a&e features
Former Avalon singer on coming out, getting ousted and where he is today
Michael Passons was founding member of CCM supergroup known for ‘Testify to Love’


Fans of the Christian pop group Avalon always wondered why founding member Michael Passons resigned abruptly in 2003 and then seemed to drop off the face of the earth.
There was talk of a solo album but none materialized. The official word was that he was “moving on to other things.”
The group had had a wildly successful run. Founded in the mid-’90s, Avalon released its self-titled debut album in 1996 on Sparrow and four more (“A Maze of Grace” in 1997, “In a Different Light” in 1999, “Joy: a Christmas Collection” in 2000 and “Oxygen” in 2001) as well as a hits collection with new material (“Testify to Love: the Very Best of Avalon”) in 2003 racking up 19 No. 1 singles on the Billboard gospel charts, two RIAA-certified gold albums, six Dove Awards, an American Music Award and three Grammy nominations.
Initially there was a blond male and female singer and a brunette male and female singer to round out the foursome in ways that were both visually and sonically appealing. There was regular turnover in one of the “female” slots but Passons, Janna (nee Potter) Long and Jody McBrayer formed the group’s backbone all through its early and most successful years.
After years of silence, in September, Passons came out as gay on Josh Skinner’s “Jonah and the Whale” podcast and said he was fired from the group for declining to continue with “reparative” therapy. The podcast generated significant media buzz and was aggregated in mainstream outlets like Billboard and People.
Though candid and forthcoming in the podcast, there was more to the story. Passons, a 54-year-old Yazoo City, Miss., native, was chatty and candid in a 45-minute phone interview from his Nashville home on working in the CCM (contemporary Christian music) bubble, hiding his sexuality for so many years, why he opted to come out now and about the Dove Award he nabbed from Whitney Houston at the 1998 ceremony. His comments have been slightly edited for length.

