District of Columbia
GenOUT Chorus offers solace, strength to LGBTQ teens
Summer camp held from June 23-27
As Pride month draws to a close and Washington begins to take down its rainbow flags and WorldPride decorations, it can be easy to confine the ideas of LGBTQ liberation to June. One historic organization in Washington has been speaking out — or singing out if you will — to ensure that LGBTQ youth are allowed to explore and be themselves every month of the year.
The Gay Men’s Chorus of Washington is one of the oldest and largest LGBTQ choruses in the world. With more than 300 members and more than 40 years in the D.C. LGBTQ community, to say it is an institution would be an understatement.
Beginning in 1981, following an inspiring performance by the San Francisco Gay Men’s Chorus at the Kennedy Center, a group of 18 gay men — led by a “straight” woman and friend of Washington’s gay community, Marsha Pearson — created the GMCW. Since its establishment the organization has only grown in number and relevance within the city. From hosting multiple concerts a year, international equality trips, and creating a dedicated space to “inspire equality and inclusion with musical performances and education,” the GMCW is one of the cornerstone organizations in the Washington LGBTQ community.
One of the most remarkable parts of the GMCW is its youth outreach program and choir: GenOUT. The outreach ensemble specializes in providing a space for Washington’s LGBTQ and allied youth, ages 13-18, to find their voice through song and connect that voice to community. The GenOUT program has been around since 2001, and since 2015 has provided a platform for their voices to be heard — literally — making it the first LGBTQ youth chorus in the Washington area.
The Washington Blade sat down with GenOUT Director C. Paul Heins and member Ailsa Ostovitz to discuss why GenOUT, and more specifically the GenOUT summer camp, which was held from June 23-27, has become an essential space for LGBTQ youth in the D.C. area to find their voice amid less-than-supportive administration and rising anti-LGBTQ rhetoric in the nation.
“This is my 11th season with GenOUT, and also the 11th season with Gay Men’s Chorus of Washington,” Heins said when explaining how he ended up in the director role for the self-selected, no audition required youth outreach ensemble. “I was hired in August of 2014 to start GenOUT. I spent that first fall researching other choruses, figuring out the infrastructure, promoting the chorus, and building relationships with schools, organizations, and faith communities. And then we started in January of 2015 with nine brave singers and since then, we’ve had 150+ singers from 80 or more schools in the DMV participate.”
Ailsa Ostovitz, on the other hand, being in high school had not had as much experience with choirs — yet her commitment and unwavering passion for the work she — and the other performers within GenOUT provide to each other was unmistakable.
“I’ve been a part of the course since April of 2022, and that was like seventh grade— which is wild to think about,” Ostovitz said when reflecting on how long she had been a part of GenOUT. She explained how she had begun to develop a drive for filling leadership roles within GenOUT after gaining valuable experiences and education from the organization.
“This is my first year in leadership,” she added. “The rest of the years, I kind of hung back. I really wanted to — especially last season — kind of put myself in the position of a peer and think ‘What would I want from people that are supposed to represent me to the adults? What would I want out of that?’”
And with those questions in mind, Ostovitz explained she buckled down and worked hard to get to where she is now as a member of the leadership team within the GenOUT choir.
“I spent a lot of time working with my section leader, and, looking up at him and being like, ‘What are you doing now that I can do in the future?’ And so this year, I ran for leadership,” Ostovitz said. “I got section leader, and that was cool. I’ve just spent a lot of time — most of my time in this course — learning leadership skills to kind of help me in all sorts of things in life, because I like to take control of things, and I like doing stuff.”
These leadership skills are just a handful of the things that students like Ostovitz learn while participating in the program. This year’s theme was “Make Them Hear Us!: Empowering LGBTQ+ and Allied Youth Through Music, Media, and Community,” and provided multiple opportunities for GenOUT’s members to engage with new concepts, ideas, and experiences.
From field trips to mentoring opportunities to an end-of-camp performance, it becomes clear when speaking to those familiar with the GenOUT experience: it is not your traditional summer day camp.
