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CITYPAPER Washington

Free volume 38, no. 14 aPril 6-12, 2018

Housing: live from the howard sit-in 5 food: BusBoys heads to anacostia 19 Arts: Putting more art in dumBarton oaks 21

Riot. Rebellion. ResuRRection. How We Remember Four Days in April 1968 P.10 by Michon boston

Photography by Darrow Montgomery and Darrell c. crain Jr.

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INSIDE on tHe CoVer: rIot. reBeLLIon. reSUrreCtIon.

10 Remembering D.C. in the days after Martin Luther King Jr.’s assassination

DIStrICt LIne 5 housing complex: Howard students demand action from the university’s leaders. 6 loose lips: Bowser’s staff attorney resigns. 8 savage love

FooD 19 poetry in Motion: Considering Busboys and Poets’ role in D.C. development

artS 21 natural selections: Martha Jackson Jarvis’ public and studio art finds a natural home at Dumbarton Oaks. 23 short subjects: Zilberman on A Quiet Place and Olszewski on Itzhak 24 curtain calls: Randall on The Wiz at Ford’s Theatre 26 sketches: Shafer on The Barmecide Feast at the National Air and Space Museum

Darrow MontgoMery

CIty LISt 29 32 34 34 36

Music Books Dance Theater Film

DIVerSIonS 38 Classifieds 39 Crossword on the cover: darrell c. crain, jr. photograph collection, courtesy dc public library, washingtoniana division

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editor: AlexA mills Managing editor: cAroline jones arts editor: mAtt cohen food editor: lAurA hAyes city lights editor: kAylA rAndAll loose lips reporter: Andrew giAmbrone housing coMplex reporter: morgAn bAskin staff photographer: dArrow montgomery MultiMedia and copy editor: will wArren creative director: stephAnie rudig contributing writers: john Anderson, VAnce brinkley, kriston cApps, chAd clArk, rAchel m. cohen, riley croghAn, jeffry cudlin, eddie deAn, erin deVine, tim ebner, cAsey embert, jAke emen, jonAthAn l. fischer, noAh gittell, lAurA irene, AmAndA kolson hurley, louis jAcobson, rAchAel johnson, chris kelly, steVe kiViAt, chris klimek, priyA konings, julyssA lopez, Amy lyons, neVin mArtell, keith mAthiAs, j.f. meils, triciA olszewski, eVe ottenberg, mike pAArlberg, pAt pAduA, justin peters, rebeccA j. ritzel, Abid shAh, tom sherwood, Quintin simmons, mAtt terl, dAn trombly, kAArin VembAr, emily wAlz, joe wArminsky, AlonA wArtofsky, justin weber, michAel j. west, diAnA yAp, AlAn zilbermAn


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local advertising: (202) 650-6937 fax: (202) 650-6970, FinD A StAFF DirectOry With cOntAct inFOrmAtiOn At WAShingtOncitypAper.cOm vol. 38, no. 14 april 6–12, 2018 wAshington city pAper is published eVery week And is locAted At 734 15th st. nw, suite 400, wAshington, d.c. 20005. cAlendAr submissions Are welcomed; they must be receiVed 10 dAys before publicAtion. u.s. subscriptions Are AVAilAble for $250 per yeAr. issue will ArriVe seVerAl dAys After publicAtion. bAck issues of the pAst fiVe weeks Are AVAilAble At the office for $1 ($5 for older issues). bAck issues Are AVAilAble by mAil for $5. mAke checks pAyAble to wAshington city pAper or cAll for more options. © 2018 All rights reserVed. no pArt of this publicAtion mAy be reproduced without the written permission of the editor. april 6, 2018 3






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DistrictLine After years of living in expensive buildings plagued by housing ills, Howard students are demanding more. By Morgan Baskin Walking alone doWn 6th Street NW is Ward 8 Councilmember Trayon White, who pauses to confer with students huddled outside Howard University’s administrative offices. They stop him for selfies and handshakes. At one point he ducks away only to return with a thick wad of cash, which he hands over to a young woman seated just inside the office. Through the glass door, I watch her thumb through it, awestruck. (“We want to make sure that, as they’re standing on the front lines fighting for quality education, that we support them,” he tells me, and later confirms the money was a personal donation.) Behind White, the Mordecai Wyatt Johnson Administration Building—a sprawling brick complex stuccoed by dozens of white posters—betrays little of what’s inside. But just past its double doors are hundreds of Howard students, by last count 300, planning a resistance movement that has catapulted them into the national spotlight. Many have been there for nearly a week. And the number of them crowding the building’s hallways, waiting outside the offices of administrators and university executives, junior Jason Ajiake tells me, keeps multiplying. They’re protesting what they call years of chronic neglect of student dormitories, as well as financial mismanagement, police brutality, and administrative opacity. But it’s only been in the last few weeks that the student body’s frustration has publicly reached a fever pitch. The sit-in was prompted, or at least foretold, by a series of scandals involving Howard leadership this year. In early March, angry students berated university officials online after Howard’s new online housing portal, StarRez, crashed, leaving hundreds to believe they’d be without housing for the coming academic year. Their frustration was compounded by

housing complex

an icy reception from administrators, who allegedly unhooked phone lines and barricaded the doors to Howard’s main office as students lined up outside for answers. Just weeks later, an anonymous whistleblower operating under the pseudonym Veritas1867 posted a series of financial statements on blogging platform Medium (since removed), which indicated that Howard officials siphoned off up to $1 million of financial aid funds to university employees. President Wayne Frederick recently acknowledged that much of what the blogger posted was true. He did not respond to City Paper’s request for comments by press time. But what people haven’t seen, students say, is years of failure—failure to properly address deteriorating dormitories; failure to ensure the affordability of student housing; failure to acknowledge and eliminate police injustices; failure to make students’ concerns feel heard and justified. In January, when students returned from winter break, “things were just different,” Ajiake says. “Buildings were deteriorating quickly, people were describing it as apocalyptic.” A campus-wide alert the university published in February refers to a building “crisis,” adding that winter weather “created a reverberating, university-wide impact that has posed significant challenges in multiple areas of our operations.” Friends of Ajiake’s who studied in the College of Arts and Sciences had to commute to Chinatown for classes after academic buildings went offline due to maintenance issues. Campus proper, meanwhile, was pockmarked

Jason Ajiake

Morgan Baskin

Welcome to the (New) Resistance

by manholes spewing steam after pipes ruptured underground. “We didn’t know what we were breathing in,” he says. The university delayed the start of the spring semester by a week because heat wasn’t functional on campus, forcing students who returned on time to sleep in icy dorms. Douglass Hall and the Numa Adams Building were also closed completely, the university telling students they “pose a health threat until the repairs are completed.” “So right from the beginning of the semester,” Ajiake says, “things started out really rough.” The degradation of existing infrastructure has been exacerbated by the university’s intent to increase its incoming class size by thousands, which students say the school can’t accommodate. Worse, Howard recently sold two of its dorms, Slowe and Carver halls, to developers for non-university residential use. Another vacant dorm, Meridian Hill Hall, recently went to Jair Lynch Real Estate and MacFarlane Partners for a 99-year ground lease that will see the dorm turn into a 200-

unit rental building. Freshman students most impacted by the housing shortage drafted letters to Howard brass detailing their frustration with the application process in emails that have since gone viral. One wrote: “I have not had heat in my room since last semester ... We have had roach problems already and now mice have been in our rooms every night.” Another student described her own housing issues in an email to Frederick, which she also made public online. “I beg of you,” she wrote in an email, which she shared via a tweet now liked nearly 90,000 times, “please just let us know what we are supposed to do?” Frederick emailed each student back, saying that their “tone and tenor is inappropriate.” “I’m not sure what motivates you to address

me in that manner,” he told one student. Senior Jade Agudosi, president of the Howard University Student Association, says this dynamic has persisted throughout her time at the school, and believes administrators “have a really big issue with customer service [and] don’t communicate professionally or effectively.” (On April 1, Howard’s Twitter account sent this passive-aggressive missive: “Thank you to our dining partner Sodexo for providing water and pizza to our students who are occupying the A building on Thursday and Friday, until our students asked us to stop doing so.”) The question university officials should be asking is: “At our core, how are we interacting with students?” Agudosi says. In response, HUResist, the student-led social justice group, organized to solicit feedback from the student body about what they wanted from university officials. If administrators wouldn’t listen of their own volition, students thought, they’d make themselves heard. “Right now, students feel powerless on this campus,” Ajiake tells me from his post outside the administrative office. “Powerless to influence the decisions of the university.” From the survey, which included responses from 8 percent of the undergrad student body (a figure that represents about 500 students), HUResist developed nine demands they want university administration to meet. Broader in scope than mere housing issues, they address larger concerns about student safety on campus, financial stability, food security, and administrative transparency. Included in the demands is a call for President Frederick, alongside the executive committee and board of trustees, to resign. “Executive mismanagement and neglect has expedited the deterioration of our beloved university,” the organization writes. (Full-time professors began voting Wednesday on a “no confidence” referendum against Frederick.) On Sunday, the board of trustees conceded to students’ first demand: to extend the deadline for student housing applications, which require a $200 deposit. The university gave students only a one-day notice, Ajiake says, before the filing deadline this spring. “Students who don’t have immediate access to $200 were disqualified from finding housing,” he says, “and we understand that these are the students least likely to find housing in the first place.” He anticipates it’s the latter two demands— Frederick’s resignation and the ability for students to directly vote in administrative matters—that’ll be the toughest to negotiate. But he’s optimistic about the outcome, and his colleagues’ tenacity. Inside the office, their revolution wages on. CP april 6, 2018 5

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Bar Shift

Bowser’s top legal muscle exits. By Andrew Giambrone In a landmark case of brain drain, D.C. Mayor Muriel Bowser lost one of her most respected and capable hires last month when her ranking staff attorney quietly stepped down after three years of service. The departure marks the latest in a series of Cabinet resignations during Bowser’s tenure. She is expected to win re-election to a second term with no viable opponents. Mark Tuohey, a veteran Washington lawyer who in 2015 became the inaugural director of the Mayor’s Office of Legal Counsel (MOLC), left his post to accept an “of counsel” position at BakerHostetler, a Clevelandbased law firm with a D.C branch. Tuohey enjoyed a reputation as the greatest legal mind on Bowser’s team and acted as a powerbroker in major disputes. He advised Bowser on a myriad of thorny issues, including the controversial merger of Pepco and Exelon, labor negotiations with firefighters, and, in recent weeks, whether she was to testify before the D.C. Council about the scandalous oustings of her public schools chancellor and deputy mayor for education. Tuohey also provided guidance to the top lawyers at the District’s executive agencies. With his and other directors’ exits over the past three years, Bowser’s Cabinet looks significantly different than it did in 2015. Tuohey’s departure has some Wilson Building wags wondering why he left the administration, only a few months before the June 19 Democratic primary. But a District pol who knows him says Tuohey, who is in his early 70s, has wanted to move on “for quite some time.” The D.C. government established MOLC after voters approved making the attorney general an elected position in 2010—a switch that took a few years to implement. In 2014, Tuohey ran for attorney general, but dropped out of the race within a month and said he would support Karl Racine. (Racine won.) As MOLC director, he made $195,000 a year in salary as of December, public documents show. The office currently runs on a budget of more than $1.6 million and several full-time employees. Now Tuohey will work on “white collar, investigation and securities enforcement and litigation” at BakerHostetler, the firm said in announcing his hire. A partner at the firm said Tuohey “is well known for his work as a top-notch litigator

loose lips

with deep connections in the District.” Tuohey has been in the public eye for decades. The attorney served as head of the D.C. Bar; chair of the D.C. Sports and Entertainment Commission (which brought the Nationals to the District); defense counsel for former Police Chief Charles Ramsey in the Pershing Park mass arrests case; and defense counsel for Jeanne Clarke Harris, who pleaded guilty to federal charges in the protracted campaignfinance scandal that embroiled ex-Mayor Vince Gray. Tuohey also prosecuted those behind the 1977 Hanafi Siege of the then-District Building. Later, he assisted independent counsel Kenneth Starr in the Whitewater investigation into Bill and Hillary Clinton’s real estate investments. Susana Castillo, a spokeswoman for Bowser, says the mayor’s office had anticipated Tuohey’s resignation. She adds that Ronald Ross, Tuohey’s deputy at MOLC, has been named director. Tuohey “worked tirelessly on behalf of all District residents for the past three years,” Castillo says in a statement. “We wish him well in his future endeavors.” But he’s not completely separating himself from D.C. politics. In an interview, Tuohey says he will remain an informal adviser to Bowser “for as long as she’s mayor.” “I’m going to help her with any number of things down the road,” he says, praising Bowser’s leadership and character. In March, Tuohey was in the news for meeting with At-Large Councilmember David Grosso, who chairs the Council’s education committee and had called for “an emergency hearing” about the resignation of former public schools Chancellor Antwan Wilson. After their meeting, Grosso reversed course and said he would wait for the results of independent investigations into the circumstances surrounding Wilson’s ousting instead of pursuing a hearing. Tuohey says he spoke to the councilmember about the sensitivity of legislative investigations and the fact of a broad, ongoing review of schools by D.C. Inspector General Daniel Lucas. “It was obviously his decision

to do what he was going to do,” Tuohey says of Grosso. “I think he made the right call.” Both Castillo and Tuohey say the education issues had nothing to do with Tuohey’s departure. Tuohey explains that he’d been thinking about leaving the administration for roughly a year: He wanted to return to the private sector for his “swan song” and has dealt with multiple surgeries for arthritis. His wife also retired earlier this year. “I decided it was time to slow down a little bit,” Tuohey says, denying any discontent with Bowser or the job. He says he told the mayor he was “prepared to stay on through the election in June,” but she was satisfied with the han-

Darrow Montgomery/File

Do You Use Cocaine?

dling of legal issues. “The timing was not really an issue,” he adds. Beyond his duties at BakerHostetler, Tuohey says he will teach a course at Fordham Law School, his alma mater, as an adjunct. And he plans to relax. “I can play a little more golf,” he says. “I feel very good about the work we’ve done and I look forward to the sort of last hurrah for the last few years.” Tuohey isn’t the only prominent D.C. government attorney leaving. Ellen Efros, the Council’s general counsel, will soon step down for personal health reasons. The Council has posted a listing for the job, and Efros, who worked for the District government for about 15 years and has been with the Council for about three, says she’s helping with the search. “I’m sad to leave,” she says. “I think it’s a great place to work with some strong legal talent.” CP

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I visited Royal Oak, Michigan, for Savage Love Live at the Royal Oak Music Theatre. I didn’t get to all of the questions submitted by the large and tipsy crowd—a crowd that skipped the Stormy Daniels interview on 60 Minutes to spend the evening with me (so honored, you guys!)—so I’m going to race through as many of the unanswered questions as I can in this week’s column. Here we go… —Dan Savage



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Cis, female, 33, poly, bi. I bruise easily, am into BDSM, and love to swim in my condo’s shared pool, where there are many seniors. Any advice for hiding bruises or getting over the embarrassment? Don’t assume the senior citizens in the pool are as naive and/or easily shocked as our ageist assumptions would prompt us to believe. Someone who became a senior citizen today— who just turned 65 years old—was 35 in 1988. I happen to know for a fact that people were doing BDSM way, way back in 1988. My husband is a sweet guy who is very good to me. But he is also a gun-toting right-wing conservative, and these days that feels like an insurmountable difference. We have been together for seven years and married for two. No kids yet. I love him—and the thought of leaving him is terrifying—but I honestly don’t know if this is going to work. If you’re afraid to leave him because of those guns, you need to get out. If you’re afraid to leave him because you love him and couldn’t live without him, you might be able to stay. I wouldn’t be able to stay, personally, but you

might. Maybe if you make “no political discussions about anything, ever” a condition of remaining in the marriage. When you are entering into something new, how do you differentiate between infatuation and real feelings? Infatuation is a real feeling. Only time will tell if other real but more lasting feelings—like, like like, love, lasting love—will surface when those feelings of infatuation inevitably fade. I can easily have an orgasm with toys but I can’t have one with my boyfriend. What gives? Your boyfriend could give you orgasms if you handed him one of those toys, showed him how you use it on yourself, and then guided his hands the first few times he used it on you.

