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Leslie Jordan on Whoopi, Gwyneth, ‘Will & Grace’ and the one topic he won’t discuss

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Leslie Jordan, gay news, Washington Blade
Leslie Jordan, gay news, Washington Blade

Leslie Jordan says his career got a second wind when he started doing one-person shows. (Photo courtesy Jordan)

Washington Blade presents

 

Leslie Jordan Live!

 

7 (sold out) and 9 p.m.

 

Friday, June 10

 

Studio Theatre

 

1501 14th St., N.W.

 

washingtonblade.com/leslie

 

Leslie Jordan is one of those actors pretty much everybody knows, but you have no idea how many things he’s been in until you look up his IMDB page.

Films “Sordid Lives” and “The Help,” one-man shows “My Trip Down the Pink Carpet” and “Straight Outta Chattanooga,” and a TV filmography that looks about as vast as that of Cloris Leachman — most notably “American Horror Story: Coven” and, of course, “Will & Grace,” the landmark sitcom that won him an Emmy for his recurring role as Karen’s nemesis Beverley Leslie.

Interviewing him, you kind of expect the frequent giggles and pronounced Southern drawl. What you don’t quite expect is the (almost) no-holds-barred honesty, rare in nicey-nice, PR-drenched Hollywood. He’s here Pride weekend for a packed spate of activities including two Washington Blade-sponsored shows at Studio Theatre on Friday, June 10. He will serve as a Pride parade grand marshal on June 11 and participate in Night Out at the Nationals on June 14. We spoke with him by phone from his home just outside of West Hollywood. His comments have been slightly edited for length.

WASHINGTON BLADE: So it looks like you’ll be quite busy next weekend in our fair city.

LESLIE JORDAN: Yes, it’s all worked out so beautifully. I’m doing the parade, I’m doing this show at Studio Theatre with the Blade and I’m going to throw the first ball out with the Washington Nationals. I’ve been practicing. Who knew I was such a good pitcher, but I am. … I’m a little concerned after this incident with the Padres — I hope I don’t get heckled. I don’t really think I will, but you never know in this day and age. I’m excited to see my friend, Ty Herndon, who will be in town for his own show at GALA Theatre, so it’s just fabulous that all this has come together. I asked the Pride folks if I could have a pony to ride in the parade, but they said no. I said, “Well, can I at least have some pretty boys dressed up as horses to dance with me?” I have this riding outfit I want to wear. So there’s a lot cooking right now.

BLADE: You were a jockey, right? So you certainly know your way around a horse.

JORDAN: Oh yes, for many, many years. Did you hear about the incident at the Starbucks?

BLADE: You threw a drink at somebody, right?

JORDAN: Yes, these three boys came in all cracked out at 9 o’clock in the morning. And listen, these weren’t straight boys. People said, “Oh, they were here to bash the gays.” No honey, listen — these were gay street kids. … They started acting out and I was like, “We can’t have this at the gayest Starbucks in the world.” I told them to get the fuck out. One of them came at me, so I threw my iced tea right in his face. … Anyway, it was a huge ruckus. I got a lot of mileage out of it for my one-person show.

BLADE: You’ve had several standup shows — “My Trip Down the Pink Carpet,” “Straight Outta Chattanooga” and so on. Do you do one for a while or different ones in different cities? How does it work?

JORDAN: It kind of started when I worked with Lily Tomlin years ago on a show called “12 Miles of Bad Road.” She asked me if I made any money doing my stand-up show. I said, “Well, it’s $1,600 just to ship my set.” She said, “Your set? You don’t need a set. Just you and a mic.” So you land somewhere, then you add the bells and whistles. So that’s kinda been the way I’ve done things. When I won that Emmy 10 years ago, I thought my career would spiral but nothing. It was the oddest thing. I called my management after a year and said, “I can’t eat this Emmy. I can’t get any TV work, what am I gonna do?” And I did the smartest thing I’ve ever done. I called this marketing firm out of Palm Springs and said, “Market me. I’m so popular with the gay community. I’ll do one-person shows, I’ll lead parades, you know, just whatever.” So now I’m up to 44 venues a year and I just adjust whatever I’m doing for the place, you know, sort of like a musician with a set list.

BLADE: Does your concept change?