“The title of the camp references the anthem that GMCW has sung for many years,” Heins said. “‘Make Them Hear You’ from the musical ‘Ragtime’ encourages us to share important stories — stories that honor the fights that we’ve been fighting, the rights that we have won, affirmations that we seek for every human being, and the focus on media — specifically developing young people’s understandings of the kinds of media that they can access and use to share their voice.”
The camp offers singing and dancing lessons, creative writing exercises, LGBTQ+ history lessons, and open discussions about identity — providing an outlet for students to figure out who they want to be and find their voice.
“What this camp does, I believe, is it helps foster young people’s voices and not only encourages them to speak, but to give them the skills to speak in a way that will be heard meaningfully,” Heins added. “I have noted that youth in queer choruses like GenOUT have said that singing in a chorus allows young people to express themselves more honestly and with greater passion than other forms of expression. They’ve also said that singing with others that understand you on a very deep, profound level, makes the expression much easier and more beautiful. I think that experience is what really makes this a special opportunity for young, LGBTQ and allied people.”
Ostovitz echoed Heins’s sentiment, emphasizing that the space GenOUT provides allows her to feel empowered in ways more than by creating leadership skills that will help her later in life. GenOUT has allowed for her to see the humanity and similarities LGBTQ youth all face in a straight world.
“Joining the chorus and being in this camp, it really gives people a chance to see that every person is going through the same experience you are, on a level of finding your own identity and being confident in that,” Ostovitz said. “It really, really serves a purpose by showing there are still queer people. They’re not fizzling out — young people are queer. We want to use our voices to express what we feel and how things are affecting us, and I think that using music to do that is probably one of the most powerful ways to do that.”
In addition to allowing for internal growth and honing their singing abilities, both Ostovitz and Heins pointed out the other valuable skills students learn while in the GenOUT program. Ostovitz explicitly highlighted the mentorship program GenOUT has with GMCW, and how it has helped students like her figure out their future.
“Because we are so connected with GMCW, we run a mentorship program where, if you want to explore career, identity, whatever, we can connect you with somebody from GMCW,” Ostovitz said. “You get to spend a whole semester with a person working on your voice or your career or your what you want to do in higher education. It’s not only for things related to your queer identity, but it’s also just for life. It’s really cool.”
This year’s theme, centering around media and the many ways people can share their voice, was highlighted through the camp’s field trips to two legacy media organizations — WAMU and NBC Washington — and a discussion with staff from the Washington Blade, including Publisher Lynne Brown and International News Editor Michael K. Lavers.
“GenOUT provides a chance to get to know people from all around this area, but it also connects you to older folks, It connects you to people from the past, as well as we learn about LGBTQ history,” Heins said. “I think a camp specific thing is we want young people to understand how they can share their stories beyond just talking to their friends. There are these forms of media that are out there to share your stories, to have your voices heard, and to have a sense that these media are there for everyone. It’s not just a thing for people aged 21 and over. That was something that Lynne and Michael from the Blade were sharing with; that anyone can write in a letter to the editor. It doesn’t mean it’s going to be published, but that anyone has that opportunity. And I think that’s a great way for them to say the Blade is open to you to share your voice.”
The concept that there are people who want to, or may need to hear queer voices represented is one that is not lost on Ostovitz.
“There is something Thea says that has kind of integrated into our chorus — that someone out there needed to hear you, needed to hear your voice, needed to hear your story,” Ostovitz said. “That’s something that I kind of live by in this chorus, where I’m like, ‘I believe that there is someone out there that needed to hear this song for whatever reason, whatever it did for them. And I’m hoping to learn how much more can this chorus do for not just our little community, but how much more can it do around the world or the country — especially now.”
Living in the political center of the U.S., Ostovitz explained, has impacted how she approaches her identity, her education, and the urgency of using her voice — both as a student and as a young queer person navigating an increasingly hostile national climate.
“Being so close to the political center of the country and also a student at the same time has not been the easiest thing in the world as of late,” she said. “You’re thinking a lot about ‘Oh, I wonder if this program in my school will still exist next year,’ because a lot of the funding for physics and science programs in general has been cut. So I’m fortunate enough that Maryland has been pretty good about going against this administration. And so being in this chorus gives me a second to step back from my academics and just go somewhere for the two hours of rehearsal.”
