Arts & Entertainment
Gays prominent at Amy Grant’s Nashville weekend
Gathering reminds how much is missing of singer’s touring history
Weekend before last, a friend and I made a road trip to Nashville to spend a weekend with Amy Grant and 550 of her nearest and dearest. It was a great weekend — $50,000 was raised for various charities Grant supports, the music performed (almost all requests) was a long-time fan’s dream come true and the Gospel Music Hall of Famer and six-time Grammy winner was as accessible and approachable as was realistically possible considering those attending were among the all-time die hards, a few of whom had vulture-like tendencies everytime Grant appeared.
That gays — and at least one lesbian couple and one trans woman — were among the group was hardly surprising. We’ve been among the most vocal in her fan circles for years. Most non-church folks remember Grant only for a few early ’90s hits (“Baby Baby,” “Every Heartbeat”). Though her catalog has aged well, she’s not deemed terribly high on the hip quotient. Even one of the charity recipients said, “Amy Grant — isn’t she Vince Gill’s wife?”
But for a generation of gay men who grew up in Baptist and Evangelical churches in the ’80s, Grant was so much more than that and, no exaggeration, a lifeline. Contemporary Christian Music had its own parallel universe divas — Sandi Patty, Twila Paris, Margaret Becker, et. al. — and Grant, who in many ways had and maintains a very non-diva-esque persona, was queen of the lot. But that’s just one of the ironies of Grant’s career — she also stumbled into the music biz without really trying, has always been upfront about her modest pipes (she’s really a better songwriter than singer) and, despite a bounty of RIAA Platinum albums, never fully fit in in either the gospel or pop establishments.
Amy Grant with fans at her farm in Franklin, Tenn., last weekend. (Blade photo by Joey DiGuglielmo)
Those of us in fan circles have discussed ad nauseum Grant’s public handling of her gay fans (or lack thereof). She’s warm, friendly, gamely poses for photos with male couples, etc., but is careful never to state her personal feelings one way or the other. One understands to a degree — she’s in a no-win situation. As was obvious from the attendees last weekend, most of Grant’s fans are Gen. X and post-Boomer soccer moms from the Bible belt. We all seem to mix pretty well. I hope they feel the same. But Grant would alienate a large part of her fan base if she were to come out one way or the other on her feelings of the Bible and homosexuality. There’s a clamoring among gay fans, of course, for her to be more unequivocal. Nobody’s expecting Lady Gaga-caliber activism, but heck, even the late Tammy Faye Bakker Messner was more openly gay accepting than Grant. Perhaps, though, having lost everything already, Tammy Faye had nothing left to lose (Tammy Faye even joined us at Capital Pride about 10 years ago …. Ahhhh, Tammy Faye, how I miss thee).
Grant does occasionally take risks — it will undoubtedly seem like a non-issue to many, but monogrammed bottles of Jack Daniels with Amy Grant nameplates were sold for $100 a pop at her farm, which she opened to guests on June 23. It all went to charity but the irony was delicious — I’m old enough to recall the outraged reactions in the ’80s when Grant said in an early interview that she occasionally imbibed. Folks at my parents’ church were apoplectic.
It’s never been a big deal to me, either the booze or the gay stuff. Some fans, so eager to glean the slightest glimmer of acceptance (are we really that desperate for validation?), latched on to an off-the-cuff remark she made during the weekend when a guest southern gospel singer, telling a story about a drag queen who’d parodied his wife, said his group had a large gay following (Grant acknowledged she did as well).
