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How to End a Sentence

Juveniles sentenced for violent crimes decades ago are coming home as a result of recent legislation. The city has changed. So have they. P. 10

By Mitch Ryals Photos by Darrow Montgomery


JACK EVANS: ANOTHER VIEW On the theory that when the whole world is coming after you with fire in their eyes, you must have done something right; I cite some of Jack Evans’s contributions to this city. So far, we see a man depicted with more faults than there are seeds inside of a pomegranate. There is another Evans, however. Yes, he makes too much private-sector money for a public-sector man. Yes, the Council needs to be reconstituted as a “fulltime” and not a “part-time” job. Yes, Ward 2 should not have both Georgetown and Downtown in it. That concentration is far too much “town,” money, and power in one seat. If ever “gerrymandering” made sense, Ward 2 should be redrawn. Wards 7 and 8 could certainly use some of that “gold coast.” Yes, Evans’s voice for tenants was too faint, and for business too robust, yet he was the tenant choice almost every time. Politically, he had the “Midas touch,” but in the end, there was just too much “Midas.” Yes, the Evans record is rightly examined closely, but there seems to be collective amnesia about some of his major achievements. “Let’s look at the record.” Historic preservation is a major issue in this city, especially in Evans’s Ward 2. There, Evans cracked a rigid zoning code big-time, battling a Zoning Commission which rules for developers almost always. As chair of ANC 2B, he engineered a historic win in the Brookings Zoning Case, arguably the biggest and most important zoning case in D.C. zoning history. That victory preserved “high-density” residential zoning on a key city block (1700 P. Street, N.W.), defeating “special purpose” zoning which is a fig leaf closely akin to “commercial zoning.” That lengthy, hugely fought, and expensive undertaking was a major historic preservation win for D.C., engineered in very significant part by Jack Evans. The Sholl’s Cafeteria battle was an epic struggle to save a city-wide benevolent institution. Evans worked hard to preserve a wonderful de facto charity, which distributed enough free food to the homeless, the poor, low and fixed income people, to feed an army many times over. Evans spoke, wrote, and lobbied to save Sholl’s. Regrettably Sholl’s lost to the unceasing onslaught of greedy landlords, developers and business interests downtown. Located at 1920 K Street, in the heart of the downtown commercial corridor, Evans’s support for Sholl’s conflicted with his own downtown constituency, rebutting the allegation that he always favored “big business.” Evans strongly supported The Dupont Circle Festival of Music and Gardens, a joint effort to aid historic preservation and tenant issues, notably rent control, affordable housing and tenants’ rights in the District. He

also championed the Baystate Tenants’ Association (BSTA), the primary inspiration and mover of the festival. When developers had a lock on it, Evans helped save the historic Charles Sumner Museum School, site of the Festival from extinction when the wrecking ball loomed. His dedication to causes like these were of key importance to D.C. preservation issues. Currently, Evans is playing an important role in assisting the National League of American Pen Women (NLAPW) -- a key organization dedicated to advancing women in literature and the arts, nationally and in D.C. He has strongly supported their efforts to preserve a magnificent architectural treasure, their headquarters building at 1300 17th Street, N.W. Once the home of Robert Todd Lincoln, the president’s eldest son, the NLAPW is currently under severe financial stress. Evans is part of an informal group trying to raise money to help it survive. He has pushed for tax abatement relief for the League, which has been saddled with an unjust, crushing tax burden. Other members of the Council have joined this effort on the merits, and we commend them highly for doing so. Evans’s support for the NLAPW is another example of his commitment to historic preservation in this city. As this narrative indicates, I worked closely with Jack Evans on many important matters, mostly at the start of his career rather than in later years. The Evans record cited here reflect significant contributions impacting this city. Association with Evans did not preclude strong disagreements on policy and political matters, however, which were vented vigorously in public and private. Notwithstanding, I supported him strongly at the inception of his political career. That was not an easy choice, since his principal opponent in his first Ward 2 race was Jim Zais, an outstanding public figure in this city. I was then Chair of the Citizens Coalition Against the Proposed Brookings Office Building, and also deeply involved in citywide tenant advocacy. Many candidates sought my endorsement, including Jack Evans and Jim Zais. In both his public and private roles, Jim Zais worked tirelessly for the benefit of the District. An openly gay man, he was an authentic hero, notably to the LGBT community, when that cause was significantly less compelling than it is now, and to everybody who knew him. That was a tough call. The Zais star shone brightly, but in my opinion Evans had the edge. For all of these reasons, I find it irksome that amid the welter of brickbats currently aimed at him, few seem to remember anything positive about Jack Evans’s record. I do.

Jim McGrath, TENAC Chairman Emeritus P.o. Box 7237


Washington, DC 20044

2 october 11, 2019

(202) 288-1921

Twitter: @Tenacdc




10 Local legislation that lets juveniles convicted of violent crimes petition for resentencing has pitted the D.C. Council against the U.S. Attorney’s Office.



Look Who’s Listening: New ankle monitors purchased for D.C. defendants and offenders can record whatever those wearing them say. Scene and Heard


The Caps’ Maine Man: Despite hailing from New England, Caps forward Garnet Hathaway has rocked the red for two decades.

FOOD 16 Grand Old Time: What older diners want when they dine out in D.C.

ARTS 18 Shameless: Instagram’s modesty standards limit the reach of a local photographer’s work. 20 Theater: Jones on Fences at Ford’s Theatre and Jitney at Arena Stage 22 Curtain Calls: DeLoach on School Girls; Or, the African Mean Girls Play at Round House Theatre and Sarappo on West By God at Keegan Theatre 24 Sketches: Sarappo on Parallels and Peripheries: Migration and Mobility at VisArts and Anderson on Grace Hartigan and Helene Herzbrun: Reframing Abstract Expressionism at American University Museum 25 Short Subjects: Gittell on Gemini Man

CITY LIST 27 Music 30 Theater 32 Film

DIVERSIONS 32 Crossword 33 Savage Love 34 Classifieds On the Cover: Halim Flowers, photograph by Darrow Montgomery








DISTRICTLINE Look Who’s Listening

An agency monitoring defendants in D.C. signed a $4.1 million contract for ankle monitors that can record every word, every movement, of those wearing them.

Screenshot of proposal Track Group sent to the Pretrial Services Agency By Joshua Kaplan On any given day, over 14,000 people in D.C. are supervised by either the Court Services and Offender Supervision Agency (CSOSA) or the Pretrial Services Agency (PSA). This means that roughly 2 percent of all District residents are being monitored by two programs that hold a remarkable influence over D.C.’s criminal justice system (and thousands more pass through their programs every year). CSOSA’s Community Supervision program handles residents on parole, probation, and supervised release, and PSA (an independent agency within CSOSA) monitors unconvict-

ed defendants awaiting trial. Both programs are federally run, and thus are outside of the Mayor and D.C. Council’s direct control. Nevertheless, they have immense power over the lives of tens of thousands of D.C. residents—and in the past five months, each program has radically expanded its ability to subject people to intensive, hightech surveillance. According to previously unseen documents acquired by City Paper, on May 22, PSA officials signed a $4.1 million contract for ankle monitors that effectively let PSA listen to and record defendants’ conversations without their consent. Through the monitors, authorities can

4 october 11, 2019

make calls to defendants which cannot be declined. And while PSA claims it’s not currently using this capability, one defense attorney tells City Paper that shortly after PSA rolled out the new devices, her client got a call through his monitor, with life-changing consequences. Then, on Aug. 22, the D.C. Court of Appeals released a verdict that gives D.C.’s Metropolitan Police Department (MPD) an extremely long leash to use CSOSA’s GPS surveillance data whenever they please. The decision both revealed new details of just how closely MPD works with CSOSA, and gave MPD the legal greenlight to access people’s location data indiscriminately and at will.

When Zackary JacksOn was released on probation in July 2014, he didn’t have to deal with an ankle monitor. He was able to move around the city freely, without having to spend hours sitting still each day, charging his device. However, before long, an MPD detective decided that ought to change. In January 2015, the detective reached out to CSOSA, requesting that they change the conditions of Jackson’s probation and start monitoring him via GPS. According to court records, the officer thought GPS would be useful, because “the police believed Mr. Jackson and another named individual ‘may’ have been committing robberies and burglaries together.” The agency quickly complied. So on Jan. 29, Jackson got fitted with his new device, and signed a contract agreeing to CSOSA’s conditions. He was not allowed to take baths, swim, or do anything else that would submerge the monitor under water. He was also required to spend an hour every morning and an hour every evening charging the device, and was forbidden from sleeping while the device was charging. A few weeks went by. Then, in the middle of the night on Feb. 19, police got a report of an armed robbery on C Street SE. A pair of men had reportedly held up two people at gunpoint, stealing one’s wallet and the other’s purse. Detective Thomas O’Donnell took the case, but he didn’t have any suspects or leads. So he decided to try his luck with CSOSA’s GPS data. MPD already had access to search the data directly, without having to go through CSOSA, according to court records. This meant that O’Donnell had access to the exact locations of everyone with a CSOSA monitor, in one-minute increments, 24 hours a day and seven days a week. He entered the coordinates of the crime scene to see if anyone in the program had been in the vicinity between 1:20 a.m. and 1:45 a.m. He got two hits; one of them was Jackson. From there, O’Donnell was able to see where Jackson went after the alleged robbery, tracking him as he went through a nearby alley and back to his apartment. Just an hour or so after the alleged robbery took place, the police showed up at Jackson’s door. There, they found more evidence potentially connecting him to the mug-





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OCTOBER 18, 19 & 20 Join Friends of the National Zoo for Washington, D.C.’s favorite not-so-spooky Halloween haunt, Boo at the Zoo. With more than 40 treat stations, kids’ karaoke, and a dance party, this frightfully fun evening is a treat for the whole family. Best of all, it’s a great way to help us support the Smithsonian’s National Zoo’s mission to save species. Tickets on sale now at $20 FONZ members / $30 non-members LEAD SPONSOR: MARS WRIGLEY CONFECTIONERY Additional Sponsors: BIG100, Chase, Comcast, GEICO, Groupon, HOT 99.5, 97.1 WASH-FM, 98.7 WMZQ, The Washington Post, and Washington Parent

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cies to match offender GPS coordinates with crime locations,” the page stated. “Mapping technology allows CSOSA to create extremely detailed maps of locations and offender movements to aid in suspect apprehension.” Kate Weisburd, a George Washington law professor who studies electronic monitoring, thinks this sort of high-tech surveillance will inevitably lead to more people going back behind bars, often for offenses far less serious than armed robbery. “And there’s no question that if we all got GoPros attached to our foreheads, there would be perfect crime detection,” she says. “But it can’t just be that crime-solving is the only factor we decide this on. Because otherwise, none of us would have any privacy.” No D.C. ageNCy has started outfitting ordi-

an emphasis on heavy surveillance over rehabilitation. “You think about how that money could be spent on alternatives that are really meant to help people,” Weisburd says. “If we have limited resources, why are we spending that on surveillance rather than on programs that are consistently proven to work?” Victor Davis, PSA’s chief of staff, says that PSA is currently using ReliAlerts “to monitor all defendants with a court ordered condition for GPS monitoring.” However, he says, PSA has disabled the controversial call-in feature and is not using it, so it’s currently just like a traditional ankle monitor. “If PSA ever considers activating this feature,” he adds, “it is at that time that we would discuss the particulars such as the range of circumstances for use and accessibility of records and would certain-

Darrow Montgomery/File

ging, and arrested him on the spot. Now on trial for robbery, Jackson moved to suppress the GPS evidence. He argued that MPD had violated his constitutional rights, twice: once when they asked CSOSA to start tracking him, and again when they searched CSOSA’s data indiscriminately, without probable cause or a warrant. On May 9, 2016, Judge Maribeth Raffinan agreed with him. Raffinan declined to rule on whether MPD was allowed to ask CSOSA to start tracking someone, and she said the way the police used that GPS data violated the Fourth Amendment. (The Fourth Amendment is the Constitution’s main check on indiscriminate police power. It’s the reason officers generally need a warrant to march into someone’s home, and need probable cause to search their car.) Raffinan emphasized that detectives had no reason whatsoever to suspect Jackson when they searched his—and everyone else’s—GPS data without a warrant. Furthermore, she said, Jackson “could not have reasonably foreseen that the MPD would have unfettered, unilateral access to his location information for developing suspects.” She ruled that the evidence police got through GPS surveillance couldn’t be part of the trial. However, prosecutors appealed, and this August, D.C.’s highest court reversed Raffinan’s verdict. Appellate Judge Stephen Glickman, who authored the decision, acknowledged that the U.S. Supreme Court has given ample Fourth Amendment protections to most citizens’ GPS data. However, he wrote, this search “was constitutional because [Jackson’s] reasonable expectation of privacy as a convicted offender on probation was diminished.” Jessica Brand, the legal director of The Justice Collaborative and a former attorney with D.C.’s Public Defender Service, says Glickman’s opinion is remarkable for the way it characterizes the goals of probation. She says it describes probation as primarily a surveillance mechanism, and as an extension of law enforcement—as opposed to probation’s historical role analogous to social work, with an emphasis on casework, treatment, and community reintegration. “You’re just assuming someone’s going to screw up, and you’re not giving them the resources and tools to stay out of the system,” Brand says. “And with this, you’re just monitoring them until they screw up.” With the GPS evidence now back on the table, Jackson is still awaiting trial. Meanwhile, the Court has signed off on MPD accessing CSOSA data indiscriminately, to do investigations or just to generate leads. Asked for details on how often and under what circumstances police turn towards this surveillance tool, an MPD spokesperson tells City Paper, “MPD uses CSOSA’s GPS data as one of our investigative tools when needed.” They declined a request to elaborate. CSOSA’s response was similarly vague. City Paper found the most detail from a since-removed page on CSOSA’s website, saved to the Internet Archive in 2016. “CSOSA staff work daily with the DC Metropolitan Police Department (MPD) and other law enforcement agen-

A voice came through the GPS that basically said, “You’re in violation of your curfew. We’re coming to get you.” His supervisor heard the call and freaked out. He was fired immediately. nary citizens with GoPros, but documents obtained by City Paper show that the Pretrial Services Agency recently purchased the next best thing. In May, PSA signed a contract with a surveillance company, Track Group, to spend up to $4.1 million on Track Group’s ReliAlert XC3 ankle monitors. According to a brochure Track Group provided to PSA, in addition to tracking defendants’ locations, ReliAlerts are “the only device in the electronic monitoring market” with “2-way, live voice capability making it possible for authorized personnel to instantaneously communicate with defendants.” Authorities can call into the monitor whenever, like a cell phone. Unlike a cell phone, though, defendants cannot decline the call, meaning they can be listened to and recorded at any time, without their consent. Weisburd thinks that this contract points to

6 october 11, 2019

ly notify the defendant, [the Public Defenders Service], [the U.S. Attorney’s Office], and the judges … prior to implementation.” But one criminal defense attorney says her client has already received a call through the device, with grave consequences for his wellbeing. (Her client wishes to remain anonymous, so she asked her name not be published since it could link the incident back to him.) As a condition of his release, her client had a curfew that forbid him from leaving his home between 10 p.m. and 6 a.m. However, he had a job that required him to work outside of that curfew, and he got permission from his PSA case worker to go to work. Eight days after he was outfitted with a ReliAlert, “he was at work,” she says, “and a voice came through the GPS that basically said, ‘You’re in violation of your curfew. We’re coming to get you.’” His supervisor heard the call

and freaked out. He was fired immediately. The attorney suspects this call came from someone at Track Group who didn’t get the memo about her client’s new curfew requirements. (Track Group did not return City Paper’s repeated requests for comment.) Davis claims that he’s still looking into this, but that so far, “As far as I know, that didn’t happen.” “We’re very invested in making sure things are working how they’re supposed to be working,” he says, “and if they’re not, we want to figure out why and fix it.” As a federal agency, PSA does, however, have unilateral authority to enable these listening devices at any time, and potentially to give law enforcement access to the audio recordings. Monica Hopkins, the executive director of ACLU-DC, thinks this underscores the need for the community to have public input whenever any agency purchases or uses surveillance technology. “With a real oversight process, we would … have had an opportunity to assess the civil liberties implications for the pretrial plaintiffs who wear them,” she says. “These people— who are presumed innocent—are being monitored with an Orwellian nightmare strapped to their leg.” If PSA ever changes its mind about audio monitoring, Puerto Rico’s criminal justice system gives a window into what might follow. By 2014, Puerto Rico’s Pretrial Services Office had embraced a similar device from Track Group (which then was called SecureAlert). “It’s a complete violation of privacy,” says Fermín Arraiza, legal director of ACLU Puerto Rico. Officers could call in when defendants were going to the bathroom, talking with their loved ones, having sex, or engaging in political speech. And they could call when they were talking to their attorneys. Arraiza says he once was meeting with a client who was awaiting a criminal trial; his client hadn’t even been formally accused yet, but while he was meeting with Arraiza, he got a call through his ankle monitor. After the call, Arraiza says, “I asked him if they could turn it on without notifying him, and he didn’t know.” He thought this violated his client’s right to confidentiality, thus jeopardizing his ability to get a fair trial. “He was always afraid of what he could tell me,” Arraiza recalls. “All your rights in a criminal trial would be violated if the other side knew what you’re saying.” Arraiza asked for a hearing to get the device temporarily removed so he could talk to his client freely, and had a company technician fly down to testify. During Arraiza’s cross-examination of the technician, she said it’s company protocol to have the device make a sound or vibrate before the call starts. And yet, she admitted that they can start listening without any notice to the defendant whatsoever. Arraiza left the courthouse that day appalled. “They have other means of contacting a defendant,” he emphasizes. “They don’t need to use these devices … It’s inhumane. It’s in violation of the Constitution. It has no justification other than letting someone know they have total control over you.” CP

Scene and



Sweater Weather, October, 2019 You’d think we’d just discovered a new color, and in the excitement of our discovery, felt the urge to display it everywhere, all at once. It’s darker than yellow, muddier than orange. It’s a rich mustard. Whatever you call it, it means one thing: Sweater weather is upon us. A cornucopia of jackets burst from the depths of closets, under-bed bins, and dusty boxes. Washingtonians strut their stuff— quilted, denim, and twill—on the way to work and school. A little boy on his three-wheeled scooter rocks a sensible vest. A man and his daughter make their way to school in complementary boots. His short and solid, hers tall, the sort once made for riding horses. Patterns loudly speak their minds. Tartan and houndstooth and plaids of all stripes flood sidewalks. It seemed like this moment would never come. Throughout September the mercury hovered at 90 degrees and a “flash drought” beset the region. Coffee shop signs hawking pumpkin-flavored beverages felt out of place. A seasonal gourd was not seasonal at all. Would summer ever end? It has. Dead leaves whip in the wind and rain quenches the city’s thirst. D.C. breathes a sigh of relief, and when it inhales, cool air. —Will Warren


Will Warren writes Scene and Heard. If you know of a location worthy of being seen or heard, email him at




All-Pro Reels/ Flickr Creative Commons


Firing Jay Gruden was the right move, but it won’t matter.


