Washington City Paper (October 21, 2016)

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District line: WAs A lAte dCPs teACher CulPrit or ViCtim? 7 fooD: diNNer ANd PolitiCs At trumP hotel 19 arts: rAgNAr kjArtANssoN Comes to d.C. 23

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Blagden Alley was once a haven for d.C.’s underground arts scene. Now its last remaining artist is being priced out. P. 14

By Matt Cohen Photographs by Darrow Montgomery

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2 october 21, 2016 washingtoncitypaper.com

INSIDE 14 End of an allEy

H

H

Blagden Alley was once a haven for D.C.’s underground arts scene. Now its last remaining artist is being priced out.

By Matt Cohen Photographs by Darrow Montgomery

4 Chatter DistriCt Line

7 Culprit or Victim: A sexual abuse allegation drives a DCPS teacher to suicide.

9 Green Elizabeths: A Ward 7 resident with connections heads up Ward 8’s most intense real estate project.

10 Unobstructed View 11 Gear Prudence 12 Savage Love 13 Buy D.C.: Steadfast Supply

D.C. FeeD 19 Young & Hungry: Dinner and politics with The Hungry Lobbyist at Trump’s D.C. hotel 21 Boos Hound: Bars and restaurants with a stiff side of scary all year 21 Brew in Town: Deschutes Black Butte Porter, Metro Wine & Spirits 21 UnderServed: The Fainting Goat’s Duck Hunt

arts

23 Man Behind the Curtain: Ragnar Kjartansson’s work is an exercise in endurance and preciousness.

24 Curtains: Lyons on The

Year of Magical Thinking

and Klimek on Kiss 26 Short Subjects: Gittell on Certain Women 28 Discogs: Lorusso on Lilac Daze’s self-titled debut album

BOB SCHNEIDER

City List

W/ BONNIE BISHOP

31 City Lights: Catch Sampha with Kelsey Lu Monday at U Street Music Hall 31 Music 34 Theater 36 Film

37 CLassiFieDs Diversions 39 Crossword

“There’s no one that was presenting the kind of music he was anywhere in the city.” —Page 14

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CHATTER

Bring Us Your Lit

In which we call for short fiction submissions

Darrow MontgoMery

Get your ass in front of the keyboard.

After a hiatus last year, we’re proud to announce City Paper’s fourth (annual-ish) Fiction Issue, to be published Jan. 5, 2017. We’re looking for stellar, unpublished short fiction from local writers—about the District. And we have good news for aspiring scribes who want to get their work in front of a pro: Submissions will be juried by D.C. resident and award-winning writer Mary Kay Zuravleff, whose latest novel Man Alive! was a 2013 Washington Post Notable Book. Zuravleff is a 2017 DC Artist Fellow and board member of the PEN/Faulkner Foundation. She is also the author of numerous short stories and two other novels, The Bowl Is Already Broken and The Frequency of Souls, published by Farrar, Straus, and Giroux. Her work has won the American Academy’s Rosenthal Award, the James Jones First Novel Award, and was nominated for the Women’s Prize for Fiction.

We will publish the top three entries—possibly more—and award a $500 prize to the winner. Second- and third-place finalists will receive swag bags chock full of all manner of City Paper paraphernalia and movie tickets. Because who doesn’t need another T-shirt and USB stick? Please send submissions of no longer than 1,000 words, along with a short bio, to editor@washingtoncitypaper.com by Dec. 1, and include “Fiction Issue” in the subject line. Stories will be sent to our judge, absent any identifying information about the writer. We look forward to being surprised, entertained, and dazzled. reaction to last week’s cover story about sleazy cabbie Hamed Abawi, who preyed on vulnerable drunk women and for years walked what he called “a fine line” “between rape and fun” (“Taxicab Confessions,” Oct. 14), drew shared outrage from readers. “This is a fucking horrible human,” Ryan Sims (@ryangsims) wrote on Twitter. “OMG, this story is horrifying, especially if you’re a woman who rides cabs by herself in DC,” Aaron Rupar (@atrupar) wrote. And some of the venom was directed at City Paper too. “If the intention of the piece was to highlight Abawi’s ‘nauseating’ behavior,” Ponta Abadi wrote, “then I think it’s a poor decision to wait until paragraph 19 to mention consent at all.” Meanwhile, based on City Paper’s reporting, D.C.’s Department of For-Hire Vehicles has asked the Metropolitan Police Department to investigate Abawi.

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Tomorrow’s History Today: This was the week a D.C. Council bill on assisted suicide advanced for consideration by the full body.

DistrictLine Culprit or Victim?

A sexual abuse allegation drives a third grade D.C. public school teacher to commit suicide.

Less than three weeks after school officials confronted a DCPS teacher about an allegation of sexual abuse, he took his own life.

John Domenick Bontempo, a 45-yearold third grade teacher at Neval Thomas Elementary School in Northeast, was in the process of taking on a formal mentoring role with a D.C. youth when the situation turned tragic. The mother of the minor accused him of child sexual abuse, setting off police and school investigations that were underway when Bontempo committed suicide in late August, according to police reports and interviews with a number of investigating agencies.

Karen Douglas, program manager with the National Center for Children and Families, notified the Metropolitan Police Department on Aug. 26 that she had received an emailed suicide threat that morning from Bontempo, who taught writing, social studies, and science.

“Apparently there had been some allegation regarding a young person [Bontempo] had contact with,” says Douglas, who until then had been unaware of the situation. “He didn’t mention specifics, but he was devastated that anyone would think he would have such a relationship given how close he was to the youth and the family. He said goodbye, and that he knew the action he was going to take was going to impact people who cared about him.”

Douglas, a licensed clinical social worker, tells City Paper that she received the email— as did other social service providers—at 7:28 a.m. She describes a frantic search of client files in an effort to locate Bontempo, during which her staff discovered that the youth in question—the brother of a former Bontempo student—is a ward of the city. MPD referred the call to Prince George’s County Police, who responded to his home in Hyattsville, Maryland, at 9:40 a.m.

“Upon arrival there was no response at the door and after several attempts [the officer] called the rental office who provided a key to gain entry at the [location of interest],” the po-

lice report reads. “As officers entered, [Bontempo] was on the floor with a rifle in his hand and self-inflicted gunshot wound to the upper body.” The report goes on to say that Bontempo “died of self-inflicted gunshot wound.”

An official at Maryland’s Office of the Chief Medical Examiner confirms the cause of death as “contact gunshot wounds of head and torso” and says the office has ruled it a suicide.

Officials would not disclose the precise nature of the alleged abuse, but the existence of the allegation before Bontempo’s death give rise to equally troubling scenarios—that he took advantage of his proximity to a minor, or that he was a victim of a false allegation so tormented by the potential outcome that he killed himself—with a lot of gray in between.

“It’s that day you don’t want to have, whether you knew the person or not,” Douglas says. “An investigation was in process, and I don’t know that it got to the end before he took the action that he took. Now we don’t know what the outcome was going to be—and he doesn’t either.” though the educator’s death went unreported in the local media, an obituary in his hometown newspaper, the Observer-Reporter in Pennsylvania, describes him as a popular teacher who worked in DCPS for almost 20 years. The condolences page mentions numerous schools where he taught, most recently at Neval Thomas Elementary.

The obituary describes him as “a happy-golucky guy who [was] always trying to make everyone laugh,” someone who “liked to sing, dance, and listen to Barry Manilow.”

It notes that Bontempo loved being a teacher: “It is my philosophy that ALL children can learn,” he was fond of saying. Those words are also included in his teacher bio that is still posted on the Neval Thomas Elementary website.

In an Aug. 29 letter to families of Neval Thomas students, which DCPS provided to City Paper, school principal Davia Walker wrote that Bontempo had “passed away,” and assured them that DCPS had deployed clinical social workers and school psychologists to “support students, parents, and staff during this difficult time.”

Screenshot of YouTube tribute

By Jeffrey Anderson

In the weeks leading up to his death, Bontempo had come under DCPS scrutiny over his relationship with the youth. And it wasn’t limited to the school district. According to an official with the D.C. Department of Youth Rehabilitation, the youth is under a juvenile commitment order, and Bontempo was being vetted to become his foster parent. Months earlier, numerous service providers received a sexual abuse allegation against Bontempo via email from the minor’s mother, who enclosed a screenshot of a text message to Bontempo that she found on her son’s cell phone, the official says. A July 27 MPD public incident report confirms that Bontempo was being investigated over the claim. “On June 9th … a mandated reporter reports that Subject-1 disclosed allegations of sexual abuse involving Subject-2,” the report reads. “The case is being investigated by Youth and Family Services Division.”

Mandated reporters are individuals who in their professional or official capacities know or have reasonable cause to suspect that a

youth is a victim of sexual abuse or attempted sexual abuse. Teachers, coaches, nurses, and social workers are among the many mandated reporters under D.C. law. According to the incident report, the case was assigned to Officer Joseph Hudson of the Youth and Family Services Division. He investigated and initially determined the allegation to be unfounded, though the matter remains under investigation, says Karima Bilal of MPD’s Office of Communications. The D.C. code defines an unfounded allegation as one made maliciously or in bad faith, or that has no basis in fact.

Hudson could not establish probable cause to make an arrest based on the information he had at the time, but he brought the allegation to the attention of school officials after he learned that Bontempo was a teacher, according to the DYRS official.

DCPS officials confronted Bontempo with the allegation during a meeting in early August, according to sources with knowledge

washingtoncitypaper.com october 21, 2016 7

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Bontempo’s reLationship with the youth and his family appears to have been an informal one, dating to when the youth’s brother was his student. According to the condolences page on his obituary, Bontempo was known as a generous friend and mentor to children outside of school. During a recent City Paper visit to one of his former residences in Hyattsville, Bontempo’s former neighbor recalls that he often brought teenage boys to his apartment, where they made a lot of noise and smoked cigarettes out front. “He called them ‘God’s children,’ or ‘God’s sons,’” says the neighbor, a retiree named Richard who declined to provide his last name.

Penelope Spain, a public interest attorney and CEO of Open City Advocates, which represents wards of the Department of Youth Rehabilitation, says teachers and mentors often play informal roles in the lives of committed youth. They can meet through school or church or anywhere a natural, supportive relationship exists, says Spain, whose organization is not involved in the matter. Therein lies the risk, she says. “If we put too many controls on which adults can be involved in supporting a youth, we risk shortchanging that youth. But people are quick to say that kids need to have a mentor, and they think that is as easy as finding caring adults. It’s not that easy, and it involves a very deep responsibility.”

The DYRS official says the youth’s family approved of Bontempo taking on the more formal role of foster parent, which can be a shortterm therapeutic relationship but involves significant vetting and background checks. In the meantime, an informal relationship can continue. Such bonds can become messy, particularly if financial assistance is involved, says the official. “It can lead to an unhealthy cycle.”

Although City Paper located the mother who made the allegation against Bontempo, she declined to be interviewed.

With Bontempo’s death, Douglas, the social worker, wonders how the ordeal will affect the youth’s life, or the lives of those around him. Though the teacher’s family members declined to comment for the record, it’s clear that people in Bontempo’s life have been affected deeply. He appears to have left a message for them, too: A YouTube tribute shows photos of him from childhood to adulthood set to Barry Manilow songs. At the end, there is a passage attributed to him, from just 10 days before his death: “I was traveling through West End. I came across this park that overlooks the city.

Quiet. Peaceful. Just sat and prayed and thanked God for all he has seen me through.”

CP

DistrictLinE Green Elizabeths

By Andrew Giambrone Just when he thought he was out, Ed Fisher got pulled back in.

The 38-year-old resident of Ward 7’s Eastland Gardens neighborhood remembers the recent call he got from Mayor Muriel Bowser’s administration that led him back through the public-private revolving door. Fisher—who served as both legislative director and chief of staff for now-outgoing Councilmember Yvette Alexander—was working in a regional community affairs role at BlueCross BlueShield when Bowser asked him to oversee development of the St. Elizabeths East Campus. It’s the largest infill project anywhere in D.C. today and falls under the auspices of Deputy Mayor for Planning and Economic Development Brian Kenner. The 183-acre Ward 8 site is bigger than the long-promised Walter Reed Army Medical Center and McMillan projects in Wards 4 and 5.

Fisher accepted and began his new role on Sept. 26, replacing Vince Gray appointee Catherine Buell, who now directs the Atlanta Housing Authority.

The first phase of development is underway, including foundations for an entertainment and sports arena that will serve both as the Washington Wizards’ practice facility and as a venue for community events, concerts, and retail starting in fall 2018. The financial and political stakes for the mixed-use project are huge. The mayor and her staff have described it as “transformative,” “catalytic,” and, in reference to the arena specifically, “bigger than basketball.” The $65 million facility, bankrolled mostly with public funds, will go up where part of a psychiatric hospital once operated, across from the Congress Heights Metro station.

Then there’s housing. At the project’s completion, St. Elizabeths East will include around 1,300 residential units. Phase I alone promises 60 townhomes and 250 apartments for people of varying income levels. Planning officials hope for almost two million square feet of eventual office space, local and national businesses, and even a hotel or educational institutions, bringing the economic activity other areas of the District have seen east of the Anacostia River.

“I don’t feel pressure,” Fisher says coolly.

“I’m pretty confident that along with the en-

housing complex

tire team we can get the job done. There are a lot of expectations, and I’m looking forward to meeting them.”

Now a father of two, the ex-Council staffer grew up in Deanwood, graduated from D.C. Public Schools, and considers himself a thirdgeneration Washingtonian. (At least “technically,” he notes. Although his parents moved away from the District, his grandparents are from here.) In his twenties, Fisher returned to D.C. from Hampton University, in Virginia, where he earned an undergraduate degree in business, to attend Catholic University’s law school. He’s lived in his current house since 2004 and frequently got to work with Kenner as Alexander’s chief of staff.

The Ward 7 councilmember characterizes Fisher as “even-keeled.” “If I would go off the handle and get too excited, he would keep me balanced,” says Alexander, who knew Fisher’s family and met him through community activism.

It may seem odd that the Bowser administration charged a Ward 7 resident with coordinating its sister ward’s most important project, but Fisher says he’s had connections there since childhood, with family living a few blocks from the campus. Besides, it’s for all of D.C., “a destination where people from the other side of the river are coming to Ward 8 because there’s something there for them to do, to be entertained, to shop, to dine, and everything,” he says.

Insofar as he has one, Fisher’s mantra for the project appears to be “opportunity, opportunity, opportunity”—a word he used every other minute during an interview, referring both to the position he’s taken and to the larger potential for economic development at St. Elizabeths East. Day-to-day, he works with the District’s executive agencies that have a role in the project, utilities companies (like Pepco), the developer, and residents.

Fisher is also responsible for envisioning what the redevelopment’s second phase will look like, and hopes to finalize “a framework” within the next few months. “We want this to be a technology- and arts-focused destination” that could entail an incubator space, free WiFi across the campus, and a tech firm’s headquarters, he says. “That’s something I’m really going to be aggressive about: attracting somebody to the neighborhood, to make them realize the potential they have.”

