Washington City Paper (June 21, 2019)

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NEWS: A SIX-YEAR BATTLE OVER A DUPONT DECK 4 SPORTS: LIFE FOR LOCAL MINOR LEAGUE PLAYERS 8 ARTS: A LIVING PAINTING PIONEER AT KREEGER 14

WE RATE DOCS In which City Paper previews the 17th annual AFI DOCS film festival P. 10

Merriweather Post Pavilion • Columbia, MD

THIS FRIDAY!

Jason Isbell and The 400 Unit & Father John Misty

w/ Jade Bird ............................................................................................................ JUNE 21 THIS SUNDAY! JUNE 22 SOLD OUT!

THIS WEEK’S SHOWS

White Ford Bronco: DC’s All ‘90s Band ............................................ F JUN 21 Can’t Feel My Face: 2010s Dance Party with DJs Wiley Jay and Ozker • Visuals by Kylos ............................................ Sa 22

JULY

AUGUST

Chicken & Mumbo Sauce

REV909: Daft Punk/French House

Tribute & Indie Dance Classics with DJs Ozker and Keenan Orr • Visuals by Robin Bell ...................F 2

feat. DJs Freshly Breemed, Hav Mercy, Dylan The Gypsy, All Homage, Mista Selecta • Live Music by CCB • Hosted by Walk Like Walt..........F 5

The Faint w/ Ritual Howls & Closeness .......Sa 3 Tuxedo

Story District’s Out/Spoken This is a seated show..........................Sa 6 Nick Murphy (fka Chet Faker) w/ Beacon ....................................W 10 Randy Rogers Band .............Th 11 Yeasayer w/ Steady Holiday ......F 12 BENT: Back with a Bang

(Mayer Hawthorne & Jake One) .Su 4

Neurosis w/ Bell Witch & DEAFKIDS .............F 9 Sonic Youth: 30 Years of Daydream Nation Screening

with panel discussion featuring Steve Shelley, Brendan Canty (Fugazi/The Messthetics), and SY Archivist Aaron Mullan

featuring Lemz, WESSTHEDJ, DJ Rosie,

Dvonne, DDM, Zam Quartz, Ricky Rosé, Strap Haus • Hosted by Pussy Noir • Visuals by Ben Carver and more! .Sa 13

This is a seated show. .......................F 16

Yuna w/ Skylar Stecker .............Tu 16 Beyoncé vs Rihanna Summer Dance Party ...............F 19 Hot In Herre: 2000s Dance Party

DC Music Rocks Festival feat.

The Eli Lev Collective with special guest Jarreau Williams, More AM Than FM, Sub-Radio, Iza Flo, Los Impresarios .......Sa 17

with DJs Will Eastman and Ozker • Visuals by Kylos ......................Sa 20

No Scrubs: ‘90s Dance Party

with DJs Will Eastman and Ozker • Visuals by Kylos ........................F 30

STEEZ PROMO PRESENTS

G Jones w/ Ivy Lab & tiedye ky .................F 26

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

FeelFree, Justin Trawick and The Common Good, The Dirty Grass Players and special guests ..Sa 27

dodie .............................................F 6 Hot Chip .....................................Sa 7

MANY MORE SHOWS ON SALE!

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Culture Abuse w/ Tony Molina •

Lil Ugly Mane • Young Guv • Dare • DJ Set by Poison Thorn ........... Th JUN 20

Hinder w/ American Sin & The Adarna .W 26 Helado Negro w/ August Eve ..........F 28 Holy Ghost! w/ Nation of Language .Sa 29

...................................................................................................... JUNE 23

Pitbull .............................................................................................................. JULY 11 Thomas Rhett w/ Dustin Lynch • Russell Dickerson • Rhett Akins ........... JULY 18 Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot..... JULY 19 blink-182 (performing Enema of the State in its entirety) & Lil Wayne * w/ Neck Deep ........................................................................................................... JULY 21 CHRYSALIS AT MERRIWEATHER PARK

LORD HURON w/ Bully ....................................................................JULY 23 311 & Dirty Heads w/ The Interrupters • Dreamers • Bikini Trill .......... JULY 27 CDE PRESENTS : 2019 SUMMER SPIRIT FESTIVAL FEATURING

Anthony Hamilton • Jhené Aiko • Raphael Saadiq • DVSN • PJ Morton and more! .....................................................................AUGUST 3

Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 Chris Stapleton * w/ Margo Price & The Marcus King Band ................ AUGUST 11 Heart* w/ Joan Jett and The Blackhearts & Elle King........................... AUGUST 13 The Smashing Pumpkins & Noel Gallagher’s High Flying Birds* w/ AFI ......... AUGUST 17 Beck & Cage the Elephant * w/ Spoon & Sunflower Bean . AUGUST 22 Lauren Daigle w/ AHI ........................................................................ AUGUST 23 Gary Clark Jr. and Nathaniel Rateliff & The Night Sweats .................... AUGUST 25 Pentatonix * w/ Rachel Platten ........................................................... AUGUST 26 Morrissey w/ Interpol ..............................................................................SEPT 5 O.A.R. w/ Andrew McMahon in the Wilderness & American Authors ..............SEPT 7 AEG PRESENTS

Tyler, The Creator w/ Jaden Smith & GoldLink ................................SEPT 21

Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com * Presented by Live Nation

SEPTEMBER

THE CIRCUS LIFE PODCAST 6TH ANNIVERSARY CONCERT FEAT.

9:30 CUPCAKES

Phish

Koe Wetzel w/ Chris Colston ....F JUL 12 Operators w/ Doomsquad .............Sa 13 Mystery Skulls w/ Phangs & Snowblood ..................Su 14 Amyl and The Sniffers ............Tu 16 Cayucas ..................................Th 18

Lincoln Theatre • 1215 U Street, NW Washington, D.C. STORY DISTRICT’S

Breaking Bread: True Stories by

Celebrity Chefs & Industry Insiders . JUL 27 Corinne Bailey Rae w/ Ruth B. JUL 30 AN EVENING WITH

Dawes ............................................AUG 6

Cat Power w/ Arsun ................... SEP 25 ALL GOOD PRESENTS

Nahko and Medicine for The People w/ Ayla Nereo . SEP 29

METROPOLITAN ENTERTAINMENT PRESENTS

Zaz ................................................... OCT 4 AEG PRESENTS

Joey Coco Diaz ..........................AUG 9 Bianca Del Rio It’s Jester Joke ........................ OCT 18 Criminal Podcast - Live Show .................................... SEP 11

AEG PRESENTS

Tinariwen w/ Lonnie Holley ........ SEP 19 Jónsi & Alex Somers Riceboy Sleeps

AN EVENING WITH

The Waterboys ..................... SEP 22 with Wordless Orchestra .......... OCT 28 Adam Ant: Friend or Foe .... SEP 23 Angel Olsen w/ Vagabon ............NOV 1 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

• Buy advance tickets at the 9:30 Club box office • 930.com

TICKETS for 9:30 Club shows are available through TicketFly.com, 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.

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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!

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INSIDE

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COVER STORY: WE RATE DOCS

10 Reviews from this year’s AFI DOCS film festival

DISTRICT LINE 4 Loose Lips: An advisory neighborhood commissioner’s battle against his neighbors’ decks 6 Crime Seen: 20 years after Jessica Cole’s death, her family considers another suspect in her murder.

7 Scene and Heard

SPORTS 8

The Minor Fall: The frightening financial realities of minor league baseball players

ARTS 14 Galleries: Capps on Charles Hinman: Structures, 1965–2014 at the Kreeger Museum 16 Curtain Calls: Klimek on Round House Theatre’s A Doll’s House, Part 2 and Thal on Scena Theatre’s The Resistible Rise of Arturo Ui 17 Sketches: Rudig on Forward Press: 21st Century Printmaking at the American University Museum 18 Short Subjects: Gittell on Being Frank

DARROW MONTGOMERY 3300 BLOCK OF MOUNT PLEASANT STREET NW, JUNE 14

CITY LIST 21 Music 24 Theater 24 Film

DIVERSIONS 25 Savage Love 26 Classifieds 27 Crossword

EDITORIAL

EDITOR: ALEXA MILLS MANAGING EDITOR: CAROLINE JONES ARTS EDITOR: KAYLA RANDALL FOOD EDITOR: LAURA HAYES SPORTS EDITOR: KELYN SOONG LOOSE LIPS REPORTER: MITCH RYALS STAFF PHOTOGRAPHER: DARROW MONTGOMERY MULTIMEDIA AND COPY EDITOR: WILL WARREN CREATIVE DIRECTOR: STEPHANIE RUDIG INTERNS: ELLA FELDMAN, AYOMI WOLFF CONTRIBUTING WRITERS: MICHON BOSTON, KRISTON CAPPS, CHAD CLARK, MATT COHEN, RACHEL M. COHEN, RILEY CROGHAN, JEFFRY CUDLIN, EDDIE DEAN, ERIN DEVINE, CUNEYT DIL, TIM EBNER, CASEY EMBERT, JONATHAN L. FISCHER, NOAH GITTELL, SRIRAM GOPAL, HAMIL R. HARRIS, LAURA IRENE, LOUIS JACOBSON, CHRIS KELLY, STEVE KIVIAT, CHRIS KLIMEK, PRIYA KONINGS, JULYSSA LOPEZ, NEVIN MARTELL, KEITH MATHIAS, PABLO MAURER, BRIAN MCENTEE, BRIAN MURPHY, NENET, TRICIA OLSZEWSKI, EVE OTTENBERG, MIKE PAARLBERG, PAT PADUA, JUSTIN PETERS, REBECCA J. RITZEL, ABID SHAH, TOM SHERWOOD, MATT TERL, IAN THAL, SIDNEY THOMAS, JOE WARMINSKY, ALONA WARTOFSKY, JUSTIN WEBER, MICHAEL J. WEST, DIANA MICHELE YAP, ALAN ZILBERMAN

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DISTRICTLINE

I Sue Deck People

By Mitch Ryals

based on First Amendment rights.

But residential decks in relative proximity to his home aren’t Hanlon’s only targets.

As an advisory neighborhood commissioner, he’s earned a reputation among his colleagues on the locally elected panel as well.

“Hanlon? Oh he’s crazy,” says Mike Silverstein, a fellow advisory neighborhood commissioner, who is not involved in the litigation.

“He has been suing the pants off everybody for everything. He just sues everybody.”

Rafael Romeu and Larissa Leony just wanted to build a deck. The couple purchased their home in the Dupont neighborhood in 2012 knowing it could stand some fixing up.

There was no back door, for one thing, and the roof needed repairs.

Romeu, the CEO of DevTech Systems Inc., an international consulting firm, was willing to invest in sprucing up the place.

But what was supposed to be a relatively simple home construction project bled into a hellish and expensive six-year spat between neighbors.

On one side are Romeu and Leony along with their former neighbors Dave Liedman and Darren Binder. On the other are James Hill, the couple’s next door neighbor, and Edward Hanlon, a bankruptcy lawyer, advisory neighborhood commissioner in Ward 2, and, neighbors say, a notoriously litigious individual who spared no personal expense in opposing the decks both couples sought to build on their homes.

Contained in hundreds of pages of court documents spread out over three separate cases in D.C. Superior Court are accusations of lying, stalking, and harassment. There’s an alleged conspiracy to sabotage an election, details about a four-day courtroom battle over the opacity of a kitchen window, and, apparently, a laser pointer beamed across the street from one home, into another, and smack dab onto Hanlon’s forehead.

None of the main characters named in these lawsuits were willing to speak with LL on the record, and Hanlon ignored repeated attempts to contact him. In court documents, lawyers call out Hanlon’s tactic of “papering” a case with rambling motions and relentless appeals.

And in court, D.C. Superior Court Judge Fern Flanagan Saddler said he and his attorney were being “dilatory” and “dragged this case out intentionally” (though another judge disagreed with her).

What follows is detailed in those three court cases, which first culminated in a judge ordering Hill and Hanlon to stay way from Leo-

In July of 2013, Romeu secured a permit from the Department of Consumer and Regulatory Affairs (DCRA) to build a deck on the back of his home. The planned structure would be elevated off the ground with space to park a car underneath. It would also extend over a 3-foot easement in the back of Romeu’s property with enough space for a person to walk underneath. Hill and other neighbors use the easement to access the alley on the side of their homes.

Construction began later that September, and just a few days after, around 10 p.m., according to court records, Hill came knocking.

Leony answered the door, and he greeted her with a cease and desist letter. In court records she describes Hill as “forcefully intimidating” her at the door, refusing to leave, and says he demanded they stop construction. Later in courtroom testimony, she claimed he was intoxicated.

Hanlon and Hill appealed Romeu’s building permit to the Board of Zoning Adjustment (BZA), arguing in part that the deck would cause neighbors to store their trash cans in front of their homes, creating “an eyesore in this historic bloc, reducing the market value and market attractiveness.”

They also argued that, because of the deck’s height, a “6 foot 3 inch man wearing shoes will not be able to walk thru the easement without bowing his head,” and a “Sikh or religious Jew over 6 feet wearing a head covering will not be able to access the rear yards … without bowing his head,” according to Hanlon and Hill’s BZA appeal.

Hanlon’s home, which is on Swann Street NW, shares an alley with Romeu’s and Hill’s homes, and is about 200 feet away from the deck, according to Google Maps.

In a separate court filing from 2015, Hanlon also appears concerned that the deck will give the couple a vantage point into his yard. “[The couple] would be able to look over to my driveway and see if I was home from work yet, because I drive to work each day,” he writes. “I drive a Hummer H2 which is tall enough for Ms. Leony and her husband to be able to see from their deck when it is parked in my driveway.”

Edward Hanlon has made a habit of suing his neighbors, but his litigiousness may have caught up with him.

Rafael Romeu and Larissa Leony’s deck ny, and then a $30,000 judgement against the two men. On May 15, D.C. Superior Court Judge Anthony C. Epstein ordered Hanlon and Hill

4 june 21, 2019 washingtoncitypaper.com

Darrow Montgomery

LOOSE LIPS

to pay attorneys’ fees under D.C.’s anti-SLAPP (strategic lawsuits against public participation) law, which protects against frivolous lawsuits

DISTRICTLINE Edward Hanlon’s house is at the far end of this alley

Darrow Montgomery

The BZA initially revoked Romeu’s building permit, which was then reissued in July 2014.

Construction began again, but the legal tussle was only getting started.

In September Leony filed for a civil protection order against Hanlon and Hill, laying out seven instances of alleged stalking and harassment. On Feb. 3, 2014, for example, around 9 p.m., she says she watched Hanlon and Hill climb her fence.

On April 6, 2014, Leony says in court documents that she was gardening in her front yard when Hanlon wandered by while walking his dogs. “[Hanlon] stopped in front of the property and proceeded to glare at her for approximately 5-10 minutes in a menacing manner,” according to court documents.

And on May 17, 2014, around 10:30 a.m., Leony says, Hanlon and Hill stood on Hill’s deck and peered into her kitchen through a rear window. She says the men continued to stare at her and take pictures of her property until Romeu came downstairs.

Hanlon and Hill denied any wrongdoing, and claim in court records that the photos were necessary for their case opposing construction of the couple’s deck.

The ensuing legal battle dragged on for another five years, including a nine-day trial held over a period of nearly 10 months, multiple attempts by Hanlon to have the judge thrown off the case, and an appeal to the D.C. Court of Appeals.

Court records show that the case cost Romeu and Leony at least $140,000 in legal expenses.

Hanlon retained a lawyer for some of the litigation but eventually represented himself.

Even after the judge granted the protection order requiring Hanlon to stay away from Leony, he kept fighting.Throughout Hanlon’s motions to dismiss the case, he presented several pieces of evidence trying to poke holes in Leony’s claims.

He writes in one motion, for example, that the mean temperature on April 6, the day he allegedly stared menacingly at her while walking his dogs, was 43.4 degrees, with a low of 30.9 degrees.

“It seems unlikely that [she] was ‘gardening’ in her north facing front yard on the afternoon of April 6, 2014, a day with a mean temperature not much above freezing and a minimum temperature below freezing,” he writes. “April 6, 2014 was just too cold to do ‘gardening.’”

In another motion Hanlon argues that Leony was lying when she claimed to be frightened by Hanlon and Hill peering into her kitchen window. Hanlon asserted, among other things, that the window’s tint prevented him from seeing inside the house, so he couldn’t have known Leony was standing in the kitchen. (That was the subject of the four-day hearing: whether Leony’s rear kitchen window was tinted to the point that it prevented the men

from seeing inside the house.)

