Six prominent LGBTQ community leaders and elders, including a beloved drag performer, talked about their role in advancing the rights of LGBTQ people and their thoughts on how the upcoming generation of LGBTQ youth should get ready to join the movement participated in an April 23 “Living History” panel discussion at Freddie’s Beach Bar.

The event was organized by Dorothy Edwards, who plans to open Friends of Dorothy Café in Alexandria. She said the café will be an LGBTQ community “intergenerational space” that will host events like the one she organized at Freddie’s Beach Bar.

“It will be a space for connection, storytelling, and belonging, especially for LGBTQ+ youth and community members who don’t always have places like that,” she said in a statement announcing the event at Freddie’s.

The six panelists at the Freddie’s event included Kierra Johnson, president of the D.C.-based National LGBTQ Task Force; Freddie Lutz, owner of Freddie’s Beach Bar located in the Crystal City section of Arlington, Va.; Donnell Robinson, who for many years performed in drag as the icon Ella Fitzgerald; Taylor Chandler Walker, a local transgender rights advocate, author and public speaker; Heidi Ellis, coordinator of the D.C. LGBTQ Budget Coalition; and Leti Gomez, an LGBTQ Latino community advocate and chair of the board of the American LGBTQ+ Museum.

Dr. Ashley Elliott, an LGBTQ community advocate and clinician who also goes by the name Dr. Vivid, served as moderator of the panel discussion, asking each of the panelists a serious of questions before opening the event to questions from the audience.

Among the issues discussed by the panelists was who was “centered” and who was excluded in the earlier years of LGBTQ organizing. Elliot also asked the panelists to address topics such as racism within queer spaces, gender dynamics, and strategies for coalition building between the LGBTQ community and other movements, including civil rights, feminism, and immigrant rights.

Each of the panelists expressed various thoughts on how the LGBTQ rights movement can make changes in response to the questions: “What can we do better?” and “Who is being left out?”

“I’m overwhelmed and so thankful that everyone on this panel said yes and agreed to come,” Edwards told the Washington Blade at the conclusion of the event. “I think every one of those people, including the moderator, was so brilliant and has done such good work for this community,” she said.

Edwards noted that each of the panelists, who have been involved in LGBTQ advocacy work for many years, talked about how they interact with younger LGBTQ people who are just beginning to become involved in activism.

“Truly, it’s an intergenerational conversation, and their wisdom and their words and their experiences can be disseminated to younger generations and people who want to do this work, people who want to fight for our community,” Edwards said.

“I was pleasantly surprised,” Lutz said. “I thought it was a good turnout, and everybody was very enthusiastic and engaged,” he said. “And I think it was great and fabulous.”     

Lutz has operated Freddie’s Beach Bar for more than 25 years and has hosted numerous LGBTQ events. A sign above the front entrance door to the popular LGBTQ bar and restaurant says, “Straight Friendly Gay Bar.”

Peters said the April 23 event was recorded and she will make arrangements for the recording to be released for others to view it. The Blade will post the link in this story when it becomes available.   

Washington is often described as a city consumed by politics. The story is usually about power — who has it, who wants it, who just lost it. But that version of Washington barely scratches the surface. 

The real texture of this place — its neighborhoods, its memory, its communities, its soul— rarely fits inside the horse-race coverage that so often defines the city from the outside. Much of that texture lives in the city’s cultural institutions: its theaters, choruses, galleries, and community arts spaces.

And right now, that foundation is under threat from pressures such as rising costs, shrinking grants, and uncertain funding cycles. When arts organizations in this city close or cut back, what disappears is not a season of concerts. It is the room where a teenager finds out the city has a place for them. It is the stage where a neighborhood tells its own story. It is years of civic life, built slowly and at great cost.

I serve as the executive director of the Gay Men’s Chorus of Washington, DC (GMCW). We were founded in 1981, the same year the AIDS crisis began reshaping our community in ways we are still reckoning with. Our first public performance was at the District Building, at Mayor Marion Barry’s invitation. Our first holiday concert was a collaboration with the DC Area Feminist Chorus and D.C.’s Different Drummers. From the very beginning, we were not just a singing group. We were a civic statement. And we were part of a city that had been making civic statements through art for a very long time.

In 1965, Frank Kameny and the Mattachine Society of Washington organized the first gay rights picket at the White House. A decade later, Lambda Rising — founded as the first non-bar business in D.C. serving the gay community — hosted the city’s first official Gay Pride event and became what participants called “The Community Building”: bookstore, meeting hall, political nerve center, and arts hub all at once. DC Black Pride launched in 1991, born directly from the urgent organizing that the HIV/AIDS crisis demanded. In a city where queer people had been fired from federal jobs for who they were, cultural space was a form of resistance.

That is the history we inherited when GMCW held its organizing meeting on June 28, 1981, deliberately chosen as the 12th anniversary of Stonewall. We struggled early on to find a church willing to host us. St. Mark’s Episcopal finally said yes. It was the same church that had hosted Mattachine Society meetings. In that small fact, you can see how Washington works: religious space, movement history, and performing arts overlapping to create something the city needed.

Over more than four decades, we have tried to honor that inheritance. We have performed at the White House and at Washington National Cathedral. We were the first queer choral group invited to perform at a presidential inauguration, appearing during Bill Clinton’s second inaugural in 1997. We have partnered with Whitman-Walker Health, the Library of Congress, and community organizations across the District.

Some of the work I am most proud of is the work we are doing for the future. Our GenOUT Youth Chorus, launched in 2015, was the first LGBTQ+ youth chorus in the D.C. area. These young people find in GenOUT a place that tells them they are not problems to be managed. They are artists. They are part of this community. They belong here, and they have something to say.

That is what arts institutions do that no policy document fully captures. They create the conditions for people to recognize themselves and each other. Dance Place turned an abandoned Brookland warehouse into a community cultural center. GALA Hispanic Theatre has tied performance to youth education for nearly 50 years. Woolly Mammoth has challenged and expanded what theater can hold. Shakespeare Theatre Company’s Free For All has drawn thousands to classical performance, free of charge, year after year.

These organizations are infrastructure. Right now, this infrastructure is fragile. Arts organizations run on thin margins, on the faith of donors and audiences and grantmakers, on the labor of people who could earn more doing something else and choose not to. When that support erodes — as it periodically does, often in the name of austerity or political expediency — what is lost is the connective tissue of civic life.

Washington is a political city. But it is also a city where queer people have sung, mourned, celebrated, and organized for decades. It is a city where arts institutions have again and again shown up to do the work that politics left undone.

Justin Fyala is executive director of the Gay Men’s Chorus of Washington, D.C.

The DC LGBTQ+ Community Center is marking a milestone year in its new home with a vibrant birthday celebration, inviting the community, allies, and media to join the festivities on Saturday, April 25 at 1 p.m.

Since opening its doors in Shaw, The DC LGBTQ+ Community Center has become a hub of support, advocacy, and celebration for LGBTQ+ residents across the District.

The birthday bash promises a day of programming including Yoga (Center Wellness), Micro Bouquet Making (Center Social), Zine Making (Center Arts), and so much more. Guests can also enjoy tours of the Center’s expanded facilities, showcasing spaces for programs, services, and community events.

Since relocating, the Center has expanded its programs, providing critical services. The birthday bash underscores the DC LGBTQ+ Community Center’s commitment to creating an inclusive space where everyone regardless of identity, age, or background can find community and empowerment.

For more details, contact Paul Marengo at 202-705-2890.