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Taboo topics
New doc explores how gay marriage battle went down last year in Md.
Yoruba Richen, director/producer of ‘The New Black.’ (Photo by Luke Rattray; courtesy the filmmakers)
‘The New Black’
AFI Docs
Saturday at 1:30 p.m.
Goethe-Institute
812 7th St., N.W.Sunday at 1:15 p.m.
AFI Silver Theatre
8633 Colesville Rd.
Silver Spring, MD
$13
afi.com/afidocs
One of the big debates with reality TV is the inevitable degree to which the camera’s presence affects the way people act. It’s unquantifiable, of course, but it’s also a challenge for documentary filmmakers.
Yoruba Richen says she knew it would be hard to capture the kind of exchanges she wanted to get in her film “The New Black,” a piece that explores both last year’s battle for Maryland Question 6, a referendum question that won 52 percent of the vote last November to uphold same-sex marriage rights there, but also the larger issue of how the African-American community is grappling with gay rights and the degree to which many feel it’s comparable to the civil rights struggle. The roughly 80-minute documentary screens twice this weekend as part of the AFI Docs (formerly Silverdocs) festival that continues through Sunday.
Two such exchanges especially stand out — one Sharon Lettman-Hicks, executive director of National Black Justice Coalition, has with anti-gay family members at her husband’s (she’s an LGBT ally) retirement party and the tear-laced discussion 24-year-old lesbian Karess Taylor-Hughes has coming out to her religious foster mother.
Richen says both took a delicate approach.
“It’s hard,” she says during a phone interview from her Brooklyn home. “It’s really hard. You can’t just come in with lights and 5,000 people. You try to be as spare as you can. Like at that barbecue, it was just me and a camera person, that’s it. And there has to be a level of trust there. At that point with Sharon, we had already been filming for two years and the same with Karess. But there can be an advantage too because I think that for us, especially in the African-American community, we don’t always get a chance to share our stories so there can be a level of comfort and excitement that we are getting to talk about this issue. Also I think the fact that I’m black and there was another black person doing the filming helped everybody be a little more comfortable as well.”
Richen, a lesbian, met Lettman-Hicks at an LGBT conference in Dallas in 2010 and quickly recognized her as an ideal vehicle to explore the issues of race and sexuality that had been haunting her since many blamed blacks for California’s Prop. 8 ballot measure in 2008, the success of which overturned same-sex marriage rights there. After starting the project, she started to see Maryland — where gay marriage hadn’t yet bubbled to the surface when the project began — as a strong microcosm for the issues the entire country is dealing with at the intersection of race and religion.
Lettman-Hicks says she gave her family and her husband’s family a “heads up” before the film crew arrived. About three people opted out and said they didn’t want to be filmed.
She says she was happy to put herself and her family out there — even ones who aren’t politically on the same page with her — because she sensed the ultimate effect the piece could have.
“I came to LGBT activism later in life,” Lettman-Hicks says. “But my husband and I are both humanitarians and this is our passion, to make the black family whole again and stronger. These are just my brothers and sisters and these conversations are long overdue. Too many people have been harmed, both directly and indirectly, and the underlying issues stem much deeper.”
Samathan Master, a 25-year-old Columbia, Md., resident who identifies as a black queer femme, got involved with the project through her partner Kandice Fields, who is friends with Taylor-Hughes. She has worked with Equality Maryland and Human Rights Campaign and knocked on doors for Question 6 last year. She says she was happy to participate because the issue is loaded with history and baggage.
“Any conversation around sexuality and the black community is met with trepidation,” Master says. “I don’t really think black folks are any more or less homophobic than their white counterparts, but I think the way black people have dealt with sexuality since the days of slavery has been to not talk about it so then you have this movement and this thrust of LGBT equality and people coming out, right, so … there ends up being all this baggage we’ve carried with us century after century but it’s always been very quiet baggage and now that people are out and talking about it, there’s been an attempt to silence something that we’ve always known has existed but never really been vocal about.”
Refreshingly, though, “The New Black” isn’t just an LGBT propaganda machine. Anti-gay ministers such as Bishop Harry Jackson are interviewed in the film. Less notoriously, though, is one of its key figures — Pastor Derek McCoy, president of Maryland Family Alliance and associate pastor of Hope Christian Church in Beltsville, Md.