I happen to know for a fact that people were doing BDSM way, way back in 1988. Why does my girlfriend enjoy anal sex more than I thought she would? Because she does. Because anal is hot. Because the clit is a great big organ and most of it’s inside the body and anal penetration may stimulate the backside of your girlfriend’s great big clitoris in a way that’s new and different and highly pleasurable and—hey, wait a minute. You aren’t disappointed she’s enjoying anal more than you thought she would, are you? Donald Trump has been impeached, and you get to decide the punishment. So what sex toy gets used on him and who gets to use it? Trump doesn’t deserve a sex toy. Sex toys are for good boys and girls. All Trump deserves is a lump of the coal he loves so much shoved far enough up his ass to serve as a gag. Is there EVER a healthy way to partake in sensual parties while in a monogamous marriage? Yup. The Dirty Sanchez—actually a thing? Nope. I’m married and finishing my PhD while working full-time. As a result, I don’t get to spend as much time as I would like with my wonderful husband. I know you’re a workaholic as well. How do you manage to make your husband feel he is getting the attention/time he deserves? When I’m totally stressed out and working on several projects, and I don’t have the band-

width to give my husband the attention/time he deserves, I take a moment now and then to reassure him that things will settle down soon and we’ll have more time together. I’ve found he’s most receptive to this message when it’s delivered immediately after I’ve taken a few minutes to blow him. Do you recommend specific prostate massage toys? Besides dick. Forearm. How do you approach people about a three-way without ruining friendships? I think close sexy friends and the-sex-wasgreat-but-everything-else-sucked exes make the best “very special guest stars.” But if you’re worried about ruining friendships, well, don’t hit on friends. Hit on strangers. (And remember: A stranger is just a friend you haven’t had a three-way with yet. Or something.) Do you think it’s unwise to give and/or receive gay oral sex without a condom? When we speak of gay oral without a condom—which is almost all of the gay oral out there—we speak of ones that sucked not wisely but too well. Are anxiety-induced orgasms a thing? They must be, because I have them. I’m glad there’s at least one person out there who’s managing to enjoy the Trump era. I’m a 21-year-old, queer, poly, cis girl who recently got into this whole thing with a coworker at my shitty fast-food job. Long story short, we were having a rad time fucking around in the freezer… until he bashed International Women’s Day on Facebook. I stopped getting him off by the frozen meat without an explanation, and I quit my job to go bind books instead. Is it too late to reach out and tell this dude that I dumped him because of his misogynistic online life? And how bitchy can I be? The world would be a better place if (1) women refused to sleep with right-wing assholes (to say nothing of marrying them) and (2) women told right-wing assholes that rightwing assholery is the ultimate cock-block and they have only themselves to blame for it. So it’s not too late, and you should be as bitchy as you can be. Thanks to everyone who came to Savage Love Live in Royal Oak—and to everyone who attended my shows at the Pantages Theatre in Minneapolis and the Barrymore Theatre in Madison over the same weekend. Savage Love Live comes to the Oriental Theater in Denver on May 10, find tickets at Email your Savage Love questions to april 6, 2018 9

Riot. Rebellion. Resurrection. How We Remember Four Days in April 1968 By Michon Boston photographs by darrow montgomery

I think that we’ve got to see that a riot is the language of the unheard. And, what is it that America has failed to hear? It has failed to hear that the economic plight of the Negro poor has worsened over the last few years. —Dr. Martin Luther King Jr. in an interview with Mike Wallace on CBS in 1966 In a city where less than an inch of snow can cripple public transit and force school closings, D.C. appeared committed to being open for business on Friday, April 5, 1968—the day after Martin Luther King Jr.’s assassination in Memphis. Workers were expected on the job. D.C. public school principals had the option to issue an early dismissal. But things quickly began to deteriorate. Parts of the city where mostly African Americans lived erupted in a cathartic civil disorder. Students, business owners, and District and federal workers had to foot it home when the buses stopped running. President Lyndon B. Johnson signed executive orders to deploy a militarized National Guard to the streets. Mayor Walter E. Washington ordered a 5:30 p.m. curfew and prohibited the sale of liquor, guns, and explosives. After four days, calm and some order returned. Monday’s evening edition of the Washington Star reported eight deaths—most by smoke inhalation or in fires, two by police shooting, one by stabbing. Thirteen is the final death toll. More than 7,000 people were arrested. Damages were eventually estimated in the tens of millions in 1968 dollars. In 2018 we’re still reaching for the words to describe four days in April of 1968. “Riot” and “Rebellion.” It’s one or the other, or they overlap, depending on one’s political sentiments and interpretations of loss and gain. The four days had the feeling of a crescendo that had been years in the making.

In 1953, the Supreme Court desegregated D.C. restaurants in District of Columbia v. John R. Thompson Co., Inc. In 1954, the Court desegregated schools nationwide in Brown v. Board of Education. That same year, bulldozers arrived to level a swath of Southwest residences and businesses by eminent domain for urban renewal. Thousands of residents, mostly black, were displaced. King gave his now infamous “I have a dream” speech at the March on Washington for Jobs and Freedom in 1963. The next year, President Lyndon B. Johnson launched the War on Poverty in his 1964 State of the Union address, and D.C. residents cast their first ballots for a U.S. president, a result of the ratification of the 23rd Amendment in 1961. Student Nonviolent Coordinating Committee (SNCC) Chairman Marion Barry arrived in D.C. in 1965 to start a local chapter. In the same year, Malcolm X was assassinated in Harlem and a traffic stop incident sparked civil unrest in the Watts neighborhood of Los Angeles. Johnson appointed Washington mayor of D.C. in 1967. He was the first black mayor of a major American city, and accepted the appointment on condition of having complete authority over the police department. Johnson created and appointed a nine-person city council for D.C. that year. (Home Rule wouldn’t come for the District until 1973.) In July of 1967, incidents and protests touched off civil unrest in Detroit, Cleveland,

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Minneapolis, Milwaukee, Newark, and other cities. Johnson formed a National Advisory Board on Civil Disorders, the Kerner Commission, to deliver a report and recommendations in response to three questions: What happened? Why did it happen? What can be done to prevent it from happening again? That October, 100,000 anti-Vietnam War demonstrators marched to the Pentagon. Polls revealed American support for the war had dropped below 50 percent. In January of the new year, the North Vietnamese launched the Tet Offensive, a surprise attack on South Vietnamese. Though the North Vietnamese lost one of the bloodiest battles of the war, they gained a public relations win—American support for the war cratered. March 25, 1968: Hundreds of Howard University students ended a four-day sit-in inside the administration building after round-the-clock negotiations. Their demands included the resignation of President James M. Nabrit Jr.; more Afro-American history and culture in the curriculum; and closer links with the D.C. community. No single story encapsulates D.C. in 1968, and the four days in April that devastated hearts and minds and blighted several neighborhoods—14th Street/Columbia Heights, H Street NE, U Street NW, Shaw, and parts of Adams Morgan and Anacostia. Out of those ashes grew, in D.C., a set of residents who committed themselves to serving the city for decades to come. They were ordinary people in extraordinary times managing ordinary lives, even when it seemed the rest of the world was coming apart. In these oral histories, those who have been watching D.C. evolve for 50 years offer their sharp memories of King’s death the period that followed. Riot or Rebellion? The witnesses have no difficulty finding the words to describe the four days in April 1968. It’s become part of their resurrection as stakeholders in the city.


African-American Born in Washington, D.C. 1968: Age 14. Richard Brooks is a student at Stuart Junior High School on E Street NE. His father started off working with the post office and went on to work at the Bethesda Naval Hospital as a pharmacist. His mother is a hair stylist and homemaker. 2018: Age 64. He’s changed his name to Anwar Saleem, and is Executive Director of H Street Main Street. He lives in Shaw. I was in band practice, and Miss Pettigrew came across the loudspeaker and said that Dr. King had been murdered, and there was a disturbance, and we were to go straight home. I went straight home. My mother was kind of strict on us about community activities and doing the right thing. When you start floating around, as a young child, you wanna seek, find, search, discover, and we did just that. We start seeing things

that we hadn’t seen before. Brothers were looting, and other activities that were taking place. Somehow I end up at 7th and H Street with some friends, and a buddy of mine, Vernon Marlow, was in the store, Morton’s, when that store started to burn. I remember him getting trapped in that store, and he never came out. Was it a riot or a rebellion? A little of both. I think it was more rebellion to a certain degree. As a kid, I was still vibrant, mischievous. At the same time I was aware and willing to learn what was going on. We didn’t have a lot of African-American police officers. Maybe one who was a school officer. Most of them were Italian, and a lot of them were mean as hell. They always found a way to inflict pain on you if they could back then. You have store owners of the time who didn’t treat you as fair as you should have been treated. H Street businesses were predominantly Jewish and European. African-Americans had some of those jobs, still not many. And if you got mistreated … I think African-Americans went after those businesses first, not looking at the repercussion of what can happen once everything died down. You can be without retail stores, food stores, and everything else. I think it was misdirected. I know for a fact that some of the store owners burned their own stores. It was a chance for them to get out. I didn’t understand the whole scenario about insurance. They called it “white lightening”—white store owners burning their own stores, and collecting that insurance. If anything good came out of H Street, it was that for the first time, African-Americans had a chance to open their own business, and send their kids to college, and to buy their homes. That gave a sense of pride. That gave a sense of wanting to do more. We did just that until the drug epidemic. I spent so much time on H Street looking at things and all the rest. Somehow, as I grew, I’ve always felt that I was going to be involved in the revitalization of H Street.


African-American Born in Washington, D.C. 1968: Age 26. Porter has been a D.C. police officer for four years. His original plan was to go to Howard University’s x-ray school after serving in the Coast Guard to work on the Alaska pipeline, but MPDC offered him a position. Having a new family, Porter took the job. It allowed him to buy a house with a yard in Suitland, Maryland. In 1968, Porter was assigned to the First Precinct (now MPD Headquarters on Judiciary Square), covering downtown, the Mall to K Street NW, and 2nd Street NE to 14th Street NW. 2018: Age 76. Porter retired from the department as a lieutenant. He is now a hospice volunteer and lives in Upper Marlboro, Maryland with his wife. The Porters enjoy D.C.’s restaurants and cultural attractions. He misses the sense of community people had in the D.C. of his youth.

As I recall we never left our precinct. We stayed down there because it was pretty valuable real estate. They didn’t really want anything to happen downtown. There were store windows broken, and people down there stealing like they were everywhere else. But it wasn’t as bad as it was on H Street and up on 14th Street. The majority of people who lived in D.C. were not out in the street burning, breaking into buildings, and stealing stuff. Most people were shocked and very concerned that Martin Luther King had been killed. I just think some people saw it as an opportunity to do things that they shouldn’t have been doing. There was one day that I was coming to work during that period that they wouldn’t let me in the city. I was in MPDC uniform and I came to the checkpoint at Pennsylvania and Southern Avenue, and the National Guard turned me around and told me that I was not allowed in the city. I called my precinct and told them I wasn’t coming to work today. They asked me if I was

crazy (laughs). “Well why aren’t you?” “Because the National Guard won’t let me in,” I said. They said, “What do you mean? Are you in uniform?” “Yeah, I’m in uniform, but they won’t let me in.” They had a police car from that precinct [come] over there, meet me at the National Guard checkpoint, and let me in the city. These guys didn’t know what they were doing, but still, you don’t want to get in a confrontation over nothing stupid. After 1968, there was a real effort to recruit more African-Americans into the police department. I actually worked in recruiting. We had a program that was out to try to increase the number of minorities in the police department. It was obvious that this was a chocolate city that had a vanilla police department, and they wanted to make some changes. I remember Mr. [Calvin] Rolark and his wife, Wilhelmina Rolark, were very much involved in trying to get the word out to the community. april 6, 2018 11

ply for public and assisted housing. I’ve known people who didn’t know what work was who were able to receive certain forms and types of training. I’ve seen people that started off maybe a file clerk ended up being a director. I’ve seen people that I worked with that were clerks who are now councilmembers. When I went to work for the mayor, when I went to work for Jack [Evans], you were supposed to have a degree to do constituent services. I didn’t have a degree. When I went to work for OIC, that was a part of the qualifications. I out-placed most of the ones that were there with a degree and stayed longer than any of them.


White (Greek, Irish) Born in Fitchburg, Massachusetts 1968: Age 20. Nightingale is a sophomore political science major at The George Washing-

ton University. She works in a D.C. print shop to finance her college education and volunteers to pass out flyers for Senator Robert F. Kennedy’s presidential run. 2018: Age 70. Nightingale is a fellow at the Urban Institute, which was founded in 1968, after serving as chief evaluation officer for the Department of Labor in the Obama administration. She’s been affiliated with the Urban Institute for 44 years, starting with a part-time job in the library while she was a student at GW. Nightingale and her husband live in Arlington, Virginia. I was a student at George Washington University, in my second year of school. I know the dorm room that I was in because I drive by it every day, and on the fifth floor on the corner of 19th and F, and that’s where I was on the day that Dr. King was assassinated, and it was ... traumatic for all of us, and confusing, and scary. Carolyn Long’s 1967 Dunbar High School graduation portrait

We had two trailers, I believe. You could come in and take the exam to be a police officer, and go through the rest of the process. Of course, the usual thing that people were saying: “You’re lowering standards.” That wasn’t true. It was the same test that they had been giving for years and years. It was a civil service exam. There wasn’t lowering of any standards or anything. As I said, either you passed or you didn’t. I think we were reasonably successful.


