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Walt Whitman bicentennial inspires spate of local events
‘Leaves of Grass’ poet was uncharacteristically out for his era
After publishing his first edition of “Leaves of Grass” in 1855, Walt Whitman set the stage to become America’s greatest and most transformational poet.
A collection of poems that would expand and evolve throughout the rest of Whitman’s life, the book innovatively features free verse, new diction (American slang and working-class language) emphasis on self, urban life and most significantly his insertion of sexuality — gay and straight — into poetry. Though considered too risqué by the day’s literary establishment, Whitman’s work ultimately changed poetry, at home and abroad, forever.
In his work, Whitman celebrated existence, practical and optimistic democracy, urban life and language. He was a vociferous fan of Abraham Lincoln and became the poetic voice of the American Civil War. And Whitman was about as openly gay as you could be in a time when the concept of homosexuality barely existed.
In celebration of Whitman’s bicentennial (born May 31, 1819), a nationwide party is taking place replete with exhibitions, readings, parties, performances and walking tours. And because Washington figures prominently in the poet’s life, professionally and personally, he’s being remembered locally with The Walt Whitman 200 Festival, a city-wide string of events emphasizing the poet’s continuing influence on American culture and city’s culture. For a list of remaining Walt200 celebratory events, go to walt200.org.
When descending the escalator of the Dupont Metro Station’s Q Street entrance, one sees words carved into its massive curving stone wall. It’s a passage from Walt Whitman’s poem “The Wound Dresser” (1865) alluding to the poet’s experiences as a volunteer in D.C. hospitals during the Civil War.
“Thus in silence in dreams’ projections
Returning, resuming, I thread my way through the hospitals
The hurt and wounded I pacify with soothing hand
I sit by the restless all the dark night — some are so young
Some suffer so much — I recall the experience sweet and sad.”
The engraving was added to the station in 2006 as a tribute to caregivers of people living with HIV/AIDS in the early years of the epidemic.
Whitman lived in D.C. for 10 years and counted that decade as one of the most important of his life.
In 1862, at the height of the Civil War, 43-year-old Whitman left New York City and headed South to look for his brother George who reportedly had been injured in the Battle of Fredericksburg, Va. As it turned out, George had merely been scratched, explains Garrett Peck, esteemed historian and author of “Walt Whitman in Washington, D.C.: The Civil War and America’s Great Poet.” Relieved about George but struck by the great number of sick and injured young soldiers languishing far from home on the battlefront and in Washington D.C.’s overcrowded and sometimes makeshift hospitals including the Patent Office (now renovated as the National Portrait Gallery and the Smithsonian American Art Museum), Whitman decided to stay on and help in any way he could.
“Contrary to what’s been said, Whitman wasn’t nurse, he was more of a one-man U.S.O, a hospital volunteer was there for the comfort and morale of the soldiers,” Peck, who’s gay, says.
He made the rounds, faithfully visiting the injured, writing letters home for them, bringing small gifts of candies or tobacco, and in many cases, he sat by beds and held frightened soldiers’ hands. He appreciated their beauty (“he lay naked to the waist on acc’t of the heat — I never saw a more superb development of chest & limbs”) and the direness of their situations. He wrote, “Many a soldier’s loving arms about this neck have cross’d and rested, Many a soldier’s kiss dwells on these bearded lips.”
After the war ended, Whitman further settled into America’s fledgling capital city. He was employed at a number of federal jobs that allowed him to explore his art on the side, says Peck.
“As a federal clerk, he essentially did the paper work for the federal government,” Peck says. “It gave him a middle-class paycheck, stable employment and time to write and think. He met nightly with a literary salon formed from a group of friends.”
Also in Washington, Whitman forged a significant romantic relationship with Peter Doyle, a streetcar (horse drawn) conductor on the Pennsylvania Avenue line.
“They actually met on the streetcar in 1865. Walt was almost 46 and Pete was 21 when they got together. Despite the age difference, it was Pete who made the first move. And Walt liked young working-class men, so it worked out.”
After suffering a stroke in 1873, Whitman left Washington and joined brother George and family in Camden, N.J., where he continued expanding and revising “Leaves of Grass” until his death in 1892 at 72. Had his health held out, Whitman most likely would have lived out his days in Washington surrounded by Doyle, literary friends and his growing coterie of acolytes.
Marking Whitman’s bicentennial is important, Peck says.
“In part it’s not that often in the U.S. that we get to celebrate a writer let alone a poet. Walt is in the pantheon of the great American writers. Also, Walt and his partner Peter are one of the very first documented couples that we have in D.C. and Walt was fearless in exploring sexuality in his poetry both gay and heterosexual, even though some of that went over people’s head at the time.”