Richen says even though McCoy worked against Question 6 (and thus against same-sex marriage), she says her integrity as a documentarian necessitated the inclusion of other voices.
“He worked with me and I’m very grateful he did,” Richen says. “I really did my best to let them present their stories and their truth and they didn’t ask me a lot up front about my personal positions.”
Richen and her crew shot more than 100 hours of footage over a three-year period wrapping last November. Had Question 6 failed, she’s not sure she would have ended the story when she did though it ended up giving the ending a celebratory feel. She followed several key participants through Election Day. Richen won’t say how much the film cost to make but says she had support from PBS, Tribeca, Sundance, the Gill Foundation and several other entities. She says it came in the normal range — under $1 million, which is normal for a project of this scope.
Lettman-Hicks says viewers are in for a treat and that watching the film recently at its Los Angeles premiere was a powerful experience.
“It was all done with a lot of integrity,” she says. “There wasn’t one thing in there where I was like, ‘What’s that in there for?’ … A lot of it is reflective of my day-to-day life. Some of these conversations we’re having, that’s a day at work for me, but what was really a surprise was watching some of the young people. I was so touched by Samantha and Karess’s courage out there canvassing the streets in Baltimore. I was just so, so proud.”
Real Estate
Does Pride decor resemble Trump’s design aesthetic?
Glitter, gold, and rejecting the idea that a home should be understated
Interior design is often a balancing act between taste, personality, and restraint. Sometimes, however, restraint leaves the building entirely. Such is the case when the colorful exuberance of gay Pride-inspired decorating collides with the famously excessive decorating style associated with the current occupant of the White House. The result can be a fascinating study in maximalism, spectacle, and unapologetic visual overload.
Donald Trump’s personal decorating style has long been a subject of debate among designers and critics. Admirers see luxury and grandeur. Critics see something else: a dizzying display of gold leaf, marble, mirrors, crystal, and oversized furnishings that often crosses the line from elegant into what many designers would call tacky. More is rarely enough. If one chandelier sparkles, three are better. If a room has gold accents, why not make every available surface gold? (See Oval Office and ballroom rendition for details.)
In many ways, this excess shares common ground with certain Pride celebrations. Pride has never been about blending into the background. It celebrates visibility, self-expression, individuality, and joy. Rainbow colors, dramatic costumes, glitter, flamboyant artwork, and bold statements have long been part of Pride culture. Yet there is an important difference. Pride’s extravagance is often playful, self-aware, and rooted in personal expression, while Trump’s aesthetic has frequently been criticized for equating luxury with sheer quantity and visual intensity.
Combining these influences creates an interior that could best be described as “glamorous chaos.”
Imagine entering a living room in which gold-trimmed mirrors stretch from floor to ceiling. Crystal chandeliers hang above a bright rainbow velvet sectional. Marble floors gleam beneath metallic furniture that appears determined to reflect every available light source. Pride flags become framed artwork surrounded by ornate gold moldings. A room designed this way doesn’t whisper. It shouts.
Color is central to the concept. Pride-inspired interiors often embrace the full spectrum of colors. Trump’s style, meanwhile, traditionally favors cream, gold, black, and glossy finishes. Combining them means introducing vivid jewel tones against a backdrop of faux-palatial luxury. Emerald green chairs, ruby-red draperies, sapphire-blue accent walls, and gold-trimmed furniture can coexist in a way that feels deliberately theatrical.
The key word is theatrical.
Many professional designers spend years learning how to create visual balance. A Pride-meets-Trump interior intentionally ignores many of those rules. Pattern competes with pattern. Shine competes with shine. Artwork competes with furniture. The eye rarely gets a chance to rest. For some homeowners, that sounds exhausting. For others, it sounds like the perfect party.
Lighting offers another opportunity to embrace excess. Crystal chandeliers, mirrored lamps, illuminated shelves, and color-changing LED lighting can transform a room into something resembling a cross between a luxury hotel lobby and a Pride festival. The goal is not subtlety. The goal is spectacle.
A dining room inspired by this combination might feature a massive glass table, gold dining chairs, rainbow floral arrangements, mirrored walls, and enough crystal accessories to keep a polishing cloth busy year-round. Critics would call it gaudy. Fans would call it fabulous.
