Metro Weekly - 04-10-14 - Tom Goss | Defense Of Marriage Act | Same Sex Marriage


Courts Poised for
Next Round on Marriage
Latest chapter in marriage equality starting now in courtrooms coast to coast
U.S. Supreme Court
by Justin Snow
the challenge to California’s
Proposition 8, numerous fed-
eral appeals courts have just
begun to hear oral arguments in cases
challenging same-sex marriage bans
from states across the nation.
The latest chapter in the marriage-
equality movement comes after a flood
of victories in every region of the United
States, particularly after the Supreme
Court struck down Section 3 of the
Defense of Marriage Act last June, with
all roads of this latest phase leading to
the Supreme Court once more.
On April 10, the 10th Circuit Court of
Appeals is set to hear oral arguments in
Kitchen v. Herbert, challenging Utah’s
same-sex marriage ban. One week later,
on April 17, the same appellate court
will hear arguments in a case challeng-
ing Oklahoma’s same-sex ban, Bishop v.
Smith. On May 13, the 4th Circuit Court
of Appeals will hear oral arguments in
Bostic v. Schaefer, which is challeng-
ing Virginia’s same-sex marriage ban.
Oral arguments have yet to be scheduled
for a number of cases as well. Sevcik v.
Sandoval of Nevada is before the 9th
Circuit Court of Appeals and DeLeon v.
Perry of Texas is before the 5th Circuit.
Four cases — Tanco v. Haslam of Ten-
nessee, Bourke v. Beshear of Kentucky,
Obergefell v. Kasich of Ohio and DeBoer v.
Snyder of Michigan — are before the 6th
Circuit Court of Appeals. In each case
a federal judge has found either part or
all of state bans on same-sex marriage,
or recognition of same-sex marriages
legally performed in other jurisdictions,

Indeed, since the Supreme Court’s
sweeping 5-4 decision authored by Jus-
tice Anthony Kennedy declaring the fed-
eral definition of marriage as between a
man and a woman in violation of the U.S.
Constitution, three state courts and eight
federal courts have sided with same-
sex-marriage proponents and universally
quoted some aspect of the Windsor deci-
sion in their rulings.
“The federal courts are reflecting both
that momentum in public opinion and
the additional constitutional clarity that
came out of our win at the Supreme
Court in the DOMA case,” said Evan
Wolfson, founder and president of Free-
dom to Marry.
And more rulings are expected. There
are nearly 60 state and federal lawsuits
filed in 28 states, plus Puerto Rico, with
a total of about 250 plaintiffs. Only five
states – Alaska, Georgia, Montana, North
Dakota and South Dakota – have no cur-
rent lawsuits challenging their respec-
tive same-sex-marriage bans. Advocates
believe that in the next few months even
those states will face court challenges.
According to the Human Rights Cam-
paign, 90 percent of the cases filed have
followed the Supreme Court’s decisions
on DOMA and Proposition 8 just 10
months ago.
“The next few months will bring
another chapter where we’re going to
see federal appellate courts now hearing
and ruling on the freedom to marry,” said
Wolfson. “It is another stage, another
step in this build toward our goal of a suc-
cessful return to the U.S. Supreme Court
to finish the job.”
The deluge of court challenges illus-
trates a shift of the marriage-equality
movement. In 2013, same-sex marriage
was legalized in Rhode Island, Delaware,
Now online at
Poliglot: SCOTUS declines discrimination case
News: OHR launches #safebathroomsDC
marriage ban. Electoral battles are also
being waged in Oregon, which could see
repeal of that state’s same-sex marriage
ban on the ballot in November, as well
as potential 2016 ballot measures in Ari-
zona, Nevada and Ohio.
“You very quickly see the evolution
of the LGBT movement has been one
in which we have really constructively
strategically looked at the map and seen
that from a legislative and an electoral
perspective it is going to be increasingly
harder to win these marriage battles,”
said Sainz. “And it has moved to the
courts largely as a result of our victories
in Perry and Windsor.”
As the question of the constitutional-
ity of same-sex marriage bans return to
federal appeals courts for the first time
since the 9th Circuit Court of Appeals
found California’s same-sex marriage
ban unconstitutional in February 2012,
it coincides with a dramatic shift in pub-
lic opinion. Polls continue to show sup-
port for same-sex marriage, as well as
LGBT equality, on the rise among every
demographic, with opposition reaching
all-time lows.
A bipartisan poll conducted by Tar-
Minnesota, New Jersey, Hawaii and Illi-
nois, following November 2012 wins for
same-sex marriage at the ballot box in
Maine, Maryland, Washington and Min-
nesota. And same-sex nuptials resumed
in California for the first time since 2008.
About 40 percent of the U.S. population
now lives in one of the 17 states, plus
D.C., that permit same-sex marriage. But
with 29 of the states that remain banning
same-sex marriage through a constitu-
tional amendment and four through state
laws, there has been an uptick in empha-
sis on legal challenges.
“All of the low-hanging fruit is basi-
cally gone in terms of marriage states,”
said HRC Vice President Fred Sainz.
“You saw the greatest number of states
that were possible become marriage
states in 2013. Legislatively we are down
to basically two states”
Those states are Indiana, where advo-
cates successfully beat back a constitu-
tional amendment prohibiting same-sex
marriage that would’ve gone on the ballot
this year; and Nevada, where lawmakers
have passed once, and must pass again
next year, language that would go on the
2016 ballot repealing the state’s same-sex
getPoint and Greenberg Quinlan Ros-
ner Research and released by Americans
for Marriage Equality, a coalition led
by the HRC, found 55 percent of voters
support marriage equality, including 75
percent of millennials, and just 40 per-
cent opposed. Moreover, the poll found
widespread acceptance of gay adoptions
and gay parents.
“This is about much more than mar-
riage — these numbers point toward a
wide spread and pervasive acceptance
of gays and lesbians across a variety of
issues related to the family,” said Target
Point pollster Alex Lundry, who pre-
viously worked for Mitt Romney, in a
statement. “And, when people imagine
a future with national marriage equal-
ity, the picture is far from calamitous:
Overwhelming majorities do not believe
that more kids will grow up gay, and do
not believe there will be more divorce
among straight couples. Moreover, they
believe it will mean kids with gay parents
will have more legal and social protec-
tions and that these same kids will be less
likely to be bullied. They believe it will be
easier to grow up gay and that there will
be less prejudice against gay people.” l
Bowser Wins Nomination
Stage set for mayoral race with Catania, while Graham loses to Nadeau in Ward 1
by John Riley
the polls last week to select
nominees from each of the
city’s four major political par-
ties for various offices in November’s gen-
eral election, turning incumbent Mayor
Vincent Gray and four-term Councilmem-
ber Jim Graham (Ward 1) out of office in
their respective Democratic primaries.
Gray, who has been the target of a fed-
eral investigation looking into a shadow
campaign during the 2010 mayoral elec-
tion, was frequently under attack and
had flat-lined in polls following a plea
deal with businessman Jeffrey Thomp-
son, who pleaded guilty to directing ille-
gal campaign contributions into a Gray
shadow campaign and claimed Gray had
known of the plan. Following Thomp-
son’s plea deal, Gray’s chief rival, Coun-
cilmember Muriel Bowser (D-Ward 4)
surged, consolidating the support of a
number of anti-Gray voters who had pre-
viously considered other candidates until
polls showed Bowser breaking away from
the pack of challengers.
Bowser triumphed over Gray by a
12-point margin, 44 percent to 32 per-
cent, and won five of the city’s eight
wards, including her home base of Ward
4 and majority- or plurality-white wards
west of Rock Creek Park and in the city’s
downtown and U Street corridors, which
backed former Mayor Adrian Fenty (D)
four years ago. Gray won three majority-
African-American wards – Wards 5, 7 and
8 – largely on the east side of the Anacos-
tia River. Based on results from the D.C.
Board of Elections, Bowser also appears
to have won handily in wards with high
concentrations of LGBT voters.
According to the Williams Institute,
a UCLA School of Law think tank con-
ducting research on sexual-orientation
and gender-identity laws and public pol-
icy, the 2010 Census shows tracts with
more than 20 same-sex couples per 1,000
households overlapping all or parts of 43
voting precincts in the District. Bowser
won 36 of those 43 precincts, some by
lopsided margins.
Gray won in Precinct 20, a Ledroit
Park precinct, and at Precinct 18, in the
city’s Shaw neighborhood. He also won
three precincts – 67, 69 and 70 – in
the city’s Brookland and Michigan Park
neighborhoods. Councilmember Tommy
Wells (D-Ward 6), who came in third
overall with 13 percent of the vote, won
two other precincts, 90 and 90, located
near his Capitol Hill base.
Overall voter turnout for the April 1
primaries was sluggish at many locations.
Fewer votes were cast this year than were
cast four years ago at every precinct in the
elected to the D.C. Council.
While some political observers have
expressed dismay over the prospect
of a D.C. Council without any openly
gay councilmembers, should Catania
continue with his mayoral run and
following Graham’s defeat, the hand-
wringing may be premature, as Mor-
gan, a gay African-American and cur-
rent ANC commissioner from Ward 1,
stands a good chance of getting elected
if he is able to mobilize a small but
dedicated base of voters who can get
him enough votes to come in among the
top two vote-getters.
“Muriel Bowser didn’t defeat Mayor
Vincent Gray,” transgender activist Jeri
Hughes told Metro Weekly. “[U.S. Attor-
ney for the District of Columbia] Ron
Machen defeated Mayor Vincent Gray.
The real loser in this race is the District
of Columbia.”
“We have lost the best Mayor we ever
had,” she continued, referring to Gray’s
advocacy on behalf of the transgender
community, such as launching a program
to help transgender people receive job
An expanded version of this story is available online at
race, Nadeau gave a speech before sup-
porters at Solly’s U Street Tavern in the
early morning hours Wednesday, April 2,
in which she thanked Graham for his 15
years of service on the Council, despite
a tough and, at times, heated campaign
between the two.
“Tonight we’re celebrating all the
people of Ward 1, because we built this
campaign with their voices in mind,”
Nadeau said. “This campaign has never
been about me. You’ve heard me say that
before, and I mean it. This is about the
people of Ward 1. … And now what we’re
going to be able to do is take all these
voices to the Wilson Building!”
Nadeau will face off against Indepen-
dent Bryan Weaver, who dropped out of
the Democratic primary in January.
Mendelson and McDuffie will run
unchallenged in the general election,
while Cheh faces Libertarian nominee
Ryan Sabot and Allen faces Libertar-
ian nominee Pranav Badhwar in their
respective races. Bonds, as an At-Large
member, will face three challengers –
Republican Marc Morgan, Statehood
Green nominee Eugene Puryear, and
Libertarian Frederick Steiner – in a con-
test where the top two vote-getters are
city. Overall, voter turnout citywide was
estimated at 22.5 percent, with turnout
in some individual precincts dropping as
low as 8 percent.
Bowser now heads into the Novem-
ber general election as the presumptive
favorite in a city where almost three-
quarters of voters identify as Democrats.
She will face gay Councilmember David
Catania (I-At Large), who announced his
candidacy earlier this month, as well as
Libertarian Party nominee Bruce Majors
and Statehood Green Party nominee
Faith Dane Crannitch, who appears on
the ballot as “Faith.”
In the D.C. Council races, incumbent
Chairman Phil Mendelson and Coun-
cilmembers Anita Bonds (D-At-Large),
Mary Cheh (D-Ward 3), and Kenyan
McDuffie (D-Ward 5) won their respec-
tive primaries, while Graham, one of only
two out gay men to ever serve on the
D.C. Council, lost his bid for re-election
to challenger Brianne Nadeau. In the
race for the Ward 6 seat being vacated
by Wells, Wells’s former chief of staff,
Charles Allen, defeated former U.S. Sen-
ate staffer Darrel Thompson in the Dem-
ocratic primary.
Following her victory in the Ward 1
Invitation to Indulgence
The Chamber readies its annual awards dinner with an emphasis on entertainment and opulence
by Robert E. McLean
to expect at a typical awards
dinner? Great, but that’s not
what you’ll find when the
Capital Area Gay and Lesbian Chamber
of Commerce (aka the Chamber) cel-
ebrates its 24th anniversary and honors
a diverse group of local business and
community leaders at its Annual Awards
Dinner and Gala on Friday, April 25, at
the Mayflower Renaissance Hotel.
Chamber Vice President Katie McEl-
roy, owner of the event-planning compa-
ny Katie Rose LLC, says this year’s event
has been redesigned with more enter-
tainment under a new theme: Indulge in
Business Excellence.
“We are really excited to be the orga-
nization that acknowledges and com-
mends businesses and leaders within the
local LGBTA community, and we are
honored and humbled by this respon-
sibility,” says McElroy. “The Chamber
has created this event to break the mold
and elevate the Annual Awards Dinner
beyond the typical D.C. gala that can feel
sterile and routine. We want to treat our
nominees and the community to an eve-
ning of opulence and grandeur that will
indulge all your senses.”
Guests will be charmed, delighted,
wooed and astounded by the entertainers
participating in this year’s gala, where
awards are given out in several catego-
ries: Excellence in Business, Business
Leadership, Emerging Entrepreneur,
Corporate Partner, and the Volunteer
of the Year Award. More information
is available about this year’s nominees
online at
As part of this year’s exciting changes
to the event’s programming, honorees
will be announced at the dinner during a
special awards presentation by this year’s


