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CITYPAPER Washington

Free Volume 38, No. 36 WashiNgtoNCityPaPer.Com sePt. 7-13, 2018

Housing: touring D.C.’s “Co-living” builDings 5 Food: booze Cruising for loCals 15 arts: Wonder Woman 1984 vs real D.C. 1984 18


ART Four independent visual arts spaces shut down this summer. How will forthcoming ventures hold on? P. 10 By Stephanie Rudig Photographs by Darrow Montgomery

2 september 7, 2018

INSIDE COVER StORy: LOSt ARt 10 It’s not easy to produce art in D.C. As studios close, local artists look for space.

DIStRICt LINE 5 housing complex: Fancy “co-living” spaces are not as glamorous as advertised. 6 what’s up, Mayor?: Mayor Muriel Bowser’s public schedule disappeared this summer.

SpORtS 8 high barre: Art and athletics come together at The Washington Ballet. 9 the scoreboard

FOOD 15 a two-hour tour: Party yachts in the Potomac encounter pirates and dancing drinkers. 17 Joust desserts: The best snacks to sample at the Maryland Renaissance Festival 17 hangover helper: America Eats Tavern’s Pork Belly and Egg Sandwich

ARtS 18 wonder years: Looking back on the D.C. Wonder Woman 1984 tries to recreate 20 short subjects: Gittell on Madeline’s Madeline and Zilberman on The Apparition 21 sketches: Devine on Lost Time at Brentwood Arts Exchange

CIty LISt 23 26 27 28

Music books theater film

DIVERSIONS 29 savage love 30 classifieds 31 crossword

DARROw MONtgOMERy rFK stadium, Lot 7.b, august 25


editor: AlexA mills Managing editor: cAroline jones arts editor: mAtt cohen food editor: lAurA hAyes sports editor: Kelyn soong city lights editor: KAylA rAndAll housing coMplex reporter: morgAn BAsKin staff photographer: dArrow montgomery MultiMedia and copy editor: will wArren creative director: stephAnie rudig contributing writers: john Anderson, VAnce BrinKley, Kriston cApps, chAd clArK, rAchel m. cohen, riley croghAn, jeffry cudlin, eddie deAn, erin deVine, tim eBner, cAsey emBert, jAKe emen, jonAthAn l. fischer, noAh gittell, lAurA irene, AmAndA Kolson hurley, louis jAcoBson, rAchAel johnson, chris Kelly, steVe KiViAt, chris KlimeK, priyA Konings, julyssA lopez, Amy lyons, neVin mArtell, Keith mAthiAs, pABlo mAurer, j.f. meils, BriAn murphy, triciA olszewsKi, eVe ottenBerg, miKe pAArlBerg, pAt pAduA, justin peters, reBeccA j. ritzel, ABid shAh, tom sherwood, Quintin simmons, mAtt terl, dAn tromBly, KAArin VemBAr, emily wAlz, joe wArminsKy, AlonA wArtofsKy, justin weBer, michAel j. west, diAnA yAp, AlAn zilBermAn


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local advertising: (202) 650-6937 fax: (202) 650-6970, Find a staFF directory with contact inFormation at vol. 38, no. 36 sept. 7–13, 2018 wAshington city pAper is puBlished eVery weeK And is locAted At 734 15th st. nw, suite 400, wAshington, d.c. 20005. cAlendAr suBmissions Are welcomed; they must Be receiVed 10 dAys Before puBlicAtion. u.s. suBscriptions Are AVAilABle for $250 per yeAr. issue will ArriVe seVerAl dAys After puBlicAtion. BAcK issues of the pAst fiVe weeKs Are AVAilABle At the office for $1 ($5 for older issues). BAcK issues Are AVAilABle By mAil for $5. mAKe checKs pAyABle to wAshington city pAper or cAll for more options. © 2018 All rights reserVed. no pArt of this puBlicAtion mAy Be reproduced without the written permission of the editor. september 7, 2018 3

AFRICAN STUDY A study at NIH is recruiting healthy black African men and women to understand diabetes and heart disease risk in Africans.

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Junior Living Community Developers treat the promise of sophisticated “co-living” as catnip for young adults. But what are they really selling? It seems lIke there’s nothing real estate developers haven’t figured out a way to glossy-up. The new generation of group houses popping up around D.C. and the DMV, called “coliving” apartments, are like the Everlane of the housing world—a comfortable, tasteful basic that’s inoffensive enough to appeal to a broad range of palates and sensibilities. One such company, OSLO, has leaned all the way in to the Zeitgeist: “You might hit the snooze button a few too many times,” an orangeand-grey card on its website flashes, before showing, inexplicably, a glossy photograph of a white woman’s legs sticking out of her leopard-print coat. Other missives include “you might not be using your liberal arts degree;” “you might cuff your jeans too many times;” and “you might not be saving 10 percent of your paycheck.” It’s a nod to the fact that young adults tend to have negative savings, and then a wink and a shrug: Life’s hard, it seems to say, so why not pay a premium to live with like-minded people? OSLO is one of several companies cashing in on the fascination some young adults have with living alongside a pack of lovable screwups à la New Girl, reinforcing the stereotype that millennials are pretty and misguided, cashless and pathless. Better than merely boasting the social comforts of a college dormitory, co-living spaces typically advertise luxury furnishings with elegant architecture, in popular neighborhoods with a multitude of nightlife options. It’s group living with style, or as a cynic might say, an attempt to obscure the reality that many single adults can no longer comfortably afford to live alone. City Paper toured two of these “co-living” buildings, one operated by OLSO and the other by Common, to gauge how the application process compared to more traditional rentals listed on Zillow or Craigslist. OSLO has three properties in D.C., which were developed by heavyweight Ditto Residential, and occupy some of the city’s most popular neighborhoods—Adams Morgan, Shaw, and

housing complex

the H Street Corridor. The exteriors are sleek, television, and a sofa for the common area. all steel and elegantly stained wood. If residents decide they’d like the furniture to “The website right now is pretty bold. That’s remain in the unit, they have to pay a monthkind of us,” says Callie Bruemmer, market- ly $25 fee. (Bruemmer says that about half of ing director for Ditto Residential. She adds the residents at OSLOatlas, as that location is that the company is “in the process of rebrand- called, opted into the furniture rental.) ing and rethinking what OSLO is and who it’s And the only “common area” for the whole for.” Bruemmer says that while the company building is a narrow brick patio on the ground is “for anybody who wants to live in a commu- floor of the building, which directly abuts the nity of people,” it is pivoting “to more of a well- first unit, and is covered on top by a metal stairness and community-focused brand.” case. It’s not enough space to, say, let a mediWhen City Paper visited the H Street NE- um-sized dog roam around, though the buildadjacent property at 1219 Florida Ave. NE ing is pet-friendly. in September, one apartment was totalOther units in the building that aren’t on ly empty. The third-floor walk-up, clocking the top floor are less expensive by about $100. in at 1,800 square But OSLO in Adams Common Richardson feet, was spacious, Morgan, with fewthough the bulk of er rooms per apartthat was dedicated ment, costs more at to the shared living a hair over $1,600 area and kitchen. per bedroom. One bedroom in the All told, OSLO is five-bedroom, fivemore like an apartbathroom apartment building ment costs up to where your land$1,347 per month, lord just happens a fee that does not to pick your roominclude any utilimates for you. ties, WiFi, cable, or Across town, on house cleanings. Richardson Place To apply, prospecNW, Common optive tenants fill out a erates an apartbrief questionnaire ment building that online that asks about their preferred level of has vexed neighbors since the beginning of its cleanliness and extroversion, standard post- development in 2016. A septuagenarian neighwork activity (Drinks with friends? Volunteer- bor complained at the time that Common is ing?), and typical mode of transportation. “basically a glorified rooming house” and “too On the tour, the guide explained that OSLO big for the immediate context.” tries to match individuals based on their perThe fully furnished two-story, six-person sonalities, and that roommates get a chance apartments will run each tenant between to meet before they sign the 12-month lease. $1,425 and $1,700 per month, a fee that inBased on your desired move-in date and cludes weekly cleanings (yes, the housekeepneighborhood, you’ll get a text from the com- er will wash your dishes), all utilities and furnipany asking to arrange a viewing. ture, and basic supplies like salt, pepper, olive The appeal of co-living spaces for many is oil, and garbage bags. the promise that quarters will come fully furIn addition to another location in Chinanished, making life marginally easier for busy town, Common also operates buildings in Seprofessionals. But unlike Common and oth- attle, Chicago, San Francisco, and New York er companies, OSLO doesn’t furnish tenants’ City. On its website, Common boasts a savings bedrooms, only providing bar stools, a rug, of $500 on average in D.C. for its memberships Darrow Montgomery

By Morgan Baskin

compared to a traditional studio rental. A closer look at the company’s savings breakdown shows that this ad is predicated on the assumption that someone living in a D.C. studio apartment will pay $1,795 for the apartment, plus $240 a month for a housekeeper and $110 for utilities, among other costs (none of which are even close to true for this reporter, even during the summer’s sweatiest months when the air conditioning is on full-blast). The same is true for its calculation of what it costs to share a Craigslist apartment with friends, which it estimates will run a tenant $1,610 per month in D.C. A spokesperson for Common told City Paper that the company calculates competitors’ pricing by looking at average rents in the surrounding neighborhood, as advertised on Craigslist and other apartment listing services, and that it compares amenities like housekeeping because that’s what is included in its “membership.” Its housekeeping staff are all full-time employees, the spokesperson said. To be sure, the company furnishes its apartments down to a T, providing even kitchen appliances and dishware. Like OSLO’s apartments, Common units have modern, open concept floor plans with low-profile sofas. Both love the ubiquitous fiddle-leaf fig trees. Common Richardson, as it’s called, doesn’t offer indoor communal lounge areas where residents of different units can intermingle, like a rec room or business center. But it does furnish each floor of every apartment with a plush sectional and flatscreen with Roku hookup, as well as offer a large outdoor deck with grills for residents to use, though the building isn’t pet friendly, aside from service animals. Unlike OSLO, Common doesn’t facilitate roommate meet-ups before they move in, or ask prospective tenants to fill out a questionnaire before visiting the property. But as City Paper’s guide pointed out, co-living spaces are “self-selecting”––it’s unlikely an introvert with little desire to live alongside a pack of five roommates will apply to do just that. “Living at Common means you’re always invited and never obligated,” the company’s website advertises. For millennials, a cameraworthy pad and crew of suitemates is a mere $350 move-in fee away. CP september 7, 2018 5

What’s Up, Mayor?

Darrow Montgomery/File


Mayor Muriel Bowser ditched her daily public schedule this summer. By Tom Sherwood

National Symphony Orchestra Pops

(film with live orchestra)

Get Out composer Michael Abels, conductor

Thursday, September 20 at 8 p.m. Concert Hall

Groups call (202) 416-8400

(202) 467-4600

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

David M. Rubenstein is the Presenting Underwriter of the NSO.

AARP is the Presenting Sponsor of the NSO Pops Season.

6 september 7, 2018

Public schedules of politicians can be mundane. It’s not uncommon for a daily item to read, “There are no public events scheduled.” And no politician is going to disclose secret, questionable, or super sensitive meetings. But it is uncommon to simply stop offering up a public schedule. Mayor Muriel Bowser has gone without a daily schedule since May. The last routine “public calendar” listing on the mayor’s official website was for May 11, the kickoff of her summer “Alleypalooza” to repair and repave neighborhood alleys. It’s not like the Bowser administration has been shy about her schedules in the past. The mayor’s website has 258 separate pages of her schedule dating back to late 2014 when she still was mayor-elect. Bowser’s first public schedule as mayor was announced for Sunday, Jan. 4, 2015, just two days after she was sworn into office. That Sunday she appeared on NBC’s Meet the Press with then Metropolitan Police Department Chief Cathy Lanier and then DC Pub-

lic Schools Chancellor Kaya Henderson as the trio of women running the Nation’s Capital. Over the summer, the mayor’s office has announced a variety of miscellaneous, upcoming events that she wants to promote, but her public schedule is missing in action. Over the Labor Day weekend it took three days to get something of an answer on why the public schedule was deep-sixed. The mayor’s communications office told City Paper that it now plans to “resume distributing the public schedule when [the] Council returns on the 17th.” It’s not clear why the mayor’s office would base its actions on the Council’s schedule, especially since it hasn’t done so in the past. One Bowser administration official said the mayor had no role in stopping—or restarting—the public schedule, that the communications folks themselves “made a decision, due to redundancy, to distribute advisories and releases in lieu of the public schedule.” The Mayor does maintain an undisclosed, official calendar that only a limited number of those on her staff see. CP

Renée Fleming VOICES

Meow Meow The international song siren extraordinaire makes her Kennedy Center debut with her outrageous and glorious brand of “kamikaze cabaret.” This post-post-modern diva will seduce you with her spellbinding vocal talents and uproarious comic absurdity.

September 15 at 7:30 p.m. Terrace Theater (202) 467-4600

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

Renée Fleming VOICES is made possible through the extraordinary generosity of the Charles E. Smith Family Foundation. Additional support is provided by the Buffy and William Cafritz Family Foundation. september 7, 2018 7

SPORTS High Barre

Darrow Montgomery

The Washington Ballet’s artistic director uses her keen eye to teach the next generation.

By Kayla Randall The Cleveland Park ballet studio goes silent when Julie Kent enters. Every dancer in the 9:30 a.m. class at The Washington Ballet company is waiting for her direction—some with smiles on their faces as she wears a big smile on hers. Kent, 49, still looks the part of a quintessential dancer, graceful as ever and wearing a loose pink cropped sweater, flowy pink skirt over black tights, and her hair pulled back in one long braid. Her presence is warm and encouraging as she joins the more than 20 dancers warming up at the barre. The company is preparing for its September season opening performances at the Kennedy Center. In the far corner near the fully mirrored wall, pianist Matteo Mangialetti sits at a black piano and begins to play. Minutes pass and Kent walks around the rows of barres, snapping her fingers, examining, coaching, and spurring dancers on: “Stretch, good, all the way down.” “A little more abundance in the movement, here we go.” “Use your abs.” Then, she says something so compelling that the public relations coordinator writes it down:

“Put the music in your feet,” she tells the dancers. Kent spent much of her professional career as a principal dancer with American Ballet Theatre and retired in 2015 as the longest serving ballerina in ABT’s more than 75-year history. She has danced with Misty Copeland, the first black woman to be a principal dancer at ABT, and became the artistic director of The Washington Ballet in 2016. This year, she received the Dance Teacher Award of distinction from Dance Teacher magazine. “She just has like an amazing nurturing quality to her and I think it shows through in everyone’s progression as artists,” says company dancer Brittany Stone. “She changes little things so that you shine through. ...and she’s accepting of different dancers and how they work and how they perform.” During class, Kent breezes through choreography in seconds, each dancer mimicking her moves with hand gestures before attempting. “OK, let’s try this,” she says before teaching an exercise. “Now make it extraordinarily beautiful.” “She’s good at looking at a dancer and seeing right away what they’re capable of, and sometimes you don’t even know you’re capable of so much, and she really believes in you and brings it out in you,” Stone says. “She has

8 september 7, 2018

An in-depth look at how local ultramarathon runner Michael Wardian accomplished his latest feat of running the Fastest Known Time on the C&O Canal Towpath.