The Caps’ Maine Man How Garnet Hathaway, a kid from Maine who started his own lobster cart business, grew up rooting for the Capitals year, $6 million contract in July to bolster their fourth-line. Since going undrafted out of Brown University in 2014, Hathaway has spent his professional career with the Calgary Flames or their American Hockey League affiliate. In 175 career games with Calgary, Hathaway recorded 16 goals and 24 assists for 40 points. He says he had conversations with other teams during the offseason but that “Washington stuck out.” “I think he’s done pretty much exactly what he’s supposed to have done since he’s gotten here,” says Capitals coach Todd Reirden. “He does have the ability to shoot the puck, as you can see. He’s got a really quick release and it’s a heavy shot. He scored 11 goals last year, penalty kill prowess, ability to get in on the forecheck ... and he’s not slow out there. He gets to hits and he can move. He’s a key part of how we want that fourth-line identity to look.”

All GArnet HAtHAwAy wanted that night was a Washington Capitals victory. If they won, he would be able to visit the players in the locker room afterward. If they lost, that probably wasn’t going to happen, Hathaway remembers Capitals owner Ted Leonsis and his uncle telling him. “I don’t know if I’ve ever cheered harder for a game,” he says. Back in 1999, Hathaway was an energetic, sports-obsessed kid from Maine about to turn 8. His older brother, Ephraim, rooted for the Caps. Their uncle, Greg Shove, once worked with Leonsis, and Hathaway, his brother, and their cousin came to town to watch the Capitals take on the Toronto Maple Leafs from the owner’s suite in the arena then known as the MCI Center. The experience changed the trajectory of his life. “That’s when it became real, I think,” Hathaway says of his NHL dream. Twenty years later, he’s back in D.C.—except this time as a Capitals player. no mAtter wHere his parents took him, Hathaway would find a way to get lost. The youngest of five children, he admits to being “a havoc” when he was younger, and having endless energy to burn. As an outlet, he participated in any sport he could. “I was always moving,” Hathaway, 27, says. “I was always running around.” He was born in Florida, but his family moved to Kennebunkport, Maine, around the time he turned one. In early 1999, his parents decided to take their five children on a trip around the world—something Hathaway’s father, John, had been thinking about for years. They started in California and then traveled to New Zealand. The Hathaways drove through the Outback and saw the Great Barrier Reef. They went to West Timor in Indonesia, followed by Bali, Singapore, and Kathmandu. The itinerary, which is detailed in a 2017 article, also included trips to Mount Everest Base Camp, Hong Kong, Moscow, Athens, Rome, Paris, and London. In total, the family traveled for 99 days. “That was crazy,” Hathaway says. “It was—

Washington Capitals Photography

By Kelyn Soong

Garnet Hathaway at the Capitals home opener I don’t want to say it was luxurious, we were backpacking … The stuff that I was carrying around was what I had for three months. And I was 7 years old, so you can imagine how chaotic I was running around everywhere … But it was an unbelievable experience. We took every mode of transportation possible, got to be introduced to a lot of different parts of the world, a lot of different circumstances. You take a lot out of it and you realize how grateful you are for what you have. I think it’s helped me grow as a person. It’s an awesome experience that I’ll always hold close to me.” Growing up in Maine, Hathaway also got to observe his dad’s work in the lobster processing business. While attending Brown University, Hathaway started his own business with a hockey teammate, selling lobster rolls out of an old sausage cart. He spent two of his summers during college making lobster rolls and lugging the cart “all over Rhode Island,” before he started attending NHL prospect camps. “It was a great experience,” Hathaway says. “We learned a lot of stuff.” HAtHAwAy doesn’t brinG up these stories to his new teammates on the Capitals. But some of the tales have followed him wherev

8 october 11, 2019

er he goes. During the team’s home opener on Oct. 5 against the Carolina Hurricanes, Hathaway scored his first Caps goal to put the team up 1-0 in the first period of its eventual 3-2 overtime loss. He nearly scored another goal late in the second period, but the Hurricanes issued a successful challenge for goaltender interference. “I was very happy for him,” says teammate Nic Dowd, who joined the Capitals last season. “I know when you move to a new team you want to have a good start ... When you move to a new team it’s stressful … You got new systems, new guys, you’re trying to kinda find your pecking order. Just a lot of stuff going on. I was happy for him that he was able to get the first one out of the way.” When Hathaway scored, the red-clad fans in Capital One Arena exploded with cheers for the team’s first goal of the season. Among the crowd was a fan wearing Hathaway’s No. 21 jersey with the word “LOBSTAH” printed on the back. “I never met him. I gotta try to find out who it is,” Hathaway says of the fan. “It’s hilarious. Support like that, it’s really welcoming. It’s helped the transition a lot.” The Capitals signed Hathaway to a four-

HAtHAwAy sAw leonsis the other week and thanked him for that fateful trip to D.C. 20 years ago. The Caps went on to beat Toronto, 5-3, that night and Hathaway got to meet several of the players afterward. He received a Calle Johannson hockey stick signed by the team and his brother received an Adam Oates stick, while his cousin got one from Olaf Kölzig. Meeting the players inspired Hathaway to one day make it to the NHL. “You can watch it on TV, you can watch it on the stands, but when you meet the guys, you find out how real it is and how they’re humans, too,” he says. “There’s a journey, but there’s a way to get there as well.” When the Hathaway brothers returned to Maine, they continued to root for the Capitals. The Portland Pirates, the Capitals’ AHL affiliate at the time, played just 40 minutes north of where they lived, and any time the Capitals were in town to play the Boston Bruins, they made an effort to go. And even though he grew up in New England, Hathaway had already made an allegiance to his future team. “I mean I like Bruins,” he says, “but when it came to the Bruins or Caps, it was the Caps.” That choice is even easier now. CP Jason Rogers contributed to this report.

Saturday, October 12, 10 am–5 pm, FREE Come to the National Building Museum for a day filled with hands-on building and design fun! All ages welcome. For more information visit

401 F Street NW • Washington, D.C. 20001 • • Take Metrorail to Judiciary Square or Gallery Place/ Chinatown

Be Afraid Night of the Living Zoo

October 25, 2019 • 7-10:30 p.m. • Smithsonian’s National Zoo


Step right up for an adults-only Halloween dance party featuring curiosities, grotesques and beastly good fun! Epic street performers and some creepy creatures will be on hand to thrill guests! Don’t miss the costume competition sponsored by American Association for the Advancement of Science for a chance to win $1000 grand prize! Use NOLZCityP19 for $5 off tickets. october 11, 2019 9

How to End a Sentence Juvenile sentencing reforms have sparked a face-off

Halim Flowers and Kareem McCraney outside the Azeeze Bates apartments 10 october 11, 2019

between the D.C. Council and U.S. Attorney over who should be released, and when. By Mitch Ryals Photos by Darrow Montgomery Halim Flowers didn’t pull the trigger. But a jury convicted the 5’1”, 100-pound

crack dealer of murder, and a judge ultimately condemned him to spend at least the next 30 years, and likely the rest of his life, in prison. He was 16 at the time of the crime. The day after Christmas in 1996, high on marijuana and PCP and drunk on cheap bubbly, Flowers knocked on the door of unit D-11 in the Azeeze Bates apartment complex on 16th Street NE. He held a silver pistol in his hand. The three men inside had been smoking crack and drinking beer. One of them, Elvern Cooper, 51, handed over about $20 when Flowers shoved the weapon in his face, according to the original arrest affidavit. As Flowers turned to leave, the men grabbed him and tried to wrestle the money and the pistol from his grasp. The gun went off, and a bullet lodged in the kitchen wall, court records say. No one was hit. Flowers fled with the gun but without the money. According to prosecutors’ version of the story, Flowers’ friend, Momolu Stewart, waited outside, and when Flowers came back empty handed, the boys returned to the apartment, scaled the back deck, and came in through the sliding glass door. Cooper ran into a bedroom, prosecutors believe, and Flowers told the other men to “get back.” Then, prosecutors allege, Stewart fired three shots into the closed bedroom door, striking Cooper, who died several days later. Flowers, in an interview and in his self-published autobiography, says he never returned to the apartment with his friend. He doesn’t specifically name Stewart. Flowers was convicted in 1998 of felony murder, a legal rule that says anyone involved in a felony crime that results in a death can be held responsible for that death. Prosecutors ultimately dropped the charges against Stewart in that incident, but he could still be prosecuted today in Cooper’s death. Stewart was later convicted, along with another of their friends, Kareem McCraney, of killing Mark Rosebure just six days later and 400 feet away from the Azeeze Bates apartments. Stewart was 16 and McCraney was 17 when they fatally shot Rosebure, who had previously threatened to kill McCraney and held a gun to his mother’s head, according to court records. The three of them—Flowers, McCraney, and Stewart—grew up together in Northeast D.C. in the 1980s and ’90s. They were among the scores of juveniles who committed crimes during the District’s most notoriously violent time period. Guns and crack tore families

apart and ravaged entire communities. For eight of the years between 1988 and 1999, D.C.’s murder rate topped all other major American cities, and the District became known as the murder capital of the United States. In 1991, 482 people were killed here. For their role in the carnage, Flowers, McCraney, and Stewart were sentenced as teenagers to spend the better parts of their lives in prison. Each of them charged as adults at the discretion of federal prosecutors and convicted of murder and other violent crimes, they received decades-long mandatory minimum sentences. Now the D.C. Council is rethinking the tough-on-crime policies that put and kept them in prison. McCraney was the first person released under the Incarceration Reduction Amendment Act (IRAA), which took effect in 2017, after serving 21 years. Flowers was released in March after serving 22. And earlier this week, Stewart came home after serving 23 years. Judge Robert Salerno released Stewart despite the fact that he filed a false affidavit putting forth a fabricated alibi in 2012. “The statute, in my view, requires me to find fundamental change, not perfection,” Salerno said from the bench at Stewart’s resentencing. Flowers, McCraney, and Stewart are three of the 19 people—all of them black men—released under the IRAA. Their release represents a shift in thinking around criminal sentencing. While the U.S. Attorney, Jessie Liu, stands in ardent opposition, the D.C. Council is moving toward an approach that weighs rehabilitation over punishment. tHe iraa allows people who committed violent crimes before they turned 18 to ask a judge for a reduced sentence, as long as they’ve served at least 15 years. A D.C. Council bill introduced in February, the Second Look Amendment Act, would expand the law to include people who committed crimes before their 25th birthdays. An estimated 70 people have asked for a new sentence, and the bill could expand the number of eligible offenders to more than 500, the USAO believes. This legislation comes as so-called “second look laws” are gaining momentum across the country and follow the precedent set by multiple U.S. Supreme Court rulings curtailing harsh sentences for juveniles. The high court’s decisions rely on a growing body of research showing brain development continues into a person’s mid-20s. The Model Penal Code, a project of the American Law Institute that provides a template for criminal justice policy makers, sug- october 11, 2019 11

Halim Flowers

gests that offenders of all ages receive a second look after serving 15 years in prison. The latest version, revised in 2017, explains that America relies on the heavy use of lengthy prison sentences more than any other Western democracy. The U.S. has the highest incarceration rate in the world, despite two decades of falling crime rates. D.C. Superior Court Judge Ronna Beck agrees that long sentences deserve another look. “I wish there were an opportunity for judges to be able to review everyone’s sentence after a significant period of time,” Beck said during Flowers’ resentencing. “Many people will not qualify for the sentence reduction that you did, but I think that it would be beneficial to our system to be able to have a review like this so that when people have really transformed their lives, as you seem to have done, that there was an opportunity to adjust a sentence that was imposed many, many decades earlier.” A majority of the D.C. Council supports the Second Look Amendment Act—as does Mayor Muriel Bowser’s administration and Attorney General Karl Racine. But Liu, the Trumpappointed U.S. Attorney, is not a fan. Her office has encountered few IRAA petitions that it likes. Since the original law took effect in 2017, federal prosecutors, who have jurisdiction over felony crimes in D.C., have opposed nearly every request for resentencing. They’ve argued that offenders are too dangerous to be released, their crimes are too heinous, they haven’t accepted responsibility for their crimes, their release undermines “truth in sentencing,” and that, although prison re-

cords showing a dedication to education are admirable, they are to be expected. At a recent hearing for Mustafa Zulu, a man who spent 20 years in solitary confinement starting when he was 20, Assistant U.S. Attorney Jocelyn Bond argued that Zulu’s “very very impressive” list of educational courses and accomplishments does not outweigh his sins in and out of prison. “Education is not a panacea for violence,” Bond said. “It does not fix someone’s character … It doesn’t change someone’s underlying violent character.” In September, as part of its campaign opposing the Second Look Amendment Act, the U.S. Attorney’s Office hosted a meeting for the public and a group of advisory neighborhood commissioners. Liu stood against the wall while representatives from her office made their case against the bill, emphasizing the impact on victims and concerns that the Council is expanding the law too quickly without sufficient evidence that those released won’t commit new crimes. During the meeting, John Hill, a deputy chief and career prosecutor, cited data from the Bureau of Prisons showing a recidivism rate of about 35 percent among people released from 2009 to 2015 who would be eligible under the Second Look Amendment Act. Hill ignored City Paper’s request for the underlying data, and the USAO has refused to release it. Hill also presented incorrect data on D.C.’s incarceration rate, which the office later corrected in a tweet. Nazgol Ghandnoosh, a senior researcher for The Sentencing Project, a nonprofit organization that promotes criminal justice re-

12 october 11, 2019

form, points out that the BOP’s definition of recidivism includes technical parole violations for missing a meeting or smoking weed. “A recidivism measure that separates these factors from new offenses gives people a better sense of public safety risk,” Ghandnoosh says. Sarah McClellan, chief of the USAO’s victim witness assistance unit, explained at the September meeting that the new law reactivates trauma for victims and their families, many of whom have spoken passionately in opposition to offenders’ release. At least two advisory neighborhood commissioners have published editorials opposing the second look bill, including Darrell Gaston, whose 15-year-old godson, Gerald Watson, was gunned down earlier this year. Malik Holston, 16, is charged with first-degree murder in Watson’s death. Denise Krepp, the ANC for 6B10, believes that the law and the proposed amendment ignore victims of sexual assault. According to the USAO, at least two of the cases granted a new sentence under the IRAA involve rape. In an August opinion piece in the Washington Post, Krepp wrote that violent and sexual offenders should serve their full sentences. “We owe that to victims,” she wrote. Bridgette Stumpf, executive director for the Network for Victim Recovery of DC, emphasizes that victimhood is not as monolithic as prosecutors have suggested in this debate. Her organization has not taken a stance on the Second Look Amendment Act for just that reason. “We’re focused on restoration and the root causes of crime,” she tells City Paper. “Our job is to empower individual voices. So if these re-

form opportunities present themselves, we advocate for those individual voices to be heard. I know a handful of survivors who testified in support and some against.” In at least one case, that support came from the prosecutor’s own witness. Antoine Budd suffered a gunshot wound to the leg during the deadly O Street Market shooting in 1994. Kevin McCrimmon was sentenced to a total of 91 years to life for his role in plotting the shooting, though he was not actually present. Duwan A’Vant, 15, was killed during the incident. His mother testified against McCrimmon’s release and believes he should serve 20 more years in prison, according to court records. Budd tells City Paper that McCrimmon, who was 17 at the time, was a good kid at heart who fell into a life of selling drugs. He says McCrimmon was bullied, robbed, beaten, and shot at by others in the neighborhood. “He had older people from his neighborhood saying, ‘You gotta do something about it or it’s gonna keep happening, and they’re gonna wind up killing you,’” Budd says. “He came up in the Rayful Edmond neighborhood, and he was one of the unfortunate young people who fell into that.” In court, Budd offered to help McCrimmon get a job at the auto body shop where he works, and “personally committed to provide transportation to the shop should Mr. McCrimmon need it,” according to the judge’s order. “Judge, let him out,” Budd said in court. At the sAme time the USAO is opposing early release for so many young men and boys who were locked away during D.C.’s crack epidemic, that same office is pushing for a reduced sentence for one of the most notorious kingpins of that era. Rayful Edmond was convicted in 1989 and condemned to die in prison for “running one of our city’s largest and most destructive narcotics distribution operations,” Liu’s office wrote in its request for a sentence reduction. He ran the operation out of his grandmother’s rowhouse in Northeast, about two miles from where Flowers, Stewart, and McCraney grew up. Even in prison, Edmond continued his operation and was sentenced to another 30 years. Then he started talking, and after nearly three decades behind bars, prosecutors say, Edmond’s information and courtroom testimony have helped authorities investigate and convict other drug traffickers. The USAO has asked the judge to reduce his sentence to 40 years, though it’s unclear whether he’ll be immediately released if a judge grants the request. Through a spokesperson, Liu declined a request for an interview. U.S. District Court Judge Emmet Sullivan appointed D.C. Attorney General Karl Racine to gather community input on Edmond’s possible release. Racine’s office heard from more than 500 D.C. residents, who are split almost exactly in half: 239 people support a sentence reduction, and 243 oppose it. Twenty-eight didn’t take a stance. But the irony of the USAO’s request in Ed-