master of ceremonies, magician Max
Major. Twice voted D.C.’s “Best Perfor-
mance Artist” by readers of the Washing-
ton City Paper and voted “DC’s Hottest
Bachelor” by Inside Edition, Major will
use a combination of magic, psychology
and charm to entertain attendees while
he pulls the award winners “out of the
hat” of nominees in each category.
Entertainment will also be provided
by the Rorschach Theatre, acclaimed for
its fierce performance style and its bold
use of theatrical space. The company will
delight guests with its interactive, roco-
co-themed, in-costume and in-character
performances throughout the evening.
“We are very grateful to have been
part of such a warm and supportive com-
munity in Washington for the last 14
years, so we always love the opportunity
to give back,” says Rorschach’s co-artis-
tic director, Jenny McConnell Frederick.
“Collaborations like these are essential in
ensuring a really vibrant commerce ecol-
ogy of our city – and we know it’s going
to be a blast!”
Also performing will be singer Darsha
Davis, who will treat attendees to an inti-
mate set of soulful contemporary classics.
“The opportunity to celebrate this year’s
award candidates and ‘movers and shak-
ers’ in our area is awesome,” says Davis.
The event will also feature the Royal
Auction, sponsored by Malvin, Riggins
and Company P.C. The auction consists
of luxury items ranging from high-end
clothing and accessories to special edi-
tion artwork. Some of this year’s auc-
tion items include a TAG Heuer men’s
watch, donated by Tiny Jewel Box, and
a DeLonghi Nespresso espresso maker,
donated by Bloomingdale’s. This year,
the Chamber offers the opportunity to
bid online prior to the dinner, including
“Buy Now” prices. For more information
about the auction, visit the Chamber’s
Beyond the entertainment and Royal
Auction, the value in attending the gala
is the opportunity for networking. As
described by Silvia Tergas, dinner co-
chair and Chamber board member: “You
can make new connections, meet a lot of
decision makers, and build relationships.
This is a fantastic business opportunity,
wrapped in an evening of fun.”
The Chamber’s Annual Awards Dinner
and Gala is Friday, April 25, at the May-
flower Renaissance Hotel, 1127 Connecti-
cut Ave. NW, from 6:30 to 9:30 p.m. Tick-
ets, starting at $210, and sponsorships are
available on the Chamber’s website.
The Chamber Means Business. For more
information visit or On Twitter,
Robert E. McLean, a CAGLCC member,
owns REM Association Services, a full-
service association management company
in Arlington. l
ADVENTURING outdoors group hikes 10 miles
for monuments and cherry blossoms. Bring lunch,
beverages, bug spray, $2. Meet 9 a.m., Rosslyn
Metro, attendant’s kiosk. John, 703-914-1439.
EPISCOPAL CHURCH celebrates Low Mass at 8:30
a.m., High Mass at 11 a.m. 2300 Cathedral Ave. NW.
DIGNITY WASHINGTON offers Roman Catholic
Mass for the LGBT community. 6 p.m., St.
Margaret’s Church, 1820 Connecticut Ave. NW. All
welcome. Sign interpreted.
all to Sunday worship at 8:30 or 11 a.m. Childcare is
available at both services. Welcoming LGBT people for
25 years. 212 East Capitol St. NE.
WASHINGTON, D.C. services at 9 a.m. (ASL
interpreted) and 11 a.m. Children’s Sunday School at
11 a.m. 474 Ridge St. NW. 202-638-7373,
interracial, welcoming-and-affirming church, offers
service at 10 a.m. 680 I St. SW. 202-554-4330,
“interracial, multi-ethnic Christian Community”
offers services in English, 8 a.m. and 10:30 a.m., and
in Spanish at 5:15 p.m. 1525 Newton St. NW. 202-
LGBTQ welcoming-and-affirming congregation,
offers services at 10 a.m. Virginia Rainbow UU
Ministry. 4444 Arlington Blvd.
ADVENTURING outdoors group hikes 4 easy miles
for twilight cherry blossoms. Bring beverages,
snack, $2 fee. Meet 6 p.m., Waterfront Metro
escalators, street level. Brett, 202-236-9968.
NOVASALUD offers free HIV testing. 5-7 p.m. 2049
N. 15th St., Suite 200, Arlington. Appointments:
SENIOR LGBT COMMUNITY. 10 a.m.-noon. 2000
14th St. NW. 202-682-2245,
3333 Duke St., Alexandria, offers free “rapid” HIV
testing and counseling, 9 a.m.-4 p.m. 703-823-4401.
Whitman-Walker Health HIV/AIDS SUPPORT
GROUP for newly diagnosed individuals, meets
7 p.m. Registration required. 202-939-7671,
SMYAL’S REC NIGHT provides a social
atmosphere for GLBT and questioning youth,
featuring dance parties, vogue nights, movies and
LATINO GLBT HISTORY holds meeting for DC
Latino Pride volunteers. 12:30-3 p.m. The DC
Center, 2000 14th St. NW, Suite 105. RSVP: Jesus,, 202-670-5547.
ADVENTURING outdoors group hikes moderate
8.5 miles. 1,000 feet elevation gain on Appalachian
Trail, Shenandoah National Park. Ice cream follows.
Bring beverages, lunch, bug spray, sunscreen, about
$20/fees. Carpool 9 a.m., East Falls Church Metro,
Kiss & Ride lot. Jeff, 301-775-9660.
offers free HIV testing, 9-5 p.m., and HIV
services (by appointment). 202-291-4707 or
BET MISHPACHAH, founded by members of the
LGBT community, holds Saturday morning Shabbat
services, 10 a.m., followed by kiddush luncheon.
Services in DCJCC Community Room, 1529 16th St.
DC AQUATICS CLUB (DCAC) practice session at
Marie Reed Aquatic Center, 2200 Champlain St.
NW. 8-9:30 a.m.
DC FRONT RUNNERS running/walking/social
club welcomes all levels for exercise in a fun and
supportive environment, socializing afterward.
Meet 9:30 a.m., 23rd & P Streets NW, for a walk; or
10 a.m. for fun run.
organization helps at DC Central Kitchen and at
Lost Dog & Cat Foundation in Potomac Yards.
CHRYSALIS arts & culture group visits
Smithsonian exhibits on American dance and
modern American realism at Old Patent Office
Building. Free. Lunch follows. Meet 11:45 a.m., 8th
and G Streets NW lobby. Kevin, 703-464-9040, ext.
TEAM DC presents SportsFest with representatives
from 30 sports clubs. No cover. $10 for two drink
tickets, $20 for open bar. 6-8:30 p.m. Room &
Board, 1480 14th St. NW.
organization helps at Team DC SportsFest and at
Food & Friends.
DC LAMBDA SQUARES gay and lesbian square-
dancing group features mainstream through
advanced square dancing at the National City
Christian Church, 5 Thomas Circle NW, 7-9:30 p.m.
Casual dress. 301-257-0517,
The DULLES TRIANGLES Northern Virginia social
group meets for happy hour at Sheraton in Reston,
11810 Sunrise Valley Drive, second-floor bar, 7-9
p.m. All welcome.
IDENTITY offers free and confidential HIV testing
in Gaithersburg, 414 East Diamond Ave., and in
Takoma Park, 7676 New Hampshire Ave., Suite 411.
Walk-ins 2-6 p.m. For appointments other hours,
call Gaithersburg, 301-300-9978, or Takoma Park,
LBTQ women, 13-21, interested in leadership
development. 5-6:30 p.m. SMYAL Youth Center, 410
7th St. SE. 202-567-3163,
US HELPING US hosts a Narcotics Anonymous
Meeting, 6:30-7:30 p.m., 3636 Georgia Ave. NW.
The group is independent of UHU. 202-446-1100.
HIPS, DC TRANS COALITION and other rally to
support Monica Jones and to repeal “prostitution
free zones.” Noon-1:30 p.m. 1350 Pennsylvania Ave.
HIV TESTING at Whitman-Walker Health,
Elizabeth Taylor Medical Center, 1701 14th St. NW,
9 a.m.-5 p.m. 202-745-7000,
Metro Weekly’s Community Calendar highlights important events in
the D.C.-area LGBT community, from alternative social events to
volunteer opportunities. Event information should be sent by email to Deadline for inclusion is noon
of the Friday before Thursday’s publication. Questions about
the calendar may be directed to the Metro Weekly office at
202-638-6830 or the calendar email address.
DC Center’s Center Global holds MIDDLE EAST
HALL DISCUSSION. 6:30-8 p.m. 2000 14th St. NW,
Suite 105.
Whitman-Walker Health’s GAY MEN’S HEALTH
AND WELLNESS/STD CLINIC opens at 6 p.m.,
1701 14th St. NW. Patients are seen on walk-in basis.
No-cost screening for HIV, syphilis, gonorrhea and
chlamydia. Hepatitis and herpes testing available
for fee.
meets at SMYAL, 410 7th St. SE, 5-6:30 p.m. Cathy
Chu, 202-567-3163,
meets for Social Bridge. No reservations or partner
needed. 7:30 p.m. Dignity Center, 721 8th St. SE.
PRIME TIMERS OF DC, social club for mature gay
men, hosts weekly happy hour/dinner. 6:30 p.m.,
Windows Bar above Dupont Italian Kitchen, 1637
17th St. NW. Carl, 703-573-8316. l
scan this tag
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Equality Virginia’s
25th Anniversary
Commonwealth Dinner
Saturday, April 5
Greater Richmond
Convention Center
APRIL 10, 2014
Randy Shulman
Randy Shulman
Todd Franson
Will O’Bryan
Justin Snow
John Riley
Rhuaridh Marr, Doug Rule
Ward Morrison
Christopher Cunetto, Julian Vankim
Scott G. Brooks, Christopher Cunetto
Daniel Burnett, Christian Gerard,
Brandon Harrison, Chris Heller, Troy Petenbrink,
Richard Rosendall, Kate Wingfield
Sean Bugg
David Uy
Aram Vartian
Julian Vankim
Randy Shulman
Rivendell Media Co.
Dennis Havrilla
Justin Jaymes
Julian Vankim
1425 K St. NW, Suite 350
Washington, DC 20005
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such person or organization.
© 2014 Jansi LLC.
inent gay writers
deplored the fu-
ror that brought
down Brendan
Eich as CEO of
Mozilla Corp. last
week for support-
ing California’s
anti-gay Proposition 8. Andrew Sullivan
blogged against “a fanaticism more like
the religious right than anyone else.”
Jonathan Rauch tweeted, “I agree with
@RameshPonnuru: trying to punish
dissenters like Brendan Eich is no way
to advance civil rights.” Frank Bruni
wrote in the Grey Lady, “Such vilifica-
tion won’t accelerate the timetable of
victory, which is certain. And it doesn’t
reflect well on the victors.”
I have no wish to embrace what
Sullivan calls “McCarthyism applied by
civil actors,” but I disagree. Eich’s resig-
nation exemplified the operation of the
free market that conservatives usually
Fox News reporter Todd Starnes
made Sullivan look restrained: “Why
not demand that those who oppose gay
marriage relinquish the right to own
property? Why not take away their right
to vote? Why not take away their chil-
dren? Why not just throw them in jail?
Why not force them to work in chain
gangs? Why not call for public floggings?
Or better yet, let’s just strap them down
on gurneys, stick a needle in their arm
and rid the world of these intolerant
anti-gay bigots once and for all.”
Actually, I oppose such traditional
conservative measures. If vilifying those
who disagree with you is wrong, Sul-
livan and Starnes might consider toning
it down themselves. No major LGBT
group even weighed in on the con-
troversy before Eich resigned, unless
you’re somehow counting the OkCupid
dating site. To agree with Ponnuru,
Rauch had to overlook his denial that
marriage equality has anything to do
with civil rights.
The victim mongering is preposter-
ous. Eich is not being publicly flogged.
He is not denied access to a loved one
during a hospital visit because his mar-
riage is not recognized in the state he
is passing through. He is not forced to
wonder whether a court will allow for-
profit companies at whim to bar him
from buying products and services like
other people. He is not being smeared
as a traitor in a Senate hearing room,
as so many of Sen. McCarthy’s victims
were in the 1950s. That cheap compari-
son dishonors those who make it.
Portraying a gay left as intolerant as
its persecutors is hyperbolic and rein-
forces the right wing lie that anti-gay
discriminators are the true victims.
They are not. There is no movement
to deny recognition to straight peo-
ple’s marriages. People attracted to
the opposite sex are not targeted for
hate crimes.
LGBTQ Nation recently reported an
Alabama case in which a mother who
disapproved of her son’s same-sex mar-
riage is fighting to exclude his widower
from his estate. Thank goodness the
widower has the Southern Poverty Law
Center on his side. Brendan Eich sup-
ported a law like Alabama’s denying
recognition to gay people’s marriages.
Such disgraceful treatment of loving
couples is still happening, thanks to
people like Brendan Eich. (And spare
me the facile jibes; Barack Obama
opposed Prop. 8.)
This is not about speech. It is about
our lives. To the extent speech is
involved, Eich is not the only one with
the right to his own views. The devel-
opers who balked at creating apps for
Mozilla Firefox were seriously troubled
over it. I am on the side of those who
fight for equal protection for our fami-
lies, a fight that is not over. America did
not disarm in the Pacific after its victory
at Midway; it fought on to the end.
Those who call gay people intolerant
for defending ourselves are twisting the
concept beyond recognition. Civility is a
virtue; but tolerance does not require us
to treat a relentless assault against our
rights as citizens like a disagreement at
the dinner table.
Richard J. Rosendall is a writer and
activist. He can be reached at l
The “Sore Winners” Fallacy
Those who call gay people intolerant for defending ourselves are twisting
the concept beyond recognition
by Richard J. Rosendall
METRO WEEKLY: Wait seems “poppier” to me than your previous
TOM GOSS: Oh, yeah! I’ve always considered myself a pop writer.
I love pop music. Not like ‘N Sync or Backstreet Boys or Britney
Spears or Lady Gaga, but I’ve always been trying to produce pop
You think of The Beatles and that era of pop music, which is
super-succinct writing, really fast changes, really hook-y melo-
dies. A lot of the music we hear day to day is pop music, whether
you’re talking about country music or rock music or whatever.
I’ve always thought of myself as someone who wants to write
really concise, well-written pop songs.
MW: But compared to your previous albums, Wait feels less senti-
mental, more toe-tapping.
GOSS: Totally. I agree. I wanted to have a lot of fun on this record.
People see me live and connect with me. They connect with me
as a storyteller, somebody who can evoke emotions, because
when they hear the songs live they’re stripped. When I go into
the studio to record with a band, the vision is a little different.
MW: The first couple of tracks, particularly – “It Only Takes Once”
and “Take a Chance” – I think will have people up, out of their
seats, wanting to dance.
GOSS: That’s what I want! In a lot of ways, that’s always what I’ve
wanted. I had a couple big numbers like that on Turn It Around,
as well, but I never want to do the same thing I’ve already done.
I never want to just be creating the same sounds.
I could spit out 50 love songs by the end of the day and they’d
all be good and passable and evocative and all that kind of stuff,
but I don’t want to do that for the rest of my life. I want to do
stuff that’s different. It’s super easy to write a soft, romantic,
heart-wrenching song. That’s nothing. But to write something
that’s going to get people to move? To write something that’s
going to incorporate a lot of different sounds? That’s difficult.
MW: I’m sort of reminded of your “That’s Not My Name” cover. It
seemed you were being dismissive, but it’s a really fun cover.
GOSS: People loved that. I really started playing it because I hated
the song. I was hearing it on the radio all the time. I thought,
“There’s nothing redeeming about this song.” I just had all this
negative energy about why I hated this song. And I thought,
“Why don’t I just make it my own and shed that negative ener-
gy?” Then, at the same time, people just really enjoyed it. I’d play
it at shows and get the whole crowd to sing. I used to close shows
with it, have whole rooms of people singing, and we’d do rounds.
People loved it. Then, if The Ting Tings were on Letterman, I
would get emails and phone calls about these people who stole
my song. It was really, really funny.
People love that song because it’s fun and it’s got attitude. At
the same time, there’s really not a redemptive message when you
dig into it. For me, the challenge is always creating something
that has that energy, that makes you happy and want to bop your
head, but also has a redemptive message to it. There are very
few people who do that effectively. That’s the biggest challenge
for me.
MW: People want candy.
GOSS: People do want candy. If you give them candy that they
can break down and realize, “Wow, I have candy and I have a
redemptive message,” or, “and I’m talking about social justice,”
or, “and I’m talking about something greater than me,” then
that’s an accomplishment.
MW: So, you’re like Gummy Vitamins.
GOSS: [Laughs.] Yeah! I’ve got a whole bunch of ’em in the other
MW: Seriously?
Nor is he pushy. Put simply, he has a message to share and he’ll
do what he needs to express it. Often, that means touring. Goss
has the miles to show for his career, still moving in an upward
This month, Goss is making a bold move to dedicate himself
full time to this mission. He’s leaving the job of nearly a decade
he’s held with Charlie’s Place, a D.C. program to end homeless-
ness run out of St. Margaret’s Episcopal Church. His first Euro-
pean tour, with dates in Iceland and the U.K. begins later this
month, and his new album, Wait, releases May 13.
Even with a new album, the song remains the same.
“When I write, I’m the least guarded that I ever am,” says the
singer-songwriter. “So I think that my longing and my search for
that really shines through. That’s what people hear.”
That’s the search that took him to Catholic seminary, and the
search that got him to leave that behind, as well.
“A lot of people self-identify as spiritual, not religious,” he
says, speaking about his message and pointing to “Rise,” a song
of his from 2008. “I’m not talking about ‘Christ the redeemer
rose on the third day.’ That’s not the lyric. But if the lyric is,
‘Now it’s time to say goodbye, and to leave our skins behind. Let
the dusk, drain the sun and rise,’ that says a very similar thing.
You could put that in a Christian context. Or you could put that
in a spiritual context. I think the message is the same. It’s about
rebirth and renewal and reconciliation. I think a lot of my songs
reflect that. I may not be doing the sign of the cross, but there’s a
wisdom and an authenticity that I’m sharing.”
It’s something of what he shares with his husband, Mike, and
with so many other artists with whom Goss revels in creating
community. If you like, he’ll certainly share it with you, too.
With a new album about to launch,
Tom Goss hits the road to share
his authentic truth
GOSS: Yes! I love vitamin Gummys because they make me take
my vitamins, but it’s hard because I want to eat them all day. MW:
How would you feel if a DJ got hold of one of the bouncier tracks off
Wait? You could be in Provincetown doing your shows, and maybe
walk into the Crown & Anchor and hear a Tom Goss remix.
GOSS: I think there are going to be a lot of remixes off this record.
I’m already working on one.
One of the things I learned a lot from working with Rich
Morel, and just from being such an admirer of his work, and
from seeing how people responded to “Bears,” and everybody’s
really into EDM right now, and that’s something that’s just going
to grow and boom, when –
GOSS: Electronic dance music.
MW: Ah, sorry. I’m 44.
GOSS: That’s okay! When you think of yourself as a “singer-
songwriter,” what do you think of? You think Joni Mitchell. Or
James Taylor. They’re kind of like the models. That’s what it is
in its purest form.
So, when people are like, “Hey, why don’t we put this beat
behind it?” they’re really tense. Like, they really don’t want to
do that. I spent the past couple years trying to understand what
it means to be an artist and embrace what’s good and fun about
that. That means being open to different opportunities. Instead
of being closed and having a singular vision and saying, “This is
the way it has to be,” it’s being open to say, “Wow, that’s really
interesting. That’s really resonating with people. How can I
learn from that?”
MW: Your style of collaboration must be pretty agreeable, in that
collaborators keep coming back.
GOSS: Don’t get me wrong: I have strong opinions. But, at the
end of the day, my loyalties lie with what is best for the project.
There’s a certain kind of humility that has to come with being a
good collaborative artist – or a good artist at all – who is open to
listening and open to learning and open to hearing that your idea
isn’t the best idea in this specific moment. I think that’s hard.
MW: Are those values you were raised with? Something you learned
