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GenOUT Chorus offers solace, strength to LGBTQ teens

Summer camp held from June 23-27

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Clockwise from upper left: members of GenOUT Chorus tour WAMU 88.5 with morning host Esther Ciammachilli; members of the Chorus tour NBC4; members of the chorus at Clarendon United Methodist Church for an end-of-camp concert on on June 27; producer Rick Yarborough with members of the Chorus at NBC4. (Photos courtesy the Chorus)

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.”

GenOUT Chorus performs in ‘Passports’ at Lincoln Theatre in March. (Washington Blade photo by Michael Key)

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.”

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District of Columbia

To school to homeschool to school again

‘Pandemic took more than 2 years of school. It took 2 years of my childhood’

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Gloria Collazo Huamani studying at home during the COVID-19 pandemic (Photo courtesy of Gloria Collazo Huamani)

It wasn’t until I no longer had those 30 minutes of lunch and recess, when all the boys and girls would come together to trade bracelets, make up games, gossip about who we liked, play tag and sports, that I realized how much of my childhood happened during the parts of school that had nothing to do with schoolwork. 

I was in the third grade when the COVID-19 pandemic began. I remember my parents explaining that I couldn’t go back to school and wondering when I would see my friends again — or whether I wanted to go back at all. But after spending two years learning from home, cut off from the friends, teachers and routines I had known, I began to understand what I had lost. 

For many of my friends and classmates, going to school changed from a bus ride every morning to clicking a link and seeing their teachers and classmates through a screen. My experience was a little different. Instead of going to virtual school, I was homeschooled. My new routine was sitting at my kitchen table, with my mom teaching me how to write a paragraph or solve a math problem, surrounded by the same walls I saw every day. 

My family was not alone. Many families across the country turned to homeschooling after schools shut down. Homeschooling increased sharply during the pandemic, especially among Black families, rising from 3.3 percent in the spring of 2020 to 16.1 percent that fall, according to the U.S. Census Bureau’s Household Pulse Survey.  

It would be two years before I entered a classroom again.

At first, I loved homeschooling.

I didn’t have to wake up early or put on a uniform. I liked the comfort of my own room, surrounded by my stuffed animals and toys. I didn’t have to push my way through that horrible lunch line because my food was now waiting for me at the kitchen table. 

It felt like a fever dream where school was canceled and all day was fun. That was my view as a 9-year-old. 

But as days turned into weeks and weeks into months, that initial excitement wore off.

Every day became the same routine. There was no recess when I could play princess with all the other girls. There were no conversations in the lunch line and none of the small things that had broken up the school day before. I didn’t realize how much those moments mattered until I could no longer experience them. 

With less to look forward to, I started spending more time on the internet. 

I turned to platforms such as YouTube and TikTok to distract myself. Instead of seeing what the kids around me were doing every day, I could watch people online show off their clothes, makeup, dances, art and lives. 

Over time, I started comparing myself with what I saw. I thought the way I dressed was childish and wanted to be like the superstars I saw online. I followed what was trendy and admired the girls and boys who looked so confident on screen.

Before the pandemic, my friends and I didn’t need the internet to tell us what was popular. But during those years at home, I became much more aware of what other people thought was cool and what someone my age was supposedly supposed to like. I felt as though I was growing up without getting to experience all the steps in between. 

When I finally returned to school, I thought my classmates would be excited to see each other again after spending so much time apart. 

Instead, I realized how much we all changed. 

When I walked through those doors, I remembered vague memories of running down those halls and always seeing my peers with smiles on their faces. Now those same faces were tired, with eye bags. The lunchroom, which used to be full of life with happy kids eating to their hearts’ content, turned into a lunch where all the girls controlled what they ate and talked about the latest trend on TikTok.

Maybe some of that change would have happened anyway. Kids grow up. Interests change. Middle school has always been awkward.

But I didn’t get to watch my classmates gradually change or change alongside them. I left one social world and came back to another.

When I returned, I was expected to understand a social world that had changed while I was gone. I felt I missed so much that I would never get back, and without that day-to-day learning to help me adapt to these new norms, I struggled.

Those everyday interactions are an important part of how children learn to get along with others: A 2026 meta-analysis of 157 studies from 33 countries published in the academic journal Child Development found that children’s social and emotional skills declined during the pandemic, along with their overall well-being. The researchers noted that schools are not just places where children learn math and reading. They are also places where children learn how to make friends, work through disagreements, understand other people’s feelings and manage their own emotions.

Years later, many parents say some of those effects are still being felt. In a 2025 Gallup survey, 45 percent of parents with school-age children said the pandemic hurt their child’s social skills, and 22 percent said those problems were still ongoing. Forty-two percent said the pandemic negatively affected their child’s mental health. Parents were more likely to report problems with their children’s social skills and mental health than with their academics or physical health.

I saw some of those changes around me, too. Classmates who once seemed outgoing became quieter or more withdrawn. Starting conversations felt harder. Making new friends felt harder. Sometimes retreating into myself felt easier than trying to figure out where I belonged.

Now, the kids who were in elementary school when the pandemic began are moving through high school. We are older, but some of us are still figuring out what those missing years meant.

