Washington City Paper (October 14, 2016)

CITYPAPER Washington

Free voluMe 36, No. 42 washiNgToNciTyPaPer.coM ocT 14–20, 2016

District line: Please,No More glass boxes 7 fooD: Michel richard’s Food lives oN 17 arts: challeNgiNg The arT world PaTriarchy 23

TAXICAB CONFESSIONS Cabbie Hamed Abawi’s sleazy sex stories are hard to believe. But then there are his nauseating videos. P.12

By Will Sommer

Photographs by Darrow Montgomery

Debbie Allen’s

FREEZE FRAME… Stop the Madness

“Sharp, sassy, with attitude and verve” —The Guardian

This profoundly relevant theatrical narrative fuses movement, music, art, and cinema to explore violence and race relations with honesty and poignancy in a captivating new production with the power to stun, inspire, awaken, and ultimately create change.

October 27–30 | Eisenhower Theater Following the evening performance on Oct. 29, Whoopi Goldberg hosts a free* post-performance panel discussion, “Power of the Arts to Be Transformative,” that includes Nicole Hockley from Sandy Hook Promise, filmmaker Lee Daniels, actress Phylicia Rashad, professor Michael Eric Dyson, and Kayla Hicks, the Director of African-American & Community Outreach with the Educational Fund to Stop Gun Violence. *Oct. 29 eve. ticketholders only

TICKETS ON SALE NOW! (202) 467-4600 KENNEDY-CENTER.ORG Tickets also available at the Box Office. Groups (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

2 october 14, 2016 washingtoncitypaper.com

Presented in association with

INSIDE

12 Taxicab confessions

W E PAY

CASH

FOR YOUR CLOTHES

Hamed Abawi’s sleazy sex stories are hard to believe. But then there are his nauseating videos.

By Will Sommer Photographs by Darrow Montgomery

4 Chatter DistriCt Line

7 Concrete Details: Glassbox architecture has held sway in D.C. long enough.

8 Sports 9 Gear Prudence 10 Savage Love 11 Buy D.C.: Alice’s Adventures in Wonderland

D.C. FeeD

17 Young & Hungry: How Michel Richard’s bistro is keeping his memory alive.

19 The Bibs Don’t Fib: You CAN spend $40 or less at these six Bib Gourmand restaurants.

19 Hangover Helper: Taylor Pork Roll Sandwich, GW Delicatessen 19 ’Wiching Hour: Chili Crab Fried Chicken, District Fishwife at Union Market

arts

23 Land of Plenty: The National Museum of Women in the Arts’ latest is a glimpse into the Rubell family’s vast collection.

24 Arts Grazer: A handy guide to this month’s horror movies 25 Film: Olszewski on Desierto and Long Way North 26 Curtains: Jones on Taffety Punk’s An Iliad 27 Discogs: West on Victor Provost’s Bright Eyes

City List

29 City Lights: Catch the Washington Improv Theater’s latest production, POTUS Among Us. 29 Music 34 Theater 36 Film

37 CLassiFieDs Diversions 39 Crossword

Uptown Cheapskate buys the clothes you loved yesterday and sells what you want today. Bring in your freshly laundered, gently used trendy clothes (guys & girls), shoes & accessories for 25% more store credit or cash on the spot.

“I’m the king at night.” —Page 12

TIMONIUM 1830 Yor k Rd. 410.560.5890

Location!

New SALISBURY

2618 N Salisbury Blvd. | 410.845.2751

ROCK VILLE 1038 Rockville Pike 301.762.1089

washingtoncitypaper.com october 14, 2016 3

CHATTER

Shutter Glee

In which readers like what they see

Darrow MontgoMery

There was no hate mail in the inbox this week. We could have gone for another bit of righteously indignant calligraphy via snail mail, but it was all approbation. Last week’s image retrospective in honor of staff photographer Darrow Montgomery’s 30th anniversary at City Paper (“Long Exposure,” Oct. 7) was, in the vernacular of our national pastime, a grand slam. “Congratulations on 30 years of stunning photos of life in D.C. Striking photos,” McGraw (@ChrisMcGrawDC) wrote on Twitter. “We’re much more than marble and monuments. We’re a city of people and places; the sum of vice and victory,” wrote Markus E. Batchelor (@MarkusBatchelor).

Perhaps our favorite response came from noodlez, whose all-caps tribute (which we are lowercasing here) was endearing (if tragically flawed grammatically): “The crown jewel of Washington City Paper! Art is like music it calms the savage beast. Darrows vision through his view finder is pure art and has always been a calming presence to me especially when Im ranting and opposing some lame submission by of one of those Loose Lippers Great work brother Hope you continue doing what you love.” There was former CP writer Michael Dolan, who has seen our shooter in action: “In 10 years & 250ish CP assignments, my faves were the ones Darrow shot, starting with his first CP gig, that 1986 cat show & including a memorable afternoon at Quantico during which Darrow calmly chronicled the melee as a U.S. Marine working dog savaged my fortunately well-padded arm. Godspeed you, Emperor of Lenses!” Finally, fan Joe Martin seemed to hope Darrow has dental insurance, among other things: “Darrow Montgomery is a creative genius,” he commented. “How fortunate to see his work on a regular basis. Applause to the City Paper for keeping him on the payroll, presumably with all the benefits one should get.” In response to last week’s troubling piece about the principal at Malcolm X Elementary School threatening retribution for teachers who speak out against inequity (“Evening the Score,” Oct. 7), DC Resident wrote, “This principal is the same kind of idiot who sees their management style fail the students year after year and then go ahead and blame the students’ failure on lack of parent involvement! MUST BE FIRED.” —Liz Garrigan

1600 BLoCk of PEnnsyLvania avE. nW, oCt. 5 PuBLishER EMERitus: Amy AustIn PuBLishER: ErIc norwood EDitoR: lIz gArrIgAn aRts EDitoR: mAtt cohEn fooD EDitoR: lAurA hAyEs sEnioR EDitoR: wIll sommEr City LiGhts EDitoR: cArolInE jonEs staff WRitER: AndrEw gIAmbronE staff PhotoGRaPhER: dArrow montgomEry intERaCtivE nEWs DEvELoPER: zAch rAusnItz CREativE DiRECtoR: jAndos rothstEIn aRt DiRECtoR: stEphAnIE rudIg CoPy EDitoR/PRoDuCtion assistant: wIll wArrEn ContRiButinG WRitERs: jEffrEy AndErson, jonEttA rosE bArrAs, morgAn bAskIn, VAncE brInklEy, ErIcA brucE, krIston cApps, rubEn cAstAnEdA, justIn cook, shAun courtnEy, rIlEy croghAn, jEffry cudlIn, ErIn dEVInE, mAtt dunn, tIm EbnEr, jAkE EmEn, noAh gIttEll, ElEnA goukAssIAn, sArAh AnnE hughEs, AmAndA kolson hurlEy, louIs jAcobson, rAchAEl johnson, chrIs kElly, AmrItA khAlId, stEVE kIVIAt, chrIs klImEk, ron knox, AllIson kowAlskI, john krIzEl, jEromE lAngston, Amy lyons, chrIstInE mAcdonAld, kElly mAgyArIcs, nEVIn mArtEll, kEIth mAthIAs, mAEVE mcdErmott, trAVIs mItchEll, QuInn myErs, trIcIA olszEwskI, EVE ottEnbErg, mIkE pAArlbErg, bEth shook, mAtt tErl, dAn trombly, tAmmy tuck, nAtAlIE VIllAcortA, kAArIn VEmbAr, EmIly wAlz, joE wArmInsky, AlonA wArtofsky, justIn wEbEr, mIchAEl j. wEst, AlEx zIElInskI, AlAn zIlbErmAn intERn: noA rosInplotz saLEs ManaGER: mElAnIE bAbb sEnioR aCCount ExECutivEs: ArlEnE kAmInsky, AlIcIA mErrItt, ArIs wIllIAms aCCount ExECutivEs: stu kElly, chrIsty sIttEr, chAd VAlE saLEs oPERations ManaGER: hEAthEr mcAndrEws DiRECtoR of MaRkEtinG anD EvEnts: sArA dIck BusinEss DEvELoPMEnt assoCiatE: EdgArd IzAguIrrE oPERations DiRECtoR: jEff boswEll sEnioR saLEs oPERation anD PRoDuCtion CooRDinatoR: jAnE mArtInAchE GRaPhiC DEsiGnERs: kAty bArrEtt-AllEy, Amy gomoljAk, AbbIE lEAlI, lIz loEwEnstEIn, mElAnIE mAys southCoMM: ChiEf ExECutivE offiCER: chrIs fErrEll ChiEf oPERatinG offiCER: blAIr johnson ExECutivE viCE PREsiDEnt: mArk bArtEl LoCaL aDvERtisinG: (202) 332-2100 fax: (202) 618-3959, Ads@wAshIngtoncItypApEr.com voL. 36, no. 42 oCt 14–20, 2016 wAshIngton cIty pApEr Is publIshEd EVEry wEEk And Is locAtEd At 1400 EyE st. nw, suItE 900, wAshIngton, d.c. 20005. cAlEndAr submIssIons ArE wElcomEd; thEy must bE rEcEIVEd 10 dAys bEforE publIcAtIon. u.s. subscrIptIons ArE AVAIlAblE for $250 pEr yEAr. IssuE wIll ArrIVE sEVErAl dAys AftEr publIcAtIon. bAck IssuEs of thE pAst fIVE wEEks ArE AVAIlAblE At thE offIcE for $1 ($5 for oldEr IssuEs). bAck IssuEs ArE AVAIlAblE by mAIl for $5. mAkE chEcks pAyAblE to wAshIngton cIty pApEr or cAll for morE optIons. © 2016 All rIghts rEsErVEd. no pArt of thIs publIcAtIon mAy bE rEproducEd wIthout thE wrIttEn pErmIssIon of thE EdItor.

4 october 14, 2016 washingtoncitypaper.com

8th Annual South African

Bazaar

HIRE AN INTERN.

CHANGE A LIFE.

“One-of-a-kind” Holiday Gifts SA Art / Stunning Beaded Crafts / Zulu Baskets Jewelry / Home Decor / Traditional Attire

To sponsor an intern, contact Jetheda Warren, jwarren@theurbanalliance.org, 202-459-4308

Urban Alliance

empowers under-resourced youth to aspire, work, and succeed through paid internships, formal training, and mentoring.

Saturday, November 5 / 10am–6pm

www.theurbanalliance.org

Silver Spring Civic Building Ellsworth Room / One Veterans Plaza

Corner of Fenton St. & Ellsworth Drive / Silver Spring, MD

southafricanbazaar@hotmail.com www.SouthAfricanBazaarCraftCooperative.com

FREE ADMISSION!

Not sponsored, associated or endorsed by Montgomery County Government Sponsors: African Women’s Network International, SA Bazaar Craft Cooperative

HOW CAN THE ARTS ADVANCE BODY POLITICS? SUNDAY, NOVEMBER 13, 2016 4:30–8 PM

“A swirling, genre-busting musical extravaganza” —San Francisco Chronicle

Followed by Sunday Supper Katie Cappiello, Tanya Selvaratnam, Aishah Shahidah Simmons, Emma Sulkowicz, discuss how artists—particularly those working in performance art, film, and theater—address issues of discrimination, sexism, and sexual violence to effect change.

DJS, CLASSICAL MUSIC, & LIVE ELECTRONICA IN ONE THUMPING, IMMERSIVE PARTY Featuring DJ Masonic (Mason Bates) | Maestro Benjamin Shwartz BACH | STRAVINSKY | ADAMS | ROUMAIN | BATES Cash Bar & Signature Cocktail

Oct. 24 at 7:30 p.m. | Kennedy Center Atrium EMMA SULKOWICZ

AISHAH SHAHIDAH SIMMONS: PHOTO BY DANIEL GOUDROUFFE

TA N YA S E LVA R AT N A M : P H O T O B Y N A O M I W H I T E

K AT I E C A P P I E L L O : P H O T O B Y LY N N S AVA R E S E

Purchase tickets at nmwa.org/ fresh-talk-righting-balance-no-mans-land

1250 New York Avenue, NW | Washington, D.C., 20005 | 202-783-5000 | nmwa.org

New Artistic Initiatives are funded in honor of Linda and Kenneth Pollin. www.mercurysoul.com

TICKETS $20—ON SALE NOW! (202) 467-4600 KENNEDY-CENTER.ORG Tickets also available at the Box Office. Groups (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

washingtoncitypaper.com october 14, 2016 5

Client: RCN Job #: RCNDC74A_Oct_SHO_CityPaper-1Qtr Size: 4.666”W x 5.1455”H Date: 10/3/16 Prepared By: 718-967-2241 Ken@DeLeonGroup.com ©2016 DELEON GROUP LLC. All rights reserved.

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Environmental Impact Statement Public Meeting

The Federal Railroad Administration (FRA) invites you to review the Washington Union Station Expansion Project and provide feedback on the concepts.

The proposed concepts illustrate potential Project elements, including: • Realigned and improved platforms and tracks • Additional public concourses • New train hall • Parking, bus, taxi, bicycle and pedestrian facilities

INFORMATIONAL OPEN HOUSE Wednesday, October 19, 2016 4:00 p.m. to 8:00 p.m.

Formal presentations: 4:30 p.m. and 6:30 p.m.

Washington Union Station’s Presidential Room (Located in the East Hall) 50 Massachusetts Avenue, NE Washington, DC 20002

You will also have the opportunity to review and comment on screening criteria that will help FRA determine which project concepts will be evaluated in an Environmental Impact Statement (EIS). FRA is preparing the EIS to analyze the proposed project’s potential impacts to the environment. This meeting is also part of concurrent National Historic Preservation Act Section 106 consultation.

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Public participation is solicited without regard to race, color, national origin, age, sex, religion, disability or family status. Persons who require special accommodations under the Americans with Disabilities Act or persons who require translation services (free of charge) should contact the project team at info@WUSstationexpansion.com at least seven days prior to the meeting.

Tomorrow’s History Today: This was the week we learned D.C. Jail Warden William J. Smith quietly retired.

DistrictLine Ban the Box

By Amanda Kolson Hurley Let’s say a developer wants to build an office building in D.C. He hopes to attract prestigious, deep-pocketed tenants: a law firm, a lobbying shop, maybe a tech company. He calls an architect in New York, someone who’s won glitzy awards and been profiled in the Times.

The architect comes down on the Acela for a meeting. The developer listens politely as he runs through a few ideas. Then he stops him and explains: D.C. is not New York.

Progressive architecture sticks out like a sore thumb—or a red flag for the zoning and preservation boards—here. Also, because of the height limit, developers build out to the edges of the lot to make the numbers work better. Any design with a distinctive shape comes at the cost of square footage.

He points at a glistening wall across the street: “Can you design me something like that?”

Ask and it shall be delivered. Since the beginning of the boom, the type of building known as a glass box has become ubiquitous around D.C. Not just offices, but even some theaters (the Shakespeare Theatre’s Harman Center) and museums (the Newseum) are glass-box affairs. One reason is technology. Unlike the glass buildings of a few decades ago, the new ones aren’t plagued by heat loss and moisture problems, and the daylight they let in earns points toward LEED, a green standard that’s required for many large structures.

The opening in 2014 of CityCenter, designed by the UK’s Norman Foster and D.C.’s Shalom Baranes, seemed like the height of Washington’s glass-box obsession. But turn to the real estate news today, and what’s on the boards? CityCenter’s Phase 2, a super-glassy hotel. A corporate headquarters (for Fannie Mae) resembling two giant ice cubes. A Dupont Circle office building with a facade that ripples and dissolves into shards.

Glass boxes are never eyesores, but that’s only because they never take any risks. The architect Adolf Loos, setting the course for Modernism in the early 20th century, famous-

ConCrete details

ly wrote that ornament is a crime. The crime of the ornament-free glass box is its relentless blandeur. Its unwillingness to cause offense is, itself, slightly offensive.