African-American Born in Washington, D.C. 1968: Age 20. Long lives with her uncle in Greenleaf Gardens in Southwest. She’s a clerk for Opportunities Industrialization Center (OIC), having completed clerk and typist job training. Reverend Dr. Leon Sullivan, a colleague of King’s, founded OIC in Philadelphia in 1964. D.C.’s OIC opened in 1966. 2018: Age 70. Long is retired from her job as office manager for Councilmember Jack Evans. She still performs constituency services for D.C. residents on a volunteer basis. Long is a widow and lives in the city. I was sitting in a chair at home when they said he had been assassinated. For whatever reason

I felt like I needed to be out among the people because I know people were protesting. People were rioting. I don’t think I necessarily wanted to go where they were rioting. But I did go where they were protesting. Was it a riot or a rebellion? At the time, I guess you could say a rebellion because I remember standing in front on the opposite side of Kopy Kat (on H Street), and they had National Guard on one side of the street. It might have been four or five of them. But you had about 15, 20 people on the opposite side of the street. I recall the guy and the mentality that he had. It was like, “Why are you all standing here? If you want to go into the store, you outnumber them, so let’s go into the store.” He was right. They didn’t do anything. Did King’s work make a difference in your life? One of the reasons they were able to hire some of the people that they did at OIC was because of some of the demonstrations that went on. Dr. Sullivan was part of those demonstrations. That’s how OIC was pretty much established. Housing opened up. Job training opened up. I witnessed a change in the city council in terms of blacks in various positions. Marion Barry made sure certain things happened for seniors. All of a sudden they were able to ap-

12 april 6, 2018

veteran, lives in Silver Spring, Maryland and owns Smith’s Pharmacy at 14th and Clifton streets NW. Martin “Doc” Jones is the pharmacist, and Raymond Flowers manages the soda fountain before getting a new job with Montgomery County Schools. Both Robinson and Flowers are African-American and live near the pharmacy, which was destroyed in the days after King’s death.

We did get notice that we should leave if we can. [GW] had escorts escorting groups to the airports, to the buses to leave. Some stayed, but I think most did leave. I stayed a couple of days because I couldn’t figure out how to get home. I didn’t have money. My family didn’t have money. But I did eventually go home for a while. I didn’t feel like my life was in danger. I wasn’t afraid. I was just confused and sad, and we didn’t really know what to do. I remember at the end of 1968 and thinking “Wow! This was an unbelievable year. Nothing will ever be like this.” The assassinations really defined the year, both Dr. King and Robert Kennedy. It was the beginning of the antiwar movement, the Poor People’s March and the tents on the Mall. The universities in D.C., in general, were not the radical hotbeds like Berkeley and Columbia, but by the end of the year, we were almost there, and the next year we certainly were as active and radical as the leading universities had been.

I remember seeing Marion Barry in the neighborhoods when I was young, and the work of the Urban League, Sasha Bruce House, and the youth movements. Those were examples of the rising social awareness in the cities about both poverty and race. My father was an Irish-Catholic Democrat. My mother was a Greek-American WAC (Women’s Army Corps) veteran. Fifteen years later, my mother said to me, “You were right about the [Vietnam] war. ” Because she was an Eisenhower Republican, we had this generation gap. We didn’t always talk about race, we didn’t talk about the war very much because when we did, it was so clear that we weren’t on the same wavelength.


Jewish-American Born in Cheyenne, Wyoming; family moves to Southwest D.C. 1968: Age 44. Larry Rosen, a World War II

2018: Age 94. The site of Smith’s Pharmacy is part of a Cultural Tourism DC Heritage Trail. Rosen anticipates the annual calls from around the globe for his story about the 1968 riots. He’s meticulously written out the tale on his blog, On April 4, 2014, Rosen kicks off his post with “HERE WE GO AGAIN.” He’s now focused on documenting stories of D.C.’s Old Southwest neighborhood where he grew up, before urban renewal, in a home once occupied by the father of entertainer Al Jolson. Rosen’s father worked in the back of a poultry store as a shochet, slaughtering chickens in the kosher tradition. He was also a mohel, performing circumcisions for $10. Rosen is a member of the Ohev Sholom synagogue that merged with Talmud Torah, an Old Southwest congregation. He currently lives in Rockville, Maryland. My older brother Phil was like a father image. Phil attended George Washington University and became a pharmacist. When I went to high school, he says, “You take typing. You never know when it’ll happen.” Somebody told me that they were hiring typists. He said, “Are you interested in going to Virginia?” I said “Well, if I have to.” He says, “They’re building a building called the Pentagon, the largest office building in the world and we need people to type.” I go work there, and then the war breaks out in ’41. I left [Southwest] in ’43 to get in the army, went to Camp Walters. The man is amazed that I can type. I learned how to type a military letter. I learned how to type and maintain a service record. My mother was still living in Southwest then. She did not move ’til

1944 when my father died. I got a furlough to go to my father’s funeral. I’m discharged August 4th, 1946. Talked to my brother. He wants me to become a pharmacist and go to work. I’m in GW. I didn’t get excited about chemistry. I took a course in radio broadcasting. My brother’s got three drugstores, 9th and U, 7th and S, Georgia and Kenyon. My brother says, “I know the guy at District Wholesale. They’re selling drug stores.” I go there. I get hired, and again the typing helped. We’re calling the drugstores every day and I log the name of the drugs. They call me “Doc.” I hear there’s a drugstore for sale. The area was black and white. The ice cream people will lend you money. I’m able to buy the drugstore with money my brother lends. I take over money that this man [the owner] owed. District Wholesale, where I worked nine years, gives me merchandise on credit. We actually have a luncheonette that sells chicken. We do a hundred dollars a day on the fountain when sandwiches were a dime. You could get breakfast for 69 cents. I’m hiring, and I’m doing well. What were you doing on April 4, 1968? “Did you hear the news? Dr. King got killed.” I said, “What are you talking about? I knew him, he’s great.” I’m living now in Silver Spring. And “Oh yeah,” he tells me, “There’s a riot.” I turn the TV on. There’s a riot. I called the druggist. I called Raymond [Flowers] who’s my trusted employee, a black fella with whom I’m friendly, and I get ahold of him. He says, “Yeah, man, they’re looting your store.” I call the police. “They’re rioting. Can you help me?” I’m excited. “Well, sir, they’re rioting all over 14th, but we’ll do the best we can.” I didn’t sleep all night. I go down Friday morning. The whole goddamned store—excuse me for cursing—is burned up, everything. I can’t get a hold of the insurance man. I don’t know what to do. I called Raymond, he says, “Doc, you’re gone.” april 6, 2018 13


African-American Born in Washington, D.C. 1968: Age 20. Norris Dodson is in the second semester of his freshman year at Antioch College in Ohio. His grandfathers own businesses in D.C. due to discrimination in hiring and licensing in their professions. Norris Augusta Dodson Sr., a chemist, invented and produced an embalming fluid for use by black funeral businesses. John R. Pinckett Sr. owned a real estate agency that employed many of D.C.’s black brokers. Pinckett’s son-in-law (Dodson’s father) is running the family-owned business in 1968. 2018: Age 70. Norris Dodson continued in the real estate business as co-owner of Dodson Realty, Inc. for 10 years until he sold his business to Long & Foster, Inc. He remains a real estate agent and manager. He regrets he can’t employ the number of real estate professionals his father employed, about 40, but is thinking about starting it up again with the original name John R. Pinckett, Inc. Dodson and his wife, also a Realtor, live in D.C. It was from my parents that I learned about the unrest in D.C. They softened it for me because they didn’t want me to be unable to think clearly while in school. After looking at newspapers, I found out how difficult it was for many of my friends, relatives, and family businesses that were living and operating out of the Shaw area. At that time, we had two family business. To hear about how the riot took place, the vandalism, and the looting, and the turning of the viable community into a blighted, boarded up community was just devastating to me. I didn’t see it firsthand until spring vacation. You could almost still smell the smoke, looking at the cinders. I walked some of the neighborhoods with my father. Neighborhoods I once knew very well, I hardly knew at all. There were people who needed to change their patterns because of it. I didn’t realize that there could be a riot in the nation’s capital that could be so devastating, and destructive, not only to real estate, and environment, but to people’s lives. We were very active in the areas that had large African-American populations, and the firm developed a reputation that was so sterling that— this is a great irony—we had non-minority firms referring business to us in areas where they chose not to go. It would never happen today. The percentage of housing and business properties owned by African-Americans is depleting significantly and rapidly. The new owners too frequently—although some of them are very liberal-minded—don’t even consider African-Americans when it comes to selling a house. They will come to us if we have properties on the market because there’s a shortage and they have to come to us. Discrimination might not even be the right word to use, but these are people that assume that you gotta look like them and go to the country club with them, and live in the neighborhood in order to know the neighborhood 14 april 6, 2018

well enough to get the best buyer. I had a young fellow call me. He’s a wonderful entrepreneur and representative of a lot of young people I’ve worked with. He told me that I was a great mentor for him. He told me that I referred him to four different people. Each helped him advance. He said it was attributable to me. My payday might not be over the settlement table sometimes, but that was the kind of payday that I really, really respect. Both my grandfathers did the same thing, and my aunts and uncles did the same thing.


African-American Born Jacqueline Howard in Washington, D.C. 1968: Age 20. Holmes’ parents, Bessie and Saxton Yates Howard, bought their Columbia Heights home in 1957. Holmes’ father died in 1960. In 1968, Jacqueline is a newlywed and the first African-American to work in the medical administration offices of the Veterans Administration. Eventually Holmes and her husband move to Silver Spring, but cracks begin to appear in the marriage and Holmes returns to her parents’ home in Columbia Heights. She raises her son there. 2018: Age 70. Holmes retired a GS-14 pay grade from the Veterans Administration in December 2017 after serving for 50 years. Holmes received numerous honors from the VA. She’s an active and lifelong member of Asbury United Methodist Church, and a first soprano in Asbury’s Wesleyan Choir. She was crocheting an afghan for her church’s bereavement ministry before our interview. The house Holmes’ parents bought in 1957 has been passed down to her and she lives there today. I graduated from Strayer [University] one week, and went down to the VA and applied the next week. [The lady in personnel] said, “Jackie, do us proud.” And I’m like, “OK,” but I couldn’t think of what she was talking about at that time until I got up on the 8th floor, and the only people of color were the two men that delivered the mail. What were you doing on April 5, 1968? I called mama. I called her from work before I left to let her know that I was trying to get home. She picked me up. And we came back home, and we were just devastated. I could see the smoke from 14th Street. In those days we had the Tivoli Theatre, the Savoy Theater, we had G.C. Murphy’s down there. You’ve got people of color that had businesses down there and, when you throw that flame, it doesn’t decide where it’s going to go. It’s gonna burn whatever’s in its path. You’re hurting everybody. When I finally did go down 14th Street, I could not believe it. I mean, just shells. I wondered then if we were ever going to recover. The Tivoli Theatre survived, but it’s now like a little carry out eatery down there on the corner. It’s not really a theater the way it used to be. Was it a riot or a rebellion? I think it was just anger, a need to just vent, and

destroy, and I mean, you know, sometimes you get mad, and you slam something down. And whoever threw the first firebomb, or whatever, it just went ballistic after that. Totally out of control. You had nowhere to go to get your groceries. I used to walk to the Safeway and get groceries. I was scared to go down 14th Street because you didn’t know when you might get attacked or mugged. It stayed boarded up for months, years. I still like seeing my friends, but it’s not the same. I’ve got good neighbors. I’m friends with everybody in the three-story condo next door. The house doesn’t feel the same because it’s just me, and losing my cat the day before I retired—Pollux laid right here and died in my arms. But the bench outside, it’s covered over because there’s a cat that sleeps under that bench, and his name is Phil.


Jewish-American Born in New York, New York Jaqueline “Jackie” Holmes

1968: Age 19. Siegel is a transfer undergraduate student at The George Washington University. She participates in anti-war demonstrations.


Jewish-American Born in Queens, New York

1968: Age 24. Tabor is working at the Department of Health, Education, and Welfare in D.C. He’s also active in the California Grape Boycott against Giant and Safeway. He protests the Vietnam War as a government employee. 2018: For years, Tabor, now 75, and Siegel, 69, were in each other’s orbit at rallies, marches, and community organizing events before they connected and married. Siegel has been an activist for fair and affordable housing, having created D.C.’s first limited equity cooperative in 1978. Tabor has been active in civil rights and peace movements and schoolfood activism by pushing for farm-to-cafeteria legislation. Tabor and Siegel own the Licking Creek Bend Farm in Pennsylvania, and they sell produce at D.C. farmers markets in Adams Morgan and in communities that have limited access to fresh food. They are preparing the farm for its 46th season. They live in Takoma Park, Maryland. Tabor: I had never thought there would be riots in Washington ever. [D.C.] just seemed like a very placid community. I’d been part of so many demonstrations, I didn’t feel people were angry enough. For me, it was rebellion. No question. I had just seen all the injustice of the segre-

demographic shifts in the d.C. area black


=100,000 people

Washington, D.C. 1950
















prince george’s county

Montgomery county

Arlington county april 6, 2018 15

Esther Siegel

Michael Tabor

gated housing, the swimming pools. I remember once we had a swim-in. I think it was with Georgetown. As soon as we went in—a black and white group—people jumped out of the pool, and left as if God knows what was happening. I remember the 7th Street merchants, embarrassed that they were Jewish, because I was Jewish. It was a remnant of the old Jewish community. In their minds, they weren’t doing anything wrong. Jews themselves were discriminated against. They were barred from a lot of professions, so teaching and real estate were the big professions. To me, their attitudes were ranging from some that might have been racist, but also some that were just trying to be good people. I saw the whole range. It was only one department store, Morton’s, that hired people of color as workers. All those other stores wouldn’t, just as the banks wouldn’t hire anybody. That was just too blatant. I felt that this was a positive thing that the anger got expressed openly. Siegel: I think I didn’t understand the looting as relating to the death of an icon. We started the Soap Factory in Adams Morgan. The Community Soap Factory it was called. It was in a warehouse. And I can’t remember the name of the owner. He was an appliance owner who had a store that had been trashed, and he rented us his warehouse because he had nothing left. That was sort of the beginning of a lot of the cooperative movement with all kinds of cooperatives from lending institutions to grocery stores. Something developed in people that said, “We need to have more control of basic things in our lives.” Tabor: Right out of the ashes, the phoenix was rising of communitarianism, and cooperation, and an attempt to go back to the roots—food systems, growing our own food, communes— and that all came out of that period. A year later, we did a Freedom Seder in Channing Phillips’ church, Lincoln Temple. We had close to a thousand people come and celebrate together. I was involved in a Jewish group of activists, some of whom had worked in the South. Some of them had been in CORE (Congress of Racial Equality), SDS (Students for a Democratic Society), SNCC. A friend of ours at the Institute for Policy Studies, Arthur Waskow, wrote a Freedom Hagaddah. Siegel: One of the themes of a seder is “Let all who are hungry, come and eat.” Tabor: “All who are in need, let them come, and celebrate the Passover. The years we were slaves, next year we shall be free.” The concept of Passover fit right into it.