WASHINGTON BLADE: It was great to hear the podcast. It felt like you’d just kinda vanished.
MICHAEL PASSONS: I understand that people would see it that way because you’re just kind of out of the public eye when you’re not making music, not putting music out and doing interviews, and I had not done any of that pretty much in 17 years. And I didn’t really expect this podcast to get the attention that it did get. It was a bit of a surprise to me that there was so much of an interest in a 17-year-old story.
BLADE: Why did it feel like now was the right time? How did it come about?
PASSONS: It wasn’t some calculated move, I was approached by a friend who introduced me to Josh Skinner who has a podcast Jonah and the Whale and said would you like to be a guest? This particular podcast deals with an underwater moment in your life and I had previously had conversations with my family just a couple months earlier, just about my life and the truth of my life so I thought, “Well now is the perfect time,” so it really wasn’t planned out far in advance. An opportunity landed in my lap and I decided to tell the story.
BLADE: Had you been approached before?
PASSONS: Well, I’ve been pretty under the radar. I’ve been traveling the last 15 years with another Christian group, but only in the band. I play keys for Point of Grace. I wanted to keep my foot in the water … but I didn’t want to be the front guy … so I really hadn’t been approached by journalists at all until now.
BLADE: You tell in the podcast about how they came to your house for a meeting in 2003 and this all came to a head. How had they known you were gay in the first place? What led up to that meeting?
PASSONS: Well at that point I was 38 years old, I wasn’t married, I wasn’t dating, (so) rumors begin to swirl when you have that type of scenario and we had discussions about it several years before. So that’s when … they said to me I needed to go to therapy. It really was in 2002 that they wanted me to go to reparative therapy or at least go see a counselor or some guy who said his credentials were counseling gay people. So I did that to appease them but I knew it was a fruitless effort, and as I say in the podcast, that didn’t last very long. I told them I wasn’t going back to that. It had been a conversation for about a year or so before 2003.
BLADE: Did you have a pretty good relationship with them otherwise?
PASSONS: Well over the course of the eight years we were traveling together, I saw those people more than anyone else. Our schedule was so demanding and we toured almost nonstop. … So we did at the time have this family-type relationship but … groups often have a shorter shelf life than solo artists because there are multiple people with multiple goals and aspirations and so unless all four of us aligned, there were always going to be these times where one wants to do a solo deal or they think we should do this or go in this direction and so we kind of started growing apart in our vision. Jody and Janna wanted to do solo records and I thought that was something that was going to fracture the group and our brand and that did cause some tensions because the other two members really wanted to focus our efforts on the Avalon brand because that’s what was familiar to everyone. So over the years we became not as close and then of course you add something like this which kind of draws a line and you have to choose what side of the line you’re going to be on.
BLADE: Bear with me a sec, but I’m going to read you Jody’s quote to CCM Magazine in April, 2004 when he said: “We had a meeting at Michael’s house one day and he told us he was going to move on to other things. We sat and cried and felt like the rug had been pulled out from under us. Things had felt great with the new group and Michael seemed to get along and blend vocally with (then-new member) Melissa (Greene) really well. But Michael had been with us from the beginning and just felt it was time for him to do something else. It’s weird but since his departure, it seems everyone is looking for some scandalous thing to have happened there. It makes me just want to say, ‘Look, I’m sorry to disappoint you that we don’t have some juicy gossip or ‘Dynasty’ episode happening here.” Based on what you shared in the podcast, that was a gross mischaracterization of how it went down. Did you read that at the time? How did it make you feel?
PASSONS: At the time the record label and management held really right reins on us because they created the group, it was their idea. They wanted to find a group that was already in existence that was two guys, two girls. They couldn’t do it so they said, “Let’s just put one together,” so we never felt like we had ownership of much. … So when management and label say, “This is what you are to say,” it became kind of like a bullshit fest at that point. You just gotta stick with the story and that’s what Jody was doing, he was sticking with the story he was told to say. … That was just the way they chose to handle it at the time. … Interestingly enough, Jody reached out to me after the podcast aired and we had not really talked in 17 years other than bumping into each other in a restaurant and saying a quick hello. We met for about an hour we met at a park here in Nashville and just walked around and he apologized profusely and said his heart was broken when he was listening to that podcast. He was very sincere and I accepted what he had to say and I feel like our relationship has actually — there was some definite closure there as far as what I’d been feeling all of these years and so that was a good thing that came out of this and I’m glad he reached out to me.
The Blade invited McBrayer to comment. In response to the question, “Did you feel muzzled by the label?” he sent this response: “Absolutely muzzled. However I would have never ever said anything to hurt Michael’s reputation. We were asked for years about what happened and myself and my family refused to say anything that would put Michael in a bad light. We were given a statement and told to go with it. We did everything we were told at the time. … Michael knows I love him and hate how all of it went down and how he was treated by the industry. I’m so thankful he’s happy and grown beyond it all now. I will continue to protect him. He will always be family.”
BLADE: Was there any truth to what they were saying? Had you been considering a solo album?
PASSONS: No. I know my strengths and my strength was not as a solo artist. … I enjoyed the team mentality of a group. … I think fans and people outside the industry took the press release at face value but people inside the industry heard pretty quickly what had really happened. Gossip and rumors spread really quickly around Nashville so I just thought, “OK, I’m gonna just start life No. 3 here.” (chuckles)
BLADE: A few other big CCM artists eventually came out like Jennifer Knapp and Ray Boltz. Did you follow that or ever compare notes with them?
PASSONS: I don’t know either of those artists personally. I’ve never really interacted with them. I think we did a show once with Jennifer years and years ago but it was just mainly, “Hello, nice to meet you.” I applaud them for living their best life and telling their truth but I just never felt like mine was necessarily a story that needed to be told. I wasn’t a solo artist. I would get recognized occasionally. People would say, “Oh, you’re that guy who was in that group,” but I would say 80 percent of fans just knew me as the blond guy. So I didn’t feel like I had tons of name recognition or that my story mattered. But in the last few years, I wanted to be more truthful with my family so that’s really where all this came out of.
BLADE: Did anybody else from your CCM days reach out besides Jody?
PASSONS: I’ve received tons of texts and Instagram messages from friends from home, friends from college, fans, strangers. As far as the industry, some people that I haven’t seen in a while. It was very interesting. Amy Grant texted me and told me she listened and thought my story was beautiful in the way I told it and graceful and I appreciated that. Susan Ashton reached out and I haven’t seen her in years. She was very encouraging. She said, “You are seen and heard and loved.” Everything has been overwhelmingly positive.
BLADE: Did you get to know the other artists very well or have much interaction on the multi-artist tours you did like “Emmanuel” or “My Utmost”?
PASSONS: Yeah, we had a lot of time to just hang out, especially on the bus. You’re traveling late at night and everyone’s wired so you’re staying up and visiting. But we were really new artists at that time and we were thrown into a mix of all of these people that were our mentors, our heroes. We were fans of theirs and now we’re all of a sudden peers, just because of how Avalon came together. Our very first tour before we even sang a note on a record was “Young Messiah” in ’95. We had just come together weeks before and just had enough time to record one Christmas song so that we could sing that song on that tour and there we were next to 4 HIM and Point of Grace and Steven Curtis Chapman and Larnelle Harris and that was mind-blowing to be with all these great artists. But yes, everyone was very welcoming had lots of encouragement for us and advice and I actually really enjoyed those tours.
BLADE: I saw you guys once with Twila Paris. What was she like?
PASSONS: That was our first tour (the “Where I Stand Tour” in 1997). We did Young Messiah that Christmas and then we did our record, then we toured with Twila. We were definitely getting our feet wet just seeing how this industry was going to work … how we were gonna mesh as a group because we were thrown on stage and we had to find our blend. Live, It’s one thing to be in the studio and be mixed and blended but to sing live, the Twila Paris tour was really just where we began to hone our craft as a group and so yeah, that was wonderful. I had many good experiences wth that tour. We dd a spring tour and a fall tour with Twila and it was a long tour but we definitely leaned a lot.
BLADE: Is there anybody in CCM who struck you as markedly different from their public persona?
PASSONS: I feel like everyone would be a little different than what you perceive them to be because you only see a very structured view of them by the PR department of the record label. I really enjoyed getting to know Sandi Patty because when you listen to her music, you just don’t pick up on the edge that she has. She has this great sense of humor that’s a little edgy. I don’t know, my image of Sandi Patty was that she was always walking around in some state of meditation or sitting around in a prayer circle because when you’re growing up you just think of someone in such a reverent way because you respected their music so much and she was just she a cut up, she kidded around, she invited us to her home in Indiana at that point just to hang out with her family and I just I enjoyed seeing a whole different side of her. She’s a very strong personality, a strong woman and listening and singing along with her records, it was just good to see the other side of her.
BLADE: What have you been living on all these years?
PASSONS: I play for Point of Grace and also a friend of mine in town, an attorney and I actually work with her in her law practice and of course being friends with the boss, you can leave anytime and so I’m free to travel whenever I need to and want to so that allows me to hang out with Point of Grace and go where they go. 2020 has been interesting. Since March, we’ve only had two shows and they were very small, so it’s been really interesting year for sure.
BLADE: What denomination did you grow up in?
PASSONS: Southern Baptist. A little country church in Mississippi.
BLADE: Are there still elements of Baptist or evangelical theology you struggle with? Queer or otherwise?
PASSONS: I’m past struggling with it. Of course, it’s something I think about often but I don’t struggle with it any longer. … I’ve definitely got a different view of spiritualism. I don’t consider myself religious but I do believe in God and so I do have a spiritual life but it just doesn’t involve organized religion and that’s just where I’ve landed.
BLADE: But do you still believe the Christianity basics — Jesus died for our sins and rose on the third day and so on or is it a broader thing for you?
