a&e features
D.C. queer youth gang featured in new documentary
D.C. queer youth gang featured in new documentary
A still from ‘Check It,’ a documentary on local LGBT youth. (Photo courtesy Olive Productions)
’Check It’
AFI Docs Festival
Saturday, June 25
9 p.m.
Newseum
555 Pennsylvania Ave., N.W.
Sold out
The new documentary “Check It” starts with two powerful titles.
The first provides a sobering statistic for Washington’s LGBT community:
“Washington, D.C. has one of the nation’s highest rates of hate crimes against its LGBTQ community.”
The second announces a brave and unexpected act of resistance against that statistic:
“In 2009, three gay ninth graders started a gang in Washington, D.C. to defend themselves against bullying. Today the Check It has over 200 members and counting.”
Directed by Dana Flor and Toby Oppenheimer, “Check It” has been selected for the coveted Spotlight Screening on Saturday night of the AFI Docs festival. AFI Docs Director Michael Lumpkin, who is gay, has been a fan of the film for a long time.
“I love “Check It,” he says. “Before I came to AFI, I ran the International Documentary Association. We had a grant program to provide production support for documentaries. Toby and Dana applied for funding for their film three or four years ago. When I was watching the clip they provided with their application, I knew this was going to be a very special film.”
In fact, AFI Docs announced last week that “Check It” was one of 10 films selected to participate in the prestigious AFI Docs Impact Lab. The intensive program will provide Flor and Oppenheimer, who identify as straight allies, with advanced training in the areas of advocacy, grassroots communication and engagement.
“Check It” tells the stories of the founding members of the group. According to Flor and Oppenheimer, Washington has the dubious distinction of having the only organized gang of LGBT youth in the country. The African-American gang started in the Trinidad neighborhood in northeast Washington. The youth already faced the grueling social pressures of poverty, broken homes, prostitution and a broken web of social services. On top of that, they faced violent bullying because of their sexual orientation and their gender-bending fashion sense.
According to Flor, “It came about as a necessity. They banded together because they wanted to protect each other. They became famous — and infamous — for being good at defending themselves. Nobody messes with them because they will fight. And not only do they fight, they do not censor who they are. … They’re flamboyant. They walk around with little Hello Kitty bags and platform shoes and dresses and lipstick. You don’t do that in the neighborhoods they come from. They’re from very tough neighborhoods with very conservative ideas about masculinity. They didn’t want to back down, they just wanted to be who they wanted to be. That’s how it formed. And it’s flourishing because kids are still being kicked out of their houses and being kicked out of school and taking to the streets. They form their own family.”
As one of the Check It members announces in the film, “To be in the Check It, you have to have a good sense of fashion — wild, crazy, colorful. To walk with us, you have to have a heart. You have to believe you’re not gonna take no bullshit from nobody.”
The members of the Check It found some supportive mentors to help turn their energy in a more positive direction. The first was Ronald “Mo” Moten, one of the founders of the controversial Peaceoholics organization which worked with city residents and gang members to reduce violence in the city.
“Basically.” Flor says, “he deals with gang conflict resolution. He is a beloved figure, especially in the worst neighborhoods of the city, especially because he has helped gang members get out of the gang and go to college, and he has squashed a lot of beefs. He’s like a father figure to these kids and he is very fond of them.”
Then there’s local fashion entrepreneur extraordinaire Jarmal Harris. He founded the Jarmal Harris Project, a non-profit organization that works with D.C.-area youth to provide them with opportunities in the fashion industry and beyond.
“Harris runs a fashion camp for high school age kids that trains them in all elements of the fashion industry,” Oppenheimer says. “The film follows some of the Check It kids through six weeks of this fashion camp. Then a handful of them are chosen to go to Fashion Week in New York City. That’s kinda the spine of the film.”
Lumpkin is thrilled to be hosting the Spotlight Screening of “Check It.”
