Washington City Paper (April 10, 2020)

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COVER STORY: FROM A DISTANCE 8 Darrow Montgomery captures D.C. in the days of coronavirus.

DISTRICT LINE 3 Loose Lips: With traditional campaign events suspended, how are candidates reaching voters?

4 No Relief: D.C.’s undocumented and informally employed workers miss out on government support in another D.C. Council bill.

SPORTS 6 Out of Play: With their season start postponed, Washington Spirit players, coaches, and staff try to stay fit and fight boredom.

FOOD 14 Plot Twist: Direct-to-consumer sales are keeping farmers who traditionally sell to restaurants afloat.

ARTS 16 David Driskell, 1931–2020: Former students and fellow artists remember the painter and longtime University of Maryland professor.

17 Liz at Large: “Handle” 18 Curtain Calls: Thal on Flying V Theatre’s Paperless Pulp 19 Short Subjects: Gittell on Les Misérables 19 Arts Club: Randall and Warren on 28 Days Later

CITY LIST 20 City Lights: Play a card game meant to train CIA operatives, or check out an online exhibit about presidents and baseball.

DIVERSIONS 21 Crossword 22 Savage Love 23 Classifieds

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DISTRICTLINE LOOSE LIPS

Poll Hacks

Coronavirus threats force local candidates to pack up their ground game and try their hands at virtual campaigning.

At-Large Council candidate Marcus Goodwin and Andy Shallal co-host a campaign happy hour on Instagram Live.

By Mitch Ryals A person by the name of Hugh Jass arrived five minutes late to a Zoom video happy hour last Friday. But considering the new guest’s name, tardiness was the least of at-large D.C. Council candidate Marcus Goodwin’s worries.

It was shortly after 5:30 p.m., and roughly 25 people were already virtually mingling while they waited for Goodwin and his cohost, former mayoral candidate and Busboys and Poets founder Andy Shallal, to kick things off.

Immediately suspicious of the cheekily named latecomer and well aware of the widespread form of internet trolling known as “Zoombombing,” Goodwin booted Jass

from the gathering, but more users like him kept coming back. For the next 20 minutes, anonymous trolls inundated Goodwin’s campaign event with pornographic videos and racial slurs spewed at the Council hopeful.

“You kick someone out, and they’re gone, but it was every minute, for like 10 minutes, a new person would join,” Goodwin says.

The 30-year-old real estate developer, who is making a second play for a Council seat after challenging At-Large Councilmember Anita Bonds in the 2018 Democratic primary, ended the call before 6 p.m.

He emailed the list of registered attendees that he would try again later that night on Instagram Live.

“Luckily people don’t have a lot to do on a

Friday night,” he says. “Andy is very technically savvy and has done popular Instagram Live videos and has a big social media following, so it worked out.”

Zoombombing, a relatively new phenomenon in which anonymous trolls flood Zoom video conferences with offensive content, has penetrated just about every kind of virtual meeting out there, as Advisory Neighborhood Commission 7B can attest.

But lewd interruptions are just some of the hurdles candidates for elected office face during the coronavirus pandemic. The DC Board of Elections announced two weeks ago it will hold the June 2 Democratic primary election as scheduled. Early voting is slated to start May 22 at 20 voting centers spread throughout the District—at least two

in each ward. They will replace the 144 precincts typically open on Election Day. The D.C. Council passed legislation this week directing BOE to send mail-in ballot applications to every registered voter in the District, in an effort to encourage as many people as possible to vote by mail.

During a time when some of the most effective campaign strategies—door knocking, hand shaking, in-person meet and greets— are essentially forbidden, local candidates are shifting to more hands-off approaches.

That means lots of phone calls and a robust direct mail campaign, if you can afford it, candidates and campaign advisers say. And since most conversations with potential voters these days focus on COVID-19, candidates are trying to keep up with the constantly changing guidance as they become de facto sources of information for the thousands of people they’re talking to.

According to Sean Metcalf, who’s managed local campaigns and worked for former Ward 2 Councilmember Jack Evans, the pandemic could give incumbents an extra advantage.

“They thought they could go to all these town hall meetings, and sit in front of the Social Safeway and get voters,” he says, speaking in terms of the Ward 2 race. “And now they can’t. So now they’re relying on their lists. And if you’ve never ran a campaign before, you probably don’t have a very good list.”

Like Goodwin, mAny of the younger candidates who spoke to LL are using technology to schedule virtual meet and greets and connect with voters.

Janeese Lewis George, who is running to the left of Ward 4 Councilmember Brandon Todd, says she has scheduled virtual town halls every Tuesday, but phone banking is taking up the bulk of her time. George says some of her meet and greet hosts have been apprehensive of virtual gatherings, either because they’re unfamiliar with the technology or they don’t believe guests will show.

The pandemic has shifted her messaging when she talks with voters. Rather than im-

washingtoncitypaper.com april 10, 2020 3

mediately launching into a spiel about paid family leave or listing her endorsements, she (and just about every other candidate LL talked to) asks whether people need help getting groceries and other essentials, navigating the unemployment benefits application, and requesting a ballot.

Todd has yet to attend a virtual meet and greet, though he says he has one scheduled for next week. “I have been flooded with phone calls coming directly to me, aside from calls to my office, from small businesses who are petrified of their future,” he says.

Both George and Todd say they’ve made deliveries to people who are unable to shop for themselves, or for whom going out in public is too dangerous. Todd does so largely through his Council office, not his campaign apparatus.

Asked whether she would participate in a virtual debate, another victim of social distancing, George mentioned that the last inperson opportunity was a mid-March panel discussion for all Council candidates hosted by the political action arm of the Washington Metropolitan Council AFL-CIO. Todd confirmed that he would attend, according to the event’s online registration page, but never showed.

He tells LL he must have had a scheduling conflict. “I’m always interested in talking about the issues that matter most to Ward 4 residents,” he says of a possible virtual debate in the future.

In Ward 2, candidate Brooke Pinto says she’s making about 3,000 calls per week.

But as a political newcomer with little name recognition (or face recognition for that matter) she’s at a disadvantage in an eight-way race against opponents who have plenty of both. She’s scheduled some video meet and greets, and she’s also making videos of herself that she emails to voters.

“I was talking to one lady today,” Pinto says. “She said she had read about me, but was having trouble because she hadn’t seen me, and the video helped.”

Jordan Grossman, another Ward 2 candidate, canceled his in-person events in midMarch after Mayor Muriel Bowser declared a public health emergency. About a week later his wife gave birth to their first kid. When he spoke to LL last week, Grossman was still organizing his digital campaign—calls, texts, video calls—while navigating life as a new parent.

He wasted little time enlisting his son, Jesse, into his campaign. A few days after Jesse was born, Grossman introduced him on Twitter as a fighter for the little guy who “strongly supports Naps for All.” The last tweet in the thread asked for volunteers to send texts and make calls for the campaign.

Kishan Putta, an advisory neighborhood commissioner in Burleith, assembled a coronavirus advisory team that includes Obama administration Surgeon General Vivek Murthy and is planning a virtual town hall specifically about the crisis.

Jack Evans, meanwhile, is taking a dif-

ferent approach. The 66-year-old former Ward 2 councilmember, who resigned before the Council could kick him out for violating ethics rules, is, by his own admission, “not good at email,” “not good at computers,” and “can’t type.” If he does any video conferencing, it likely will be with smaller groups, not town hall style, he says, though none are currently planned. Joe Florio, Evans’ most recent former communications director, is working for the campaign and is good with the internet and social media, Evans says.

Without the traditional strategies he’s used in the past, Evans has focused on working the phones.

(Ward 7 Councilmember Vince Gray, a 77-year-old entrenched incumbent, is relying on the same strategy. “Oh yes, I have lists from previous campaigns that I go through,” he tells LL in a phone interview. “This one list alone has 70, 80 people on it. And I use email and text, too.”)

Evans says his other focus is analyzing the District’s financial situation in light of its response to COVID-19.

“That’s my expertise,” he says. “I’ve been through every crisis the city’s had—’96, 2001, 2009— and was a helping hand along with others getting us through very, very difficult times.”

He’s also written an op-ed on the subject but declined to share it with LL for the time being. He did, however, offer a peek into his thinking by raising several questions, such as: What will Mayor Bowser’s budget look like? Where will the government cut spending? Should they raise taxes? On who? And how will the District recover?

Evans doesn’t have answers to those questions, saying he is waiting for CFO Jeffrey DeWitt’s assessment, which is expected on April 24. “I have ideas that I’ll share with people,” Evans says. “But I don’t have any answers right now.”

