Arts & Entertainment
‘He can really energize a dancefloor’
DJ Joe starts new monthly residency Friday at Cobalt
Joe Gauthreaux (Photo courtesy of Project Publicity)
The first song DJ Joe Gauthreaux remembers hearing on the radio was “Material Girl.” He was 5, it came on the car radio and made an indelible impression.
“It’s the first song I ever remember listening to as a child,” he says during a phone chat from Ft. Lauderdale. “My dad was like, ‘Ugh, that’s that Madonna,’ and … of course because they hated it so much, that made me love it all the more.”
He also feels kinship with Madonna because they share the same birthday — Aug. 16.
Gauthreaux — pronounced GO-troh — has gradually made a name for himself in the gay club scene over the last decade or so. Named “hottest DJ of the year” by Out Magazine in 2005, he’s remixed tracks for Kristine W., Jeanie Tracy and Tony Moran. Working with Joey Arbagey, an A&R rep at Universal, he’s broken into the major label world doing remixes for NeYo, The Wanted and Melanie Amaro. Three of his remixes are on the official maxi for teen idol Justin Bieber’s No. 2 (Hot 100) hit “Boyfriend.”
Now living again in New York after five years in Los Angeles, Gauthreaux is closer to D.C. He’s DJ’ed at Cobalt about four times in the last couple years and has now accepted a residency there that commences Friday from 10 p.m.-3 a.m.. It won’t always be the last Friday of the month — the next two installments are slated for Feb. 15 and March 15 — but Gauthreaux (djjoeg.com) will be there monthly. Cover is $10 and includes free vodka drinks from 11 to midnight. Keenan Orr spins downstairs (cobaltdc.com).
“After I moved back to New York, I talked to (Cobalt manager) Mark (Rutstein) about the idea of starting my own party. I really like the idea of playing somewhere regularly. On one hand, you don’t want to get too exposed, but the flip side is you can really build on it and go somewhere with the crowd over time.”
Rutstein says Gauthreaux’s move back to the East Coast makes it easier to get him down here.
“It’s a lot easier, we don’t have to fly him in from L.A. each time,” Rutstein says. “It’s really super exciting to have Joe here all the time. He has a strong following in D.C. and always packs the house.”
Rutstein also says Gauthreaux is one of the most accommodating DJs he’s worked with.
“Everyone is really different,” he says. “Joe and I just text each other and say, ‘Hey, you wanna spin?’ Drew G is the same thing. Others, like, say Junior Vasquez, take several several several e-mails and calls. Then there are others, like Peter Rauhofer, who has never once even returned my calls, so it just depends.”
Gauthreaux is established enough, he says, that crowds are willing to go where he takes them musically — within reason.
“I’ve been around awhile, so there’s a sense of trust there I think,” he says. “I’ve done my fair share of events so people know, ‘Oh, we’re gonna go hear Joe,’ they almost expect me, I think … they almost expect something a little different. Of course, I’ll play Rihanna, Madonna, but it’ll usually be a different mix they haven’t heard. You don’t want to do a whole hour of stuff they don’t know, even a really adventuresome crowd has a limit, but there’s definitely a happy medium you find. I’d feel guilty if I didn’t throw in at least a few things everybody knows. You tend to think, ‘Oh, the crowd just wants to hear the hits,’ but there’s always 10 people there who want to hear something new, so you have to find that balance.”
Erik Lars Evans, a local DJ who’s followed the gay club scene for years and considers himself a Gauthreaux fan, says Gauthreaux’s willingness to adapt has worked to his advantage.
“He’s very good at what he does and can really energize a dance floor,” Evans says. “I’ve been going to hear him spin as far back as 2002 … and he does exactly what a good DJ is supposed to do — he’s adapted. I’d say his current style is more a mix of progressive beats, house classics and circuit energy and I’d say that’s what makes him stand out in his own way and keeps fans coming to hear him.”
Evans says one of the most noticeable differences in dance music over, say, the last decade is a gradual increase of pop infiltration in gay clubs and not as much the niche artists one traditionally heard on gay dancefloors but nowhere else.