Artwork becomes particularly important. Pride-themed pieces featuring LGBTQ+ history, activism, and culture can provide meaning beneath the decorative excess. Without these personal and cultural elements, the room risks becoming little more than a collection of expensive looking, but not necessarily expensive, objects. Pride design can work best when it reflects identity and community rather than simply displaying color for color’s sake.
While normally a haven for restful sleep, bedrooms can take a similar approach. Plush velvet fabrics, oversized tufted headboards, metallic and mirrored finishes, colorful accent lighting, and dramatic artwork create a space that feels more like a boutique hotel suite than a traditional bedroom. Again, the challenge is avoiding the temptation to add one more decorative element to an already crowded visual landscape.
What makes this design combination interesting is that both aesthetics reject the idea that a home should be understated. Both embrace visibility. Both invite attention. Both encourage occupants to take up space unapologetically. Yet where Pride design often celebrates authenticity and self-expression, Trump’s decorating style is frequently criticized for prioritizing conspicuous luxury over cohesion and refinement.
The result is an interior style that many people would consider delightfully outrageous and others would consider a decorating nightmare. Either way, nobody is likely to forget it.
In the end, a Pride-inspired interpretation of Donald Trump’s famously over-the-top aesthetic would be colorful, glittering, excessive, and impossible to ignore. It would break nearly every rule of minimalist design while embracing the philosophy that if something is worth doing, it is worth overdoing. Whether one sees that as fabulous or tacky may depend entirely on how much gold leaf and rainbow velvet one can tolerate in a single room.
Valerie M. Blake is a licensed associate broker in D.C., Maryland, and Virginia with RLAH @properties. Call or text her at 202-246-8602, email her at [email protected] or follow her on Facebook at TheRealst8ofAffairs.
Ragtops rock! For drivers looking to carve their own lane, the world already has enough sensible crossovers, minivans, and pickups. These three convertibles trade practicality for sunshine, wind, and the occasional wild-hair day.
BMW Z4
$58,000
MPG: 25 city/33 highway
0 to 60 mph: 5.2 seconds
Trunk space: 10.0 cu. ft.
PROS: Strong engines. Uber comfy. Stylish.
CONS: Expensive. Final year of production.
Act fast, Bimmer fans, this is the last year the BMW Z4 roadster will be produced. Along with the entry-level xDrive30i and high-performing M40i, there is a Final Edition model.
Since 2002, the Z4 has expertly balanced performance, comfort, and style. The long hood and short rear deck still look fantastic. The stance is athletic. And with the top down, this car gains an extra dose of drama.
Under the hood, BMW offers turbo power that feels eager rather than overwhelming. Acceleration is brisk. The steering precise. The chassis composed.
Upgrading to the premium models lets you scoot from 0 to 60 mph in just 3.9 seconds. But—ka-ching!—the MSRP soars to $79,000.
Available in manual or automatic transmissions, this convertible can sprint through mountain roads on Saturday and soothingly devour highway miles on Sunday.
As for the interior, it blends luxury and functionality. Materials feel expensive. Controls are easy to use. And the seats are supportive.
For me, other ragtops may be more party hearty, but the Z4 is low-key, impeccably tailored and still the center of attention. Think suave James Bond versus sparkling RuPaul.
MAZDA MX-5 MIATA
$32,000
MPG: 26 city/35 highway
0 to 60 mph: 5.5 seconds
Trunk space: 5.0 cu. ft.
PROS: Nimble. Lightweight. Affordable.
CONS: So-so power. Wind noise. Limited space
For decades, the Mazda MX-5 Miata has followed a simple formula: Keep it light, keep it balanced and make every drive feel special. The result: Automotive comfort food that never gets old.
Many vehicles grow larger every year, but the Miata has remained Lilliputian in a way that feels rebellious. You sit low. The controls are user-friendly. Visibility is excellent.
No, the engine power won’t blow you away. But this beachcomber isn’t about brute force. It’s about how the Miata makes you feel wonderfully alive, whether tootling along city streets or a winding road.
Inside, the dashboard is sparse but echoes a traditional sports car. Large analog tachometer and analog speedometer. And while the 8.8-inch infotainment display is dinky, it works nicely.