PASSONS: It’s a broader spiritual thing and like I said in my previous interview, I’m just in this place of my prayer to God is show me what is true. I’m not gonna close my mind to anything, I’m not going to say, “Oh this is what I was taught and I don’t believe that anymore,” I just want to step back and rebuild all those boxes, rebuild what my spirituality is, kind of like just implode it to ground level and let’s start again. I was taught by very well-intended people. All my Sunday School teachers in that little church, they didn’t have any malice, they were well-intended people teaching what they believed. We were spoon fed, so at some point in your life you have to just decide of all that information you took in, what do you really believe? I had to get to the point where I was OK disagreeing and not believing some of the things I was taught. it wasn’t disrespectful to those people, I just have to find my own way.
BLADE: Do you think the conservative, white evangelical world will ever become openly accepting of LGBT people? Is it a lost cause or could it be a whole different story in another generation?
PASSONS: I think there is hope. I’ve seen so much progress in Christian circles just in my lifetime that I never thought I would see. It’s pockets, it’s not widespread, but … I think there is hope. A lot of things used to be justified with scripture that they eventually came around on. (Author) Peter Gomes calls it “the last prejudice of the church.” … After I left, Avalon recorded a song called “Orphans of God,” which I thought was interesting that they were singing it because I was definitely an outcast to them. But now my friend (out country singer) Ty Herndon and Kristen Chenoweth are going to cover it for a Christmas release as a duet and they asked Melissa Greene and I to sing backing vocals on it so now it will take on a whole new meaning. It was a really nice, full circle moment.
BLADE: Did you keep up with what Avalon was doing much after you were kicked out?
PASSONS: No. It would have put me in a bad headspace.
BLADE: Have you had many boyfriends? Are you in a relationship now?
PASSONS: I am. I’m with a wonderful guy now and it’s going well.
BLADE: Not married though?
PASSONS: No, not married (laughs).
BLADE: How long was it before you were comfortable dating guys?
PASSONS: It took me a while, because when all that went down, I internalized a lot of things and I thought, “Well this is my fault,” type of thing. It really took many years for me to just work through all the junk and work through that cloud in my head and so it wasn’t like some big unleashing. It wasn’t like I left Avalon and just started living my best life, it definitely took awhile to repair the hurt that happened from those several years when Avalon was ending and all the things I went through at that point.
BLADE: Do you know of other LGBT people in CCM who are not out?
PASSONS: Yeah, I do. I feel for them because I know that panicky feeling I used to have, that someone might catch on. … But I think a lot of conservative Christians might be naive as to how many people are gay or bi in their church. You learn from a very early age to be a good actor.
BLADE: Who was your favorite Avalon producer to work with?
PASSONS: Brown Bannister produced most of the records when I was in the group. He’s, you know, such an icon in our industry and I have so much reverence for him and so much respect, so it was an honor to work with him. He actually brought out the best in me. There was something about just his people skills and he was just so kind and thoughtful in how he spoke with you and guided you through the recording process. He just took the time, even just to find the right microphone for me, because the mic in the studio can make a world of difference. I remember going through five or six mics before we found the right one. A lot of producers are just like, “OK let’s get this going, all right that’s great on to the next one.” He just took time to make it right and I appreciated that.
BLADE: How long did it take to make those albums on average?
PASSONS: When it came time to record, we would try to just block off weeks where we would just go in there and do vocals, vocals, vocals vocals and really mainly weekdays because we would go out on the weekends and do one-off, you know, weekend dates here and there. So we wouldn’t obviously do a new record in the midst of a tour because we’d want to tour the new record but during our one-offs we would get in there and try to get in it done and probably over the course of a month and a half, two months, we would have everything done.
BLADE: How involved were you all with the vocal arrangements? I always loved that outro and all those layers on “We Are the Reason,” for instance. How did you come up with all those intricate lines?
PASSONS: We had a great vocal vocal producer named Michael Mellett and he had been a studio singer in Nashville a long time and had toured with Billy Joel as a background singer. He would come in and help arrange our parts and he was amazing at it. And I remember he did work on our Christmas record and I remember that outro those alternate melodies that he helped us come up with, I loved that too. I felt like that really updated the song. It’s interesting because when we did it it was 20 years old and now it’s been 20 years since we did it, so it needs to be done again now. But it was my favorite song growing up. I used to sing it with an accompaniment tape at my little country church when I was a kid.
BLADE: Yeah, I love it too. Did (songwriter) David Meece ever say anything after you guys cut it?
PASSONS: Indirectly. I think he might have said something to Brown but we heard that he liked it.
BLADE: Who’s a celebrity who would exemplify your type?
PASSONS: (laughs) My type, wow. I’m definitely attracted to someone who is confident but not cocky, someone who has sensitivity but is not overly sensitive, someone who’s just confident in themselves, that’s a big attraction to me. If I were to throw out a celebrity I see a lot of those qualities in, and maybe I’m wrong, but someone like Bradley Cooper.
BLADE: Did you guys in Avalon have any say in choosing singles?
PASSONS: We were included in conversations but I feel like ultimately the label got what they wanted. There’s one little battle that we won and in retrospect not just one, but I just remember this instance, where the label disagreed with us about what we should call our second record and had we listened to the label, we probably would have sold a lot more. They wanted us to call it “Testify to Love” and we had no idea when we were naming the record and about to release it that that would be the one song that Avalon would be known for or that it be our biggest song ever. We thought “A Maze of Grace” was such a clever title. They disagreed but they let us do what we wanted. But who knew “Testify to Love” would become such a huge song for us?
BLADE: Was (Sparrow president) Bill Hearn around much?
PASSONS: We would see him periodically and even his father Billy Ray, who started the company, they’re both deceased now, but they were very approachable. They weren’t always in our meetings because we were more with A&R and publicity and stylists but when they were around, they were very approachable, very hands on.
BLADE: When you win a Dove Award, did you each get one or just one for the group?
PASSONS: At the ceremony, just one is given but then they mail three more to you like a month later.
BLADE: Where do you keep yours?
PASSONS: I have a little study/office that I’m sitting in right now. I just have them on a shelf along with some pictures and mementos and things I like to keep out. The interesting story about one our Dove Awards is our first Dove Award for new artist of the year and that was in 1998 I believe, and we got new artist of the year at the 29th Dove Awards and that was the year that Whitney Houston performed with Dottie Rambo … and we were backstage after we won doing a press junket so I missed her performance and I’m a huge Whitney Houston fan, like I would rival anyone else saying they’re a huge Whitney Houston fan. (laughs) She’s pretty much my all-time favorite artist. So after the show some press people wanted to take a photo of Whitney holding a Dove Award. She didn’t have one so Jody was standing close by with his and they said, “Can we have your Dove Award for a picture,” and so Whitney took our Dove Award and had her picture made with it and of course that was the only one we got that night and our manager said, “OK I’m gonna take that to the office and hold it ’til the others come in and you all can come by and pick them up,” and so before he could get to it, I got that particular one and took a Sharpie and made a mark on the bottom of it and the day that our manager said, “OK you can come by and pick up the Dove Awards they’re all in,” I was first one in there and I picked them all up and looked for the one I made the mark on because I wanted the one that Whitney had held. So I’m holding it right now, I’ve got that one in my hand and I always think of Whitney.
BLADE: Who were your favorite CCM acts growing up? Or did you listen to more pop?
PASSONS: I listened to a lot of pop and and country. My family is from a rural Mississippi town so country music was really most of what was on the radio and I love that old ’70s country. I still listen to it just because it has a lot of good memories. But I didn’t really know there was such a thing as CCM other than, you know, like Bill and Gloria Gaither-type stuff until I was in high school and someone handed me a tape of “Age to Age” by Amy Grant and that just lit a fire in me like I had no idea this type of thing existed, this is what I want to do. And of course I’ve just been I was a fan of Amy Grant from that day on and she was definitely a huge influence in the way I would sing music, the way I would write music, I would listen to interviews of her and I would just — she was a great teacher in that respect of just knowing how to respond to questions, how to react to people, just her demeanor, how she handled herself, she was definitely a role model.
BLADE: So that must have been mind-blowing to work with her producer (Brown Bannister) all those years later.
PASSONS: Yeah, definitely. And then her text last week, yeah, that was a nice moment.
BLADE: Why didn’t the more progressive Christian denominations ever have their own version of CCM? There are a few fledgling queer gospel singers out there but nothing like the machine that CCM was. Maybe they didn’t care as much if their kids listened to Metallica or whatever?
PASSONS: I think your theory might hold some weight, just that the conservative Christians were looking for an alternative for them and their families to listen to. One thing I think there probably wouldn’t have been a market in the liberal circles to sustain the industry, they wouldn’t have purchased the CDs and the music. It was the conservatives who made this a business and the Christian music business is a business. You have to be making money to be in CCM, that’s the dichotomy that I’ve always wrestled with. CCM depended on Becky, and I’ll tell you who Becky is. Becky is the pseudonym for their target audience. So any meeting we were in, it was always asked, “What would Becky buy, would Becky like this song?” And Becky is a 20-, 30- or 40-something conservative Christian female and she was the target audience because she was the ones buying the CDs and the tapes and downloading the music and so I think that’s maybe why the conservative church has kind of a market on CCM music.
BLADE: Is she related to Karen?
PASSONS: (laughs) That’s funny. If they’re not related, they’re probably best friends.
BLADE: When your bandmates came to your house that day, did it feel like it was coming from a place of love and concern or did it feel like a power play? Like they were trying to oust you?
PASSONS: It did feel like a power play. There were some very complicated personalities in the group and so it definitely — I did not feel much love that day.
BLADE: To me, it was like when Florence got kicked out of the Supremes. They could go on and do whatever they want, but without Florence, it wasn’t the Supremes. Without you, it wasn’t Avalon. The one female singer didn’t matter so much because she always changed. That was like the new season of “Charlie’s Angels,” you always knew she would change. But when you left, it was never the same.
PASSONS: I appreciate that, I’ve heard several say that and it’s always good to know that my contribution is something that was missed.