During a phone interview last week, Evans described himself as “one of the, if not the most, financially experienced person in your government.” (LL notes that Evans is actually outside the government after resigning in disgrace earlier this year.)

Asked on Monday about Evans’ self-portrait, Council Chairman Phil Mendelson furrowed his brow and cracked a slight grin.

The chairman, who also fancies himself a more than proficient steward of D.C.’s finances, declined to comment on the record.

Metcalf, who has worked in the past as Evans’ communications director, suggests that the media’s focus on COVID-19, rather than the ethics scandal that forced Evans to resign from the Council in disgrace, as well as his longevity, give him an advantage.

“We’re not talking about anybody being in trouble. We’re just talking about COVID-19, and that’s it,” he says. “[His opponents] want to bash Jack at town hall meetings. Well that’s kinda gone by the wayside.

So for elected officials who may have had problems, the news cycle has changed, and that’s to their benefit.”

CP

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CITY DESK

No Relief The D.C. Council again excluded undocumented and informal economy workers from its coronavirus legislation.

By Amanda Michelle Gomez IngrId Vaca feels invisible. She’s worked behind the closed doors of the private homes she cleans across the region for 20 years.

Cleaning sometimes turned into caregiving, like when she tended to an elderly client after he injured himself.

The job itself doesn’t make her feel invisible—cleaning has enabled Vaca, 57, to provide a life for herself and sons in D.C. and send money to her family in Bolivia, where she emigrated from—but the actions of the D.C. Council and Mayor Muriel Bowser do. Lawmakers have so far excluded Vaca and other laid-off workers like her from any coronavirus relief package they’ve passed.

“They don’t recognize my job,” Vaca says.

“They don’t value my humanity. They don’t value everything I did.”

After D.C. reported its first case of COVID-19 on March 7, Vaca’s clients asked her to stop cleaning their homes because it was too dangerous—traveling to and from locations could possibly spread the virus. Unlike the tens of thousands of workers in the District who’ve been temporarily or permanently laid off during the pandemic, Vaca cannot file for unemployment insurance. Vaca’s two decades of labor are going unnoticed because she is undocumented.

For a few days, workers like Vaca thought help was on its way. On Thursday, April 2, the Council released its initial draft of the COVID-19 Response Supplemental Emergency Amendment Act, which provided cash assistance to those who are ineligible for local or federal government relief because they aren’t authorized to work in the United States or lack proof of income. These workers are, among other things, caregivers, housecleaners, street vendors, day laborers, and hotel and restaurant workers. On Saturday, April 4, Council Chairman Phil Mendelson circulated a revised draft of the bill that cut wage replacement for excluded workers. The Council ultimately passed legislation that includes no direct aid for these workers during its April 7 meeting.

“I was very happy,” says Vaca of the original legislation. The cash assistance could have paid for her cable and internet, which were temporarily cut last week because she can’t afford to pay the bill. She depends on internet access to communicate with her 86-year-old mother in Bolivia.

Workers like Vaca are still without any gov-

ernment help in nearly impossible circumstances. Many of these individuals worked low-paying jobs to begin with and weren’t able to save much. They live paycheck to paycheck and without a job, don’t know how they will pay for their rent or utility bills. Moratoriums on eviction and utility shut-offs are temporary. Desperate for cash, some are still searching for work and putting themselves and others at risk.

Rusbel Sinto, 49, still waits outside of the Home Depot in Brentwood to see if anyone will hire him for landscaping or construction jobs. Rent was due April 1 and he owes his landlord $1,200. While they haven’t spoken yet, Sinto is waiting for the day when his landlord knocks on his door and wants to collect.

Sinto, originally from Guatemala, says he isn’t afraid of getting infected with COVID-19 but fears having no money for him and his sons.

His last job was 15 days ago.

“Please help the day laborers,” he says.

The $1,200 check from the federal stimulus bill would cover a full month of rent, but he doesn’t qualify because of his immigration status. Arturo Griffiths of Trabajadores Unidos de Washington DC, an organization that helps low-wage workers, says day laborers are among the most vulnerable workers because they don’t qualify for any government assistance. Consequently, many day laborers are still looking for work even if that means going into people’s homes without any protective gear. Many of the individuals Griffiths works with live in group homes with six to 10 other people. If one becomes infected, it is likely they all will. Some might delay or avoid seeking medical care out of fear of deportation, leaving an outbreak undetected.

“A lot of them have to work because they don’t have any other way to survive,” says Griffiths. “If that group is not getting taken care of, they could hurt everyone.”

Workers lIke Vaca and Sinto are all too familiar with being excluded from the government. Just a few months ago, Vaca advocated to get the Council to pass the Domestic Workers Protection Act because the DC Human Rights Act doesn’t protect workers like her.

Now, the Council passed its second emergency package related to COVID-19 that provides no direct aid to undocumented and informal economy workers. Mendelson said lawmakers are committed to helping them but

Darrow Montgomery

couldn’t afford to make it work this time. D.C. must cut $607 million from its budget before the fiscal year ends in September.

The initial draft of the Council bill gave Bowser two ways to provide cash assistance to excluded workers: One set up a parallel unemployment insurance program and another created a grant program so nonprofits could divvy out cash to workers. No dollar figures were included in the bill, giving the executive plenty of discretion. The chairman, along with the mayor, worked with the Council’s Office of the Budget Director to see how much wage replacement for excluded workers would cost the District.

Council Budget Director Jennifer Budoff says setting up a UI program would cost an estimated $33 million if 20 percent of the approximately 19,000 undocumented workers in the city received an average weekly benefit of $300 along with benefits.

(This also includes administrative costs affiliated with the Department of Employment Services.) The grant program would cost $42 million because it would cost an additional 30 percent for nonprofits to administer the funds.

At-Large Councilmember Elissa Silverman is disappointed that the provisions were cut from the relief package. Silverman, who chairs the Committee on Labor and Workforce Development, worked with advocates to make sure workers who were excluded from the first COVID-19 relief package were included this time around.

Montgomery County was able to set aside $5 million for excluded workers, Silverman says, so why couldn’t D.C.?

“What Montgomery County did and what our committee wanted to do is signal to this community of workers that we are concerned, we support them, and we want to give what assistance we can,” says Silverman. “We need to help keep all of our families economically as stable as possible at this time.”

When asked during a press conference on April 3 if she believed these workers should receive help comparable to unemployment insurance, Bowser emphasized that “we cannot meet the need for every individual and every business with only District funds.”

Like its workers, D.C. is in a precarious financial situation because the city is not generating much tax revenue. While the city is in a better position than others for an economic downturn thanks to years of growth and responsible budgeting, lawmakers still need to cut spending.

Silverman understands where the mayor is coming from but remains compelled to help this vulnerable group. “We have to remember that these neighbors and residents are excluded from federal sources of money and so the local dollars are really the lifeline that they have and the only safety net they have,” she tells City Paper. “I think that means that we do need to do whatever we can to put some dollars towards helping them out.”

Mendelson has said he is interested in looking at what Montgomery County did.

“There continue to be discussions, I would

say fairly energetic discussions, about how we can find relief for these undocumented workers,” Mendelson said during Tuesday’s meeting. Budoff says a microgrant program similar to the Small Business Recovery Microgrants, where the city set aside a defined pool of funding (specifically, $25 million) for a specific group, could be established for excluded workers. It’s unclear whether these ideas will come to fruition.

When Workers learned that the Council cut wage replacement, they and their advocates organized. Using the hashtag #DontExcludeMe, groups like DC Jobs with Justice and Black Lives Matter tagged lawmakers in social media posts that featured workers asking for help. Workers shared videos and photos of themselves in an attempt to change lawmakers’ minds. Hundreds of people contacted the mayor and councilmembers on the behalf of these workers.

“The truth is that between paying rent and bills, I prefer to eat,” says Juan in a voice memo in Spanish posted on Twitter, “That’s the reality.” Originally from Mexico, Juan has been working in D.C. restaurants for the last 10 years.

“As a worker in D.C. I pay taxes and yet I can’t receive unemployment benefits,” says Pamela Gomez in Spanish in a video that she took of herself. The video posted on Twitter has over 500 views.

Nevertheless, the Council unanimously passed its COVID-19 relief package Tuesday afternoon. It includes items like a citywide rent freeze and 90-day mortgage deferment but no direct relief for excluded workers. In his final remarks before passage, Mendelson acknowledged that everyone is being left disappointed with this bill but called it a “consensus document.” The vote proves to some residents that the city serves select individuals first.

Excluded workers will have to continue to rely on their community for assistance. A Ward 1 mutual aid group has proved vital to Columbia Heights street vendors, for example. Vendors have been getting cash stipends raised on their behalf. “The state is never going to center the voices who are most harmed,” says Natacia Knapper, who organized the Ward 1 GoFundMe campaign.

