Washington City Paper (August 28, 2015)

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After crisis intervention, domestic violence survivors face another hurdle: D.C.’s affordable housing crunch. 7

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Advocates for domestic violence survivors agree: There’s not enough affordable housing in D.C. By morgan Baskin

4 ChAtter distriCt Line

10 City Desk: When a panda cub stops looking like a butter stick and other milestones 12 Loose Lips: How Metro’s consultants handled its latest crisis 11 Gear Prudence 14 Savage Love 15 Buy D.C.

d.C. Feed

17 Young & Hungry: The return of Jos. A. Magnus & Co. 19 Grazer: Stuff your face with stuffed foods 19 UnderServed: Jack Rose’s The Maverick & Gueze 19 The ’Wiching Hour: Walter’s Pulled Pork Sammy

Arts

21 Leipzig Show: A display of Justine Otto’s work at the Goethe Institut shows the richness of slow-moving schools.

23 Arts Desk: A short guide to DC Shorts 24 Curtain Calls: Croghan on The Importance of Being Earnest and Ritzel on The Fix

tomorrow exchange buy *sell*trade

26 Film: Olszewski on Grandma and Z for Zachariah 27 Short Subjects: Gittell on Digging for Fire

City List

29 City Lights: Shakespeare Theatre Company’s Free For All returns 29 Music 33 Books 33 Galleries 34 Dance 34 Theater 35 Film

38 CLAssiFieds diversions 39 Crossword

on the Cover

A residential unit in SAFE Space

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CHATTER

In which readers debate the merits of a tall-ish building in Southwest

Die Bard Andrew Giambrone’s piece on

Maryland Renaissance Festival

Time Travel to Fun!

Mar

EN O P yland

the fight over whether housing should be included in the Shakespeare Theatre Company’s planned nine-story headquarters in Southwest (“The Bard Sell,” Aug. 21) had readers debating the merits of both sides’ arNEAR ANNAPOLIS, guments. Development comIN CROWNSVILLE, MD mented, “I started reading this Kids 15 & Under article ready to fire off my classic retort about neighbors not admitted FREE understanding zoning, comAugust 23rd & 24th! prehensive/small area plans, or the future land use map.

August 29th - October 25th Then we get to the point that this is zoned R-3 and not desSats, Suns & Labor Day Monday ignated for this land use in AM PM s 2AIN OR 3HINE the small area plan. Yeah, this was a stupid idea from STC to buy this land outright before going through the zoning process. So many of the other complaints are tired and misguided, but having to go through a PUD process is probably a step too far ils.

Visit Our Website for deta for this development and it’s going to get pared way down and STC/Erkiletian are going to lose money on this.” lives by theWharfDC was skeptical of a featured opponent’s position: “I find it ironic that the Ehrlichs’ were such HUGE proponents of all the 13 story buildings of theWharfdc project next to my home yet are now crying foul about a little 9 story building next to theirs. Funny how your perspeccrying foul. The article doesn’t mention the 5 story poptive changes isn’t it? The STC/Erkliletian people have up that is adjacent to the 3 story portion of the buildbent over backwards to accommodate the few neighbors

ing that will be on the north side of the development.

It also doesn’t mention the other developments in the pipeline for I street that will include several 9 story buildings.” Payton Chung agreed: “I read and re-read this story, looking for a mention that this ‘multi-story building’ is surrounded not only by ‘dozens of two- to three-story townhouses’ but also by several other multi-story buildings -- including Mr. Ehrlich’s very own Waterside Towers, *just across the corner.* The NIMBYs can whine all they want about ‘contextual disharmony,’ but towers + townhouses is exactly the urban pattern that defined Urban Renewal Southwest from the moment Capitol Park was built. Their 300 signatures mean little in the context of a neighborhood of over 10,000 residents.” Andrew Lightman, managing editor of Capital Community News, wrote in with concerns about our lack of coverage of ANC 6D’s efforts to find an alternate plan. Mea culpa: It was a definite oversight, but not an intentional one. This piece was just Act 1 in Giambrone’s coverage of the topic.

—Sarah Anne Hughes

BIG SAV INGS AT THE GATE THROUGH SEPT. 13TH!

Re S na A U iss G 2 9 ! ance Fe s t i va l . c o m

Department of Corrections: Due to a production error, last week’s food grazer stated that Mike Isabella’s Pepita will open in fall 2016. It’s not yet known when Pepita will open in 2016.

Want to see your name in bold on this page? Send letters, gripes, clarifications, or praise to editor@washigntoncitypaper.com.

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A House Provided After crisis intervention, domestic violence survivors face another hurdle: D.C.’s affordable housing crunch.

Tucked into a back hallway on the fifth floor of the D.C. Superior Court is Survivors and Advocates for Empowerment’s office.

In the waiting room, a young mother bounces a toddler on one knee while her second child plays on the floor with wooden blocks painted in primary colors. A stack of used parenting books sits on a table next to her. On the other side of the wall, fluorescent lights glare over a maze of gray cubicles, where 15 workers field calls—about 900 a month—from survivors of intimate partner violence.

Since 2009, DC SAFE has partnered with a handful of city agencies to reduce domestic violence-related homicides that occur in the District—homicides that led Chief Cathy Lanier to say this June that the Metropolitan Police Department is “really struggling with… violence in the home.”

“What is driving homicides? A significant increase in fatal family violence, including intimate partner violence, child abuse, and neglect, is driving homicides,” Lanier told the D.C. Council this March. Domestic violence homicides, according to an MPD spokeswoman, increased from 9 (in 2012) to 12 (in 2013) to 19 (in 2014). Of those, 3, 6, and 9, respectively, were classified as intimate partner homicides. So far this year, 8 domestic violence homicides have been reported, 3 of which were classified as intimate partner.

DC SAFE screens about 5,000 clients a year—1,200 of whom are considered at high risk for homicide. It also runs SAFE Space, the only 24-hour, seven-days-a-week crisis shelter in the city. DC SAFE places survivors in its facility within an hour of the reported incident and hosts them for up to 30 days. At any given time, more than 20 families are staying in that shelter—filling it to capacity. About 315 families stay in the shelter each year.

Photographs by Darrow Montgomery

By Morgan Baskin

A wall inside SAFE Space Easy access to emergency housing is what allows survivors to escape their abusers. But in a city where affordable housing is rapidly disappearing, finding survivors a long-term, safe place to live is becoming increasingly difficult. SAFE Space, too, is facing its own search for a permanent home.

Intimate partner violence is just one form of domestic violence. The others include family-wide and shared-residence vi-

olence, meaning abuse between unrelated parties who live together.

Domestic violence, and in particular, intimate partner violence, is the largest contributing factor to family homelessness. According to a point-in-time count conducted by regional agencies this January, 10.7 percent of homeless single adults in D.C. reported a history of domestic violence, while 27 percent of homeless adults in families reported the same. Regionwide, the number

of people in families “whose current episode of homelessness was the result of domestic violence rose from 261 in 2014 to 1,101 [in 2015], a significant 322 percent increase,” according to the Metropolitan Washington Council of Governments.

Eighty percent of domestic violence survivors seeking housing assistance from DC SAFE have children; on average, a DC SAFE client with children has four. Those numbers are drastically different from what Natalia Otero saw when she co-founded DC SAFE almost 10 years ago.

“The face of homelessness in this city has changed a lot,” Otero says of the number of children her organization now serves. “That to me is concerning.”

A successful domestic violence survivor network operates along a continuum of service, providing 30-day crisis shelters, 90day emergency shelters, and two-year temporary housing. The problem with D.C.’s survivor support isn’t in crisis intervention; DC SAFE’s lethality assessment program gives city agencies like MPD, the U.S. Attorney’s Office for the District of Columbia, and local hospitals a mechanism for identifying potential victims of abuse. The problem is with mid- and long-term shelter: The District’s competitive real estate landscape, as well as its complicated victim compensation programs and antiquated city code, make it difficult to create a consistently reliable network of places to stay after the survivor is out of immediate danger.

“Domestic violence-specific shelter options are relatively limited in this city,” Otero says. “There’s a big gap on the city services end to get people into permanent housing, which is why we rely on the transitional nonprofit providers, but there’s a big shortage there too… We don’t turn anyone away. And we frequently max out on our space.”

DC SAFE isn’t alone. A 2014 point-intime survey by the National Network to End

washingtoncitypaper.com august 28, 2015 7

DISTRICTLINE Domestic Violence showed that 77 requests for service from survivors of domestic violence were unfufilled in D.C. on a single day in September. Twenty-eight percent of those requests were for housing assistance, and the percentage of requests that went unmet increased by almost half in just a year.

“For every one survivor and her family that we’re able to help, we have to turn four away,” says Peg Hacskaylo, executive director of the District Alliance for Safe Housing.

“There are so few safe housing options.” The organization served around 300 women and children last year in its housing programs, which include emergency and transitional units. Heads of these families are primarily African-American women in their mid-20s with two children under the age of five.

“The difficulty that we face is how we place [survivors] after they’ve exited those short-term placements,” she says. “There aren’t enough mid - to long-term options for those families, and that’s where the crunch really happens.” When looking for housing, domestic violence organizations must also address the “added barrier of [the survivor’s] safety needs and the fact that they’ve experienced trauma.”

Karma Cottman, executive director of the DC Coalition Against Domestic Violence, says the number of unfullfilled requests is consistent annually.

“Domestic violence shelters are supposed to house victims for 30 days. That’s not happening in our city at all,” she says. “We’re talking an average of six months [that families are staying in a shelter], because there is no affordable housing.”

“The problem is definitely getting harder, getting worse,” Hacskaylo says. “I think that’s just a combination of the total lack of affordable housing [as well as the Recession]... Families who have been doubled up for a long time, who have been trying to cope with bad situations—those bad situations got to the breaking point where survivors need to get into a safe place.”

Partner agencies in the District are struggling to meet the demand for domestic violence-specific housing, too: When SAFE Space is at capacity, staffers can direct survivors to general homeless shelters or acquire space in subsidized housing through the D.C. Housing Authority.

Survivors already receiving assistance through DCHA’s Housing Choice Voucher Program (formerly known as Section 8 vouchers) can apply for an emergency transfer request, which allows the family to search for another unit to rent. Rick White, DCHA’s communications director, says the

“For every one survivor and her family that we’re able to help, we have to turn four away.”

Inside SAFE Space turnaround between the request and issuance of a transfer is about 24 hours for those whose status as a domestic violence survivor has been confirmed by DC SAFE or DASH. White says DCHA doesn’t keep numbers on how many emergency vouchers the agency issues annually.

While the transfer is an option for people who already have a voucher, it’s not useful for people outside of the program who need help now: A person must be approved for a Housing Choice Voucher before she is eligible for an emergency transfer, and White says the HCV waitlist (which closed in 2012)

8 august 28, 2015 washingtoncitypaper.com

is 40,000 people long. Instead, Otero says, the “big push” is for rapid rehousing, a subsidy program that allows families to rent a unit at one third of market value for up to one year.

Even then, units are scarce, and Otero says a one-year buffer between survivors fleeing a home and affording rent at full market price is difficult for families who— at best—are single income.

“Affordable housing is one of the biggest obstacles to a survivor’s road to recovery,” says Dora Taylor, a spokesperson for D.C.’s Department of Human Services. “There

are occasions when no beds are available in domestic violence shelters, and survivors may receive emergency housing assistance through the emergency shelter system.”

Ward 7 Councilmember Yvette Alexander, who chairs the Committee on Health and Human Services, acknowledges that the overflow is dangerous for survivors of domestic violence, as general shelters don’t always provide survivor-specific resources like counseling. “[Families] have more protections if they have shelters specifically for them,” Alexander says.

A report from DC SAFE highlights the relative affordability of investing in domestic violence-specific housing options: While DHS spends about $156 per night to shelter a homeless family, the domestic violence-specific equivalent costs about $130 per night.

The D.C. Superior Court’s Crime Victims Compensation Fund will reimburse organizations like DC SAFE who pay to house survivors in shelters or hotels on a short-term basis. Spokesperson Leah Gurowitz says CVC paid about $8 million in housing costs last year (that money comes from a fund of court fines and fees paid to the District). DC SAFE must bill CVC for each family it houses, a system which Otero compares to billing for medical insurance. “It’s very arduous,” she says.

D.C. Code requires survivors report their abuse to MPD or the D.C. Court to qualify for reimbursement through the CVC fund.

Although Otero calls the D.C. court system “among the friendliest in the country” toward survivors of domestic violence, she acknowledges that many survivors—about 20 percent of those who seek emergency housing assistance from DC SAFE—don’t feel comfortable reporting the relevant crimes to authorities.

DC SAFE absorbs the cost of housing those survivors, eating through hundreds of thousands of dollars of its $1.8 million budget every year.

“People shouldn’t make the decision to follow through a criminal process if they feel it’s unsafe because their housing depends on it. We struggle with it a lot,” Otero says. “It’s a constant, like, ‘OK can we give her five days? Can we give her a week?

Can we press on our partner agency to house her faster?’ Because we can only afford to keep her for eight days.”

To complicate matters, DC SAFE’s crisis shelter—the District’s only domestic violence crisis shelter—is facing a lease expira-

tion at the end of next year.

When DC SAFE signed the lease for its crisis shelter space in 2011, the building was about to go into foreclosure. Otero says she always saw the building as a temporary home for SAFE Space but “didn’t plan on how difficult it would be to get a permanent building.”

Now, DC SAFE is teaming up with Building Partnerships—a development firm that specializes in affordable housing—to buy land and construct its own crisis shelter built. That will include about 10 more units than it currently has to meet the demand for crisis shelter.

DC SAFE has filed a joint application with BP through the Department of Housing and Community Development for a parcel of public land, but Otero thinks DC SAFE will fight an uphill battle to receive the bid.

Even if DC SAFE does receive the land, the total investment to build the shelter could be between $5 and $8 million—quadruple the organization’s annual budget.

“The problem is it’s really sexy property,” Otero says. “It’s hard to compete in development in D.C. if you’re a small nonprofit looking to build a shelter versus a developer who wants to build a condo.”

If DC SAFE doesn’t receive the parcel, Otero says the organization will try to buy a small building in a quiet part of the city.

That, too, comes with its own set of limitations: a six- to nine-month appeals process with the D.C. Zoning Commission to permit the construction of a domestic violence shelter (“it’s nearly impossible to find a building that’s already zoned to be a crisis shelter”); a seller who might be unwilling to hold off on the sale of the building for that time (“you have to find a seller that’s down with the cause”); and neighbors who might not feel comfortable with having a shelter in their neighborhood (“it’s kind of the whole ‘not in my backyard.’”). Plus, DC SAFE would still need a community bank to finance the project.

“I guess what my perspective really is is that there’s something systemically or inherently cumbersome about the way these things happen for nonprofits,” Otero says.

This spring, Cottman and other advocates headed to the Wilson Building to testify in favor of additional resources for domestic violence survivors, like trauma counseling and resource pamphlets in languages other than English.

Initially, the Bowser administration’s proposed fiscal year 2016 budget transferred $2.5 million out of the Crime Victims Assistance Fund, according to a Council budget

document. Cottman says it was Chairman Phil Mendelson and Ward 5 Councilmember Kenyan McDuffie who made sure that funding was restored.

The city has allocated about $1.3 million in local funds to DHS’s domestic violence services for fiscal year 2016, a 130 percent increase from last year. The budget provides an additional $719,000 to DHS for housing and services for domestic violence survivors, while the Office of Victim Servic-

of affordable and permanent housing units that would benefit “all subpopulations,” including survivors.