White (Prussian, German) Born Margery Gruen in Washington, D.C. 1968: Age 24. An alumna of Radcliffe Col16 april 6, 2018

lege, Myers is a second-year medical student at Georgetown University. She’s married to Robert “Bob” Myers, a foreign service professional. They have one son. Bob is assigned to Vietnam and Myers decides to take a year off from medical school to join him not in Vietnam but in Bangkok, Thailand. When they return to D.C. in ’68, the Myers purchase a home in Glover Park for a “scandalously high price of $34,000.” 2018: Age 74. Robert Myers died in 2005. After practicing family and general internal medicine, Margery Myers retired from the Veterans Hospital in D.C. She has three sons. The eldest lives in their Glover Park house, another is president of a hockey team in Massachusetts, and the youngest, Chris Meyers Asch, co-authored Chocolate City: A History of Race and Democracy in the Nation’s Capital with George Derek Musgrove. She is passionate about healthcare access and nutrition, and lives in Chevy Chase. I was actually part of the SNCC up in Cambridge. In ’63 was our big luncheon. I was there, and marched on Washington in ’63. Of course, we were so impressed, and just so energized by his [King’s] rhetoric. Obviously history made that speech [“I Have a Dream”] more famous, as time went by. The whole thing was something that I was a part of, and always thought was extraordinary, and very positive. Can you describe where you were on the day the news about Dr. Martin Luther King’s assassination was reported? They had just gone through the Tet Offensive and that was a very, very trying time because we didn’t get any communication between Bangkok and Saigon for almost a week during that time. All we heard was there was a lot of fighting, and it was really quite frightening. We didn’t know what was going on, and the Communists had definitely won the upper hand at that point. [Bob] was able to get out, and we went to the beach, had a little vacation, and it was after that that we heard. The news came of Martin Luther King’s assassination, and then, you know, the burning. When I came back [to D.C.] I was a thirdyear medical student, which meant that I had worked in various hospitals. I worked at the VA, and my first tour was in neurology, and neurosurgery, and then, I worked in pediatric surgery. Most of our patients were African-American, and that was just the way it was. I was always grateful for having had, some contact at All Souls [Unitarian Church] growing up, with people like Sylvia Drew and friends in Sunday School, because I didn’t have black friends in my neighborhood. I did at college, and I always felt much more comfortable than some of the kids who just never really had any contact with anybody other than white folks.

in the new year. Fong lives with his wife and children in Bethesda, Maryland.


Chinese-American Born in Washington, D.C. 1968: Age 8. Fong is a student at Oyster Elementary School. He lives with his family in Adams Morgan but spends a lot of time in D.C.’s Chinatown. Fong’s father is a federal accountant for HUD and the Labor Department. His mother, a homemaker, works in her father’s Bing’s Chinese-American carryout restaurant at 18th Street and Columbia Road NW. 2018: Age 58. Fong is president of the Chinese Youth Club, founded in 1939 in D.C.’s Chinatown. This is an affiliation he’s had since his youth. Fong manages his family’s properties, including the property where his grandfather’s carryout restaurant was located. The Chinese New Year celebration is a very busy time for him, especially organizing CYC’s traditional Lion Dance performances to bring good luck

In 1968, my father had a house in Adams Morgan, a block and a half from my grandfather. My grandmother and grandfather lived above the restaurant. We definitely witnessed riots. We primarily stayed at my father’s house. There was a Safeway on the other side of our alley, and there was a parking lot adjacent to the Safeway. There were National Guard trucks, and tents set up in that parking lot, and looters would run past into the alley. I could still hear my mom yelling at us kids, “Get inside, get inside, and shut the door. Here comes some [tear] gas.” So we ran in and shut the doors. My grandfather’s business was not touched. There was a big plate glass window, like many of the storefronts at the time. He had a good rapport with the neighborhood, and he was april 6, 2018 17

not white, and so, it’s a little tricky. Race relations were not simply black and white, but how do blacks view Chinese? How do whites view Chinese? And so, blacks just saw my grandfather, and our family, as, “You know what? They’re not the oppressors. They’re not white.” And so they left my grandfather’s store untouched. Yet, all around him were bricks thrown into windows, and stores looted. We were slow in seeking refuge from the 1968 riots. A lot of families got out of town a lot faster. It took my dad five years. We joke about that but, I think, my father and my mom wanted us to feel safe at school. There was turmoil in the city schools. I mean, when I went to Gordon Junior High School there were policemen patrolling the halls with German shepherds. Did your family every talk about Dr. King, or did you talk about him in school? He was in the news. He was on the TV all the time, and our family talked about Dr. King. We talked about him in school. He was the voice of the protest. He was the leader. He was the symbol, but I would say that whole force, and realizations of how important Dr. Martin Luther King was, and is, and continues to be has grown in the 50 years since his assassination. I believe the story’s much better told, more impactfully told than it was when we were young children in 1968 and ’69.


African-American Born in Bronx, New York 1968: Age 17. Miller has a job at the Bookazine wholesale bookstore in Greenwich Village. He graduates from Christopher Columbus, a predominantly Jewish and Italian high school in the North Bronx. When Miller arrives for his freshman orientation at Howard University in the fall of ’68, he has his copy of Black Power by Stokely Carmichael and Charles V. Hamilton with him. He keeps his Paul Simon and Joan Baez records under wraps while his classmates introduce him to Motown, The Intruders, and the Delfonics. 2018: Age 67. Miller is a self-described “lit-

erary activist,” memoirist, and Mayor’s Art Awards recipient. He hosts On the Margin, a weekly radio program on WPFW, and The Scholars on UDC TV. City Point Press published a book of his poems, If God Invented Baseball, this year. He lives in D.C. I do have a clear remembrance of Robert Kennedy because I was very much caught up in Kennedy running for president. I remember hearing on the radio that he was shot and telling my mother and father. And immediately, my mother was talking about, “Oh, that family’s been through too much.” So, I remember that. I don’t remember where I was at King’s assassination. I do remember, probably ’67 that I did see King for the first time. I went to this big rally against the war that was out near the UN. I always remember that very clear because it was the only time I saw King from a distance. But when I turned around, I actually bumped into Paul Simon. I was a Simon & Garfunkel passionate fan, and to bump into Paul Simon was the highlight of my day. I remember when John Kennedy was assassinated. I do remember clearly when Malcolm X was assassinated. Keep in mind my family, being from the West Indies primarily, we were not involved in the civil rights. What was it like coming to D.C.? At that time if you were a Howard student coming to campus after the King assassination and after the Howard student protest, you were instructed as a student to get your nation building skills and take the skills back to the community. Cook Hall, which was the dorm I was in, was kind of the more radical dorm out of all the dorms on campus. Because this was after the riots, there were a lot of people who were coming to college for the first time. How can we solve the problem of riots and the ghetto? We need to open up some channels, so some people have college opportunities. When I look back, much of my education at Howard came outside the classroom. It had a lot to do with who I met in the dorms. That’s where I think I got my education. CP

18 april 6, 2018

Laura Hayes


Erik Bruner-Yang’s second restaurant inside The LINE DC Hotel is now open Tuesdays through Saturdays. Spoken English is modeled off of Japanese standing bars and can fit about 15 people at a time. The chicken skin dumpling is a must-order.

Poetry in Motion

As Busboys and Poets prepares to open in Anacostia, neighbors and activists question its role in the neighborhood. By Avery J.C. Kleinman Andy ShAllAl hAS a knack for inserting himself into the city’s up-and-coming neighborhoods. The owner of Busboys and Poets, the local restaurant chain with an activist, community-centric bent, has opened six locations of his popular gathering spot—four in D.C. proper and two in the suburbs. Often his restaurants serve as anchors of new developments, and additional businesses frequently follow his lead. Shallal plans to open a seventh location by the end of the year on Martin Luther King Jr. Avenue SE in Anacostia. The area is just beginning to experience the interminable swell of what some call development and others call gentrification. Other major projects are in the works, including MLK Gateway, a 50,000-squarefoot development that would bring retail and apartments to the neighborhood, and the 11th Street Bridge Park, which would connect Anacostia to Capitol Hill with a park spanning the Anacostia River. Along with the development, housing prices are rising, too. According to real estate website Trulia, median home sales prices in the neighborhood rose $33,500, or 13 percent, in in the past year. Median home sales prices rose slightly more, by 14 percent, citywide last year. Historic Anacostia is rich with AfricanAmerican history—the same kind of history that Busboys and Poets aims to lift up and celebrate. The neighborhood was home to the city’s first non-segregated movie theaters and abolitionist Frederick Douglass lived his final years in a house on W Street SE. Busboys and Poets’ name honors another famous black Washingtonian, poet Langston Hughes, who worked as a busboy at D.C.’s Wardman Park Hotel in the 1920s. The artwork at the restaurants celebrates black history; a mural at 14th and V streets NW, created by Shallal, features images of activists like Nelson Mandela and Martin Luther King Jr., who have eased the plight

Andy Shallal

Darrow Montgomery/File

Young & hungrY

of oppressed people. Every location offers programming, from author talks to community meetings and open mics, and President Barack Obama even paid a visit to the 14th Street NW location in 2016. The restaurants remain popular with both locals and out of towners who like their vegan nachos with a side of social justice and can afford a $14 burger. Entrees at the restaurant range in price from $9 for beans and wild rice to crab cakes for $26. Prices are standard across all the existing restaurants, regardless of the neighborhood or the median income of its residents. The question is whether Shallal’s businesses can pay homage to black history and contribute to the cultural richness of the District without also leading a wave of development

that negatively impacts black residents. Southeast D.C. resident Nicole Odom doesn’t think they can. “They want to move forward with this redevelopment, but it’s not really benefiting my family,” she says. “We don’t need a Busboys and Poets. We need childcare. We need schools.” Odom lives at Barry Farm, the public housing community near Anacostia that will be demolished and redeveloped by the city beginning this spring. She sees a connection between the upcoming opening of Busboys and Poets and the upcoming razing of her home. The city government and D.C. Housing Authority will relocate Barry Farm residents during the construction process. “Are they going to be able to come back to enjoy a Busboys and Poets?” asks Daniel del

Pielago, the organizing director of community advocacy group Empower DC. “When we speak to residents who live in neighborhoods in Anacostia, that’s not what they want or need. The services that have lacked historically—we’d like to see those, instead of priority being given to the developer class. ” He continues: “What we’re seeing is the next frontier in development sprawl, the preparation of an area as prime real estate for redevelopment. … It’s the same model that Busboys and Poets followed on 14th Street [NW].” Indeed, there were similar concerns before the first Busboys and Poets opened at the corner of 14th and V streets NW in September 2005. In December of that year, several months after the opening, Todd Kliman wrote in Washingtonian about the restaurant’s intrinsic paradox: “With his new restaurant, Andy Shallal is taking on the problems of race and class on U Street. But for some, the solution itself is a problem.” In the 12 years since the opening, the neighborhood has become one of the city’s most desirable—according to the residential real estate website Trulia, the median home sale price for the U Street neighborhood in August 2017 was $706,000. That’s $100,000 more than the city at large. But it wasn’t always that way, according to Shallal. “14th Street has gone through some really serious transformation,” he says. “They looked at me like I was crazy, opening where I did. U Street was developing, but it was as if V Street was miles away,” he says. “At some point things started to change, but that’s way more than I’m capable of doing. Change happens and we just happen to be one of the businesses that’s part of it.” The other three Busboys and Poets locations in D.C. were early residents in neighborhoods that saw single family home prices increase after the restaurant’s arrival. The Takoma outpost opened in February 2015; Mount Vernon Square in September 2008; and Brookland on New Years Eve 2014. The median price of single family homes within a 0.7-mile radius of the Brookland location in the six months prior to the restaurant’s opening date was $575,000. In the six months after, it jumped to $700,000. In Takoma, sales prices jumped $45,000 in the same time span surrounding its opening. (The figures were obtained from the Metropolitan Regional Information Systems database.) Busboys and Poets’ specific role in these price spikes is hard to define, but the observed correlation was dubbed “The Busboys and Poets Effect” by real estate blog UrbanTurf. april 6, 2018 19

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they were looking for. “Fast forward to Busboys and Poets opening—we came back in early 2015, and we thought, ‘This feels a lot more vibrant, it feels like the kind of place where we’d like to live,’” he says. Shallal hopes his restaurants can span the divide between new residents like Garnett and long-time ones like many of the constituents Garnett now represents. “We’ve become a bridge for the people that live there and the people that are coming. That’s what Busboys and Poets does best,” Shallal says. “We have a cross section of all of D.C.”

The question is whether Shallal’s businesses can pay homage to black history and contribute to the cultural richness of the District without also leading a wave of development that negatively impacts black residents.“They want to move forward with this redevelopment, but it’s not really benefiting my family. We don’t need a Busboys and Poets. We need childcare. We need schools.”


Free parking 16 area restaurants

“Many people selling condos in the area started including Busboys and Poets in their sales pitches, and our name is regularly mentioned on Craigslist ads and other promotions around town,” Shallal told UrbanTurf at the time. Shallal has made a habit of opening Busboys and Poets as a first tenant in conjunction with developers who are opening new, multiuse projects, like City Vista in Mount Vernon Triangle. The strategy proves mutually beneficial for the developers and Busboys and Poets, according to Shallal. “I work really closely with developers that want us there,” he says. “They have to play a

part in making sure we succeed. We bring an added value to a new development. That is desirable to a lot of developers and they have initial funds that they can use to support us, to make sure that the economics work for me from the get-go.” The strategy has also led individuals to label him a gentrifier. New construction, and the architecturally out-of-place developments that it sometimes brings, can be a visible sign of a changing neighborhood. In Brookland, Busboys and Poets opened as part of the Monroe Street Market development. The $200-million project, which brought 720 residences and more than 100,000-square-feet of retail and amenity space to the area, was met with community opposition during its planning stages. It has also encouraged new residents to move to the area, including Advisory Neighborhood Commissioner Ed Garnett of single member district 5E01. “As far as changes in the neighborhood, I am a product of that change,” he says. Garnett and his wife had considered moving to Brookland before the opening of Monroe Street Market, but decided against it because the neighborhood lacked the amenities

The programming at the restaurants aims to ease tension—events like open mics, community forums, speakers and movie screenings—but Daniel del Pielago of Empower DC says those programs don’t truly help the community. “We want to see social justice in practice, not just a place where people can pontificate about it,” he says. “By now, Andy Shallal should know the impact that his restaurants and developments have on the community.” Another way Shallal hopes to create a bridge between longtime and incoming residents in Anacostia is by partnering with organizations in Wards 7 and 8 that are training residents for careers in the culinary and hospitality industries. For Odom, the longtime Ward 8 resident, the promise of future jobs isn’t enough. “As low income residents ... the only thing that seems to be on the table is the opportunity to possibly work at these places,” she says. “It’s heartbreaking that we’d come back to these communities to work where we once lived.” CP

Eatery tips? Food pursuits? Send suggestions to


Fifty years ago, Stanley Kubrick’s sci-fi masterpiece 2001: A Space Odyssey had its world premiere at Cleveland Park’s Uptown Theater.