Darrow Montgomery

A Ward 7 resident with connections heads up Ward 8’s most intense public real estate project.

There’s good reason to be conscientious about that aspect of the project. Fisher’s home ward was supposed to get two Walmarts— one at Skyland, one at Capitol Gateway—before the company pulled out earlier this year.

Although the composition of St. Elizabeths’ retail hasn’t been set yet, Fisher says the administration is open to big-box stores like Target and to local outlets as long as they’re the “right fit” and demonstrate “a true interest” in locating in Ward 8. “They have to see the value in the community, they have to feel it, they have to talk to the people, and that’s the biggest key,” Fisher says. (So not Walmart, right?

“Not at this time, I don’t think so.”)

Beyond leasing space to businesses that will benefit the District, perhaps the most significant challenge for Fisher is ensuring that St. Elizabeths is inclusive of its closest neighbors.

Some worry that the project will accelerate gentrification and raise the cost of living east of the river despite the hundreds of jobs it’s expected to produce—like what happened in Chinatown after Verizon Center was constructed, or Columbia Heights in the era of DC USA. In light of this, outgoing Ward 8 Councilmember LaRuby May and At-Large Councilmember Elissa

Silverman have proposed legislation that would create a “displacement risk zone” around the site and boost tax credits claimed by residents who live in that area.

Meanwhile, as an analysis of census data by the D.C. Fiscal Policy Institute found in September, poverty has worsened east of the Anacostia River since 2007, with a poverty rate three times higher there than in the rest of the city. Fisher, who “used to look at [land-disposition agreements] for fun” when he worked for the Council, says the community has been “very supportive” of the redevelopment, though there are residents who bring up gentrification “from time to time.”

“It’s not going to push anybody out,” Fisher insists. “There’s nobody on that property right now. It’s just going to help the surrounding communities improve.” Would “Mayor for Life” and former Ward 8 Councilmember Marion Barry have been pleased with the direction the site’s headed? “Absolutely,” he says. “He saw the beginning of this, so we’re going to keep pushing it along.”

“St. Elizabeths can be its own city within a city,” Fisher adds. “I don’t think it can get any better than that.”

CP

washingtoncitypaper.com october 21, 2016 9

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Hater’s Guide To Hating

By Matt Terl

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10 october 21, 2016 washingtoncitypaper.com

N O S S I PO

Things are preTTy good for the local NFL team right now. It’s riding a four-game win streak. The most recent victory came over a division rival that was a darling of the season’s first quarter. The team is scoring points, the offensive line seems to be cohering, and the defense appears to have recovered from a rough start to the year.

Perhaps most impressively, it has continued last year’s crucial trend of minimizing off-thefield drama. After all, the most notable commentary coming out of the locker room this week focused on why the NFL is determined to legislate fun out of football, which is as harmless as locker room yapping can get. So far no one has been thrown under the bus, no one has accused the wrong people of having influence over team decisions, no idiotic promotions have overshadowed the actual games.

It appears in every way to be an ordinary football team going through a pretty good stretch, which may not sound like high praise, but for this team it most definitely is.

And yet people still seem to hate the team, much more than its relatively low profile would merit. I’m not going to claim some kind of naivete-as-narrative device about why certain people feel this way—I’m writing this in City Paper, after all—but reading comments online and listening to podcasts and the like, there seems to be a remarkably deep well of loathing, even from people who haven’t been sued by the owner and who don’t seem to care much either way about whether the team’s name is a racial slur.

Why? Enter Drew Magary, a novelist, GQ writer, columnist for Deadspin, and, not least, a professional expert on online hating. Even if you don’t know Magary’s work by name, odds are good that somewhere you’ve stumbled across one of his many excellent online “Hater’s Guides”—to sports teams and mayonnaise, large insects and children’s TV shows, and the overpriced holiday knickknacks at Williams-Sonoma. A genial crank’s brand of grumpy contempt in some ways represents the foundation of Magary’s career.

“I just think people online tend to connect if they share grievances,” Magary explains.

“It works in the opposite direction too, but sometimes you feel a little less alone if you find someone who hates umbrellas as much

as you do (I hate umbrellas).”

Also, sports teams (unlike umbrellas) are in many ways designed to be hated. “Sports fan hate is inherently absurd,” Magary points out.

“It’s a kind of safe hate, where everything is understood as a matter of ritual (except in Alabama), and people understand that it’s not real life.”

But when Magary, who lives in the D.C. metro area, mentions the local NFL team, there seems to be a little less ritual and a little more vitriol. He chalks that up to two factors: “Familiarity breeds contempt, obviously,” he notes. “If you live somewhere that has a team that isn’t yours, you’ll get sick of that team. But also, Dan Snyder is a miserable wretch who runs that franchise like North Korea, and the worst part is some fans (not all), blindly support all of Ashburn’s bullshit.”

That, Magary suggests, is the underlying reason why people are so happy to shred the team at any opportunity. “I think Snyder is earmarked as one of the more vile owners in sports,” he says, “so the Skins get more grief than your standard team.”

It’s the eternal catch-22 with this squad: It can change coaches and general managers, try different marketing strategies, and clean up its public relations approaches, but all you can really do with the owner is try to keep him out of the public eye—which is what the team has done. But people don’t forget, especially not after the many, many episodes that this ownership has run into, and it’s going to take more than a couple of quiet seasons before people outside the fanbase are willing to believe.

“It’s all an illusion,” Magary says. “They’re the same miserable people up top, just boring-er.”

It’s a quandary. The team has been terrible, but they were never lovable losers. If they start winning, that will inherently annoy people who don’t want to see Dan Snyder happy or successful. Mediocrity just breeds more contempt. It seems likely that there’s only one way that the team can fully change the way the average fan views it.

“Sell,” says Magary.

Which means all the haters should probably settle in for another few quality decades of animus.

CP Follow Matt Terl on Twitter @Matt_Terl.

Gear Prudence Gear Prudence: I don’t know whether it’s like this in other cities, but it seems like there are road closures in downtown D.C. all the time.

Either it’s a “suspicious package,” some big VIP event, or a road race/food festival/charity walk. All of a sudden and with no warning, streets go from open to closed, and as a bicyclist, this leaves me confused. When streets are closed to traffic, are they also closed to bikes? Or it is just cars? And if there’s room to get by, wouldn’t it be OK for me to just go past a barrier or around the caution tape?

—Deftly Evading Traffic On Unopen Roads Dear DETOUR: GP doubts that D.C. is unique in having occasional street closures, but all locals know that we are beset by them quite frequently. Learning to cope is just part of getting around. At least facing closed streets while on a bicycle is vastly better than being stuck in a car (or worse, a bus), since it’s much easier to pull a volte-face or wend your way through the mess using your superior maneuverability and relative litheness. Whereas bulky cars are stuck, bicyclists, like cockroaches, can find a way. Use caution in these situations—the resulting congestion from unexpectedly closed roads tends to amplify driver impatience, which can result in some reckless (or outright hostile) navigation in an attempt to gain an advantage over all those others equally stuck.

Getting around a closed road is one thing, but deciding whether to go through is trickier.

There tends to be a hierarchy in road closures, and those related to VIPs and big events sit at the top. A good rule of thumb is when you see sirens and people with machine guns, don’t blithely assume your passage through the closure will be permitted. Those tasked with providing security to big events have bigger concerns than you and your bike. Sometimes you might be allowed through, but always ask in advance. And don’t be whiny if they say no, which will likely happen.

Obviously, biking alongside a marathon route or any other kind of closed race course is prohibited. Don’t put the dip in Pheidippides.

If you come upon a street closed for a bike race, don’t ride there either. At least not without registering first.

Street festivals are less obvious and biking there is probably not strictly forbidden, but common sense should prevail. If there are a lot of people walking and your biking through will be inconvenient to them, stay clear. If it’s spacious, you can ride through, but slowly. The same rules generally apply when the street is closed but the sidewalk is open. It’s probably going to be easier and less frustrating for everyone if you dismount and walk. If you really must ride and with pace, then detour. —GP Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling?

Email gearprudence@washcp.com.

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Waiting to pay for my groceries at the market this evening, this guy, stinking of booze, says to my 9-year-old daughter, “Sweetheart, can you put the divider thing there for me?” First, why is some leering grown man calling my child “sweetheart”?

He then thumps two huge bottles of vodka down on the belt. I move closer to my daughter. He then reaches his hand over me and wraps his hand around her arm, saying, “Now, you be nice to your mommy, sweetie.” I pluck his hand off. “Do not touch my child,” I say. My other hand is pressed against my daughter’s ribs, and I can feel her heart POUNDING. “You have a beautiful daughter,” he says. The cashier, a guy we know, looks at me, eyebrows up. I roll my eyes. So pissed. We leave. “I hated that man,” my daughter says once we get in the car. “He smelled bad, I wanted to hit him.

If anyone ever does that to me again I’m going to scream.” Here we effing go: “Sometimes you have to be hypervigilant,” I tell my daughter, “because some gross men out there feel they are entitled to touch us.” And then I share my story: “When I was a little girl…” I don’t even remember the first time it happened to me. I don’t remember the last time some pervert rubbed up against me. But that’s what you have to deal with when you are a girl.

We have to learn to brush this shit off, to make sure that this endless assault course of predators doesn’t take one bit of your pride, your confidence, or your sense of peace as you walk through this world. I am so angry. We should call this the “Trump Talk.”

The depressing conversation that every parent needs to have with their little girl about revolting, predatory, entitled men. The Trump Talk.

—Mother And Daughter Discuss Enraging Realities I’m sorry about what happened to your daughter at the grocery store—I’m sorry about what was done to your daughter by that entitled asshole at the grocery store—but I’m glad you were there with her when it happened.

The author Kelly Oxford, in response to Donald Trump’s horrific comments about sexually assaulting women, called on women to tweet about their first assaults under the hashtag #notokay. Oxford’s post went viral— more than a million women responded— and reading through the seemingly endless thread, I was struck by how many women were alone the first time they were assaulted.

Oxford herself was alone the first time it happened to her: “Old man on a city bus grabs my ‘pussy’ and smiles at me. I’m 12.”

A lot of women I know, including some very close friends, were your daughter’s age the first time it happened to them, MADDER, but they were alone. Tragically, many assumed that they had done something wrong, that they had invited this on themselves somehow, and most didn’t go to their parents for fear of getting into trouble. And when it inevitably happened again, some became convinced they were

12 october 21, 2016 washingtoncitypaper.com

indeed to blame, that they were bringing this on themselves somehow, because they thought it wasn’t happening to anyone else, just them.

So thank God you were there with your daughter, MADDER, there to pull that asshole’s hand off of her, there to protect her from worse, and there to help her process the experience. And in that car ride home you inoculated your daughter with your message (you are a human being and you have a right to move through this world unmolested) before gross predators could infect her with theirs (you are only an object and we have a right to touch you). I want to live in a world where this sort of thing doesn’t happen to anyone’s daughter, MADDER, but until we do: Every little girl should be so lucky as to have a trusted adult standing by ready to intervene when it does happen. I only wish the grocery store clerk had intervened, too.

Personally, I wouldn’t be able to climb into bed with someone who was planning to vote for Donald Trump.

Regarding your suggestion, MADDER, I’ve received roughly 10 million emails begging me to do for Donald Trump what I did for Rick Santorum: My readers and I redefined santorum (“the frothy mixture of lube and fecal matter that is sometimes the byproduct of anal sex”) and some wanted us to do the same for Trump. People even sent in suggestions: trump is the streak of shit a large turd sometimes leaves on the bottom of the toilet bowl; trump is the snot that sometimes runs out of your nose when you’re giving a blowjob; a trump is a guy so hopelessly inept in bed that no woman (or man) wants him, no matter how rich he is.

The suggested new meanings all struck me as trivial and snarky—and I don’t think there’s anything trivial about the racism, sexism, xenophobia, anti-Semitism, and violence that Trump has mainstreamed and normalized, and I’m not inclined to snark about it.

And, besides, “trump” already has a slang meaning: It means “to fart audibly” in Great Britain—and that definition is already in the Oxford English Dictionary. And it frankly didn’t seem possible to make Donald Trump’s name any more revolting than he already has.

If I may paraphrase the amazing letter the New

York Times sent to Trump after he demanded they retract a story about the women he’s assaulted: Nothing I could say in my sex column could even slightly elevate the feelings of disgust decent people experience whenever they hear his name. Mr. Trump, through his own words and actions, has already redefined his last name.

But then your e-mail arrived, MADDER, and I set aside the column I was already working on to rush your idea into print.

Because your suggestion—that parents call the conversation they need to have with their daughters about predatory and entitled men the “Trump Talk”—is just as fitting and apt as the “frothy mixture” definition of santorum. It’s not trivial and it’s not snarky.

It has gravitas, MADDER, and here’s hoping “Trump Talk” isn’t just widely adopted, but universally practiced. Because no little girl who gets groped on a bus or in a grocery store or on a subway or in a classroom should ever have to wonder if she did something wrong.

—Dan Savage Big fan, longtime reader and listener, and I need your help. How in the hell can a bipartisan relationship survive this election? Things have gotten so heated that my husband and I recently exploded in an ugly argument. I know I’m not fighting fair—calling him stupid and irresponsible for supporting Trump—and I’m being a shitty partner, and he’s being shitty in response by spouting Clinton conspiracy theories. A huge part of it is that he’s someone who lives to disagree—a true contrarian—and our current political environment has been like manna from heaven for his sense of humor. What advice do you have?

We’ve been together for ages and have survived other elections and issues. But, as you know, this one’s different. —Struggling After Debate Unlike your husband, SAD, I don’t think there’s anything funny about Donald Trump.

I’m going to enjoy watching him lose the election, and I’m going to enjoy watching his hotels and golf courses go out of business one by one, but our politics and public life have been sickened by the poison that is Donald Trump.

It’s going to take years for us to recover, SAD, and I just don’t see the humor in it. And personally, SAD, I wouldn’t be able to climb into bed with someone who was planning to vote for Donald Trump. I would be out the door.

But if you can’t leave because you love him despite his moral and political bankruptcy, or because leaving isn’t an option for you financially, avoid the subject for the next three weeks, don’t take whatever bait your husband throws out, and try not to gloat too much when Hillary hands Donald his ass on Nov. 8.

—DS

Send your Savage Love questions to mail@savagelove.net.

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Blagden Alley was once a haven for D.C.’s underground arts scene. Now its last remaining artist is being priced out.

By Matt Cohen

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Bill Warrell is in pain, which isn’t unusual for him. At 63, he’s been in pain for most of his life. Born with a connective tissue disorder called Ehlers-Danlos Syndrome that, among other things, makes his joints loose and prone to dislocation, it’s hard for Warrell to get around. He uses a cane on good days, and on the occasional bad days, he scoots around in a wheelchair.