But cities across the country, including D.C., face unique challenges when trying to connect survivors with shelter and permanent housing. Federal law prohibits D.C. from entering information about domestic violence survivors into the Homeless Management Information System, which allows the city to analyze a client’s data and con-

DC SAFE’s Natalia Otero, center, with Bob Aramony, left, and Michael Milliner, right, of Building Partnerships es’ budget increased by $167,000. Cottman calls the budget increases “amazing.”

“The Council—particularly Councilmembers Mendelson, McDuffie, [Mary] Cheh, and Alexander—really came together to figure out how we were going to get that $2.5 million back. But we’re seeing the Council as a whole really step up and figure out how to build a reliable safety net for survivors,” Cottman says.

Christina Harper, deputy communications director for the mayor, says the administration’s plan to address homelessness, Homeward D.C., will increase the number

nect her with the appropriate resources.

This is just one of the “systemic barriers that have developed over time,” Hacskaylo says. “Those survivors that we work with end up getting screened out of all of the options that are made available to families in the homeless system.”

“What ends up happening is that victims fall through the cracks. They either end up on the streets or going back to their abusers because they have nowhere else to go.”

Harper says the city is “working with stakeholders to compile better data on the size, needs, and circumstances of [the survi-

vor] population” to close the gap. D.C.’s Interagency Council on Homelessness, also, is looking for ways to include survivors in the continuum of care, Hacskaylo says.

District agencies are also taking an inventory of all available housing units in the city, including of the available transitional housing.

“We expect some of the units could be repurposed as targeted programing for [domestic violence] survivors to increase the number of emergency resources available for this population,” Harper says.

The city has also made changes at the assessment level. Since June, DASH employees have been embedded at the Virginia Williams Family Resource Center, where the city’s homeless families go for assessment and placement, and at the D.C. General shelter. At the latter, DASH works with staff to ensure that families “are met with a trauma-informed response,” are “linked with domestic violence services,” and have their safety needs met, says Hacskaylo. Her organization is working with staff at both locations to “make sure that survivors have access to safe housing along the continuum.”

Exactly what kind of housing depends on the survivor’s needs and options.

“Our first response is going to be to assess her safety risk and what her needs are and what she really wants to do,” Hacskaylo says. “We really have had an incredible amount of success keeping survivors in their home,” whether that be through emergency financial assistance or working with a landlord to “get the abuser ordered out of the residence.” For survivors without any housing options or at especially high-risk for harm, DASH works with other nonprofits in the city to find appropriate shelter.

“We’re really focused on helping the city to put a variety of different programs in place,” Hacskaylo says. This includes increasing the number of mid- and long-term housing options, ensuring families have access to the existing housing continuum, and preventing survivors from becoming homeless in the first place.

Abraham Ahern, DC SAFE’s strategic oversight manager, says he is “heartened” by the “proactive approach” the Bowser administration is taking on homelessness and domestic violence. “The initiatives are ambitious but innovative solutions, and effective policy can only come from far-reaching goals,” he says.

“It takes all of us coming to the table, willing to create change,” he says. “Nonprofits cannot solve these challenges alone.” CP

washingtoncitypaper.com august 28, 2015 9

DISTRICTLINE City Desk

Black and White

Handout photos courtesy National Zoo

and a Stick of Butter After weeks of anxious anticipation involving the word “pseudopregnancy,” giant panda Mei Xiang finally gave birth to twin cubs this past Saturday at the National Zoo. Viewers were able to witness the births live via the zoo’s online panda cam, which even captured shrieks from the pink cubs.

Zoo employees alternated the cubs with Mei to make sure they received sufficient nutrition, but sadly, the smaller cub died Wednesday. The good news: The other cub appears to be doing well. Assuming that remains the same, here’s what we can expect for the surviving cub.

—Andrew Giambrone Birthday: The twins were born Aug. 23 at 5:35 p.m. and 10:07 p.m., respectively. They weighed 86.3 and 132.4 grams the next day. “A newborn cub is about the size of a stick of butter,” the zoo’s website explains.

2000 BLOCK OF WEST VIRGINIA AVENUE NE, AUG. 20. BY DARROW MONTGOMERY 10 august 28, 2015 washingtoncitypaper.com

Tomorrow’s history today: This was the week that we learned it’s more expensive for a family of four to live in D.C. than in New York.

Gender and paternity: Officials will determine the gender and paternity of the remaining cub through DNA testing via a swab of its cheek. The father could be Tian Tian, who provided the sperm for two-year-old Bao Bao, or Hui Hui, a male giant panda living in Wolong, China.

Fur: Pandas begin to develop their signature black-and-white fur within a month of being born. Black patches may appear near ears, eyes, and shoulders as soon as a week after birth.

Weight: At one month old, most giant pandas weigh about four pounds. They can grow up to ten times their birth weight within a month and a half of being born.

Eyes: Panda cubs typically open their eyes at six to eight weeks of age. They are blind at birth.

100 days after birth. The name may be put to a public vote, as was the case for Bao Bao. Walking: After four months, panda cubs begin to run. (They also tumble around on the ground.)

Tree climbing: Using claws, pandas can climb trees beginning around five months after birth.

On stage: Once it receives a rabies vaccination, also at around five months, the cub will join the National Zoo’s panda exhibit.

Bamboo: Pandas start regularly eating bamboo at around six months.

Body and tail length: By eight months, pandas are about three times longer than they were at birth. Their tails, which had made up 15 percent of their body length, now make up 8.5 percent.

Teeth: On average, cubs’ teeth begin to show around three months old. They still suckle daily.

Weaning: Cubs stop taking their mother’s milk at around one year; by two, in the wild, they become socially independent. They weigh more than 50 pounds at this point and will keep growing.

Names: In keeping with Chinese (and National Zoo) tradition, pandas are given names

Death: Captive pandas live a relatively long life of around 30 years.

Baby steps: Near the end of the second month, pandas can walk about a meter (before falling).

Gear Prudence: I’m a daily user of the L Street cycletrack. Nearly every day I encounter the same frustrations, but contrary to what you might think, it has nothing to do with trucks parking in it. It’s my fellow cyclists who stop at green lights waiting to turn and block the bike lane. More than once I’ve been forced to stop short or make a last second swerve. Can you please clarify how bicyclists are supposed to make turns from L Street?

—Tell Us Right Now Dear TURN: The L Street cycletrack, like its counterpart on M Street, is a one-way protected bike lane that runs in the same direction as car traffic. It does not have its own traffic signals, so bicyclists are expected to follow the same traffic lights as drivers. The cycletrack primarily runs alongside the sidewalk, except in the “mixing zones” where the path for bicyclists shifts from directly next to the sidewalk to the right side of a left-turn-only lane. There are only “mixing zones” at intersections where left turns are allowed, and learning how to deal with the ten along the 1.4-mile-long cycletrack is a key element of riding it. Why are there so many mixing zones? Does it have anything to do with the longstanding rumors of nefarious backroom dealings between local bureaucrats and Big Stand Mixer to promote brand awareness? Likely not.

It was just a design decision based on the conditions of the roadway.

The mixing zones add an element of confusion to riding the cycletrack and likely are the cause of your frustrations. When the cycletrack and turn lane cross, the bike lane narrows. If a bicyclist stops in this narrow section (which is painted green) and comes to a stop waiting to turn, this causes a bottleneck. The green painted sections are meant for bicyclists continuing straight. There’s even an encouraging arrow that helps point the way. Green paint, go straight.

Turning left is generally easy: Just use the left turn lane. Once you reach the mixing zone, stay next to the sidewalk and merge in with any drivers. Turning right is trickier. Since the cycletrack is on the left hand side of the street, a bicyclist trying to make a right turn must cross three lanes of traffic. To do this, you can leave the cycletrack well before the intersection and slowly work your way over, but that can be harrowing.

Instead, stay in the left lane until the intersection, then get in front of the stopped traffic headed in your intended direction. Or you could just fly a helicopter everywhere because helicopter pilots don’t have to wor—GP ry about this shit.

26,

Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling?

Email gearprudence@washcp.com. washingtoncitypaper.com august 28, 2015 11

DISTRICTLINE Loose Lips

Smoke Screen

How Metro spun the January smoke death; D.C. is paying a premium for the mayor’s Navigator On Jan. 12, Metro faced yet another crisis. Smoke flooding a stopped train on the Green Line had left one passenger dead and dozens of others in the hospital. So the Washington Metropolitan Area Transit Agency did what any other huge institution does went it has a disaster: They hired some spin doctors.

As the public and media fumed at another fatality on the transit line, Metro contracted with two crisis firms, O’Neill and Associates and Hill + Knowlton Strategies. Documents obtained by LL through an open records request show the agency and its consultants scrambling to respond to the January smoke incident—and, for some reason, keeping tabs on a critical Twitter account along the way.

The work didn’t come cheap. In March, for example, Hill + Knowlton’s work alone cost more than $60,000. WMATA spokeswoman Sherri Ly says that the firms cost Metro roughly $250,000, all of which was paid out of the transit agency’s insurance policy.

WMATA staff didn’t intend to provide LL with all this information. Earlier this month, the agency mailed LL a CD that held some files that were redacted and open, along many more that were password-protected. After WMATA staff gave LL the passwords for the restricted files, they realized too late that they contained unredacted files.

Earlier this week, WMATA asked LL to return the CD in exchange for redacted copies of the files. No thanks, said LL. The unredacted files provide a look at how the agency struggled to recover from the smoke death while also not violating National Transportation Safety Board rules about discussing details of the accident while the investigation was ongoing.

That limited WMATA’s ability to push back on the bad news. As Hill + Knowlton’s presentation to the agency noted in fluent PR-speak, news about WMATA “continues to progress unfettered into negative spaces.”

It didn’t help, the firm noted, that Metro had

such a bad reputation even before the smoke fatality. Or that, just as the system had killed one of its passengers, WMATA was ready to raise fares and reduce service for the rest.

The presentation noted that the smoke incident wasn’t so abnormal in passengers’ estimations, just “what many have come to expect from Metro.”

In response, Hill + Knowlton offered a plan where “media volume and negative tone [would be] reduced.” That meant “daily monitoring” of social media and “media and competitor analysis,” plus establishing interim WMATA General Manager Jack Requa as “a leader in control.”

O’Neill and Associates, which tried to win WMATA’s business by showing how it had previously helped spin for a Chinatown bus line that had been shut down by the Department of Transportation, offered its own form of Internet pushback for the embattled agency.

The firm could, according to its presentation, help WMATA with “adverse search results” and follow Metro discussion on Instagram, Facebook, Twitter, and, uh, Google+. (WMATA might want its insurance money back on that last one.)

O’Neill and Associates had something else to offer: Peter Goelz, the former managing director of the NTSB, works there. At an hourly rate of $350, Goelz helped WMATA staff navigate the NTSB investigation.

Most curiously, the crisis response involved taking an interest in at least one individual Twitter user. One of Hill + Knowlton’s staffer, compiling her work on a time sheet, noted

12 august 28, 2015 washingtoncitypaper.com

Darrow Montgomery

By Will Sommer

that she had “researched and provided analysis on @fixmetro blogger.”

That’d be Chris Barnes, the prolific Metro watcher who tweets as @fixmetro. When LL reached Barnes, he was surprised to learn he earned personal notice from WMATA’s spinmeisters.

“What a fricking waste of money,” Barnes says.

Barnes is puzzled that the transit agency would have to spend money analyzing him, given that he says he regularly exchanges emails with Metro spokesman Dan Stessel. In other words, he says, figuring him out didn’t exactly require extensive research.

“I’m happy to sit down and answer whatever questions they’ve got,” Barnes says. “And that’ll be free.”

’Gator Wrestling District officials love their Lincoln Navigators. Former Mayor Adrian Fenty may be better known for driving an eco-friendly Smart car, but he still commuted to the Wilson Building in a Navigator. Vince Gray bounced between campaign stops during his 2010 mayoral run in a Navigator paid for by shadow campaign mastermind Jeff Thompson.

Ex-D.C. Council Chairman Kwame “Fully Loaded” Brown earned his nickname first for his insistence on getting a Navigator—an unusual perk for a Council chairman—and then demanding that it come with the works.

Muriel Bowser and her security detail have continued the tradition, outfitting her with another black Lincoln Navigator. While Bowser’s Navigator connection isn’t as scandalous as Gray’s or Brown’s, though, her car is noteworthy for one thing: It’s crazy expensive!

That ’gator, which was leased in October 2014 at the end of the Gray administration, costs $2,344 a month, according to invoices obtained by LL through a Freedom of Information Act request. A lease signed by the Metropolitan Police Department, which handles Bowser’s security, estimates that its total annual cost could come to $30,000 a year.

Sure, tens of thousands of dollars won’t bust the city budget, even if the idea of the mayor’s car costing as much as rent on a luxury apartment is hard to stomach. What LL can’t believe, though, is why these political leases had to be this expensive.

LL tried to play car dealer for a second and find a comparable Navigator lease online.

Even maxing out the perks and signing up a two-year contract like the District, though, LL failed to find a lease that went much above $1,000 in monthly payments.

MPD Lieutenant Sean Conboy says the lease on the mayor’s Navigator is more expensive because they have to modify it to fit emergency equipment.

“The modifications to the vehicle make it more difficult to find a lease,” Conboy says.

If that’s the case, the government Navigator market has become pricier since the last administration. By comparison, Gray and Brown’s Navigators leased in 2011 for just a little over $1,900 a month. Even adjusting for inflation four years later, Bowser’s administration is paying nearly $300 more a month than Gray’s did for the mayoral SUV. With all the change at the Wilson Building lately, there’s a comfort. The politicians may change, but their taste for Navigators—and the big bills behind them—will remain. CP

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Got a tip for LL? Send suggestions to lips@washingtoncitypaper.com, or call (202) 650-6925. washingtoncitypaper.com august 28, 2015 13

SAVAGELOVE Please do a public-service announcement about the Ashley Madison hack, and request that NO ONE look up information on ANYONE other than their own spouse. I’m a former AM user.

I’ve been married to my wife for 20 years. We met when we were both 20 years old. Seven years ago, I made a selfish decision to have an affair, and five years ago, my wife found out. She hated me for a while, but we worked things out. I have been faithful since then, and our marriage is better than ever. Since my wife already knows everything, I have no worries about her finding out. But what about every other person I know?

It is mortifying to think about my colleagues or my wife’s family poring through my profile information. I’m going to assume the best—most people have the common decency not to snoop into their neighbors’ bedroom habits—but it would be great if you could ask people to respect other —Really Enraged Guy people’s privacy.

Requesting Everyone’s Tactful Silence I’m happy to back you up, REGRETS, but I don’t share your faith in humanity. Most people are only too delighted to snoop into their neighbors’ bedroom habits—particularly when doing so induces feelings of moral superiority. And I like to think the kind of puritanical busybodies who would go looking for names in the Ashley Madison dump are unlikely to be readers of mine, so they wouldn’t see my Ashley Madison PSA anyway.

But I have to disagree with your suggestion that people should look for their spouses’ names in the AM data. If someone in a shitty, high-conflict marriage needs an excuse to get out—because no-fault divorce isn’t good enough for them—okay, sure, that person might wanna search for their spouse’s name.

But people who are in loving, functional, lowconflict, happy-ish marriages might want to think twice. Finding out that your spouse cheated—or fantasized about cheating— is impossible to unknow, and it’s something many people can’t get over. Caveat coniunx.

—Dan Savage

I’m one of those morons who had an Ashley Madison account. But for me, and probably for many others, AM has been a strong antidote to the urge to cheat. Spending some time on AM taught me the following: (1) I’m nothing special—there are millions of other men looking for the same thing, and most of them are younger and better-looking.

