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Boy George chats up his new album, tour and how he got his mojo back

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Boy George, gay news, Washington Blade
Boy George, gay news, Washington Blade

Boy George says in some ways straight acts can experiment with gender more than gay artists. (Photo courtesy High Rise PR)

Boy George

Monday, April 21

9:30 Club

815 V St. N.W.

930.com

$35

Doors open at 7 p.m.

Boygeorgeuk.com

Boy George is the first to acknowledge a cliché.

Getting sober in 2008 and turning 50 two years ago are big “take stock” moments for many and no less so for him.

“It was a huge turning point for me,” he says of his milestone birthday. “I thought, ‘I’ve got to get my shit together, I’ve got to focus, this is important.’ I just felt I’d wasted a lot of time. I looked at myself and thought, ‘God, I’ve done nothing.’ I know I’ve done a lot, I’ve always worked. I’ve grafted and always made money, but a lot of it was pointless because no one knew what I was doing.”

This year, the world is seeing the fruit of those epiphanies. His new album “This Is What I Do” was out in the UK last fall and officially drops in the U.S. with three bonus cuts on March 25. The last several years have seen him release a spate of side projects of various scope, but this is his first full-fledged solo album since 1995’s “Cheapness and Beauty.” He starts a U.S. leg of his tour on April 18 in Philadelphia and plays D.C.’s 9:30 Club on April 21.

During a Saturday afternoon phone chat from his London home last weekend, George — in his ever-delightful, clipped British accent — was chatty, self deprecating, quick to laugh and balked or sidestepped no questions. His comments have been slightly edited for length.

WASHINGTON BLADE: I know you’ve been DJing a lot and working on various things, but how did it work out that you released a new album at this time? Why now?

BOY GEORGE: Well, you know, as you said, I’ve been DJing very happily for the last 25 years and I haven’t really had a record deal for a long time. I suppose I have thought about making records but, you know, I wasn’t sure how I was going to do it. You know, whether I was going to sign with a major label or do something more independent. I also changed management a couple of years ago and wanted to kind of start fresh with a bunch of people that perhaps could kind of see beyond what I was. I think when you’ve had a very, very successful career like I had in the ‘80s, people tend to kind of hope you’re going to try and repeat that. They’re always waiting for you to write the next “Karma Chameleon,” but it’s never going to happen (laughs). Everything I’ve ever done has been kind of instinctual and impulsive and spontaneous and I’ve never really been the kind of artist that can kind of just pull it out of a hat. I have to feel it. … I just felt it was the right time. We discussed the different ways I could go about making a record and I decided to be brave and pay for it myself and own it myself which is a new thing for me, kind of a grown up move. And so far, you know, it’s been the right choice.

 

BLADE: When was it recorded and how long did it take?

GEORGE: We started about March last year and we did it within about four months. Not solidly. We recorded and then somebody else mixed it. I would say about four to five months last year.

 

BLADE: How was the reception in the UK last fall?

GEORGE: We’ve had amazing reviews. Comeback of the year, Boy George has finally got his mojo back, you know, blah, blah, blah. Lots of compliments. I mean, much to my surprise really, because I wasn’t really sure what kind of reaction I would get. I wasn’t sure what to expect. So yeah, everything in the UK has been kind of another surprise. England tends to get much more excited about Beyonce than anything that comes from here. It’s like all America, America, hip-hop, Beyonce, Lady Gaga. Nobody cares about Boy George anymore (laughs). That’s why I’m relying on you guys in America.

 

BLADE: The first single “King of Everything” says “What is the word on the street? Have I lost my crown?” Have you?

GEORGE: Well, the song isn’t just about me, it’s about everyone. It’s about human frailty, people messing up, which is a very human thing, yet it is also about me but it’s about you, it’s about everyone. It’s not literal. The crown is a metaphor. If it was about me, I’d call it “Queen of Everything.”

 

BLADE: How did the UK tour go last fall?

GEORGE: It was amazing. Very small, very affectionate and the audiences were adorable. They were mostly the kind of hardcore fans, so they were really affectionate.

