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Girl reappearing

Tori Amos celebrates 20th anniversary by revisiting her catalogue

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14 years ago

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Tori Amos
Tori Amos

Tori Amos (photo by Danielle Levitt)

Tori Amos is straight but has a strong LGBT fan base. The Blade’s Joey DiGuglielmo is a long-time fan, having worn out a copy of “Boys for Pele” in the throes of closeted college-era angst. He talked to her by phone two weeks ago to talk about her new album “Gold Dust,” which features orchestral re-workings of 14 of her songs. It’s slated to drop Tuesday in the U.S.

Blade: Hi Tori

Tori Amos: Hi, how are you?

Blade: I’m good. I’m gonna try to cover a lot of ground really quickly so I’m just gonna jump right in. Tell me a little about the relationship you have going with Deutsche Grammophon. This is your second project with them. Are you under contract or are you just doing things on kind of an album-by-album basis?

Amos: Kind of album by album. … They came up with the idea of the variations on the masters (last year’s “Night of Hunters” album) but when I’d been working with the Metropole Orchestra the year before and they basically said, “We need recordings of this. This is the 20th anniversary of your work and this is how you do it with an orchestra.” I didn’t know, at first, if that made sense, but it seemed to make sense in their German minds. So it’s been very organic.

Blade: I’m just wondering how some of these arrangements came about and thinking back to some of those great remixes you had of your stuff back in the late ‘90s. Obviously I know remixing is a whole different thing altogether, but in terms of crafting symphonic arrangements or reworkings of your songs — where these songs are very much living in an alternate space from their original studio versions — I’m wondering if any of the same artistic considerations or principles apply as would if you’re crafting an alternate version in the form of a remix.

Amos: Wow, that’s a great question. I guess the thing about a remix is you don’t have to retain the narrative or even the spirit of the original work in the same way. So the “Professional Widow” remix, for example, became a very different expression of the song from the original. Some of that narrative was there but not the way it was on the (album version). And yet the remix still clearly did its job. But in doing something like this, you don’t want to lose the song’s story or her narrative in any way, so it was important to really, and sometimes very subtly, make changes. Some of the songs didn’t want a makeover. Some of them said, “Only strings,” or others said, “We’re open to a full orchestra but we don’t want to become completely overtaken.” It was almost like you were changing their outfit, but you were not changing their soul. Some were open to a more radical flavor. Like with “Flavor,” for instance, which was originally recorded with loops, it really stepped forward and said, “I want a completely different approach.” Or with “Precious Things.” It kind of said it thought its narrative could work with a more Prokofiev-inspired approach.

Blade: What was the time frame for this album?

Amos: I was rehearsing (with the Metropole Orhestra) for shows in October, 2010 and then we got back together in early 2011 and began recording some, but then we put it away because we went and did “Night of Hunters” with the octet. So that project came first, even though this was the first idea. Then we put the (“Gold Dust”) reels back on, I’d say maybe January 2012 and … began editing them together. Overdubs and mixing were finished in July.

Blade: Classical musicians can be notoriously snobby. Did you get any vibe from the Metropole players, even if they never said anything, that they were thinking, “Why are we doing this — can’t somebody bring us some Beethoven or something?” You do all kinds of stuff, obviously, but the grand scheme of things, your songs would be considered in more of the pop idiom than classical.

Amos: It was really a collaboration with them and I think the reason Alex (Burh, the Deutsche Grammophon exec who suggested “Night of Hunters”) suggested it is because he could tell there was a real conversation happening during the rehearsals (for the 2010 concert). There was definitely an affinity and a back-and-forth-type thing that was going on and I think that was why the decision was made to document and record it. There was a chemistry.

Blade: You’ve done a few theme projects now — a holiday album, some concept albums, a classical album, now orchestral reworkings of your songs. Do you have a private bucket list of stuff you want to eventually do? I’m not even necessarily asking what all those projects might be, but do you think, “Well, before I hang up my hat, I definitely want to do — blank.” Does your artistic mind work that way?

Amos: Yes, it thinks that way. I think right now I’m really focused on the musical, “The Light Princess.” Nick Hytner is very much a powerful force at the National Theatre in Great Britain and so hopefully the plan or the idea is that the piece will be ready to get put on its feet within, oh I don’t know, a year, maybe a little over a year. That’s what I have on my brain right now. But yeah, I approach things as a conceptualist and there are all kinds of thoughts that have come into my mind. I would love to someday do something where I just stay someplace and perform. I don’t know if you’d call it an evening in Las Vegas or what, but with a story and dancers. I would love to do something at Caesar’s Palace someday. And not just campy, you know, but maybe a bit of camp, but I love the idea of having dancers — not me dancing, I would be playing and singing — but have some dancers onstage and just make it an incredibly entertaining evening. Very much an old-school variety show with great costumes and an old Hollywood feel. Something like from the ‘30s or ‘40s where you get dressed up and come to a show and have dinner and walk away feeling like you’ve had a really glamorous evening.