mond’s case is not lost on McCraney and Flowers. Flowers says prosecutors offered him a plea deal in exchange for his testimony against Stewart. Had he agreed, he could have been released in a year, he says. In Flowers’ and McCraney’s views, federal prosecutors’ opposition to IRAA petitions and their push for Edmond’s release reveal a transactional justice system where information trumps fairness. “It wasn’t about the public safety,” Flowers says of the offer in his own case. “I could have still went back to society and committed violent crimes. It was about cooperation.” But the two disagree over whether Edmond should be released. “I don’t support him cooperating with the government, but still I think enough is enough,” Flowers says. McCraney can’t get over the contradiction. “If it ain’t gonna open the door for all these other people that should have the opportunity to show they ready for release, then I ain’t supporting nothing like that,” he says. “Fuck him. That’s how I feel about it.” There’s a Tiny grass island where Tennessee Avenue NE meets 15th Street NE. Cars roll past, and people amble down the sidewalk behind strollers and dogs. They pay no mind to the stone hidden under an overgrown shrub. It doesn’t mark a grave but memorializes the deaths of three boys: Jerome “Chip” Belle, 17, LeRon A. Perkins, 14, and Steven Miller, 15. Flowers and McCraney knew them all. Chip’s death in 1996 hit them especially hard. “After that, I could tell Halim was different,” his mother, Darlene Flowers, wrote in a letter to Judge Beck about the day Chip was killed. “It got so bad between us that I kicked Halim out of the house. He was out of control and I felt like there was nothing I could do to prevent him from becoming another one of the dead or incarcerated kids from our community. But I never lost hope for Halim.” As a kid growing up in Northeast D.C., drugs and murder were a given for Flowers and his crew. On a recent walk through his old neighborhood, Flowers points to the corners where “guys used to hang out” selling drugs, to the homes where his old girlfriends used to live, to the streets where his friends were gunned down, and to the house on the corner that used to be a store with an arcade. As he does, school children walk past on their way to the newly renovated Maury Elementary School. In his mother’s telling, Flowers “devoured” books as a young kid. She recalled driving him to libraries around the District after he’d read all the books for his age, and some above, at their neighborhood branch. He took the SAT at 11 years old, she wrote, and participated in programs for academically gifted kids. She also told Beck about the gunshot that rang out at Flowers’ junior high school graduation as he walked across the stage, and of the time when Flowers’ 10-year-old cousin was struck by a stray bullet while playing outside. But perhaps the most significant event in


Flowers’ childhood was his father’s descent into crack addiction, Darlene Flowers wrote. For as long as she knew Jesse Flowers, he sold weed to make money, Darlene Flowers explained in her letter. Still, Jesse Flowers played a positive role in his son’s early life— substitute teaching at his school, teaching him to box, and taking him to the mosque. “Jesse was one of the very few father figures in our community,” Darlene Flowers wrote. “Even from a young age, this was such a great source of pride for Halim that his father stayed, loved him, and took care of him.” When Flowers was about 7, his dad’s addiction took hold. Jesse Flowers disappeared for months. When he would return, he’d steal from the family—dishes, clothes, the VCR—to feed his addiction. Flowers recalls times when his father would stand outside his window and beg his son to let him in the house. Jesse Flowers left town a few months before his son’s 11th birthday. That’s when Flowers started hanging around older guys. He stopped going to school. He started drinking and smoking. At 13, he says, he bought a crack rock for the first time, sold it, and bought some more. By 15, Flowers learned a rival dealer put a contract out for his murder. Almost a year to

the day before Cooper’s murder, for which he served more than two decades in prison, Flowers shot the man rumored to be looking to kill him, according to court records. For that crime, he was convicted in juvenile court of assault with intent to kill and sentenced to probation. Chip was killed on Valentines Day, 1996, Flowers recalls, on the street outside the Azeeze Bates apartments where he, McCraney, Stewart, and the rest of their friends spent much of their time. McCraney held Chip while he died. “Just a dispute,” Flowers says now of the event that preceded Chip’s death, standing across the street from where it happened. “Just a neighborhood dispute.” McCraney and Stewart’s stories are variations on the same theme. Most of McCraney’s immediate family was addicted to drugs or alcohol or both, according to court records. His father was incarcerated for much of his adolescence. He witnessed his mother’s sexual assault at 5 years old, and watched her attempt to end her own life. At different periods throughout his childhood, the family was homeless and living on the streets, Judge Patricia A. Broderick described in her order granting McCraney a new sentence. When Stewart was 6 and his sister was 8, his

mother paid her lover $250 to murder their father, Robert Stewart, who worked as a residential counselor at Howard University. Gloria Stewart went to the bedroom Stewart shared with his sister and waited while Joseph Harrison stabbed her husband to death, according to the Washington Post’s report in 1986. Then she gave Harrison $20 for cab fare, and confessed that night to police, telling the officer that she had “domestic issues” with her husband. Gloria Stewart was sentenced to 13 years to life in prison. Stewart and his sister then went to live with their aunt and uncle in the Azeeze Bates apartments. “His uncle was addicted to crack cocaine, and the family rarely had adequate food due to lack of money stemming from the uncle’s drug habit,” Judge Salerno wrote in his order granting Stewart a new sentence. “Mr. Stewart’s uncle was also abusive to both children, including beating Mr. Stewart with a wooden plank.” Flowers and McCraney, who now works for the District as a violence interrupter and as an analyst for the Corrections Information Council, regularly return to their old neighborhood. They talk to younger kids who hang around the Azeeze Bates apartments, as they once did. Flowers says the complex is one of the few pockets in the neighborhood that looks october 11, 2019 13

similar to the way it did when he left. In talking with younger boys, he hears that some remnants of his childhood still linger. “They still hold on to that because it was certain traumatic experiences that they saw us doin’ that impacted them,” Flowers says. Sometimes Flowers visits the stone that bears Chip’s name, which was installed after he was locked up. D.C.’s murder rate has significantly decreased since the crack epidemic, and the Murder Capital years. But after hitting a 20-year low of 88 homicides in 2012, the bodies are piling up again. There were 160 homicides in 2018—the second most in a decade. With 131 homicides so far in 2019, the death toll is outpacing last year’s count. The words engraved along side Chip, LeRon, and Steve’s names echo those spoken by politicians, activists, and parents today: Save the children Stop the violence We care. We love. We remember them all.


Courtesy of Halim Flowers

Just as victims are not a monolith, neither are the offenders. Halim Flowers was a model inmate. In his 22 years in prison, Flowers received only six disciplinary infractions, the last of which occurred in 2004, and none of which were violent. Flowers completed more than 5,000 hours of educational courses, 2,500 hours of vocational training, and earned college credit through Georgetown University, according to court records. He also served as a Suicide Watch Companion—a job that demands emotional maturity, empathy, and reliability. Ward 6 Councilmember Charles Allen, the primary sponsor of the IRAA and its variations, writes in a letter to U.S. Attorney Liu that Flowers “could not present a better case” for release. None of the surviving victims or their families testified at Flowers’ resentencing hearing. Mustafa Zulu, whose petition is currently pending, may present a more difficult decision for the judge that hears his case. Zulu was 16 in 1994 when he killed Michael Graham, who ran a drug trafficking operation in D.C. Prosecutors believe Zulu also executed 24-year-old Robbin Lyons, Graham’s girlfriend, to keep her from talking to police. He was convicted of conspiracy to commit murder in Lyons’ death. Zulu, who legally changed his name from Andre Brown, has served 26 years of a 50-years-to-life sentence. When he was 20, Zulu was sent to the Administrative Maximum Facility in Florence, Colorado, where he was held for two decades in solitary confinement. A former warden has described the facility as a “clean version of hell.” Zulu’s life followed a similar trajectory as Flowers, McCraney, and Stewart’s. By the time he was 12 years old, Graham enlisted him into his drug operation, and by 16, Zulu was Graham’s lieutenant, according to court records. “Michael Graham put a gun in my hand when I was 12, and I never put it down until I was arrested at 16 for killing him,” Zulu wrote in a letter to the judge. “For years I was his


Kareem McCraney, Momolu Stewart, and Halim Flowers after Stewart’s release

shadow. I protected him, defended his name and product and even saved his life twice. By the age of 16 I was not only his enforcer, but a force of my own.” He killed his friend and mentor, Zulu admitted, out of jealousy, envy, and greed. At his hearing on Sept. 20, Bond, the federal prosecutor opposing his release, argued Zulu’s history of violent prison infractions—the most recent of which involved a fight in 2016—and his leadership role in Graham and Lyons’ deaths are enough to deny him a reduced sentence. Bond also read from a letter Zulu wrote in 2004 where he described taking pleasure in beating another inmate. Zulu explained to the judge that the man had ridiculed his faith and threatened to harm him. Bond also said that Zulu has not admitted responsibility for Lyons’ death. Although he was convicted of conspiracy, prosecutors in Maryland, where the crime occurred, dropped the charges against him. Any statements about Lyons’ death that he makes in court could still be used against him. “Even though we’ve seen great evidence of education, what we haven’t seen is any evidence of changed character,” Bond argued. Lyons’ mother, Stephanie Lyons, also tes-

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tified against Zulu’s release. Robbin was her only child, she said, and her death left a void she will never fill. “I have forgiven you,” she said to Zulu, who sat in orange prison garb beside his attorney. “I cannot forget what you took from me. I am empty inside. I’m alone. I have no grandchildren running to me.” James Zeigler, Zulu’s attorney, points to Zulu’s dedication to educating himself, having completed 80 self-guided courses while in solitary confinement. He also enrolled in college classes through Georgetown University and other courses since he was transferred to the D.C. jail in 2018. “When we talk about how much punishment is enough and how much culpability to ascribe to young people who committed crimes, I think his case provides a reminder that you can’t properly have those conversations without acknowledging how little of a chance some of these kids had,” Zeigler says in an interview with City Paper. “His case is an example of what is true in most: All these kids were deeply traumatized and damaged by the time they were 16 or 17. It’s not a coincidence that none of our IRAA guys grew up in Chevy Chase.”

Zulu’s belly chains rattled as he stood when it was his turn to speak in court last month. He turned to face the families of Graham and Lyons, who sat in the courtroom. “Many of your statements and characterizations of me were accurate,” he said. “I’m ashamed and embarrassed of the person I once was. No child is created evil. It’s something I turned into.” To the judge, Zulu described his decision to pursue education while in solitary confinement, some time before the Council began to address juvenile sentencing. “Books saved my life, and it had nothing to do with me trying to impress you and come home,” he said. it’s been seven months since Flowers was released. In that short amount of time, he’s attained something of a celebrity status. With 11 self-published books under his belt, Flowers now travels the country speaking at criminal justice conferences. Attorney General Racine invited Flowers to speak at an awards ceremony in August honoring influential local kids who’ve overcome obstacles such as homelessness, violence, and teen parenting. Flowers is the recipient of two fellowships— one through the Halcyon Arts Lab, the other through Echoing Green, an organization that recognizes leaders in social justice and innovation. He also co-founded the Unchained Media Collective, which is dedicated to sharing the stories of those impacted by the criminal justice system. Flowers, along with McCraney and Stewart, is also participating in a documentary with Kim Kardashian West, and he recently rubbed elbows with Grammy-nominated artist Trombone Shorty. Walking past the former Kingsman Elementary School, which he and McCraney attended, Flowers suggests maybe he’ll purchase the place one day and turn it into a literature and art center for children. “I’m a hustler,” Flowers says. “I didn’t come home to live average. I read the Wall Street Journal for years. I came home to live a wealthy life.” Flowers continues past the school, past the house where he grew up on the corner of E and 17th streets NE, and runs into a familiar face standing on her front porch. Arlene Robinson beams as she embraces Flowers and thanks him for the letters he wrote to her daughter while he was in prison. Flowers describes the younger woman as his adopted sister. He talks with Robinson about how it was in the ’90s, when the now-quiet street in front of her rowhouse was another one of those places “where guys hang out.” On occasion, Robinson says, she would set up the grill and feed the men hamburgers despite warnings from police that she shouldn’t. “You can’t be down on people,” Robinson says. “When you take a stance against somebody, then you can’t help ’em. But if you’re genuinely concerned about people, and they see that you’re genuinely concerned, it makes a difference to ’em.” CP

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Councilmember Brianne Nadeau introduced a bill Tuesday that would repeal the sales tax on soda and sugary drinks and replace it with an excise tax, which studies show are more likely to change consumer behavior. Supporters of the bill expect pushback from the beverage industry and others.


Grand Old Time

Older diners fight for attention and service in restaurants eager to attract younger patrons.

Darrow Montgomery

Elizabeth White

By Laura Hayes When restaurateurs are ready to open new spots in D.C. these days, they often ask themselves one key question: What would millennials want? “We are looking for a young, fun, exciting, and very vibrant feel,” Hakan Ilhan told City Paper when he announced he was opening a casual restaurant called Lazy Kate’s in West End. Everything, from the design of the space to the price of food and drinks, is done with younger diners in mind. But according to U.S. Census Bureau numbers from 2018, 12.1 percent of D.C. residents

are 65 or older. Many of these roughly 85,000 Washingtonians are retired and ready to spend their disposable income and free time exploring D.C.’s surging dining scene. “Pretty much every restaurant is chasing the same demographic—the so-called millennial generation—which means they’re all competing against each other and there are people like me who have money and go out every day,” says Julia, a Northern Virginia resident. She thinks restaurants could “clean up” if they spent more time targeting senior diners like her. “Right now, I feel like nobody is going after my business.”

16 october 11, 2019

She has a running joke with her husband about the kinds of restaurants she gravitates toward. “For a long time we went to brunch at The Lafayette,” she says, describing the restaurant inside the Hay-Adams Hotel. “One time I said to him, ‘This is such a great place, how come it’s not jammed?’ He took out his little phone thingie and did Yelp on it. The first review that came up was a negative review saying it was ‘stuffy and overpriced.’ Ever since then he’s said, ‘You like restaurants that are stuffy and overpriced.’” Julia is fed up with a few things about D.C. restaurants. She says there are too many kids,

dogs, people “yakking” on their cell phones, and distracting televisions. Other diners who are between 60 and 85 years old have even more ideas about how dining out has changed and what restaurants can do to be more welcoming to their demographic. According to D.C. resident Elizabeth White, who writes about financially vulnerable older adults, millennials and seniors aren’t so different, especially when it comes to a chief concern many diners share—affordability. “Younger adults, like older adults, are dealing with flat and falling wages and escalating costs in housing,” she says. “Trendy restaurants are springing up and many people can’t afford the entrees. When a millennial says, ‘I can get two glasses of wine, but can’t afford to eat,’ it doesn’t mean they don’t want to eat.” White’s writing focuses on people who, like her, were doing well but then hit an “icy patch” and are now figuring out how to have a “textured and interesting life” on a more modest income. She authored the recently released book 55, Underemployed, and Faking Normal. “I used to be able to go to all of these places,” White says. “Now if I go to Le Diplomate, I can afford to divide an entree with a friend.” Trout amandine is her go-to at the bistro. Another regular order is the kale salad at Lincoln, which fits in her budget if she skips the salmon on top. You can also find White at Cork Wine Bar eating fries with a glass of cider. White calls sweetgreen “her McDonald’s” and favors the location on W Street NW, where, she believes, they stuff salad bowls to the max. “I can get, out of a salad, at least two meals and sometimes three,” White says. “For older adults who are often on a fixed income and may not be in their high-earning salary years, the ability to take some home matters.” Dining with large groups can be anxiety inducing, according to White. “I’m often wanting to order and carefully control what I’m paying for,” she says. Recently she ate at a restaurant that serves small plates with 14 other people. She and three others asked to pay separately. “Our group was around $27 per person and theirs was $86 per person. That difference accounts for the fact that they needed four orders of Brussels sprouts and bottles of wine.” Sharing small plates in a group setting can also be challenging for older diners with special diets. Nancy, a D.C. resident, has allergies and sensitivities and her husband has trouble swallowing and requires soft foods. Most of the couple’s meals come from the cook they contracted through local company Elder Nourish, which specializes in customized dishes for older adults who are aging in place.