“It has been on my radar for years and I’m really happy to present the hometown premiere at AFI Docs,” Lumpkin says. “It’s the screening I can’t wait for. It’s going to be electric.”
“This film is about a community that isn’t given visibility very often,” he says. “The concept of a queer gang was just something I had never considered. For most gay people, those two ideas just don’t match up. But when you learn about their story, it makes perfect sense. For this community, that’s how they protect themselves; that’s how they survive. People who are queer have to come up with mechanisms for how they’re going to survive the world they come into.”
Lumpkin is also full of praise for the filmmakers.
“It’s fresh and new,” he says. “It was the subject matter that drew me to the film. But it was also the approach the filmmakers took to the subject matter. It’s honest, it’s respectful. Like all excellent documentaries, they provide their subjects with the space for them to have a voice. It takes a lot more than just putting a camera in front of somebody and filming them.”
The members of the Check It agree with Lumpkin’s assessment of their crew and the film. In the film, one of the members says, “It was because of the Check It that these faggots feel more comfortable within themselves to come outside. We can go out in public without being criticized. If they criticize us, they know there will be consequences.”
Towards the end of the movie, another member says, “No one was gonna stand up for us. We stood up for ourselves.”
Tray, one of the film’s subjects, has started actively promoting the documentary at film festivals around the county. Although he initially didn’t want to be in the film (his late mother talked him into it), he’s been delighted by the film’s reception. “I wasn’t sure if people would understand the movie,” he says, “but they actually loved it and they gained something from it. That was the most important thing we wanted.”
Tray says some of the attention has been overwhelming.
“Everywhere we go, people know who we are, but we don’t know who they are. They know our names, but we don’t know theirs.”
Inspired and supported by Moten and Harris, the founding members of the Check It have become role models and entrepreneurs. Oppenheimer says some of the gang members are looking into becoming outreach workers themselves, and that Moten is looking for opportunities for them to talk to younger kids who are still out there.
Flor also reports that the youth have started to launch their own fashion label, Check It Enterprises. They’ve just set up their website and are currently selling stylish T-shirts to the general public. She says, “Basically the idea is to take their skills and turn it to something positive and that’s fashion. They’re pretty fly.”
As for the members of the Check It profiled in the movie, Trey says, “We’re focusing on the documentary and on launching our business. We’re putting 100 percent into it so we can get it off the ground the way we want it to be. Everything is coming together.”
Flor is glad that this movie has been a catalyst for the youth profiled in the film, but notes that more action is urgently needed.
“Marginalized LGBT youth, especially youth of color, exist everywhere,“ she says. “This is our city and these are our kids. People have really turned a blind eye to what’s going on and they should be getting a lot more support.”
“For a city like Washington, that is seen as quite progressive in the way LGBT groups are treated and respected, these kids are not getting the respect, the attention and the opportunities they deserve,” Oppenheier says. “They’re in plain sight but they’ve been quite forgotten. We hope that this film will shine a light on these amazing kids and show them for the smart, ambitious, funny, sensitive human beings that they are.”
And as Tray says in the movie, “I know I’m not where I want to be, but I’m not where I was yesterday. … You don’t have to be afraid to tell your story.”
a&e features
New book celebrates 1970s dance music icons
‘A Night at the Disco’ features interviews with Donna Summer, Debbie Harry, more
If you’re a fan of 1970s-era dance music, don’t miss the irresistible new book by Christian John Wikane and Alice Harris, “A Night at the Disco,” which revisits more than 90 interviews conducted with some of the biggest names in pop culture.
“A Night at the Disco” (ACC Art Books) was published on March 24, and distributed by Simon & Schuster. It celebrates more than 100 artists who sparked a phenomenon in dance music from 1970-1979 and features excerpts from interviews with everyone from Donna Summer to Debbie Harry.
