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Essential Bowie

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David Bowie, gay news, Washington Blade

David Bowie in the ‘Glass Spider Tour,’ 1987. (Photo by Elmar J. Lordemann; courtesy Wikimedia Commons)

The music world mourns the passing of a legend, as David Bowie died this past Sunday after an 18-month battle with cancer.

He kept his illness private, but poured all of his energy into his musical “Lazarus,” currently playing a sold-out run of shows in New York City, and his brilliant final album, “Blackstar.” Bowie died only two days after the release of “Blackstar,” which was on his 69th birthday. A day prior to the album’s release, Bowie debuted the haunting video for the track “Lazarus,” which in retrospect is clearly a goodbye. Bowie has left behind an immense and vastly influential catalog of timeless music spanning five decades.

David Bowie, gay news, Washington Blade

David Bowie with Cher in 1975. (Photo by CBS Television; courtesy Wikimedia Commons)

For someone looking to explore Bowie’s catalog for the first time, the size and scope of it can be daunting. He’s recorded with so many different personas and characters, and in so many different styles, that it can be difficult to know where to start. There are a few excellent compilations, including last year’s reverse-chronology set “Nothing Has Changed,” a good starting point. But to really get into Bowie’s amazing musical universe, one has to dive into his 28 studio albums. All of them, even his weakest (“Never Let Me Down” from 1987) have worthwhile moments and most are exceptionally good. So where to begin? Here is a primer for music fans looking to dive a bit deeper into Bowie’s extraordinary body of work — 10 essential albums that span his entire career and provide a good overview and starting point. This is just a taste, of course. Many more of his albums are essential classics.

‘Hunky Dory’ (1971) After the folksy meanderings of “Space Oddity” (1969) and the blazing rock of “The Man Who Sold the World” (1970), Bowie took a huge leap forward as a songwriter with 1971’s superb “Hunky Dory.” More piano and acoustic-guitar heavy than its hard-rock predecessor, “Hunky Dory” includes some of Bowie’s greatest works: “Changes,” “Life on Mars?,” “The Bewlay Brothers” and “Quicksand.”

‘Ziggy Stardust & the Spiders From Mars’ (1972) The glam-rock opus about a dystopian future and an alien rock star hero who frazzles out before Armageddon can arrive. “Ziggy Stardust” is the album that launched Bowie into the stratosphere of stardom from which he never descended. Classic tunes include the title track, the hard-rock opus “Moonage Daydream,” the frenetic “Suffragette City” and the dramatic closing track, “Rock ‘n’ Roll Suicide.”

David Bowie, gay news, Washington Blade

David Bowie (Photo by AVRO; courtesy Wikimedia Commons)

‘Station to Station’ (1976) Bowie’s shift from the soulful influences of his “Young Americans” album toward the more edgy, experimental vibe he’d pursue on his next three albums, the famous “Berlin Trilogy,” is evident here. “Station to Station” begins with its epic 10-minute title track, a locomotive rocker that takes up a quarter of the album. “Golden Years” provided Bowie with one of his biggest hits in America, and his dramatic take on the standard “Wild is the Wind” is one of the greatest vocal performances of his career.

‘Low’ (1977) The first of the “Berlin Trilogy” is the icy, minimalist “Low,” a huge left turn for a major artist. Bowie collaborated heavily with experimental music icon Brian Eno. Fans and critics didn’t quite know what to make of it at the time, but it is now considered one of his finest albums. Side one consists mainly of short, jagged rock song fragments loaded with disturbing imagery while side two is largely ambient instrumentals. It’s a spellbinding listen from start to finish. The album yielded two classic singles in “Sound and Vision” and “Be My Wife.”

‘Scary Monsters (And Super Creeps)’ (1980) Bowie’s first album of the ‘80s was his best of the decade. Working with producer Tony Visconti, Bowie created elaborate soundscapes with dense and complex vocal arrangements that often sound completely unhinged. It’s a cliché that when a new Bowie album is released, at least one critic will say it’s his “best album since ‘Scary Monsters.’” The album includes one of his all-time classic singles, “Ashes to Ashes,” along with key tracks like “Fashion” and “Teenage Wildlife.”

‘Let’s Dance’ (1983) Working with producer Nile Rodgers and a young guitarist named Stevie Ray Vaughan, Bowie entered the MTV age with a slick dance/pop album that would represent the apex of his commercial success in America. The title track became his second No. 1 single (after “Fame”) and both “China Girl” and “Modern Love” also became substantial hits. Some critics and fans disdain “Let’s Dance” as a supposed sell-out, but it’s a well-crafted collection of first-rate pop with some terrific vocal performances.