Blade: Well, I would definitely come see it, that sounds fun. One thing I’ve always really admired about you is that you don’t always make things easy on the fans or present the material in such a way that it’s easy or accessible for the most casual fan, to say nothing of the material itself. I’m talking about things like those Icon or Playlist anthology CDs where they throw them together for all kinds of artists and make them something that’s meant to be a $7.99 impulse purchase in the checkout lane at Target. You never do things like that. And I’m not even saying it’s necessarily a bad thing ….

Amos: (interjects) … It is bad.

Blade: OK, why? Couldn’t you argue that it might pique someone’s curiosity and inspire them to then go dig deeper?

Amos: I’m telling you, it’s sinning against your art. That’s what you’re doing. It’s lazy.

Blade: Do you have business people approach you with these kinds of ideas?

Amos: Well, you know. There are all kinds of ideas that get spun about. But you have to have it in your head whether it’s a good idea or not. How are you going to feel about it in three months, in six months? What kind of statement does it make about you as an artist? And hey, sometimes I understand why they release these anthologies because something like (“Gold Dust”), I mean this takes a LOT of time to do. We started October 2010 so we’re talking two years from inception to this. It started with them inviting me to come play a show but it didn’t matter if it was one show or 200 shows or if we recorded the arrangements or not, the work still had to be done. The arrangements still had to be made for, like, 20 songs. (Arranger) John Philip Shenale and I were in touch everyday about this for one show, which is all I initially thought it was going to be. Not for one second did I think this would end up being a studio album. They invited me for this before the Alex, the German musicologist, invited me to come start messing with the masters. So that was the genesis and the time frame and doing a project like this with an orchestra is really tricky because people have attachments to the original versions. You really want to retain the soul of the song girl and like I said, some didn’t want extreme makeovers. That wasn’t really the challenge. It’s not about trying to shock people or try to decide how different you can make it. That’s almost too easy. It’s easy to shock people that way, to turn something totally on its head. I think what’s much trickier to do is to subtle because subtle changes can also become real banal and lifeless if you’re not careful.

Blade: I interviewed Sophie B. Hawkins a few weeks ago, who has a fabulous new album out by the way. I highly recommend it. I’m wondering if you feel any sense of sisterhood or artistic kinship with other women who came along in the ‘90s about the same time you did. You’ve managed to continue to forge ahead against the odds, while so many artists from that time have seen their audience dry up or move on. What advice would you give to other women who are highly talented musicians and still feel they have something great to offer?

Amos: It is really tough out there and it’s culturally tough because the masses seem to be gravitating to the next people and artists are seen as very disposable. They want to move on to whomever is next instead of growing with them. I have always wanted to grow with the artists and jump on the train with them. I wanted to know what they were experiencing and wanted to be seen as their patron. That’s how I think of my audience — I very much see them as my patrons, the people who come to my shows. Because without them, I couldn’t keep going. Also, philosophically, people seem to be of the mindset often, that it’s OK to just take something. I would never go to a wine show and slip a bottle of wine in my bag when the vendor wasn’t looking but people have talked themselves into thinking that that’s OK. Meanwhile orchestras are shutting down and you have … very accomplished musicians thinking about how they’re going to make a living doing their art. This is what I’m hearing from a lot of musicians. Do I have an answer? No, I don’t. I think it’s a cultural crisis.

Blade: Isn’t it partly short attention spans too?

Amos: Well yes, that and not wanting to grow. I would like to say that eventually people will realize how sad it is and that it will turn itself around but one of the reasons for the short attention spans is these shows where the next crop is waiting in the wings for its 15 minutes. These shows are making a lot of money but they don’t care about these singers. All they care about is the next show. Nobody is nurturing these artists.

Blade: A lot of people tape your shows and trade them around. Are you OK with that as long as they’re not trying to profit off them? Say they couldn’t make it to the show in Denver and you did this new song — which has always been one of the cool things about you, that your set list changes all the time.

Amos: I don’t have a problem with that but please, use good mics! Now obviously, if you’re trying to sell it, then I have a problem. I think my community knows how it goes. They know where I stand on stuff like that. I’ve even had people tell me they knew somebody who fell on hard times and couldn’t go to one of the shows. OK, but one day when you can, give back. I support the arts. Like visual artists — I go to galleries and support artists all the time.