“In modern times, we’ve seen the breakdown of that barrier and you’ve seen mainstream music take over,” Evans says. “You still hear niche artists, but it’s not like it used to be.”
In some ways — and though they share the same Billboard chart — the explosion of dance music in straight culture with Deadmau5 showing up on the Grammys and on the cover of Rolling Stone with a strong rise in popularity for DJs like Skrillex, Swedish House Mafia, Avicii and Tiesto, is its own phenomenon, happening apart of gay DJs.
“I think the separation is just more apparent now because their scene has gotten so big,” Gauthreaux, who’s gay, says. “Dance for straight people was pretty much non-existent 10 years ago. I don’t want to pigeonhole them, but a lot of them were just so into hip-hop, which nowadays has gone more underground, but dance music is on the radio. I mean if you listen to Rihanna’s new album, half the songs are already club ready. Before that would never have been the case and you had to remix everything. It’s just a natural thing with the way music changes. In five years from now, it could be totally different, I’m not sure.”
Gauthreaux says the genres are distinct because gays and straights party differently.
“At the end of the day, there’s a certain comfort at walking into a club and knowing 99 percent of the people there are people you could go up and buy a drink for,” he says. “Nobody wants to be guessing, ‘Is this guy straight?,’ ‘Is this guy gay?’ It’s just a different clubbing culture altogether. Gay people go out and party. They’re not into VIP booths and champagne bottles and buttoned up shirts and girls in high heels. It’s also more violent, typically, at the straight clubs. In the gay clubs, you don’t have to worry about fights breaking out. We don’t care about champagne service. We want a DJ box and we want to get down. I think there’s a long way to go before it’s all intertwined.”
The ‘treau triv
Joe Gauthreaux (Photo courtesy of Project Publicity)
Current relationship status: Single
Any tattoos? Yes, one. My sign — Leo.
Do you follow astrology? I don’t follow every sign, but I certainly know my sign and I’m so 100 percent my sign, it’s not even funny. I also know the compatible signs for Leos.
But just for fun or seriously? Let’s say this — if I meet somebody and they’re not one of the compatible signs for me, I’m a LOT more cautious. I know that sounds ridiculous, but there’s an aspect to it that I very much believe.
How much of your set is live? “I’ve never not played live. That would just be so weird. It’s not like I’m remixing everything live right there on the spot, of course. If you want to do a mash-up or something, of course, you do that ahead of time on the computer, but that’s just one track. It’s such a creative art form, you have to feed off the crowd and you can’t do that at home by yourself.”
How long do you typically spin? “Usually four to five hours. Sometimes less if there are other DJs on the bill. But you have to take time to get a good grove going.”
Movies
‘Thelma and Louise’ remains landmark of unspoken queer rebellion
Celebrating iconic film 35 years after its release
Hard as it is to believe for those who were around when it happened, “Thelma and Louise” celebrates the 35th anniversary of its release this year.
Deeply popular with both critics and audiences at the time, its reputation continues to ride high; it’s a movie that manages to exist within a nexus of intersecting genres – the “buddy picture”, the “crime thriller,” the “action adventure,” the” “western,” the “neo-noir” – by blending them seamlessly into a crowd-pleasing wild ride of a story, all while delivering a powerful feminist message of outrage, defiance, and empowerment.
And no, “Thelma and Louise” is not a “queer movie” – but it feels like one.
That’s partly because It exists within another genre, too: “lesbian noir,” which blossomed in its wake with films like “Bound” (1996) and has re-emerged in recent films like “Love Lies Bleeding” (2024) and “Honey, Don’t” (2025) – but that also stretches back across decades into the days of old Hollywood, when coded queer characters were a regular fixture in the seedy film noir classics of their time, never overtly identified as such but obvious to spot for anyone savvy enough to read the subtext. That’s why “Thelma and Louise” resonated (and continues to resonate) with lesbian and bisexual audiences who see themselves reflected in its two lead characters, even if there is nothing queer about their relationship — on the surface at least.