 

BLADE: About how long do you usually play?

GEORGE: It depends on the curfew. We do about an hour and a half, maybe two hours. Not quite Bruce Springsteen-length. But we play for as long as we can. When you’re doing a show, sometimes if the mood is right, you can keep it going, depending on the audience reaction, really. But obviously some venues have a curfew so you can’t play longer than a certain time.

 

BLADE: About how much of the new album do you work into the set list?

GEORGE: We kind of try and balance it with things people know, some things people haven’t heard, some new stuff, some old stuff. You know, I’ve been doing this a while and one thing I’ve continued to do is to play live. At the end, you have to figure out a way to reach the audience.

 

BLADE: How does the new stuff sit with the Culture Club hits? Is it hard to build a set list that flows?

GEORGE: No, I don’t think it’s difficult. With the things people know, you’re always in a very safe area. If you sing a song that’s been a hit, that’s very safe so no, I wouldn’t say it’s difficult. There are certain songs that I don’t do. Obviously with that kind of a back catalogue, there are some songs you grow into and some that you say, “OK, this doesn’t really speak to who I am anymore.” So you kind of try to mix it up and keep it interesting, not just for the audience but also for yourself. You don’t want it to be a kind of robotic show that’s the same every night. Myself and John, who plays guitar in my band, we have sections where we do acoustic stuff and we can do all sorts of things there and change things around and do new things. That helps keep the show exciting.

 

BLADE: Do you still have the goatee?

GEORGE: I do.

 

BLADE: Your look at present seems more kind of genderfuck than androgynous. Just a whim or do you feel more comfortable with mixing in masculine elements than you have in previous years?

GEORGE: I just had some time off and didn’t shave for a few days and kind of looked at myself and thought, “Oh, I quite like this look.” It’s not something I really sat down and thought about. I just kind of grew my beard when I was on break and other people seemed to like it and other people didn’t like it, which made me want to keep it more. I might get bored with it at some point but I’m loving it at the moment.

 

BLADE: Lots of pop stars have played around with androgynous looks — I’m thinking of David Bowie and Prince — and the public seems to accept them as straight. You were always pretty much out for the most part. Do you feel the public overall has pretty good gaydar?

GEORGE: I don’t know really. I think there are some audiences that don’t really want to know, depending on the artist. Sometimes people have this kind of spare-me-the-details kind of attitude. I think it’s more about what kind of artist you are and in what ways you want to affect the audience. That’s the starting point for me. It’s about what’s going to make you happy, do you know what I mean? How much of yourself you reveal. I think it’s much easier for somebody straight to play around with these boundaries because they’re not being defined by their sexuality. If you’re gay, then you’re gay and you have to strike a sort of balance so people don’t feel you’re flaunting it in their face or preaching, you know. I think as a gay artist, you have to walk a much finer line than, say, somebody who’s just having a flirtation with this. I mean, it’s much easier for someone straight like Macklemore to sing a song with the word gay in it. A few years ago I made an album called “Cheapness and Beauty” and there was a song called “Same Thing in Reverse” and I was told categorically this will never, ever get played on the radio because I used the phrase “kamikaze queer” in it. You can get away with more when you’re straight.

 

BLADE: You’ve talked about making a new album with Culture Club this year. Is that still in the cards?

GEORGE: Yes, we are looking at the possibility of recording some stuff this year but at the moment, we’re kind of still in the writing stages. We’ve had some great sessions and we really did enjoy ourselves and it was a really nice experience. Everybody came away feeling really good about it and, you know, we’re going to see what we can do next.

 

BLADE: It’s so great to see you looking so good, sounding so good and apparently really thriving. A few of your contemporaries who were also huge in the ‘80s haven’t fared as well. What did you think and feel when you heard Michael Jackson and Whitney Houston had died?

