the McCarthy era, when LGBTQ individuals were subjected to brutal discrimination due to unfounded fears that being queer was synonymous with being un-American or even suggested Communist leanings, the groups provided an essential refuge. While such fears were baseless, the formation of these clubs offered a vital safe space for queer people to express themselves in an environment where their identities were not just stigmatized but often criminalized. These MCs became much more than places for sexual expression — they were havens of protection and solidarity, offering a sense of community that would have been nearly impossible to find in the hostile, post-WWII social climate.
This year’s MAL is set to be the biggest year yet with four days of kinky queer fun. It all begins on Thursday at the Hyatt Regency Washington (400 New Jersey Ave., N.W.) with the Full Package/Three Day Pass Pick-Up from 5:30-8:30 p.m. Here guests who have purchased a Full Weekend Package can collect their wristbands.
On Thursday from 9 p.m.-3 a.m., the MAL kick-off Kinetic BOOTCAMP dance party will whip you into shape as international DJs Alex Lo and Dan Slater start off the weekend right. The venue has not been named yet, but Kinetic Events, which oversees this year’s official MAL dance parties have said the space will soon be announced and will “be complete with play zone designed for maximum seduction.”
After beginning MAL weekend on the dance floor, Friday is full of events to keep the kinky vibes going. From 3-10 p.m., guests who have not picked up their Full Package Pass on Thursday can continue to collect them in Capital Room A on the lobby level (located behind the north tower elevators) of the Hyatt Regency Washington. If you haven’t purchased a pass, no worries, both day and weekend passes for MAL hotel events are available for purchase online or at the hotel’s entrance from 3-10 p.m.
The passes vary in price depending on what day(s) you attend. The 3-day pass is $45 plus processing fees and provides access to the Hotel and Exhibitor Hall for the entire weekend, as well as the Mr. MAL Contest on Sunday. The Single Day Pass is $20 plus processing fees and allows access to the Hotel and Exhibitor Hall on either Friday or Saturday. The Sunday Day Pass is $30 plus processing fees and includes access to the Hotel and Exhibitor Hall on Sunday, along with entry to the Mr. MAL Contest. To purchase your pass online visit at sickening.events/e/mal-weekend-2025/tickets or at the hotel’s entrance.
To get in an elevator up to a hotel room a staff member will check for a hotel room wristband. Non-registered guests can only access host hotel rooms if they are escorted by a registered guest with a valid wristband. Registered guests are permitted to escort only one non-registered guest at a time. Non-registered guests with a wristband who are already in the hotel before 10 p.m. may remain until midnight. However, non-registered guests without a wristband will not be admitted after registration closes.
The Exhibit Hall is located on the ballroom level below the lobby. This year is slated to have 29 exhibitors selling leather and kink goods that range from harnesses to jockstraps and everything in between. The Exhibit Hall will be open on Friday from 4-10 p.m., on Saturday from 11 a.m.-6 p.m., and Sunday from 11 a.m.-5 p.m.
Back by popular demand, DC Health is partnering with Nasty Pig to provide preventative health services including MPox vaccines, Doxy PEP, HIV Testing, Narcan kits, and Fentanyl test strips. Their booth with these services will be available on Friday from 3-10 p.m. and on Saturday from 11 a.m.-6 p.m. at Capital Room B (located behind the north tower elevators next to Room A).
Also on Friday, the Centaur MC is holding its Welcome Reception from 6-8 p.m. on the ballroom floor. After the Centaur’s Welcome Reception, there will be an International Mister Rubber (IMR) Social from 8-11 p.m. in Congressional Room A.
Friday night’s dance party KINETIC UNCUT XL will be at REPUBLIQ Hall (2122 24th Place, N.E.) and has been billed as “largest and most debaucherous MAL event yet” with a “labyrinth of play zones” and two dance floors. DJ and adult film creator James Anthony kicks off the night and then allows for you to choose where to dance — either in room 1 with DJ Alex Ramos playing tribal beats or room 2 with DJ and adult creator Boomer Banks playing a tech house set. The dance party goes from 10-4 a.m. so make sure those boots are shined and ready to move.