The draws for me have always been Grant’s music and personality. There’s a freshness, a buoyancy, to her music that, though it sounds stylistically dated, never really goes away. It goes back to the first album — lyrics and energetic Brown Bannister production around lines like, “The sun woke me up real early it’s a beautiful morn/so I’m goin’ down to the river to be reborn” still resonate 35 years after they were put down on wax. My parents, both products of stodgy, old school mainline and Roman Catholic versions of Christianity, had early-’70s born again experiences and for them and their fellow Boomers, there was a parallel Jesus music/born again fever sweeping the country the same time Stonewall and the modern gay rights movement was kicking off. This is no coincidence — hippie ideals weren’t sustainable, of course, but what they did bring us was a shucking off of the ’50s mindset on all kinds of issues. In terms of gay stuff, faith, and a whole lot more, this was not your parents’ (my grandparents’) America. Grant got in on sort of the tail end of that but shot off into the stratosphere in the early ’80s. By then, things had calmed down and she became the voice of a churchgoing, Bible Belt generation with songs like “El Shaddai,” “Sing Your Praise to the Lord” and “Thy Word.”
Bored eventually with straight-up gospel, she gradually started flirting with pop music and following a hit No. 1 duet with Peter Cetera in ’87 (“Next Time I Fall”), she had a full-on hit pop album of her own by 1991 (“Heart in Motion”). But she never fully went one way or the other. At the point in which an all-out pop album would have made the most sense — just following the Cetera hit — she went the other direction and made an impressionistic gospel album, “Lead Me On.” Its singles tanked on pop radio but it went onto become her critical peak and has been called (by CCM magazine, et. al.) the best gospel album of all time. Likewise, when “Heart in Motion” was going through the roof a few years later, Grant was careful to let people know she hadn’t sold out as she was so often accused of doing by the hardliners (she gets bonus points, in my opinion, for having been condemned by Jimmy Swaggart). The album closes with the all-out praise song “Hope Set High” (“if there’s anything good that happens in life, it’s from Jesus”), a song she memorably performed last weekend.
So were the young gays of the era, hopelessly stranded in the Bible Belt with no hope of escape until college, just latching on to the closest thing we could get to a lighthouse in Grant? Not really — it’s deeper than that. I and many I know were also listening to Madonna, Janet Jackson, Cyndi Lauper and Tina Turner (we all figured “Private Dancer” was her first album) back then too, even if we had to sneak their tapes into the house. It’s hard to know if Grant meant any of this intentionally or if it was her own way of sneaking in some stuff past the gatekeepers, but there are glimmers of gay hope dotted all throughout her discography from as early as 1980 when she sang the lyrics her then-husband, Gary Chapman, had written (“all I ever have to be is what you made me/any more or less would be a step out of your plan”) to her own lyrics just a year later (“being this person inside of me/unafraid of being me/no more faces to hide behind …/even if I am the only one who wants to fly”) and even much later, with the 2003 song “Out in the Open” (“there is no jury, there is no judge/ready and waiting are the steady arms of love”). If it all sounds vague or like searching for something that’s not there, keep in mind, more often than not, Grant was nearly as subtle with her Christian references. It seems laughable now, but people used to parse her lyric sheets and balk at how few references there were to Jesus and/or God anytime she had a new album out, noting how increasingly infrequent they were becoming.
I don’t particularly care what Grant’s personal views are on homosexuality. Sure, it would be great if she would at least take the Dolly Parton approach to embracing/acknowledging us. Lord knows we need all the help we can get on the LGBT rights front where each step ahead feels like pulling teeth. But conversely, what does it say about us as fans if we need some sort of acknowledgement from our favorite singers? I do get it — when you’ve invested emotionally and financially in a singer/brand who’s meant so much to you, especially during the raw, painful formative years (and let me tell you, it’s lonely being the only gay fish in an evangelical, Bible Belt pond when you’re 13), it means a lot to know those you admire are on board. But as adults, ultimately that need for validation says more about our own desperation than anything it might suggest about Grant. For the record, Sandi Patty, perhaps my other all-time favorite singer, is just as evasive. There are quietly gay people in her camp and she once told a group of gay fans who hosted a tribute post-show event for her in New York that she was “feeling the love,” but she, too, stops short of any condoning type-of statement. They’ll both talk to any small-town newspaper in which they happen to have an upcoming show, yet my Blade interview requests go curiously unacknowledged. Perhaps they feel they’ve already rocked their Christian fan bases enough having spent the last 10-15 years rebuilding after each going through controversial divorces (Sandi’s first husband, John Helvering, and Amy’s, Gary Chapman, were huge parts of their touring entourages in the ’80s; John ran sound for Sandi; Gary was Amy’s band director on several of her biggest tours).