GOSS: I think it’s both. It’s an evolution. My last record, which
I’m very proud of, I played every single note on the record,
every single instrument. That was really important. Before that,
even though I was making these quality projects, doing amazing
things and bringing a lot of people together, I’m not sure that I
thought much of myself as an artist or believed in my own artis-
tic vision as much. I don’t want to say it came from a lack of self-
confidence. I’ve always been able to say, “This is what I want.”
MW: You’ve got that competitive background, as a wrestling
champ. But entering seminary shows your humility. It’s an inter-
esting mix.
GOSS: That’s a good insight, because I do think, all my life, I’ve
always believed that I’ve failed at everything I did.
MW: When did that change?
GOSS: I don’t know if that ever has really completely changed. I
think it’s because I grew up being so competitive, doing things
that had very clear winners and losers, very much black-and-
white things.
MW: Beyond the wrestling?
GOSS: Sure. Life! You’re talking about sports. You’re talking
about school. I find competition really fun. It’s my whole family.
If you hung out with my family for 20 minutes, you would be
part of 20 competitions. I grew up in a big gymnastics family. I
was competing in gymnastics since I was two. My parents owned
a gym. I’m pretty aggressive, in general. I’m pretty straightfor-
ward. A lot of that’s been tempered as I’ve gotten older, but I was
pretty angry then, too. I was getting into a lot of fights.
MW: At what age?
GOSS: All of them. [Laughs.] I got expelled from school in ninth
MW: For fighting?
GOSS: Yeah. I got into a fight with my football coach.
MW: You didn’t hit him, did you?
GOSS: That’s up for debate. I say I didn’t hit him, but other people
disagree. It was stupid. I was 14.
MW: It’s hard for me to imagine Tom Goss with anger-manage-
ment issues.
GOSS: Remember The Jenny Jones Show? Like, “My kid’s out of
control!” Or Cartman: “Mm-hmm, I do what I want.” That was
kind of me.
MW: Could you handle a kid like you?
GOSS: If I had a kid and my kid was like me? I don’t know if I
could or couldn’t – but I would.
To be brutally honest, when I think about it, it makes me
sad. I feel bad for the fear that I caused my family. I feel bad for
some of the things that I did. I feel bad for the tension I created,
especially between me and my mom and the rest of my family.
MW: After puberty, after adolescence, did your hormones calm
GOSS: I essentially went from fighting, to fighting as a sport. I
went to college to fight. If you’re doing a sport in college, espe-
cially wrestling, it’s all consuming. I used to envy people in other
sports, because you could go to practice and then come home
and have a life. Wrestling’s different. It’s the time when you’re
not at practice that’s the hardest. You can’t eat meals for days on
end. Or you can’t drink water. You’re running three times a day
in between practice. And you’re doing it all because you want
to want to beat somebody else physically. You want to literally
beat them up.
It just got really old for me. The idea of moving back to
Wisconsin and teaching social studies to be a wrestling coach –
because that was really the track – it just felt horrible. The idea
of it felt like the most horrible trap I could ever have been part of.
MW: How do you feed that competitiveness now?
GOSS: I guess I was saying all that because, for me, the idea of
being an artist is so different. It’s not who “wins” at the art. I
have very little musical competition. I don’t feel like that has any
place in this business. I do feel like sometimes that gets stirred
up, but I push it back down. The music business is different
because it’s so up and down. Somebody loves you. Somebody
hates you.
MW: So, that’s sort of where the feeling of failure comes in? Because
there’s no referee to hold your arm up and tell you that you’re the
GOSS: My point is that I’m so competitive that if this is my bar,
as soon as I get close the bar rises. My competitiveness in this
industry is to always want to do better. It’s not to compete
against a thing or a person. Being successful in art, to connect
with people in art, is to be as authentic as you can possibly be
to yourself. If you’re authentic and you can speak authentically,
people will connect with that. The competition is not, “I want
to beat this person down.” The competition is, “I want to be the
most authentic and fully integrated self that I can be.” Which is
a totally different mindset.
MW: That’s difficult to quantify, a lot harder to “win.”
GOSS: You can’t. You quantify it by how much money you make.
You quantify it by how many Facebook “Likes” you get. You
quantify it by the stupidest shit.
MW: Does your husband help you temper that edge?
GOSS: My husband’s way crazier than I am. [Laughs.] That’s one
of the few things we’ll actually get in fights about.
The other thing about this is you can’t take anything personally.
If somebody doesn’t book you for a gig or somebody doesn’t call
you back – and these can be people you have relationships with, or
not – Mike takes that stuff, if he finds out about it, very personally.
MW: Mike is very protective?
GOSS: Super protective. He’s protective of me and he’s very
protective of the things that I do and the talent that he believes
that I have. It’s hard. When he sees other people doing well, he
wonders why I didn’t get that specific thing.
It’s hard, because I feel like it’s that way in the community,
as well. I feel like a lot of musicians get stuff and hold it, and
they don’t want to share and they don’t want to collaborate and
they don’t want to create community. How many CDs do you
own? You don’t buy one CD. It’s not like you win if you sell this
CD. You win if you create this community of people that is sup-
portive. It’s not one or the other. It’s about, how do we create
something that people want? How do we create this whole com-
munity of goodness?
If you think about – especially indie artists – artists that get
big, it’s because they created this community, because a bunch
of people got together and collaborated and helped bring more
people into the message they had to offer.
MW: What is your message?
GOSS: It’s funny. If you asked someone else, I think they’d say my
message is love. I believe that my message is truth. I think that
my message, especially on this record, is authenticity. I’m always
searching for truth. I’m searching for that thing that is good and
that is true and that is right. And that is bigger than me. A lot of
me believes there’s not much beyond this.
MW: Having left seminary, what is it that you do believe?
GOSS: I don’t think there’s anything else. And that scares me:
the idea that we live, we do our thing, and then we die. Maybe
someone remembers us for 10 years or 20 years. But – be hon-
est – 50 years later? Do you know who these statues are around
D.C.? These people have statues in circles! And most people are
like, “Enh, it’s a guy on a horse.” You know what I mean? A big
piece of me doesn’t want to believe that.
I always want to believe that there’s something bigger and
there’s something greater. I’m always searching. So far, the
only thing in my life that speaks, like it just is what it is and
cuts through the shit, is love. When I see people acting out of
love, whether that’s with their husbands or wives or children
or friends, when they’re acting selflessly, that’s truly seeing who
they are and what is good about the world. That’s what I always
want to be representing: The one thing that’s biggest and best
and all encompassing and that draws us all together.
MW: Has the tour for Wait already begun?
GOSS: No. I’ll be going over to Europe, playing Iceland and the
U.K. The record doesn’t release till May 13, but it will be great
to get a first European tour under my belt and to just play these
songs a lot more.
MW: And you’re the one on the phone arranging all this?
GOSS: Yeah. It’s always kind of a delicate process. I’ve been
getting pokes from Europe a lot the past year or so. I’ve been
really afraid of it. I love touring. Touring is where the bulk of my
income comes from. But the idea of putting a big, upfront chunk
of change down is a little nerve-wracking.
MW: It’s not the sort of thing a banks want to give you a loan for?
GOSS: Nah. Well, I’ve never asked – maybe they do. [Laughs.]
Essentially, I had this period of time where I could do it. I was
having conversations with some folks and their dates were
matching my date. Really, to be honest, I spent the money on the
plane tickets so I had to do it. [Laughs.] That’s what I did! It’s
been great. I really like the idea of it, and I’m excited to see what
comes of it. It’s a whole new monster. Everybody says Europe is
way better than the states in terms of touring, for making money,
for reception.
MW: One of the venues you’re playing, London’s Manbar, hosts
quite a few fundraising gigs. Are there particular social causes you
get behind?
GOSS: Besides the fact that I’ve spent the past eight years running
a meal program for the homeless? For the most part, anybody
who’s asked me to do an event for them, I pretty much always
say yes.
Obviously, most of my experience, my knowledge base, is in
the homeless community. I’m going to plug my organization,
Charlie’s Place, because I’m leaving there in a week.
MW: You’re leaving to dedicate yourself full time to your music
GOSS: Yeah. I’ve been at Charlie’s Place for eight years, started
as the program director. I was there every morning at 6, when
we feed 50 to 80 clients. I was the only employee there. About
a year and a half later, I had a really great opportunity to start
going on the road full time. I also understood my limitations of
being one person who does all the development, who does the
volunteer coordination – who does everything. That’s kind of
why I pitched a development role. “Look, you need somebody
in there whose sole focus is the clients, in a capacity that helps
them transition off the streets. They shouldn’t have to worry
about money. I can do this, and I can do this part time, and I can
do this telecommuting.”
Of course, I also said, “I’m going on the road. I have to take
this opportunity first. I love you guys, I don’t want to leave,
but….” And they said it was a great idea, so I’ve spent the past six
years doing solely development. I do a lot of that from home, a
lot of it from the road. It’s kind of gotten to the point, just to be
really honest, it’s too much to juggle. That’s been happening for
OF THE DAY. It’s super easy to write a soft, romantic,
heart-wrenching song. But to write something that’s going
to get people to move? That’s diffcult.”
years. There have been times when I’ve had to turn down gigs
because of work. That’s life. Whatever. But, yeah, over the past
year or so, as things continue to just be more hectic – I shot this
movie, Out To Kill, that’ll release in the summertime.
MW: I don’t know about this.
GOSS: I will tell you about it. It’s a film by Rob Williams, who’s
done a lot of movies. He’s had some of my music in his movies,
so we know each other. Out To Kill shot in November in Tampa.
It’s a really fun murder-mystery/comedy-type thing. There’s a
character named Justin Jaymes. He’s a really bad, gay pop star.
Really hyper-sexual, really manipulative. That’s the role I play.
It was an interesting opportunity to do some acting that was – I
believe – really different from myself. And to have an opportu-
nity to write songs for a movie in a whole different context. I did
a music video for one. It’s probably one of the worst things you’ll
ever see, but it’s hilarious.
MW: What’s the song?
GOSS: It’s called, “You Don’t Know How Hard.” It’s all about,
“You don’t know how hard it is to be this hot.” It’s really funny.
I’ve been getting some pokes on and off for acting the past
couple years. I’m not an actor, I’ve never really done that, so
I didn’t really think much about it. But when this opportunity
came along, it seemed like a really good fit.
MW: Does Mike go on tour with you?
GOSS: Mike obviously has to work, like a normal person, but
comes sometimes. He’ll take a week off and he’ll do Portland to
Los Angeles with me, or something like that. I can show you a
map, it’s really cute, with different lines to all the places we’ve
driven together.
MW: You must be putting a lot of miles on your car.
GOSS: We got a new car this week. There are 242,000 miles on
my car. It’s done. So we bought a new car this week. But it’s so
nice that we’re afraid to drive it and it’s just been sitting in our
garage. We got a Ford C-Max. It’s a hybrid. It’s big and it gets
good gas mileage. As soon as we got it, Mike was like, “Oh, no,
this is too nice. You can’t take this car on the road!” I tend to
agree with him, but I have to.
MW: With your star rising, being out there more, you lose some
privacy. And fans can be pushy.
GOSS: I’m pretty lucky. But, yeah, sometimes people are pushy
and weird.
MW: But no restraining orders?
GOSS: No, that was more the seminary days. [Laughs.] Pre-semi-
nary and seminary, I had a lot of stalkers. As horrible as it was, it
taught me a lot about boundaries.
Mike and I are monogamous, which I think is different in
this community. That’s fine. But I don’t think people necessarily
expect that, especially in the bear community. I think, a lot of the
time, people assume something else. For the most part, people
know and they’re super-respectful, but some people like to push
the boundaries. If I’m standing there and somebody comes up
and decides they like my ass and want to touch it, I’m more than
happy to grab their hand and take it off my ass and tell them to
stop. I don’t have any problems with that. I’m not a super-timid,
shy person.
MW: I’d be worried, like, Mike’s not home, it’s 1 a.m., and I think I
just heard someone in the bushes.
GOSS: Oh, no, I’ve never had anything like that. I feel like I’m a
little bit of a broken record, keep speaking about authenticity,
but I think something that draws people to what I do is I’m open
and honest about me and my life and my love. If you come to my
shows, you’re going to hear stories about Mike. You’re not going
to come out of my show thinking, “Oh, Tom’s available.” You’re
going to come out of the show loving Mike as much as I love
Mike, because you’re seeing Mike through the eyes of me, who
loves him so much.
It’s funny. I think people like Mike more than they like me.
That’s fine – I love Mike! I hope everybody loves Mike. But when
I pass through towns – and he’s been to a lot of the places I’ve
toured – people inevitably ask me if Mike is coming. I know that
if Mike is coming, more people are going to show up to my show.
It’s hilarious. People see Mike as this really amazing, great guy.
He’s huggable. That really helps people when they approach me
to see me as someone they respect as having a great thing going
on. And I do. I don’t have any interest in messing with that bal-
ance. It’s a really great balance.
MW: Is there a part of you that would like to just keep his head
down, stick with a job like Charlie’s Place full time and not having
to worry about the touring, promoting your work, all of that?
GOSS: I really like my career and I think I’ve done a lot of really
great things.
The thinking about Charlie’s Place, I really had to ask myself,
“Is this it?” Because if this is it, I can balance it for another
10 years, where my career is now and Charlie’s Place. But the
answer was, “This is not. This is not the apex for me. I can do
more. I can do better. I can create new, beautiful things – and I
really want to.” The only way to do that is to let Charlie’s Place
go. Part of me feels like an idiot for leaving, because it’s been so
good to me. But I see so many more possibilities, so many beauti-
ful things I want to create, so many people I want to meet.
With the exception of being away from Mike, which is always
hard, I feel happiest when I’m on the road. Every day, I’m in a
new place. I’m meeting new people. I do all this because I want
to connect with people. I want to meet people and hear their
stories. And I want to tell mine. That’s when I’m happiest.
Tom Goss’s next Washington date is Saturday, May 31, at Sixth
& I Historic Synagogue, 600 I St. NW. Tickets are $15 to $20. For
tickets, visit Wait, releasing May 13, will also be
available at l
“If you asked someone else, I think they’d say my message
is love. I believe that my message is truth. I think that my
message, especially on this record, is authenticity.
APRIL 10 - 17, 2014
One of Time’s “Most Influential Hispanics in
America,” the gay Romero, head of the American
Civil Liberties Union, stops by for a talk as part
of the Arts & Humanities Dean’s Lecture Series.
Romero is the first Latino and openly gay man to
serve as head of the nation’s premier defender of
civil and human rights, and also the first member of
his family to graduate from high school. Wednesday,
April 16, at 5:30 p.m. Clarice Smith Performing
Arts Center’s Gildenhorn Recital Hall, University of
Maryland, University Boulevard and Stadium Drive.
College Park. Tickets are free but limited to two per
person and do not guarantee seats, filled on a first-
come, first-serve basis. Call 301-405-ARTS or visit
Intended as a “holiday for space,” this annual event
celebrates the world’s first manned space flight
by Russian cosmonaut Yuri Gagarin in the most
non-scientific of ways: A zany night of visual art,
performance and music. Among the festivities
this year at the new Anacostia Arts Center and
neighboring Honfleur Gallery: Three performances
of a burlesque show riffing on Return of the Jedi
as the crew of the S.S.S. Gagarin — Kittie Glitter,
Matt Grant and Andrew Wodzianski — encounter
a burlesque show featuring Mr. Gorgeous, Candy
Del Rio, Gigi Holliday, Maria Bella, Maki Roll and
Patrick M. Doneghy as Hansel-O; music by surf-
rockers Atomic Mosquitos and the funk/rock/soul
band James Terrell The Color of Sound; and two
exhibitions, Space Truckin’, featuring space-oriented
artworks by local artists including Chris Bishop,
Scott G. Brooks, Dana Ellyn, Linas Garsys, Dana
Maier, Sarah Noble and Matt Sesow, and The Art
of the Airstream in the arts center’s DC Modern
Design+Build Gallery. The event concludes with a
celestial costume contest at midnight followed by a
Lunar Dance Party with DJ Adrian Loving and the
display of his ‘80s-themed androgyny exhibition
Fade2Grey. Saturday, April 12, starting at 8 p.m.
Anacostia Arts Center, 1231 Hope Road S.E. Tickets
are $30 at the door, or $12 for the party only. Call
703-875-1100 or visit and
Tovah Feldshuh reprises the role that earned her
a Tony nomination a decade ago, portraying Golda
Meir in a show that set the record for the longest-
running one-woman show in Broadway history.
William Gibson’s Golda’s Balcony presents the story
of the state of Israel in the 20th century and is
presented as part of Theater J’s Voices From A
Changing Middle East Festival. Opens Thursday,
April 10, at 7:30 p.m. To April 27. The Aaron &
Cecile Goldman Theater, Washington, D.C.’s
Jewish Community Center, 1529 16th St. NW.
Tickets are $30 to $55. Call 202-518-9400 or visit
Compiled by Doug Rule
Studio Theatre’s experimental-focused 2nd Stage
presents the U.S. premiere of Moth, Australian
playwright Declan Greene’s story about two teen
outcasts who escape the horrors of high school
through their friendship and obsessions with anime
and emo. Tom Story directs Allie Villareal and David
Nate Goldman in this show exploring the intimate,
devastating betrayals of adolescence. Now to May 4.
Studio Theatre, 14th & P Streets NW. Tickets are $30
to $35. Call 202-332-3300 or visit
Another year, another tour for gay orchestral-popper
Rufus Wainwright and his sweet-folkie half-sister
Lucy Wainwright Roche. This year’s show promises
“The Best of Rufus Wainwright,” so expect another
wide-ranging romp through all corners of the artist’s
career, from his covers of Judy Garland to his most
recent Mark Ronson-produced pop set Out Of The
Game to maybe even snippets from his opera, Prima
Donna. Thursday, April 17. Doors at 7 p.m. Lincoln
Theatre, 1215 U St. NW. Tickets are $45. Call 202-
328-6000 or visit