Before the pandemic, I thought lunch and recess were simply breaks from learning. Now I understand that we were learning during those 30 minutes, too. We were learning how to make friends, how to disagree and make up, how to be embarrassed and recover from it, what we liked and what we didn’t, and slowly who we wanted to become.

I can’t know exactly who I would be if I had spent those years inside a classroom instead of at home. Maybe middle school still would have been awkward. Maybe I still would have worried about fitting in.

But I know I missed something I didn’t understand was important until it was gone: the ordinary, sometimes boring, sometimes ridiculous parts of growing up alongside other kids.

You can make up schoolwork. You can return to the classroom. But there are some parts of childhood you don’t get to repeat.

Gloria Collazo Huamani is a sophomore at Benjamin Banneker Academic High School in D.C., one of Youthcast Media Group’s journalism class partners. Gloria worked with James Jarvis, a YMG mentor-editor and reporter for Inside Health Policy, on this story.

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District of Columbia

Former Capital Pride board member reiterates sexual harassment allegation

Trans activist says resignation of board chair won’t change org’s culture

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Taylor Lianne Chandler resigned earlier this year from the Capital Pride Alliance board. (Washington Blade file photo by Michael Key)

Taylor Lianne Chandler, who earlier this year resigned from the Capital Pride Alliance Board of Directors after expressing concern that the board failed to address instances of “sexual misconduct” within the Capital Pride organization, said this week she doesn’t believe her concerns will be addressed following the resignation of the board’s current chairperson.

Capital Pride Alliance serves as the lead organizer of D.C.’s annual LGBTQ Pride events. 

Anna Jinkerson, who has served as chair of the Capital Pride board for only 10 months and has served on the board for the past four years, confirmed she is resigning from the board effective Sept. 30.

In a statement to the Washington Blade commenting on the possible impact of Jinkerson’s resignation, Chandler said Capital Pride board member Natalie Thompson would be replacing Jinkerson as board chair, and she didn’t expect that change to impact what she called Capital Pride’s problematic “culture.” 

But Ryan Bos, the Capital Pride president and CEO, told the Blade that Thompson had not been selected as the new board chair and that a new chair would not be selected until the board holds an election scheduled for October.

Chandler, who identifies as transgender, said it was a Capital Pride board member who told her that Natalie Thompson had been or would be selected as the new Capital Pride board chair. She didn’t identify the board member.

“My concerns about how Capital Pride has handled serious allegations of sexual misconduct have not disappeared with a change in leadership,” she told the Blade in her statement. “When leadership continues to socialize, smile for photographs, and share spaces with someone facing serious allegations, what message does that send to the people who say they were harmed,” she said.

Chandler has told the Blade a Capital Pride investigation identified an individual implicated in a “pattern” of sexual harassment-related behavior but said she was bound by a Non-Disclosure Agreement that applied to all board members and she could not provide further details.   

When asked by the Blade to comment on Chandler’s allegations at the time she resigned from the board in February of this year, board chair Jinkerson said Capital Pride acts “quickly and appropriately” to address concerns such as those raised by Chandler. But she and other Capital Pride officials did not at that time or since then specifically acknowledge whether someone associated with the organization engaged in sexual harassment.

“The community deserves transparency, accountability, and leadership willing to make difficult decisions,” Chandler said in her statement to the Blade this week. “Changing the chair doesn’t change the culture,” she added. “Actions do.”

In response to a request from the Blade for an update on its response to Chandler’s allegations about alleged sexual misconduct within the Capital Pride organization, Bos sent the Blade a statement on behalf of Capital Pride.

“The Capital Pride Alliance takes allegations of harassment, misconduct, and unsafe behavior seriously,” the statement says. “The organization follows standard procedures and engages appropriate resources to support a thorough, confidential, and impartial review, when information is reported.” 

The statement adds, ”Because these matters require maintaining confidentiality and protecting the privacy of personnel, volunteers, and governance processes, we will not comment on specific individuals, allegations, investigative findings or communications involving law enforcement.” 

It concludes by stating, “We remain committed to fostering a safe, respectful, and inclusive environment, appropriately addressing concerns raised, and continuing to strengthen our policies, governance practices, and organizational culture.”

Although the statement refers to “communications involving law enforcement,” Capital Pride has not disclosed whether instances of alleged sexual harassment or, as stated by Chandler, a possible instance of sexual assault, have been reported to D.C. police.  

A D.C. police spokesperson, in response to a Blade inquiry, said they have no record of a sexual harassment or sexual assault complaint surfacing from the Capital Pride office, which is located in the D.C. LGBTQ+ Community Center building at 1827 Wiltberger Street, N.W. 

But the Blade has obtained a D.C. police incident report that appears to confirm Capital Pride COO June Crenshaw’s claim in a recent Facebook post that she reported at least one incident of sexual harassment related to Capital Pride to D.C. police.

The report, which was filed on Oct. 11, 2025, states that Crenshaw told a police officer who prepared the report that another person told her “that a board member of Capital Pride Alliance groped his genitals at a Capital Pride event.” The report says Crenshaw told the officer the person who reported being groped “did not want to speak to the police at this time.”