GEORGE: Oh my God, you know, I mean Michael Jackson. And I loved Whitney Houston like so much. I was just a massive, massive fan. I loved her voice. And Michael Jackson, you know, I was at home when it happened and I just remember thinking, “Oh my God, this is so sad.” You know, he was such an incredible artist. For the last few years of his life, I felt like there was so much pressure on him and he looked world-weary every time I saw him. I felt such sadness for him. I was just so sad when he died and Whitney, what a shame for both of them. They were great, great artists. I was a huge Michael Jackson fan and a huge Whitney Houston fan and I’m not ashamed to say I did cry. I thought it was really sad.

 

BLADE: Conversely does it make you happy when you see some of those artists still doing well today. Like Cyndi Lauper, for instance, just won a Tony.

GEORGE: I’m always happy when anyone does well. That’s a measure of maturity, I think. Cyndi’s a friend. I haven’t seen her for a while, but she’s a great girl and, you know, yeah, I think when you see your contemporaries doing well, it gives you hope. You think, “OK, anything’s possible.”

 

BLADE: You recognized early on that fame was fickle and I remember you telling Johnny Carson you knew staying at that level at the height of Culture Club was not sustainable and that you envisioned yourself eventually writing songs for other artists and doing other things. How has that played out differently than you thought it might have when you were 22?

GEORGE: Oh, I think when you’re 22 you really think you know it all, don’t you? (laughs) You listen back to the things you say and you think, “Oh my God, you really thought you knew it all.” And I think at that age, you’re still learning so much. I feel very fortunate to still be doing what I love.

 

BLADE: Yes, but it struck me as rather insightful that you realized even then that pop careers always ebb and flow.

GEORGE: It may be one of the reasons I’ve done other things. I’ve never wanted to just rest on my laurels. I don’t have the idea of trying to kind of repeat something. So in a way, DJing has been an incredible second career for me. When I first started it, my manager at the time thought it was a really bad idea and told me I shouldn’t do it. But again, I just followed my instincts and it was the right thing to do because it allowed me to avoid nostalgia. I’ve been able to be involved in a quite progressive industry and not have to worry about what I used to be or, you know, the ‘80s, and all that stuff. So I’m really happy that I made that decision. I like to work. I’m a worker and I’m always up for a new challenge.

 

BLADE: Back in the early ‘90s, the theme from “Crying Game” was this huge out-of-nowhere smash radio hit in the U.S. Do you still sing it live?

GEORGE: From time to time. Actually, maybe that’s a good one to put into the set in America. I’ll write that down.

 

BLADE: Is it harder to break a song in the U.S. now than it was years ago? Not even with yourself, necessarily, but just in general?

GEORGE: I don’t know what it’s like now because I’m not involved in that kind of trying to have hits, you know. I think past a certain age, you’re just kind of marginalized in the world anyway.

 

BLADE: Does that bring with it artistic freedom?

GEORGE: I think it does. Once you kind of get over the shock and the horror that certain radio stations won’t play your new stuff no matter how good you are, I mean that’s really the bonkers thing. I’m not sure it’s as bad in America as it is here, but certainly here, it’s just ridiculous. But it kind of remains to be seen. It’s a very different landscape now. Making records is very different and the way we promote ourselves is very different. In a way I’m kind of starting again, so I’ll let you know.

 

BLADE: How many of the players from the album do you tour with?

GEORGE: All of them.

 

BLADE: The album has such a lush sound — is that easy to duplicate on stage?

GEORGE: Well, we have a nine-piece band that we’re touring with at great expense so we probably won’t be making any money. But I think it’s really important to have a great band and we had a great time in the UK last year. We do England and Europe then we go to America. We’ll be steaming by the time we get to the states.

 

BLADE: How long have you been a vegan?

GEORGE: I’m not strictly a vegan but I’m very conscious about what I eat and I don’t eat a lot of dairy, though I do eat some cheeses. I’ve been on a very particular metabolic plan diet for two years that’s all about your hormonal reaction to certain foods so some of the stuff I don’t eat is very random — like pumpkin, kale, onion or lemon. It’s very individual and different for each person. It’s been sort of life changing for me but I don’t really call myself anything because then you eat a piece of cheese and everybody freaks out.