My ultimate frustration with loving these singers falls into a whole other category entirely — to my endless chagrin, whole chapters of their touring history are missing in action. Sure, I love mainstream pop and rock too, but if you’re a Stevie Nicks fan or, merciful heavens, a Tori Amos fan, and you’re willing to look in some, ahem, unofficial places, you can find audio circulating of practically every show they’ve ever done. Same with the Stones, Bob Dylan, Springsteen — all the big dogs you’d expect. Other acts, like Pearl Jam, have recognized the insatiable appetites of their staunchest legions, and have released “official” bootlegs, manna from heaven for those who’ve worn out the studio recordings and spent many hard-earned dollars following them around. Even Cyndi Lauper, who traditionally has varied up her live show way more than, say Madonna or Janet, has a surprisingly rich bevy of fan-generated recordings out there. Different artists have different feelings on this sort of thing (the Grateful Dead famously encouraged it), but the sticking point for many is that it’s OK as long as you don’t attempt to profit off it.
Amy and Sandi both fall into that category — Sandi didn’t even bat an eye when people plunked down camcorders on mini-tripods at a Nashville event she hosted last year — and yet huge swaths of their concert-giving history are unaccounted for. And I’m not talking about obscure stuff, either — tours like Amy’s “Heart in Motion Tour” and Sandi’s “Another Time Another Place Tour” were mammoth operations playing arenas for months on end all around the country 20 years ago. On one hand, it’s not terribly shocking — these are not singers, historically, with wildly inventive bands who shook up their set lists drastically from night to night. However, when 25 years has gone by and you can’t even find a complete set list and no official live album or VHS concert tape was ever released, this brings its own level of frustration. These people have spent half their lives on the road, yet there’s precious little evidence that they’ve even left their living rooms.
Just for the record, my holy grails in this vein are — Sandi: anything pre-’83, the ’84-’85 “From the Heart Tour” (her first cross-country jaunt), the ’91-’92 “Another Time Another Place Tour” or the ’98 “Artist of My Soul”-era dates. For Amy: always wondered how complete the “Age to Age” concert video is — at 90 minutes including Gary’s set, one imagines a few numbers might have ended up on the cutting room floor. Only a handful of individual numbers have ever surfaced from the 18-month-long “Unguarded Tour” — surely somebody taped this at least one night (soundboard tapes were reportedly made each night but have never surfaced in fan circles). Also curiously missing from trading circles is her biggest tour ever — the “Heart in Motion Tour.” Audio has been known to exist, but nobody I’ve ever talked to claims to have it. I’m totally down for a no-profit swap if anybody has any of this stuff.
If there’s an upside to all this, it’s that Amy and Sandi are still out there and active. Patty records regularly and has released an album almost every year of the last decade. Grant only records here and there (she’s reportedly working on a new album), but she tours almost constantly. It’s a blessing I don’t take for granted as a few of my other favorites from the era — Paris and Becker — have, with precious few exceptions, completely stopped recording and touring.
Time to move on and get a life? Yeah, probably, but isn’t it uncanny how deep the nerve is that takes you back to the first music you ever discovered on your own? For me, it defies explanation. And so the quest/obsession continues. I’m even — don’t laugh — planning to check out a D.C. Women of Faith conference in August. Ordinarily I’d rather sit home and watch paint dry (I’ve left much of that theology long behind), but — holy of holies — Amy and Sandi are BOTH scheduled to be there!
Friday, December 6
“Center Aging Friday Tea Time” will be at 2 p.m. on Zoom. This is a social hour for older LGBTQ adults. Guests are encouraged to bring a beverage of choice. For more details, email [email protected].
Go Gay DC will host “First Friday LGBTQ+ Community Social in the City” at 7 p.m. at P.F. Chang’s. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite.