For Ostovitz, just having those two short hours a week to focus on music — without thinking about the political climate that paints her and her choir peers as nefarious for being LGBTQ — provides solace.
“Everybody else is going through the same thing as I am, but we’re all also working towards the same goal, which is acceptance and uplifting of everybody and everyone — no matter who they are,” she said. “It kind of settles you down and grounds you. And then you just make music with people, and it’s really like a stress reducer for me.”
“Is it too trite to say that that would make people feel less alone, knowing that it’s not just a DMV thing, but that there are queer people all over?” Heins asked Ostovitz.
“No, it’s not — for sure,” Ostovitz responded. “It was a bit eye-opening.”
“A lot of us are fortunate enough to have families that support us enough to trust us and help us be passionate and mean what we do with the work that we do in this chorus — because it is optional,” Ostovitz added. “It is optional to have the courage that we have to practice and commit as much as we do, and the fact that we have a whole organization backing us on that is pretty cool.”
“We often say that we sing for those who can’t sing in a chorus like ours,” Heins said. “We sing for people who don’t have the freedom or the option to live their authentic lives. I think that’s very powerful.”
“It’s a very unique experience to be surrounded by so many people that get it,” Ostovitz said. “It’s a very joyful experience when we perform our big shows at the Lincoln Theater, being part of that production is also a very unique experience. So I think everything about this chorus is very joyfully unique.”
“I feel very proud, and I feel very inspired,” Heins said. “I feel inspired by the young voices. I feel a sense of inspiration in my own music-making, when I am able to take a piece from its very beginning all the way to the stage in a polished form. And I feel that sense of pride in knowing that I’ve helped this group of young people develop their confidence to do really amazing things.”
“GenOUT sang 22 times last year, which for any chorus is a big deal, but for a youth chorus coming from thither and yon, it is really a big deal,” Heins added. “I’m just really inspired and proud, and know that when I am in a nursing home somewhere and these folks are still out working and I know the country will be in good hands.”
District of Columbia
D.C. Council approves increased funding for Mayor’s Office of LGBTQ Affairs
Increase attached to 2027 budget bill
The D.C. Council on July 14 gave final approval for the city’s fiscal year 2027 budget that includes an amendment calling for increasing the number and size of funding grants that the Mayor’s Office of LGBTQ Affairs provides for local organizations providing services for the LGBTQ community.
The amendment, called the “LGBTQ Community Grant Amendment Act of 2026,” was introduced earlier this year by D.C. Council member Zachary Parker (D-Ward 5), the Council’s only gay member.
The D.C. LGBTQ Budget Coalition called the Parker amendment “a historic measure that establishes the District’s most sustainable model for a vehicle for investing in LGBTQ communities.”
The Council approved the version of the FY 2027 budget bill with the attached Parker amendment in its first of two required votes on June 9. Shortly after voting unanimously to give final approval of an earlier version of the two-part budget measure on July 7 that includes the Parker amendment, the Council sent the bill to Mayor Muriel Bowser for her signature.
Bowser has expressed strong opposition to several provisions in the $22 billion budget measure passed by the Council that are unrelated to the Parker amendment regarding the Office of LGBTQ Affairs. The mayor has yet to say whether she will sign, veto, or choose not to sign the bill.
The latter option would allow the bill to become law if Congress does not choose to overturn it during its required 30-day legislative review period for all D.C. bills. Political observers believe the Council will vote to override a veto if Bowser chooses to veto the bill.
When contacted by the Washington Blade on July 22 to determine where the mayor stands on the budget bill, mayoral spokesperson Daniel Gleick said only, there was “no update on the budget just yet.”
Among other things, the Parker amendment calls for the Mayor’s Office of LGBTQ Affairs to issue a $980,000 grant in FY 2027 to a private, nonprofit organization in partnership with the office “for the purpose of supporting programs that promote the welfare of the lesbian, gay, bisexual, transgender, and questioning community.”
It would allocate $680,000 of that funding total from existing funds from the city’s community affairs grants program and calls for $200,000 in newly appropriated funds.
It says the organization selected would also initiate its own fundraising effort to expand the amount of funds beyond the amount the office would provide, enabling it to provide larger grants to a greater number of local LGBTQ organizations.