The incident report, which is a public document, says the person who reported the groping told Crenshaw about it on Oct. 8, 2025. It concludes by saying Crenshaw was given “resource information” to provide to the person who said he was groped. It does not identify that person or the board member who allegedly committed the groping.  

Officials at Capital Pride recently exchanged testy public Facebook posts with Chandler. Crenshaw criticized Chandler for her social media posts on the matter.

“It is remarkable to watch people publicly accuse others of failing to create safe spaces when, during the time they themselves held positions of leadership and significant volunteer responsibility, they claim to have witnessed deeply troubling behavior, yet never reported what they allegedly witnessed to fellow leaders, law enforcement, the Office of the Attorney General, legal counsel, or staff responsible for addressing such concerns,” Crenshaw wrote. “When I became aware of allegations or personally witnessed conduct that required intervention, I reported what I knew through the appropriate channels, including to law enforcement and other relevant authorities. Investigations were conducted. Those processes created records, documentation, correspondence, timelines, and conclusions.”

Chandler responded, “I was NOT in organizational leadership or fully informed about the scope of these allegations when much of what you reference occurred. I was read into the situation after becoming an executive officer. By that point, the investigation had already concluded, and we were awaiting the final report. … Once that report became available to me, and once I understood the seriousness and scope of what was being alleged, my position was anything but ambiguous: I did not believe this individual should be welcomed at, participate in, or have access to official Pride events.”

Capital Pride’s attorney Nick Harrison then joined the exchange, accusing Chandler of violating confidentiality rules.

“You served on the Board for years. You cannot now present yourself as an outsider with no  responsibility for what occurred during your tenure,” Harrison wrote. “When the situation became difficult, you resigned, provided your resignation letter to the media, disclosed confidential organizational matters, and recast yourself as the victim.”

Again, no one has publicly identified the person Chandler references as being welcome at Pride events and photographed with Capital Pride leadership. 

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District of Columbia

Center for Black Equity’s annual gala to take place Oct. 3

Advocacy group to honor Black LGBTQ community champions

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A scene from last year's BE Gala. (Washington Blade photo by Michael Key)

The Center for Black Equity, the D.C.-based international network of LGBTQ activists and organizations that advocate for Black LGBTQ communities and organize Black Pride events worldwide, will hold its annual 2026 BE Gala in D.C. on Oct. 3.

The event, to be held at the Conrad Washington Hotel at 950 New York Ave., N.W., among other things, will honor at least a dozen “distinguished Black individuals” and organizations that champion Black LGBTQ communities, according to a statement released by the Center for Black Equity.

“The honorees will receive awards recognizing extraordinary leadership, advocacy, and service across civil rights, public health, the arts, media, entrepreneurship, and community life,” the statement says.

“With an elegant atmosphere and a bold mission, this unforgettable evening brings together advocates, allies, and change makers committed to equity and joy,” the statement says in referring to the Oct. 3 BE Gala.

The statement notes that tickets for the event, which serves as a fundraiser for the Center of Black Equity, begin at $250 for individuals and include dinner and two drinks. It says reserved tables for eight were being offered for $2,000, and “Premier” tables for eight were selling for $2,500 and include seating near the stage.

“The BE Gala is more than an evening of celebration,” according to the statement. “It is an opportunity to honor Black LGBTQ+ leadership while investing in the work of the Center for Black Equity.”

Kenya Hutton, the Center for Black Equity’s CEO, told the Washington Blade the name “BE” for the gala is not an acronym. “The name is rooted in the idea of being: being seen, being celebrated and being fully and authentically yourself,” he said.

“BE Gala creates a space to celebrate Black LGGTQ+ people for who they are, the lives they lead and the impact they make,” he added.

The Center for Black Equity until 2012 was called the International Federation of Black Prides and was founded by organizers of D.C.’s Black Pride celebration.

Its current website includes a statement saying it’s mission is to “promote a multinational LGBTQ+ network dedicated to improving health and wellness opportunities, economic empowerment, and equal rights while promoting individua and collective work, responsibilities, and self-empowerment.”     

The 2026 Center for Black Equity award honorees as announced in its statement released this week are:

Courtney Snowden: Welmore Cook Advocacy & Service Award

Clover Barnes: Ernest Hopkins Public Health Leadership Award

Nikki Alexander: Unsung Hero Award

Darryl G. Moore: Center for Black Equity Leadership Award

The Freelux Project: Center for Black Equity Small Business Award

Tori Cooper: Earline Budd Transgender Leadership Award

Bishop Steven R. Sawyer: Bishop Kwabena Rainey Cheeks Spiritual & Community Leadership Award

Rev. Carmarion D. Anderson-Harvey: Bishop Kwabena Rainey Cheeks Spiritual & Community Leadership Award

Monroe Alise: Trans Power in Media Award

Justin N. Stewart: National Black Pride Image Award

Marlene McNeese: Curtis L. Etherly Jr. Ally Award

Venton Jones: Eleanor Holmes Norton Civil Rights & Justice Award

In Our Own Voices, Inc.: Ruth Ellis Community Impact Award

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