“The worst thing about my condition is that it’s cumulative, but it’s not progressive,” he says. “Sometimes it’s excruciating, other times it’s manageable, but it will not kill me.”

Luckily, Warrell doesn’t really have to leave home that much if he doesn’t want to. With the exception of taking his loyal and loveable Australian Cattle Dog Stella for walks, he has everything he needs in his home, a 1,000square-foot live-work studio at 926 N Street NW in Blagden Alley. He has enough space to work on his paintings—evocative, sometimes haunting interpretations of his dreams and experiences, often infused with biting socio-political commentary—and to keep all the materials he needs to create them.

The corridor outside of his studio serves as a kind of pseudo-gallery for his art. Nearly a dozen completed, or near-completed, pieces artfully hung on the walls greet visitors as they climb the stairs from the building’s alleyway entrance.

There’s a modestly sized kitchen, a loft for his bed, and enough surface area to host guests, store his myriad treasured belongings, and give Stella enough room to run around and play.

It’s the kind of ideal artist studio that has become virtually extinct in D.C. these days: a spacious, high-ceilinged, open-floored space in a warehouse quietly tucked away in a micro-

neighborhood that has a rich history as an epicenter for artists.

Still, the pain doesn’t stop Warrell from getting out and leading the life he’s always lived.

A painter, musician, filmmaker, curator, presenter, promoter, and all-around patron of the arts, Warrell is a man about town. Best known as the co-founder of d.c. space—the long-gone nightclub that, along with the old 9:30 Club, was home to many of D.C.’s underground music and arts communities in the ’80s and early ’90s—and the avant-garde music production company District Curators, Warrell is something of a legendary Washingtonian.

What’s causing him the most pain these days is what he sees happening to his city.

He’s lived in and around D.C. all his life, and for the past 13 years he’s made Blagden Alley his home. But in recent years, it has changed dramatically. What was once a haven for D.C.’s underground arts communities—home to artist studios and galleries—has transformed into one of the city’s bougiest neighborhoods, replete with high-end restaurants, suave bars, a yoga studio, a juice bar, and a chic coffee shop enveloped by expensive condo buildings.

It’s emblematic of what’s been happening all over D.C. throughout the past two decades, but with Blagden Alley it stings especially hard for Warrell. That’s because he is the last artist left living there.

And pretty soon, he too will be gone, pushed out by rising rent costs. in a Way, pain is what led Bill Warrell to discover a life in art.

Born at George Washington University Hos-

14 october 21, 2016 washingtoncitypaper.com

pital and raised in Silver Spring, he spent most of his youth plagued by chronic pain. Doctors didn’t have a clue what was wrong with him and told his parents that they were just growing pains. The most seemingly benign incidents would routinely land him in the hospital. “It took years for me to realize I gotta wear high-top shoes, because my ankles will separate,” he says. “And when they do, I fall. And when I fall, my skin tears like a surgical glove, and I end up with a dozen stitches. And so, the smallest thing where most people would come away with a bruise, I ended up in the emergency room.”

It wasn’t until Warrell was 9—after an incident playing at a construction site with friends ripped most of the skin off his shins and landed him in the hospital—that a doctor recognized what was wrong with him. He was formally diagnosed with Ehlers-Danlos Syndrome.

With sports and most other physical activities posing a serious threat to him, Warrell found solace in art.

“My mother always used to tell me, ‘You used to draw like crazy because it’s the only thing that would make you forget that you were uncomfortable,’” he recalls.

But his artistic inclinations weren’t a random discovery. They were inherited from his mother, who came from a family of musicians in Iowa. “That side of the family was very, very engaged in the arts,” he says. “She and her sisters all became at least competent classical musicians. My grandmother was the town organist and piano teacher.”

After high school, Warrell landed at Montgomery College, where he studied painting for

a couple of years, then bounced around for a brief period before moving back to the District permanently. He lived briefly in Halifax, Nova Scotia, interning at a prestigious print shop and working with artists like Joseph Beuys, Bruce Nauman, and Vito Acconci.

He had a short but influential tenure working on a film crew at the Creative Music Studio (“like a summer camp for free-music heads”) in Woodstock, New York in the summer of 1975, “which pretty much ended up being my future in music,” he says. There, he met legendary avant-garde jazz musicians like Don Cherry, Dave Holland, Sam Rivers, Anthony Braxton, Maurice McEntire, and others, who he would later bring to D.C. under his District Curators moniker to perform.

His time in Nova Scotia and Woodstock proved revelatory, leading him back to D.C. at the end of the summer in 1975. “I grew up here, and there’s all this amazing art being made around the country—and this whole world of artists, it doesn’t exist here in D.C.,” he recalls.

“Where did I get off thinking that my hometown was so backward that I could fix it? But what I realized really quick was that there were a lot of people who felt the same way I did.”

So he started his own scene.

Along with “an odd collection of art school friends and [his] family,” Warrell opened a small club in 1977 in a building on 7th and E Streets NW—the heart of downtown D.C. “Space is the place,” was the club’s official slogan—a not-so-subtle nod to one of Warrell’s favorite musicians and heroes, Sun Ra. And until 1991, d.c. space was the place. The place where the District’s burgeoning hardcore punk

washingtoncitypaper.com october 21, 2016 15

scene, experimental and avant-garde jazz, art, film, and any other form of transgressive counterculture merged in a single cramped, inclusive space.

“There’s no one that was presenting the kind of music he was anywhere in the city,” recalls Bobby Hill, a longtime WPFW DJ and close friend of Warrell’s. “People could love the music but have no opportunities to see it performed live. It was only through d.c. space that you got a chance to see these artists.”

The early success of d.c. space was just the kind of validation Warrell needed to build on his vision of the District as an arts town. In 1978, he formed District Curators Inc. to bring avant-garde musicians to other venues around town, and to spaces better suited to their talents.

Throughout the tenure of District Curators, Warrell recruited such lauded experimentalists as John Cage, Laurie Anderson, Sun Ra, Cecil Taylor, Steve Reich, Philip Glass, The Art Ensemble of Chicago, Amiri Baraka, The Residents, Ornette Coleman, John Zorn, and Meredith Monk. Warrell often worked with organizations, institutions, and venues to present these artists in unconventional spaces, like Freedom Plaza, The National Building Museum, and The Warner Theatre, among others.

Warrell fondly recalls those days and what the collaborative efforts accomplished. But what haunts him today is not what he did, but what he tried—and failed—to do.

“Back in those days, a lot more should have happened, a lot more should’ve been maintained,” he says. “That was the beginning of me being very naive and thinking that there was some kind of bigger civic way to do this.

City and artists working together.”

The dream was to create a way for D.C.’s thriving arts and music scene to work with the city government to ensure arts and culture was there to stay, even as the development boom started to creep in. They had plans.

Warrell says he and a group of fellow artists organized and formed the Activity for Downtown in the Arts to work with the Office of Planning and the Pennsylvania Avenue Development Corporation—the developers leading the revitalization of downtown D.C.—to help maintain arts as a downtown mainstay. They worked to include language in every development project proposal for the area to secure some sort of arts component. They fought to get the Warner Theatre, which served as District Curators’ office for a period, restored as a multi-use space. And what was to be the crown jewel? A multi-use theater with 500 to 600 seats that could be used for local music, theater, performance, dance, and visual arts to anchor it all.

“We were all ready to jump into this like, ‘Oh man, let’s make a plan where the arts really have a voice, really have a place,’ and we ended up with the Shakespeare Theatre,” Warrell says. “[Artistic Director] Michael Kahn came in with that national reputation. Immediately got national money. Trumped everybody else’s plan, but said ‘I’ll still do all that.’

And then, you know, never did. It was never lo-

“Donald the Clown” by Steve Lewis (2016)

“Sun Ra and Erykah Badu” by Aniekan Udofia (2015)

“All of us who did such a heroic job in our day were really laying the groundwork for this [gentrification],” Bill Warrell says. “I feel like I was—not a pawn in it—but I really helped fuel that.” cal. It’s the Smithsonian of theater.”

Giorgio Furioso, another longtime Warrell friend and an arts and real estate developer who owns the building where Warrell currently lives, similarly recalls the demise of the arts landscape in downtown D.C. “When d.c. space got pushed out by the Pennsylvania Avenue Development Corporation, I bought all the rights to d.c. space, because I thought we were going to reopen,” he recalls. “We tried, and we just got screwed by every developer.

They just didn’t want that kind of scene [in downtown] anymore.”

The only way the city was going to mandate arts was to say, “Every building downtown has to have a certain ratio of arts,” Furioso says. “[Developer Doug] Jemal bought all these buildings that had arts [in them], and they all got negotiated away. Every square in downtown was supposed to have an arts component. And they got renegotiated. It’s kind of sad.”

There’s hisTory painTed on the walls of Blagden Alley. Literally.

Last year, Warrell and fellow artist Lisa Marie Thalhammer opened the D.C. Alley Museum through a grant from the D.C. Commission on the Arts and Humanities. (Warrell and Thal-

16 october 21, 2016 washingtoncitypaper.com

hammer recently received another grant from the DCCAH to expand the Alley Museum). It’s a collection of murals and mosaics along the alley’s facades and garage doors. Some of them— like Warrell’s own “A System of Politics and Art” depicting d.c. space in its heyday or Cita Sadeli Chelove’s “Untitled”—are visual histories of D.C.’s counterculture past. Others, like Aniekan Udofia’s “Sun Ra and Erykah Badu” and Thalhammer’s “Meditation,” have deeper thematic meanings.

But the intent of the museum is clear. “This used to be an alley filled with artists, weirdos, and punks,” Warrell told City Paper when it opened last fall. The museum is a testament to that time.

Thalhammer first met Warrell shortly after she moved to D.C. in 2004, at the opening party for 1515 14th St. NW, one of Furioso’s buildings that would become something of an epicenter for D.C.’s bustling gallery scene in the early-to-mid aughts. It housed G Fine Arts, Curator’s Office, Adamson Gallery, and Hemphill Fine Arts. Of those, only Hemphill remains in the building.

“I came to visit his studio over there in Blagden Alley that following week and just loved the studio and vibe,” Thalhammer re-

calls. “Signal 66 was downstairs at the time. It just felt really alive.”

The late ’90s and early 2000s were the artistic heyday for Blagden Alley—home to places like revered gallery Signal 66; video production company and TV studio Planet Vox; and Fight Club, an underground skate park, arts, and music venue. But it didn’t come easy.

In 1987, Furioso bought an abandoned warehouse in Blagden Alley for $404,000.

To say the building was in rough shape at the time is a vast understatement: The roof had caved in and the space flooded with trash and transmission oil. The only way to get in was to climb through the trash. The rest of the alley was no different.

It had become a dumping ground for small contractors and worse: For years, Blagden Alley was known as the spot where drug dealers and transgender prostitutes would hang out and conduct business. It wasn’t uncommon for bodies—victims of drug or prostitution deals gone south—to be found in Furioso’s building, discarded somewhere it seemed no one would ever care to clean up.

But Blagden Alley wasn’t always that rough.

Its origins date back to the mid-1800s, when residential and commercial development in downtown D.C. spread north. Named after famed resident Thomas Blagden, the alley experienced a population boom just after the Civil War, when many African Americans migrated to D.C. In his book Alley Life in Washington: Family, Community, Religion and Folklife in the City, 1850–1970, author James Borchert deconstructs the myth of alleys being dangerous places that middle-and-upper-class residents were warned to stay away from. Borchert describes Blagden Alley as a tight-knit, mostly black community throughout much of the 20th century. The area was not without its flaws: Families were crammed into small apartments, and

Courtesy Giorgio Furioso

Blagden Alley when Giorgio Furioso purchased 926 N St. NW in 1988.

crime and prostitution were prevalent.

There was a nationwide push throughout the early-to-mid 1900s to end alley dwellings, which was spearheaded by First Lady Ellen Wilson. It took years to pass legislation banning alley housing, and even longer for it to take effect and become enforced.

By the time of the 1968 riots after Martin Luther King, Jr.’s assassination, Blagden Alley and most of its counterparts in D.C. were abandoned and left desolate. Crime and neglect laid waste.

People thought Furioso was crazy for buying the building, but he saw its potential. “I could’ve bought a gorgeous house in Georgetown,” he says. “But I bought this. I bought this because it was 12,000 square feet that we could turn into art studios and so on. And for 10, almost 15 years, I fed it.”

Furioso hired bulldozers to clean up the alley and then worked tirelessly to make his vision a reality. Artists began moving in soon after the building was suitable enough for people to work in, but Furioso’s biggest challenge was changing the zoning for Blagden Alley. It had been zoned as a residential area despite the fact that it was in such squalid condition. It was unfathomable for anyone to live there. “You couldn’t live back here. You couldn’t work back here. All you could do is do drugs back here,” Beth Solomon, co-founder of Planet Vox, told City Paper in 1996.

So Furioso worked with the Office of Planning to get it rezoned as a commercial and residential area, so artists could set up galleries. He succeeded despite heavy opposition from the Blagden Alley Community Association, which wanted the neighborhood developed into the kind of high-priced community it is today.

But for years, Furioso saw his dream play out: When the arts were pushed out of downtown, it migrated to Blagden Alley. And War-

rell along with it.

There’s a loT that worries Warrell these days. For starters, he’ll have to find a new home at the end of the year because he’s no longer able to afford the rent for his Blagden Alley studio. There’s also the dwindling state of the arts in D.C., something about which he harbors complex feelings of guilt and responsibility.

“My biggest concern is that all of us who did such a heroic job in our day were really laying the groundwork for this [gentrification],” he says. “I feel like I was—not a pawn in it—but I really helped fuel that. I started the first partnership between the Office of Planning in this city and an arts district.”

He describes many of the public arts projects that he sees around the city these days as “artwashing:” large-scale public projects in low-income neighborhoods essentially used to help developers fuel neighborhoods’ transitions into an up-and-coming areas, often pricing out longtime residents in the process.

“There’s a fine line between being real and being shills [for development],” he says. “I look at it more as a term that’s taking a swipe at art being used for gentrification.”

But what’s most pressing for Warrell at this moment: Finishing his pieces in time for his first-ever solo exhibition. In all his years and all his endeavors in the D.C. arts, painting was never a priority for him. It was something he learned to do early on in life but never really thought of as his primary artistic outlet.

He would paint in his spare time, but it would sometimes take him years to finish a piece because he was always so wrapped up in other pursuits and helping other artists.

“His career in the arts has been in service to others and in service to help lift up all our voices,” says Thalhammer. “He’s always been a painter and had all these paintings hung

around, even though he never really exhibited them and was always kind of known as a presenter of the arts.”

For the first time in his life, Warrell will be in the spotlight instead of behind the curtains when his show A Body Politic opens at the Logan Fringe Arts Space on Oct. 24. The show includes about a dozen paintings and drawings Warrell has made over the course of his life.