On the final day of trial for the civil protection order, Leony’s lawyers presented a photo of the window to dispute Hanlon’s assertion.

Hanlon objected to the photo being introduced in the final hour. He also argued that it was intended to mislead the judge.

To help support his claim, Hanlon turned to his security camera footage. In court records, Hanlon writes that he has multiple wide-lens cameras with night vision positioned around his home that run 24/7.

“I have personally reviewed all the recordings made by this security system,” he writes.

“I normally review the recordings each day for the previous day.”

In the footage, Hanlon spotted Romeu, Leony, and another man in a red shirt removing the window screen and then taking photos of the screenless window to show in court.

Judge J. Michael Ryan rejected Hanlon’s argument and upheld the civil protection order on Sept. 12, 2018—two years after it had expired.

But Hanlon wasn’t done.

While the protection order issue inched through the court system, Hanlon filed to run for a seat on Advisory Neighborhood Commission 2B in 2014. He ran again in 2016, and lost both races by large margins. (In 2018 Hanlon ran unopposed, and now sits on the commission.)

In August 2017, Hanlon and Hill sued Romeu and Leony, their neighbors Binder and Liedman (who have since moved out of D.C.), and the attorneys who represented Leony for the civil protection order.

Hanlon and Hill accuse the group of abusing the court system and defaming the two men as part of a conspiracy to torpedo Hanlon’s campaign for advisory neighborhood commissioner and intimidate Hill into dropping his opposition to the construction of the deck. They asked

for a total of $5 million in damages.

Binder and Liedman, who campaigned against Hanlon, were named in the case because in 2012 Hanlon also tried (unsuccessfully) to stop them from building a rooftop deck on their Swann Street NW home with an appeal to the BZA. Ironically, Hanlon has a massive rooftop deck on his own house, which neighbors have described to LL as a “barn.”

To support their case, Hanlon and Hill filed a 41-page complaint (and later a 69-page amended complaint), writing that the group “came up with a malicious, ugly, reprehensible and perverted plan to attack and attempt to destroy Hill and Hanlon.”

Hanlon claims that the group cooked up the allegations in the civil protection order to produce campaign literature in the 2014 and ’16 elections. He says Binder and Liedman posted the order on neighborhood blogs, delivered copies door to door, taped a copy to their own front door, and stood outside the polling place on election day handing the order to voters.

And late one night in October 2014, Hanlon claims, Binder and Liedman “used laser equipment to repeatedly place a laser target on Hanlon’s head, Hanlon’s chest, between Hanlon’s eyes and on Hanlon’s forehead,” according to the lawsuit.

The laser also allegedly landed on Hanlon’s dogs, “causing the dogs to attack each other as the dogs tried to attack the laser target.”

In 2017, the group asked the judge to dismiss the lawsuit under D.C.’s anti-SLAPP law.

Judge Epstein agreed, ruling in part that another judge had already ruled that Hanlon and Hill stalked Leony and issued the protection order, so the allegations could not have been manufactured to sabotage Hanlon’s election.

Epstein also ordered Hanlon and Hill to pay a total of about $30,000 in attorneys’ fees for Romeu, Leony, Binder, and Liedman.

hanlon’s appetite for legal tussles appears to date back to at least the 1970s and ’80s when he worked as a statistician and demographer in the Census Bureau, according to court records.

During that time, he was active in union organizing, and in a span of three-and-a-half years filed 55 unfair labor practice charges on his own behalf—four of which were decided in his favor. Hanlon also filed six lawsuits against the bureau and filed dozens of Freedom of Information Act requests according to a 1992 opinion from the Fourth Circuit U.S. Court of Appeals.

The bureau tried to fire him because he “lodged an excessive number of administrative and judicial employment actions against the Bureau,” records show.

Leading up to the 2016 election, Hanlon filed a challenge to his opponent’s voter registration. For Scott Davies, who is a military veteran, the tactic was particularly offensive.

“He challenged my voter registration, my right to vote,” Davies says. “He lost, but I had to go through all kinds of paperwork, and processes to prove that I live where I live. It was very disturbing, and his litigious nature, it was pretty awful.”

Fast forward to this year, and Hanlon has focused his energy on the proposed housing development on the lot behind the Masonic temple on 16th Street NW, a community battle with vocal detractors and supporters.

In a recent thread on a Dupont Circle neighborhood forum, Hanlon objects to the plans that include two levels of basement apartments and an underground parking garage.

“Imagine having to descend 25 steps below ground just to get to your apartment door,” Hanlon writes, “No sun. No light. Living like sightless moles.” He adds: “Any BZA decision is likely to be challenged in the Court of Appeals.” A gofundme campaign to fund the inevitable legal challenge has raised about $3,000 as of this week.

In the same message, Hanlon suggests that two of his fellow commissioners, Daniel Warwick, and Aaron Landry, are “in bed with the Masons and its Executive Director Admiral Bill Sizemore.” Hanlon has taken to filing somewhat regular FOIA requests for Warwick’s text messages and emails.

Randy Downs, another of Hanlon’s colleagues on the commission, says the dynamic is strained at times.

“If he were to work together with stakeholders, he might be able to get something accomplished. However, it’s been very apparent that the way he functions is one of just divisiveness and fear and misinformation,” Downs says.

“It’s hard to navigate this situation when we’re always looking behind our back to see what Ed might be working on.”

CP

washingtoncitypaper.com june 21, 2019 5

DISTRICTLINE Crime Seen The Cole family has had a suspect in the murder of their beloved Jessica for two decades.

Looking back, James coLe says, the police may have been trying to tell him something when they didn’t arrest his son for attacking John Slack.

“A couple of white men all bloodied, and they don’t drag the black boys away?” he says.

“Something was up.”

Slack and a colleague were passing through the backyard of one of their properties in the Park View neighborhood in late 1997, shortly after Cole’s wife, Jessica, had gone missing. A woman’s torso had been found over on Meridian Place NW, a mile away, but the authorities had not yet identified it as Jessica’s.

Duane Cole, James’ and Jessica’s oldest son, didn’t need any further answers.

He knew—just knew—that his mother was dead and Slack, the University of the District of Columbia professor-cum-property developer who liked to style himself “the white godfather” of the imperfectly gentrified Park View neighborhood, had something to do with it.

When Duane and his friend Gary Jones saw Slack and his colleague in the backyard not long after Jessica’s Columbus Day weekend disappearance, they attacked. James Cole was in the front of the house and heard the yelling. When he got to the back, two cops were already breaking up the fight.

“It was a war zone back then,” James Cole says of Park View. “Helicopters buzzing, cops were everywhere.”

But the cops didn’t take Duane or Gary away. James says it stuck with him—that maybe Duane was on to something. no one has ever been charged with Jessica’s murder but, as City Paper reported last month, the Metropolitan Police Department has closed the case. In 2008, Det. Danny Whalen got a confession from Darryl Turner, the notorious Princeton Place Killer. It’s one of hundreds of “administrative closures”—cases the department has closed with a sweep of the pen rather than by arresting a suspect.

The Cole homicide has divided investigators—retired MPD detective Jim Trainum is one of a handful close to the case who say that Turner’s confession was bogus and al-

lowed Slack to go free for years before dying in a fire in his Capitol Hill home in 2017.

Cole’s dismemberment and stashing were outside Turner’s pattern, Trainum and others claim; Turner didn’t have the proper tools, or space, to accomplish it, and Jessica’s torso had two strange hairs on it—one from a white man and the other from a rare dog. John Slack bred Mastiffs.

The case has also divided Cole’s family.

James and his sons believe Slack was the culprit. Jessica and Slack had argued publicly sev-

John Slack in 1998

Darrow Montgomery/File

By Bill Myers

Ford and her other sister, Marcia, still live in the Quincy Place NW apartment where they all grew up. They lived through the crack wars that took so many neighbors, through Darryl Turner’s predations, and now through an increasingly yuppified neighborhood that’s threatening to price many people like them out. “We’re not going anywhere,” Arlene Ford says.

Bodies were dropping often in D.C. in 1997—Jessica’s was one of 301 for the year— and neighbors suspected Darryl Turner because so many dead women were turning up near his home, which he rented from Slack, Ford says. Turner and Jessica Cole had been seen together the weekend she died, and a cousin, worried about Jessica, had asked her if everything was OK. She assured him she was fine.

After Jessica disappeared, Turner “went into hiding,” Ford says.

Jessica—known as “Bird” because of her

eral times—Jessica accused Slack of exploiting the vulnerable black women who rented from him for sex and drugs. And Jessica was never one to be quiet about her worries. “He was a slumlord,” James Cole says.

But Arlene Ford thinks it was Turner who killed her baby sister, and she resents Trainum and her brother-in-law for reopening old wounds.

“Why are they bothering with this now?” she asks. “Even if it was Slack, he’s dead, so the Lord took care of him. Let it go.”

Duane Cole, Ford says, never really recovered from his mother’s disappearance and death. (His friend Gary Jones who helped beat up Slack in 1997, would die in Duane Cole’s arms a few months later, gunned down in the street violence that plagued D.C.)

6 june 21, 2019 washingtoncitypaper.com

aquiline nose—was adored in the neighborhood. (“I’ve had much younger men tell me they were in love with Bird,” Ford says). Her disappearance nearly set Park View off.

“There was talk,” Ford says. “They were going to wait for Darryl Turner to come out and they were going to kill him. But then the police came and arrested him.”

Turner is currently doing life without parole in a medium-security federal prison in South Carolina. MPD and the U.S. Attorney’s office have both declined to comment.

City Paper’s efforts to reach Slack’s daughters have been unsuccessful. on one thing, Ford and James Cole agree— Jessica was an amazing person. They all miss her, every day. “I see her get written up as a

drug addict, a prostitute,” James Cole says.

“Y’all forget all the years that she put in as a good mother, a good friend, a good neighbor.”

Bird was the neighborhood cut-up. She liked to pinch old men’s asses. If she thought you were pouting, she’d do “a politically incorrect” impression of a mentally disabled person until you laughed, James Cole says.

“She could’ve been Richard Pryor’s sister,” Arlene Ford says.

James and Jessica had known each other since they were children. At 15, James Cole was a scrawny kid with braces and thick glasses and, discovering girls for the first time, needed a little help to get the beautiful Jessica to go out with him. “Arlene said, ‘You’re going to give that boy a chance,’” he recalls.

They went to see Superfly at the Loews Cinema (Jessica’s older sister, Marcia, was chaperone—they were all good Catholics).

His geekiness notwithstanding, James Cole was actually more interested in “this other girl”—so much so, in fact, that he was skipping his part-time job at Spingarn High School to be with her. When Cole’s father found out about it, the old man dropped the hammer: James was confined to the house until further notice.

While serving out his sentence, Jessica (James is one of the only people in her life who never called her “Bird”) and Marcia happened to pass by. “I said, ‘I can’t leave this porch. Will you please come and keep me company?’”

James Cole recalled.

They were together until she died.

Whatever beast uLtimateLy swallowed Jessica, the crack wars chewed her family up and spit them out.

In the late 1980s, she was rushed into emergency surgery for a gallbladder infection. Doctors in Northwest didn’t credit her pain and it was only an aged doctor in Southeast who recognized what was happening and got her to a hospital. She survived, but lived in pain the rest of her life, James Cole says.

“She didn’t believe she’d live,” he says. “She’d say, ‘You’ve got to be strong for the boys.’”

Sometime in the early 1990s, Jessica hung out with a friend who introduced her to crack.

She never really came back from that journey, James Cole says. “I knew it was the drugs, it wasn’t her,” he recalls. “I’d tell her, ‘You can always come home. Whatever it is, we’ll get through it. Just come home.’”

Jessica spent her last few hours with her sisters at their home on Quincy Place NW. As usual, she was cutting jokes, Ford says.

“She hopped on that bike of hers, and away she went,” she recalls, referring to Jessica’s trademark gold 10-speed (which she had dubbed, “The Ghetto Bird”). “We never saw her again.”

CP

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On a hOt, humid Father’s Day, a man and woman try to decide if it’s worth it to wait in line. “It’s really up to you,” he says.

Those who have already committed do what people stuck in a line do: They cope. They sit in the shade and use external phone batteries. They buy slices of pizza and bottles of water from a Domino’s employee who works the line with a cart. A boy standing in a different line, this one for a nearby ice cream truck, yells to his friend in the main line: “Tell me what you want!” And when someone comes by and tells them it should be only 30 more minutes, they nod energetically.

They’re waiting to see The Daily Show’s The Donald J. Trump Presidential Twitter Library. The joke that this famously anti-reading politician might someday use the tradition of the presidential library to create a monument to his own short messages is on point, but the fact that this country elected a hypo-literate egomaniac is no longer funny, if it ever was.

Kevin has come here from northern New Jersey with his family. They made the trip in part to see this pop-up exhibit, and in part because his parents have never been to D.C. He tells his parents about the crazy things the president tweets, but wants to show them it’s all real. “Cataloging it shows it is permanent,” he says.

Another woman agrees. She doesn’t use social media because of privacy concerns, and wants to see for herself if what she reads in the media is true. Yes, there are people here who think it will be good for a laugh, but it’s more of a “gallows humor,” as an intern from Johns Hopkins puts it, and more sad than funny, according to Mark from Virginia. Seeing these tweets all in one place is a reminder that “this is really happening,” Claire, 22, says after exiting the exhibit.

Earlier in the day Trump tweeted a Father’s Day message to his followers, “including my worst and most vicious critics, of which there are fewer and fewer.” The block-long line suggests otherwise.

—Will Warren

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SPORTS

Five top-10 tennis players in the world have committed to play at this summer’s Citi Open. washingtoncitypaper.com/sports

The Minor Fall

Members of the Potomac Nationals and other minor leaguers play the game they love for a pittance.

Kelyn Soong

Northwest Federal Field at Pfitzner Stadium

By Kelyn Soong Three ball fields surround Northwest Federal Field at Pfitzner Stadium, the home of the Potomac Nationals (fondly known as the P-Nats) in Woodbridge, Virginia. On an idyllic June evening, the Class A-Advanced affiliate of the Washington Nationals is playing its ninth game in 11 days. Despite the perfect weather, the crowd is small. Fewer than 100 fans are in the stands.

The team plans to move to a new stadium in Fredericksburg, Virginia, next year, and its current home feels like it belongs in a different era. The logos on the field have faded, and the cheers for the nearby recreational softball league players are louder than any of the noise for the professionals on the diamond below.

“Days like today when there’s not that many people out there, it almost feels like an intersquad [game],” second baseman Cole Freeman says shortly after the P-Nats lose, 1-0, to the Down East Wood Ducks of Kinston, North Carolina. “But you gotta remember this is your job, those at-bats are coming the same as another at-bat … Obviously if I had a choice, I’d want 30,000 in the stands every night, but I mean, this is just part of it.”

The Washington Nationals selected Freeman, a product of Louisiana State University, in the fourth round of the 2017 Major League Baseball draft, and this is his first season with the P-Nats after playing with the Class A Hagerstown Suns last year. Going from a school with a rich baseball tradition like LSU to minor

league ball required an adjustment for Freeman, who leads the team in batting average.

He currently lives with a host family about 10 minutes away from the stadium and considers himself lucky to have received a $150,000 signing bonus. Freeman also has the financial support of his parents, but he knows plenty of players who are far less privileged. His friend in Florida drives for Uber to make extra money.

Others, like P-Nats manager and former minor league player Tripp Keister, have worked as substitute teachers during the offseason to supplement their incomes. Top draft picks can receive signing bonuses in the millions, but each year, hundreds of minor league baseball players spread across 256 teams earn far below minimum wage to chase their dreams.

Last year, President Donald Trump signed a spending bill that included the “Save America’s Pastime Act,” which effectively excluded minor league baseball players from the protection of federal minimum wage laws. According to the Associated Press, players make, per month, $1,100 at rookie ball and Class A teams, $1,500 at Double-A teams, and $2,150 at Triple-A teams.

In this hierarchy, players in Triple-A are closest to making it to the major leagues. The names of famous Nationals players who have played for the P-Nats like Anthony Rendon, Juan Soto, and Victor Robles hang on a wall near the entrance of Pfitzner Stadium.

In 2014, three minor league players filed a class action lawsuit that accused the MLB of vi-

8 june 21, 2019 washingtoncitypaper.com

olating a federal law requiring it to pay players fair wages and overtime. The players claimed the league allowed “many—if not most—minor leaguers to fall below federal poverty levels.”

