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D.C. homebuyers face hyper competitive market

Sellers in driver’s seat as region faces record low inventory

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housing market, gay news, Washington Blade

With job growth rising during a period of aggressive government spending and historically low mortgage rates, the spring 2021 market sits at the lowest level of inventory since 1983.

Homebuyers in the D.C. area continue to face an incredibly competitive market. This is truly a seller’s market.

Lack of Inventory: Washington, D.C. has been in a gradually worsening housing shortage since the Great Recession. The area hasn’t had a six-month supply of homes for sale for almost 12 years. Now, we add a global pandemic that seriously altered what homeowners want out of their home, Wall Street on fire, and insanely low interest rates and we get a surge in motivated homebuyers.

According to the National Association of Realtors (NAR), the number of homes nationwide reached a record low in December 2020, with just 1.07 million properties on the market. The DC metro area is even worse off than the national average with only one month’s supply of homes. That means if new listings were completely dried up, there would be no homes available in four weeks. On average, D.C. homes have been selling within 11 days, which is 15 days faster than this time in 2020.

Seller’s Market: The time is now for Washington, D.C. homeowners to seriously consider selling their homes if they have played with the idea. Experts predict 2021 will be another strong housing market with an increase in demand from existing homebuyers in search of larger homes and buyers who delayed purchasing a home due to the uncertainty of the pandemic.

Zillow forecasts a nearly 30 percent annual growth in homes for sale in 2021. This would be the largest home sales growth since 1983. Zillow’s annual report stated, “Home price appreciation will reach its fastest pace since the Great Recession, as the inventory crunch continues to pit buyers against each other, competing for a scarce number of homes for sale.”

D.C.’s Current Market: According to the NAR, in March of 2021, D.C. home prices had increased 4.1% compared to March 2020, for a median price of $635,000. There were 1,004 homes sold in March 2021, an increase from 842 at this time last year.

We are seeing many homes receive multiple offers within just a few days in the D.C. area. The average home is selling a little above 1% of the listing price and many hot homes are seeing large bidding wars and selling for 3% or more above the listing price; 42.7% of D.C. homes sold above list price in March of 2021. That is a 13.4% increase from last year at this time. Active inventory for March of 2021 was 1,457 homes, down 9% from March 2020. March 2021 also saw 991 homes sell in the D.C. area, an increase of 31% from February of 2021. March 2021’s total homes sold had a 19% increase from March 2020.

Buying a Home: In the current seller’s market, buying a home can be like playing a chess match. You need to know the rules and be strategic. It can seem more like winning than purchasing a home right now. If you find a home you want to buy, chances are you won’t be the only one making an offer. It is a seller’s market everywhere in the country right now and D.C. is no different. Be sure you know what you qualify for and what you can afford.

Conclusion: The NAR and the Mortgage Bankers Association both project prices of existing homes to increase 5.9% in 2021. This may mean buyers will have to be more flexible than in the past. For example, making an offer contingent upon the sale of a current home may be harder than before. It’s also possible you will pay more than the list price. The D.C. real estate market is on fire and many homes are off the market within 24 hours of listing. For sellers, if you have been thinking of selling your home there is no better time than the present.

 

Khalil El-Ghoul is Principal Broker for Glass House Real Estate. Reach him at [email protected] or 571-235-4821. Glass House Real Estate is a modern, more affordable way to buy and sell a home in the D.C. Metro area. Learn more about what makes us different at glassshousere.com.

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Miscellaneous

Kick-ass crossovers

Still the hottest vehicles in dealer showrooms

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crossovers, gay news, Washington Blade

Dodge Durango SRT Hellcat

Crossovers keep wending their way into our driveways—and our hearts. After overtaking sedans, station wagons and minivans as the hottest vehicles in dealer showrooms, crossovers are now taking aim at the most quintessential of American rides: the muscle car. With naughty looks and hepped-up engines, the two dynamite crossovers below are sure to blow your mind—and just maybe your budget.

DODGE DURANGO SRT HELLCAT
$81,000
Mpg: 12 city/17 highway
0 to 60 mph: 3.5 seconds

For more than 20 years, the Dodge Durango has been a solid if nondescript family hauler. But this year the automaker jazzed up its midsize crossover with brawnier styling and the latest tech toys. And for the first time, Dodge is offering a limited-edition Durango SRT Hellcat—a high-test model with the same hellacious Hemi V8 engine in the Challenger super coupe and Charger sport sedan. With 710 horsepower, this blazingly fast crossover can kick some serious ass, outrunning many a Ferrari and Lamborghini.