 

BLADE: And you run too?

GEORGE: Well, I exercise.

 

BLADE: Is the U.S. version of the album the same?

GEORGE: No, it’s got more songs. I wrote a song called “Turn On a Little Light For Me,” which I wrote especially for the American album and which I love. We were asked by the label to provide some more stuff and I had a couple covers — “Video Games” by Lana Del Rey and the Bob Dylan song “Make You Feel My Love,” but I didn’t just want covers as the bonus content so I wrote a new song too. It’s about hope. A lovely kind of little Dylan-esque kind of song.

 

BLADE: Thanks for your time.

GEORGE: Thank you.

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Sports

Transgender nonbinary sprinter Nikki Hiltz makes Team USA

‘Woke up an Olympian’

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(Screenshot)

They ran like the wind, broke the tape at the finish line, and clutched their chest with the broadest smile on their face. Then Nikki Hiltz collapsed to the track, having set a new record in the 1,500-meter race at the U.S. Olympic track and field trials and earned a spot on Team USA. 

As the realization sank in that they would be representing the U.S. in Paris as an out transgender nonbinary athlete, what the Paris-bound Olympian did next was to scribble a message of LGBTQ representation on the last day of Pride Month, writing with a red marker upon the glass of the camera that records each athlete’s signature on a whiteboard: 

“I ❤️ the gays,” they wrote, and above it, they signed their first name. 

Hiltz, 29, finished the race on Sunday at the University of Oregon’s Hayward Field in first-place with a final time of 3:55:33, breaking third-place finisher Elle St. Pierre’s 2021 record of 3:58:03. 

Hiltz credited St. Pierre, the top-finishing American and third-place finisher in the women’s 1,500 at the Tokyo Olympics, with motivated them and the other competitors to race faster. With a first lap time of 61 seconds, St. Pierre led the race for the majority of its duration. St. Pierre and Emily Mackay, who placed second, also both earned spots in the Paris Olympics.

“If someone would have told me this morning that 3:56 doesn’t make the team, I don’t want to know that. I’m just in the race to run it and race it and that’s what I did,” Hiltz said after the race. The Santa Cruz native who came out in 2021 as trans nonbinary told NBC Sports that the accomplishment is “bigger than just me.”

“I wanted to run this for my community,” Hiltz said, “All of the LGBT folks, yeah, you guys brought me home that last hundred. I could just feel the love and support.” 

On Monday, Hiltz reflected on the race and how they became an Olympian in a post on Instagram.

“Woke up an Olympian. 🥹 Yesterday afternoon in Eugene Oregon a childhood dream of mine came true. I’m not sure when this will fully sink in … All I know is today I’m waking up just so grateful for my people, overwhelmed by all the love and support, and filled with joy that I get to race people I deeply love and respect around a track for a living. 🙏”

Hiltz also shared a photo with their girlfriend, runner Emma Gee, and captioned it: “Remember in Inside Out 2 when Joy says “maybe this is what happens when you grow up … you feel less joy”? Yeah I actually have no idea what she’s talking about. 🎈🌈🤠🦅🥐🇫🇷”

They shared photos in their new Team USA garb, too. 

While they will be the first out trans nonbinary member of the U.S. track and field team, Hiltz will not be the first nonbinary Olympian. That honor goes to Quinn, who played soccer for Canada in Tokyo and holds the record as the only nonbinary athlete to have won a gold medal. So far. 

Many of the posts by Hiltz, Team USA and others have been trolled by bigots and ignoramuses who have mistaken them for a trans woman who was presumed to be male at birth and transitioned genders. Right-wing outlets and anti-trans activist Riley Gaines have commented on their victory and questioned their gender identity and decision to compete against cisgender women. 

But in the spirit of the late Marsha P. Johnson, who famously said the “P” stood for “pay no mind” to the haters, Hiltz shared a photo of a handwritten motivational note to themself, which ends: “I saw a quote online the other week that said, ‘respect everybody, fear nobody,’ and that’s exactly how I’m going to approach this final. I can do this.” 