a&e features
Latina Turner comes to Bring It To Brunch
This fiery Latina drag queen is making her debut at Bring it to Brunch

Get ready West Hollywood. There’s a Colombian heat wave about to hit this weekend. Latina Turner will join the cast of Rocco’s Bring It To Brunch hosted by Cake Moss, this Saturday at 1 p.m. Los Angeles Blade is a proud media sponsor for this fab brunch.
Latina Turner has been doing drag for more than a hot minute and she’s performed all over the nation, bringing her signature humor and killer looks everywhere she goes. We chatted with Turner as she applied her lashes and sipped a cocktail.
What was your first exposure to drag?
My first exposure to drag was when I was 18. I was in Atlanta where I saw Stars of The Century, [which is] the premier, all Black drag show of the South.
How did you come up with your drag name?
My drag name is an homage to my Latin culture and one of my favorite queens Tina Turner, but also to my sense of humor—very tongue-in-cheek, if you will.
What was your first professional gig, how did it go?
My first professional gig was actually for a car commercial. I had been doing drag for 15 minutes, but they had me listed as “real drag queen.” I said if it was real enough for them, it’s real enough for me. I got to test drive a brand new car in full drag and thank god I had that wig pinned in. My lashes were gone with the wind, earrings flew off, but the wig was on.
What sets your drag apart from other queens?
Drag is all about self-expression and artistry. As an artist and creative, my drag is about the delusion of the illusion. In my mind, I could walk down Santa Monica Blvd and not be clocked, but when I perform, it’s about the theatrics and the humor. I also learned to really connect with my audience, something I don’t see too often done. I also bring my Colombian roots and American South upbringing into my character. I think being a first generation, [we] are exposed to two different cultures that don’t normally intersect and the humor from both languages is so…ME!
What do you love most about the drag culture in Los Angeles?
The queer culture of L.A. has always been about resilience from the original gay rights riots at the Black Cat in Silverlake, to the [U.S. Customs and Immigration Enforcement] (ICE) protests. Drag queen culture isn’t just about the aesthetic and performance style, but also about community and attitude. WeHo queens have this hard work and constant hustle about them, DTLA queens are some of the most creative and entertaining queens and the Eastside queens are some of the most beautiful and hardworking entertainers in the business. No matter what the zip code is, L.A.’s queens and kings have an innate love and passion for performance and to grow as artists and the community really allows you to grow and explore your art.
How can the gay community best support our drag community?
The gay community really needs to understand that drag queens are written in the D.N.A of ALL of gay culture. We as drag queens are under so much pressure to look a certain way and though Drag Race has given the art of drag an incredible amount of visibility, not all drag is “Drag Race” drag. I need you to think of a time when you needed that extra bit of support, whether it was at a bar and wanting to talk to someone, show that same love to these queens. Tip them, share their art and continue to uplift them. Without the drag queens—both young and old—we wouldn’t be the community we are today and we will only continue to thrive if we all rise.
What is your favorite part of doing drag?
Apart from looking fierce and making some cash money, I love the feeling of rocking a performance that you have put so much time and thought into. I think as a drag queen, we overthink some details or we do certain things just for us, so that feeling of “I killed it” is such a high.
What is your least favorite part of doing drag?
My least favorite part of drag….oooof! I think that for me, the tucking (especially tucking the right way), the shaving, and the cost. It hurts my body and my pocket! But hey, beauty is pain, and my drag is never comfortable.
What is your favorite pickup line?
One time, I went up to this guy and asked him, “Do you have any kids… would you want mine?” It was all about the eye contact and body language, LOL.
How do you unwind after a night of drag?
My favorite unwind rituals are a hot shower, a full body scrub, a good moisturizer and retinol, a glass of wine and a sativa pre-roll with my feet up in my comfiest shorts. Untucked and unbothered.
What do you think the future of drag culture looks like?
The future of drag is so exciting! I love that drag is evolving, both aesthetically and performance-wise. Please, baby queens, for the love of God, clean your lace, pluck your hair lines. Marsha didn’t throw a brick for you to look like one.
What can we expect from your appearance at Bring It To Brunch?
This is my Bring It To Brunch Debut! I’m excited to bring a fun, sexy and entertaining vibe to this show! I’m going to give you fashion, exciting and upbeat performances, [all while] smelling like a million bucks.
How has doing drag most changed your life?
I think drag has really taught me so much not just about myself but also how I want to move in the world. Drag has taught me time management, communication skills and skills that are extremely transferable and useful in my day to day job and life. I also love that my drag has taught me how to love myself. Without my drag I wouldn’t have gotten to celebrate my culture or my thick and juicy behind.
Favorite song to perform to:
My absolute favorite song to perform is either “Private Dancer” by Tina Turner or “Nasty Girl” by Inaya Day—both are such strong numbers, but so different and strong!
Craziest drag memory:
My wildest drag memory was last year! I had just performed with Kesha for WeHo Pride and was ready to hit the bars. I was in a ‘lil mall dress and pumps and this girl who had clearly been drinking all day, comes up to me at the bathroom and asks me for a tampon, LOL! I was like, girl you have to be wasted to not see this beard popping through my makeup.
What is your message to the community this Pride season?
Pride started as a riot. Pride is a constant fight and though we are so incredibly lucky to be LGBTQ and even DL in L.A., we have to continue to honor those who came before us and to create a future for those who haven’t had the same luxury of freedom and authenticity. Pride isn’t just getting with hot guys and going to parties it’s about embracing and loving those around us. So get off Grindr and get to the polls! Then you can get all the trade!
Catch Latina Turner at Bring It To Brunch, this Saturday at Rocco’s in West Hollywood.
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Los Angeles Black Pride raises community consciousness uplifting Black, queer talent
Here is a slice of Pride rooted in ownership, not optics

When most people think of Pride they more often than not relate it to parades parties. Far too many often forget that it is also a platform. Los Angeles Black Pride (LABP) isn’t just raising the flag. They are raising community consciousness at a time when white, mainstream aesthetic often enjoys borrowing from Black, queer culture without acknowledging the appropriation at hand. LABP does the work to flip the script.
This year, the celebration takes a bold economic stance. Visibility is cute, but viability pays the bills.
BLQ+MKT: Not Your Average Pop-Up
Enter BLQ+MKT, LABP’s unapologetically Black, queer vendor marketplace that’s one part business expo, one part cultural homecoming and all of the parts hustle. It’s not just about selling candles and tees, no matter how hard those candles do slap. It’s about building an ecosystem where Black LGBTQ entrepreneurs are seen and supported. This marketplace is not a low-key side attraction — it’s the main stage for economic empowerment.
By centering queer-owned brands, LABP is addressing a long-overdue market correction. Black LGBTQ folks represent a whopping $113 billion in spending power. That’s not just an audience, it’s a full-on economy. And yet, less than 10% of advertising content reflects this reality. BLQ+MKT says what the mainstream won’t — put some respect and revenue on our names.
Lakeyah: Headliner meets head-turner
Speaking of showstoppers, LABP will feature none other than Lakeyah – rapper, baddie, and blueprint for how queer-centered entertainment can drive community dollars. Her presence isn’t just a vibe, it’s part of a larger economic strategy. When you book talent that reflects the community, you do more than just fill seats. You circulate wealth, amplify voices, and make it very clear who this party is really for. She opens for Saucy Santana at this year’s Saturday night main event.
The Business of being seen
LABP is turning Pride into praxis. By shaping spaces where artistry and ownership meet, they’re shifting the focus from being seen to being paid — and paying it forward. This is about building power without waiting around for permission. Applause is adorable. Ownership changes everything.
Come for the music, the joy, the lewks that will leave zero crumbs. And while partaking in all of the Pride, take a closer look. Every booth at BLQ+MKT, every track Lakeyah drops, carries the architecture of a future rooted in Black queer autonomy. In LABP’s world, Pride isn’t solely a performance. It’s a goddamn power move.
To purchase tickets or for more information, head to http://losangelesblackpride.org/
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On the Fringe: Branden Lee Roth takes on Hollywood

Fresh off his performance in Bat Boy: The Musical, actor Branden Lee Roth is back onstage with yet another show — this time at the Hollywood Fringe Festival in. The show is not only a cabaret-style celebration of the composer’s lesser-known works, but also an opportunity for Roth to perform his powerful vocals and emotional depth.
Tomorrow, the show will have its last two showings at the Hollywood Fringe Festival at 2p.m. and at 10p.m.
“Bat Boy was one of the most challenging [shows] I’ve done — both physically and vocally,” said Roth. The story’s message stuck with him: a character on a profound journey of acceptance and belonging. With such a demanding role — and one carrying so much emotional weight — the pressure was on for Roth to deliver. To make matters more intense, he had little time to prepare.
“I had to jump into the role with minimal rehearsal time,”said Roth. “But the cast and crew were so supportive.”
As the show concluded, he described the performance as a show that will “stay with me forever.”
Now, audiences have yet another chance to see Roth perform — this time in a completely different musical world, but one with just as much passion. Lost & Found offers a rare glimpse into the deep cuts of Frank Wildhorn, the Broadway composer behind Jekyll & Hyde and The Scarlet Pimpernel. However, audiences shouldn’t expect the usual hits.
“The music itself will be something most audiences haven’t heard,” explained Roth. “The show is set up as a cabaret-style with a full band to back it up in an amazing venue.” And it’s not just the instruments or venue that shine.
Roth describes the vocals as “pretty epic.”
Set at The Cat’s Crawl, a speakeasy-style venue, Lost & Found embraces the stripped-down intimacy of cabaret. “Each song stands alonewith no scenes in between outside of some hosting.” It is evident that the opportunity to see Lost & Found live is a chance to really live in the music. There are no flashy sets or scenes between songs — it is purely storytelling through song.
This is Roth’s first time performing in the Hollywood Fringe Festival and he is fully embracing the experience. “The Fringe is an annual celebration of theatre in Hollywood. It’s a really awesome opportunity for creatives and artists to showcase their talents,” he said.
As an openly LGBTQ artist, Roth is no stranger to the challenges of navigating identity in a sometimes rigid or problematic industry. “Being part of the LGBTQ community and being in the arts hasn’t always been an easy journey.” He explains that it took him time to feel confident —specifically when pursuing roles that might not have identified with him. However, Roth recognizes that powerful stories transcend one’s personal identity.
“I start by finding where [a character and I] are similar and build from there.”
Roth encourages folks to get their tickets with only one day left.
“I think audiences are going to really enjoy themselves and leave humming a few new songs to themselves,” he said. You can watch Lost & Found: The Unsung World of Frank Wildhorn at The Cat’s Crawl during the Hollywood Fringe Festival. Tickets are available here, and fans can use the discount code BRANDEN at checkout. To keep up with Roth’s performances, follow him on Instagram at @brandenleeroth.
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A king rises in Vico Ortiz’s new solo show
With a little bit of ‘astrology woo-woo-ness, a little bit of magic woo-woo-ness, drag and fabulosity,’ they tether together the story of the relationship between them and their mother

