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Gift Guide 2019 part 3: hot this year

Vice Wines, Budsies Selfie among hot items

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gift guide, gay news, Washington Blade

Editor’s note: This is part three of four Blade holiday gift guides. Last week’s installment (home gifts) is here if you missed it. Look for“last minute” in next week’s edition. (Dec. 13).

Category is: hot this year! Gifts galore for him, her, they and them — because secular Santa doesn’t discriminate like hypocrite “Christians” do.

Less is Bore! 

Life’s too short! Why settle for traditional ornaments? Celebrity collection: from the queen, politicians to fashion icons. From $19.95. Available at nakeddecor.com or at Naked Decor Pop Up store at Downtown Holiday Market in Washington. 

The Vice Wines

If any of your vices include a 2017 Mount Veeder Merlot, 2017 Spring Mountain District Cabernet Sauvignon, or 2018 Carneros Pinot Noir, stock up and save with these aptly named vinos handcrafted to make you feel naughty and nice. $28-695, thevicewine.com.

Budsies Selfie and Petsies Dolls

Lookalike dolls made to order from submitted photographs of your human and pet pals are stuffed with so much holiday cheer that this thoughtful treasure will be cherished for years to come. Ideal for drag queens that have everything but this. $99, budsies.com; $59-199, mypetsies.com.

Sprints Running Hat

The super-light, moisture-wicking Tropical Jaguars hat (unisex) protects athletes and outdoor enthusiasts from noggin burn and wet eyes whenever they feel like running wild. $29, getsprints.com.

Bluprint Subscription

Kick-start your secret Santa’s side hustle with Bluprint — NBCUniversal’s digital subscription service that offers classes, projects and supplies across 20-plus crafting hobbies, like quilting, knitting, embroidery and crochet, that can easily transform a creative procrastinator into a weekend money maker. $8-200, mybluprint.com.

OurShelves Children’s Book Box

Guncles and lesbi-aunts will be bedtime-story superstars when they deliver this quarterly subscription box filled with racially and ethically diverse children’s books featuring LGBTQ, feminist and other traditionally under-represented characters and families. $20-70, ourshelves.com.

Kimball Quero Boots

Step up your partner’s foot-fashion game with these ruggedly constructed wingtip boots featuring mixed leather and rubber for a no-slip stride that are as dapper as they are “damn, boy – you lookin’ fiiine!” $245-255, querohms.com.

Dessert Gallery Party in a Box

A successful holiday potluck requires two staples: free-flowing booze and plenty of sweet treats. You’ll find the latter in this Party in a Box available in Southern Pecan Pie, Tres Leches, To-Die-For Fudge Pecan Pie or a customizable tasting box. $40-89, dessertgallery.com.

Cat Ball Bed

Cats lick their plates clean when there’s fish on the menu, but roles are reversed when cute kitties become shark bait in this killer-cozy bed that’s totally fin-tastic. $85, thecatball.com.

Kombucha Making Kit

Whether you guzzle it or gag on it, kombucha has proven it has staying power and now the most health-conscious homos in your squad can whip up a fresh batch of their favorite fermented fizz without forking over a bundle per bottle. $45, farmsteady.com.

Rory Rockmore Pronoun Necklace

Using proper pronouns in the LGBTQ world can be confusing — you’ll stand corrected if you accidentally misgender — but these 14K gold or white gold nameplate necklaces (also available in HE/him and SHE/her) remove all the guesswork so you can save face. $240, roryrockmore.com.

The 5 O’Clock Box & Tom of Finland Vodka

In these three-step kits — available in sparkling rosé, spiced Old Fashioned, smoky margarita, and Moscow mule — all 5-o’clock-somewhere-ers have to do is add alcohol (like Tom of Finland vodka), shake or stir, and garnish to get tipsier than a freshly cut Tannenbaum. $30, twistyourspirits.com; $35, tomoffinlandvodka.com.

Quartz Collective Healing Crystals

You don’t have to believe in magic to reap the benefits of this collection of curated stones and crystals (which is backed by scientific research, btw) that can help facilitate healing, luck, confidence and calm and soothe negative nervous energy like anxiety. Rub ’em hard enough and you might even conjure up a top who can host. $29, quartzcollective.com.