And they did. 

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a&e features

Rehoboth’s Purple Parrot still soaring after 25 years

Owners Hugh Fuller and Troy Roberts reflect on keys to their success

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Longtime Purple Parrot employee Chris Chandler. (Washington Blade photo by Daniel Truitt)

Two buildings, one romance, and 25 years later, the Purple Parrot is busy as ever. 

If the tropical purple paint covering the outside with rainbow flags and walls covered with love notes, affirmations, and drunk wishes scribbled on dollar bills don’t indicate it already, the Purple Parrot is an institution in Rehoboth. The gay-owned and operated fixture is celebrating its 25th anniversary this year. 

The Blade sat down with owners Hugh Fuller and Troy Roberts of the Rehoboth establishment to discuss the past 25 years and plans for the future. 

Fuller and Roberts, both gay, have been working together since before the Parrot was even an idea. Fuller was a co-owner of the Iguana, another restaurant and bar in the town.  

“I was in the Iguana first with another business partner,” Fuller said. “I was going to get out and move up to Pennsylvania with him [Roberts]. He decided that he was going to come down and said, ‘Well, what if I go in with you at the Iguana and we do it together?’ And I was like, ‘Alright,’ so we did, and it just snowballed from there. We were always in the restaurant business together from the beginning.” 

“Yeah, that was really luck, too,” Roberts began. “Because-” 

“Because Grindr wasn’t around then!” Fuller interjected, laughing as Roberts began to roll his eyes and smile. 

“I had a small place up in York,” Roberts continued. “Selling that kind of gave us some money to buy the other guy out. We just had friends supporting us and helping us along the way and it just kind of worked.” 

“Kind of worked” would be an understatement. The pair moved on from the Iguana and opened the Parrot. Then, after opening the Parrot, they decided to shift locations to a larger location down the street to accommodate the growing demand. Then in 2010, the Parrot expanded again, adding the land behind the Rehoboth Avenue location, which provided an additional 950 square feet as well as giving patrons access to Wilmington Avenue. 

The bar and restaurant, which serves American cuisine with a beach flair, has always focused on being a welcoming space to all regardless of sexuality, gender, race, nationality, or identity. This, the duo explains, is one of the reasons why the restaurant has had such a lasting impact on the Rehoboth restaurant and gay communities. 

The Purple Parrot (Washington Blade photo by Daniel Truitt)

“Back in the ‘90s when we first opened up, the amount of straight crossdressers that would come were like, ‘Oh, are we allowed to come in? Are we welcomed into a place like that?’ And we were like ‘Everybody that walks on this planet is welcome here!’” Fuller said. “Those are the kinds of things, you know, where people just felt comfortable. They would get stared at out on the street, but inside they would walk around and feel like they were in their own skin. It was just really cool to see.”

The feeling of acceptance has been a crucial part of the Parrot’s success.

“I got an email a couple of days ago — probably two weeks ago about a woman bringing her daughter down,” Roberts said. “She’s 16 and was bullied through school — hard times, depression, tried to harm herself a couple of times. It was just really sweet that she reached out and she’s like, ‘My daughter was a completely different person when I brought her into your bar. Everybody treated her nice — the bartenders, the waitstaff, I mean, everybody was friendly. She just doesn’t experience that often being an out 16-year-old lesbian. We just can’t even thank you enough.’ It’s those kinds of things that we get often.”

“[The mother] mainly wrote it because we put the Pride flag on the Parrot’s Facebook wall,” Fuller added. 

The colorful lights, disco balls, and staggering number of dollar bills stapled to the walls highlight that the Rehoboth community has embraced the Parrot. It’s not uncommon to see a group of gay patrons sitting at the bar in bathing suits sipping on orange crushes and talking about their day at Poodle Beach while a bachelorette party belts out Lady Gaga on karaoke night in the room next door. That is the vibe Fuller and Roberts have curated — a fun and friendly tropical oasis in the middle of Rehoboth Avenue.  