(2) The women on AM are nothing special—the few who even bother chatting with you are often looking for money, and your wife starts looking damn good by comparison. (3) The whole thing is basically a scam to separate horny middle-aged guys from our wallets. And it doesn’t even have the relatively honest sleaze of a strip club.

—Ashley Madison Mark

Loyalty isn’t something we can demonstrate only with our genitals.

There’s no way to tell the difference between an Ashley Madison member who came to his (or her) senses before cheating, like AMM here, and a member who fucked a dozen other people—or, for that matter, a member who had a good reason for being on the site…

—Dan I’m one of the men caught in the Ashley Madison hacker net. But as pissed as I am about the bullshit—the company’s lies about the security of its site, the hackers’ self-righteous moralizing—I can attest to the fact that one can get what one is looking for on that site.

Yes, there were a lot of fake profiles. Yes, there were a lot of pros. Yes, there were women looking to steal your identity. Seriously.

But once you figured out the game, you could find a lot of real women on that site who were

14 august 28, 2015 washingtoncitypaper.com

looking for someone to spend time with. I’ll be pissed if I get busted as a result of all of this, but joining that site helped me reclaim my sanity after a sexless 25-year marriage.

—Don’t Attack This Adulterer Slogging through the Savage Love mail for the last 25 years has convinced me of this: Some married people have grounds to cheat.

Men and women trapped in sexless or loveless marriages, men and women who have been abandoned sexually and/or emotionally by spouses they aren’t able to leave—either because their spouses are economically dependent on them (or vice versa) or because they may have children who are dependent on both partners. It would be wonderful if everyone who felt compelled to cheat could either negotiate an open relationship or end the one they’re in now, but there are cases where cheating is the least worst option for all involved.

Now, I don’t know the particulars of DATA’s marriage—why it’s been sexless for so long, what the damage is—but if seeking sex elsewhere allowed DATA to stay sane and stay married, and if the marriage is otherwise affectionate and low-conflict, and if DATA’s wife didn’t want to see her marriage end, DATA may have done her a favor by getting on Ashley Madison. Loyalty isn’t something we can demonstrate only with our genitals.

where adultery is punishable by death. Along with all the cheaters, wannabe cheaters, and people in honest open relationships, HONEST, the hackers exposed hundreds of people living in Saudi Arabia—some of them gay. Do the people out there saying AM members are getting what they deserve realize that some are going to get their heads cut off? —Dan I am a data-security attorney. One important point that seems to be missed by those celebrating the Ashley Madison hack is that while cheating is not illegal, unauthorized hacking is. While some may find cheating morally reprehensible, it is not so morally reprehensible in this country that there are laws prohibiting it (anymore)—it’s not even a misdemeanor. On the other hand, hacking into someone’s system and accessing data without authorization is considered so morally reprehensible that we have state and federal laws against it. Also, there are state and federal laws that apply to sites like Ashley Madison around properly securing their data and not making promises about security or handling of data (such as whether data is deleted). It will be interesting to see what actions, if any, may be taken against the site. I predict this is just the start of attacks against sex-oriented sites. —Who Is Next?

I’m an Ashley Madison user in an open relationship with a bi woman. I can assure you that a large number of AM users—hundreds of thousands—are also in open relationships. The hackers made no effort to distinguish between adulterers and people in consensual, honest relationships.

They are smearing thousands of people as adulterers who are much more honest in their relation—Healthy ships than the average person.

Openness Not Egregious Sexual Trysts

Almost everyone has posted stuff online anonymously, has privately shared pictures and fantasies, and has a browser history that could screw up their lives if that info were dumped into a searchable database that named names.

The people celebrating the Ashley Madison hack might have more sympathy for the victims—the fantasizers and the cheaters— if they contemplated their own vulnerability. We are all one malicious hack, one lost cell phone, or one vindictive ex away from the kind of exposure and humiliation and, in some cases, the kind of ruin that the AM —Dan members are facing today.

The hackers also made no effort to protect Ashley Madison members living in countries

Send your Savage Love questions to mail@savagelove.net

BUYD.C.

Your First D.C. Apartment

By Kaarin Vembar

It’s Time For the Percolator This 6-cup coffee maker will give you the caffeine boost you need each morning.

Pantone #630 coffee maker, $39.95. Mara Home. 2213 14th St. NW. (202) 232-4526 Stay in Shape Graduate and ditch the dorm posters in favor of this charming geometric print by a D.C. artist.

Retro geometric print, $12. Fybur. www.Fybur.etsy.com

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EffEctivE trEatmEnts availablE A Turn of the Screw You know you’re an adult when you repare for household repairs.

Stanley screwdriver set & storage rack, $14.95. Frager’s Hardware.1323 E St. SE. (202) 543-6157 Keyed Up Accessorize your pad on a budget with savvy thrift shopping. This tray is the perfect spot to drop your keys and loose change.

Key tray, $2. Martha’s Outfitters. 2122 14th St. NW. (202) 328-6609

• Vitiligo • Hypopigmentation • Pigmentary Abnormalities • Psoriasis Fronds with Benefits Plants are a quick way to make an apartment feel like a home, and succulents only need to be watered every 10 days.

Succulent garden, $39.95. Flowers on 14th.

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DCFEED

Uber has launched a new food delivery service that promises select dishes from popular spots like Rasika and Bub and Pop’s in less than 10 minutes. Does it work?

Read more at washingtoncitypaper.com/ubereats.

YOUNG & HUNGRY

Magnus Opus

D.C.’s newest distillery, Jos. A. Magnus & Co., revives a brand from a century ago.

Jimmy Turner found the bottle in crumpled brown packaging on the top shelf of a closet, behind some other items. It was 2007, his mother had just passed away, and he was cleaning out his parents’ St. Louis home.

Turner already knew that his great-grandfather, Joseph A. Magnus, was a distiller in pre-Prohibition days, but inside this long-forgotten bottle was hard evidence: a 100-plusyear-old bourbon that had been passed down through family members over generations.

The discovery set Turner off on a path to learn more about his great-grandfather. It turned out Magnus, who had lived and worked in Cincinnati, was quite successful in his day as a distiller, blender, and rectifier (someone who acquires spirits and then puts their own mark on them). Magnus produced bourbon, rye whiskey, gin, and rum, and had at least 20 brands to his name, the most famous of which was known as Murray Hill Club.

Over the next several years, Turner began collecting empty antique Magnus liquor bottles and reaching out to relatives for information. Cousins in Cincinnati surprised him with another century-old bottle of bourbon

by Magnus, and Turner assembled a group of whiskey experts to help him understand what he had on his hands. The journey culminated last week with the opening of Jos. A. Magnus & Co. in Ivy City, a bourbon and gin distillery that wants to revive the legacy of the original Magnus brand.

Turner, now 60 and living in Florida, agreed to be interviewed only by email. He says he’d always enjoyed bourbon and whiskey, but hadn’t previously considered his greatgrandfather’s line of work. He spent more than three decades working as a sports agent representing professional baseball players for Turner-Gary Sports until he decided to step down in June 2012.

Retirement didn’t last long. To help him understand more about his great-grandfather’s bourbon, Turner turned to some of the top bourbon pros in the country: former Woodford

original bottle. They all took a sip.

“Bourbon—or any kind of spirit—is only as good as the moment that it’s put in the bottle. And so the 100-plus years only had the potential to hurt its quality. So we had no idea what we were going to get,” Thompson says.

The experts claimed it was one of the best bourbons that they had ever tasted. Wolf lamented that they couldn’t crack open the bottles and drink it all.

“It was a very proud and humbling experience that these experts thought it was such great bourbon,” Turner says. “And it felt like I had a direct connection to my great-grandfather at that moment.” The tasting also further cemented Turner’s belief that he was destined to continue what his great-grandfather had started. He partnered with Scheurich, Fraley, Wolf, and Thompson (the only one of the group based locally) to open the distillery in D.C., which Turner calls “the most progressive and exciting place in the nation to open a distillery.”

Following the tasting, the crew set out on a mission to recreate the bourbon—or at least produce something inspired by it. In addition to their qualitative research (i.e. drinking), Fraley took a sample back to San Francisco with her to analyze in a lab. Meanwhile, Wolf—“the procurer of rare things,” as Thompson describes him—went on a nationwide search to try to find bourbon barrels that had the same flavor profile. He ended up finding an eight-year-old bourbon aging in Kentucky that was reminiscent of the original bottle. The bourbon originated from the MGP distillery in Lawrenceburg, Ind., which was once the original site for Rossville Union Distillery, a major alcohol producer before Prohibition. It’s also just 26 miles from where Magnus lived in Cincinnati. “We think Magnus, when we was creating his blends or when he was rectifying, likely sourced a number of his products from this same distillery,” Thompson says.

Based on taste, Fraley believed that the original Magnus bourbon had been aged in sherry casks. Supporting that idea, Thompson found an old ad revealing that sherry casks were Darrow Montgomery

By Jessica Sidman

Reserve distiller and Whisky Advocate Lifetime Achievement Award winner Dave Scheurich, American Distilling Institute Director of Research and whiskey blending pro Nancy “The Nose” Fraley, and former Buffalo Trace Distillery VP and General Manager Richard Wolf. And after connecting through family friends, Turner also partnered up with Brett Thompson, a co-owner of Alexandria’s Pork Barrel BBQ who competed on the show Shark Tank.

Together, the group met in June 2014 at the historic Brown Hotel in Louisville, Ky. to try the 100-plus-year-old bourbon for the first time. Gathered in a banquet room, Fraley used a hypodermic needle to extract the liquid while preserving the

washingtoncitypaper.com august 28, 2015 17

DCFEED(cont.) among the equipment Magnus tried to sell when he had to shut down his distillery after Prohibition. So for the last five months, the bourbon that Wolf found in Kentucky has been in D.C. finishing in barrels used for Oloroso sherry, Ximenez sherry, and Cognac, which will be blended together. “[Fraley] called me about a month ago, and I couldn’t even understand her,” Thompson says. “And it was because she was tasting one of our samples and she thought it was the original Magnus.”

Although Jos. A Magnus & Co. isn’t using its own base bourbon for now in the interest of launching with Magnus’ signature spirit, the distillery plans to eventually produce its own brown liquor. After analyzing the original bourbon Turner found, Scheurich created mash bills inspired by the original recipe.

“You can’t rush it,” Thompson says. “A lot of craft distilleries will do a lot of short agings of things, even of bourbon that they make, and it’s better to think long-term and put out really good product.” The team has been training with some of Scheurich’s favorite distillers in Kentucky to learn “the old-school way of doing things.”

In the meantime, about 750 bottles of bourbon, dubbed Joseph Magnus Bourbon, will become available on Sept. 12, the distillery’s grand opening. The inaugural batch— sold in bottles similar to the historic Magnus bottles—are each $92, a nod to 1892, the year the original Magnus brand was founded.

In addition to bourbon, Jos. A. Magnus & Co. currently produces gin, and other spirits will likely be added to the roster down the line. Like Magnus once did, the distillery plans to offer a series of rare and limited releases, including single-barrel offerings with no more than 240 bottles. “We have some really historic brands that we’re going to want to bring back,” Thompson says.

Former Gin Joint at New Heights bartender Nicole Hassoun oversees the gin production. “I’ve lived gin for a really long time.

I love every different style of gin,” Hassoun says. “But to me, the easiest way to make cocktails, which is what I love to do, is balance citrus and spice.” Her inaugural gin ($32, with the first run sold in special edition bottles) features botanicals like cubeb pepper, bergamot orange, and oroblanco grapefruit, plus a za’atar blend with thyme, sumac, and sesame in honor of her Lebanese roots. The gin will be called Vigilant, after one of Magnus’ products, although they’re not sure if the original Vigilant was gin or whiskey.

What’s unique about Jos. A. Magnus & Co.’s setup is that Hassoun can distill a small batch of gin around a specific cocktail she has in mind. The process only takes about five and a half hours, so she can potentially dream 18 august 28, 2015 washingtoncitypaper.com

up a gin, distill it, and have it on the menu that night or the next day. “It’s the ultimate bartending,” she says.

Hassoun oversees the distillery’s two bars, including a tasting room and cocktail lounge named the Murray Hill Club after one of Magnus’ signature bourbon brands. The intimate space has a view of the stills plus a copper-topped bar and leather sofas. Another bar focusing more on cocktail pitchers resides in a wide-open hall called the Magnus Room, which seats about 40 on long tables and looks out over Mount Olivet Cemetery.

The Magnus Room also acts as a museum with original bottles—some turned purple by sunlight—and other treasures from Magnus.

“The amount of bottles that we’ve been able to find lets us know how large he was in terms of his sales,” Thompson says. Thompson even found an article from the 1950s in Corpus Christi, Texas where someone found purple Magnus bottles washed up on shore. Magnus’ descendants have also provided artifacts like a handwritten letter from Magnus to his son who was going off to fight in World War I. Other details of the distillery go back even a century before Magnus’ time. For decades, Turner’s older brother, Steven Magnus Turner, has worn a ring given to him on his 21st birthday by his grandfather, who’d worn the ring since 1927, when his father, Magnus, gave it to him. The heirloom features an octagonal burnt orange carnelian stone with the image of a lion holding an oak branch looking over its shoulder at a quiver of six arrows. The Turners discovered that the ring originated from Magnus’ great-grandfather, Abraham Alexander Sr., who emigrated to the U.S. from London in 1763, fought the British as a lieutenant during battles in the American Revolutionary War, and served as “Collector of the Port of Charleston.” The stone appears to have been used as an official or personal stamp, and Turner says it was likely Magnus who turned it into a ring.

“We’ve learned that Joseph Magnus must have been extremely proud of the extraordinary life and legacy of his great-grandfather and the connection of the Magnus family back to the very beginning of our country,” Turner says.

The stamp was marked on every label and engraved bottle Magnus produced. And just as Magnus was inspired by the legacy of his great-grandfather, Turner was inspired by his.

Jos. A. Magnus & Co. will use the exact same image for every bottle it produces today. CP Jos. A. Magnus & Co., 2052 West Virginia Ave. NE, #202; josephmagnus.com.

Eatery tips? Food pursuits? Send suggestions to jsidman@washingtoncitypaper.com.

DCFEED

what we ate last week:

Cold noodles with pork belly with fresh herbs, $25, Maketto. Satisfaction level: 4 out of 5

what we’ll eat next week:

“Seacuterie” (cured seafood selection), $15, Mad Fox Taproom. Excitement level: 3.5 out of 5

Grazer

Underserved

The best cocktail you’re not ordering What: The Maverick & Gueze with Beefeater 224, tamarind red bush syrup, pimento bitters, orange bitters, and sour beer

It’s a good time for stuffed dough. Among the handheld foods having their moment in D.C.: arepas—grilled corn patties filled with meats, cheeses, and more— and kolaches, pillowy Czech pastries with sweet or savory fillings that are particularly beloved in Texas. Two new “residencies” showcase these treats. Here’s where to stuff yourself on stuffed stuff. —Jessica Sidman

ArePA ZOne AT UnIOn MArkeT After winning a culinary entrepreneur competition called Launch Pad, the Venezuelan food truck gets to take over the former Ris stall in Union Market. Arepa Zone will serve more than a dozen arepas as well as quesadilla-like sweet corn crepes called cachapas and gourmet cheese sticks called tequeños.