Arely Andrade and her 12-year-old daughter Kimberly have relied on this money and help from the immigrants rights group Many Languages One Voice. All their income came from selling food like tamales in front of the Bank of America near the Columbia Heights Metro station. Community organizers have been dropping off cash and food at Andrade’s doorstep because, as a cancer survivor, she has a compromised immune system. The support has been a silver lining. “I’m happy that me and mom are together and others are helping her,” Kimberly says.

CP

washingtoncitypaper.com april 10, 2020 5

Family photo

SPORTS SOCCER

Out of Play

ISI Photos

Washington Spirit can’t wait to debut its new team this season—assuming there is one.

Spirit players celebrating in 2019

By Kelyn Soong The living room inside the Rockville apartment that Ashley Sanchez shares with fellow Washington Spirit rookies Averie Collins and Natalie Jacobs doesn’t resemble a gym. Not in any traditional sense, at least. But for the past two weeks, that’s exactly what it has been.

Sanchez and her teammates pushed the furniture back to the walls to create more space for their workouts. Household items like one gallon water bottles and books have morphed into weights. The sounds of squat jumps emanate from the room each day.

Since being drafted fourth overall by the Spirit in the National Women’s Soccer League

(NWSL) College Draft three months ago, Sanchez, 21, has experienced the highs of being a professional soccer player, sharing the field with some of the best players in the world during preseason training camp in Florida, before that gave way to a newer, more unsettling reality: learning how to be a pro athlete while sports are on pause due to the coronavirus pandemic.

“It started off cool, but now I’m just in a weird place in my life,” Sanchez says. “It’s just a weird time.”

The same can be said for the Spirit. Heading into this season, the franchise had planned to execute its vision of taking the club to the next level after drafting five new players and signing six others. In addition to Sanchez, a star at UCLA, the team took four players out

6 april 10, 2020 washingtoncitypaper.com

of college: Collins (Washington State), Jacobs (University of Southern California), Katie McClure (University of Kansas), and Kaiya McCullough (UCLA). The Spirit traded fan favorite World Cup player Mallory Pugh to Sky Blue FC in the offseason but welcomed back U.S. national team players Andi Sullivan, Aubrey Bledsoe, and World Cup hero Rose Lavelle.

“I’d be lying to you if I told you it wasn’t really frustrating, because we had so much excitement coming into the season,” says Spirit majority owner Steve Baldwin. “Last year, it was kinda like, maybe let’s hope we can be good. We had the season we had. We had the changes in the roster we made coming into this year, we know we’re good. We know we

D.C. United goalie Chris Seitz’s new routine is a balancing act. washingtoncitypaper.com/sports have a really good team that has the ability to win it all.”

Last season set the stage for a potentially pivotal year for the franchise. Boosted by the women’s World Cup last summer, the team nearly sold out two matches at Audi Field in 2019, averaging 18,645 fans per game, and 5,200 people packed the Maryland SoccerPlex for its home finale just a year after a twowin season.

With the intention of branching out to a larger fanbase, the Spirit also plans to play at three home venues this season: four games at their current base— the Maryland SoccerPlex in Boyds, four games at Segra Field in Leesburg, Virginia, which has a capacity of 5,000 seats, and four games at Audi Field. The goal is to eventually play more matches at Audi Field, the home arena for D.C. United.

Front office members and players have spoken excitedly about riding the momentum from 2019 into this upcoming season.

Assuming there is one.

The NWSL recently extended its leaguewide training moratorium until at least May 5.

No official start date for the season has been set, but the league has said that it hopes to start at the end of June, a delay of over a month from the original May 18 kickoff. The start of the WNBA and MLB seasons are also delayed with no specific timeline, and last month the 2020 Tokyo Olympics became the biggest sporting event to be rescheduled.

The current reality leaves the young but talented Spirit team in an unprecedented kind of limbo. Unable to properly train together, players like Nielsen and Sanchez are forced to recreate their workouts in their apartments with roommates and carry on a training regime without a solid understanding on when they’ll be back on the field.

Like Sanchez, second-year Spirit player Paige Nielsen has found creative ways to work out. The training moratorium means that the Spirit can’t have team training sessions, but individual players and those who live together have still been finding ways to stay fit.

Nielsen, 26, wakes up at 6:30 every morning—“with the sun,” she says—and makes breakfast. Then her and her roommate, Bayley Feist, will have a fitness challenge of at least 30 pull-ups and 100 push-ups. Michael Minthorne, the Spirit’s high performance director, has been supplying workout routines, but not all players have access to the same equipment.

While Nielsen says the team is in the process of getting bikes and rowers for each apartment, players have had to use their own resources until then. Baldwin adds that players will also be receiving weights, exercise ladders, PRx bands, and additional psychological support.

“I think the biggest challenge right now is

ISI Photos

how do we best serve the players,” he says. “The league and our club are encouraging players to stay in the market but we have to help them from a nutrition perspective. We’re still doing a couple meals for them. We’re working to get the medical team involved to make sure they have everything they need on them. We’re working to try to find ways to keep them fit. The other thing we’re doing is trying to find as many ways as possible to occupy their time.”

For the past few weeks, Nielsen has been able to borrow some free weights from her apartment’s gym. To do hamstring slides, which involve laying on your back and sliding your feet back and forth on the ground, she cut up a large cardboard box. She also does some technical ball work on the tennis courts in her apartment complex, and other players have used a parking garage to practice soccer skills.

“We love what we do,” Nielsen says. “I love my job. I love everything about it. I love seeing my teammates every single day, joking with the coaches, pushing myself beyond what I’m capable of. It’s really hard to do that at this time.”

Every couple days, head coach Richie Burke checks in with his players via Zoom.

“I think he’s bored out of his mind,” Sanchez says with a chuckle. He’ll reach out to the captains—Sullivan, Bledsoe, and Tori Huster— and there’s a separate group for the rookies.

In February, the NWSL brought in Lisa Baird, formerly the chief marketing officer for the U.S. Olympic Committee, to be its new commissioner, and since then, she’s helped the

Paige Nielsen league sign marquee broadcast deals with CBS and the streaming service Twitch. Baird told Reuters earlier this month that players are still being paid and no NWSL staff has been laid off.

The team recently ramped up its content in order to reach its fans. In February, the Spirit hired Craig Hoffman as a full-time executive producer for “Spirit Media.” Hoffman, a part-time on-air host at 106.7 The Fan, has embraced the challenge of coming up with ways to reach Spirit fans during a time where sports are on pause.

“It’s how do we stay connected with fans

when we can’t actually be with them,” Hoffman says. “How can we do stuff on the field, off the field. On the field is a relative term, that element of how can we get matches into their lives.”

On Saturday afternoons, the team has streamed match replays on Twitch with players commentating. Within 10 days, Hoffman helped organize multiple Zoom calls featuring players on the team, including two calls with youth clubs, one for the Spirit Squadron supporters’ group, two match replays, and a podcast recording with Sullivan.

This Tuesday, the team launched “The Richie

Burke Show,” a weekly series with Burke aired on Twitch, Facebook Live, and YouTube.

“Especially in our new world, we’re very digitally connected,” Nielsen says. “I think I saw somewhere that it shouldn’t be called socially distancing, it should be physical distancing. We’re staying connected online.”

And as with many people in their 20s, there’s also TikTok. The Spirit has a team account, and the players have been doing TikTok challenges. They may not be able to dance in the locker room after victories right now, but at least players can find solace in the #onehand twohandchallenge workout routine.

“I would want to say it’s me, but that’s not true,” Nielsen says when asked who has the best account. “Our Canadian player, Jenna Hellstrom, she’s had like 10 years of hip-hop dancing. She has this mean mug face down.”

In the coming weeks, Spirit players will be looking for ways to get involved in the community. Nielsen mentions that the team is planning on a blood drive and also wants to donate reusable and washable masks for people that need them. For now, Spirit players are doing their best to stay occupied in between their workouts.

Nielsen has been catching up on books. Sanchez and her roommates started painting succulent pots, doing puzzles, and watching Net flix, proving that, sometimes, professional athletes are just like the rest of us.

“I just started Ozark, and I finished All American, Tiger King, On My Block, that was like the last two weeks,” Sanchez says with a laugh. “It’s kind of concerning. It’s almost impressive.” CP

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washingtoncitypaper.com april 10, 2020 7

3000 Block of Mount Pleasant Street NW, April 5

From a Distance Photographs by Darrow Montgomery

8 april 10, 2020 washingtoncitypaper.com

Clockwise from top left: 3400 Block of 14th Street NW, April 6; 1500 Block of 14th Street NW, April 3; 3400 Block of 14th Street NW, April 6; 1300 Block of H Street NW, April 3 A photogrApher cAptures life as it happens, but what does one do when most aspects of life are paused indefinitely? Over the past few weeks, City Paper staff photographer Darrow Montgomery ventured out from his Mount Pleasant base to document D.C. as the coronavirus crisis took hold. “I’m trying to make a record of the time,” he says.