‘Outside’ (1995) Bowie renewed his collaboration with Brian Eno for this dark song cycle about a grisly murder and the strange cast of characters caught up in the circumstances of the crime. “Outside” updated Bowie’s sound for the ‘90s, incorporating electronic elements as well as heavier industrial sounds inspired by artists such as Nine Inch Nails. Unrelentingly dark but brilliant, “Outside” features several standout cuts including “The Heart’s Filthy Lesson,” “Strangers When We Meet” and “Hallo Spaceboy.”

‘Heathen’ (2002) Bowie’s first album of the new millennium is a dense and richly layered collection of emotional and intense rock that frequently has a bit of a retro vibe. The album wasn’t a massive hit upon release and has been overlooked somewhat as fans and critics tend to focus on Bowie’s “glory days” of the ‘70s. The hard-charging soulful rocker “Slow Burn” was the first single, and other key tracks include the heartbreaking expression of loss, “Everyone Says ‘Hi’,” the emotional ballad “Slip Away” and raucous covers of the Pixies’ “Cactus” and Neil Young’s “I’ve Been Waiting For You.”

David Bowie, gay news, Washington Blade

David Bowie in his ‘Heathen’ tour. (Photo by Mark Jeremey; courtesy Wikimedia Commons)

‘The Next Day’ (2013) Bowie’s return to the studio after a decade-long absence following a heart scare prompted him to close the tour in support of his 2003 album “Reality” before he had planned, “The Next Day” was a surprise that nobody in the public or press knew about until the first single, the melancholy “Where Are We Now?,” appeared on Bowie’s 66th birthday. “The Next Day” was a staggering return, a dark and harrowing collection of first-rate material. Subsequent singles included “The Stars (are out tonight),” which features a stunning video featuring Tilda Swinton, and “Valentine’s Day,” a chilling song about a would-be mass shooter.

David Bowie, gay news, Washington Blade

Bowie’s son, Duncan Jones with David Bowie attend a premere of director Jones’ ‘Moon’ in 2009. (Photo by David Shankbone; courtesy Wikimedia Commons)

‘Blackstar’ (2016) Released on Bowie’s 69th birthday, “Blackstar,” as we know now, was goodbye. Bowie died only two days after its release. It’s almost as if he was holding on until the album could be unleashed, and then was able to let go. Producer Tony Visconti called it Bowie’s final gift to fans and the entire album was recorded while Bowie was ill. It’s a dark and experimental collection with incredible musicianship thanks to the New York City-based jazz collective that Bowie brought in to collaborate on the album. The 10-minute opus “Blackstar” opens the album with mystical power, and it never lets up from there. “Lazarus,” with its chilling video of Bowie writhing on a hospital bed and then disappearing at the end into a large wardrobe, closing the door behind him, is clearly a goodbye. In the context of his passing, it’s a difficult album to play, but “Blackstar” is David Bowie at his best. It’s an honest portrayal of a man facing the end and a stunning finalé for one of the greatest artists rock ‘n’ roll has ever known.

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Summer in D.C. brings sports, Restaurant Week, festivals, and more

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Washington Spirit CEO Kim Stone hosts Pride Night OUT on Sunday, Aug. 23. (Photo courtesy of Washington Spirit)

Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.

Dining

Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.

New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:

  • Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
  • The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
  • Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
  • Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.

Sports

  • Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements. 
  • Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.

Festivals

  • Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
  • Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods. 
  • The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
  • All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
  • Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.

Art and Music

  • United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club. 
  • The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
  • Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
  • ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
  • 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
  • Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
  • Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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Tickets on sale for chef Patrick O’Connell’s book launch event

Sept. 18 kickoff to feature José Andrés, Tom Sietsema

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Acclaimed chef Patrick O’Connell is preparing to publish his new memoir, “Main, Middle & Gay” in September and he’s launching the book with an event on Sept. 18 at 6 p.m. at Lisner Auditorium featuring Chef José Andrés and former Washington Post food critic Tom Sietsema.

Tickets for the event go on sale Tuesday, July 21 at Ticketmaster; prices start at $55.

 O’Connell, who’s gay, is the pioneering Michelin-starred chef and longtime proprietor of the Inn at Little Washington. He spoke with the Blade about the September event and the launch of his first memoir.

 “I’ve known [Andrés and Sietsema] for more than 25 years and I have great respect for them,” O’Connell said. “I felt that it would allow us to add a different dimension rather than just have an interviewer. The chemistry will be fun and lively and unpredictable and exciting. I think we’re all different personalities and we’ll compliment each other.”

O’Connell has published cookbooks but this is his first memoir. The event will feature a short film that will highlight his work and the Inn.

“What I hope to do with the event is bring the book to life visually,” he said. “So we’re producing a short film that will be part of it. Most of the audience will not have read the book so it’ll give them a visual flavor of the book. It parallels the evolution of American cuisine over 50 years. It’s a rare perspective to be in the trenches for that long.”

The book’s title refers to the location of the garage on the corner of Main, Middle, and Gay streets in Washington, Va., where he launched his restaurant that became an international culinary destination. 