Arepa flavors: Pabellón (shredded beef, queso fresco, sweet plantains, black beans), Sifrinia (chicken salad, avocado, shredded cheddar cheese), Caprese (tomato, ham, queso de mano, basil) Prices: $6 to $8.50 Drinks: Frescolita and Chinotto sodas Hours: Tuesday through Wednesday, 11 a.m. to 7 p.m.; Thursday and Friday, 11 a.m. to 8 p.m.; Saturday and Sunday, 10 a.m. to 8 p.m. residency length: At least six months beginning Aug. 29

THE’WICHINGHOUR The Sandwich: Pulled Pork Sammy Where: Walter’s, 3632 Georgia Ave. NW Price: $9 Bread: Toasted sandwich roll Stuffings: Pulled pork, tomato, red onion, garlic aioli Thickness: 4 inches

rePUBLIC kOLACHe AT AMerICAn ICe COMPAnY Two Texas natives raised more than $15,000 on Kickstarter to begin producing the Lone Star state staple in D.C. They’ll offer a rotation of gourmet flavors once a week at American Ice Company, where patrons can also browse through copies of Texas Monthly. kolache flavors: Half-smoke with sharp cheddar and Shiner beer-brined jalapeño relish, vanilla bourbon peach preserves with bacon crumble, chorizo with scrambled egg and sharp cheddar Prices: $2.50 for sweet kolaches, $3.50 for savory Drinks: Sweet iced tea, Topo Chico mineral water, coffee Hours: Saturdays, 10 a.m. to 1 p.m. residency length: At least a few months beginning Aug. 22

Pros: Despite this Park View bar’s tiny kitchen—which precludes a huge variety of food offerings—this simple sandwich is executed quite well. The roll, which looks bland, comes out buttery and crisp, and the garlic aioli has a pleasant saltiness. With the pork piled at least two inches high on the bun, this sandwich won’t leave you hungry.

at this.) Things improve when you add a healthy dose of yellow mustard, conveniently located on every table, to the bun.

Cons: Because it’s kept warm for hours before it’s served, the pork tends to have a slightly squishy, mushy texture. The sandwich also lacks any sort of sour or sweet element that might break up its aggressive porkiness. (The onion and tomato fail

Overall score (1 to 5): 3.5. If you’re looking for a carb-heavy sandwich to pair with your beers while watching the Nats stumble across the field, this is a decent option. However, the spongy meat and lack of contrasting flavors makes for a slightly boring eat.

Bring on the acidity.

—Caroline Jones

Sloppiness level (1 to 5): 2. The toasted roll is enough to contain the messy meat mass that rests on top of it. A bit of juice and aioli might drip onto the plate, but since it’s not covered in sauce, this is surely one of the neatest pulled pork sandwiches you’ll ever eat.

Where: Jack Rose Dining Saloon, 2007 18th St. NW Price: $13 What You Should Be Drinking The Maverick & Gueze asks Jack Rose Dining Saloon patrons to avert their eyes from the restaurant’s library of whiskey and try a gin-based beer-tail instead. Top Gun fans should find this feat a little easier thanks to the clever reference that swaps Goose for Gueze—the name of the sour beer from Belgium that adds spunk to the summery cocktail. To make the drink, Beverage Director Trevor Frye employs a technique he learned from Jim Meehan, author of The PDT Cocktail Book. Frye pours beer directly into the shaker and gently stirs, allowing the alcohol from the gin to break down the carbonation enough for it to be safe to shake sans explosion. “By shaking it together, you’re guaranteeing you’re not just getting beer, beer, beer, cocktail,” Frye says.

“Shaking it reinvigorates the carbonation so the drink floods your palate with flavor.”

Why You Should be Drinking It Drinks carrying a foamy egg white topper, such as a flip, are great for the winter months because they carry a lot of body. The Maverick & Gueze yields a similar texture without all that heaviness by shaking the beer. The result is a summery sipper that tastes (and looks) like a hefeweizen because it’s light, refreshing, and citrusy. The gin is practically imperceptible, which is important since Frye worries some customers are permanently turned off by the juniper-laced spirit. “Gin can narrow down your clientele because some people had that experience in high school where they threw up Christmas trees for two days after sneaking into their parents liquor cabinet.” Though it’s tempting to stick to brown booze at Jack Rose given its selection and accolades, Frye encourages people to get out of their comfort zone—at least in the summer months before it’s time to hibernate with a nice single malt.

—Laura Hayes

washingtoncitypaper.com august 28, 2015 19

20 august 28, 2015 washingtoncitypaper.com

CPARTS

“Things I’ve Learned in My Time as City Paper’s Arts Editor”: Christina Cauterucci signs off with a few words of wisdom. washingtoncitypaper.com/go/signoff

Galleries

Leipzig Show

A display of Justine Otto’s work shows the richness of slow-moving schools

By Kriston Capps There’s a brackishness to Justine Otto’s paintings that’s immediately apparent from seeing “installation (wohnzimmer),” her wall-sized assembly of paintings at the Goethe Institut. She prefers murky mauves, dreary olives, and grim grays, as the salon-style installation of 33 small paintings shows in a single glance. But for all the painterly heaviness, her exhibition, “hyder flares,” is anything but lethargic.

Otto’s palette is one thing that distinguishes this German artist’s work from the New Leipzig School, an affiliation of East German figurative painters that includes Neo Rauch, Matthias Weischer, and other luminaries. Those painters tend to favor much more vivid colors. In Otto’s “letzter tanz,” even the pink nude figures appear to carry a darkness as they dance underneath a starry sky lit up with streaks of peach and purple.

More qualities bind Otto and Rauch et al. than divide them.

The New Leipzig School is not so much a movement as it is a historical grouping: Painters in East Germany never abandoned figurative work during the Cold War the way so many post-war artists did in the West. Otto was trained at the Städelschule in Frankfurt (central Germany) and lives in Hamburg (in the north), so she may not identify with the Leipzig artists directly or biographically. But her paintings—which are figurative yet highly expressionist—bear many of the same hallmarks of the post-unification German approach to painting.

There’s an atom-age paranoia that hangs over the entire show. Most of the paintings are based on found photographs.

One depicts a woman painting a model of the solar system, an image the artist’s gallery (Polarraum in Hamburg) says was drawn from U.S. archival photos of women at work during World War II. Many of Otto’s paintings look distressed, as if the viewer is looking back on vintage images. The surrealist paintings comprising “installation (wohnzimmer)” include family portraits and images of animals, depictions of begoggled scientists looming over their experiments, and lots and lots of eyeballs. Big Brother is watching, but also being dissected.

Maybe the least persuasive aspect of Otto’s show is its surrealist bent, including a portrait (in the aforementioned installation) of a girl’s back and head, which are bisected by a vague blue line (or thread). Narratively, some of these elements are cartoonish distractions. Otto blurs the lines between natural and unnatural much more effectively through brushstroke.

There’s no better demonstration in the show than a series of six portraits called “o.t.” Each of them bears some qualifica-

“o.t. (zug)” by Justine Otto (2014). tion, as in “o.t. (bubble),” in which a portrait is obscured by marks that could be called bubbles, or “o.t. (loop),” another similar portrait made with loops—and so on. (In German, “o.t.” stands for untitled.)

One more factor links Otto and the New Leipzig School: D.C. Bear with me: The Phillips Collection brought Otto to prominence, at least locally, when museum curators selected her as the winner of the 2014 Emerging Artist Prize.

That’s the best-in-show award for artists participating in the (e)merge Art Fair, which is run by Leigh Conner and Jamie

Smith, directors of the Connersmith gallery, and until last year, hosted at the Capitol Skyline Hotel. The hotel’s owners, Miami art mavens Don and Mera Rubell, were among the first collectors to popularize the term “New Leipzig School” back in the early 2000s.

Sometimes globalization means that a beat from an Afropunk group in Kenya makes its way into a track by a DJ in Los Angeles almost as soon as it’s recorded. But in painting, international movements travel more slowly. In Otto’s show, work in the vein of a prominent German figurative style takes on those washingtoncitypaper.com august 28, 2015 21

CPARTS Continued

qualities the absence of which originally defined the school.

Otto’s work is slow, and all the richer for it.

There isn’t going to be a 2015 (e)merge Art Fair: Smith and Conner announced this June that it would return next year at a larger venue. Nor is there a home for “Academy 2015,” the annual review of select works by graduate and undergraduate artists in the D.C. and Baltimore area. Smith, the show’s founder and curator, could have tapped any number of spaces to host a pop-up installment while Connersmith prepares its new gallery location in Shaw. (In June, it sold its Trinidad space to Capital Fringe.)

Instead, the gallery simply parked its summer school survey online: “Academy 2015” is an exclusively Web-based presentation of photos, videos, paintings, and sculptures. The show includes work by students from all the local biggies—American University, George Washington University, the Corcoran School of the Arts and Design (a GW adjunct), Howard University, the University of Maryland, and Baltimore’s Maryland Institute College of Art. As usual, Smith’s picks are all on target. Or so it appears: “Academy 2015” isn’t well served by being served up through a server.

I suppose Emilia Pennanen’s “Milk and Honey, Saltwater Honey” looks as vivid on a Retina display as it might on a vid-

eo screen at a gallery. The first part of the split-screen video piece shows a woman dressed in white pouring honey down her throat and into her mouth, while milk streams down from an unseen source onto a nude man. There’s a sound element involved—digital static (or maybe ocean waves?) plus vocal chanting in an unfamiliar language—but this diptych would likely work better in an immersive black box than through factory computer speakers or earbuds.

The paintings and drawings in the show—cartoonish oil works by Emma Rose Kennedy and mixed-media hominid portraits by McKinley Wallace III—are rendered as JPEGS. That strips away all the artworks’ native information, color, and tactility, and subjects them to an unwanted interpretive layer. Search Google for, say, Klimt’s “The Kiss” (in keeping with the whole college sensibility): The range of ochres on display is the best case there is for the primacy of paint over reproduction. There’s no way to see it without seeing it.

In the age of Instagram and Tumblr, it’s tempting to think photographs might be more amenable to an onlineonly show. Not so. Nicholena Moon’s “Domestic Disturbances,” a Gregory Crewdson–esque photo of an open fridge door, measures 20 by 40 inches in person. On my MacBook Air, it’s the length of my index finger by the length of my hand. Close observers know how much information is lost

in scale (to say nothing of the noise that comes from translating a film print to a digital scan). Arguably, sculptures by Natovian McLeod, Ryan McDonnell, Magali Hébert-Huot, Jenny Wu, Eliot Hicks, and Rob Hackett—among them the strongest works in the show (or so it appears!)—simply cannot be translated into a 2-D format.

Would it be better to have no “Academy” at all? Of course not. Even a curated list of slides delivers a valuable insight about the state of the next generation of D.C. artists. While it isn’t a niggling complaint to insist that the work is the work—that the plastic arts are imbued with qualities that have no equivalent in digital formats—it would go too far to say that Smith has done wrong by the audience with this presentation.

It would have been interesting to see a Smith-curated show that included exclusively digital artworks, especially because Smith has a good eye for this kind of work, as shown in previous Academies. In 2015, it’s certainly an exhibit that could be fielded from area universities. Chalk it up to an off year: “Academy 2015” is like a trailer for an exhibition no one will ever see. Still, it teases a lot of promise for future CP shows to come.

The Goethe Institut, 812 7th St. NW. (202) 289-1200. goethe.de; connersmith.us.com.

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CPARTS Arts Desk

Bloomingdale gets a brand-new performance space: washingtoncitypaper.com/go/improv

ShortAuthority

This year’s DC Shorts Film Festival is throwing local filmmakers some extra recognition. At noon on Sept. 16, the festival will screen six short films— comedies, docs, experimental stuff, the works—by artists from the District. With a 40-minute runtime, the showcase is designed to fit into a hypothetical lunch break. Trade that soggy Pret wrap for a crab pretzel at E Street Cinema and see some choice films by and about your neighbors. —Christina Cauterucci

Screened

FILM: DIRECTOR: Benjamin Ross RUNTIME: 3 minutes STORY: Two days in the life of a dude who wanders through Arlington with his eyes glued to his iPhone and computer screens.

TAKEAWAY: Wouldn’t you know—we should look up every once in a while.

FILM: The Wait: A Mural by Nekisha Durrett

DIRECTOR: Lorie Shaull RUNTIME: 12 minutes STORY: Durrett, a Duke Ellington graduate (and now teacher), installs a mural of a spaceship landing on the side of now-defunct Mothership diner in Park View, invoking commentary on gentrification.

TAKEAWAY: Slo-mo beauty shots of Georgia Avenue NW and the people who spend time there will remind viewers of its converging cultures and the accessibility of public art.

Tides

FILM: DIRECTOR: Irem Dogancali RUNTIME: 4 minutes STORY: During a therapy session, a woman remembers her late lover in flashbacks.

TAKEAWAY: There are infinite ways to process grief.

John’s Follies

FILM: PRODUCER: Bruce Dale RUNTIME: 9 minutes STORY: After confronting his mortality over a game of golf, a Virginia man devotes his life to building more permanent structures out of stone.

TAKEAWAY: Stones are made out of dead, decomposed people. Also, river stones, ocean stones, and glacier stones are different things.

Gender Bender

FILM: DIRECTOR: Austin Bragg RUNTIME: 7 minutes STORY: To settle the Mars vs. Venus debate once and for all, the members of a hetero couple switch genders for a few days.

TAKEAWAY: Women get free drinks from strangers and men get to take their shirts off when they’re sweaty. Read: A woman’s life is delimited by her sexual objectification.

Holla at Me

FILM: DIRECTOR: Michael T. Miller RUNTIME: 3 minutes STORY: To the spoken words of a poem by Kenneth Carroll, a young black man walks the streets of D.C. considering his ambitions and station in life.

TAKEAWAY: Competing demands, heavy familial responsibility, and the pressures of systemic inequity can’t keep this guy from his dreams.

washingtoncitypaper.com august 28, 2015 23

TheaTerCurtain Calls Wilde at Heart

Yes, it’s about political scandals, but that’s not why audiences are rolling their eyes at this production.

Scena Theatre, like just about every other company in the region, was poised to produce Chekhov this year (Three Sisters). But that show’s director had a stroke, and while she is recovering, the company has—quite admirably—scrambled and pulled together a lastminute remount of Director Robert McNamara’s 2010 production of The Importance of Being Earnest.

The substitution is sensible enough: Oscar Wilde’s famously droll script is a crowd pleaser (especially when staged in a neighborhood with such a good availability of pre-show cocktails).

Designer Michael C. Stepowany’s set is barebones and easily constructed, serving as easily as the interior of a London flat as it can the garden of an English country house with some minimal furniture rearrangement.

That’s more or less where “sensible” decisions about this Oscar Wilde adaptation end.

That’s not to say that the sillier artistic choices are without merit, but they don’t bear much thematic connection to the original text (or to each other, in many cases). These updates could have easily been picked out of a (flamboyant, fake-bird-adorned) hat: For example, the 1920s setting wouldn’t really be clear to audiences if the program didn’t spell it out. Or the confusing screen set center stage with a display that alternates between greyscale garden settings and titlecards. Even the title cards are nonsensical, ranging from explanatory (“Bunburyist!” appears, perhaps out of concern that the word would be misheard if it weren’t literally spelled out) to confounding (“Enter the dragon!” one declares enthusiastically). When combined with the black-and-white set, it would seem to suggest old silent films had inspired the staging, but the costumes and props still appear in full color. And so on: Most of the additions made to the play are nonsensical, though they’re saved by their sense of well-intentioned—dare I say, earnest—playfulness.

The show handily pulls off its riskiest gamble, and it’s the one for which this production should be remembered: the gender-swapped roles. The result is undeniably fun. Women play the foppish male roles, including the mustachioed manspreaders Jack (Nanna Ingvarsson) and Algernon (Danielle Davy) as they vie with each other for ownership over the invented persona of “Earnest” in order to deceive, woo, and marry the women with whom they’ve instantly fallen in love.