Of course, that can be a sore subject; subtext might seem like a “cop-out” for those who long for more open representation for LGBTQ people on the screen – but it’s everything when it comes to recognizing the queerness of older movies (and a lot of newer ones, too), and just because something is not explicitly stated, that doesn’t mean it’s being hidden. After all, most good stories rely on the transcendent power of nuance, which always relies on subtext to shine through. And if any movie relies upon subtext, “Thelma and Louise” is certainly one of them. In its masterfully crafted narrative of a weekend “girl’s trip” that goes horribly wrong, a lot of the most important information is left unspoken.
Take Thelma (Geena Davis), to start with: a naive young housewife whose husband Darryl (Christopher McDonald) treats her like a possession, she blithely ignores his mediocrity and disregards – or at least, pretends to – his repressive tactics to control her, choosing instead to live in a tenuous illusion of “traditional” marriage dynamics; yet when her bestie Louise (Susan Sarandon) offers her a chance to escape for a weekend, she jumps at it – even if she has to skip the part where she asks his permission.
Louise (Susan Sarandon), a bit older and a lot more worldly, is a waitress who spends her days fending off the insults and advances of her male customers at the diner where she works; she sees Thelma’s situation clearly, and hopes that a temporary respite from Darryl will help her recognize the dead-end reality of her marriage. We understand this immediately, even though a direct word is never said about it, and she’s right, of course. They’ve barely even gotten on the road before Thelma’s longing for attention from someone other than her inadequate husband – a honky-tonk Lothario (Timothy Carhart) she meets in a roadhouse where they stop for drinks on the way out of town – leads to an attempted rape that is only prevented when Louise shoots the predator dead in the parking lot.
That killing is the catalyst that turns them into fugitives; as Louise rightly understands, there’s no evidence of sexual assault, just a dead body and a pair of runaway women, and the letter of the law is not on their side. But in truth, that fatal shot is fired not to save Thelma, who has already been freed from her would-be rapist’s clutches when it happens, but because Louise has traumatic memories – and a chip on her shoulder – over something that “happened in Texas,” years before. We never find out what it was that happened, and we don’t need to; our imaginations tell us all we need to know, just as we know that the killing, while it may have been cold-blooded murder, is a justifiable homicide all the same.
There’s more of that subtextual nuance throughout, from the perversely inspiring motivations of hitchhiking hustler J.D. (Brad Pitt, in the sex-on-a-stick performance that launched him on his trajectory to stardom), who takes advantage of Thelma’s gullibility to rob the heroines even as he teaches her the tactics that will soon launch them on their fateful ride-or-die fugitive adventure; to the self-serving “chivalry” of Louise’s erstwhile boyfriend (Michael Madsen) as he casts himself as the “martyr” in letting her go. And yes, even to the benignly sublimated patriarchal programming that drives police investigator Hal Slocumb (Harvey Keitel in an uncharacteristically empathetic role) to act as the would-be savior of these two “fallen” women, though they want no part of his well-meaning attempts to “rescue” them from the consequences of their choices. And when the two fugitives terrorize a piggish trucker (Marco St. John) before blowing up his big-rig tanker, nobody says – or needs to say – why it feels to them like the right thing to do; it simply IS the right thing, and we, as the audience, know it. What we have seen up to that point has placed us firmly on Thelma and Louise’s side already, and we’re as ready to watch the puerile patriarchy burn as they are.
None of this is spoken aloud, nor is it even alluded to, but it comes through, nonetheless. Chalk it up, if you like, to the power of cinema, especially in the hands of a versatile, stylish, and seasoned director like Ridley Scott, to communicate what is inherently beyond the power of words.
Thelma and Louise may not be “a couple,” but we can’t help but notice as their clothing evolves from frilly-femme to “butch” utilitarianism along the way, or how their connection to the men in their lives easily dissolves without fanfare. And by the time we reach the movie’s thrilling denouement, when all they have left is their commitment to simply stand up against all the things that have kept them feeling incomplete, unfulfilled, and unacceptable, it’s an achingly familiar feeling for any queer viewer who has experienced the same.