Lost City Books (2467 18th St., N.W.) will welcome author Christian John Wikane for a book signing and conversation about “A Night at the Disco” on Thursday, April 16 at 6 p.m. Details at lostcitybookstore.com. Bird in Hand Coffee & Books in Baltimore (11 E. 33rd St.) )will also host a Q&A with the author on Wednesday, April 15 at 6 p.m. Details at theivybookshop.com.
Below is an excerpt from “A Night at the Disco.”
“I’ll let in anyone who looks like they’ll make things fun.” Steve Rubell is guiding a New York Times reporter through Studio 54 as resident DJ Richie Kaczor dazzles the crowd with records by CHIC, Odyssey, and T-Connection. “Disco, that’s where the happy people go,” The Trammps sing as dancers spin and twirl underneath tubes of flashing lights. Seven months since Rubell and co-owner Ian Schrager opened Studio 54 in April 1977, it’s welcomed untold numbers of “happy people” … at least those lucky enough to pass through the doors.
“We were part of the chosen few,” says André De Shields, who immortalized the title role in The Wiz on Broadway at the time. “We could show up at Studio 54 and the doorman at the velvet stanchion would look over everyone and point to us from The Wiz to come in, that kind of thing.” As the lead vocalist in the GRAMMY-nominated Dr. Buzzard’s Original Savannah Band, whose debut modernized big band sophistication for the discothèques, Cory Daye had carte blanche in the club. “The energy was like a New Year’s Eve party every night,” she says. “I would go up to the mezzanine and watch the mechanical light pillars go up and down, metallic confetti falling from the ceiling, the spoon and the moon. I was so fascinated and enamored by it.
“When a certain song came on, the people would just rush to the dance floor. There was no contact dancing — the hustle was pretty much on its way out — but it was just an amazing experience to see all the cultures together. It was a fusion of cultures, which described my life and my band, so I was right at home there.”
“Studio 54 was the place,” adds Linda Clifford. “Crazy parties. If you could think it, you would see it. It was like a circus. Just an amazing place to be. I worked 54 so many times. It was like a second home to me. The people there treated me so well. The crowd always seemed to enjoy my show. I always had a good time with them. That was the most important thing: making sure that they had fun.”
Well before Studio 54 opened, disco had become a business juggernaut. “A four billion dollar market and still growing,” Billboard announced in February 1977, with dance music offering more variety than ever. “There is no longer a single, readily identifiable disco beat, but a kaleidoscope of sounds that are melodic and danceable,” Tom Moulton told the magazine. In the clubs, records by veteran artists like Stevie Wonder and the Bee Gees were mixed in with a range of new acts like Grace Jones, Boney M., and The Ritchie Family, while everyone from ABBA to Marvin Gaye scored number one pop hits with songs that had club-centric storylines.
Beyond the charts, disco itself remained as idiosyncratic as ever, especially on several productions by Laurin Rinder and W. Michael Lewis, whose studio creations, El Coco (“Let’s Get It Together,” “Cocomotion”) and Le Pamplemousse (“Le Spank”), joined their own “Lust” from Seven Deadly Sins (1977) among the most tantalizing releases on AVI Records. Rinder & Lewis also produced acts for the newly hatched Butterfly Records in Los Angeles, where Saint Tropez (“On a Rien à Perdre”) and Tuxedo Junction (“Moonlight Serenade”) reflected the duo’s high gloss sound, spanning everything from European sophistication to a more literal translation of the ’40s sensibilities popularized by Dr. Buzzard’s Original Savannah Band.
12-inch singles had also grown as the preferred format to approximate the club music experience at home. Nearly a year after Atlantic Records introduced its series of promotional 12-inch singles for DJs, New York-based Salsoul Records released the industry’s first commercially available 12-inch single, “Ten Percent” by Double Exposure, in May 1976. A year later, T.K. Records was the first label to certify a gold record for a 12-inch single when Peter Brown’s “Do You Wanna Get Funky With Me” tallied one million sales.— Christian John Wikane
(From “A Night at the Disco” by Alice Harris & Christian John Wikane. Published by ACC Art Books.)
