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Keep on truckin’

From pork to pizza, city’s mobile restaurants continue to dazzle

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The first-ever Washington Blade Food Truck Rally was held last week as part of the High Heel Race and attracted seven of the city’s best food trucks. (Washington Blade photo by Michael Key)

The food truck craze that began a few years ago remains in full force and with seven of the city’s top trucks gathered in a 17th Street church parking lot for the inaugural Washington Blade Food Truck Rally last week, it seemed a good time to review some of the offerings.

The rally was part of the 25th annual High Heel Race and drew a large, steady crowd throughout the night. Rather than watch the race, I spent the evening sampling various treats from the vendors.

Mojo Truck  EXTRAordinary Sandwiches (@Mojotruck)

You have options at the Mojo Truck, with four basic sandwich choices and three different ways to get those sandwiches. I opted for the pork sandwich with the classic set of toppings, which includes tomato, mozzarella, fried egg and lettuce. (No lettuce for me, however, as I have great disdain for crunchy water.) Growing up Cuban, I always have high expectations for any pork-based sandwich, and the pork on this sandwich definitely held its own. Also, the bread was nice and crispy. The half melted and half un-melted mozzarella was a bit disappointing, though, and I couldn’t find my fried egg anywhere on the sandwich. I was really looking forward to that fried egg.

STIX Grilled Deliciousness (@eatstix)

The bacon-wrapped filet mignon was the first thing that caught my eye here, but I also find it hard to resist Tequila Lime Chicken, which was the second item on the list. Meanwhile, the hubby decided to try the Tomato Caprese with a Balsamic Reduction. And let me say, damn, that is some really good chicken on a stick. It was well-seasoned, well-cooked, and when you add a squirt of lime, that chicken just dances around your mouth, spreading joyful flavors everywhere. I tried some of the Tomato Caprese, something I have never eaten off a stick before, but with fresh mozzarella, tomatoes that explode in your mouth, and that delicious reduction, I would say this is a must try.

Rolling Ficelle (@TheFicelle, rollingficelle.com)

There were so many delicious options listed on this menu. These were definitely sandwiches with style. I decided to step out of my comfort zone and order The DeKooning Ficelle. The DeKooning has roast beef, provolone cheese, crushed cherry pepper relish and light horseradish mayo on fresh Lyon Bakery Bread. The roast beef was tender, there was a sweetness to the cherry pepper relish that matched amazingly well with the meat, and the horseradish mayo added a touch of heat that made me smile. I do love me some spicy! And the bread? Wow, that is some fresh, crispy, perfect bread.

How was I going to top that? Well, I moseyed on over to Porc to see what they had to offer.

Porc: Purveyors of Rolling Cuisine (@Porcmobile)

This food truck had a sense of humor. I especially liked the note that suggested the sign was “scratch-and-sniff,” and that you get half-off your meal if you are rocking drag. (I knew I should have put on some high heels!) I debated between the Pulled Pork Sandwich and the Smoked Angus Beef Sloppy Joe. But, since they are called Porc, it would be wrong if I didn’t get the pulled pork. So, I stepped up and ordered my second pork sandwich of the night with hot BBQ sauce. This sandwich was good, but not great. The pork was moist and tasty and the bread was soft and fresh, but the “hot” BBQ was not hot at all and left me wanting more flavor.

Next, it was time for pizza. I like to consider myself a pizza expert, being a New Yorker and all.

DC Slices (@DCSlices)

This truck has pretty much what you would expect – a few different slices and some rather tasty-looking fried food. The added bonus for me was the fried pickles on the menu. I love fried pickles. So, the husband and I ordered a cheese slice, a pepperoni slice, and an order of fried pickles. I couldn’t wait to taste the fried pickles. Then, moments later, disaster stuck: they were out of fried pickles. Disappointment rushed over me, but then I remembered I still had two slices of pizza to taste. I bit into the pepperoni slice, and was impressed. The crust was nice, the sauce-to-cheese ratio was correct, and the pepperoni was perfect. Overall, not quite up to New York City pizza standards but some of the best pizza I have had in D.C. The cheese slice was a little underdone, though, leaving the crust a bit soggy, but overall quite good.

Now, it was time for dessert. First stop? Dangerously Delicious Pies.

Dangerously Delicious Pies (@thepietruckdc, dangerouspiesdc.com)

Sweet and Savory pies, with so many options – what is a guy to do? We opted to try three pies, one savory – the “Hot Rod Potato” – and two sweet – the signature “Baltimore Bomb Pie” and the “Apple Cinnamon Chess.” The Hot Rod Potato pie was so rich, with layers of potatoes, cream, cheeses, onions, and (my favorite part) the hot sauce. There was no lack of flavor with this pie, and I was thrilled. The Baltimore Bomb pie was full of Berger cookies. The crunchy chocolaty top of this pie slid right into the rich filling that was lighter and fluffier than you would expect. Finally, the Apple Cinnamon Chess was the best apple pie I have ever tasted. I am bringing this one home to the family for Thanksgiving.