Nancy is a returning customer at DeCarlo’s Restaurant near American University, which accommodates her requests. Other restaurants can be inconsistent. “The Capital Grille is uneven,” she says. “One of the problems is it can vary sever by server. There are some who really care and will put up with what they get back from the kitchen.” Like White, Nancy likes to split an entree with a dining companion. She favors restaurants that are willing to divide the dish and plate it in an attractive way instead of leaving the divvying up to diners. “That’s something with older people that’s highly valued,” she says. “You remember that and want to go back.” For some senior diners, service can make or break an outing. “It’s great when the waitstaff knows the menu and can recommend either what they like or what’s popular,” says Debra Lee. She co-authors a monthly restaurant review column with her husband, George McLennan, for Lake Barcroft’s neighborhood newsletter. “When you go to a new place and look at the menu, what do you pick? It’s frustrating when waitstaff don’t know the menu.” The couple frequents Bastille in Alexandria, Istanbul Grill in Ballston, and Buena Vida in Clarendon. While Lee says food quality comes first, McLennan thinks service is the most important component of a night out. “We went to Buena Vida for the first time and picked a table that was over in one corner away from the noise,” McLennan says. “We came back two weeks later and the general manager said, ‘It’s so good to see you guys again, we have your table waiting for you.’ For me that kind of thing makes a big difference.” Jacquelyn, a D.C. resident, favors attentive service and has found it lacking from time to time. “People who work in restaurants may not be as interested in you as they used to be,” she surmises. “When you come in the door, everyone is really nice welcoming you in, but then you don’t see them anymore.” She recognizes that some restaurants are “very, very busy,” but would still like servers to check on her table more often. “My daughter says she doesn’t like them to keep coming back, but I like for them to know I’m still alive and in their restaurant.” Jacquelyn habitually dines at El Golfo and Mi Rancho in Silver Spring, Busboys and Poets, and Woodmont Grill in Bethesda. She seeks out El Golfo because in addition to serving a mash-up of Mexican and Latin American food, they host live music during dinner hours—a tradition she worries has fallen by the wayside. D.C. is an embarrassment of riches when it comes to cuisines, where you can find everything from Uighur and Ethiopian to Georgian and Burmese food. That means older Washingtonians can taste the world without the burden of travel. Lea Mesner, who lives off H Street NE, is working her way through them all. Growing up in Nebraska, Mesner says she wasn’t exposed to food from other countries until high school. “I went on a bus trip to New

York City and discovered real Chinese food,” she recounts. “This led me on this whole track of finding all of these interesting foods in my life once I got out of Nebraska. I’ve allowed myself to live where good food is.” Mesner is a regular at Thamee, Maketto, Sticky Rice, and Sospeso in her neighborhood. She ventures out to dine at Jaleo, Ambar, Union Market, and Johnny’s Half Shell, among others. She calls D.C.’s evolving dining scene exciting and is happy to see smaller, more intimate eateries replace sprawling dining rooms. “With the intimacy, I get to know some of the owners and managers as well as some of the chefs and become fans of theirs.” She has just one request for staff: “Restaurants may need to help waitstaff work on patience. Sometimes we’re easily confused or we can’t understand them. Sometimes it’s because of the noise or we can’t see the menu. I appreciate it when people make an effort because part of my happiness is going out and having good food.” Mesner’s comments highlight two of the biggest pain points for older diners: noise and low-lighting. Another is high-top seating. “The biggest challenge for seniors with hearing aids is that you cannot eat in most restaurants because the noise level is too high,” Nancy says. Her strategy is to visit some of her haunts like Pesce and Al Tiramisu, both in Dupont Circle, during lunch, when there’s less din. “The aim of new restaurants to create noise and buzz and excitement is seniors’ knot,” Nancy continues. “You need tablecloths, carpeting, and tables that are well spaced and not on top of each other. Those old fashioned places are few and far between.” McLennan calls too-close tables “New York-style dining.” Worse than tables snuggled together is the high-top seating that’s trending as restaurants build out bigger bar areas. “I don’t like them myself,” Lee Cohen says. The D.C. resident is in his 80s and hits all of the hot spots. He’s already dined at Punjab Grill, Seven Reasons, Via Sophia, Anju, and Queen’s English. “They aren’t real easy for older people to get up and down,” he says. Some older diners report seeking out restaurant happy hours because prices are lower and they occur early in the evening, but bar areas are often dominated by this style of seating. Senior diners also wish restaurants would create a place to sit while waiting for a table or take-out that’s not at the bar, where they feel pressure to spend money. Senior diners are always paying attention to value. Whether that means noticing how a trio of small plates doesn’t always add up to the same amount of food as an appetizer and entree for the same price or staring down drink pours. “The only thing that really irritates me is when they serve you a huge goblet with a tiny bit of wine at the bottom,” says D.C. resident Barbara. “I don’t go back. Give me a full glass of wine like I pour at home. A quarter of an inch doesn’t do much for me, especially knowing the price.” CP

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Inside a D.C. fine art nude photographer’s battle with Instagram By Elizabeth Tuten Grey Johnson wants to create work rarely seen in the world of fine art. The Naked Project, which Johnson calls, “an appreciation for the unfiltered human form,” is the culmination of two years of photoshoots. It’s a series of portraits, mostly black and white, naturally lit, featuring a wide range of body types in varying stages of undress. His photography Instagram feed prominently features women of all shapes and backgrounds. Instagram has become Johnson’s main platform for showing his work and connecting to models, clients, and other artists, but the nature of his work and Instagram’s moving target of decorum has made it increasingly hard to grow his business. Now 43, Johnson grew up seeking out art and creating his own, developing drawing and painting skills at a young age. “Then life happened,” Johonson says. Sports, school, and a burgeoning career in health care overtook his artistic endeavors until 2012, when heart failure and a stroke inspired him to rekindle his creative passions. “It was like rocket fuel to go out there and create.” Johnson met photographers who would become mentors in a 2014-2015 life drawing class at the Minneapolis College of Art and Design. They were studying light, and how light falls on a body. Johnson told the photographers that he wasn’t getting the results he wanted with his drawings and paintings, and they suggested he take up photography. He got a camera and learned from other photogs, setting up his first solo shoot not long after moving to D.C. in 2016. “D.C. is a great location to shoot—it’s so vibrant, tons of people come here, there’s tons of energy, tons of models, tons of people traveling through,” he says. One shoot led to another, and Johnson soon found himself with a steady stream of interested models and clients. He was surprised. “It’s like, ‘oh, you’re a guy who wants to take pictures of nude women,’” he says. “I didn’t think anyone would reach out to me, but I found that a lot of people were appreciative.” Johnson’s work struck a chord because he shot all body types in a sexually empowered light. Diversity in body type and range

Two photos by Grey Johnson; he claims Instagram took these down.

18 october 11, 2019

Local patriarchy destroyers The OSYX chat about their new album, their record label, and their journey. of bodies in fine art nude photography is rare, he says. These new fans were finding Johnson’s work—and giving him more work—via Instagram. He started out with a website called, and after working with models from that site, they told him about using Instagram as a platform for business. Since his first Instagram post on Oct. 17, 2015, Johnson has earned more than 16,000 followers. “No bots, just feel-good sensation and good vibration,” he says of his following. “But it should be higher—that’s the shadowban.” In 2017, Johnson began to notice fewer likes and a slowdown in his follower growth. He wasn’t the only one. That year, social media strategy sites like Later attempted to address burgeoning outcry around “shadowbanning,” the term for an unannounced algorithmic change implemented by a social media platform that makes it harder to find content that the platform deems spam, inappropriate, or abusive. Instagram has always wielded the power to take down a photo or disable an account for violating Community Guidelines. The Community Guidelines page outlines the following tenet: “Post photos and videos that are appropriate for a diverse audience.” The guidelines continue, “We know that there are times when people might want to share nude images that are artistic or creative in nature, but for a variety of reasons, we don’t allow nudity on Instagram. This includes photos, videos, and some digitally-created content that show sexual intercourse, genitals, and close-ups of fully-nude buttocks. It also includes some photos of female nipples, but photos of post-mastectomy scarring and women actively breastfeeding are allowed. Nudity in photos of paintings and sculptures is OK, too.” When a photo is deleted, Instagram doesn’t say precisely why it’s been taken down, just that it violated Community Guidelines. A message appears momentarily in the user’s feed warning them that previous posts didn’t follow Community Guidelines, and that if they post something that goes against guidelines again, the account, along with posts, archives, messages, and followers, will be deleted. Johnson has long been frustrated by what he sees as arbitrary takedowns of his photos. “One of my photos got taken down and I was like, ‘What the hell happened?’ It wasn’t showing nipples, no butt cleavage, nothing,” he says. “When you get the message that a photo has been taken down, you can click a button that says, ‘I think this was an error,’ but

CPARTS there’s no other recourse. I’ve never gotten a response as to why a photo gets taken down.” He’s had photos taken down since 2017, and most recently this August. For the past few months, Johnson has been flagging photos on Playboy’s Instagram account that he felt were more suggestive and showed more nudity than his portraits. Every time Johnson flagged a photo, he received the same message within about 10 minutes: “Thank you for your report. We reviewed playboy’s photo for nudity or pornography and found that it doesn’t go against our Community Guidelines.” It’s easy to find the same amounts of body exposure on Playboy’s main account that are present in some of Johnson’s removed photos. A scroll through Playboy’s feed calls into question what exactly Instagram considers nudity. Pixelated nipples seem to be the digital veils that maintain the account’s propriety. Instagram’s vague language around “some photos of female nipples” is what leaves nude photographers unsure of which post will be the one that gets their account taken down. “There’s no explanation as to why my posts get deleted and theirs get to stay,” says Johnson. Once, he says, after a photo of his got taken down, he logged into another account he had and searched for his photography account.

He couldn’t find it. He says his photos also seemed to stop coming up under hashtags, or showing up on Instagram’s Explore page, where models and fans usually found his account. He’s had friends in the nude photography business say that Instagram is discriminating against the larger women they photograph by shad- Johnson’s screenshot owbanning their accounts. Many of the photographers and models he’s worked with have also had photos deleted for violating community guidelines, he says. Instagram denies Johnson is being shadowbanned. Via email, Stephanie Otway, a brand communications manager at Instagram, says “there aren’t any restrictions on this account that mean it isn’t discoverable to others on Instagram (I just searched for it also and it appeared in my search results). Content recently deleted

from the account was correctly removed for including nudity, which is in violation of our policies. We do limit some content and accounts from appearing on Explore and hashtags.” Otway linked to specific community standards and guidelines which explain Instagram’s policy rationales regarding nudity, and why it may limit those posts. Johnson has always edited his fully nude photos to stay within the guidelines. Now, Johnson avoids hashtags entirely, is extra cautious about censoring his even partially nude posts with black bars, and maintains a backup account should his main account—and his followers, contacts, and archives—be deleted by Instagram. The stagnation in his follower count persists. “By limiting who can see your account, Instagram is limiting your market,” he says. But the subjective censoring of bodies and


art is not illegal. “It’s the wild wild West, Instagram can do whatever they want,” says Ethan Wall, founder and president of the Social Media Law Firm. “Instagram is the judge, jury, and executioner, they have no legal responsibility to respond to that person or to clarify their guidelines, it’s like a dictatorship in that way.” Deactivated accounts are a common complaint among Social Media Law Firm clients, but Wall says there’s no legal recourse. Wall attributes Instagram’s seeming lack of standardization in enforcement of guidelines to brand identity. Playboy has a long-standing history and reputation and has been battle-tested legally. “It’s risk versus reward,” he says. On Oct. 18, 2019, nearly four years to the day since his first Instagram post, Johnson will attempt to grow his audience the old fashioned way—an exhibition. The Naked Project, his series of 14 fine art nude portraits, will be shown at Jordin’s Paradise Wellness Center in Dupont, where pole dancing and “twerkout” classes, in addition to more traditional workouts and yoga sessions, take place throughout the week. “The space seemed to really align with the body positive style of photography that I’m doing; it’s open, it’s free, it’s expressive,” he says. “It’s about stepping out as you are, where you are, and an authentic expression of self.” CP

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Located on the Fairfax campus of George Mason University, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123. october 11, 2019 19


Beautiful Days in the Neighborhood Humorous and heartbreaking, two local productions celebrate the grit and grace of August Wilson. By Caroline Jones


By August Wilson Directed by Timothy Douglas At Ford’s Theatre to Oct. 27


By August Wilson Directed by Ruben Santiago-Hudson At Arena Stage to Oct. 27 Plays about the ordinariness of daily American life have fallen out of style recently, or at least that’s the way it seems on local stages. As contemporary playwrights break down dramatic conventions and use their work to draw attention to current events or serious issues plaguing society, stories about people going through the ins and outs of their days are less common. Perhaps this is why the two local productions of plays by August Wilson, an artist who celebrated the regular people of Pittsburgh’s Hill District in his 10-play “Century Cycle,” feel so comforting and so spectacular. Utilizing excellent actors who in their best moments do not play their characters so much as they become them, Ford’s Theatre’s Fences and Arena Stage’s Jitney honor Wilson and the everyday drama he carefully crafted. Fences is probably Wilson’s most visible play. The only Wilson work so far to have been adapted for the big screen, it won the Pulitzer Prize for Drama and Tony Awards for Best Play and Best Revival of a Play. In it, we meet the Maxson family: Troy (Craig Wallace), his wife, Rose (Erika Rose), and their son, Cory (Justin Weaks), as well as Troy’s older son, Lyons (KenYatta Rogers), his brother Gabriel (Jefferson A. Russell), and his friend and colleague Jim Bono (Doug Brown). It’s 1957, and in the backyard of Troy and Rose’s home, all seems well. We quickly learn that Troy, a garbage collector, is a principled man, unafraid to stick his neck out and ask his boss why all the truck drivers are white while the black men are left emptying cans into the back of the truck. These principles come with a cost, though. Troy, whose dreams of baseball stardom were never realized, won’t indulge his sons’ dreams, even when a college recruiter offers Cory a football scholarship and a path out of Pittsburgh. He struggles every day to maintain his working class lifestyle, and after nearly two

decades, that struggle has blinded him. While he’s worked, life has passed him by. This generational divide creates much of the play’s central tension and places a heavy emotional burden on the actors. Wallace is well known to local audiences for playing men who the world has worn down—he’s played Willy Loman and Ebenezer Scrooge at Ford’s previously—and he captures Troy’s weariness and anger, as well as his obligation to and compassion for those he loves, even if he never says it. It’s Weaks’ turn as Cory, however, that shakes the audience. He exudes desperation as he asks for his father’s affection, and later, his mother’s acceptance of his decisions. Acting opposite Wallace, whose booming voice and broad chest make him an imposing counterpart, is hard enough, but Weaks manages to win his argument and make his points heard while contending with the old theater’s iffy acoustics. By the end of the evening, his heartbreak is our heartbreak. Similarly heartbreaking is Rose, who tolerates all the misbehaving men in her life until she can take it no longer. The scene in which she breaks down is a tour de force and Rose executes it convincingly. (One does wish that Viola Davis’ rendition of the same scene was played less fre-

20 october 11, 2019

quently during her Oscar campaign, if only to eliminate the opportunity for comparison.) Wilson’s writing is so compelling and well paced that when the cast clicks like this one does, little else seems important. That’s a testament to director Timothy Douglas, who has built a family whose intimate struggles become universal in his hands. Scenic designer Lauren Helpern has turned the stage into a believable Pittsburgh backyard and costume designer Helen Huang’s clothes highlight the ordinariness of the characters who wear them. The Maxsons’ problems are not unique, and the consequences of them don’t extend far beyond the backyard, and yet Fences destroys audiences because it is so relatable. In Troy, we see the desire to care for those we love. In Rose, we see steely determination. And in Cory, we see the flickering flame of a dream. Watching them play out their conflicts is as transfixing as looking in a mirror. 511 10th St. NW. $10–$72. (202) 347-4833. While Fences focuses on biological families and the bonds and obligations individuals feel toward that group, Jitney examines an-

other closely bonded ensemble: work families, the ragtag groups of people forced together by a common vocation who end up relying on and growing to love one another. The work family in Jitney occupies a unlicensed cab station in 1970s Pittsburgh, a time when traditional cabs wouldn’t visit the city’s historically black neighborhoods. The men who populate it—some of them community leaders, some of them scarred and weary war veterans, some of them neighborhood gossips and recreational alcoholics—have their own reasons for doing this work, but come back day after day to drink coffee and participate in this unofficial fraternity. Many of the actors in this production are part of the unofficial fraternity of Wilson performers and participated in director Ruben Santiago-Hudson’s 2017 Fences Broadway production of Jitney, and this contributes to the evening’s relaxed feel. The performers know their characters, and each other, intimately at this point and that makes their telling even more realistic. When a piece of a prop telephone broke during a recent performance, it resulted in a giggle fit, but the show continued seamlessly. The world the performers create feels so real in part because the problems the characters encounter still exist, in slightly different forms, today, more than four decades after the play takes place. Sure, ride-hailing apps have made getting from place to place easier, but black businesses still deal with gentrification and government-forced development. The choice to stay or go isn’t easy for Becker (Steven Anthony Jones), the car service’s owner, nor is it easy for the longtime proprietors of businesses in Shaw, who told their stories in this publication two months ago. When these businesses do close, a piece of the community’s culture dies with it. Wilson’s plays preserve pieces of it, reminding audiences who don’t remember a time when people relied on these unlicensed cabs why these ordinary men and women matter. Turnbo (Ray Anthony Thomas) may gossip and pick fights with Youngblood (Amari Cheatom), but his knowledge of his neighbors and surroundings keeps their stories alive. Fielding (Anthony Chisholm) frequently swigs from a bottle of gin he keeps in his jacket, but his stories of crafting suits for performers like Billy Eckstine recall a time of debonair grandeur. The people seeing these productions view them as the city around them changes. While the plays may force difficult thoughts and conversations about everything from incarceration rates to technology, equality, and independent contracting, they remind us why plays about ordinary people are important. They teach us, reflect history back to us, and maybe encourage us to change, ever so slightly, for the better. CP 1101 6th St. SW. $41–$95. (202) 488-3300.

His deadliest enemy is his jealous heart.

Patti Austin

Eric Benét

Freddy Cole

Dulé Hill

Bebe Winans

Terri Lyne Carrington


Photo by Cade Martin

National Symphony Orchestra Pops Michael Butterman, conductor Celebrate the centennial of the late, great American music legend with a concert showcasing his seminal talents as a vocalist, pianist, and trailblazing icon. Conductor Michael Butterman leads the NSO, stellar vocalists, and an all-star band in such timeless songs as “Unforgettable,” “(Get Your Kicks on) Route 66,” “Mona Lisa,” “Straighten Up and Fly Right,” “Smile,” “L-O-V-E.”