For some, work continues—cakes are delivered and yards are tended even as people’s faces are covered. Trees in Rock Creek Park remain bare; new spring leaves have yet to unfurl. Main thoroughfares like 14th Street NW are less crowded than usual, but people still stand dangerously close to one another, compelled to connect as if by a magnet.

Even when people can’t physically connect, reminders of the faith we have in ourselves, one another, or a higher power appear. A church may be closed for services, but ordinary street signs cast a shadow of a cross on a wall. And on a set of brick steps, a simple meditation reminds those who see it to pause for a moment of care and reflection. “Breathe in,” it implores. “Breathe out.”

—Caroline Jones washingtoncitypaper.com april 10, 2020 9

Clockwise from top: Rock Creek Park, April 2; 1500 Block of Newton Street NW, April 6; 3400 Block of 14th Street NW, April 6 10 april 10, 2020 washingtoncitypaper.com

Clockwise from top left: 3500 Block of 14th Street NW, April 6, 1600 Block of Park Road NW, April 5, Unknown Location, April 5 washingtoncitypaper.com april 10, 2020 11

Clockwise from top left: 1400 Block of Irving Street NW, March 24; 1400 Block of Newton Street NW, April 6; 3400 Block of 14th Street NW, April 6; 3000 Block of Mount Pleasant Street NW, April 5

12 april 10, 2020 washingtoncitypaper.com

1500 Block of Newton Street NW, April 6

washingtoncitypaper.com april 10, 2020 13

Rappahannock Oyster Co.

DCFEED

Local oystermen are concerned about the timing of the COVID-19 crisis. Oysters grow and mature in early spring. With limited places to sell their product, these farmers worry they’ll lose some of the oysters they spent more than two years cultivating. washingtoncitypaper.com/food

YOUNG & HUNGRY

Plot Twist

Farmers who sell to D.C.’s top restaurants upend their traditional business models during the coronavirus crisis.

For Farmers Clay and linda Trainum, one of the most difficult aspects of the current public health crisis is not having the time to commiserate with the restaurant clients they’ve come to know since launching Autumn Olive Farms in the Shenandoah Valley in 2005.

“Our customers are our dear friends,” Clay says. “We put our best products in their hands and they do their best work to make us look good. We have years and years of investment in developing those relationships. To see that blown to pieces, emotionally, it hurts.”

The Trainums sell their high-end, heritage breed pork and beef to chefs at top D.C. restaurants, including The Dabney, Tail Up Goat, 2 Amys, and A Rake’s Progress. But when restaurants closed or drastically reduced their operations to take-out and delivery in midMarch, 95 percent of Autumn Olive Farms’ business evaporated within 36 hours.

“We don’t have a chance to even grieve,” Clay says. “It just sucks. We haven’t even been able to get up with each other to say, ‘How are you doing?’ They’re scrambling to survive and we’re scrambling to survive.”

Like other farmers whose names have been scrawled across menus at farm-to-table restaurants throughout the region for years, the Trainums have had to work around the clock to support themselves, secure the future of their business, and ensure products don’t go to waste. Right now, they’re focused on selling products directly to the public. In 19 days, Autumn Olive Farm built an online retail store and began selling to non-restaurant customers for the first time. Purchasers can retrieve orders at four locations in central Virginia. If demand increases, the Autumn Olive team will expand into the District.

According to farmers, the public has answered their call. Consumers are going straight to the source as they seek alternatives to soldout, over-crowded supermarkets, believing that the less hands that touch ingredients, the better.

By developing direct-sales strategies, farmers are forging the same tight bonds with local residents that they’ve cultivated over the years with

Laura Hayes

By Laura Hayes

chefs. Farmers hope this reinvigorated appreciation for their craft and livelihoods lasts well beyond the pandemic.

Mary Ellen Taylor, better known as “the lettuce lady,” has been growing greens for 20 years. Her operation, Endless Summer

14 april 10, 2020 washingtoncitypaper.com

Harvest, is located in Purcellville, Virginia.

Despite the fact that restaurant sales typically account for 60 percent of her business, Taylor says her company hasn’t taken a hit.

Restaurants serving to-go meals are still buying from her, especially as some larg-

er purveyors have limited their distribution schedules.

In addition to selling lettuce and other greens to restaurants, Endless Summer Harvest has year-round booths at the FRESHFARM Dupont Circle Market and the Falls Church Farmers Market. Farmers markets were considered essential businesses in the District until Mayor Muriel Bowser issued an order Wednesday evening. Now markets must apply for a waiver to reopen by sharing a social distancing plan with the city. Falls Church instituted restrictions to try to slow the spread of the virus, such as limiting sales to pre-orders and controlling how many customers enter at a time.

“Customers are so appreciative,” Taylor says. “They thank us two and three times for continuing to produce. The relationship between the customer and farmer has always been symbiotic, but right now it is so important, the mutual appreciation.”

Taylor attributes some of her success to social media. About two months ago she decided 2020 was the year she would tap two staff members to create Facebook and Instagram accounts for the farm. “Had we not done that, we’d be behind the curve,” she says. “Our business has absolutely increased.”

Moon Valley Farm in Woodsboro, Maryland, has also tweaked its operations to get its produce into the hands of consumers while restaurants are dormant. Owner Emma Jagoz typically operates a CSA from May through December. From January through April, she only sells to restaurants, including The Dabney, Maydan, and Rooster & Owl. To stay viable, Moon Valley Farm had to launch its CSA program early this year and sweeten the deal by offering delivery for the first time. They make drops in D.C., Bethesda, Baltimore, and beyond.

“You could say I lost 100 percent of my business at this moment, but we just delivered 300 shares this week, which financially more or less makes up for that,” Jagoz says. “But in a few weeks we’re supposed to have our CSA memberships, plus restaurant sales. I’m not sure how that’s going to look.”

The public can either sign up for a seasonal CSA or place one-time delivery orders through the farm’s website. Three weeks in, Jagoz is encouraged. “Our CSA members and the public have been extremely supportive of us—we’re home delivering like crazy,” she says. Instead of laying off workers, Jagoz has increased some of her employees’ hours.

She also found a way to loop in niche growers in the region. In addition to selling and delivering the early spring crops available from her farm, Jagoz sells her colleagues’ gour-

met mushrooms, dry beans, grains, honey, and fruit and forwards them any money she receives from their products. Should city dwellers want to try their hand at growing their own food, Moon Valley Farm will also deliver vegetable transplants ready to go into the ground.

Jagoz recognizes that some Washingtonians are amending their spending habits simply because grocery stores are out of produce, but she hopes the benefits of buying local will stick. “People are seeing that we take a lot of pride and care in our food and the chain is really short and that’s benefiting the public,” she says.

“If there’s one thing that this whole virus has shown us, it’s that our food system is so fragile,” says Erik Schlener, founder of Root and Marrow Farm in Lovettsville, Virginia.

“I’ve had countless emails and calls from people looking to buy from me. The stories are crazy. They’ll say, ‘My dad has diabetes and can’t have contact with anybody and would like to order from you.’ At most at my farm, produce is touched by two people. It’s the most secure way of getting food and there’s a lot of power in that.”

Schlener started his farm in 2008 with just $400 in savings and ramped up operations to the point where he could finally start selling to restaurants over the past couple of years. “Last year over 50 percent of our sales were from restaurants,” he says. “We were hoping to double that this year.”

Some of his would-be clients include newcomers Hanumanh, Albi, Nina May, and Oyster Oyster. The latter is a plant-based restaurant that should have opened by now, but COVID-19 stalled all progress. Schlener spent the past year developing a close relationship with Oyster Oyster Executive Chef Rob Rubba. The pair organized a farm dinner last summer to give diners a sneak preview of what a menu can look like when farmers and chefs collaborate.

“For the past three weeks I’ve been pivoting as fast as I can to keep runway in front of me,” Schlener says. “I’ve switched to directto-consumer harvest club memberships and have been trying to get as many people signed up as possible. By May, we’ll start delivering them.”

While he says the CSA program hasn’t covered lost sales, Schlener believes it will keep the farm going for the foreseeable future.

Right now his target market is Loudoun County, but come late spring he’ll look for a D.C. restaurant to pair up with. All-Purpose Pizzeria has done something similar and currently serves as a pick-up point for Earth N Eats farm.