“We used to always joke that the guys selling popcorn in the stands were making more than people on the field,” says Jimmy Reed, who starred as a left-handed pitcher for the University of Maryland and St. John’s College High School. The St. Louis Cardinals selected him in the sixth round of the 2013 MLB Draft. “That was kind of a running joke for us. Regular fans don’t really know about it. You see guys in a jersey, [and think] man, they’re probably millionaires. In reality, they’re not making any money, living out of suitcases, hotels, six months out of the year. It’s really tough.”

Reed, whose wife is a friend and former classmate of this reporter, received a $40,000 signing bonus and spent four seasons in the minors before being released in 2017.

What fans see at Nationals Park or on TV is several worlds away from the experiences of players like Freeman. The popular Instagram account @minorleaguegrinders chronicles some of the shocking conditions that minor leaguers have to endure, like sleeping on an air mattress in a kitchen, or cooking a meal near a bathroom sink. Keister, who played minor league ball in the 1990s, says he remembers hoping that there would be enough leftover concession stand hot dogs and hamburgers for players to eat after the games.

Freeman estimates current P-Nats play-

ers make around $20 a day, which can last between 10 and 11 hours. The team gets an average of two to three days off a month.

“I definitely think minor league players should get paid more,” he says. “Yeah, it’s tough, and I think a lot of baseball players have embraced that this is kind of what it’s going to be like … I’m not saying we should be paid big time, but I think a little more could definitely help out people, especially those who don’t have the big signing bonuses and are just kinda grinding it out.”

Washington Nationals second baseman Adam Eaton believes he wouldn’t be where he is without the minor league system he calls a “very dog-eat-dog world.” The Arizona Diamondbacks selected Eaton in the 19th round of the 2010 MLB draft, and he’s spent about a third of his career in the minor leagues.

While he believes things can be improved and players should make a little more money so they’re “literally not eating crumbs,” he doesn’t want the MLB to make minor league conditions more hospitable.

“If you do, complacency sets in,” Eaton says. “I think it’s difficult, yes, and it’s easy for me to say that because of where I am, but I wouldn’t be where I am without that … If I financially am supported down there and financially can make a living and not have to get to the big leagues, I think I’m a little more comfortable. I think that I might not work as hard because I know I’m getting a decent paycheck every two weeks, and may not push myself nearly as hard.”

“I don’t disagree with [the notion] that they’re being exploited, but I think it’s for the betterment of everybody,” he adds. “I know it sounds crazy … I think there’s a middle ground … There’s ground to be made up, but I think it still should be rough.”

That mindset is not uncommon among big league players who feel they have paid their dues in the minor leagues, and one that players like Reed have heard repeatedly and understand, but don’t necessarily agree with. Reed points out that the current system could make it even more difficult for foreign players, who may be living paycheck to paycheck in a new country with no local safety net.

But there are signs of change. Earlier this year, the Toronto Blue Jays increased the salaries of anyone playing for their affiliated clubs by as much as 50 percent.

“With all due respect, you’re not motivated by the money, you’re motivated by reaching the end goal,” Reed says in response to Eaton. “You don’t sign a contract when you sign [just] to be a minor league lifer. No one is complacent being in the minor leagues. From my perspective, I never met anyone complacent in the minor leagues, even if you’re making some money.”

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WE RATE DOCS

Our world can seem stranger than fiction these days, so it’s important to come back down to Earth and ground ourselves in reality from time to time. That’s what the AFI DOCS film festival does: The featured documentaries show us what has happened throughout our history, what’s happening now, and how to think about those events.

And with this year’s set of stories, we go places. We visit with iconic writer Toni Morrison, we go deep with NFL cheerleaders, we race to the moon, we explore self-driving cars, we get to know our neighbors here in D.C. just 17 blocks from the U.S. Capitol, and we believe in dinosaurs. We commune with the ghosts of the past, and the people of the present and future.

Wherever it is you want to go, wherever it is you want stories to pull you, let AFI DOCS take you there.

—Kayla Randall

Toni Morrison: The Pieces I Am

Directed by Timothy Greenfield-Sanders USA Toni Morrison is a literary giant and a cultural icon, so tackling the breadth of her legacy presents a challenge. Timothy Greenfield-Sanders’ biographical documentary The Pieces I Am allows Morrison to speak for herself. Yes, there

are those scholars, writers, activists, and influencers—Walter Mosley, Angela Davis, and Oprah Winfrey among them—who provide context for just how monumental Morrison is.

But mostly, it’s Morrison who guides the discussion and who takes us into her life, from when she was a little girl writing on the sidewalk with her sister, through her tenure supporting and promoting black authors as an editor at Random House, to the publication of her own writing and the subsequent ques-

tions from interviewers about when she would write for the great white “mainstream”—and her strong rebukes of such a notion.

We get into her mindset for writing books like The Bluest Eye, Sula, Song of Solomon, and Beloved. Morrison keeps black women at the forefront, always making them whole and rejecting the caricatures they had been in other media.

Viewers see her joy and revelry when she wins the 1993 Nobel Prize in literature, and the racist, sexist backlash to that win from some white

Toni Morrison: The Pieces I Am 10 june 21, 2019 washingtoncitypaper.com

men in the literary community. Toni Morrison contains multitudes, and the audience is privileged enough to see them intimately in The Pieces I Am. The film gives us a little more insight into a woman whose work we know well, but who retains an air of mystery. Here, the insight comes, like all of Morrison’s work, in her own words.

—Kayla Randall Thursday, June 20, 7:30 p.m., Navy Memorial Arleigh & Roberta Burke Theater.

Miles Davis: Birth of the Cool

Shangri-La

Two voices dominate Stanley Nelson’s new documentary Miles Davis: Birth of the Cool.

The first is Davis’ speaking voice, excerpted from the audiobook of his 1990 memoir. It’s a scraping, eloquent rasp, resulting from an operation on his larynx in the mid-1950s, that could make the word “motherfucker” sound like poetry. The other main voice in the movie is the clear cry of Davis’ trumpet, its famous cleanness marking a departure from the vibrato so many other players favored. Guided by these two voices—the gritty and the clean—Nelson offers a concise but thorough biography of one of the 20th century’s most fascinating musicians.

The director teases out much of what is special and surprising in each phase of Davis’ career, conjuring the early thrills of the ’40s, the world-taking energy of the ’50s, the new improvisational techniques of the septet in the ’60s, and the fusion experiments of the ’70s.

Nelson also gives plenty of screen time to Davis’ ex-wives and girlfriends, who get to tell their own stories on their own terms. These women were powerful artists in their own rights who helped Davis find new creative directions (Juliette Greco introduced him to Jean-Paul Sartre; Betty Davis introduced him to Sly Stone; Frances Taylor introduced him to flamenco), and they sometimes bore unspeakable abuse during Davis’ various periods of moody addiction and jealous rage. In this way, the movie offers something more valuable than a hagiography: a rich and bittersweet film that investigates, without romanticizing, some of the anguish that lurked beneath the cool.

—Ted Scheinman

In the memoir Beastie Boys Book, which came out last year, the New York hip-hop group portrays producer Rick Rubin as an opportunist who made several problematic decisions while managing their ’80s rush to fame. They’ve still got a grudge. Rubin’s wild triumphs of taste and timing, it seems, weren’t enough to override the bad mojo he generated as a handler.

It’s a reminder that Rubin wasn’t always a wizard-bearded, quasi-mythical maestro known for pulling focused performances from musical newcomers and legends alike. That’s the Rubin we get in Shangri-La, an upcoming Showtime series named after his whitewalled, meticulously minimalist studio in the Malibu hills.

AFI DOCS is screening the first two episodes, in which we see Rubin counseling clients such as Vampire Weekend’s Ezra Koenig and rapper Tyler, the Creator, or immersing himself in staged, thinky conversations with the likes of David Lynch. If anything, it’s a breezy, high-concept infomercial, with lots of shots involving the support staff (the on-site library is indeed cool) and not much in terms of truly candid reflection from Rubin himself (he’s a bit boring, actually). There are re-enactments, too, featuring a kid Rick with a big gray beard (yeah, really) and a scruffy college-age stand-in for the Def Jam years. It’s all geared to gently chew up prestige cable hours, so catching a double dose in a movie theater might feel a bit excessive unless Rubin is truly your sage. “Music is part of the search for magic,” he’s quoted as saying, and Shangri-La is definitely more about the search than the music.

—Joe Warminsky

Directed by Stanley Nelson UK, USA

Thursday, June 20, 3 p.m.; Saturday, June 22, 4:15 p.m., Landmark E Street Cinema.

Directed by Morgan Neville and Jeff Malmberg USA

Friday, June 21, 6 p.m., Landmark E Street Cinema.

A Woman’s Work: The NFL’s Cheerleader Problem

17 Blocks

Searching Eva

Watching Davy Rothbart’s documentary 17 Blocks is like walking into the home of one D.C. family and pulling up a chair in the living room, or at the kitchen table, or on the front porch, and observing as their lives unfold.

Winner of the Tribeca Film Festival’s award for best editing, the film gives an intimate view of the Sanford-Durant family’s struggle to escape the cycle of poverty, violence, and addiction through home videos shot over the course of 20 years, from 1999 to 2019.

Rothbart met two of the film’s main characters, brothers Smurf and Emmanuel, at a basketball court in 1999. When Emmanuel, an ambitious 9-year-old who enjoyed school and aspired to be a firefighter, expressed an interest in making movies, Rothbart lent him a camera.

The results are an unfiltered portrayal of life for this African-American family of three kids raised by a single mother, Cheryl, who struggles with addiction.

The film opens with Cheryl ringing the doorbell to her childhood home and speaking with the white family who recently moved in. “My actions caused a chain reaction and put things in motion that should not have been,” she says.

The rest of the film plunges into the depths of the family’s trauma, then rises as we watch the family’s next generation begin to grow.

The story started two decades ago, but for anyone familiar with local D.C.—and some of the communities that exist just a few blocks from the Capitol—the film’s portrayal of drugs, guns, poverty, and the necessary resilience of those communities most affected could tell a story that is relevant each passing day.

—Mitch Ryals

Searching Eva opens on a shot of the Italianborn social media star Eva Colle staring motionless at the camera. She is so still that you might think it’s a photograph, until the wind ruffles a wisp of her hair. Part immersive video diary and part feminist text, the documentary by Pia Hellenthal knows what it has in its protagonist. As a fashion model and sex worker, Eva has cultivated a compelling blankness that keeps your eyes trained on her even when the story fails to gather any momentum. We’re always searching Eva, even when she’s right in front of us.

The often mesmerizing film follows Eva as she leads her nomadic life, bouncing from one gig to the next, switching apartments and lovers with more ease than most of us can muster, and partying with her friends. A happy hedonist on the surface, Eva reveals her underlying realities in voice-overs that vacillate between haunting and hilarious. She can detail with precision the abuses and micro-aggressions she has suffered as a woman, and also chronicle the banality of her existence with impressive clarity. “Most of the time, I’d rather be eating bread than fucking.” Who can’t relate to that?

Eva’s life as a sex worker is her most intriguing quality, and the film, as it seeks to educate the audience on this topic, straddles the line between normalizing her profession and blaming it on either childhood trauma or our society’s systemic objectification of women.

We may crave resolution, but the ambiguity feels right for this story. Searching Eva puts a complicated woman on display and dares you to judge her.

—Noah Gittell

Thursday, June 20, 6:30 p.m., Landmark E Street Cinema; Friday, June 21, 3:30 p.m., AFI Silver Theatre and Cultural Center.

Friday, June 21, 2:45 p.m.; Sunday, June 23, 8:45 p.m., Landmark E Street Cinema.

Directed by Davy Rothbart USA

Directed by Pia Hellenthal Germany

Searching Eva washingtoncitypaper.com june 21, 2019 11

Midnight Family

Chasing The Moon Directed by Robert Stone USA

Look up to the heavens and there it is: our moon, the celestial body lighting up our night sky. Going there was the dream of President John F. Kennedy, who emphatically voiced that desire in a 1962 speech in Houston. “We choose to go to the moon in this decade and do the other things,” he said, “not because they are easy, but because they are hard.”

Seven years later, Apollo 11 carried three men who’d become American heroes—Neil Armstrong, Buzz Aldrin, and Michael Collins—to that natural satellite in the sky. PBS’ multi-part docuseries Chasing the Moon arrives right on time—July 20 will mark 50 years since Neil Armstrong took that small step for man and giant leap for mankind. The series captures the politics, the majesty, and the guts of this mission and the long journey that led to it, with extensive archival footage and narration from astronauts, scientists, historians, and journalists, who help set the stage. It captures all perspectives on the race to the moon and takes the viewer through time and space, from 1960s-era history and culture to the lunar surface.

The footage from the events of that July launch day in 1969 is particularly bloodpumping and the astronomical visuals are stunning. Chasing the Moon is a six-hour investment, but one well worth everyone’s time to better understand an essential slice of American history.

—Kayla Randall Saturday, June 22, 11:30 a.m., Landmark E Street Cinema.

Autonomy

Directed by Alex Horwitz USA The proliferation of self-driving cars seems

Autonomy

inevitable. Pilot programs are already sprinkled throughout the country, and some Tesla models have the ability to change lanes automatically. Autonomy attempts to make sense of what is happening to this technology, and what it means for the future. Director Alex Horwitz dispatches the usual mix of archival footage and talking heads—Malcolm Gladwell is the film’s unofficial conscience—and what undermines the film is how it stubbornly refuses to take a side.

Are autonomous cars good for us, or will they lead to disaster? Like Who Killed the Electric Car? and its sequel, Revenge of the Electric Car, Autonomy avoids answers entirely, and instead prefers to unfold like an introductory course. Education is the primary goal, which can be worthwhile for something that’s actually on the frontier of automation and artificial intelligence, except this particular technology has been a known quantity for years. Anyone with a subscription to WIRED is aware of where self-driving cars are going, literally and figuratively, so the only illuminating moments are when these designers and entrepreneurs acknowledge that, yes, programming a selfdriving car will require a set of ethics. But instead of diving into issues like how these cars should behave when lives are in danger, the default goal is only to get us thinking, “Gee, that’s interesting.” If the future is already here, then we are beyond this film’s modest goals.

—Alan Zilberman Saturday, June 22, 6 p.m., Landmark E Street Cinema.

We Believe in Dinosaurs Directed by Clayton Brown and Monica Long Ross USA

We Believe in Dinosaurs invites its audience to think about big ideas, which is the best thing that can be said about any film. The 2019 documentary follows the creation of and protests

12 june 21, 2019 washingtoncitypaper.com

against Ark Encounter, a “full-size” recreation of Noah’s Ark and a platform for creationism in Kentucky. In doing so, it ruminates on science, religion, the separation of church and state, the plight of small towns, and belief itself. Despite pulling on all these threads, Clayton Brown and Monica Long Ross’ film never threatens to unravel.

Footage of creationist leaders teaching children to question science—“Were you there?” is their response when confronted with fossil records that suggest the Earth has been around longer than 6,000 years—will shock and horrify, but it’s hard to imagine We Believe in Dinosaurs changing many minds.

In fact, when protestors and pro-creationism counter-protestors clash in the third act, we’re left with an overwhelming sense that these groups will never be able to communicate in any real way. One protestor’s sign puts it best: “I can’t believe I still have to protest this shit.” Honestly, that could apply to a lot of things we’re protesting these days. The validity of women’s rights, racial justice, and the impending climate crisis should all be selfevident, but here we are. This big-thinking doc will leave audiences pondering what it means to believe in the truth in 2019.

—Will Warren Saturday, June 22, 11:45 a.m., AFI Silver Theatre and Cultural Center; Sunday, June 23, 12:45 p.m., Landmark E Street Cinema.

Chez Jolie Coiffure

Directed by Rosine Mfetgo Mbakam Belgium Sabine plays a crucial role for African immigrants in Brussels. She shares news about changes in the community and helps clients connect with each other in a welcoming space. But Sabine isn’t an elected official, she’s the manager of a hair salon in a busy shopping arcade. For her second feature-length documentary, Cameroonian di-

rector Rosine Mfetgo Mbakam (The Two Faces of a Bamiléké Woman) has found an everyday subject whose hard work and colorful fashion sense make her a vivid symbol of the immigrant experience.