And why not add some ice cream to the pie in my stomach?

Sinplicity Ice Cream (@sinplicity1, sinplicityicecream.com)

I left this truck until last because I was a bit cold, and I didn’t really know what could be so special about ice cream. Then, I looked at the menu. While looking at the menu the lovely woman working the truck handed me a sample cup of hot chocolate, I sipped it, looked up, pondered it, and wondered why I have never had hot chocolate like this before. This hot chocolate with orange and cinnamon is so amazing, it will definitely make you stop for a moment after you taste it.

Then, I ordered my ice cream. I don’t usually like my food touching, let alone mixed together. So when I ordered the Chocolate Chili Pepper Ice Cream, my husband looked at me like I had lost my mind. But I was in love on the first bite: this is what ice cream should taste like. Rich and creamy chocolate with the warm flavors of the chili pepper – it was divine! I had a bite of ice cream and a sip of hot chocolate and repeated this as I walked down to the High Heel Race. I am sure there was chaos around me but I didn’t notice. I was completely enthralled by my ice cream!

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Nightlife

D.C.’s gay DJ collective CTRL returns

Electropop group resurfaces at Trade on March 30

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CTRL is back after a six-year absence.

Finger lasers, confetti cannons, drag shows, photo booths, throwback tunes, and a touch nerdy: after a long break, D.C.’s gay DJ collective CTRL is throwing its first party in six years.

Born in an Eritrean restaurant more than a decade ago, this longstanding gay nightlife electropop group is resurfacing with a comeback event at Trade on March 30.

Gay DJs Adam Koussari-Amin, Jeff Prior, Devon Trotter, and Brett Andreisen hosted the first CTRL party at now-closed restaurant Dahlak, on the corner of 18th and U Streets. After a year of hosting pop-ups in that restaurant’s dining room, they upgraded down 18th Street to now-closed gay club Cobalt. There, the parties grew: drag shows, a pop-up photo booth from David Claypool, and quirky activations like throwing hot dogs into print-outs of Putin’s mouth. Their productions grew as well, like producing the now-defunct Brightest Young Gays (BYG) Pride events at Wonderbread Factory and Union Market and the ‘Get Wet’ pool party with David Brown’s Otter Crossing at the Capitol Skyline Hotel.

CTRL wasn’t done. The group received its biggest stage yet after a call from Ed Bailey, the owner of now-closed gay club Town, as well as current gay bars Number 9 and Trade. At Town, the opportunity “allowed our creativity to flourish with even bigger performances, bigger photo experiences, crazier hand-outs, and the same electropop dance vibes our fans had come to know us for,” says Koussari-Amin.

CTRL pressed pause when Town shut down, which “was a huge loss to the LGBTQIA+ community and D.C. nightlife in general,” says Koussari-Amin. After that, it hosted an occasional spinoff called QWERTY. Post-pandemic, Koussari-Amin has spent a few nights solo as DJ at Trade and other venues.

After connecting with Jesse Jackson, the Trade general manager, as well as with Bailey, who agreed to host the inaugural event, Koussari-Amin was determined to shift CTRL back to life.

However, getting the old band back together proved to be a challenge. While the rest of the group have either left Washington, D.C., or are pursuing other projects, Koussari-Amin received their blessing to stay on and find new members. 

“When it came to finding new partners, both DJ Dez [Desmond Jordan] and DJ Lemz [Steve Lemmerman] were obvious choices,” he says, noting that “they also have distinct styles and interests.” Dez has a residency at Pitchers and Kiki as well as pop-ups, and Lemz throws events like Sleaze and BENT.

 “It seemed important to come back to the nightlife table with an experience that could complement all the amazing experiences that have even built up since CTRL threw its last event at Town. Bringing back both the DJ collective and the CTRL event with Dez and Lemz means new voices, perspectives, sounds, and excitement.”

“CTRL is an opportunity for the community to come together, enjoy music, drinks, and good vibes,” adds Jordan, noting that for him, it’s an event that celebrates queer identity.

And after months of planning, CTRL will kick off its monthly party series at Trade on March 30 for the first gig after its glow-up.

The trio says that its core inspiration “is driven by the indie and electropop favorites of new and old, like Goldfrapp, Ava Max, Charli XCX, … We’re also all huge fans of slut and trash pop music like Kim Petras, Slayyyter, Cupcakke,” as well as pop diva remixes, new bops, and songs that reside inside and far beyond the expanse of Top 40.