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a&e features
Award-winning D.C. chef reaching new culinary heights
Anthony Jones of Marcus DC competing on ‘Top Chef’
In Anthony Jones’s kitchen, all sorts of flags fly, including his own. Executive chef at award-winning restaurant Marcus DC, Jones has reached culinary heights (James Beard Award semifinalist for Emerging Chef, anyone?), yet he’s just getting started.
Briefly stepping away from his award-winning station, Jones took a moment under a different set of lights. Recently, he temporarily gave up his post at the restaurant for a starring small-screen slot on the latest season of “Top Chef,” which debuted in March. (The show airs weekly on Bravo and Peacock).
Before his strategic slice-and-dice competition, however, Jones, who identifies as gay, draws from his deep DMV roots. In the years before “Top Chef” and the top chef spot at Marcus, he was born and raised in Sunderland, Md., in southern Maryland, near the Chesapeake.
Early memories were steeped in afternoons on boats with his dad bonding over fishing, and wandering the garden of his great-grandparents spread with fresh vegetables and a few hogs. “It was Southern, old-school ethics and upbringing,” he said. “Family and food went hand in hand.” Weekends meant grabbing bushels of crabs, dad and grandma would cook and crack them. Family members would host fish fries for extra cash. In this seafood-heavy youth, Jones managed time to sneak in episodes of the “OG” Japanese “Iron Chef” show, which helped inspire him to pursue a career in the kitchen.
Jones moved to D.C. after graduating from college, ending up at lauded Restaurant Eve, and met famed chef Marcus Samuelson, who brought him to Miami to be part of the opening team for Red Rooster Overtown. After three years, Jones moved back to D.C., where he ran Dirty Habit, reinventing and reimagining the menu, integrating West African flavors and ingredients.
Samuelson, however, wouldn’t let a talent like Jones stay away for too long. Pulling Jones back into his orbit, Samuelson elevated Jones to help him open his namesake restaurant Marcus DC, which has been named a top-five restaurant by the Washington Post. Since then, Jones has been nominated as a semifinalist for the RAMMYs Rising Culinary Star in 2026 and won the Eater DC’s Rising Chef award in 2025.
Samuelson’s Marcus is a tour de force interpreting the Black Diaspora on the plate, from the American South to West Africa, along with his signature “Swedopian” touches. Yet it’s Jones who has deeply informed the plate, elevating his own story to date. Marcus DC is primarily a seafood restaurant, which serves Jones well.
“Where I’m from is seafood heavy, and as I’ve progressed in my career, I’ve moved away from meat.” Veggies and fish are hero dishes. His own dish, Mel’s Crab Rice, was not only lauded by the Washington Post, but is framed by his youth carrying home the crustaceans from Mel’s crab truck. It’s a bowl of Carolina rice, layered with pickled okra, uni béarnaise, and crab. Jones also points to a dish on the opening menu, rockfish and brassica, paying respect to a landmark D.C. institution, Ben’s Chili Bowl. Jones reverse engineered a favorite bowl of chili that’s seafood instead of meat forward, leveraging octopus and rockfish along with different riffs of cauliflower: showing his intellectual, creative, and cultural sides.
While “Top Chef” is showing Jones’s spotlight side, he also lets his identity show at work. “In the kitchen, I make sure we’re inclusive. We don’t tolerate discrimination. Everyone that’s here should feel confident to express themselves. There are so many different flags in the kitchen.”
Jones says that he didn’t fully express his gay identity until fairly recently. He felt reluctant coming out to certain family members, “you’re scared to tell them about being different,” he says, and while that anxiety ate at him, “I’m lucky and fortunate to have unconditional love and that weight off my shoulders.”
Today, “I’m me all the time, Monday to Sunday. I’m honest with people, and my staff is honest with me.”
“Being a chef is hard,” he says, “and being a chef of color is even more difficult.”