On Saturday MAL will host its annual Puppy Mosh in Regency Ballroom C from 11 a.m.-1:30 p.m. During the Mosh, pups and their handlers can enjoy a playful puppy playdate while immersing themselves in pup culture. There are strict rules surrounding the Puppy Mosh. The Mosh Monitor has final say and has the right to eject anyone from the Puppy Park for violating the rules. For the full set of Puppy Mosh rules visit leatherweekend.com/puppy-park-rules/.
Immediately following the Puppy Mosh the Super Hero Meet-Up will be held in Capital Room A from 1:30- 3 p.m., where cosplayers and comic book enthusiasts can gather for an erotic meetup celebrating a rendezvous of capes, curves, and vibrant spandex.
From 2-6 p.m. on Saturday, the Onyx Fashion Show will take place in Congressional Rooms A & B for people of color to highlight Black brilliance in leather.
The Leather Cocktail Party that started it all will be held 7-10 p.m. in the Regency Ballroom. Only those with the Full Package Pass can attend and are encouraged to show off their leather and kink fantasy.
The Leather Cocktail Party isn’t the only cocktail party happening on Saturday; from 9-11 p.m., the MAL Cocktail Party will be in Congressional Room B for other MAL attendees to mingle and get a drink.
The last event of Saturday is the KINETIC and Matinée Group’s PERVERT XXL dance party. Beginning at 10 p.m., this will mark the first time that a dance party on MAL Weekend’s Saturday night is an official MAL event. The dance is at A.I. Warehouse in Northeast (address TBA) and has a slew of talent for the celebration. Gigi Goode from “RuPaul’s Drag Race” will “whip the crowd into submission” as DJs from around the world, including Erik Vilar (Brazil), Eliad Cohen (Israel), and Paulo (Los Angeles) play non-stop beats all night long (or at least until 4 a.m. when the party ends). In addition to drag royalty and internationally acclaimed DJs, the dance is held in a multi-level warehouse in Northeast D.C. complete with immersive lights, lasers, and play zones.
On Sunday at 1 p.m., the Mr. MAL Contest will be held in the Regency Ballroom. This highly sought after title gives one man the power to become the Mid-Atlantic Leather man of the year. The sash and title come with some requirements though: 1. You must be male, 2. You must be a resident of North America, 3. Must be at least 21 years of age, and 4. You must self-identify as gay. Additionally, if you enter, you must be prepared to represent the title as a contestant in the International Mr. Leather (IML) Contest in Chicago on Memorial Day Weekend 2025. Currently the list of applicants has hit its limit but if you are interested and can meet the criteria you can email [email protected] to be put on a standby list.
From 6 p.m. to 12 a.m. on Sunday, MAL will hold its Game Night in Capital Rooms A & B.
Last, but certainly not least, the final event and dance party of the weekend is the KINETIC LUST party, the perfectly sensual and sexy way to end MAL 2025. The party goes from 10 p.m.-3 a.m. as Grammy-nominated Abel and DJ Sam Blacky will end your weekend right with “dark, sexy beats and pulse-pounding rhythms” as erotic porn star performances and exclusive play zones are explored.
Each day of MAL a Recovery Meeting will be held in the Yosemite Room (located on the conference level/ second floor) from 10-11 p.m. with an additional session on Saturday from 11 a.m.-12 p.m. to provide a safe space for anyone who is struggling with addiction or for anyone who needs to take a sober step away from the weekend’s events.
All weekend there will also be a Bootblack station where MAL attendees can get any leather goods cleaned and polished. The money donated to the Bootblacks for their work helps raise money for a local charity (that changes each year) and to cover the Mr. MAL travel fund. Don’t forget to tip.