A crucial element of this curated vibe, the pair point out, is treating employees and guests with respect. When asked what they have learned that helped them be so successful over the past 25 years, Fuller and Roberts said the same thing.

“Patience, organization, and treating people well,” Roberts said.” I think that’s probably one of the bigger of the three — you treat them well and they treat you well. I think it’s just a mutual respect.” 

 “It took me about 30 years to learn that it’s not just all about work,” Fuller said. “I used to bust my butt in there all the time and the focus was [on] the restaurant. I know [Roberts] said patience, I would say mine was being patient too because I learned going in that it’s easier to deal with your employees without shouting at them. It took me a little while to get through that.” 

He added that compensating staff fairly was also one of their keys to success. 

 “Before we take a nickel out of our business, we put $1 back into our employees’ pockets,” Fuller said. We want the business to survive and it has been incredible.”  

Fuller added that this sentiment, of having patience and treating everyone with respect, goes both ways — it applies to the Parrot’s patrons as well. 

“If you leave the Parrot angry, it’s your own decision,” Fuller explained. “If we don’t make you happy there, it’s because you’re choosing not to be happy. We will go out of our way to correct anything and everything that we can. So if you leave [unhappy], it’s not because we couldn’t do it. It’s because you didn’t want us to.”

The two discussed their history together — anyone who has them interact can see their spirited energy and appreciation for each other. 

 “Troy and I used to be a couple when we first opened, and we were together for about 10 years,” Fuller said. “And then we kind of went our separate ways, but the restaurant kept us in very close contact. Sometimes I think we’re probably closer than most couples are because of the way that the restaurant has us tied together.” 

“Even during the worst of it, we never stopped communicating on a daily basis,” Roberts added. “Obviously, you can tell by his personality why that all went south,” he said laughing. 

“Well, you can tell by the way that he looks why it went south.” Fuller jabbed back, also laughing.

“Hey!” Roberts replied. 

“I wasn’t gonna continue dating my grandfather!” Fuller joked. 

Despite the end of their romantic relationship, there was still clear evidence of perpetual good energy between the business partners. The two then started to reminisce about the past 25 years and the struggles and successes they overcame to reach this milestone. 

The pair mentioned the two biggest struggles they have faced in the past quarter century. One was when Rehoboth Avenue was dug up for the Streetscape improvement project, and the second was the 2008 recession. 

“We were refinancing our houses several times to keep it afloat there for a little while,” Fuller said. 

“But hey, we got nice sidewalks now!” Roberts added. “So that’s good.”

 It’s not just the customers who grew up with the Parrot; so did the staff.

“I mean one of the kids who bussed for us is now our dentist,” Fuller said.

“One of the busboys from the Iguana days, he’s our dentist now,” Roberts explained. “They actually started dating in high school while working together at the Iguana. One of them followed us to the Parrot and her daughter just worked for us two summers ago as a host. He’s our dentist, and they’re still local. We just sold him a house over in Lewes, because we’re both Realtors on the side. When you look back at that, you’re like, ‘Oh, my God, you were just a kid. And now you have a kid graduating college!’ It goes fast.” 

It seems that many of the staff have a soft spot for the Parrot, and for good reason. An important aspect of keeping their employees happy is supporting them. At first, it was trips to Disney World with some of the servers and renting out the local waterpark to give kids time to enjoy the summer. Then it became Christmas bonuses, which are not common in the food service industry. 

The Parrot helped raise more than $10,000 for one of their employees dealing with fallout from the war in Ukraine. 

“One of our bartenders being from Ukraine, when all that went down, amazingly, how he was able to bring a lot of his family over,” Roberts said. “And until they actually got grounded, he had places for them to stay all lined up.”

“The reason that he was able to get them over is because we did a fundraiser at the restaurant and our customers raised over $10,000 to help sponsor his family and one of our other employees’ families,” Fuller said. “They brought them all the way up through Mexico and into the country and now they’re here with citizenship cards and working for us. We got them houses and apartments too.” 