Natural Selections

Martha Jackson Jarvis has long been one of D.C.’s most visible artists, but a new exhibition at Dumbarton Oaks finally gives the artist’s work the space to shine. By Naomi Shavin There’s a good chance you’ve seen Martha Jackson Jarvis’ work, though you may not have realized it. If you’ve ever been through the Anacostia Metro Station, you’ve walked beneath her mosaic “River Spirits of the Anacostia,” which depicts fish, aquatic birds, and Nacotchtank symbols, but draws on traditional Italian techniques. If you’ve walked past the Metro station at Van Ness, you’ve seen “Music of the Spheres,” her enormous, round sculptures made of concrete, glass, stone, and steel, that seem to float in the Fannie Mae plaza beside the station’s Western exit like a small solar system. And there’s a chance you’ve seen her work outside D.C., too. Jackson Jarvis has had public art installed up and down the East Coast and beyond: at Johns Hopkins in Baltimore; on an apartment building in Silver Spring; on a fountain in downtown Arlington; in the Prince George’s County Courthouse; in the South Carolina Botanical Garden in Clemson; in the North Carolina Museum of Art; in the Bronx; on Long Island; in Newtown Square, Pennsylvania— and that doesn’t even touch on the numerous solo and group shows that have featured her sculptures and works on paper over the decades. Earlier this year, Dumbarton Oaks launched a major exhibition of her work that integrates her recent studio work along with selections from past exhibitions. But more than that, it captures her love of public art along with her artistic interrogations of environment. In some ways, Dumbarton Oaks gives Jackson Jarvis’ work the treatment for which it’s long overdue. While Dumbarton Oaks may not seem like an obvious choice, its renown Byzantine and pre-Columbian collections and its famed gardens are a more than fitting backdrop for Jackson Jarvis’ work. “I’m very interested in the environments we create,” she says of her interest in public art. “Things that become the commons, these incredible resources, they are all finite. They have to be preserved and observed and appreciated and incorporated and protected.” With Jackson Jarvis’ work incorporated into the space and integrated with objects from the

Darrow Montgomery


museum collections, Dumbarton Oaks’ resources become more engaging and approachable. And the many dimensions of her work and craftsmanship are more apparent in the shared space. Jackson Jarvis’s inTeresT in environments—and, by proxy, in art—date back to her childhood in Lynchburg, Virginia. She spent her childhood “playing outside, collecting natural materials, stone, rocks, sticks,” she says. She still does: Her studio space in Mt. Rainier contains countless jars of colored glass, stones, and rocks, along with twisting branches and a small custom-made crane. When Jackson Jarvis was born in 1952, Lynchburg was, as she says, “very segregated.” It wasn’t until 1962 that two black students named Lynda Woodruff and Owen Cardwell made history when, armed with a court order, they desegregated an all-white school there. Although Jack-

son Jarvis credits much of her artistic sensibility to those early days in rural Virginia, a family move to Philadelphia when she was 13 was pivotal for her. “The urban environment had this treasure trove of things I never would have had access to … Philly was a really good place, there are good museums and art, lots of musicians, a very strong cultural arts scene,” she says. Jackson Jarvis studied art at Howard University and at the Tyler School of Art in Philadelphia, crossing paths with numerous other artists. She ultimately settled in D.C. in 1970 and has been based here ever since. Over the course of her career, one of the central questions she came to investigate was “how [to] introduce natural materials and natural forms into urban contemporary places.” Curators quickly took note of Jackson Jarvis’ work, especially when famed Washington Color School painter Sam Gilliam began making introductions. Julie McGee, an art april 6, 2018 21

CPArts historian at the University of Delaware who specializes in African-American art, says she first became aware of Jackson Jarvis long before they worked together on an exhibit of Jackson Jarvis’ called Ancestors’ Bones at the University in 2012. “[She’s] among the best-known artists in the Washington, D.C area,” she says. “The work of Jackson Jarvis operates in two worlds—that of large-scale public commissions and the more intimate space of the gallery. Very few artists are able to finesse both, and certainly not with her acumen and sensitivity.” Dumbarton Oaks’ Director of Garden and Landscape Studies, John Beardsley, has also known Jackson Jarvis for decades, and says he’s long wanted to feature her work at Dumbarton Oaks. He was first introduced to her by Gilliam, was aware of her work as an artist/designer to Julie Dash on Daughters of the Dust, and first worked with her in 1997, on a piece for the Spoleto Festival in Charleston, South Carolina. Along with Dumbarton Oaks’ Curator and Museum Director, Gudrun Bühl, Beardsley has organized a remarkably ambitious exhibition of her work called Outside/IN, which spans the museum and also the gardens at Dumbarton Oaks. The indoor portion of the exhibition opened in February, but the garden installation officially opens April 12. It didn’t start out this way. “The project originated as an outdoor project,” Beardsley says, but last spring he invited Bühl to come along to see Jackson Jarvis’ studio and her latest works. Bühl immediately connected the themes and the quality of craftsmanship in Jackson

Jarvis’ work with the museum’s famous pre-Columbian and Byzantine collections, and the project quickly expanded from there, ultimately featuring some of the museum’s collection alongside Jackson Jarvis’ work, creating a dialogue that seems to transcend time, space, and culture. The exhibit is not a retrospective, but it operates on a few levels and in some instances makes clear allusions to Jackson Jarvis’ own biography. Walk into the main exhibit space and her “Umbilicus I” sprawls in red and brown tones near a Byzantine mosaic in similar hues. The pairing is more than serendipitous: In 1992, Jackson Jarvis went to Ravenna, Italy, to study the traditional mosaic techniques passed down, usually in families, for centuries. An older Jackson Jarvis piece included at Dumbarton Oaks, called “Green Snake and Collard Greens,” from 1998, is a nod to the time in her career when she first worked with Beardsley. Beardsley says that he included it as a transition piece because it bridges her sculpture and collage work. Jackson Jarvis calls it “pivotal” in her development as an artist. Outdoor works populate the garden’s “Lovers Lane,” which stretches from a reflecting pool alongside a fence that separates the gardens from Rock Creek Park. For this part of the exhibit, Jackson Jarvis created bamboo structures made from the gardens’ own grove, and installed another set of “Umbilicus” mosaic sculptures. Jackson Jarvis’ youngest daughter, Njena Surae Jarvis, an acclaimed artist herself, helped install her mother’s outdoor works at Dumbarton Oaks. Meanwhile, another outdoor piece located alongside a large museum window

called “Earplugs/Listening” uses mosaic, calling to mind the Byzantine collection, to emulate jade earplugs from the PreColumbian collection. The exhibiT is distinct from anything Dumbarton Oaks has executed before, even if it builds on other multimedia exhibits they’ve hosted in recent years. “It fires on a lot of different cylinders,” says Beardsley. “The materials, the stone with some of the techniques, like the mosaic, some of the imagery, especially the botanic imagery and the way it gets incorporated in the indoor works.” Bühl points out that it’s been good for Dumbarton Oaks, too. “We’ve played a little bit along the line of ‘What happens if we break the established boundaries, if we do things differently?’ How to activate, how to refresh, how to shake it up… One idea of course is with contemporary art.” Bühl says she hopes this exhibit, which goes further than they’ve ever gone before, will signify the start of a new era for Dumbarton Oaks: one in which cross-collection exhibits will be the norm, and the museum will be seen as a place of playful experimentation. McGee says she had hoped to do something similar in the botanical garden at University of Delaware when Jackson Jarvis exhibited Ancestors’ Bones. There’s an ineffable, organic quality of Jackson Jarvis’ work, which adds another whimsical dimension. Her art almost looks like it could be part of a living, breathing biological organism. “It would be impossible to think about the art of Martha Jackson Jarvis without commenting on her reverence for the natural world,” McGee says. CP

A Chinese Home


In the collaborative work A Chinese Home, Grammywinning innovators Kronos and pipa virtuoso Wu Man bring centuries of Chinese cultural history to life, uniting concert performance, theater, and video. Plus works by Wu Man, Terry Riley, and more. Special thanks: The National Endowment for the Arts; The Abramson Family Foundation

TICKETS: • (202) 785-9727

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22 april 6, 2018

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FilmShort SubjectS about the premise. If any sound triggers the monsters, for example, what happens when the family goes to sleep? Surely one of them must snore. On top that, Krasinski relies on a musical score that telegraphs one too many emotional cues (there must be a director’s cut that has no music whatsoever). But for a lean 90 minutes, no one will have a moment to consider such detail. They will be too busy staying quiet, covering their mouths and eyes, in utter fear of what will happen next to this devoted family whose biggest problem is they are not too loud, but too optimistic. —Alan Zilberman A Quiet Place opens Friday in theaters everywhere.

Unspoken Words A Quiet Place

Directed by John Krasinski NoN-verbal actiNg is how John Krasinski made a name for himself. In his breakout role on The Office, his character would routinely break the fourth wall, staring silently into the camera to express his frustration, amusement, and terror. His expressive face serves him well in A Quiet Place, a horror film that has limited spoken dialogue. Krasinski’s hands are all over the film: He directed it, produced it, and co-wrote the screenplay. He takes a simple premise—a post-apocalyptic scenario where monsters can only hear you—and achieves impressive levels of suspense and dread with it. It is a long time before anyone actually speaks in A Quiet Place. That is not a problem, since Krasinski conditions the audience toward an existence that values silence. Krasinski is part of a tight family unit: Emily Blunt plays his wife, while Millicent Simmonds and Noah Jupe play their daughter and son, respectively. Their daughter is deaf, so the family knows sign language. And since the monsters will attack based on the slightest sonic provocation, their silent communication is the key to surviving long after most of the population was wiped out. Aside from constant vigilance over the monsters, preparations are underway since Blunt’s character is pregnant. It seems illadvised to bring a child into a world where sound guarantees death, and yet the family has a plan. Their plan goes to shit, as it must, and the film’s climax follows them through one crisis after another. Small, elegant details of production design are what makes A Quiet Place so immersive. The entire family walks barefoot on sand to muffle their footsteps. As husband and wife, their only romantic indulgence is to slow dance

while sharing iPhone ear buds in one ear each. This family does not need to be strong characters since Krasinski ruthlessly puts them in situations that engage our sympathy. One character accidentally steps on a nail, immediately covering their mouth since they dare not scream. We feel for these characters the way they might feel for a pet: Since they cannot speak, our imaginations are in overdrive over what they must be feeling. The monsters themselves are ghastly enough, but in the classic horror tradition, they are most effective when they are barely seen. Audience participation is another key element to the film’s success. Like the characters, no one will dare make a sound during A Quiet Place. Some people hold their breath, clench their armrests, and resist the urge to scream. Krasinski internalizes how the movie-going experience can be shared, and half the fun is how he plays with expectations. If there is some smart-ass who think it is funny to yell at the screen, you will be extra justified when you tell them to shut up. When there are so many streaming options and films are available on video in a matter of months, it is terrific to have a film that practically demands a communal, borderline interactive experience. The film’s biggest tension is not whether the family will survive, but what sacrifices they are willing to make. It is no spoiler that Blunt’s character will go into labor before the film is over, and to his credit, Krasinski keeps the newborn’s fate ambiguous. Do they want to add to their family, or do they want to spare a child from a life of silent terror? If A Quiet Place has any grander themes, it is about how parents fear failing their children. In the film’s few passages where dialogue is spoken, that is the only topic under discussion. Krasinski does not see A Quiet Place as allegory—the conversations only add subtext to future character decisions—but it is hard to fault him for abandoning grander ambitions. The film is too ruthless and scary for that. Like many other horror films, A Quiet Place falls apart as you leave the theater and think

The righT noTes Itzhak

Directed by Alison Chernick itzhak PerlmaN has suggested that Google specialize their service by catering to different demographics. Well, at least one. When Perlman is in Tel Aviv, where he was born, for a performance, he points out to the camera that the streets are named for notable citizens. And if you’re not familiar with who they are, you can just “Jewgle” them. He might have started tech’s next big thing. Clearly, Perlman’s also quite the jokester. In Itzhak, director Alison Chernick (a woman!) captures the acclaimed violinist’s infectious grin and frequent laugh as he makes light of seemingly every situation. The smile is especially prominent when he’s talking about music. Take, for instance, when he’s teaching a class and rhetorically asks why two musicians can play the same notes, yet one sounds beautiful and the other is just OK. He says that it’s inexplicable. But, he adds, “it’s nice that there’s things you can’t explain.”

Perlman talks about music a lot in his everyday life, whether in the classroom or on a stage or at home with his wife, Toby Perlman, who is also a classically trained violinist. (She proposed to him after watching him perform at the age of 17.) He believes that society isn’t complete without the arts and that people choose an instrument based on “the sound in their head.” And whereas traditional training involves competition, the couple believe that it’s better for learners to develop independent thought and focus on their own style rather than worry about beating others to first chair. Watching the Perlmans interact is a lovely thing. The fondness and respect that they have for each other after many years together is obvious; they truly seem like wonderful people,

with both of them understanding what a marvel Itzhak is yet never coming across as conceited, just appreciative of transportive music. And boy, is the music here transportive, even if you’re not a fan of classical. (For those people, he does a jaunty “Take Me Out to the Ballgame” and accompanies Billy Joel.) Naturally, Chernick devotes the bulk of the doc to Perlman’s performances and frames them with a biography-lite. Refreshingly, she stays away from the typical newbie-to-superstar timeline, instead jumping around in her presentation of interviews, concerts, and personal recollections from him and those close to him. There are no patience-testing talking heads. Not much is made of the polio that left him using crutches or a scooter to get around. After a particularly heavy snowfall in New York City, he has some trouble making it to a venue, with one person in his party carrying a shovel to clear walkways. But when he was starting out as a child, he said that teachers were reluctant to admit he had any talent because of his disability. It’s an ugly lesson that he took to heart and reversed in his dealings with his students and other musicians: “Judge me by what I do, but don’t judge me by what I can’t do.” —Tricia Olszewski Itzhak opens Friday at Landmark E Street Cinema. april 6, 2018 23

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From the second I saw Diana Ross’ ethereal Dorothy appear on the screen during my first, fateful viewing of The Wiz, I was hooked. I had already seen and loved the original Wizard of Oz and been scared by those damn flying monkeys. But to see people, my people, in a much more soulful and entirely African-American adaptation was something special. I’ve been easing on down the road ever since. This, I suspect, is the experience of many a lover of The Wiz. With that iconic starting point, it’s hard to imagine how any theater could get it just right, recapturing the hammy magic of the 1978 film, adapted from the 1975 Broadway musical. Fortunately for D.C. audiences, Ford’s Theatre has created its own magic with its new production of The Wiz. The Kent Gash-directed show is big, fun, and flashy. It garners huge laughs from the crowd, and in certain parts may leave you a little misty-eyed. It’s tricky to recreate something that many people are already familiar with and fond of. It’s even more difficult to step into shoes once inhabited by Diana Ross, Michael Jackson, Richard Pryor, Lena Horne, Nipsey Russell, and Ted Ross. But this Ford’s cast puts its own mark on The Wiz, following no yellow brick road but their own. Ines Nassara gives a goofy and sweet performance as Dorothy, but her supporting cast provide the show’s highlights. Hasani Allen’s Scarecrow, who in this adaptation has flowing dreads, is perfect with his endearing Forrest Gump-esque accent and silly antics, and the Tinman, played by Kevin McAllister, takes an

axe to the audience’s feelings with both his acting and his tremendous vocals. His character manages to deliver the most soul and the most heart, despite not actually having one. As for Christopher Michael Richardson’s Lion—I went home after seeing the show wondering how I could get a big sassy lion friend like him. Though he lacks courage, he never leads Dorothy astray. Monique Midgette conveys confidence while playing the wicked witch Evillene, her good sister Addaperle, and Dorothy’s Aunt Em, and Jobari Parker-Namdar puts a quirky, drama-filled spin on the title character. The background and non-speaking cast are on point, too, twirling, singing, and comedically dropping to the floor whenever the story calls for it. One of the production’s greatest strengths is the vocal range of its cast. The voices in this show are exquisite, particularly those of Nassara and Awa Sal Secka, who stars as Glinda the good witch. Secka’s voice elicited audible gasps from the audience during the performance I attended. Those voices carry “Ease on Down the Road,” “If You Believe,” “Home,” and other songs fans might feel compelled to sing along with. Gash and scenic designer Jason Sherwood use the entirety of Ford’s stage, balcony, and audience space. Oz’s gatekeeper first appears on a balcony next to theatergoers, and when it was time to travel to Glinda’s good witch domain, dancers floated throughout the audience rows. During the tornado that takes Dorothy to Oz, her old house flips upside down onstage. The production is a bonafide party, a celebration of blackness in all its many forms. There’s a lot of laughs, a lot of heart, and the pacing is as well-oiled as the Tinman’s knees. It feels familiar, but also remarkably modern—look for shoutouts to Black Panther, references to gentrification, and most splendidly, a yellow brick road personified as dancers with golden staffs and golden Afros. —Kayla Randall 511 10th St. NW. $25–$81. (202) 347-4833.