We all know what happens, so it’s no spoiler to say that, when they drive off into oblivion in the Grand Canyon, they choose freedom over life itself – and when they head over that cliff, fully embracing their fate as a feminist iteration of the Bonnie and Clyde brand of “noble” outlaws, they seal their fate with a kiss.
At that point, no explanation is needed. Their love for each other transcends anything they’ve felt with the inadequate men in their lives; and in that final freeze-frame moment, when they drive off the cliff and sail into oblivion, we like to think that their car – like Danny Zuko’s at the end of “Grease” – simply flies away into the bliss of an endless summer, and you can’t get any queerer than that.
Out & About
LGBTQ Military Happy Hour set for Sept. 15
In-person gathering to be held at Tom’s Watch Bar
Modern Military Association of America will host “Pride in Service: An LGBTQ+ Military Happy Hour” on Tuesday, Sept. 15 at 4 p.m. at Tom’s Watch Bar.
This in-person gathering is the perfect chance to connect, share stories, and celebrate the diversity within the military community. Come relax, meet fellow LGBTQ+ service members and allies, and enjoy a fun, supportive atmosphere. Don’t miss out on an evening full of pride, camaraderie, and good vibes. Visit Eventbrite for more details.
Friday, September 11
Go Gay DC will host “Out in DC LGBTQ+ Community Social” at 7 p.m. at Hotel Zena.This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.
Women in their Twenties and Thirties will meet at 8 p.m. on Zoom. This is a social discussion group for queer women in the Washington, D.C. area. For more details, visit Facebook.
Saturday, September 12
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.
The DC LGBTQ+ Community Center will host screenings of “Princess Sparkles” and “Kiloran Bay” at 1:30 p.m. “Kiloran Bay” is a 13-minute musical short set amid the wild beauty of the Scottish Hebrides and the fierce joy of a wedding cèilidh. “Princess Sparkles” is about a girl who accidentally signs up to pet-sit a princess only to discover she’s actually a nippy, Fox News-watching pig. More details are available on the DC LGBTQ+ Community Center’s website.
Sunday, September 13
“Nellie’s DC Drag Brunch” will be at 12 p.m. at Nellie’s Sports Bar. Come get served like a queen by a queen. Join Sapphire Blue, Deja Diamond and their team of amazing drag performers for the most fun you’ll have all weekend. Tickets are $58.51 and are available on Eventbrite.
Monday, September 14
“Center Aging: Monday Coffee Klatch” will be at 10:00a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).
Tuesday, September 15
Center Bi Pan+ Roundtable will be at 7 p.m. on Zoom. This is an opportunity for people to gather in order to discuss issues related to bisexuality or as Bi individuals in a private setting. Visit Facebook or Meetup for more information.
Wednesday, September 16
Job Club will be at 6 p.m. on Zoom upon request. 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.
The DC LGBTQ+ Community Center will host “Movement for Healing” at 3 p.m. This trauma- and yoga therapy–informed class is designed to help guests gently reconnect with their body and their breath. Through mindful movement, somatic awareness, and grounding practices, guests will explore how to release tension, increase mobility, and cultivate a deeper sense of safety and ease within. For more details, visit the DC Center’s website.
Thursday, September 17
The DC Center’s Fresh Produce Program will be held all day at the DC LGBTQ+ Community Center. People will be informed on Wednesday at 5:00 pm 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 Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breathwork and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC LGBTQ+ Community Center’s website.
‘Thelma and Louise’ remains landmark of unspoken queer rebellion
Comings & Goings
LGBTQ Military Happy Hour set for Sept. 15
Calendar: September 11-17
Multi-billion-dollar 9/11 Victim Compensation Fund to continue until 2090
Nominate your favorites for the Blade’s 25th annual Best Of LGBTQ DC Awards
Md. groups receive state grants to fight hate crimes
PHOTOS: SUNFESTIVAL
Gloria Steinem’s life of substance and consequence