an amazing eye.” That eye is a part of Kent’s identity, a special part of her teaching ability that took years to cultivate. Kent grew up in the area, beginning her training at the Academy of the Maryland Youth Ballet in Bethesda, which is now located in Silver Spring. Dancing was always a part of her life. The movement was always in her. “My class is very reflective of most of my teachers in my life, including my mother,” says Kent. “I don’t have any memories of life before dance, it was just always there. My mom, when I was a baby, took me to the ballet studio while she did her adult class. So many of the ladies that were in the adult class all those years ago are still in the adult class. They’re still in there because they love it.” Every teacher thinks differently, and has their own sensibilities about what makes a good dancer and what is important in a dancer, Kent says. For her, lines, the outline and shape of a dancer’s body while performing, and technique, how a dancer uses their line, are crucial. “A classical line is really, really important because you can find the parallels to the science, to the architecture of classical architecture and classical line,” she says. “The whole aesthetic of ballet is based on classical art and the architecture of line. So I’m sure there’s some mathematical equation that would line up to what makes a great arabesque. My eye is very sensitive to that.” Then there’s the dynamics of dancing, how someone uses their physicality to express and combine with the music, and theatricality. Ballet dancing is beautiful but also incredibly athletic. The debate about whether it’s purely an art form or also a sport still rages on. Copeland, for example, signed an endorsement deal with sportswear company Under Armour in 2014. In Kent’s world, the formula for great ballet is great dancing plus great theatrical performance. “I think it’s all about your intention,” she says. “The intention of a dancer is to create art, to create beauty. The intention of an athlete is to win a game or win a contest. So, while the preparation and the actual physical body of work may be very similar, the intentions are completely different. We are artists and we are athletes, but we are artists first.” No dancer goes home having won or lost, she says. “It’s just what you give.” The curtain comes down and the next day, the dancer goes to work again, Kent explains. Studying dance is about repetition to get the body to the next level of movement, but there comes a point early on where Kent says, “99 percent of the people that study ballet can’t contin-

ue to get to the next level because they just don’t have the ability. That’s the reality. It’s like professional athletes. It’s not like if my son keeps playing football, he will someday be in the NFL.” Out of the thousands of small children who study ballet, only one percent of them, Kent says, will ever be in a position to be in a professional ballet company. “The life of a dancer is endless criticism, for lack of a better word,” says Kent. “It’s a constant process of identifying what can be better. Every rehearsal you stand in front of the mirror and basically look at ways you can make yourself better. We’re not looking for perfection, we’re looking for improvement.” But the costs of that improvement are the exact costs that athletes face. Everyone imagines the mangled feet, and while they are essential, there’s more to the art and science of dance than feet. Megan Poll, head physical therapist for The Washington Ballet, treats the hypermobile dancers’ musculoskeletal aches and pains. The most common injuries she sees are to the lumbar spine, hip, and pelvis, in addition to foot and ankle injuries. Poll says dance medicine studies are similar to professional sports, where chronic overuse injuries are a large percentage of the ailments she treats everyday. Part of her job is understanding the movement patterns, and knowing the ballet repertoire to tailor her treatments. The goal is to manage the injuries while still allowing the performers to dance perfectly on the tips of their toes, with hips turned out, and move in the ranges they normally would. “Ballet is very repetitive and dancing on pointe is a repetitive, unnatural position for the foot to be in,” she says. Back in class, when barre work is done, it’s time for bigger movements like jumping and turning. Dancers put on their pointe shoes and go dancing in groups across the gray floor. She has them do difficult fouette turns, in which they whip around on one leg. Kent sits to watch the art her dancers are creating. “We’ve got to livestream class one day,” she says. “They look so beautiful, I wish my friends could see this.” Kent’s dreams for The Washington Ballet are infinite. She spends her time fighting for the company to rise and for her dancers to have the kind of career and opportunities she had. “What I hope for them is that they will be the great pride of this city,” she says. “That this entire greater Washington community will take great pride and ownership of this company as they do the Caps, the Wizards, and the Nats, and say, ‘This is our ballet company and it is so good, and they are just as incredibly gifted as the other athletes and we’re so proud of them.’” CP


The Scoreboard is a sports feature spotlighting the winners and losers, the champs and chumps, the highlights and lowlights, and anything in between, of sports in the D.C. area. History Made On the night of Sept. 4, Washington Mystics guard Natasha Cloud walked straight at the camera in Georgia Tech’s Hank McCamish Pavilion, pointed her index finger, and shouted, “We’re going to the finals!” She then headed toward the locker room where a beaming Mike Thibault, the team’s coach and general manager, greeted her with a hug. “Worth the wait? Worth the wait,” Thibault can be heard saying in a video the team posted. “Worth the wait!” Cloud responds. The Mystics are headed to the WNBA Finals for the first time in franchise history after defeating the Atlanta Dream in a decisive Game 5, 86-81. Four players scored in double figures against the Dream, including a teamhigh 20 points from rookie Ariel Atkins. Elena Delle Donne, who missed Game 3 after suffering a bone bruise in her knee in Game 2, finished with 14 points and 11 rebounds. Veteran guard Kristi Toliver added 19 points. The Mystics will next play the Seattle Storm, and their home games will be at EagleBank Arena at George Mason University in Fairfax. A potential Game 5 would be at Capital One Arena in downtown D.C. “D.C. has become home for me,” Delle Donne told ESPN’s LaChina Robinson in a post-game interview. “Now we really need the city to rally behind us, because we’re not done yet.” MaratHoN MaN Arlington’s Michael Wardian doesn’t need an introduction in the local running community. The 44-year-old international shipbroker and professional ultramarathon runner is well known for conquering extreme challenges and breaking running records, whether racing in an Elvis costume or running seven marathons on seven continents in seven days. Over Labor Day weekend, Wardian decid-

ed to go for a local record: He wanted to best Park Barner’s Fastest Known time (FKT) for the C&O Canal Towpath, which is approximately 184.5 miles from Cumberland, Maryland to Washington, D.C.

The 2018 Cast of The Wiz at Ford's Theatre. Photo: Carol Rosegg.


Barner set his record of 36 hours 48 minutes and 14 seconds in 1976. On a hot and humid Sunday afternoon, Wardian reached the finish in 36:36:03, beating the record by 12 minutes. “That was probably one of the hardest things I’ve done for sure,” Wardian told City Paper. Nats FaNs Wait It’s not too early to look ahead. In the midst of a disappointing, underachieving season, the Washington Nationals are assessing their plans for the future. Within the last week, the team has said goodbye to starting pitcher Gio Gonzalez and called up pitchers Erick Fedde, Austin Voth, Joe Ross, Kyle McGowin, and Austen Williams, outfielder Victor Robles, infielder Adrian Sanchez, and catcher Pedro Severino. “I want to see some of the younger guys play. I want to see them in high-leverage situations,” manager Davey Martinez said Monday, according to The Washington Post. “I want to see what they do and see what we have for the future. I really do.”

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So do Nats fans. LoW PoWer The local NFL team begins its regular season against the Arizona Cardinals this Sunday after finishing 1-3 in the preseason. The latest NFL power rankings heading into Week 1 indicate that pundits around the country aren’t exactly bullish on the Jay Gruden and Alex Smith-led team. 26th (out of 32 teams) Sporting News: 30th The Washington Post: 21st Bleacher Report: 23rd The Ringer: 20th ESPN: 22nd SB Nation: 25th Associated Press: 22nd —Kelyn Soong

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Email: Refer to studies 01-M-0185 or 02-M-0321. Se habla español. september 7, 2018 9


ART District artists without studio space look

to elite local partnerships—and the state of Maryland—to continue producing their work. By Stephanie Rudig

The windows of The Stew are papered over, making it look like any other strip mall recession casualty, which belies the treasures and activity within. The walls are covered in large-scale murals and brightly painted canvases lean against walls around the perimeter. The owner’s dog, Stella, noses around on the paint-splattered carpet, looking for scraps of snacks that fell on the floor at a previous event. Soon, even these lingering traces of the spot that hosted myriad events and artist gatherings will be no more. The entire strip of buildings on the 600 block of Rhode Island Ave. NE is set to be razed to make way for condos. The Stew founder Rose Jaffe has built a career as a muralist—her colorful work is hard to miss around town, everywhere from school playgrounds to local restaurants to D.C. General Family Shelter. She originally rented an extra large space in this former H&R Block to accommodate her mural setups when needed, but explains that “I wanted to have one small space and the rest be community space.” Jaffe knew that the shopping plaza would eventually be demolished, but made it hers for as long as possible, hosting workshops and artist showcases

and working with local activist organizations. The Stew isn’t the only spot closing: Three other D.C. studio and community arts spaces have shuttered this summer. Perhaps this is just the circle of life in the arts ecosystem, particularly with DIY spaces. “Venues leave and other venues come, so it’s the ebb and flow,” Jaffe points out. By nature, these kinds of venues exist on the periphery, in temporary or makeshift locations that could be shaken up at any moment. Artists and makers feel the impact of these shuttering studios most acutely, but the effects reverberate through the city. Arts spaces have been critical to the many burgeoning activist movements in D.C., providing gathering room and necessary visuals. The Women’s March and countless other demonstrations were festooned with signs and banners made in D.C. studios like The Stew. Speaking about the development that will replace her studio, Jaffe says, “There’s nothing in this new building that will serve the community that’s here now, it’s really meant for the community that’s here in nine years. I think there’s a case to be made to the city about saying, ‘Look, maybe in this 50,000 plus square

10 september 7, 2018

Photographs by Darrow Montgomery

Open Studio DC

feet of retail space, there can be a section that you leave for community and arts space.’” She notes the importance of DIY studios like hers, of having “not just creative space, but having a space that feels safe, that feels like people can

come and be experimental, that’s not constantly about money.” Local artists see glimmers of hope in the form of more hospitable conditions in nearby Maryland, and in a couple of new studio and

Rose Jaffe at The Stew

arts spaces opening later this year in D.C., but there’s no question that for District artists trying to serve the community and themselves without compromising their vision and their values, the road will not be easy. naeem Khaliq holds up a screen used for printmaking. “Back in the day they used hair, actual human hair to create the mesh,” he says. It’s a Thursday night in August, and about two dozen people have turned up at Open Studio DC to learn how to make silk screen prints, starting all the way back at the invention of the form. Khaliq is something between a master craftsman and a motivational speaker, and the crowd is intently absorbing this information, many studiously taking notes or reference photos. He describes growing up in D.C., being encouraged by his parents to pursue creative passions, and finding ways to make money selling his art. He came to Open Studio DC for the first time about a year ago, learning the basics of screen printing and instantly getting hooked. He never formally rented a personal studio space there because they were always booked up, but he’s stopped by to work on projects several times a week, and has also hosted five workshops and mentored other wannabe silkscreeners one-on-one. Now all of these workshop participants, guest artists, and studio renters will need to find a new place to work—Open Studio DC closed down at the end of August. Open Studio DC originally operated at a small corner storefront on Florida Avenue NE, which has since been replaced by luxury condos, before moving to a larger industrial building in Ivy City in 2014. Owner Carolyn Hartmann was

smart to bank on Ivy City when she did. Once a sleepy residential neighborhood, these days craft distillers, Michelin-nodded restaurants, and big box retailers covet the area. But this also means that Hartmann is facing property

taxes nearly eight times what they were when she first moved into the building. “I can’t afford it and charge the prices that I charge,” she says. “And then it stops being the place that I want it to be.”

What Hartmann wanted it to be was a place where young or untested artists could get a foot in the door, either by taking a printmaking workshop, using the studio space on a drop-in basis, or putting on a gallery show with hardly any oversight. Though the studio was primarily for printmakers, artists working in other mediums were often welcome, and by Hartmann’s count, hundreds of artists made use of the facilities. Makeshift studio arrangements can be useful to established artists as well. Michael Crossett has a personal painting studio in Mount Pleasant, but when he was commissioned to do a mural for Bancroft Elementary School as a part of the Department of General Services school modernization project, he knew he couldn’t fit the panels he needed to make in that space. He found himself in need of “space that’s a flex space, that can be used by artists who take on a bigger project,” and so he set up shop in Open Studio DC for a few weeks. Open Studio DC also played host to organizations and marchers that needed space to set up banners and other large scale installations. “Printmakers, we end up kind of being really political and community-involved. We’re all involved in the Peoples Climate Change movement, been involved in fighting to save Barry Farm,” says Hartmann. (Barry Farm is a public housing project long tied up in controversial redevelopment plans.) For mass producing silk screen posters for demonstrations or wheatpaste campaigns, Open Studio was uniquely equipped with the necessary resources, like drying racks that could hold dozens of wet prints. These facilities are partly what make it so difficult to find buildings that can work as stu-

Joseph Orzal at Open Studio DC september 7, 2018 11

dio spaces—Open Studio DC has sinks, lightboxes that measure several feet across, and dozens of cabinets with wide, flat sets of drawers to store prints. Hartmann moved much of this equipment four years ago when she relocated, but she laments the impermanence. “I can’t do that every three or four years,” she says. “I can’t financially do it, but also … it sucks me dry every time I do it.” d.C. has a rich history of scrappy group houses turning themselves into concert halls and galleries, with amps dragged into kitchens and canvases leaned against living room baseboards. Until recently, one such domicile was The Shed Gallery, an offshoot of Brookland DIY music venue Bathtub Republic. Nick Stavely lived at Bathtub and was involved in the city’s music scene, but found himself with a nagging itch to return to making visual art. He started making wire sculptures, and found that his unwieldy creations could easily fit and hang in the shed in the back of the house. The digs were convenient and decidedly lowrent. “I mean, you gotta clean that thing. It gets very full of leaves and crap and trash and stuff,” Stavely says. The nonchalance was part of the point, with the organizers intending it to be “a bit of a slight at the gallery scene in D.C., which is stereotypically stuffy. Like, here’s my gallery in this open-air carport, but this is my gallery.” It turned out that other budding artists were eager for low-pressure opportunities to show their work, open air lean-to or not. The Shed put out an open call for their first show, and according to Stavely, “it was actually surprising how many people responded to it. I guess it was an interesting request.” The informality of the venue “attracted people that you wouldn’t traditionally find in a gallery.” Not only are up-and-coming artists looking for avenues to show their work that don’t require navigating the thorny gallery scene, they’re also looking to commiserate and have their work critiqued. Mark Hoelscher, a videographer and photographer who also lived at Bathtub and photographed exhibits at The Shed, says, “We had people who were looking for feedback. We gave them a space to exhibit work that wasn’t necessarily finished.” Unfortunately, Bathtub Republic, and by extension The Shed, has had its last hurrah. The dissolution was partly caused by some housemates disembarking for new living arrangements. The remaining members were figuring out their next move and attempting to stay when they found out that rent was going up, prompting the venue to break apart. Bathtub Republic did a two-day lineup of farewell concerts, and The Shed was able to fit in two summer shows, including one last informal gathering to show works-in-progress. UpTown arT hoUse has also closed its doors, but the founding members are taking it in stride. “Art House Without Borders is the mindset,” explains Jamal Gray, a musician and activist. He always knew that having a physical location in Cleveland Park would be temporary, anyway: It began as a place to set up large scale artworks for the People’s Climate March

in April 2017. Gray and other event organizers were invited to make better use of the space, and he set about bringing in other artists and musicians to put on programming. Gray says, “I wanted to reach out to black artists first because I felt we were underrepresented in the world, specifically when it comes to the big art projects that come with the different movements that are coming through. I want to make sure that first, what I feel is the life blood of D.C. is represented.” Having grown out of an activist movement, the organizers kept a focus on direct actions and partnering with likeminded causes, as well as prioritizing showing work with a socially conscious bent. Uptown operated with an open door policy, and some of its earliest events were open houses and coworking days when artists of all stripes could come by to work on projects. They expanded the scope of the events, and at any given time, there could be experimental music sets, massive sculptural installations, or dance and performance art pieces. The same radically free-spirited model that made Uptown so welcoming could sometimes become a downside for the organizers. Maxwell Young, who is the media director for Uptown, says “People were able to sort of take advantage of us, because it was so loose. We had a halfpipe in there for three months. That’s not really how we envisioned it.” Maps Glover, an artistin-residence and show curator at Uptown, says, “There’s conflict when you personally have a vision, but then everybody isn’t responding to that vision. I wish there were multiple spaces in D.C. where you can go and create freely but didn’t have the pressure of needing to do other things to keep the doors open.”