Freer Film Friday: After-Hours Event

Japan and Jazz

Orchestras in Motion! April 9–15, 2018

Friday, April 6, 5:30–8 pm

Four adventurous orchestras. $25 concerts at the Kennedy Center. Plus exciting FREE performances and other events around the city! Learn more at This year’s orchestras:

Albany Symphony (New York)

Fort Worth Symphony Orchestra (Texas)

Indianapolis Symphony Orchestra (Indiana)

National Symphony Orchestra (D.C.)

Plus local participating orchestras, ensembles, and artists!



The New York Times

Tickets and info at (202) 467-4600 or

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540. Presented in cooperation with the League of American Orchestras Generous support of the SHIFT Festival is provided through a matching grant from The Andrew W. Mellon Foundation; by the D.C. Commission on the Arts & Humanities, which receives support from the National Endowment for the Arts; by Dr. Gary Mather and Ms. Christina Co Mather; and by Michael F. and Noémi K. Neidorff and The Centene Charitable Foundation. This project is supported in part by an award from the National Endowment for the Arts, Abramson Family Foundation, Betsy and Robert Feinberg, and Morton and Norma Lee Funger.

now playing

202.547.1122 april 6, 2018 25

COMEDY at the Kennedy Center


In a WhIte Room The Barmecide Feast

At the National Air and Space Museum to May 28

Tracy Morgan Friday, April 20 at 8 p.m. | Concert Hall As one of today’s most respected comedians, the 30 Rock and Saturday Night Live alum follows up his nationwide tour Picking Up the Pieces and Netflix special Staying Alive with a return to the Concert Hall stage. TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office.

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

Comedy at the Kennedy Center Presenting Sponsor

26 april 6, 2018

Let’s count the many ways Stanley Kubrick’s 2001: A Space Odyssey got the future wrong. We’re still a decade away from commercial shuttle service ferrying earthlings into orbit and still farther from giant rotating orbital space stations. Sentient computers? Not yet. We’ve built no moon colonies. Manned interplanetary travel won’t happen until Elon Musk gets to it, and cryogenic hibernation is no more practical today than it was 50 years ago this week, when 2001 debuted at Cleveland Park’s Uptown Theater. But Kubrick did get one thing about the future dead right: The design and décor of the interstellar way-station at the end of the stargate corridor, where astronauts go to be reborn as star children. Kubrick’s room now lives outside the world of film thanks to artist Simon Birch and architect Paul Kimber, who built a replica of it for a group show in Los Angeles. Currently on exhibit at the National Air and Space Museum, Birch titled his work “The Barmecide Feast” after a story from One Thousand and One Nights about a beggar imagining a feast and then experiencing one. The rococo Louis XIV room faithfully recreates the Kubrick movie set without exactly cloning it—don’t go looking for the bathroom from the film, as it’s not there. As in 2001, the walls and cabinetry are painted white and off-white and the furnishings are done in several shades of puke green. Figurines, sculptures, and paintings (originals by artist Dominique Fung) accent the walls and tabletops. It’s kind of perfect without being pristine. The occasional paint

smudge and crack make the room feel like an interstellar Airbnb that’s seen a fair bit of use. But it’s the installation’s floor that gives the room its visual power and mystery. Translucent and crisscrossed with black bands, echoing the brain-bending psychedelic light show of the movie’s stargate ride, the floor glows as if lit from below by two dozen full moons. Martin Collins, the museum’s space history curator, gets it right when he comments that the indirect light makes the room feel warm and cold at the same time, infusing the space with a soft, heavenly glow. It’s as shadowless as a landscape draped by snowfall and illuminated by a weak sun burning through a thin fog. Original music composed by Gray Gunn for the installation probably adds to the effect, but the chattiness of the press tour kept interrupting. According to Michael Benson’s fine new book about the movie, Space Odyssey, the narrative function of the room was to serve as a kind of “human zoo”—built by unseen aliens—where astronaut David Bowman could recover from his wormhole trip and prepare for his transformation. Experienced in this museum setting, Kubrick’s room will pack the frisson of a themepark ride for devotees of the film. Those who haven’t committed the film to memory can anticipate a Zen-like cooling of the senses. Like the movie that inspired it, the room projects both wonder and serenity. How much of that impact flows from memories of the film, I can’t say. Having seen 2001: A Space Odyssey during its first run a half-century ago and at least a dozen times in cinemas since then, my time inside the room felt like a brief visit to my favorite recurring dream. Enter “The Barmecide Feast” knowing that you’ll want to trap the moment with a bunch of selfies. Exit it wishing that you, too, could transform into a star child. —Jack Shafer Independence Avenue and 6th Street SW. Free. (202) 633-2214.



Monday, Apr. 16 at 7:30 p.m.

Wednesday, Apr. 18 at 7:30 p.m.

D.A.R. Constitution Hall Washington, D.C.

The Music Center at Strathmore North Bethesda, MD

The U.S. Air Force Concert Band & The Central Band of the Royal Air Force

The Airmen of Note & The Royal Air Force Squadronaires

FREE! Tickets Required. For ticket info, please visit our website:


“…superlative” (The Times)

Beautiful Imaginative Startling



THE KING’S SINGERS 50th Anniversary Tour


“One of the best...” (Forbes)




Located on the Fairfax campus, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123. april 6, 2018 27

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!


w/ Tall Heights ....................... SAT AUGUST 18

On Sale Friday, April 6 at 10am



FEST                              M3 ROCK FESTIVAL 2018 METAL


 The Motet w/ Chopteeth Afrofunk Big Band ........................................... Th APR 5 The Black Angels w/ Black Lips ................................................................... M 9 Andy Grammer w/ James TW ..................................................................... Tu 10 APRIL

MAY (cont.)

Thirdstory w/ Grace Weber .....Th 12

Bahamas ....................................Su 6 Panda Bear w/ Geologist ...........M 7 Marian Hill w/ Michl ..................W 9 Wye Oak w/ Palm .......................F 11


 Perpetual Groove w/ CBDB ..F 13 ALL GOOD PRESENTS

 Hurray For The Riff Raff   & Waxahatchee   w/ Bedouine ..............................Su 15 Sofi Tukker ..............................W 18 ALL GOOD PRESENTS

 Lotus   (F 4/20 - w/ Staycation) ..F 20 & Sa 21 The Weepies  Hideaway 10 Year Anniv. Tour  w/ Curtis Eller’s American Circus .Su 22 Stars w/ Dan Mangan .................M 23 The Cadillac Three  w/ Sam Grow ...............................W 25 Unknown Mortal Orchestra  w/ Makeness ................................F 27 Echosmith  w/ The Score & Jena Rose ..........Su 29 Kate Nash w/ Miya Folick .........M 30 MAY

Sango w/ Kaelin Ellis   Early Show! 6pm Doors .....................Tu 1  U STREET MUSIC HALL PRESENTS

 Carpenter Brut   Late Show! 10pm Doors ....................Tu 1 ALL GOOD PRESENTS

 TAUK   w/ Of Tomorrow & Deaf Scene ......F 4 Ani DiFranco   w/ Gracie and Rachel ..................Sa 5


 Trampled By Turtles  w/ Hiss Golden Messenger .........Su 13 Jukebox the Ghost  w/ The Greeting Committee .......Th 17 Andrew W.K. w/ Moluba ........Su 20 Tune-Yards  w/ My Brightest Diamond ............M 21


Queensryche • Kix • Tom Keifer • Ace Frehley and more! .. MAY 4 & 5


SOUT !                               CK FEST RO

Marshall Tucker Band • Blackberry Smoke and more! ..... MAY 6 Single-Day Tickets On Sale Friday, April 6 at 10am

Dierks Bentley w/ Brothers Osborne & LANCO ................................................. MAY 18 Jason Aldean w/ Luke Combs & Lauren A laina ................................................. MAY 24 CAPITAL JAZZ FEST FEATURING

Earth, Wind & Fire • Smokey Robinson • Anita Baker and more! ..JUNE 1-3

Florida Georgia Line .................................................................................... JUNE 7 Robert Plant & The Sensational Space Shifters   w/ Sheryl Crow & Seth Lakeman ..................................................................... JUNE 12 Luke Bryan w/ Jon Pardi & Morgan Wallen ................................................. JUNE 14 Ray LaMontagne w/ Neko Case................................................................ JUNE 20 Paramore w/ Foster The People ............................................................... JUNE 23 Sugarland w/ Brandy Clark & Clare Bowen ......................................................... JULY 14 Dispatch w/ Nahko and Medicine for the People & Raye Zaragoza ............. JULY 21 David Byrne w/ Benjamin Clementine ................................................................ JULY 28 VANS WARPED TOUR PRESENTED BY JOURNEYS FEAT.

3OH!3 • August Burns Red • Less Than Jake and more! ......................... JULY 29

Lady Antebellum & Darius Rucker w/ Russell Dickerson..........AUGUST 2 CDE PRESENTS SUMMER SPIRIT FESTIVAL FEATURING


 Rising Appalachia .................F 25 Lissie w/ Van William ...............Sa 26 Japanese Breakfast  w/ LVL Up & Radiator Hospital ....W 30  U STREET MUSIC HALL PRESENTS

 Flight Facilities ....................Tu 31  JUNE

Dirty Projectors   Early Show! 6pm Doors .......................F 1  Real Friends?:    Beyoncé, Jay-Z, Kanye West, 

  Rihanna, and Drake Dance Night   with DJ Dredd and Video Mix    by O’s Cool Late Show! 10pm Doors ..F 1 

The Glitch Mob w/ Elohim .......Sa 2  Hop Along  w/ Bat Fangs & Bad Moves ...........Tu 5  Parquet Courts w/ Goat Girl ...Th 7 



                            M3 SOUTHERN ROCK CLASSIC FEATURING

The best thing you could possibly put in your mouth Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. |

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Skizzy Mars w/ Oliver Tree ........ Tu APR 10 Yung Gravy  w/ BBNO$ • Global Dan • Kamiyada Pale Waves w/ INHEAVEN ................... W 11  18+ to enter. ........................................... M 23

Erykah Badu • Anderson .Paak & The Free Nationals • Nas • The Roots and more!..................................................................... AUGUST 4 & 5

Jason Mraz w/ Brett Dennen .....................................................................AUGUST 10 AUG 11 SOLD OUT!

Phish .................................................................................................................AUGUST 12 Kenny Chesney w/ Old Dominion ............................................................AUGUST 22                            •  For full lineups and more info, visit •

Pimlico Race Course • Baltimore, MD JUST ANNOUNCED!


Post Malone • Odesza • 21 Savage • Frank Walker and more! . SAT MAY 19 On Sale Now •

Lincoln Theatre • 1215 U Street, NW Washington, D.C. THIS WEDNESDAY!

Max Raabe The Kills w/ Dream Wife .............MAY 14  & Palast Orchester.............APR 11 Gomez: Rick Astley ................................APR 18  Bring It On 20th Anniversary Tour ....JUNE 9 Eels ..............................................JUNE 11 ALL GOOD PRESENTS   moe................................................APR 20 Yann Tiersen ..........................JUNE 17 Calexico w/ Ryley Walker ............APR 27  New date! All 12/5 tickets will be honored. Animal Collective Robyn Hitchcock  Performing Sung Tongs  and His L.A. Squires   w/ Laraaji ..................................... JULY 21   w/ Tristen .......................................APR 28

Radiotopia Live ....................... MAY 9 Jessie Ware ..............................MAY 11

AN EVENING WITH  The Tallest Man On Earth . NOV 9

• •        U Street (Green/Yellow) stop across the street!

• Buy advance tickets at the 9:30 Club box office •

TICKETS  for  9:30  Club  shows  are  available  through,  by  phone  at  1-877-4FLY-TIX,  and  at  the  9:30  Club  box  office.  9:30 CLUB BOX OFFICE HOURS are 12-7pm on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.


PARKING: THE  OFFICIAL  9:30  parking  lot  entrance  is  on  9th  Street,  directly  behind  the  9:30  Club.  Buy  your  advance  parking  tickets  at  the  same  time  as  your  concert  tickets!






Music 29 Books 32 Dance 34 Theater 34 Film 36




Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Marty Stuart & His Fabulous Superlatives. 7:30 p.m. $59.50.


echostage 2135 Queens Chapel Road NE. (202) 503-2330. A.round featuring TJR. 9 p.m. $30–$39. U street mUsic hall 1115 U St. NW. (202) 588-1889. Luca Lush. 10 p.m. $12–$15.


Fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. DMV SpringFest featuring Hoodrich Pablo Juan, Lightshow, Fat Trel, and Rico Nasty. 7 p.m. $30–$60.




BlUes alley 1073 Wisconsin Ave. NW. (202) 3374141. Monty Alexander Trio. 8 p.m.; 10 p.m. $40–$45. mansion at strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Ranky Tanky. 7:30 p.m. $30.

Union stage 740 Water St. SW. (877) 987-6487. Cub Sport. 7:30 p.m. $13–$15.


9:30 clUB 815 V St. NW. (202) 265-0930. Anderson East. 8 p.m. $20. the hamilton 600 14th St. NW. (202) 787-1000. Willie Nile. 8 p.m. $20–$39.75.


mUsic center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Symphonic Dances. 8 p.m. $35–$99.


This decade has been a golden age for musical TV series, from Glee to Nashville to Empire, but perhaps none has done more with the medium or had more fun doing it than Crazy Ex-Girlfriend. A musical rom-com that toys with and satirizes both genres, Crazy Ex has spent three seasons following the romantic exploits and mental health crises of Rebecca Bunch, played by co-creator Rachel Bloom. The show expertly pays tribute to classic showtunes and contemporary pop music with original songs that are darkly funny and filthy. As the cast prepares for its fourth and final season, Bloom and company are taking it on the road to sing and dance through fan favorites. Whether that means skewering beauty standards on the girl group-ready “Put Yourself First” or getting raunchy on self-explanatory songs “Period Sex” and “Heavy Boobs,” concertgoers should be ready for material that won’t fly during primetime. The show begins at 8 p.m. at The Lincoln Theatre, 1215 U St. NW. $35. (202) 888-0050. —Chris Kelly


Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Marty Stuart & His Fabulous Superlatives. 7:30 p.m. $59.50.


9:30 clUB 815 V St. NW. (202) 265-0930. EDEN. 8 p.m. $20. echostage 2135 Queens Chapel Road NE. (202) 503-2330. Illenium. 9 p.m. $30. Flash 645 Florida Ave. NW. (202) 827-8791. Cassy. 8 p.m. $8–$15.