JORDAN: Once a year, the marketing firm calls and goes, “What’s your new show called?” and I just go, “Um,” and I make up a new title. I’ll say, like, “This one’s called ‘Full of Gin and Regret,’” and they’ll go, “OK, that’s good.” But it’s all kind of the same show. Sometimes they’ll call and go, “OK, girl, you gotta quit trotting out all this old stuff, all this ‘Will & Grace’ stuff and so on,” but I kinda disagree with that. I think it’s kind of like when you go hear a band. Nobody cares about their new album. You want to hear their old stuff. … I’m booked all summer, then on July 7, I go back to “American Horror Story” with Lady Gaga, isn’t that fun? I did one season on “Coven.” They offered me another season but I got offered a reality show in London and I needed the money. Let me tell you, those reality shows pay a lot of money. So I turned down “Freak Show,” biggest mistake of my life. I didn’t think Mr. (Ryan) Murphy would want me again because I turned him down, but he did.

BLADE: Have you met him?

JORDAN: No. When I was doing “Coven,” he was doing “Normal Heart” for HBO, so I never got to meet him. But he was very involved. In one scene, I said, “I don’t think I’m going to wear my glasses in this scene,” and they said, “Well, that’s really a Ryan question.” They had him on the phone in like two minutes and they came back and told me to start the scene with them on, then take them off to gesticulate. That’s how involved he is. … Same thing with David E. Kelley. I’ve done like every show he’s ever done but I’ve never laid eyes on him either. They’re both very, very specific.

BLADE: Was the “Will & Grace” set fairly friendly? Were you and Megan Mullally pals?

JORDAN: They all got very famous together and very, very rich together. People thought I was there hanging out all the time and so on, but I only did maybe three a year or something like that. Everybody was friendly to me, but it wasn’t a big part of my life. I didn’t come on until the third season. But there was some real magical stuff happening. It was a very popular character. I remember once I walked out and the audience went so crazy, the director said, “We had Elton John on last week, he didn’t get that kind of reaction.” He said, “You all need to calm down, he ain’t that famous.” I said, “Yet!”

BLADE: Sean Hayes (Jack) didn’t come out until years after the show, which always seemed so odd to me. Was he out to the cast and crew?

JORDAN: You know, Sean, I would never put him down in any way, but Sean and I never really had a real conversation. He was like that person you work with and you’re always friendly, “Good morning,” and so on, but never once do I remember having a real conversation with him. Somebody asked me about him once in an interview and I said, “Yeah, like anybody’s gonna blow her cover.” It got printed and, I don’t know. I remember we were sitting right next to him at the Emmys and my mother even noticed it. She said, “He hasn’t said much.” I said, “Well, he’s gonna be on stage, he’s nervous.” But to answer your question, I never really knew him that well. He’s a lovely boy.  … People think we just bond so much on those sets, but it’s not like that. You go to work and do your thing. We had a lot of fun. … The only one I really keep up with now is Megan. I’m not going to do it anymore, but people have sometimes asked me to ask her for something, you know, like a charity thing or something. And she’s done it, but I feel bad — people ask them for so much all the time.

BLADE: I bet.

JORDAN: I love ‘em all. I ran into Eric (McCormack) on the street in London. He said, “I’m here with my show (“Perception”).” I don’t watch TV at all. I’m kind of in my own little world, I read. … I said, “Oh, is it a pilot?” He said, “Uhhhh — no, we’re in our fourth season.” …. Debra (Messing) I haven’t spoken to at all but when I won the Emmy, she sent me this huge orchid that must have been like $800 or something.

BLADE: So you’re shooting a sequel to “Sordid Lives”?

JORDAN: Yes, I return as Brother Boy. I’m in the mental hospital but I’ve escaped and I go on the lam with a serial killer. We shot it in Winnipeg, then we’ve got about a week in Dallas left to finish it. You know, you watch these comedies with Melissa McCarthy and so on. And they’re funny, but nothing is as funny as this. You have no idea. It’s so outrageous.

BLADE: And Whoopi Goldberg is in it too?

JORDAN: Yes. She rode a bus up to Winnipeg from New York, shot for like five hours, got back on the bus and went home. I said, “Do you remember me from ‘The View’? I got up and danced and almost kicked you in the face.” She said, “Uh-uh.” I think there’s some pot smoking there, but what a lovely human being. So down to earth. … She’ll blow a line and just say, “Shit, let’s do it again.”