Alas, storage is limited. The cabin is snug. And taller drivers may wish for a bit more room.
Yet somehow even those compromises feel almost charming. This ride knows exactly what it is and refuses to apologize. Sort of like showing up to Pride wearing what makes you happy rather than chasing trends.
MINI COOPER
$27,000
MPG: 28 city/39 highway
0 to 60 mph: 7.9 seconds
Trunk space: 5.2 cu. ft.
PROS: Playful styling. Fun handling. Extra stowage.
CONS: Ride can be firm. Not a speed demon.
Mini Coopers approach life with a wink and a grin. Rounded headlights. Compact dimensions. Cheerful styling. It all works to create a vehicle that looks like it’s having fun before you’ve even started the engine.
Driving this ragtop is equally entertaining. The steering is quick, and the chassis feels eager to please. Overall performance is lively rather than blistering.
The cabin leans heavily into Mini’s playful design language. Circular elements appear throughout. Details feel intentionally quirky. Many modern interiors seem created by committees that fear excitement. This cabin feels designed by someone who enjoys color, personality and perhaps spontaneous dance breaks.
Unlike the BMW Z4 and Mazda Miata, the Mini offers a small rear seat. “Small” is doing some heavy lifting there, but the extra space adds flexibility. It may not be enough room to comfortably squeeze in friends, but you can easily stow a few bags here.
To me, driving this convertible feels like attending the world’s friendliest block party. People notice it. People smile. Sometimes people even wave.
While one would hope it’s easy to calculate a break-even point for a home purchase – such as you could calculate for “how many widgets a month do I need to sell to break even?” It’s not always easy when looking at the return on investment for a home purchase. Condo buildings can lose a view due to new construction next door. Weather patterns can expose deficiencies. Conversely, new dining and entertainment options in a neighborhood can cause home prices to skyrocket. The addition of public transportation and employment options can make a neighborhood more desirable. Or, as we have recently seen in the District of Columbia – an incoming presidential administration can severely affect the “vibe” of an entire city’s economy – for better or for worse.
Homeownership is not necessarily a get rich quick scheme. Most homeowners find that staying in a house for at least 5-10 years – whether owner occupied or not, makes for a significant return on their investment. An owner may not completely pay off a home in 10 years, but they might gain enough equity that they can receive quite a large check when they decide to sell or move. And the old reasoning that “your apartment rental community does not cut you a sizeable check when moving out after 15 years.” still stands. Is homeownership for everyone? Absolutely not. But many have reported other benefits besides purely financial gains. What are those benefits?
- Feeling a sense of community. – homeowners tend to take more pride in their buildings and neighborhoods, because they feel more invested and tend to want to protect their investment. Neighborhood watch programs, getting to know elderly neighbors, forming building wide or cul-de-sac wide favorite TV show watch nights, super bowl parties, and other such communal and social ties lead to an overall sense of wellbeing and help to stabilize a nervous system in uncertain times.
- Feng Shui? Well, maybe there’s something to it. If you have been wanting to customize your own home but live in an apartment, there are many more restrictions on what you can do in a rental, than when you own your own home. Do you want new countertops? Would you love to remove that popcorn ceiling? Open up that kitchen? Convert the back yard into a curated patio/cold plunge/hot tub time machine cookout/spring break adventure campsite of your wildest dreams?
- Forming longer lasting relationships – sharing that CostCo membership with others on your floor, making a pan of lasagna and inviting the neighbors over for dinner, picking your neighbor’s brain for stock investment advice, asking your neighbor’s son to help you create a marketing plan for your new business, hosting the Friendsgiving you dreamed of – there are multitudes of reasons and ways that homeowners tend to feel a sense of community, sharing of resources, and realizing over time that “it takes a village.”
- Higher civic engagement – Studies have shown that homeowners tend to be more politically active in their districts, participate in local school boards, know the names of and how to contact their local representatives to affect change, etc. Having a higher financial investment in and a commitment to stay in a neighborhood beyond just one or two years makes a big difference in who decides to show up at election time, especially for local elections.
If you would like to know more about the research on homeownership, feel free to read the report from the National Association of Realtors here.
Joseph Hudson is a referral agent with RLAH. Reach him at 703-587-0597 or [email protected].
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Cool convertibles