Saturday, December 7
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
LGBTQ People of Color Support Group will be at 1 p.m. on Zoom. This peer support group is an outlet for LGBTQ People of Color to come together and talk about anything affecting them in a space that strives to be safe and judgment free. For more information and events for LGBTQ People of Color, visit thedccenter.org/poc or facebook.com/centerpoc.
Sunday, December 8
Go Gay DC will host “LGBTQ+ Community Dinner” at 6:30 p.m. at Federico Ristorante Italiano Freddie’s Beach Bar & Restaurant. Guests are encouraged to come enjoy an evening of Italian-style dining and conversation with other LGBTQ folk. Attendance is free and more details are available on Eventbrite.
AfroCode DC will be at 4 p.m. at Decades DC. This event will be an experience of non-stop music, dancing, and good vibes and a crossover of genres and a fusion of cultures. Tickets cost $40 and can be purchased on Eventbrite.
Monday, December 9
Center Aging: Monday Coffee & Conversation will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ adults. Guests are encouraged to bring a beverage of their choice. For more details, email [email protected].
Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary, whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis. For more details, visit www.genderqueerdc.org or Facebook.
Tuesday, December 10
Trans Support Group will be at 7 p.m. on Zoom. This group is intended to provide emotionally and physically safe space for trans people and those who may be questioning their gender identity/expression to join together in community and learn from one another. For more details, email [email protected].
Wednesday, December 11
Job Club will be at 6 p.m. on Zoom. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit www.thedccenter.org/careers.
Thursday, December 12
Virtual Yoga with Sarah M. will be at 7 p.m. on Zoom. This is a free weekly class focusing on yoga, breath work, and meditation. For more details, visit the DC Center for the LGBT Community’s website.
Movies
Jolie delivers diva perfection as ‘Maria’
A fascinating film addressing matters of life and death
In today’s world, it’s difficult to imagine that an opera singer could achieve the kind of international fame and popularity enjoyed by modern musical artists like Lady Gaga or Taylor Swift, yet that is exactly what Maria Callas did.
Possessed of a singular, inimitable, and often controversial vocal talent, she rose to the height of her profession and became a world-class artist, performing on international stages and moving within a circle that included the wealthiest, most influential and powerful people of her era. Her private life, which included a long-running affair with mega-rich Greek shipping magnate Aristotle Onassis and a reputation for temperament that matched or exceeded expectation for a diva of her stature, was the stuff of gossip columns, and her stature as an artist was such that any scandals that might have arisen there had little impact on her reputation for the millions of fans who adored her.
Even now, nearly 50 years after her untimely death (she was only 53) in 1977, her name is still spoken with reverence among those who belong to the still-potent “cult of personality” that made her an object of near-worship, and even if you’re not an opera fan, a listen to any of the magnificent recordings she left as her legacy is enough to help you understand why. Not only did the woman have a gift for singing, she had a way of inhabiting the music she sang so completely that it seemed to belong solely to her, as if it came fully formed into the world through her own being, no matter how many other great vocalists had sung it before.
Yet the Callas we meet in Pablo Larrain’s “Maria,” a speculative biographical fantasia about the final week in the diva’s tumultuous life that premiered in competition for the prestigious “Golden Lion” award at the 2024 Venice film festival and drops on Netflix Dec. 13 following a limited theatrical release, is but a comparative shadow of that once-renowned formidable persona. Her health failing, her voice diminished, and her mind drifting between morose contemplation of her decline and drug-addled delusions of returning to her former glory, she holds a reclusive and tenuous dominion over her Paris apartment, engaged in a power struggle with her overprotective house servants and stubbornly ignoring doctor’s orders by pushing herself to regain the transcendent voice that had brought her success, fame, and a personal power that had helped her endure the traumas of a childhood in the Axis-occupied Greece of World War II.
