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Nothing compares to Prince

Gender-bending genius left behind treasure trove of music

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Prince singer, gay news, Washington Blade
Prince singer, gay news, Washington Blade

Any decent artist has gems lurking beyond his or her hits, but the Prince catalogue is astounding in its scope and quality. (Photo by Chelsea Lauren, NPG Records)

Many of us are still trying to wrap our heads around the fact that Prince is gone.

Through the disbelief and mourning, many have started to look back and take stock of just what a peerless musical legacy Prince left behind. It’s stunning in its quality and quantity, its influence and diversity. Prince was rock’s most prolific artist, a studio wizard, songwriting genius and master musician.

We all know the massive hits, but dig deeper and there’s just as much to love.

I’ve chosen 25 of his best deep cuts — some of the best pieces of studio work he’s ever released, yet much of it will be new to you unless you’re a die-hard. For every “Kiss,” there are a dozen other tracks that you’ll love as much. These are presented chronologically.

1. “Gotta Broken Heart Again” (from “Dirty Mind,” 1980)

A combination of styles, the song’s a charmer that brings a little tenderness to the hard-edged “Dirty Mind.”

2. “Annie Christian” (from “Controversy,” 1981)

Prince creates the kind of new wave synthesized background you’d expect from a Berlin album, and layers it with squealing guitar effects, and a strident vocal in which he accuses Annie Christian of multiple high-profile murders. It’s a uniquely unsettling song that is one of the first examples of Prince’s ability to go far beyond the slick R&B/Pop sound of his first two albums and tackle more diverse subject matter.

3. “All The Critics Love U In New York” (from “1999,” 1982)

This track is hidden away on the double-album masterpiece “1999,” although an edited version did appear as the b-side to “Little Red Corvette.” The song is basically just a wicked groove, a funky beat and a popping bass over which Prince sing/speaks a set of sardonic lyrics. The hook sung during the repetition of the title brings in a sharp melody and flashes of keyboard.

4. “17 Days” (“When Doves Cry” b-side, 1984)

Although its partner b-side from “Let’s Go Crazy,” “Erotic City,” was unquestionably the most infamous and popular of the two, “17 Days” seems to rest in its shadow. It shouldn’t. “17 Days” has a wicked groove of its own, especially from that elastic bass, and a tense and effective vocal by Prince. With its vaguely trippy nature, “17 Days” is an obvious foreshadowing of the full-blown psychedelic to be heard soon on 1985’s “Around the World in a Day.”

5. “New Position” (from “Parade,” 1986)

This taut slice of kinetic funk is built largely by Prince as a solo recording. There’s not much to it, but there doesn’t need to be. Prince plays the frenetic percussion anchored by a clanging steel drum, between which coils a wildly gyrating bass line.

6. “Power Fantastic” (Recorded 1985, not released until “The Hits/The B-sides “1993”)

It required an unconventional recording set-up to get the right sound, but Prince managed to capture the elegant vibe he was seeking. It’s a one-take jaw-dropper with the Revolution recorded as a track for the possible follow-up “Parade,” presumably to be called “The Dream Factory,” but Prince disbanded the Revolution and the follow-up never materialized. Happily this dreamy, elegant ballad was finally made available when it was added to the “B-sides” disc to a 1993 combination.

7. “The Ballad of Dorothy Parker” (from “Sign ‘o’ the Times,” 1987)

A surreal slice of Princely quirkiness from arguably his finest album, “The Ballad of Dorothy Parker” has a stripped down vibe — basically just a few ornate lines of piano and pulses of keyboard all riding a dry and strangely off-kilter electronic pattern on the Linn Drum machine in lock step with a quivering bass.

8. “Anna Stesia” (from “Lovesexy,” 1988)

Widely considered by Prince fans as among his finest pieces of work, “Anna Stesia” is the emotional centerpiece of “Lovesexy.” It builds slowly from a stark piano intro to the stirring chorus at the end repeating, “Love is God, God is Love. Girls and boys love God above.” Both the vocal and musical arrangement are complex, and Prince delivers one of his most impassioned vocals.

9. “The Question of U” (from “Graffiti Bridge,” 1990)

Forget the movie — the soundtrack is high quality. “The Question of U” is basically one exquisite verse over a trippy groove, followed by Prince’s guitar histrionics, rhythmic clapping, soaring background vocals and exotic lines of keyboard. Beautiful.

10. “And God Created Woman” (from “Love Symbol,” 1992)

Prince turns the biblical story from Genesis into a gorgeous soul ballad with a touch of a Latin/jazz vibe. Prince’s nuanced vocal is beguiling and the vocal arrangement throughout the song is nothing short of magical.

11. “Pheromone” (from “Come,” 1994)

One of Prince’s darkest and most extreme dance tracks, “Pheromone” boasts a truly massive beat and a throbbing bass. Prince sings the lurid lyrics in a hard falsetto from the point of view of a highly aroused man surreptitiously peeping a couple in the process of enacting a violent sexual fantasy. It’s a stellar track, disturbing in its way but loaded with power and an unusually dangerous vibe for a Prince song.