Builders of glass boxes like to tout their “transparency,” but as critics have pointed out, glass buildings usually aren’t transparent; they’re just glassy. The notion that buildings made of stone or brick follow the architectural styles of their era while the glass box somehow transcends style is wrong. Glass boxitude is its own style—self-consciously democratic, yet politically flexible. (The Cato Institute operates out of a glass box, as do the LGBTQ nonprofit Human Rights Campaign and the lobbyist law firm DLA Piper.)

Designs for the new generation of glass boxes do show innovations on the formula. The New York firm SHoP wants to add greenish copper fins and skywalks to Fannie Mae’s HQ. Architect Joshua Prince-Ramus of REX would use concave panes of glass, with no mullions, for his M Street building. When the hotel at CityCenter, by Herzog & de Meuron, was first unveiled, it had a facade like a glass quilt with delicate fluting.

But I’m skeptical that these variations amount to the revolution in building type some press coverage has implied. Look at what happened at CityCenter. Updated images of the hotel show a more ordinary building: The convex panes and fluting are gone, presumably to cut costs or meet a tight construction schedule. Fannie Mae is getting hammered by the Federal Housing Finance Agency over the cost of its new HQ. Value engineering seems to be on the horizon.

Maybe Prince-Ramus will be able to pull off his own special effects, but will they be as ethereal as those in the renderings?

The sad thing is that any of these talented architects could have given us something much more interesting. Glass boxes aren’t their specialty—they’re just what D.C. demands.

Elsewhere in the world, ironically, the fetish for glass seems to be over. Although much improved from the 1970s, glass curtain walls still absorb heat in summer and lose it in winter, and the light that floods into them can be excessive, which is why you of-

Darrow Montgomery

Glass-box architecture has held sway in D.C. long enough.

ten see sun screens on the outside. Some architects are switching back to opaque materials—London has an emerging style dubbed “Brickism.” New technology is also making it possible to build tall buildings out of wood, which will have great environmental benefits (to learn more, visit the “Timber City” exhibition at the National Building Museum right now).

D.C. is slowly catching on. To redevelop its clinic on 14th Street NW, Whitman-Walker Health has tapped Annabelle Selldorf, a New York architect known for her use of terra cotta.

The developer EastBanc hired the acclaimed Portuguese architect Eduardo Souto de Moura to design a small brick-and-concrete residential building in Georgetown.

Other developers and institutions in D.C.

should follow their lead. New approaches to building with brick, ceramic, concrete, wood, and stone aren’t just fashionable—they’d suit our historic, midrise city to perfection. Think of all the street-level details to enjoy on walks around town, instead of flat, boring glass: brickwork patterns, glazed terra cotta, columns of warm wood.

One reason for the initial appeal of the glass box was that it formed a clear hyphen between the solid buildings on either side of it, a welcome breathing space. That’s still true, but the balance between heavy and light buildings in D.C. has shifted. If it shifts much further, we’ll be in trouble. Imagine endless curtains of glass stretching down Washington’s avenues. Who wants to live inside a hall of mirrors?

CP

washingtoncitypaper.com october 14, 2016 7

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RESEARCH ON ALCOHOL USE VOLUNTEERS NEEDED Doctors at the National Institute on Alcohol Abuse and Alcoholism (NIAAA) seek volunteers for a research study that will evaluate if inflammation of the brain occurs in individuals who are alcohol drinkers. Researchers want to see if 3-4 weeks without alcohol shows less inflammation in the brain.

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• Participants in this study will have tests at two time points: one shortly after a bout of alcohol drinking (less than one week after you last drank alcohol). If the brain images show evidence of inflammation the tests will be repeated at least 3 weeks after abstaining from alcohol. Repeating these same tests at least 3 weeks later, will let us know if the inflammation improves with abstinence.

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8 october 14, 2016 washingtoncitypaper.com

By Matt Terl

It’s rare for the D.C. area to get an almostuniformly pleasant sports day like the one on Sunday.

For the second straight week, the NFL team found itself on the winning side of exactly the kinds of mistakes and fluky calls that usually torpedo it, and pulled its record for the season over .500. The baseball team evened up its playoff series, forestalling the annual panic and grief by at least a few days. The hockey team closed out its preseason with a shutout win, priming us all for another excellent regular season.

Like any good sports fan, I tend to lack perspective on these things: Lost games loom larger in my life than they should, and wins make me disproportionately happy. But what made Sunday so notable—what made the cheerful games even more diverting than usual—was how they contrasted with what happened after them, and what happened on Friday.

The Nationals opened its playoff series at home Friday, with ace Max Scherzer on the mound, and lost. It was a rough defeat by any measure, and a particularly grueling one given the team’s history of playoff frustration.

It was depressing.

At the same time as the Nationals were grinding through that opener, the Washington Post broke the story of Donald Trump’s taped comments, and that was even more disheartening.

The media is covering this thresher of an election, more than any other I can remember, like a sporting event. Sometimes it’s the way the race feels like WWE wrestling, with outsized promos and heel turns and stunts. Sometimes it’s the way the ads for the debates share a look and feel with Monday Night Football’s campaigns. And sometimes it’s just the way the sheer unwavering partisanship on both sides feels like a sports fan’s laser-focused irrational dedication to their squad, even in the face of stupid personnel decisions and horrible strategic moves.

The crucial distinction, of course, is that the election actually matters. Any election matters, but if you’re a neurotic Jewish liberal like me, it feels like this particular election is especially critical—like it might, in fact, be a literal matter of life and death.

If my teams’ losing games loom larger in my head than they should, the constant fluorescent-light buzz of this election has tak-

en up a more or less permanent place in the back of my mind. Between my addiction to Twitter and the conversations at work and at home and on Facebook and the “gamechanging” moments that have occurred with metronomic regularity through this campaign, it has felt at times like my life has boiled down to obsessing about the election and desperately searching for ways to blot it out.

Which brings me back around to sports, and more specifically to Friday’s Nationals loss.

What I kept thinking, as the setback coagulated and the details of the Trump tapes became clearer, was that this was the real curse of D.C. sports: not just that the teams lose, but that in the depressing certainty that the teams will lose, the games had lost their ability to serve as a distraction from real life. What fun is it to turn away from one grim death march of a contest only to watch another one, even if the stakes are much lower.

Sunday night, after most of the games were over, brought the second presidential debate.

With break after favorable break in the football game, and with wins stacking up, I went into the evening with that unnaturally positive feeling that’s specific to a fan who is basking in the reflected glory of their team despite having contributed literally nothing to the outcome.

This would be the opposite of Friday, I figured. Somehow the good mood engendered by the meaningless sporting events would mitigate the sour taste of even more election coverage. All would be well!

I made it maybe two minutes into the debate before deciding that I wasn’t in the mood for my own helplessness in the face of more negativity. I tried to watch the Sunday night game between the Giants and the Packers, but it seemed even more inconsequential than usual. I wound up following both events via Twitter, slack jawed and refreshing the screen, any unearned peace of mind slipping away.

NFL ratings are down this season, and the league’s PR flacks have suggested that election coverage might be one reason why. It sounded ridiculous to me when I read it on Friday morning, but Sunday night it made perfect sense: When you spend 24 hours a day following a contest where the stakes are so much higher and the action so much more ludicrous, it makes it much harder to trick your brain into feeling like sports should actually matter. CP Follow Matt Terl on Twitter @Matt_Terl.

Former Lead Singer of Mott The Hoople

Gear Prudence Gear Prudence: My husband is really funny. He’s really wry and witty, and we’ve always had a very jokey relationship. But his sense of humor can also get a little dark. More than once when I’ve been leaving my house on the bike, he’s said something with a wink like, “Don’t get run over!” I sort of laugh because I know that he’s just joking and I can be macabre about biking too, but it’s starting to get under my skin a little. There’s no way he really wishes me harm. Am I just being too sensitive?

—Joking Or Kidding, Ebullience Reluctant Dear JOKER: Jokes. GP gets jokes. But GP also gets how being forced to confront your own mortality due to an offhand remark from someone who allegedly loves you might not be the best feeling in the world. So, no, you’re not being too sensitive.

When it comes to humor, macabre is fine.

Winking is fine. Even snide can be fine. But the problem here is that his “joke” not only discomfits, but it’s also at your expense. Tell him that while you generally appreciate his sense of humor, the bike jokes bother you. Certainly if he’s as much of a comedian as you suggest, he’s told a few duds before and he’ll know how to revise his act.

—GP Gear Prudence: I used to ride two miles to work, but I changed jobs three weeks ago and now my ride is 10 miles. Now I’m arriving at work every day voraciously hungry. I either end up buying something junky from the convenience store nearby or grumble my way through the morning famished. This isn’t tenable. What would be some good post-ride snacks for me to store in the office?

—Help! Absent Nourishment, Green Rider Yellow Dear HANGRY: Ten miles is a long ride and it’s no surprise that you arrive at work in desperate want of sustenance. While your body might adjust over time to the new distance, leaving you less ravenous, bringing snacks from home to store at work is a great idea even if it’s the same junk you’d buy at the store. Think of all the savings when you buy your Ho Hos in bulk rather than one Ho at a time.

Work snacks vary depending on tastes, but go for something easy to eat with minimal preparation, with a decently long shelf-life, and that adequately matches your storage situation at your office. Communal fridges can be dangerous, so think of things you can easily hide in a drawer/above a ceiling tile. Also, unless you have excellent portion control, consider individually wrapped and appropriately apportioned snacks. A giant bag of trail mix goes awfully fast if you eat everyday until you’re sated. As for snack healthiness, sure, that’s a thing too.

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

Email gearprudence@washcp.com.

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I’m 64 years young, a musician, chubby, full head of hair, no Viagra needed, no alcohol, I don’t mind if you drink. Smoker, yes I am. I am also faithful, loyal, and single for five years. No health issues, nada, zero, zilch. Not gay, not prejudiced against gays, pro-woman, Democrat, MASCULINE. Except I only like the younger women and women without tattoos.

And I like them FEMININE. Ladies my age are a shopping bag of issues with children and exhubbies. NO THANK YOU. So what’s my problem? Young women see me as an old gizzard. I am not ugly, and I look younger than 64. But I see what younger women go for. These girls are missing out on me because they would rather be abused, cheated on, and kicked around by some young prince. Be my guest, dear! Another problem is that I don’t go to bars or really go out at all, so how the hell am I going to meet a girl? But I long for a girl I can cherish. I’m even willing to marry the right girl if she wishes, no problem.

Who cares about age? I sure don’t, but they sure do. Of course, I will die first; she can keep the car and everything else for that matter. I can’t take it with me. So I have about 24 more years of life and I don’t want to wait. Dreaming is free, of course, but I want it right here, right now. Am I asking for too much?

—Oblivious Ladies Disregard Elder Romeo

Who cares about age? You, OLDER, you care about age.

You rule out dating women your own age and then toss out two and possibly three stupid rationalizations for not staying in your actuarial lane: Women your age have children, ex-husbands, and tattoos (?). All bullshit.

Women your own age might be likelier to have children and ex-husbands, but there are plenty of childless women out there in their 50s and 60s, OLDER, younger women are likelier to have tattoos, and everyone (yourself included) has exes.

And excuse me, but women your own age are a shopping bag of issues? You’re a shopping mall’s worth of issues yourself, OLDER. Issue number one: You can’t be honest, even in an anonymous forum, about why you wanna date younger women—they make your grizzled old dick hard—so you take a dump on all older women. Issue number two: male entitlement syndrome. (The universe doesn’t owe you a younger woman, OLDER; the universe doesn’t actually owe you shit.) Issues three, four, and five: an inability to spot your own hypocrisy (I mean, come on), a clear preference for nursing a fantasy (the young woman of your nicotine-stained dreams) over accepting reality (there’s no settling down without settling for), and the probability that you’ve watched way too many movies with actresses in their twenties playing the romantic interests of actors in their sixties and seventies.

10 october 14, 2016 washingtoncitypaper.com

If I may be blunt(er): You’re an older man, you’re a smoker, you’re out of shape, you don’t leave the house much, and, most fatally of all, you harbor resentment for the objects of your desire (“Be my guest, dear!”), something objects of desire always pick up on and are almost always repulsed by. (Let’s all light a little candle for the ones who aren’t.) So unless you’re a billionaire or an A-list actor, OLDER, the young woman of your dreams is unlikely to break into your apartment. (There’s not a lot of overlap between the young gerontophile community and the burglar community.) Not even the prospect of inheriting a used car 24 years from now is going to land you a young woman.

My advice, OLDER: Keep dreaming. And if you want to be with a young woman once in a while, consider renting. But please don’t misconstrue anything I’ve written here as encouragement to date women your own age: They deserve better.

—Dan Savage

The universe doesn’t owe you a younger woman; the universe doesn’t actually owe you shit.

I am a 63-year-old man and I am engaged to a wonderful woman in her fifties and our sex life is great. My libido is off the charts when I am with her, and she is always initiating. She told me she used to enjoy teasing and watching guys online shoot while she played with (and exposed) herself, and she loves to see huge loads.

It is a massive turn-on for her. But I’m at an age where I produce hardly anything when I ejaculate. Is there a way to increase my production? Is there some way to increase the volume of my loads by a large amount? We watch porn that has guys shooting seemingly endless streams and she gets crazy horny watching them. I would love to be able to do the same!

—Need To Fill The Girl

Hydrate more, NTFTG, and go longer between orgasms (days, weeks), and you might see a moderate increase in volume. But you’re never gonna blow loads like you did in your teens and twenties, and you’re never gonna blow loads like guys do in porn. Remember: Porn producers, professional and amateur, select for big load blowers, NTFTG, so those samples (and those loads) are skewed.

So what you’re doing now—enjoying your fiancée while not denying her the pleasure of watching her porn (and then reaping the rewards yourself )—is without a doubt your best course of action.

—DS

I’m a 56-year-old widow. My husband died suddenly eight years ago. We had no children. I’ve learned how to get along on my own, and until recently, living alone didn’t bother me. Lately, though, I’ve become lonely. I don’t want to spend the rest of my life alone. The problem is that, since menopause hit, I no longer desire sex. I only miss cuddling and holding hands. My body shut the door on sex, and for the most part, I’m fine with it. (Sex with my late husband was truly terrible.) Should I just accept that I’m destined to spend the rest of my life alone?

—Ready To Give Up Don’t suppose you’d be interested in a 64year-old who doesn’t leave the house much and feels entitled to a child- and tattoo-free twentysomething but might be willing to settle? There could be a used car in it for you.

No? Then here’s another option: There are men out there—some around your age, some older, some significantly older—who aren’t interested in and/or capable of having sex anymore. Many of these men want companionship, too, and they lurk on dating websites, afraid to respond because they wrongly assume all the women on OurTime.com or SeniorMatch.com are looking for older guys who can get it up and get it in. Create a profile and be honest about what you want (companionship, intimacy) and don’t want (sex), RTGU, and you’ll hear from men who want a life partner and a cuddle buddy, not a sex partner or a fuck buddy.

Finally, RTGU, if you’re content without sex, I’m content. But I can’t help wondering if your terrible-at-sex husband didn’t create a negative association that a more considerate, attentive partner might be able to break. If you spoke to your doctor about treatment options and then landed in bed with a man who was kind, considerate, and capable, but content just to cuddle—so no pressure—you might find yourself wanting to reopen that door. —DS Send your Savage Love questions to mail@savagelove.net.

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TAXICAB CONFESSIONS Hamed Abawi’s sleazy sex stories are hard to believe. But then there are his nauseating videos.

By Will Sommer Photographs by Darrow Montgomery

12 october 14, 2016 washingtoncitypaper.com

Hamed abawi’s nose has a permanent curve to it, the result of a childhood bathtub fall and countless botched attempts to correct it. With his bob haircut and shiny-alligator-skin-print shirt, he looks like more like the lead of a Monkees tribute band than the prolific seducer he claims to be in his memoir.

“I’m the king at night,” Abawi, 55, says on a recent downtown drive in his SUV. In D.C. Cabbie: Sex, Drugs, and Taxi Fares, published in May, Abawi relates countless booze- and drug-fueled sexual encounters across the Washington area. The book reads like an unconnected reel of anecdotes that first titillate, then numb around the time Abawi is describing yet another customer’s pubic styling. But Abawi remains positive about the self-published book’s prospects.