Nick Stavely at the former space of The Shed

12 september 7, 2018

Ultimately, the location and the constant churn to make rent came to be at odds with the overall mission of the space. “The majority of the funds we’re able to make are going right back to paying rent,” Gray explains. “I feel like the resources we were getting could be used in better ways outside of just the space, and especially in the enclave in that neighborhood. The people that lived in that neighborhood aren’t the ones that needed our help. It wasn’t the audience.” where mighT area artists find it easier to keep their doors open while advancing a mission? It could be in Maryland. In nearby Prince George’s County, there are numerous business incentives and grant opportunities for arts organizations. While D.C. offers grants for individuals, nonprofits, and specific projects through the DC Commision on Arts and Humanities, Prince George’s County tends to have more support for facilities and businesses that aren’t 501(c)(3)s. As such, Hyattsville and the Gateway Arts District along Route 1 are dotted with commercial buildings and storage facilities that have been converted to artist studios and independent creative businesses. Until recently, one of these was Distinctly Creative, which began as a social media venture showcasing black artists and creative entrepreneurs in the DMV. After hosting several successful events at Cloak and Dagger in D.C., founder Morgan Davis decided to set up shop in the Brentwood area of the Gateway Arts District to accommodate her growing business. Now, she’s moving south to a larger space in Suitland, where she’ll offer studio space and numerous resources.

The spot in Brentwood served her well as she was gearing up and fine tuning her events strategy, and she was able to take advantage of some of the incentives that the Gateway Arts District provided. “There is a very vibrant art scene here, Hyattsville, Mt. Rainier,” Davis says. “It’s been nice having that camaraderie and community.” This first “starter home” proved to be a useful springboard to her ultimate goal of designing a large creative incubator. “There’s so many people that have been asking to use the space for things that the space can’t really do,” she says of her first studio. The new space in Suitland will be able to do a lot, and will offer tiered studio pricing and a plethora of equipment and amenities. Davis plans to have several communal areas with equipment: a photography and videography studio, a sewing and fabric printing studio, an audio recording studio, and a computer lab outfitted with design software and printers. In addition to all of that, there will be individual artist studios for roughly 20 people, plus a gallery and meeting space. Being able to create space for others is personal to Davis, having had her own challenges finding workspace. She’s able to do her work as a graphic designer from just about anywhere, but as a fashion designer, she points out, “I can’t go to a coworking space with my sewing machine. I don’t see a lot of spaces for people who do fashion, for someone who just wants to print T-shirts, for certain forms of visual art.” It’s particularly important to her to do this work in Maryland and specifically in Suitland as an extension of Distinctly Creative’s mission. “Southern Maryland, P.G. County has a huge population of black people and I just felt

like I’d be doing my community a disservice if I wasn’t in that area. In order to have access to professional level creative equipment you have to go to D.C. The reality is that some people are not fortunate enough to be able to get to that. So I wanted to bring those out to an area that deserves something of that nature just as much as in Hyattsville or H Street or U Street.” The state of Maryland as a whole may prove more fruitful for artists who become frustrated with the difficulty of forging a path in D.C. Joseph Orzal is a D.C. native and Open Studio DC artist who’s currently completing his MFA at the Maryland Institute College of Art, commuting to Baltimore for classes. In addition to his own printmaking work, he curates group exhibits in spaces that are increasingly hard to come by, and it’s clear to him that his work would be much easier to do in Baltimore. Losing his hub of Open Studio, he says, “is kind of the last straw, but I want to be here. This is my home.” Growing up in D.C., Orzal saw it as a place where he could pursue an artistic career. Now he laments the once-vibrant gallery scene that is languishing, and properties that sit vacant while the owners figure out how to maximize their profits. “I feel like developers should be seeking artists to do things in these abandoned, empty places. I don’t know why they’d rather just let it sit,” he says. He points to the vast numbers of artists he’s known who skip town “and then blow up in another city. It’s just frustrating to know how much talent could have been fostered here.” Hartmann is decamping to Baltimore, hoping to start up a new iteration of Open Studio. She identifies the city’s Vacants 2 Value program as a key feature that attracted her to the city. “If there’s a building that you can put some money in to refurbish it then you can get it for very low cost, and a lot of artists know how to use tools and they can do the work themselves, and then own them at the end of that. Even if the neighborhoods do change and the costs go up, you’ve got a better shot at hanging onto it.” one sTraTegy for arts spaces determined to stay in the District is to team up with existing organizations that can lend independent groups both resources and a sense of legitimacy. Uptown has done events and performances at a range of venues: Dupont Underground, the Phillips Collection, the Kennedy Center, and the Smithsonian American Art Museum. No longer having a physical space, they’ll rely on these organizations and other spaces to continue their programming. “We’re going to be taking over space, we’re going to be very present,” says Glover. Coming up, they’ll be doing multimedia experiences at U Street Music Hall and continued collaborations with the Kennedy Center, and Glover is curating a gallery show at Transformer Gallery. These types of collaborations may be a necessary way forward for arts organizations that want to hang on in D.C. STABLE is a new artist space opening in Eckington in the fall, and will contain a gallery, community artist space, and studios for about 40 artists. Around a third of those studios will be

Maxwell Young, Maps Glover, and Jamal Gray notes, “the problem is there’s only 20 spaces. We’ll have hopefully about 40 artists in there. But it still seems like such a small thing in the face of losing so many spaces.”

reserved for artists working with STABLE’s partner organizations, including arts nonprofit Halcyon, artist fellowship program Hamiltonian Artists, and the Phillips Collection modern art museum. STABLE doesn’t yet have plans for shared equipment—artists will have to outfit their studios to their own specific needs—but STABLE founding member Linn Meyers suggests, “we’re sharing resources with our partners, so hopefully some equipment will be available that way.” STABLE also struck a deal with the development company that owns the property, Boundary Partners, wherein they’d receive a 10-year lease, provided they could raise $300,000 by the beginning of 2018. They’ve well exceeded

that goal. Registering as a 501(c)(3) opened up the ability to fundraise and solicit donors. “I think it would be much harder [to raise funds] if people couldn’t claim it as a charitable donation,” says Meyers. In establishing STABLE, the founders wanted to help solve the problem of lack of affordable studio space, while also creating a community hub for artists. “Here,” says Meyers, referring to D.C. in general, “everything is sort of spread out, and people have studios in their garages, in their basements, and the architecture really has an impact on how those communities form.” She’s passionate in her belief that STABLE will fill a crucial need, and will serve dozens of artists. At the same time, she

despiTe The proliferaTion of closures, many in the scene are still upbeat about the potential for DIY venues to thrive in the future, and those who lost space are plotting their next ventures. The Shed Gallery will continue to live on in spirit, if not a consistent form. “The Shed is also a mindset,” Stavely asserts. In the future, he plans “to do some more events into the fall or winter. There is a carport in the backyard of my new house which is close enough to The Shed to count [as a continuation].” The Uptown collective is happy to take their work mobile for a while, but they’re hopeful that they might find another space in the future, in a better-suited area. “If we could do it in Cleveland Park, where nothing else is really going on, imagine in U Street or Columbia Heights, or Northeast, Southeast, where people are congregating and need our help,” says Gray. In the meantime, Uptown Art House will continue to operate, because as Young explains, “the Art House is bigger than just the space, it has become the people just as much as the space. It’s a collective now.” And Khaliq, of Open Studios DC, is currently looking for a place to house his design agency, Lordy Agency. As a part of that, he hopes to offer more screen printing classes and include amenities for the local skateboarding community. He already has much of the equipment, now he just needs a place to put it. “We’ll continue looking till we find something.” CP september 7, 2018 13




9 SEP.

Second Sundays Jazz

SUNDAY • 3PM • FREE Enjoy jazz every second Sunday of the month at the Anacostia Arts Center. In September we welcome Pianist Bill Washburn, paying tribute to Thelonious Monk

CLOSING PARTY for All The Way Live Tuesdays!


TUESDAY • 7PM • FREE To celebrate the finale of the All The Way Live Tuesdays! Series, Anacostia Arts Center is throwing a party! The closing finale will be filled with DJs, a jam session, and an artist line up to be announced!


Artist Market

6 OCT.

14 OCT.

16 NOV.


SATURDAY • 1-4PM Back for another pop-up Saturday of local artists. Home furnishings, artwork, henna and much more. Join us for an afternoon of community love and support. 1-4PM #anacostiaartistmarket

Second Sundays Jazz SUNDAY • 3PM • FREE Enjoy jazz every second Sunday of the month at the Anacostia Arts Center. In October we welcome Benjie Porecki Organ Ensemble. The Inner Loop: Autumn in Anacostia

TUESDAY • 7:30-9:30PM • FREE The Inner Loop is excited to be hosting this month’s event in the Black Box at Anacostia Arts Center, and to feature biologist, poet and writer Myra Sklarew, along with nine local writers in fiction, nonfiction and poetry.

Second Sundays Jazz Presents Of Color


SUNDAY • 3PM • FREE Enjoy jazz every second Sunday of the month at the Anacostia Arts Center. In November we welcome The Mark Prince Trio.



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THE DEN | READING ROOM & ARTIST EXCHANGE | The Den is a small business incubation project for small and micro businesses with owners that identify as people of color, women or youth. Hours: Tues - Fri 11a-7p • Sat 10a - 7p • Sun 11a-4p | For more information visit LEARN MORE: ANACOSTIAARTSCENTER.COM/EVENTS | @ANACOSTIAARTS Anacostia Arts Center, Honfleur Gallery & Vivid Gallery are all projects of ARCH, a nonprofit organization dedicated to the economic vitality of Historic Anacostia.

14 september 7, 2018


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Sandy is 1 year old Lab Mix. Sandy is a sweet and friendly pup who absolutely loves going on walks. Her freckled tongue is always out because she’s constantly smiling. She can’t wait to find her forever home! Please contact Rural Dog Rescue to complete an application or visit us at the adoption event this Saturday from 12 - 2 at Howl To The Chief 733 8th Street SE, DC.



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D.C. gains a fine dining Indian restaurant this fall with Punjab Grill coming to 1001 Pennsylvania Ave. NW. The menu is rooted in Punjabi cuisine but includes some twists like butter chicken with Thai basil, lemongrass, and kaffir lime.

A Two-Hour Tour

Laura Hayes

High jinks ensue on Boomerang Boat Tours’ cruises on the Potomac.

By Laura Hayes If there’s one sound you don’t want to hear on a party boat it’s a thud. Followed by another thud. And a third in rhythmic succession. Daddy Yankee’s “Gasolina” is pulsing from DJ Blue Magic’s sound-

young & hungry

system aboard a Boomerang Boat Tours sunset cruise on a recent Friday, but the thuds are even more powerful than the bass. It turns out that one of the passengers is merely doing the worm on the top deck of the boat. Moments before, the woman who executed the difficult dance move and her friends were toasting with $25 bottles of Champagne while they watched others take the spotlight in the

impromptu dance circle linking all ages and races. Something about being off solid ground acts as a party starter, setting fire to inhibitions and bringing a diverse group of strangers together for two hours that feel like a prom with gin and tonics instead of hidden flasks. “It’s like a sociology experiment,” says Nikki DuBois, who co-owns Boomerang Boat Tours with her husband, Dave. “The boat at-

tracts every demographic.” All Boomerang cruises depart from the Georgetown waterfront. Unless you’ve shelled out for a private charter for your law firm’s summer associates, your float on the Potomac will feature a wide variety of people. Think birthday parties, college reunions, date nights for older couples trying to get their grooves back, and solo customers shooting video for their YouTube channels with a blur of monuments in the background. After seven seasons of sailing, DuBois can confidently say her passengers are by and large local. “When we opened, I thought it was going to be tourist-based,” she says. “We put flyers in all of the hotels and focused on things that would attract outsiders.” Then she kept seeing the same faces and changed course to target Washingtonians looking for a work happy hour, birthday celebration, or unconventional bachelorette party. DuBois estimates that marriage proposals happen five or six times a year. Cruise tickets cost between $20 and $45, depending on the time of day, and despite the captive audience, cocktails are priced to sell on the sunset cruise. The most popular drink is the Pirate’s Punch—a sugary smack of spiced rum, coconut rum, pineapple juice, and cranberry juice for $9. Rail liquor drinks are $7. Beers are $5. There’s also a $20 “shotski” that allows four passengers to simultaneously shoot Fireball Cinnamon Whisky from a wood plank. But DuBois doesn’t like calling her business a booze cruise—a misnomer frequently applied to her business. “It’s not open bar,” she says. “It’s not like you’re in Cancun. You can come on and sip on a beer or a glass of wine. If you want to do shots, you can do that too, but not everyone is throwing up or going overboard.” She’s taken steps is recent years to cut down on anything that could pose an alcohol-related risk, even though it cuts into her business’ bottom line. They pay to have security aboard all cruises for ID checks and crowd control. If a passenger proves unruly, the boat returns to the dock. They turn down college parties. And the cruises are now two hours instead of three. “When they get to the point where they shouldn’t be consuming anymore, they’re getting off anyway,” says sales director Kelly Johansen. “Who needs a three-hour tour? Gilligan ruined that for all of us.” No one turned green or jumped ship on the Friday night City Paper boarded Boomerang’s party yacht, but DuBois admits they had a jumper about four years ago. It was a total buzz kill. “When someone jumps overboard, september 7, 2018 15



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you have to call 9-1-1 and go through the man overboard drill,” she says. “To jump off a commercial vessel is considered illegal, so people think it’s fun but it’s not funny.” According to DuBois, the passenger swam to shore and climbed the Lincoln Memorial steps, then ran off. “They started a tab at the bar so we had their credit card,” she says. She believes the Coast Guard got involved and tracked the person down using Facebook. Incidents like this are rare. The biggest hazards aboard a Boomerang cruise are the bar running out of ice or the internet cutting out and impacting credit card payments. Boomerang Boat tours originated as a tour bus company that operated from 2006 to 2014. DuBois came up with the idea while she was a high school teacher in Maryland. “I was burnt out and thinking of a career change,” she says. Her desk overlooked the school bus line. “So, I thought, ‘We should buy a school bus and paint it and gut it and put surround-sound in and it’ll be Nikki’s tour bus company.’” Her husband encouraged her, and eventually quit his job and joined his wife in 2008. The family business gradually grew to include six busses and a limo. Come 2010, the couple sought to expand. “I thought about launching busses in other cities, but then we realized that our river was underutilized,” she says. The couple has lived in Georgetown for 16 years. While there were sightseeing boats, water taxis, and upscale dinner cruises like The Odyssey, there wasn’t a dedicated party boat company. They launched with the 74-person “Party Boat” in 2012, but the Coast Guard suggested they diversify to avoid being sidelined if their single boat broke down. “I joked with them and said, ‘Well if we do a second boat, it would be a pirate ship,’” DuBois recounts. She didn’t think it was possible due to the height restrictions—there are a series of low-slung bridges leading out of Georgetown. The Coast Guard connected the DuBoises with an individual who could build them a custom pirate ship. It launched a year later in 2013, and enabled the company to offer something for kids. “We do treasure-hunt cruises in the morning and afternoon, then that boat turns into 21-and-up at night,” she says. It draws the most costumed passengers, who board as pirates, parrots, and sharks. The DuBoises shut the bus business down in 2014, freeing up fresh capital and time to add their third and final boat, the 125-person “Party Yacht,” to the line-up in 2015. The first party boat is now used for private charters. Johansen says she books about 5 to 10 per week at $800 an hour. Her favorite promo to push is a private afternoon charter aboard the pirate ship that’s $400 an hour. If you rope in 84 friends for two

hours, it comes to less than $10 per person. Johansen first connected with DuBois when she won tickets for a party bus tour 10 years ago this October. “Nikki was my host,” she says. “After the first stop, I was hooked. I was like, ‘Where do I sign up to work?’” She remains that enthusiastic a decade later. “Everybody that comes on board has such great energy. It’s so easy to feed off of them. Even if you’ve been on the board for a long time, every two hours we get a fresh batch of faces.” on the cruIse City Paper booked, DuBois and Johansen were both behind the bar with a third mate named Ashley Kern. All hands on deck, so to speak. They were joined by a pair of deckhands who are trained in safety; Captain Ben Brummell, who dutifully steered the party yacht past the Kennedy Center and back again, a security guard, and DJ Blue Magic. “Top 40 is safe and then I try to feel the crowd out,” DJ Blue Magic says. “You try to appease people, especially the birthday people.” He had a lot of requests that night and kept up. The DJ with piercing blue eyes checks his ego at the door and plays just about anything. “Older crowds on this boat enjoy the ‘Electric Slide,’” he says. “Whatever keeps the party going. If it’s ‘Do The Polka,’ I’ll play that if that’s what’s popping.” The pirate ship requires a different set of staff. DuBois says she brings in pirate actors from George Washington University’s theatre department. “They’ll talk in pirate accents,” DuBois says. “We give them a skit, go over face-painting, and there’s pirate vocabulary. We give them the training and then watch them take it and run with it.” The skits aren’t always smooth. “We have a little enemy boat that comes and attacks us,” DuBois explains. “We have water cannons and the bad guys have the keys to the treasure chest that we’re trying to get back.” A character named Evil Edgar hides under the Memorial Bridge unbeknownst to passengers and the general public. “During the whole ‘See Something, Say Something’ campaign that came out of the FBI due to terrorism, people were calling 9-1-1 because they were seeing this little boat lurking under a bridge and a dude with a sword and fake beard and bandana.” They presumed he was there to blow up the bridge. “So 9-1-1 would contact the Coast Guard and the Coast Guard was like, ‘No it’s all good, it’s just Evil Edgar.’ They actually had to tell us that Evil Edgar had to dress less scary. No more fake beard, he’s got to put the sword down.” In our nation’s capital, even operating a party boat is a matter of national security. CP Eatery tips? Food pursuits? Send suggestions to



what we’ll eat next week: French Dip Pappardelle with Wagyu brisket, beech mushrooms, and horseradish cream, $27, Unconventional Diner. Excitement level: 4 out of 5.