Once Sabine invites the director into her shop, the drama unfolds, as if the salon is a makeshift theater-in-the-round. The camera doesn’t merely look inside the cramped commercial space. Picture windows that surround the salon reflect the city life around it, including fights between rival shops and white tourists looking inside like they’re at the zoo. Sabine chats as she works, patiently braiding each hair strand as she remembers her harrowing escape from Africa, travelling on foot and desperate to reach Europe. Chez Jolie Coiffure is an anxious study of success, as police raids and the threat of deportation hang over the shop and its regulars.

—Pat Padua Friday, June 21, 6:15 p.m., AFI Silver Theatre and Cultural Center; Saturday, June 22, 7:15 p.m., Landmark E Street Cinema.

Border South

Directed by Raúl O. Paz Pastrana Mexico, USA When right wing politicians use the word “migrants,” they attempt to conjure up images of criminals, gang members, and caravans from Central America infiltrating the United States.

In Border South, Director Raúl O. Paz Pastrana slays those false images by poignantly humanizing the migrant journey through the story of Gustavo Alberto López Quiroz, a charismatic 31-year-old with a playful sense of humor. Quiroz leaves his hometown of Managua, the capital city of Nicaragua, in search of work. While attempting to get to the Nicaragua-Mexico border, Mexican police shoot Quiroz, an incident that wins him sympathy and media attention in Mexico and briefly

Chez Jolie Coiffure

gives him hope for a better life. The other half of the film’s storyline is devoted to Jason De León, a U.S.-based anthropologist who finds and tracks the remains of migrants who often don’t survive the 2,000-plus mile trail. (De León is also a producer of the film.)

Pastrana’s method gives viewers an intimate understanding of the risks involved in the extremely treacherous journey without resorting to scenes of violence. We feel Quiroz’s joy and pain, sometimes within the same scene, in the face Americans don’t see in fear-mongering political ads.

—Kelyn Soong Thursday, June 20, 9 p.m., Landmark E Street Cinema.

Mike Wallace Is Here Directed by Avi Belkin USA

Modern history is littered with examples of authoritarian rulers attacking the press.

The current occupant of the White House has referred to journalists as “the enemy of the people” and calls critical coverage of him “fake news.”

For more than a half century, Mike Wallace, a pioneer in investigative TV journalism, attempted to hold those in power accountable with his confrontational and occasionally controversial interviews. Avi Belkin’s sobering documentary Mike Wallace Is Here paints a compelling and complex, but sometimes scattered, portrait of the man who, driven by his insecurities and heartache, devoted his life to this work.

Using only archival footage, Belkin spotlights how Wallace, who died at 93 in 2012, lived a life of contradictions. He was a pitchman and game show host turned hard-hitting journalist. He enjoyed asking tough questions but bristled at being asked them. He inspired generations of journalists with his work on

Night Beat and 60 Minutes, but also influenced acerbic TV talking heads. (The film opens with disgraced former Fox News host Bill O’Reilly telling Wallace he was the “driving force” behind his career.)

The latter point is Belkin’s wake up call.

With so many unchecked voices in the wider media landscape, the truth can be drowned out. For the sake of American democracy, that can’t happen.

—Kelyn Soong Sunday, June 23, 12:30 p.m., Landmark E Street Cinema.

Midnight Family

Directed by Luke Lorentzen Mexico, USA If you think health care is a problem in this country, take a look at Mexico City, where only 45 government-run ambulances are available for a population of nine million. Private ambulance companies pick up the slack—or try to, against obstacles like patients without insurance or police who insist on making the injured wait for a state-run emergency vehicle that will never show up.

Director Luke Lorentzen, whose first feature, New York Cuts, explored big city barber shops, follows the Ochoa family as they try to make a living by responding to accident sites in the dead of night. With the rush of nighttime traffic and dashboard cameras that capture the Ochoas rushing to beat rivals and police to their targets, Midnight Family is a real-life thriller and a dangerous reality show in which dad lets his school-aged son ride along in the back of the ambulance without a seatbelt. While each of the Ochoas' trips are urgent, whether chasing after car crashes or scenes of domestic violence, the most intense drama is in the lives of the Ochoas themselves: the weary father who may work himself into a heart attack, and the devoted son who calls up his girlfriend to recap a hard

night’s work.

—Pat Padua

Saturday, June 22, 9:15 p.m., Landmark E Street Cinema; Sunday, June 23, 1:30 p.m, AFI Silver Theatre and Cultural Center.

A Woman’s Work: The NFL’s Cheerleader Problem

Slay the Dragon

Directed by Yu Gu USA

Directed by Barak Goodman and Chris Durrance USA Anyone with even a tiny iota of rage from the American elections of the past 10 years should make it a priority to watch Barak Goodman and Chris Durrance’s Slay the Dragon. It’s a thorough and eye-opening look into the egregious gerrymandering that took place across the country to ensure that the Republican party would remain dominant for at least a solid decade.

Goodman and Durrance begin their film in Flint, Michigan, with an explanation of how the Flint water crisis began long before the city’s water source was switched over to the Flint River: It started in 2010, when the GOP victory in Michigan, during a census year, opened the door for the party to redraw the state’s voting districts. Then the same thing happened in Wisconsin, North Carolina, Pennsylvania, Maryland, and elsewhere across the country.

Goodman and Durrance get into the nitty gritty of gerrymandering—how Republican strategists carefully analyzed census data to redraw state voting districts so that the GOP would hold power, without it seeming like the result of obvious gerrymandering (spoiler: It looked like obvious gerrymandering).

It’s not all political gloom and doom—the film is framed through the rise of the grassroots campaign Voters Not Politicians, which successfully passed a ballot initiative to ban partisan gerrymandering in Michigan. If anything, this film should be a lesson that the will of the people will eventually prevail, even if all seems lost.

—Matt Cohen Saturday, June 22, 6:30 p.m., Landmark E

Street Cinema; Sunday, June 23, 3:30 p.m., AFI Silver Theatre and Cultural Center.

Everyone knows the NFL is pure evil. Its leaders cover up research on concussions, ignore domestic violence perpetrated by players, and offer athletes non-guaranteed contracts, cutting them loose after horrific, life-altering injuries. It should come as no surprise to learn that the few women in their ranks are treated shabbily, as well.

Still, A Woman’s Work: The NFL’s Cheerleader Problem, which examines the labor struggle between the NFL and team cheerleaders, succeeds by focusing on the human element.

Yu Gu’s documentary primarily follows lawsuits filed by two ex-cheerleaders: Lacy, a “Raiderette,” and Maria, one of the “Buffalo Jills,” who, for decades, were asked to represent the NFL while the league claimed innocence on their horrific pay. The Raiderettes, we learn, don’t get paid until the end of the season, and their hourly rate works out to less than minimum wage. The Buffalo Jills work for free.

It would have been easy for the film’s criticism of the NFL to take over, but that would have let it win again. Gu keeps her lens trained on the film’s women, who suffer the slings and arrows of league officials, the public, and even some of their fellow cheerleaders as they mount an effort to protect their own rights. It’s an inspiring tale that will make you want to keep the TV tuned elsewhere on Sundays, if you hadn’t figured that out already.

—Noah Gittell Thursday, June 20, 6:30 p.m., AFI Silver Theatre and Cultural Center; Friday, June 21, 9:15 p.m., Landmark E Street Cinema.

washingtoncitypaper.com june 21, 2019 13

Elizabeth Tuten

CPARTS

Meet five Halcyon Arts Lab fellows featuring work at By the People Festival washingtoncitypaper.com/arts

The Color and the Shape The Kreeger Museum reveals the work of a painting pioneer.

By Kriston Capps Postwar Painters took nothing for granted, not even the shape of the canvas. From Frank Stella to Elizabeth Murray, the pioneers of shaped painting abandoned the familiar rectangle to explore alternative geometries. Shaped canvas represents its own branch of painting’s evolutionary tree. Along the way, some creators edged out others. Ellsworth Kelly is a household name. Charles Hinman got left behind.

Now on view at the Kreeger Museum, Charles Hinman: Structures, 1965–2014 is an effort to remind viewers of the pioneering role he has played in exploring the sculpture of painting. As one of the first artists to bend two-dimensional paintings into three-dimensional formats, Hinman opened up new ways of thinking about the genre. Structures shows how Hinman unlocked painting, but the show also hints at why he isn’t better known today.

“Sails” (1965) is emblematic of Hinman’s work.

The painting is a configuration of irregular tiles arranged in a flaglike shape. At a point where several of these monochrome sections meet, the painting bulges, as if it were being pressed outward from behind. The verso side of “Sails,” a painting originally purchased by David and Carmen Kreeger, reveals a patchwork construction of intersecting stretcher bars (wooden beams that artists use to support canvas in a painting).

That was Hinman’s innovation: His paintings jut into three-dimensional space, as if they were wallmounted sculptures. Hinman’s paintings have a physicality to them; “Sails” looks like a fat gumdrop. Alongside the many paintings on view, curator Danielle O’Steen provides preparatory drawings and diagrams to show the meticulous construction behind works such as “Canary Islands” (1988). While the paintings themselves tell little about how they were made, the schematics, along with documentary video from the artist’s studio, reveal a sculptor at work.

Hinman shares a lot of affinities with Ellsworth Kelly, especially in his early works. Hinman’s brushstroke looks automatic, as if his acrylics were applied industrially, just as in Kelly’s work. Hinman favors the same bold primary and secondary colors as Kelly. While Kelly favored simple geometric shapes like rhombuses and sectors to carry his palette, Hinman’s shapes, at least in his early paintings, are more abstract. The most satisfying paintings in Hinman’s show—“Cloud,” “Red Wing,” and “Interlocking,” a trio of 1965 paintings that belong to the Hirsh-

GALLERIES

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Hinman was in the right place to make good on his innovations in the New York art scene. But he retreated to safer ground in the 1970s, jettisoning the color from his paintings, for example, to focus on shape. “Happy Landing” (1974) and “White Rise” (1976) look like jumbles of white quartz crystals. Soft pastels make an appearance in his work in the 1980s. “Watkins Glen” (1987) is a hard-edged geometric painting, like most of Hinman’s work, but it’s a gentle retread of his earlier themes.

Later experiments in material have paid off for Hinman, including “Perseids” (1999) and “Andromedids” (2003), both paintings on wood and Lutradur, a spun textile that’s a cross between paper and fabric. “Trieste” (1982) and “Vulcan” (1983) are both works Hinman made by casting paper in a mold, a technique usually reserved for making bas-relief impressions. These abstractions are even more impressive than Hinman’s exquisite maquettes, which clearly play to his strengths as a sculptor.

Recent works from Hinman’s “Gems” series, such as “Onyx” or “Indochinite” (both 2013), betray his fascination with space. Hidden from view, brightly colored panels on the underside of these paintings make the wall behind the paintings appear to glow.

The new works find Hinman still determined to chart a course through shaped canvas, even though it has led to diminishing returns as his works have grown less evocative and more representational.

Earlier this year, viewers in D.C. got another look at a master of shaped paintings: The Phillips Collection held a retrospective of the Cuban-born, Puerto Rico-based painter Zilia Sánchez. It’s hard not to compare the two exhibitions (and indeed, the curators spoke together in a two-part conversation held at each museum in May). The Phillips “Canary Islands” by Charles Hinman, 1988 Collection show made the case that Sánchez, a horn Museum and Sculpture Garden—are graceful abstrac- sensual abstract painter, deserves greater recognition for ustions full of potential. These three paintings showcase alert ing shaped canvas to push boundaries in both Minimalism and new ideas in Pop Art and Minimalism, with Hinman’s contri- Surrealism.

Structures at the Kreeger Museum makes a different case: bution being the foray into three-dimensional space.

With the support of prominent modernist collectors such Hinman may have missed his true calling as an architect. At as the Kreegers and Joseph Hirshhorn, Hinman was hardly times, Hinman’s paintings are not as compelling as the means unknown in his day. The critic Lucy Lippard observed at the he used to produce them. Maybe the best works in the show are time how Hinman’s topological paintings conveyed speed, as the precise graphite and charcoal studies he generated for paintO’Steen notes. Hinman was excluded from the definitive 1964 ings such as “Cohesive Three” (1974). The care and exactitude show at the Solomon R. Guggenheim Museum, The Shaped Hinman shows in preparing paintings that work in space sugCanvas, but so were other painters who were pushing the three- gest that maybe he should have been building all along.

CP dimensional boundary. And the next year, Hinman’s work appeared in Shape and Structure, an important corrective at the Charles Hinman: Structures, 1965-2014 at the Kreeger Musuem Tibor de Nagy Gallery, a proving ground for postwar painters. to July 31.

FY20 APPLY NOW! Applications are currently being accepted for FY 2020 project-based grants for individuals and organizations For more information on available grant programs, including technical assistance workshops for applicants, contact us at www.dcarts.dc.gov | 202-724-5613

National Symphony Orchestra Pops

50 Years Over the Rainbow: A Judy Garland Celebration Laura Osnes

Capathia Jenkins

Jimmie Herrod

Steven Reineke, conductor

June 28 & 29 | Concert Hall YOUR SPACE TO PL AY

Kennedy-Center.org (202) 467-4600 David M. Rubenstein is the Presenting Underwriter of the NSO.

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540 AARP is the Presenting Sponsor of the NSO Pops Season.

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THEATERCURTAIN CALLS

WELCOME BACK, MATER

The Resistable Rise of Arturo Ui

A Doll’s House, Part 2

By Lucas Hnath Directed by Nicole A. Watson At the Lansburgh Theatre to June 30 We’re in a fallow moment for sequels to aging-or-aged cultural properties: Godzilla: King of the Monsters, Dark Phoenix, Men in Black: International, and Shaft all tanked at the box office this month on merit. While the failure of those follow-ups could’ve been predicted based on who made them, the underwhelming creative returns delivered by Round House Theatre’s area-premiere production of an even later-to-arrive sequel—Lucas Hnath’s A Doll’s House, Part 2, which followed Henrik Ibsen’s landmark proto-feminist drama by 138 years—are a genuine, and genuinely disappointing, surprise.

The comparison is fair, because this show, despite the muted vibe of Nicole A. Watson’s staging and the reverent silence of the crowd I saw it with, is supposed to be a comedy. For Hnath to stick a vulgar, Hollywood-style “Part 2” onto the end of one of the theater’s towering classics is meant, I think, as a joke.

It might be the only one Watson hasn’t managed to bury. If I hadn’t witnessed it beneath my own drooping eyelids (despite the show’s 90 minute runtime), I would not have believed it possible for an evening of theater that marshals the sterling interpretive talents of Holly Twyford, Craig Wallace, and Nancy Robinette in the service of a Lucas Hnath script to be this inert. What a bummer! And not in a profound, Ibsenesque way!

Part 2 has itself become a blockbuster. Two years after it gave Hnath his Broadway debut, it has become the current theater season’s mostproduced show nationwide. One can understand why the celebrated, still-under-40 playwright of The Red Speedo and The Christians (which got memorable productions at Studio Theatre and Theater J, respectively) might feel emboldened to look in on Ibsen’s awakening heroine, Nora Helmer, 15 years after she walked out on her husband and three children to find herself. The denouement was so shocking in 1879—exactly a century before Kramer vs.

Kramer, a wildly popular movie, explored similar themes—that Ibsen had to supply a familypreserving alternate ending for the theaters that considered his preferred one too hot to handle.

In Hnath’s imagining, Nora (Twyford) has blossomed in her time away from her family, becoming wealthy by writing books that rail against the oppressive institution of marriage.

But as in Ibsen’s story, some small man is trying to blackmail her, and she’s at risk of losing

all she’s earned if her jilted ex Torvald (Wallace) doesn’t file the papers formalizing their divorce. (He has chosen to let the couple’s acquaintances believe that Nora died rather than admit she left him.)

Nora also finds herself compelled to make peace with Anne Marie (Robinette), the maid who reared the children Nora abandoned, and Emmy (Kathryn Tkel), the now-grown daughter who was an infant the last time Nora saw her.

Emmy is due to be married herself, a circumstance that invites Nora to opine at length on the custom’s obsolescence. “Twenty or 30 years from now, marriage will be a thing of the past,” she declares, speaking from the mid-1890s.

Hnath has chosen to use contemporary language, so we do get the sporadic comic seasoning of hearing Anne Marie exclaim “What the fuck!” But the fact that we need those little hits of anachronistic cussing just calls out how little snap there is in most of the dialogue.