FuNk & R&B


Warner theatre 513 13th St. NW. (202) 783-4000. Patti LaBelle. 8 p.m. $106–$438. warnertheatredc. com.


the anthem 901 Wharf St. SW. (202) 888-0020. Monica. 8 p.m. $55–$117.50.


SU 8



Union stage 740 Water St. SW. (877) 987-6487. Fortunate Youth. 8 p.m. $15–$25.

hoWard theatre 620 T St. NW. (202) 803-2899. Mad Clown & San E featuring DJ Juice. 8 p.m. $35–$60.




Kennedy center millenniUm stage 2700 F St. NW. (202) 467-4600. The String Queens. 6 p.m. Free.

the international stUdent hoUse oF Washington dc 1825 R St. NW. (202) 232-4007. István Várdai. 4 p.m. $20–$40.

U street mUsic hall 1115 U St. NW. (202) 588-1889. Colter Wall. 7 p.m. $17.

sixth & i historic synagogUe 600 I St. NW. (202) 408-3100. Aaron Diehl Trio. 8 p.m. $35.

mUsic center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. The Boston


W 11


TH 12


F 13


SA 14 SU 15



TH 19


F 20


SA 21 SU 22


W 25

atlas perForming arts center 1333 H St. NE. (202) 399-7993. UrbanArias: Florida. 8 p.m. $39–$42.

U street mUsic hall 1115 U St. NW. (202) 588-1889. Claptone. 10:30 p.m. $25–$30. miracle theatre 535 8th St. SE. (202) 400-3210. David Wilcox and Carrie Newcomer. 8:30 p.m. $35.

SA 7


mUsic center at strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Bobby McFerrin. 8 p.m. $45–$85.




TH 26


F 27 SA 28 SU 29


TICKETS ON SALE! april 6, 2018 29

Mason Bates’s KC Jukebox

JFK JUKEBOX Julius Eastman

Saul Williams

In Homage to JFK’s Legacy in Civil Rights Carlos Simon / Ted Hearne / Newspeak David T. Little / Mivos Quartet



Monica glided onto the music scene in 1995 as a young, angelic-faced version of the R&B queen she has undoubtedly proved to be. Lucky for us, she never faded, and has been able to reach her final diva form. Never forget when she destroyed Twitter by participating in her own “So Gone” challenge with Missy Elliott a couple years back. Monica has always kept it all the way real, her rich voice bellowing with her truth. In songs like “Don’t Take It Personal (Just One of Dem Days)” she showed us that PMS is quite real, and girl just needs her space, k? The Atlanta native trailblazed through the ’90s R&B era with hits like “Angel of Mine” and sang-fought with Brandy on the certified bop “The Boy Is Mine.” If you can recall her performance on Nickelodeon’s All That, then there’s a surefire chance she captured your heart and you’re a Monica fan for life, too. Let her remind you of the talent she’s blessed us with for decades, and experience the oldies but goodies at The Anthem. Monica performs at 10 p.m. at The Anthem, 901 Wharf St. SW. $55–$117.50. (202) 265-0930. —Mikala Williams

Pops Esplanade Orchestra. 2 p.m.; 7 p.m. $35–$125.


sixth & i historic synagogUe 600 I St. NW. (202) 408-3100. Cry Cry Cry. 8 p.m. $40–$45.


U street mUsic hall 1115 U St. NW. (202) 588-1889. EU featuring Sugar Bear. 7 p.m. $15.


9:30 clUB 815 V St. NW. (202) 265-0930. Rainbow Kitten Surprise. 7 p.m. $20.

In celebration of President Kennedy, KC Jukebox presents an evening of music informed by the Civil Rights movement, from Carlos Simon’s An Elegy: Cry From the Grave, to a special performance by David T. Little’s band, Newspeak, to Ted Hearne’s moving The Answer to the Question that Wings Ask.

Wed., April 25 at 7:30 p.m. | Terrace Theater After-party in the Terrace Theater Lobby with DJ Moose

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540. New Artistic Initiatives are funded in honor of Linda and Kenneth Pollin.

30 april 6, 2018

the anthem 901 Wharf St. SW. (202) 888-0020. Lorde. 8 p.m. $100–$175.


Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Sam Bush. 7:30 p.m. $29.50. Union stage 740 Water St. SW. (877) 987-6487. Run River North. 7:30 p.m. $15–$25.


Kennedy center terrace theater 2700 F St. NW. (202) 467-4600. Dasol Kim. 7:30 p.m. $45.


Union stage 740 Water St. SW. (877) 987-6487. Phaeleh. 9 p.m. $15–$20.


9:30 clUB 815 V St. NW. (202) 265-0930. The Black Angels. 7 p.m. $30.


BlUes alley 1073 Wisconsin Ave. NW. (202) 3374141. Dave Kline Band. 8 p.m.; 10 p.m. $22.


Kennedy center concert hall 2700 F St. NW. (202) 467-4600. Fort Worth Symphony Orchestra. 8 p.m. $25.


U street mUsic hall 1115 U St. NW. (202) 588-1889. Skizzy Mars. 7 p.m. $20.


9:30 clUB 815 V St. NW. (202) 265-0930. Andy Grammer. 7 p.m. $31.


BlUes alley 1073 Wisconsin Ave. NW. (202) 3374141. Lionel Loueke Trio. 8 p.m.; 10 p.m. $25.


Kennedy center concert hall 2700 F St. NW. (202) 467-4600. Albany Symphony. 8 p.m. $25. liBrary oF congress coolidge aUditoriUm First Street and Independence Avenue SE. (202) 7075507. Louis Lortie and Hélène Mercier. 8 p.m. Free. lincoln theatre 1215 U St. NW. (202) 888-0050. Max Raabe & Palast Orchester. 8 p.m. $40–$55.


BlUes alley 1073 Wisconsin Ave. NW. (202) 3374141. Christian Sands. 8 p.m.; 10 p.m. $25. Union stage 740 Water St. SW. (877) 987-6487. Chaise Lounge. 7:30 p.m. $25.


U street mUsic hall 1115 U St. NW. (202) 588-1889. Pale Waves. 7 p.m. $15. april 6, 2018 31




pottED pottER

Shoutout to all my Potterheads out there, this one’s for you. Have you ever wondered what it would be like if two random white dudes tried to condense all seven of J.K. Rowling’s modern literary masterpieces into 70 minutes? Well, wonder no more. Writer-actors Jefferson Turner and Daniel Clarkson have created Potted Potter, a stage show that succeeds in doing just that. The show has become a smash hit, garnering rave reviews from New York to Mexico City. In this version, playing at Sidney Harman Hall, actor Scott Hoatson will be The Boy Who Lived, leaving Clarkson to act as the hundreds of other roles in the novels. There will be songs, costumes, hilarious improv, a fire-breathing dragon, everyone’s favorite characters, and a real life game of Quidditch, the hottest and most beloved wizarding sport. Whether you’re a Ginny fan (why would you be?) or a Dumbledore stan, it’s always a good time to love Harry Potter and this show proves it. The show runs to April 22 at Sidney Harman Hall, 610 F St. NW. $59–$99.75. (202) 5471122. —Kayla Randall PAT M E T H E N Y



NEA JAZZ MASTERS TRIBUTE CONCERT A P R I L 1 6 A T 8 P. M . | C O N C E R T H A L L The National Endowment for the Arts will honor the 2018 NEA Jazz Masters— club owner, producer, and artistic programmer Todd Barkan; pianist, composer, and educator Joanne Brackeen; guitarist, composer, and educator Pat Metheny; and vocalist Dianne Reeves—with a free concert hosted by Jason Moran.

RESERVATIONS AVAILABLE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Reservations also available at the Box Office.

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

This concert is presented in partnership with the National Endowment for the Arts.


9:30 clUB 815 V St. NW. (202) 265-0930. Franz Ferdinand. 7 p.m. $43. Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Christopher Cross. 7:30 p.m. $45.


phillips collection 1600 21st St. NW. (202) 3872151. Washington National Opera’s Domingo-Cafritz Young Artists featuring Madison Leonard, Timothy J. Bruno, Arnold Livingston Geis, Christopher Kenney, and Paul Jarski. 6:30 p.m. $8–$20.

mansion at strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Chao Tian. 7:30 p.m. $17.


9:30 clUB 815 V St. NW. (202) 265-0930. Thirdstory. 7


the hamilton 600 14th St. NW. (202) 787-1000. National Symphony Orchestra: In Your Neighborhood Late-Night Concert. 10:30 p.m. Free. mansion at strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Michael Brown. 7:30 p.m. $30.

pop p.m. $20.

RoCk Birchmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. A Celebration of Rory Gallagher featuring Davy Knowles, Gerry McAvoy, Ted McKenna ‘Band of Friends’. 7:30 p.m. $25.


the hamilton 600 14th St. NW. (202) 787-1000. The Hillbenders present The Who’s Tommy: A Bluegrass Opry. 7:30 p.m. $20–$40.


U street mUsic hall 1115 U St. NW. (202) 588-1889. NuKid. 10 p.m. $10–$20.


BlUes alley 1073 Wisconsin Ave. NW. (202) 3374141. Kenny Garrett Quintet. 8 p.m.; 10 p.m. $35–$40.

32 april 6, 2018


Books sloane crosley The bestselling essayist and author returns with a new collection of 16 essays full of wit and observational humor, Look Alive Out There. Sixth & I Historic Synagogue. 600 I St. NW. April 10. 7 p.m. $15–$40. (202) 408-3100. april 6, 2018 33


D.C.’s awesomest events calendar. calendar


SHIFT: A Festival of American Orchestras brings three out-of-town orchestras to play in D.C. along with the National Symphony Orchestra, both in and outside the marble confines of the ever-expanding Kennedy Center, which co-hosts the festival with Washington Performing Arts. Along with the orchestras of Albany and Indianapolis, the Fort Worth Symphony Orchestra kicks off the festival with a pair of Latin and South American-themed concerts, reflecting the Peruvian heritage of FWSO’s music director Miguel Harth-Bedoya (pictured). The show will feature Harth-Bedoya leading a smaller chamber ensemble dedicated to South American music, called Caminos del Inka, performing the works of South American composers, including Osvaldo Golijov and Jimmy López. And this time, it takes place in a more intimate space: the National Museum of the American Indian’s Potomac Atrium. The theme continues the next day at the Kennedy Center with a full orchestra treatment of López’s work Bel Canto, inspired by Ann Patchett’s novel of the same name—a sweeping (and, for this critic, ridiculous) romance set during the real-life Peruvian Túpac Amaru Revolutionary Movement hostage crisis of 1996. The show begins at 2 p.m. at the National Museum of the American Indian, 4th Street and Independence Avenue SW. Free. (202) 785-9727. —Mike Paarlberg NW. April 8. 7:30 p.m. $5. (202) 687-3838.


Mixed Masters See classic ballet masterworks from renowned choreographers, including the first ballet George Balanchine choreographed in America, Frederick Ashton’s finest pure-dance classical work, and Jerome Robbins’s humorous one-act charade. Kennedy Center Eisenhower Theater. 2700 F St. NW. April 11. 8 p.m.; April 12. 8 p.m. $25–$140. (202) 4674600. ritMo Y sabor This spring showcase blends together various styles of Latin dance, and features collaborative pieces with non-member Georgetown students and other Georgetown dance groups. Gaston Hall at Georgetown University. 37th and O streets

34 april 6, 2018

shen Yun Take a journey through 5,000 years of Chinese culture through classical Chinese dance, one of the world’s oldest art forms, and all-original orchestral works. Kennedy Center Opera House. 2700 F St. NW. April 10. 7:30 p.m.; April 11. 1:30 p.m.; April 12. 7:30 p.m. $80–$250. (202) 467-4600.


alabaMa storY From playwright Kenneth Jones comes a story about a librarian in segregationera Alabama who purchases a children’s book that angers an intolerant state senator who goes on

a crusade against the book. This area premiere is based on a true story from the 1950s. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To April 15. $50–$60. (240) 582-0050.

3701 Mount Vernon Ave. Alexandria, VA • 703-549-7500

the caUcasian chalK circle From playwright Bertolt Brechtin and with an English translation by Alistair Beaton, The Caucasian Chalk Circle presents the story of a young servant girl named Grusha who is caught in a social revolution. Soon, she must risk everything to save an abandoned baby. Constellation Theatre at Source. 1835 14th St. NW. To May 13. $25–$55. (202) 204-7741. chicago A Susan Marie Rhea and Mark A. Rhea-directed incarnation of the popular stage musical with classic songs from composer John Kander hits the Keegan Theatre. Keegan Theatre. 1742 Church St. NW. To April 7. $45–$55. (202) 265-3767. don JUan Taffety Punk presents Stephen Wadsworth’s translation and adaptation of the uncensored script of Molière’s Don Juan, a Spanish legend layered with the conventions of French drama and filtered through a contemporary American lens. At the heart is Don Juan, a passionate free-thinker out of sync with contemporaries who submit to king and church. Taffety Punk at Capitol Hill Arts Workshop. 545 7th St. SE. To April 21. $15. (202) 261-6612. en el tiempo de las mariposas (in the time oF the BUtterFlies) Based on the novel by Julia Álvarez, playwright Caridad Svich adapts this account of the Mirabal sisters in the Dominican Republic. Using the code name “butterflies,” they lead the resistance against the dictatorial regime of General Rafael Trujillo—until their brutal murder. Presented in Spanish with English subtitles. GALA Hispanic Theatre. 3333 14th St. NW. To May 13. $25–$95. (202) 234-7174. Fly By night This dark comedy rock-fable comes from playwrights Will Connolly, Michael Mitnick, and Kim Rosenstock. At the heart of it is a melancholy sandwich maker whose mundane existence becomes entwined with entrancing two sisters. 1st Stage. 1524 Spring Hill Road, McLean. To May 6. $15–$33. (703) 854-1856. hold these trUths From playwright Jeanne Sakata and director Jessica Kubzansky comes the true story of Gordon Hirabayashi, the American son of Japanese immigrants who defied injustice. Hold These Truths presents an America reeling from the 1941 attack on Pearl Harbor, and, driven by prejudice, placing its own citizens of Japanese ancestry in internment camps. Arena Stage. 1101 6th St. SW. To April 8. $81–$111. (202) 488-3300. John When a young Brooklyn couple Elias and Jenny escape on a getaway to a cozy bed-and-breakfast in Gettysburg, Pennsylvania, a ghost seems to haunt their troubled relationship. This hyperreal transfixing work from playwright Annie Baker makes its D.C. debut. Signature Theatre. 4200 Campbell Ave., Arlington. To April 29. $40–$80. (703) 820-9771. nat tUrner in JerUsalem Written by Nathan Alan Davis, this production, making it’s D.C. premiere, imagines Nat Turner’s final night in a jail cell in Jerusalem, Virginia. As Turner reckons with what the dawn will bring, the story examines the power of an individual’s convictions. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To April 7. $18–$38. (301) 588-8279. the night thoreaU spent in Jail Playwright Robert E. Lee’s classic work hits the mainstage at the George Mason University Center for the Arts. The play focuses on the titular Henry David Thoreau, leading up to the 19th century writer’s night spent in jail for refusal to pay a poll tax designed to support a war he opposed. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax. To April 8. $15–$30. (888) 945-2468. the pavilion From playwright Craig Wright and director Kelsey Mesa comes The Pavilion, a play that is both poetic and comic, romantic and philosophical. Peter goes to his 20-year high school reunion in the hopes of winning back Kari, the girl he left behind. As the night of the reunion progresses, both characters are forced to face the consequences of choices made long ago. The Hub Theatre at John Swayze Theatre. 9431 Silver King Court, Fairfax. To April 15. $22–$32. (703) 674-3177. roz and ray Directed by Adam Immerwahr and written by Karen Hartman, Roz and Ray is a powerful, urgent, and gripping medical drama about a doctor