Nonbinary, Puerto Rican icon, comedian, actor and activist, Vico Ortiz, 33, binds and weaves awkward childhood moments, family expectations, Walter Mercado and the love of their life embodied by a household mop, to tell the story of the rise of a king.
During the peak of Pride month, Ortiz gifted the Los Angeles queer and trans communities with a spectacularly queer, solo show featuring themself in their quest of self-discovery, a profound sense of connection and reconnection with their femininity and masculinity through growing pains and moments of doubt. This is a show that Ortiz describes as “wholesome, but burlesque.”
King Vico Ortiz rises
The show, which premiered on June 12, details Ortiz’s childhood, vignetting and transforming through their most formative years and through canon events that led them to their gay awakening, such as watching Disney’s Mulan (in Spanish) and the moment Ortiz cut their hair in honor of the scene where Mulan cuts hers off. Ortiz took the audience on a journey through their inner monologue during the moments in their childhood and into adulthood, where they not only come to terms with their identity, but also learn to understand the internal battle their parents went through as they watched their king rise.
Though Ortiz mostly only acted prior to writing and producing their first solo show, they finally took their opportunity to do things a little differently. Last June, their friend Nikki Levy, who runs a show called Don’t Tell My Mother, coached Ortiz to dredge up childhood memories and tether them in a way that could be told and understood by an audience as a show about queerness and self-discovery.
“[Levy] started asking me those questions that dig deeper into the emotional journey of the story, not just ‘hehe’ ‘haha’ moments, but there’s something a little deeper happening,” said Ortiz in an interview with the L.A. Blade. This is when they asked Levy to help coach them through the process of putting the story together in a way that Ortiz imagined it, but also in a way that made sense to the audience.
Ortiz says that with a little bit of ‘astrology woo-woo-ness, a little bit of magic woo-woo-ness, drag and fabulosity,’ they tether together the story of the relationship between them and their mother.
“Astrology had a huge influence in my life growing up from the get-go,” said Ortiz. “I was born and [my mother] printed my birth chart.” The Libra sun, Sagittarius rising, Scorpio moon and Venus in Virgo, says they have always known their chart and that not only did astrology play a huge role in their life growing up, but so did astrologer-to-the-stars Walter Mercado.
The solo was partly influenced by their mother and partly influenced by the iconic, queer, androgynously-elegant Mercado, who famously appeared on TV screens across homes in Latin America and the United States for a segment on that day’s astrological reading.
Seeing Mercado on that daily segment shaped Ortiz’s view of gender and began to understand themselves in a new-found light — one in which they saw their most authentic self.
“Seeing that this person is loved and worshipped by all these people who are like: ‘we don’t care that Walter looks like Walter, we just love Walter,’” said Ortiz. This is when they realized that they too, wanted to be loved and adored by the masses, all while fully embracing their masculinity and femininity.
Closing Night of ‘Rise of a King’
The closing night show of ‘Rise of a King’ was a reminder of how unpredictable life can be and how darkness comes in on some of our brightest moments. Ortiz brilliantly pulled off an improv monologue during a 15-minute power outage. Though it was unpredictable, it was on theme. Ortiz owned the stage, going on about childhood memories that shaped them into who they are today and how they have reconnected with the imaginative child that once told the story of a half-butterfly, half-fish.
The rest of the show went according to plan, immersing the audience in a show that took us straight into the closet of Ortiz’s parents and where Ortiz not only discovered, but learned to embrace who they truly are — to the first moments they embraced the king within and outwardly began to show it to audiences, and eventually their mother.
The set, designed by Jose Matias, functioned as a walk-in closet that transforms throughout the show against the backdrop of drawings of Ortiz and their family memories projected on a big screen on the stage.
Ortiz’s original, solo-show had its world premiere at FUERZAfest in New York City, then its west coast premiere at L.A.’s own Hollywood Fringe Festival.
Follow @puertoricanninja for more updates on their upcoming work.
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Los Angeles Black Pride: Where trailblazers get their flowers and the next generation gets the blueprint
If you’re looking for receipts, meet three creatives whose glow-up journeys began with LABP and have not lost momentum since

Let’s get one thing straight… or should I say, gay. At Los Angeles Black Pride (LABP), queerness shines brighter than the glitter under the spotlight and struts fiercer than any size 11 stilettos. LABP has long been the beating pulse of Black queer excellence in the City of queer Angels, not just a party but a proving ground. A space where legends are honored, careers are catapulted, and chosen family comes together.
This year’s theme, Legacy & Leadership in Action, is not another Pride month mantra. It’s a whole mood. It serves a reminder that we will not stand idly and wait for our recognition. We create it. And if you’re looking for receipts, meet three creatives whose glow-up journeys began with LABP and have not lost momentum since.
Before they were booked and busy, they participated in Los Angeles Black Pride, a place where Black queer excellence rises, where glam meets grit and where legends are born.
Ebony Lane – Beating Faces and Breaking Barriers
You know when someone walks into a room and suddenly everyone checks their posture? The person walking into that room is Ebony Lane. A Trans make-up artist (MUA) whose brushes do more than blend — they command. Lane’s artistry is lush, precise, and glistening with resilience. She’s made her name crafting unforgettable looks for film, fashion and fierce femmes who command the world’s attention.
But before the gigs, the gloss and the gag-worthy lewks, there was LABP, a space where Lane Lane found alignment between her artistry and her identity. As a longtime fixture in the Crenshaw beauty scene and a pioneer in L.A.’s ballroom and pageant community, Lane has used her platform to uplift young Black and trans folks by encouraging them to carry themselves boldly in their own truth. Her presence at LABP was never just about beauty but visibility and leadership. Today, Lane doesn’t just beat faces, she beats the odds flawlessly.
Berkley The Artist – The Soundtrack to the Revolution
Grammy-nominated and gloriously ground-breaking, Berkley The Artist is proof that soul hits differently when it’s sung with purpose. Blending funk, truth, and a whole lot of Black queer excellence, Berkley’s music is equal parts hype and healing. Before the world heard his music, LABP passed him the mic.
As a performer who’s graced both intimate community stages and major music platforms, his rise in the music industry is deeply intertwined with spaces like LABP, that amplify Black queer expression. His artistry both entertains and empowers. Whether through healing lyrics or community-centered collabs, his work is a love letter to liberation.
KJ – The Lens That Loves Us Back
Some people take pictures. KJ tells stories with a camera. The creative force behind My Black Is Gold, KJ’s photography turns everyday Black queer life into poetry for the eyes. His work feels like a love letter and a clapback all in one — soft and defiant all at the same time.
He first learned to capture folks in their full power at LABP.His work, now featured in exhibitions, digital campaigns and community projects, centers the intersection of softness and strength that is so signature to Black queer life. LABP provides a creative ecosystem where self-definition thrives.
These artists are proof that LABP doesn’t just celebrate Pride but cultivates legacy. It’s a space where Black queer brilliance isn’t just exhibited but elevated. It’s where identity and artistry work together. From makeup chairs to music stages, the impact of LABP is alive in every brushstroke, every beat, and every shot. As we honor these artists and uplift the next generation, one thing is clear — the future is Black, the future is queer, and at Los Angeles Black Pride, it is beautifully unstoppable.
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Cumbiatón returns to Los Angeles right in time for Pride season
‘Que viva la joteria,’ translates roughly to “Let the gayness live”

Healing and uplifting communities through music and unity is the foundation of this event space created by Zacil “DJ Sizzle Fantastic” Pech and Norma “Normz La Oaxaqueña” Fajardo.
For nearly a decade DJ Sizzle has built a reputation in the queer POC and Spanish-speaking undocumented communities for making the space for them to come together to celebrate their culture and partake in the ultimate act of resistance — joy.