That’s just on the surface, however. As rendered by Angelina Jolie in a career-topping performance, the Callas of “Maria” feels fully worthy of the still-imperious demeanor she wields against the world. Far from surrendering to the tragic downward spiral into which she has become entangled, she shines from within with a courageous – which is not the same thing as “fearless” – sense of self that infuses her seemingly desperate efforts to reclaim her former glory (for herself, at least, if not for public approval) and makes her story a tale of self-actualization rather than the tragic “dance with death” it might appear to be through a surface perspective.
After all, in Larrain’s vision (and the exquisitely nuanced screenplay by Steven Knight), Callas is seeking not to recapture her fame and fortune – those are hers for life, already – but to reclaim her voice. As plainly shown by the life told in bold strokes via the flashbacks interwoven throughout the film, music has been the means for Callas to overcome the oppression of men and assert personal power over her own life. From the fascist soldiers to whom she was “pimped out” in her youth by her mother to the coarse-but-doting plutocrats that have attempted to “possess” her in adulthood, she has maintained agency over them all through the gift of her vocal talent. Now, with full knowledge and acceptance that the final chapter of her life is being written, she has chosen to hold the pen firmly in her hand, asserting ownership over her own life by composing the end of its narrative for herself. It’s an unconventional path that she chooses, but how many truly great spirits ever settle for being conventional?
Whether or not she was ultimately victorious in this goal – either in her real life or in Larrain’s imagined rendering of it – might be something viewers have to decide for themselves. It’s hardly the point, however; what “Maria” conveys, more than any definitive truth about its legendary subject, is a suggestion that what matters is the fight, not the winning of it, and that perhaps the “win” is in the fight itself. Beyond that, it finds a metaphor in the diva’s willing descent into hallucinatory fantasy for engaging in a direct relationship with that part of our own nature that feels divine – one which manifests itself in our lives through many forms, be it a character in a centuries-old opera, an imagined collaboration with the long-dead composer who created it, or a fresh-faced TV interviewer (who may or not be real) with a knack for asking the questions you don’t want to answer.
The element that has sparked the most buzz about Larrain’s film, of course, is the work of its star. Jolie, who trained to sing opera for seven months in preparation for the role (though she lip-syncs to recordings of the real Callas in flashbacks of the diva’s career highlights, it is her own voice we hear when she sings in the “present-day” scenes), doubtless brings some of her own experience to the table as a successful woman whose artistic triumphs always seem less important in the public eye than her personal relationships with men.
If so, it works beyond expectation, resulting in an old-school Hollywood star turn that dazzles us with its commitment to finding a human truth behind the veneer of glamour and moves us with the raw, unfiltered emotion she masterfully underplays throughout. Oscar talk is cheap, this early in “Awards Season,” but look for this performance to be a hot contender for a nod, and perhaps even a win.
Yet even if she’s the main attraction, “Maria” boasts plenty of excellence all around, from a superb supporting cast to the luminous cinematography of Edward Lachman, which bathes the movie’s sumptuous interiors in a palette of stained-glass colors to conjure the bittersweet nostalgia of a beautiful world as it slips away into oblivion. Knight’s intelligent script, crafted with the literary eloquence of a play, explores multiple facets of the diva’s life, while using it as a springboard into a meditation on loss, letting go, and embracing our own mortality even as we strive to touch the immortal. Finally, though, it’s Larrain’s direction that ties it all together, crafting a visually gorgeous, palpably intimate film that nevertheless delves deeply into some of the grandest aspects of our existence.
For opera lovers, of course, it’s a must-see. For the rest of us, it’s still a fascinating and deeply affecting film, addressing matters of life and death as vast as the ones that drove the timeless musical masterworks in which Callas made her name.
So you looked at the calendar the other day and — eeeek!
The holidays are almost here and you’re not ready. Out of ideas for gifts? How about a book?