For entire schedule go to Find us on Facebook/Twitter! Tix @ 800-745-3000

Apr 5




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2017–2018 CONCERTS

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The ocean science community has made tremendous progress in learning about the creatures of the deep. But there’s still so much to learn. These sea animals continue to evade our knowledge. I mean seriously, please research anglerfish, everything about them is insane—and scientists have rarely recorded them in their natural habitat. With Extreme Ocean: Exploring the Deep, National Geographic Explorer and ocean engineer Grace Young is going to take a crack at uncovering some of the ocean’s great unknown at the Grosvenor Auditorium. Young has lived like a mermaid in her quest to learn about and protect the water and its teeming sea life: She spent 15 days living underwater in the Aquarius Reef Base as the youngest aquanaut on Fabien Cousteau’s Mission 31, the longest science expedition to take place there. She’ll showcase the incredible photos of the marine life she’s encountered in her time under the sea and discuss how the technology she’s developing, including underwater robots and camera systems, is changing how we explore the deep. The talk begins at 7:30 p.m. at the Gilbert H. Grosvenor Auditorium, 1600 M St. NW. $25. (202) 857-7700. —Kayla Randall

at the onset of the 1980s AIDS crisis. The story centers on Dr. Roz Kagan, who offers a new miracle drug to save Ray Leon’s hemophiliac twins. Things aren’t always as they appear to be, though, and being on the cutting edge of medicine can lead to moral ambiguity and tough choices. Theater J. 1529 16th St. NW. To April 29. $24–$69. (202) 777-3210. translations In Translations, languages and histories collide, kindling romance and inciting violence. In 1833 Ireland, change comes to rural County Donegal when British army engineers arrive to map the country, draw new borders, and translate Irish-language place names into the King’s English. Studio Theatre. 1501 14th St. NW. To April 22. $20–$85. (202) 332-3300. tWo trains rUnning August Wilson’s masterpiece about everyday lives makes its way to Arena Stage. At the heart of the story is Memphis Lee’s diner in Pittsburgh’s Hill District, confronted with a changing world during the Civil Rights Movement in 1969. Arena Stage. 1101 6th St. SW. To April 29. $56–$91. (202) 488-3300. UndergroUnd railroad game Two teachers get shockingly down and dirty with a lesson about race, sex, and power at Hanover Middle School in this unflinching Ars Nova production of the fourth wallbreaking play. Going round after round on the mat of America’s history, the teachers bare it all, in R-rated, far-reaching fashion. Woolly Mammoth Theatre. 641 D St. NW. To April 29. $20–$69. (202) 393-3939.

36 april 6, 2018

the Winter’s tale Aaron Posner directs this classic William Shakespeare play about jealousy, prophecy, and redemption in Sicilia and Bohemia. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To April 22. $35–$79. (202) 544-7077.

the Wiz This Tony-winning musical, famed for its soul-pop reimagining of the classic novel and movieThe Wizard of Oz, comes to Ford’s Theatre. Ford’s Theatre. 511 10th St. NW. To May 12. $27–$71. (202) 347-4833.


acrimony Taraji P. Henson stars as a scorned wife seeking revenge on her unfaithful husband. Co-starring Lyriq Bent and Crystle Stewart. (See for venue information) BlocKers Three parents attempt to block their young daughters’ joint plan to to have sex on prom night. Starring Leslie Mann, John Cena, and Ike Barinholtz. (See for venue information) the miracle season Helen Hunt stars as a volleyball coach who rallies her team following the tragic death of its star player. Co-starring Erin Moriarty and Tiera Skovbye. (See for venue information) a QUiet place A family must live in silence to evade and defeat creatures that hunt by sound. Starring John Krasinski, Emily Blunt, and Noah Jupe. (See for venue information) ready player one Participants in a virtual reality world must find a digital Easter Egg left by the world’s creator to gain a fortune. Starring Tye Sheridan, Olivia Cooke, and Ben Mendelsohn. (See for venue information)



” EXUBERANT! -Owen Gleiberman,


In her Twitter bio, Yaeji keeps it simple and vague: “i’m into it all.” Perhaps she’s referring to her various artistic hats. The electronic music artist, born Kathy Yaeji Lee, wears a bunch of those as a DJ, producer, singer, rapper, and visual artist. Splitting time between New York and Seoul, the Korean-American musician has quickly made a name for herself with four-on-the-floor house grooves accented with elements of hip-hop, R&B, and pop. While the beats stand on their own, it’s Yaeji’s breathy, bilingual vocals that bring everything together. Her vocals are “into it all” as well: They sound like whispered love letters on the synth-swaddled “Feelings Change,” nightclub sweet-nothings on the bassy banger “Raingurl,” and hip-house boasts on the entrancing “Guap.” And even when they sound tentative, don’t mistake her voice, or her performance, for unassured. “Speaking like breathing, it’s easy to say that I haven’t changed my mind,” she sings on “Feelings Change.” “I’m just doing so fine.” Yaeji performs at 10 p.m. at Flash, 645 Florida Ave. NW. $10–$20. (202) 827-8791. —Chris Kelly












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Nobody does amour fou quite like director Andrzej Żuławski (Possession), and That Most Important Thing: Love, a rarely screened 1975 melodrama, is one of his best films. Romy Schneider stars as an aging actress who’s resorted to softcore exploitation movies. She’s caught in a love triangle with her husband (Jacques Dutronc) and a photographer-producer (Fabio Testi). High-pitched emotions are filmed with swooning camerawork and Georges Delerue’s sobbing score, and the operatic insanity is capped off by the once reigning king of over-the-top performers: Klaus Kinski, who, in the play-within-the-film, stars opposite Schneider in a production of Shakespeare’s Richard III. Though the movie’s original French-language version wasn't released in the U.S. until last year, the AFI Silver Theatre offers this violently passionate romance in all its French glory in a digital restoration for the new age. The film screens at 9:45 p.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $9.50–$13. (301) 495-6700. —Pat Padua

















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WASHINGTON LEADLegals ERSHIP ACADEMY REQUEST FOR PROPOSDC SCHOLARS PCS REQUEST ALS FOR PROPOSALS – ModuSchool Furniture lar Contractor Services - DC Scholars Public Charter School Washington Leadership solicits proposals for a modular Academy Public professional Charter contractor to provide School, an and approved management construction services to organization, construct a modular 501(c)3 building to house four classrooms requests proposals for and one faculty offi ce suite. The the following furniture: Request for Proposals (RFP) Item specifi cations can be obtained on HON SmartLink Seatand after Monday, November 27, ing 18” Chair 2017 from 4L Emily Stonewith via comWheels - quantity -120 All questions should be sent in HON Desk Top/ writing Student by e-mail. No phone calls regarding this Adj RFP Leg will Asbe acSecurEdge cepted. Bids must(Triangle) be received by sembled-set PM on Thursday, -5:00 quantity -120 December 14, 2017 at DC Scholars Public Charter School, ATTN: Sharonda White, locking, classMann, 5601 E. Capitol St. SE, room storage options, Washington, DC 20019. Any bids preferably not addressingon all wheels areas as out(roughly 30W x 60H) lined in the RFP specifi cations-will quantity 4 not be considered. Freight and installation Apartments for Rent Installation should occur on August 1, 2017 Please email proposals to Natalie Gould at We request proposals by April 30, 2018. SUPERIOR COURT Must see! DISTRICT Spacious semi-furOF THE OF nished 1 BR/1 BA basement COLUMBIA apt, Deanwood, $1200. Sep. enPROBATE DIVISION trance, W/W carpet, W/D, kitch2018 ADM 000224 en, fireplace near Blue Line/X9/ Name of Decedent, V2/V4. Shawnn 240-343-7173. Gyozo GABOR, Name and address of Attorney Rooms for Rent J. Michael Springmann, 4619 Yuma St. NW, Holiday SpecialTwo furWashington, 20016. nished rooms forDC short or long Notice of ($900 Appointment, term rental and $800 per Notice month) to withCreditors access toand W/D, WiFi, and Den. UtiliNoticeKitchen, to Unknown ties included. Best N.E. location Heirs, Etelka Konalong St. Corridor. Call Eddie trohr,Hwhose address 202-744-9811 for info. or visit is 3850 39th St. NW, APt B98, Washington, DC 20016-2828 was appointed Personal Representative of the estate of Gyozo Gabor who died on October 12, 2017, without a Will

and will serve without Court Construction/Labor Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections toPOWER such appointment DESIGN NOW HIRshall filed with the ING be ELECTRICAL APPRENTICES OFofALL SKILL LEVRegister Wills, D.C., ELS! 515 5th Street, N.W., 3rd Floor, Washington, about20001, the position… D.C. on or beDo 9/22/2018. you love working with fore Claims your hands? Are you interagainst decedentand ested inthe construction shall be presented to in becoming an electrician? the undersigned with a Then the electrical apprentice copy to the position couldRegister be perfect of for Wills to the apprentices Register you! or Electrical able with to earn paycheck ofare Wills a acopy to andundersigned, full benefi ts whileon learnthe or ing the9/22/2018, trade through or firstbefore be hand experience. forever barred. Persons believed to be heirs or what we’re looking for… legatees decedent Motivated of D.C.the residents who who a wantdo to not learnreceive the electrical copy of this notice by trade and have a high school mail within 25 days diploma or GED as wellofas transportation. itsreliable publication shall so inform the Register of a littleincluding bit about us… Wills, name, Power Design is one of the address and relationtop electrical contractors in ship. the U.S., committed to our Date oftofirst publication: values, training and to giv3/22/2018 ing back to the communities Name ofwe Newspaper in which live and work. and/or periodical: Washmore details… ington City Paper/WashVisit Law ington Reporter careers email careers@ Name oforPerson! Representative: Etelka Kontrohr TRUE TEST copy Anne Meister Financial Services Register of Wills Denied Credit?? Work RePub Dates: Mar. 22, to29, pair Apr.Your 5. Credit Report With The Trusted Leader in Credit Repair. Call Lexington Law for a FREE SUPERIOR COURT credit reportDISTRICT summary & OF credit OF THE repair consultation. 855-620COLUMBIA 9426. John C. Heath, Attorney at PROBATE DIVISION Law, PLLC, dba Lexington Law 2017 ADM 246 Firm. Name of Decedent, Ida Cammon Robinson, Home Services Notice of Appointment, Notice to Creditors and Dish Network-Satellite Notice to Unknown Television Services. Now Over 190 Heirs, Beverley Wheeler, channels for ONLY $49.99/mo! whose address HBO-FREE for one isyear, FREE 3527 10th FREE Street, NW, Installation, Streaming, Washington, DC 20019 FREE HD. Add Internet for $14.95 appointed Personal awas month. 1-800-373-6508

Representative of the Auctions estate of Ida Cammon Robinson (supervised by the court), who died on February 6, 2017, with a Will. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall beFoods filed Commissary with the Whole Auction of Wills, D.C., Register DC Metro Area 515 5th Street, N.W., Dec. 5 at 10:30AM 3rd Floor, Washington, 1000s S/S Tables, Carts D.C. 20001, on or be& Trays, 2016 Kettles up fore 9/29/2018. Claims to 200 Gallons, Urschel against decedent inCutters the & Shredders shall be presented to cluding 2016 Diversacut the undersigned with a 2110 Dicer, 6 Chill/Freeze copy the Register of Cabs,toDouble Rack Ovens & Ranges, (12)Register Braising Wills or to the 2016 (3+) Stephan ofTables, Wills with a copy to VCMs, 30+ Scales, the undersigned, on or Hobart 80 qt Mixers, before 9/29/2018, or be Complete Machine Shop, forever barred. Persons and much more! View the believed catalog atto be heirs or legatees of the decedent or who do not receive a 412-521-5751 copy of this notice by mail within 25 days of Garage/Yard/ its publication shall so Rummage/Estate inform the Register Sales of Wills, Market including name, Flea every Fri-Sat address and 10am-4pm. 5615relationLandover Rd. ship. Cheverly, MD. 20784. Can buy Date first publication: in bulk.ofContact 202-355-2068 3/29/2018 or 301-772-3341 for details or if intrestedof in being a vendor. Name Newspaper and/or periodical: Washington City Paper/The Daily Washington Law Reporter Name of Person Representative: Beverley Wheeler TRUE TEST copy Anne Meister Register of Wills Pub Dates: Mar. 29, Apr. 5, 12. SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 ADM 000216 Name of Decedent, Michael Andrew Carisetti, Notice of Appointment, Notice to Creditors and Notice to Unknown

Heirs, Maria Carisetti, Miscellaneous whose address is 3723 SW Durham Drive, NEW 304, COOPERATIVE SHOP! Apt Durham, NC 27707 was appointed FROM EGPYT THINGS Personal Representative AND BEYOND of the estate of Michael 240-725-6025 Andrew Carisetti, who died on December 4, 2017, without a Will and will serve without SOUTH AFRICAN BAZAAR Craft Cooperative Court Supervision. All 202-341-0209 unknown heirs and heirs www.southafricanbazaarcraftcoo whose wherabouts are unknown shall enter southafricanba z a ar @hotmail. their appearance in this com proceeding. Objections to such appointment WEST FARM WOODWORKS shall filedFurniture with the Custombe Creative Register of Wills, D.C., 202-316-3372 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or be7002 Carroll AvenueClaims fore 9/29/2018. Takoma Park, MD 20912 against the decedent Mon-Sat 11am-7pm, shall10am-6pm be presented to Sun the undersigned with a copy to the Register of Motorcycles/Scooters Wills or to the Register of Wills withTU250X a copyfortosale. 2016 Suzuki 1200 undersigned, miles. CLEAN. on Just orserthe viced. Comes with bikeorcover before 9/29/2018, be and saddlebags. Asking $3000 forever barred. Persons Cash only. believed to be heirs or Call 202-417-1870 M-F between legatees of the decedent 6-9PM, or weekends. who do not receive a copy of this notice by Bands/DJs for Hire mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: 3/29/2018 Name of Newspaper and/or periodical: WashGet Wit City It Productions: Profesington Paper/Washsional sound lighting availington Lawand Reporter able for club, corporate, private, Name of Person wedding receptions,Maria holiday Representative: events and much more. Insured, Carisetti competitive rates. Call (866) 531TRUE copy 6612 ExtTEST 1, leave message for a Anne Meister ten-minute call back, or book onRegister of Wills line at: Pub Dates: Mar. 29, Apr. 5, 12. Announcements Announcements - Hey, all you lovers of erotic and bizarre romantic fi ction! Visit www. and submit your stories to me Happy Holidays! James K. West

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Out with the old, In with the new Post your listing with Washington City Paper Classifieds april 6, 2018 39




Washington City Paper (April 6, 2018)  
Washington City Paper (April 6, 2018)