Arts & Entertainment
3 great albums you probably missed
Osborne, Hawkins and Cleveland each had overlooked ’12 releases
(Courtesy Saguardo Road Records, 204 Records and Sophie B. Hawkins)
How much grit and growl you like in your pop music is like creamer in coffee — it’s a personal thing, though most would agree there’s such a thing as overkill. Three great ‘90s singer/songwriters, who all deserve to be much higher on the cultural radar than they are but whom, for various and far-ranging reasons have become victims of zeitgeist nonchalance, released new albums this year that are sadly in serious danger of falling through the cracks.
What’s most surprising is that the two who’ve always been known for rough, sometimes aggressive vocals — Joan Osborne and Ashley Cleveland — have reined in the rougher edges while Sophie B. Hawkins, whose voice has always been a scion of crystalline clarity, sounds sandier and patchier than ever. But in a good way.
It’s a minor miracle that these albums were released at all considering the solid decade of record industry upheaval. There’s little cushion left to support veteran but not top-selling artists, so they’re left to their own devices. They each deserve kudos for soldiering on.
Joan Osborne had done a few indie projects but had — by galaxies — her biggest commercial season in 1995 and 1996 with the album “Relish,” buoyed by her monster hit “One of Us” (which only sounds like a novelty at first; it really has staying power).
Her follow-up, 2000’s “Righteous Love,” took forever to come out. “Bring it One Home,” which dropped in March, is the latest in a string of quasi-concept albums. It’s mostly covers and skews heavy in the blues/R&B vein and sizzles with classy takes on second-tier standards. Unless you’re a historian, there will be cuts here that are new to you as they were to me. Osborne skillfully finds material here that’s not too obscure but not super obvious either (joanosborne.com). Standouts are the fun Ray Charles cover “I Don’t Need No Doctor,” the hard-grooving “Shake Your Hips” and the raucously up tempo “Roll Like a Big Wheel.”
Sophie B. Hawkins managed massive hits on her first two albums — “Damn, I Wish I Was Your Love” from 1992’s “Tongues and Tails” and “As I Lay Me Down” from 1994’s masterpiece “Whaler,” but hit tougher times, at least commercially, by the end of the decade with 1999’s “Timbre.” Her new album, “The Crossing” dropped in June and is her first release since 2004’s uneven-but-still-worthy “Wilderness.”
“The Crossing” is a rich and subversive record that needs several listens to sink in. Initially it sounds pleasant enough but not earth shattering, but slowly its jazzy, wrenching torch songs sneak up on your consciousness and you realize it has several great moments — the bluesy “Heart & Soul of a Woman,” the climax-stoking “Gone Baby” and the deliciously melodic “The Land the Sea and the Sky.” Hawkins includes acoustic remakes of her two monster hits — “Damn” and “Lay” — as bonus cuts and they’re so raw and bare, it’s almost startling. Startlingly effective, too, and wondrous to hear in such unvarnished style (sophiebhawkins.com).
Ashley Cleveland may have the smallest sales of the three but she’s also got three Grammys, all in the rock/gospel category where she set up camp in the early ‘90s after a commercially unfruitful launch at Atlantic with 1991’s “Big Town,” a great and criminally overlooked album, by the way. Her later albums, like 2002’s “Second Skin” and “2006’s “Before the Daylight’s Shot” aren’t as solid as her earlier work, but records like 1993’s “Bus Named Desire” and 1995’s “Lesson of Love” are so masterful, it would be hard for anything to stand up against such classics. She rebounded on sure footing with 2009’s gospel standards project “God Don’t Never Change.” This year’s “Beauty in the Curve” is available but isn’t on iTunes and can only be ordered through her site (ashleycleveland.com).
It’s definitely worth the effort to get — her greasy, garage-y interpretations of gospel songs like “City On a Hill,” “Walk in Jerusalem” and “Thief at the Door,” are balms to an ear burned out on too much of the usual Nashville-santitized contemporary Christian music. Black gospel knows this and has managed to sidestep it for the most part, although that brings its own issues — another essay. But Cleveland brings just enough left-of-center sensibilities to her gospel music to remain peerless. She often succeeds with simplicity — closing cut “Woke Up This Morning With My Mind on Jesus” is just her vocal with electric guitar and she succeeds in convincing you that’s just as it should be. Anything else would have been clutter.