Is there an activist for justice on your gift list? Then they’ll be happy to open “Morningside: The 1979 Greensboro Massacre and the Struggle for an American City’s Soul” by Aran Shetterly (Amistad, $28.99), It’s a story of the Klan, white supremacy, racial conflict, and how it fits in with what’s going on in America today. Pair it with “Sidney Poitier: The Great Speeches of an Icon Who Moved Us Forward” complied by Joanna Poitier, edited by John Malahy (Running Press, $29). Bonus: This inspiring book is packed with photos.
Fiction for the LGBTQ Reader
If there’s someone on your gift list who’d enjoy a coming-of-age story, “Shae” by Mesha Maren (Algonquin Books, $28.00) is a good choice to give. It’s a boy-meets-girl tale, but when a pregnancy happens, it spurs bigger changes in their lives than just parenthood.
If a fun little rom-com is what your giftee loves to read, then look for “We Could Be Heroes” by Philip Ellis (Putnam, $20). It’s a light tale of a chance encounter and a friendship that starts out small and becomes pretty super. You might want to wrap it up with “Love and Hot Chicken” by Mary Liza Hartong (Wm. Morrow, $30), a sweet, funny story of two Tennessee women, a chicken shack, and amour.
If your giftee loves rom-coms, there are a bunch to choose from this season. Consider “The Ride of Her Life” by Jennifer Dugan (Avon, $17.99), a girl-meets-girl novel of a new ranch-owning horsey-girl and the farrier who disagrees with her ranching ideas.
Nonfiction for the LGBTQ Reader
The person on your gift list who loves memoirs will devour “Cactus Country” by Zoe Bossiere (Abrams Press, $27.00), the story of an 11-year-old and a new start in which everyone sees him as the boy he is. But life as a trans boy isn’t easy in the beautiful area he’s come to embrace, and neither are the people who surround him. Wrap it up with “The Long Hallway” by Richard Scott Larson (University of Wisconsin Press, $21.95), a memoir of a boy who identifies with a movie monster who helps him see that hiding parts of himself can help him come to terms with who he is.
For the trans man or woman on your gift list, look for “The Last Time I Wore a Dress” by Dylan Scholinski and Jane Meredith Adams (Penguin Publishing), a story of abuse, bullying, mental anguish, and a happy ending. This book was first published more than 25 years ago but now has a new, satisfying and joyful ending. Wrap it up with “Mama: A Queer Black Woman’s Story of a Family Lost and Found” by Nikkya Hargrove, the tale of a love, responsibility, and more love.
If your giftee is exploring their sexuality, “Fierce Desires: A New History of Sex and Sexuality in America” by Rebecca L. Davis (Norton, $35) might be a welcome gift. Have we come a long way, in understanding people’s sexuality? Yes and no – your giftee may have ideas about that.
Biography
Did your giftee spend a childhood immersed in books about growing up? If so, they’ll cherish those memories when they read “The Genius of Judy” by Rachelle Bergstein (One Signal Publishers, $28.99). This biography fills readers in on who Judy Blume was, why she wrote the novels she penned, and how her stories fit in with today’s adolescence, feminism, current events, and literature. Wrap it up with this great biography: “Rulebreaker: The Life and Times of Barbara Walters” by Susan Page (Simon & Schuster $30). It’s the story of Walters, her times, and her impressive works.
If your giftee is riled by this year’s politics and feminism, then they’ll love reading “A Well-Trained Wife” by Tia Levings (St. Martin’s Press, $30). It’s the story of Levings’s life as a wife in a Christian patriarchy-based marriage, the submissiveness, the expectations, and her ultimate resistance. The right kind of giftee will love this book completely.
The British history lover on your list will absolutely want “The Eagle and the Hart: The Tragedy of Richard II and Henry IV” by Helen Castor (Avid Reader Press, $35). This book takes a deep dive into history, the lives of two cousins, and a shocking assumption to the throne. Pair it with a bookmark and “Henry V: The Astonishing Triumph of England’s Greatest Warrior King” by Dan Jones (Viking, $35), a book about the life and times of this English king in the fifteenth century.