More damning, the relationship between Nora and Torvald is all but absent. Twyford and Wallace, despite their deep reserves of talent and experience, are as ill-matched as performers as Nora and Torvald were as partners.

Even if the whole premise is that Torvald never tried to understand the spouse he hasn’t seen in a decade and a half, they shouldn’t seem like cordial strangers. Their meeting feels like a reunion of former spouses who parted amicably, not the aftermath of a fracture that wounded Torvald so deeply he’s never recovered. Paige Hathaway’s skeletal set, with incongruous and incomplete bits of furniture ringing a mostly empty stage, does more work to convey the privation of the Helmer household than the performances do. Emmy, for example, seems to have grown up just fine.

I didn’t see the Broadway production that won Laurie Metcalf a Tony Award for her performance as Nora, so it’s difficult to form a picture of what the play (which also earned Hnath a Tony nomination) should look like. I can only

16 june 21, 2019 washingtoncitypaper.com

tell you that this Doll’s House is a fixer-upper.

—Chris Klimek 450 7th St. NW. $48–$65. (240) 644-1100. roundhousetheatre.org.

VEGGIE TALES The Resistible Rise of Arturo Ui

By Bertolt Brecht Directed by Robert McNamara At Atlas Performing Arts Center to July 14

The sTaging is simple: metal scaffolds, a few risers, wooden tables and chairs, some ragged industrial sheets of plastic, in front of an embossed red velvet curtain. A chorus of well dressed hoodlums announce, in verse, a gangster play. The villain and protagonist: Arturo Ui (Robert Sheire). Projected onto the plastic are terse phrases narrating the dysfunction of Weimar Germany as it gave way to the Third Reich. The juxtaposition tells the audience that the story is a parable about something other than Chicago.

Bertolt Brecht wrote The Resistible Rise of Arturo Ui in 1941 while living in the still-neutral United States, eight years after he fled Germany as a political refugee. It satirizes the rise of Hitler using the idiom of Chicagoland gangsters then popular in American cinema. (Sound designer Denise Rose alludes to the turning sprockets of the era’s film projectors throughout the evening.) Historical events like the burning of the Reichstag and the annexation of Austria are rendered small, as Arturo Ui expands his protection racket over the Windy City’s vegetable trade. Brecht intended the play for an American audience, but the

script languished in a drawer and received a posthumous premiere in 1958 with the Berliner Ensemble, the company he founded once he returned to East Germany in 1949.

The allegory opens with a parallel to the Eastern Aid scandal, in which the bankrupt landed aristocracy known as the Junkers pulled together the funds to pay off the debts on Germany’s President Paul von Hindenburg’s estate in return for government relief.

The Cauliflower Trust, a consortium of vegetable wholesalers representing the Junkers, similarly pays off the political power broker Dogsborough (Joe Palka) in exchange for access to the public coffers. Meanwhile, Ui (standing in for Hitler) and his gang turn their knowledge of these corrupt deals into the political leverage and legal impunity they need to expand their protection racket over the city’s neighborhood grocers.

As Ui, Sheire traces his character from a dejected minor player to one who freely exercises political power. Along the way he seeks out acting lessons from a classical thespian (director Robert McNamara), and when the transformation is complete, Ui’s gesticulations mirror those Hitler used in his public speeches. This is just one example of the fine work of movement coaches Lee Ordeman and Kim Curtis.

Brecht, like the Marxists of his time, tended to misunderstand Nazism and fascism as merely thuggish forms of capitalism, and neither Ui nor his lieutenants exhibit the racism or the conspiracy theorizing that motivated Hitler and his followers. Despite Brecht’s first and second wives both being Jewish, his Hitler analogue does not once utter an anti-Semitic slur, so he allegorizes 1934’s Night of the Long Knives, but not 1938’s Kristallnacht. This may have also passed muster with East Germany’s communist regime, which downplayed the importance of anti-Semitism to Nazi ideology and the complicity of ordinary Germans.

As director, McNamara deftly handles the constant genre shifts necessary for staging epic theater, from the set pieces that satirize crime genre conventions, to more stylized physical theater ranging from the slapstick pas de deux between Palka’s Dogsborough and Gori Olufon’s Giuseppe Givola (Brecht’s analogue for Joseph Goebbels), to the haunting of Ui by the ghost of Ordeman’s Ernesto Roma (standing in for SA Chief-of-Staff Ernst Röhm, purged in Night of the Long Knives) in an invention seemingly inspired by Japanese butoh with its off-balance rigidity punctuated by spasms and falls.

America may not be in the clutches of a well dressed gangster with a shoulder-holstered Luger, but the poorly formed rhetoric of our slovenly president often resembles that of a movie mob boss. Arturo Ui may be didactic and Brecht’s didacticism is never not artful. If gangsters are resistible, then such artful didacticism is necessary.

—Ian Thal 1333 H St. NE. $15–$45. (202) 399-7993. scenatheatre.org

GALLERIESSKETCHES

INK PROGRESS

by. Lithograph posters hawk characters like The Racoon Man and The Singing Camel; he’s printed popcorn bags, fans, tickets, and pennants, and even a plaque explaining the supposed historic significance of the collection.

Lyons’ work demonstrates how the advertisForward Press: 21st ing tools of mass printing can create a whole Century Printmaking world, or at least a misinformation campaign.

At the American University Museum Working with prints and multiples can also to August 11 be a way to blow up the scale of a piece. Michael Menchaca has created a massive instalThe process of printmaking is necessari- lation with an enormous silk-screen backdrop ly technical, and not quite as easy to grasp as for his animation “The Wall,” a dizzying video that of putting brush to canvas. The labor of game style adventure rife with emojis, demons carving, etching, or digitally formatting a ma- in MAGA hats, and environmental pitfalls. trix (or whatever material it is that the printer The screens are flanked by silk-screen prints is applying ink to) ranges from straightforward in his signature style, which blends the icoblock prints carved out of wood to mysterious nography of various Meso-American cultures and artworks with the slickness and punch of chemical processes.

Forward Press: 21st Century Printmaking, a skateboard brand.

Another massively scaled work is April Flanon view at the American University Museum, shows a continuum of printmaking, with some ders’ “Filter,” which was created specifically for artists exploring ancient methods, and others the gallery and curves around a rounded wall of embracing new technologies and genre-hop- the gallery. Hundreds of delicate cutouts of miping. The exhibit is the first national showing croorganisms are affixed to the walls like specof the Printmaking Legacy Project®, a non- imens in a cascading pattern, each one’s surprofit headed by local printer Susan Goldman face distinguished by patterns created through and dedicated to archiving printmaking tech- silk-screening and textured monotype printing. niques. The result is a tantalizing look at where The title refers to mussels that are “filter feedthe medium has been and where it could pos- ers,” meaning they feast on everything in their paths, and are therefore destroying the food chains of their ecosystems, and the sweetness and fragility of each little cutout calls out how tenuous nature’s balance can be. The piece expertly blends traditional and technological methods—what would be years’ worth of hand-cutting was accomplished here with laser cutters.

Advances like these in computerized printing have shaped the work of many of the artists in For“Filter” by April Flanders, 2019 ward Press. Being surrounded by reams of printouts in daily life, it sibly go—incorporating digital media, installa- can be easy to forget that something an HP LaserJet spits out is in fact a print. When properly tion, and performance art along the way.

Firmly on the historical technique side is wrangled, variations on desktop printing techSteve A. Prince, who has contributed a gi- niques can be just as breathtaking as handdone gantic, multipanel woodblock print entitled methods. Sangmi Yoo created several massive “Communal Resurrection: Song for Aya,” inkjet prints overlaid with intricately hand-cut across which an epic history of black Ameri- layers of paper. They dangle from the ceiling can music unfurls. One must walk the entire and cast dappled shadows across the gallery.

The earliest prints were used for making 40-foot length of the work to glimpse the various scenes of jazz clubs and funeral marches books and posters, and the history of the meand hip-hop turntables, as well as the close- dium is tied up in these uses. Nicole Pietranups of intent, expressive faces. It might as well toni’s “Implications” blows up the traditional book format, presenting 30 separate accordionbe a motion picture playing in Cinemascope.

Also reaching into history for inspiration is folded volumes, hung from their front covers Beauvais Lyons, who has created an elaborate side by side so that their pages tumble out and persona as director of the Hokes Archives (say form a curtain printed with an image of meltit aloud), a researcher documenting the work of ing glaciers. The artist’s husband, poet Devon Everitt Ormsby Hokes. “Selections from Circus Wootten, used text from the Paris Agreement Orbis” contains an arrangement of faux mem- on climate change to create a concrete poem orabilia from an early 20th century circus, with that runs the length of the book, but much of the artist taking on the role of a carnival bark- it is fading or missing, much like the glaciers —Stephanie Rudig er trying to pull one over on any rube walking themselves.

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FILMSHORT SUBJECTS “Byhalia, Mississippi is a must-see, and one which demands to be talked about.”

—The Chicago Tribune

FRANKLY, MY DEAR Being Frank

Directed by Miranda Bailey

A New Kennedy Center Play Written by

Directed by

Evan Linder

Kimberly Senior

Starring

Jack Falahee

Aimé Donna Kelly

Blake Morris

Caroline Neff

Cecelia Wingate

Now thru July 7 | Terrace Theater Groups call (202) 416-8400

Kennedy-Center.org

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

(202) 467-4600 Theater at the Kennedy Center is made possible by

Kennedy Center Theater Season Sponsor

Additional support is provided by The Laura Pels International Foundation for Theater.

18 june 21, 2019 washingtoncitypaper.com

If a partIcularly salacious episode of Maury somehow got crossed with a cheesy family sitcom, it might feel something like Being Frank. The film stars comedian and sitcom actor Jim Gaffigan as a middle-aged schlub who has been living a secret life with a second family for two decades. It’s a complex and intriguing situation that has never gotten a proper big-screen treatment. Despite some big laughs and a promising performance by Gaffigan, this ain’t it.

Watching Being Frank, you can feel two films fighting for dominance. One is a rich, earnest drama about the relationship between a teenage boy and a father who is at once full of shit and deeply human. When Philip (Logan Miller) discovers that his overbearing father Frank (Gaffigan) has been carrying on with another family, it unleashes a cascade of epiphanies. There is the basic feeling of betrayal, the pangs of injustice at learning that Frank treats his other son (Gage Banister) better than him, and a cathartic release from watching his father fall from his very, very high horse.

Philip discovers the ruse when he steals away from home to go to a nearby lake community for spring break, and, instead of running home to tell his mother (Anna Gunn), he infiltrates the second family, pretending to be the son of a friend of Frank’s, and starts to torture his father with the threat of revealing his secret. The screenplay by Glen Lakin cooks up some comic contrivances—like when Frank employs a local stoner (Alex Karpovsky) to play his son’s fake dad—while the bouncy score composed by Craig Richey tries with great effort to lighten the mood.

Neither approach is totally successful.

There is a winning moment halfway through when Frank tries to defend himself, explaining how he thought he was doing the right thing by both his families. Gaffigan acquits himself well here with the same easy, deadpan charm that has made him a star elsewhere. It’s even believable when Philip comes around and starts trying to help his father keep up the subterfuge. That these oft-ludicrous character choices seem at all believable is due to near heroic work by Gaffigan and Miller, whose strange chemistry— they seem more like peers—is attuned to their odd circumstance.

But just as quickly as it touches on something tender and honest, the film skitters off down less interesting avenues. People hide behind furniture and get hit in the head with footballs. A character we barely get to know is revealed to be gay, and it’s supposed to mean something to us. The film even threatens us with incest, as Philip and his half-sister (Isabelle Phillips), who still thinks he’s the son of a family friend, get dangerously close with one another. Using potential inbreeding for comic tension has rarely been attempted in film, and with good reason.

For first-time feature director Miranda Bailey (already an accomplished indie producer), it counts as a bold and ambitious undertaking whose reach exceeds its grasp. The film juggles about a half dozen tones and manages to keep them all in the air at once, but not all of them are worthy of our focus. Framing a professional philanderer as a goofy sitcom dad is deeply gross, and casting an actual sitcom dad in the lead heightens the disgust level. Being Frank works so hard to make its male abuser sympathetic, while virtually ignoring the inner lives of the women unfortunate enough to be in his path, that each moment of empathy feels unearned and every laugh regrettable.

—Noah Gittell Being Frank opens Friday at Bethesda Row Cinema.

washingtoncitypaper.com june 21, 2019 19

20 june 21, 2019 washingtoncitypaper.com

CITYLIST

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CHAMBER DANCE PROJECT

Two much-loved former Washington Ballet dancers return to D.C. this weekend for the sixth annual Chamber Dance Project. Jonathan Jordan and Francesca Dugarte have gotten married and decamped for BalletMet in Columbus, Ohio, after he spent a decade dancing lead roles in the District. With help from Studio Theatre associate artistic director Matt Torney and composer James Garver, choreographer Diane Coburn Bruning created a new ballet based on T.S. Eliot’s iconic poem “The Love Song of J. Alfred Prufrock.” The program also includes two internationally hailed choreographers tackling iconic works of classical music. Annabelle Lopez Ochoa debuts a new ballet set to Schubert’s “Death and the Maiden” string quartet, while Alejandro Cerrudo picked piano music by Philip Glass for his duet. An addition pas de deux by Bruning uses Samuel Barber’s mournful “Adagio for Strings.” Chamber Dance Project prioritizes close collaboration between musicians and dancers, so all the music will be performed live. Throw in a pair of newlyweds and the stage is set for summer romance. The show begins at 8 p.m. at Sidney Harman Hall, 610 F St. NW. $38–$52. (202) 547-1122. chamberdance.org.

—Rebecca J. Ritzel

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Allen Tate. 7 p.m. $12. songbyrddc.com.

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FOR MORE INFO VISIT: WWW.ROYANDBUDDY.COM

LEANN RIMES DONNELL RAWLINGS COLBIE CAILLAT feat. GONE WEST Hayley Orrantia “Bustin Loose for Eileen Carson Schatz” with

9

A Benefit Concert featuring

JERRY DOUGLAS, STUART DUNCAN, BELA FLECK, SIERRA HULL, DANNY PAISLEY, & MARK SCHATZ 10 BILLY BOB THORNTON & THE BOXMASTERS 11 PAM TILLIS & LORRIE MORGAN Grits & Glamour Tour

JEFFREY OSBORNE 14 LITTLE RIVER BAND

9:30 CLUB 815 V St. NW. (202) 265-0930. White Ford Bronco. 8 p.m. $25. 930.com.

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Jason Isbell & Father John Misty. 6 p.m. $45–$75. merriweathermusic.com.

Co-Presented by

TICKETS ON SALE FRI. JUNE 21, 10AM AT STRATHMORE.ORG/301-581-5100.

FOR MORE INFO VISIT: WWW.ROYANDBUDDY.COM

FUNK & R&B

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Dido. 8 p.m. $50.50. thelincolndc.com.

!

NOV. 13, 2019 7:30PM

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Steve Forbert. 6:30 p.m. $20–$25. jamminjava.com.

CAPITAL ONE ARENA 601 F St. NW. (202) 6283200. Ariana Grande. 7 p.m. $156–$329.95. capitalonearena.monumentalsportsnetwork.com.

In the

Co-Presented by

DC9 1940 9th St. NW. (202) 483-5000. Luluc. 7:30 p.m. $13–$15. dcnine.com.

POP

TICKETS ON SALE FRI. JUNE 21, 10AM AT STRATHMORE.ORG/301-581-5100.

FOR MORE INFO VISIT: WWW.ROYANDBUDDY.COM

27

FOLK

TWINS JAZZ 1344 U St. NW. (202) 234-0072. Bob Butta feat. Project Natale. 9 p.m.; 11 p.m. $15. twinsjazz.com.

Co-Presented by

Co-Presented by

26

SOUNDCHECK 1420 K St. NW. (202) 789-5429. Quix.

10 p.m. $15–$20. soundcheckdc.com.

NATIONAL GALLERY OF ART SCULPTURE GARDEN 4th Street and Constitution Avenue NW. (202) 7374215. Black Masala. 5 p.m. Free. nga.gov.

An Evening with

KENNY G EUGE GROOVE NOV. 13, 2019 7:30PM

ELECTRONIC

JAZZ

Co-Present

Co-Presented by

12&13

FUNK & R&B

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Conya Doss. 6 p.m. $28–$40. citywinery.com.

JAZZ

TWINS JAZZ 1344 U St. NW. (202) 234-0072. Bob Butta feat. Project Natale. 9 p.m.; 11 p.m. $15. twinsjazz.com.