Blade: I have a somewhat self-indulgent question I’m gonna squeeze in here but maybe it will apply to some other fans too. I play in a church so the challenge really becomes digesting so much new music all the time. What advice would you give to a church pianist or organist where there’s never time to polish anything or let it settle into the brain or fingers before you’re onto the stuff for next Sunday?

Amos: I think you should all be revisiting things on some kind of a rotating schedule. So maybe you revisit something, say, three months later and it becomes part of your repertoire and that way you develop a repertoire. I don’t think things just have to be performed one time. People will say, “Oh, I recognize that, I like that piece.”

Blade: I guess the cynic in me thinks they’ll think, “Oh, that again — he must have had a busy week.”

Amos: Well, OK, I guess some might think that but you can’t lie to yourself. The only other thing you can do is carve out more rehearsal time for yourself, but yeah, I can imagine it is tough.

Blade: Are you a keeper by nature? Do you have clothes from old video shoots and, like, all the “Doll Posse” wigs and stuff like that?

Amos: Yes, I have all that. And yes, (daughter) Tash dresses up in them all the time.

Blade: How many pianos do you own?

Amos: Well that’s tough to say because I have a deal with Bosendorfer so I can trade them out.

Blade: I can’t imagine what your tuning bill must be.

Amos: Well, we have different tuners in different countries. The Bosendorfer at the beach house in Florida, we have this lovely lady who has this twinkle in her eye. And then there’s the one where we record in Cornwall. But Ann has gotten the Florida one where it doesn’t need as much because it’s not being recorded. She’s really got it stable right now and it’s not being moved, so it tends to hold its tuning pretty well. When we’re recording, we tune once a week.

Blade: I love the new album, thanks so much for your time.

Amos: You take care honey, thanks.

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Movies

‘Into the Grey’ unites Cavill, Gyllenhaal for thrills and gay love

Did studio sabotage film’s release because of queer plot?

Published

1 day ago

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July 25, 2026

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Jake Gyllenhaal and Henry Cavill star in ‘Into the Grey.’ (Photo courtesy of Black Bear International)

What if they released the LGBTQ-themed action movie we’ve all been waiting for and they didn’t bother to tell us?

It’s a rhetorical question, really, because we already know the answer, and it can be found between the lines in the distribution-and-release history of “In the Grey,” a typically slick and cynical “caper thriller” from veteran filmmaker (and former Madonna husband) Guy Ritchie, which is now available on VOD platforms after a perfunctory theatrical opening in May.

Like almost all of Ritchie’s films, it’s fast-paced, clever, and full of surprises, some of which have to do with the plot, but most of all involve its characters – who, also in the tradition of Ritchie’s former work, inhabit a rarified world in which confidence, bravado, and stoic humor define the moral environment while something else (call it “fate” or “karma” or simply “the consequence of choices”) works behind the scenes to deliver a conclusion that satisfies our jaded sense of justice even as it fairly drips with irony. Also like most of Ritchie’s films, it succeeds in sucking us into its plotting while drawing a clear line between the “good guys” (i.e. the ones who are ostensibly working toward an equitable outcome, if not a moral high ground) and the out-of-balance despotism of a weighted power hierarchy that defines the shadowy status quo of human endeavor.

The caper in question is being run by Rachel Wild (Eiza Gonzalez), an elite lawyer who specializes in retrieving funds owed to high-finance “asset management” firms by wealthy clients, whose latest case puts her into a showdown with ruthless crime boss Manny Salazar (Carlos Bardem) over a billion-dollar debt. She’s elite for a reason, though; she’s backed up by her own small militia of “fixers” headed by trusted “extralegal” operatives Bronco and Sid (Jake Gyllenhaal and Henry Cavill, respectively), who are more than capable of carrying out her plans and have no intention of allowing Salazar to gain the upper hand. The plan involves blocking and handicapping his operations until he is forced to return the money; but when their powerful quarry decides to make things personal by going after Rachel in retaliation, it’s up to her loyal protectors (and their highly skilled team) to keep her safe.

Crafted by Ritchie with his usual blend of intricate plotting, jocular amorality, and shocking violence, it’s also a movie that fairly oozes testosterone; yes, there’s a smart and powerful woman at the center of it all, but she’s got as much (or more) macho swagger as anybody else so the effect is just the same. In fact, there’s a lot of hyper-masculine posturing, attitude, and tough talk that goes on all around, most of it delivered with that jocularity we mentioned. Action, naturally, is key to the formula, and “In the Grey” ramps it up to near orgiastic levels with an escalating collection of high-octane set pieces – chases, gunfights, explosions, zip-lining – all carefully spelled out ahead of time for us, point for point, in expository detail so that we can keep up with them as they unfold. It’s a movie about planning and strategy as much as anything else, and it wants to make sure we’re all prepped and ready for “go time.”