“The legislation arrives at a critical moment, as LGBTQ-serving organizations face unprecedented uncertainty,” the D.C. Budget Coalition said in its comment on the Parker amendment. “Growing demand for services is colliding with shrinking resources, federal attacks on LGBTQ programs, and ongoing threats to local funding streams,” the coalition’s statement says.
In what some observers have called a highly controversial action; the budget bill approved by the Council reverses and restores millions of dollars in budget cuts proposed by Bowser in the budget she submitted to the Council earlier this year.
Among other things, the Council’s budget preserves the current level of funding for housing vouchers, childcare, paid family leave, and other programs slated to be cut in the mayor’s proposed budget, according to a report by the Washington Post.
Bowser points out that the Council approved budget bill calls for using $150 million from the city’s reserve fund, which she and others have said could put the city in jeopardy in future years. The mayor has said the cuts were needed to prevent a major funding shortfall brought about by the action by Republicans in Congress to cut the city’s budget by over a billion dollars.
District of Columbia
Is the Metro safe for riders?
WMATA says crime dropped 37 percent on system in 2025
I was inside Benning Road train station in April waiting for my train with two friends on the way to school. It usually took me 25-30 minutes to get from Benning Road Station to school at Congress Heights. As I waited for the train, I kept noticing that every train that got to five minutes away would disappear from the Metro screen before it got to my stop.
I found out from one of my friends that a Metro work vehicle had crashed into a train at Metro Center and that all trains were now delayed. While my friends were able to call their family to pick them up, I had no such luxury. The train was my only option. It took me more than an hour to get to school. I missed my first period because of it and had to make up my work later in the day. I was marked absent because when a student misses one class, they’re marked absent for the day and an email is sent to their parents. I felt irritated knowing that I had to deal with all of these problems that weren’t even my fault due to an incident that happened on a different side of town.
The incident at Metro Center isn’t the only incident that I have experienced on the subway. I have experienced kids fighting and almost pushing me on the tracks, massive delays because a woman was passed out on the train and Metro police pulling out their assault rifles and arresting someone in the station, which caused people to panic and start running.
I later learned the crash that led to me being late to school caused 11 injuries to people who were on the train, according to media reports. And the Metro has experienced other dangerous incidents this year. A man was beaten so badly on Cinco de Mayo that he needed staples in his head and another man was beaten to death by a stranger at the Addison Road station.
However, I’ve never experienced any incident that has led to me getting hurt, nor actually seen anyone get hurt.
So, is the Metro safe?
Metro experienced the lowest crime rate in its history in 2025, the Washington Metropolitan Area Transit Authority said. The crime rate decreased by 37 percent in 2025 compared to 2024.
Last year, the Metro Transit Police Department increased enforcement efforts department-wide by more than 25 percent, Metro said. WMATA said it is in the process of installing upgraded video systems on our 6000 and 7000-series rail cars, which make up most of the cars in the system. This new camera system allows for live video access to rail cars from Metro’s Integrated Command and Communications Center.
Asked if he felt unsafe using the Metro, Dr. Aruna Rajam, a teacher at Bard High School Early College DC and George Washington University, recalled being on the train with a man who was smoking weed and yelling.
“It didn’t turn physically violent, but it was alarming and made me feel like the situation could go sideways quickly,” said Rajam, who takes the train to both of his jobs, traveling day and night.
Incidents like these are what make Rajam feel unsafe occasionally when he is riding the subway at night: “Late at night — like my 8:45 ride from Foggy Bottom to Springfield — it’s a different atmosphere.”
Jayden Payne, a rising sophomore at Bard, worries even more.
“There was a man who seemed intoxicated, moving around his phone, pretending it was a gun-all up in ladies’ faces,” he said in an interview.
When asked if he would recommend the subway to others, he gave a firm “no” due to all of the incidents that he has heard about that have happened on the Metro.
Erin Bray, who graduated from Bard in June, recalled an incident when a man brought a gun on the train when she was on it. Asked if she felt safe on the subway, Bray said: “No, because there’s not enough security and people keep bringing [weapons] on there.”
Metro said it launched a Safety Risk Reduction Plan to improve riders’ safety and employs several other safety tactics, including Safe Passage patrols to help students in D.C. get to and from school safely.