Succulentsbox.com

The best gift for friends in tiny apartments is even tinier plants that don’t require a ton of care. Live-and-let-live succulents and minis are the perfect present — because who the hell wants to attend another ficus funeral? $5-228, succulentsbox.com.

STOCKING STUFFERS

Mokuyobi Wallets

This color-blocked, couldn’t-be-queerer-if-it-tried collection of clothing and accessories pop so hard Crayola is blue-green with envy. Wallets so bright they’ll make a bish swish harder. $12-156, mokuyobi.com.

CBD Under $20

Pop a literal chill pill when your in-laws start their shit at Christmas supper with CBD hemp capsules or gummies clocking in at under $20 for more than a week’s worth of you-don’t-give-a-fuckness. $7-20, cbdfx.com.

Axol & Friends

These cute plush critters with a purpose have companion storybooks. Axol is gender neutral, using only the pronoun “they/them” in the books, which teach children about rare endangered species and advocate for sustainable, ethical production and consumerism while donating a portion of proceeds to youth empowerment programs around the world. $19, axolandfriends.com.

Socks That Save LGBTQ Lives

Take a cue from today’s black-sock-showing youth and don this out-and-proud rainbow-stripe pair, the proceeds from each will benefit The Trevor Project to provide crisis intervention and suicide prevention for LGBTQ youth. $17, fairtradewinds.net.

HipDot Pressed Glitter Palette

Hey Sis!, Big Boss Miss Ross and Royal Riot are just a few of the names in HipDot’s 15-shade pressed glitter palette designed for all genders to beat their faces like Ziggy Stardust. Proceeds will be donated to the Anti-Violence Project. $30, hipdot.com.

Tighty Whities Ornament

Baby, it’s really cold outside with these festive, glass-assed skivvies that add some bulge to your bulbs. $18, alwaysfits.com.

felixSEBASTIAN Earrings

Burl Ives sang the praises of silver and gold in 1964’s “Rudolph the Red-Nosed Reindeer,” but you can accessorize all the same with the very-now Nascence Collection Studs available in three shapes and metal tones. $50, iamfelixsebastian.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. He spends his time writing from the beach with his dog Jaxon. Connect with Mikey on Instagram @mikeyroxtravels.

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Photos

PHOTOS: Xunami Muse at Shakers

‘RuPaul’s Drag Race’ contestant performs

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Xunami Muse performs at Shakers on Saturday. (Washington Blade photo by Michael Key)

Xunami Muse of “RuPaul’s Drag Race” season 16 performed at the drag show Shook at Shakers on Saturday, May 10. Other performers included Crystal Edge, Tatianna, Aave Blue, Drew Friday and Jaybella Banks.

(Washington Blade photos by Michael Key)

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Theater

A trip ‘through media, memory to examine cultural imperialism’

Ashil Lee on Woolly’s ‘Akira Kurosawa Explains His Movies and Yogurt’

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Ashil Lee as Kurosawa in ‘Akira Kurosawa Explains His
Movies and Yogurt (with live and active cultures!)’ (Photo courtesy Gisela Estrada Photography)

‘Akira Kurosawa Explains His Movies and Yogurt (with live & active cultures!)’
Through June 1
Woolly Mammoth Theatre Company
641 D St., N.W.
Tickets start at $55
Woollymammoth.net

New York City-based artist Ashil Lee, 31, acts and directs. When you enter their name in a search engine, you’re first likely to find “Korean American trans nonbinary child of immigrants.”

Currently they’re playing in Woolly Mammoth Theatre’s world premiere production of Julia Izumi’s “Akira Kurosawa Explains His Movies and Yogurt (with live & active cultures!),” a trip “through media and memory to examine cultural imperialism, ‘healthy’ consumption, and why we make art.”

The play isn’t exactly a biopic of innovative Japanese filmmaker Kurosawa (1910-1998), says Lee.  

“It’s more of a jumping off point for our own emotional journeys, which is parallel to how he’s inspired other filmmakers,” they continue. “While you may not have seen his ground-breaking samurai films, you’ve undoubtedly seen lots of movies and TV directly inspired by his work.” 

Recently, I called Lee at their temporary Woolly-provided Penn Quarter digs just a block from the theater. Smart and warmly engaging, they were enthusiastic to share what brings them to D.C. 

WASHINGTON BLADE: How did you find your way into this interestingly titled play?