For the person on your gift list who loves music, “How Women Made Music: A Revolutionary History from NPR Music” edited by Alison Fensterstock (HarperOne, $40) is exactly the right gift. It’s a look at female musicians from the 1920s to more recent years, from country music to hip hop to guitar players and beyond. Wrap it up with “I Heard There Was a Secret Chord: Music as Medicine” by Daniel J. Levitin (Norton, $32.50), a book about music and how it contributes to healing and well-being.
“Friendly Fire: A Fractured Memoir” by Paul Rousseau (Harper Horizon, $29.99) may be the exact right gift for anyone who loves a unique memoir. Just before he graduated from college, Rousseau was shot in the head accidentally. How he survived, both physically and in the friendship with the man who shot him is the basis of this very well-done book.
The science-minded person on your gift list will be happy to have “The Elements of Marie Curie: How the Glow of Radium Lit a Path for Women in Science” by Dava Sobel (Atlantic Monthly Press, $30). Chances are, your giftee knows exactly who Madame Curie was, but do they know about the women who came after her in the laboratory. This book tells the tale in an engaging, interesting way.
For your fashionista who loves make-up, “Becoming Elizabeth Arden: The Woman Behind the Global Beauty Empire” by Stacy A. Cordery (Viking, $35) could be the best gift beneath the tree this year. It’s a sweeping story of a businesswoman, glamour maven, revolutionary, visionary, her work, her times, and the controversy she lit.
And don’t forget queer icon Cher’s new book, “Cher, The Memoir Part One,” filled with no-nonsense anecdotes about her rocky rise to fame. Fellow queer icon RuPaul also published his biography earlier this year, “The House of Hidden Meanings: A Memoir.”
Politics
Was your giftee dismayed at the political landscape for the past few years? Then “Good Reasonable People” by Keith Payne (Viking, $29.00) should be the book you wrap up to give. There is a way back to unity and away from polarization, Payne says, and with an explanation of the psychology and behind it, it’s do-able.
Be sure you know where your giftee’s politics lie if you wrap up “The MAGA Diaries” by Tina Nguyen (One Signal Publishers, $28.00). Nguyen cut her teeth in the conservative movement, though she never felt entirely comfortable there. Eventually, she needed to get out; how she did it is a story the right giftee will love.
The person on your list who’s mourning the end of the political season, will be happy to get “The Handy Civics Answer Book: How to Be a Good Citizen” by David L. Hudson, Jr. J.D. (Visible Ink Press, $29.99). It’s a large, heavy book about our American documents, the Amendments they should know about, what it means to be a “good citizen,” and more.
Remember the Reagan years? For your giftee that does, too, “Dear Mom and Dad” by Patti Davis (Liveright, $27.99) will be a great gift to unwrap. Davis, of course, was the Reagans’ daughter, and this love letter to family and country is perfectly appropriate this year.
Here’s a political issue your activist will want to know more about: “The Stolen Wealth of Slavery: A Case for Reparations” by David Montero (Legacy Lit, $29). Part history, part business, part eye-opener, this book is one of the better looks at this controversial subject.
Season’s readings!
D.C. Mayor’s Office of LGBTQ Affairs moving to new location
Calendar: December 6-12
Jolie delivers diva perfection as ‘Maria’
Protests against anti-trans bathroom policy lead to more than a dozen arrests
Will RFK Jr.’s ideas cause illness and death?
Supreme Court hears oral arguments in pivotal gender affirming care case
Trans rights supporters, opponents rally outside Supreme Court as justices consider Tenn. law
Casa Ruby receiver files for bankruptcy
Adult suspect pleads guilty to Rehoboth Beach hate crime
White House commemorates World AIDS Day
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U.S. Supreme Court3 days agoSupreme Court hears oral arguments in pivotal gender affirming care case
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U.S. Supreme Court3 days agoTrans rights supporters, opponents rally outside Supreme Court as justices consider Tenn. law
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District of Columbia3 days agoCasa Ruby receiver files for bankruptcy
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Rehoboth Beach4 days agoAdult suspect pleads guilty to Rehoboth Beach hate crime