Yet his LGBTQ identity is a juggling act, he says. “I need to keep that balance, because once someone finds out something about you, their opinion can change, whether you want it or not.”
Being on a whole season of TV cooking competition, however, might mean millions more might have an opinion of him (Jones has appeared on TV already, on an episode of “Chopped”). To prepare, he says, “I’ve just kept a level head. It’s just an honor to be on top chef with amazing people happy to be there.”
Plus, this season is set in the Carolinas, and Jones attended Johnson & Wales University in Charlotte, N.C. “It’s a full story of my life, now a monumental moment for me.”
Jones also recently was nominated for a James Beard Foundation Award. “JBF has been a north star, a dream for so long. I always had this goal on my wall.”
Being at the top spot at Marcus DC, making waves through his accolades, and cooking on Bravo means that Jones is highly visible. “I think that if someone has a similar background to me, and can see our story, trajectory, and success, they can have more ability to be themselves. This is my goal.”
Back at Marcus, Jones has plenty up his chef’s white’s sleeves. A new spring menu is in the works. He’ll be launching a new tasting menu “dining experience,” he says, and has plans to work on more events and collaborations with chefs and friends to bring in new talent and share the culinary wealth.
a&e features
Introducing the Torchbearers Awards honoring queer, trans women and nonbinary people
Meet the Legends and Illuminators lighting new paths
The Torchbearers Awards are more than recognition—they are a continuation of legacy. They honor the quiet architects of progress in our community: those who organize, advocate, build, and protect, often without fanfare but always with purpose. Rooted in a belief in intentional recognition, this honor names those who carry our movements forward—those who make room for others, who remind us that change is both generational and generative. In a time marked by uncertainty and challenge, these leaders push forward with courage, clarity, and an unwavering commitment to expanding opportunity and equity.
This year’s honorees reflect the full breadth of our community, spanning generations, backgrounds, identities, and industries. From Legends, with decades of leadership and having created pathways for others, to Illuminators, who are lighting new paths with creativity and innovation, each Torchbearer represents the power of intergenerational leadership and the strength found in our diversity. They are organizers, advocates, artists, policy leaders, healers, and changemakers whose lived experiences shape a shared vision for equity and liberation.
This award is our love letter to queer and trans women and nonbinary people who carry the flame when it would be easier to let it dim. To those who consistently show up, who use their voice and visibility and stand firm, often without recognition, so that others may live more freely and fully. The Torchbearers Awards celebrates not just what has been done, but the enduring spirit, responsibility, and collective care that ensure the work continues, and that the flame is always passed forward.
Co-Creators of the Torchbearers Awards: Shannon Alston, June Crenshaw, Heidi Ellis
Torchbearers Awards Advisory Board: Aditi Hardikar, Lesley Bryant, Jasmine Wilson-Bryant, Stephen Rutgers
ILLUMINATOR AWARDEES
- Representative Sharice Davids (she/her), (D, KS-03)
— U.S. House of Representatives - Greisa Martinez Rosas (she/her/ella)
— Executive Director, United We Dream - Paola Ramos (she/her)
— Journalist & Correspondent - Meagan A. Fitzgerald (she/her)
— Journalist & Correspondent - Jessica L. Lewis (she/her)
— Founder / Producer, Play Play DC - Savannah Wade (she/her)
— Founder, OAR Agency - Suhad Babaa (she/her)