CityDance & CulturalDC presents Trapped Happiness,
a full-length dance theater duet by Australian
choreographer Sarah J. Ewing and Anthony Barbir
that explores humans’ complicated relationship with
happiness, comparing it to people’s affair — and for
some obsession — with chocolate. Wednesday, April
16, and Thursday, April 17, at 8 p.m. CityDance Studio
Theater at Strathmore, 5301 Tuckerman Lane, North
Bethesda. Tickets are $20. Call 301-581-5100 or visit or

Baltimore’s interactive-oriented Glass Mind Theatre
presents a show by Mariah MacCarthy pushing
the boundaries of theater and exploring audience
members’ gender and sexual stereotypes and
identity. Susan Stroupe directs this show featuring
an androgynous emcee and combining humor, drama,
raunchy jokes and dancing. Opens Friday, April 11, at
8 p.m. To April 19. Gallery 788, 3602 Hickory Ave.,
Baltimore. Tickets are $10 to $15. Call 443-475-0223
or visit
Led by bisexual, striking, sweet-voiced singer Maja
Ivarsson, the Swedish quintet the Sounds offers
unobjectionable, straightforward, radio-aspiring
pop-rock in the new wave mold of Blondie, The Cars,
even Tegan & Sara. The Sounds has previously toured
with No Doubt and is said to put on quite a live show.
Its new tour comes in support of last year’s Weekend,
the band’s fifth album. Saturday, April 12. Doors at 5
p.m. Nightclub 9:30, 815 V St. NW. Tickets are $20.
Call 202-265-0930 or visit Also visit 930.
com/friends to sign up for the club’s Friends With
Benefits rewards program offering exclusive deals
and discounts on tickets, drinks and merchandise.
Filmfest DC, otherwise known as the Washington,
DC International Film Festival, returns for a 28th
year with a program of 80 features, documentaries
and shorts from all over the world to be screened
over 11 days. The festival opens Thursday, April 17,
with The Grand Seduction, Canadian Don McKellar’s
comedy about a down-on-its-luck Newfoundland
town and its attempts to lure a doctor. Thursday,
April 17, at 7 p.m. AMC Mazza Gallerie, 5300
Wisconsin Ave. NW. Festival runs at various venues
around town to April 27. Tickets are $12 for most
screenings, $40 for opening night. Call 202-234-3456
or visit
Every Friday and Saturday night, LandmarkÐs E
Street Cinema shows films at midnight that are
more risqué or campy than the usual fare. And, no
surprise, once a month brings screenings of a certain
cult classic. Each screening is accompanied by the
“shadow cast” Sonic Transducers, who act out the
film in front of the screen with props and costumes.
Friday, April 11, and Saturday, April 12, at midnight.
Landmark’s E Street Cinema, 555 11th St. NW. Call
202-452-7672 or visit
Woolly Mammoth Theatre Company presents a
production from the innovative company Elevator
Repair Service, applying its unique theatrical style to
the Supreme Court. Arguendo tackles the 1991 First
Amendment case Barnes v. Glen Theatre, in which a
group of go-go dancers petitioned for their right to
perform completely naked. John Collins directs the
ensemble performing using verbatim oral arguments
while visual artist Ben Rubin offers breathtaking
projections. Extended to April 27. Woolly Mammoth,
641 D St. NW. Tickets range from $35 to $72.50. Call
202-393-3939 or visit
Arena Stage presents a world premiere from Pulitzer
Prize-winning New Yorker writer Lawrence Wright
(My Trip to Al-Qaeda, the new scientology exposé
Going Clear). Camp David is Wright’s dramatization
about the historical multiday meeting in 1978 among
a few key world leaders, held in the show’s namesake
Maryland retreat, attempting to forge peace in the
Middle East. The meeting resulted in really the only
treaty, the Camp David Accords, establishing peace
between Israel and Egypt, to yet stand the test of time
in the modern-day Middle East. Molly Smith directs
a cast that includes Richard “John Boy” Thomas
as President Jimmy Carter, Ron Rifkin as Israeli
Prime Minister Menachem Begin, Khaled Nabawy as
Egyptian President Anwar Sadat and Hallie Foote as
first lady Rosalynn Carter. To May 5. Kreeger Theater
the at Mead Center for American Theater, 1101 6th St. SW. Tickets are $75 to $120.
Call 202-488-3300 or visit
The Keegan Theatre presents a production of the pioneering rock musical Hair,
both a joyous celebration of youth and a poignant journey through tumultuous
1960s America. The company’s leaders and husband-and-wife team Susan Marie
Rhea and Mark A. Rhea direct the show whose book and lyrics were written by
Gerome Ragni and James Rado with music by Galt MacDermot. In addition to the
classic songs such as “Aquarius,” “Let the Sunshine In” and “Sodomy,” Keegan’s
production features choreography by Rachel Leigh Dolan and a large ensemble
cast led by Paul Scanlon and Josh Stricklin. Extended to April 27. Andrew Keegan
Theatre (formerly Church Street Theater), 1742 Church St. NW. Tickets are $35.
Call 703-892-0202 or visit
Arena Stage presents a special, extended presentation of Ann Randolph’s one-
woman comedy, playing multiple characters but centered on the role of Frannie
Potts, as an irreverent oddball trapped on a plane traveling from California to Ohio
for her mother’s funeral. Some critics have compared Randolph to Gilda Radner,
with the SF Bay Guardian calling it “riotously demented and brilliantly humane
[and] not to be missed.” Closes this Sunday, April 13. Kogod Cradle at Mead Center
for American Theater, 1101 6th St. SW. Call 202-488-3300 or visit
Doorway Arts Ensemble presents a world premiere from local playwright Stephen
Spotswood, the 2009 winner of the Mark Twain Prize for Comic Playwriting and
the 2012 Capital Fringe Festival audience favorite drama We, Tiresias. Morning,
Miranda is said to be a trippy, twisted take on the American road story between a
woman and her dead mother’s ghost — her mother’s last request. The company’s
producing artistic director Matt Ripa directs the real and surreal happenings on
this journey with a cast that includes David Dubov, Sarah Holt, Ally Jenkins, Jon
Jon Johnson and Richard Owens. Saturday, April 12. The Writer’s Center, 4508
Walsh St., Bethesda. Tickets are $20. Call 301-654-8664 or visit
The full title to this antic, absurdist black comedy by Arthur Kopit? Oh Dad, Poor
Dad, Mama’s Hung You in the Closet and I’m Feeling So Sad. American Center
Theatre presents a revival of this comedy about an incredibly dysfunctional
family, which is said to be as funny and shocking now as 50 years ago when it
premiered. Directed by Tyler Herman, the production “contains bright lights,
loud noises and, possibly, strobe lights.” Closes this Sunday, April 12. Gunston
Theater Two, 2700 South Lang St., Arlington. Tickets are $35 to $40. Call 703-
998-4555 or visit
In 2010 Pointless Theatre won a prize from the Capital Fringe Festival for its
experimental show Sleeping Beauty, a puppet take on the fairy-tale classic set to
Tchaikovsky and inspired by the Ballet Russe. The company restages the show for
a regular run. Now to May 4. Flashpoint, 916 G St. NW. Tickets are $20 to $25. Call
202-315-1310 or visit
Signature Theatre presents the Washington premiere of an edgy, new battle-
of-the-sexes drama by Philip Ridley, whom the New York Times’ Ben Brantley
shouted about in a review as “one of the most linguistically vivid dramatists on the
planet!” Signature’s associate artistic director Matthew Gardiner directs this story
about a man and a woman, played by Elan Zafir and Laura C. Harris, at a crucial
point in their relationship in the aftermath of an extraordinary loss. To May 11.
Ark Theatre at Signature Theatre, 4200 Campbell Ave., Arlington. Call 703-820-
9771 or visit
Theater J took a lot of heat from conservatives and Israeli hardliners last year
when it announced a production of Motti Lerner’s play about a contested attack
by Israeli soldiers on Arab civilians early in the country’s history. In response, the
DC Jewish Community Center’s theater company downgraded the production to
a “workshop presentation” — which translates to less theatrical showmanship
and fewer performances. Even so, the theater is bracing itself for protests during
the show, which is intriguingly billed as an Israeli homage to All My Sons and
set in Haifa during the first Intifada. Sinai Peter directs a strong cast including
Danny Gavigan, Kimberly Schraf, Michael Tolaydo and Pomme Koch. To April
27. The Aaron & Cecile Goldman Theater, Washington, D.C.’s Jewish Community
Center, 1529 16th St. NW. Tickets are $30 to $55. Call 202-518-9400 or visit
Baltimore’s Center Stage has extended the run of its production of Shakespeare’s
beloved romantic romp starring Caroline Hewitt and Buddy Haardt as the
shipwreck-separated twins Viola and Sebastian search for each other in a new,
mysterious land. Closes this Sunday, April 13. Center Stage, 700 North Calvert
St., Baltimore. Tickets are $19 to $62. Call 410-986-4000 or visit