Even though the weekend is called the Mid-Atlantic Leather Weekend, leather is not required. There are some rules regarding outfits though. All expressions of kink are encouraged. Attendees in years past have worn everything from leather to rubber, to furries and even regular street clothes. Just make sure that they abide by the hotel’s dress code rules — in publicly accessible spaces (lobby, hallways, ballrooms, exhibit halls), nudity is not allowed. Men may walk around the hotel shirtless, in a jock, or in chaps with a jock. Women are not permitted to be shirtless or have their nipples exposed. If you are dining, your buttocks must be covered, and at least a vest must be worn.
Please note that all events are 21+ and require an ID check, including every day of events at the Hyatt Regency host hotel. Please make sure you bring your photo ID. Also note that all MAL “Full Weekend Package” pass holders have access to the LUST Sunday Closing Party.
For any additional information on official MAL weekend events and policies, please visit leatherweekend.com or kineticpresents.com.
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.
Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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Award-winning D.C. chef reaching new culinary heights
Anthony Jones of Marcus DC competing on ‘Top Chef’
In Anthony Jones’s kitchen, all sorts of flags fly, including his own. Executive chef at award-winning restaurant Marcus DC, Jones has reached culinary heights (James Beard Award semifinalist for Emerging Chef, anyone?), yet he’s just getting started.
Briefly stepping away from his award-winning station, Jones took a moment under a different set of lights. Recently, he temporarily gave up his post at the restaurant for a starring small-screen slot on the latest season of “Top Chef,” which debuted in March. (The show airs weekly on Bravo and Peacock).
Before his strategic slice-and-dice competition, however, Jones, who identifies as gay, draws from his deep DMV roots. In the years before “Top Chef” and the top chef spot at Marcus, he was born and raised in Sunderland, Md., in southern Maryland, near the Chesapeake.
Early memories were steeped in afternoons on boats with his dad bonding over fishing, and wandering the garden of his great-grandparents spread with fresh vegetables and a few hogs. “It was Southern, old-school ethics and upbringing,” he said. “Family and food went hand in hand.” Weekends meant grabbing bushels of crabs, dad and grandma would cook and crack them. Family members would host fish fries for extra cash. In this seafood-heavy youth, Jones managed time to sneak in episodes of the “OG” Japanese “Iron Chef” show, which helped inspire him to pursue a career in the kitchen.
Jones moved to D.C. after graduating from college, ending up at lauded Restaurant Eve, and met famed chef Marcus Samuelson, who brought him to Miami to be part of the opening team for Red Rooster Overtown. After three years, Jones moved back to D.C., where he ran Dirty Habit, reinventing and reimagining the menu, integrating West African flavors and ingredients.
Samuelson, however, wouldn’t let a talent like Jones stay away for too long. Pulling Jones back into his orbit, Samuelson elevated Jones to help him open his namesake restaurant Marcus DC, which has been named a top-five restaurant by the Washington Post. Since then, Jones has been nominated as a semifinalist for the RAMMYs Rising Culinary Star in 2026 and won the Eater DC’s Rising Chef award in 2025.
Samuelson’s Marcus is a tour de force interpreting the Black Diaspora on the plate, from the American South to West Africa, along with his signature “Swedopian” touches. Yet it’s Jones who has deeply informed the plate, elevating his own story to date. Marcus DC is primarily a seafood restaurant, which serves Jones well.
“Where I’m from is seafood heavy, and as I’ve progressed in my career, I’ve moved away from meat.” Veggies and fish are hero dishes. His own dish, Mel’s Crab Rice, was not only lauded by the Washington Post, but is framed by his youth carrying home the crustaceans from Mel’s crab truck. It’s a bowl of Carolina rice, layered with pickled okra, uni béarnaise, and crab. Jones also points to a dish on the opening menu, rockfish and brassica, paying respect to a landmark D.C. institution, Ben’s Chili Bowl. Jones reverse engineered a favorite bowl of chili that’s seafood instead of meat forward, leveraging octopus and rockfish along with different riffs of cauliflower: showing his intellectual, creative, and cultural sides.
