a&e features

Blind and queer and finding community

A look at the unique struggles, triumphs of the visually impaired

Published

6 years ago

September 25, 2020

**Gabriel Lopez Kafati** and **Anthony Corona** (Photo courtesy the couple)

If you ask Gabriel Lopez Kafati, 43, if he’s out, he’ll tell you about his tattoos. One, above his shoulder, is a rainbow-colored equality sign. The tattoo on his right leg is the word “aequalitas” (the Latin word for “equality.”). In another tattoo, his first name is in Braille. “On my lower back, there’s a heart with an error,” he said in a phone interview, “the rest is best left to your imagination.”

Lopez Kafati is one of the members of the LGBTQ community who are queer and blind or visually impaired. There have always been people who are LGBTQ and blind. Yet, in telephone interviews, they told the Blade, they often feel “unseen” in the queer community.

(This reporter is queer and visually impaired.)

Twenty years ago, Blind Friends of Lesbians and Gays (BFLAG), became an affiliate of the American Council of the Blind (ACB), an advocacy group. In 2009, BFLAG’s name was changed to Blind LGBT Pride International (BPI).

Here are the stories of some of the people who have found their tribe in BPI.

BPI’s vice president, Leah Gardner, 44, who is lesbian and blind, lives in the Bay Area in California. “I grew up in a conservative part of New Hampshire,” Gardner said in a phone interview. “I came out as lesbian to my friends when I was 17.”

But, she didn’t come out about being blind until after she graduated from college. “I was mainstreamed in school,” she said, “I didn’t know a lot of other blind kids growing up.”

Gardner’s attitude began to change when she took a self-defense class and became friends with some of the other blind students. She went to her first ACB convention with them.

At the convention, there was a meeting of a group of LGBTQ blind people. They had the same dating woes and fears that Gardner had. “I was in a room with other queer blind people! I’d come home.”

People in the queer community are happy to see blind people as friends, but not as sexual, she said.

The Internet and social media have helped blind people connect to the LGBTQ community, Gardner said. But, “there’s still a chasm in terms of romance!”

Sarah Chung, 31, who’s queer and visually impaired, graduated from Adler University with a master’s degree in counseling in 2019. She was set to compete in judo in the Paralympics in Tokyo this summer. But, because of COVID-19, the Paralympics was canceled. Due to the pandemic, she hasn’t been able to find a job in counseling.

“It’s not easy,” says Chung, who uses a screen magnifier and “voice over” to read the screen on her phone, “employment’s so important.”

As a child of Korean parents, Chung found a hero in Margaret Cho. Chung, who identifies as non-binary came out recently to her Mom. Before that, she’d reached out to Asian-American, Pacific Islander Pride organizations. “They were incredibly helpful,” Chung said, “I’d no idea there were other queer Asian-Americans.”

Being queer and visually impaired made her feel somewhat alone. But, Chung said, “a friend invited me to join BPI.”

Since then, she’s met other LGBTQ blind people on BPI’s podcast “Pride Connection.” “It was great to meet folks from all over the nation,” Chung said.

How the queer community reacts to your being blind depends on the time, place and who you’re with, she said. Chung finds that LGBTQ bars can be disorienting if you’re blind. Because you can’t see non-verbal interactions or hear what people say over loud music.

“In bars, I’ll text my friends,” Chung said, “some view that as being uninterested. But, I’m doing that to get more information [about the surroundings and the people who are there]. To see through the eyes of my friends.”

Over the years, BPI has advocated on behalf of queer, blind people. The group urged the Library of Congress’s National Library Service for the Blind and Print Disabled to add an LGBTQ+ category to “talking books.” (The category was added to the Library’s main catalog in 2019 and appeared on BAARD, the program’s mobile app last summer.)

Blind people are vulnerable during the pandemic, BPI president Lopez Kafati said. If you’re blind, you can’t drive to get a COVID-19 test. If you’re visually impaired, you’ll need assistance if you go to get groceries.

To help blind people tell the media their pandemic stories, BPI developed Storytelling Camp. “We’re training them to make their points effectively,” Lopez Kafati said.

But BPI isn’t all work. It’s also for socializing and, sometimes, for romance.