POP

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Clubz & Girl Ultra. 7 p.m. $20. ustreetmusichall.com.

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Strange Boutique. 8 p.m. $15. dcnine.com.

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

Ocean Alley. 9 p.m. $15. rockandrollhoteldc.com.

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. The Stranger: A Billy Joel Tribute. 7 p.m. $17. thestatetheatre.com.

VELVET LOUNGE 915 U St. NW. (202) 462-3213. Line Item Veto. 8 p.m. $10. velvetloungedc.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Classic Albums Live performs: Pink Floyd’s The Wall. 8 p.m. $25–$55. wolftrap.org.

SUNDAY

15 SiriusXM The Coffeehouse Presents

MATT COSTA, JD & THE STRAIGHT SHOT MATT HARTKE 19

BLUES

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Buddy Guy and Kenny Wayne Shepherd Band. 7:30 p.m. $30–$65. wolftrap.org.

CLASSICAL

MIRACLE THEATRE 535 8th St. SE. (202) 400-3210.

Joep Beving. 6 p.m. $25–$30. themiracletheatre.com.

NATIONAL GALLERY OF ART WEST GARDEN COURT 4th Street and Constitution Avenue NW. (202) 8426941. Air Force Strings: The Latin American Spirit. 3:30 p.m. Free. nga.gov.

Friday, July 12, 8pm Music Center at Strathmore

Tickets at Strathmore.org or call 301-581-5100.

washingtoncitypaper.com june 21, 2019 21

Co-Presented by

CITY LIGHTS: SATURDAY

CITY LIGHTS: SUNDAY

THE ACTUAL DANCE

THE AMERICAN DREAM REVISITED

Given today’s politics, it’s not surprising that the images in the juried exhibition The American Dream Revisited cluster around two themes. One is protest, with works documenting responses to the march on Charlottesville, police shootings, gun violence, and discrimination against LGBTQ Americans. The second theme is wistfulness about the past limned in crisp black-andwhite, notably Richard Batch’s West Virginia tableau of a man and his 1960 Plymouth Belvedere and Craig Nedrow’s smoke-dominated images of an unnamed steel town that strongly echo Walker Evans’ photographs of 1930s Bethlehem, Pennsylvania. More forward-oriented are Vincent Smith’s portrait of a stoic African immigrant and Ray Alvareztorres’ image of an L.A. news vendor whose expansive wares are almost exclusively in Spanish. The exhibition is on view to July 14 at Photoworks, 7300 MacArthur Blvd, Glen Echo. Free. (301) 634-2274. glenechophotoworks.org.

—Louis Jacobson

COUNTRY

MERRIWEATHER POST PAVILION 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Phish. 5:30 p.m. $45–$90. merriweathermusic.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. Kristin Hersh Electric Trio. 6 p.m. $20. unionstage.com.

MONDAY ELECTRONIC

DC9 1940 9th St. NW. (202) 483-5000. The Babe Rainbow. 8 p.m. $15. dcnine.com.

JAZZ

HILL COUNTRY LIVE 410 7th St. NW. (202) 556-2050.

Amanda Anne Platt & The Honeycutters. 8:30 p.m. $15–$17. hillcountrywdc.com.

TWINS JAZZ 1344 U St. NW. (202) 234-0072. Jeron White. 8 p.m.; 10 p.m. $10. twinsjazz.com.

DJ NIGHTS

DC9 1940 9th St. NW. (202) 483-5000. Vesperteen. 8 p.m. $15. dcnine.com.

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

Danny House. 3 p.m. Free. rockandrollhoteldc.com.

Black women diagnosed with breast cancer are 40 percent more likely to die from the disease than white women.

That’s according to mortality statistics from the Centers for Disease Control and Prevention, which noted that black and white women are diagnosed at the same rate. The Actual Dance, a one-man show coming to the DC Black Theatre & Arts Festival explores a black husband’s emotional roller coaster as he cares for his partner, who has breast cancer. Unlike most one-man shows, it isn’t autobiographical for actor Chuk Obasi; he has been performing the play by Samuel A. Simon, who is white, since 2016. In that sense, The Actual Dance breaks a general rule that shows in the DC Black Theatre & Arts Festival, which opens June 21 and runs to July 5, tell black stories. Statistics say this is an appropriate exception to grant. The show begins at 5 p.m. at Anacostia Playhouse, 2020 Shannon Place SE. $15. dcblacktheatrefestival.com.

—Rebecca J. Ritzel

POP

ROCK

FUNK & R&B

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Joey Landreth. 6 p.m. $15. citywinery.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Conya Doss. 6 p.m. $28–$40. citywinery.com.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Zealyn. 6:30 p.m. $12–$20. jamminjava.com.

FOLK

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Oshima Brothers + Rainbow Girls. 6 p.m. $15. jamminjava.com.

UNION STAGE 740 Water St. SW. (877) 987-6487.

Ziggy Alberts & Garrett Kato. 7 p.m. $25–$50. unionstage.com.

FUNK & R&B

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Vybe Band. 6 p.m. $18–$22. citywinery.com.

FREE One-Day Festival

Smithsonian Celebration of Music | Saturday, June 22 NATIONAL MUSEUM OF AMERICAN HISTORY | 11 am–5:30 pm SMITHSONIAN AMERICAN ART MUSEUM & NATIONAL PORTRAIT GALLERY 6 pm–midnight For more information: AmericaNow.si.edu Solstice Saturday

22 june 21, 2019 washingtoncitypaper.com

America Now is a three-museum collaboration between the National Portrait Gallery, the National Museum of American History, and the Smithsonian American Art Museum and is made possible by the generous support of the Robert and Arlene Kogod Family Foundation.

The Washington Post is the media sponsor of America Now.

TUESDAY FOLK

HYLTON PERFORMING ARTS CENTER 10960 George Mason Circle, Manassas. (703) 993-7759. Justin Roberts. 11 a.m. $10–$15. hyltoncenter.org.

FUNK & R&B HILL COUNTRY LIVE 410 7th St. NW. (202) 556-2050.

Secret Society. 9 p.m. $20–$25. hillcountrywdc.com.

POP CAPITAL ONE ARENA 601 F St. NW. (202) 628-3200.

New Kids On The Block. 7:30 p.m. $24–$250. capitalonearena.monumentalsportsnetwork.com.

ROCK CITY WINERY 1350 Okie St. NE. (202) 250-2531. The Woggles & The Stents. 6 p.m. $17–$20. citywinery. com.

ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

The Minus 5. 7 p.m. $15. rockandrollhoteldc.com.

VALET & SECURE PARKING aVAILABLE

CITY LIGHTS: MONDAY

take your wine to-g0 with growlers & retail wine!

RESTAURANT | BAR | MUSIC VENUE | FULLY FUNCTIONING WINERY | EVENT SPACE

* BECOME A CITY WINERY VINOFILE MEMBER *

EXCLUSIVE PRESALE ACCESS, WAIVED SERVICE FEES, complimentary valet & MORE!

COLLABORATIVE SCREEN PRINTING

What’s better than spending an evening screen printing? Spending an evening collaboratively screen printing at The Lemon Collective, the chic workshop space in Petworth. In this workshop you’ll learn the basics of screen printing, how to print images on a mesh screen, how to use different types of digital and hand-made stencils, and fun techniques to customize your ahhhrt—that’s art, but with a posh English accent. Local artist Beth Hansen, who is an organizer behind The Arcade, a group working to keep art accessible in our D.C. neighborhoods, will lead the workshop. She’ll also talk about composition, texture, color, translucency, and how to manipulate prints to create varied editions instead of replicable designs. Leave the cookie cutters in the kitchen and the copy-paste at the office, because this event is about originality and collaboration. Participants will rotate among different screens to create one-of-a-kind masterpieces together. Paper, inks, screens, and squeegees will be provided. You’ll leave with an original screen print, artistic street cred, and maybe even a new friend. The event begins at 6 p.m. at The Lemon Collective, 810 Upshur St. NW. $35. wearethelemoncollective.com. —Elizabeth Tuten

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Pat Benatar & Neil Giraldo and Melissa Etheridge. 7:30 p.m. $35–$50. wolftrap.org.

JIFFY LUBE LIVE 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Dead & Company. 7 p.m. $49–$750. livenation.com.

WORLD

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Hinder. 7 p.m. $25. ustreetmusichall.com.

LIBRARY OF CONGRESS COOLIDGE AUDITORIUM First Street and Independence Avenue SE. (202) 7075507. Los Cenzontles. noon Free. loc.gov.

WEDNESDAY BLUES

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Quinn Sullivan. 6:30 p.m. $22–$60. jamminjava.com.

ELECTRONIC

SOUNDCHECK 1420 K St. NW. (202) 789-5429. Ray Volpe & Ubur. 10 p.m. $12. soundcheckdc.com.

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. Sound Tribe Sector 9. 7 p.m. $50. thestatetheatre.com.

GO-GO

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Sirius Company featuring Ms. Kim & Scooby. 8 p.m. $22– $25. citywinery.com.

THURSDAY CLASSICAL

AUSTRIAN CULTURAL FORUM 3524 International Court NW. (202) 895-6714. Johannes Fleischmann and Oscar Micaelsson. 7:30 p.m. Free. acfdc.org.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. The Spill Canvas. 6 p.m. $18–$25. citywinery.com.

JUN 24

Mi Viejo 50 Años Tour

Piero

Got My Own Sound Band

Conya Doss

Joey Landreth

Edlavitch DCJCC Theater J & Plays 2 Gather Presents

JUN 24

JUN 25

JUN 26

JUN 26

JUN 27

Vybe Band

The Woggles

The Spill Canvas

w/ the stents

Bottle Of Red Tour

SUMMER RESIDENCY Sirius Company ft. Ms. Kim & Scooby in the wine garden

Phillip”Doc” Martin “Colors” & Earl Carter “Silky” dual album release party

JUN 28

JUN 28

JUN 29

JUN 30

JUL 1

Dan Baird & Homemade Sin

YahZarah

Terisa Griffin

Geoff Tate’s Operation: Mindcrime

Crank Jam

in the wine garden

in the wine garden

EIGHT NIGHTS

The World’s Only Go-Go Jam Session

1350 OKIE ST NE, WASHINGTON DC | CITYWINERY.COM/WASHINGTONDC | (202) 250-2531

VENTURE OUT

SOUNDCHECK 1420 K St. NW. (202) 789-5429. Wuki.

10 p.m. $15–$20. soundcheckdc.com.

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. Sound Tribe Sector 9 $50. thestatetheatre.com.

FOLK

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Ayye Moe. 7 p.m. $10– $15. songbyrddc.com.

ROCK

JUN 23

ELECTRONIC

POP

UNION STAGE 740 Water St. SW. (877) 987-6487. Juliana Hatfield. 6:30 p.m. $22. unionstage.com.

JUN 22-23

UNION STAGE 740 Water St. SW. (877) 987-6487. William Clark Green & Charles Wesley Godwin. 7 p.m. $16–$19. unionstage.com.

DC9 1940 9th St. NW. (202) 483-5000. Faye Webster.

8 p.m. $10–$12. dcnine.com.

DC9 1940 9th St. NW. (202) 483-5000. The Stolen. 8 p.m. $10. dcnine.com.

JUN 21

COUNTRY

JAZZ

TWINS JAZZ 1344 U St. NW. (202) 234-0072. The UpBeets. 8 p.m.; 10 p.m. $10. twinsjazz.com.

JUN 20

HIP-HOP JAZZ

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Phillip “Doc” Martin & Earl Carter. 6 p.m. $25–$35. citywinery.com.

EXPERIENCE DC’S FASTEST GROWING NEIGHBORHOOD

CAPITOLRIVERFRONT.ORG

CAPITOLRIVERFRONT

CAPITOLRVRFRONT

CAPITOLRIVERFRONT

TWINS JAZZ 1344 U St. NW. (202) 234-0072. BSQ. 8 p.m.; 10 p.m. $10. twinsjazz.com.

washingtoncitypaper.com june 21, 2019 23

CITY LIGHTS: TUESDAY

CITY LIGHTS: THURSDAY

THE SECOND FAYE CITY’S WEBSTER changing words, AMERICA; IT’S “Ijustamsodone my songs sound pretFaye Webster sings on COMPLICATED! tier,” “Hurts Me Too.” “I just don’t

If history has taught us anything, it’s that a Second City performance is where you go to see tomorrow’s comedy greats. Since the early 1960s, the Chicago-based troupe has been the face of sketch and improvisational comedy and a testing ground for up-and-coming stars. (The group has locations in Los Angeles and Toronto, but Chicago is home.) Aside from ensuring that every Second City performance is a distinct experience from every other, the spontaneity and messiness of improv mix to create an acid test that pushes unique comedic talent to the foreground. Second City alumni include Alan Arkin, Joan Rivers, Harold Ramis, and Keegan-Michael Key, not to mention half of the most famous cast members ever to grace the stages of Saturday Night Live and The Daily Show. Second City’s new touring show, America; It’s Complicated!, is now playing at the Kennedy Center and no two shows are the same. Featuring the troupe’s trademark biting social commentary, this time with a political lens, the show is sure to bring some levity to our nation’s capital. The show begins at 8 p.m. at the Kennedy Center Theater Lab, 2700 F St. NW. $49–$59. (202) 467-4600. kennedy-center.org.

—Will Lennon

CITY LIGHTS: WEDNESDAY

care if it hurts, ’cause it hurts me too.” The Atlanta singersongwriter has quickly become a master of portraying pain in a pleasant package, filling this year’s Atlanta Millionaires Club with sketches of heartache and loss and Tumblr-ready lyrics like “Even my tears have gone room temperature” and “The right side of my neck still smells like you.” The pain from old wounds doesn’t just animate her lyrics, either: Her music is nostalgic for the dreamy, reverb-heavy sounds of throwback pop, rock, and folk. Plus, she makes occasional forays into breathy, impressionistic R&B, hinting at a groove on “Come to Atlanta.” Perhaps it’s a gift she picked up when hanging out with her hometown hip-hop collective, Awful Records. The crew’s founder, rapper-producer Father, appears on “Flowers,” on which Webster says, “I don’t have that much to offer.” Don’t believe her. Faye Webster performs at 8 p.m. at DC9, 1940 9th St. NW. $10–$12. (202) 483-5000. dc9.club.

—Chris Kelly

POP

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Diana Ross. 8 p.m. $40. wolftrap.org.

WORLD

HOWARD THEATRE 620 T St. NW. (202) 803-2899.

Los Van Van. 6:30 p.m. $39.50–$40. thehowardtheatre.com.

Theater

BLACKBEARD In this world premiere musical commission at Signature Theatre, set sail with an infamous pirate for a raucous high-seas adventure as Blackbeard and his marauding crew journey across the globe to raise an undead pirate from the sea. Signature Theatre. 4200 Campbell Ave., Arlington. To July 14. $40–$98. (703) 820-9771. sigtheatre.org.

THE STOLEN

In Slaughterhouse-Five, author Kurt Vonnegut imagines an alien race that can perceive the dimensionality of time, allowing them to observe objects, people, and concepts extended across the decades. Through the eyes of one of those aliens, a musical historian could see an unbroken chain of sad, sensitive boys with guitars stretching backward throughout the history of rock, from Death Cab for Cutie to Elliott Smith, Morrissey, and beyond. The Stolen, a rock band based out of Old Bridge, New Jersey, are a link in that chain. They are your favorite pop-punk band from high school on Xanax, tranquilized nostalgia incarnate. That probably doesn’t sound appealing to those who aren’t familiar with The Stolen’s music, but taking a band that would sound at home on the 2008 Warped Tour and padding over its most splintery corners with Phil Collinsand A Flock of Seagulls-style production actually results in miraculously listenable music. The Stolen are the sort of band you play while wistfully driving around the suburb where you used to live, feeling a little sad but mostly relieved. They played their first shows together when they were in elementary school and they’ll bring their bittersweet stylings to DC9. The Stolen perform at 8 p.m. at DC9, 1940 9th St. NW. $10. (202) 483-5000. dc9.club.

—Will Lennon

24 june 21, 2019 washingtoncitypaper.com

BYHALIA, MISSISSPI Evan Linder’s Southern dramacomedy, winner of Chicago’s prestigious Joseph Jefferson Award for Best New Work in 2016, centers on broke, white young Mississippi couple Jim and Laurel, who, after giving birth to a biracial baby, ignites a fire in their small town. Kennedy Center Terrace Theater.