“Anyone that reads this book knows that this will sell itself in America,” Abawi says.

Abawi fled Afghanistan as a teenager ahead of the Soviet invasion in 1979, eventually landing in the D.C. area. What was meant to be a short-term job driving airport passengers turned into a decades-long career that gave him entree into countless District subcultures.

Cabbing took Abawi through a full spectrum of District life, from picking up Reagan-era cold warriors to having sex with a prostitute in a cemetery. In the course of the book, Abawi goes from driving Georgetown basketball star Patrick Ewing to ingratiating himself with a set of Dilaudid addicts in suburban Maryland.

In his nearly 35-year taxi career, Abawi claims he learned how to drive stoned, or with his feet on the steering wheel, or by shifting gears with his frequently erect penis. And he picked up some truisms of the District: Republicans love cocaine, in his telling, while Democrats prefer marijuana. A tittie-bump, Abawi helpfully explains, is “when you snort a line of coke from a breast.”

Abawi’s long career and love of stories made him a well-known figure in some parts of the District nightlife industry.

“When you drive a cab, the best times are from midnight to 5 in the morning,” says Marco Jelencovich, a co-owner of Dupont Circle bar Parlay and a longtime Abawi friend. “He was always out and about.”

The vast majority of D.C. Cabbie focuses on the countless women whose lust for cab drivers Abawi claims to have satisfied. The book doubles as an account of how difficult it can be to have sex in a taxi, as Abawi recounts several female passengers propositioning him, often before he delivers them home to their hus-

bands or boyfriends.

“It was a dream for them to fuck a cab driver in a cab,” Abawi says.

When it comes to sex, Abawi’s style is more Penthouse Letters than Leaves of Grass. Consider a passage in which he shares cocaine with an attorney, then narrates their encounter.

“While she was blowing me, she bit my balls really hard,” Abawi writes. “I grabbed her by the hair and screamed, ‘Bitch, don’t ever do that again!’ She loved it. We had really rough sex.”

Abawi has some theories on why he’s been so popular with customers, honed through decades on the streets. A cab driver, according to Abawi, represents the ideal anonymous, latenight hookup for many of Washington’s professional women.

“After 10 o’clock at night, the women look for somebody to fuck,” Abawi says.

Abawi says he became an expert at relating to women from across the District’s social sets, with interns as a favorite. When Bill Clinton became embroiled in the Monica Lewinsky scandal, Abawi thought about

the top sexual experiences of his life, he picked up a passenger he describes as “beautiful and incoherent.” When the woman couldn’t give Abawi her address, he proposed his own house instead.

Abawi insists now that he’s never “taken advantage” of anyone. Still, he admits he walks a “very beautiful, fine line” with his passengers.

“It is such a fine line that I walked in 35 years between rape and fun,” Abawi says now.

There’s no way to verify many of Abawi’s stories. Memories pulled from decades of heavy drinking and drug use—including at least a year when Abawi says he injected himself multiple times a day with cocaine, then chugged vodka to go to sleep—are naturally suspect. Much of D.C. Cabbie was written at night after Abawi drank half a bottle of vodka to jog his memory, which might explain the random, chronologically scattershot quality of many stories. (Abawi released his memoir under a different title in 2010, only to edit it and republish it this year.) abawi insists tHat all of D.C. Cabbie is accurate.

Plus, he has some alarming proof: videos. In the final months of his cab career, Abawi installed a camera in the front of his car and aimed it at the back seat.

“They are drunk, you know,” Abawi says of his passengers. “They don’t know that there’s a camera recording them.”

Abawi improved his setup further, adding a lamp aimed at the back seat— the better, he says, to illuminate his customers.

“I could see her vagina and it’d be good for the camera,” Abawi says.

Some of the videos Abawi proudly shows off are objectively revolting, while others are pretty benign. Usually, a lone drunk female customer gets in the cab while Abawi glances at the camera. After a few minutes of talking, he reaches back to touch her or tells her to flash him her vagina. Abawi describes his technique: attempting to hold a woman’s hand and seeing if she pulled back.

“Usually, it’s that first holding hands that would tell me it is going to happen,” Abawi says.

Sitting in Parlay, a bar where one employee describes Abawi as a “VIP,” he plays videos from the rides on his laptop and explains the kinds of passengers he sought. He preferred single women to groups and female passengers wearing skirts instead of pants. In one video, he waves off a group of women asking for a cab ride, hoping instead to pick up a woman standing alone on the street.

“Drunk? Skirt?” Abawi says. “Good sign for

File/Darrow Montgomery

“It is such a fine line that I walked in 35 years between rape and fun.” writing the president a letter explaining the best way to sleep with Washington interns: driving a cab, of course.

This purported attraction isn’t one-sided. At one point in the book, a coked-up Abawi sees two potential customers—only to realize he’s actually staring at a newspaper stand and a fire hydrant.

But Abawi’s seedy book may have revealed more than even he intended. Far from a lighthearted sexual memoir, D.C. Cabbie chronicles something more disturbing: how far Abawi was willing to go to have sex with his customers.

By his own account, many of the women Abawi beds in the book appear too drunk or high to consent. He has intercourse with one woman who had urinated on herself earlier that night, and another who threw up shortly after getting into his cab. When two women started having sex with each other in the back seat, Abawi describes himself joining in without their knowledge.

“They had no idea that my fingers were also in action,” Abawi writes.

In one encounter that Abawi ranks as one of

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Hamed.”

Rather than demonstrating Abawi’s purported playboy lifestyle, though, many of the videos veer uncomfortably close to sexual assault. While one woman kisses him eagerly at the end of the ride, another video shows Abawi urging a plastered, barely responsive young woman to take off her shorts and show him her vagina. As she does so, the passenger seems to be hardly aware of what’s happening.

“I just told her, ‘Look at your pussy,’” Abawi says as he narrates the video.

In another, a young woman chats with Abawi and complains about her boyfriend, apparently a frequent talking point among Abawi’s passengers.

“Those are also the times that are very vulnerable,” Abawi says now.

The woman complaining about her boyfriend agrees to go with him to a bar near Union Station. “I told Rudolfo, my bartender friend, ‘Put some good shots in here and get them drunk,’” Abawi says.

When Abawi and his passenger return to the car, the now-agitated woman wants to know where he’s taking her. Abawi is vague on the details, saying only that he’s taking her to another bar.

“I’m not going anywhere else,” she says.

“I thought that you were going to talk to me about your book.”

As Abawi equivocates on his plans for her, the woman becomes more concerned. “I don’t like this,” she says.

Abawi doesn’t show the rest of the video, but claims triumphantly that he later had sex with the woman.

“There are crackheads running around, but these are good ones!” he says.

Searches of area court systems for

charges against Abawi turn up only a 2012 assault case for calling two men “faggots” and spitting on one’s cheek. According to his record with the city, Abawi racked up only parking- or traffic-related infractions as a cab driver.

Abawi has now retired from cabbing, although his taxi license is still active, according to the District’s Department of For-Hire Vehicles. He says he’s given up drugs, too, after a 2012 medical scare forced him to trade cocaine for promoting his book and caring for his three dogs. While he now jokes that the only “coke” he enjoys at bars is Coca-Cola, there’s one part of his past that he hasn’t turned his back on.

“One thing I don’t regret in life is the women,” he says.

CP

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Central to the Mission

By Laura Hayes Visit Central miChel riChard and you might notice a few new, peculiarly spelled dishes that lean toward fine dining—like “lobster begula” featuring lobster risotto that’s puckishly served in a caviar tin surrounded by clear pebbles impersonating ice. Or, onion “carbobara” that replaces traditional pasta with slippery ringlets of onions accompanied by shiitake, bacon, and egg yolk.

They’re reincarnated dishes from Citronelle—the shuttered Georgetown fine dining goliath where Washingtonians and the world first fell in love with Chef Michel Richard’s ever-playful cooking that married French cuisine and that of the U.S., where he worked for the majority of his career. Bringing back these time-capsuled plates is one way that Richard’s more casual bistro will keep his memory alive.

Richard was 68 when he died Aug. 13 after suffering a stroke. “It’s been a tough month and a half adjusting to not having him with us in the flesh,” Richard’s longtime general counsel and Central managing partner Chipp Sandground says ahead of this Sunday’s “Joie de Vivre” memorial service for his friend at the Embassy of France. Though Richard’s health “was never the greatest,” Sandground says, they expected him to be around for many more years.

“We’re very sad at his loss but grateful that he has a restaurant that bears his name— we’ll continue to operate it in his tradition,” he says.

Richard’s ebullient, Santa Claus-esque aura commanded loyalty—maybe even unconditional love—so there are more than a handful of people who clung to him throughout their careers. Not just Sandground but also Central wine director Brian Zipin and Central chef, general manager, and partner David Deshaies. That these close ties exist means Richard’s food will live on.

“There are a lot of people with bonds with Michel, but there is no bond more special and unique than between David and Michel,” Sandground says. “There’s a big fraternity and sorority of people who have worked with Michel, but David worked with him the longest.”

Sixteen years to be exact. “He was like a second dad to me, and culinarywise he was a master, so it was good for me,” Deshaies says.

Deshaies, who hails from the Loire Valley in France, learned of Richard when he was a 22-year-old working at La Côte Saint-Jacques in Burgundy under Chef Jean-Michel Lorain. After two years at the job, he yearned to learn English by working in the United States. Fortunately, Lorain had two friends here: Daniel Boulud in New York and Richard in Washington, D.C. “I was scared of New York, really scared,” Deshaies recalls. “I had a friend living in D.C. who said it’s a quiet life, cosmopolitan, much more European. Citronelle was doing 100 covers a night, it was fine dining. I loved that.”

Lorain pushed, relaying to Richard that Deshaies was “a good kid,” and Richard agreed to sponsor his visa.

Despite coming from a three-star Michelin restaurant where he was a sous chef, Deshaies started as a line cook at Citronelle while he learned English. After a year and a half, he reupped his visa instead of going back to France and was promoted to sous chef.

Three years later, he became the executive chef—a position he held for eight years.

When Richard began a period of expansion in 2009, opening a Citronelle

by Michel Richard in Carmel Valley, California, and Citrus at Social Hollywood in Los Angeles, among others, he asked Deshaies to be his corporate chef. Between opening new restaurants and putting on special dinners, Richard and Deshaies toured the country together. They say you don’t know someone until you travel with them.

“He was the best. We talked about food, food, food, food, food, girls, and food,” Deshaies says. “There’s nothing else we talked about, and we spent hours talking.”

He recalls how he and Richard would ravenously seek out greasy spoons after finishing in the kitchen at celebrity chef dinners

Darrow Montgomery/File

How Michel Richard’s bistro is keeping his memory alive.

in Napa Valley, Aspen, Los Angeles, and the like. “All the time, we’d finish in a crappy, shitty diner in town. We loved that because we ate greasy burgers and three or four beers. We were very happy.”

It was after this time period that Richard’s health began to decline, Deshaies says. He sold his other restaurants, leaving only Central. De-

shaies returned to D.C. in 2012 to work at the Pennsylvania Avenue brasserie, but in a new role. He came on as a partner and continued to oversee the kitchen, but he asked to be the general manager so he could learn things like human resources and accounting in preparation for opening his own restaurant in 2017.

“The last two years have been like going

washingtoncitypaper.com october 14, 2016 17

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feel confident that I can open a restaurant.”

Deshaies has been training Chef Tony Roussel to execute the menu upon his departure, but Deshaies will remain in charge of the cui[if circled] sine in a consultant role.

“David is a lexicon of what Michel created over the past decade and a half and even before because he learned what Michel was cooking years before that,” Sandground says. “He has a long list of things that we have thought about reviving. We don’t want to be kitschy about it, but there are ways to make it fun.”

That said, Deshaies vows never to retire the dishes that have made Central so iconic, including the goat cheese Caesar salad, the ahi tuna burger that used to be on the bar menu at Citronelle, “Michel’s fried chicken,” and the Kit Kat-mimicking “Michel’s chocolate bar.”

On the beverage front, Zipin says he’ll continue to pour the wines that have always worked with Richard’s food—classic French and American varietals.

Like Deshaies, Zipin moved to Washington, D.C. to work for Richard at Citronelle. “I left a general manager job in New York to be a bar manager and sommelier at Citronelle and took a pay cut because Citronelle was one of the best restaurants in country,” he says. His hope was that if all went well, he would be tasked with opening Central.

That goal materialized when a team from Citronelle was deployed to create Central in 2007. “It was a really inspired team that wanted to get it right for Michel,” says Zipin, who was the general manager, wine manager, and beverage manager at the time. Zipin says Richard wanted a “vibrant, fun, loud restau-

James Beard Award-winning restaurant hasn’t changed. “The industry has changed. There are more choices and more voices in the mix,” he says. “We can talk about small plates, we can talk about tasting menus, but they’re going to come and go. The brasserie, the bistro, the power of that will always remain.”

Central has meant a lot to so many. Over the past month, a memory book has been displayed in the restaurant, its pages scrawled with messages in gold and silver ink that say way more than rest in peace: From a food lover and hunter of the ultimate dish, your chicken is like ice cream in that it melts in your mouth, best I ever had.

Papa Smurf, the pastry god, father Christmas, my dearest Michel. You are truly missed and impossible to forget.

My family considers Central the place to celebrate milestones, but also “our” neighborhood bistro. We always looked for Michel and his huge smile, bear hugs, and big laugh when we dined.

These diners, and countless others, should know that Central isn’t going anywhere. Sandground says there are five more years on the lease, plus a five-year option. “We’re up for another 10 years,” he says. “We think it’s a great location and will get better as the new hotel gains traction in town.” Sandground uses “the new hotel” as a euphemism for Donald Trump’s D.C. Hotel, which is directly across the street.

Sandground ticks off some other ways Central is planning to honor Richard’s memory.

First, they’ll continue to support the charities that meant most to Richard, including St. Jude Children’s Research Hospital. Second, he plans to enlist Richard’s architect son to reno-

“It’s Central Michel Richard. We shorthand it Central, but to all of us, this is Michel’s restaurant.” rant that serves food that chefs eat when they get off work.”

The finished product was more casual than Zipin expected. “It’s kind of like Fabio [Trabocchi], these chefs can only go so casual— this was casual for Michel at the time.” The restaurant was welcomed with open arms.

Zipin recalls the first year when greats like Thomas Keller (The French Laundry) and Danny Meyer (Union Square Hospitality Group) would fill the dining room. “It was insane,” he says, because they were serving 350 people a night.

Fast-forward to today. Zipin, who left to pursue other local ventures before returning to Central in July 2015, says the heart of the

vate the private dining room in a way that honors his father.

“It’s Central Michel Richard. We shorthand it Central, but to all of us, this is Michel’s restaurant,” Sandground says.

Zipin was able to observe Richard on his last visits to the restaurant. He’d come in three or four times a week, mostly during the day unless he had friends visiting. He’d sit on the patio or in the lounge having appetizers, port, or his favorite, coconut sorbet.

“Some people would stop by and say hello, others were intimidated. I don’t know why,” Zipin continues, still using present tense.

“Michel is the jolliest guy in the world if you’re not a cook in his kitchen.”

CP

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Grazer

The Bibs Don’t Fib You CAN spend $40 or less at these six Bib Gourmand restaurants

By Laura Hayes Michelin awarded 19 D.C. restaurants with a Bib Gourmand as a part of the city’s first-ever Michelin guide that published this week. Bib Gourmands go to restaurants deemed to be both excellent and affordable by anonymous Michelin inspectors.

By definition, a diner should be able to pay $40 or less for two

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of last night, while also punishing your body further with the gooey goodness that is a congealed mass of pork, egg, and cheese. Those who shudder at the thought of eating a Taylor pork roll sandwich have never uttered the phrase YOLO.

The Dish: Taylor Pork Roll Sandwich Where to Get It: GW Delicatessen, 2133 G St. NW; (202) 331-9391 Price: $5.95

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Hangover Helper

What It Is: Taylor pork, or Taylor ham, is a breakfast staple that’s more common in parts north of Washington, D.C. Ask anyone from New Jersey, and they will tell you that this meat product is largely defined by its slightly sweet, very salty taste. Some refer to it simply as mystery meat, but for hangovers it’s quite simply a gift from the gods. Usually, Taylor pork comes in a breakfast sandwich that’s a Jersey diner staple accompanied by two slabs of American cheese and a fried egg, served on a Kaiser roll.

