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The Kinsey Sicks’ COVID-era creations

‘From a Distance’ parody thrills fans

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

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

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

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

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

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

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

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

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

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

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

BLADE: Are there other group projects in the works?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

SPENCER/TRAMPOLINA: Vote.

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Italy

44 openly LGBTQ athletes to compete in Milan Cortina Winter Olympics

Games to begin on Friday

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(Public domain photo)

More than 40 openly LGBTQ athletes are expected to compete in the Milan Cortina Winter Olympics that open on Friday.

Outsports.com notes eight Americans — including speedskater Conor McDermott-Mostowy and figure skater Amber Glenn — are among the 44 openly LGBTQ athletes who will compete in the games. The LGBTQ sports website also reports Ellis Lundholm, a mogul skier from Sweden, is the first openly transgender athlete to compete in any Winter Olympics.

“I’ve always been physically capable. That was never a question,” Glenn told Outsports.com. “It was always a mental and competence problem. It was internal battles for so long: when to lean into my strengths and when to work on my weaknesses, when to finally let myself portray the way I am off the ice on the ice. That really started when I came out publicly.”

McDermott-Mostowy is among the six athletes who have benefitted from the Out Athlete Fund, a group that has paid for their Olympics-related training and travel. The other beneficiaries are freestyle skier Gus Kenworthy, speed skater Brittany Bowe, snowboarder Maddy Schaffrick, alpine skier Breezy Johnson, and Paralympic Nordic skier Jake Adicoff.

Out Athlete Fund and Pride House Los Angeles – West Hollywood on Friday will host a free watch party for the opening ceremony.

“When athletes feel seen and accepted, they’re free to focus on their performance, not on hiding who they are,” Haley Caruso, vice president of the Out Athlete Fund’s board of directors, told the Los Angeles Blade.

Four Italian LGBTQ advocacy groups — Arcigay, CIG Arcigay Milano, Milano Pride, and Pride Sport Milano — have organized the games’ Pride House that will be located at the MEET Digital Culture Center in Milan.

Pride House on its website notes it will “host a diverse calendar of events and activities curated by associations, activists, and cultural organizations that share the values of Pride” during the games. These include an opening ceremony party at which Checcoro, Milan’s first LGBTQ chorus, will perform.

ILGA World, which is partnering with Pride House, is the co-sponsor of a Feb. 21 event that will focus on LGBTQ-inclusion in sports. Valentina Petrillo, a trans Paralympian, is among those will participate in a discussion that Simone Alliva, a journalist who writes for the Italian newspaper Domani, will moderate.

“The event explores inclusivity in sport — including amateur levels — with a focus on transgender people, highlighting the role of civil society, lived experiences, and the voices of athletes,” says Milano Pride on its website.

The games will take place against the backdrop of the U.S. Olympic and Paralympic Committee’s decision to ban trans women from competing in women’s sporting events.

President Donald Trump last February issued an executive order that bans trans women and girls from female sports teams in the U.S. A group of Republican lawmakers in response to the directive demanded the International Olympics Committee ban trans athletes from women’s athletic competitions.

The IOC in 2021 adopted its “Framework on Fairness, Inclusion and Nondiscrimination on the Basis of Gender Identity and Sex Variations” that includes the following provisions:

• 3.1 Eligibility criteria should be established and implemented fairly and in a manner that does not systematically exclude athletes from competition based upon their gender identity, physical appearance and/or sex variations.

• 3.2 Provided they meet eligibility criteria that are consistent with principle 4 (“Fairness”, athletes should be allowed to compete in the category that best aligns with their self-determined gender identity.

• 3.3 Criteria to determine disproportionate competitive advantage may, at times, require testing of an athlete’s performance and physical capacity. However, no athlete should be subject to targeted testing because of, or aimed at determining, their sex, gender identity and/or sex variations.

The 2034 Winter Olympics are scheduled to take place in Salt Lake City. The 2028 Summer Olympics will occur in Los Angeles.

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Theater

Out dancer on Alvin Ailey’s stint at Warner Theatre

10-day production marks kickoff of national tour

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Renaldo Maurice (Photo by Dario Calmese)


Alvin Ailey American Dance Theater
Through Feb. 8
Warner Theatre
513 12th St., N.W.
Tickets start at $75
ailey.org

The legendary Alvin Ailey American Dance Theater is coming to Washington’s Warner Theatre, and one of its principal veterans couldn’t be more pleased. Out dancer Renaldo Maurice is eager to be a part of the company’s 10-day stint, the kickoff of a national tour that extends through early May. 