The changes Schlener’s made on the farm have less to do with volume, and more to do with crop selection. He knows he’d have a harder time selling edible flowers to the public than something more familiar and substantive. Not many home cooks are focused on garnishes, especially at this point in time.

That said, consumers’ gameness to experiment with produce grown with chefs in mind or proteins packaged in quantities better suit-

ed for a restaurant crowd than a nuclear family or cluster of roommates quarantining together has surprised two farms.

Unlike Autumn Olive Farms, Spring House Farm in Hamilton, Virginia, was already set up for retail when COVID-19 clobbered the region’s restaurants. Founders Andrew and Liz Crush operate a brick-andmortar store at the farm, sell out of Crooked Run Brewery in Sterling, Virginia, and offer popular cuts of pork, goat, chicken, and lamb as well as pork bones, chicken feet, and lamb hearts in their online store. Spring House will deliver items purchased through the online store to D.C. zip codes if an order exceeds $300.

Thanks to help from staff, Spring House Farm has been able to meet demand. “We had two days where we ran out of milk and two days we were out of eggs,” Andrew says.

“But meat and all of the other stuff we were able to keep stocked. Massive grocery stores with these fancy distribution systems were not able to keep up. And we were blowing through the product pretty fast.”

At one point they sold out of their onepound packs of grass-fed ground beef, so Andrew turned to the five- and 10-pound blocks of ground beef they typically sell to restaurants and hoped the public would purchase them.

They did.

But that doesn’t mean people should always buy in bulk. “It’s great when we take down 60 to 80 dozens of eggs to our stores and they get sold in a day, but when you see people take eight dozen eggs or 10 jugs of milk, you know they’re not going to use all that and someone else is going to have to go without,” he says.

Jon Shaw of Karma Farm sells specialty products exclusively to restaurants, making his newly formed CSA program an unusual one. “We don’t really do any commodity things like onions or potatoes,” Shaw explains.

“They’re going to get a lot of celtuce, Chinese broccoli, and edible flowers. Some people will appreciate it. Others will say, ‘I don’t know what to do with it.’”

Four years ago, Shaw and his wife, Gay, decided to solely specialize in restaurants. They sell to clients including Tail Up Goat, Bad Saint, Reverie, The Dabney, Bresca, Hazel, and A Rake’s Progress. “What happened three weeks ago is the vast majority of our customers shut down,” Jon says. “We went back to our CSA list and sent out emails to all of the customers that we had four or five years ago.

We’re sold out. It’s crazy.”

The timing of COVID-19 could have been worse, according to Shaw. Their revenue is only down 20 to 25 percent because they can’t offload some specialty produce, but they’re still able to sell upward of 70 shares per week.

Had this happened at the end of June, Shaw says they would have needed to sell 150 shares per week to make ends meet. He’s doubtful demand would rise to that level. “We’d have a lot of tomatoes that are rotting.”

“We’re going to survive and live to fight another day,” Shaw insists. “Hopefully the restaurants will come back.”

CP washingtoncitypaper.com april 10, 2020 15

Kriston Capps

CPARTS

David Driskell, 1931–2020 Celebrating the work of the local artist and professor, who has died from complications related to COVID-19

As An Artist, David Driskell saw his expressive figurative paintings enter into prestigious museums and collections across the country.

As a collector and curator, he helped to shape the story of African American art and carve out its central place in the telling of American history. Yet Driskell may have found his truest calling as a mentor.

Driskell, who died on April 1 at 88 due to complications caused by COVID-19, guided students and artists in the D.C. area for decades. The Hyattsville resident served for more than 20 years as a faculty member at the University of Maryland, where the David C. Driskell Center for the Study of the Visual Arts and Culture of African Americans and the African Diaspora was named in his honor in 2001.

His former students spoke in gratitude about their relationship with Driskell, whose work as a mentor often extended beyond the classroom.

“When people took art classes from David, even if they did not become art curators or scholars or artists themselves, they always kept an appreciation for art,” says Tuliza Fleming, interim chief curator of visual arts for the National Museum of African American History and Culture.

“I’ve run into a lot of people who have said, ‘Oh, yes, I took a class with David. I never forgot it.’”

Fleming grew up with Driskell’s work: Her parents bought one of his pieces, a painting of a Yoruba deity, the year before she was born. She says that she first met Driskell when he gave a lecture at Spelman College, when she was a student there. His door was always open, Fleming says, when she was a graduate student at the University of Maryland, College Park, and she even vacationed with Driskell’s family at his summer home in Falmouth, Maine.

Later in life, as a curator with the Smithsonian Institution, Fleming purchased “Behold Thy Son” (1956), perhaps Driskell’s best-known painting, a pietà scene that depicts the Virgin Mary cradling the mutilated body of a slain Emmett Till. It was her first acquisition for the National Museum of African American History and Culture, where the painting is still on view.

While Driskell was a formidable presence as a scholar and curator—his name is attached to more than 40 museum catalogs—he conducted a lot of his work as a mentor in his garden. That’s where Jefferson Pinder, a perfor-

Courtesy DC Moore Gallery, New York

By Kriston Capps

mance artist and the interim dean of faculty at the School of the Art Institute of Chicago, says he got to know Driskell. While he’d taken classes with him as a young student at Maryland, he didn’t recognize the man for his accomplishments until later.

“When I got back to D.C., I said, ‘I want to be your guy.’ He said, ‘I’ve got some weeds that have grown really high in the backyard, and I could use some help cutting them down,’” Pinder says. “That pretty much was the start.

I didn’t know any African American artists his age who had been doing it for that long. He lifted the hood for me. This is how it’s done.”

Driskell was famed for his work as a naturalist; spirituality and nature are persistent themes in his work. One of his most popular classes at Maryland involved making pigments from natural materials. Driskell’s personal botanical garden featured exotic flora from clippings he acquired all over the world. He liked to host, and his household was a refuge to many. Pinder says that Driskell approached the study of art as a priestlike calling, and that he was a source of stability for artists who thought they wanted to be the next Basquiat.

16 april 10, 2020 washingtoncitypaper.com

“I was in his garden once and Questlove was just passing through,” Pinder says. “How the hell does Dr. Driskell know Questlove?

Questlove came by for his gumbo.”

Renée Stout, a painter and sculptor based in D.C., says that she never studied with Driskell but nevertheless cherishes a handful of encounters with him as high points in her career. One time, in the early 1990s, Driskell visited her home as the companion of an art historian who was there to interview her. Stout says she had a Casio keyboard set up in her living room; Driskell sat down and played it throughout the meeting.

Years later, in 2010, she received an award in his name: The David C. Driskell Prize, a prestigious honor bestowed by the High Museum of Art in Atlanta.

“I’m a believer that when people enter spaces, they leave a part of their essence that can remain forever, so afterward, I always remembered that day as a special day where my home had been imbued with the energy of Dr. Driskell’s music,” Stout says.

Driskell was deeply involved in the arts in D.C. even as a student, according to Dorothy

We’re reviewing the District’s architecture from home, starting with the Old Executive Office Building. washingtoncitypaper.com/arts Kosinski, the director and CEO of the Phillips Collection. She says that when she first started out at the museum, Driskell shared with her his memories of the museum’s founder and namesake, Duncan Phillips, whom Driskell came to know when he was an undergraduate at Howard University. (He earned a master’s degree from Catholic University in 1962.) Driskell advised the Phillips Collection on its presentation of Jacob Lawrence’s masterpiece, The Migration Series.

Next, the Phillips Collection will host a traveling retrospective of Driskell’s work. David Driskell: Icons of Nature and History will assemble more than 50 years of the artist’s prints, drawings, and paintings. The retrospective— which is being organized by the High Museum and Maine’s Portland Museum of Art— will survey his works on landscape, civil rights, the Southern black experience, and the black Christian church. High Museum curator Michael Rooks, noting Driskell’s distinguished historian career, says that “his work as an artist has been no less influential.”

Driskell cast a long shadow. Fleming says that he carried forward the work of James A. Porter, the legendary Howard scholar (and Driskell’s mentor) who founded the study of African American art with his book Modern Negro Art. Driskell’s landmark 1976 exhibition for the Los Angeles County Museum of Art, Two Centuries of Black American Art, further expanded the field. “He used to talk about how you could read all the books that had been written about African American artists on a Sunday afternoon,” Pinder says.

Driskell’s work was not received with universal praise. In 1977, when Two Centuries of Black American Art traveled to the Brooklyn Museum, the conservative essayist Hilton Kramer, then chief art critic for The New York Times, dismissed the show as “social history.” Driskell was invited on the Today Show, where he outlined a progressive view of art as a document of social history. “Hilton Kramer?” Driskell said to host Tom Brokaw. “What does he know about black art?”