The upgraded suspension provides more dynamic handling and cornering, as well as selectable steering for better grip. For straight-line acceleration and to prevent nasty fish-tailing, I simply flipped the “launch control” toggle switch. The massive Brembo brakes also were stellar, with stop-on-a-dime performance and flaming red calipers on each wheel. Another plus: the iconic Hellcat exhaust rumble could be heard blocks away—music to the ears of any auto aficionado. As with all Durangos, this bruiser has best-in-class towing capacity of 8,700 pounds.

Inside, there’s plenty of space, including more room than expected for third-row passengers. The steering wheel, dash, and trim accents now have trendy Euro styling, though it’s more VW than upscale Audi. And you can opt for flashy seatbelts and premium seats in a color Dodge calls Demonic Red, along with black velour floor mats and a soft-touch headliner. Other features include heated/ventilated seats, a large 10.1-inch touchscreen, wireless smartphone integration and the ability to pair two Bluetooth devices at once. Options include a 19-speaker Harman Kardon stereo and rear-seat entertainment with Blue-Ray player. Alas, this is a limited-edition model and all 2,000 of these speed demons quickly sold out months ago. But there’s still hope: Dodge allocated some of the racy Durangos to select dealerships, so you can call around to see if any are still available. And you can always try social media to find a lucky Durango Hellcat owner who just might be willing to sell this rollicking ride, if the price is right.

LAND ROVER DEFENDER X
$85,000
Mpg: 17 city/22 highway
0 to 60 mph: 5.7 seconds

For decades, both the Land Rover Discovery and Range Rover have been ubiquitous in the United States. Not so the smaller and less ostentatious Defender, often seen as a work-horse vehicle in BritBox reruns or action flicks like Lara Croft: Tomb Raider. But last year the Defender returned to these shores after nearly a quarter-century hiatus.

Available in two- or four-door models, both Defenders start around $50,000. My test vehicle was the new top-of-the-line Defender X, which added—yikes!—another $35,000 to the sticker price. The look on these crossovers is boxy chic, which allows for a ginormous amount of headroom, legroom and cargo space. Land Rover also added extra stowage areas and cubby holes, as well as transom windows and a sliding panoramic sunroof to keep things airy. While the cabin may be sparse and full of solid plastics, the walnut trim on the center console and door panels is quite elegant.

Land Rovers have a somewhat infamous reputation for less-than-stellar electronics, but the 10-inch touchscreen was crystal clear and synced up seamlessly with the infotainment system. Tricked out with a jet-black roof, hood, and side cladding, the press vehicle I test drove was painted a haughty Eiger Gray Metallic. It also came with thick all-terrain tires, adding to a slightly menacing vibe. A full-size spare is conveniently mounted on the vertical tailgate, which swings completely open like a refrigerator door for easy access. The Defender X may not be as lightning quick as a Dodge Durango SRT Hellcat, but it’s still plenty fast. And this brute can tackle the toughest of terrains, thanks to locking differentials, hill-descent control and a standard air suspension that can raise the chassis 11.5 inches above the ground. Overall, the Defender X can’t quite hide its refined roots as a tony Land Rover. But as with the Dodge Durango SRT Hellcat, this burly crossover flexes some serious muscle.

Land Rover Defender X

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Miscellaneous

A closer look at the houses in our fave holiday films

The role of architecture in Christmas storytelling

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Christmas house, gay news, Washington Blade
Ralphie’s house in ‘A Christmas Story’ is available for special events and even weddings. (Photo courtesy AChristmasStoryHouse.com)

We’re in the midst of the Hallmark season. Their movies are available 24/7 and they can serve as both light entertainment and as background noise.

The formula is simple: boy meets girl, boy loses girl, boy gets girl, and she moves to some rural place with plenty of snow rather than live in the city where she is harried, overworked, and financially successful. Thankfully, Hallmark is finally branching out to boy meets boy and girl meets girl like Dashing in December and The Happiest Season, but the formula remains pretty much the same except that someone is still in the closet.

As a real estate agent, I tend to focus on things like architecture and décor when I watch the original classics and those that have become traditional in more recent years.

There are extreme exteriors like the Griswold house in National Lampoon’s Christmas Vacation and Deck the Halls, where the Halls and the Finches argue over how many exterior lights are too many.

One of my favorite movies is The Holiday, where Iris and Amanda exchange homes for Christmas vacation. Iris’s house is the quintessential stone cottage in a quaint English village. You can just feel how cold the house is until the fire is lit.