Studio Theatre offers a Washington production of Quiara Alegria Hudes’s 2012
Pulitzer Prize-winner, about four addicts who collide with an ex-Marine in
North Philly. KJ Sanchez directs a cast headed by Arturo Soria, Gisela Chipe and
Gabriela Fernandez-Coffey. Closes this Sunday, April 13. Studio Theatre, 1501
14th St. NW. Call 202-332-3300 or visit
The D.C.-based nonprofit The Survivant Organization stages a production of Eve
Ensler’s show as a fundraiser to cover operating expenses for this organization
offering direct services to young female victims of
domestic and sexual violence. Saturday, April 12,
at 12:30 p.m. and 3 p.m. Andrew Keegan Theatre
(formerly Church Street Theater), 1742 Church St.
NW. Tickets are $10. Call 703-892-0202 or visit

Local singer-songwriters Angie Head and Be
Steadwell share the stage with Bay Area folkie Eli
Conley for a night of queer music at the Electric
Maid, Takoma Park’s community arts space and
performance venue. Friday, April 18, at 8 p.m.
The Electric Maid, 268 Carroll St. NW. Suggested
donation $10. Visit
Every Monday night the 17-piece jazz orchestra
performs a variety of music from the big band
repertoire — including pieces by Duke Ellington,
Count Basie, Billy Strayhorn and Maria Schneider,
plus originals from band members — at its namesake
venue. Founded by baritone saxophonist Brad Linde
and club owner Omrao Brown, features some of
D.C.’s best jazz musicians, including Linde and
trumpeter Joe Herrera, who co-direct. Performances
at 8 and 10 p.m. every Monday night. Bohemian
Caverns, 2001 11th St. NW. Tickets are $10. Call 202-
299-0800 or visit
Baltimore’s Sonia Rutstein, who records using just
her first name, stylized as SONiA, tours to promote
the new album Broken Film with her band disappear
fear. This summer she anticipates hitting a couple
U.S. Pride events as well as international festivals
including Hamburg Pride in Germany, where
the Jewish folkie has recently spent a lot of time
and gotten an overwhelmingly positive response.
“There’s been absolutely, just complete open-arms
welcoming to me,” she tells Metro Weekly. “I feel
completely embraced.” She can expect an equally
warm welcome when she stops at her almost-
hometown venue Jammin Java. Saturday, April 12,
at 7 p.m. Jammin Java, 227 Maple Ave. E. Vienna.
Tickets are $20 at the door. Call 703-255-3747 or
The Folger Consort finishes its season with the
program “A Polish Renaissance: Music of Poland’s
Golden Age.” The vocal ensemble the Western Wind
joins to perform the rarely heard, extraordinary
musical art from what was in its time Europe’s
largest kingdom. Friday, April 11, at 8 p.m.; Saturday,
April 12, at 5 and 8 p.m.; and Sunday, April 13, at 2
p.m. Folger Theatre, 201 East Capitol St. SE. Tickets
are $37. Call 202-544-7077 or visit
The 14-member a cappella group Potomac Fever and
the 32-voice Rock Creek Singers, this gay chorus’s
two stellar select vocal ensembles, showcase their
skills in a wide-ranging program titled “Forte.”
Friday, April 11, at 8 p.m. New York Presbyterian
Church, 1313 New York Ave. NW. Also Saturday,
April 19, at 5 and 8 p.m. The Kogod Cradle in Arena
Stage’s Mead Center for American Theater, 1101 6th
St. SW. Tickets are $35 to $40. Call 202-293-1548 or
visit l
boilerplate superhero movies have become?
Everything is interchangeable – from the hero and
his or her specific degree of angst, to the villain
and his or her grandiose designs for world domination; from
the artfully positioned action sequences, introduced at what
seem to be precisely timed intervals to jolt the audience out of
any encroaching slumber, to the inevitable climactic showdown,
with its massive explosions and big-action face-off between the
hero and villain. It may be pointless to complain about, as some
of the most beloved movie franchises – think James Bond – have
adhered to a tried-and-true formula for decades and are none
the worse for it. And, really, when a comic book is your source
material, there’s only so much you can do. Ang Lee, with the first
Hulk, showed that when you break the mold, you shatter the
underlying structure that gives audiences a sense of comfort, but
you also suck out all of the enjoyment. The boilerplate is, in fact,
a carefully constructed delivery mechanism – built for maximum
impact and designed to appeal to all, from casual moviegoer to
ardent fanboy. It’s in the details. And what filmmakers inevitably
do with the boilerplate is what separates crap like Daredevil from
truly magnificent fare like Captain America: The Winter Soldier.
The first Captain America was a fairly enjoyable origins flick,
made memorable chiefly by Hugo Weaving’s scene-chewing
turn as Nazi nemesis Red Skull, as well as the formidable chest
of Chris Evans. Evans and his puffed-up pectorals return for
the sequel, and while that’s a very good thing, even better is the
fact that the movie they’re appearing in is a sly, slick stunner.
I’m loathe to spoil anything, but I will note that there’s a strong,
unexpected emotional depth to The Winter Soldier that I don’t
recall surfacing in any of the other Marvel films, save perhaps
Spider-Man. This Captain America benefits from honesty and
gravitas, interspersed with a swift, sparky lightness of tone.
There’s much speculation that Joss Whedon had a hand in the
screenplay – and I wouldn’t doubt it for a bit. The film is not only
perfectly structured and modulated in the way Whedon’s projects
tend to be, but it features dialogue that’s simultaneously snappy,
heartfelt and authentic. The relationships are carefully drawn
and expanded upon; there’s at least one case of an unspoken
yearning between characters that doesn’t just fill the screen, it
engulfs the auditorium. There’s also a sizzling narrative thread,