“He could pilot the plane and fix the engine at the same time,” Pinder says. “He understood the mechanism of the field and he was also a participant.”

For all his towering achievements as a painter and historian, many will remember Driskell for his Southern manner, his generosity, and his touch as a gardener. Pinder calls him “a role model of all role models.”

“The Hank Willis Thomases, the Sanford Biggers, myself—all these young artists were looking to that next generation,” he says. “He was a paternal figure who was going to show you the way in this contemporary art world.”

CP

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THEATER

Apodcalypse Now Paperless Pulp At Flying V Theatre

By Ian Thal COVID-19 has shut down live theater in the DMV and beyond, but some local theatermakers are brainstorming how to use technology to present shows as their audiences stay at home. Podcasting may be the answer: Just a month before Flying V Theatre’s fall short play anthology Crystal Creek Motel was staged at the Silver Spring Black Box, the company released the first audio play in their nine-episode, highly bingeable podcast anthology Paperless Pulp.

Paperless Pulp takes its name from the popular fiction magazines of the early 20th century. Printed on the cheapest grade of paper, they were devoted to the genres at which the literati of the time sneered: science fiction, crime, suspense, Westerns, and “weird fiction”––often with protagonists defined by obsessions or distorted senses of self. Flying V's artistic director Jason Schlafstein directs every episode, relying on a rotating cast of actors drawn from the company.

The anthology series is framed by introductions and reflections from its host, Ivan the Archivist (the semi-anagrammatical alter ego of Navid Azeez, who also composes the music and provides sound design for several episodes). Ivan broadcasts from the abandoned studios of WFVR, where he is the sole resident in the post-apocalyptic year of 2184. Ivan hasn't seen another human in more than eight years, and he regularly ventures into the ravaged landscape of acid lakes, mutant squirrels, and plasma storms in his search of old tapes, hard drives, and security camera footage from which he recovers the stories that form each week's entertainment. Audiences are left wondering if Ivan's finds hint at just what led to “the day we do not discuss.”

Contributing three out of the nine episodes of the anthology’s season, Seamus Sullivan is the series' most prolific dramatist. His season opener, “RE: OBLIVION,” is an office satire in which co-workers are so consumed by the banality of their workplace, and so set at odds with one another by their manager, that they can react with neither horror nor madness when a Lovecraftian eldritch abomination appears in the supply room. Sullivan’s second outing in the series, “Horn of Bone and Silver,” features an unnamed podcaster (Regina Aquino), an obsessive bibliophile ever on the hunt for out-of-print genre novels. Her enthusiasm for her latest discovery, an early-’70s novel set in the fairy kingdom of Night Glade, leads to it being reissued by the publisher she works for

at her day job. But she falls into severe depression upon discovering that in the even harderto-find sequel, the heroine of the first novel has essentially become a villainess.

However, Sullivan's writing is at both its most heartfelt and funniest in the season closer, “Valkyrie at the Roller Disco,” named for the New Pornographers' song. It’s a romantic two-hander between Hillevi (Blair Bowers), a 1,009-year-old winged warrior of Norse mythology and Beth-from-Above, a roller derby jammer and eighth grade English teacher, named Bridget (Megan Reichelt). The story follows the tradition of classic Marvel Comics, in which superheroics are often an allegory for navigating adulthood—intergenerational dating, in this case. Here, one partner may have nobility and wisdom, but doesn't understand dating apps, streaming television, or open relationships, and the other is vibrant, intelligent, and adventurous, but afraid of commitment.

In “Blood, Sweat and Tapsilog,” Kyle Encinas uses the podcast-within-a-podcast concept to update the sort of lurid stories found in 19th century penny dreadfuls for the 21st century. Podcast host Jamie (Justine Moral) follows the story of Francis Ocampo (Aquino), a talented Filipina American chef whose borderline personality disorder leads to a mental breakdown under the stresses of the restau-

18 april 10, 2020 washingtoncitypaper.com

rant business, racist notions of “fine dining,” and the pressure cooker of a live-streamed competitive cooking show called The Last Bite and its sadistic panelist Greg Angeles (a thinly veiled caricature of Gordon Ramsey voiced by Zachary Fernebok).

Aficionados of classic science fiction will be intrigued by the tight storytelling of Washington Post columnist Alexandra Petri's “Equinox,” the tale of Tim (James Flanagan), whose life-long obsession with time travel is rooted in a childhood tragedy he wants to set right. Petri tells the story through voicemails and audio diaries that document how Tim's experiments result in myriad divergent timelines, each with its own tragedy substituting the one Tim's last trip meant to correct. Each disappearance into the past leaves consequences for the family members and girlfriend Tim leaves behind in the many worlds he creates and subsequently departs.

Augie Praley gives a more farcical treatment to the same themes in “The Sorrows of Another Werther.” Inventor William Werther, motivated by spite toward his ex-wife and her second husband, travels the multiverse, collecting a gang of other Werthers (all voiced

by Zachary Fernebok), including a basement dwelling esports Werther, early modern human Werther, and post-human uploaded con-

sciousness Werther, in a quest for the best possible universe—where there may be a Werther who is actually happy with his life. Praley's other contribution, “Dear Fred Durst,” is a simpler affair: A 12-step group meeting for rageaholics whose attendees have all written letters to their shared childhood hero, Limp Bizkit frontman Fred Durst, provides the company a chance to show off their comedic chops.

Serena Berman's “Apocalypse Air BnB” is a timely story featuring a shelter-in-place meet-cute between chainsaw-wielding zombie hunter Bernadette (Michelle Polera) and, given that civilization has collapsed, her unusually exuberant Airbnb host, Clyde (Flanagan) who is trying to maintain normality and hospitality.

Each episode ranges anywhere from 15 to 40 minutes long, enough time to explore a story while also making sure the slighter tales don't overstay their welcome. With such a range of genres represented, it's perfect for binge-listening. It's also not the only online content Flying V offers: Their four-show season of pro-wrestling is already available, and a new podcast, Audio Awesome, recently debuted its first episode. A second season of Paperless Pulp is scheduled to drop in the fall.

Paperless Pulp is available at flyingvtheatre.com.

ARTS CLUB

Illustration by Julia Terbrock

FILMSHORT SUBJECTS

28 DAYS LATER THE CONFRONTATION Les Misérables Directed by Ladj Ly

If nothIng else, you have to give the makers of Les Misérables credit for boldness. Naming an original French film after the 1862 novel by Victor Hugo is a comparison most artists would run away from. Especially since it now conjures up nightmares of Russell Crowe singing off-key.

This Les Misérables is inspired by the novel and musical only in its themes, not its plot. It’s a vivid take on a familiar tale of police corruption, with fresh details and a thrilling immediacy that renders all comparisons moot.

At its best, it’s a work of anthropology, leading viewers through the complexities of a criminal ecosystem in contemporary Paris.

American viewers might not be able to vouch for its authenticity, but the film earns its claims to verisimilitude through a committed naturalism. Our guide is Stéphane Ruiz (Damien Bonnard), a cop from the French countryside who has moved to the city to be closer to his exwife and son. He is teamed with two members of the Street Crime Unit, led by Chris (Alexis Manenti), a corrupt and hot-headed sergeant quick to abuse his power. Over the course of a day, filmed with a handheld camera that makes it feel like a virtual ride along, Ruiz gets an education in urban policing, while trying to maintain his sense of right and wrong.

Their beat offers him one test after another in an area full of violence, conflict, and class

and ethnic tensions. In the film, the children and teenagers of North African immigrants commit petty crimes and suffer abuse from cops and adult criminals alike.

It’s a coiled world that seems always on the verge of unleashing strife. When the plot turns to a confrontation between the police and the children, and a drone, operated by a shy teenager, that captures the whole incident, director and co-writer Ladj Ly expertly manipulates our perspective, teasing us into sympathizing with the characters he wants us to favor at the moment. It has a dizzying effect. There are no heroes here and very few villains. It’s a world drawn in shades of gray, brought to life by a cast of professional and first-time actors, none of whom break the reality of the scene by reaching for actorly moments. As a result, every act of violence feels understandable and every retaliation inevitable.

Despite its successful depiction of this intricate, underseen community, Les Misérables still largely leaves its marginalized characters on the outside looking in. The film only sees them through the eyes of its police officers, who are the least interesting people on screen. The more the story leans into the confrontation between its by-the-book protagonist and his hot-headed superior, the less engaging it becomes. In the back half of the film, however, Les Misérables lets its meekest characters inherit its world, and it transforms from an effective but uninspired cop drama into a song of righteous fury. It’s glorious, but it’s a crime that it takes so long to get there.