Amanda’s house, on the other hand, is a gorgeous Mediterranean built in the late 1920s, with a barrel tiled roof, located in San Marino, Calif. There are lots of contemporary touches inside, including automatic window shades and a kitchen to die for. While the house’s exterior is real, the interior was specifically constructed on a separate soundstage to transform it from traditional to contemporary.

The kitchen in A Christmas Story reminds me of my maternal grandparents’ home in Maine. It was a three-bedroom, one-bath upstairs apartment over my grandfather’s general store. We would sit around the table chatting while my Nana uncovered the dough that she would use to bake bread.

She would peel off little bits of dough to deep fry and we would eat them with locally made butter for breakfast (think hush puppies with dough instead of cornmeal). The whistle from the nearby, malodorous paper mill called us to lunch at that same table. At one, the whistle would blow again to call the townsmen back to work.

The incredibly large Georgian Colonial home in Home Alone, also from the 1920s, always made me wonder what Mr. McCallister did for a living that he could afford the mortgage. Today, that house in the Chicago suburban village of Winnetka, Ill., would command roughly $3 million.

The Victorian Four Square showcased in The Family Stone reminds me of the homes in 16th Street Heights, with large wrap-around porches, wide moldings, wainscotting and what looks to be William Morris wallpaper. And who could forget the Smith’s family home in Meet Me in St. Louis, an impressive Victorian Second Empire, where the songbird, Judy Garland, wooed us with her rendition of Merry Little Christmas.

The Columbia Inn with its adjacent ski lodge became the set for White Christmas. Bing Crosby and Danny Kaye sang and danced their way into our hearts. The lodge had floor to ceiling atrium windows and held about three dozen tables for dinner. It was beautifully decorated for the holiday, with the red of poinsettias and the green of World War II uniforms.

Also lovely were the Christmas tree and arched doorways in the 1947 Cary Grant film, The Bishop’s Wife (not to be confused with Denzel Washington’s 1996 remake, The Preacher’s Wife, which seems to take place as much outdoors as indoors).

How can we possibly talk about Christmas movies without mentioning the drafty, old house of It’s a Wonderful Life? The Old Granville House is another example of Second Empire Victorian (1860s to 1880s). In the beginning of the movie, it’s what we would call a fixer upper, without the shiplap and open floorplan favored by Chip and Joanna Gaines. Mary Bailey, wife of George, does an excellent job of cleaning and wallpapering (and, we hope, replacing windows) to transform an ugly duckling into the swan that is the family home.

Finally, Miracle on 34th Street is still one of my favorite Christmas movies, as much for the independence of the single mother and trial of Santa Claus as for the yellow Cape Cod that a young Natalie Wood is presented with once she learns to believe in Santa. Perhaps if you believe in Santa again, someone will bring you a house next year too.

Wishing you happiness and good health this holiday season.

Valerie M. Blake is a licensed Associate Broker in D.C., Maryland, and Virginia with RLAH Real Estate. Call or text her at 202-246-8602, email her via DCHomeQuest.com, or follow her on Facebook at TheRealst8ofAffairs.

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Miscellaneous

Queer fans’ love of Wonder Woman is bulletproof

Anticipated sequel ‘1984’ bows on Christmas Day

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Wonder Woman 1984
Gal Gadot’s ‘Wonder Woman 1984’ (Photo courtesy Warner Brothers HBO Max)

With the release of “Wonder Woman 1984” on Christmas Day, a whole new generation of queer fans will be able to connect to the iconic DC superhero through a campy, nostalgic lens – something countless GenX-ers hold near and dear in their memory, thanks to the ‘70s TV show starring Lynda Carter.

The character herself, of course, predates that series by decades. Debuting in DC’s “All Star Comics #8” in 1941, she was quickly embraced by readers, and soon became a star in her own right. In “official” mythology, she was sculpted from clay by her mother, Queen Hippolyta of the island nation Themyscira, and given life as an Amazon princess before joining the outside world in its battle against the Axis powers of WWII. Those details have been retooled from time to time over the years, adapting it to the needs of an ever-evolving canon and the changing cultural tides of time; but her essence has remained the same – a strong, confident, and independent female character who can not only stand as an equal among men but outthink and outperform most of them without even breaking a sweat.