Hangover Helper

By Laura Hayes The Maryland Renaissance Festival is in full swing about 45 minutes away from D.C. In between throwing axes, buying dragon wings, and getting your picture taken with a snake, you’re going to feast. But with so many options and only one measly human stomach, you can’t try everything in one trip. The following dishes did battle, so that you lords and ladies know what to order and what to skip this season. Each dish or drink is less than $10 and the festival runs every weekend through Oct. 21.

Mead vs. Raspberry Wine Leave your friend who only drinks oaky Chardonnay or wet-rock Sauvignon Blanc at home. There’s nothing for them to sip here. Both the mead and raspberry wine from Maryland’s own Linganore Winecellars are sappy sweet. The mead, or honey wine, is the more traditional Renaissance beverage, but the boozy bee nectar lacks complexity. The raspberry wine is the better bet because it has subtle tartness to balance the jammy fruit for an overall taste that’s similar to cranberry juice.

Tim Ebner

Joust Desserts

what we ate this week: Tuna Niçoise with herb crusted tuna, haricots verts, potatoes, anchovy, olives, and egg, $24 at lunch, Chez Billy Sud. Satisfaction level: 5 out of 5.

The Dish: America Eats Tavern’s Pork Belly and Egg Sandwich Where To Get It: 3139 M St. NW Price: $12

Canterbury Pork Pocket vs. Meatball Wrap Turkey Leg vs. Steak on a Stake

Laura Hayes (all photos)

You came counting on a turkey leg to set the mood, but you can do better. To get to the meat that’s smoked and stringy, you have to first nosh through a shield of inch-thick turkey skin. Turkey is tough, just like the conversations you’ll have this Thanksgiving. Opt instead for steak on a stake—a thin, eight-bite carnal pleasure that carries smokiness from the grill. To counteract the fact that it’s cooked well-done, visit the condiments bar and douse the steak in A1 for added flavor and moisture.

The Canterbury pork pocket has less to do with anything in England and more to do with American barbecue. It features a thin pita stuffed with chunks of chopped smoked pork drizzled with barbecue sauce and topped with creamy coleslaw. It’s far superior to the meatball wrap, which can be found in the area of the festival catering to the Trader Joe’s set with offerings of Thai green beans in a curry peanut coconut sauce and a buffalo chicken calzone with cheese. Meatballs that are mostly made of some kind of filler are enveloped in a sad calzone, of sorts, and squirted with marinara sauce for a mushy meal that belongs on a budget airline.

Apple Dumpling with Ice Cream vs. Fried Ice Cream

Hushpuppies vs. Funnel Cake Fries This battle pits savory batter against sweet batter. There’s no wrong order here, it’s a draw. The funnel cake fries make the festival standard bearer easier to eat because you don’t have to tear apart a disk of squiggly dough while navigating crowds. The powdered sugar stays on the plate, instead of finding its way onto your dark clothing. The hushpuppies are textbook. A few whole kernels of corn are visible, there’s a hint of onion, and the fry is golden brown but not greasy.

Rule number one of festival food is to seek out as many fried things as possible, but here the apple dumpling wins out. It tastes like someone took a wrecking ball through an oversized, hot slice of apple pie and topped the deconstructed pile with ice cream. The warm baking spices foreshadow fall, and the hot-meets-cold contrast is pleasurable. The same contrast is not as well executed with the fried ice cream, which doesn’t taste enough like the signature dessert at a Japanese hibachi restaurant. Order one and a costumed festival worker will fish out a small ball of ice cream coated in what looks like cereal from the freezer and then drop it in the fryer for three seconds. It’s cold and flavorless save for the chocolate sauce, whipped cream, and cherry toppings.

What It Is: Is there ever a wrong time for an egg sandwich? José Andrés doesn’t seem to think so. At America Eats Tavern in Georgetown, his egg sandwich is on the menu for lunch and dinner, and soon it will be available for brunch, which debuts this month. The sandwich comes stacked high with smoked-flavors and juiciness, containing barbecue-style pork belly, a thick-cut beefsteak tomato slice, melted cheddar, caramelized onions, and a sunny-side-up egg. How It Tastes: What sets this sandwich apart is the smoked pork. It takes two days to prepare, says Chef Claudio Foschi. “We cure the bacon, then we carefully smoke it over cherry wood,” he says. “It comes out perfectly tender with a smokiness that’s spiced ever so slightly.” The sandwich also delivers on the hallmarks of a classic American egg sandwich: greasy, salty, and packed with plenty of protein and melted cheese. Why It Helps: For decades, we relied on the puny and pathetic Egg McMuffin sandwich to cure hangovers all across this great country. But thankfully, D.C. has Andrés—a patriot who dares to make this country greater by building an egg sandwich twice the size of that provided by the Golden Arches. Like Lady Liberty herself, Andrés’ sandwich stands tall, a beacon of hope to America’s tired, huddled, and hungover masses. Take one bite of this sandwich, and we dare you not to shout: U-S-A! U-S-A! U-S-A! —Tim Ebner september 7, 2018 17


Wonder Years

Filming of the new Wonder Woman sequel turned parts of D.C. into living history this summer. Here’s what D.C. was actually like in 1984.

Darrow Montgomery

Cable, Television, Film, Music, and Entertainment (OCTFME) to set the groundwork for filming a live-action period film in D.C. “They approached us because they heard about the incentive program,” says OCTFME Associate Director Herbert Niles, describing the agency’s Entertainment Rebate Fund. Since 2016, productions have been able to apply for a refund of up to 35 percent of qualified production expenditures provided they spend at least $250,000 in D.C. and hire residents to work on the crew. Warner Bros. Pictures’ Wonder Woman 1984 “represents the largest and most impactful production footprint in the District of Columbia since the film office was established [in 1979],” Niles says. By June, vintage ’80s cars were cruising along Wisconsin Avenue NW. The Georgetown movie theater (poised for apartment conversion) was dressed as a double-screen family-friendly venue for Footloose and Ghostbusters—not as the original single-screen arthouse it was that year, with screenings of Ingmar Bergman’s Fanny and Alexander, and the 1979 erotic Roman empire drama Caligula. Director Patty Jenkins updated her Twitter background with a WW84 graphic. The sequel transports Wonder Woman from 1917/the Great War to the glam and grit of the Barry/ Reagan-era D.C. of 1984. The final storyline won’t be revealed until close to WW84’s November 2019 release, but during filming, reported that it’s a Cold War plot. Twitter provided the bulk of real-time information and mapping for the WW84 filming. But wherever the crew went, the ghosts of 1984 D.C. were present. The city’s still walking in their footprints.

By Michon Boston SightingS of Gal Gadot, Chris Pine, and Kristen Wiig in D.C. lit up social media this summer. “A lady came into the store one day...” says Wendy Ezrailson, who owns Reddz Trading resale store in Georgetown. “She said, ‘I’m scouting out locations for a movie. But I can’t say what it is … and we’re going to recreate Commander Salamander.’” The “lady” talking to Ezrailson, who co-owned the punk clothing store with her husband Izzy from 1976 to 2010, was most likely Carol Fleischer, one of D.C.’s top film location scouts. Later, crews built a Commander Salamander façade over the former Appalachian Spring American craft storefront next door to Reddz and across the street from the original Commander Salamander, now an M&T Bank. The secret was out. The ’80s and Wonder Woman had arrived. Operating under the working title Magic Hour, Fleischer and counterpart Matthew Noonan approached D.C.’s Office of 18 september 7, 2018

Watergate The Twitter account @WonderWomanHQ tweeted a photo of Gadot and Pine on the balcony of what looks like the co-ops at Watergate East. The Atlantic’s Jeffrey Goldberg tweeted a pic of real live “cows at the Watergate.” In 1984 at the Watergate, chef Jean-Louis Palladin, owner of Jean-Louis, was taking his farm-to-table concept up a notch.

Crescendo in Blue: Three local jazz guitarists you need to know.

French food and nouvelle cuisine were the luxury dining experiences of the ’80s. Inside the intimate restaurant, diners often dropped $100 to $200 per dinner plate ($243 to $487 in today’s dollars) with their American Express Gold cards, plus a $100 per person tip for the waiter. President Ronald Reagan—former movie star, SAG president, and California governor—was campaigning for his second term at the time. When the president and Nancy Reagan arrived at the White House, a cadre of their closest wealthy and celebrity friends tagged along for the ride. One of the favorite meetup spots was The Watergate in Foggy Bottom. The complex included three residences, an office building, a hotel, and retail shops. The Watergate was transformed from the scandalous ’70s Republican Party crime scene to the “unofficial headquarters for Republican partying,” Washington Post staff writer Stephanie Mansfield wrote in 1981. The Reagans’ social inner circle was known as “The Group.” It included bold-faced Watergate residents Betsy “Bets” Bloomingdale and her husband; Bloomingdale’s retail heir Alfred, who also founded the Diners Club; and Senator Bob Dole and his wife, Transportation Secretary Elizabeth “Liddy” Dole. Watergate is a better location for Wiig who, according to the film’s IMDb page, is playing Barbara Minerva, heiress, archaeologist, and Wonder Woman foe “Cheetah.” “SILENCE = DEATH,” Hirshhorn Museum Gadot and Pine were spotted on the ground level of the Hirshhorn Museum and Sculpture Garden wrapped in screens printed with the “SILENCE = DEATH” symbol a month after the museum closed its recent exhibition Brand New: Art and Commodity in the 1980s, which included a neon version of the symbol created in 1987. In 1984, the Hirshhorn Museum, a decade old at that point, continued to expand its collection and exhibitions of modern 20th century art. Messages appeared on bulletin boards in Adams Morgan and other areas near Whitman-Walker Health about “this strange pneumonia or this strange skin cancer,” Barbara Lewis remembers. Lewis, a full-time physician assistant at WhitmanWalker, was a volunteer at its lesbian health center in 1984. The nameless virus, later identified in 1986 as HIV, mostly affected gay men. “There was a lot of anger around monies not being directed toward research,” Lewis recalls. “Ronald Reagan never even said the word ‘AIDS.’” An estimated 12,000 people had died from AIDS by 1985, including Hollywood actor Rock Hudson, who sought experimental treatment in France. The crisis caused Whitman-Walker to pivot its mission toward activism. The SILENCE = DEATH Project design collective lent their signature symbol to the AIDS Coalition to Unleash Power, better known as ACT UP (founded in 1987), to use in protests at NIH and the FDA, demanding they release to patients the AIDS drugs they were developing. ACT UP member and museum curator Bill Olander documented the story of this symbol in a 1987 hand out accompanying a New Museum of Contemporary Art window display of the neon “SILENCE = DEATH” symbol. By March 1987, AZT, the first treatment for HIV, was approved by the FDA and priced at $8,000 a year ($17,000 today) per patient. Protests erupted over the drug’s steep price tag. President Reagan signed an executive order in June and

CPArts named 12 members to a presidential panel on AIDS. Afterwards, Barbara Lewis was working full-time as a physician assistant in clinical trials at George Washington University Hospital. “A lot of my activism was trying to get people into studies and getting them on medication,” she recalls. Wonder Woman 1984 is a bit premature for SILENCE = DEATH. Gay men’s health groups and individuals distributed information about AIDS prevention and safe sex as early as 1982, making 1984 not too early for Diana and her beau to have the safe sex talk. The demographics for HIV/AIDS virus carriers shifted. Whitman-Walker evolved, serving African-American, Latinx, and immigrant communities. “It became clear that it was not in just the gay, white community,” Lewis laments. Downtown, McPherson Square The Metropolitan Police Department announced street and alley closures from 6:30 p.m. on Friday, July 6, to 5 a.m. on Monday the 9th on the 1400 and 1500 blocks of I Street NW and K Street NW around McPherson Square. Retro telephone booths and video store façades were moved into place. “In the ’80s, if you look at D.C. for all its problems, it has a huge concentration of black professionals,” say George Derek Musgrove, co-author of Chocolate City: A History of Race and Democracy in the Nation’s Capital. D.C.’s black majority took Chocolate City into its second decade. Mayor Marion Barry created job opportunities for residents in the city government. Youth explored career options through the mayor’s popular summer jobs program. And downtown real estate develop-

According to a 1982 Congressional Quarterly report, in his first year in office Reagan cut about $25 billion in programs affecting the poor; personal and corporate income taxes were reduced by $37.7 billion. In 1984, you could usually find McKenna’s Wagon parked on the 15th Street NW side of McPherson Square. Martha’s Table founder Veronica Maz started the meal service named for a Jesuit priest Horace B. McKenna, who died in 1982. Maz and Rev. McKenna met when she was teaching sociology at Georgetown University. They worked together to address poverty in the city. “One of the major issues in the early ’80s was homelessness,” says Musgrove. The Center for Creative Non-Violence (CCNV) and fervent homeless advocate Mitch Snyder pushed the city to create a comprehensive shelter system. Mayor Barry gave hints of support after his inauguration in 1979. “[Barry]comes against a budget crunch that he really inherits from the [Walter] Washington administration,” Musgrove says. “One of the things that he cuts, in response, is the small expansions in homeless services that he enacted when he first came into office.” Snyder and CCNV turned their attentions to the federal government for shelter space. Snyder went on a hunger strike to secure the Federal City building on 2nd Street NW near Union Station, ending his 51-day fast when the government granted the shelter. The Right to Overnight Shelter Initiative appeared on D.C.’s November ballot and passed by a 72 percent majority. Reagan defeated Mondale and won a second term. CP

ers made major strides alongside the growth of the Metro. Even after the defeat of the Equal Rights Amendment in 1982, D.C.’s reputation as a city for smart career women was also growing. Five women served on the D.C. Council: Ward 3 Councilmember Polly Shackleton, Ward 4 Councilmember Charlene Drew Jarvis, Ward 5 Councilmember Nadine Winter, Ward 8 Councilmember Wilhelmina Rolark, and AtLarge Councilmember Betty Ann Kane. In the first years of the Reagan administration, UN Ambassador Jeane Kirkpatrick was the only woman in a cabinet-level post. “I’m sure that [Secretary of State] Alexander Haig thought he was going to wipe me out during the first nine months, and he didn’t,” she recalled at the 1984 Women’s Forum for the Economy & Society, a gathering of influential women from around the globe. Elizabeth Dole, and Margaret M. Heckler of Health and Human Services, joined Reagan’s cabinet in 1984. Queens Congresswoman Geraldine Ferraro threw another punch at the glass ceiling when she ran for vice president with Walter Mondale on the Democratic party ticket. Women earned 63.7 cents to the man’s dollar. Downtown entry-level “pink collar” clerical positions were plentiful. Alcott & Andrews (founded in ’84) on Pennsylvania Avenue NW was where “career girls” bought their proper business attire without wrangling with fashion trends. Everything the store sold could be mixed, matched, and accentuated with a silk bow, the women’s version of the neck tie. But when supermodels and celebrities showed up on red carpets in Armani suits, “career” attire was abandoned for style and substance. In 1989, Alcott & Andrews filed for bankruptcy.