Here’s to Whitman. His poetic brilliance. His fearlessness. And his determination to celebrate life, love and the gay experience. Happy birthday, Walt.
a&e features
Memorial for groundbreaking bisexual activist set for May 2
Loraine Hutchins remembered as a ‘force of nature’
The Montgomery County Pride Center will host a celebration honoring the life and legacy of Loraine Hutchins, Ph.D., on May 2. People are invited to attend the onsite memorial or a livestream event. The on-site event will begin at 10 a.m. with a meet-and-greet mixer before moving into a memorial service around the theme “Loraine a Force of Nature!” at 11 a.m., a panel talk at 12 p.m., break out sessions for artists, academics, and activists to build on her legacy at 1 p.m. and a closing reception at 2 p.m.
Attendees are encouraged to register for the on-site memorial gathering or the livestreamed memorial. The goal of this event is also to collect stories and memories of Loraine. Attendees and others can share their stories at padlet.com.
An obituary for Hutchins was published in the Bladelast Nov. 24, where people can learn more about her activism in the bisexual community. A private service for friends and family was held in December but this memorial service is open to all.
Alongside her groundbreaking work organizing for U.S. bisexual rights and liberation including co-editing “Bi Any Other Name: BIsexual People Speak Out” (1991), she also integrated faith into her sexual education and advocacy work. Her 2001 doctoral dissertation, “Erotic Rites: A Cultural Analysis of Contemporary U.S. Sacred Sexuality Traditions and Trends,” offered a pointed queer and feminist analysis to sex-neutral and sex-positive spiritual traditions in the United States. Her thesis was also groundbreaking in exploring the intersections between sex workers and those in caregiving professionals, including spiritual ones.
In an oral history interview conducted by Michelle Mueller back in August 2023, Hutchins described herself as a “priestess without a congregation.” While she has occasionally had a sense of community and feels part of a group of loving people, she admitted that “I don’t feel like we have the shape or the purpose that we need.”
“I’ve often experienced being the Cassandra in the room, the Cassandra in the community. Somebody who’s kind of way out there ahead, thinking through the strategic action points that my community hasn’t gotten to yet, and getting a lot of resistance and hostile responses from people who are frightened by dissent and conflict and not ready for the changes we have to make to survive,” she said.
“For somebody who’s bisexual in an out political way and who’s been a spokesperson for the polyamory movement in an out political way, it’s very exposing. And it’s very important to me to be able to try to explain and help other people understand the connection between spirituality and sexuality,” she explained citing how even as a graduate student she was “exploring how to feel erotic and spiritual, and not feel them in conflict with each other in my own spiritual contemplative life and my own sensual body awareness of being alive in the world.”
“Every religion has a sense of sacred sexuality. It’s just they put a lot of boundaries and regulations on it, and if we have a spiritual practice that is totally affirming of women’s priesthood and of gay people, queer people’s ability to minister to everyone and to be ministered to be everyone, what does that do to the gender of God, or our understanding of how we practice our spirituality and our sexuality in community and privately?”
“There’s no easy answer,” she concludes, and she continued to grapple with these questions throughout her life, co-editing another seminal text, “Sexuality, Religion and the Sacred: Bisexual, Pansexual, and Polysexual Perspectives,” published in 2012. Her work blending spiritual and queer liberation remains groundbreaking to this day.
Rev. Eric Eldritch, a local community organizer and ordained Pagan minister with Circle Sanctuary who has worked for decades with the DC Center’s Center Faith to organize the Pride Interfaith Service, is eager to highlight this element of her legacy at the memorial service next month.
a&e features
Queery: Meet artist, performer John Levengood
Modern creative talks nightlife, coming out, and his personal queer heroes
John Levengood (he/him) describes himself as a modern creative with a wide‑ranging toolkit. He blends music, technology, civic duty, and a sharp sense of wit into a cohesive artistic identity. Known primarily as a recording artist and performer, he’s also a self‑taught music producer and software engineer who embodies a generation of creators who build their own lanes rather than wait for one to appear.
Levengood, 32, who is single and identifies as gay and queer, is best known as a recording artist who has performed at Pride festivals across the country, including the main stages of World Pride DC, Central Arkansas Pride, and Charlotte Pride.
“Locally in the DMV, I’m known for turning heads at nightlife venues with my eye-catching sense of style. When I go out, I don’t try to blend in. I hope I inspire people to be themselves and have the courage to stand out,” he says.
He’s also known for hosting karaoke at Freddie’s Beach Bar in Arlington, Va., on Thursday nights. “I like to create a space where people feel comfortable expressing themselves, building community, and showcasing their talents.”
He also creates social media content from my performances and do interviews at LGBTQ+ bars and theatres in the DMV. Follow the Arlington resident @johnlevengood.
How long have you been out and who was the hardest person to tell?
I have been fully out of the closet since 2019. My parents were the hardest people to tell because my family has always been my rock and at the time I couldn’t imagine a world without them. Their reactions were extremely positive and supportive so I had nothing to fear all along.
I remember sitting on the couch with my mom, dad, and sister in our hotel room in New Orleans during our winter vacation and being so nervous to tell them. After I finally mustered up the nerve and made the proclamation, I realized my dad had already fallen asleep on the couch. My mom promised to tell him when he woke up.
Who’s your LGBTQ hero?