The men-as-high-society-ladies substitution works even better; the women vying for the affection of the non-existent Earnest are

Handout photo by JaeYi Photography

The Importance of Being Earnest

By Oscar Wilde Directed by Robert McNamara At Atlas Performing Arts Center to Sept. 13

Oscar Wilde’s famously funny play is updated with gender swaps and kazoo jokes. not decked out in the towering wigs and extravagant makeup of high drag. These upper-crust ladies are instead burly, deep-voiced, and unshaven, which leads to some inspired moments like Lady Bracknell (Brian Hemmingsen) causing tremors when leaping out of her chair (picture, if you can, Downton Abbey’s Dowager Countess as portrayed by Geoffrey Rush).

One of the best scenes in the play, where newly-minted best frenemies Cecily (Bob Sheire) and Gwendolyn (Graham Pilato) express their sisterly love and loathing of each other, takes on an inspired new level of frathouse-style bromance by way of insult comedy. An added emphasis, for example, on the word “country” turns it into an insult (or “countwy” in this case, as Pilato’s Gwendolyn speaks with rounded Rs and a lisp).

It’s hard to think that Wilde would disapprove of some added homoeroticism or humor to his work. You do have to wonder why a play so universally renowned for its wit is in need of added humor at all, especially when the new jokes are as simple as Algernon’s habit of piano-tinkering being replaced with blowing on a kazoo. There’s nothing indispensably important about this production of Earnest, but as an attempt at levity in the face of tragic circumstances, the show succeeds. —Riley Croghan 1333 H St. NE. $35–$45. (202) 399-7993. scenatheatre.org

Can’t Fix tHis The Fix

By John Dempsey and Dana P. Rowe Directed by Eric Schaeffer At Signature Theatre through Sept. 20 The Fix is still a fixer-upper. That’s an easy conclusion to draw after seeing the newly refurbished musical at Arlington’s Signature

24 august 28, 2015 washingtoncitypaper.com

Theatre. But maybe that’s too easy; maybe there comes a point at which a show’s directors, producers, and creators need to admit that a flawed musical just can’t be fixed. That time, my fellow D.C. theatergoers, is now.

When it debuted back in 1997, The Fix opened not in the U.S. but in London, after British producer Cameron Mackintosh (the man who gave the world Phantom, Les Mis, and Cats) took a shine to the young Americans—composer Dana P. Rowe and writer John Dempsey— who created the musical. He talked Sam Mendes into directing, and premiered The Fix at the venerable Donmar Warehouse. But if Mackintosh thought Dempsey and Rowe were the next Boublil and Schönberg, he was wrong.

“It sounds like The Chappaquiddick Singalong,” quipped The Independent.

“Rubbish!” replied Mackintosh (basically).

Defending Dempsey and Rowe in the Guardian, he sniped back, “The fact is, a lot of the British critics don’t have an ear.”

Ouch. With the producer’s approval, The Fix went to America for an overhaul at Signature. But U.S. critics, including City Paper’s Trey Graham, were also not fans. Two years later, Mackintosh gave Dempsey and Rowe another shot, debuting The Witches of Eastwick on the West End, with Eric Schaeffer directing— the same Eric Schaeffer who currently serves as artistic director of Signature Theatre. Reviews were a bit better than for The Fix, but the creative team still set about recasting and retooling Witches. The Guardian was not impressed with the 2001 re-opening at a smaller London theater. “Alex, Jane and Suki are like the scarecrow, the tin man and the cowardly lion: the writers allow them one characteristic each,” wrote Brian Logan of the three leading ladies.

More fiddling ensued, and then an American premiere at—where else—Signature, where Graham had little good to say about the “nipped and tucked” musical and dissed the singing as “lots of Disneyfied melismatic crooning.”

See a pattern here?

Last year, yet another version of Witches turned up at Maine’s Olgunquit Playhouse.

This round of tweaks set the stage adaptation of John Updike’s novel in the swinging ’60s. “It’ll leave you spellbound!” raved the Portland Press Herald. Perhaps thinking they’d found a magic formula, Dempsey and Rowe came to Arlington this summer, made more tweaks, and tried setting The Fix in the ’60s too.

Blame the humidity. Blame the lack of lobster.

Blame the big city critics. But for the record, it was my theater school-trained companion who sighed and said to me at intermission last week, “What can they possibly do to fix this?”

Not much. Act 2 was worse than the first.

The Fix chronicles the rise of Calvin Chandler, the scion of a fictional American political dynasty. It opens amusingly with the White House-bound patriarch Reed Chandler, played by the always-devilish Bobby Smith, dying in the arms of his mistress. Oops. But the bigger mistake is that every “scandal” in The Fix feels so prescribed and unoriginal. Cal Chandler (The Book of Mormon’s Mark Evans) gets into trouble with another woman, too. He’s also into drugs, booze, and sniffing glue. I know Hillary’s secret email server isn’t sexy, but even with the ’60s setting—acknowledged almost exclusively through the ladies’ Jackie Kennedy-looking costumes—it’s hard for contemporary Washington audiences to do much more than yawn at a politician who needs rehab.

The pop-rock music is as predictable as the plot. To quote yet another British critic, “The Fix mainly serves to advertise Mr. Rowe’s ability to write blandly in several styles.” The lyrics are trite. There’s little by way of character development, so Evans and the other two leads—Christine Sherrill as the WASP tigermother, and Lawrence Redmond as the poliocrippled, closeted gay uncle—do their best to play stereotypes. But it’s very tough for the audience to care about these spoiled, ill-behaved rich people with a house full of identically dressed singing maids.

By the anti-climax, it’s still unclear whether a member of the Chandler clan will ever become commander-in-chief. What’s obvious is that this aspiring theatrical dynasty of Mackintosh, Schaeffer, Dempsey, and Rowe needs to finally meet its long-appointed end.

—Rebecca Ritzel 4200 Campbell Ave., Arlington. $29–$85. (703) 820-9771. sigtheatre.org.

SATYAJIT RAY FILM FESTIVAL ROBERT E. PARILLA PERFORMING ARTS CENTER • MONTGOMERY COLLEGE • ROCKVILLE CAMPUS September 3, 2015 • 7:30 p.m. PATHER PANCHALI – Song of the Little Road September 4, 2015 •7:30 p.m. Opening night festivities with an introduction by Michael Jeck, professor of film history at George Mason University, former programmer of the American Film Institute Theater at the Kennedy Center, and host of film screenings at MHz-NETWORKS…followed by MAHANAGAR -The Big City at 8p.m. Light refreshments!

R o b e r t

E .

P a r i l l a

September 5, 2015 The Apu Trilogy: • 4 p.m. PATHER PANCHALI – Song of the Little Road • 6:20 p.m. APARAJITO – The Unvanquished • 8:40 p.m. APUR SANSUR – The World of Apu Champagne at the end of the last film for all who watch the trilogy in its entirety!

September 6, 2015 • 2:45 p.m. APARAJITO – The Unvanquished • 5 p.m. JALSAGHAR - The Music Room • 7 p.m. CHARULATA - The Lonely Wife

P e r f o r m i n g

A r t s

C e n t e r

|

Admission is FREE, but tickets are required.

Box Office: 240-567-5301 • Monday–Friday, 10 a.m.–6 p.m. • montgomerycollege.edu/PAC PROGRAM IS SUBJECT TO CHANGE

September 10, 2015 • 7:30 p.m. SHATRANJ KE KHILAR - The Chess Players September 11, 2015 • 7:30 p.m. ASHANI SANKET - Distant Thunder September 12, 2015 • 2 p.m. GOOPY GYNE BAHGA BYNE - The Adventures of Goopy and Bagha a fantasy adventure comedy for children!

• 4:30 p.m. HIRAM RAJAR DESHE – The Kingdom of Diamonds; The continuing adventures of Goopy and Bagha

M o n t g o m e r y

C o l l e g e

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5 1

M a n n a ke e

• 7 p.m. Michael Jeck returns for closing remarks followed by ARANYER DIN RATRI - Days and Nights in the Forest September 13, 2015 • 2:30pm APUR SANSUR – The World of Apu • 4:45 p.m. MAHANAGAR - The Big City • 7:15 p.m. GHARE-BAIRE - The Home and the World

S t r e e t ,

R o c kv i l l e ,

M D

2 0 8 5 0

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FILM

The Tie That Grinds

Grating plots and characters test the viewer’s patience as relationships are put through stress tests.

Grandma

Grandma Directed by Paul Weitz Z for Zachariah Directed by Craig Zobel

By Tricia Olszewski The trailers for Grandma make it seem as if Lily Tomlin spends the entirety of Paul Weitz’s film cursing sarcastically while slipping on banana peels. Audiences drawn to that, though, will be disappointed to discover that Grandma is more smart than wacky, more gut-wrenching than belly-busting. It’s About a Girl—though, yes, Grandma’s reaction to the girl is what’s most scrutinized.

Elle (Tomlin) has just gone through a nasty breakup with her much younger girlfriend of four months (Judy Greer) when her granddaughter Sage (Julia Garner) shows up at her door. Sage—who looks like a teen Shirley Temple with her porcelain skin, angelic face, and tight blond curls—is pregnant and needs $600 for an abortion. Approaching her highstrung, critical mother (Marcia Gay Harden) is not an option.

Because Elle had cut up her credit cards in an anti-capitalist fit, they set out on a daylong road trip to beg and borrow. You must pretend that she can’t get replacement cards, and that Sage can’t reschedule her appointment to wait for one to show up. Elle’s determined to help Sage, even if it means contacting acquaintances from many moons ago who may hold some grudges.

Weitz, who also wrote the script, inarguably fashioned a pro-choice story, with the exception of one reasonable naysayer and two cartoonish, outside-the-clinic protesters.

Elle’s a walking grudge herself, but as the pair entreat one person after another, it’s clear there’s oceans of hurt flowing through her life story. One of the best, most nuanced scenes in the film involves a former flame (Sam Elliott). Their history trickles out in polite chatter until Elle’s request detonates the subsurface tension. There’s a reason why Grandma’s so single-minded.

You may find yourself agreeing with Sage when she tells Elle barely 15 minutes in,

Z for Zachariah “You’re getting on my nerves right now,” but Weitz soon allows Tomlin to rein in her David O. Russell fury and be a person instead of a raplistening, tat-sporting, “fuck”-spewing caricature. Tomlin flips the switch naturally, even when her girlfriend walks out—you know her cruelty is not in her heart but her armor. (And if you’re going to present a badass grandmother, let your actress do it naturally, as opposed to the ridiculous gray wig Susan Sarandon had to endure in Tammy. Tomlin, wearing a jean jacket and Elle’s thoughts on her sleeve, makes this character feel genuine.)

Garner doesn’t have much to do besides look sweet and scared; the 21-year-old is almost too childlike for Sage to seem knocked up. But it’s the elders who are running the show: Tomlin, obviously, drives the film, but she steps aside to let Elliott and Harden shine in some highly charged moments.

Notably, this is the first high-profile film role for Orange Is the New Black’s Laverne Cox, a transgender woman who’s won accolades for her work in the Netflix series. Although her character is a minor one, her casting speaks to the the film’s inclusivity, from Elle’s sexuality to talk of nontraditional ways of getting pregnant to Sage’s whole quandary and the belief that her decision is not only her decision, but an informed one. Then there’s the small detail that this is a female-led cast. The fact seems so unexceptional—audiences will find themselves drawn to compelling characters and performances, male or female—I almost forgot.

26 august 28, 2015 washingtoncitypaper.com

Imagine there’s been a global catastrophe and, for all you know, you’re the last human alive. You’re lucky enough to already live in a comfy farmhouse in a bucolic area of the South that magically didn’t get hit with radiation like the rest of the world. You have a dog to keep you from getting too lonely, and there’s food growing on your land.

Then you happen upon a well-meaning— and handsome—stranger. You care for him after he bathes in contaminated waters (though maybe you could have saved him some grief had you yelled “It’s contaminated!” rather than just “Get out of there!” while holding your rifle).

You get to know one another and fall into a routine, and maybe a little in love. And then—butter your biscuit!—another stranger shows up. He’s really good-looking and likes you, too.

Awkward!

That is entirely what Z for Zachariah is all about. It’s based on a young adult novel, but the book has only two characters and is a story about danger, not love. So director Craig Zobel (Compliance) and screenwriter Nissar Modi essentially stripped The Hunger Games from that eponymous YA series and cobbled together a pared-down Twilight.

Margot Robbie is Ann, the young woman who was doing relatively OK by herself but welcomes the company of Loomis (Chiwetel Ejiofor). He’s a scientist, which is convenient, because he built the hazmat suit that

helped him survive and knows other handy tricks, like tapping the nearby waterfall for hydroelectric power.

Because the film doesn’t explain what’s happened to the rest of humanity and there’s nothing at stake but broken hearts once Caleb (Chris Pine) wanders onto the farm, the cast must play along with many stretched-out, nonsensical scenes: Loomis acting like a child when Ann doesn’t read his mind; Ann suddenly throwing herself at him while he holds back; Ann not understanding… anything, really. Robbie is a natural playing the naïve, accented farmgirl, but that doesn’t make her character any less irritating.

You may find yourself wondering why Loomis whispers when they’re talking about their impending couplehood—before Caleb arrives.

Might the dog overhear?

Unsurprisingly, Z for Zachariah feels leisurely, even at just 95 minutes. With the exception of not having electricity, Ann’s set up a normal life, and watching normality without risk or realistic tension—or even a backstory—is a bore. Zobel’s Compliance was ultimately unrealistic, too, but its story was gripping even as it got ridiculous. This film is ridiculous from the start. If you’re looking for a childish love triangle amidst dystopia—rather, alleged dystopia—I have a couple of triloCP gies to recommend.

Z for Zachariah opens Friday at Angelika PopUp. Grandma opens Friday at Angelika Film Center, Bethesda Row, and E Street Cinema.

FilmShort SubjectS

GW LISNER PRESENTS

Ethiopian

New Year Mahmoud

This hipster noir has a promising premise, but falls into an old trap.

with

Ahmed and

Tineshu Tilahun NEW YEAR EVENTS: 7PM PERFORMANCES: 8PM

SEPT

MuMble and Fall Digging for Fire Directed by Joe Swanberg Director Joe Swanberg has been vocal about his hatred for the term “mumblecore,” which describes the naturalistic indie aesthetic that he and the Duplass brothers are credited with having invented. His aversion is understandable; “mumblecore” makes it sound like his characters are inarticulate doofuses, when in fact his improvisatory style often lends itself to verbosity.

The term feels sadly appropriate, however, when applied to his latest film, Digging for Fire. It’s a shallow, meandering mess that mumbles its way through several genres without ever arriving at an idea worth talking about.

Jake Johnson (who co-wrote the film with Swanberg) and Rosemarie DeWitt play Tim and Lee, a married couple juggling a toddler and a bad case of middle-class ennui. Their problems are universal, but Swanberg wisely gives them specificity. They fight about money, but it’s largely because Lee spends her days as a yoga instructor around wealthy clients whose luxurious lifestyles have given her unrealistic expectations. Tim, meanwhile, is sophomoric and resentful of his new responsibilities as a father, probably because he is a high school gym teacher who spends his days goofing around with teenagers. He resents the kid for disrupting his life, and Lee begrudges his immaturity. It’s an old story.

But Swanberg tries a neat trick here, burying his clichéd setup behind enticing genre elements. The opening scenes hint at some sort of hipster noir mystery. After Tim finds a gun and a bone buried in the backyard, he commences a massive dig to uncover the dead body he’s sure exists there. Lee uses this insanity to justify a girls’ weekend, while Tim invites his guy friends over to party and dig

(one character calls it “the weirdest Easter egg hunt”).