The Manhattan Transfer

Featuring the American Festival Pops Orchestra Saturday, September 29 at 8:30 p.m. This performance is part of the ARTS by George! benefit. ff

Family Series


Sunday, September 30 at 1 p.m. and 4 p.m. This performance is also at the Hylton Performing Arts Center on Sat., Sept. 29 at 11 a.m. and 2 p.m. Information at

Comañía Flamenca Eduardo Guerrero Flamenco Pasión

Friday, October 12 at 8 p.m.


SE CF AS A’ O S1 N 8 BE /1 GI 9 NS !

Family Series

Mutts Gone Nuts Sunday, November 25 at 1 p.m. and 4 p.m. This performance is also at the Hylton Performing Arts Center on Sun., Nov. 11 at 1 p.m. and 4 p.m. Information at

Family Friendly performances that are most suitable for families with younger children


Located on the Fairfax campus, six miles west of Beltway exit 54, at the intersection of Braddock Road and Rt. 123. september 7, 2018 19


FilmShort SubjectS Madeline’s Madeline

Acting Out Madeline’s Madeline

Directed by Josephine Decker Josephine Decker’s Madeline’s Madeline is a film so exhilaratingly original that it seems to redefine what cinema can do. It’s the story of a mentally ill teenager who discovers she has a talent for acting. She is thriving in a theater group until the inevitable human drama threatens her fragile psyche. It would be easy for such a film to lean into its postmodernism—after all, you’re watching a young actress in an experimental film playing a young actress doing experimental theater—but it never opts for those shallow rewards. Despite its seriousness of purpose, it aims for the heart and not the head, and it hits you where you’re already bruised. On the surface, Madeline’s (Helena Howard) troubles are of the typical teenage variety. She has trouble at school, spends a lot of time on her own, and engages in vicious arguments with her single mother (Miranda July). With her peers, she tries on different personalities to see what fits best. When approached by a cute boy, she throws on a fake voice, then invites him to her house to watch porn. She vibrates with confidence one minute, then folds into herself and disappears the next. The only place she feels free to be herself is at the immersive theater class taught by Evangeline (Molly Parker), who is enamored of Madeline’s natural talent and even shapes the group’s upcoming project around Madeline’s real life. It’s easy to see why she feels comfortable here. Evangeline nurtures her in a way that her mother never does, and her fellow actors accept her as part of their community. On one level, the film functions as a de-stigmatization of mental illness. Having just exited a mental hospital, Madeline doesn’t know who to trust or what to believe about herself. But what teenager hasn’t felt the same—alone, confused, and desperately, utterly mad? Madeline’s Madeline bridges the specific and the uni-

versal through its profound subjectivity, keeping us inside its heroine’s fractured mind with purposeful POV shots and jump cuts. As she is pulled toward and away from her dueling authority figures, her mother and her teacher, we flow right along with her, too close to even consider judging her decisions. These adventurous directorial choices are supported by a trio of stunning performances. In the most arresting debut in recent memory, Howard captures the desperation and emotional frailty of Madeline’s mind—so eager to find connection and companionship that she leaves herself open to manipulation and abuse. It’s heartbreaking to watch and thrilling to see her begin to transcend her surroundings. As the mother, July brings complexity and vulnerability to what could have been a one-dimensional role, while Parker achieves the difficult task of changing the most under Madeline’s gaze with perfect naturalism. Madeline’s Madeline may bring you closer to the inside of a character’s head than any recent film, but do we as an audience deserve to be there? The film has its ideas about that, too. Its most impressive accomplishment may be in how it seeks to recognize its own blind spots, ensuring that it never succumbs to the easy exploitation of Madeline that its characters do. Ultimately, it’s a film that refuses to rest until its every intellectual impulse has been realized and explored. Madeline’s Madeline remains compulsively watchable through every blistering moment. —Noah Gittell Madeline’s Madeline opens Friday at the Avalon Theatre.

BeyOnd Belief The Apparition

Directed by Xavier Giannoli The caTholic church demands faith from its billion-plus members. The new French drama The Apparition is about what happens when the faithful get too extreme, so the Church de-

20 september 7, 2018

velops its own kind of skepticism. Directed by Xavier Giannoli, this film is a drama that has the format of a procedural. The film is not unlike Spotlight, especially since our protagonist is a journalist, but there is no mention of scandal or corruption. Instead, it follow the classic formula of how a religious skeptic contends with the possibility of the divine. The final scenes do not match the intrigue of the beginning, but how could they? The possibility of proof is almost always more tantalizing than the final result. We spend a long time with Jacques (Vincent Lindon) before he begins his religious investigation. A journalist who specializes in covering war zones, Jacques is still reeling from an assignment that led to his partner’s untimely death and a persistent ear injury. He receives a strange phone call: A bishop in the Vatican wants to meet with him to discuss “a sensitive matter.” The Church is about to look into Anna (Galatéa Bellugi), a 16-year-old in southern France who claims she saw a vision of the Virgin Mary. The bishop wants Jacques to be a part of the official investigation about whether Anna’s vision is authentic. Before long, Jacques heads to the small village where Anna lives and pilgrims are gathering to worship her. The Apparition follows Jacques’ investigation, including how he develops a rapport with Anna. The lead performances from Lindon and

there is a grim irony in how Jacques fits into his role. There is a lengthy scene in the Vatican where two priests methodically explain how the Church handles supernatural claims (some of the documents, dating back hundreds of years, are so fragile Jacques cannot touch them). The subtext for this is the Church’s official actual position on apparitions, miracles, and exorcisms: They are hesitant to confirm anything, and want to suggest just enough so that believers can maintain their faith. It is an elegant reversal, since the Church takes the role of the skeptic. Indeed, Jacques’ colleagues in the investigation include a psychiatrist, a theologian, and a priest—all of whom have doubts about Anna. As the film continues, Jacques breaks away from them since he suspects Anna’s troubled past led to her present situation. Giannoli trusts the material and characters to avoid any theatrics. The Apparition never shows anything supernatural, and Jacques’ investigation has just enough detail to keep things ambiguous. There is some suspense—Jacques may be a journalist, but here he essentially functions as a detective—except the film declines to heighten that feel over more subdued, character-driven moments. Anna tells Jacques, “You’re not like the others,” and these frequent, provocative statements help Jacques lower his guard. We get snippets of Jacques’ personal life, which only

The Apparition

Bellugi are a compelling study of contrasts. Lindon is a bit like France’s equivalent of George Clooney, and here he downplays his natural charisma with a character who is quiet, curious, and respectful. There are long stretches of the film in which Lindon does not say what he is thinking, and so his transition from an observer into a participant is conveyed through masterful non-verbal acting. As Anna, Bellugi is an even tougher nut to crack: She has an unnerving presence, made more extreme by her passionate followers. Another key character is Father Borrodine (Patrick d’Assumçao), a priest who first learns of Anna’s vision. His devotion to her is borderline unseemly—it is unclear whether he is using her—and the ambiguity is made even more maddening since the Church disavows Borrodine, at least until Jacques’ investigation complete. Although The Apparition is never funny,

show how the investigation consumes him. The same can be said of Anna, who does indeed have people in her circle who use her (we see her likeness sold as trinkets in the town’s gift shops). This grappling with faith—conducted quietly by people who share nothing but mutual respect—is where the The Apparition finds its heart. The film ends in a perfunctory way, with the introduction of some answers that are ultimately dismissed. Jacques begins the film by confessing he is only a lapsed Catholic. By the end, he is not ready to return to mass, but Anna’s faith in him moves him to become a better man. This is no meager achievement for a modern film, so just like those who regularly pray, viewers with patience just might be rewarded. —Alan Zilberman The Apparition opens Friday at Landmark Bethesda Row Cinema.

GALLERIESSketcheS of browns and blacks—a palette that would be difficult to successfully pull off if not for Pinney’s trademark variations of texture, bold strokes, and mysterious imagery. The strength of that imagery lies in a combination of allusion and ambiguity. In “Garden of Earthly Delights,” two barely sketched contours emerge from the Matisselike palette pleading viewers into a deeper investigation across content that, in its “Garden of Earthly Delights” by Matt Pinney (2018) biblical and art historical positioning, is both original and familiar. Even in “Yo’Oko and the Ambassadors,” which is a direct reference to the 16th century painting by German artist Hans Holbein, Pinney adds a splayed tiger’s skin to the center of the composition. The original is an iconic painting known Lost Time for its attention to details of pattern, as well At Brentwood Arts Exchange to Oct. 20. as the placement of an anamorphic skull between the two subjects, but Pinney’s substiIn the dIgItal era, images past and pres- tution of the skin seems like an arbitrary adent have accumulated in the spaces ofGoogle, dendum. Is it the newest trend in this year’s YouTube, and Instagram. History has become fashion? A pronouncement for the preservasimultaneous with the present, and visual cul- tion of endangered species? Or a nod toward ture unfurls with a jubilant accessibility. That the randomness by which images are seen? accessibility can be excessive when accompa- The tight patterning of Holbein’s famous texnied by misinformation, or a lack of context— tiles becomes loose and dissolves alongside its meaning flattened beneath the usurpation Pinney’s tiger skin, just as all minute details of popular culture, consumerism, and parody. proliferate and then pixilate before us. Inherent in each of these works—subdued Painting, the longest standing source of Western visual culture, is most susceptible to that or vivid in color, culled from history or myflattening; you’ve seen it, but you don’t real- thology—is the juxtaposition of person and place. Unlike Matisse’s nudes, Pinney’s mully know it. Wandering into Lost Time, an exhibition tiple figures in a unified setting do not frolic; as of recent paintings by D.C-based artist Matt in “Sycamore/Travelers” they stalwartly pass. Pinney, viewers can expect to first be appre- Here the long-held subject of the outdoor nude hended by scale. Most of these boldly colored- has fallen to that of mass migration, but Pinworks are significant in size, presenting an im- ney recycles allegory as a tool from the visual pressive inaugural opening to Brentwood Art past in order to articulate that contemporary Exchange’s Lab Gallery, a new space dedicat- concern. What’s most moving about this samed to the solo exhibitions of area artists. The pling of works, however, is Pinney’s ardent boldness of vibrant yellows and blues, straight deference to painting itself. In marks that are from the tube, placed next to fuchsias and both reworked and extemporaneous, there is greens match Pinney’s unflinching directness the “lost time” of the artist who, despite the with line. The outlines of his figuration, some tedium and uncertainty of his or her labor, in gestural contour and others in flat silhou- endlessly reinvents the relevancy of Painting. —Erin Devine ette, are nothing short of a fascinating vacillation between spontaneity and deliberation on the painted surface. But two rather monochro- 3901 Rhode Island Ave., Brentwood. Free. (301) matic works, “Erinyes” and “Sycamore/Trav- 277-2863.,” are noteworthy in their somber tones Arts-Exchange.

Blurred lines




SEPTEMBER 14 & 15, 2018

7:30pm | The Music Center at Strathmore Tickets can be purchased online at

D.C.’s awesomest events calendar. calendar

A “whip-smart satire of fear and loathing” (New York Times) from a MacArthur “Genius” Grant-winner BY BRANDEN JACOBS-JENKINS DIRECTED BY KIP FAGAN

NOW PLAYING THRU SEPT 30 “Sharply observant and playfully theatrical” Hollywood Reporter ONLY AT

WMTC_CityPaper_9.6.indd 1

WOOLLY MAMMOTH THEATRE COMPANY WOOLLYMAMMOTH.NET // 202-393-3939 // #WOOLLYGLORIA september 7, 2018 21 9/4/18 5:16 PM

ecure),  ers


T OCT 27

Merriweather Post Pavilion • Columbia, MD

Portugal. The Man w/ Lucius ...........................................SEPT 21 TRILLECTRO FEATURING

SZA • 2 Chainz • RL Grime • special guest Carnage • Young Thug • Playboi Carti • The Internet • Smokepurpp and more! .................SEPT 22


Suicidal Tendencies 

 35th Anniversary Show (playing their self-titled first album in its entirety)  w/ Sick Of It All & Iron Reagan .................................................................... Sa SEP 8

MC50: Kick Out the Jams 50th Anniversary Tour

 featuring MC5’s Brother Wayne Kramer, Soundgarden’s Kim Thayil,  Faith No More’s Billy Gould, Fugazi’s Brendan Canty,   and Zen Guerrilla’s Marcus Durant   w/ The Detroit Cobras ......................... Sa 8

The National  w/ Cat Power & Phoebe Bridgers

 .......SEPT 28


Brett Eldredge • Dan + Shay • Dustin Lynch • Devin Dawson • Morgan Evans • Jimmie Allen • Jillian Jacqueline .........................SEPT 30 M E R R I W E AT H E R 2 0 1 8 • Experiences in Art + Sound .OCT 13  For more info, visit

                           •  For full lineups and more info, visit •


OCTOBER (cont.)


 Los Amigos Invisibles ..........F 14 FIDLAR  w/ Dilly Dally & NOBRO ..............Tu 18 T ADDED!


Car Seat Headrest  w/ Naked Giants & Don Babylon .Th 20 Gary Numan w/ Nightmare Air

  Early Show! 6pm Doors .....................F 21 

The Record Company  w/ Madisen Ward 

 and the Mama Bear.....................Sa 13

Lucero w/ Brent Cowles ...........Su 14 Passenger w/ Lucy Rose .........Tu 16 Atmosphere w/ deM atlaS • 

 The Lioness • DJ Keezy ...............W 17

Jonathan Richman

 featuring Tommy Larkins

 Early Show! 6:30pm Doors. 14+ to enter. Sa 20


 Whethan   w/ Sweater Beats & Andrew Luce 


Owl City w/ Matthew Thiessen 

Big Thief w/ The Range of Light   Wilderness & .michael. ..............Su 21

The Growlers .........................Su 23

Gallant w/ Jamila Woods ..........M 22 We Were Promised   Jetpacks .................................Tu 23 Hippo Campus  w/ The Districts ...........................W 24

   Late Show! 10pm Doors ....................F 21  & The Earthquakes .....................Sa 22 D NIGHT ADDED!


Highly Suspect w/ Monk Tamony .F 28 AN EVENING WITH

 Belly .........................................Sa 29 Our Lady Peace w/ Oak & Ash .Tu 2 HONNE ........................................Su 7 D NIGHT ADDED!