BLADE: Where do you get your clothes? Do you have them custom made?

JORDAN: I shot a pilot for Lily for HBO that never made it on the air. They built me a whole wardrobe. I have about five suits. I was supposed to play the richest man in Texas, so I have these velvet smoking jackets, pants. … The other day I looked in my closet and said, “You know, my wardrobe is complete.” I really don’t need to buy another thing ever. … I’ve lost a lot of weight. I’m down to about a 30 waist. I can wear jeans I wore in high school.

BLADE: How did you do it?

JORDAN: I swim in the morning and do the treadmill and I never miss a day. … I also just really, really got into my diet. Sugar is the enemy, period. If people would just cut that out, but oh my God, it is difficult.

BLADE: You know a lot of people in the industry and live near West Hollywood, yet you travel so much. What’s dating like? Are you in a relationship?

JORDAN: Well, that’s the only thing I don’t talk about. It’s complicated and I learned that a long time ago. But I’m happy. Real happy. It’s caused so many problems over the years, that I just learned to zip it. Relationships are hard enough without that kind of burden. You know how Gwyneth Paltrow was never photographed with her husband? People say, “Oh please, what’s that about?” I’m nowhere near that level of fame, so I can’t even imagine, but that’s just the way it is. But let’s just say I’m very happy.

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Girls Rock! DC empowers young people through music, social justice education

Organization founded in October 2007

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Youth leaders of Girls Rock DC! (Washington Blade photo by Michael Key)

Girls Rock! DC, an organization operating at the intersection of art and activism, is dedicated to empowering young people through music and social justice education. 

Since its founding in October 2007; Girls Rock! DC has been creating a supportive, inclusive and equitable space that centers around girls and nonbinary youth, with a special emphasis on uplifting Black and Brown youth. At the core of Girls Rock! DC’s mission is a unique approach to music education, viewing it through a social justice and equity lens. 

“It’s a place where people can come explore their interest in music in a safe environment, figure out their own voice, and have a platform to say it,” Board Vice Chair Nicole Savage said.

This approach allows D.C.’s young people to build a sense of community and explore their passion for social change through after-school programs, workshops and camps.

The organization’s roots trace back to the first rock camp for girls in August 2001 in Portland, Ore. Similar camps have emerged worldwide since then, forming the International Girls Rock Camp Alliance. Girls Rock! DC is a member of this alliance, contributing to the larger community’s growth and advocacy for inclusivity in the music industry.

Girls Rock! DC’s annual programs now serve more than 100 young people and 20 adults, offering after-school programs and camps. Participants receive instruction on the electric guitar, the electric bass, keyboards, drum kits and other instruments or on a microphone and form bands to write and perform their own original songs. Beyond music, the program includes workshops on underrepresented histories in the music industry, community injustice issues and empowerment topics that include running for office and body positivity.

“I’ve been playing shows in the D.C. music scene for about six years, and I feel like Girls Rock! DC is the perfect amalgamation of everything that I stand for,” said Outreach Associate Lily Mónico. “So many music spaces are male dominated and I think there is a need for queer femme youth in music.”

Lily Mónico (Washington Blade photo by Michael Key)

The organization’s commitment to diversity and inclusion is evident not only in its leadership but also in the way it creates a safe space for queer and nonbinary individuals. Language is a crucial component, and Girls Rock! DC ensures that both campers and volunteers embrace inclusivity. 

“It is a very open and creative space, where there’s no judgment,” Zadyn Higgins, one of the youth leaders, emphasized. “It is the first time for a lot of us, to be in a space where we’re truly able to be ourselves.”

In creating a safe environment, Girls Rock! DC implements practices that include name tags with preferred names and pronouns, along with pronoun banners that help kids understand and respect diverse identities. 

“It’s really cool to watch these kids understand and just immediately get it,” said Higgins. 

Zadyn Higgins (Washington Blade photo by Michael Key)

Girls Rock! DC is also more than a music education organization; it’s a community where individuals can embark on a transformative journey that extends beyond their initial participation as campers. Many start their Girls Rock! DC experience as enthusiastic campers, learning to play instruments, forming bands and expressing their creativity in a supportive environment. The organization’s impact, however, doesn’t stop there. This inspiration leads them to volunteer and intern within the organization. 