My LGBTQ heroes are Harvey Milk for paving the way for gays in politics and Elton John for being a pioneer for the fabulous and authentic. My local heroes in the DMV are Howard Hicks, manager of Green Lantern, and Tony Rivenbark, manager of Freddie’s Beach Bar. Both of them are essential to creating spaces where I’ve felt welcome and safe since moving to the DMV.
What’s Washington’s best nightspot, past or present?
Trade tops the list for me because of the dance floor and outdoor space. It’s so nice to get a break from the music every once and a while to be able to have a conversation.
We live in challenging times. How do you cope?
I’m still figuring this out. What is working right now is writing music and spending time with family and friends. I’ve also been spending less time on social media going to the gym at least three times a week.
What streaming show are you binging?
After “Traitors” Season 4 ended, I was in a bit of a show hole, but “Stumble” has me in a laughing loop right now. The writing is so witty.
What do you wish you’d known at 18?
At 18, I wish I would have known how liberating it is to come out of the closet. It would have been nice to know some winning lottery numbers as well.
What are your friends messaging about in your most recent group chat?
We are planning our next trip to New York City. If you can believe it, I visited NYC for the first time in 2025 for Pride and I’ve been back every quarter since. Growing up in the country, I was subconsciously primed to be scared of the city. But my mind has been blown. I can’t wait to go back.
Why Washington?
It’s the closest metropolitan area to my family, but not too close. I love the museums, the diversity, the history, and the proximity to the beach and mountains. It’s also nice to live in a city with public transportation.
Aging RFK Stadium has come down, but the RFK grounds are still getting lit up. Welcome back to the stage Project GLOW, D.C.’s homegrown electronic festival, on May 30-31. Back for its fifth year on these musically inclined acres, Project GLOW returns with an even more diverse lineup, and one that continues to celebrate LGBTQ antecedents, attendees, and acts.
Project GLOW 2026 headliners include house and techno star Mau P, progressive house legend Eric Prydz, hard-techno favorite Sara Landry, and bass acts Excision b2b Sullivan King, among the lineup of trance, bass, house, techno, dubstep, and others for the fifth anniversary year.
President & CEO Pete Kalamoutsos — born and raised in D.C. — founded Club GLOW in 1999. In 2020, GLOW entered into a partnership with global entertainment company Insomniac Events to produce live events like Project GLOW, which kicked off in 2022.
As in past years, Project GLOW not only makes space, but is intentionally inclusive of the LGBTQ community, one of its most dedicated fan bases. The festival’s LGBTQ-focused Secret Garden stage blooms again — a more intimate dance area that stands on the strength of DJs and musicians who draw from the LGBTQ community. D.C.’s LGBTQ nightlife mastermind Ed Bailey is the creative mind behind Secret Garden again. He joined Project GLOW in 2023.
“Kalamoustos says that “he’s proud of his partnership with Ed Bailey, along with Capital Pride and [nightlife producer] Jake Resnikow. It’s amazing to collaborate with Bailey at the Secret Garden stage, especially after the curated lineup we worked on at Pride last year.”
The Secret Garden will be a bit different from other stages: Eternal (“At the Eternal stage, time stands still. Lose yourself in the dance of past, present, and future, surrendering to the eternal rhythm of the universe”) and Pulse (“Feel the rhythm of the beat pulse through your veins as the heartbeat of the crowd synchronizes into one. Here, every moment vibrates with life as it guides you through a new dimension of euphoria”). The Secret Garden stage is in the round, surrounded by 16 shipping containers. The containers play canvas to muralists from around the world, who are coming in to paint them in a vibrant garden-style vibe. “We gave this stage some extra love with this layout,” K says, “ we finally cracked the code.”
K says that this will be the biggest lineup yet for the Secret Garden, featuring Nicole Moudaber b2b Chasewest, Riordan b2b Bullet Tooth, Ranger Trucco, Cassian, Eli & Fur, Cosmic Gate and Hayla. The stage is also the largest yet, featuring an expanded dance floor and 360-degree viewing.
Across all stages, K says that his goal for the fifth anniversary is “More art and fan interactive experience, more like a festival, strive to be like a Tomorrowland, as budget grows to add more experience.” Last year’s Project GLOW alone drew 40,000 attendees over two days.
K, however, was not satisfied with one festival this spring. GLOW recently announced a “pop-up” one-day event. Teaming up with Black Book Records, GLOW is set to throw a first-of-its-kind dance-music takeover of Pennsylvania Avenue, N.W., headlined by electronic music star Chris Lake. Set for April 18, this euphoric block party will feature bass and vibes blocks from the White House. Organizers expect as many as 10,000 fans to attend. Beyond music, there will be food, activations, and plenty of other activities taking place around 6th St and Pennsylvania Ave NW – a location familiar to many in the LGBTQ community, as this sits squarely inside the blocks of the Capital Pride party that takes place in DC every June.
Over the past two decades, Club GLOW has produced thousands of events, from club nights to large-scale festivals including Project GLOW, Moonrise Festival, and more. Club GLOW also operates Echostage.
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