October 17–19, 2019 | Concert Hall

October 26–November 16 | Opera House Music by Giuseppe Verdi Libretto by Arrigo Boito, based on Shakespeare’s Othello In Italian with Projected English Titles Groups call (202) 416-8400 (202) 467-4600

AARP is the Presenting Sponsor of the NSO Pops Season.

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

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

(202) 467-4600

Major support for WNO is provided by Jacqueline Badger Mars. David M. Rubenstein is the Presenting Underwriter of WNO. WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

Generous support for WNO Italian Opera is provided by Daniel and Gayle D’Aniello. Additional support for Otello is provided by the Dallas Morse Coors Foundation for the Performing Arts and the Dr. M. Lee Pearce Foundation, Inc

WNO’s Presenting Sponsor october 11, 2019 21


through these exchanges. It would have been nice if the text explored fatphobia beyond surface-level jokes that, without the appropriate contextualization of the politics of anti-fatness, still manage to punch down. Throughout it all, School Girls; Or, the African Mean Girls Play is funny and real. Playgoers should be inspired to ask themselves how they contribute to anti-Blackness, colorism, fatphobia, discrimination against poor people, and other forms of oppression that play out in front of our faces every day. But we shouldn’t stop there: We must also ask ourselves what we are doing to stop it. During one of the play’s final scenes, a character off-screen at the beauty pageant expresses a sentiment that all of the characters share. “I want for once in my life to finally feel seen.” For many poor, dark-skinned Black girls, the world seems intent on making that wish feel like a pipe dream. How do we make sure people feel seen and cherished every day of their lives? —Jordan N. DeLoach


4545 East-West Highway, Bethesda. $46–$68. (240) 644-1100.

School Girls; Or, the African Mean Girls Play

By Jocelyn Bioh Directed by Nicole A. Watson At Round House Theatre to Oct. 20 In communItIes affected by colonialism across the world, societal oppression deems certain people to be unworthy based on their backgrounds and identities, like their race, gender, color, size, and wealth. These dynamics are replicated within our interpersonal lives starting at an early age, and the underlying human desire to feel seen and understood can quickly change into a quest for validation and power. Life can feel like a zero-sum game where the only way to win and be seen is to ensure that others are invisible and lose. In short, this world can make anyone a very mean girl. Jocelyn Bioh’s School Girls; Or, the African Mean Girls Play is an often comedic, sometimes tear-inducing examination of how systemic oppression and discrimination impact how we see ourselves and each other. It follows a small group of friends at a boarding school in Ghana as they prepare for the 1986 Miss Global Universe pageant. Paulina (Kashayna Johnson), with her glamorous clothing and her professional football-playing boyfriend, is the de facto leader of the bunch. She and her crew believe that she’s a shoo-in to be Miss Ghana. That is, until a new student comes to town. Light-skinned with loose, auburn curls, Ericka (Claire Saunders), a new student from the U.S., immediately disrupts the group’s dynamic. Also disrupted are the stories Paulina has told herself and the people around her, stories she hoped would provide her with worth in a world that sees

dark-skinned Black girls as disposable. Director Nicole A. Watson and the production team have ensured that every level of the show reinforces the play’s themes. Posters describing dangerous and oppressive aspects of beauty under colonialism hang in Round House’s lobby. In the theater itself, scenic designer Paige Hathaway has transformed the stage into a large school cafeteria with textured stone walls. The show opens as the group of friends sashay into position under pink and turquoise lights as 1980s hits play in the background. This music video moment primes the audience for a high energy show packed with great actors. The biggest laughs come from Mercy (Debora Crabbe) and Gifty (Moriamo Temidayo Akibu), silly cousins who seem willing to do anything to stay in their friends’ good graces. Akibu is a standout comedian with her playful physicality, facial expressiveness, and quickness to shade a friend behind their back before changing her tune once they’re face-to-face. Headmistress Francis (Theresa Cunningham) is a loving matriarchal figure to the friend group who forgets her sternness whenever she got the chance to squeal about her love for Bobby Brown. Ama (Awa Sal Secka) is the mediator, a calm, no-nonsense person brave enough to stand up to Paulina’s unsavory putdowns. And the whole audience roots for Nana (Jade Jones), a sweet and funny student who is often the target of Paulina’s bullying. One of the show’s best scenes features the students performing Whitney Houston’s classic “The Greatest Love of All” for the bougie Miss Ghana recruiter Eloise (Shirine Bab). Most of the characters are intentionally and hilariously out of tune and off-beat, but, in the harmonies, you can hear that all the actors have legitimate pipes. As the play’s title suggests, the girls say some truly mean things to each other over the course of the evening. The first line of the play is a jab at Nana’s weight. Fatphobic jokes are sprinkled throughout the play’s dialogue, and much of the audience chuckles awkwardly

22 october 11, 2019


By Brandon McCoy Directed by Jeremy Skidmore At Keegan Theatre to Oct. 20 BoBBy (KevIn Hasser) is on a plane to visit his dying grandmother when his seatmate asks where he’s heading. “Home,” he says instinctively. But he lives in Silver Spring— he’s lived there for years. His seatmate, Reginald (DeJeanette Horne), pushes back. Bobby’s unfazed. West Virginia’s still home; as we see later, Bobby can list its symbols in a flash. (Nickname? Mountain state. Flower? Rhododendron. Song? “Official or unofficial?”) And in Bobby’s family, and hundreds of others, they call their home state “West by God Virginia,” because it’s “by the grace of God” they get to live in such a beautiful place. West By God, which makes its world premiere at the Keegan Theatre, is “a story about home” by Keegan company member Brandon McCoy. The play digs into McCoy’s feelings both about “home” as a concept and his actual home—McCoy was raised in West Virginia, and says in a program note that he proud-

ly remains allegiant to it. He’s tired of seeing it publicly disparaged and mocked, and hopes to probe the divide between urban and rural communities. To that end, it’s going on tour to the Mountain State after its run in D.C. The show’s clear affection for West Virginia is literally in the background of all the action: The set’s contours evoke the state’s shape. But the show is clear-eyed about what McCoy’s home state struggles with. Calvin (Colin Smith), the only one of Bobby’s siblings to stay in West Virginia, has lost his job, and while he and his mother, Sophia (Rena Cherry Brown), insist that things have a way of working out, the pressure is apparent. Martha (Rachel Trauner), Bobby’s cousin, is desperate to see something outside of her small town. There’s nothing to do there; she’s scared of following in her mother’s footsteps, which only lead in circles around the same place. Her mother, Agnes (Sheri S. Herren), doesn’t see what’s so bad about that‚ but Martha’s restless. Martha’s story and that of another black sheep, Bobby’s sister Bella (Susan Marie Rhea), are the play’s most interesting, if ultimately unsatisfying. Bella has already left. She’s living in D.C., a Georgetown professor who focuses on Appalachian Studies and speaks of home with authority and warmth, even though she’s estranged from her family. One of her lectures forms a frame for the play, with the audience in the position of her class; McCoy has her ask the group provocative questions about our perceptions of Appalachia and which groups of Americans are the most marginalized. Those insensitive questions later get her in trouble, but the script doesn’t seem to have an opinion on how high Bella’s moral ground was, both at work and in the incident that estranged her from her family, and it blows over without much resolution. Martha’s story also takes a dramatic turn, but we don’t see much of the emotional or situational fallout until a tidy bow is tied at the end. The play’s strengths are in its depiction of life in the holler, where Agnes and Sophia, matriarchs of fatherless families, are pulling everything together—including each other— across gulfs of pride and hurt. Herren and Brown are both delights to watch onstage, embodying prickly, loving women who are trying their best to keep the faith in an economically depressed town. The easy chemistry between Sophia and Calvin is some of the play’s best work, and it’s a shame Bella’s on-the-nose soliloquies halt that momentum. Bobby still loves where he grew up. It shaped him into who he is, and he didn’t leave out of spite. But the play is also honest about what West Virginia can and can’t offer its characters— if Bobby wants to make it as a writer, or Bella as a professor, they have to go elsewhere. Home isn’t a comprehensive balm for all things, but it is a landing pad where a person can anchor their sense of self. The places the characters cherished growing up continue to embrace them when they need to return. —Emma Sarappo 1742 Church St. NW. $41–$51. (202) 265-3767.



Branden Jacobs-Jenkins Directed by Will Davis

Paper 19 1.603”) Non-SAU CMYK res/EP

original file: Adobe InDesign CC 2019

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verse group of voices combine to make a powerful statement about the opportunity and the pain that comes with uprooting your life and moving to another country, especially if that country had a hand in destabilizing your home. The works vary in their subtlety and delicacy. Parallels and Peripheries: The piece that represents Parallels and PeriphMigration and Mobility eries online, “Black Power Wave, Drawing For At VisArts to Oct. 20 Protest,” is more fragile in person. Thousands When a grotesque version of Donald of graphite strokes combine to create a reflecTrump struts onto the promenade in Federi- tive black wave preparing to crash forward into co Solmi’s video piece “The Machiavellian the shore. But that powerful wave is gently atOnes,” his cartoonish depiction is no surprise. tached to its paper background, and the entire In fact, he’s one of the least distorted and ex- piece is mounted with yardsticks, some touchaggerated characters around in the frenzied, ing the floor, some not. But many of Parallels and Peripheries’ most colorful, hyperpatriotic gathering of figures dressed in overembellished military uniforms striking works are more interested in building and powdered Georgian wigs. Like Solmi’s artist-viewer solidarity than in complexity, an exTrump, they have ruddy cheeks and are col- tremely effective technique. Aram Han Sifuentored with scribbles that slide and shift as the es’ two floor-to-ceiling curtain pieces, “Messagcharacters clip through 3D objects in the video es for my Neighbors (Stay Safe!)” and “Messages game-like world, but their demented, pointy- to Authorities (Go Away!)” are emblazoned toothed smiles are wider than his, and their with simple scripts for undocumented immipupils are blacker and more blank. The Mount grants who interact with ICE: “DO NOT OPEN THE DOOR . Rushmore deDO NOT ANpicted in acrylSWER ANY ics on the LCD QUESTIONS.” screen’s plexiRed cards reglass frame is minding peoalso sinister ple of their conand sniveling, stitutional rights depicted in feare available in verish, frightmultiple lanening color. guages and free Perhaps that’s for the taking. fitting: Solmi Lizania clearly sees Cruz’s piece the Founding “Here & Fathers and There” is the this country’s “Black Power Wave, Drawing For Protest” most straightrevered leadby Oasa DuVerney, 2017 forward— ers as just as— if not more—brutal and farcical than our cur- and inviting—of the bunch, but its simplicity rent president. (A gallery copy of his coloring doesn’t mean it pulls its emotional punches. As book Counterfeit Heroes makes this point well.) viewers enter the gallery, they see a group of It’s a point echoed by many of the works in papers hung above their heads that say “HERE Parallels and Peripheries: Migration and Mobility, I AM” or “HERE I CAN BE” with phrases subon view in the VisArts Kaplan Gallery in down- mitted by immigrants. From the other side, the town Rockville. There are plenty of monsters, backs of the papers read “THERE I AM” and and books of monstrous history, in America— “THERE I CAN BE.” The participatory disand in the wider world’s history of forced migra- play draws its responses from an online form, tion due to colonization and imperialism. That’s where people are invited to fill out the statebeen true long before Donald Trump made it ments in any language; a gallery plaque directs visitors to the website to submit their own stointo the world’s spotlight. To that end, Parallels and Peripheries doesn’t ries, which are changed out through the show’s spend much of its time thinking about the man run. The selected papers describe how idenwho’s responsible for reviving some of the most tities shift with motion. “Here I am they/ severe xenophobic rhetoric mainstream dis- them/theirs. There I am él,” says one. Anothcourse has seen in decades. Instead, the art ad- er: “Here I am not white enough. There I can dresses what it means to cross borders and, as be not Latino enough.” And one of the most the exhibition’s wall text puts it, move from the memorable entries sums up the here/there dicenter of one culture to the periphery of anoth- lemma in the most direct and painful terms: er. The exhibition, curated by Larry Ossei-Men- “Here I am free, but limited. There I can be disah, features work from immigrant and first-gen- minished, but endless.” —Emma Sarappo eration artists with roots in Kenya, South Korea, Nigeria, the Dominican Republic, Haiti, Camer- 155 Gibbs St., Rockville. Free. (301) 315-8200. oon, Italy, Pakistan, Ghana, and Jamaica. The di- 24 october 11, 2019


trains and foliage, with other elements that resemble the heads of monsters, and the silhouettes of microscopes or lamps. Even the word “Mama” is visible on a can-like shape near the center of the composition. It’s less like an Ab Ex exercise in paint throwing, and more like a Grace Hartigan and Helene Stuart Davis civic landscape. It’s also this diHerzbrun: Reframing rection in the work—the inclusion of the repAbstract Expressionism resentational and figurative—that critics conAt the American University Museum stantly derided: from Clement Greenberg in to Oct. 20 the 1950s to Mary Gabriel’s 2018 book Ninth Grace HartiGan and Helene Herzbrun: Street Women. While the abstraction is not Reframing Abstract Expressionism quickly ad- pure, and the mark less expressive, the foundresses its truths: Grace Hartigan and Helene dations remain. By contrast, the paintings of Helene HerzbHerzbrun never shared a studio, didn’t work together, weren’t friends, and didn’t live in run are smaller. With the exception of the octhe same town. The two also had scant com- casional horizontal suggestion of a landscape, munication. On a couple of occasions Herz- they nearly all seem to eschew anything that brun wrote Hartigan to entice her to teach at might be considered representational, unless the title American Unigives it away. versity, which They are a Hartigan repure struggle, jected. And, in color, of the in 1974, Herzprogression brun sent Jack of Ab Ex afR asmussen, ter it had lost then a student, its commerto Hartigan’s cial z enith Baltimore stuin Gotham. dio to curate He r p a i n ta sh ow fo r ings from the American Unilate 1950s versity’s now are patchdefunct Wates and squigkins Gallery. gles of quick As Rasmussen and energetic recalled, Harbrush strokes. tigan curated By the mid her show. 1960s, they These are “Aeroplat” by Helene Herzbrun, 1970 slow down not artists whose bodies of work were in dialogue with into loose but composed geometries. Into each other. And, given the scope of the works in the 1970s, the works are further reduced. A the exhibition, dated from 1956 to 1981, these are work like “Aeroplat,” her largest in the exhibiartists on opposite poles of Abstract Expression- tion, seems content with two diagonal bars of ism. The reason they are paired together at the phthalo blue which frame blocks of red, green, American University Museum is, as exhibition and yellow. The colors confidently touch, but curator Norma Broude deftly explains in wall feel little need to overlap. Although Herzbrun text, because of gender and geography. Given had a chance to gain a toehold in New York— these realities, it’s no surprise to see stark dissim- at Stable Gallery in 1958 and at Poindexter in ilarities between the works within the exhibition. 1960—it’s one she couldn’t climb from. The Grace Hartigan’s work is large and impos- tide had turned toward Pop Art. It didn’t dising. The smaller of her paintings are dark, with suade her from continuing to create. Despite the differences apparent in the bulk heavy-handed paint pushing, alternating with faster linear strokes of color. It’s the larger can- of the work represented, the exhibition doesn’t vases approaching 80 x 100 inches that draw feel uneven. The space of the gallery allows each greater attention, and not necessarily because artist to inhabit their respective corners in view of their size. For “Summer Street,” the earli- of the other’s work, but not interfering with it. est painting in the show, it’s the color and the In two instances—a pair of smaller works on padeparture from abstraction. The composition per near the third floor elevator of the museum clearly features a figure among what appear to and a coupling of abstractions from 1960—their be food stand items. The presence of recogniz- work is nearly indistinguishable from one anothable forms and figures is a consistent element er, making it seem like more than gender and ge—John Anderson in the works selected to represent her output ography unify them. in the 1960s, ’70s, and ’80s. For example, “Beware of the Gifts,” an enormous blue compo- 4400 Massachusetts Ave. NW. Free. (202) 885sition, overlaps black-outlined suggestions of 1300.