Kali Uchis  w/ Gabriel Garzon-Montano .........W 10 Bob Moses w/ Mansionair .......Th 11 Murder By Death  w/ William Elliott Whitmore   Early Show! 6pm Doors .....................F 12 U STREET MUSIC HALL PRESENTS

 What So Not   w/ Chrome Sparks (DJ Set)

  Late Show! 10pm Doors .....................F 12

  Late Show! 10pm Doors ...................Sa 20

 Twiddle  (F 26 - w/ Bumpin’ Uglies) .F 26 & Sa 27

 Smart Funny & Black   featuring Amanda Seales & More ........................................... OCTOBER 25  THE BENTZEN BALL COMEDY FESTIVAL PRESENTS


Van Ness & Friends ...... OCTOBER 28 

Jewel - Handmade Holiday Tour  

w/ Atz, Atz Lee, and Nikos Kilcher .......................................................... DECEMBER 6 On Sale Friday, September 7 at 10am

Five For Fighting

The Milk Carton Kids  w/ The Barr Brothers ....................... OCT 13

Amos Lee w/ Caitlyn Smith ...... SEPT 18 Welcome To Night Vale .. SEPT 26 Blood Orange w/ Yves Tumor . SEPT 28 Lykke Li ......................................... OCT 5 Gad Elmaleh ............................. OCT 10 Eric Hutchinson & The Believers  w/ Jeremy Messersmith .................... OCT 12


 with String Quartet ............... SEPT 16


Garbage w/ Rituals of Mine  Version 2.0 20th Anniversary Tour ... OCT 22 Inside Netflix’s The Staircase  & Making a Murderer:  Fabrications, Lies, Fake Science, 

  and the Owl Theory   feat. David Rudolf and Jerry Buting ...NOV 5



 Moon Taxi   w/ Moon Hooch .............Sa 27 & Su 28 Jain w/ Drama ............................M 29 Jake Shears  (of Scissor Sisters) ..................W 31 NOVEMBER U STREET MUSIC HALL PRESENTS


  Phoebe Robinson   with special guest Tig Notaro .... OCT 25  #ADULTING  with Michelle Buteau and Jordan Carlos

Cameron Esposito,  Rhea Butcher, & Friends    Late Show! 8:30pm Doors ... SAT OCT 27

  Early Show! 5:30pm Doors ......... FRI OCT 26

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

 Soulection’s The Sound of  Tomorrow feat. Andre Power •

  Joe Kay • Devin Tracy • J. Robb •   Andres Uribe .............................Th 1




 Black Tiger Sex Machine



Lincoln Theatre • 1215 U Street, NW Washington, D.C. JUST ANNOUNCED!

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


Let’s Eat Grandma  w/ Odetta Hartman & Boniface ...Th SEP 13 The Buttertones w/ Wild Wing .....Th 20 Carl Broemel of My Morning Jacket  w/ Steelism ..................................F 21 SYML w/ Flora Cash .....................Sa 22

Reignwolf ................................ M 24 Meg Myers w/ Adam Jones ...........Sa 29 The Charlatans UK ............ Tu OCT 2 The Presets w/ Blood Red Shoes ......Sa 6 Azizi Gibson ............................Sa 13

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

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


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



Music 23 Books 26 Theater 27 Film 28



FRIDAY, OCT. 5 $15/ADV $20 DOS




SoundCheCk 1420 K St. NW. (202) 789-5429. EDX. 10 p.m. $15. u Street MuSiC hall 1115 U St. NW. (202) 588-1889. Fort Romeau. 10 p.m. $12.

Funk & R&B

BirChMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Manhattans. 7:30 p.m. $49.50.

THU 9/6 FRI 9/7 SAT 9/8 SUN 9/9


SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Brain Rapp. 8 p.m. $10.


BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Yellowjackets. 8 p.m.; 10 p.m. $35–$40.

THU 9/13


dC9 1940 9th St. NW. (202) 483-5000. Hatchie. 7:30 p.m. $13–$15.

FRI 9/14 SAT 9/15

MiraCle theatre 535 8th St. SE. (202) 400-3210. Union Stage Presents U.S. Girls. 8:30 p.m. $15. SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Holychild. 11 p.m. $13–$15.

TUE 9/18 THU 9/20 SAT 9/22

SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Box Era. 8 p.m. Free. union Stage 740 Water St. SW. (877) 987-6487. Saint Etienne. 8 p.m. $30–$40.


9:30 CluB 815 V St. NW. (202) 265-0930. Nothing But Thieves. 8 p.m. $25. BlaCk Cat 1811 14th St. NW. (202) 667-4490. toe. 8 p.m. $20. JaMMin Java 227 Maple Ave. East, Vienna. (703) 2551566. Rorie, Hayley Fahey and Throwing Plates. 8 p.m. $15–$25. roCk & roll hotel 1353 H St. NE. (202) 388-7625. NOTHING. 8 p.m. $16–$18. State theatre 220 N. Washington St., Falls Church. (703) 237-0300. The Stranger - A Tribute to Billy Joel. 9 p.m. $17–$20. Wolf trap filene Center 1551 Trap Road, Vienna. (703) 255-1900. Jethro Tull. 8 p.m. $35–$95.


BirChMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Seldom Scene and Jonathan Edwards. 7:30 p.m. $29.50. hill Country live 410 7th St. NW. (202) 556-2050. Koe Wetzel. 9:30 p.m. $15–$20.


u Street MuSiC hall 1115 U St. NW. (202) 588-1889. Mixtape: 10th Anniversary and Finale. 10 p.m. $10.


Beth Bombara’s music is the sound of hard work. Her melodies are born between stops on a never-ending tour, her verses covered in dirt and dust and sweat, her bridges the relief of stretching an aching back. Bombara captures the romance of the road, but doesn’t sweeten it. She blends it with humble dignity—the satisfaction of a job well done and another opportunity earned—so common among midwesterners. This St. Louis singer-songwriter has been grinding out a music career piece by piece, building a unique mix of American styles somewhere between folk and rock. She’s played D.C. a few times, each as a duo with her partner Kit Hamon, to a handful of folks in small rooms around town, and now she’s returning to carry the weight of her and Hamon’s fuller compositions from her last record, 2017’s Map & No Direction. Opening will be D.C.’s own Lauren Calve, a blues dynamo with a voice smoky enough to set off a fire alarm. It’s Friday, so clock out and reward your own hard work this week by hearing some of theirs. Beth Bombara performs with Lauren Calve at 9 p.m. at City Winery, 1350 Okie St. NE. $10–$12. (202) 2502531. —Justin Weber

THU 9/27 FRI 9/28 SAT 9/29 TUE 10/2 THU 10/4 FRI 10/5

FRI 10/5 FOlk JaMMin Java 227 Maple Ave. East, Vienna. (703) 2551566. Gabriel Kahane. 8 p.m. $20–$30.

JAzz BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Yellowjackets. 8 p.m.; 10 p.m. $35–$40.


Wolf trap filene Center 1551 Trap Road, Vienna. (703) 255-1900. 4U - A Symphonic Celebration of Prince. 8 p.m. $30–$60.


9:30 CluB 815 V St. NW. (202) 265-0930. Suicidal Tendencies. 8 p.m. $35. BlaCk Cat 1811 14th St. NW. (202) 667-4490. FTW FR. 8 p.m. $15.



410 Seventh St, NW • 202.556.2050 • Twitter @hillcountrylive

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro september 7, 2018 23











































D.C.’s awesomest events calendar. calendar

If you’ve heard of Verdi’s opera Falstaff and Verdi’s opera Otello, but never Verdi’s opera King Lear, you’re not alone. The Italian composer never finished adapting one of Shakespeare’s saddest tragedies, because the guy who was supposed to write the libretto died without finishing it. No music survived, but a letter describing the project did. “We need not turn Lear into the sort of drama that has been customary up to now. We must treat it in a completely new way,” the composer wrote. It may be appropriate then that the InSeries is presenting an operatic retelling of King Lear in a completely new way: as a chamber opera mash-up featuring music from Verdi’s Requiem. Timothy Nelson, the new artistic director of the InSeries, wrote the piece, which will feature eight singers as well the formidable D.C. actress Nanna Ingvarsson taking on the dual roles of Verdi/Lear. The show runs to Sept. 23 at Source Theatre, 1835 14th St. NW. $20–$45. (202) 204-7763. —Rebecca J. Ritzel

the haMilton 600 14th St. NW. (202) 787-1000. The Iguanas. 8 p.m. $19.75–$39.75. MiraCle theatre 535 8th St. SE. (202) 400-3210. Union Stage Presents Waxahatchee. 9 p.m. $22–$24. roCk & roll hotel 1353 H St. NE. (202) 388-7625.


24 september 7, 2018


northeaSt liBrary 330 7th St. NE. (202) 6980058. The Irish Breakfast Band. 2 p.m. Free.

SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Ethan Parker. 8 p.m. $10–$12.

SongByrd MuSiC houSe and reCord Cafe 2477

Funk & R&B

Shopping and No Age. 8 p.m. $16.


18th St. NW. (202) 450-2917. Native Sun. 8 p.m. $12.

BirChMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Jon B. 7:30 p.m. $45.


dC9 1940 9th St. NW. (202) 483-5000. Jalen Santoy. 8 p.m. $10–$15.



BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Jamison Ross Trio. 8 p.m.; 10 p.m. $25.


9:30 CluB 815 V St. NW. (202) 265-0930. MC50. 7 p.m. $40. JaMMin Java 227 Maple Ave. East, Vienna. (703) 2551566. The Choir. 7:30 p.m. $15–$20. roCk & roll hotel 1353 H St. NE. (202) 388-7625. SUMAC. 8 p.m. $12–$14. SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Spendtime Palace. 8 p.m. $10–$12.

WEDnESDAY u Street MuSiC hall 1115 U St. NW. (202) 588-1889. Poolside. 8 p.m. $15.


liBrary of CongreSS Coolidge auditoriuM First Street and Independence Avenue SE. (202) 7075507. John McCutcheon. 7:30 p.m. Free. SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Oliver Hazard. 8 p.m. $12.


BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Paul McCandless with Charged Particles. 8 p.m.; 10 p.m. $25.

If you missed the Jacques Becker series at New York’s Film Forum last month, you’re in luck. While D.C. may not have Manhattan’s deep repertory cinema options, local audiences get to see the director's films—once hailed by the French New Wave movement but since neglected—on the National Gallery of Art’s much bigger screen, and for free. Becker (1906-1960) had a full life outside the movies. He was a prisoner of war in Germany during World War II, and knew artist Paul Cézanne. After working as an assistant to director Jean Renoir (including on the classic La Grande Illusion), he went on to direct a small body of work that has been lovingly restored and is ripe for reassessment. In Antoine et Antoinette, a 1947 comedy, Becker tells the story of a young Parisian couple who lose a winning lottery ticket. It’s a sentimental working-class tale, but as The New Yorker’s Richard Brody writes, “Becker’s ecstatic, overwhelmingly intimate closeups of the couple burn away daily cares with the blinding heat of erotic passion.” The film screens at 4 p.m. at the National Gallery of Art, 4th Street and Constitution Avenue NW. Free. (202) 737-4215. —Pat Padua

union Stage 740 Water St. SW. (877) 987-6487. Donny McCaslin. 8 p.m. $20–$30.


dC9 1940 9th St. NW. (202) 483-5000. Remo Drive. 8 p.m. $13–$15. JaMMin Java 227 Maple Ave. East, Vienna. (703) 2551566. Matt Holubowski and Vera Sola. 7:30 p.m. $15. roCk & roll hotel 1353 H St. NE. (202) 388-7625. Yuno. 8 p.m. $15.


the haMilton 600 14th St. NW. (202) 787-1000. Ashley McBryde. 7:30 p.m. $15–$30. union Stage 740 Water St. SW. (877) 987-6487. Wheeler Walker Jr. 8 p.m. $20–$40.

FOlk JAzz BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Elan Trotman & Bernie Williams “Caribbean Connection”. 8 p.m.; 10 p.m. $40.

pOp dC9 1940 9th St. NW. (202) 483-5000. Still Corners. 8 p.m. $13. fillMore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. In Real Life. 7:30 p.m. $25.

ROck BlaCk Cat 1811 14th St. NW. (202) 667-4490. Saintseneca. 7:30 p.m. $15. CoMet ping pong 5037 Connecticut Ave. NW. (202) 364-0404. Ava Luna. 9 p.m. $13. the haMilton 600 14th St. NW. (202) 787-1000. Holly Bowling. 7:30 p.m. $10–$25. roCk & roll hotel 1353 H St. NE. (202) 388-7625. Red Fang. 8 p.m. $25. SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Ritual Talk. 8 p.m. Free.


the antheM 901 Wharf St. SW. (202) 888-0020. First Aid Kit. 8 p.m. $40–$55. JaMMin Java 227 Maple Ave. East, Vienna. (703) 2551566. Grace & Pierce Pettis. 7:30 p.m. $20. SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Ben Eisenberger. 8 p.m. Free.


BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Marshall Keys & The Soulful Path. 8 p.m.; 10 p.m. $25.


dC9 1940 9th St. NW. (202) 483-5000. No Fun At All. 8 p.m. $15–$20. roCk & roll hotel 1353 H St. NE. (202) 388-7625. Local H. 8 p.m. $15–$18. union Stage 740 Water St. SW. (877) 987-6487. TWRP. 8 p.m. $15–$30.


union Stage 740 Water St. SW. (877) 987-6487. Teitur. 8 p.m. $15–$20.

SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Buck Meek. 8 p.m. $12.

Funk & R&B

BirChMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Brian McKnight. 7:30 p.m. $89.50. gypSy Sally’S 3401 K St. NW. (202) 333-7700. Zach Deputy and the Yankees. 9 p.m. $13–$15.


JaMMin Java 227 Maple Ave. East, Vienna. (703) 2551566. Jonathan McReynolds. 8 p.m. $15–$20.


BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Christian McBride’s New Jawn. 8 p.m.; 10 p.m. $35–$40.


dC9 1940 9th St. NW. (202) 483-5000. Van William. 8 p.m. $13–$15. SongByrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Kelli Frances Corrado. 8:30 p.m. Free. u Street MuSiC hall 1115 U St. NW. (202) 588-1889. Let’s Eat Grandma. 7 p.m. $15.


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


Sept 8

An Acoustic Evening with




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

hill Country live 410 7th St. NW. (202) 556-2050. Wild Adriatic. 8:30 p.m. $10–$12.