ASHIL LEE: My part, Actor Two, was originally written for a female actor. When playwright and cast member Julia [Izumi] asked me if I was open to auditioning for the role, I agreed and subsequently booked the part. 

Julia and I know each other from working in New York [“The Nosebleed” at The Lincoln Center Theatre] where she was associate director and an understudy, and I was an actor. She learned the part, but never went on stage, so our experience was limited to the rehearsal room 

Now I get to act with Julia with people watching.

BLADE: Actor Two sounds pretty wide open. 

LEE: And that’s what so great about it. A name like Actor Two that means you’re going to play a lot of different roles which is true in this case. More specifically, I play Stage Hand, myself, and an older version of Kurosawa. 

BLADE: You play the iconic filmmaker’s filmmaker? 

LEE: All of the cast play Kurosawa at different stages in his life. Similar to varied cultural strains of yogurt, we call them the different strains of Kurosawa.

The play includes other characters too: Heigo, Kurosawa’s older brother and childhood influence: and a famous fetishizer who proves a problematic guest, someone we love to hate.

BLADE: Are you a Kurosawa fan? 

LEE: Actually, I’ve never seen a Kurosawa film. And since one of my characters hasn’t seen any of his work either, I thought I’d hold off seeing any. This is a play that’s equally appealing to both those who know a lot about Kurasawa and those who’ve never heard of him. 

BLADE: Changing gears. Were your parents disappointed that you didn’t take a conventional career path?

LEE: I’m fortunate that my mother is an artist. She has seen the value of artistry and has encouraged me to go into the arts. To some extent, I think she lives vicariously through the way I do art as a job. Still, my parents haven’t entirely shaken that immigrant success driven mentality. They believe “you can be an artist but you have to be the best.” Whatever the best means. 

BLADE: And how are they with your gender? 

LEE: My parents know that I’m nonbinary and they’ve been understanding, however I haven’t talked much about the transmasc part of it; I’m letting them take their time on that. 

BLADE: As a kid in Lafayette, Kentucky, you played bugs (Glow-Worm, Cricket, and Charlotte). What do you like playing now? 

 LEE: I especially like parts where you play yourself and get to put on different characters. If I could only be in that kind of play for the rest of my life, I’d be more than satisfied. That’s my jam.

As a trans performer it’s such a gift. I’m able to show up completely as myself and then step into different characters without quieting myself. It feels like a gift. I think about it in relation to my gender but also my race. 

BLADE: You’re current gig in a sentence?

LEE: It’s awonderful mishmash, a theatrical playground that takes you to a lot of different places in a short amount of time and leaves you thinking about your own life. 

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Music & Concerts

Underdog glorious: a personal remembrance of Jill Sobule

Talented singer, songwriter died in house fire on May 1

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Writer Gregg Shapiro with Jill Sobule in 2000. (Photo courtesy Shapiro)

I’ve always prided myself on being the kind of music consumer who purchased music on impulse. When I stumbled across “Things Here Are Different,” Jill Sobule’s 1990 MCA Records debut album on vinyl in a favorite Chicago record store, I bought it without knowing anything about her. This was at a time when we didn’t have our phones in our pockets to search for information about the artist on the internet. The LP stayed in my collection until, as vinyl was falling out of fashion, I replaced it with a CD a few years later.

Early in my career as an entertainment journalist, I received a promo copy of Jill’s eponymous 1995 Atlantic Records album. That year, Atlantic Records was one of the labels at the forefront of signing and heavily promoting queer artists, including Melissa Ferrick and Extra Fancy, and its roster included the self-titled album by Jill. It was a smart move, as the single “I Kissed A Girl” became a hit on radio and its accompanying video (featuring Fabio!) was in heavy rotation on MTV (when they still played videos).

Unfortunately for Jill, she was a victim of record label missteps. When 1997’s wonderful “Happy Town” failed to repeat the success, Atlantic dumped her. That was Atlantic’s loss, because her next album, the superb “Pink Pearl” contained “Heroes” and “Mexican Wrestler,” two of her most beloved songs. Sadly, Beyond Music, the label that released that album ceased to exist after just a few years. To her credit, the savvy Jill had also started independently releasing music (2004’s “The Folk Years”). That was a smart move because her next major-label release, the brilliant “Underdog Victorious” on Artemis Records, met a similar fate when that label folded.