2019–2020 Stephen Czarkowski, Music Director Jeffry Newberger, Associate Conductor

in Concert with Guest Artist

Cho-Liang Lin Violinist



“Dazzling!” NEW YORK TIMES


Directed by Ang Lee A movie hAs to do a million things well to succeed, but sometimes it only has to do one thing badly to fail. Take Gemini Man, in which Will Smith plays an assassin doing battle with a younger, digitally rendered clone of himself: The film is understandably being marketed on the strength of its groundbreaking visual effects, primarily a de-aging technique that has been featured in previous films, but never with such significant screen time. In Gemini Man, we’re looking at a CGI young Will Smith for a solid hour, and he doesn’t come close to resembling a human being. We know what the Fresh Prince looks like, and this ain’t it, so the movie falls apart every time he’s in it. For the first 40 minutes, before the film dives headfirst into the uncanny valley, Gemini Man is not a total disaster, just the sort of solid action-thriller with big star power that Hollywood used to churn out with relative frequency. Smith plays Henry Brogan, a middleaged assassin whose retirement is interrupted by his former boss Clay Verris’ attempts to murder him. Verris (Clive Owen) is a megalomaniacal defense contractor with an aversion to loose ends. Brogan and his underwritten love interest (Mary Elizabeth Winstead), an agent tasked with surveilling him who quickly becomes a target herself, must traverse the globe to escape Verris’ team of professional bad guys, which eventually includes the unwatchable Brogan clone. It’s a fatal flaw born from the film’s wild ambition. Director Ang Lee, who has pushed formal boundaries in Life of Pi and Billy Lynn’s

Long Halftime Walk, has a bold, immersive vision for Gemini Man, but it’s a purely technical one. Shooting in 3D and at 120 frames per second, he intends to make the onscreen action feel more real, and he succeeds. Explosions make glass shards fly from the screen, punches land even for those sitting in the last row, and chase scenes put the viewer behind the wheel of a motorcycle as it speeds through the narrow, colorful streets of Cartagena, Colombia. But the approach ends up widening the distance between the film and the audience. You sit in constant awe of the product onscreen, but your awe gets in the way of your involvement. The digital effects prove distancing, and that could have been avoided if the filmmakers had prioritized substance over style. The younger Brogan, known as Junior, was cloned from Brogan’s DNA without his permission, gestated in a woman we never meet, and raised by Verris to be a younger, faster assassin. Eventually, he teams up with the original Brogan, who gets introspective and decides to pass down some hard-earned wisdom to his younger self. In other words, their relationship strongly resembles that of a father and his estranged son, a dynamic which would have eliminated the need for the awful effects and made Gemini Man a far better movie. A few tweaks to the screenplay, and we could have had a heartfelt action-drama instead of a glorified Sega Genesis game. But Lee and the overstuffed team of writers and producers weren’t interested in that kind of film. Gemini Man is designed for spectacle not story. It’s meant to lure people to the theater and leave them shaking their heads in amazement at how far technology has advanced. Instead, it might make a Luddite out of you. —Noah Gittell

“Sculpted phrasing… breathtakingly played”




“Beacon of musical charisma” THE PHILADELPHIA INQUIRER

FREE ADMISSION Fri, Oct 18, 7:30pm Church of the Little Flower 5607 Massachusetts Ave. Bethesda, MD






D.C.’s awesomest events calendar. calendar

OCT 20


OCT 27








Gemini Man opens Friday in theaters everywhere. october 11, 2019 25

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




w/ Vagabon .............NOVEMBER 2



Perpetual Groove w/ Kendall Street Company ................................... F OCT 11 Small Town Murder This is a seated show. .................................................... Su 13 Moonchild w/ Braxton Cook & Devin Morrison .............................................. W 16



Natasha Bedingfield ........... OCT 14  Jónsi & Alex Somers -

  Riceboy Sleeps     with Wordless Orchestra .......... OCT 28



NOVEMBER (cont.)

Anthony Brown &   group therAPy   w/ Maurette Brown-Clark & 

 Bianca Del Rio -

  It’s Jester Joke ........................ OCT 18 X Ambassadors  w/ Bear Hands & LPX ....................... OCT 29 Ingrid Michaelson Puddles Pity Party   All 9/24 9:30 Club tickets will be honored.    w/ Maddie Poppe ............................. OCT 23  w/ Dina Martina   Halloween Costume Contest! 

Lost Frequencies (Live)    w/ Throttle & Ryan Farish

Alice Merton w/ Raffaella ......Tu 19 Christone “Kingfish”  Ingram .....................................Th 21 San Fermin ...............................F 22 Sasha Sloan  w/ Winnetka Bowling League  Early Show! 6pm Doors ....................Sa 23 Alex Cameron

HellBENT   featuring Lemz, Jacq Jill, Ed 

La Dispute  w/ Touché Amoré & Empath .......Su 24

PETE HOLMES  w/ Jamie Lee - LIVE!



  Will McMillan  This is a seated show. M 21

Josh Abbott Band  w/ Ray Fulcher ...........................Th 24 U STREET MUSIC HALL PRESENTS

     Late Show! 10:30pm Doors ................F 25

 Bailey, DJ Damn Kham •   Hosted by Pussy Noir •   Visuals by Ben Carver •   Performances by Ana Latour,   Betty O’Hellno, Sasha Adams,   haus of bambi ..........................Sa 26

bea miller  w/ Kah-Lo & Kennedi ..................M 28 Big Freedia  w/ Low Cut Connie ......................Tu 29 NOVEMBER

The Maine  w/ Twin XL & Nick Santino .............F 1 The Cinematic Orchestra  w/ Photay & PBDY ........................Sa 2 Chelsea Wolfe w/ Ioanna Gika

 Early Show! 6pm Doors. ......................Su 3

Mumiy Troll  Late Show! 10pm Doors ......................Su 3 Cavetown  w/ Field Medic & Spookyghostboy..M 4 ALL GOOD PRESENTS

SunSquabi w/ Goose .................F 8 Ra Ra Riot w/ Bayonne .............W 13 Wild Nothing  w/ Kate Bollinger .........................F 15 Neon Indian w/ Sateen ...........Sa 16



Early Show! 6pm Doors ................... OCT 24

   Come dressed in your best! ............. OCT 31

Angel Olsen w/ Vagabon ............NOV 1 U Up? Live ....................................NOV 4 D NIGHT ADDED!



Collie Buddz w/ Keznamdi ......Su 1 Mac Ayres..................................Tu 3

A Smart, Funny, Real Afternoon   In Conversation with Sasheer Zamata   Matinee Show! 1pm Doors............... OCT 26


TIG NOTARO: B ut E nough A Bout Y ou

The New Pornographers  w/ Lady Lamb ......................................NOV 6 Kishi Bashi w/ Cicada Rhythm ....NOV 8 Judge John Hodgman  Live ................................................NOV 10 Sasha Velour’s   Smoke & Mirrors .................NOV 11 Mandolin Orange  w/ Sunny War ....................................NOV 14 BenDeLaCreme &  Jinkx Monsoon:   All I Want for Christmas is Attention .NOV 29 Robert Earl Keen -

     Must purchase 2-Day Pass with 


 w/ Shinyribs........................................DEC 6

 Late Show! 10pm Doors ....................Sa 23

Miami Horror    w/ Argonaut & Wasp ..................F 29 Alice Smith .............................Sa 30 DECEMBER ALL GOOD PRESENTS

Pigeons Playing Ping Pong    w/ lespecial       12/7 PPPP @ The Anthem to attend. .....F 6

Devendra Banhart  w/ Black Belt Eagle Scout   Early Show! 6pm Doors .....................Sa 7 Lucy Dacus  w/ Haley Heynderickx  Late Show! 10pm Doors ......................Sa 7


The Marcus King Band ........Su 8 Omar Apollo  w/ Alexander 23 & Silver Sphere   Early Show! 6pm Doors .....................F 13 Cautious Clay w/ Remi Wolf

 Late Show! 10pm Doors ......................F 13

Samantha Fish  w/ Nicholas David .......................Tu 17



 ............................... FEBRUARY 12

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Late Show! 9:30pm Doors ................ OCT 24 Early Show! 5:30pm Doors ............... OCT 25


   Late Show! 9pm Doors ................... OCT 25


Early Show! 5pm Doors .................... OCT 26 Late Show! 8pm Doors ..................... OCT 26

26 october 11, 2019


Tim and Eric ............................. FEB 8

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


clipping. w/ Terence Hannum ..Th OCT 10 Half Moon Run w/ Tim Baker .........F 11 Pissed Jeans w/ Knife Wife ..........Sa 12 Marika Hackman w/ Girl Friday ...Su 13 Augustana ................................ M 14 slenderbodies w/ Hazey Eyes .......Tu 15 !!! (Chk Chk Chk) .....................Th 17 Lust for Youth w/ Tuff Lover ..........F 18 Iya Terra  w/ The Ries Brothers & For Peace Band .W 23

Maxo Kream w/ Q Da Fool & Slayter ..F 25 Ruston Kelly w/ Donovan Woods ....Sa 26 BJ the Chicago Kid  w/ Rayana Jay & KAMAUU ...............Su 27 White Reaper  w/ Nude Party & Wombo .................Th 31 Kindness ............................. F NOV 1 Futuristic w/ Ray Vans • Scribe Cash •   Yonas • NoBigDyl ............................Su 3 Ayokay w/ Wingtip ........................Tu 5

• 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.


 Countdown to Christmas

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 27 Theater 30 Film 32










KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Janowski conducts Bruckner’s Seventh/Steinbacher plays Mozart. 11:30 a.m. $15–$99.




THE HAMILTON 600 14th St. NW. (202) 787-1000. The Cleverlys. 8 p.m. $25–$30.




BIRCHMERE 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Tom Paxton and The DonJuans. 7:30 p.m. $45.



CITY WINERY 1350 Okie St. NE. (202) 250-2531. The Dodos. 6 p.m. $20–$28.



SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Bedouine. 8 p.m. $15–$17.




THE ANTHEM 901 Wharf St. SW. (202) 888-0020. Silence the Violence Benefit Concert. 7 p.m. $50– $500.


9:30 CLUB 815 V St. NW. (202) 265-0930. Half Moon Run. 7 p.m. $21. BLACK CAT 1811 14th St. NW. (202) 667-4490. Radkey. 8 p.m. $15.

Many listeners have become aware of comedian Marc Maron through his hit podcast, WTF with Marc Maron. The show’s guests have included luminaries as varied as Robin Williams and President Barack Obama. He has ventured deeper into acting with Maron, a television series that aired on IFC, and a critically acclaimed performance on the Netflix series GLOW. Despite these successes, Maron remains committed to comedy, with several full-length stand-up specials to his credit. The Kennedy Center has done well presenting high-profile comics in recent years, and with Maron the trend continues. Marc Maron performs at 8 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $25–$79. (202) 467-4600. —Sriram Gopal

CITY WINERY 1350 Okie St. NE. (202) 250-2531. The THE BAND Band. 6:30 p.m. $25–$28. DC9 1940 9th St. NW. (202) 483-5000. Plague Vendor. 6:30 p.m. $15–$18.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889. Pissed Jeans. 7 p.m. $15.

BOSSA BISTRO 2463 18th St NW. 202-667-0088. Uasuf Gueye. 7:30 p.m. $10.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Rich Brian. 8 p.m. $25– $151.

9:30 CLUB 815 V St. NW. (202) 265-0930. Mashrou’ Leila. 10 p.m. $35.


GARFIELD PARK 200 F St. SE. Hillfest Music Exposition. 11 a.m. Free.



JIFFY LUBE LIVE 7800 Cellar Door Drive, Bristow. (703) 754-6400. Brantley Gilbert. 5 p.m. $35–$139.


FRIENDS MEETING OF WASHINGTON. 2111 Florida Ave. NW. (202) 483-3310. Pete Seeger’s 100th Birthday Singalong Concert. 7 p.m. $10–$30.


BIRCHMERE 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Whispers. 7:30 p.m. $75. CITY WINERY 1350 Okie St. NE. (202) 250-2531. Zo! & Carmen Rogers. 8 p.m. $20–$25.


BLACK CAT 1811 14th St. NW. (202) 667-4490. Blackalicious. 8 p.m. $20.







CAPITAL ONE ARENA 601 F St. NW. (202) 628-3200. Post Malone. 8 p.m. $99.50–$585.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889. Half Moon Run. 7 p.m. $21.

OCT 11



UNION STAGE 740 Water St. SW. (877) 987-6487. Lucky Daye. 8 p.m. $16–$56.



BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. The Paco de Lucia Project. 8 p.m. $52–$57.


BOSSA BISTRO 2463 18th St NW. 202-667-0088. The Golden Age of Boleros with Miramar. 8 p.m. $15.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. TsuShiMaMiRe. 9 p.m. Free. UNION MARKET 1309 5th St. NE. All Things Go Fall Classic $69–$149.


THE ANTHEM 901 Wharf St. SW. (202) 888-0020. The Black Keys. 7 p.m. $125–$250. MONTGOMERY COLLEGE CULTURAL ARTS CENTER 7995 Georgia Ave., Silver Spring. (240) 567-1300. Back to the Garden: 50th Anniversary Woodstock Tribute Concert. 7:30 p.m. $5–$20. SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. John-Allison “A.W.” Weiss. 8 p.m. $13–$15.



9:30 CLUB 815 V St. NW. (202) 265-0930. Lewis Capaldi. 6 p.m. $25.





NIGHT II; 6:30pm & 9:30pm





DC9 1940 9th St. NW. (202) 483-5000. Penelope Isles. 8 p.m. $15. SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Dreamgirl. 8 p.m. $12– $15. U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889. Marika Hackman. 7 p.m. $15. UNION MARKET 1309 5th St. NE. All Things Go Fall Classic $69–$149.






9:30 CLUB 815 V St. NW. (202) 265-0930. Small Town Murder. 7 p.m. $30–$65. BLACK CAT 1811 14th St. NW. (202) 667-4490. Mike Watt + The Missingmen. 8 p.m. $20.

THEHAMILTONDC.COM october 11, 2019 27


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


For entire schedule go to Find us on Facebook/Twitter! Tix @

The albums Blazing Arrow (2002) and The Craft (2005) both summarize what Blackalicious are all about—stout funk and high-syllable raps infused with black consciousness and Afrofuturism—but the hip-hop duo’s most important opus is 1999’s Nia, which deftly blended Golden Era aesthetics, West Coast musicality, and turn-ofthe-century tension. MC Gift of Gab and producer Chief Xcel are marking the album’s 20th anniversary with an extended tour. That fact’s worth celebrating not only because the record is a certifiable classic, but also because Gift of Gab has been battling kidney disease for most of this decade. It’s probably a safe bet that another cornerstone of Blackalicious’ discography, the meme-worthy “Alphabet Aerobics” from 1999’s A2G EP, will also be in the mix. Blackalicious perform at 8 p.m. at Black Cat, 1811 14th St. NW. $20. (202) 667-4490. —Joe Warminsky


Oct 10

"Hitsteria Tour!"



Sons of the Sahara Tour





Solitary Thinkin’ Acoustic Tour

StreetSense StreetSense HIROSHIMA 40th Anniversary Tour!







with special guests MAYSA and DEBORAH BOND


In the






'All The Way & More Tour!' with Mike Dawes




An Acoustic Evening with




An Evening with


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Pick up a copy today from vendors throughout downtown D.C. or visit for more information.



In 2011, Maluma was a 17-year-old Colombian kid releasing his first reggaeton single on a small indie label. That swift-tempoed, rapped song, “Farandulera,” did well, and Sony soon signed him. Billions of YouTube views later, Maluma (a moniker derived from syllables in the names of his mother, father, and sister) is an international star with a sweet voice and heartthrob reputation—he released a 2015 album entitled Pretty Boy, Dirty Boy, collaborated with Shakira, and lightly spanked Madonna in a live rendition of her song “Medellín” during the 2019 Billboard Music Awards. Maluma’s over-the-top Romeo persona hasn’t been without controversy. His 2016 song “Cuatro Babys,” with its graphic lyrics about four women pleasing him when he tells them to do so, led to a petition calling for the removal of the song from digital sites. The petition didn’t succeed, and a year later Maluma was named artist of the year at Univision’s Premio Lo Nuestro awards. Thankfully, Maluma comes across more respectfully in interviews. Live, he’ll probably parade his bad boy and good boy traits as he works through his catalog, accompanied by a crew of female dancers. Maluma performs at 7 p.m. at EagleBank Arena, 4500 Patriot Circle, Fairfax. $39–$350. 703-993-3000. —Steve Kiviat CITY WINERY 1350 Okie St. NE. (202) 250-2531. Jennifer Knapp. 7:30 p.m. $17–$20. FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Amon Amarth. 7 p.m. $37.50–$199. THE HAMILTON 600 14th St. NW. (202) 787-1000. Pink Talking Fish. 7:30 p.m. $20–$25. WARNER THEATRE 513 13th St. NW. (202) 783-4000. Incubus. 8 p.m. $77–$350.


EAGLEBANK ARENA 4500 Patriot Circle, Fairfax. (703) 993-3000. Maluma. 7 p.m. $59–$159.

28 october 11, 2019

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. Pink Martini with Meow Meow. 8 p.m. $35–$85.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Combo Lula. 6 p.m. Free.


CITY WINERY 1350 Okie St. NE. (202) 250-2531. Dale Watson & His Lone Stars. 5:30 p.m. $20–$25.


HILL COUNTRY BARBECUE 410 7th St. NW. (202) 556-2050. Slaid Cleaves. 8 p.m. $22–$28.


DC9 1940 9th St. NW. (202) 483-5000. Maisie Peters. 8 p.m. $10–$15. october 11, 2019 29

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050. Natasha Bedingfield. 8 p.m. $35–$55.


9:30 CLUB 815 V St. NW. (202) 265-0930. Idles. 7 p.m. $25.


U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889. Augustana. 7 p.m. $20.


RHIZOME DC 6950 Maple St. NW. Belen Escobedo and Panfilo’s Güera. 7:30 p.m. $10–$20.


KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Takács Quartet. 7:30 p.m. $45.


DC9 1940 9th St. NW. (202) 483-5000. Michaela Anne. 8 p.m. $12. LINCOLN THEATRE 1215 U St. NW. (202) 888-0050. The Band Perry. 8 p.m. $35.


MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Ray LaMontagne. 8 p.m. $55–$125.


THE HAMILTON 600 14th St. NW. (202) 787-1000. The California Honeydrops. 7 p.m. $20–$25. UNION STAGE 740 Water St. SW. (877) 987-6487. Mahalia. 7:30 p.m. $20–$59.


CAPITAL ONE ARENA 601 F St. NW. (202) 628-3200. The Chainsmokers, 5 Seconds of Summer, and Lennon Stella. 7 p.m. $29.50–$325. SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Taylor McFerrin. 8 p.m. $16–$18. U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889. Slenderbodies. 7 p.m. $18.


THE ANTHEM 901 Wharf St. SW. (202) 888-0020. Wilco. 7:30 p.m. CITY WINERY 1350 Okie St. NE. (202) 250-2531. Bob Schneider. 7:30 p.m. $28–$40.


KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. Melbourne Symphony Orchestra. 8 p.m. $40–$100. KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Takács Quartet. 7:30 p.m. $45.


U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889. Moon Boots. 7 p.m. $15–$25.


9:30 CLUB 815 V St. NW. (202) 265-0930. Moonchild. 7 p.m. $26.