Couples, companions, comadres all dance together on the dancefloor at Cumbiatón. (Photo courtesy of Cumbiatón).
Cumbiatón was created during the first Trump administration as a direct response to the erasure, racism, homophobia and xenophobia that was engrained into the administration’s mission for those first four years. Now that the second Trump administration is upon us, the racism, homophobia, transphobia and xenophobia are tenfold.
This event space is a ‘party for the hood, by the hood.’ It is led by women, queer and trans people of color in every aspect of the production process.
The recent fires that burned through Altadena and Pacific Palisades made DJ Sizzle decide to step back from marketing the event in Los Angeles, an area where people had just lost their businesses, homes and where their lives were completely thrown for a loop.
Now they’re back, doubling-down on their mission to bring cumbias, corridos and all the music many of us grew up listening to, to places that are accessible and safe for our communities.
“I started Cumbiatón back in 2016, right after the election — which was weirdly similar because we’re going through it again. And a lot of us come from the Deferred Action for Childhood Arrivals (DACA) movement. We were the ones to really push for that to happen along with the DREAM Act.”
DJ Sizzle says that she wanted to create a space out on the streets to celebrate life and come together, because of how mentally and physically taxing it is to be a part of the marginalized communities that were and still are, a major target for ongoing political attacks.

Edwin Soto and Julio Salgado pose for a photo at a Cumbiaton event in 2024. (Photo courtesy of Cumbiatón).
“We need these spaces so that we can kind of refuel and rejoice in each other’s existence,” said DJ Sizzle. “Because we saw each other out on the street a lot, but never did we really have time to sit down, have a drink, talk, laugh. So I found that music was the way to bring people together and that’s how Cumbiatón got started. It was honestly like a movement of political resistance through music.”
DJ Sizzle is an undocumented community organizer who aims to not only bring awareness to the issues that her communities face, but also to make space to celebrate the wins and bond over the music that brings people in Latin America, East L.A., Boyle Heights and the Bay area together.
Julio Salgado, a queer, visionary artist and migrant rights activist from Ensenada, Baja California with roots in Long Beach and the Bay Area, connected with DJ Sizzle over their shared passion in advocating for immigrant rights.
“Cumbiatón was created during the first [Trump] administration, where you know, a lot of people were really bummed out and so what Sizzle wanted to create was a place where people could come together and celebrate ourselves,” said Salgado. “Fast-forward to the second [Trump] administration and we’re here and feel a little bit more like: ‘oh shit, things are bad again.’ But, things have always been bad.”
Salgado is involved with Cumbiatón through his art. He is a mixed-media artist who creates cartoons using his lived experience with his sobriety journey, undocumented status and queer identity.
With a background in journalism from California State University, Long Beach, Salgado documents what activists do in the undocumented spaces he has been a part of throughout his life.
In 2017, Salgado moved back to Long Beach from the Bay Area, and at the time he started doing political artwork and posters for protests against the first Trump administration, but because the nature of that work can be very tiring, he says that he turned to a more uplifting version of his art where he also draws the joy and unity in his communities.
When he and Sizzle linked up to collaborate during that time, he thought he could use his skills to help uplift this brand and bring it to the forefront of the many events that saturate the party landscape.

DJ Sizzle doing her thing on stage, giving the crowd the music they went looking for. (Photo courtesy of Cumbiatón).
“We are familiar with using the dance floor as a way to kind of put the trauma a little bit away just for one night, get together and completely forget,” said Salgado.
Coming from an undocumented background, Salgado and Sizzle say that their experience with their legal status has made them very aware of how to go about the ID-check process at the door for their events.
“When you’re undocumented, you have something called a [High Security Consular Registration (HSCR)] and it’s kind of like your ID and many of these heterosexual clubs would see that and say it was fake,” said Salgado. “But at the gay club, they didn’t care.”
Just being conscious of what that form of ID looks like and knowing that it’s not fake, helps many of the hundreds of people who come through for Cumbiatón, feel just slightly more at ease.
Edwin Soto, who is another community activist and leader in the undocu-queer community, is also involved in the planning and organizing of the event.
In the long journey of making Cumbiatón what it is now, they say that they have all been very intentional about who they bring in, making sure that whoever they are, they also understand the experience of being undocumented and accepted anyway.
“Something that Sizzle and the team have been very intentional about is making sure that [the security at the door] knows that someone might be using their consulate card,” said Soto.
Bringing together this event space is no easy task, considering the fact that their events are deeply thought out, intentional and inclusive of not just people of color, but also people with differing abilities and people who do not reflect the norm in West Hollywood clubs.
“We created the space that we were longing for that we did not see in West Hollywood,” he said. “[Cumbiatón] is what life could really be like. Where women are not harassed by men. Where people are not body-shamed for what they’re wearing.”
When it comes to their lives outside of Cumbiatón and partying, Sizzle says that it does get exhausting and planning the event gets overwhelming.
“It is really difficult, I’m not going to lie,” said DJ Sizzle. “We are at a disadvantage being queer and being undocumented because this administration triggers us to a point that, anyone who is not a part of those identities or marginalized communities would ever be able to understand,” said Sizzle. “There are times where I’m just like: ‘I’m going to cocoon for a little bit’ and then that affects the marketing and the communication.”

Usually, the events bring in hundreds of people who are looking for community, safety and inclusion. (Photo courtesy of Cumbiatón).
That’s a little bit about what goes on behind the scenes — which really shouldn’t come as a surprise for anyone who is out there fighting for basic human rights, while also making the space to party and enjoy themselves.
“I’m really trying to find balance and honestly my life raft are my friends and my community,” she said. “Like, being able to share, being able to have this plática, and be like ‘bitch, I see you and I know its fucked up, but we got each other.’”
Cumbiatón was made with the purpose of making space to include and invite the many different people in these communities who are otherwise sidelined in broader conversations and in party scenes where they are not as inclusive or thoughtful about their attendees.
“How beautiful is it to be queer and listen to rancheras and to norteñas and cumbia, and to just own it,” said Soto.
To join Cumbiatón at their next party, visit their Instagram page.
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Best of LGBTQ+ LA 2025
Los Angeles Blade honors the best of the city as selected by our readers

The Los Angeles Blade celebrated its eighth annual Best of LGBTQ+ LA Awards with a spectacular show at The Abbey in West Hollywood on May 22, honoring the community’s best and brightest as selected by you, our readers.
The Awards honored our favorite bars, businesses, artists, organizations, and leaders and featured performances by drag queen Cake Moss, musicians Prince Joshua – who took home the awards for Local Musical Artist of the Year and Go-Go of the Year – and Robert Rene, comedian Allison Reese, and West Hollywood poet laureate Brian Sonia-Wallace. Drag artist Billy Francesca and LA Blade publisher Alexander Rodriguez emceed the event.
“We here in LA are excited to reflect our community, so tonight we’re honoring politicians, business owners, nightlife, entertainment, social media, and Billy,” Rodriguez said, opening the show.
One of the biggest winners of the night was queer mogul and “CEO of Everything Gay” Tristan Schukraft, who won LGBTQ Professional of the Year, while the bar he now owns, The Abbey, took Best LGBTQ Bar, and his pharmaceutical-delivery company MISTR took Best LGBTQ-owned business.
“I’m motivated by making change. We have a purpose, and queer entrepreneurs are building a community that makes a difference,” Schukraft said.