As such, she has been embraced as a feminist icon – though in the early years, many (mostly male) readers and critics dismissed her as a representation of the “angry, man-hating lesbian,” an interpretation undoubtedly stoked both by her provenance as a member of an all-female society and a heavy dose of fragile masculine ego. As years have gone on, however, that view has been mostly eclipsed by an acceptance of Wonder Woman as a symbol of feminine empowerment and equality.

For women, regardless of sexual orientation, it’s not difficult to understand why; in a pop culture that still features a comparative dearth of such role models, she continues to loom large. What might be less apparent is the reason behind the character’s enduring popularity with gay men – which goes far deeper than the obvious camp associations arising from the ‘70s TV show.

Some of that appeal can surely be traced to her real-life origin story. Created by writer and psychologist William Moulton Marston (under the pen name Charles Moulton), she embodied his views around feminism, influenced by feminist thinkers of his day and his own observations about the impact on women of male-centric assumptions and expectations. More relevant, perhaps, is the inside story of the character’s development, which was influenced by not only his wife, Elizabeth Holloway Marston, but by their shared life partner, Olive Byrne; in an arrangement that would have been seen as beyond shocking during their era, the three of them were a polyamorous triad, and the involvement of the two women on shaping the character surely went far beyond just a visual design, which was based on features of both.

While those undeniably queer roots might link directly to Wonder Woman’s status as an LGBTQ fan favorite, they still don’t explain why gay men find the character so compelling – particularly since that history was largely unknown (for reasons that should be obvious) for much of her near-eight-decade existence.

Queer critics, theorists and scholars, of course, have provided volumes of their thoughts on the subject; but to get to the heart of the matter, there is no better source than the fans themselves.

For example, Jake Charles, a 40-something gay man who proudly sports a Wonder Woman tattoo on his arm and still heads to the bookstore as soon as every new issue of her comic hits the stands. He doesn’t remember, specifically, how he was introduced to Wonder Woman, but he knows it happened when he was about 5 or 6.

“Here was someone who could be a hero,” he tells us, “even though they weren’t butch and manly – and I needed to see that. I couldn’t tell you why, at the time, but I did.”

He elaborates, “She’d give you a charming smile, she’d be nurturing to someone she just saved in a way that Batman wouldn’t be. There was something loving and maternal that was just kind of built into her. Even when they’ve decided she needs to be more of a warrior, when they’ve tried to make her tougher and more manly over the years, that maternal side of her just keeps peeping through.”

That observation is echoed by another out-and-proud superfan, Keith Lamont, who says, “She was kind, loving and nurturing, traits that many of us didn’t receive as kids. She offered me protection and fantasy – her fabulous beauty and costumes, her invisible jet, Paradise Island.”

He goes on to add an important point. “I wanted to BE Wonder Woman, because that meant I could be adored by her love interest, Steve Trevor. She was really the only female superhero at that time, and I think it’s easier for a young gay boy to identify with a woman who is longing for the love of a man – as opposed to liking Superman or Batman, which is a different thing.”

Possibly the most universal shared experience of gay men with the character is expressed by another gay GenX-er, David Diaz, who tells us, “I loved her as a comic book superhero before the TV show, but once she came to life so spectacularly on the screen I was thoroughly entranced. Lynda Carter was stunningly gorgeous, but she played it straight, and she never traded on her looks or sexuality like so many other female action heroes. And she wasn’t an offshoot of some male hero, like Supergirl or Batgirl. She was her own woman.

“And of course, there was her transformation.  Every time she spun around to change into Wonder Woman, I would do the same in my family room.  I think the idea of her metamorphosis, from someone mundane and looked over to someone powerful and FABULOUS, was incredibly empowering for me. Even though I was years away from any real self-awareness of myself as a queer person, I clearly had some semi-conscious understanding of it, because I dreamed of being able to make that transformation myself.”

Even within this sampling of three voices, one can spot the common cord that binds them all together like Wonder Woman’s Lasso of Truth, as well as the variations of perspective that help to give this Amazon Warrior-turned-All-American-Hero such a profound influence on so many queer lives. What it comes down to, in the end, might be the reason she’s been embraced by members of almost every community that has been traditionally dismissed and sidelined by a dominant patriarchal culture – she inspires us to rise above the programming and carve our own space in the world.

Whether or not the new big screen blockbuster captures the cultural imagination as strongly as the 2017 blockbuster that spawned it remains to be seen – but even if it doesn’t, you can be sure that Wonder Woman will continue to hold a place in the hearts of millions of fans for whom she represents that powerful, primal desire to define ourselves by our own truth, and not the narratives foisted upon us by those who would keep us in the background.

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