Captain America magnificently
mixes action with intrigue
FILM continues on page 40
(L_R) Rifkin, Thomas and Nabawy
Unhappy Campers
precocious high schoolers and the politically curi-
ous, Lawrence Wright’s Camp David is a primer
on President Jimmy Carter’s brokering of an
uneasy peace in the Mideast conflict as it stood in 1978. Written
with mild humor, a certain passion and a storyteller’s talent, this
lesson in the vital and complex problems of this political and
religious morass slips down with the ease of a geopolitical gel cap.
Though it may not be overflowing with edge or insight, it’s
still no mean feat considering Lawrence covers not only the cri-
sis as it stood then (both for the Mideast and Carter’s presiden-
cy), but also the contemporary and ancient history that led to it
and a generous dose of the personal histories of the key players.
Of course some hearing this will rightly wonder whether this
ambition invites preachiness or over-simplification. Well, the
answer falls somewhere between, “You can’t please all of the
people all of the time,” and “Yes.”
There is no doubt that for some audience members – the
grey-haired, news-junkie, jaded Beltway-insider types in par-
ticular – Lawrence’s potted takes on the posturing and negotia-
tions will all seem a little too contrived and sanitized. These are
the same folk who may find the frequent injections of personal
anecdote – each with a painfully obvious subtext – tiresome, if
necessary. Thus, although Lawrence works hard to mitigate the
simplifications by inserting contradictions, and somewhat tem-
pers the educational narrative with humor, his goal won’t work
for everyone. Especially not for those who like their theatrical
politics to operate on the plane of, say, Frost/Nixon.
But for anyone who wants a very palatable and reasonably
frank discussion of the barriers to compromise in the Mideast
(still very much in existence today) or simply a trip down a
particularly interesting memory lane, this piece will serve

Camp David offers a subject
well worthy of a revisit
and compel.
And however you view the vehicle, the cast makes a strong
go of it with Richard Thomas delivering a Jimmy Carter that
smartly never goes overboard into a political impression. Sport-
ing an accent that only nods toward Carter’s thick Georgian
drawl, Thomas avoids caricature by trying instead to describe a
more universal man; one with a lot of power but few answers.
He is confident, tortured, driven, proud and very human. If his
dissimilarity to Carter distracts, think of him as less of a por-
trait of the man and more as Lawrence’s take on what it took.
Although some will want more, most will agree that the archi-
tecture is intact.
Matters are a little more complex when it comes to Law-
rence’s rendering of Menachem Begin and Anwar Sadat, the
two leaders who come to the seclusion of the presidential
retreat (Camp David), to consider negotiating a peace. Since
any student of political history will know how the story ends,
this is really about what may or may not have happened as these
great men collided and wrangled on behalf of their people. Both
had much to gain and much to lose. But with no media allowed,
their negotiations were off-stage – at least until any agreement
was reached.
Unfortunately, in the writing of these two, Lawrence’s urge
to educate looms large and thus, by necessity, the characters
become far too obvious. In ways that are less than subtle, we
learn that both men were the products of difficult lives and
deep cultural traditions that informed their attitudes toward
compromise with one another. Though the racism is delivered
in careful (often humorous) context and the personal anecdotes
are sometimes informative, it is all a bit too color-by-numbers.
Hence the initial thought that this play will work well for the
educated young, if not the politically initiated.
Still, as Begin, Ron Rifkin confirms his theater chops with
a nicely pitched interpretation of Lawrence’s not overly subtle
characterization. Rifkin starts with a credible accent and goes
on to layer his Begin with a passion, fear and defiance that goes
a long way to color the intractable man Lawrence offers. It is
Rifkin’s consistent and well-drawn picture of the person behind
Begin’s immovable position that makes his 11th-hour compro-
mise all the more affecting. Who knows if it really went down
that way? It captures the impossible distance between sovereign
necessity and human frailty, whatever the nation, whomever the
victims of conflict.
A charismatic presence, Khaled Nabawy’s Sadat exudes
statesmanship and a kind of quirky self-possession. It would
have given him an even more enduring and intriguing authen-
ticity if director Molly Smith had opted for a lower volume and
Lawrence had injected a bit more complexity.
Rounding out the quartet is Jimmy Carter’s wife, Rosalynn,
who comes and goes like a wry commentator on the proceedings.
Though she delivers some of the better comedy and Hallie Foote
gives her an utterly memorable demeanor, her smug positioning
as an unassailably all-American, all-wise wife and peace-broker
is a toe-curler. It makes a play that might have been global, local,
and turns a profound conundrum into an afterschool special.
Still, it’s a subject well worthy of a revisit and so consider
compromising your own expectations and negotiate your way to
an evening of history and politics.
Camp David (HHHHH) runs to May 4 in Arena Stage’s Kreeger
Theater, 1101 6th St. SW. Tickets are $65 to $110.
Call 202-488-3300 or visit l