CTRL is also bringing back its activations that complement the tunes. Summer Camp is set for drag performances, David Claypool is back with his photo booth, and Koussari-Amin promises “to have all sorts of weird and wacky handouts like we used to.”

After the March premiere, April’s party is “CTRLella”, a Coachella send-up. Future events will feature various different themes, and they plan to throw a party during Capital Pride; they’re also looking to be a central part of Trade’s expansion into the adjacent space.

 Koussari-Amin says that “the event’s signature experience [is] a lynchpin in connecting D.C.’s expanding generations of queer folks, giving everyone a safe space to let loose and feel a rush no matter who they are.” 

For his part, Bailey continues to support CTRL and its collective intention, expressing its essential nature as a party for partiers by partiers. “CTRL is the kind of party that represents what people want. It’s just a real party by real people that just want to hear good music and dance with their friends.”

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Celebrity News

HRC releases ‘Queer Renaissance Syllabus’

Beyoncé’s hit album inspired curriculum

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Beyoncé performs at FedEx Field in Landover, Md., on Aug. 6, 2023. The Human Rights Campaign has released a curriculum that her "Renaissance" album inspired. (Washington Blade photo by Isabelle Kravis)

In a move aimed at celebrating the beauty, brilliance and resilience of the LGBTQ community, the Human Rights Campaign unveiled the “Queer Renaissance Syllabus” that Beyoncé’s “Renaissance” album inspired. 

Curated by Justin Calhoun, Leslie Hall and Chauna Lawson of the HRC’s Historically Black Colleges and Universities Program, the syllabus includes a variety of academic articles, essays, films and other media rooted in Black queer and feminist studies. Each piece is directly inspired by the tracks on Beyoncé’s Billboard 200-topping dance album, “Renaissance.”

Beyoncé’s album “Renaissance” stands as a cultural milestone, celebrating the Black queer roots of dance music while shedding light on overlooked Black queer artists. Inspired by her late-Uncle Johnny, the album not only garnered critical acclaim but also shed light on the often marginalized contributions of Black queer artists. Winning four Grammys and yielding chart-topping hits like “Break My Soul” and “Cuff It,” the album sparked discussions about economic impact and cultural representation.

Amid its success, legislative challenges arose, with Florida and Texas enacting bans on DEI initiatives in public colleges. Recognizing the album’s transformative potential, HRC developed the “Queer Renaissance Syllabus” to leverage its impact for education and activism.

Tailored for educators, youth-serving professionals, DEI practitioners, higher education leaders and admirers of Beyoncé’s artistry, the syllabus aims to encourage meaningful discussions, enrich lesson plans, and explore innovative ways to honor the vibrancy and significance of LGBTQ individuals and their culture.

With six themes anchoring the syllabus, ranging from “intersectionality and inclusivity” to “social justice and activism,” it provides a comprehensive exploration of various facets of LGBTQ experiences and expressions. Fan-favorite tracks from the album are paired with scholarly readings, offering insights into empowerment, self-acceptance and the transformative power of artistic expression. The syllabus also reinforces HRC’s efforts to highlight, amplify and re-center Black and queer voices.

By providing links to articles, books, podcasts and interviews, each associated with a song from the album, it celebrates the rich cultural heritage and contributions of the Black queer community.

The concluding section of the syllabus includes Beyoncé’s tribute to O’Shea Sibley, a young Black queer person who was murdered in Brooklyn, N.Y., last July while voguing to “Renaissance” songs at a gas station. HRC also includes a statement that condemns hate crimes.

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Movies

Neo-noir ‘Femme’ offers sexy, intense revenge fantasy

A work of real and thrilling cinematic vision

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George MacKay and Nathan Stewart-Jarrett star in ‘Femme.’ (Photo courtesy of Utopia)

They say “revenge is sweet,” and it must be true. Why else would so many of our popular stories, dating all the way back to “Medea” and beyond, be focused on the idea of getting “even” with the people who have done us wrong?

It’s a concept with obvious appeal for anyone who has felt unjustly used by the world – or, more accurately, by the people in it – but that has particular resonance, perhaps, for modern queer audiences, long used to being relegated to the status of “victim” in the narratives we see on our screens. In “Femme” — the new UK indie thriller helmed by first-time feature directors Sam H. Freeman and Ng Choon Ping, now in limited theatrical release and expanding wider over the next two weeks — it provides the irresistible hook for a gripping tale of calculated vengeance in the face of anti-queer violence. Like the best of such stories, however, it’s as much a cautionary tale as it is a wish-fulfillment fantasy.