The unique progression from camper to volunteer or intern, and eventually to a full-fledged role within the organization, exemplifies Girls Rock! DC as a place where growth is not confined to a single week of camp but extends into an ongoing, impactful journey. It’s a testament to the organization’s commitment to nurturing talent, empowering individuals and fostering a lifelong connection with the values for which Girls Rock! DC stands.

One of the highlights of Girls Rock! DC is its summer camp, where kids between 8-18 learn to play instruments, form bands, write songs and perform in just one week. Higgins shared a poignant moment from a showcase,

“To see them go from, like, crying a little bit about how scared they were to going out on the stage and performing their little hearts out was so sweet,” said Higgins.

(Photo courtesy of Frankie Amitrano of Girls Rock! D.C.)

Nzali Mwanza-Shannon, another youth leader, agreed that the camp is the highlight of the program. 

“The summer camp, I’ve met so many friends, and it’s always kind of scary coming up to the end, but after we get to perform and everything, I’m so grateful that I’ve gotten the opportunity to perform and meet new people and be so creative and do it all in a week,” said Mwanza-Shannon.

Forty-three young people who showcased their original songs and DJ sets at D.C.’s legendary 9:30 Club attended the first Girls Rock! DC camp in 2007. They performed to a crowd of 700 enthusiastic fans. The organization since then has grown exponentially, with each passing year bringing more energy, vibrancy and fun to the camp experience.

Since the pandemic, however, the organization has struggled financially, experiencing a funding shortage as well as reduced growth in attracting new members. 

Augusta Smith, who is a youth leader and a member of the band Petrichor, expressed concern about the potential impact on the unique and friendly environment that Girls Rock! DC provides. 

“We’ve kind of been really slow and barely making enough money. And this year, we’re having a funding shortage,” said Smith. 

The impact of Girls Rock! DC extends beyond musical skills, fostering leadership, self-expression and a passion for social change through creative collaboration and community power-building. Mwanza-Shannon hopes to be a part of Girls Rock! DC for a long time, 

“I want to keep on meeting new people,” said Mwanza-Shannon. “I want to keep on being able to perform at these different places and have different experiences.”

(Photo courtesy of Frankie Amitrano of Girls Rock! DC)
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‘Blindspot’ reveals stories of NYC AIDS patients that haven’t been told

Former Blade reporter’s podcast focuses on POC, women, trans people

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Kai Wright, a former Blade reporter, hosts the podcast ‘Blindspot.’ (Photo by Amy Pearl)

“We said that people had The Monster, because they had that look,” activist Valerie Reyes-Jimenez, said, remembering how people in her New York neighborhood reacted when people first got AIDS.

They didn’t know what to call it.

“They had the sucked in checks,” Reyes-Jimenez, added, “They were really thin…a lot of folks were saying, oh, you know, they had…cancer.”

“We actually had set up a bereavement clinic where the kids would tell us what they wanted to have when they die,” Maxine Frere, a retired nurse who worked at Harlem Hospital for 40 years and was the head nurse of its pediatric AIDS unit said, “How did they wanna die?”

“Nobody wanted to come on,” said former New York Gov. David Paterson, who in 1987 was Harlem’s state senator.

At that time, Manhattan Cable Television gave legislators the chance to do one show a year. “So I decided to do my show on the AIDS crisis and how there didn’t seem to be any response from the leadership in the Black community,” Paterson added.

These unforgettable voices with their searing recollections are among the many provocative, transformative stories told on Season 3 of “Blindspot,” the critically acclaimed podcast. 

“Blindspot: The Plague in the Shadows” is co-produced by the History Channel and WNYC Studios. The six-episode podcast series, which launched on Jan. 18 and airs weekly through Feb. 22, is hosted by WNYC’s Kai Wright with lead reporting by The Nation Magazine’s Lizzy Ratner.

The show is accompanied by a photography exhibit by Kia LaBeija. LaBeija is a New York City-based artist who was born HIV positive and lost her mother to the disease at 14. The exhibit, which features portraits of people whose stories are heard on “Blindspot,” runs at the Greene Space at WNYC through March 11.

If you think of AIDS, you’re likely to think of white cisgender gay men. (That’s been true for me, a cisgender lesbian, who lost loved ones to AIDS.)

From the earliest days of the AIDS epidemic, most media and cultural attention has been focused on white gay men – from playwright and activist Larry Kramer to the movie “Philadelphia.”   