“I love the respectful D.C. crowd and they love us,” says Maurice, a member of esteemed modern dance company for 15 years. The traveling tour is made of two programs and different casting with Ailey’s masterwork “Revelations” in both programs.

Recently, we caught up with Maurice via phone. He called from one of the quiet rooms in his New York City gym where he’s getting his body ready for the long Ailey tour. 

Based in North Newark, N.J., where he recently bought a house, Maurice looks forward to being on the road: “I enjoy the rigorous performance schedule, classes, shows, gym, and travel. It’s all part of carving out a lane for myself and my future and what that looks like.”

Raised by a single mother of three in Gary, Ind., Maurice, 33, first saw Alvin Ailey as a young kid in the Auditorium Theatre in downtown Chicago, the same venue where he’s performed with the company as a professional dancer.

He credits his mother with his success: “She’s a real dance mom. I would not be the man or artist I am today if it weren’t for the grooming and discipline of my mom. Support and encouragement. It’s impacted my artistry and my adulthood.”

Maurice is also part of the New York Ballroom scene, an African-American and Latin underground LGBTQ+ subculture where ball attendees “walk” in a variety of categories (like “realness,” “fashion,” and “sex siren”) for big prizes. He’s known as the Legendary Overall Father of the Haus of Alpha Omega.

WASHINGTON BLADE: Like many gay men of his era, Ailey lived a largely closeted public life before his death from AIDS-related complications in 1989. 

RENALDO MAURICE Not unusual for a Black gay man born during the Depression in Rogers, Texas, who’s striving to  break out in the industry to be a creative. You want to be respected and heard. Black man, and Black man who dances, and you may be same-sex gender loving too. It was a lot, especially at that time.  

BLADE: Ailey has been described as intellectual, humble, and graceful. He possessed strength. He knew who he was and what stories he wanted to tell.

MAURICE: Definitely, he wanted to concentrate on sharing and telling stories. What kept him going was his art. Ailey wanted dancers to live their lives and express that experience on stage. That way people in the audience could connect with them. It’s incredibly powerful that you can touch people by moving your body. 

That’s partly what’s so special about “Revelations,” his longest running ballet and a fan favorite that’s part of the upcoming tour. Choreographed by Alvin Ailey in 1960, it’s a modern dance work that honors African-American cultural heritage through themes of grief, joy, and faith.

BLADE: Is “Revelation” a meaningful piece for you?

MAURICE: It’s my favorite piece. I saw it as a kid and now perform it as a professional dance artist. I’ve grown into the role since I was 20 years old. 

BLADE: How can a dancer in a prestigious company also be a ballroom house father? 

MAURICE: I’ve made it work. I learned how to navigate and separate. I’m a principal dancer with Ailey. And I take that seriously. But I’m also a house father and I take that seriously as well.  

I’m about positivity, unity, and hard work. In ballroom you compete and if you’re not good, you can get chopped. You got to work on your craft and come back harder. It’s the same with dance. 

BLADE: Any message for queer audiences? 

MAURICE: I know my queer brothers and sisters love to leave with something good. If you come to any Ailey performance you’ll be touched, your spirit will be uplifted. There’s laughter, thoughtful and tender moments. And it’s all delivered by artists who are passionate about what they do. 

BLADE: Alvin Ailey has been a huge part of your life. Thoughts on that?

MAURICE: I’m a believer in it takes a village. Hard work and discipline. I take it seriously and I love what I do. Ailey has provided me with a lot: world travel, a livelihood, and working with talented people here and internationally. Alvin Ailey has been a huge part of my life from boyhood to now. It’s been great. 

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Out & About

This queer comedy show will warm you up

Catfish Comedy to feature LGBTQ lineup

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(Promotional image via Eventbrite)

Catfish Comedy will host “2026 Queer Kickoff Show” on Thursday, Feb. 5 at A League of Her Own (2319 18th Street, N.W.). This show features D.C.’s funniest LGBTQ and femme comedians. The lineup features performers who regularly take the stage at top clubs like DC Improv and Comedy Loft, with comics who tour nationally.

Tickets are $17.85 and can be purchased on Eventbrite

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