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courses and a glass of wine or dessert before tax and tip. For most, a visit to any of the following restaurants is a nice night out, not a cheap eats session, so we checked the inspectors’ math. They’re right—it’s possible, so long as you’re not a two cocktail kind of gal.

servatives, and some sugar. The sandwich has an industrial and processed taste, and that’s kind of the point. Eating this breakfast sandwich is an act of penance. You’re atoning for the sins

Why It Helps: This breakfast sandwich is college tested, and tri-state approved.

Taylor pork is typically hard to find south of the Turnpike, but New Jersey is one of the biggest feeder states into George Washington University. Thankfully, the GW Deli does this mystery meat justice. Undergrads will gladly wait in a line that stretches the length of the aisle to get their hands on this sandwich. And, for those who spent the night on frat row, and somehow think the room is still spinning, just be sure to say—Double, Double, Double—when you order.

The guy behind the counter will add two times the meat, cheese, and egg to your sandwich and serve it on a sub roll, for just $8.25.

—Tim Ebner

Stuffings: Fried chicken thigh, pickles, chili crab sauce, lettuce, lemon aioli Bread: Potato roll from Lyon Bakery Thickness: 3.5 inches Pros: The crisp crust on the fried chicken gives the sandwich just the right amount of crunch when it’s paired with the thick, drippy sauce and the soft potato roll. Adding the slightly sweet chili sauce elevates what would otherwise be a pedestrian chicken sandwich into something that tastes interesting, at least after one bite.

Cons: Frying the chicken twice ensures its crust will be crisp, but also guarantees the thigh meat will be dry by the time it hits the bun. Because the thickness of the meat isn’t consistent, some bites are perfectly cooked and others taste as dry as leather. The sauce, a combination of sustainably sourced crab, chilis, and tomatoes based on a popular Singapore dish that District Fishwife founder Fiona Lewis sampled while traveling in Asia, sounds intriguing but lacks depth of flavor and any hint of crab. You only taste sweetness and mild spice.

Sloppiness level (1 to 5): 5. The majority of the crab sauce oozes off the top of the sandwich and puddles under it, making it tricky to put the sandwich down once you pick it up. The remaining sauce gets absorbed by the roll, making it structurally inadequate, especially since it must bear the load of a heavy piece of chicken.

Overall score (1 to 5): 1.5. Though conceptually well-intentioned, this sandwich fails on execution. From the messy construction to the lack of flavor, nearly everything needs improvement.

—Caroline Jones

washingtoncitypaper.com october 14, 2016 19

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R&B singer Little Royal—known as Soul Brother No. 2—has died. washingtoncitypaper.com/arts

Land of Plenty

The National Museum of Women in the Arts’ latest isn’t just a glimpse of a staggering private collection—it challenges the patriarchy of the art world.

No Man’s Land: Women Artists from the Rubell Family Collection At the National Museum of Women in the Arts through Jan. 8, 2017

By Beth Shook

in three intimate works on paper, where the thickness of a lip or the curve of a thigh unfurls in gauzy washes of ink and the occasional gestural brushstroke. Despite the sensual technique, Dumas’ figures are as unnerving as they are sultry. Their uncanny poses point to some underlying, impenetrable psychology—far from the come-hither effect of your average odalisque.

Other highlights here include Nina Chanel Abney’s “Khaaliqua and Jeff ” (2007), a work that harnesses the unsettling, allusive power of a pair of rubber cleaning gloves, and Cecily Brown’s “Service de Luxe” (1999), a gestural riot of pink that miraculously coalesces into two figures engaged in a spanking session, as if Willem de Kooning’s “Women” found a way to channel all that pent-up aggression.

A few works seem calculated to generate social-media buzz.

Take “Lysa III” (2014), a life-size and unusually voluptuous female mannequin that conceptual artist Jennifer Rubell (daugh-

One Of the pleasures of viewing a private collection of contemporary art is discovering—or imagining—the circumstances that led to an artwork’s purchase. Unconstrained by institutional directives or a board of trustees, private collectors might buy a work on first glance or before it’s even completed. The result is often a fresh and eclectic assemblage, with some works satisfying an owner’s aesthetic whims and others staking a claim to the art historical canon. So it is with the Rubell Family Collection, one of the world’s largest private collections of contemporary art and the subject of No Man’s Land: Women Artists from the Rubell Family Collection, an invigorating if uneven exhibition at the National Museum of Women in the Arts.

Originally conceived for Art Basel Miami Beach, where it filled Don and Mera Rubells’ 45,000-square-foot exhibition space with a rotating cast of over 130 works, No Man’s Land has been pared down to a more manageable 59 works by 37 artists from around the world. It juxtaposes newish works by art-world heavy hitters, like Yayoi Kusama, Marlene Dumas, and Isa Genzken, with compelling pieces by a younger generation of artists that includes L.A.-based painter Jennifer Guidi and Iraqi artist Hayv Kahraman.

D.C. residents in particular should take note: After several years of delays, the Rubell family, who purchased the Capitol Skyline Hotel in Southwest in 2002, is poised to break ground on its other property in the neighborhood, the historic Randall School building, which will be repurposed as a mixed-use complex and satellite museum for their collection. No Man’s Land features one work by a D.C. native, a contemporary play on Jap- “Service de Luxe (detail),” by Cecily Brown, 1999 anese Ukiyo-e printing by the artist Rozeal. It’s unclear, though, ter of Don and Mera) has retrofitted with a functional nutcracker between its legs. Displayed on its side next to a pedestal full how much of a role local artists will play in the new museum.

The exhibition is divided into “Body” and “Process,” themes of walnuts, the work, which was inspired by novelty nutcrackfluid and open-ended enough to make one question wheth- ers made in the likeness of Hillary Clinton, encourages visitor er they’re necessary at all. (How much art doesn’t engage the interaction. And while there is meaning to unpack here—about body or entail a process?) Many women artists, though, espe- female stereotypes, about the relationship between violence cially those who came of age in the early 1970s, when critics be- and desire—for many, the opportunity for a cathartic nut-crack gan turning the art world’s patriarchy and Eurocentrism on its or a photo between spread synthetic legs will inevitably take head, have spent their careers asking particular questions about precedence. In the process, will anyone take a moment to questhese themes. For instance, what might the female nude, a clas- tion whether offering up an overtly sexualized body for the masical subject in painting and sculpture, be capable of when lib- nipulation of the museum-going elite might be problematic?

Despite being billed as a painting and sculpture show, much erated from the male gaze?

In the work of Dumas, she confounds. The Amsterdam- of the Rubells’ collection defies traditional categorization. based, South African-born artist zooms in on the female body This is particularly true of the fiber works, which span the two

Galleries

thematic sections and range from a large, many-tendrilled installation in braided straw and beads by Brazilian artist Maria Nepomuceno to early “knitted paintings” by the German multimedia artist Rosemarie Trockel.

When Trockel began stretching machine-made knits over wooden supports in the mid-1980s, she was in dialogue with a wave of women artists contesting the arbitrary distinction between craft and fine art. In works like “Untitled” (1990)—a delightfully hideous knitted composition patterned with a repeating skull motif over yellow plaid—she subverted notions of what it meant for a woman to be a maker while thumbing her nose at the insular and male-dominated German art scene.

Younger artists continue this legacy of medium mash-ups. For an untitled work in 2010, Dianna Molzan removed the vertical warp threads from a stretched canvas and then carefully painted an abstract composition onto the slack weft threads, effectively employing the language of cool geometric abstraction to generate a new “weaving.” By the time you get to Tauba Auerbach’s “Slice II” (2012), an architectural composition of woven strips of unpainted canvas, you get the point.

There are some missed opportunities. Where there could be fruitful cross-generational dialogue, there are groupings that feel uninspired, like the small gallery that features only works by the painter Celia Paul, or the odd instance where representations of women of color are lined neatly in a row.

Other artists seem to be included primarily for their star power: Kusama, who, at 87, has had by far the longest career of the bunch, is represented by two examples from her iconic “Infinity Nets” series. In their obsessive all-over patterning, the paintings exemplify Kusama’s lifelong compulsion toward repetitive processes. But tucked into a gallery of loud objects, far from her broader oeuvre, they lose some of their potency. Contrast that with the hypnotizing effect of Guidi’s two large canvases, which, composed of hundreds of rows of carefully spaced white brushstrokes, create the illusion of tapestries, their “imperfections” generating pleasant rifts and ripples.

Still, in 2016, when women artists continue to be starkly undervalued and underexhibited, NMWA’s exhibition is a welcome oasis—one made possible only through the focused efforts of artists, curators, and savvy patrons like the Rubells. The show aspires to the paradigm shift that feminist art historian Linda Nochlin envisioned nearly 50 years ago: a revision of the “naïve, distorted, uncritical assumptions” about who qualifies as an artist and what it means for her to be “great.” In this no man’s land, we learn that contested territory is sometimes the most fruitful.

CP 1250 New York Ave. NW. $10. (202) 783-5000. nmwa.org. washingtoncitypaper.com october 14, 2016 23

CPArts Arts Desk

Meet the musicians selected to perform in Ragnar Kjartansson’s “Woman in E.” washingtoncitypaper.com/arts

Shock and Awe

It’s October, which means it’s time to cram in as many horror movies as time allows. There’s plenty to go see on the big screen in area theaters this month, but if you’re not quite sure what to catch, hopefully this handy chart will help you.

—Matt Cohen Peeping Tom Screens at the AFI Silver Theatre on Oct. 22 and 27.

Nosferatu Screens at the AFI Silver Theatre on Oct. 28.

Dial M For Murder Screens at the Angelika Pop-Up at Union Market on Oct. 19.

Hitchcockian Thrillers The Birds Screens at Suns Cinema on Oct. 30.

The Golden Age of Horror The Thing Screens at the AFI Silver Theatre on Oct. 29

The Exorcist Screens at the Alamo Drafthouse Ashburn on Oct. 31.

Psycho Screens at Suns Cinema on Oct. 29 and at the Angelika Pop-Up at Union Market on Oct. 31.

The People Under The Stairs Screens at Suns Cinema on Oct. 21.

Modern Classics Silence of the Lambs Screens at the Alamo Drafthouse Ashburn on Oct. 23.

24 october 14, 2016 washingtoncitypaper.com

Shaun of the Dead Screens at the AFI Silver Theatre on Oct. 29 and 31 and at the Alamo Drafthouse Ashburn on Oct. 25 and 26.

Frankenhooker Screens at Suns Cinema on Oct. 18.

They Don’t Make Them Like They Used To

Suspiria Screens at Suns Cinema on Oct. 14.

Which horror movies should I go see?

A Nightmare on Elm Street Triple Feature Screens at the Alamo Drafthouse Ashburn on Oct. 15

The Thing From Another World Screens at the AFI Silver Theatre on Oct. 29.

Possession Screens at Suns Cinema on Oct. 15.

European Weirdness Let The Right One In Screens at Suns Cinema on Oct. 27.

Night of the Creeps Screens at the AFI Silver Theatre on Oct. 29

Give Me Camp

Army of Darkness Screens at the Alamo Drafthouse Ashburn on Oct. 30.

House of Dracula Screens at the Alamo Drafthouse Ashburn on Oct. 27.

Hollywood Chainsaw Hookers Screens at Suns Cinema on Oct. 18.

Rocky Horror Picture Show Screens at E Street Cinema on Oct. 28-30 and at the Alamo Drafthouse Ashburn on Oct. 21, 22, 26, and 29.

Film

The Road Less Traveled When the going get tough, it takes a strong-willed protagonist to get the tough to get going in these two films.

Desierto

Directed by Jonás Cuarón

Long Way North

Directed by Rémi Chayé

By Tricia Olszewski In Jonás Cuarón’s Desierto, the hills have eyes. Specifically, the hills in the desert that runs along the U.S./Mexico border. This is the harsh land that undocumented immigrants attempt to traverse to seek a better life. Not all of them go on to pursue the American dream.

Desierto is a horror story in which the villain is all too real. (To a point, at least. But we’ll get to that.) Cuarón, who co-wrote Gravity with his father Alfonso, maps out a rather simple story here (with coscripter Mateo Garcia) that you’d expect to be rife with political and social commentary. But throughout its 94 minutes, the filmmakers refuse to go that deep. Call it a southwestern: There’s a bad guy and there are good guys—depending on your point of view—and one extended shoot-’em-up.

It begins with a group of Mexicans being shuttled to the border in a truck. Their guide, as it were, is Lobo (Marco Pérez); when the truck breaks down beyond jerry-rigged repair—confirmed by mechanic and fellow emigrant Moises (Gael Garcia Bernal)— Lobo orders the dozen or so riders to start walking. It’s rough and brutally hot terrain, and soon the group separates into two, with Lobo and the fitter walkers outpacing a small number who can barely put one foot in front of the other while carrying their belongings.

Moises is among the latter group, though it seems to be due more to his heroic sense of self than any physical shortcomings. He offers to help an out-of-shape traveler with his heavy bag, and soon virtually carries him. When they take a break and he notices a brutish older man (Oscar Flores) pay more attention to a young woman he was hired to watch over (Alondra Hidalgo) than she’d like, Moises steps in to tell the guy to step off. After all, you can’t root for the star of a film with such hot-topic undertones unless his character is a first-class dude.

The ones left behind keep calling to Lobo and the others, assuming that they’re screwed

without him. But they shut up fast once shots start firing. High on a hill, they watch the first group on a stretch of land below fall one by one.

And they realize that they have more than a strenuous trek to worry about.

Desierto then essentially turns into Ten Little Indians—or pretty much any slasher flick in the history of cinema. The shots are fired by Sam (Jeffrey Dean Morgan), a vigilante with a tenacious German shepherd and a decidedly antiimmigrant agenda. He’s not affiliated with the law; in fact, he’s hostile with a police officer

that you won’t buy for a minute. Cuarón’s second feature suggests that he’s talented enough to follow in his father’s footsteps. But though Desierto may entertain, it hardly slays.

who stops him on the road, not-so-subtly accusing him of not doing enough to secure the border. So Sam has apparently made it his life’s mission to take care of it himself.

Cuarón has crafted a fast-paced and often unnerving chase flick, making the most of the dialed-up heat and using a handheld camera to viscerally highlight the physical demands the Mexicans have to power through in order to evade Sam’s rifle. But the unrelenting game of hide-and-seek gets a bit tiresome, elevated only by a uniquely percussive score and, of course, the question of how it will play out.

The answer is somewhat ridiculous, as is Sam himself, who proves himself a man’s man by chugging whiskey and cackling when he kills off the first group. The last chapters require quite a suspension of disbelief as Sam continually circles his final prey around rough rocks, his previous deadshot suddenly becoming way less accurate. The denouement also includes tears

mark, weren’t an animated film. But consider what U.S. audiences are accustomed to: It took Pixar until 2012 to center one of its movies on a female, Merida from Brave. And after decades of damsels in distress, Merida is the only Disney princess who didn’t swoon over some dude.

Rémi Chayé’s economical 81-minute film, penned by three scripters, may not have the emotional and visual depth of a Pixar gem, but it’s delightful nonetheless—that it also passes the Bechdel test is a bonus. Its hand-drawn simplicity gives respite to CG-weary eyes, sacrificing no magic with its blocks of color or, in the most impressive scenes, blustery washes of white that represent the brutal conditions of the arctic. The film is easy on the brain, too, with no rat-tat-tat blasts of jokes to appease parents, only occasional low-key humor meant to elicit smiles instead of guffaws.

Long Way North takes place in 1882 Russia.

Sasha (Chloe Dunn in the dubbed English ver-

sasha Is the protagonist of Long Way North.

Sasha is a princess. And Sasha has no love interest aside from the suggested admiration of a boy who’s among the seamen the 15-year-old leads to the North Pole.