2700 F St. NW. To July 7. $25–$89. (202) 467-4600. kennedy-center.org.

FALSETTOS The Kennedy Center hosts William Finn and James Lapine’s Tony–winning musical, which revolves around the life of a smart and charming and neurotic gay man, Marvin, and his wife, lover, and son—with appearances by their psychiatrist and the lesbians next door. This funny and profound portrait of a modern family reminds its audience about love and the many stories it can tell. Kennedy Center Eisenhower Theater. 2700 F St. NW. To June 23. $49– $139. (202) 467-4600. kennedy-center.org.

HELLO, DOLLY! Broadway star Betty Buckley stars in this acclaimed production of Hello, Dolly!, the famous story of strong-willed, independent Dolly Gallagher who traipses across New York to serve as a matchmaker. Kennedy Center Opera House. 2700 F St. NW. To July 7. $49–$159. (202) 467-4600. kennedy-center.org.

THE ORESTEIA A new version of the only surviving Greek tragedy, The Oresteia poetically combines the works of Aeschylus to tell the ten year tale of grief and murder that characterizes the interlocking lives of Queen Clytemnestra, her husband Agamemnon, and Orestes. Shakespeare Theatre Company Studios.

610 F Street NW. To June 30. $44–$118. 202-547-1122. shakespearetheatre.org.

SPUNK A Guitar Man and Blues Speak Woman intertwine three stories of the black experience in early 20th century America (based on short stories by Zora Neale Hurston) to illustrate the endurance of the human spirit. Signature Theatre. 4200 Campbell Ave., Arlington. To June 23. $40–$85. (703) 820-9771. sigtheatre.org.

Film

THE DEAD DON’T DIE When the dead begin rising from their graves, a peaceful small town must battle a horde of zombies. Starring Bill Murray, Adam Driver, and Tom Waits. (See washingtoncitypaper.com for venue information) THE LAST BLACK MAN IN SAN FRANCISCO In San Francisco, a young man searches for home in the changing landscape. Starring Jimmie Fails, Jonathan Majors, and Danny Glover. (See washingtoncitypaper. com for venue information) MEN IN BLACK: INTERNATIONAL The galaxy defenders tackle the threat of a mole in the Men in Black organization. Starring Tessa Thompson, Chris Hemsworth, and Rebecca Ferguson. (See washingtoncitypaper.com for venue information) SHAFT Shaft Jr. enlists the help of his famous father and great-uncle to unravel the mystery behind the death of his friend. Starring Samuel L. Jackson, Jessie T. Usher, and Richard Roundtree. (See washingtoncitypaper.com for venue information) TOY STORY 4 When Woody and the rest of the toy gang embark on a journey, he meets old friend Bo Peep and learns what he wants out of life as a toy.

Starring Tom Hanks, Tim Allen, and Annie Potts. (See washingtoncitypaper.com for venue information)

SAVAGELOVE M DOOGALS THE FAMOUS

C

I found your column after a Google search.

I saw your e-mail address at the bottom and was hoping for some insight. My issue is this: Two years into our 23-year marriage, my wife declared that she didn’t want to kiss me or perform oral on me. Several years ago, she had an affair and confessed that she not only kissed this other person but performed oral on them as well. Why them and not me?

Should I just go find someone willing to do what I want? I have a high sex drive, but I find that I don’t want to sleep with my wife anymore because there is never any foreplay and a few minutes into it she’s telling me to hurry up. I don’t feel wanted, and honestly I no longer desire her. What do you make of this?

—Hurting Unwanted Husband Before telling you what I make of your email, HUH, I want to tell you what I wish I could make out of your email: a time machine. If I could turn all those pixels and code and whatever else into a working time machine, I’d drag your ass back to 1996 (and try to talk you out of marrying your wife) or 1998 (and try to talk you into leaving her after two years of marriage).

But since time machines aren’t a thing—at least not yet—we’ll have to talk about the here and now.

Your wife isn’t attracted to you, and never was, or hasn’t been for a long, long time.

And now the feeling is mutual—you aren’t attracted to her anymore, either. And if you’re seriously wondering why she kissed and blew that other person—the person with whom she had an affair—when she hasn’t wanted to kiss or blow you for 20-plus years (“Why them and not me?”), HUH, the answer is as painful as it is obvious: Your wife was attracted to her affair partner (that’s why them) and she’s not attracted to you (that’s why not you).

Now, it’s possible your wife was attracted to you a long time ago; I assume she was kissing and blowing you while you were dating and during the couple dozen months of marriage. (She wouldn’t have to announce she was going to stop doing those things if she’d never started.) But at some point relatively early in your marriage, HUH, your wife’s desire to swallow your spit and inhale your dick evaporated. It’s possible her desire to swallow/inhale the spit/dick of her affair partner would have evaporated in roughly the same amount of time, and she would have lost interest in him and his dick and his spit, as well.

Some people have a hard time sustaining desire over time—and contrary to popular belief, women have a harder time sustaining desire in committed, romantic relationships than men do. (Wednesday Martin wrote an entire NYT best-selling book about it, Untrue:

Why Nearly Everything We Believe About Women, Lust, and Infidelity Is Wrong and How the New Science Can Set Us Free.)

Of course, it’s possible your wife isn’t the problem. You may have said or done something that extinguished your wife’s desire for you. Or, hey, maybe your personal hygiene leaves everything to be desired. (I’ve received countless letters over the years from women whose husbands refuse to

Seeing as how your wife hasn’t wanted to fuck you for decades, and seeing as how you no longer want to fuck your wife, you should release each other from the monogamous commitment you made more than two decades ago. brush their teeth and/or can’t wipe their asses properly.) Or maybe you’re emotionally distant or cold or contemptuous or incredibly shitty in bed. Or maybe you’re not the problem! I don’t know you, HUH, and other than the very few details you included in your very brief letter, I don’t know what’s going on in your marriage.

But I do know this: If you can leave, HUH, you most likely should. But if you decide to stay because you want to stay, or because leaving is unthinkable for cultural or religious or financial reasons … well, seeing as how your wife hasn’t wanted to fuck you for decades, and seeing as how you no longer want to fuck your wife, you should release each other from the monogamous commitment you made more than two decades ago.

If you can adjust your expectations—if you can both agree to define your marriage as companionate, i.e., you’re friends and life partners, not romantic or sexual partners— you may be able to appreciate your marriage for what it is. But to do that, you’ll have to let go of the anger and disappointment you feel over what it’s not.

And to be clear: If your marriage is companionate, you should both be free to seek sex with outside partners.

—Dan Savage Simple question, probably not a simple answer:

How do you keep things exciting once the shiny, new phase of a relationship is over? Is it normal to reach a stage where you know someone so well that they’ve become boring? Isn’t that just the fucking worst?

—Same Old, Same Old Recognizing that some people actually enjoy boring—I have it on good authority that some people can get a thrill knitting sweaters and sitting still—there is something the rest of us can do to keep things exciting once the shiny, new phase of a relationship is over: Go on strange and exciting new adventures together. Early on in the relationship, SOSO, your new partner was your exciting new adventure, and you were theirs. But now instead of being the exciting new adventure, you have to figure out what exciting new adventures you’d like to go on together—and then get out there and go on them.

—DS I’m a young, nonbinary ethical slut, and I have a question about a kink that one of my partners is discovering. We are very close, although we are not sexually active with each other at this point (we are currently long-distance). She has another partner with whom she is currently exploring “little” play. I feel personally uncomfortable with age-regression play, but I obviously want to be supportive and understanding. We have fairly good communication, and I am able to tell her when I feel uncomfortable and that I still love and support her but I just can’t talk about “little” play at the time. I would love to be able to talk about it with her and be supportive, and at the very least make sure I don’t say anything ignorant or hurtful to her. My question is this: How can I stretch my zone of comfort and learn about this kink in a healthy and educated way?

—A Little Uncomfortable If you want to get more comfortable discussing “little” play, i.e., adults pretending to be small children with other consenting adults, the Dream a Little podcast is a good place to start. It’s hosted by Lo, an AB/DL (adult baby/ diaper lover) who has been a guest on my own podcast and who recently made an appearance in the column offering advice to a sad and lonely AB/DL. That said, ALU, you aren’t obligated to listen to your partner talk about this kink if the topic makes you uncomfortable— or just bores you senseless. Tell her that you support her and you know it’s exciting to explore a new kink, and while she doesn’t have to hide this from you, it’s not something you’re comfortable—at least for now—discussing at length.

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

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Contents: Adult . . . . . . . . . . . . . . . . . . . . . . . 42

Leather & Lace Stone SUPERIOR COURT OF .THE Massage for the GentleAuto/Wheels/Boat . . .DISTRICT . . . . . . . OF 42 men Only (Serving COLUMBIA Buy, Sell, Trade . . PROBATE . . . . . . .DIVISION . . . . . . . . .

Rockville/Potomac/ Bethesda) 301-655Marketplace . . . . 2019 . . . .ADM . . . .000497 . . . . . 42 0598 Name of Decedent, Community . . . . . Grover . . . . . Williams. . . . . . . .Notice . 42 Want to relax your of Appointment, Notice . .Creditors . . . . . . and . . . Notice . . 42 mind Employment and body. Get a . . . . to personal, therapeutic Health/Mind . . . . to . .Unknown . . . . . . .Heirs, . . . . . . .

Sheila D. Williams, massages designed just for you from a&certified Body Spirit . . . . whose . . . . .address . . . . . is . .7520 . 42 massage and physical Croom Station RD, Housing/Rentals . . . . .Marlboro, . . . . . . MD . . 42 Upper therapist.

240 6099172, Call or text.

Legal Notices . . . 20772 . . . . .was . . .appointed . . . . . 42 Personal Representative Relaxing Therapy - Row . of .the Music/Music . . .estate . . . . of . .Grover . . 42 Aromatherapy, Hot Williams who died on . . .facials, . . . . . . . . July . . . 08, . . .2011, . . . . without . . . 42a StonePets Massage, Suana, colon hydroReal Estate . . . . . Will . . .and . . .will . . .serve . . . .with 42 therapy. 7139 Hanover Court Supervision. All Parkway, Greenbelt, MD Shared Housing . unknown . . . . . . .heirs . . . and . . . heirs 42 C20770. open Mon-Sat, whose whereabouts are Services . . . . . . . . unknown . . . . . . .shall . . . enter . . . 42 2-4:30pm, Call 2 hours their appearance in this in advance. Appointproceeding. Objections ment only. 1hr - $90, to such appointment half hr - $80. 202-386shall be filed with the 4176.

Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 12/13/2019. Claims

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against the decedent Adult Phone shall be presented to Entertainment the undersigned with a copy to the Register of Livelinks Chat Lines.

Flirt, chat Wills or -to the Register and date! Talk to sexy real singles of Wills with a copy to in your area. Call now! (844) the undersigned, on 359-5773 or before 12/13/2019, or be forever barred.

Legals Persons believed to be heirs legatees NOTICEor IS HEREBYof the GIVEN decedent who do not THAT: receive copy of this INC. TRAVISA aOUTSOURCING, (DISTRICT COLUMBIA notice byOF mail within DEPARTMENT CONSUMER 25 days of OF its publicaAND REGULATORY tion shall so informAFFAIRS FILE Register NUMBER of271941) the Wills, HAS DISSOLVED EFFECTIVE NOVEMincluding name, address BER 27, 2017 AND HAS FILED and relationship.

Date OF ARTICLES OF DISSOLUTION of first publication: DOMESTIC FOR-PROFIT COR6/13/2019 Name of PORATION WITH THE DISTRICT Newspaper periOF COLUMBIA and/or CORPORATIONS DIVISION Washington City odical: Paper/Daily Washington ALaw CLAIM AGAINST TRAVISA Reporter Name of OUTSOURCING, INC. MUST Personal RepresentaINCLUDE THE NAME OF THE tive: Sheila D. Williams DISSOLVED CORPORATION, TRUE INCLUDETEST THE copy NAMENicole OF THE Stevens CLAIMANT,Acting INCLUDERegister A SUMMAof Dates: June RY Wills OF THEPub FACTS SUPPORTING 13, 20 and 27, THE CLAIM, AND BE2019.

MAILED TO 1600 INTERNATIONAL DRIVE, SUITE 600, MCLEAN, VA PUB22102 D.C. BILINGUAL LIC CHARTER SCHOOL ALL CLAIMS WILL BE BARRED NOTICE: FOR REQUEST UNLESS A PROCEEDING TO FOR PROPOSAL ENFORCE THE CLAIM IS COMD.C. Bilingual MENCED WITH INPublic 3 YEARS OF Charter School in acPUBLICATION OF THIS NOTICE cordance withWITH section IN ACCORDANCE SECTION 2204(c) of THE the DISTRICT District OF of 29-312.07 OF Columbia Reform COLUMBIA School ORGANIZATIONS ACT. Act of 1995 solicits proposals to Two Rivers for PCSvendors is soliciting provide following proposals tothe provide project manservices for SY19.20: agement services for a small con*NSLP-Produce struction project. For aServices copy of the RFP, please email procurement@ *NSLP-Grocery/Paper tworiverspcs.org.

Deadline for Product Services submissions is December 6, 2017.

Proposal Submission A Portable Document Format (pdf) election version of your proposal must be received by the school no later than 4:00 p.m. EST on Monday July 8, 2019.

Proposals should be emailed to bids@dcbilingual.org or at 33 Riggs Rd NE, Washington, DC 20011 No phone call submission or late responses please. Interviews,

Print Deadline The deadline for submission and payment of classified ads for print is each Monday, 5 pm.

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26 june 21, 2019 washingtoncitypaper.com

samples, demonstraLegals tions will be scheduled at our request after the DC SCHOLARS PCS REQUEST review of the proposals FOR PROPOSALS – Moduonly. lar Contractor Services - DC Scholars Public Charter School Request for Proposal solicits proposals for a modular Food Service Managecontractor to provide professional ment Company Services management and construction services to construct a modular Statesmen College building to house four classrooms Preparatory Academy and one faculty for Boys PCSoffi ce suite. The Request for College Proposals Pre(RFP) Statesmen specifi cations can be obtained on paratory Academy for and after Monday, November 27, Boysfrom PCSEmily is advertising 2017 Stone via comthe opportunity to bid munityschools@dcscholars.org. on the management of in All questions should be sent breakfast, lunch, snack writing by e-mail.

No phone calls regarding CACFP this RFPsupper will be acand/or cepted. Bidsto must be received by program children 5:00 PM onat Thursday, December enrolled the school 14, 2017 at DC Scholars Public for the 2018-2019 Charter School, ATTN: school year with aSharonda posMann, 5601 E. Capitol St. SE, sible extension of (4) Washington, DC 20019.

Any bids oneaddressing year renewals. not all areas asAll outmeals must meetcations at a will lined in the RFP specifi minimum, but are not not be considered. restricted to, the USDA National School BreakApartments for Rent fast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifications outlined in the Request for Proposal (RFP) such as; student data, days of service, meal quality, etc. may be obtained beginning on Friday, June 21, 2019 Must Spacious semi-furfrom see!

Sean Flora at 202nished 1 BR/1 BA basement 505-9072 or seanflora@ apt, Deanwood, $1200. Sep. enstatesmenboys.org trance, W/W carpet, kitchProposals will beW/D, accepten, fireplace near Blue Line/X9/ ed at 4600 Livingston V2/V4. Shawnn 240-343-7173.

Road SE, Washington, DC 20032 on Friday, Rooms for Rent July 12, 2019 not later than 4:00pm.

Holiday Special- Two furAll bids not for addressing nished rooms short or long all outlined termareas rental as ($900 and $800 per in the RFP not tobeW/D, month) with will access WiFi, Kitchen, and Den. Utiliconsidered. ties included. Best N.E. location along H St. Corridor.

Calland Eddie Invitation for Bid 202-744-9811 forProposal info. or visit Request for www.TheCurryEstate.com Grocery Items, Bread Items, Fresh Produce Items, Dairy Items and Paper Goods Mary McLeod Bethune Day Academy Public Charter School is advertising the opportunity to a

distributor to bid on the Construction/Labor delivery of grocery items or bread items or fresh produce items or dairy items or paper goods to children enrolled at the school for the 20192020 school year with POWER DESIGN NOW HIR-a possible extension of (2) ING ELECTRICAL APPRENTICES OF renewals.