While all of the people interviewed said that they saw or experienced an uncomfortable incident, Metro said it is increasing its security and safety protocols.
WMATA data coincides with what one of my interviewees said about his experience on Metro.
“I feel safer now than I felt riding the Metro today than I did 10 years ago,” Dr. Samuel Slattery, a social science teacher at Bard High School Early College, said.
He spoke of his experience with the Southeastern Pennsylvania Transportation Authority subway in Philadelphia in comparison: “… That’s what an unsafe train system feels like,” Slattery said.
The week before he was interviewed in May, Slattery said he was on SEPTA and there was a woman “eating beans off the floor of the train,” a homeless man “passed out in the middle of the train,” and a mentally ill woman yelling in his and other passengers’ faces that, “‘Jesus was watching her’ and the rest of us were in contact with demons.” This incident agitated Slattery so much that he said, “Screw this” to his friend and decided to pay extra for an Uber.
Metro riders who want to report an incident or safety concern can call Metro Transit Police (MTPD) at 202-961-2121 or text MYMTPD (696783). Metro also posts a daily Crime Blotter on its website where the public can see the calls MTPD responded to on a given day. The Crime Blotter can be found here: https://www.wmata.com/about/transit-police/crime-stats.cfm
Christian Jennings, a 2026 graduate of Bard High School Early College DC, is a rising freshman at North Carolina State University, where he plans to major in nuclear engineering. He worked with journalist-instructors at Youthcast Media Group on this article.
District of Columbia
Wanda Alston Foundation announces passing of founding executive director Brian Watson
D.C. activist praised as “passionate advocate” for homeless LGBTQ youth
The Wanda Alston Foundation, which provides housing and support services for homeless LGBTQ youth in the D.C. metro area, announced on July 20 that its founding executive director, Brian Watson, has passed away.
In a statement the Alston Foundation called Watson “one of Washington, D.C.,’s most passionate advocates for LGBTQ+ youth experiencing homelessness.”
Neither the statement nor others who knew Watson have disclosed the cause of death or his age. Longtime LGBTQ community activist Rayceen Pendarvis said she heard only that Watson’s passing followed “a long time illness.”
“The origins of the Wanda Alston Foundation can be traced to a meeting convened by then-Mayor Anthony Williams at the request of Wanda Alston, the Mayor’s Director of LGBTQ Affairs,” the statement says.
“During that meeting, Brian spoke powerfully about the growing crisis of homelessness among LGBTQ+ youth in the District of Columbia and the urgent need for dedicated housing and support services,” it says. “His advocacy helped crystalize a vision that every young person deserves a safe place to call home.”
The statement points out that following Alston’s untimely death, Watson joined other community leaders “to transform that vision into reality by establishing the Wanda Alston Foundation in her memory.”
It says that today the Alston Foundation “proudly carries forward the mission Brian helped create by providing emergency and transitional housing, counseling, workforce development, life-skills training, and other supportive services that empower LGBTQ+ youth to achieve stability, independence, and hope for the future.”
Watson’s LinkedIn page says he served as executive director of the Alston Foundation from July 2013 to March 2014. The Washington Blade reported in April 2014 that the Alston Foundation announced in a March 11, 2014, statement that Watson had resigned to “pursue other opportunities.”
His LinkedIn page shows he worked for or with in a supporting role three local nonprofit organizations since leaving the Alston Foundation, including serving from February 2019 to November 2019 as a Methamphetamine Services Specialist for the D.C. group HIPS, which provides services for drug users and sex workers.
According to his LinkedIn page, from October 2014 to “present,” he also served as Chief Innovation Officer for the Propel Foundation, Inc., which he described as a “501c3 nonprofit organization founded in D.C. that works to strengthen nonprofit organizations through fiscal sponsorship and capacity building.”
A Facebook posting by his brother, Vidale Watson, says his family will be making arrangements for a memorial service and will share the date, time, and location once the details have been finalized.
“There are no words to describe the heartbreak our family is feeling,” Vidale Watson wrote. “While we are grateful for every prayer, kind word, and act of support we’ve received over the past week, this loss is still incredibly fresh.”
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