Actually, it’s not weird enough. The noir settles into a loose hangout movie, and Swanberg packs a murderer’s row of indie Hollywood’s most likeable stars into the frame. It’s diverting enough (Hey, there’s Sam Rockwell in a beard! Hey, there’s Mike Birbiglia as Tim’s teacher friend! Hey, there’s Anna Kendrick, showing up for five minutes to take her shirt off!), but a hangout movie requires characters we actually want to spend time with, and Digging for Fire offers only a long parade of narcissistic assholes; Tim, an ostensibly sympathetic protagonist, might even be the most irritating because he fancies himself such a good guy but behaves so shamelessly. He toys with the idea of cheating on his wife— just because he can —with a blonde bimbo (Brie Larson) he barely knows. Hanging out with him is no treat.

Meanwhile, Lee’s storyline is the stuff of bad Hollywood rom-coms. Her journey into the dark night of the soul consists mainly of a serious flirtation with a dreamy restaurant owner (Orlando Bloom), who protects her from an aggressive drunk. The two bond over a private meal he cooks in his restaurant’s kitchen, then go strolling on the beach.

Besides being clichéd, it harbors a regressive view of femininity, as if every woman’s fantasy is to be protected by a strong man.

As such, Digging for Fire reveals itself as a modern-day equivalent of those early Hollywood morality tales in which a doting husband is tempted by a femme fatale, only to restore social order by returning to his wife in the final reel. Its politics, however, could be forgiven if it felt like the filmmakers really believed them. But this indie film’s reliance on tired platitudes and clichés as ancient as Hollywood itself aren’t by design. Rather—a bit like its lead character—it’s a case of a filmmaker digging for truth and failing to crack —Noah Gittell the surface.

Digging for Fire opens Aug. 28 at E Street Cinema.

11

Mystic India • Sept 19 • 8pm TICKETS ON SALE NOW Visit lisner.gwu.edu or call 202.994.6800 for more information or to purchase tickets. /GWLISNER

@GWLISNER

LISN_1415_8

GREAT PERFORMANCES AT MASON VISIT US AT CFA.GMU.EDU

An Evening With Bernadette Peters SATURDAY, SEPTEMBER 26 AT 8 P.M. We are delighted to present an unforgettable evening of show tunes and showstoppers by Broadway superstar and two-time Tony winner (Song and Dance, Annie Get Your Gun) Bernadette Peters. “The first lady of musical theater.”

(The New York Times) “Bernadette Peters is one of the glories of the modern American musical theater.” (The Washington Post) Don’t miss out! $100, $85, $60 This performance is part of the ARTS by George! benefit.

TICKETS 888-945-2468 OR CFA.GMU.EDU Located on the Fairfax campus, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123.

washingtoncitypaper.com august 28, 2015 27

28 august 28, 2015 washingtoncitypaper.com

CITYLIST Music

Friday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Alex Vans and the Hide Away, MUNDY, Justin Trawick and The Common Good, The Deeply Concerned, Jimi Haha, Margot MacDonald. 8 p.m. $15. 930.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Jim Rezac. 7:30 p.m. Free. gypsysallys.com. The Shack Band. 9 p.m. $12–$15. gypsysallys.com.

RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. Screaming Females, Vacation, Give. 9 p.m. $12. rockandrollhoteldc.com. tRopiCalia 2001 14th St. NW. (202) 629-4535.

Incredible Change, Stronger Sex, Motion Lines. 8 p.m. $10. tropicaliadc.com. u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Alessia Cara. 7 p.m. $15. ustreetmusichall.com.

ElEctRonic u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Maxxi Soundsystem, Walker & Royce, Jus Nowhere, Jackson Ryland. 10:30 p.m. $12. ustreetmusichall.com.

Jazz MR. HenRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Aaron L. Myers II. 8 p.m. Free. mrhenrysdc.com. utopia baR & GRill 1418 U St. NW. (202) 4837669. Collector’s Edition. 11:00 p.m. Free. utopiaindc.com.

WoRld kennedy CenteR MillenniuM staGe 2700 F St. NW. (202) 467-4600. Ramy Adly. 6 p.m. Free. kennedy-center.org.

Hip-Hop HowaRd tHeatRe 620 T St. NW. (202) 803-2899.

Scarface and Backyard Band, T Lucas. 11 p.m. $25–$75. thehowardtheatre.com.

dJ nigHts blaCk Cat baCkstaGe 1811 14th St. NW. (202) 667-4490. Dark & Stormy with DJ Shea Van Horn.

10 p.m. $5. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Discnotheque with DJs Sean Morris and Bill Spieler. 10:30 p.m. $2–$5. dcnine.com.

Music . . . . . . . . . . . . . . . . . . . . . . . . .29 Books . . . . . . . . . . . . . . . . . . . . . . . . 3 3 Galleries . . . . . . . . . . . . . . . . . . . . . 3 3 Dance . . . . . . . . . . . . . . . . . . . . . . . 3 4 Theater . . . . . . . . . . . . . . . . . . . . . . 3 4 Film . . . . . . . . . . . . . . . . . . . . . . . . . . .35

SearCh LISTIngS aT waShIngTonCITYpaper.Com

UPCOMING EVENTS

CITY LIGHTS: FRIDAY

POSTCARDS FROM THE VAG

Some people (anti-abortion advocates, Republican presidential candidates) insist abortion is no laughing matter, so those folks probably don’t know how well humor can mobilize the masses. But just look at The Daily Show’s ability to start important conversations while also delivering killer one-liners. That show’s co-creator Lizz Winstead is also the creative voice behind Lady Parts Justice, an organization that encourages comedians and writers to raise their voices and speak about contemporary threats to reproductive rights. Winstead and a troupe of fierce women bring their cause to the live stage in their storytelling and truth-telling show Postcards from the Vag. The show, which features commentary from both advocates and comedians, will raise funds and awareness in support of Lady Parts Justice. Election season is already upon us, and there’s no better way to sway skeptical friends into rocking the vote quite like a strong message couched in a vagina joke. The event begins at 9 p.m. at the Black Cat, 1811 14th St. NW. $10–$15. (202) —Diana Metzger 667-4490. blackcatdc.com.

saturday Rock

utopia baR & GRill 1418 U St. NW. (202) 4837669. Ed Hahn Quintet. 9:30 p.m. utopiaindc.com.

Elijah’s Quintet. 11:00 p.m. Free. utopiaindc.com.

WoRld

Jiffy lube live 7800 Cellar Door Drive, Bristow.

(703) 754-6400. Van Halen, The Kenny Wayne Shepherd Band. 7:30 p.m. $37–$165. livenation.com.

wolf tRap filene CenteR 1551 Trap Road, Vienna.

(703) 255-1900. Orquesta Buena Vista Social Club.

8 p.m. $25–$50. wolftrap.org.

RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. In Your Memory, Sideshow Cinema, Wander. 8 p.m. $12. rockandrollhoteldc.com.

Hip-Hop

Funk & R&B 9:30 Club 815 V St. NW. (202) 265-0930. MJ Day 2015 with DJ Dredd, Jahsonic, O’s Cool, and Grap Luva. 8 p.m. $15. 930.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Hustle Souls. 7:30 p.m. Free. gypsysallys.com. PitchBlak Brass Band, Subtle Hustle. 9 p.m. $10–$14. gypsysallys.com.

ElEctRonic

u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Sage Francis, Seez Mics. 7 p.m. $20. Official Trillectro Afterparty with Nadus, Geotheory, Louie Lastic, Rex Riot, and DJ K-Meta. 10 p.m. $10. ustreetmusichall.com.

go-go HowaRd tHeatRe 620 T St. NW. (202) 803-2899.

Raw Image. 11 p.m. $25–$45. thehowardtheatre.com.

classical

dC9 1940 9th St. NW. (202) 483-5000. All Cows Eat Grass Dance Party Tour. 6 p.m. $10. dcnine.com.

Reston town CenteR 11900 Market St., Reston.

(703) 912-4062. Navy Band Commodores. 7:30 p.m.

Free. restontowncenter.com.

Vocal

Jazz

wolf tRap filene CenteR 1551 Trap Road, Vienna.

(703) 255-1900. Kristin Chenoweth. 8 p.m. $25–$50. wolftrap.org.

dJ nigHts

MR. HenRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Anita King with Dial 251 for Jazz. 8 p.m. Free. mrhenrysdc.com.

blaCk Cat 1811 14th St. NW. (202) 667-4490. Eighties Mayhem with DJs Steve EP, Killa K, Missguided, and Krasty McNasty. 9:30 p.m. $10. blackcatdc.com.

Monday, 8/31 at 6:30pm On the Edges of Vision Helen McClory & The Blue Girl Laurie Foos Tuesday, 9/1 at 6:30pm DC Sports Chris Elzey & David Wiggins Wednesday, 9/2 at 6:30pm The Rebel of Rangoon Delphine Schrank & The Born Frees Kimberly Burge Tuesday, 9/8 at 6:30pm Mr. Smith Goes To Prison Jeff Smith Wednesday, 9/9 at 6:30pm As If! Jen Chaney Wednesday, 9/16 at 6:30pm Landfall Ellen Urbani Monday, 9/21 at 6:30pm The Suicide of Claire Bishop Carmiel Banasky

washingtoncitypaper.com august 28, 2015 29

dC9 1940 9th St. NW. (202) 483-5000. Body Werk.

10:30 p.m. $2–$5. dcnine.com.

MaRx Café 3203 Mt. Pleasant St. NW. (202) 5187600. Latin Rock with DJ Luis. 10:00 p.m. Free. marxcafemtp.com.

Zoo baR 3000 Connecticut Ave. NW. (202) 2324225. Mike Flaherty’s Dixieland Direct Jazz Band.

7:30 p.m. Free. zoobardc.com.

Vocal

RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. DJs Rex Riot and Basscamp. 11:30 p.m. Free. rockandrollhoteldc.com.

kennedy CenteR MillenniuM staGe 2700 F St. NW. (202) 467-4600. Ship’s Company Chanteymen Sing-Along!. 6 p.m. Free. kennedy-center.org.

sunday

gospEl

Rock

blaCk Cat baCkstaGe 1811 14th St. NW. (202) 667-4490. The Grey A, Laura Tsagarris, Benjamin Shepherd. 7:30 p.m. $12. blackcatdc.com.

RoCk & Roll Hotel 1353 H St. NE. (202) 388-ROCK. Supreme Commander, the Screws, Daycare Swindlers, Walk the Plank, the Defense. 6:30 p.m. $12. rockandrollhoteldc.com.

HowaRd tHeatRe 620 T St. NW. (202) 803-2899.

Toby Palmer & Chosen Generation. 6 p.m. $20. thehowardtheatre.com. Toby Palmer & Chosen Generation, Maria Jenkins and Michael White. 6 p.m. $20–$50. thehowardtheatre.com.

Monday Funk & R&B

Funk & R&B

kennedy CenteR MillenniuM staGe 2700 F St. NW. (202) 467-4600. Spread Love. 6 p.m. Free. kennedy-center.org.

biRCHMeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Larry Graham & Graham Central Station. 7:30 p.m. $69.50. birchmere.com.

MadaM’s oRGan 2461 18th St. NW. (202) 6675370. One Nite Stand. 9:00 p.m. Free. madamsorgan.com.

Jazz

go-go

utopia baR & GRill 1418 U St. NW. (202) 4837669. Sherryl Jones, Wayne Wilentz. 9:30 p.m. Free. utopiaindc.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Frank “Scooby” Sirius. 8 p.m. & 10 p.m. $25. bluesalley.com.

CITY LIGHTS: SATURDAY

SAGE FRANCIS There is perhaps no other hip-hop artist working today who is both as self-aware and as self-deprecating as Sage Francis. The 38-year-old is a masterful, brutally honest lyricist whose heated-yet-poignant screeds are just as likely to tackle personal demons as societal ills. After becoming a highly decorated emcee battle veteran and a regular on the poetry slam circuit, Francis went on to become one of the highest-selling indie hip-hop artists of the genre. Four years after swearing he would never tour again, Francis hit the road last summer to promote his new album, Copper Gone. Francis being Francis, he is the first to make fun of himself, beating everyone to the punch with a parody press conference video in which he announced his return from his faux retirement with a new tour.

The “reporters” responded by asking if he’s planning on playing any of his “old, good stuff” and why his tour mysteriously skips over Florida, Alaska, Canada, and much of the South. Lucky for us, the nation’s capital is still in Francis’ good graces this year. Sage Francis performs with Seez Mics at 7 p.m. at U Street Music Hall, 1115 U St. NW. $20.

—Amrita Khalid (202) 588-1889. ustreetmusichall.com.

30 august 28, 2015 washingtoncitypaper.com

washingtoncitypaper.com august 28, 2015 31

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

For entire schedule go to Birchmere.com Find us on Facebook/Twitter!

Tix @ Ticketmaster.com 800-745-3000

LUKE JAMES Sept 3 BILLY BOB THORNTON & 4 EUGE GROOVE 5 THE SELDOM SCENE & JONATHAN EDWARDS 8&9 WATKINS FAMILY HOUR Aug 28

feat. Sean & Sara Watkins

(from Nickel Creek), Fiona Apple, Don Heffington, Sebastian Steinberg, and special guests.

THE MANHATTANS

12

featuring Gerald

CITY LIGHTS: SUNDAY

SCREEN GIANTS SUMMER SERIES Should you be one of the lucky people not moving boxes this weekend, you’re entitled to a day of relaxation. The D.C. Jewish Community Center has anticipated your need and lined up a selection of classic films by Jewish directors and, as an added bonus, none of their names rhyme with Shmoody Pallin’. Start your afternoon with The Apartment, Billy Wilder’s dark comedy about a corporate drone who lets his boss use his home for affairs; then transition to the dark world of bank robberies when Dog Day Afternoon screens and Pacino starts screaming “Attica! Attica!” Things brighten up when Elaine Mays’ A New Leaf, starring Walter Matthau as a man who’s spent his entire inheritance and needs to find a wealthy wife immediately, screens at 5 p.m. Closing out the day is Mel Brooks’ Young Frankenstein, a slightly predictable choice that never disappoints. You might be able to recreate this experience from your bed using Netflix, but these films are even better when you watch with a group of chosen people. The films screen beginning at noon at the Washington D.C. Jewish Community Center, 1529 16th St. NW. $13–$25. (202) 518—Caroline Jones 9400. washingtondcjcc.org.

Alston

of Spade KING’S X Kings BILLY COBHAM

14 15

“Spectrum 40”

LYFE JENNINGS

16 with sp. guest DONNELL

RAWLINGS

DAVE MASON’S TRAFFIC JAM 18 BILL KIRCHEN & Too Much Fun and JUMPIN’ JUPITER 17

19 From France

Trio Caliente

The STEVE EARLE & THE DUKES Mastersons Marie 24 JOHN ONDRASIK Miller

tuesday

MAYSA 28 BUDDY GUY 30 NERDS and MUSIC An Evening with JOEL HODGSON, PAT ROTHFUSS, PAUL & STORM

dC9 1940 9th St. NW. (202) 483-5000. Arum Rae with Steve West, Mechanical River. 9 p.m. $10–$12. dcnine.com.

23

of FIVE FOR FIGHTING with Quartet & Her Funk Soul Symphony

25

3

kennedy CenteR MillenniuM staGe 2700 F St. NW. (202) 467-4600. Todd Burge. 6 p.m. Free. kennedy-center.org.

Funk & R&B

The Music of Billie Holiday

MadaM’s oRGan 2461 18th St. NW. (202) 6675370. The Johnny Artis Band. 9:00 p.m. Free. madamsorgan.com.