Anthony Corona and Lopez Kafati met at a BPI mixer at ACB’s convention in 2019. The two have been together ever since.

Lopez Kafati, 43, was born in Honduras. He knew he was gay when he was in his mid 20s, but wasn’t fully out until he was 32. Lopez Kafati went to law school and worked as an attorney. But he began losing his vision from retinitis pigmentosa, a progressive eye disease. “I was convinced that I was the only person who was blind and gay in the world,” Lopez Kafati said.

He Googled “blind and gay.” “And BPI popped up,” he said. “It was life changing to find others who shared my experience.”

He came to the United States to enter rehab in Miami so he could learn to travel, work, and live independently as a blind person. Lopez Kafati earned an MBA from Barry University, and in 2015 he became a U.S. citizen. Today, he manages accommodations for students with disabilities at Miami Dade College.

“Often, gay people know so little about blindness,” Lopez Kafati said. “They think we can’t have sex!”

Gay men communicate so much non-verbally – through a wink or a nod – and he can’t see to respond. This makes Lopez Kafati feel excluded from the gay community.

“Gay friends almost make me feel like I’m charity,” he said, “like I have a gay blind friend who I help shopping. Not like, here’s a guy I want to date.”

When he went to his first ACB convention in 2012 and met other queer, blind people in the BPI suite, Lopez Kafati said to himself, “I’m home!”

Corona, 45, worked for the Associated Press for 10 years – on its East Coast arts and culture desk and later as an editor in its entertainment bureau. In 2011, he was in a white rafting accident. In March 16, he lost his vision 20 days after he contracted shingles. He was devastated by his loss. “I had to go through grief,” he said in a phone interview, “I’d enjoyed journalism. My life was good. Honey, I wasn’t lonely on any night!”

There were days when he didn’t want to live. Corona didn’t think there were other gay, blind men out there. He sought counseling. His love of life came back when he went to guide dog school and got Boaty, his guide dog. “He was born to guide!” Corona said.

Like others interviewed by the Blade, Corona says that many in the queer community don’t want to date blind people. Once, as an experiment, he went on a dating app. “When I didn’t disclose my blindness, I got hit up many times within an hour,” he said, “when I disclosed, I was lucky to get hit up even once in a day.”

Sometimes things, even sad things, happen for a reason, Corona said. On March 24, 2016, his vision was completely lost. On the same day, his father died. For three years, he spent every March 24 sobbing. But that changed after he and Lopez Kafati became a couple. “Gabriel’s birthday is March 24,” Corona said. “Now, I’m sad on the anniversary of the worst day of my life. But I’m happy because I’m celebrating the birthday of the love of my life!”

‘I was convinced that I was the only person who was blind and gay in the world,’ said **Gabriel Lopez Kafati**.

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a&e features

Queery: Meet artist, performer John Levengood

Modern creative talks nightlife, coming out, and his personal queer heroes

Published

4 days ago

April 16, 2026

Staff reports

John Levengood (Blade photo by Michael Key)

John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.

Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.

“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.

He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”

He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.

How long have you been out and who was the hardest person to tell?

I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.

Who’s your LGBTQ hero?

My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.

What’s Washington’s best nightspot, past or present?

Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.

We live in challenging times. How do you cope?

I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.

What streaming show are you binging?

After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.

What do you wish you’d known at 18?

At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.

What are your friends messaging about in your most recent group chat?

We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.

Why Washington?

It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.

a&e features

Project GLOW celebrates LGBTQ acts

D.C.’s electronic music festival set for May 30-31

Published

4 days ago

April 16, 2026

Evan Caplan

A scene from last year’s Project GLOW. (Photo courtesy organizers)

Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.

Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.

President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.

As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.

“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”

The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”

K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.

Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.

K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.

Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.

a&e features

New book celebrates 1970s dance music icons

‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more

Published

2 weeks ago

April 9, 2026

Staff reports

Christian John Wikane will appear at book signing events in D.C. and Baltimore next week.

If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.

“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.

Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.

Below is an excerpt from “A Night at the Disco.”

“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.

“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.

“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”

“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”

Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.

Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.

12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane

(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)

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