“We don’t care what they are, whether they’re straight, Black, Chinese, Mexican. It’s like the Benetton of Rehoboth in here,” Fuller added. “It’s the United Nations. We support everybody and we’re not afraid to show our support for everybody.”

In addition to reminiscing about some of the good things the restaurant has done for its employees, they both talked about notable guests of the Parrot. 

“My mind went right to the guys from Manhattan, who would always come down,” Roberts said when asked if any guests have stuck out to him over the past 25 years. “They just happened to find us. They had never been to Rehoboth before. They walked into the original Parrot and had every single year after that until two of them passed away. It just became like a yearly week, then it turned into two weeks, and then it turned into two times a year. And it was all just because they came to one bar, and had so much fun. They would sit there all day, all night, go home take a nap, and come back for dinner. And it was just their place.” 

They have faced some objections from those who were not as receptive to their tolerance of different people.

“We get the same hate that everybody else does — the same hate that the city got when they put the rainbow crossings in and the flag up,” Fuller said. “I was just telling Troy about a conversation I had yesterday with a guy. The front of our business for Pride month has flags on it and says ‘Happy Pride.’ And he said, ‘I was going to come in here but I see you’re supporting the gay community with your rainbow flags.’ And I said ‘Yes.’ And he goes, ‘Well, I don’t see why you don’t have flags for veterans.’ And I said,’ Well, as a veteran, I can tell you that we don’t serve to be recognized, we serve to protect and to give you guys your freedom. It’s not something that we want recognition for. But there is a flag, the American flag, that flies over the top of our business every day to represent the veterans of this country.’” 

Despite the opinions of some who are less than welcoming of the LGBTQ community, the Purple Parrot will always be a safe space to celebrate, the two affirmed. And celebrate they will. 

The Parrot already hosted one party to celebrate the milestone of the bar early in the summer, but will throw an even bigger bash at the end of the season to commemorate the history and hard work that has gone into making the Parrot ‘fly.’

“On May fifth we had a big party,” Fuller said. “We’ll have another one at the end of the summer in September. We did one at the beginning and then we’re going to do a really big one at the end of the summer. The first celebration, that weekend, turned out to be a little rainy, and misty so it wasn’t as big as it could have been. It was packed inside but it wasn’t packed outside like it normally is. We usually do a full cookout barbecue, all that stuff and we’ll do that again at the end of the summer. We’ll have another one of those with DJs. I am not sure about a drag show, but we’ll probably have something because the girls are trying to get something together. We don’t want to spoil anything but there will be a surprise.”  

When asked to give their final thoughts on owning and running one of Rehoboth’s most successful businesses as gay men, the two made it clear that it has to be a safe and welcoming space for all for it to succeed. 

“I think you have to be all-inclusive,” Roberts said. “I don’t think in today’s world you can just really limit it to the gay community. You have to be gay-friendly, and accepting as well. And I think that helps because it gets non-gays in there and everybody just starts to get along. It becomes more accepted and then becomes the norm.” 

Fuller agreed but emphasized being true to one’s character in collaboration with being inclusive is the key to their success.

“Being gay isn’t who we are, you know, it’s what we are,” Fuller said. “You can’t be afraid to be you. … If you’re going to open up a business, you want to make sure you lean on the community, because the community is going to be your biggest support. And that’s how we definitely lean on the gay community.”

The Purple Parrot is located at 134 Rehoboth Ave. in Rehoboth Beach and is open Monday through Saturday from 11 a.m. to 1 a.m. and is open from 9 a.m. to 1 a.m. on Sundays. For more information, visit their website at ppgrill.com.

Purple Parrot (Washington Blade photo by Daniel Truitt)
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PHOTOS: New York City Pride Parade

Annual LGBTQ march held in Manhattan

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The 2024 New York City Pride Parade was held on June 30. (Washington Blade photo by Daniel Truitt)

The 2024 New York City Pride Parade wound through the streets of Manhattan and past the historic Stonewall Inn on Sunday, June 30.

(Washington Blade photos by Daniel Truitt)

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