They’re evocative, sprawling, and deeply empirical for Warrell. He’s been working on many of them for years, toiling away when he can to make sure they’re just right. And since this is the first time he’s presenting them in a public setting, he wants them to be perfect.

“His paintings are very personal,” Thalhammer says. “They’re kind of like diaries in a way.

They’re like his stories on a canvas, personal reflections of memories. And he takes a long time to paint them. It’s a long process for him.

Sometimes he’ll have a piece that’s unfinished, but maybe it kind of looks like it’s finished.”

Some of them, like the nightmarish scene depicted in “Emperor’s New Clothes” (2016), are fiercely political, while others are depictions of Warrell’s own experiences, or those of his friends. Each canvas in the show is a “political landscape,” he says, the overarching theme influenced by what it’s like to live in D.C. during election cycles.

But what really ties the paintings—and all of his work—together is less obvious: the community Warrell helped spawn. The one that started in downtown D.C. and, once it was pushed out, migrated to midtown and Blagden Alley.

The one that, in a way, now faces extinction.

Warrell’s looming deparTure from Blagden Alley isn’t just another example of an artist being priced out of his neighborhood. In Furioso’s view, it’s emblematic of why the arts have not fared well in D.C.

“The city of D.C. has never given one square foot to the visual arts,” he says. “You can go to almost any town—any city practically—in this country and they’ll give you an old building, an old post office, an old something.”

Furioso has tried to keep Warrell in the building as long as possible. He didn’t raise the rent until last year, when years of property tax increases made it impossible for him to charge the same price as when Warrell moved in.

Furioso wishes the city offered more incentives to developers to keep low-income residents in their buildings. “We’re not even asking the city to do anything except give that deduction through property tax. I just think that there’s a backass way that we’re doing and taking care of problems today. It just seems to me that we’re not creatively thinking … about how to deal with very old problems.”

Warrell harbors no ill feelings toward Furioso. They’ve been friends for a long time, and together they tried to build a sustainable arts district that would survive D.C.’s development boom. As a developer, Furioso tried to make spaces where artists could live and work inexpensively. Before 926 N St. NW, it was The Mohawk building on M Street in Mt. Vernon Square. Warrell lived there for a period too in the late 1980s and early ’90s along with a bunch of other artists. (He moved out of that building to Glen Echo, Maryland, in 1994 to raise his daughter with his then-wife). But the same thing happened: Furioso could no longer afford to rent it at a reduced rate.

One by one, Warrell’s neighbors, like Signal 66 and the artists Stephen Lewis and Rozeal, moved out of his building, replaced by myriad start-ups, and marketing, design, and communication firms. With Warrell’s impending move, his only hope is that the Alley Museum— his and Thalhammer’s living legacy of what the alley once was—can continue to thrive.

“I really do hope that it has the chance to stay and people have a chance to not only come through but to show and present,” says the artist Rozeal, who was Warrell’s next door neighbor in Blagden Alley from 2004 to 2007. “Regardless of what happens, it will always be the D.C. Alley Museum and Blagden Alley.”

To Warrell, the D.C. Alley Museum represents more than just a tribute to D.C.’s artistic history. It’s an example of what he always wanted and fought so hard to achieve: a creative partnership between an arts community and the city government to create a public arts project that enriches the community, compensates the artists fairly, and celebrates local artistic culture.

These days, Warrell sees many public arts projects whose intentions are either suspect or exploit the labor of artists. He’s just glad to have created something that he can stand behind. Something real, authentic, and, hopefully, lasting.

“All of this dressing, all of these parades, all of these murals, all of these arts endeavors—this is just their way of spending money they have to start the mumblings about what an amazing neighborhood this is going to be,” he says. “That’s all it’s about.”

CP

washingtoncitypaper.com october 21, 2016 17

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Stumped Over Trump

By Laura Hayes Finding a dining companion for BLT Prime by David Burke inside Donald Trump’s new D.C. hotel is like begging a friend to drive you to the airport, or worse, to help you move. And the reservation was for Oct. 3—four days before a leaked tape showed the Republican presidential nominee making vile remarks about women to Billy Bush.

But Brian Johnson was down. In fact, he had visited the hotel’s Benjamin Bar & Lounge a handful of times before joining me in the nearly empty dining room perched above the hotel’s luxe lobby that dazzles with chandeliers and looks like it could be the set for one of the scenester parties that always cap off an episode of Gossip Girl.

Washingtonians might know Johnson from his food and lifestyle blog HungryLobbyist. com. Created in 2012, the blog has 12 contributing writers and 10,100 Instagram followers.

Johnson, who has a bachelor’s degree in political science and two master’s degrees (international trade/economic development and public administration), is also the director of federal affairs for the American Petroleum Institute, where he tackles tax and trade issues.

“As a food blogger and prolific Instagrammer, I got so much crap from people on Instagram for posting a picture that I was here,” Johnson says of his initial visit. “If Hillary Clinton opens a restaurant, I’m going to eat there. If Bernie Sanders opens a restaurant, I’m going to eat there. You eat at places that are new and this place is new.”

Over drinks in the Benjamin Bar & Lounge, we talk politics—much like the smattering of other imbibers in the exposed lobby bar. Because I subscribe to wearing the band’s Tshirt to the concert, I order Trump’s sparkling wine—a 2009 blanc de blancs from Monticello, Virginia, for $16 a glass. It lacks complexity and the bubbles are big and fat instead of delicate and tongue tickling. My companion drinks pinot noir.

In the primary phase, Marco Rubio, not Trump, was Johnson’s candidate. Johnson believes the Florida senator was in the race for the right reasons and he aligns with Rubio’s family values, policies on tax reform and immigration, and general outlook that a limit-

ed federal government is best. He even volunteered for Rubio’s campaign.

Socially, Johnson isn’t quite so conservative. For example, he recently co-hosted an event headlined by Caitlyn Jenner that also included Grover Norquist, who founded Americans for Tax Reform, where Johnson previously worked.

“It was for conservatives who support the LGBTQ community,” Johnson says.

“These folks believe that government should not be involved with the marriage issue. If an institution in a state wants to marry individuals of the same sex and they want to file paperwork with the IRS, they should be seen as married.”

At this point my glass is empty. The telepathic bartender heads over, but only to play a game. “Look over there,” he says. I turn, wondering if I will get a glimpse of the nominee himself padding through the lobby. I turn back and see that my glass of underwhelming bubbly has been refilled. A nice gesture I would have insisted on paying for, only I didn’t have to because it’s right there on the bill.

Feeling swindled, the political discussion heats up as we head up to dinner. I ask Johnson what he plans to do in November. “Not sure yet,” he says.

Without his preferred candidate in the race, the North Carolina native finds himself in a confusing position, even characterizing the 2016 election cycle as “a dumpster fire behind a word salad restaurant.”

Despite being overseen by culinary heavyweight David Burke and helmed

by BLT Steak veteran and executive chef Marc Hennessy, dinner at BLT Prime is as perplexing as the race for the White House.

In what may have been his swiftest “First Bite” to date, Washington Post food critic Tom Sietsema had kind words for the restaurant, and Yelp reviewers have bestowed it with an average rating of four stars. I’m not a restaurant critic, but since many D.C. diners are likely to take a pass on this newcomer, I’ll share some observations.

Darrow Montgomery

Dinner and politics with The Hungry Lobbyist at Trump’s D.C. hotel

After being seated in the restaurant reminiscent of Paris Las Vegas—because of its positioning between metal beams that look like they could be the base of a faux Eiffel Tower— Johnson requests a dark napkin to avoid showing lint on the dark pants that make up the bottom half of a very spiffy suit. The dark napkin never materializes.

After perusing a wine list he deems amateurish, Johnson then asks for a Bulleit Rye Whiskey. “As much as you can get away with on one ice cube,” he tells our server. The brown liquor makes its way to our table around the same time we observe a foursome being seated. They request a booth. “Those are for larger parties. You can’t sit there,” they’re told

washingtoncitypaper.com october 21, 2016 19

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No one sat in the booths the entire time we were at the restaurant.

The menu spans raw bar selections, ocean apps, farm apps, ocean meats, farm meats, steak cuts, and sides. “Appetizers” and “entrees” don’t seem to suffice as menu headings. Maybe it’s because we’re both borderline millennials, but we make a meal out of smaller portions instead of going for one of the big cuts of meat that benefit from the restaurant’s signature practice of aging steaks surrounded

by Himalayan pink sea salt.

We immediately discover a cool menu hack. If you hastily order the “Clothesline Candied Bacon” and a truffled fried egg from the “double down” section on the menu, they’ll arrive at the same time as BLT Prime’s hot, buttery popovers, allowing diners to make bacon, egg, and cheese sandwiches.

ed bits of shell.

Arriving next is the steak tartare—a dish that proves there is such thing as too much decadance: An unattractive, two-inch thick round of cold, veiny foie gras shields the tartare from our forks. Also on the plate: fried grapes (cold) held down by dollops of mustard and crisps coated in so many almonds they look like porcupines. We don’t touch the crisps.

A dish that we’d both come back for is the Maryland crab “cake & coffee.” It pairs a cup of “crabbucino” that tastes pleasantly like shecrab soup with a tin of warm crab meat with big, luscious lumps. After scraping for every last bit, we evaluate the evening over petit fours—because what’s more distorted than talking about the future of the country over miniature desserts?

“I don’t think you can deny that it’s pretty in here,” Johnson says, adding that it helps

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But take note: It’s $16 bacon. It arrives, as suggested, hanging from a clothesline with a pickle, lemon wedge, and gold gilded scissors.

Confusion sets in because no one explains what the sheers are for. Is there a bris no one told us about? Probably not since there’s bacon involved.

The slabs are cold, and the clothesline bacon isn’t the only dish with temperature issues.

The fries ($16) are also cold. What’s more bewildering is that they’re called “Hipster Fries.”

Perhaps the only thing less hipster than modifying a food with “hipster” is a booze cruise.

The chilly, limp fries are said to be studded with Parmesan, shishito peppers, and beef jerky, though the parmesan is imperceptible and there’s only one oily shishito pepper on top of the pile. The beef jerky is the only part worth excavating. Rather than taking to the web to bitch, we tell our pleasant-enough server, who removes the uneaten fries from our bill.

The steak tartare ($21) and “dressed oysters” ($25 for five) are also base hits instead of home runs. The oysters come out lightning fast, which raises the question of when they were shucked? Especially since each bivalve is ornately decorated with a lobe of uni, a teepee of shredded Virginia ham, and a thimble of pineapple mignonette. The combination of toppers actually works, but it doesn’t mitigate the oysters’ lack of freshness and the unwant-

that the hotel is centrally located between the White House and Capitol Hill. “I think it’s nice in here. Whether people continue to come back beats the hell out of me, but convenience is key.” He questions how much Trump’s brand will impact business, though cost could prove more prohibitive than the hotel’s name.

Checking in with Johnson amid the Trump sex scandals, he says, “I do vote based on tax policy for the most part, and therefore personally and historically that tends to have me favoring the GOP nominee over the Democrat nominee on the national and local levels.” But, he concedes, “It’s hard to be a Republican in these times.”

Johnson declined to talk about specific policies as they relate to the two presidential candidates, but there’s at least one area where he doesn’t see eye to eye with Trump. “I would disagree with anyone who doesn’t like the dining scene in D.C.,” Johnson says.

In a recently published taped deposition, Trump projected that liberals would dine at his restaurant because of the lack of worthy competition: “They want to go to a great restaurant. … There aren’t that many in Washington, believe me. There aren’t that many in Washington, as you know.”

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

DCFEED Grazer

Boos Hound

what we ate last week: Kolokithokeftedes zucchini patties with peppercorn yogurt, $10, Kapnos Taverna. Satisfaction level: 5 out of 5. what we’ll eat next week: Chesapeake seafood stew with shrimp, calamari, mussels, and fish in a fresh tomato and fennel broth, $22.50, Johnny’s Half Shell.

Excitement Level: 4 out of 5.

Kelly Magyarics

Plenty of bars and restaurants put out a pumpkin bucket or some low-rent spiderwebs to get in the Halloween spirit, but imbibers who wait all year for the haunting season may desire a stiffer sidecar of scary. These District bars keep it creepy 24/7, 365.

—Stephanie Rudig

UnderServed The best cocktail you’re not ordering The Fainting Goat’s Duck Hunt

The Tune Inn The Tune Inn seems to take most of its decorating cues from the proverbial cabin in the woods of horror lore, which is part of its unique charm.

The place oozes Halloween vibes, from the taxidermied animal heads to the surly old-timers sitting at the bar. Turns out the place is littered with demons—the personal kind that grizzled Hill staffers carry with them.

331 Pennsylvania Ave. SE Bardo Brewpub The brewpub features a giant Day of the Dead skull made of discarded beer cans. And on a chilly autumn night there may be a big bonfire raging, perfect for gathering around to tell ghost stories.

1200 Bladensburg Road NE

BrewinTown

Espita Mezcaleria Diners at Espita look death in the face—literally. A wall-sized skeleton mural by Oaxacan street artist Yescka greets visitors right at the front door. Up the fall factor by ordering the “Oaxacan Firing Squad” cocktail, made with an autumnal grenadine and smoky mezcal.

1250 9th St. NW

The Big Hunt The main floor is part spooky, park kooky. The wall hangings include hunting trophy heads of former presidents, as well as a (presumably) lifesized dragon. Those who dare can venture into the basement, where they’ll be greeted with a scene that could be an actual portal to hell thanks to the painted flames and red velvet curtains.

1345 Connecticut Ave. NW

Where in Town: Metro Wine & Spirits, 1726 Columbia Road NW Price: $11.99/six-pack Schute That’s Good In 1988, Deschutes Brewery opened as a small brewpub in Bend, Oregon, producing only about 300 barrels in its first year.

Several expansions later, that number rose to nearly 350,000 barrels last year, making it one of the largest independent craft breweries in the country. The company, which distributes to 28 states and the District, is best known for its Black Butte Porter. The popular brew was one of the first dark beers to win over the craft

Tammy Tuck

Deschutes Black Butte Porter

beer world. It’s so revered that, as a tribute, every year the brewery creates a new barrel-aged Imperial version with special ingredients like figs or chiles.

A True Beaut Much like the extinct volcano it’s named after, Black Butte Porter is captivating. The 5.2-percent alcohol brew is light in body yet rich and complex. Aromas of cocoa powder, toffee, and medium-roast coffee give way to layers

Off the Record A classy vampire would probably feel at home in this stately bar where the walls are outfitted in blood red and the furniture leans a little Gothic. Tucked away in the basement, the bar also has some ornamental gargoyles and out-of-place buddhas scattered among its notorious political cartoons.

800 16th St. NW

Jimmy Valentine’s Lonely Hearts Club There are lots of treats to be found at this hole in the wall, including portraits of masked villains, macabre mirrors, and skulls and bones on every conceivable surface. Creepiest of all is the red lighting that saturates the space, re-creating the feel of one of Carrie’s murder sequences.