—Noah Gittell Les Misérables begins streaming Friday on Amazon Prime.

For this week’s edition of City Paper Arts Club, arts editor Kayla Randall and multimedia editor Will Warren watched 28 Days Later—because of course we’re watching a movie about a virus destroying the world during an actual viral pandemic. Underneath the blood and gore of the sci-fi horror film, released in the UK in 2002 and in the U.S. in 2003, we found sharp social commentary and emotional throughlines that reminded us about the beauty of being human. Next, because we love to be psychologically and sociologically tortured, we’ll watch episode three of Black Mirror’s first season, “The Entire History of You.” These Arts Club chat excerpts have been edited and condensed for clarity. For the full chat, subscribe to Washington City Podcast.

Kayla Randall: This movie is an early 2000s, low-budget sci-fi horror, but it has these images that really stick with me. When [main character] Jim finds his way out of the hospital and goes outside into the world, it’s completely deserted. It’s empty. London is empty. That shook me. Everyone’s gone and it’s really scary.

Will Warren: I think the reason that zombie movies are potent metaphors is because it weaponizes other people. While zombies are not something that we deal with on a dayto-day basis, other people are, and so turning your friends and family and neighbors and coworkers and petty rivals into monsters is something that I think is really resonant. And trying to make sense of that is powerful. It plays a lot with the way that humans are supposed to be and the way that society is supposed to be.

When you see these open streetscapes, in the same way you see pictures of downtown D.C. now, it’s immediately unsettling.

KR: There is this loneliness in what’s happening right now, and I think this movie perfectly encapsulates that kind of isolation. There’s some quotes that I absolutely love from this movie, that are really relevant to me always, but especially right now …

[The character] Selena says, “... It was happening in small villages, market towns. And then it wasn’t on the TV anymore. It was in the street outside. It was coming through your windows. It was a virus, an infection … By the time they tried to evacuate the cities, it was already too late. The infection was everywhere.”

And then, Jim later says “What about the government? What are they doing?”

Then, she goes, “There’s no government.”

That really struck me because we really want to believe our institutions are infallible and that they’re going to still be standing through anything. But they don’t have to, they could fall. Empires fall. Everything falls.

WW: The thing about the government, especially, is thought-provoking, because people want to put their trust somewhere. I mean, how many times have we heard people lament the fact that we don’t have a president who’s able to tell the truth about the disease and also clearly communicate what our response to it should be, and what the federal government is doing and what individual citizens can do. There’s obviously a hunger for us to trust in someone. I thought that the way that the longing for trust manifested itself in the movie was really interesting, as well. Jim and Selena eventually team up with a father and daughter, and they go looking for the military, because they hear a recording that [the military is] somewhere near Manchester. And they just put so much faith in the idea of the military because it’s this governmental institution. There’s this want to believe in the way that things used to be and the old power systems. That the status quo will remain in some way and you’ll be taken care of.

CP

washingtoncitypaper.com april 10, 2020 19

CITYLIST CITY LIGHTS

CITY LIGHTS

ARLINGTON ARTS CENTER’S ONLINE CLASSES

EASY WOMEN SMOKING LOOSE CIGARETTES

Screens can’t raise children alone; occasionally the adults have to step up and take a shift.

Good news, parents: There’s relief waiting when you and your children get bored with whatever attention-sapping content YouTube’s algorithms are serving up for kids. Arlington Arts Center is offering art classes with actual artists online for children and adults alike. Mills Brown reads a story about the great painter Jacob Lawrence, for example, while Lia Ferro shows how to make animal patterns at home. In addition to those projects for children, Melanie Kehoss teaches drawing for adults while Stephanie Lane offers a class on experimental painting techniques. With a little instruction, both kids and their parents might find new strategies for seeking entertainment and fulfillment that don’t involve streaming at all. The classes are available at arlingtonartscenter.org/education/class. Free.

—Kriston Capps

D.C. theater artist Dani Stoller is known around town for her acting, her playwriting, and now, for her personal streaming service tech support. There’s just one caveat to her multitasking, which is that she’ll only help family members figure out how to watch Easy Women Smoking Loose Cigarettes online. Stoller’s new play was midway through a sold-out run at Arlington’s Signature Theatre when the pandemic prompted a premature closure. Thankfully for Stoller, her relatives, and everyone who still wants to see her play, Signature was able to film the final performance and share the dark comedy after receiving permission from two theater unions. “They did such a great job; it’s very cinematic,” Stoller said of the multi-angle camerawork. “I’m so thankful.” Several of her not-so-tech savvy relatives immediately asked to watch the play online, which meant Stoller had to serve as tech consultant. If you’ve already mastered the art of multi-platform streaming, however, curling up on the couch with Easy Women should be a cinch. The play about a dysfunctional blended family may even serve as a reminder that sheltering in place during the COVID-19 crisis could be worse: You could be cooped up in a Florida townhouse with this crazy bunch. Easy Women Smoking Loose Cigarettes is available to stream through April 12 at sigtheatre.org. $35.

—Rebecca J. Ritzel

CITY LIGHTS

COLLECTION DECK

“Collection Deck” is a trading card game designed by the CIA to help its agents practice thinking through spy stuff. Really. And thanks to the Freedom of Information Act, you can print out everything you need to play it at home for free. The rules are pretty simple: At the center of the table is a series of “problem cards,” representing challenges like ethnic violence in Macedonia and chemical weapons training in Syria. (Don’t play this with your kids if you don’t want to explain what sarin gas is.) In the players’ hands are “collection technique” cards and “reality check” cards. Players take turns acting as agents, earning points by using collection techniques to tackle the problems on the table, and acting as “the system,” throwing obstructive reality checks in the agents’ path. The rubber hits the road when someone plays the “Collection Manager” card, which requires an agent to explain how they would actually apply their collection technique of choice. Scenarios and intelligence techniques described in the game mirror actual CIA procedures closely enough that bits and pieces had to be redacted. Still, what’s left makes for a fascinating peek into the world of intelligence. Consider the “think outside the box” card, which counters almost any reality check and comes adorned with the words: “some rules are meant to be broken.” Then consider once again that this game was designed by the C.I.A. to help its agents practice thinking through spy stuff. The game is available to print and play at muckrock.com. Free.

—Will Lennon 20 april 10, 2020 washingtoncitypaper.com

CITY LIGHTS

PRESIDENTIAL PASTIME

Nats Park may be dark for now, but the National Baseball Hall of Fame and Museum offers an extensive online exhibit, Presidential Pastime, about presidents and baseball, dating back to William Howard Taft, who in 1910 became the first sitting president to throw out the first pitch on Opening Day. The exhibit—punctuated by photographs, audio and video clips, and artifacts—offers a meandering path through 17 presidents who followed in Taft’s footsteps, much of it taking place in D.C. (The exhibit was assembled prior to Donald Trump’s 2019 World Series appearance.) Amid the Great Depression and prohibition, Herbert Hoover was razzed with chants of “We want beer!” Franklin D. Roosevelt threw out a record eight Opening Day pitches, although his 1940 effort accidentally knocked into a Washington Post camera. Roosevelt’s successor, Harry Truman, set a record of attending 16 baseball games during a presidential tenure. In 1962, John F. Kennedy helped inaugurate the stadium that would later be named for his slain brother. But Gerald Ford deserves special props; the onetime football player managed to toss out a pitch with each hand at the 1976 All-Star Game. The exhibition is available at artsandculture.google.com/exhibit/presidential-pastime. Free. —Louis Jacobson

CITY LIGHTS

SOCCER MOMMY’S TINY DESK CONCERT

PUZZLE SAY YES

By Brendan Emmett Quigley

Visual shorthand for the United States military usually includes camouflage uniforms, news footage of overseas combat, colorful ribbon racks adorning high-ranking officials, and views of The Pentagon. Silver doesn’t come up as much, although the precious metal has played a long and critical role in the nation’s armed forces. Silver is the key component in commemorative objects, in historic battlefield instruments, and several pieces of personal memorabilia. The National Museum of the Marine Corps near Quantico, Virginia, has over 900 silver objects in its Cultural and Material History collection. But with its doors shuttered, the museum is working to ensure silver isn’t forgotten. To that end, it launched an online silver exhibit, A Tribute in Silver, featuring 14 of the collection’s artifacts. These pieces mostly come from the 20th century, as silver was particularly popular with the Marine Corps between 1900 and 1960. You can learn more about “Wings of Love,� a type of sterling silver pin given to a lover—the specific pin in the virtual collection comes from Philip Churchman Winkler, who served during World War II. You can also browse images of a silver-plated B-flat cornet. (For those who aren’t music buffs, a cornet is a brass instrument that closely represents a trumpet.) This one isn’t just any cornet: It was gifted to George C. Wynkoop III by famous military march composer John Philip Sousa. If you get hooked by the 14 online artifacts, you’ll have almost 900 more to look forward to when the museum reopens. You can view the exhibition online at virtualusmcmuseum.com. Free. —Sarah Smith

A TRIBUTE IN SILVER

CITY LIGHTS

Nashville-raised Sophie Allison, better known as Soccer Mommy, gave her audience an at-home feeling in her most recent performance—she quite literally performed from the comfort of her own home. When concerns over COVID-19 forced Washington’s concert venues to close their doors, Soccer Mommy’s March 28 show at 9:30 Club was one of many postponed or canceled.