— Filmmaker/ Former Executive Director of Just Vision - Ashlee Davis (she/her)
— Global Head of Inclusive Outcomes, Ancestry - Jazmine Hughes (she/her)
— Journalist and Former Editor at New York Times Magazine - Queen Adesuyi (they/she)
— Policy Advisor & Organizer, ReFrame Health & Justice - Michele Rayner, Esq. (she/her)
— Civil Rights Attorney, State Representative (Florida House of Representatives) - Gaby Vincent (she/her)
— Sports/Cultural Commentator and Community Leader - Jenny Nguyen (she/her)
— Founder & Owner, The Sports Bra - Denice Frohman (she/her)
— Independent Artist, Poet / Performer - Vida Rangel (she/her)
— Founder, Our Trans Capital - Roxanne Anderson (they/them)
— Executive Director, Our Space - Ann Marie Gothard (she/her)
— Co-Founder & President, Pride Live (Stonewall National Monument Visitor Center) - Diana Rodriquez (she/her)
— Co-Founder & CEO, Pride Live (Stonewall National Monument Visitor Center) - Wendi Cooper (she/her)
— Founder / Executive Director, Transcending Women - Toya Matthews (she/her)
— City of San Antonio, Texas - Mayor Gina Ortiz Jones (she/her)
— Sports/Cultural Commentator and Community Leader - Charity Blackwell (she/her)
— Poet, LGBTQ Advocate & Community Leader - Wilhelmina Indermaur (she/her)
— Director of Communications, Tyler Clementi Foundation - Em Chadwick (she/her)
— CMO, For Them & Autostraddle - Kylo Freeman (they/he)
— CEO, For Them & Autostraddle
LEGEND AWARDEES
- Sheila Alexander-Reid (she/her)
— Executive Director, PHL Diversity, Philadelphia Convention & Visitors Bureau - Cassandra Cantave Burton (she/her)
— Interim Director of Thought Leadership & Senior Research Advisor, AARP - leigh h. mosley (she/her)
— Photographer / Educator, PhotoFlo Photography - Jenn M. Jackson, PhD (they/them)
— Assistant Professor of Political Science; Author & Columnist, Syracuse University - Jordyn White (she/her)
— COO, Washington Prodigy / VP of Leadership Development & Research, HRC Foundation - AJ Hikes (they/them)
— Deputy Executive Director, ACLU - RaeShanda Lias (she/her)
— Digital Creator, RL Lockhart - Donna Payne-Hardy (she/her)
— Educator, EEO Specialist, Founder of NBJC, Former Leader at the Human Rights Campaign - Courtney R. Snowden (she/her)
— Principal, Blueprint Strategy Group - Gaye Adegbalola (she/her)
— Musician & Activist, Musician / Inductee of the Blues Hall of Fame - Cheryl A. Head (she/her)
— Independent Author, Novelist (Crime Fiction) - Letitia Gomez (she/her)
— The American LGBTQ+ Museum, Board Chair - Lynne Brown (she/her)
— Publisher, Washington Blade - Shay Franco-Clausen (She/Her/Ella/Queen)
— Political Strategist and Organizer - Melissa L. Bradley (she/her)
— Founder & Managing Partner, New Majority Ventures - Meghann Burke (she/her)
— Executive Director, NWSL Players Association - Victoria Kirby York, MPA (she/they)
— Director of Public Policy & Programs, National Black Justice Collective - Joli Angel Robinson (she/her)
— CEO, Center on Halsted - Jeannine Frisby LaRue (she/her)
— CEO, Moxie Strategies - Alice Wu (she/her)
— Film Director (Saving Face, The Half of It) / Screenwriter - Storme Webber (she/her)
— Interdisciplinary Artist / Educator, University of Washington - Kim Stone
— CEO of the Washington Spirit, Washington Spirit - Mickalene Thomas
— American Visual Artist, Mickalene Thomas Studio - Erika Lorshbough (any/they/she)
— Executive Director, interACT - J. Gia Loving (she/ella)
— Co-Executive Director, GSA Network
Calendar: April 10-16
BLUF leather social set for April 10 in Rehoboth
Celebrations of life planned for Sean Bartel
The ‘X’ returns to court
LGBTQ community explores arming up during heated political times
Risking it all for love during World War II
D.C. is the place for the Democratic Socialists of America
PHOTOS: The Bonnet Ball
Key lifestyle changes can help patients cope with diabetes