Movies
‘Things Like This’ embraces formula and plus-size visibility
Enjoyable queer romcom challenges conventions of the genre
There’s a strange feeling of irony about a spring movie season stacked with queer romcoms – a genre that has felt conspicuously absent on the big screen since the disappointing reception met by the much-hyped “Bros” in 2022 – at a time when pushback against LGBTQ visibility is stronger than it’s been for 40 years.
Sure, part of the reason is the extended timeline required for filmmaking, which tells us, logically, that the numerous queer love stories hitting theaters this year – including the latest, the Manhattan-set indie “Things Like This,” which opened in limited theaters last weekend – began production long before the rapid cultural shift that has taken place in America since a certain convicted fraudster’s return to the White House.
That does not, however, make them any less welcome; on the contrary, they’re a refreshing assertion of queer existence that serves to counter-balance the hateful, politicized rhetoric that continues to bombard our community every day. In fact, the word “refreshing” is an apt description of “Things Like This,” which not only celebrates the validity – and joy – of queer love but does so in a story that disregards “Hollywood” convention in favor of a more authentic form of inclusion than we’re ever likely to see in a mainstream film
Written, starring, and directed by Max Talisman and set against the vibrant backdrop of New York City, it’s the story of two gay men named Zack – Zack #1 (Talisman) is a plus-sized hopeful fantasy author with a plus-sized personality and a promising-but-unpublished first novel, and Zack #2 (Joey Pollari) an aspiring talent agent dead-ended as an assistant to his exploitative “queen-bee” boss (Cara Buono) – who meet at an event and are immediately attracted to each other. Though Zack #2 is resigned to his unsatisfying relationship with longtime partner Eric (Taylor Trensch), he impulsively agrees to a date the following night, beginning an on-again/off-again entanglement that causes both Zacks to re-examine the trajectories of their respective lives – and a lot of other heavy baggage – even as their tentative and unlikely romance feels more and more like the workings of fate.
Like most romcoms, it relies heavily on familiar tropes – adjusted for queerness, of course – and tends to balance its witty banter and starry-eyed sentiment with heart-tugging setbacks and crossed-wire conflicts, just to raise the stakes. The Zacks’ attempts at getting together are a series of “meet-cutes” that could almost be described as fractal, yet each of them seems to go painfully awry – mostly due to the very insecurities and self-doubts which make them perfect for each other. The main obstacle to their couplehood, however, doesn’t spring from these mishaps; it’s their own struggles with self-worth that stand in the way, somehow making theirs more of a quintessentially queer love story than the fact that both of them are men.
All that introspection – relatable as it may be – can be a downer without active energy to stir things up, but fortunately for “Things Like This,” there are the inevitable BFFs and extended circle of friends and family that can help to get the fun back on track. Each Zack has his own support team backing him up, from a feisty “work wife” (Jackie Cruz, “Orange is the New Black”) to a straight best friend (Charlie Tahan, “Ozark”) to a wise and loving grandma (veteran scene-stealer Barbara Barrie, “Breaking Away” and countless vintage TV shows) – that fuels the story throughout, providing the necessary catalysts to prod its two neurotic protagonists into taking action when they can’t quite get there themselves.
To be sure, Talisman’s movie – his feature film debut as a writer and director – doesn’t escape the usual pitfalls of the romcom genre. There’s an overall sense of “wish fulfillment fantasy” that makes some of its biggest moments seem a bit too good to be true, and there are probably two or three complications too many as it approaches its presumed happy ending; in addition, while it helps to drive the inner conflict for Zack #2’s character arc, throwing a homophobic and unsupportive dad (Eric Roberts) into the mix feels a bit tired, though it’s hard to deny that such family relationships continue to create dysfunction for queer people no matter how many times they’re called out in the movies – which means that it’s still necessary, regrettably, to include them in our stories.
And in truth, “calling out” toxic tropes – the ones that reflect society’s negative assumptions and perpetuate them through imitation – is part of Talisman’s agenda in “Things Like This,” which devotes its very first scene to shutting down any objections from “fat shamers” who might decry the movie’s “opposites attract” scenario as unbelievable. Indeed, he has revealed in interviews that he developed the movie for himself because of the scarcity of meaningful roles for plus-sized actors, and his desire to erase such conventional prejudices extends in every direction within his big-hearted final product.