1103 Bladensburg Road NE of flavor derived from the beer’s English ale yeast and five malts: pale, Carapils, chocolate, crystal, and wheat. Notes of burnt sugar and molasses are followed by chocolate, biscuit, and hints of banana and caramel. The darker malt’s roast character—along with Cascade, Bravo and Tettnang hops—adds bite and bitterness to the beer’s finish and make it great to sip during the first cold days of fall. Finding some is easy since Deschutes hit Washington-area bars and bottle shops two years ago. Soon it will be even easier thanks to the brewery’s new production facility in Roanoke, Virginia, set to open in 2020.

—Tammy Tuck

What: Duck Hunt, with duck fat-washed Bulleit Bourbon, oloroso sherry, cardamom, rosemary, apple, and lemon.

Where: The Fainting Goat, 1330 U St. NW Price: $13 What You Should Be Drinking: New York bartenders Eben Freeman and Don Lee pioneered the fat-washing technique of infusing spirits with oil-based ingredients that’s commonly used in cocktails today. Locally, Fainting Goat beverage director Ian Fletcher Googled the process because he likes the way it can add kitchen-based ingredients to drinks. He pours rendered duck fat into a bottle of Bulleit Bourbon, shakes it to combine, freezes it, then pokes a hole through the fat and strains off the whiskey. The bourbon is mixed with oloroso sherry, autumnal apple and cardamom, and lemon for brightness. “All signs pointed to ‘this should work,’” Fletcher says about the sexy, smooth, and indulgent tipple.

Why You Should Be Drinking It: Fletcher first tried using other bourbons as well as straight ryes, but he gravitated towards Bulleit, whose high rye, spicy profile plays off the creaminess of the duck fat. Likewise, he went through other styles of sherry, including fino, PX, manzanilla, and dry cream, but oloroso emerged as the best fit because of its deep, nutty characteristics and the fact that it’s neither too sweet nor too dry. Even the spices used were a work in progress. “Clove was too clove-y, [and] cassia and cinnamon basically made it taste like a weird pie.” Rosemary and cardamom best match the lemon and apple. Bright yellow in the glass, with a noticeable oil slick on the surface, the overall effect feels like a fall dish, basically letting you drink your dinner.

—Kelly Magyarics

washingtoncitypaper.com october 21, 2016 21

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. *October 29 evening 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

22 october 21, 2016 washingtoncitypaper.com

Presented in association with

CPArts

D.C.’s own Bad Brains among the nominees for the 2017 Rock & Roll Hall of Fame induction class. washingtoncitypaper.com/arts

The Man Behind The Curtain In his first major U.S. survey, Icelandic artist Ragnar Kjartansson’s work is an exercise in both endurance and preciousness.

“Ragnar Kjartansson” At the Hirshhorn Museum and Sculpture Garden to Jan. 8.

By Kriston Capps Go ahead and fall in love with “The Visitors” (2012). In this nine-channel, room-spanning video installation, now on view at the Hirshhorn Museum and Sculpture Garden, Ragnar Kjartansson makes his play for your heart. Each screen captures a different view at a historic retreat in upstate New York, where Kjartansson assembled friends from his native Iceland to perform a joyous dirge.

The gang’s all here: the cellist in the loft, the accordionist in the drawing room, the chorus on the porch, among others—all of them emotive and attractive—plus the artist himself, who strums an acoustic guitar while soaking in a clawfoot bathtub.

Slow to build—“The Visitors” clocks in at 64 minutes—the piece might count as a durational performance, if viewers risked any hazard enduring it. Most will find it hard to resist.

Captured in a single take, the ensemble swells in a gentle chorus whose lyrics belong to another Icelandic artist (and Kjartansson’s ex-wife), Ásdís Sif Gunnarsdóttir: “Once again, I fall into my feminine ways.” If there is any dissonance in the boyish Kjartansson owning these words, it’s easy to miss and easier to forgive as his lullabye proceeds. Fans of the Charminsoft modern folk genre popularized by the likes of Bon Iver, Joanna Newsom, and Sufjan Stevens may be particularly susceptible to Kjartansson’s spell, but nobody’s immune to the magic of immersive video. That’s the trick with Kjartansson’s bewitching work: It may all be an illusion.

“Woman in E,” the signature piece in the show, is a case in point. This one is a legit durational performance: A woman in a glittery gold dress, standing on a revolving stage inside a curtain of shimmering golden streamers, strums a single chord on an electric guitar. Several women, in fact: The Hirshhorn put out a casting call for women performers, drawing 14 names from the local music scene to stand and deliver in sequence (and sequins) during the exhibit’s 12-week run. With this piece, Kjartansson is pulling back the curtain for viewers, so to speak.

There’s something mesmerizing about the project (something slightly off-putting, too) but there’s no secret to it.

Ragnar Kjartansson is the first major survey of the artist’s work in the U.S., bringing painting, performance, and gobs of video to the Hirshhorn. It’s not Kjartansson’s first foray into the States; “The Visitors” alone has screened at the Institute of Contemporary Art in Boston, Luhring Augustine in New York, The Broad in Los Angeles, the Museum of Contemporary Art Cleveland, and the University of Buffalo Art Gallery. This isn’t even Kjartansson’s first Hirshhorn appearance. So the survey—which comes courtesy of Leila Hasham, curator for the Barbican Art

“Woman in E” by Ragnar Kjartansson (2016) Gallery in London—arrives in D.C. just as Kjartansson hits his stride as an art-world darling.

This ascension happened fast, which shows in presentations of Kjartansson’s work. There’s an appreciable difference between earlier, more experimental video works and later, more ambitious performances. Mind you, this is over a career that spans just a little bit longer than a decade. Kjartansson’s appearance in the 53rd Venice Biennale, where the artist represented Iceland, no doubt facilitated his astonishing rise.

“Death and the Children” (2002), an early black-and-white piece, shows the artist wielding a scythe and leading children through a graveyard. The kids aren’t impressed with his imitation of Death. At the more recent end of the spectrum is “Take Me Here by the Dishwasher: Memorial for a Marriage” (2011– 14), a performance that greeted viewers at the Barbican earlier this summer, which involves around a dozen men playing guitar (another durational piece, another Grizzly Bear–sounding tune) and chanting a cheesy line from a snippet of a 1977 Icelandic film projected on the walls. (Iceland’s first feature-length film, in fact, in which both Kjartansson’s parents appear as actors; a catalog essay suggests that the artist was conceived on set.)

Featuring living-room vignettes strewn with empty beer bottles, “Take Me Here by the Dishwasher” would’ve been a fantastic fit for the Hirshhorn lobby, but alas, it already appeared at the New Museum in New York. “Woman in E” debuted earlier this year at the Museum of Contemporary Art Detroit.

Thanks to his quick rise, Kjartansson has more marquee shows than works. The Hirshhorn doesn’t do him many favors with a conservative installation. “Scandinavian Pain” (2006–12), a sculpture of those words in pink neon, ought to be hanging outside in a place of pride over the front of the museum, as it did for shows in London and Norway, not tucked over the escalators. “The End—Venezia”

Matt Dunn

Galleries

(2009), the work that made the Kjartansson’s career, comprises 144 oil portraits of performance artist Páll Haukur Björnsson, who sat for those portraits over the course of the 53rd Venice Biennale.

These paintings aren’t nearly cramped enough at the Hirshhorn to give the viewer the sense of obsessive compulsion. Kjartansson’s free-standing, theater-backdrop paintings of snowy boulders, “Nur wer die Sehnsucht kennt (Only he who knows longing)” (2015), would look sublime in the museum courtyard.

Still, all of Kjartansson’s qualities are plainly legible in the Hirshhorn’s presentation. He walks a fine line between sincerity and sarcasm, which comes through in pieces such as “Scandinavian Pain” or in “God” (2007), a video in which the artist appears tuxedoed in front of an 11-piece band, crooning the line, “Sorrow conquers happiness.” There is a degree of transgression in Kjartansson’s focus on family and marriage, deep but unmistakable behind his crystal-cool, casual approach to these subjects; a flash of rage underneath the frozen surface. His subtle formal touches are evident, too, in the way he always shows exactly what’s up his sleeves, relying on film purely for documentation purposes.

The way Kjartansson uses performance to create video loops is especially transparent.

Preciousness is another hallmark of Kjartansson’s work. It’s not just the final video or the enchanting song that makes “The Visitors,” it’s also the single take, the singers’ warbly voices, the way each performer abandons his or her post and leaves the Rokeby Farm estate, a single camera following them into the field. It’s easy on the ears and eyes, and maybe too saccharine for its own good. Given another decade, and some time in the studio rather than time on tour, Kjartansson may not count this as one of his signature works at all.

CP 700 Independence Ave. SW. Free. (202) 633-4674. hirshhorn.si.edu. washingtoncitypaper.com october 21, 2016 23

TheaTerCurtain Calls

A DrAmAtic turner

Kathleen Turner in The Year of Magical Thinking

The Year of Magical Thinking

Joan DiDion’s life was turned upside down when her husband of 40 years, John Gregory Dunne, collapsed on the living room floor one December night as Didion prepared an ordinary dinner. Didion and Dunne had spent the afternoon visiting their only daughter, Quintana, who was in a coma caused by pneumonia that turned septic. It was Christmastime in New York.

Life changes fast.

Life changes in the instant.

You sit down to dinner and life as you know it ends.

These lines launch Didion’s memoir, The Year of Magical Thinking, a relentlessly detailed account of the 365 days that followed her husband’s death, during which time her daughter vacillated between fair health and near-fatality. (Quintana died less than two years after Dunne). In 2007, the memoir was adapted for the stage with Vanessa Redgrave playing Didion, the glamorous California screenwriter, novelist, and essayist who worked her way up from copywriter at Vogue to feature editor, making a serious name for herself in the new journalism movement of the 1960s. Kathleen Turner has revived the role of Didion at Arena Stage in a performance full of power and grace.

Didion’s script shimmers with lovely memories of her idyllic bicoastal family life. There are reminiscences of Malibu days spent poolside, Quintana’s long hair streaked white by the sun, John and Joan writing screenplays and books between trips to Paris, Honolulu, and beyond. There’s a ramshackle house in Hollywood with avocado trees, writing assignments that span presidential primaries and conflicts abroad, and flights taken

C. Stanley Photography

By Joan Didion Directed by Gaye Taylor Upchurch At Arena Stage through Nov. 20

between Northern and Southern California for dinner dates. But every memory drags Didion into what she aptly labels “the vortex,” a dark emotional void triggered by mundane experiences—a glance at a pool, a drive by a familiar drugstore—that leads her back to horrible pain and grief.

The play works because of the dramatic tension between what once was and what is. Turner traverses the road between flashback and present-day with surefootedness.

When Quintana is transferred from a hospital in New York to one in Los Angeles, Didion constructs a plan to avoid any street or stomping ground that may remind her of John.

Simultaneously, she is obsessed with reading everything she can about both John’s death and Quintana’s illness. She believes she can bring John back if she understands the minutiae of his death, and she believes she can save Quintana if she micromanages the hospital staff. One of John’s doctors calls her a “cool customer” when discussing with her the need for an autopsy, while one of Quintana’s doctors threatens to quit and let Didion, with her constant questions and suggestions, manage the case. This tension between avoidance and near psychotic attention to detail makes for a complicated, mentally

24 october 21, 2016 washingtoncitypaper.com

zig-zagging character. It is an understatement to say that Turner is up for the challenge.

As if Didion’s words and Turner’s performance aren’t enough to make the production a hit, Daniel Zimmerman’s set design and Jesse Belsky’s lighting are likewise excellent. Didion’s living room looks authentic and suited to her character, with shelves of books and sleek wood flooring. Belsky’s lights subtly signal the aforementioned shifts between memory and present-day and synch effectively with Didion’s vacillating moods.

—Amy Lyons 1101 6th St. SW. $70. (202) 488-3300.

Arenastage.org.

ePic FAiL Kiss

By Guillermo Calderón Directed by Yury Urnov At Woolly Mammoth Theatre Company to Nov. 6.

Chilean playwright/DireCtor/ sCreenwriter Guillermo Calderón is only in his mid-40s, but he’s been working long enough to see his country evolve from

a military dictatorship to a liberal democracy. His plays have been performed far beyond the borders of his homeland. They typically deal with war and frequently evince a sort of hand-wringing over art’s inability to prevent atrocities. (A 2013 New York Times profile reported that Calderón’s uncle was one of the thousands who “disappeared” under General Augusto Pinochet’s brutal 17-year regime.)

Neva, Calderón’s 2007 Spanish-language play about actors rehearsing The Cherry Orchard against the backdrop of the Russian Revolution of 1905, was translated into English and made its U.S. debut three years ago.

Woolly Mammoth has secured the American debut of his latest variation on this theme: Kiss concerns a group of four (apparently) American actors performing a play they believe to have been written by a mysterious Syrian dramatist about the daily hell of the civil war that has claimed hundreds of thousands of lives there since 2011. Their performance takes the form of the Syrian soap operas that air nightly during Ramadan, often concealing payloads of socio-political criticism beneath a surface of sudsy melodrama. Doubling down on the self-referentiality, the play-within-theplay is about two couples meeting for an evening of appointment television, seemingly one of those agitprop soaps.

One-by-one the players arrive at the set of the apartment—that tellingly occupies only a tiny parcel of Woolly’s spacious rehearsal hall— and slowly sketch a love triangle. One of them confesses his feelings for the other’s partner, while his buddy reveals his plans to propose.

The men are Joe Mallon and Tim Getman; the ladies are Gabriela Fernandez-Coffey and Shannon Dorsey, fresh off her triumphant turn in Woolly’s superb An Octoroon last summer.

Once the novelty of watching good actors (all but Mallon are Woolly company members) giving deliberately overripe performances wears off—and it doesn’t take long—we’re on alert for Calderón’s grand gambit to reveal itself. There are small clues that all is not as it seems: The way sound designer James Bigsbee Garber underlines selected bits of dialogue with an electronic echo, for example. But we’d sense that

8th Annual South African

Wooly Mammoth’s Kiss fails to hit its mark.

Bazaar

sition. But when dramatists fail, they run the risk of trivializing whatever calamity they’d hoped to illuminate.

When a playwright decides that the most truthful way to address a humanitarian catastrophe is to make a play about making a play about it, they’re basically throwing up their hands.

This happens more often than one might expect. Two-and-a-half years ago, Woolly gave us the regional premiere of We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Sudwestafrika, Between the Years 1884-1915, a chronicle as clumsy as its name. It followed six actors—actors vastly dumber than any real actor I have ever met—as they struggled feebly to “devise” a show about an all-but-forgotten genocide.