“Blindspot” revisits New York City, an epicenter of the early years of the HIV epidemic.

The podcast reveals stories of vulnerable people that haven’t been told. Of people of color, women, transgender people, children, drug-users, women in prison and the doctors, nurses and others who cared and advocated with and on their behalf.

“Blindspot,” through extensive reporting and immersive storytelling, makes people visible who were invisible during the AIDS epidemic. It makes us see people who have, largely, been left out of the history of AIDS.

Wright, 50, who is Black and gay, cares deeply about history. He is host and managing editor of “Notes from America with Kai Wright,” a show about the unfinished business of our history and its grip on our future.

Recently, Wright, who worked as a reporter at the Washington Blade from 1996 to 2001, talked with me in a Zoom interview. The conversation ranged over a number of topics from why Wright got into journalism, to how stigma and health care disparities still exist today for people of color, transgender people and poor people with AIDS to the impact he hopes “Blindspot” will have.

“I came to work at the Blade in 1996,” Wright said, “the year after I got out of college.”

He’d done two six-month stints at PBS and “Foreign Policy.” But Wright thinks of the Blade as his first proper journalism job.

From his youth, Wright has been committed to social justice and to understanding his community. Reporting, from early on, has been his connection with social justice. “I often say, journalism has been my contribution to social justice movements,” Wright said.

His first journalistic connection to the Black community came when he was 15. Then, Wright became an intern with the Black newspaper, the Indianapolis Recorder.

“That’s how I got the [journalism] bug,” Wright said.

Since then, Wright said, he’s worked almost exclusively with media that have a connection with the community.

Wright grew up in Indianapolis and went to college at Emory University in Atlanta. He didn’t intend to be a journalist, he wrote in an email to the Blade. At Emory, he studied international politics.

Wright’s life and work changed direction when he began working at the Blade. “I was a kid,” Wright said, “I’d just come out. I used journalism to find out what it meant to come out.”

Wright, when he came to Washington, D.C., was, as he recalled, just a kid. He didn’t know anyone in D.C. and there was a Black, queer community. This helped Wright to come out. “I couldn’t have told you that at the time,” he said, “but in retrospect I can see that I moved to  D.C. to come out.”

Journalism was Wright’s way of finding his way through coming out.

“I didn’t know if the Blade was hiring,” Wright said, “I just walked in.”

He didn’t have a deep resume but he had a lot to say. The Blade hired him and immediately put him to work reporting on AIDS.

“It was a pivotal cultural and political moment – a pivotal moment for the community,” Wright said.

That year, when Wright began working with the Blade, life-saving treatments (early drug cocktails) were emerging for AIDS.

“There was no way that HIV and AIDS wouldn’t become a central part of my journalism,” Wright said, “I really wanted to report on it.”

With the emergence of treatments, white gay men with health insurance began to feel that they were turning the page and that AIDS was no longer a death sentence.

“But, as a reporter, I was meeting Black gay men who were going into emergency mode about the AIDS epidemic,” Wright said.

Black people, poor people, drug users and others without health insurance and access to treatment were still dying and transmitting AIDS. “‘This is getting more and more dire,’ the activists said,” Wright recalls.

They told Wright, “The rest of the community is starting to turn the page. We can’t turn the page.”

In D.C., Wright could see, through his reporting, the racial discrimination in the community at large in the AIDS epidemic, and in the queer community.

Two things are true simultaneously, Wright said, when asked if there is still stigma and discrimination around HIV and AIDS today.

“Science has made so much progress,” Wright said, “It’s no longer necessary for any of us to die from HIV.”

“I take a pill once a day to prevent me from catching HIV,” he added, “I can do that. I am a person with insurance…with a great deal of social and economic privilege.”

But many people in the United States don’t have health insurance, and exist outside of the health care system. The divergence in treatment and stigma that he saw as a young reporter in 1996 are still there today, Wright said.

“The divergence in class and race has grown even more profound,” he said, “among people of color, young people – transgender people.”

Wright hopes  “Blindspot” will make people who lived through the epidemic and whose stories weren’t told, feel seen. And that “they will hear themselves and be reminded of the contributions they have made,” Wright said.

The queer press plays an important role in the LGBTQ community, Wright said. “We need a place to hash out our differences, share stories and ask questions that put our experience at the center of the conversation,” he emailed the Blade.