BIRCHMERE 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Goapele. 7:30 p.m. $45. KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. NSO Pops: Nat King Cole at 100. 7 p.m. $29–$99.


HOWARD THEATRE 620 T St. NW. (202) 803-2899. Little Brother. 9 p.m. $29.50–$35. KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Pharoahe Monch: Internal Affairs. 7:30 p.m. $35.


THE ANTHEM 901 Wharf St. SW. (202) 888-0020. Bon Iver and Feist. 7:30 p.m. $46–$96.


9:30 CLUB 815 V St. NW. (202) 265-0930. Yungblud. 7 p.m. $25. BLACK CAT 1811 14th St. NW. (202) 667-4490. (Sandy) Alex G. 7:30 p.m. $20–$25. CITY WINERY 1350 Okie St. NE. (202) 250-2531. Marc Cohn. 7:30 p.m. $45–$60.


DC9 1940 9th St. NW. (202) 483-5000. Night Club. 8 p.m. $12–$15.



SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Rosie Tucker. 9 p.m. Free. THE ANTHEM 901 Wharf St. SW. (202) 888-0020. The Black Keys. 7 p.m. $125–$250. BLACK CAT 1811 14th St. NW. (202) 667-4490. Noah Gundersen. 7:30 p.m. $20. DC9 1940 9th St. NW. (202) 483-5000. Miss June. 8 p.m. $12–$15. UNION STAGE 740 Water St. SW. (877) 987-6487. Cave In. 8 p.m.


U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889. !!! (Chk Chk Chk). 7 p.m. $20.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Plastic Picnic and Cataldo. 8 p.m. $10–$12. HILL CENTER AT THE OLD NAVAL HOSPITAL 921 Pennsylvania Ave. SE. (202) 549-4172. Asa Chang & Junray from Japan. 7 p.m. $18. LINCOLN THEATRE 1215 U St. NW. (202) 888-0050. Emel Mathlouthi. 8 p.m. $20–$45.


1 HENRY IV Folger puts on 1 Henry IV, the story of a king and his ill-suited heir, Prince Hal, in court and

30 october 11, 2019


After the breakup of his band Million Dead, Frank Turner put Bruce Springsteen’s Nebraska on heavy rotation and rethought his approach to songwriting. Turner underwent a metamorphosis that took him from angry young man to burnout prophet early in his solo career, and it was during this period that he released his rawest music. Across albums strewn with references to the Sons of Liberty, T.S. Eliot, and William Shakespeare, Turner and his band The Sleeping Souls wrestled with politics and history, from the legacy of the English Civil War to the rise of MAGA Trumpism. Part would-be revolutionary and part would-be scholar, the jaded punk-folk journeyman ruminates on his evolving ideology and a punk rock scene that didn’t live up to what he hoped that it could be. Frank Turner performs at 7 p.m. at The Warner Theatre, 513 13th St. NW. $35–$55. (202) 783-4000. —Will Lennon on the battlefield. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Oct. 12. $27–$85. (202) 544-7077. CANDIDA In the George Bernard Shaw play, a poet and a preacher both love the same woman—and both are baffled by her ultimate choice. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Oct. 20. $25–$50. (240) 582-0050. DAY OF ABSENCE This 1965 script features a discovery that upends a southern town in a comedic commentary on racism. Theater Alliance at H Street Playhouse. 1365 H St. NE. To Nov. 3. $20–$40. (202) 2412539. DISENCHANTED! Poisoned apples. Glass slippers. Who needs ’em?! Not Snow White and her posse of disenchanted princesses in the hilarious hit musical that’s anything but Grimm. Forget the princesses you think you know – the original storybook heroines have come to life to set the record straight. Disenchanted won the Outer Critics Circle Award for “Outstanding Off-Broadway Musical,” has played to soldout houses around the globe, and now Creative Cauldron presents the regional premiere. Creative Cauldron. 410 S Maple Ave., Falls Church. To Oct. 27. $20– $35. (703) 436-9948. DOUBT: A PARABLE Studio Theatre stages John Patrick Shanley’s Pulitzer-winning play Doubt: A Parable, where an allegation of abuse tears apart a 1960s Catholic school. Studio Theatre. 1501 14th St. NW. To Oct. 13. $20–$80. (202) 332-3300.

ESCAPED ALONE D.C. actress Holly Twyford directs Escaped Alone, a short play about the sometimes mundane, sometimes catastrophic fears that we all face in the modern 21st century. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 3. $55–$93. (703) 820-9771. EVERYBODY Branden Jacobs-Jenkins revisits the 15th century play Everyman in a production where the main role is assigned by lottery among a small cast of actors. Lansburgh Theatre. 450 7th St. NW. To Nov. 17. (202) 547-1122. FENCES Directed by Timothy Douglas, one of a handful of directors who has directed all 10 of August Wilson’s Century Cycle canon, Fences follows former Negro League baseball star Troy Maxson as he struggles to provide for his family and wrestles with the constraints systemic racism and his own human hubris have placed on his life. Ford’s Theatre. 511 10th St. NW. To Oct. 27. $20–$70. (202) 347-4833. FOOTLOOSE This semi-staged concert takes the beats of the movie and musical to tell a story about kids who have an itch to dance and just can’t be stopped. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Oct. 13. $59–$175. (202) 467-4600. MY NAME IS `ŌPŪKAHA`IA Hawaiian Mission Houses presents a one-man show about Henry ‘Ōpūkaha’ia, who came to the U.S. in the early 19th century. DAR Museum. 1776 D St. NW. To Oct. 16. (202) 628-1776.





Producing the “song of the summer,” especially in the DJ world, is a one-of-a-kind honor. Gaining that title ties you to vacations, celebrations, and memories forever. For a while, David Guetta held the honor of reigning summer DJ—then it was Calvin Harris. Now, The Chainsmokers command the summer charts year after year. What started as a viral meme in the 2014 song “#Selfie” spiraled into one of the greatest music duos of the decade. Song after song climbs the charts to number one. From the early days of “Don’t Let Me Down” and “Closer” to more recent hits like “Paris” and “Something Just Like This,” The Chainsmokers’ upbeat and electronic sound has defined summers in the latter half of this decade. Their energetic sound will take over the stage at Capital One Arena for their World War Joy tour. The Chainsmokers perform at 7 p.m. at Capital One Arena, 601 F St. NW. $26–$160. (202) 628-3200. —Lia Assimakopoulos

There’s no shortage of Adam Rippon content these days, as the 2018 Winter Olympian has parlayed his figure skating notoriety into a string of TV appearances and a YouTube interview series. He was born for this stuff—he’s quick with a quip and capable of being brutally honest when necessary. Both skills are likely to be at the core of his upcoming autobiography, Beautiful on the Outside, which he says was modeled after Tina Fey’s Bossypants. Even if Rippon weren’t 100 percent ready for prime time, his story would be compelling enough to carry a book and a speaking tour: The Scranton, Pennsylvania, native was raised by a single mom with five siblings, and he came out in 2015, when much of his competitive skating success was still ahead of him. His bronze in the team event made him the first out gay U.S. athlete to medal in the Winter Olympics. Adam Rippon speaks at 7 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $20–$45. (202) 408-3100. —Joe Warminsky




Alex Giannascoli’s early output under the name Alex G took over the Bandcamp-slash-blogosphere ecosystem of emerging artists between 2010 and 2012, with help from the prominence of early-teens acts like Elvis Depressedly and Teen Suicide. His label debut, DSU, made bestof-2014 lists at Consequence of Sound, the Washington Post, and Vogue; it also got him signed to Domino (home of Animal Collective, Dirty Projectors, and Blood Orange), where he’s released three more albums, including this year’s House of Sugar. Why he added the (Sandy) in 2017 is up for debate—it might be because of another Alex G floating around in the music world; when he changed the name, Domino said in a statement “We are unable to provide further comment at this time�—but he’s been tossing it around for years, and it fits. It’s the name of a 2011 track about a 14-year-old whose “insides are changing,� and she’s over it: “Right now, I just wanna grow up,� he sings. It’s been a long time since then (he’s 26 now), and on House of Sugar, a mature, clear, and inviting album, it sounds like he has. (Sandy) Alex G performs at 7:30 p.m. at Black Cat, 1811 14th St. NW. (202) 667-4490. —Emma Sarappo


By Brendan Emmett Quigley 

Crystal City. 1800 South Bell St. , Arlington. To Oct. 20. $20–$60. (866) 811-4111. TRYING Trying follows the true story of the author’s time working for Judge Francis Biddle, former attorney general of the United States under FDR—and a notorious taskmaster who is trying to cement his legacy. 1st Stage. 1524 Spring Hill Road, McLean. To Oct. 20. $15–$42. (703) 854-1856. WEST BY GOD Set in the Appalachia region of West Virginia, West By God follows the stories of two families, illuminating the divide between urban and rural life experiences and the various prejudices that go along with it. Jeremy Skidmore directs this production, the name of which is based on a local saying that means West Virginia is the will of God. Keegan Theatre. 1742 Church St. NW. To Oct. 20. $30–$50. (202) 265-3767. WET: A DACAMENTED JOURNEY WET explores the hardships an undocumented man has to endure to stay in Los Angeles, the only home he’s ever known. Kennedy Center Terrace Theater. 2700 F St. NW. To Oct. 12. $19–$35. (202) 467-4600.


WHERE’S MY ROY COHN This documentary follows lawyer and political fixer Roy Cohn from his time with Joseph McCarthy to his work for Donald Trump. Directed by Matt Tyrnauer. (See for venue information) GEMINI MAN An aging hitman has to battle his younger clone. Starring Will Smith, Mary Elizabeth Winstead, and Clive Owen. (See for venue information) LUCY IN THE SKY An astronaut’s life on Earth feels too small after what she saw in space. Starring Natalie Portman, Jon Hamm, and Zazie Beetz. (See for venue information) ABOMINABLE A sweet Yeti has to find his way back to his family. Starring Chloe Bennet, Albert Tsai, and Eddie Izzard. (See for venue information) PAIN & GLORY A film director has to reckon with his past when his life comes apart. Starring Antonio Banderas, PenÊlope Cruz, and Cecilia Roth. (See for venue information) THE ADDAMS FAMILY The creepy and kooky family goes on more misadventures. Starring Charlize Theron, Finn Wolfhard, and ChloÍ Grace Moretz. (See for venue information) JOKER Batman’s greatest villain gets an origin story in this feature. Starring Joaquin Phoenix, Robert De Niro, and Marc Maron. (See for venue information)

32 october 11, 2019



31 Tool that breaks up a rat's nest 32 Hit head on 33 Pioneering Terry Riley minimalist piece named for the key of its composition 35 Org. in Canton or Springfield 36 Yemeni 37 Sprint competitor 38 It's often on a class ring 42 Real lulu 44 Spoke unclearly 45 Current amount 46 Closed in 48 Hamilton character who sings "That Would Be Enough" 49 Retired TV host Philbin 50 Bummed 51 Theft 55 Crossword nut, probably 56 Crossword entry: Abbr. 57 Illness 58 Superagent Emanuel




JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE People come to Margaritaville to get away from it all— and there, they discover things they weren’t expecting. This musical uses classic Jimmy Buffet songs alongside original songs to send you to paradise. National Theatre. 1321 Pennsylvania Ave. NW. To Oct. 13. $54–$114. (202) 628-6161. JITNEY A Pittsburgh jitney station—a symbol of community stability—is threatened on all sides by a stagnant neighborhood with no jobs and encroaching gentrification. Arena Stage. 1101 6th St. SW. To Oct. 20. $76–$95. (202) 488-3300. LA VIDA ES SUEĂ‘O La Vida es SueĂąo by Pedro CalderĂłn de la Barca and directed by Hugo Medrano with adaptations by Nando J. LĂłpez is about free will, destiny, and tyranny. It will be presented in Spanish with English subtitles. GALA Hispanic Theatre. 3333 14th St. NW. To Oct. 13. $30–$48. (202) 234-7174. LITTLE SHOP OF HORRORS In Little Shop of Horrors, Seymour Krelborn, a meek floral assistant in the Skid Row neighborhood, pines after his co-worker Audrey. He brings in big business for the flower shop when he discovers a rare plant, whom he names “Audrey II,â€? that, as it turns out, feeds on human flesh. Constellation Theatre at Source. 1835 14th St. NW. To Nov. 17. $19–$55. (202) 204-7741. MY BARKING DOG My Barking Dog, a show by The Edge of the Universe Players 2, features Tia Shearer and Christopher Crutchfield Walker in a show about a woman, a man, a wild coyote, and a change. Edge of the Universe Players 2 at Caos on F. 923 F St. NW. To Oct. 13. $25. (202) 355-6330. RIGHT TO BE FORGOTTEN A young man makes a mistake at 17 that haunts him years later, because the internet never forgets—so he goes on a crusade to erase the event that puts him up against the biggest tech companies in the world. Arena Stage. 1101 6th St. SW. To Nov. 10. $72–$95. (202) 488-3300. THE ROYALE The Royale, inspired by the story of boxer Jack Johnson, follows an African American man who dreams of breaking the color line in boxing, despite his knockouts and doubt from his manager. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Oct. 27. $49–$54. (301) 924-3400. SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY Paulina, the queen bee of the Aburi Girls Boarding School, is desperate to be Miss Ghana—but she’s got some competition from within her school, namely from Ericka, who’s just arrived from America with a decidedly Western attitude. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Oct. 13. $32–$73. (240) 644-1100. THE TEMPEST Synetic Theater is remounting Shakespeare’s The Tempest—complete with a 30-foot deep pool and “splash zoneâ€? seating. Synetic Theater at

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We brought Savage Love Live to the Music Box Theatre in Chicago, the Barrymore Theatre in Madison, and the Pantages Theatre in Minneapolis over three nights. As is always the case at live shows, the crowd had more questions than I could possibly answer in a single night, so in this week’s column, I’m going to tear through some of the questions I wasn’t able to get to. —Dan Savage If you use food for vaginal play, is there any type you should definitely avoid? Lasagna makes for a lousy insertion toy. (Food doesn’t belong in vaginas; there could be bacteria on the food, even after washing, that results in a nasty infection. #FuckFirst #EatAfter) —DS How do you feel about relationships that have a time frame or defined end point? For example, one person is going away for school or a new job? I’m fine about relationships with seemingly set end points, as relationships don’t have to be open to or become long-term in order to be a success. (Did you meet a nice person? Did you have some good sex? Did you part on good terms? Success!) And the world is filled with couples that met at a time in their lives when school or work commitments meant they couldn’t be together—and yet, years or even decades later, they’re still together. You never know. —DS Is it okay that I always seem to hate my partners’ mothers? Is this normal? It isn’t and it’s not. When you’re the common denominator in a lot of high-stress, highconflict relationships, you’re most likely the problem. —DS Why do straight guys like anal so much?

tion on the basis of sexual orientation,” that’s bullshit and this relationship is over. But if he meant “polyamory is a better relationship model for me than monogamy,” that’s not bullshit and the conversation is just getting started. If you prefer monogamy but you’re willing to consider polyamory to be with him, i.e., if that’s a price of admission you’re willing to pay, it could work out. But if you aren’t open to polyamory, and monogamy isn’t a price he’s willing to pay to be with you, it won’t work out. —DS I work in secondary education and I’m in an open marriage. My job is awesome, but I’m so afraid of a student or a parent seeing me when I’m out with a different partner. What should I do?

You could hope people would mind their own business and continue to make out in public with your other partners—or whatever it is you’re doing in public that makes it clear you’re fucking/dating someone who isn’t your spouse—or you could be discreet. Since antidiscrimination statutes don’t offer protections to people in open relationships, and since people regularly freak out about teachers having sex at all, you really have no other choices besides discretion (when out with others) or shouldering the risk (of losing your job). —DS My poly friend has started bringing her flavorof-the-week partners to social events instead of her awesome wife. How do I tell her I’d rather hang out with her and her wife than her and her (usually boring, always temporary) new fling? Maybe your poly friend’s wife doesn’t want to hang out with you. Wait, I can say that in a nicer way: Maybe your poly friend’s wife is an introvert who would rather stay home and she’s only too delighted that the flavor-of-theweek is willing to escort her wife to the box social. But if you miss your friend’s wife, maybe give her a call and invite her to lunch? —DS

Superhero movies, bottled beer, watching sports—there are lots of things straight guys like that I just don’t get. But I get why they like anal: Done right, anal feels amazing. And not just for the person doing the penetrating. When it’s done right, it is also great for the person being penetrated. And sometimes the person being penetrated is a straight guy. —DS

My former lover cheated on his current live-in girlfriend with me. She has no idea. Should I tell her what a narcissistic cheater her boyfriend is?

After a year of dating, my boyfriend told me he is polyamorous. I don’t know how to proceed. Any tips?

My husband and I are swingers. For him, it’s who he is. For me, it’s something I do (and like!). We argue over how often we go out or have sex with other couples. Any suggestions for finding a happy medium?

If he meant “polyamory is my sexual orientation, and you have to allow me to date other people, and you can’t break up with me over this because that would amount to discrimina-

Vengeful former affair partners don’t have much more credibility than narcissistic cheaters—indeed, people view both with similar contempt. But you do you. —DS

More often than you’d like, and less often than he’d like—call it the bittersweet spot. —DS

What tips do you have for lesbians in long-term relationships who want to keep sex fun and interesting?