Its author, Jackie Sibblies Drury, seized upon this play-about-playmaking angle after spending a chunk of her grad-school years struggling to write a more conventional historical drama about the tragedy. I can’t know how good or bad the drafts Sibblies abandoned were or how successful they might have been at reviving awareness of the of the German abuses in Namibia. I can only report that We Are Proud to Present… was, and I pray shall remain, the worst play I have ever seen. It argues that the theatermaker’s process is equally important as the experience as that of the victims of genocide. That is a monumentally arrogant and wrongheaded position. Immoral, even. (The play has been seen in New York, Chicago, Los Angeles, and London, to generally enthusiastic notices.)

Kiss isn’t as bad as that. For one thing, it’s an hour shorter. And it never sinks to the kind of desperate shock tactics We Are Proud to Present... does. But it makes a present-day travesty seem distant and artificial.

It happens. Woolly is the boldest company in the city, more afraid of mediocrity than of abysmal failure. The fearlessness and appetite for invention that makes breathtaking work like 2012’s Mr. Burns or 2013’s Stupid Fucking Bird or An Octoroon (though that one was staged elsewhere first) possible means they’re sometimes going to lay an egg. Kiss is one of those.

—Chris Klimek 641 D ST. NW. $20-$54. (202) 393-3939. woollymammoth.net.

Silver Spring Civic Building

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LIZ OGBU & SWOON HOW DO WE BUILD TO BETTER? WED, OCTOBER 26, 2016 7–8:30 PM Followed by Catalyst, cocktail hour with a topic & a twist Urbanist and social innovator Liz Ogbu and artist Caledonia Curry (a.k.a. Swoon) in a conversation moderated by Kriston Capps.

Purchase tickets at nmwa.org/events/fresh-talk-can-we-build-better

P H O T O B Y B R YA N W E L C H 2 0 16

something was up even without these hints, because it simply isn’t plausible that Woolly would bother with a piece of material as thin and dull as Kiss’s protracted opening third.

Well, surprise: The director (FernandezCoffey) has arranged for a post-show-withinthe-show Skype Q-and-A with the playwright.

Seemingly expecting Bashar Hafez al-Assad’s gestapo to kick in her door at any moment, the woman (Lelia TahaBurt) speaks softly from a secret location, her face hidden beneath a wig and sunglasses. She speaks through an interpreter played by Ahmad Kamal. As the actors pepper her with sweetly dopey questions about her process and their characters, the degree to which they’ve misinterpreted her work becomes clear.

If they were Syrian, she tells them, they would understand. But they’re not. Neither is Calderón.

So the actors try it again, with adjustments.

They use the whole room this time. There are strobe lights. Projected combat footage. Recorded gunshots. Acting-class exercises—including burpees!—and exhortations to one another to “Keep going!” once they run out of scripted material.

These are remarkable actors, some of Woolly’s best. Their ability to repeat the same words we heard earlier with radically altered intention would prove that, even if they weren’t familiar players. But Caldéron’s attempt to create an Epic (in the intentionally alienating Brechtian sense) leaves them stranded. Even accounting for the nuance-scrambling effects of a Chilean playwright writing in Spanish and English about an Arabic-speaking country, his script doesn’t reflect any more insight into life during wartime than the Talking Heads song “Life During Wartime” did in three minutes and 41 seconds, 37 years ago.

Art is supposed to scratch at our empathic zones and force us to feel what we don’t allow ourselves to feel reading the news from Aleppo (or not reading it, if you’re running for President on the Libertarian ticket): That the fear and suffering of these far away people is real. Liberated from the strict fidelity to the facts that binds journalists, artists dramatize freely to chip away at the remove that makes it possible to read a newspaper without curling up into the fetal po-

Saturday, November 5 / 10am–6pm

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washingtoncitypaper.com october 21, 2016 25

FilmShort SubjectS

A MAn’s Whirled “A swirling, genre-busting musical extravaganza” —San Francisco Chronicle

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 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

26 october 21, 2016 washingtoncitypaper.com

Certain Women

Directed by Kelly Reichardt Some movieS punch you in the gut. Others barely graze the skin but gnaw at you long after they finish. Certain Women, the new drama by filmmaker Kelly Reichardt, is the second kind, a triptych about three women who exhibit enormous personal strength under trying circumstances, and suffer for it.

Through their trials, it paints a portrait of a patriarchal society, told entirely without the filter of a male perspective. Women in the audience may find it cathartic. Men will find it revelatory.

Adapted from a book of short stories, Reichardt (Meek’s Cutoff, Wendy & Lucy) has found a set of characters and stories perfectly-suited for her preference toward minimalism. First up is Laura (Laura Dern), a smalltown Montana lawyer with a desperate client, Fuller (Jared Harris), who won’t leave her alone. Fuller was injured on the job, and having taken a small settlement up front, he can’t get the larger payment he really needs.

She explains this to him—many times—but he doesn’t believe it until he hears it from a male colleague of hers. Within a day, he has armed himself and taken a hostage at a federal building to try to get some answers, and only Laura has the empathy and compassion to talk him down.

That’s as exciting as Certain Women gets.

The next section belongs to Gina (Michelle Williams), mother to a bratty teenager and wife to Ryan, her dull, burdensome husband (James LeGros). She’s the breadwinner in the family, and while he bears the distinct mark of a “nice guy,” he undermines her at every turn. He has an affair, although he feels

appropriately guilty about it. In this section’s key sequence, the couple visit a lonely old widower to talk him into selling the gorgeous sandstones on his front lawn—Gina wants to use them for the home they are building. It’s a quiet scene that is almost entirely subtext, but when Ryan snatches her power at a key moment— clearly just to make himself feel less impotent— Williams shoots him a look that could cut those stones.

As a dedicated chronicler of the American northwest, Reichardt has always found symbiosis between her characters and their surroundings. In the film’s final and most affecting chapter, Jamie (Lily Gladstone) is a lonely farmhand who labors in the foreground of an ice-speckled prairie by day. At dark, she attends a night class taught by an earnest young lawyer (Kristen Stewart). They strike up a friendship that is clearly one-sided, and when the teacher doesn’t show up one day, Jamie travels by horseback through a cold, dark night to see her once more. Like the other certain women, she has the full power of nature inside her, but it has been forced inward, and the exterior is just too cold to touch, like the ice, the stone, and the impossible Montana sky.

Fans of Reichardt will be comfortable with the film’s reliance on symbolism, but for everyone else, it might require some adjustment. The story inches along with no discernible momentum. There is no big climax here—for women, there often isn’t. But those attuned to our present moment will find it familiar. Election-year developments have brought marginalized women out from behind their male abusers to share the realities of the female experience. Certain Women does the same, with just as much courage, grace, and humanity.

—Noah Gittell Certain Women opens Friday at E Street Cinema and Bethesda Row.

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Robert Plant october 21 • 8pm

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Visit lisner.gwu.edu or call 202.994.6800 for more information or to purchase tickets.

888-945-2468 OR CFA.GMU.EDU

/GWLISNER

@GWLISNER

LISN_1516_10

washingtoncitypaper.com october 21, 2016 27

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

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

WASHINGTON re MusicDiscography Premie

600 beers from around the world

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

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DC WEIRDO SHOW: HOUDINI SÉANCE

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T his is Exile

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DR.SKETCHY’S ANTI-ART SCHOOL DRAWING CLASS 2PM

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OCTOBER 25TH

FREE COMEDY SHOW DOORS AT 7PM

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UNDERGROUND COMEDY SHOW STARTS AT 8:30PM

ELYSIAN BREWING PUMPKIN AND SPECIALTY TAPPING AT 5:00PM

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

Two jazz legends!

CHUCHO VALDÉS JOE LOVANO QUINTET

Sat, Nov 5, 8pm • Sixth & I Special thanks: The Abramson Family Foundation

50th Anniversary Season Sponsors: Dr. Gary Mather and Ms. Christina Co Mather

28 october 21, 2016 washingtoncitypaper.com

(202) 785-9727 WashingtonPerformingArts.org

Daze of our Lives S/T Lilac Daze Black Numbers “The only Thing I know for sure is that I don’t know,” Evan Braswell sings on “So Confused,” the final track on Lilac Daze’s self-titled debut album. For an album that centers on lost innocence and growing pains, this closing lyric serves as a helpful conclusion. It’s a kind of SparkNotes version of what the indie-punk band has taught us: Things are complicated, and sometimes the only way out of a frustrating phase is living through it.

Lilac Daze is the Frederick, Maryland trio’s first full album, released by New Jersey label Black Numbers, which also released the band’s EP Sedated in 2014. There’s an enthusiastic embrace of diverse influences on Lilac Daze. The band draws on ’90s indie rock, 2000s pop-punk, and contemporary lo-fi. The snarling narration and charged interplay between bass and guitar on “Glow In The Dark,” for example, give off some serious Pixies vibes, while on “Wrought Iron Fence” and “Null and Void,” big pop-punk guitars and hooky choruses are reminscent of Weezer and Green Day’s early glory days. Midway through the album, “Rat’s Nest” provides a textural instrumental break before launching back into a shoutalong-worthy pop-punk track.

Between Sedated (and the string of demos and self-released EPs that came before it) and Lilac Daze, the band’s sound has matured, but not over-ripened. Lilac Daze’s 10 tracks bounce through genres with an adolescent enthusiasm, but there’s a sense of continuity throughout the album. Where the jump between a harsher punk track and a melodic indie song may have been jarring on the band’s previous EPs, this

album allows them more space to breathe and more time to find their footing.

But there’s a good reason for all the sonic sporadicity: The band’s three members—guitarist Evan Braswell, bassist Patti Kotrady, and drummer Matt Henry—are best friends who take balancing each other’s interests pretty seriously. As such, all three members of the band also sing and write lyrics, and while the overall themes are consistent, each writer’s voice becomes evident upon close inspection.

Braswell’s songs speak vividly of uncertainty and melancholy (take, for example, “Cue the end to my hopeless grandeur vision/ There’s no silver lining in inherent indecision” from “Null and Void,” or “The holy ghost and the civil war/ And biblical folklore/ Happy hour on the weekday/ Which path will I take?” from “Future Unknown”). Kotrady’s songs feel intimate, painting portraits of particular moments. On “Lonely Eyes” she sings: “In this room we lay as trees/ deep rooted without any leaves/ You stare at me emptily until you fall asleep and forget me.” Henry brings a sense of bitter annoyance: “I’m just a fucked up kid/ Trapped in a fucked up man,” he hollers on “Glow In The Dark.” Whether directly or metaphorically—and despite their disparate authorship—the lyrics coalesce around a sense of anxiety and frustration most millennials know too well.

The sense of camaraderie that animates the band is infectious and the songs’ tightknit sounds never privilege one member over the others. Though the lyrics often touch on dark themes, the album’s youthful energy feels gleeful—the way, perhaps, collaborating with your close friends is supposed to feel.

Even if many of the songs are about the inherent confusion of growing up and dealing with your feelings, Lilac Daze reminds the listener that it’s nice to have friends around to help you through it.

—Marissa Lorusso Listen to Lilac Daze at washingtoncitypaper. com/arts.

1811 14TH ST NW

TONIGHT!

www.blackcatdc.com

UPCOMING SHOWS THU LA SERA 10/20 W/ SPRINGTIME CARNIVORE, LILAC DAZE

@blackcatdc

OCTOBER SHOWS THU 20 SUN CLUB, PALM, AND THE KIDS FRI 21

FRI RITMOS RAROS 10/21 DEL MUNDO

FRI 21

MAJOR & THE MONBACKS WE LOVE THE 90S

VARIETY & BURLESQUE (21+)

SAT SOUL GATHERING 10/22 W/ DJ NITEKRAWLER

SAT 22 10TH ANNUAL DC HALLOWEEN

SUN CLASSIC ALBUM 10/23 SUNDAY:

SAT 22

BILLIE HOLIDAY’S LADY IN SATIN

MON IN SCHOOL 10/24 SUSPENSION: LIVE STORYTELLING

TUE CAN I KICK IT? 10/25 DJ UPSTAIRS

SOMNIA

AMANDA X, DICAPRIO, ART SORORITY FOR GIRLS

THU NICOLE 10/27 DOLLANGANGER

COVER BENEFIT SHOW

W/ MAN ABOUT A HORSE, TWO TON TWIG

SAT FLASHBAND 10/29 HALLOWEEN

90S DANCE PARTY

RICKY EAT ACID MON 24 TRAILS & WAYS SUN 23

HAR MAR SUPERSTAR WED 26 SHELLAC TUE 25

THU 27 FRI 28

W/ SNAIL MAIL, FOSTER CARROTS

FRI FREE BLUEGRASS 10/28 BOONANZA!

FRESH 2 DEATH

SAT 29

THE QUENTIN TARANTINO SONGBOOK

EIGHTIES MAYHEM COSTUMES ENCOURAGED

MON 31

DARK & STORMY

FRI, OCT 21

MAHMOUD AHMED

FRI OCT 28TH + SAT 29TH JEFFREY OSBOURNE

BUMPER JACKSONS

SUN OCT 30TH

SAT, OCT 22

SIR JOE QUARTERMAN & FREE SOUL

HALLOWEEN PARTY

SUN DJ KIDD MARVEL/ 10/30 CISCERO/

LOOK PARK

(CHRIS COLLINGWOOD OF FOUNTAINS OF WAYNE) WED, OCT 26

MIXTAPE

ALAN DOYLE & THE BEAUTIFUL GYPSIES THU, OCT 27

WU HAN, PIANO PHILIP SETZER, VIOLIN DAVID FINCKEL, CELLO

WED NOV 2ND

EVA AYLLON

FOUNDER’S DAY CELEBRATION

CHAMBER MUSIC AT THE BARNS

FRI NOV 4TH

FRI, OCT 28

MADELEINE PEYROUX

LAURA BENANTI SAT, OCT 29

TUE OCT 25 HAR MAR SUPERSTAR

HALLOWEEN BEARD CONTEST

WED, NOV 9 + THU, NOV 10

CRISTINA PATO

GO GO BRUNCH FT. SUGAR BEAR & EU

FRI, NOV 11

WILLIE NILE SAT, NOV 12

MON NOV 7TH

ERIC BURDON & THE ANIMALS

RETCH & MAYHEM LAUREN

WED, NOV 16–FRI, NOV 18

INDIAN DANCE AND AMERICAN MUSIC

TUE NOV 8TH

BAR

Cafe NITRO OPTIONS

WED OCT 26

SHELLAC

TAKE METRO!

WE ARE LOCATED 3 BLOCKS FROM THE U STREET/CARDOZO STATION

TO BUY TICKETS VISIT TICKETFLY.COM

TWO SHOWS!

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SUN NOV 6TH

NAG CHAMPA

MON BEERS & BEERDS PRESENT: 10/31 THE SCREWS +

SUN OCT 27TH

HALLOWEEN CIRCUS

HALLOWEEN EDITION

AN INTIMATE EVENING WITH RICKIE LEE JONES

MARTIN BARRE

MON OCT 31ST

THE 2016

THU, OCT 20

SUN OCT 23RD

HIGHLY SUSPECT

FEATURING: DRIVE TFC

W/ MECHE KORRECT :: PORTALS

SAT OCT 22ND

JACKIE MASON

SEU JORGE

POETRY IN MOTION SAT, NOV 19

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YELLOWMAN

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BUY TICKETS AT THE BOX OFFICE OR ONLINE AT THEHOWARDTHEATRE.COM 202-803-2899

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1635 TRAP RD, VIENNA, VA 22182

washingtoncitypaper.com october 21, 2016 29

I.M.P. PRESENTS DAR Constitution Hall • Washington D.C. THIS SATURDAY!