But the staff of NPR’s Tiny Desk concert series weren’t ready to pass up an opportunity to hear from the talented musician. Allison debuted as Soccer Mommy in 2015 while she was a college student at New York University, releasing her first album, For Young Hearts, in 2016. A second album, Collection, came soon after, still channeling the days of her Bandcamp premiere. Her first studio album, Clean, released in 2018, brought her more recognition in the indie world. She’s toured with Mitski, Kacey Musgraves, and Phoebe Bridgers—and even performed at a 2020 rally for Vermont Sen. Bernie Sanders. Now, Allison has released her newest album, color theory, channeling a darker and grittier sound. Lyrics like “I am the problem for me, now and always� and “I try to break your walls but all I ever end up breaking is your bones� are raw. Since the album’s release, Allison has shared that it touches on weighty topics like depression, self-harm, and self-loathing, but her soft voice gives the songs an ethereal sound. Tunes “bloodstream,� “circle the drain,� and “royal screw up�—all from the new album—are featured in the Tiny Desk concert. Sit back, pretend you’re in the crowd at 9:30 Club, and drift away. Watch Soccer Mommy’s Tiny Desk concert at npr.org. Free. —Sarah Smith

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SAVAGELOVE Your last two columns and your last two podcasts were all about the pandemic. Everything everywhere is all about the pandemic right now. Can you give it a rest? For maybe a week? Could you answer some questions that aren’t about pandemic? Any fun kink questions come in this week? I could use a break from the pandemic, Dan, and I’m not alone.

—Columnist’s Oeuvre Vividly Instills Dread Some kink questions did come in this week, COVID, and I’m happy to answer them. But the pandemic does come up in the second one, which you should feel free to skip.

—Dan Savage

me o s d Nee dvice? love a Curious about kinks?

e h t t i s i V er p a P y Cit or more te f ve. i s b e w age Lo Sav washingtoncitypaper.com/ columns

I have a kink/fetish that’s been giving me a lot of anxiety over the last few years. I inadvertently discovered that I’m turned on by big bellies, weight gain, and stuffing. It’s actually been there since I was a little kid, though I didn’t understand it until now. If it’s relevant, I’m a female in my mid-20s, in a heterosexual monogamous relationship. My problem is that I have a lot of trouble getting off without looking at pictures or at least thinking about my kink. I believe the common guidance is, “If it’s not hurting anyone, it’s fine.” But I feel super gross and ashamed. Neither my partner nor myself is large and we both value our health and fitness.

I have absolutely no desire to participate in this activity with a real person. Every time I finish masturbating, I feel embarrassed and disgusted with myself. Some part of my brain obviously craves the kink, but the rest of my brain HATES it. I keep telling myself I will stop, but I have such a hard time getting off with other porn (or without porn) that I always return to it. I genuinely enjoy having vanilla sex with my partner. I feel turned on and I have fun. But I’m often not able to come. It sometimes makes him think he isn’t doing a good job, when in reality he’s doing great and I’m just frustrated with my body. So I guess I’m wondering: Does continuing to watch belly porn reinforce the kink in my brain? Should I stop watching it and force myself to find other ways to come? Should I somehow find a way to embrace the kink instead?

—Big Belly Woes Six years ago I roped Dr. Jesse Bering, author of Perv: The Sexual Deviant in All of Us, into answering a question from a dad who was worried about his teenage son’s sexual interest in Pokémon. (Yes, Pokémon.)

Dad wanted to know if there was anything that could be done about his son’s “pathetic” sexual obsession. Bering explained that his kid’s kinks—that everyone’s kinks—are hardwired. “Nobody knows why some people are more prone to developing unusual

22 april 10, 2020 washingtoncitypaper.com

patterns of attraction than others,” Bering said. “But whether it’s a penchant for Pokémon, feet, underwear, or spiders, the best available evidence suggests that some people—mostly males—have a genetic predisposition for being ‘sexually imprinted’ during development.”

And once our erotic imaginations have seized on something, once we’ve imprinted on Pokémon characters or big bellies or wrestling singlets, there’s not much we can do about it. Before we’re adults—before we hit puberty—our kinks, as Bering put it, are “pretty much fixed, like it or not.”

For all we know, the teenage boy with the Pokémon fetish was completely comfortable with his own niche sexual interests. The dad wrote in, after all, not the kid. (But if you’re a 23-year-old Pokémon fetishist and your dad routinely invaded your privacy when you were a teenager and heaped shame on you about your kinks, please write in with an update!) But I have heard from people who, like you, weren’t comfortable with their own kinks, BBW, and desperately wanted to know what could be done. Most sex scientists and researchers agree with Bering: There’s really nothing you can do and masturbating to the porn that turns you on doesn’t “reinforce” your kinks. You can’t starve out your kinks by refusing to think (or wank) about them, BBW, and you can’t pray your kinks away anymore than I could pray my gay away. Embracing your kinks and exploring them with other consenting adults—or if your kinks can’t be realized for ethical reasons, enjoying them through solo or partnered fantasy play only— is the only realistic option.

That said, some doctors have prescribed selective serotonin reuptake inhibitors (SSRIs), aka antidepressants, to people who were uncomfortable with their kinks. Those drugs don’t selectively eradicate kinks, BBW, they crater a person’s libido. Taking SSRIs would mean sacrificing the vanilla sex you enjoy with your partner on the same altar with the kink that stresses you out. I can’t imagine you want to go down either of these routes, BBW, which brings us back to embracing your kink and coming clean with your partner.

The risk you run telling a partner about your kink is no doubt at the forefront of your mind, BBW, because the consequences could be immediate, i.e. he might dump you. But not telling your partner about your kink—and leaving him to wonder why you can’t get off with him but have no trouble getting off alone—isn’t risk-free either. If he feels inadequate, if he feels like you’re hiding something from him, if he feels like he can’t satisfy you … he might dump you.

So share your kink with your boyfriend,

BBW, and kinks should always be presented as crazy and endearing—and potentially really fun—quirks, not as tragedies. You have a thing for big bellies, BBW, you don’t have leukemia. And you can explore your kinks without gaining weight or stuffing your partner until he does. A little big belly dirty talk could help you get off with your partner, BBW, and even the fittest person can push their tummy out and create the illusion of a rounded belly. Have fun!

—DS My boyfriend and I live in San Francisco where we’ve been sheltering in place. We are unfortunately unable to shelter together, which means that we cannot have physical contact, especially since he lives with a parent who’s at heightened risk. (It’s not an option for him to stay with me for the duration.) We’re as frustrated about having to abruptly end the physical aspect of our relationship as you might expect. We go for (distanced) walks during the week, we talk every day, and we jerk off in front of webcams together but that only goes so far. I was thinking about giving him some of my worn panties for him to do whatever he wants with. My question is this: If I were to wash my hands and be cautious while putting together a pervy care package, is there much of a risk of spreading the virus around by doing this? I’m currently in good health but I know that people can be infected but asymptomatic and we’re being really careful to keep both of our households as safe as possible. Can the virus be spread via pussy juice?

—Very Aromatic Gift COVID-19 hasn’t been detected in vaginal fluids, VAG, so your pussy juice by itself doesn’t constitute a threat. But the virus, which is usually transmitted through the air (by people with the virus coughing, sneezing, or even exhaling), can survive for hours or days on different kinds of surfaces, including clothes. The virus can live for up to 24 hours on cardboard, VAG, which means it’s the package, not the panties, that is potentially a danger here. If the last person who handled your care package—think the UPS guy who dropped it on his porch— had COVID-19, your boyfriend could wind up exposing himself by touching the box and then his face before washing his hands.

I think you should send him that package— but wear gloves while you pack it, don’t send it overnight (your scent will keep for a couple of days), and make sure your boyfriend immediately washes his hands after opening and discarding the package.

—DS Email your Savage Love questions to mail@savagelove.net

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