PAT McGEE & FRIENDS

Jazz

Oct 1

2

Nao JOSÉ JAMES Yoshioka

Rock

“Yesterday I Had The Blues”

Brian Dunne

HIROSHIMA

4

THEMILKCARTONKIDS w/Kacy & Clayton

Sept. 10, 8:00 pm Presents

Washington DC Tickets On Sale Now! through Lisner.org or call (202) 994-6800.

32 august 28, 2015 washingtoncitypaper.com

utopia baR & GRill 1418 U St. NW. (202) 4837669. Lyle Link Trio. 9:30 p.m. Free. utopiaindc.com.

Funk & R&B bossa bistRo 2463 18th St NW. 202-667-0088.

Soul Down Sessions. 9 p.m. $5. bossproject.com.

BluEs Zoo baR 3000 Connecticut Ave. NW. (202) 2324225. Open Mic Blues Jam. 8:30 p.m. Free. zoobardc.com.

countRy MadaM’s oRGan 2461 18th St. NW. (202) 6675370. The Human Country Jukebox Band. 9 p.m. Free. madamsorgan.com.

WoRld kennedy CenteR MillenniuM staGe 2700 F St. NW. (202) 467-4600. Tal National. 6 p.m. Free. kennedy-center.org.

Wednesday thursday Rock

Rock

blaCk Cat baCkstaGe 1811 14th St. NW. (202) 667-4490. ROM, Night Streets, Kickstand Band, Mittenfields. 7:30 p.m. $12. blackcatdc.com.

blaCk Cat baCkstaGe 1811 14th St. NW. (202) 667-4490. Bosley, M.H. and his Orchestra. 7:30 p.m. $10. blackcatdc.com.

dC9 1940 9th St. NW. (202) 483-5000. Tamaryn, Gambles. 8:30 p.m. $12–$14. dcnine.com.

Gypsy sally’s 3401 K St. NW. (202) 333-7700. Paul Edelman. 7 p.m. Free. gypsysallys.com.

ElEctRonic u stReet MusiC Hall 1115 U St. NW. (202) 5881880. Andy C, Ken Lazee, D-Fect. 10 p.m. $15. ustreetmusichall.com.

Jazz utopia baR & GRill 1418 U St. NW. (202) 4837669. The Wayne Wilentz Trio. 9:30 p.m. Free. utopiaindc.com.

countRy Gypsy sally’s 3401 K St. NW. (202) 333-7700.

Rebecca Frazier and Hit and Run, Karen Jonas and Tim Bray. 8:30 p.m. $15. gypsysallys.com.

MR. HenRy’s 601 Pennsylvania Ave. SE. (202) 5468412. Split String Soup. 8 p.m. Free. mrhenrysdc.com.

WoRld bossa bistRo 2463 18th St NW. 202-667-0088.

Feedel Band. 9 p.m. $10. bossproject.com. tRopiCalia 2001 14th St. NW. (202) 629-4535.

Orquesta el Macabeo, Peace and Rhythm DJ Crew.

9 p.m. $10–$12. tropicaliadc.com.

Hip-Hop HowaRd tHeatRe 620 T St. NW. (202) 803-2899.

Fat Trel. 9 p.m. $15–$40. thehowardtheatre.com.

dJ nigHts MaRx Café 3203 Mt. Pleasant St. NW. (202) 5187600. Dark grooves and classic funk. 10:00 p.m. Free. marxcafemtp.com.

Vocal kennedy CenteR MillenniuM staGe 2700 F St. NW. (202) 467-4600. Great American Songbook High School Competition. 6 p.m. Free. kennedy-center.org.

Books

JoHn daRnielle The lead singer of the rock band the Mountain Goats reads from his first novel, Wolf in a White Van. Busboys and Poets Brookland.

625 Monroe St. NE. September 2, 6:30 p.m. Free.

dina Gold In Stolen Legacy: Nazi Theft and the Quest for Justice at Krausenstrasse 17/18, Berlin, the author investigates the fate of her family’s property after it was seized by the Nazis. Politics & Prose. 5015 Connecticut Ave. NW. September 2, 7:00 p.m. Free.

(202) 364-1919.

GReG GRandin Grandin, a history professor at New York University, uses recently unclassified documents to explain former Secretary of State Henry Kissinger’s foreign policy decisions in Kissinger’s Shadow: The Long Reach of America’s Most Controversial Statesman. Politics & Prose. 5015 Connecticut Ave. NW. August 31, 7:00 p.m. Free. (202) 364-1919. linda HiRsHMan Hirshman explores the relationship between the first two female Supreme Court justices and how their work transformed politics in Sisters in Law: How Sandra Day O’Connor and Ruth Bader Ginsburg Went to the Supreme Court and Changed the World. Politics & Prose. 5015 Connecticut Ave. NW. September 3, 7:00 p.m. Free. (202) 364-1919.

JoHn MaRkoff The author examines the growing role of robots and machines in the work place in his new book, Machines of Loving Grace: The Quest for Common Ground between Humans and Robots. Politics & Prose. 5015 Connecticut Ave. NW. September 1, 7:00 p.m. Free. (202) 364-1919.

GReG toppo In his new book, The Game Believes In You, the author, a reporter for USA Today, explains how computer games and exposure to digital worlds can help students become smarter while still having fun. Politics & Prose. 5015 Connecticut Ave. NW. August 28, 7:00 p.m. Free. (202) 364-1919.

Galleries

aRlinGton aRts CenteR 3550 Wilson Blvd., Arlington. (703) 248-6800. arlingtonartscenter.org. OngOing: “Play.” Games and toys are examined through the lens of contemporary art in this group show that aims to engage viewers of all ages. July 11–Oct. 10. atHenaeuM 201 Prince St., Alexandria. (703) 548-0035. nvfaa.org. OngOing: “Fields of Energy.”

Abstract works by David Carlson and Pat Goslee, painters who are very concerned with spiritual exploration.

July 23–Sept. 6. bRentwood aRts exCHanGe 3901 Rhode Island Ave., Brentwood. (301) 277-2863. arts.pgparks.com.

OngOing: “Ellen Cornett.” After winning Project America’s Next Top Master Artist contest, Cheverly-

FRI AUG 28 - SAT AUG 29 2 NIGHTS OF

SAVION GLOVER SUN AUGUST 30TH THE REUNION OF TOBY PALMER

& CHOSEN GENERATION

THU SEPTEMBER 3RD WPGC 95.5 PRESENTS

FAT TREL

FRI SEPTEMBER 4TH NEO AGE SHOWCASE FT.

DEANGELO REDMAN,

THE AMOURS, TANGINA STONE & ROB MILTON

SUN SEPTEMBER 6TH

LABOR DAY FEST WITH THE KINGS OF GO-GO FT.

BIG TONY & TROUBLE FUNK, SUGAR BEAR & EU, JAMES FUNK & PROPER UTENSILS, BUGGS & JUNKYARD BAND

WED SEPTEMBER 9TH

DRU HILL

FT. SISQO, NOKIO, JAZZ & TAO

CITY LIGHTS: MONDAY

FRANK “SCOOBY” SIRIUS D.C.’s Frank “Scooby” Sirius—best known for playing guitar with a credit card as a pick and singing with groups like the Chuck Brown Band and Team Familiar (formerly Familiar Faces)—has also spent the last six years developing his own R&B career. This godson of go-go’s 2009 cut “Remember My Name” made the Billboard R&B/hip-hop chart; his cover of Bob Marley’s “Is This Love” is out now; and he’s also recording an album of his own material. Sirius’ voice sounds polished and friendly enough for pop, but he can soulfully wail in earthy, old-school tones just as well as he climbs the scales with his falsetto.

Sirius really shines on versions of Donny Hathaway’s “For You” and the Spinners’ “How Could I Let You Go Away.” For this gig, Sirius will be joined by a band that includes keyboardist Marcus Young and drummer Kenny “Kwick” Gross from the Chuck Brown Band. While the emphasis will be on rhythm and blues, Sirius says he may include a few percussive go-go numbers to get his fans out of their seats and shaking. Frank “Scooby” Sirius performs at 8 p.m. and 10 p.m. at Blues Alley, 1073 Wisconsin Ave. NW. $25. (202) 337-4141.

—Steve Kiviat bluesalley.com.

FRI SEPTEMBER 11TH LIZZ WRIGHT CD RELEASE SHOW

SAT SEPTEMBER 12TH POINT BREAK LIVE!

SUN SEPTEMBER 13TH THE ORB

MON SEPTEMBER 14TH REVEREND HORTON HEAT & THE ADICTS

PLUS SPECIAL GUESTS THE CREEPSHOW

8/30

F T. A N T O N E " C H O O K Y " C A L DW E L L

9/6 Gospel ������

W I T H T H E W O R L D FA M O U S H A R L E M G O S P E L C H O I R

washingtoncitypaper.com august 28, 2015 33

washingtoncitypaper.com/craftybastards

ARTS & CRAFTS FAIR

VOLUNTEERS NEEDED! Union Market

&

10

a.m.

to

5 p.m.

Have fun! Meet great Crafty folks!

CITY LIGHTS: TUESDAY

A MIDSUMMER NIGHT’S DREAM

The sun is setting earlier and D.C.’s oppressive humidity appears to be making a rushed exit: All signs point to summer ending, but not before a favorite local tradition takes over Penn Quarter. Shakespeare Theatre Company’s Free For All marks its 25th anniversary with a remount of its 2012 production of A Midsummer Night’s Dream, and it’s just the right show to extend the feeling of seasonal relaxation for a few more weeks. STC has only staged Midsummer as part of the Free For All once before, in 2005 when the productions still took place at Carter Barron Amphitheatre and audiences and actors had to contend with the elements just as the Bard’s original actors did. Now, in swanky, air-conditioned Sidney Harman Hall, audiences will get a different experience than they did a decade ago, but with just as many laughs: Jokes about donkeys and bottoms are never not funny. The play runs Sept. 1 to Sept. 13 at Sidney Harman Hall, 610 F St. NW. Free. (202) 547-1122.

—Caroline Jones shakespearetheatre.org.

To sign up, email Chloe at craftybastardsvolunteers@washingtoncitypaper.com All volunteers will receive free entry into the fair and a free Crafty Bastards gift bag filled with awesome goodies.

Thursday Aug. 27

JELLY ROLL MORTALS Friday Aug. 28 - BOX ERA Saturday Aug. 29

Frank’s Night Out featuring BEGGARS TOMB Sunday Aug. 30

AJ’S JAZZ TRIO - FREE SHOW Thursday Sept. 3

JUSTIN TRAWICK AND THE COMMON GOOD Friday Sept. 4 - THE WALKING GUYS Saturday Sept. 5 - FLASHBACK GUYS Sunday Sept. 6

SKYLINE & ANTI BAND w/ Nui Wiriyapa Thursday Sept. 10 - JANELIA SOUL Friday Sept. 11 - URBAN FUNK Saturday Sept. 12 - THE JET AGE

based artist Cornett presents a variety of work in this solo show. Aug. 3–Sept. 26. dC aRts CenteR 2438 18th St. NW. (202) 462-7833. dcartscenter.org. ClOsing: DCAC members and amateur artists display their own work at this annual celebration of experimental and inventive art.

July 10–Aug. 30.

HonfleuR GalleRy 1241 Good Hope Road SE. (202) 365-8392. honfleurgallery.com. ClOsing: “8th Annual East of the River Exhibition.” Works by artists living and working in Wards 7 and 8 are selected by a panel of jurors and displayed at this annual exhibition.

July 10–Aug. 28. vivid solutions GalleRy 1231 Good Hope Road SE. (202) 365-8392. vividsolutionsdc.com. ClOsing: “Innocent Eyes of Tierra Bomba.” Photographs of the remote Colombian island by Jonathan French, winner of the 2014 East of the River Distinguished Artist Award. July 10–Aug. 28.

dance

savion GloveR The acclaimed tap dancer and choreographer, known for his work on Sesame Street and Broadway musicals like Jelly’s Last Jam and Bring in ‘da Noise, Bring in ‘da Funk, performs a solo show at the Howard Theatre. The Howard Theatre. 620 T St. NW. To Aug. 29. $35–$55. (202) 803-2899. thehowardtheatre.com.

theater

tHe baltiMoRe waltZ In honor of the play’s 25th anniversary, Rep Stage presents this Paula Vogel work about a pair of siblings who attempt to cure a disease and find romance while exploring Europe. Rep Stage

34 august 28, 2015 washingtoncitypaper.com

at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To September 13. $15-$40. (443) 518-1500. repstage.org. doGfiGHt Three Marines, on the verge of being deployed to Southeast Asia, come together for a final night of fun and confront their own mortality when a young waitress teaches them a few lessons about love and companionship. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To September 19. $35-$45. (703) 892-0202. keegantheatre.com. tHe fix When a presidential candidate dies unexpectedly, his widow recruits her son to run in his place in this lively musical directed by Signature Artistic Director Eric Schaeffer. Signature Theatre. 4200 Campbell Ave., Arlington. To September 20. $29-$85. (703) 8209771. signature-theatre.org.

Hay feveR A husband and wife aim to escape the pressures of their lives by visiting their quiet country home. A quiet weekend becomes anything but that when their children also occupy the estate, in this classic farce by Noel Coward. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To September 27. $15-$60. (301) 924-3400. olneytheatre.org.

How we died of disease-Related illnesses, bones in wHispeRs Longacre Lea presents these two plays about the consequences of disease as part of Women’s Voices Theater Festival. In How We Died..., an American returning from abroad is isolated when he contracts an unnamed illness and is forced to confront his own mortality in comedic ways. In Bones in Whispers, two clans who have survived a plague confront each other using guns and hip-hop dance to express their feelings. Longacre Lea at Callan Theatre at Catholic University. 3801 Harewood Road NE. To September 6. $20. longacrelea.org.

intiMate appaRel Deanna Dykes and Kristin Poe direct this moving drama about a Black seamstress in early 20th century New York who works for everyone from wealthy clients to prostitutes and yearns to find love. Anacostia Playhouse. 2020 Shannon Place SE. To August 29. $20-$25. (202) 544-0703. anacostiaplayhouse.com. niGHt falls on tHe blue planet A woman aims to discover herself after spending her life struggling with familial estrangement and alcoholism. As she begins to understand her emotions and the inner world that exists under her skin, will she be able to reconnect with her sister or remain alone? Rex Daugherty directs this play by Kathleen Akerly as part of the Women’s Voices Theater Festival. Anacostia Playhouse. 2020 Shannon Place SE. To September 27. $20-$35. (202) 544-0703. anacostiaplayhouse.com. sHeaR Madness Enjoy the record-breaking comedy whodunit that lets the audience spot the clues, question the suspects and solve the funniest murder mystery in the annals of crime, now celebrating 25 years at the Kennedy Center. Kennedy Center Theater Lab. 2700 F St. NW. To December 31. $48. 202-467-4600. kennedy-center.org. txt Brian Feldman presents this interactive show in which he reads anonymous online messages sent from audience members every Sunday in 2015. Anything goes in terms of subject matter and profanity, so arrive with no expectations. American Poetry Museum. 716 Monroe St. #25. To December 27. $15-$20. (800) 8383006. txtshow.brownpapertickets.com. tHe weiGHt of wateR In order to connect with the spirit of her last living relative, a young woman must piece together the pieces of her family’s past. Factory 449 presents Allyson Curtin’s drama about the secrets families keep from each other as part of the Women’s Voices Theater Festival. Anacostia Arts Center. 1231 Good Hope Road SE. To September 27. $15-$20. anacostiaartscenter.com.