This may not be remarkable if Long Way North, a co-production from France and Den-

sion) is the aristocratic granddaughter of an explorer, who in the opening scene is setting sail with majestic ceremony to find the North Pole.

He’d always regaled young Sasha with tales of his adventures and details of his ultimate goal, and even though he ended up lost at sea, Sasha was proud of his bravery, which St. Petersburg honored by naming a library after him. His ship was never found.

But when the teenage Sasha is getting ready for her first ball and digs around a storage room for earrings her grandfather had given her, she finds notes he’d left behind that offer clues about where his ship may be. She also discovers that society actually regards him as somewhat of a disgrace, for reasons not clearly explained. So when her father admonishes her after the ball for speaking impudently to a prince who refuses to order a search party, Sasha ditches her privileged life to go search herself.

Like Merida, Sasha is written as a strong female role model.

She shows no fear as she tirelessly tries to find someone to help her, and when she’s taken advantage of by a man claiming to be the captain of a ship, the normally pampered princess works—albeit thanks to the benevolence of a brusque female pub owner—in exchange for room and board until that ship reDesierto turns. Sasha doesn’t flinch while confronting that group of hardened seafarers and manages to persuade them to head to the North Pole, taking her along and treating her like one of the boys.

Long Way North turns into a thriller at sea, with the ship’s rough moments feeling as realistically frightening as any moment of The Perfect Storm. The ferociousness of the arctic—whether whiteouts, avalanches, or polar bears—is viscerally depicted and makes Sasha all the more sympathetic when she does break down in tears, with the whipping elements nearly hiding her from view.

She’s an altogether different iteration of Snow White, the kind of heroine that animation could use more of.

Desierto opens Friday at Regal Majestic Stadium 20.

Long Way North opens Friday at the Angelika Pop-Up. CP

washingtoncitypaper.com october 14, 2016 25

Jazz

TheaTerCurtain Calls

Jason Moran, Artistic Director for Jazz

Lakecia Benjamin and Soulsquad

Friday, October 21 KC Jazz Club

Performances at 7 & 9 p.m. in the Terrace Gallery.

No minimum. Light menu fare available.

Terence Blanchard featuring The E-Collective: Breathless Multiple Grammy-winning trumpeter and film score composer Terence Blanchard performs with his contemporary electronic quintet.

Saturday, October 22 Support for JFKC: A Centennial Celebration of John F. Kennedy is provided by Amabssador Elizabeth Frawley Bagley and The Blanche and Irving Laurie Foundation.

The Crossroads Club

Performances at 8 & 10 p.m. in the Atrium.

Expansive standing room (only) and high-top tables, with drinks available for purchase.

Tootie Heath The Whole Drum Truth For one night only, drummer Tootie Heath joins three great jazz drummers for a historical all-percussion performance, featuring four drum sets—and nothing else.

Saturday, October 29 KC Jazz Club

Performances at 7 & 9 p.m. in the Terrace Gallery.

No minimum. Light menu fare available.

TICKETS ON SALE NOW! (202) 467-4600 | KENNEDY-CENTER.ORG Tickets also available at the Box Office. Groups (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540 Support for Jazz at the Kennedy Center is generously provided by Elizabeth and Michael Kojaian.

26 october 14, 2016 washingtoncitypaper.com

Teresa Castracane

Though her own music is immersed in vintage sounds, the charismatic and dynamic tenor saxophonist’s soaring, dance floorfriendly grooves take the classic vibe to a whole new level.

Homeric effort

By Lisa Peterson and Denis O’Hare Directed by Dan Crane At Capitol Hill Arts Workshop to Oct. 22 About A third of the way through Taffety Punk Theatre Company’s production of Lisa Peterson and Denis O’Hare’s An Iliad, all the things you once knew about Greek mythology come back to you. Like pieces in a puzzle, the relationships between Hector and Priam, Agamemnon and Achilles, and various meddling gods connect and you are emotionally invested in the outcome, even if you already know the tragic ending to the story.

Adapted from Robert Fagles’ translation of Homer’s story of the Trojan War, An Iliad tells of the epic conflict fought over the kidnapped Helen, “the face that launched a thousand ships.” Just as Homer told the tale to audiences millennia ago, this production features only one performer, Taffety Punk company member Esther Williamson. Using only sand to mark her stage in Capitol Hill Arts Workshop’s spare black box, she begs the muses to sing the story through her so she can relate the tragedy to her listeners.

The heavy language of Fagles’ translation is gone, replaced with contemporary phrases so that Williamson can both simplify the story and make the events relatable to audiences who aren’t as well-versed in ancient Greek history. This works in some contexts, like when she name-checks different U.S. cities to explain how many Greek men were recruited to fight, but less well in others, like when she screams “Aleppo!” while describing the lasting impact of the Trojan War. It’s a slightly shocking disjunction that pulls you out of the tearful old story. Before you can process the connection, you’re plunged back into the final battle between Hector and Achilles.

Summarizing a decades-long war into a 90minute monologue can prove difficult, especially when faced with an audience that might not remember every character’s role from that

high school English class, but Williamson meets the challenge by using her whole body to tell the story. Beyond throwing herself on the ground and expertly miming arrows, she traces set pieces with her arms, marking the limits of Troy down to using her hand as the kingdom’s flag. Overseen by local movement artist Dody DiSanto, the physical aspects of the production keep things engaging, even when the pacing of the narrative slows.

To shake things up and put his own spin on the classic story, director Dan Crane has brought in local minimalist post-Americana duo Hand Grenade Job to provide the soundtrack. The idea is a good one—Beck Levy and Erin McCarley’s mournful tunes strike many of the same nerves as Williamson’s performance—but the audience is left wanting more from this collaboration. The low, resonant bass strums and high-pitched whistles function more like sound effects than a full soundtrack, and when Williamson implores the muses to sing in her, you wish the musicians could sing as well.

The emotional heft of the war’s many casualties becomes overwhelming, at times to the point of restlessness. Every five minutes, it seems a character is losing a best friend, a spouse, or a child. But just when you’re starting to question why you’re sitting through something so heartrending, Williamson reminds you of the point of the evening. An Iliad has no intention of explaining exactly why the Trojan War was fought. As she notes, the only real reason anyone cites is the overwhelming pride of Achilles and Hector. What she wants her audience to remember is the cost of war: the orphaned children, the bereft parents, the mourning friends.

In the play’s final act, Williamson lists the conflicts that followed in chronological order, from the Punic Wars to the 21st century wars in Iraq and Afghanistan. In those wars too, people lost loved ones. Several thousand years and several thousand miles later, the message of An Iliad remains painfully relevant.

—Caroline Jones 545 7th St. SE. $15. (202) 355-9441. taffetypunk.com.

MusicDiscography

The FuTure Is BrIghT Bright Eyes Victor Provost Paquito/Sunnyside Jazz steelpan is rare enough to be a novelty, but Victor Provost knows that novelty only goes so far—so he cultivates abilities to back it up. First and foremost, the D.C. pannist has a gift of the highest order for melody. It was the central attraction of his 2011 self-released debut, Her Favorite Shade of Yellow (and indeed, the first thing one notices—after the unusual instrument—in his live performances). That gift is still on display in his sophomore effort and label debut, Bright Eyes, but this time it’s in second position.

The real treat of this suitably Afro-Caribbean-flavored music is in Provost’s capacity to build his own momentum in a steelpan solo.

That’s to say that Provost lets the written material (he penned eight of the 11 tracks) and the drive of his rhythm section (pianist Alex Brown, bassist Zach Brown, drummer Billy Williams) guide the shapes of his improvisations, without dictating those shapes. The uptempo funk of “Fitt Street,” for example, seems designed to embellish both of those qualities; Alex Brown’s electric piano solo and Williams’ 16-bar break both oblige. Provost then enters, flirts for a moment with his theme, and then immediately downshifts, putting spaces between distinct new ideas that run at about half the band’s tempo. He gains steam as he goes, but on his own terms—and happily refashions the rhythm on those terms as well. He does it again on “Twenty,” a dreamy but suspenseful ballad in 7/8, and

on the dramatic “Song for Chelle”; after the Browns’ romantic lilts on the latter, he instead charts an energized, often breakneck rhythmic feel over the rhythm section’s tender waltz.

Where appropriate, though, Provost will go with his bandmates’ flow: On “Fete Antillaise” he proceeds with, and develops, the in-the-pocket dance groove that Zach Brown laid out in his preceding solo, but even here he shakes things up with some unorthodox note choices.

A number of guests are featured on Bright Eyes, and seem inspired by (or the inspiration for) Provost’s determined idiosyncrasy. On the title track, vibraphonist Joe Locke has things to say that are considerably brighter and more playful than Provost’s fond, sentimental tune, and says them in a well-structured line that’s nonetheless off the beat by just a hair; D.C. saxophonist Tedd Baker stays on the beat but adds propulsion that kicks Williams and the Browns up a notch. Provost, following them, moves into double time—and pushes hard against his own chord changes. Percussionist Paulo Stagnaro is a subtle presence at best on Vince Mendoza’s “Ella Nunca Tiene Una Ventana,” but he nonetheless breathes new energy into the proceedings, especially in the second of Provost’s two solos.

On the other hand, neither Stagnaro nor alto saxophonist Paquito D’Rivera save “Homenaje” from being the album’s weakest track. (They’re not to blame, either—it’s simply the longest and most elaborate composition, squeezing out much room for improv on a disc whose improvs comprise its strongest element.) Yet Provost’s work, and that of the solid band behind him, by far outshine that blemish. Novelty aside, Victor Provost deserves to be a jazz star, and Bright Eyes is just the latest evidence. —Michael J. West The Victor Provost Group will play a CD release show at 8 p.m. on Oct. 19 at Blues Alley, 1073 Wisconsin Ave. NW. $25. washingtoncitypaper.com october 14, 2016 27

I.M.P. PRESENTS Verizon Center • Washington D.C.

JUST ANNOUNCED!

GREEN DAY w/ Against Me! ...................................................... MARCH 13 On Sale Friday, October 14 at 10am

THIS WEEK’S SHOWS

DJ Shadow w/ Noer The Boy ......................................................................... Th 13 Teenage Fanclub w/ Skylar Gudasz ............................................................. F 14 ALL GOOD PRESENTS

Yonder Mountain String Band w/ Billy Strings .................................... Sa 15 Jack Garratt w/ Brasstracks ........................................................................ Tu 18 Foy Vance w/ Trevor Sensor ..........................................................................W 19

Ticketmaster

Merriweather Post Pavilion • Columbia, MD

THIS SAT & SUN! WPOC WEEKEND IN THE COUNTRY FEATURING

Little Big Town • Rodney Atkins • Dustin Lynch • LOCASH • Old Dominion • Chase Bryant • Maddie & Tae • Granger Smith and more! ....................OCTOBER 15 & 16

GET A DEAL!

OCTOBER

Weekend in the Country 4-pack: Two lawn tickets to each show - save $45!

• For full lineups and more info, visit merriweathermusic.com • 930.com

Shovels & Rope w/ Matthew Logan Vasquez (of Delta Spirit) ....................... F 21 LANY w/ Transviolet .........................................................................................M 24 Hinds w/ Cold Fronts Early Show! 6pm Doors .....................................................Sa 29 ALL GOOD PRESENTS

Papadosio (F 28 - w/ Consider The Source • Sa 29 - w/ Soohan)

Late Shows! 10pm Doors ........................................................................... F 28 & Sa 29

DAR Constitution Hall • Washington D.C.

The Head and The Heart w/ Declan McKenna ........................................OCTOBER 22 Lindsey Stirling w/ Shawn Hook .................................................................OCTOBER 24 Ticketmaster

GWAR w/ Darkest Hour & Mutoid Man ........................................................... Su 30 Aurora w/ Dan Croll .........................................................................................M 31

Echostage • Washington, D.C.

NOVEMBER

Eric Hutchinson w/ Humming House & Matt Mackelcan Early Show! 6pm Doors W 2 Låpsley w/ Aquilo Early Show! 6pm Doors............................................................. F 4 Snakehips w/ Lakim Late Show! 10pm Doors ....................................................... F 4 Marillion .......................................................................................................... Sa 5 James Vincent McMorrow w/ Dan Mangan................................................ W 9 Kelsea Ballerini w/ Morgan Evans ............................................................. Th 10 SoMo w/ STANAJ ............................................................................................ Su 13 Atmosphere w/ Brother Ali • deM atlaS • Plain Ole Bill and Last Word ........M 14 JOHNNYSWIM ............................................................................................... W 16 Wet w/ Demo Taped Early Show! 6pm Doors ....................................................... Th 17 DIIV w/ Moon King Late Show! 10pm Doors ......................................................... Th 17 Chris Robinson Brotherhood ................................................................. Su 20 U STREET MUSIC HALL PRESENTS

THIS TUESDAY!

NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECOND

CHVRCHES w/ Potty Mouth ...........................................................................OCTOBER 18 Die Antwoord ...............................................................................................OCTOBER 23 FOALS w/ Bear Hands & Kiev .........................................................................NOVEMBER 3 Grouplove w/ MUNA & Dilly Dally .................................................................NOVEMBER 9 Good Charlotte & The Story So Far

w/ Four Year Strong & Big Jesus ....................................................................NOVEMBER 15

Two Door Cinema Club w/ BROODS ....................................................NOVEMBER 17 2135 Queens Chapel Rd. NE • Ticketmaster

EagleBank Arena • Fairfax, VA

BASTILLE ........................................................................................................... MARCH 28

Sweater Beats ............................................................................................. W 23

Ticketmaster

ALL GOOD PRESENTS

Keller Williams’ Thanksforgrassgiving featuring Jeff Austin, Danton Boller, Jay Starling & Nicky Sanders w/ Love Canon .................. F 25 The Sounds w/ Zipper Club & Jerusalem .......................................................M 28 STRFKR w/ Gigamesh & Psychic Twin ............................................................ W 30

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

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The best thing you could possibly put in your mouth

JUST ANNOUNCED!

1215 U Street NW Washington, D.C.

Brian Wilson presents Pet Sounds : The Final Performances

with special guests Al Jardine and Blondie Chaplin.........................................................May 3 On Sale Friday, October 14 at 10am

Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. | www.buzzonslaters.com

THIS WEDNESDAY!

Melissa Etheridge: MEmphis Rock & Soul Tour ............................................ OCTOBER 19 WESTBETH ENTERTAINMENT PRESENTS

Dylan Moran ................................................................................................. OCTOBER 20 THE BYT BENTZEN BALL COMEDY FEST PRESENTS THE MOST VERY SPECIALEST EVENING WITH TIG NOTARO & FRIENDS FEATURING

Tig Notaro, Aparna Nancherla, and more! .......................................OCTOBER 27 BRIDGET EVERETT Pound It! with special guest Michael Ian Black ....................OCTOBER 28 A UHF LIVE COMMENTARY FEATURING

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Joseph w/ Ruston Kelly ................Su OCT 16 Jay IDK ............................................... Tu 18 KING w/ Nick Hakim ............................. Th 20 White Ford Bronco ............................ F 21

Green River Ordinance w/ The Roosevelts & Castro .................. Sa 22 Futuristic w/ Beez • Niko • Shy Grey ... Su 23 Night Lovell ...................................... Tu 25 Jamestown Revival w/ Jonny Fritz ... W 26

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

“Weird Al” Yankovic, Malcolm Gladwell, Dave Hill, and more! .OCTOBER 30

#ENRICHDC BENEFIT

DALEY and more! ...........................................................................................NOVEMBER 6 Henry Rollins Election Night Spoken Word ............................................NOVEMBER 8 Chris Isaak ...................................................................................................NOVEMBER 12 The Naked And Famous w/ XYLØ & The Chain Gang of 1974 .................NOVEMBER 15 Andra Day w/ Chloe x Halle ..........................................................................NOVEMBER 25 ALL GOOD PRESENTS

Mike Gordon ...............................................................................................NOVEMBER 29 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

Tickets for 9:30 Club shows are available through TicketFly.com, by phone at 1-877-4FLY-TIX, and at the 9:30 Club box office.