Drag artist and activist Pickle, who runs the LA chapter of Drag Story Hour and is West Hollywood’s first drag laureate, gave a moving speech after she was awarded the Local Hero Award, in which she encouraged anyone who’s facing distress to persevere through the darkness.
“Sometimes, just holding on for one more day is all you can do, but that is strength, and you are loved,” she said.
Transgender rights activist, model, and Blade contributor Rose Montoya was honored as Activist of the Year and Influencer of the Year, although she was unable to attend the ceremony.
“This recognition means more than she can express,” said her brother, Prince Joshua, accepting the award on her behalf. “Activism has never been a choice for her. It’s been a necessity. As a trans person, as a person who exists at the intersection of multiple identities, she’s had to fight not just for visibility, but for dignity, safety, and the right to exist. This work is personal. And in a time where hatred is getting louder, in our laws, in our schools, and in our streets, we don’t have the luxury of staying silent.”
Weho Pride notched two wins during the ceremony, including Best Regional Pride and Best LGBTQ Event for its OutLoud Music Festival, which kick off next week.
“We have a big week ahead and hopefully we’ll see you there because Pride starts here, and Pride starts now,” said Jeff Consoletti, Producer of Weho Pride, accepting the award.
The Gay Men’s Chorus of Los Angeles won the award for Best LGBTQ Social Group,
“The Gay Men’s Chorus of LA has been lifting our spirits through song and fighting for community and singing for all our causes since 1979,” said GMCLA Executive Director Lou Spisto, accepting the award. He also noted that the Chorus will honor Schukraft with its Voice Award at its upcoming Dancing Queens Gala June 21 at the Saban Theatre.
Trans Lifeline was awarded Non-Profit of the Year, likely a recognition of the organization’s importance as trans people have come under increasing attack across the country.

“They’ve received an increase in calls to the tune of 300%, so support your trans brothers and sisters,” Rodriguez said, announcing the award.
DJ Cazwell took home the award for best DJ, although a little mix-up had his award read Best Cannabis Retailer, a distinction that actually went to Green Qween. Cazwell spoke about how much he appreciates the community he found after moving to LA from New York.
“I moved here from New York nine years ago and I found a community of DJs who actually support each other here, so I want to shout out the other nominees,” Cazwell said.
That’s a sentiment that was echoed by Best Bartender winner Sumner Mormeneo from Beaches, who moved to LA from Florida.
“My first six months living here was rough. It wasn’t until I got a job at a bar in Weho that it started feeling like home, so thank you,” Mormeneo said.
More than 40 awards were given out in this year’s Best of LGBTQ+ LA. See the complete list of winners.

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Frankie Grande is loud and proud this WeHo Pride
Frankie Grande will be hitting the stage at this year’s Outloud Music Festival at WeHo Pride and is ready to bring the party

Among other queer and ally big names like Lizzo, Alyssa Edwards, Kim Petras and Frankie Grande will be taking center stage on Saturday, May 31, at this year’s OUTLOUD Music Festival at WeHo Pride. In the wake of the queer community’s current political strife, Grande is taking the spotlight, unapologetically and ready to bring the party, celebrating activism and sexuality unabashedly.
Hot off the heels of his recent two hit singles, “Rhythm of Love” and “Boys,” Grande is gearing up for the release of his new album, Hotel Rock Bottom, hitting platforms on June 27. The album is bringing queer aesthetic to the pop genre and is a retelling of Grande’s life as he has gone from party boy to stage, screen, and reality TV personality, to getting married and living a sober family life (dog and all).
We sat for a chat with Grande as he prepares for his WeHo Pride extravaganza. With everything socially and politically considered, Grande is not holding anything back this Pride season.
Pride is recharging and gearing up for battle. I feel like we’re in a place where our community is under attack, and this is the time where we get the microphone so recharge and get ready to be loud and be prouder than we ever have before. We need to show the world that we are not to be fucked with. We got the mic, so let’s use it.
No stranger to taking the stage, Grande promises a spectacle for his Outloud appearance.
I’m so excited. I’ve put so much effort into crafting a very beautiful show, a very gay show, a very hot show. I’ve selected some really fun songs from my album that people are going to get to hear for the first time because the album won’t be out. I’m also doing some fun and clever covers of songs that have inspired me. I’m excited that I’ve mixed it up and it’s going to be really fun and really gay.
This Pride, Frankie’s call to the gay community is clear.
Support our trans siblings. It is more important than ever. Go to your trans friends and be like, “Hey, what do you need? And how can I help?” Because they’re the ones who are directly being scapegoated at this moment. To think that it’s happening to them means it’s not happening to you is crazy. We are all part of the same community. We’re all under the rainbow umbrella, so let’s go support the community that is directly under attack right now.
Grande’s album comes at a time when queer folk could use a little levity and party attitude. He has been a long-time spokesperson for the LGBTQ community. He has used his platform from reality TV to his role as GLAAD board member to incite activism. He knows full well the fatigue that many of the queer community face as we continue to resist a brutal Presidential administration.
You have to find moments of joy. Honestly, that’s a lot of what this album is to me. It’s like, let’s dance around and bop and be silly to boys tonight so that we can hit the ground running tomorrow and go get some legislation overturned. My whole life, I’ve turned to the dance floor during times of stress, and I think we do need to do that. We have to go celebrate. We have to remember why it is so fun to be a huge homosexual and what we’re fighting for. But then we need to go fight. Don’t get so fucked up that you have to be in bed for three days because we actually do need to go to work.
Grande has also become the poster boy for sober party gays. Celebrating 8 years of sobriety, he has been very open about his journey and how it fits into gay culture. Being openly sober has gained momentum in the queer community and many Prides now include dry events. Grande knows the triggers that Pride can include and has some advice to his fellow sober folk.
First of all, sober gays are fun gays, let’s just say that. If you’re triggered, get the fuck out. You know? There are a lot of drugs, there’s a lot of drinking, there’s a lot of partying, and sometimes you’re just not fully ready to be in those environments. And if that is true, then just leave. The people who are drinking and using will have no idea that you left.
Also go find some sober friends to go with. I did everything in sobriety, like linked with my sober BFFs, Salina EsTitties and stylist Mandoh Melendez. They were my bodyguards and they were my shield, and they had more sobriety than I did. They showed me the ropes, and to this day, they’re still sober and my best friends. So, get a sober buddy and GTFO when you’re triggered, just leave.
Grande is being very vulnerable in his upcoming album Hotel Rock Bottom. Not only is he leaving himself to be compared to other family members in the business, but he is also telling his story on his own terms with music. What is his intent with his album?
My mission with this album is to inspire others to be themselves by being so open and honest. If you just want to listen to the surface value of my album, then you’re going to have a great fun dance time being like, this is so much fun. But if you want to actually go and listen to the lyrics and dissect it, you’ll see that there’s a lot of darkness and a lot of light on both sides of this album. I organized this album into side A and side B, or top and bottom, as we’re calling it on the vinyl. There’s sobriety and using days, there’s good and bad, and highs and lows on both. So, no judgment, it’s all about just be yourself, live your life, live authentically, and you’re going to get through whatever you’re dealing with.
And his message to the queer LA community this Weho Pride?
We’re very privileged and we’re very blessed because we’re in a very liberal and very blue state, so we need to have the best time and show up. But let’s make sure that we’re constantly beaming our love, light, and energy, and thinking about how we can help people in red states who are not going to have a governmentally and a community-supported Pride, because that is a reality these days. Let’s try to figure out how we’re going to help the country while we’re in the most liberal, most protected state in the world, which is fabulous.
Catch Grande onstage at Outloud on Saturday, May 31st. Hotel Rock Bottom will be released June 27th, available wherever you stream your music.
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New Musical Monday’s host to grace the stage for MISCAST
On Monday, Craig Taggart graces the stage at Mumo’s MISCAST segment