Set in London, it centers on Jules (Nathan Stewart-Jarrett), aka Aphrodite Banks, a popular drag performer in the city’s queer club scene who, after a performance one night, steps out in full costume to buy a pack of cigarettes and becomes the victim of a traumatic “gay bashing” incident at the hands of a young man goaded to violence by a thuggish gang of friends. Months later, though he’s recovered from his physical injuries, he is still deeply affected by the inner scars that linger. Robbed of the confidence that allowed him to perform, he’s withdrawn into a reclusive life, until concern from his friends and housemates prompts him to finally venture out into the world for a night of cruising at a gay sauna – where he encounters his bully doing the same thing. 

Unrecognizable and anonymously masculine out of his drag persona, Jules finds himself beginning a dangerous and duplicitous game in which he plans to “out” his former attacker – whose name, as he learns, is Preston (George MacKay) – in the most humiliating way possible. As his scheme begins to play out, however, he encounters an obstacle: in getting to know the closeted Preston, he is surprised to discover not only empathy for someone living their life in terrified camouflage, but a mutual attraction that develops despite the horrific history between them.

Framed as a self-described “neo-noir” story, a designation that implies a certain flavor of moral ambiguity as much as it does a tense and shadowy tale of intrigue or a psychologically complex tone, it’s a movie that relies heavily on style in order to sell its conceptual premise. Realistically, we might question the boldness that permits our protagonist to enact such a potentially hazardous scheme, but in the context of its genre trappings we are lulled into accepting it. And while most of us are likely “jaded” enough to question the possibility of tenderness between its two leading characters, the accepted conceits of the film noir form are enough to sell it to us – or at least allow us to grapple with it alongside Jules, whose righteously Machiavellian master plan is threatened by the feelings he “catches” in spite of himself.

That, of course, is part of the whole point. “Femme,” though it establishes itself by virtue of its very title as a testament to the struggle to “pass” for straight in a world that places a value judgment on perceived adherence to a strict norm for gender and sexuality, hinges on the idea that such things aren’t quite as clear-cut as we want to make them. Despite the black-and-white certainty we cling to when it comes to the subject of abusive or toxic relationships, there’s an emotional component that can only be ignored or dismissed at our peril, and even our most resolute intentions can be undermined by the shades of gray we discover in our hearts. 

Freeman and Ng – who also wrote the screenplay, adapting their own BAFTA-nominated short film from 2021 (starring Harris Dickinson and Paapa Essiedu) into a feature-length expansion – seem bent on challenging our snap judgments, on forcing us to sympathize with our oppressors by showing us the ways in which they, too, are prevented from living a fully authentic life by the expectations of their cultural environment. Even more challenging for many modern audiences, perhaps, may be the unavoidable observation that, in enacting his plan of revenge, Jules crosses the line between being a victim and being a victimizer – a fine point that may trigger uncomfortable implications in a social environment that has become marked by divisive moral constructs and hardline ethical posturing.

Before we scare you off with discussion of high-concept themes and “culture war” rhetoric, however, it’s crucial to bring up the elements that lift “Femme” above and beyond the level of so many such narrative films and makes it a somewhat unexpectedly potent piece of cinematic storytelling – and all of them have to do with the skill and intention behind it.

As to the former, the movie’s first-time directors manage a remarkable debut, steeping their film in moody, genre-appropriate visuals and murky morality. They pave a path beyond the easy assessments proscribed for us by conventional thinking, and force us to follow our sympathies into a disquieting confrontation between what we “know” as right and what we feel as true; at the same time, they push back against any natural sentimentality we might have about the situation, stressing the toxicity of the relationship in the middle of their film, the ironically-reversed insincerity of its dynamic – and, perhaps most importantly, the reality of the defining circumstances around it. While we might find ourselves longing for a happier resolution than the one we expect, the film makes no pretense that these two men might overcome the deep denial and traumatic associations – not to mention the calculated lack of honesty on the side of its de facto protagonist, to achieve some kind of “happy ending” between themselves. Nevertheless, we hope for it, in spite of ourselves.

That delicate dynamic works largely because of the movie’s lead actors. Both Stewart-Jarrett (“Candyman”) and MacKay (“Pride”, “1917”) deliver fully invested, utterly relatable performances, finding the emotional truth behind their interactions with as much palpable authenticity as they bring to the chemistry between them. They force us to abandon our preconceived ideas about each character by finding the human presence behind them, and it makes the story’s final outcome feel as heartbreaking as it does inevitable.

As for intention, “Femme” – which premiered at last year’s Berlin International Film Festival and went on to gather acclaim across the international film fest circuit – might be a little hard to take for the easily triggered, we won’t deny it. Still, it’s a work of real and thrilling cinematic vision that goes beyond easy morality to highlight the tragedy that comes from being forced to live behind a mask for the sake of societal acceptance. It’s also exciting, smart, and unexpectedly sexy – all of which make it a highly- recommended addition to your watchlist.

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