9:30 CLUB BOX OFFICE HOURS are 12-7PM Weekdays & Until 11PM on show nights. 6-11PM on Sat & 6-10:30PM on Sun on show nights.

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

28 october 14, 2016 washingtoncitypaper.com

930.com

CITYLIST

INER

60S-INSPIRED D Serving

EVERYTHING from

BURGERS to BOOZY SHAKES

SPACE HOOPTY

A HIP HOP, FUNK & AFRO FUTURISTIC SET with Baronhawk Poitier

FRIDAY NIGHTS, 10:30 - CLOSE

BRING YOUR TICKET

AFTER ANY SHOW AT

Music 29 Theater 34

Music

TO GET A

FREE SCHAEFERS

DAY PARTY WITH DJ KEENAN ORR

First Sunday every month

2 - 6pm

rock

9:30 Club 815 V St. NW. (202) 265-0930. Teenage Fanclub, Skylar Gudasz. 6 p.m. $25. 930.com. blaCk Cat 1811 14th St. NW. (202) 667-4490. Crywolf, She Keeps Bees, Crushnpain. 8 p.m. $15. blackcatdc.com.

DaR Constitution Hall 1776 D St. NW. (202) 6284780. Jerry Uncovered. 8 p.m. $47.50–$87.50. dar.org.

DC9 1940 9th St. NW. (202) 483-5000. The Effects, Cinemechanica. 7 p.m. $12. dcnine.com.

FillmoRe silveR spRing 8656 Colesville Road, Silver Spring. (301) 960-9999. Kongos, The Joy Formidable, Arkells. 8 p.m. $25. fillmoresilverspring.com. gypsy sally’s 3401 K St. NW. (202) 333-7700. “Dear Jerry” After Party featuring Roosevelt Collier’s All-Star Jam. 8:30 p.m. $15. gypsysallys.com. tHe Hamilton 600 14th St. NW. (202) 787-1000.

Red Baraat, DEAD 27s. 8 p.m. $20–$25. thehamiltondc.com.

World Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jody Watley & Shalamar Reloaded. 8 p.m.; 10 p.m. $55–$65. bluesalley.com.

songbyRD musiC House anD ReCoRD CaFe 2477 18th St. NW. (202) 450-2917. Justin Jones, Alex Tebeleff. 7:30 p.m. $15. songbyrddc.com.

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

Kindred the Family Soul, Trina Broussard. 8 p.m. $45–$82.50. thehowardtheatre.com.

classical

RoCk & Roll Hotel 1353 H St. NE. (202) 388-7625.

Fantastic Negrito, Caleb Stine. 9 p.m. $14. rockandrollhoteldc.com. songbyRD musiC House anD ReCoRD CaFe 2477 18th St. NW. (202) 450-2917. Told Slant. 7:30 p.m. $12–$14. songbyrddc.com. musiC CenteR at stRatHmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. The Manhattan Transfer, Take 6. 8 p.m. $35–$85. strathmore.org.

classical

kenneDy CenteR ConCeRt Hall 2700 F St. NW. (202) 467-4600. Cirque de la Symphonie: Halloween Extravaganza. 8 p.m. $24–$99. kennedy-center.org. atlas peRFoRming aRts CenteR 1333 H St. NE. (202) 399-7993. Girma Beyene and Feedel Band. 8 p.m. $20–$30. atlasarts.org. amp by stRatHmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. California Guitar Trio. 8 p.m. $30–$40. ampbystrathmore.com. baRns at WolF tRap 1635 Trap Road, Vienna. (703) 255-1900. Chaise Lounge. 8 p.m. $25–$27. wolftrap. org. kenneDy CenteR teRRaCe galleRy 2700 F St. NW. (202) 467-4600. Wild Lines: Jane Ira Bloom Plays Emily Dickinson. 7 p.m.; 9 p.m. $26–$30. kennedycenter.org.

eCHostage 2135 Queens Chapel Road NE. (202) 503-2330. Marshmello, Slushii, Speaker of the House.

9 p.m. $25–$35. echostage.com.

FlasH 645 Florida Ave. NW. (202) 827-8791. Luke Hess, Ron Jackson, Feroun. 8 p.m. $8. flashdc.com.

located next door to 9:30 club

“in tHis conVEX Hull”

Brandon Morse’s video installations are atmospheric—not in the moody sense of the word (although they are that) but rather in the way that his works convey complex patterns and stormy algorithms. In “Tête a Tête” (2014), for example, Morse depicts two digital maelstroms that circle one another. The name of his 2011 solo show at Conner Contemporary Art was “High Pressure System.” Weather isn’t so much a theme as a function in Morse’s work, so it’s fitting that his latest installation project, “In This Convex Hull,” is taking place at a planetarium. Planetarium videos usually depict the expansiveness of space and the impossible vastness of the solar system, but if Morse’s past work is any indication, his video will be directed inward, not outward: a more localized space, a more delineated system, and an altogether more disorienting experience. “Convex Hull” refers to a complicated geometric principle but viewers don’t need to understand the math behind Morse’s work to see what he’s going for. Using a planetarium for his digital projection adds a new level of mathematical complexity to Morse’s art, but it also simplifies things for the viewer. People are used to seeing things that explode their brains there. The program begins at 6:30 p.m. at the David M. Brown Planetarium, 1426 N. Quincy St., Arlington. Free.

(703) 228-6070. apsva.us/planetarium.

—Kriston Capps

ElEctronic

2047 9th Street NW

CITY LIGHTS: Friday

Friday

Vocal

Club

Film 36

Funk & r&B

betHesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Morris Day & The Time. 7 p.m.; 10 p.m. $75. bethesdabluesjazz.com. biRCHmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Eric Roberson with D Maurice. 7:30 p.m. $45. birchmere.com.

saturday

atlas peRFoRming aRts CenteR 1333 H St. NE. (202) 399-7993. Great Noise Ensemble: Steve Reich at 80. 8 p.m. $25–$30. atlasarts.org. kenneDy CenteR ConCeRt Hall 2700 F St. NW. (202) 467-4600. Cirque de la Symphonie: Halloween Extravaganza. 8 p.m. $24–$99. kennedy-center.org.

rock

blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Punk Rock Karaoke. 7:30 p.m. $8. blackcatdc.com.

Comet ping pong 5037 Connecticut Ave. NW. (202) 364-0404. Wume, Richard Pinhas, Boat Burning. 10 p.m. $12. cometpingpong.com.

DC9 1940 9th St. NW. (202) 483-5000. From Indian Lakes, Made Violent, Wild Wild Horses. 6 p.m. $15. dcnine.com. eaglebank aRena 4500 Patriot Circle, Fairfax.

(703) 993-3000. The Avett Brothers, Warren Haynes.

8 p.m. $39.50–$89.50. eaglebankarena.com. gypsy sally’s 3401 K St. NW. (202) 333-7700. Pink Talking Fish. 9 p.m. $15–$18. gypsysallys.com. iota Club & CaFé 2832 Wilson Blvd., Arlington. (703) 522-8340. NRIS. 8 p.m. $10. iotaclubandcafe.com.

opEra

atlas peRFoRming aRts CenteR 1333 H St. NE. (202) 399-7993. UrbanArias: The Man Who Mistook His Wife for a Hat. 8 p.m. $32–$35. atlasarts.org.

World

baRns at WolF tRap 1635 Trap Road, Vienna. (703) 255-1900. Bickram Ghosh’s Drums of India. 3 p.m.; 8 p.m. $45–$60. wolftrap.org.

country

9:30 Club 815 V St. NW. (202) 265-0930. Yonder Mountain String Band, Billy Strings. 7 p.m. $29.50.

930.com. tHe Hamilton 600 14th St. NW. (202) 787-1000.

Frank Solivan & Dirty Kitchen, The McTell Brothers. 8 p.m. $18–$25. thehamiltondc.com.

washingtoncitypaper.com october 14, 2016 29

meRRiWeatHeR post pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. WPOC Weekend in the Country with Little Big Town, Rodney Atkins, LOCASH, Chase Bryant, Granger Smith, Runaway June. 2 p.m. $55–$75. merriweathermusic.com.

Jazz

amp by stRatHmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Dee Lucas. 8 p.m. $25–$35. ampbystrathmore.com. kenneDy CenteR teRRaCe galleRy 2700 F St. NW. (202) 467-4600. Fred Hersch Trio. 7 p.m.; 9 p.m. $26–$39. kennedy-center.org.

ElEctronic

eCHostage 2135 Queens Chapel Road NE. (202) 503-2330. Tritonal, Dzeko & Torres, Bad Royale, APEK. 9 p.m. $25. echostage.com.

FlasH 645 Florida Ave. NW. (202) 827-8791. Dennis Ferrer, Nasser Baker, Alex Eljaiek. 8 p.m. $10–$20. flashdc.com.

Funk & r&B

biRCHmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Eric Roberson with D Maurice. 7:30 p.m. $45. birchmere.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jody Watley & Shalamar Reloaded. 8 p.m.; 10 p.m. $55–$65. bluesalley.com. sixtH & i HistoRiC synagogue 600 I St. NW. (202) 408-3100. Allen Stone, King Charles, Moorea Masa. 8 p.m. $25–$28. sixthandi.org.

sunday rock

9:30 Club 815 V St. NW. (202) 265-0930. Local Natives, Charlotte Day Wilson. 7 p.m. $30. 930.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Dagger Moon, Old Lines, Literals. 7:30 p.m. $10–$12. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Adia Victoria, Sir E.U. 9 p.m. $12–$14. dcnine.com.

tHe Hamilton 600 14th St. NW. (202) 787-1000. Eric Johnson. 7:30 p.m. $28.50–$58.50. thehamiltondc. com. kenneDy CenteR eisenHoWeR tHeateR 2700 F St. NW. (202) 467-4600. Peter Frampton. 8 p.m. $49–$350. kennedy-center.org.

RoCk & Roll Hotel 1353 H St. NE. (202) 388-7625.

Preoccupations, Methyl Ethel, Peeling. 8 p.m. $18. rockandrollhoteldc.com.

classical

atlas peRFoRming aRts CenteR 1333 H St. NE. (202) 399-7993. Capital City Symphony: Family Concert! Ghoulishly Good Music!. 3 p.m.; 5 p.m. $25. atlasarts.org. musiC CenteR at stRatHmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Craig Gildner Band and the interPLAY Orchestra. 3 p.m. $30. strathmore.org. pHillips ColleCtion 1600 21st St. NW. (202) 3872151. Denis Kozhukhin. 4 p.m. $20–$40. phillipscollection.org.

opEra

atlas peRFoRming aRts CenteR 1333 H St. NE. (202) 399-7993. UrbanArias: The Man Who Mistook His Wife for a Hat. 2 p.m. $32–$35. atlasarts.org.

World

FillmoRe silveR spRing 8656 Colesville Road, Silver Spring. (301) 960-9999. X-Maleya. 5 p.m. $35–$100. fillmoresilverspring.com.

Folk

gW lisneR auDitoRium 730 21st St. NW. (202) 9946800. Joan Baez. 8 p.m. $75–$85. lisner.gwu.edu.

country

meRRiWeatHeR post pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. WPOC Weekend in the Country with Little Big Town, Rodney Atkins, LOCASH, Chase Bryant, Granger Smith, Runaway June. 2 p.m. $55–$75. merriweathermusic.com.

Jazz

biRCHmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Keiko Matsui. 7:30 p.m. $45. birchmere.com.

CITY LIGHTS: saturday

IS THE GLASS HALF FULL? IS THE GLASS HALF EMPTY? HOW ABOUT HALF OFF! REALDEAL.WASHINGTONCITYPAPER.COM

30 october 14, 2016 washingtoncitypaper.com

potus aMonG us

Amid the name calling, shouting, and generally depressing discourse of this election, voters are constantly reminded of the central tenet of a democracy: Whatever the outcome, you made it happen. This truth is center stage in Washington Improv Theater’s latest production, POTUS Among Us. Since 2004, the comedy ensemble has put on quadrennial election-year simulations.

Over the course of this show’s 90 minutes, an initial group of five candidates will be narrowed down to two, and, eventually, one winner. Along the way, scandals, breaking news events, and other attacks are lobbed at the eccentric candidates, with the winner emerging triumphant from the bizarre and nasty fight. Unlike in a real election, though, this audience can’t just sit back in horror and wait for it to end with their hands over their eyes. They serve as donors, debate attendees, and, of course, voters. The results are unpredictable. The irony is undeniable. Really, it’s not that different from turning on CNN, just a whole lot funnier and with much lower stakes.

The show runs Oct. 14 to Nov. 6 at Washington Improv Theater at Source, 1835 14th St. NW. $15–$20.

(202) 204-7770. witdc.org.

—Noa Rosinplotz

washingtoncitypaper.com october 14, 2016 31

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

CITY LIGHTS: sunday

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

Tix @ Ticketmaster.com 800-745-3000

Oct 14&15

UPCOMING SHOWS THU ONE LOVE 10/13 MASSIVE 15-YEAR ANNIVERSARY FRI TOLD SLANT W/ 10/14 YOWLER, FOOZLE, JULIAN

AGUA CUBAN DANCE NIGHT

16

The Return of

18

SQUIRREL NUT ZIPPERS

AVERY*SUNSHINE 21 RODNEY CROWELL 22 RAVEN’S NIGHT

19&20

“CELESTIAL BODIES”

SAT JUSTIN JONES 10/15 W/ ALEX TEBELEFF

SB ONE YEAR ANNIVERSARY

TUE OMNI 10/18 W/ US & US ONLY, DEEPER WED BRING YOUR 10/19 OWN VINYL THU LA SERA 10/20 W/ SPRINGTIME CARNIVORE, LILAC DAZE

FRI RITMOS RAROS 10/21 DEL MUNDO SAT SOUL GATHERING 10/22 W/ DJ NITEKRAWLER SUN CLASSIC ALBUM 10/23 SUNDAYS BILLIE HOLLIDAY

TUE CAN I KICK IT? 10/25 DJ UPSTAIRS

SOMNIA RECORD RELEASE

THU NICOLE 10/27 DOLLANGANGER W/ SNAIL MAIL

FRI FREE BLUEGRASS 10/28 BOONANZA! W/ MAN ABOUT A HORSE

SAT DJ DIASPORA 10/29 BRUNCH

FLASHBAND HALLOWEEN

BAR

Cafe

ERIC ROBERSON w/D Maurice KEIKO MATSUI

26 27

AOIFE O’DONOVAN & WILLIE WATSON

HIROSHIMA 29 TOM PAXTON & JOHN McCUTCHEON

28

31

Teddy SUZANNE VEGA Thompson ‘FUNK 2 BRIAN CULBERTSON Tour’

Nov 1

4

Brian DELBERT McCLINTON Dunne

20 Year Reunion

5

All Original PAT McGEE BAND Members + Guest 6 JOSHUA RADIN (Band) w/GOOD OLD WAR

9

American Songwriter Presents

ANDERSON EAST

“Devil In Me Tour”

w/Brent Cobb

BRANDY CLARK KAREN JONAS 11, 12,13 PAULA POUNDSTONE 15 ACOUSTIC ALCHEMY DAVE MASON 16 “Alone Together Again” with Bekka Bramlett

10

OLETA ADAMS 19 SUZANNE WESTENHOEFER

18

Spend an evening in concert with

NITRO OPTIONS

GLADYS KNIGHT Sat. Oct. 22, 8 pm Tickets on sale now through Ticketmaster.com 800-745-3000, or at the Warner Theatre Box Ofc.

32 october 14, 2016 washingtoncitypaper.com

adia Victoria

Rock ’n’ roll from the American south often tries to reckon with “the duality of the Southern thing,” a concept most recently brought up on the Drive-By Truckers’ latest album, American Band. A Spartanburg, S.C. native of Trinidadian descent, Adia Victoria doesn’t have the privilege of knowing that duality. She only knows the “thing.” “I don’t know nothin’ ’bout Southern belles, but I can tell you somethin’ ’bout Southern hell when your skin give ’em cause to take and take,” she sings on “Stuck in the South.” Chugging, swampy guitars burn through her debut, Beyond The Bloodhounds. But there is no love lost for white Southern nostalgia. The only admiration Victoria has for the South’s past, shown through her masterful grasp of the blues and the reference to Harriet Jacobs’ 1861 novel Incidents in the Life of a Slave Girl in her album title, is reserved for those that suffered its systemic racism. Backed by this conviction and intensity, she’s a fiery live performer who will leave some listeners nodding in emotional recognition and others reconciling their own feelings for the “Southern thing.” Adia Victoria performs with Sir E.U. at 9 p.m. at DC9, 1940 9th St. NW. $12–$14. (202) 483-5000. dcnine.com.