As for feelings, in a film like this, you might just think they don’t matter and leave it at that – but that’s not entirely true. Almost hidden in the middle of all this morally murky bluster and bravado is an unexpected angle, and it lends a touch of tenderness to the whole thing that somehow ends up being essential.

The movie takes pains to create a slow reveal, so it feels like a spoiler (consider this your warning) to say it, but underneath all the non-stop action there’s a love story going on, and it’s between the two leading men. We’re not sure at first, though the jovial banter between Cavill and Gyllenhaal has a distinct “romcom” vibe from the beginning, but as the movie goes on it gradually becomes clear that they are, in fact, a couple.

Perhaps not surprisingly, there was no mention of the nature of their relationship in any of the film’s publicity; the studio (Lionsgate) delayed release for months and eventually gave up distribution rights to Black Bear International. When it hit theaters, it finished ninth at the box office; even the popularity of its two stars was not enough to make up for the lack of push that accompanied its release. Does all of this suggest that the studio scuttled their own movie just because of the “gay angle” and the reaction it might get in today’s environment?  It’s hard not to speculate on that possibility, but either way, those two characters are gay.

Does it matter to the plot? Not really; there’s no lovestruck romance here – these guys have obviously been together a long time, and they carry the comfortable familiarity to prove it – nor is there even a kiss. It’s just a layer to their characters, a nuance that offers a glimpse of relatable, everyday humanity in a plot where almost everything else is bombast. Importantly, it also raises the stakes for the audience; knowing they are together gives us a reason to root for them beyond simple “good guy/bad guy” dynamic (which is complicated in a movie where both sides are trying to gun each other down mercilessly), and while we might not be so invested in the film’s overarching plot – do we really care if a venture capital corporation gets its money back from the murderous gangster they lent it to in the first place? – we can at least hope that these two handsome mercenaries will be able to go home to their cats together at the end.

As for the acting, this is not a film that demands anything more subtle than broad strokes from its players, but Cavill and Gyllenhaal, given such rich possibilities for subtext in their otherwise formulaic dialogue, clearly play it up with enthusiasm; they also convey that all-important tenderness – especially Gyllenhaal, who stirs an occasional echo of his “Brokeback Mountain” performance from two decades back. The rest of the cast – with the exception of Fisher Stevens as Salazar’s long-suffering lawyer, and Rosamund Pike as Rachel’s treacherous client – mostly play stock characters, familiar, predictable, and not too deep, but they do it well enough.

All that said, and with or without the gay couple in the middle of it, “In the Grey” is not a very remarkable movie. It’s more clever than smart, and while it benefits from Ritchie’s signature fast-paced, edgy style it sometimes feels repetitive – it’s nothing we haven’t seen before, and even if the setting within the corrupt world of the financial elite might strike a note for some viewers today, it never gets political enough to stir up any kind of fervor.

Cavill and Gyllenhaal, however, are good enough together to make it worth a watch – so why not? After all, brains (and eyes) like candy once in a while, too.

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Calendar

Calendar: July 24-30

LGBTQ events in the days to come

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2 days ago

on

July 24, 2026

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Friday, July 24

The DC LGBTQ+ Community Center hosts Trans Discussion Group from 7-9 p.m. via Zoom. The Trans Discussion Group is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity/expression to join together in community and learn from one another. For more details, visit the DC Center’s website. 

Saturday, July 25

Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.

The DC LGBTQ+ Community Center will host Black Lesbian Support Group at 11 a,.m. Join the DC Center and the Beta Kappa Chapter of the Beta Phi Omega Sorority for a peer-led support group devoted to the joys and challenges of being a Black Lesbian. For more details, visit the Center’s website.

Sunday, July 26

“Nellie’s DC Drag Brunch” will be at 12 p.m. at Nellie’s Sports Bar. Come get served like a queen by a queen. Join Sapphire Blue, Deja Diamond and their team of amazing drag performers for the most fun you’ll have all weekend. Tickets are $58.51 and are available on Eventbrite. 

Monday, July 27

The DC LGBTQ+ Community Center will host Queer Book Club at 6:30 p.m. This month’s selection is “Uncomfortable Labels” by Laura Kate Dale. The meeting will be held via Zoom.Email [email protected]  for details.

Tuesday, July 28

Center Bi+ Roundtable will be at 7 p.m. on Zoom. This is an opportunity for people to gather in order to discuss issues related to bisexuality or as bi individuals in a private setting. Visit Facebook or Meetup for more information.

Wednesday, July 29

Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.

Thursday, July 30

The DC Center’s Fresh Produce Program will be held all day at the DC LGBTQ+ Community Center. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245. 

Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breath work and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.  

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a&e features

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

Published

3 days ago

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July 23, 2026

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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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