ALL SKILL LEVone year All ELS! must meet at a items minimum, but are not about the position… restricted to, the USDA Do you love working with National School Breakyour hands? Are you interfast, Afterschool estedLunch, in construction and Snack and At in becoming an Risk electrician?

Supper meal pattern Then the electrical apprentice requirements. position could beAdditional perfect for specifications you! Electrical outlined apprentices able to earn a paycheck inare the Invitation for Bid and full ts whilefor learn(IFB) orbenefi Request ing the trade through firstProposal (RFP)) such hand experience. as; student data, days

of service, meal quality, what we’re looking for… etc. may be Motivated D.C.obtained residents who beginning on the from Don want to learn electrical Cole at 202-459-4710 trade and have a high school ordiploma D.Cole@MMBethune. or GED as well as reliable transportation. org Proposals will be aca little bit us… cepted atabout 1404 Jackson Power Ne Design is one of the Street Washington, top electrical contractors in DC 20017 on July 12, the U.S., committed to our 2019),not later and than values, to training to giv3;00 PM.to the communities ing back Allin bids addressing which not we live and work. all areas as outlined in more details… the IFB or RFP will not powerdesigninc.us/ beVisit considered. careers or email careers@ powerdesigninc.us!

BRIDGES PUBLIC CHARTER SCHOOL NOTICE OF INTENT TO ENTERFinancial A SOLE SOURCE Services CONTRACT Denied Work to ReBridgesCredit??

Public Charter pair Your intends Credit Report With The School to enter Trusted in CreditconRepair. into a Leader sole source Call Lexington Law for a FREE tract with The National credit report summary & Geographic for ELA credit repair consultation. 855-620Literacy 9426. John &C.Reading Heath, Attorney at within thedba school.

ThisLaw Law, PLLC, Lexington curriculum specifically Firm. equips and promotes comprehension and Home Services reading educational achievement.

Dish Network-Satellite Tele●Bridges Public Charter vision Services. Now Over 190 School establishes the channels for ONLY $49.99/mo! sole source The FREE HBO-FREE for with one year, National Geographic Installation, FREE Streaming, intended for the low FREE HD. Add Internet for $14.95 and high quality acost month.

1-800-373-6508 initiatives in reading as

a fundamental that will Auctions lead to student success. ●For further information regarding this notice, contact bids@ bridgespcs.org no later than 4:00 pm Monday, July 1, 2019.

KIPP DC PUBLIC CHARTER SCHOOLS REQUEST FOR PROPOSALS Whole Foods Commissary AuctionBooks School DC KIPPMetro DC isArea soliciting Dec. 5 at 10:30AM proposals from quali1000s S/S Tables, Carts fied vendors for School & Trays, 2016 Kettles up Books. The RFP can be to 200 Gallons, Urschel found on&KIPP DC’s webCutters Shredders insite at www.kippdc.org/ cluding 2016 Diversacut procurement.

Proposals 2110 Dicer, 6 Chill/Freeze should be uploaded to Cabs, Double Rack Ovens & website Ranges, (12) Braising the no later Tables, 2016 Stephan than 5:00 PM(3+) EST, on VCMs, 30+ Questions Scales, July 2, 2019.

Hobart 80 qt Mixers, can be addressed to Complete Machine Shop, jessica.gray@kippdc.org and much more! View the and tania.honig-silbigcatalog at er@kippdc.org. www.mdavisgroup.com or 412-521-5751 CARLOS ROSARIO INTERNATIONAL Garage/Yard/ PUBLIC CHARTER Rummage/Estate Sales SCHOOL REQUEST FORevery QUOTES Flea Market Fri-Sat Kitchen Equipment 10am-4pm.

5615 Landover Rd. The Carlos Rosario Cheverly, MD. 20784. Can buy School is looking to in bulk. Contact 202-355-2068 replace some for kitchen or 301-772-3341 details or if intrested in being vendor. equipment atathe Sonia Gutierrez Campus located at 514 V street, NE Washington, DC 20002.

For more information, please contact Sebastien Lamerre at slamerre@ carlosrosario.org. Bids are due by 4:00 pm on July 5, 2019.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2019 ADM 000621 Name of Decedent, Leon Haywood Hyde. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Bonita C. Redd, whose address is 8557 Abilene Road, Farmville, VA 23901 was appointed

Personal Representative of the Miscellaneous estate of Leon Haywood Hyde NEW COOPERATIVE SHOP! who died on February 15, 2019, without a Will FROM EGPYT THINGS and will serve without AND BEYOND Court Supervision. All 240-725-6025 unknown heirs and heirs www.thingsfromegypt.com whose whereabouts are thingsfromegypt@yahoo.com unknown shall enter their in this SOUTHappearance AFRICAN BAZAAR Craft CooperativeObjections proceeding.

202-341-0209 to such appointment www.southafricanbazaarcraftcoo shall be filed with the perative.com Register of Wills, D.C., southafricanba z a ar @hotmail.

515 5th Street, N.W., com Building A, 3rd Floor, Washington, D.C. WEST FARM WOODWORKS 20001, on orFurniture before Custom Creative 12/20/2019.

202-316-3372 Claims info@westfarmwoodworks.com against the decedent www.westfarmwoodworks.com shall be presented to the undersigned with a 7002 Carroll copy to theAvenue Register of Takoma Park, MD 20912 Wills or to the Register Mon-Sat 11am-7pm, of Wills with a copy to Sun 10am-6pm the undersigned, on or before 12/20/2019, Motorcycles/Scooters or be forever barred.

Persons believed 2016 Suzuki TU250Xtoforbe sale.

1200 miles.

CLEAN. of Justthe serheirs or legatees viced. Comes withdobike decedent who notcover and saddlebags. $3000 receive a copyAsking of this Cash only. notice by mail within Call 202-417-1870 M-F between 25 days of its publica6-9PM, or weekends. tion shall so inform the Register of Wills, Bands/DJs for Hire including name, address and relationship. Date of first publication: 6/20/2019 Name of Newspaper and/or periodical: Washington City Paper/Daily Washington Law Reporter. Name of Personal Representative: Bonita C. Redd Get WitTEST It Productions: ProfesTRUE copy Nicole sional sound and lighting availStevens Acting Register able for club, corporate, private, of Wills Pub Dates: June wedding receptions, holiday 20, 27 and July 4, 2019. events and much more. Insured, competitive rates. Call (866) 531SUPERIOR 6612 Ext 1, leaveCOURT message for a OF THE call DISTRICT OF ten-minute back, or book onCOLUMBIA line at: agetwititproductions.com PROBATE DIVISION 2019 ADM 000605 Announcements Name of Decedent, Audrey T. Conliffe a/k/aall Announcements - Hey, you loversTansimore of erotic andConbizarre Audrey romantic fi ction!

Visit www. liffe. Name and Address nightlightproductions.club and of Attorney Paul F. RieksubmitEsq. your 111 storiesRockville to me Happy hof, Holidays! James K. West Pike, Suite 975, Rockwpermanentwink@aol.com

ville, Maryland 20850.

Events Notice of Appointment, Notice to Creditors and Christmas Silver Spring Notice toinUnknown Saturday, December 2, 2017 Heirs, Vida Anderson, Veteran’s Plaza whose address is 1331 9:00 a.m. to 7:00 p.m.

Emerson Street NW, Come celebrate Christmas in Washington, 20011 the heart of SilverDC Spring at our was appointed Personal Vendor Village on Veteran’s PlaRepresentative of the arts za. There will be shopping, estate T. with and craftsofforAudrey kids, pictures Santa, music and Audrey entertainment Conliffe a/k/a to spread holidayConliffe cheer andwho more.

Transimore Proceeds from the31, market will died on March 2019 provide a “wish” toy for children with a Will and will serve in need. Join us at your one stop with Court Supervision. shop for everything Christmas.

All heirs and For unknown more information, contact heirs Futsum,whose whereabouts are unknown or info@leadersinstitutemd.org shall enter their appearcall 301-655-9679 ance in this proceeding. Objections toGeneral such appointment shall be Looking to Rent yard space for filed with the Register hunting dogs.

Alexandria/Arlingof Wills, D.C., 515 5th ton, VA area only. Medium sized Street, N.W., Building A, dogs will be well-maintained in 3rd Floor, Washington, temperature controled dog housD.C. 20001, on or be-care es. I have advanced animal fore 12/20/2019.

Claims experience and dogs will be rid against the decedent free of feces, flies, urine and oder.

Dogs will in a ventilatedto kennel shall bebepresented so they will not be exposed to winthe undersigned with a ter and to harsh etc. Space copy theweather Register of will be needed as soon as possiWills or to the Register ble.

Yard for dogsamust be to Metro of Wills with copy accessible. Serious callers only, the anytime undersigned, on 846call Kevin, 415or before 12/20/2019, 5268.

Price Neg. or be forever barred.

Persons believed to be Counseling heirs or legatees of the decedent MAKE THE who CALLdoTOnot START receive copyTODAY. of this Free GETTING a CLEAN 24/7 Helpline for alcohol & drug notice by mail within addiction Get help! It 25 daystreatment. of its publicais timeshall to takeso your life back! Call tion inform Now: 855-732-4139 the Register of Wills, including name, address Pregnant? Considering Adopand relationship.

Date tion?

Call us first. Living expenses, housing, medical, and continof first publication: ued support afterwards.

6/20/2019 Name ofChoose adoptive familyand/or of your perichoice.

Newspaper Call 24/7. Washington 877-362-2401. City odical: Paper/Daily Washington Law Reporter Name of Personal Representative: Vida Anderson TRUE TEST copy Nicole Stevens Acting Register of Wills Pub Dates: June 20, 27and July 4, 2019.

PUZZLE YOU SUCK

By Brendan Emmett Quigley

1 The Ballad of Buster Scruggs filmmakers 6 Story with a headshot 9 Permeate throughout 14 Let 15 Spotify playlist, e.g.

16 Brigadier General Yeager (first woman to command a U.S. Army infantry division) 17 Strings in the orchestra 18 Sonar sounds made while drunken?

20 Promotional gimmick 21 Actress Ortiz 22 Crucial 23 Has to lift weights at the gym?

28 Offensively smelly 29 Row of Staples 33 Geisha accessory 36 Rings around the aloha shirt collar 37 Reading spot

Across

38 Viral video trend that involves people wearing trash bags, and an alternate title for this puzzle 43 "My Dog Has Fleas" instrument 44 Ballerina's bend 45 The Man upstairs 46 Big buttes 48 Bohr of physics 49 Insect knows for sure?

55 Place for pampering 58 Affirmative that is a homophone of a pronoun 59 Former rep Olympia 60 Promote canonized folk with a boot in the rear?

64 Chef Deen 65 Moral value 66 Chickens do it 67 Core 68 "Christina's World" painter 69 Thing sucked out during a 38-Across (and from the theme answers) 70 Programmable thermostats

Down

1 Prickly plants 2 Vegetable-oil component 3 Page of Hollywood 4 "You think I'm joking" 5 Illness with farm origins 6 Maker of the X1 series 7 Sequel's sequel's number 8 Ventura County city

9 Francis, in Roma 10 With 62-Down, rum drink 11 Spot for an oversleeper 12 Instinctive motive 13 No problem 19 Hydrocarbon ending 24 Judge 25 Relating to the ears 26 Cod-filled meal served in slices 27 Trigonometric term 30 Diss track, e.g.

31 Corporate picture 32 ___ out a living (scraped by) 33 Egg, in biology 34 Make, as a 26-Down 35 Tops the cake 39 Letters on some fighter jets 40 Yankee or Oriole, briefly 41 Jaunty tune 42 Clinton's secretary of defense 47 Slacker's posture 48 LL Cool J procedural 50 "Indeedy" 51 Totally pointless 52 Mad Lib requests 53 Baby screecher 54 Contents of Room 101 in 1984 55 Render useless, as polls 56 "Too bad!"

57 Bit of soreness 61 Drummer's set 62 See 10-Down 63 Neighbor of Jor.

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BRIDGES PUBLIC CHARTER SCHOOL NOTICE OF INTENT TO ENTER A SOLE SOURCE CONTRACT Bridges Public Charter School intends to enter into a sole source contract with The Literacy Lab for tutors to be placed within the school.

These tutors are serving as effective reading assistants specifically equipped to promote educational achievement. â&#x2014;? Bridges Public Charter School establishes the sole source with The Literacy Lab intended for the low cost and high quality initiatives in reading as a fundamental that will lead to student achievement. â&#x2014;? For further information regarding this notice, contact bids@ bridgespcs.org no later than 4:00 pm Monday, July 1, 2019.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2019 FEP 000056. Date of death April 09, 2019.

Name of Decedent, Vera Leola Williams. Notice of Appointment of Foreign, Personal Representative and Notice to Creditors.

Geoffrey P Carter, whose address is 480 E. Franklin St. Wytheville, VA 24382 was appointed Personal Representative of the estate of Vera Leola Williams, deceased, by the Circuit Court for Wythe County, State of Virginia, on May 10, 2019. Service of process may be made upon Ian Z Goudy, 4425 1st street NE, Washington, DC 20011 whose designation as District of Columbia agent has been filed with the Register of Wills, D.C. The decedent owned the following District of Columbia real property: 4425 1st Street NE, Washington, DC 20011. The decedent owned District of Columbia personal property.

Claims against the decedent may be presented to the undersigned and filed with the Register of Wills for the District of Columbia, Building A, 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, within 6 months from the date of first publication of this noyice. Date of first publication: 6/20/2019 Name of Newspaper and/or periodical: DWLR/Washington City Paper. Name of Personal Representative: Geoffrey P Carter.

TRUE TEST copy Nicole Stevens Acting Register of Wills Pub Dates: June 20, 27 and July 4, 2019.

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Rqs 4 yrs of exprnc in the flwg: SaaS apps; Scrum Mthdlgs; GIT repos; Angular JS and Node JS; MS .Net Web API; C#; T-SQL, PL/ SQL, JAVA, JavaScript, HTML, CSS, and XML; Visual Studio (ASP.NET 3.0/3.5/4.0/4.5), VS Code, Red Hat JBOSS Dvlp Studio, SQL Server Mgmt Studio, TeamCity, Docker, Eclipse, GIT, Team Foundtn Srvr,

Fiddler, Postman, JIRA, Intercom, SourceTree, Trello, & ZenDesk. Snd CV & cvr ltr to microsoft. netjobs@mhelpdesk. com, ref#100A mHelpDesk, Inc. seeks Mobile App Developer in Fairfax, VA to ptnr w/ our Prod Mgmt & Qlty tms to dvlp hgh-qlty iOS Mbl apps on sched. Rqs BS in CS or rltd + 4 yrs of exprnc dvlpg iOS apps.

Rqs 4 yrs of exprnc in the flwg: Objective-C; Swift; C#; Xcode IDE; Ruby; Amazon Web Serv (AWS); MS SQL Server; MS IIS web server; Agile; Scrum; Jira. Rqs 1 yr of exprnc in the flwg: MS Visual Studio IDE; MS Web API; MySQL; .Net pltfrm; Appleâ&#x20AC;&#x2122;s CoreAnimation; Quartzcore frmwrk; Trello. Snd CV & cvr ltr to iosdeveloper@mhelpdesk.com, ref#101A Contractor needed for renovations to bathroom, kitchen, basement, roof work and Hardwood floors.

Call 301-383-4504 Flyer Distributors Needed Monday-Friday and weekends. We drop you off to distribute the flyers. NW, Bethesda, Silver Spring, Wheaton. $9/hr. 240-715-7874 Wholistic Services, Inc. is looking for dedicated individuals to work as Direct Support Professionals assisting intellectually disabled adults with behavioral health issues in our group homes and day services throughout the District of Columbia.

Job requirements: *Experience working with intellectually disabled adults with behavioral health issues is preferred *Valid driverâ&#x20AC;&#x2122;s license *CPR/First Aid certification (online certification not accepted) *Able to lift 50-75 lbs. *Complete required training(s) prior to hire *Med Certified within 6 months of hire *Background check prior to hire Education requirement: *High School Diploma/ GED Please contact Human Resources @ 301-3922500 to schedule an appointment.

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Call 866-535-9689 The Penn Branch Community Yard Sale is June 22, 2019 from 10AM-3PM at 3000 Pennsylvania Ave., SE (Pennsylvania Ave., Baptist Church Parking Lot). Rain date is June 29. Please come and shop. We have plenty of vendors and lots of items: jewelry, ceramics, fabrics, art, household goods, toys, books and more.

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