My advice for lesbians who want to keep their LTRs hot is the same as my advice for gays, straights, bis, etc. who want to keep theirs hot. At the start of the relationship, you were the adventure they were on, and they were the adventure you were on. That’s why it was so effortlessly hot at the start. But once you’re not each other’s sexy new adventure anymore— once you’re an established couple—you have to go find sexy adventures together to keep it hot. And that requires making a conscious effort. Explore your kinks, buy some sex toys, have sex someplace other than your bedroom, invite very special guest stars, etc. —DS How do I create a sexier bedroom for even better sex? Bedrooms are overrated, if you ask me (which you did), whereas basements, office stairwells, clean single-seat restrooms in upscale restaurants, dark corners of public parks, the space underneath banquet tables in hotel ballrooms, etc. are all underutilized. —DS Can you explain why male chastity is such a popular kink? I’m not offended by it, just curious about its sudden widespread popularity. “I think a big factor is that people are enjoying the heightened mental connections that tend to develop with chastity play,” said Christopher of Steelwerks Extreme, makers of the Rolls-Royce of male chastity devices. “Frequent business travel and long-distance relationships also make chastity an increasingly popular kink as the cage-wearer and key-holder can maintain a playful dynamic without needing to be in the same room.” —DS I’m 99.975 percent sure I don’t want kids. My boyfriend of almost four years has a vasectomy scheduled for the end of the year. Should we go through with it? My boyfriend is really fucking sexy, hence the .025 percent doubt. Vasectomies, like pregnancies, are reversible. Your boyfriend could also go to a sperm bank and put a load or three on ice. —DS Thanks to everyone who came to our live shows! Savage Love Live comes to Toronto and Somerville on October 11 and 12. For info and tickets go to Email your Savage Love questions to


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Claims against the deceLegals dent shall be presented to the undersigned with DC SCHOLARS PCS REQUEST a copy to the Register of FOR PROPOSALS – ModuWills or to the Register lar Contractor Services - DC of Wills Public with aCharter copy School to Scholars the undersigned, or solicits proposals for aon modular before 3, 2020, contractorApril to provide professional or be forever management andbarred. construction services tobelieved construct atomodular Persons be building to house four heirs or legateesclassrooms of the and one faculty offido ce suite. decedent who not The Request for Proposals receive a copy of this(RFP) specifi cations can be obtained on notice by mail within 25 and after Monday, November 27, daysfrom of its publication 2017 Emily Stone via comshall so inform the ister of Wills, including All questions should be sent in name, rewriting byaddress e-mail. Noand phone calls regarding this Date RFP will be aclationship. of first cepted. Bids must10/3/2019 be received by publication: 5:00 PM of on Newspaper Thursday, December Name 14, 2017 periodical: at DC ScholarsWashPublic and/or Charter School, ATTN: Sharonda ington City Paper/Daily Mann, 5601 E. Capitol St. SE, Washington Washington, DC Law 20019.ReAny bids porter. Nameallof Personal not addressing areas as outRepresentative: lined in the RFP specifiKathryn cations will F. Baumann not be considered. TRUE TEST copy Nicole Stevens Acting Register Apartments for Rent of Wills Pub Dates: October 3, 10, 17. D.C. BILINGUAL PUBLIC CHARTER SCHOOL NOTICE: FOR REQUEST FOR PROPOSAL D.C. Bilingual Public Charter School in accordance with section Must see! of Spacious semi-fur2204(c) the District of nished 1 BR/1 BA basement Columbia School Reform apt, Deanwood, $1200. Sep. enAct of 1995 solicits trance, W/W carpet, W/D, kitchproposals for vendors to en, fireplace near Blue Line/X9/ provide the following V2/V4. Shawnn 240-343-7173. services for SY19.20:

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* Ground Water Monitoring Holiday Services Special- Two furnished rooms for short or long Proposal Submission term rental ($900 and $800 per A Portable month) with Document access to W/D, WiFi, Kitchen, Den. UtiliFormat (pdf)and election ties included. Best N.E. location version of your proposal along H St. Corridor. must be receivedCall by Eddie the 202-744-9811 for info. school no later thanor visit 4:00 p.m. EST on Tuesday, October 22, 2019. Proposals should be emailed to No phone call submission or late responses please. Interviews,

samples, demonstraConstruction/Labor tions will be scheduled at our request after the review of the proposals only. SUPERIOR COURT OF THE DESIGN DISTRICT OF POWER NOW HIRCOLUMBIA ING ELECTRICAL APPRENTICES OF DIVISION ALL SKILL LEVPROBATE ELS! ADM 000950 2019 Name of Decedent, Juabout the position… dith Cecile Giffen. Name Do Address you love of working with and Attorney your hands? Are you interPaul Riekhof, Esquire, estedF. in construction and 111 Rockville in becoming an Pike, electrician? Suite 975, Rockville, Then the electrical apprentice Maryland 20850. Notice position could be perfect for ofyou! Appointment, Notice Electrical apprentices able to earn a paycheck toare Creditors and Notice full benefi ts while learntoand Unknown Heirs, Carol ing the trade through Anne Giffen, whose firsthand experience. address is 12622 Farnell

Drive, Silver Spring, MD what we’re looking for… 20906 was appointed Motivated D.C. residents who Personal Representative want to learn the electrical oftrade the and estate Judith have aofhigh school Cecile diedas diplomaGiffen or GEDwho as well transportation. onreliable September 1, 2017 4, 2017, without a Will a little bitserve about us… and will without PowerSupervision. Design is one ofAllthe Court top electrical contractors in unknown heirs and heirs the U.S., committed to our whose values, whereabouts to training and to givare shall ingunknown back to the communities enter their appearin which we live and work. ance in this proceedmoreObjections details… ing. to such Visit appointment shall be careers or email careers@ filed with the Register! Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001,Services on or Financial before 3/26/20. Claims Denied Credit?? Work to Reagainst the decedent pair Your Report With shall beCredit presented to The Trusted Leader in Credit Repair. the undersigned with a Call Lexington Law for FREE copy to the Registera of credit report summary & credit Wills or to the Register repair consultation. 855-620of Wills a copy to at 9426. Johnwith C. Heath, Attorney the on orLaw Law, undersigned, PLLC, dba Lexington before 3/26/20, or be Firm. forever barred. Persons believed to be heirs or Home Services legatees of the decedent who do not receive a Dish Network-Satellite copy of this notice byTelevision Services. Now Over 190 mail within 25 days of channels for ONLY $49.99/mo! its publication HBO-FREE for oneshall year, so FREE inform the FREE Register of Installation, Streaming, Wills, including name, FREE HD. Add Internet for $14.95 and relationaaddress month. 1-800-373-6508 ship. Date of first

publication: 9/26/2019 Auctions Name of Newspaper and/or periodical: Washington City Paper/ Daily Washington Law Reporter. Name of Personal Representative: Carol Anne Giffen TRUE TEST copy Nicole Stevens Acting Register of Wills Pub Dates: September 26, October 3,Whole 10. Foods Commissary Auction DC Metro AreaCOURT SUPERIOR Dec. 5 at DISTRICT 10:30AM OF THE OF 1000s S/S Tables, Carts COLUMBIA & Trays, 2016 Kettles up PROBATE DIVISION to 200 Gallons, Urschel 2019 ADM Cutters & 000868 Shredders inName cludingof Decedent, 2016 Diversacut Rose Name 2110Glascoe. Dicer, 6 Chill/Freeze and address At-Ovens Cabs, Double of Rack & Ranges, Braising torney Rena(12) L. Strauss, Tables,Omega 2016 (3+) Stephan 15204 Drive, VCMs, 30+ Scales, Suite 210, Rockville, Hobart 80 Notice qt Mixers, MD 20850. of Complete Machine Shop, Appointment, Notice to and much more! View the Creditors and Notice to catalog at Unknown Heirs, Althea or Hinds, whose address 412-521-5751 is 5809 3rd Street NE, Washington, DC 20011 Garage/Yard/ was appointed Personal Rummage/Estate Sales Representative of the estateMarket of Roseevery Glascoe Flea Fri-Sat who died 5615 on April 7, Rd. 10am-4pm. Landover 2003, without a Will Cheverly, MD. 20784. Can buy and willContact serve 202-355-2068 without in bulk. Court Supervision. Allor if or 301-772-3341 for details intrested in being a vendor. unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 4/10/20. 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 before 4/10/20, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a

copy of this notice by mail withinMiscellaneous 25 days of its publication shall so NEW COOPERATIVE SHOP! inform the Register of Wills, including name, FROM EGPYT THINGS address and relationAND BEYOND ship. Date of first 240-725-6025 publication: 10/10/2019 Name of Newspaper and/or periodical: Washington City Paper/ SOUTH AFRICAN BAZAAR Craft Cooperative Daily Washington Law 202-341-0209 Reporter. Name of Perwww.southafricanbazaarcraftcoo sonal Representative: Althea Hinds southafricanba z a ar @hotmail. TRUE TEST copy Nicole com Stevens Acting Register of Wills PubWOODWORKS Dates: WEST FARM October 10, 17, 24. Custom Creative Furniture 202-316-3372 Looking for phone number, email address, and other con7002 Carroll Avenuefor an tact information Takoma Park, MD 20912 uninsured motorist who Mon-Sat 11am-7pm, rear10am-6pm ended my vehicle Sun on Monday, September 30,Motorcycles/Scooters 2019 at approximately 10:00 a.m., on 14th Street,TU250X NW atforthe 2016 Suzuki sale. 1200 miles. CLEAN. Just serintersection of Rhode viced. Comes with name bike cover Island Ave. Her and saddlebags. AskingKing, $3000 is Katelyn Nichole Cash only. 7/6/1994, and birthdate Call 202-417-1870 M-F between her drivers license was 6-9PM, or weekends. issued in North Carolina.

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SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2019 FEP 000118 Date of Death March 7, 2019 Name of Decedent, Ralph Moody Hall, Notice of Appointment of Foreign Personal Get Wit It Productions: Representative and Professional sound and lightingBrett availNotice to Creditors able for club, corporate, Hall, whose addressprivate, is wedding receptions, holiday 2710 Whispering Oaks, events and much more. Insured, Rockwall, Rexas competitive rates. Call 75087 (866) 531was appointed Personal 6612 Ext 1, leave message for a Representative the onten-minute call back,of or book estate of Ralph Moody line at: Hall, deceased, by the Rockwall Announcements County Court for Rockwall County, State of Texas on Announcements - Hey, all you lovers of erotic and bizarre September 11, 2019. romantic fi ction! Visit may www. Service of process be made upon Juanitaand submit your stories to meC Happy F. Ferguson, 1376 Holidays! James K. West Street NE,

ton, DC 20002 whose Events designation as District of Columbia agent has Christmas Silverthe Spring been filedin with Saturday, 2, 2017 RegisterDecember of Wills, D.C. Veteran’s Plaza The decedent owned 9:00 a.m. to 7:00 p.m. the following District Come celebrate Christmasof in Columbia real property: the heart of Silver Spring at our 310 East Capitol Street, Vendor Village on Veteran’s PlaN.E., Washington, D.C.arts za. There will be shopping, 20002, 4 inpictures Sq. 786 and crafts Lot for kids, with Santa, and entertainment Being music Condominium Unit to spread holiday cheer and more. lettered A and Parking Proceeds from the P-5 market Unit numbered in will provide a “wish” toy for children Colcord Condominium. in need. Join us at your one stop The decedent owned shop for everything Christmas. District Columbiacontact perFor more ofinformation, sonal Futsum,property. Claims against the decedent or may be presented to call 301-655-9679 the undersigned and General filed with the Register of Wills for the District Looking to Rent515 yard 5th space for of Columbia, hunting Alexandria/ArlingStreet,dogs. N.W., 3rd Floor, ton, VA area only. Medium sized Washington, D.C. 20001 dogs will be well-maintained in within 6 months temperature controled from dog housthe of first animal publicaes. I date have advanced care tion of this experience andnotice. dogs will be rid Date of first free of feces, flies,publication: urine and oder. Dogs will be in a ventilated kennel 10/10/2019 so they will be exposed to winName of not Newspaper ter and harsh weather etc. Space and/or periodical: will be needed soonPaper/ as possiWashingtonasCity ble. YardWashington for dogs must Law be Metro Daily accessible. Serious callers only, Reporter call anytime Kevin, 415- 846Name of Neg. Person Repre5268. Price sentative: Brett Hall TRUE TEST copy Counseling Anne Meister Register Wills TO START MAKE THEof CALL Pub Dates: Oct. 10, Free GETTING CLEAN TODAY. 24/7 Helpline for alcohol & drug 17, 24 addiction treatment. Get help! It is time toRIVERS take your life back! Call TWO PUBLIC Now: 855-732-4139 CHARTER SCHOOL REQUEST FOR PROPregnant? Considering AdopPOSALS tion? Call us first. Living expenses, housing, medical, and continAudiovisual Design ued support afterwards. Choose Consultant adoptive family of your choice. Call 24/7. 877-362-2401. Two Rivers is seeking to procure an Audiovisual Design Consultant for a 29,000 SF expansion of Two Rivers Middle School at the existing Young campus. For a copy of the RFP, please email

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2019 ADM 000949 Name of Decedent, James B. Mentzer. Name and Address of Attorney Reed Spellman, 6404 Ivy Lane, Suite 400, Greenbelt Maryland, 20770. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Virginia Ivin, whose address is 234A 11th Street, SE, Washington, DC 20003 was appointed Personal Representative of the estate of James B. Mentzer who died on July 11, 2019, with a Will and will serve without Court Supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 3/26/20. 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 before 3/26/20, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: 9/26/2019 Name of Newspaper and/or periodical: Washington City Paper/ Daily Washington Law Reporter. Name of Personal Representative: Virginia Ivin TRUE TEST copy Nicole Stevens Acting Register of Wills Pub Dates: September 26, October 3, 10 The Maxum, Hull ID #USPA83MMC393, white and grey in color has been abandoned at the Eastern Power Boat Club (hereinafter “Club) for more than six (6) months. Unless the boat is claimed and removed within thirty (30) days, the Club and William Cloud will apply for title to the vessel in their names. Failure to claim the vessel will constitute a waiver of all rights, title and interest in the vessel. All related descendants of Dr. James Gibson A.K.A. “Guinea Jim” of Savannah Sound, Eleuthera, Bahamas please contact Richard Love at or (305) 528-6645

William W Crocker Decedent NOTICE TO UNKNOWN HEIRS Rosemary Tate, whose address is 761 Quebec Place, N.W., Washington, D.C. 20010, is the personal representative of the estate of William W. Crocker who died April 15, 2002 without a will and will serve without court supervision. All unknown heirs and whose whereabouts are unknown. Claims against the decedent shall be presented to the undersigned on or before 12/26/2019 or forever be barred. Persons believed to be heirs to the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address, and relationship. Date of first publication: 10/3/2019 Washington City Paper Rosemary Tate Personal Representative TRUE TEST COPY Nicole Stevens Acting Register of Wills

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Circle. Contact: Stevenstvn9@

Have you always wanted to sing or play keyboards/piano Here’s your chancelessons that work! For any age. Email or call 202-486-3741 Legendary Band needs experienced musicians: female vocalist, bass, keboard, horns. 30+yo, R & B & funk music. Call Shepard, 202-476-9637 or Reggie, 202-270-5833.

22 side by side burial plots for sale in the Prestige Crestlawn Cemetary located in Christian E section, up front with beautiful view of the valley. Brand new currently selling for $8000 each, offering each for $4500 or $9000 for the two, includes bench you can sit on. Please contact Nancy, 443-851-0316. 11th Annual South African Bazaar “One-of-a-Kind” Holiday Gifts/ SA Art/ Stunning Beaded Crafts/ Zulu Baskets SA Wine Tasting Saturday, November 9, 10am-6pm Silver Spring Civic Building Ellsworth Rm./One Veterans Plaza Corner of Fenton St & Ellsworth Drive, Silver Spring, MD Not Sponsored, associated or endorsed by Montgomery County Government FREE ADMISSION Naos Papillon swivel glass coffee table measures 21-1/2” deep; 36” wide folded; and 72” wide unfolded. Sturdy black and silver metal base. Originally $1500. Now only $400. Good condition. Cash only. NW DC. 202-2914918. Luxury women’s exercise & yoga leggings & sports bras. Unique living room end tables (two) for $40. Angled faux stucco bases, glass tops. 24” wide x 27” deep. Cash only. NW DC. 202-2914918.

I LOVE HISTORY I love history and am looking to make friends with individuals with the same interest. I work at a major research institution and live at Dupont

KARAOKE WEDNESDAYS, LIVE BANDS SATURDAYS! Marcia Wagner & Kelly West (The Schnanimals) Cool For Cats--Call For Info (301) 393-7540. The Alley Cat Restaurant, # 2 South Whiting Street, Alexandria, Virginia (703) 461-0450 www. nightlightproductions. club FIREFEST is a chance for Beltsville Volunteer Fire Department to bring out the nearby community to celebrate a day filled with food, fun, and education. Best of all, it is completely FREE! We have rebranded the open house to be a sleeker version of what we had before, and we are expecting record crowds this year. Residents, community leaders, church members, parents, students, business owners, and service providers will all be in attendance.


We have so many fun activities and educational demos planned, and we would like you to be a part of it! The information for the event: Date: Sunday, October 20, 2019 Time:12:00 pm - 4 :00 pm Place: 4911 Prince Georges Ave, Beltsville, MD 20705 Conservative Catholic Friend I converted to Roman Catholicism a few years ago and would like to make a conservative Catholic friend who believes in the teachings of the Church. I am age 56 and have retired from a major research institution. Contact: Stevenstvn9@””” Hattie Holmes Senior Wellness Center’s Quilting Club Presents a Quilt Exhibition and Workshop Wednesday, October 23, 2019 10:00AM – 3:00PM Hattie Holmes Senior Wellness Center 324 Kennedy St. NW Washington, DC 20011 Featuring: Quilting Demonstrations, Projects on Display, Giveaways, Fabric Sale, Make/Take Patches, Raffle.


One-Stop-Shop For All Your Catheter Needs. We Accept Medicaid, Medicare, & Insurance. Try Before You Buy. Quick and Easy. Give Us A Call 866-282-2506 october 11, 2019 35

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