& The First National Band


feat. Mark Levin, Chris Plante, Larry O’Connor, Mary Walter, Vince Coglianese







17 18


with specialguest MAYSA


& The Big Noise

CANDY DULFER september 7, 2018 25


anand giridharadaS Former New York Times columnist Anand Giridharadas chats about his new book Winners Take All, an investigation on the global elite’s efforts to “change the world” and how they preserve the status quo. Politics and Prose. 5015 Connecticut Ave. NW. Sep. 11. 7 p.m. Free. (202) 364-1919. david krugler Historian Dr. David Krugler shares from his book Rip Angels From Heaven, the second installment in his World War II spy thriller Ellis Voigt Series. One More Page Books. 2200 N. Westmoreland Street, No. 101, Arlington. Sep. 8. 2 p.m. Free. (703) 300-9746.



deBorah Baker Deborah Baker discusses her latest book The Last Englishmen, which chronicles the fall of the British Empire in India and highlights the historical figures whose lives where changed by it. Solid State Books. 600 H St. NE. Sep. 13. 7 p.m. Free. (202) 897-4201. deray MCkeSSon Civil rights leader and podcast host DeRay Mckesson discusses his new book On

the Other Side of Freedom, a reflection on resistance and justice in America and an intimate portrait of the Black Lives Matter movement. GW Lisner Auditorium. 730 21st St. NW. Sep. 7. 7 p.m. $10. (202) 994-6800. george peleCanoS Emmy-nominated writer George Pelecanos chats about his new novel The Man Who Came Uptown, the story of an ex-con struggling to find his place in a changed Washington, D.C. Politics and Prose. 5015 Connecticut Ave. NW. Sep. 9. 3 p.m. Free. (202) 364-1919. John kerry Vietnam veteran and five-term U.S. senator John Kerry discusses his new book Every Day Is Extra, his personal story of public service. Sixth & I Historic Synagogue. 600 I St. NW. Sep. 8. 7:30 p.m. $45. (202) 408-3100. JéréMie royer Illustrator Jérémie Royer discusses his graphic novel Audobon, the story of a man who embarks upon an epic ornithological quest across America at the turn of the nineteenth century. Takoma Park Public Library. 101 Philadelphia Avenue, Takoma Park. Sep. 13. 7:30 p.m. Free. 301-891-7259. kate SChatz and MiriaM klein Stahl Author Kate Schatz and illustrator Miriam Klein Stahl discuss their bestselling series Rad Girls Can, which celebrates the achievements of girls under twenty who have made a positive impact on the world. Politics



The National Zoo has given us all a precious new gift: a multistory naked mole-rat dream house. (Shoutout to Rufus from Kim Possible.) It’s not every day that the Smithsonian institution opens up a new animal exhibit that is so uniquely awesome. In early September, the zoo opened Naked Mole-Rats on the Move, nearly 25 feet of winding tunnels with 16 chambers in which the little rascals scurry around eating corn, kale, and other available vegetables. Here are some naked mole-rat facts you never asked for and hopefully you’ll never forget: They live underground in colonies with a single breeding female. They have small, useless eyes that make them basically blind. While they’re mostly “naked,” they aren’t completely hairless—they have sensory whiskers on their faces and tails and hairs between their toes. They can’t maintain body temperature and huddle together for warmth. They’re the longest-living rodents in the world, approaching 30 years. Please go see them. And if you want to keep up with the tiny nudists after you’ve seen them in person, there’s a 24-hour webcam on which you can watch them live. It’s mesmerizing. The exhibit is on view indefinitely at the National Zoo, 3001 Connecticut Ave. NW. Free. (202) 6334888. —Kayla Randall

26 september 7, 2018





5PM-7PM, M-F






Just Jokes & Notes w/ April Sampe & Timmy Hall


Beth Bombara w / Lauren Calve in the Wine Garden

black alley

SEP 11

SEP 12

SEP 14

SEP 14

SEP 15

Eric Essix “More”

Ana Popovic

Mason Jennings

It Came From the ‘70s Superflydisco

Rhett Miller

SEP 16

SEP 18

SEP 19

SEP 20

SEP 21

Popa Chubby

Will Hoge

Badfinger: “Straight Up” Live and Complete Starring Joey Molland

Steven Page Trio (former frontman of Barenaked Ladies) w/ Special Guest Wesley Stace (aka John Wesley Harding)

An Evening With Edwin McCain

album release show


MC5 was always the spark that preceded the fire. It was true at the Chicago Democratic National Convention in August 1968, when MC5 was the only band to play during the “Festival of Life,” just hours before the infamous police protests and demonstrations began. And it was true the next year, when the band released Kick Out the Jams. MC5’s protopunk attack is exemplified by the album’s title track, with its squeals of feedback, barebones riff, relentless drum beat, and iconic “kick out the jams, motherfuckers” prelude to the music. But while the album ignited the flame in the hearts of would-be punks around the world, MC5’s own fire would burn out in just three years. But with democracy threatening to die in darkness, the embers of MC5 have been stoked back to life. To celebrate the album’s 50th anniversary, guitarist Wayne Kramer has assembled a cast of punk and hard rock all-stars, including Soundgarden guitarist Kim Thayil and Fugazi drummer Brendan Canty, to help him kick out the jams one last time. The show begins at 7 p.m. at 9:30 Club, 815 V St. NW. $40. (202) 265-0930. —Chris Kelly

and Prose. 5015 Connecticut Ave. NW. Sep. 11. 7 p.m. Free. (202) 364-1919.

Prose at The Wharf. 70 District Square SW. Sep. 12. 7 p.m. Free. (202) 488-3867.

liSa Margonelli Award-winning journalist Lisa Margonelli discusses her book Underbug, which examines the nature of termites and humanity’s disturbing resemblance to them. Politics and Prose. 5015 Connecticut Ave. NW. Sep. 8. 3:30 p.m. Free. (202) 364-1919.

SoMaiya daud Somaiya Daud discusses her debut novel Mirage, a fantasy about a young girl who is kidnapped to become the body double for the princess of a brutal empire. Politics and Prose. 5015 Connecticut Ave. NW. Sep. 10. 7 p.m. Free. (202) 364-1919.

luCia kay MCBath Gun control spokesperson Lucia Kay McBath talks about her book Standing Our Ground, an emotional account of her fight for justice after her teenage son was unjustly killed. Politics and Prose at The Wharf. 70 District Square SW. Sep. 13. 7 p.m. Free. (202) 488-3867. MeliSSa and ChriS Bruntlett In their new book Building the Cycling City, Melissa and Chris Bruntlett examine how the Netherlands has integrated bicycles into their city planning and created a cycling culture accessible to everyone. Politics and Prose at Union Market. 1270 5th St. NE. Sep. 8. 6 p.m. Free. (202) 364-1919. norMan eiSen CNN political commentator Norm Eisen chats about his debut book The Last Palace, which examines the last hundred years of European history through the lives of the residents of a legendary house in Prague. Politics and Prose. 5015 Connecticut Ave. NW. Sep. 9. 1 p.m. Free. (202) 364-1919. patriCk Winn Patrick Winn discusses his new book Hello, Shadowlands, an inside look at Southeast Asia’s underbelly of organized crime. Politics and

Steven JohnSon Steven Johnson chats about his new book Farsighted, which offers advice on making long-term life decisions that affect us for years to come. Politics and Prose. 5015 Connecticut Ave. NW. Sep. 7. 7 p.m. Free. (202) 364-1919. tiM Mohr Tim Mohr releases his new book Burning Down the Haus, which chronicles the punk-rock subculture in East Germany and explores its relationship to the country’s underground resistance. Black Cat. 1811 14th St. NW. Sep. 13. 7:30 p.m. $10. (202) 6674490.

in the Wine Garden


Jill Sobule “Nostalgia Kills”

album release show





SATURDAY, SEPT. 29 AT 8PM SUNDAY, SEPT. 30 AT 3PM Beethoven: Symphony No. 7 Dvořák: Romance in F minor* Saint-Saëns: Introduction & Rondo capriccioso* *FEATURING


the BridgeS of MadiSon County Based on the bestselling novel, this musical was developed by the Tony- and Pulitzer-winning creative team of Jason Robert Brown and Marsha Norman. It centers on a lonely Italian war bride who has an affair with a photographer who has traveled from Washington to pho-

ALEXANDER KERR, VIOLIN Photo by Chelsea Sanders

James Ross,

Music Director

703-548-0885 • WWW.ALEXSYM.ORG september 7, 2018 27


is directed by Alan Muraoka and choreographed by Darren Lee. Set during World War II on a distant Pacific island, South Pacific tells the sweeping love story of nurse Nellie Forbush and French plantation owner Emile de Becque. Olney Theatre Center. 2001 OlneySandy Spring Road, Olney. To Oct. 7. $64–$84. (301) 924-3400.

kin A recently released ex-con and his adopted teen brother must go on the run with only a strange weapon to defend themselves from criminals, feds, and super soldiers. Starring Carrie Coon, James Franco, and Zoe Kravitz. (See for venue information)

turn Me looSe This John Gould Rubin-directed play traces comic genius Dick Gregory’s rise to fame as the first black comedian to utilize racial comedy, intertwining art and activism and risking his safety in the process. Arena Stage. 1101 6th St. SW. To Oct. 14. $56–76. (202) 488-3300.

the little Stranger When a doctor visits a family’s crumbling manor, ominous things start to occur. Starring Ruth Wilson, Domhnall Gleeson, and Josh Dylan. (See for venue information)


BlaCkkklanSMan This Spike Lee joint follows the true story of Ron Stallworth, the first black American detective to serve in the Colorado Springs Police Department and successfully infiltrate his local Ku Klux Klan. Starring John David Washington, Adam Driver, and Laura Harrier. (See washingtoncitypaper. com for venue information) Crazy riCh aSianS Native New Yorker Rachel has met her dream man, but then she must go to Singapore to meet his crazy, rich family. Starring Constance Wu, Henry Golding, and Michelle Yeoh.


October’s Very Own and Atlanta’s musical prophets Quavo, Offset, and Takeoff are blowing minds with their joint tour across the country. After the March premiere of the frequent collaborators’ ’70s inspired “Walk It Talk It” video, hip-hop culture giants Drake and Migos have embarked on the Aubrey & The Three Migos tour. The much anticipated shows were initially postponed from an original July launch date, but the hip-hop dream team successfully kicked it off in Kansas this August, showcasing the sensational AF groove for which audiences know and love them. Fans can expect to hear a setlist that covers hits like “Stir Fry,” “Hotline Bling,” and, obviously, the internet’s most recent favorite bop “In My Feelings,” along with other faves. Word on the street is that attendees can expect to see Drizzy and friends perform with a flying Lamborghini (or insert obligatory expensive car here). Because who in their right mind doesn’t love music AND luxurious theatrics? Lame-os, that’s who. The show begins at 7 p.m. at Capital One Arena, 601 F St. NW. $59.50–$199.50. (202) 628-3200. —Mikala Williams tograph the county’s famous covered bridges. Keegan Theatre. 1742 Church St. NW. To Sep. 11. $45–$55. (202) 265-3767. CoMo agua para ChoColate (like Water for ChoColate) Making its U.S. premiere, this production centers on a young woman who is forbidden to marry because of family tradition and takes to expressing herself through cooking. It is based on the novel by Laura Esquivel, adapted to the stage by Garbi Losada and directed by Olga Sánchez. Performed in Spanish with English subtitles. GALA Hispanic Theatre. 3333 14th St. NW. To Oct. 7. $20–$48. (202) 234-7174. gloria Written by Pulitzer Prize-finalist Branden Jacobs-Jenkins, this new dark comedy centers on a group of ambition Manhattan editorial assistants. When an average workday turns into a living nightmare, two survivors must compete to turn their experience into a career-making story. Woolly Mammoth Theatre. 641 D St. NW. To Sep. 30. $20–$61. (202) 3933939. haMilton Lin-Manuel Miranda’s Broadway hit finally comes to the Kennedy Center. The world famous hiphop musical chronicles the extraordinary life of United States Founding Father Alexander Hamilton. Kennedy Center Opera House. 2700 F St. NW. To Sep. 16. $99–$625. (202) 467-4600. if i forget This acutely personal play tells the story of a Jewish D.C. family agonizing over whether to sell their 14th street home after their mother has died and their father is in need of full-time care. If I Forget is directed by Matt Torney and written by Dear Evan Hansen Tony-winner Steven Levenson. Studio Theatre. 1501 14th St. NW. To Oct. 14. $20–$80. (202) 3323300.

god BleSS the Broken road When a financially struggling woman loses her husband to war, she meets a racecar driver who introduces her to a new way of life. Starring Lindsay Pulsipher, Jordin Sparks, and LaDainian Tomlinson. (See washingtoncitypaper. com for venue information)

the nun After the death of a young nun in Romania, two people are sent to investigate and they must confront a demonic nun. Starring Demian Bichir, Taissa Farmiga, and Jonas Bloquet. (See for venue information) operation finale Secret agents embark on a covert mission to find the Nazi officer who masterminded the logistics that led to millions of Jewish people dying in concentration camps. (See for venue information) pepperMint A young mother survives a brutal attack in which she loses her family, and then goes on a vengeful rampage seeking justice for their deaths. Starring Jennifer Garner, John Gallagher Jr., and John Ortiz. (See for venue information) the Wife On the way with her writer husband to watch him receive a Nobel Prize, a wife questions their entire relationship, including the sacrifices she’s made in her own life for him. Starring Glenn Close, Jonathan Pryce, and Christian Slater. (See for venue information)


MaCBeth Amended by Sir William Davenant, this Restoration-era adaptation of Shakespeare’s classic is directed by Robert Richmond and features music by John Eccles performed live by Folger Consort. In this timeless tragedy, Macbeth and Lady Macbeth are tormented by guilt after they murder King Duncan and take the Scottish throne. Folger Shakespeare Library. 201 E. Capitol St. SE. To Sep. 23. $42-$79. (202) 544-7077. Marie and roSetta Directed by Sandra L. Holloway, Mosaic Theater Company presents a musical celebration of two extraordinary black women. Marie and Rosetta chronicles the unlikely first rehearsal between Rosetta Tharpe and Marie Knight, who would go on to become one of the great duos in music history. Atlas Performing Arts Center. 1333 H St. NE. To Sep. 30. $50–$68. (202) 399-7993. the pianiSt of WilleSden lane Theater J presents this Hershey Felder-directed play, adapted from the book The Children of Willesden Lane. Based on true events, the show tells the story of a young Jewish piano prodigy whose musical aspirations are thwarted by the onset of World War II. Kennedy Center Family Theater. 2700 F St. NW. To Sep. 30. $44–$74. (202) 467-4600. SMall Mouth SoundS This Ryan Rilette-directed play opens Round House’s 41st season. When six strangers arrive at a week-long silent retreat in the woods in search of enlightenment, they discover that finding inner peace isn’t as easy as they thought. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Sep. 23. $36–$57. (240) 6441100. South paCifiC This regional production of Rodgers and Hammerstein’s Pulitzer Prize-winning musical

28 september 7, 2018


While those touted as “rock gods” tend to be white and male (see: Elvis Presley, John Lennon, Kurt Cobain), the roots of rock ’n’ roll can be traced to a black American woman whose story, of course, is not told nearly as often as it should be. Sister Rosetta Tharpe grew up playing gospel music in a traveling evangelical troupe and was one of the first musicians to add guitars to traditional gospel songs. Though male musicians went on to rip off Sister Rosetta’s sound and found mainstream success doing so, she remained determined to make her mark on the music industry, eventually collaborating with a young pianist named Marie Knight. Their partnership has been commemorated with a stage play called Marie and Rosetta, which Mosaic Theater Company is currently presenting at Atlas Performing Arts Center. Scholars debate if the relationship between the female musicians extended off stage, but whether or not they were romantically involved has little bearing on the music they created. Enjoy their sounds and learn from their story. The play runs to Sept. 30 at Atlas Performing Arts Center, 1333 H St. NE. $20–$68. (202) 3997993. —Caroline Jones