The Head and The Heart w/ Declan McKenna ........................................OCTOBER 22

SURPRISE! AT THE CLUB!

THIS MONDAY!

JIMMY EAT WORLD

Lindsey Stirling w/ Shawn Hook .................................................................OCTOBER 24 Ticketmaster

DECEMBER 14 On Sale Friday, October 21 at 10am

Echostage • Washington, D.C.

THIS WEEK’S SHOWS

THIS SUNDAY!

LANY w/ Transviolet ........................................................................................ M 24 OCTOBER

Hinds w/ Cold Fronts Early Show! 6pm Doors .....................................................Sa 29 ALL GOOD PRESENTS

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

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

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

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

Sweater Beats ............................................................................................. W 23 ALL GOOD PRESENTS

Keller Williams’ Thanksforgrassgiving featuring Jeff Austin, Danton Boller, Jay Starling & Nicky Sanders w/ Love Canon .................. F 25 SURPRISE! AT THE CLUB!

O.A.R. & The Sports Junkies:

Verizon Center • Washington D.C.

GREEN DAY w/ Against Me! ................................................... MARCH 13 Ticketmaster

EagleBank Arena • Fairfax, VA

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

1215 U Street NW Washington, D.C.

JUST ANNOUNCED! THE MOTH PRESENTS

The Inaugural DC Moth GrandSLAM .....................................NOVEMBER 10

On Sale Now

The Magnetic Fields:

50 Song Memoir ........................... MARCH 18 (Songs 1-25) & MARCH 19 (Songs 26-50) On Sale Friday, October 21 at 10am

106.7 THE FAN PRESENTS

20x20 - Celebrating 20 Years to Benefit Heard the World DECEMBER 10 On Sale Friday, October 21 at 10am

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

930.com

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

THIS THURSDAY! 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

“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 MURRAY & PETER PRESENT

9:30 CLUB PRESENTS AT U STREET MUSIC HALL KING w/ Nick Hakim ......................Th OCT 20 Green River Ordinance w/ The Roosevelts & Castro .................. Sa 22 Futuristic w/ Beez • Niko • Shy Grey ... Su 23 Night Lovell ...................................... Tu 25

S U R V I V E ......................................... F 28 Mr Little Jeans ........................... Tu NOV 1 The Lacs ............................................... Th 3 Flock of Dimes w/ Your Friend ..............F 4 Kero Kero Bonito ............................... Sa 5

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

A Drag Queen Christmas hosted by Bob the Drag Queen featuring Kim Chi • Naomi Smalls • Alyssa Edwards and more! .......................... NOVEMBER 17

Andra Day w/ Chloe x Halle ..........................................................................NOVEMBER 25 ALL GOOD PRESENTS

Mike Gordon ...............................................................................................NOVEMBER 29

Brian Wilson presents Pet Sounds : The Final Performances

with special guests Al Jardine and Blondie Chaplin....................................................... MAY 3 • 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!

30 october 21, 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 31 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. Shovels & Rope, Matthew Logan Vasquez. 8 p.m. $30. 930.com. bethesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Dream Discs Presents Van Morrison’s “Moondance” & Bruce Springsteen’s “E Street Shuffle”. 8 p.m. $25. bethesdabluesjazz.com. blaCk Cat 1811 14th St. NW. (202) 667-4490. Major & The Monbacks, Kansas Bible Company. 8 p.m. $15. blackcatdc.com. the hamilton 600 14th St. NW. (202) 787-1000. The Fab Faux. 8 p.m. $44–$93.50. thehamiltondc.com.

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

The Sheepdogs, Blank Range. 9 p.m. $16–$18. rockandrollhoteldc.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.

Hip-Hop

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. Gucci Mane. 9 p.m. $71.60. echostage.com. hill CenteR at the old naval hosPital 921 Pennsylvania Ave. SE. (202) 549-4172. The Merasi Ensemble of Rajasthan. 7 p.m. $12–$15. hillcenterdc.org. kennedy CenteR millennium stage 2700 F St. NW. (202) 467-4600. Korean National Gugak Center.

6 p.m. Free. kennedy-center.org.

country

biRChmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Rodney Crowell. 7:30 p.m. $45. birchmere.com. gW lisneR auditoRium 730 21st St. NW. (202) 9946800. Emmylou Harris, Steve Earle, Patty Griffin, Buddy Miller, The Milk Carton Kids, and special guest Robert Plant. 8 p.m. $55–$85. lisner.gwu.edu. gyPsy sally’s 3401 K St. NW. (202) 333-7700.

Amanda Shires, Lilly Hiatt. 8:30 p.m. $16–$18. gypsysallys.com. state theatRe 220 N. Washington St., Falls Church.

(703) 237-0300. Justin Trawick and the Common Good, The Duskwhales. 9 p.m. $12. thestatetheatre.com.

Jazz

baRns at Wolf tRaP 1635 Trap Road, Vienna. (703) 255-1900. Mahmoud Ahmed. 8 p.m. $45–$55. wolftrap.org. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Najee. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

2047 9th Street NW located next door to 9:30 club

CITY LIGHTS: Friday

Friday

World

Club

Film 36

kennedy CenteR teRRaCe galleRy 2700 F St. NW. (202) 467-4600. Lakecia Benjamin and Soulsquad. 7 p.m.; 9 p.m. $26–$39. kennedy-center.org.

electronic

flash 645 Florida Ave. NW. (202) 827-8791. Ryan Crosson, Shaun Reeves, Jubilee. 8 p.m. $8–$12. flashdc.com.

tHe MeraSi enSeMBle oF raJaStHan

For 38 generations, members of the Merasi Ensemble of Rajasthan have shared their history by playing songs rooted in their arid state in Northwest India. But these ancient storytellers, who were once poorly compensated royal court musicians, have been relegated to “untouchable” status, earning the ire of critics for having used instruments with skins made from dead animals and for using lyrics that anger certain religious fundamentalists. Today the Merasi Ensemble is trying to preserve and perpetuate its culture by founding schools and performing internationally with the aid of folk arts organizations. Incorporating aspects of both Sufi and Hindu traditions, the group’s raw-throated vocals are wailed and chanted, and use repetition, quick tempo changes, and rapid ascents up and down the scales to convey emotion. A musician on a harmonium and a tabla player support these vocals, and singers provide extra rhythmic support by utilizing tambourines, finger cymbals, and hand claps. While the group’s melodies may not sound as immediately friendly as a pop song, the fervent voices of its members and the pulsing accompaniment have an accessible charm. The Merasi Ensemble of Rajasthan performs at 7 p.m. at the Hill Center at the Old Naval Hospital, 921 Pennsylvania Ave. SE. $12–$15. (202) 549-4172. hillcenterdc.org.

—Steve Kiviat

Funk & r&B

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

Super Yamba Band, Time Is Fire. 9:30 p.m. $5. bossadc.com.

Saturday

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

Caspian, The Appleseed Cast. 8 p.m. $20–$23. rockandrollhoteldc.com.

dJ nigHtS hoWaRd theatRe 620 T St. NW. (202) 803-2899.

Reggae Fest vs. Soca with Movado. 10 p.m. $25–$30. thehowardtheatre.com.

rock

9:30 Club 815 V St. NW. (202) 265-0930. Catfish and The Bottlemen, The Worn Flints. 7 p.m. $25. 930.com.

opera

bethesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Carl’s Rare Roast Beef Band. 9:30 p.m. $10. bethesdabluesjazz.com.

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.

blaCk Cat 1811 14th St. NW. (202) 667-4490. 10th Annual D.C. Halloween Cover Benefit Show. 8 p.m. $12. blackcatdc.com.

World

daR Constitution hall 1776 D St. NW. (202) 6284780. The Head and the Heart, Declan McKenna. 8 p.m. $42.50. dar.org. gyPsy sally’s 3401 K St. NW. (202) 333-7700. The Dave Kline Band, The Beat Hotel. 8 p.m. $15. gypsysallys.com. the hamilton 600 14th St. NW. (202) 787-1000. The Fab Faux. 8 p.m. $44–$93.50. thehamiltondc.com.

aRthuR m. saCkleR galleRy 1050 Independence Ave. SW. (202) 633-4880. Music from Sulawesi and West Java. 7:30 p.m. Free. asia.si.edu.

Folk sixth & i histoRiC synagogue 600 I St. NW. (202) 408-3100. Bela Fleck and Abigail Washburn. 8 p.m. $50. sixthandi.org.

washingtoncitypaper.com october 21, 2016 31

country

baRns at Wolf tRaP 1635 Trap Road, Vienna. (703) 255-1900. Bumper Jacksons. 8 p.m. $22–$25. wolftrap.org.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Najee. 8 p.m.; 10 p.m. $50–$55. bluesalley.com. kennedy CenteR atRium 2700 F St. NW. (202) 4674600. Terence Blanchard featuring The E-Collective.

8 p.m. $35. kennedy-center.org.

electronic

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. 3LAU, Illenium, Jenaux, Justin Caruso. 9 p.m. $25–$35. echostage.com. flash 645 Florida Ave. NW. (202) 827-8791. Behrouz, Raffi. 8 p.m. $10. flashdc.com.

galaxy hut 2711 Wilson Blvd., Arlington. (703) 5258646. Deadeyes, Alarms and Controls. 9 p.m. $5. galaxyhut.com. hoWaRd theatRe 620 T St. NW. (202) 803-2899.

Martin Barre. 8 p.m. $26–$50. thehowardtheatre.com. kennedy CenteR millennium stage 2700 F St. NW. (202) 467-4600. Stronger Sex. 6 p.m. Free. kennedy-center.org.

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

Nothing But Thieves, The Wrecks. 8 p.m. $18. rockandrollhoteldc.com.

goSpel hoWaRd theatRe 620 T St. NW. (202) 803-2899.

Sunday Gospel Brunch with the World Famous Harlem Gospel Choir. 1:30 p.m. $20–$40. thehowardtheatre.com.

Funk & r&B

opera

Sunday

Hip-Hop

WaRneR theatRe 513 13th St. NW. (202) 783-4000.

Gladys Knight. 8 p.m. warnertheatredc.com.

rock

blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Ricky Eat Acid, Kitty. 7:30 p.m. $12–$15. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. K Phillips, Cabin Creek. 9 p.m. $12. dcnine.com.

souRCe theatRe 1835 14th St. NW. (202) 204-7800.

The InSeries: The Romantics. 2:30 p.m. $18–$36. inseries.org.

9:30 Club 815 V St. NW. (202) 265-0930. Shy Glizzy.

9 p.m. $30–$60. 930.com.

World PhilliPs ColleCtion 1600 21st St. NW. (202) 3872151. Rahim Al Haj. 4 p.m. $20–$40. phillipscollection.org.

CITY LIGHTS: Saturday

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32 october 21, 2016 washingtoncitypaper.com

gladyS knigHt

In 1952, a 7-year-old girl from Atlanta, Georgia. won Ted Mack’s The Original Amateur Hour, a televised singing contest. Sixty-four years later, Gladys Knight is all grown up and still singing.

From 1961’s “Every Beat of My Heart” with the Pips to 2014’s solo gospel album Where My Heart Belongs, Knight’s inimitable voice has graced our turntables, cassette decks, CD players, and iPods. Her lifetime of musical experience, which includes seven Grammy awards and 11 Billboard No. 1 R&B singles, remains present in her recent tours. She’s been known to bring out her brother Bubba, a former Pip, for a performance of “Uptown Funk,” pair Bruno Mars’ “When I Was Your Man” with her own “If I Were Your Woman,” sing a powerful version of “Midnight Train to Georgia,” and give her audience life advice. After all, that’s what friends are for. Though her style has evolved over time, the message and sentiment of her music has remained a constant, uplifting presence to the audiences that honor this Empress of Soul. Gladys Knight performs at 8 p.m. at the Warner Theatre, 513 13th St. NW. $62–$82. (202) 783-4000. warnertheatredc.com.

—Noa Rosinplotz

Jazz

CITY LIGHTS: Sunday

Jason Moran, Artistic Director for Jazz

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 Ambassador Elizabeth Frawley Bagley and The Blanche and Irving Laurie Foundation.

Suzanne Farrell Ballet

With its accomplished new director and glitzy 40th anniversary celebration, the Washington Ballet is hogging all the local dance attention this season. As that company reinvents itself, the Kennedy Center’s steely ensemble of resident ballerinas is quietly putting together a weekend of bright and bold classics. The Suzanne Farrell Ballet returns to the Eisenhower Theater in its tenth year under the direction of the beloved New York City Ballet principal dancer who inspired George Balanchine for years. This weekend, the group sticks to pieces by the master, starting with the colorful and jazzy “Danses Concertantes” set to music by Stravinsky and following with “Gounod Symphony,” a huge ballet that incorporates 30 dancers. Rounding out the evening is the crowd-pleasing “Stars and Stripes,” a patriotic tour de force performed to a series of Sousa marches. With its jump-filled choreography and twirling batons, it’s a perfect piece of mid-20th century Americana that just might distract you from the political crisis our nation is currently experiencing. The Suzanne Farrell Ballet performs Oct. 21 to 23 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $39–$99. (202) 467-4600. kennedy-center.org.

—Caroline Jones

country

the hamilton 600 14th St. NW. (202) 787-1000. The Gibson Brothers, The Honey Dewdrops. 7 p.m. $16.25– $39.75. thehamiltondc.com.

Jazz

bethesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Spyro Gyra. 7:30 p.m. $45. bethesdabluesjazz.com. blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Najee. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

electronic

eChostage 2135 Queens Chapel Road NE. (202) 503-2330. Die Antwoord. 7 p.m. $40. echostage.com.

Monday rock

9:30 Club 815 V St. NW. (202) 265-0930. LANY, Transviolet. 7 p.m. $20. 930.com. blaCk Cat baCkstage 1811 14th St. NW. (202) 6674490. Trails and Ways. 7:30 p.m. $12. blackcatdc.com. daR Constitution hall 1776 D St. NW. (202) 6284780. Lindsey Stirling, Shawn Hook. 8 p.m. $43–$73. dar.org.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Assaf Kehati Trio. 8 p.m.; 10 p.m. bluesalley.com. kennedy CenteR millennium stage 2700 F St. NW. (202) 467-4600. Cassandra Allen. 6 p.m. Free. kennedy-center.org.

tueSday rock

blaCk Cat 1811 14th St. NW. (202) 667-4490. Har Mar Superstar, Sweet Spirit. 7:30 p.m. $15. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Jaye Jayle, Creature People. 9 p.m. $10–$12. dcnine.com.