12. “Shhh” (from “The Gold Experience,” 1995)

Prince scored a hit for young vocalist Tevin Campbell with “Round & Round” from “Graffiti Bridge” in 1990. Campbell’s next attempt to record a Prince tune, “Shhh,” wasn’t as successful. In exasperation, Prince transformed the song into a rock behemoth with some of the most stunning guitar the man ever recorded, plus some of the most devastating, come-hither, sexually charged vocals of his career.

13. “The Same December” (from “Chaos & Disorder,” 1996)

Prince handed Warner Bros. two albums of “older” material in 1996 for them to put out as they chose to complete his contract — “Chaos & Disorder” and “The Vault.” “The Same December” is a buoyant guitar rocker that would have soared into the Top 20 had it been released a decade earlier.

14. “When the Lights Go Down” (from “The Vault — Old Friends for Sale,” 1999)

A long, R&B/jazz flavored slow-jam with booming bass and some jaw-dropping instrumentation, it’s clear that Prince didn’t have it in him to turn in subpar material even for contract filler. Prince nails his sweet falsetto, which doesn’t come in until after two minutes of sublime Latin-groove instrumental introduction.

15. “The Love You Make” (from “Emancipation,” 1995)

This powerful gospel-flavored rock ballad ratchets up the intensity as it approaches a breathtaking climax. Often a stunner in live performance, “The Love You Make” sounds entirely more authentic than almost anything else on “Emancipation.”

16. “Comeback” (from “The Truth,” 1997)

“The Truth” is an all-acoustic album included with the “Crystal Ball” box set of previously unreleased material. Because of its hard-to-acquire status, “The Truth” has not been widely heard. The highlight is the short but exquisitely beautiful “Comeback,” a song presumably written by Prince for his late son. Not often does Prince allow something so nakedly personal to be heard by his audience and the song is worthy of its stature as a touching goodbye.

17. “Wasted Kisses” (from “New Power Soul,” 1998)

This track is indeed a hidden gem — you have to scroll through the CD to track 49 to find it, but it’s well worth the extra clicks. It’s about as bitter a Prince song as you’ll ever hear. We hear gunshots, an ambulance, medical personnel and a flatline all the while Prince is singing, “Why did I waste my kiss on you, baby?/Why did I waste my kisses on you now.” It’s as strange and as chilling a song as Prince has ever released.

18. “I Love U, But I Don’t Trust U Anymore” (from “Rave un2 The Joy Fantastic,” 1999)

Prince’s performance here is emotionally authentic and shows a naked vulnerability we’re not used to hearing from him.

19. “She Loves Me 4 Me” (from “The Rainbow Children,” 2001)

“The Rainbow Children” seems to be Prince’s version of a concept album inspired by the teachings of his new religion. It seems nobody really understood any of it but Prince himself, but that hardly matters. “She Loves Me 4 M” is a classic mid-tempo Prince pop tune built on the lovely interplay between a glistening order and Prince’s guitar. It stands along with anything he has done.

20. “Reflection” (from “Musicology,” 2004)

The final track from Prince’s 2004 comeback “Musicology” — a year in which Prince launched his first major U.S. tour in ages and also saw him steal the show at the Rock and Roll Hall of Fame, “Reflection” may be the musical highlight — a charming piece of nostalgia set to gentle acoustic guitar, like a photograph faded with time.

21. “Love” (from “3121,” 2006)

“3121” earned Prince his first No. 1 album in America since the ‘80s, and it’s easy to understand why. It’s a super-slick and modern collection of first-rate pop and R&B, and “Love” is one of the album’s highlights. Although it was never a single, the song has an irrepressible groove, jittery keyboard, a strong melodic hook and Prince sounds his confident best.

22. “All the Midnights in the World” (from “Planet Earth,” 2007)

Prince’s 2007 album “Planet Earth” was the first to prominently feature old Revolution mates Lisa Coleman and Wendy Melvoin substantially in 30 years. It’s a gentle song that doesn’t fit with much of what Prince has been doing in recent years, which is no doubt part of its luminous charm.

23. “Future Soul Song” (from “20ten,” 2010)

“20ten” is generally not regarded as one of Prince’s finest efforts, but it’s not nearly as bad as some would have you believe. There are indeed gems, like the electronic powerhouse “Beginning Endlessly,” the lithe and funky “Sticky Like Glue,” and especially the gorgeous ballad “Future Soul Song,” with an old school groove, sumptuous keyboards and with Prince shifting from his soulful slower register during the versions to his most feathery falsetto for the chorus.

24. “Way Back Home” (from “Art Official Age,” 2014)

“Most people in this world were born dead, but I was born alive.” It’s a line impossible to forget and impossible to argue. “Way Back Home” is Prince’s transcendent ballad from his triumphant 2014 release “Art Official Age,” a smart collection of fresh pop and R&B. The vocal harmonies and the sincerity in Prince’s voice make “Way Back Home” the standout. It’s sheer beauty and heart on an album loaded with terrific songs.

25. “Revelation” (from “HITNRUN Phase 2,” 2015)

The final Prince album during his life was released in December 2015, “HITNRUN Phase 2.” Happily, it’s an album worthy of his catalogue. “Revelation” is the type of stripped-down ballad that Prince can crunch out by the dozen, but they’re all different and usually worthy of attention. He is careful to keep the song melodically interesting — he’s not trying to create a boring Top 40 hit. He delivers a superb falsetto and a blistering guitar solo. On the strongest track from his last album, Prince could still bring it at the highest quality.

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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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