While “Top Chef” is showing Jones’s spotlight side, he also lets his identity show at work. “In the kitchen, I make sure we’re inclusive. We don’t tolerate discrimination. Everyone that’s here should feel confident to express themselves. There are so many different flags in the kitchen.”
Jones says that he didn’t fully express his gay identity until fairly recently. He felt reluctant coming out to certain family members, “you’re scared to tell them about being different,” he says, and while that anxiety ate at him, “I’m lucky and fortunate to have unconditional love and that weight off my shoulders.”
Today, “I’m me all the time, Monday to Sunday. I’m honest with people, and my staff is honest with me.”
“Being a chef is hard,” he says, “and being a chef of color is even more difficult.”
Yet his LGBTQ identity is a juggling act, he says. “I need to keep that balance, because once someone finds out something about you, their opinion can change, whether you want it or not.”
Being on a whole season of TV cooking competition, however, might mean millions more might have an opinion of him (Jones has appeared on TV already, on an episode of “Chopped”). To prepare, he says, “I’ve just kept a level head. It’s just an honor to be on top chef with amazing people happy to be there.”
Plus, this season is set in the Carolinas, and Jones attended Johnson & Wales University in Charlotte, N.C. “It’s a full story of my life, now a monumental moment for me.”
Jones also recently was nominated for a James Beard Foundation Award. “JBF has been a north star, a dream for so long. I always had this goal on my wall.”
Being at the top spot at Marcus DC, making waves through his accolades, and cooking on Bravo means that Jones is highly visible. “I think that if someone has a similar background to me, and can see our story, trajectory, and success, they can have more ability to be themselves. This is my goal.”
Back at Marcus, Jones has plenty up his chef’s white’s sleeves. A new spring menu is in the works. He’ll be launching a new tasting menu “dining experience,” he says, and has plans to work on more events and collaborations with chefs and friends to bring in new talent and share the culinary wealth.
a&e features
Introducing the Torchbearers Awards honoring queer, trans women and nonbinary people
Meet the Legends and Illuminators lighting new paths
The Torchbearers Awards are more than recognition—they are a continuation of legacy. They honor the quiet architects of progress in our community: those who organize, advocate, build, and protect, often without fanfare but always with purpose. Rooted in a belief in intentional recognition, this honor names those who carry our movements forward—those who make room for others, who remind us that change is both generational and generative. In a time marked by uncertainty and challenge, these leaders push forward with courage, clarity, and an unwavering commitment to expanding opportunity and equity.
This year’s honorees reflect the full breadth of our community, spanning generations, backgrounds, identities, and industries. From Legends, with decades of leadership and having created pathways for others, to Illuminators, who are lighting new paths with creativity and innovation, each Torchbearer represents the power of intergenerational leadership and the strength found in our diversity. They are organizers, advocates, artists, policy leaders, healers, and changemakers whose lived experiences shape a shared vision for equity and liberation.
This award is our love letter to queer and trans women and nonbinary people who carry the flame when it would be easier to let it dim. To those who consistently show up, who use their voice and visibility and stand firm, often without recognition, so that others may live more freely and fully. The Torchbearers Awards celebrates not just what has been done, but the enduring spirit, responsibility, and collective care that ensure the work continues, and that the flame is always passed forward.