The Blade will publish the rest of its wide-ranging interview with O’Connell in September in conjunction with the book’s release.

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The queer Asian comics building collective joy in D.C.

Spotlighting chaotic ways family, romance, identity take shape in their lives

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Alex Kim performs at the Pride Comedy Special in Washington, D.C., on June 18, 2026. (Photo by Christina Lee/VOICES)

Kevin Chen’s family tombstone has room for four: him, his parents and his boyfriend. The arrangement might prove to be a little awkward. 

“My boyfriend is 100% white, and my parents are 100% disappointed,” Chen confessed.

Jokes about family traditions and the untraditional ways they’re practiced earned a burst of laughs at the bar where Chen was opening for the Pride Comedy Special. The D.C. stand-up event, produced by Comedy Bonfyre last month, spotlighted queer Asian comics who shared the chaotic ways family, romance and identity take shape in their lives. 

From candid oral sex takes to top surgery hypotheticals like “Where do the boobs go?”, the night highlighted the loud camaraderie of the queer Asian experience — one that sounds like a cacophony of snorts, cackles and belly laughs. While the comics say they are not quite a community, there’s more than enough shared material to bring them together. 

“It was such a magical experience. I loved performing in a queer API lineup. It feels so validating,” Chen said after the show. “I’m wondering, ‘Is this how white men feel all the time?’”

Each performance evoked queer Asian joy through a medium that could use more of its presence.

According to Chen, who is based in D.C., it’s hard to say whether there is a true queer Asian comedy presence in his city. There are only a scattered “handful” of Asian comics, and people of color are underrepresented in queer comic circles, he said. 

When Tarunika Anand, a nonbinary lesbian comic, first entered the mainstream D.C. comedy scene, they mostly encountered straight white men, describing the experience as “a culture shock.”

“I feel like sometimes a lot of queer spaces are really white, and then a lot of Asian spaces are really straight,” Anand said. “I don’t feel like I fit into either.”

But feeling marginalized didn’t stop these comics from honing their craft and creating spaces for others like them. Alex Kim, who headlined the special and is based in Brooklyn, runs the queer Asian comedy group Boba Gays, which began on WhatsApp and has since made its way to Lincoln Center. 

Every Wednesday, Anand co-produces a free comedy show called Funny Side Up. The queer-led group focuses on inclusivity and showcasing new talent.

“It’s really beautiful to speak about your experience and your existence in a way that’s uplifting,” Anand said. 

Family is a major throughline of their comedic repertoires. 

Chen, for instance, shared that he identifies with jokes about having Asian immigrant parents and the expectations they pass down. 

“You see me, you know this part about me, you know this experience intimately, and I can see the truth that you’re trying to wrap a joke around,” he said. “That hits even harder because that’s my truth too. I think that’s what makes good comedy.”

Anand had the audience at the special howling when they explained that their parents’ be-more-like-them comparisons didn’t end when they came out. Instead, the expectations took on a new form. 

“Now, my parents want me to be the best gay,” Anand said. “They’re like, ‘Do you know Ellen DeGeneres?’” 

Kim said he’s been trying to unlearn things from his Christian Korean mom. Yet he described a moment when he was getting ready for the club and realized he looked just like his mother getting ready for church. 

“I’ve been finding it hard to escape her,” Kim said. 

Mutual recognition also radiates through the different ways queer love can take shape. From singlehood to death-do-us-part commitments, the comics cover just about every corner.

Anand is holding out hope for settling down with “a nice, pretty, Indian girl.” They recently went through a breakup and said they felt they dodged a bullet. 

“As a person of color, I just don’t think I should be with a Swiftie,” they said. 

Chen, touching on what it’s like to be in a queer interracial relationship, said that meeting his white boyfriend’s baby nephew for the first time felt like he was forced to participate in a diversity, equity and inclusion training. 

“The dad was like, ‘Please welcome Kevin. Be curious about his culture, his history, his foods,’” Chen joked. 

Laughter is not the only reward for the comics.

To Anand, comedy is a space where they can say whatever they want. “It gives me a voice,” they said. 

Nik Narain, a North Carolina-based trans and nonbinary South Asian comic who performed at the special, said meeting older trans comedians and taking the stage helped him feel reassured in his identity during his transition. 

“Stand-up was a really cool way to process that onstage,” he said. “[It] became a way for me to repackage my thoughts.”

Queer Asians are still figuring out their place in the greater D.C. comedy scene. The group is small in numbers and many are still working toward a full-time comedy career. But Narain feels he’s already made it.

Narain is reluctant to pin it all on one moment. He feels that success is already peeking through in milestones — opening for celebrities, traveling to performances and self-producing shows.

“As long as I can keep doing this, I’m super happy,” he said.

This story was produced as part of the AAJA VOICES fellowship program, a student journalism project of the Asian American Journalists Association (AAJA).

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