—Justin Weber HoWaRD tHeatRe 620 T St. NW. (202) 803-2899.

Sonja, Robert T, and Friends. 8 p.m. $20–$25. thehowardtheatre.com.

Funk & r&B

betHesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Chopteeth Afrofunk Big Band, JaneliaSoul. 7:30 p.m. $20. bethesdabluesjazz.com.

World

gW lisneR auDitoRium 730 21st St. NW. (202) 9946800. Omara Portuando. 7:30 p.m. $45–$65. lisner. gwu.edu.

Jazz

betHesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Chad and Jeremy. 7:30 p.m. $25. bethesdabluesjazz.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jody Watley & Shalamar Reloaded. 8 p.m.; 10 p.m. $55–$65. bluesalley.com.

biRCHmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Chick Corea Elektric Band. 7:30 p.m. $79.50. birchmere.com.

Monday

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Keith Busey and Friends featuring Kat Rollins and Tyrone Toomer. 8 p.m.; 10 p.m. $20. bluesalley.com.

9:30 Club 815 V St. NW. (202) 265-0930. Local Natives, Charlotte Day Wilson. 7 p.m. $30. 930.com.

tuEsday

rock

blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Governess, Bad Moves. 7:30 p.m. $10. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Adam Torres, Thor & Friends. 9 p.m. $12–$14. dcnine.com. eCHostage 2135 Queens Chapel Road NE. (202) 503-2330. Chvrches. 7 p.m. $43.45. echostage.com. tHe Hamilton 600 14th St. NW. (202) 787-1000.

Dirty Bourbon River Show, Justin Trawick and the Common Good. 7:30 p.m. $8–$12.25. thehamiltondc. com.

classical

kenneDy CenteR Family tHeateR 2700 F St. NW. (202) 467-4600. Harlem String Quartet with Aldo López-Gavilán. 7:30 p.m. $49. kennedy-center.org. kenneDy CenteR millennium stage 2700 F St. NW. (202) 467-4600. The Kennedy Center Opera House Orchestra. 6 p.m. Free. kennedy-center.org.

rock

9:30 Club 815 V St. NW. (202) 265-0930. Jack Garratt, Brasstracks. 7 p.m. $25. 930.com. biRCHmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Squirrel Nut Zippers. 7:30 p.m. $45. birchmere.com.

DC9 1940 9th St. NW. (202) 483-5000. Still Corners, Dougie Poole, Cigarette. 8:30 p.m. $15. dcnine.com. eCHostage 2135 Queens Chapel Road NE. (202) 503-2330. Chvrches. 7 p.m. $43.45. echostage.com.

classical

kenneDy CenteR millennium stage 2700 F St. NW. (202) 467-4600. Kassia Music Collective. 6 p.m.

Free. kennedy-center.org.

opEra

kenneDy CenteR Family tHeateR 2700 F St. NW. (202) 467-4600. Lawrence Brownlee. 7:30 p.m. $69. kennedy-center.org.

Folk

Jazz

Funk & r&B

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Victor Provost Group. 8 p.m.; 10 p.m. $20. bluesalley.com.

baRns at WolF tRap 1635 Trap Road, Vienna. (703) 255-1900. John Paul White. 8 p.m. $25–$27. wolftrap.org. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Jasmine Williams & Co. 8 p.m.; 10 p.m. $20. bluesalley.com.

WEdnEsday rock

9:30 Club 815 V St. NW. (202) 265-0930. Foy Vance, Trevor Sensor. 7 p.m. $20. 930.com. baRns at WolF tRap 1635 Trap Road, Vienna. (703) 255-1900. JD Souther, Nellie McKay. 8 p.m. $37–$42. wolftrap.org.

DC9 1940 9th St. NW. (202) 483-5000. *repeat repeat, Lighting Fires, Fall Seattle. 8:30 p.m. $10–$12. dcnine.com. tHe Hamilton 600 14th St. NW. (202) 787-1000.

The Rippingtons. 7:30 p.m. $30–$59.75. thehamiltondc.com. linColn tHeatRe 1215 U St. NW. (202) 888-0050.

Melissa Etheridge. 8 p.m. $58–$78. thelincolndc.com.

classical

kenneDy CenteR millennium stage 2700 F St. NW. (202) 467-4600. Byron Miño. 6 p.m. Free. kennedy-center.org.

Hip-Hop

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

Lupe Fiasco. 8 p.m. $35–$65. thehowardtheatre.com.

betHesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Mike Phillips. 8 p.m. $35. bethesdabluesjazz.com.

mansion at stRatHmoRe 10701 Rockville Pike, North Bethesda. (301) 581-5100. Christie Dashiell. 7:30 p.m. $17. strathmore.org.

ElEctronic

FlasH 645 Florida Ave. NW. (202) 827-8791. Josh Pan. 8 p.m. $10. flashdc.com. velvet lounge 915 U St. NW. (202) 462-3213.

Tristan Eckerson, The Greatest Hoax, Flash Frequency. 8:30 p.m. $8. velvetloungedc.com.

Funk & r&B

biRCHmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Avery*Sunshine. 7:30 p.m. $55. birchmere.com. veRizon CenteR 601 F St. NW. (202) 628-3200. Sia, Miguel, AlunaGeorge. 7 p.m. $35.00–$149.50. verizoncenter.com.

tHursday rock

9:30 Club 815 V St. NW. (202) 265-0930. Saint Motel, Hippo Campus, Weathers. 7 p.m. $22.50. 930.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Sun Club, And The Kids, Palm. 7:30 p.m. $15. blackcatdc.com.

CITY LIGHTS: Monday

SPECIAL THROWBACK TICKET PRICE $19.86

Cuban diva Omara Portuondo has been singing professionally since the 1950s, but her international fame skyrocketed when she got involved with the Buena Vista Social Club in 1996.

Twenty years later, on her “85” tour (named for her age), she is traveling around the nation with an all-star band including Cuban pianist Roberto Fonseca, Israeli clarinetist Anat Cohen, and Detroit-born jazz violinist Regina Carter. This accomplished crew also includes a percussionist from the last Buena Vista tour and the drummer and acoustic bassist from Fonseca’s own band. Over the years Portuondo has sung upbeat dance music, led sing-alongs of folkloric Cuban standards like “Guantanamera,” and performed mid-tempo duets with Brazilian singers, but she’s known best for boleros, romantic ballads with slow dance rhythms. Portuondo’s voice is forceful but not overpowering on such numbers, as she expertly shifts from measured, assertive phrasing to a quiet whispered tone. While her impressive band might grab the spotlight on occasion with skilled solos, expect them to be largely supportive, adding rhythmic fills that enhance Portuondo’s charms. This Caribbean chanteuse remains charming live and her ability to scat and convey sorrow, drama, and passion with her sometimes vulnerable delivery is a sight worth treasuring. Omara Portuondo performs at 8 p.m. at the Lisner Auditorium at George Washington University, 730 21st St. NW. $45–$65. (202) 994-6800. lisner.gwu.edu.

—Steve Kiviat

JERRY GARCIA BAND SHOW FROM OCT. ‘86

AVETtBrothers AVETT

The

oMara portuondo

THIS IS 30! A FULL PERFORMANCE OF A CLASSIC special guest

Warren Haynes on lead guitar & vocals

Saturday, October 15th @ EagleBank Arena

dearjerrytwo.com/CityPaper Artists Subject To Change

washingtoncitypaper.com october 14, 2016 33

$10 BURGER & BEER MON-FRI 4 P M -7 P M

TRIVIA EVERY M O N D AY & W E D N E S D AY

LIVE

UPCOMING PERFORMANCES

EILEN JEWELL

W/ JEFFREY FOUCAULT 13

600 beers from around the world

THURSDAY OCT

Downstairs: good food, great beer: all day every day

RED

*all shows 21+

BARAAT

OCTOBER 13TH

UNDERGROUND COMEDY SHOW

W/ DEAD 27 S

SHOW STARTS AT 8:30PM OCTOBER 14TH

LAST RESORT COMEDY

DOORS AT 8PM SHOW AT 8:30PM OCTOBER 15TH

NPR: NATIONAL PASTIE REVUE:A BURLESQUE SATIRE DOORS AT 8PM SHOW AT 9PM OCTOBER 16TH

PRETTY BOI DRAG PRESENTS

#APRETTYBOIFAIRYTALE DOORS AT 2:00PM

STARR STUCK COMEDY DOORS AT 7PM

FRIDAY

OCT 14

SAT, OCT 15

WAMU’S BLUEGRASS COUNTRY PRESENTS

FRANK SOLIVAN & DIRTY KITCHEN

W/ THE MCTELL BROTHERS

CITY LIGHTS: tuEsday

BiG FrEEdia

Big Freedia has had her share of ups and downs in 2016. The self-proclaimed Queen Diva of bounce music started the year with an appearance on Beyoncé’s surprise black power anthem “Formation” before returning for the fifth season of her hit reality show and releasing her autobiography. Freedia also faced 10 years in jail for Section 8 housing fraud (she was eventually sentenced to three years probation). With her legal woes behind her, Freedia is ready to bring her hyper-kinetic, booty-twerking brand of New Orleans bounce back on the road. Freedia’s shows feature fan favorites like “Azz Everywhere,” “Gin In My System,” and “Y’all Get Back Now,” along with plenty of dancing—by Freedia, her dance crew, and often members of the audience. The title of her forthcoming album, Pressing Onward, suggests that she’s ready to move on from a tumultuous year, hopefully with the attitude she showed on “Formation”: “I did not come to play with you hoes… I came to slay, bitch.” Big Freedia performs at 8 p.m. at the Howard Theatre, 620 T St. NW. $20–$60. (202) 803-2899. thehowardtheatre.com.

—Chris Kelly DC9 1940 9th St. NW. (202) 483-5000. Seratones, The Milestones. 9 p.m. $12–$15. dcnine.com.

SUN, OCT 16

tHe Hamilton 600 14th St. NW. (202) 787-1000.

Darlingside, Frances Luke Accord. 7:30 p.m. $12.25– $20.25. thehamiltondc.com.

AN EVENING OF ACOUSTIC GUITAR AND PIANO

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

Aaron Carter. 8 p.m. $25–$45. thehowardtheatre. com.

ERIC JOHNSON SOLO MON, OCT 17

DIRTY BOURBON RIVER SHOW W/ JUSTIN TRAWICK & THE COMMON GOOD WED, OCT 19

AN EVENING WITH THE

RIPPINGTONS

Hip-Hop

eCHostage 2135 Queens Chapel Road NE. (202) 503-2330. Lil Uzi Vert. 9 p.m. $42.60. echostage.com.

World

kenneDy CenteR millennium stage 2700 F St. NW. (202) 467-4600. NANTA. 6 p.m. Free. kennedycenter.org.

OCTOBER 17TH

sixtH & i HistoRiC synagogue 600 I St. NW. (202) 408-3100. Zakir Hussain, Niladri Kumar. 8 p.m. $40. sixthandi.org.

STARTS AT 7:30PM

BluEs

DISTRICT TRIVIA OCTOBER 18TH

FREE COMEDY SHOW

THEHAMILTONDC.COM

Jazz

DOORS AT 7PM

OCTOBER 19TH

DISTRICT TRIVIA STARTS AT 7:30PM

OCTOBER 20TH

SPECIFIC IGNORANCE: A COMEDY PANEL AND TRIVIA SHOW DOORS AT 7PM SHOW AT 8PM

UNDERGROUND COMEDY SHOW STARTS AT 8:30PM OCTOBER 21ST

DC WEIRDO SHOW: HOUDINI SÉANCE

D.C.’s awesomest events calendar. washingtoncitypaper.com/ calendar

DOORS AT 8PM SHOW AT 9PM

1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

baRns at WolF tRap 1635 Trap Road, Vienna. (703) 255-1900. Rickie Lee Jones. 8 p.m. $35–$45. wolftrap.org.

washingtoncitypaper.com

34 october 14, 2016 washingtoncitypaper.com

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Nicole Henry. 8 p.m.; 10 p.m. $14. bluesalley.com. musiC CenteR at stRatHmoRe 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Chris Botti. 8 p.m. $42–$72. strathmore.org.

Funk & r&B

betHesDa blues anD Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Blackbyrds. 7:30 p.m. $25. bethesdabluesjazz.com. biRCHmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Avery*Sunshine. 7:30 p.m. $55. birchmere.com. u stReet musiC Hall 1115 U St. NW. (202) 588-1889.

King, Nick Hakim. 7 p.m. $25. ustreetmusichall.com.

Theater

43 1/2: tHe gReatest DeatHs oF sHakespeaRe’s tRageDies Join the original cast of this 2013 Fringe Festival favorite as they once again take up sword and supersoaker in the name of The Bard’s best deaths – a fitting homage in the 400th year celebration of his death, and just in time for Halloween. There will be new scenes, new fights, and a new drinking game. There will still be all the Shakespeare,

blood, and bad puns. There will also be pie. (And blood). Logan Fringe Arts Space. 1358 Florida Ave. NE. To Nov. 13. $10–$30. (202) 737-7230. capitalfringe.org. angels in ameRiCa Round House Theatre and Olney Theatre Center collaborate to bring both parts of Tony Kushner’s monumental work about a group of New Yorkers in the early days of the AIDS epidemic.

Combining fantasy elements with history, the play is presented in two parts and will be performed in repertory. Round House Theatre Bethesda. 4545 EastWest Highway, Bethesda. To Oct. 30. $36–$56. (240) 644-1100. roundhousetheatre.org. blooDy poetRy Mary Wollstonecraft Shelley, Lord Byron, and Percy Bysshe Shelley, three poets who would come to define the Romantic movement, discuss their work on the shores of Lake Geneva in this play that examines both their poetry and their impact on global audiences. Catholic University of America.

620 Michigan Ave. NE. To Oct. 16. $5–$15. (202) 3195000. cua.edu.

ClouD 9 Colonial Africa and 1970s London intersect in this engaging drama from acclaimed playwright Caryl Churchill. As characters try to understand the ways they define themselves, the forces of gender and politics cause them to reconsider their places in the world. Studio Theatre. 1501 14th St. NW. To Oct. 16. $20–$85. (202) 332-3300. studiotheatre.org. tHe CuRious inCiDent oF tHe Dog in tHe nigHttime The Tony Award-winning play based on the acclaimed novel comes to the Kennedy Center in a production directed by Marianne Elliott. Centered around a young man who has trouble processing the world, the action follows him as he tries to determine who killed his neighbor’s dog. Kennedy Center Opera House. 2700 F St. NW. To Oct. 23. $39–$119. (202) 4674600. kennedy-center.org.

Dante’s inFeRno Synetic Theater expands its “NotSo-Silent” series with this adaptation of Dante’s epic story about a hero’s journey through the afterlife.

Featuring vivid set designs and physical interactions, this production build on Synetic’s previous interpretation of the work. Synetic Theater at Crystal City.

1800 South Bell St. , Arlington. To Oct. 30. $20–$60.

(866) 811-4111. synetictheater.org.