“There’s more space for us in media than when I started my career at the Blade,” Wright said, “but none of it is a replacement for journalism done by and for ourselves.”

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Valentine’s Day gifts for the queers you love

From pasta and chocolate to an Aspen getaway

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Share the love on Feb. 14 with our thoughtful Valentine’s gift picks for everyone you like and lust.

Centrolina V-Day Pasta Kit

Washington, D.C.-based Centrolina’s seasonally inspired restaurant menu gets the delivered-to-your-door treatment with Chef Amy Brandwein’s holiday gift baskets featuring four handmade pastas and from-scratch sauces, including heart-shaped beet ravioli with ricotta and lemon butter, a mushroom and black truffle ragu, sunchoke tagliolini and oyster cacio pepe, and chestnut pappardelle, among other elevated-Italian recipes that you and your lil’ meatball can whip up on date night. $175, CentrolinaDC.com

La Maison du Chocolat

Heart-shaped candy clichés are much more palatable when the contents within are made in Paris instead of Hershey, Pa., and your intended will be sufficiently satisfied with La Maison du Chocolat’s selection of premium confections – including melt-in-your-mouth ganaches, pralinés and bouchées, oh my – available in festive and indulgent 14- and 44-piece boxes. $60-$140, LaMaisonDuChocolat.com

‘Spread the Love’ Plantable Pencils

SproutWorld’s set-of-eight Love Edition pencils set themselves up for seed-spreading jokes given Cupid’s context, but the real sentiment is sweeter: Plant the lead-free, graphite writing utensils (engraved with romantic quotes on certified wood) in potted soil and enjoy striking flowers and fragrant herbs in one to four weeks. $15, Amazon.com

W Aspen Getaway

Missed Aspen Gay Ski Week? No sweat. You’ll fight fewer crowds as the season winds down – without compromising your commitment to luxury – during a late-winter getaway to the heart of Colorado’s Rocky Mountains at the W Aspen. Book unforgettable outdoor adventures, like heliskiing and dog sledding, with the property’s always-available concierge; spend après hour on the rooftop WET deck before diving into delicious dishes at onsite restaurant 39 Degrees; see and be seen at Ponyboy, the property’s cocktail-focused modern speakeasy rooted in New York City nightlife; and pour yourself a nightcap from your in-room mini bar before relaxing in the suite’s deep soaking tub – because, ya know, all in a day’s work. Marriot.com

Nexgrill Ora Pizza Oven

Not a fan of fancy dining out? Slip into those grey sweats he won’t let you wear in public, top off the Veuve, and fire up Nexgrill’s Ora 12 portable propane pizza oven wherein a to-temp cordierite baking stone will cook your personalized pies to perfection at up to 900 degrees. That’s burnin’ love, baby. $299, HomeDepot.com

‘Just Happy to Be Here’ YA Novel

Have a they/them in your life excited to expand their winter reading list? Gift a copy of Naomi Kanakia’s newly published YA coming-of-age novel, “Just Happy to Be Here,” about Tara, an Indian-American transgender teenager seeking quiet support and acceptance within her school’s prestigious academic group but instead becomes the center of attention when she draws the ire of administrators and alumni. $16, Amazon.com

Perfect Pairings 

Set it off this Valentine’s Day with a curated selection of wine and spirits, including the Pale Rosé, created by Sacha Lichine, of Whispering Angel fame; Flat Creek Estate’s red-blend trio, featuring the 2017 Super Texan, 2018 Four Horsemen, and Buttero; Ron Barceló’s Imperial Premium Blend 40th Aniversario rum; and the Bourbon Rosemary cocktail-in-a-can from Spirited Hive. $17-$199

Moon Bath Bomb

Stars aligned for that little meet-cute you told everybody about on TikTok, and you can trust the universe to provide ample relaxation when you plop Zodica Perfumery’s Moon Bath Bomb in the tub – there’s a specific formulation for every sign, which promises vibe-setting aromatherapy, activated charcoal for deep cleansing, and skin-soothing olive oil for the self-love glow-up you’ve been waiting for. $18, ZodicaPerfumery.com

Mikey Rox is an award-winning journalist and LGBT lifestyle expert whose work has been published in more than 100 outlets across the world. Connect with Mikey on Instagram @mikeyroxtravels.

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