SAVAGELOVE I’m a cis woman in my mid-40s, and my significant other has a cuckolding fetish. My first response was “Oh, hell no!” But if I’m willing to have a threesome, how much further of a stretch is it, really? He does have some experience with this varsity-level kink, so he knows what to expect. I’ve asked him some questions, but some things I prefer to research on my own. My questions for you: (1) I don’t get cuckolding. I’ve read all about it, but nothing about it resonates with me. My SO really wants me to be into his fetish if I am going to act on it, but what if I’m just into being GGG? Can’t that be enough? (2) How should I go about finding appropriate candidates who would be into sharing this experience with us? I’m not really sure that I’d want someone with experience as a bull, because I don’t feel good about this playing out the way I’ve seen it in porn. (3) We enjoy cross-dressing and chastity play. How do I find someone who will be cool about my SO sitting in the room in a cock lock and lingerie? (4) I kind of have a “type” (don’t we all), and I’m not certain my type plays into this kink. I prefer someone who is very dominant in public but submissive to me in the bedroom. This doesn’t seem to align with your typical bull behavior. However, I do not enjoy being dominated. Do you think this matters? —Can’t Understand Cuckold Kink 1. Cuckolding isn’t that hard to understand: A cuckold gets off on their partner fucking other people and being humiliated or degraded by their partner and/or their partner’s playmates. Seeing as you already enjoy dominating guys and threesomes, CUCK, what’s not to enjoy about a cuckolding scenario? 2. Vanilla PIV intercourse rarely plays out in real life the way it does in porn. So whether you go with an experienced bull or find someone who’s unfamiliar with cuckold play but game, you don’t have to reenact whatever cuckold porn you’ve watched or read. Write your own script! 3. By using your words, CUCK. Tell any guy who’s interested in being your very special guest star (VSGS) that your SO is a cuckold and he’ll be there in lingerie with his cock locked up. If that turns a VSGS candidate off, then he’s not the right VSGS for you. 4. In most cuckold porn, the bull—the man who fucks the cuck’s wife or girlfriend (or boyfriend or husband) in front of him—is the dominant partner. But, again, you get to write your own script, and if you want your bull to be submissive, make that clear to your potential bulls. —Dan Savage I’m a 54-year-old gay guy living in New York City. I’m into bondage, and I have a profile on Recon with plenty of pictures showing what I’m into. A guy visiting from San Francisco cruised me. He asked me to send a face pic, and I did. He invited me to his hotel. He didn’t have any gear with

him, so I stopped at a hardware store and picked up $40 worth of rope and duct tape on my way to meet him. But after 30 seconds of small talk, he said he just wasn’t feeling it. I said OK, that happens, and I left. I’m totally confused. I’m a decent looking guy, and the photo I sent is recent. I was freshly showered, so no hygiene or BO issues. Obviously, you can’t force yourself to be into someone, but could he have handled it better? Should he have followed up with a message apologizing? Should I reach out and ask him what happened, or is that just pathetic? —Bondage Offer Not Delivered After Getting Evicted

Vanilla PIV intercourse rarely plays out in real life the way it does in porn. You don’t have to reenact whatever cuckold porn you’ve watched or read. Write your own script! Typically when this happens—photos exchanged, hookup arranged, mind changed— it’s because the photos were out of date or were not representative. Since we aren’t always the best judge of our own photos, BONDAGE, you should ask a friend who won’t bullshit you to look at your photos and give it to you straight. If your no-bullshit friend clears your photos, then reach out to Mr. San Francisco. He had to make a snap decision when you arrived with that bag of rope and duct tape: Did he feel comfortable letting this stranger render him helpless? In a vanilla hookup, he could give it a little time and back out after some foreplay—it’s a lot harder to back out when the foreplay involves rope and duct tape. So send him a message via Recon. Open by telling him you aren’t buttsore or angry, and he had every right to change his mind, even at the last minute—which means he has nothing to apologize for, so you aren’t owed an apology and you shouldn’t message him if you’re seeking one. Then ask if you said or did something that made him feel unsafe. If you did, BONDAGE,

accept his feedback graciously—don’t argue with him or attempt to litigate what went down. Just listen. It may not have been your intention to freak him out by making, say, a few serial-killer jokes, but his impression is what matters, not your intention. And who knows? A sincere effort to get a little constructive feedback may leave him feeling better about you and up for playing the next time he’s in town. —DS My wife has a fantasy where she’s blindfolded and restrained on our bed. She hears the front door open, followed by footsteps coming up the stairs, and then she’s ravished by… who? She won’t know, presumably, until it’s over. My question: In fulfilling this fantasy for her, where anonymity and surprise are part of the appeal, what do I tell her in advance? Do I discuss the entire scenario with her, so she knows exactly what’s going to happen, minus the identity of the very special guest star (who would be a semi-regular we’ve played with before, but she wouldn’t necessarily know that at first)? That seems to eliminate the surprise element of the fantasy. Is it enough to tell her, without mentioning the specific scenario, that I’d like to make one of her fantasies come true, and ask her to trust me? —Ethical Thinking In Quite Unusual, Elaborate Tied Tight Enactment Presumably? There’s no room for “presumablies” when you’re arranging to fulfill a varsity-level fantasy. I’m guessing she’d rather not know who’s ravishing her before or during the big event, ETIQUETTE, and she may not want to know after. But you need to ask her what she wants—no presumptions—before you start making arrangements. She might want to know everything in advance—including the identity of that stranger—or she might want you to decide everything. But you need to check in with her first: “Honey, I want to help you realize that fantasy—you’re tied to the bed, a stranger arrives, you’re ravished by said stranger—but I need to know how involved you want to be in the planning. Clear everything with you—where, when, who, how—or just make it happen?” You may find that she wants to be surprised by who but not by when, ETIQUETTE, or by when but not by who—or by who but not by when, how, or where. Or she may want the whole thing to be a surprise. But you have to find out exactly what she wants before you make any plans. And here’s a bonus pro tip for you: Don’t reveal the identity of your VSGS immediately afterward. Because if it goes well, and your wife wants a repeat, you may be able to get a few more encounters out of your first VSGS. —DS Email your Savage Love questions to






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TICKETS ON SALE! september 7, 2018 29

against the decedent shall be presented to the undersigned with a Adult . . . . . . . . . . . . . . . . . . . . . . . 42 SUPERIOR COURT copy to the Register of OF THE DISTRICT OF Wills Auto/Wheels/Boat . .or . .to . the . . .Register . . . 42 COLUMBIA of Wills with a copy to Buy,DIVISION Sell, Trade . . the . . .undersigned, . . . . . . . . .on . .or . . PROBATE 2018 ADM 000904 before 2/23/2019, or be Marketplace . . . . . . . . . . . . . . . . . 42 Name of Decedent, Welforever barred. Persons don Lee Hemphill, Sr. . . . . . believed Community . . . . . . to . .be . .heirs . . . or 42 Notice of Appointment, legatees of the decedent . . . do . . not . . . receive . . . . . a42 NoticeEmployment to Creditors and . . . . who Notice to Unknown Health/Mind . . . . copy . . . .of . this . . . notice . . . . .by . . . Heirs, Lisa Hemphill, mail within 25 days of whoseBody address 7307 . . . its & isSpirit . . . publication . . . . . . . .shall . . . so 42 Epping Avenue, Fort inform the Register of Housing/Rentals . . . . including . . . . . . .name, . . 42 Washington, MD 20744 Wills, was appointed Personal Legal Notices . . . address . . . . . .and . . .relation . . . . 42 Representative of the ship. estateMusic/Music of Weldon Lee Row . Date . . .of . first . . . .publication: . . . . 42 Hemphill, Sr who died 8/23/2018 Pets . . . .with . . . . . . . Name . . . . of . . Newspaper . . . . . . . 42 on April 7, 2018, out a Will and will serve and/or periodical: WashReal Estate . . . . . ington . . . . .City . . .Paper/Wash . . . . . 42 without Court Supervision. All unknown heirs Shared Housing . ington . . . . .Law . . .Reporter . . . . . 42 and heirs whose whereName of Person RepreServices . . . . . . . . sentative: . . . . . . . Lisa . . . Hemphill . . . 42 abouts are unknown shall enter their appearTRUE TEST copy ance in this proceedAnne Meister ing. Objections to such Register of Wills appointment shall be Pub Dates: August 23, filed with the Register 30, September 6. of Wills, D.C., 515 5th SUPERIOR COURT Street, N.W., Building A, OF THE DISTRICT OF 3rd Floor, Washington, COLUMBIA D.C. 20001, on or before 2/23/2019. Claims PROBATE DIVISION


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2018 ADM 000927 Adult Phone Name of Decedent, Lucy Entertainment Beale Eastham. Notice of Appointment, Notice Livelinks - Chatand Lines.Notice Flirt, chat to Creditors and date! Talk to sexy real WIlsingles to Unknown Heirs, in your area. Call now! (844) liam Anderson Glasgow, 359-5773 whose address is 2042 Pierce Mill Rd NW, Legals Washington, DC 20010 was appointed Personal NOTICE IS HEREBY GIVEN Representative of the THAT: estate Lucy Beale INC. TRAVISA ofOUTSOURCING, (DISTRICT OF COLUMBIA Eastham who died on DEPARTMENT OF CONSUMER June 19, 2018, with a AND REGULATORY Will and will serve AFFAIRS withFILE Court NUMBER 271941) HAS out Supervision. DISSOLVED EFFECTIVE NOVEMAll unknown heirs and BER 27, 2017 AND HAS FILED heirs whose whereARTICLES OF DISSOLUTION OF abouts unknown CORDOMESTICareFOR-PROFIT shall enter their PORATION WITH THEappearDISTRICT ance in this proceedOF COLUMBIA CORPORATIONS DIVISION ing. Objections to such appointment shall be Afiled CLAIM TRAVISA with AGAINST the Register OUTSOURCING, INC. 5th MUST of Wills, D.C., 515 INCLUDE THE NAME OF THE Street, N.W., Building A, DISSOLVED CORPORATION, 3rd Floor, Washington, INCLUDE THE NAME OF THE D.C. 20001, on or beCLAIMANT, INCLUDE A SUMMAfore Claims RY OF2/28/2019. THE FACTS SUPPORTING against the decedent THE CLAIM, AND BE MAILED TO 1600 be INTERNATIONAL DRIVE, shall presented to SUITEundersigned 600, MCLEAN, VA 22102 the with a copy to the Register of ALL CLAIMS WILL BE BARRED Wills or to the Register UNLESS A PROCEEDING of Wills with a copy to TO ENFORCE THE CLAIM IS COMthe undersigned, on orOF MENCED WITH IN 3 YEARS before 2/28/2019, or be PUBLICATION OF THIS NOTICE forever barred. Persons IN ACCORDANCE WITH SECTION believed to THE be heirs or OF 29-312.07 OF DISTRICT legatees decedent COLUMBIA of the ORGANIZATIONS ACT. who do not receive a copy of thisPCS notice by Two Rivers is soliciting mail within 25 days proposals to provide projectof manits publication soconagement services forshall a small inform the Register struction project. For a copyof of the RFP, please email procurement@ Wills, including name, Deadline for address and relationsubmissions is December 6, 2017. ship. Date of first publication: 8/30/2018 Name of Newspaper and/or periodical: Washington City Paper/Washington Law Reporter Name of Person Representative: William Anderson Glasgow TRUE TEST copy Anne Meister Register of Wills Pub Dates: August 30, September 6, 13.

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SUPERIOR COURT Legals OF THE DISTRICT OF COLUMBIA DC SCHOLARS PCS REQUEST PROBATE DIVISION FOR PROPOSALS – Modu2018 ADM 000892 lar Contractor Services - DC Name Decedent, ScholarsofPublic Charter School Laura Ericson. for Notice solicits proposals a modular of Appointment, Notice contractor to provide professional to Creditorsand andconstruction Notice management services to construct a modular to Unknown Heirs, Sifu building to house four classrooms Jai, whose address is and West one faculty offi ceRoad, suite. The 20 Hurley Request for Proposals Woodstock, New York(RFP) specifi cations can be obtained on 12498 was appointed and after Monday, November 27, Personal Representative 2017 from Emily Stone via comof the estate of Laura Ericson who died onsent in All questions should be June 2018, writing 1st, by e-mail. No without phone calls regarding thiswill RFPserve will be aca Will and cepted. Bids must be received by without Court Supervi5:00 PM on Thursday, sion. All unknownDecember heirs 14, 2017 at DC Scholars Public and heirs whose whereCharter School, ATTN: Sharonda abouts are unknown Mann, 5601 E. Capitol St. SE, shall enterDCtheir appearWashington, 20019. Any bids ance in this all proceednot addressing areas as outing. suchwill lined inObjections the RFP specifito cations appointment not be considered.shall be filed with the Register of Wills, D.C., 515 Apartments for5th Rent Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 2/23/2019. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or Must see! Spacious semi-furbefore 2/23/2019, or be nished 1 barred. BR/1 BAPersons basement forever apt, Deanwood, $1200. Sep. believed to be heirs orentrance, W/Wofcarpet, W/D, kitchlegatees the decedent en, fireplace near Blue Line/X9/ who do not receive a V2/V4. Shawnn 240-343-7173. copy of this notice by mail within 25 days of Rooms for Rent its publication shall so inform the Register Holiday SpecialTwoof furWills, rooms including name, nished for short or long address relationterm rentaland ($900 and $800 per ship. month) with access to W/D, WiFi, Den. UtiliDate Kitchen, of first and publication: ties included. Best N.E. location 8/23/2018 along H St. Corridor. Call Eddie Name of Newspaper 202-744-9811 for info. Washor visit and/or periodical: ington City Paper/Washington Law Reporter Name of Person Representative: Sifu Jai TRUE TEST copy Anne Meister Register of Wills Pub Dates: August 23, 30, September 6.

KIPP DC PUBLIC Construction/Labor CHARTER SCHOOLS REQUEST FOR PROPOSALS Roofing Services – Roof Replacement KIPP DC is soliciting proposals from NOW qualified POWER DESIGN HIRvendors for roofing ING ELECTRICAL APPRENTICES OFfor ALLthe SKILL services roofLEVELS! replacement at KIPP DC Shaw Campus. The RFP about position… can bethe found on KIPP Do you love working with DC’s website at www. your hands? Are you ested in construction and Proposals should be in becoming an electrician? uploaded to theapprentice website Then the electrical noposition later could than be 5:00 P.M., perfect for ET, on Electrical September 19, you! apprentices are able to earn a paycheck 2018. Questions can be and full benefi while learnaddressed totsjsalsbury@ ing the trade through handjessica.gray@kipexperience. and what we’re looking for… Motivated D.C. residents who Perry Preparawant toStreet learn the electrical tory tradePublic and have Charter a high school School diploma or GED as well as reliable transportation. REQUEST FOR PROPOSALS a little bit about us… EnDesign/Build Front Power Design is one of the tryway Modification top electrical contractors in Perry Street Prep PCS— the U.S., committed to our a values, nonprofit, PK-8th to training and to givGrade ing back to the communities Public Charter School— in which we live and work. seeks a Design/Build moreto details… Firm modify the Visit appearance of the main careersentryway or email careers@ school at 1800! Perry Street NE. The complete RFP can be obtained by contacting JeffFinancial Cooper at jeff@ Services Denied Credit?? Work toinReContact: For further pair Your Credit Report Withthe The formation regarding Trusted Leader in Credit Repair. RFP contact Jeff Cooper, Call Lexington Law for a FREE jeff@thetensquarecredit report summary & credit repair consultation. 855-620Further 9426. Johninformation C. Heath, Attorney at about Perry Law, PLLC, dbaStreet Lexington Law Prep Public Charter Firm. School— including our nondiscrimination Home Services policy—may be found at Dish Network-Satellite TeleDeadline & Submission: vision Services. Now Over 190 Submit bids responsive channels for ONLY $49.99/mo! to the fullforRFP email HBO-FREE onevia year, FREE to Installation, FREE Streaming, no later then September FREE HD. Add Internet for $14.95 a14th. month. 1-800-373-6508

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Seeking Registered Nurse, Case Managers to work at Police and Fire Clinic Mon, Wed, Fri Part Time, Day Shift: 7:00 am – 3:30 pm or 8:00 am – 4:30 pm Bachelor’s Degree in Nursing or Associate Degree in Nursing with two to five (2-5) years of clinical experience. Current RN License in http://www.washingtonciDC. Certification: BLS. Efficiently manage the cases of all members who have been out for 30 days or more. Manage the applicant process from the time they are scheduled for their medical appointment until they are forwarded to one of the Medical Directors for review. Performs select clinical duties. DC Residents encouraged to apply. Please apply at www.


Live in, nonsmoking, 24hr Caregivers needed, Femlae preferred, for upcoming transplant at VCU Hospital in Richmond, VA. Presently I can’t pay you wth physical money but all grocery meals will be covered during your stay, up to 6 months. Serious callers FIND YOUR OUTLET. only Apply. Call Kevin, RELAX, UNWIND, REPEAT 415-846-5268.


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Washington City Paper (September 7, 2018)  
Washington City Paper (September 7, 2018)