FReaky FRiDay A mother and her teenage daughter magically swap bodies in this lively new musical based on Mary Rodgers’ novel that subsequently inspired two films. Parenthood writer Bridget Carpenter and Next to Normal authors Tom Kitt and Brian Yorkey collaborate on this world premiere. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 20. $40–$99. (703) 820-9771. sigtheatre.org. tHe gulF Two women intending to spend a day relaxing on the water find themselves in a sticky situation after their boat’s motor breaks and they get trapped in the Gulf of Mexico. Signature Theatre pres-

ents the world premiere of this comedy from playwright Audrey Cefaly about what happens when nature derails your plans. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 6. $40–$89. (703) 820-9771. sigtheatre.org. an iliaD Taffety Punk Theatre Company artist Esther Williamson stars in this new adaptation of Homer’s epic poem about the aggressive conflict between Achilles and Hector. With the content updated for current times, this production wonders if there is ever an end to these conflicts. Taffety Punk at Capitol Hill Arts Workshop. 545 7th St. SE. To Oct. 22. $15. (202) 261-6612. taffetypunk.com. kiss A double date turns into a confessional when four friends reveal secret desires and upend their worlds in this engaging comedy from Chilean playwright Guillermo Calderón. Woolly Mammoth Theatre, Melton Rehearsal Hall. 641 D St. NW. To Nov. 6. $20–$69. (202) 393-3939. woollymammoth.net. tHe little Foxes Arena Stage kicks off its Lillian Hellman festival with this drama about an ambitious social climber and her even more calculating brothers who run through a series of plans in order to gain wealth as quickly as possible. CSI actress Marg Helgenberger stars as Regina Giddens, the woman who

CITY LIGHTS: WEdnEsday

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THE CROSSRHODES: RAHEEM DEVAUGHN & WES FELTON

The conventional wisdom is that Neil deGrasse Tyson is a buzzkill when he skewers the scientific flaws in a work of fiction. This is a matter of style, not of substance. If you’re listening to some dude, and he’s like “hey man, so get this,” and then he goes deep on why some part of Gravity or The Martian is total bullshit, there’s no reason to assume that your buzz is automatically murdered. It all depends on the timing and delivery: Plenty of academics have debunked crowd-pleasers without appreciably diminishing people’s general headspace-dankness. Facts can be dope, and audience awareness is key. So if Neil deGrasse Tyson wants to exclaim that the battle tech in my favorite flick is garbage, then I don’t want the edification to come with baggage. I want him to accept my buzz, and I want him to disseminate knowledge without instilling disappointment in the general public. Maybe that’s the purpose of the live show “Neil deGrasse Tyson: An Astrophysicist Goes To The Movies.” If you’re in the crowd, you can’t be that stupid, right? Neil Degrasse Tyson speaks at 8 p.m. at the Warner Theatre, 513 13th St. NW. Sold out. (202) 783-4000. warnertheatredc.com.

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washingtoncitypaper.com october 14, 2016 35

strives to out earn her family. Arena Stage. 1101 6th St. SW. To Oct. 30. $55–$90. (202) 488-3300. arenastage.org. motHeRstRuCk Performed by Jamaican storyteller Staceyann Chin, this one-woman show follows the author as she documents her journey towards motherhood. Beginning with her teenage exploits and fear of an unplanned pregnancy and transitioning to adulthood and her struggle to conceive a baby as a lesbian artist in New York, Chin’s presentation explains the lengths we’ll go to for our children. Studio Theatre. 1501 14th St. NW. To Oct. 23. $20–$55.

(202) 332-3300. studiotheatre.org.

TRANSFIXING

“

... unlike anything you’ve seen before.”

- AO SCOTT, THE NEW YORK TIMES

HHHHH”

“

Romeo & Juliet Shakespeare Theatre Company opens its 2016-2017 season with the classic tale of star-crossed lovers whose relationship sends the lives of their feuding families into chaos. Andrew Veenstra and Ayana Workman star as the title characters in this production directed by Alan Paul. Lansburgh Theatre. 450 7th St. NW. To Nov. 6. $44–$114.

(202) 547-1122. shakespearetheatre.org.

- MATT PRIGGE, METRO

A REMARKABLE DOCUMENT

“

about the creative process.”

- JORDAN HOFFMAN, THE GUARDIAN

PROFOUND...

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a richly human document.”

- JUSTIN CHANG, LOS ANGELES TIMES

TRANSCENDENT...

“

D.C.’s awesomest events calendar.

there’s never been a memoir quite like this.”

- ERIC KOHN, INDIEWIRE

MESMERIZING…

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washingtoncitypaper.com/ calendar

unfolds with beauty and purpose.”

- BILGE EBIRI, THE VILLAGE VOICE

AFFECTING...

“

an autobiography told in pictures rather than words.”

- MIKE D’ANGELO, THE AV CLUB

WINNER TRIBUTE AWARD

2016 FULL FRAME DOCUMENTARY FILM FESTIVAL

washingtoncitypaper.com

WASHINGTON re Premie

sense anD sensibility The Dashwood sisters and their desire for love and companionship remains as timeless as ever in this stage adaptation of Jane Austen’s first novel. Local favorite Erin Weaver joins firsttime Folger player Maggie McDowell in this production directed by Eric Tucker. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Oct. 30. $30–$75. (202) 544-7077. folger.edu.

WHat We’Re up against Keegan Theatre presents the regional premiere of Theresa Rebeck’s drama about what happens to one woman when she grows tired of the barriers her gender places on her career advancements. Set at an architecture firm, this comedic drama explores the drama between men and women in a corporate drama. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Oct. 15. $35–$45. (202) 265-3767. keegantheatre.com.

WitCH Convergence Theatre Collective draws on Jacobean legend to tell a spooky story about a woman persecuted for her beliefs. Incorporating sound and visual projections, the production explores the nature of wickedness just in time for Halloween. Flashpoint Mead Theatre Lab. 916 G St. NW. To Oct. 30. $6–$18. (202) 315-1305. culturaldc.org.

tHe yeaR oF magiCal tHinking Kathleen Turner stars in this solo performance, an adaptation of Joan Didion’s 2003 memoir about the sudden death of her husband and her subsequent experiences over the course of a year. Poignant and searing, the play explores the force of tragedy. Arena Stage. 1101 6th St. SW. To Nov. 20. $70–$90. (202) 488-3300. arenastage.org.

Film

tHe aCCountant A mathematics savant uses his skills to pose as a CPA and cook the books for criminals. When the Treasury Department figures out what he’s up to, all manner of chaos unfolds. Starring Ben Affleck, J.K. Simmons, and Anna Kendrick. (See washingtoncitypaper.com for venue information) tHe biRtH oF a nation Nate Parker directs and stars in this graphic adaptation of the story of Nat Turner, an enslaved Virginia man who led a rebellion in 1831. Also starring Gabrielle Union, Armie Hammer, and Penelope Ann Miller (See washingtoncitypaper. com for venue information) DESIERTO Gael Garcia Bernal stars in this thriller about a group of people who encounter a racist border patrol agent who takes justice into his own hands as they attempt to cross the U.S.-Mexico border.

Directed by Jonás Cuarón. (See washingtoncitypaper. com for venue information) tHe giRl on tHe tRain Emily Blunt stars in this spooky thriller based on the popular novel about a woman who becomes obsessed with her missing neighbor. Directed by Tate Taylor. (See washingtoncitypaper.com for venue information) kevin HaRt: WHat noW? The wildly popular comedian performs in front of a crowd at Philadelphia’s Lincoln Financial Field in this documentary that features cameo appearances by Halle Berry and Don Cheadle. (See washingtoncitypaper.com for venue information)

CITY LIGHTS: tHursday

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Samul nori, the Korean percussion music incorporating four distinct instruments, was inspired by farming and harvest songs, with each instrument representing a different weather condition. The interpretation of this genre presented as part of the Kennedy Center’s first annual Korean Culture Week is a little different. NANTA is South Korea’s longest running comedy show, performing since 1997 in Seoul and around the world, including a stint off-Broadway. The performance is based around a basic conceit: four cooks—three experienced and one utterly incompetent—attempt to prepare a wedding dinner. Of course, it’s not that simple. Completely nonverbal, the story is told through a flurry of vegetable throwing, pot banging, and acrobatic, comedic percussion. An upbeat rhythm underscores the electrifying performance. Accessible to Americans, but uniquely Korean in style, this production appeals to anyone unafraid of flying kitchen utensils. The performance begins at 6 p.m. at the Kennedy Center Millennium Stage, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org.

—Noa Rosinplotz

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Legals CITY ARTS & PREP PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS City Arts and Prep seeks proposals for Executive Search Firms.

Prospective Firms shall submit one electronic submission via email. Proposals shall be received no later than 5:00 pm, Wednesday, October 26, 2016. For full RFP and to submit proposals please email bids@cityartspcs.org.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5238 Henok A. Mengesha v.

Estate Mary Myers et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 3206 lot 802 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 3206 in Lot 0802, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located in alley behind 5600 block 7th St NW and alley behind 600 block Longfellow St NW. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this 14th day of july 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _Nov_ 2016 and redeem the real property by payment of $720.12, (together with interest from the date the real property tax certifi cate was

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5238 Henok A. Mengesha v.

Estate Mary Myers et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 3206 lot 802 Defendants

Legals

Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 3206 in Lot 0802, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located in alley behind 5600 block 7th St NW and alley behind 600 block Longfellow St NW. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this 14th day of july 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _Nov_ 2016 and redeem the real property by payment of $720.12, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5237 Henok A. Mengesha v.

E STREET ASSOCIATES LIMITED THOMAS B LAMOND RLTS et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 4546 lot 0159 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 4546 in Lot 0159, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located in alley behind 400 block 18th St NE, alley behind 400 block 17th St NE, alley behind 1700 block E St NE, and alley behind 1700 block D St NE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5237 Henok A. Mengesha v.

E STREET ASSOCIATES LIMITED THOMAS B LAMOND RLTS et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administraLegals tors, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 4546 lot 0159 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 4546 in Lot 0159, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located in alley behind 400 block 18th St NE, alley behind 400 block 17th St NE, alley behind 1700 block E St NE, and alley behind 1700 block D St NE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $1043.72, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court

Legals SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5234 Henok A. Mengesha v.

Norman Saunders et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 5327 lot 0001 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 5327 in Lot 0001, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located on the 5000 block A St SE and left of 100 block 50th St SE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $772.84, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court

not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $772.84, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of Legals process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5243 Henok A. Mengesha v.

Estate Phyllis Chase et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 4540 lot 0817 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 4540 in Lot 0817, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located in alley behind 500 block 16th St NE, and alley behind 1600 block F St NE, and alley behind 1600 block Rosedale St NE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_ 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $720.12, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple Clerk of the court

alley behind 500 block 16th St NE, and alley behind 1600 block F St NE, and alley behind 1600 block Rosedale St NE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_ 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real Legals property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $720.12, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple Clerk of the court SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016 ca 5242 Henok A. Mengesha v.

Estate of Fulton R. Gordon et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 1991 lot 0029 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 1991 in Lot 0029, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located in alley behind 5300 block Nebraska Ave NW, alley behind 5300 block Nevada Ave NW, and alley behind 3300 block Military Rd NW. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_ 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $2682.07, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court

washingtoncitypaper.com October 14, 2016 37

ACCOUNT EXECUTIVE – ADVERTISING SALES Washington City Paper has an immediate opening for an outside sales position responsible for selling and servicing our advertising and media partner clients across our complete line of marketing solutions including print advertising in Washington City Paper, digital/online advertising on washingtoncitypaper.com and across our Digital Ad Network, as well as event sponsorship sales.

In addition to selling and servicing existing accounts, Account Executives are responsible for generating and selling new business revenue by finding new leads, utilizing a consultative sales approach, and making compelling presentations.

You must have the ability to engage, enhance, and grow direct relationships with potential clients and identify their advertising and marketing needs. You must be able to prepare and present custom sales presentations with research and sound solutions for those needs. You must think creatively for clients and be consistent with conducting constant follow-up. Extensive in-person & telephone prospecting is required. Your major focus will be on developing new business through new customer acquisition and selling new marketing solutions to existing customer accounts. Account Executives, on a weekly basis, perform in person calls to a minimum of 10-20 executive level decision makers and/or small business owners and must be able to communicate Washington City Papers value proposition that is solution-based and differentiates us from any competitors. Account Executive will be responsible for attaining sales goals and must communicate progress on goals and the strategies and tactics used to reach revenue targets to Washington City Paper management.

Qualifications, background, and disposition of the ideal candidate for this position include: • Two years of business to business and outside customer sales experience • Experience developing new territories & categories including lead generation and cold calling • Ability to carry and deliver on a sales budget • Strong verbal and written communication skills • Able to work both independently and in a team environment • Energetic, self-motivated, possessing an entrepreneurial spirit and strong work ethic • Organized, detail and results oriented with professional presentation abilities • Willing to embrace new technology and social media • MS Office suite proficiency - prior experience with a CMR/CMS software application • Be driven to succeed, tech savvy, and a world class listener • Enjoy cultivating relationships with area businesses We offer product training, a competitive compensation package comprised of a base salary plus commissions, and a full array of benefits including medical/dental/life/disability insurance, a 401K plan, and paid time off including holidays.

Compensation potential has no limits – we pay based on performance.

For consideration please send an introduction letter and resume to Melanie Babb at mbabb@washingtoncitypaper.com.

No phone calls please.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_ 2016 Legals ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $2682.07, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5235 Henok A. Mengesha v.

HAVILAH REAL PROPERTY SVCS LLC et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 5332 lot 0008 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 5332 in Lot 0008, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located on the 4900 block A St SE, next to property address listed as 4925 A St SE, behind property address listed as 4928 Astor Pl SE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_ 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $772.84, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple Clerk of the court

38 October 14, 2016 washingtoncitypaper.com

Legals SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5240 Henok A. Mengesha v.

Newton Reed et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 5326 lot 0016 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 5326 in Lot 0016, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located in 100 block 50th St SE, next to 134 50th St SE, behind 5000 block Astor Pl SE, and across from 5000 block B St SE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_ 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $772.84, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5239 Henok A. Mengesha v.

Newton Reed et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 5326 lot 0017 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 5326 in Lot 0017, Washington DC (“the Property”), a copy of the Post-Tax Sale http://www.washingtNotice. The Property is located in oncitypaper.com/ 100 block 50th St SE, next to 134 50th St SE, behind 5000 block Astor Pl SE, and across from 5000 block B St SE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY & SPIRIT

of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 5326 in Lot 0017, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located in 100 block 50th St SE, next to 134 Legals 50th St SE, behind 5000 block Astor Pl SE, and across from 5000 block B St SE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_ 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $772.84, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5236 Henok A. Mengesha v.

Sichester Jones et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 5327 lot 0026 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 5327 in Lot 0026, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located on the 5000 block of Astor Pl SE, behind the 5000 block of A St SE. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_ 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $772.84, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court

and redeem the real property by payment of $772.84, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of Legals process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court SUPERIOR COURT OF THE DISTRICT OF COLUMBIA 2016-ca-5241 Henok A. Mengesha v.

Estate Agnes Williamson et al And All unknown owners of the property described below, their heirs, devisees, personal representatives, and executors, administrators, assigns or successors in right, title, interest any and all persons having or claiming to have any interest in the leasehold or fee simple in the property and premises situate, lying and being in the District of Columbia described as: Square 3206 lot 0805 Defendants Order of Publication The object of this proceeding is to secure the foreclosure of the right of redemption in the following real property located in the District of Columbia, and sold by the Mayor of the District of Columbia to the Plaintiff (or Plaintiff as assignee) in this action: Square 3206 in Lot 0805, Washington DC (“the Property”), a copy of the Post-Tax Sale Notice. The Property is located in alley behind 5600 block 7th St NW and alley behind 600 block Longfellow St NW. Property has no street address based on tax map records.

The Complaint states, among other things, that the amounts necessary for redemption have not been paid. Pursuant to the Chief Judge’s Administrative Order No. 02.11, it is this_14_ day of _july_ 2016 ORDERED by the Superior Court of the District of Columbia, that notice be given by the insertion of a copy of this order in the Legal Times, a newspaper having a general circulation in the District of Columbia, once a week for three (3) successive weeks, notifying all persons interested in the real property to appear in this Court by the _16_ day of _nov_ 2016 and redeem the real property by payment of $720.12, (together with interest from the date the real property tax certifi cate was purchased, court costs, attorney’s fees, expenses incurred in the publication and service of process and all other amounts in accordance with the provisions of D.C. Offi cial Code §47-1361 though 1377 (2001 ed.) et. seq.,) or answer the complaint or thereafter, a final judgment will be entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple.

Clerk of the court

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