Super Powered
with superheroes: power. Flight, fire, invulnerability,
invisibility — whatever the special ability, we’re envi-
ous of and enthralled by it. The idea of rising above
our banal normality into the strata of demigod is an elixir too in-
toxicating to ignore. Given our lack of actual superheroes (mili-
tary and emergency services personnel not included — you guys
rock), the closest we can get to feeling like a true comic-book star
is through games. The problem? The number of good superhe-
ro games is relatively small. Adaptations of the most renowned
stars — Batman, Superman, Spiderman — vary greatly in quality,
which can be infuriating for those who want to take control of an
honest-to-goodness, all-conquering badass.
Enter, then, Sony’s Infamous franchise, developed by Sucker
Punch. Its first two iterations on PS3 gave players control of Cole
McGrath, a normal person imbued with supernatural powers: he
could manipulate electricity, wielding it as a weapon, form of trans-
port and healing tool. It also offered a moral quandary to players, in
the form of a binary choice — be good, and save your failing city, or
be evil, and have its citizens tremble at your electrified knees.
This third installment, Second Son, takes the franchise to a new
setting and introduces us to a new protagonist, Delsin Rowe. Our
introduction to him is one typical of many superheroes. Delsin is
a member of the Akomish, a Native American tribe who live in
Washington State. A graffiti artist, Delsin is something of a waster,
tagging buildings and being repeatedly arrested by his brother,
Reggie, the local sheriff. When a bus transporting a group of Con-
duits — those imbued with special powers or abilities — crashes
next to Delsin’s town, an interaction with one of the escapees
activates his own powers. Delsin is, as he describes himself, a
“sponge,” able to draw a Conduit’s power and use it for himself.
The first ability gained is control over smoke. Delsin can
absorb smoke into his body, using it to fire burning projectiles,
dash through gates and fences, drop sulfur bombs, float between
buildings and use vents to quickly climb buildings. The game’s
opening acts slowly introduce both the player and Delsin to his
new powers, as well as the game’s protagonists, the Department
of Unified Protection, or D.U.P., and its head Brooke Augustine.
Augustine manages a prison designed to keep Conduits under
guard and prevent them from using their powers to harm or com-
mit crimes, and is intent on bringing the escaped prisoners back
to her detention facility. She is a Conduit herself, and, when she
suspects that Delsin may be a Conduit, uses her control of con-
crete to torture the Akomish people.
This sets the wheels in motion for the main setting of the
game, the city of Seattle. Augustine takes her D.U.P. forces there
to capture the remaining Conduits, and Delsin and his brother
quickly follow. Delsin’s plan is simple: absorb Augustine’s pow-
er and heal the members of his tribe afflicted with the concrete
barbs she left embedded in their bodies.
Seattle is where Infamous: Second Son starts to pick up steam.
My first couple of hours in the city were spent removing D.U.P.
forces from certain areas, seeking out energy cores to drain and
unlock new powers, scaling buildings with Delsin’s parkour skills
Infamous offers gamers the
first real reason to buy a PS4
and otherwise marveling in the fictional world of Seattle.
And what a world. Infamous is the first game to truly showcase
the power of the new generation of home consoles. Every aspect
of its world feels like a huge step up from everything that’s come
before. Seattle itself is utterly gorgeous. The game dynamically
switches between day, dusk and night depending on the mission
at hand, and regardless of time of day Seattle will blow you away.
Every texture, detail, shaft of light, puddle of rain, pedestrian, car,
bush, tree, billowing piece of trash and flashing neon sign is beau-
tiful. Standing atop the Space Needle, gazing across Infamous’
cityscape, watching the sun bloom and flare across the camera
lens, seeing dust particles catch in the light, marveling at the rain
hitting the camera and splashing in the puddles that form on the
ground: Infamous is the game you want to sit someone in front of
to show the power of the PS4.
That’s all before you use Delsin’s powers. Delsin himself, as
well as the major supporting characters, are animated well, with
realistic facial animations and pleasantly smooth movements, but
it’s when Delsin fires up his abilities that Infamous will leave you
breathless. Delsin gains three main powers across the game’s span
and each offers its own visual delight. Smoke is your first entry
and deftly displays the PS4’s physics processing. Throw a blast of
smoke at an enemy soldier and it will curl and rip its way through
the air, burning embers blasting out from the black smoke, before
smacking into the soldier, billowing and exploding around them.
The trails and wisps that linger in the air, slowly dissipating, are
wonderful to behold. Deslin’s second power is neon — and argu-
ably the game’s standout showcase. Absorbing neon straight from
the bright lights lining many of the buildings in Seattle, Deslin can
direct bursts of bright, colored light at enemies, or use his pow-
ers to run at light speed over cars, obstacles and even buildings.
One of his special powers, called the radiant sweep, sees Deslin
slam into the ground, sending a neon shockwave at surrounding
enemies, lifting the into the air and trapping them in luminescent
stasis bubbles. He then rises into the air and directs thunderous
rounds of piercing neon light at any and all trapped enemies. As
a final blow, giant neon bubbles start exploding all around Des-
lin. It’s insane, stunning, magnificent. I spent so many minutes
of gameplay just slack-jawed in awe at the particle effects and
lighting engine that Infamous uses. Last up is video, which again
showcases incredible particle effects, surrounding Deslin in blue,
pixelated squares, sprouting giant angel wings to swoop over
buildings or producing a giant sword to slice through enemies. It’s
dramatic and different, but neon really is the standout here.
Infamous lives and breathes through its sound, too. Explo-
sions, bursts of neon, streaks of smoke, screaming pedestrians,
clattering gunfire — the streets of Seattle are never quiet as you
romp through encounters with D.U.P. soldiers, drug dealers,
protesters and other such citizens waiting to start a fight. The
ambient sounds of the city pale in comparison to the voice act-
ing, however. What really sets this installment of the Infamous
franchise apart from the others, as well as many other games in
the genre, is its tone. It’s dramatic, but has a constant current of
comedy running through it. Deslin and his brother have witty,
humorous exchanges that almost belies the deep emotional
bond the two share. Deslin himself comments on his actions as
you play, offering a funny slight or appropriately awed reaction
to a new power or particularly cool takedown. Other supporting
characters engage in banter, and even Deslin’s exchanges with
antagonist Augustine are — though tense and dramatic — filled
with sarcasm and dry humor. It’s a refreshing change from the
constantly dark, dramatic, overbearing tone of many games to-
day — the humanity of the characters as they make light of an
otherwise pretty depressing situation stops the story from drying
up or overstaying its course.
The same, unfortunately, can’t quite be said of the gameplay.
If you liked Infamous and its sequel, you’ll feel right at home
with what’s on offer here. The third person shooting, the par-
kour, the battle sequences, the side quests and exploration and
zoned areas. Everything feels familiar. It doesn’t feel tired yet,
though, which is a testament to the fresh nature of Second Son’s
new setting, cast and powers. It does, however, have pacing is-
sues. The opening of the game, leading up to entering Seattle for
the first time is great, but once you’re there and have gained the
core smoke powers, it’s a slightly awkward time. Traversing the
environment feels laborious, with the parkour system not work-
ing as fluidly as Assassin’s Creed and smoke powers not offering
enough speed or power to leap between buildings in the manner
you may be expecting. Similarly, the D.U.P. enemies initially feel
rather brutal and overpowering, which offers an intense chal-
lenge to initial skirmishes that makes completing a given task a
satisfying delight. Once new powers are unlocked, though, these
two elements flip. Neon and video powers allow Deslin to move
around Seattle at breakneck pace, letting him leap, soar and navi-
gate the environment with appropriate gusto. Battles, however,
become slightly routine. The enemies faced will adapt to Deslin’s
new powers, but it’s too easy to adopt the same tactic for each
encounter. Staying in the distance and picking off the snipers,
sweeping in and destroying the brute soldiers then dispatching
the rest with a karma bomb. Rinse and repeat.
It shouldn’t detract from your purchase, however, as battles
— even if they can feel a little same-y — are always a visual and
aural treat. Besides the side missions are more than enough to
balance having to fight through waves of D.U.P. soldiers. Bust
drug dealers, take down groups protesting Conduits, find hid-
den D.U.P. agents, disable D.U.P. cameras, tag graffiti art on walls
and buildings — which uses the DualShock 4’s motion sensors to
nice effect — and destroy drones monitoring Seattle’s civilians.
Or, climb the Space Needle and just stare at the gorgeous scen-
ery. Perhaps you’d rather weave beautiful light trails with your
neon powers? If you’ve chosen to be evil, you can wander out
into streets and blow up everything in sight, just for fun. Seattle
is a big, open playground, waiting for you to use your arsenal of
weapons and powers.
Which brings me to Infamous’s notorious feature: Karma.
Gamers have more than enough reason to play through Infamous
multiple times. Pick a difficulty and go through as good. Then, go
back through as evil. Then, bump things up to hard and go through
it again. Choosing between good and evil offers its own rewards
and sacrifices. Good Deslin is beloved by citizens, but he has to be
cautious in battles — kill a civilian and you’ll be punished for it.
Evil Deslin? Seattle’s locals will hate him, but he can just go hell
for leather and kill anyone — soldier or streetwalker — without
remorse. Other characters can be manipulated, too, brought onto
the evil track or shown the light, impacting the story Infamous
tells. As for the ending, there’s two variations depending on the
morality Deslin has portrayed during his time in Seattle. I played
through as good, which is always my preference for such games,
but the moment I saw that evil Deslin could one-shot enemies by
disintegrating them I knew another playthrough was in order.
Ultimately, Infamous can be summed up as such: do you own
a PS4? If you answered yes to that question, then buy a copy of
Infamous. Right now. If you want to showcase what your con-
sole can do, it’s perfect. If you want a genuinely good superhero
game, it’s perfect. If you want a thoroughly enjoyable open-
world game to romp around in, it’s perfect. If you’ve tried ei-
ther of the franchise’s other installments and didn’t enjoy the
gameplay, I’m not sure you’ll find much to love here — except for
the graphics, sound and story. It’s a beautiful, amusing, utterly
enjoyable experience that offers the first real reason to go out
and buy a PlayStation 4. Infamous significantly raises the bar for
what we should be expecting from our brand new consoles. The
moment you step into Deslin’s shoes and shoot a bright stream of
neon at your enemies, you’ll wonder why you wasted your time
on all of those other superhero games. It’s a power as intoxicat-
ing as it is beautiful.
Infamous: Second Son (HHHHH) is $59.99 and available at l
one that shreds the interconnected tissue of the Marvel-verse of
the Avengers to the point where you can’t help but think, “How
are they going to resolve this mess?” Indeed, it will be interesting
to see how the action of Winter Soldier folds into not just another
Captain America sequel (there’s a crafty little hint in one of the
two post-credit sequences), but Joss Whedon’s Avengers: Age of
Ultron, due out summer 2015.
There is little point in a detailed plot summation, largely
because to offer one would be to ruin the film’s more enjoyable
twists. The basics, however, are this: Someone has compromised
the U.S. intelligence operation, S.H.I.E.L.D., and the organization’s
head, Nick Fury (Samuel L. Jackson), is determined to find out
who. After a rather long, torpid setup, the film makes an engaging,
swift U-turn, with Steve Rogers (Captain America) and Black
Widow (Scarlett Johansson, a welcome addition who brings with
her just the right amount of snark and sexy) targeted as fugitives
from S.H.I.E.L.D. At this point, the movie fires up the pistons and
floors it until it slams headlong into a climax that is as brilliant and
blazing and spectacular as it is deft and sure-footed, with directors
Joe and Anthony Russo expertly juggling three narrative set-
pieces. Considering the Russos are best known for their intricate,
finely honed work in intimate TV comedies – Community and
Arrested Development, among others – the fact that they’re able to
so perfectly pull off a complicated, massive action sequence isn’t
merely miraculous, it’s revelatory. Just hand everything else over
to them now, Marvel. They’ve more than earned it.
The cast is perfect. In addition to Evans, Jackson and
Johannson, we get Robert Redford as Alexander Pierce, the
firm but even-headed overlord of S.H.I.E.L.D. Redford, clearly
relishing his recent resurgence in movies, offers a perfectly
pitched, understated performance, even if the actor looks a bit
grandmotherly these days. Toby Jones pops up in the oddest of
means as a Nazi cohort of the Red Skull, and both Cobie Smulders
and Emily VanKamp do fine jobs with rather small, thankless
roles. The cinematically alert will enjoy the appearance of Jenny
Agutter, best known for her work in genre-defining films like
American Werewolf in London and Logan’s Run.
The real scene-stealer here is the handsome and rugged
Anthony Mackie, whose good-natured, loose-limbed portrayal of
paratrooper Sam Wilson makes a nice counterbalance to Evans’s
Rogers, who is a bit too starchy at times. Mackie’s character has a
purpose beyond that of a mere foil. He becomes…. Well, that’d be
something of a spoiler. Similarly, I won’t ruin the identity of the
vicious überassassin, the Winter Soldier, though comics lovers
will know who he is and why an entire movie was built around
him, despite the paucity of his screen time.
Early on, I had my doubts about The Winter Soldier. The
opening action sequence – a rescue of S.H.I.E.L.D. hostages from
a hijacked ship – is a chaotic clutter. Thankfully, subsequent
action sequences, including a breathtaking car chase as Nick Fury
attempts to outrun a fleet of police vehicles, are choreographed
with superb muscle and clarity. Things continue to improve as the
Russos raise the stakes on each successive action sequence until
they arrive at that thundering, brutal, intensely suspenseful climax.
It’s kick-ass material that leaves you gobsmacked in an era where
it’s increasingly difficult to stun audiences who’ve seen it all.
A recommendation: Skip The Winter Soldier in 3D. There’s
no need for the extra dimension, which only serves to confound
the action sequences. Additionally, the first 30-or-so minutes are
dimly lit and bereft of much color (everything seems to be hued
in deep black). Once you’ve donned those miserable glasses, it’s
impossible to pick out details. You might as well be watching
the movie with your eyes closed, but this is one movie where,
inevitably, you won’t want to so much as blink.
Captain America: The Winter Soldier (HHHHH) is rated PG-13.
Now playing at area theaters. l
FILM continued from page 35
The Fur Flies
Mark Twain, describes himself as “a bear of a
sales director.” Ursine men do receive a discount
at his storied Union Square inn, but their most
beloved furry friend is one you’d never find sniffing around at
MAL weekend.
“[Dogs] are a part of peoples’ family. We can’t ask them to
leave their children at home and we won’t expect them to leave
their pets at home either,” says Thomas, who becomes quite
enthusiastic on the subject of animal companions. “Who is not
pet-friendly? Pets are just like people.”
The Hotel Mark Twain accepts dogs under 35 pounds for a
one-time, non-refundable fee. This reflects a growing consid-
eration — mirrored in the policies of major hotel chains such as
Kimpton and Marriott, and the proliferation of full-service pet
travel sites like — toward travelers who would
sooner leave their toothbrush at home than their terrier.
A sweep of the top gay destination cities on BringFido digs up
a bow-wow buffet of hotels that will allow you to wake up with
your mastiff or Manx. As a sampling, San Francisco features 112
It’s easier than ever to travel with
your four-legged friend
pet-friendly hotels, B&Bs and vacation rentals. New York fea-
tures 138 and Atlanta 86.
Of course, all but the least humane pet owners will consider
the animal’s comfort and safety above all other concerns. Bring-
Fido serves as an exhaustive resource on all manners of pet
travel. The site features international directories of pet-friendly
accommodations and services like vets and dog walkers, next
to informative lists like “Airline Pet Policies” and “10 Tips for
Traveling with Fido.”
The latter is full of trauma-saving hints like “Fly Direct” and
“Eat. Drink. Poop. Play” before the flight. For issues not covered,
the concerned owner can call 877-411-FIDO to speak live with a
pet expert.
Dogs are the animals most widely accepted — Thomas says
that cats are harder on a room and that exotics like snakes
impact the comfort of the other guests — but the International
Cat Care website has additional resources for those that want
Tabby to join them in Tampa.
Unlike dogs, cats are generally most comfortable in their
“home territory” and don’t find excitement in new smells
and sights like a dog. A cat is best off confined to a familiar
carrier or box, with a towel or sweater that smells like home,
and could take as long to adjust to its new surroundings as the
vacation lasts.
Most outgoing and city-trained dogs, however, will take to
the sensory overloads of an unfamiliar hotel room and city like
a vegetarian’s first taste of San Francisco’s Millennium Restau-
rant. While Rover might be content to spend three hours sniffing
an old towel under the bed, Rover’s owner can also delight in
sharing a historical hotel room with their furry buddy.
The Mark Twain’s dog-friendly Billie Holiday Suite was the
site of the singer’s 1940s arrest. Additionally, many cast members
of RuPaul’s Drag Race have been known to take advantage of the
hotel’s drag-queen discounts. While it might seem extravagant
to pay extra so your pooch can rub paws with Sharon Needles,
Thomas points out that many customers find it to be economical
in the long run.
“People spend a lot of money to board their pets or have
someone stay in their home,” he says. “This is a great savings for
them. They’re going to stay a few more days because they won’t
have to go back and care for their dog.”
For more from BringFrido, visit or call
877-411-FIDO. For more from International Cat Care, visit l
“Lilli is my spouse and my second dog; our first, a wire fox terrier,
having passed from old age. Lilli was also our first Internet dog, hav-
ing been purchased solely for her photo on a breeder website. On
a cold January evening in 2011, she arrived on an American Airlines
flight at National Airport, a wee 9 weeks old. She is the most gentle
of dogs; shy, but eager to please, and an expert at getting her way.”
Bruce Greenberg’s 3-year-old spaniel mix