With her 2009 album “California Years,” Jill launched her own indie label, Pinko Records, on which she would release two more outstanding full-length discs, 2014’s “Dottie’s Charms” (on which she collaborated with some of her favorite writers, including David Hadju, Rick Moody, Mary Jo Salter, and Jonathan Lethem), and 2018’s stunning “Nostalgia Kills.” Jill’s cover of the late Warren Zevon’s “Don’t Let Us Get Sick” on “Nostalgia Kills” was particularly poignant as she had toured with him as an opening act.

Jill was a road warrior, constantly on tour, and her live shows were something to behold. My first interview with Jill took place at the Double Door in Chicago in early August of 1995, when she was the opening act for legendary punk band X. She had thrown her back out the previous day and was diagnosed with a herniated disc. To be comfortable, she was lying down on a fabulous-‘50s sofa. “I feel like I’m at my shrink’s,” she said to me, “Do you want me to talk about my mother?”

That sense of humor, which permeated and enriched her music, was one of many reasons to love Jill. I was privileged to interview her for seven of her albums. Everything you would want to know about her was right there in her honest lyrics, in which she balanced her distinctive brand of humor with serious subject matter. Drawing on her life experiences in songs such as “Bitter,” “Underachiever,” “One of These Days,” “Freshman,” “Jetpack,” “Nothing To Prove,” “Forbidden Thoughts of Youth,” “Island of Lost Things,” “Where Do I Begin,” “Almost Great,” and “Big Shoes,” made her songs as personal as they were universal, elicited genuine affection and concern from her devoted fans.

While she was a consummate songwriter, Jill also felt equally comfortable covering songs made famous by others, including “Just A Little Lovin’” (on the 2000 Dusty Springfield tribute album “Forever Dusty”) and “Stoned Soul Picnic” (from the 1997 Laura Nyro tribute album “Time and Love”). Jill also didn’t shy away from political subject matter in her music with “Resistance Song,” “Soldiers of Christ,” “Attic,” “Heroes,” “Under the Disco Ball,” and the incredible “America Back” as prime examples.

Here’s something else worth mentioning about Jill. She was known for collaboration skills. As a songwriter, she maintained a multi-year creative partnership with Robin Eaton (“I Kissed A Girl” and many others), as well as Richard Barone, the gay frontman of the renowned band The Bongos. Jill’s history with Barone includes performing together at a queer Octoberfest event in Chicago in 1996. Writer and comedian Julie Sweeney, of “SNL” and “Work in Progress” fame was another Chicago collaborator with Sobule (Sweeney lives in a Chicago suburb), where they frequently performed their delightful “The Jill and Julia Show.” John Doe, of the aforementioned band X, also collaborated with Jill in the studio (“Tomorrow Is Breaking” from “Nostalgia Kills”), as well as in live performances.

On a very personal note, in 2019, when I was in the process of arranging a reading at the fabulous NYC gay bookstore Bureau of General Services – Queer Division, I reached out to Jill and asked her if she would like to be on the bill with me. We alternated performing; I would read a couple of poems, and Jill would sing a couple of songs. She even set one of my poems to music, on the spot.

Jill had an abundance of talent, and when she turned her attention to musical theater, it paid off in a big way. Her stage musical “F*ck 7th Grade,” a theatrical piece that seemed like the next logical step in her career, had its premiere at Pittsburgh’s City Theatre in the fall of 2020, during the height of the pandemic. The unique staging (an outdoor drive-in stage at which audience members watched from their cars) was truly inspired. “F*ck 7th Grade” went on to become a New York Times Critic’s pick, as well as earning a Drama Desk nomination.

In honor of the 30th anniversary of Jill’s eponymous 1995 album, reissue label Rhino Records is re-releasing it on red vinyl. Jill and I had been emailing each other to arrange a time for an interview. We even had a date on the books for the third week of May.

When she died in a house fire in Minnesota on May 1 at age 66, Jill received mentions on network and cable news shows. She was showered with attention from major news outlets, including obits in the New York Times and Rolling Stone (but not Pitchfork, who couldn’t be bothered to review her music when she was alive). Is it wrong to think that if she’d gotten this much attention when she was alive she could have been as big as Taylor Swift? I don’t think so.

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