Even so, there’s no chip-on-the-shoulder attitude to sour the movie’s spirit; what helps us get over its sometimes excessive flourishes of idealized positivity is that it’s genuinely funny. The dialogue is loaded with zingers that keep the mood light, and even the tensest scenes are laced with humor, none of which feels forced. For this, kudos go to Talisman’s screenplay, of course, but also to the acting – including his own. He’s eminently likable onscreen, with wisecracks that land every time and an underlying good cheer that makes his appeal even more visible; crucially, his chemistry with Pollari – who also manages to maintain a lightness of being at his core no matter how far his Zack descends into uncertainty – isn’t just convincing; it’s enviable.
Cruz is the movie’s “ace in the hole” MVP as Zack #2’s under-appreciated but fiercely loyal bestie, and Buono’s hilariously icy turn as his “boss from hell” makes for some of the film’s most memorable scenes. Likewise, Tahan, along with Margaret Berkowitz and Danny Chavarriaga, flesh out Zack #1’s friend group with a real sense of camaraderie that should be recognizable to anyone who’s ever been part of an eclectic crew of misfits. Trensch’s comedic “ickiness” as Zack #2’s soon-to-be-ex makes his scenes a standout; and besides bigger-name “ringers” Roberts and Barrie (whose single scene is the emotional climax of the movie), there’s also a spotlight-grabbing turn by Diane Salinger (iconic as Francophile dreamer Simone in “Pee-Wee’s Big Adventure”) as the owner of a queer bar where the Zacks go on one of their dates.
With all that enthusiasm and a momentum driven by a sense of DIY empowerment, it’s hard to be anything but appreciative of “Things Like This,” no matter how much some of us might cringe at its more unbelievable romcom devices. After all, it’s as much a “feel-good” movie as it is a love story, and the fact that we actually do feel good when the final credits role is more than enough to earn it our hearty recommendation.
Friday, May 23
“Center Aging Monthly Luncheon and Yoga” will be at 12 p.m. in person at the DC Center for the LGBT Community. For more details, email [email protected].
Trans Discussion Group will be at 7 p.m. on Zoom. This group is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity and/or expression. For more details, email [email protected].
Go Gay DC will host “LGBTQ+ Community Happy Hour” at 7 p.m. at DIK Bar. 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, May 24
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar and 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.
Black Lesbian Mixer will be at 11 a.m. on Zoom. This is a support group dedicated to the joys of being a Black lesbian. For more details, email [email protected].
Sunday, May 25
“The Queen’s Table: A Women’s Empowerment Brunch” will be at 11 a.m. at Zooz. This event will celebrate queer women’s strength. For more details visit Eventbrite.
Monday, May 26
“Center Aging Monday Coffee and 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 choice. For more details, email [email protected].
Tuesday, May 27
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 you’re not 100 percent cis — this is your group. For more details, visit genderqueerdc.org or Facebook.
Coming Out Discussion Group will be at 7 p.m. on Zoom. This support group is a safe space to share experiences about coming out and discuss topics as it relates to doing so. For more details, visit the group’s Facebook.
Wednesday, May 28
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 thedccenter.org/careers.
Thursday, May 29
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. To be fairer with who is receiving boxes, the program is moving to a lottery system. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga with Charles M. will be at 7 p.m. on Zoom. This is a free weekly class focusing on yoga, breathwork, and meditation. For more details, visit the DC Center for the LGBT Community’s website.
Photos
PHOTOS: Helen Hayes Awards
Gay Men’s Chorus, local drag artists have featured performance at ceremony
The 41st Helen Hayes Awards were held at The Anthem on Monday, May 19. Felicia Curry and Mike Millan served as the hosts.
A performance featuring members of the Gay Men’s Chorus of Washington and local drag artists was held at the end of the first act of the program to celebrate WorldPride 2025.
The annual awards ceremony honors achievement in D.C.-area theater productions and is produced by Theatre Washington.
(Washington Blade photos by Michael Key)
Adams Morgan queer bar broken into and vandalized
‘Things Like This’ embraces formula and plus-size visibility
Calendar: May 23-29
Comings & Goings
New doc chronicles gay hero’s journey from rape to forgiveness
Looking back at 50 years of Pride in D.C
WorldPride events round-up
Wes Moore signs HIV decriminalization bill
Federal judge scraps trans-inclusive workplace discrimination protections