Upload yours at
THURS., 04.10.14
9 1/2
Happy Hour: 2 for 1 on any
drink, 5-9pm • Multiple
TVs showing movies,
shows, sports • Expanded
craft beer selection • No
4@4 Happy Hour,
4pm-7pm • $4 Small
Plates, $4 Stella Artois,
$4 House Wines, $4
Stolichnaya Cocktails, $4
Manhattans and Vodka
Crazy Hour, 4-7pm •
Karaoke, 9pm
Shirtless Men Drink Free,
$3 Rail Vodka Highballs,
$2 JR.’s drafts, 8pm to
close • Top Pop Night
Beat The Clock Happy
Hour — $2 (5-6pm), $3
(6-7pm), $4 (7-8pm) •
Buckets of Beer $15 •
Drag Bingo
Happy Hour: 2 for 1 on any
drink, 5-9pm • No Cover
All male, nude dancers •
Shirtless Thursday • DJ
Tim E in Secrets • 9pm •
Cover 21+
Buy 1, Get 1,
11pm-midnight • Happy
Hour: 2-for-1, 4-9pm • $5
Coronas, $8 Vodka Red
Bulls, 9pm-close
DJ Matt Bailer • Videos,
Dancing • Beat The Clock
Happy Hour — $2 (5-6pm),
$3 (6-7pm), $4 (7-8pm) •
Buckets of Beer $15
Open 5pm • Happy Hour:
2 for 1 on any drink, 5-9pm
• No Cover
DJ Styalo • Dancing •
$5 cover
9855 Washington Blvd. N
Laurel, Md.
Drag Show in lounge •
Half-price burgers and
FRI., 04.11.14
9 1/2
Open at 5pm • Happy
Hour: 2 for 1 on any drink,
5-9pm • Friday Night
Videos with resident
DJ Shea Van Horn • VJ
• Expanded craft beer
selection • No cover
4@4 Happy Hour, 4-7pm •
$4 Small Plates, $4 Stella
Artois, $4 House Wines,
$4 Stolichnaya Cocktails,
$4 Manhattans and Vodka
Martinis • Upstairs open
@Town • Bear Happy
Hour, 6-11pm • $3 Rail,
$3 Draft, $3 Bud Bottles •
Free Pizza, 7pm • Hosted
by Charger Stone • No
cover before 9:30pm • 21+
Crazy Hour, 4-7pm •
Karaoke, 9pm
Drag Show starts at
10:30pm • Hosted by
Lena Lett and featuring
Tatianna, Shi-Queeta-
Lee, Jessica Spaulding
Deverreoux and Banaka •
Doors open at 10pm • For
those 21 and over, $5 from
10-11pm and $10 after
11pm • For those 18-20,
$10 all night • 18+
All male, nude dancers
• Ladies of Illusion with
host Kristina Kelly, 9pm •
Cover 21+
SAT., 04.12.14
9 1/2
Open at 5pm • Happy
Hour: 2 for 1 on any drink,
5-9pm • $5 Absolut &
Tito’s, $3 Miller Lite after
9pm • Expanded craft
beer selection • No cover
Diner Brunch, 10am-3pm
• Crazy Hour, 4-7pm
• Karaoke and/or live
entertainment, 9pm
$4 Coors, $5 Vodka
highballs, $7 Vodka Red
Guest DJs • Zing Zang
Bloody Marys, Nellie Beer,
House Rail Drinks and
Mimosas, $4, 11am-5pm •
Buckets of Beer, $15
DILF, with guest DJ
Tommy Cornelis • 9:30
pm • Doors 5pm • Happy
Hour: 2 for 1 on any drink,
5-9pm • No Cover

Dancing, 9pm-close
9855 Washington Blvd. N
Laurel, Md.
Karaoke in the lounge •
Charity Bingo with Cash
Prizes 3rd Sat. of Every
Kelly Mantle from RuPaul’s
Drag Race • Drag Show
starts at 10:30pm •
DJ Wess • Hosted by
Lena Lett and featuring
Tatianna, Shi-Queeta-
Lee, Jessica Spaulding
Deverreoux and Banaka •
$8 from 10-11pm and $12
after 11pm • 21+
All nude male dancers,
9pm • Ladies of Illusion
with host Ella Fitzgerald,
9pm • DJ Steve
Henderson in Secrets • DJ
Spyke in Ziegfelds • Doors
8pm • Cover • 21+
SUN., 04.13.14
9 1/2
Happy Hour: 2 for 1 on any
drink, 5-9pm • Multiple
TVs showing movies,
shows, sports • Expanded
craft beer selection • No
Champagne Brunch
Buffet, 10am-3pm •
Crazy Hour, 4-8pm •
Drag Show hosted by
Destiny B. Childs featuring
performances by a rotating
cast, 9pm • No cover •
Karaoke follows show
Sunday Funday • Liquid
Brunch • Doors open at
1pm • $2 Coors Lights &
$3 Skyy (all favors), all
day and night
scan this tag
with your
for bonus scene
pics online!
Cherry Main Event
Saturday, April 5
Drag Brunch, hosted by
Shi-Queeta-Lee, 11am-3pm
• $20 Brunch Buffet •
House Rail Drinks, Zing
Zang Bloody Marys, Nellie
Beer and Mimosas, $4,
11am-close • Buckets of
Beer, $15
Happy Hour: 2 for 1 on any
drink, 5-9pm • No Cover
All male, nude dancers •
Decades of Dance • DJ
Tim-e in Secrets • Doors
8pm • Cover 21+
MON., 04.14.14
9 1/2
Open at 5pm • Happy
Hour: 2 for 1 on any drink,
5-9pm • Multiple TVs
showing movies, shows,
sports • Expanded craft
beer selection • No cover
4@4 Happy Hour, 4-7pm •
$4 Small Plates, $4 Stella
Artois, $4 House Wines,
$4 Stolichnaya Cocktails,
$4 Manhattans and Vodka
Crazy Hour, 4-7pm •
Karaoke, 9pm
Happy Hour: 2-for-1, 4-9pm
• Showtunes Songs &
Singalongs, 9pm-close •
DJ Jamez • $3 Drafts
Beat The Clock Happy
Hour — $2 (5-6pm), $3
(6-7pm), $4 (7-8pm) •
Buckets of Beer $15 •
Poker Texas Hold’em, 8pm
Open 5pm • Happy Hour:
2 for 1 on any drink, 5-9pm
• No Cover
9855 Washington Blvd. N
Laurel, Md.
Buzztime Trivia
competition • 75 cents off
bottles and drafts
TUES., 04.15.14
9 1/2
Open at 5pm • Happy
Hour: 2 for 1 on any drink,
5-9pm • Multiple TVs
showing movies, shows,
sports • Expanded craft
beer selection • No cover
Happy Hour, 4-7pm • $4
Stella Artois, $4 House
Wines, $4 Stolichnaya
Cocktails, $4 Manhattans
and Vodka Martinis
Crazy Hour, 4-7pm •
Karaoke, 9pm
Underground (Indie Pop/
Alt/Brit Rock), 9pm-close
• DJ Wes Della Volla •
2-for-1, all day and night
Beat The Clock Happy
Hour — $2 (5-6pm), $3
(6-7pm), $4 (7-8pm) •
Buckets of Beer $15 •
Safe Word: A Gay Spelling
Bee, starts at 8 pm,
register just prior • Open
5pm • Happy Hour: 2 for
1 on any drink, 5-9pm •
No Cover
9855 Washington Blvd. N
Laurel, Md.
75 cents off bottles and
drafts • Movie Night
WED., 04.16.14
9 1/2
Open at 5pm • Happy
Hour: 2 for 1 on any drink,
5-9pm • Multiple TVs
showing movies, shows,
sports • Expanded craft
beer selection • No cover
Happy Hour, 4-7pm • $4
Stella Artois, $4 House
Wines, $4 Stolichnaya
Cocktails, $4 Manhattans
and Vodka Martinis
Crazy Hour, 4-7pm • Drag
Bingo, 8pm • Karaoke,
Happy Hour Prices,
Trivia with MC Jay
Ray, 8pm • The Queen,
10-11pm • $2 JR’s Drafts
& $4 Vodka ($2 with
College I.D./JR’s Team
Beat The Clock Happy
Hour — $2 (5-6pm), $3
(6-7pm), $4 (7-8pm) •
Half-Price Burger Night
• Buckets of Beer $15 •
SmartAss Trivia, 8pm
Open 5pm • Happy Hour:
2 for 1 on any drink, 5-9pm
• No Cover
9855 Washington Blvd. N
Laurel, Md.
Free Pool • 75 cents off
Bottles and Drafts
All male, nude dancers •
New Meat Wednesday DJ
Don T • 9pm • Cover 21+
THURS., 04.17.14
9 1/2
Happy Hour: 2 for 1 on any
drink, 5-9pm • Multiple
TVs showing movies,
shows, sports • Expanded
craft beer selection • No
4@4 Happy Hour,
4pm-7pm • $4 Small
Plates, $4 Stella Artois,
$4 House Wines, $4
Stolichnaya Cocktails, $4
Manhattans and Vodka
Crazy Hour, 4-7pm •
Karaoke, 9pm
Shirtless Men Drink Free,
$3 Rail Vodka Highballs,
$2 JR.’s drafts, 8pm to
close • Top Pop Night
Beat The Clock Happy
Hour — $2 (5-6pm), $3
(6-7pm), $4 (7-8pm) •
Buckets of Beer $15 •
Drag Bingo
Happy Hour: 2 for 1 on any
drink, 5-9pm • No Cover
All male, nude dancers •
Shirtless Thursday • DJ
Tim E in Secrets • 9pm •
Cover 21+
FRI., 04.18.14
9 1/2
Open at 5pm • Happy
Hour: 2 for 1 on any drink,
5-9pm • Friday Night
Videos with resident
DJ Shea Van Horn • VJ
• Expanded craft beer
selection • No cover
4@4 Happy Hour, 4-7pm •
$4 Small Plates, $4 Stella
Artois, $4 House Wines,
$4 Stolichnaya Cocktails,
$4 Manhattans and Vodka
Martinis • Upstairs open
@Town • Bear Happy
Hour, 6-11pm • $3 Rail,
$3 Draft, $3 Bud Bottles •
Free Pizza, 7pm • Hosted
by Charger Stone • No
cover before 9:30pm • 21+
Crazy Hour, 4-7pm •
Karaoke, 9pm
Buy 1, Get 1,
11pm-midnight • Happy
Hour: 2-for-1, 4-9pm • $5
Coronas, $8 Vodka Red
Bulls, 9pm-close
DJ Matt Bailer • Videos,
Dancing • Beat The Clock
Happy Hour — $2 (5-6pm),
$3 (6-7pm), $4 (7-8pm) •
Buckets of Beer $15
Open 5pm • Happy Hour:
2 for 1 on any drink, 5-9pm
• No Cover
DJ Styalo • Dancing •
$5 cover
9855 Washington Blvd. N
Laurel, Md.
Drag Show in lounge •
Half-price burgers and
Drag Show starts at
10:30pm • Hosted by
Lena Lett and featuring
Tatianna, Shi-Queeta-
Lee, Jessica Spaulding
Deverreoux and Banaka •
Doors open at 10pm • For
those 21 and over, $5 from
10-11pm and $10 after
11pm • For those 18-20,
$10 all night • 18+
All male, nude dancers
• Ladies of Illusion with
host Kristina Kelly, 9pm •
Cover 21+ l

This is just the most open and blatant example of the new fascism, which says
if you don’t agree with us 100 percent, we have the right
to punish you.”
— NEWT GINGRICH, former Republican presidential candidate and contributor to CNN’s Crossfire, speaking on ABC’s This Week
with George Stephanopoulos. Gingrich was commenting on Brendan Eich, who stepped down as CEO of Mozilla Corporation
following intense backlash from LGBT people and Mozilla employees over donations to Proposition 8 by Eich in 2008.
“I was infuriated with the explicit, homosexual display
on stage because I had brought my teenage son to see the seemingly innocuous play.

— An excerpt from a complaint, sent by a mother to Pioneer Theatre Company at the University of Utah, regarding a staging of
Deathtrap. The scene in question was a brief kiss between two characters in the play. The woman stated that she had “never been
so disgusted and infuriated.” In his response, managing director Chris Lino wrote, “You object to the kissing,
but not to the fact that they’re murderers?”
(Pioneer Theatre Company)

It’s just not normal and then you glorify, or it seems to me, that the promotion at USC Upstate is
a glorification of same-sex orientation.”
— South Carolina state SEN. MIKE FAIR (R), in an interview with WYFF. Fair was criticizing the University of South Carolina
Upstate’s LGBT Symposium, in particular a performance titled “How to Become a Lesbian in 10 days or Less.” The performance
was later canceled due to the backlash over its satirical title.

While many governments and well-meaning individuals have redefined marriage,
the Lord has not.”
— NEIL L. ANDERSON of the Quorum of the Twelve Apostles, a governing body in the Mormon Church. Anderson spoke with
the Associated Press to clarify his church’s position on same-sex marriage.
(Associated Press)
“No court has ever held that businesses have a First
Amendment right to discriminate,
and it is no surprise that the Supreme Court has denied this attempt to overturn settled law.

— JOSHUA BLOCK, staff attorney with the ACLU Lesbian Gay Bisexual Transgender Project, in a statement regarding the Supreme
Court’s decision to refuse the appeal of Elaine Huguenin in Elane Photography v. Willock. When Huguenin refused to photograph
a same-sex couple’s wedding ceremony on the grounds of religious beliefs, the New Mexico Supreme Court ruled that she had
violated the state’s Human Rights Act. The act was amended in 2003 to add “sexual orientation” as
a class protected from discrimination.
(Metro Weekly)

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