Actor Craig Taggart has had a colorful career that has transported him from St. Louis to Los Angeles.
Taggart made his L.A. stage debut in Del Shores’ revival of “Southern Baptist Sissies” and began a decades-long professional relationship that led to his appearance in a variety of “sordid” incarnations: in repertory in 2006’s Season of Shores in “Sordid Lives,” “Sordid Lives: It’s a Drag,” and then on TV’s “Sordid Lives: The Series” where he made his TV debut.
Los Angeles audiences have been privileged to see Taggart take the stage in a number of sketch comedies and hilarious parodies. One of his most popular runs has been portraying Bette Midler for “Rise n’ Shine” with Midler and Juliette Lewis, a surreal morning talk show hosted by the duo, played by comedy partner Chris Pudlo. Nowhere on Earth would these two stars be hanging out on a TV show, but the pairing works and the result is hilarious. We really would love to see the return of this dynamic duo.
Taggart will step into the emcee shoes this coming week while regular MuMo host Darin Sanone is traveling Europe. Taggart will present the very popular MISCAST edition, a fan-favorite segment of Musical Mondays that features actors performing roles that are far from their intended casting. From gender swaps to reinterpretations, MISCAST at Mumo is often hilarious, and many times poignant. We can’t wait.
We caught up with Taggart to talk about the power of musical theatre, his career and his fascination with divas.
What inspired your early love of musical theatre?
The first time I fell in love, I was in the third grade watching my grammar school’s performance of Cinderella…a leading lady — in this case a pre-teen girl — on stage singing a torchy power ballad. Smitten!
What was your first professional appearance on stage? How did it go?
Made my professional debut in The Miss Kitty’s Saloon Show at Six Flags St. Louis. 6 shows a day and getting to ride roller coasters when your shift is over…best summer job I ever had!
What was your journey from St. Louis to Los Angeles? What took some time getting used to?
There’s a saying in St. Louis: “If you don’t like the weather here, hang out for 24 hours. It’ll change. And boy, would it! What sold me on Los Angeles was the temperate climate all year long. Weather in Missouri is all over the map…the consistency of Mother Nature here in L.A. has helped, pun intended, weather the career fluctuations over the past couple of decades.
How has being part of the theatre changed your life?
I wouldn’t say theatre really changed my life. It defined my life, for the most part. It’s where I first experienced community. It’s where I was allowed to be myself and be celebrated for it.
We need more Bette and Juliet! Any plans to see more of these lovely ladies?
Funny you should mention that…we’ve been tinkering with the idea of bringing those broads back. I think a reunion show would be in order. Seems everyone’s getting a reboot these days…why not those gals?

Gender bending roles in the theatre have become very popular. What role would you cast yourself in?
I would throw a Little Mermaid into oncoming traffic to get to play ‘Ursula’ onstage.
What has been a personal triumph for you in your theatre career and why?
I made my NYC stage debut off-Broadway starring in “Wounded” by Jiggs Burgess and directed by my dear friend Del Shores this past year. Being involved with it from the initial zoom readings to its multiple award-winning run @ The 2023 Hollywood Fringe Festival to it garnering a residency at The SoHo Playhouse as its Overall Excellence Award Winner from the 2024 International Fringe Festival…that has been the cherry on the cake of my career on-stage so far.
What was your first exposure to Musical Mondays?
Wow…I honestly can’t recall my first time. Not that it wasn’t memorable–it just seems so ingrained in my DNA that I find it harder to think of a time when I DON’T recall being exposed to MuMo!
What is it about Musical Mondays that the community loves so much?
I’d say it’s due to the unabashed and unapologetic reverence for the genre.
Why is celebrating musical theatre so important right now?
Celebrating is a ceremony of respect…and with so much vitriol and animosity and negativity in the world these days…this artform–which, at its core, is one rooted in a reality where a story is only able to be told in so many words before it has nowhere else to go but through song–to me that is the purest form of joy. The purest expression of the soul. It’s art in multiple forms. It sings. It dances. It uplifts. It inspires. It unites and it’s defiant. In a world that stresses conformity, where we’re witnessing the ostracization of marginalized groups, it’s this beloved universe that decries “I Am What I Am”–with spotlights and sequins and showtunes–which, in my humble opinion, is the best antidote to all the ugliness we’re currently facing. Musical Theatre has got my undying and eternal respect…and it’s not only my job, but my duty and my honor and my purpose to celebrate it.
What can we expect from your upcoming appearance at MuMo?
To quote Miss M herself: “Did I sing the ballad yet? Was it wonderful?”
What do you love most about performing at MuMo?
Being a part of a crowd that wholeheartedly loves this art form like I do.
What is your message to Mumo fans?
No one says it better than Sondheim…so in my best Ethel, Angela, Tyne, Bernadette, Bette, Patty, & Audra…”Hold your hats, and Hallelujah! Mama’s gonna show it to ya!”
MuMo takes place every Monday at The Chapel at The Abbey; Los Angeles Blade serves as a proud media sponsor
a&e features
Scarlet Vows: A wedding celebration like no other where queer nightlife, love, liberation take center stage

On May 10th, West Hollywood will witness a wedding unlike any other — one that’s equal parts celebration and cultural statement. The Scarlet Vows is a fiery fusion of love, Black queer joy, and unapologetic nightlife, wrapped in a bold, red bow.
Celebrating the union of David Brandyn and Matthew Brinkley, Ph.D., this wedding transcends tradition, turning a day of commitment into a night of unforgettable energy, connection, and liberation. Picture a nightclub alive with lights, music, and bold red gowns swirling on the dance floor. Laughter fills the air, and joy radiates through every glittering detail. This isn’t just a wedding, it’s a love story turned party, turned cultural statement.
“We hate tradition,” said Brandyn, one half of the couple, co-producer of the event, writer and sexual health educator. “We wanted to celebrate in a place that actually feels like us — and that’s the club,” .
Together, he and Brinkley — a relationship therapist and dating coach — have built their careers around supporting Black queer communities.
“We’re not just partners in love — we’re partners in purpose,” explained Brandyn. “This celebration is a tribute to the spaces and people that raised us, healed us, and reminded us we were never alone.”
Their story began, like many queer romances today, with a match on Jack’d.
“But I avoided meeting up,” said Brandyn while laughing. “I knew if we met in person, I’d fall in love — and I wasn’t ready yet.” Brinkley, determined, found another way — showing up at David’s job picnic. As a QTBIPOC couple, the meaning behind this union goes far beyond the personal. “We are what we didn’t see growing up,” said Brandyn. “We’re living proof that Black queer love exists and deserves to be celebrated loudly.”
And that’s exactly what Scarlet Vows is: loud, proud, and deeply intentional. With every detail, the couple is reclaiming what weddings can look like for those of us who’ve been told we’re “too much, too queer, too different.” “We didn’t want perfection or tradition — we wanted sweat, sparkle, laughter, and love,” shared Brandyn. “So we created something that combines a ball, a house party, a love story, and a family reunion.”
The name Scarlet Vows is more than aesthetic. “Scarlet is bold, sexy [and] powerful. Vows are sacred. Together, it’s a declaration: this isn’t love whispered in secret. This is love out loud, in full color, surrounded by chosen family.”
From the moment guests walk in, they’ll be immersed in a world where Black queer joy is not only centered but celebrated. And when they walk out?
“We hope they feel more alive, more hopeful, and more connected to what’s possible,” said Brandyn.
Hosted at Beaches Tropicana, The Scarlet Vows promises an unforgettable night filled with live performances, giveaways, and vendors. The vibe? Elevated, emotional, and full of bold fashion. The dress code is red — think high glam, full drama, and statement-making looks.
But beneath the sequins and spotlight is something even deeper: purpose.
This celebration comes at a time when QTBIPOC communities are facing escalating attacks — politically, socially, and economically. The couple has weathered hardships planning this event too, including being robbed and experiencing sudden venue cancellations. Yet, they’ve persisted — reaching out to community members and aligned brands to co-create something powerful. “Nightlife saved us,” David reflects.
“It gave us safety, friendship, release. This is us giving back. This is joy without apology.” That joy is contagious. Whether you’re a longtime friend or a first-time guest, Scarlet Vows invites everyone to come as they are — whether in a gown, a jockstrap, or both. “Think warmth meets wild,” David smiles. “We want people to cry during the vows and then immediately turn up on the dance floor.”
What happens after the last dance? “Maybe this turns into something bigger,” he muses. “A recurring event, a documentary, a community tradition. Either way, the impact is already bigger than just one night.”
And if you’re still on the fence about attending? “You’ll miss the wedding of the year. A celebration of love, culture, and freedom. A ball, a rave, a healing circle, and a Black queer love story all in one,” said Brandyn. “If you’ve never seen what it looks like when we build something just for us — this is your chance.”
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