Co-Creators of the Torchbearers Awards: Shannon Alston, June Crenshaw, Heidi Ellis
Torchbearers Awards Advisory Board: Aditi Hardikar, Lesley Bryant, Jasmine Wilson-Bryant, Stephen Rutgers
ILLUMINATOR AWARDEES
- Representative Sharice Davids (she/her), (D, KS-03)
— U.S. House of Representatives - Greisa Martinez Rosas (she/her/ella)
— Executive Director, United We Dream - Paola Ramos (she/her)
— Journalist & Correspondent - Meagan A. Fitzgerald (she/her)
— Journalist & Correspondent - Jessica L. Lewis (she/her)
— Founder / Producer, Play Play DC - Savannah Wade (she/her)
— Founder, OAR Agency - Suhad Babaa (she/her)
— Filmmaker/ Former Executive Director of Just Vision - Ashlee Davis (she/her)
— Global Head of Inclusive Outcomes, Ancestry - Jazmine Hughes (she/her)
— Journalist and Former Editor at New York Times Magazine - Queen Adesuyi (they/she)
— Policy Advisor & Organizer, ReFrame Health & Justice - Michele Rayner, Esq. (she/her)
— Civil Rights Attorney, State Representative (Florida House of Representatives) - Gaby Vincent (she/her)
— Sports/Cultural Commentator and Community Leader - Jenny Nguyen (she/her)
— Founder & Owner, The Sports Bra - Denice Frohman (she/her)
— Independent Artist, Poet / Performer - Vida Rangel (she/her)
— Founder, Our Trans Capital - Roxanne Anderson (they/them)
— Executive Director, Our Space - Ann Marie Gothard (she/her)
— Co-Founder & President, Pride Live (Stonewall National Monument Visitor Center) - Diana Rodriquez (she/her)
— Co-Founder & CEO, Pride Live (Stonewall National Monument Visitor Center) - Wendi Cooper (she/her)
— Founder / Executive Director, Transcending Women - Toya Matthews (she/her)
— City of San Antonio, Texas - Mayor Gina Ortiz Jones (she/her)
— Sports/Cultural Commentator and Community Leader - Charity Blackwell (she/her)
— Poet, LGBTQ Advocate & Community Leader - Wilhelmina Indermaur (she/her)
— Director of Communications, Tyler Clementi Foundation - Em Chadwick (she/her)
— CMO, For Them & Autostraddle - Kylo Freeman (they/he)
— CEO, For Them & Autostraddle
LEGEND AWARDEES
- Sheila Alexander-Reid (she/her)
— Executive Director, PHL Diversity, Philadelphia Convention & Visitors Bureau - Cassandra Cantave Burton (she/her)
— Interim Director of Thought Leadership & Senior Research Advisor, AARP - leigh h. mosley (she/her)
— Photographer / Educator, PhotoFlo Photography - Jenn M. Jackson, PhD (they/them)
— Assistant Professor of Political Science; Author & Columnist, Syracuse University - Jordyn White (she/her)
— COO, Washington Prodigy / VP of Leadership Development & Research, HRC Foundation - AJ Hikes (they/them)
— Deputy Executive Director, ACLU - RaeShanda Lias (she/her)
— Digital Creator, RL Lockhart - Donna Payne-Hardy (she/her)
— Educator, EEO Specialist, Founder of NBJC, Former Leader at the Human Rights Campaign - Courtney R. Snowden (she/her)
— Principal, Blueprint Strategy Group - Gaye Adegbalola (she/her)
— Musician & Activist, Musician / Inductee of the Blues Hall of Fame - Cheryl A. Head (she/her)
— Independent Author, Novelist (Crime Fiction) - Letitia Gomez (she/her)
— The American LGBTQ+ Museum, Board Chair - Lynne Brown (she/her)
— Publisher, Washington Blade - Shay Franco-Clausen (She/Her/Ella/Queen)
— Political Strategist and Organizer - Melissa L. Bradley (she/her)
— Founder & Managing Partner, New Majority Ventures - Meghann Burke (she/her)
— Executive Director, NWSL Players Association - Victoria Kirby York, MPA (she/they)
— Director of Public Policy & Programs, National Black Justice Collective - Joli Angel Robinson (she/her)
— CEO, Center on Halsted - Jeannine Frisby LaRue (she/her)
— CEO, Moxie Strategies - Alice Wu (she/her)
— Film Director (Saving Face, The Half of It) / Screenwriter - Storme Webber (she/her)
— Interdisciplinary Artist / Educator, University of Washington - Kim Stone
— CEO of the Washington Spirit, Washington Spirit - Mickalene Thomas
— American Visual Artist, Mickalene Thomas Studio - Erika Lorshbough (any/they/she)
— Executive Director, interACT - J. Gia Loving (she/ella)
— Co-Executive Director, GSA Network
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