FilM

aMeRiCan ultRa In this action comedy, a stoned government operative is targeted for execution, but the combination of his training and being high allow him to outwit the people fighting against him at every turn. Nima Nourizadeh’s film reunites Jesse Eisenberg and Kristin Stewart, who also appeared in the 2009 dramedy Adventureland. (See washingtoncitypaper. com for venue information)

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foR fiRe When a husband and his n diGGinG wife discover a mysterious gun and bone, they set off on opposite paths to discover the meaning behind the objects. Starring Rosemarie DeWitt and Jake Johnson. (See washingtoncitypaper.com for venue information) GRandMa A young woman in need of money n for an abortion turns to her grandmother for guidance. Together, they embark on a series of adventures and reconnect with friends old and new. Starring Lily Tomlin, Julia Garner, and Marcia Gay Harden. (See washingtoncitypaper.com for venue information) HitMan: aGent 47 In order to find her long-lost father, a woman teams up with an assassin and seeks out her family’s history. (See washingtoncitypaper.com for venue information) iRRational Man In Woody Allen’s latest film, a depressed college professor seeks meaning in his life.

He considers killing a corrupt judge to find some peace but instead builds a relationship with a much younger student. (See washingtoncitypaper.com for venue information) kaHlil GibRan’s tHe pRopHet An exiled artist attempts to return home with his housekeeper and her daughter as they attempt to avoid the authorities who want to silence their ideas and personal expression.

Salma Hayek and Liam Neeson star in this animated film that Hayek helped adapt from Gibran’s novel. (See washingtoncitypaper.com for venue information) MeRu This new documentary tells the story of three passionate climbers determined to reach the peak of India’s Meru Peak. Despite impossibly challenging con-

CITY LIGHTS: WEDNESDAY

JOHN DARNIELLE

John Darnielle, the mastermind behind raconteur rockers the Mountain Goats, is at his best when he’s writing songs about people who aren’t him. Case in point: the unhappy north Florida homeowners the band sings about on its 2002 album Tallahassee.

When his song’s characters look nothing like Darnielle, they’re murdered wrestlers and teenage acid pushers; when they do resemble the songwriter, the songs are about whether Darnielle’s alter ego drank a whole pot of coffee (seriously). So it’s a good sign that Sean, the reclusive protagonist of Darnielle’s debut novel Wolf in White Van, is nothing like his author. After an injury leaves him disfigured and living like a hermit, Sean designs a play-by-mail game about a dystopic future America.

But as Sean’s game pulls in new players, things take an unexpected turn. The same lyricism found in Darnielle’s best songs is worked into the novel; expect to find some beauty amid the darkness. John Darnielle reads at 6:30 p.m. at Busboys and Poets Brookland, 625 —Will Sommer Monroe St. NE. Free. (202) 636-3563. busboysandpoets.com.

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friday september 11

ralph stanley & the clinch mountain boys saturday september 12

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MON, AUGUST 31ST

DISTRICT TRIVIA

sunday september 13

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and asks chefs, eaters, butchers, and farmers to discuss how and why the gourmet beef industry has evolved over the past several decades. (See washingtoncitypaper.com for venue information) ten tHousand saints A young man growing up in rural Vermont, reeling from the sudden death of his best friend, begins a new life in New York City, where he tries to reconnect with his estranged father and forms a friendship with the girl carrying his late friend’s child. Ethan Hawke, Asa Butterfield, and Emily Mortimer star in this drama based on the novel by Eleanor Henderson. (See washingtoncitypaper.com for venue information) A track star must fight for her surn unsullied vival and overpower her captors in this thrilling film, based on a true story, starring Murray Gray and Rusty Joiner. (See washingtoncitypaper.com for venue information) aRe youR fRiends An aspiring DJ aims to n we break in to Hollywood’s electronic dance music scene but following his dreams is not as easy as it appears in this soapy drama starring Zac Efron and Wes Bentley. Max Joseph, best known to audiences as the co-host of MTV’s Catfish directs. (See washingtoncitypaper.com for venue information) we CoMe as fRiends This documentary by director Hubert Sauper looks at the bitter civil war between North and South Sudan that led to the latter country’s eventual independence and the ways in which imperialism has evolved and taken form throughout the continent. (See washingtoncitypaper.com for venue information)

Film clips are written by Caroline Jones.

CITY LIGHTS: THURSDAY

Bohemian Caverns Tuesdays Artist in Residency

DC’s Legendary Jazz Club

Rosslyn outdooR filM festival Every Friday night, just across the Key Bridge in Virginia, outdoor cinema takes the centerstage. This year’s LOL Fridays lineup includes; Wedding Crashers, Mean Girls, Happy Gilmore, Tommy Boy, Ferris Bueller’s Day Off, When Harry Met Sally, Anchorman, Clueless, The Big Lebowski, Austin Powers, The Hangover, Despicable Me, and Zoolander. Gateway Park. 1300 Lee Highway, Arlington. (703) 228-6525. rosslynva.org/events. sinisteR 2 Ciarán Foy directs this horror film about a mother and her two young children who move into a house full of evil energy that’s determined to do them in. (See washingtoncitypaper.com for venue information)

3000 Connecticut Avenue, NW

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no esCape Caught in the middle of a coup, an American family that has recently settled in Southeast Asia has to figure out how to survive when foreigners become targets. Owen Wilson and Lake Bell, actors regularly seen in comedic roles, star in this thriller directed by John Erick Dowdle. (See washingtoncitypaper.com for venue information) Rosenwald Aviva Kempner profiles Julius Rosenwald, a high school dropout who went on to become the president of Sears and built thousands of schools throughout the Deep South in the early part of the 20th century. (See washingtoncitypaper.com for venue information)

Sat. Sept. 5 Big Boy little Band

NEESON hayek KRASINSKI Langella MOLINA WALLIS

MistRess aMeRiCa Tracy (Lola Kirke), a college freshman in need of friends and excitement, finds what she’s looking for in Brooke (Greta Gerwig), her soon-to-be stepsister. But while Brooke’s life seems glamorous, it isn’t until the two women connect that they begin to acknowledge their own shortcomings.

Noah Baumbach directs this dark comedy that he cowrote with Gerwig. (See washingtoncitypaper.com for venue information)

steak (R)evolution Franck Ribière’s new docn umentary seeks out the world’s greatest steaks

THE SEPTEMBER ISSUE Though its radically varying temperatures make dressing nearly impossible, fashion magazines want you to know that September is an important month for commerce. The dog days of summer seem like a distant memory when autumn’s mood of transformation arrives, bringing with it those inch-thick editions of glossy fashion magazines that advise which kind of fringed boot will work for you this year.

But don’t let the perfumed pages fool you: The several-hundredpage September issues of Vogue, Elle, In Style, and Harper’s Bazaar— coinciding with New York Fashion Week—are the product of plenty of blood, sweat, and tears in the fashion publishing industry. At this Phillips After 5 event, hear what’s in store for fall from fashion experts and models. Enjoy beauty and fragrance stations and custom cocktails, courtesy of Saks Fifth Avenue and Stir Bartending Co. mixologists, plus music from DJ Heather Femia. By the end of the night, you’ll be dreaming of trench coats and wool sweaters. The event begins at 5 p.m. at the Phillips Collection, 1600 —Amrita Khalid 21st St. NW. $10–$12. (202) 387-2151. phillipscollection.org.

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Legals E.L. Haynes Public Charter School PUBLIC NOTIFICATION National School Lunch Program Participant

By BRENDaN EMMETT QuIgLEy 1

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13 Relaxed 18 Stage of the Tour de France 22 Former Oriole slugger Powell 24 “Komm, Gib ___ Deine Hand” (The Beatles’s German version of “I Want To Hold Your Hand”) 26 Winking phrase 27 L.A. Galaxy’s org.

28 Numbers on a door stoop?

31 Smidge 32 John O. Brennan’s org.

33 Guy in briefs?: Abbr.

36 Energizer rival 37 Humble request 38 Cloud’s milieu 39 Dances done with knees slightly bent 40 ‘60s militant ___ Brown 41 N.W.A.’s “F--k ___ Police” 42 Headcovering of all but the eyes 43 Wrap, as in bandages 44 Punch in time 46 “You’re singing my tune” 47 Skip all the bullshit and just get hitched 48 Actor Nick 49 Sink’s outlet 53 Turns the lights down 55 Union payments 57 Scribble (down) 58 Get the word out?

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1 Goalie Howard 4 Sports video game where players caught on fire 10 Place to get coffee and free WiFi 14 “Nice cape work!”

15 New Age practitioner 16 Taqueria freebie 17 Cartilage that covers the wind pipe when swallowing (Swipe) 19 Endorsing needs 20 Game with 32 cards 21 PED abuser and corked bat user Sammy 22 Watch an entire season in a sitting, say 23 Cheese in red wax 25 Memphis location where Elvis and Johnny Cash, among others, recorded (Swipe) 27 Unable to act prudently

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29 They may cover two feet 30 Very nearby (Swipe) 34 Challenge in court 35 “Love Sneaking Up On You” singer Bonnie 36 ___ Plaines 39 “That’s beyond belief!” (Swipe) 43 Traffic problem 45 Number of beers in a big box 46 Utterly lost (Swipe) 50 Not quite closed 51 Kept adding to, as a bar tab 52 “Man ...”

54 Killed it, as a test 56 Soccer moms’ wheels 57 French white wine (Swipe) 59 Spicy take out 60 Kia midsize sedan 61 Wireless highspeed standard, for short 62 Is unable to make a decision 63 Just a little bit 64 Fleur-de-___

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Down 1 Does one better than 2 Words of affection 3 Ten times the serving of vitamins, say 4 Canucks grp.

5 Heckler’s cries 6 Some female voices 7 Jiu-___ 8 Like 60% of the world 9 Map abbr.

10 “Ya got me?”

11 Tommy Lee Jones MIB character 12 Athlete’s foot, e.g.

LAST WEEK: IF I SAY SO MYSELF L O N E R J A M B A M Y S

A B O V E

S A T I T

S M I L E S A P A L I T E T E A T E T O L O L L O G I T A T

O A F Y O L L P O N B V I I F L F L I F I E

L Y F T

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A F T A

A M S C A C R P R O E E T M A C F Y C H A S H T T M S P A O E T S L I T G S O L A N D O W O M A N

T O F U

A M I D

G A T E

E P I C

C O N K

K E G S

E B E R T

F O R D S

M E S S Y

Euphemia L. Haynes Public Charter School strives to provide healthy and nutritious meals. To achieve this goal, we have partnered with the USDA and are participants in the National School Breakfast and Lunch programs. In addition to the meals we serve with the National School Breakfast and Lunch programs, we have a no junk food policy at our school and we are proud to say that the snacks served to our students are healthy as well.

The U.S. Department of Agriculture prohibits discrimination against its customers, employees, and applicants for employment on the basis of race, color, national origin, age, disability, sex, gender identity, religion, reprisal, and where applicable, political beliefs, marital status, familial or parental status, sexual orientation, or if all or part of an individual’s income is derived from any public assistance program, or protected genetic information in employment or in any program or activity conducted or funded by the Department. (Not all prohibited bases will apply to all programs and/or employment activities.)

If you wish to file a Civil Rights program complaint of discrimination, complete the USDA Program Discrimination Complaint Form, found online at: ht tp:// w w w.ascr.usda.gov/ complaint_filing_cust.html, or at any USDA offi ce, or call (866) 632-9992 to request the form.

You may also write a letter containing all of the information requested in the form.

Send your completed complaint form or letter to us by mail at U.S. Department of Agriculture, Director, Offi ce of Adjudication, 1400 Independence Avenue, S.W., Washington, D.C. 20250-9410, by fax (202)690-7442 or email at program.intake@usda. gov. Individuals who are deaf, hard of hearing or have speech disabilities may contact USDA through the Federal Relay Service at (800) 877-8339; or (800) 845-6136 (Spanish).

USDA is an equal opportunity provider and employer.

Also, the District of Columbia Human Rights Act, approved December 13, 1977 (DC Law 2-38; DC Offi cial Code §21402.11(2006), as amended) states the following: Pertinent section of DC Code § 2-1402.11: It shall be an unlawful discriminatory practice to do any of the following acts, wholly or partially for a discriminatory reason based upon the actual or perceived: race, color, religion, national origin, sex, age, marital status, personal appearance, sexual orientation, gender identity or expression, family responsibilities, genetic information, disability, matriculation, or political affiliation of any individual. To file a complaint alleging discrimination on one of these bases, please contact the District of Columbia’s Offi ce of Human Rights at (202) 727-4559 or ohr@dc.gov.

Legals NOTICE! To all Municipalities.

Local and National Governments.

STATES. U.S. Agents. Attorneys.

Corporations. Persons. Vessels.

Counties. Militaries. Courts. United States of America. UNITED STATES. UNITED NATIONS. and to Territories in Possession of UNITED STATES. United States d/b/a Department of Home Land Security. United States Treasury Department. United Nations and United Nations Security Council.

Vatican. Indian tribes, Associated Bands and Clans. The following election to Occupy the Offi ce of Executor for TRAVIS OLIVER BRITT Estate was held in the city of Washington DC on September 19, 1962. For which “I” Sage Yasir tribe Mansur, a Native American, a man standing on the land Amexem/North America, I have now accepted the position of Institutional Executor, and General Protectorate of the divine Estate gifted and granted me by the Divine Creator. Therefore, I affirm and declare that upon occupying this offi ce, I will not be responsible for the payments of any debts or obligations of the United States of America and neither for any payments or Obligations of any debts for any United States Person/citizen.

By: Sage Yasir tribe Mansur Executor sage.mansur@unseen.is Bridges and Briya Public Charter Schools REQUEST FOR PROPOSALS Legal Services Mamie D. Lee, LLC (“LLC”) is a partnership between Bridges and Briya Public Charter Schools to lease, sublease, finance, redevelop, and operate the Mamie D. Lee site as the permanent home for each school. The LLC invites all interested parties to submit proposals to provide legal services related to site control, financing, construction and development-related contracts, and other matters as they arise to support the Mamie D. Lee redevelopment project. Proposals are due no later than 12:00 PM on September 4, 2015. The complete RFP can be obtained by contacting rfp@ buildinghope.org.

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Government Positions

Miscellaneous Perry Street Prep PCS is soliciting proposals for the following services: Cleaning/facilities/ janitorial services, Security, IT services.

Please go to www.pspdc.org/ bids to view a full RFP offering.

Proposals shall be received no later than 5:00 P.M., Friday, September 11, 2015.

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Health Care/Medical/ Dental

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Volunteer Services

Security/Law Enforcement Planned Parenthood believes in the fundamental right of each individual, throughout the world, to manage his or her fertility, regardless of the individual’s income, marital status, race, ethnicity, sexual orientation, age, national origin, or residence. We believe that respect and value for diversity in all aspects of our organization are essential to our well-being. We believe that reproductive self-determination must be voluntary and preserve the individual’s right to privacy. We further believe that such self-determination will contribute to an enhancement of the quality of life and strong family relationships.

Planned Parenthood Federation of America is seeking for a Front Desk Concierge in our Washington DC location, whose main responsibility will be managing the reception desk. The candidate must be experience in security management or a related fi eld.

The ideal candidate will be familiar with building evacuation plans, have local law enforcement contacts. He /she will possess certifi cation in CPR and AED, prepare incident/accident reports, and contact law enforcement on matters requiring assistance. Additionally, he/she will assist PPFA in securing confi dential records, documents and communications.

Defend abortion rights. Washington Area Clinic Defense Task Force (WACDTF) needs volunteer clinic escorts Saturday mornings, weekdays. Trainings, other info:202-681-6577, http://www. wacdtf.org, wacdtf@wacdtf.org.

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