Folk

the hamilton 600 14th St. NW. (202) 787-1000.

Sean McConnell. 7:30 p.m. $10–$15. thehamiltondc.com. kennedy CenteR millennium stage 2700 F St. NW. (202) 467-4600. The Brother Brothers. 6 p.m.

Free. kennedy-center.org.

Jazz

The Crossroads Club

Performances at 8 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—Louis Hayes, Sylvia Cuenca, and Joe Saylor—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.

Jimmy Heath at 90 The Kennedy Center celebrates the 90th birthday of legendary saxophonist, composer, bandleader, and NEA Jazz Master Jimmy Heath With Special Guests Sharel Cassity Stanley Cowell Albert “Tootie” Heath John Lee Tony Purrone Herbie Hancock Roberta Gambarini Frank Greene Freddie Hendrix Gregory Gisbert Michael Philip Mossman Steve Davis

Jason Jackson John Mosca Douglas Purviance Antonio Hart Mark Gross Bobby LaVell Mike Lee Gary Smulyan Jeb Patton David Wong Evan Sherman Dr. Cornel West Mtume Heath

dC9 1940 9th St. NW. (202) 483-5000. Vasudeva, Drop Electric, This City Called Earth. 8:30 p.m. $8. dcnine.com.

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

the hamilton 600 14th St. NW. (202) 787-1000.

Ian Hunter & The Rant Band, Dot Dash. 7:30 p.m. $30–$60. thehamiltondc.com.

WedneSday

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

Pond, Machete Western. 8 p.m. $15. rockandrollhoteldc.com.

rock

baRns at Wolf tRaP 1635 Trap Road, Vienna. (703) 255-1900. Look Park. 8 p.m. $25–$27. wolftrap.org.

TICKETS ON SALE NOW! (202) 467-4600 | KENNEDY-CENTER.ORG

claSSical

blaCk Cat 1811 14th St. NW. (202) 667-4490. Shellac, Shannon Wright. 7:30 p.m. $20. blackcatdc.com.

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

kennedy CenteR atRium 2700 F St. NW. (202) 4674600. Mason Bates’s KC Jukebox: Mercury Soul. 7:30 p.m. $20. kennedy-center.org.

dC9 1940 9th St. NW. (202) 483-5000. Ryley Walker, Circuit des Yeux. 9 p.m. $12–$14. dcnine.com.

Sunday, October 30 at 8 | Concert Hall

Tickets also available at the Box Office. Groups (202) 416-8400 Support for Jazz at the Kennedy Center is generously provided by Elizabeth and Michael Kojaian.

washingtoncitypaper.com october 21, 2016 33

Is the Glass half full?

Is the Glass half empty? how about half off!

fillmoRe silveR sPRing 8656 Colesville Road, Silver Spring. (301) 960-9999. Switchfoot, Relient K. 7 p.m. $33. fillmoresilverspring.com. state theatRe 220 N. Washington St., Falls Church.

(703) 237-0300. Mexrrissey, Zakke. 8 p.m. $25–$30. thestatetheatre.com.

caBaret

amP by stRathmoRe 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Rumer Willis. 8 p.m. $40–$50. ampbystrathmore.com.

claSSical

kennedy CenteR ConCeRt hall 2700 F St. NW. (202) 467-4600. Shen Yun Symphony Orchestra. 8 p.m. $29–$109. kennedy-center.org.

country

the hamilton 600 14th St. NW. (202) 787-1000.

Travelin’ McCourys and Jeff Austin Band. 7:30 p.m. $25–$30. thehamiltondc.com.

BlueS

bossa bistRo 2463 18th St NW. 202-667-0088. The Claudettes. 9:30 p.m. $5. bossadc.com.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

Folk

baRns at Wolf tRaP 1635 Trap Road, Vienna. (703) 255-1900. Alan Doyle & the Beautiful Gypsies. 8 p.m. $25–$30. wolftrap.org. biRChmeRe 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Aoife O’Donovan, Willie Watson. 7:30 p.m. $25. birchmere.com.

Jazz

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $40–$45. bluesalley.com. mansion at stRathmoRe 10701 Rockville Pike, North Bethesda. (301) 581-5100. Roy Assaf Trio. 7:30 p.m. $30. strathmore.org.

electronic

flash 645 Florida Ave. NW. (202) 827-8791. Paco Osuna, Jandro. 8 p.m. $5–$10. flashdc.com.

Funk & r&B

bethesda blues and Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Anissa Hargrove, Gloria Gaynor. 8 p.m. $30–$35. bethesdabluesjazz.com. hoWaRd theatRe 620 T St. NW. (202) 803-2899.

The Quentin Tarantino Songbook. 8 p.m. $15–$25. thehowardtheatre.com.

electronic

flash 645 Florida Ave. NW. (202) 827-8791. KRNE. 8 p.m. $10. flashdc.com.

Funk & r&B

hoWaRd theatRe 620 T St. NW. (202) 803-2899.

AvevA. 7:30 p.m. $28. thehowardtheatre.com.

tHurSday rock

9:30 Club 815 V St. NW. (202) 265-0930. St. Lucia, Baio. 7 p.m. $27.50. 930.com.

realdeal.washingtoncitypaper.com

VIVALDI’S FOUR SEASONS ELIZABETH PITCAIRN, VIOLIN KATHLEEN KELLY, GUEST CONDUCTOR SATURDAY, NOVEMBER 5 @ 8 PM SUNDAY, NOVEMBER 6 @ 3 PM

703-548-0885 www.alexsym.org

34 october 21, 2016 washingtoncitypaper.com

blaCk Cat 1811 14th St. NW. (202) 667-4490. Highly Suspect, Slothrust. 7:30 p.m. $20. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. No Parents, White Fang, Birth Defects. 8:30 p.m. $10–$12. dcnine.com.

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

Temples, Vinyl Williams. 8 p.m. $25. rockandrollhoteldc.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. 12; 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

CITY LIGHTS: Monday

SaMpHa

For much of this decade, Sampha was the person producers and musicians called when their songs needed a healthy portion of soul. The British singer-songwriter voiced the electronic experiments of SBTRKT and gave Drake’s “Too Much” a softer side. In 2016, Sampha has stepped up on some of his highest-profile collaborations yet (Kanye West, Frank Ocean, Solange), but he’s also stepping out of the featured roles and into a starring one. As he prepares to release his debut album, Process, he has released a pair of songs that suggest he’ll be just fine in the spotlight, “Timmy’s Prayer” and “Blood on Me.” The former is a slow-burning ballad about loss and hope that sees Sampha at his most vulnerable (“My vital organs are beating through, my ribcage opened, my heart ballooned”), while the latter is urgent and paranoid (“I swear they smell the blood on me, I hear them coming for me”). “I’ve had a lot to process these past couple of years, as we all do,” Sampha wrote on Twitter, perhaps explaining the title of his album. “And it’s hard to articulate sometimes.” From the early tastes of the album, it seems like he’s finally figured out how to articulate everything that’s been troubling him.

Sampha performs with Kelsey Lu at 7 p.m. at U Street Music Hall, 1115 U St. NW. $20. (202) 588-1889. ustreetmusichall.com.

—Chris Kelly

---------CITY LIGHTS: tueSday

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

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

Tix @ Ticketmaster.com 800-745-3000

Spend an evening in concert with

GLADYS KNIGHT

THIS SATURDAY! Oct. 22, 8 pm

OCTOBER F

21

DREAM DISC’S PRESENTS

VAN’S “MOONDANCE” & BRUCE’S “E STREET SHUFFLE” IN ENTIRETY SPYRO GYRA ANISSA HARGROVE W/ GLORIA GAYNOR

Tickets on sale now through Ticketmaster.com 800-745-3000, or at the Warner Theatre Box Ofc.

AVERY*SUNSHINE Clarence 21 RODNEY CROWELL Bucaro 22 RAVEN’S NIGHT Oct 20

“CELESTIAL BODIES”

26

grace Bonney

When she started the website Design*Sponge in 2004, DIY connoisseur Grace Bonney wrote posts highlighting cute storefronts and impeccably chic Brooklyn apartments with tapestry headboards that you somehow believed you could recreate in your own home. Aside from the design inspiration and pictures of pretty things, over the course of a decade she turned the site into an international community for creative readers, where, in addition to learning how to maximize storage space in a 300-square-foot studio, they could figure out how to license their art and work through their fear of pursuing a creative career. For her latest project, Bonney has expanded on this advice-giving kick and produced In the Company of Women, a book featuring interviews with more than 100 ladies, from activist Janet Mock to actress and editor Tavi Gevinson, in which they discuss everything from finding and keeping a good job to maintaining healthy relationships. When Bonney appears at Union Market, a haven for the D.C. maker community, she’ll discuss the book’s themes with five other women who’ve figured out how to be their own boss: Salt and Sundry’s Amanda McClements, Gordy’s Pickle Jar’s Sarah Gordon and Sheila Fain, editor Ashley Ford, and The Vintage Vogue’s Charlotte Cannon. Grace Bonney speaks at 7 p.m. at Dock 5 at Union Market, 1309 5th St. NE. $50. (202) 387-1400. kramers.com.

—Caroline Jones to the stage. Combining fantasy elements with history, the play is presented in two parts and will be performed in repertory. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Oct. 30. $36–$56. (240) 644-1100. roundhousetheatre.org. beeRtoWn’s 21st QuinQuennial time CaPsule day CeRemony Experimental theater collective dog & pony dc puts a new spin on its ongoing project which follows residents of a small town as it unpacks its time capsule every five years. This updated version incorporates more artifacts from life in the District and features performances by local actors. Thurgood Marshall Center. 1816 12th St. NW. To Nov. 7.

(202) 462-8314. tmcsh.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. floWeRs stink The Kennedy Center and the U.S. Botanic Garden collaborate for a second time on this play geared toward young audiences, in which two plants come to life and help a young, struggling poet when she needs some inspiration. United States

Botanic Garden. 100 Maryland Ave. SW. To Oct. 29.

Free. (202) 225-8333. usbg.gov. 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 presents 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

27

AOIFE O’DONOVAN & WILLIE WATSON

HIROSHIMA 29 TOM PAXTON & JOHN McCUTCHEON

28

SU 23 T

27

S & SU 29 – 30

CECILE MCLORIN SALVANT – GRAMMY WINNER!

M 31

HALLOWEEN COSTUME PARTY W/ CLONES OF FUNK

31

NOVEMBER TH 3

Teddy SUZANNE VEGA Thompson ‘FUNK 2 BRIAN CULBERTSON Tour’ Brian 4 DELBERT McCLINTON Dunne

Nov 1

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

American Songwriter Presents

M

F

BRANDY CLARK KAREN JONAS

11&13

OLETA ADAMS 19 SUZANNE WESTENHOEFER 20 HERMAN’S HERMITS featuring PETER NOONE JOAN 21& 22 PATTY GRIFFIN SHELLEY BONEY JAMES 23 18

JOAN OSBORNE 11/11 SHIRELLES ROCK N’ ROLL HALL OF FAME SALUTE TO THE TROOPS W/ LEONARD, COLEMAN & BLUNT 11/16 DWELE 11/27 A GOSPEL ACCORDING TO JAZZ 12/15 DIONNE

SU 11/13

ANDERSON EAST

PAULA POUNDSTONE 15 ACOUSTIC ALCHEMY DAVE MASON 16 “Alone Together Again” with Bekka Bramlett

7

JUST ANNOUNCED

“Devil In Me Tour” w/BRENT COBB 10

4

SU 6

20 Year Reunion

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F

AN EVENING WITH KEVIN WHALUM INCOGNITO FEATURING MAYSA TAB BENOIT LARRY CARLTON

W SU TH

7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

washingtoncitypaper.com october 21, 2016 35

burgh Theatre. 450 7th St. NW. To Nov. 6. $44–$114.

(202) 547-1122. shakespearetheatre.org.

LIVE

UPCOMING PERFORMANCES

DARLINGSIDE W/ FRANCES LUKE ACCORD THURSDAY OCT

20

the

AN EVENING WITH

FAB

FAUX

FRIDAY & SATURDAY

OCT 21 & 22 SUN, OCT 23

WAMU’S BLUEGRASS COUNTRY PRESENTS

CITY LIGHTS: WedneSday

oaSiS: SuperSonic

From nearly the beginning of the formation of Oasis, brothers and bandmates Liam and Noel Gallagher behaved like the human equivalents of Itchy & Scratchy: They fought, and fought, and fought and fought and fought. Mat Whitecross’ Oasis: Supersonic chronicles the Manchester, England rock band from its early 1990s origins until its legendary 1996 Knebworth performances, during which the seemingly unstoppable ensemble played in front of an astonishing 250,000 fans over two days. Commentary from Liam (vocals) and Noel (guitar and lead songwriter) lends insight into their music making, of course, but also more salaciously to the sibling rivalry that often turned into physical fisticuffs both offstage and on. The documentary is visually inventive as well, with Whitecross not satisfied by accompanying the interviews with straight video, but typically framing photos and footage with filmstrips, for example, or eschewing reality entirely in favor of animation. The banter is also entertaining—and, thankfully, often subtitled— but the film feels lacking in one crucial component: the music. There’s enough, however, to make you want to dig out your dusty (What’s the Story) Morning Glory? CD. As Liam says, the group’s good times “100 percent” outweighed the bad. And more important: “People will never, ever, ever forget the way that you made them feel.” The film shows at 7 p.m. and 9:30 p.m. at Landmark E Street Cinema, 555 11th St. NW. $15. (202) 783-9494. landmarktheatres.com.

—Tricia Olszewski

THE GIBSON BROTHERS

IAN HUNTER & THE RANT BAND

CITY LIGHTS: tHurSday

MarcuS SaMuelSSon

W/ DOT DASH

TUES, OCT 25

SEAN MCCONNELL W/ DERIK HULTQUIST

THEHAMILTONDC.COM

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

washingtoncitypaper.com

Marcus Sammuelsson is the consummate celebrity chef.

Whether it’s from his daring sartorial choices while hosting the short lived ABC cooking competition The Taste, his charming appearance on Top Chef Masters, or as the author of the intimate memoir Yes, Chef, Sammuelsson is well known in the food world. His beloved and critically acclaimed restaurant Red Rooster has operated in Harlem since 2011, but Sammuelsson is no stranger to D.C. He did, after all, oversee the food for President Obama’s first state dinner. D.C. is one of seven cities that he’s visiting to promote his latest work, The Red Rooster Cookbook: The Story of Food and Hustle in Harlem. Not only does he let amateur chefs in on his coveted restaurant recipes like his brown butter biscuits and Ethiopian spice-crusted lamb, but the cookbook also provides vibrant photos and information about Harlem’s rich history, which he honors in his restaurant—from the menu to the speakeasy style jazz club in the basement. Discussing his melding of history and food couldn’t be done at a better place than the original Busboys and Poets.

Marcus Samuelsson speaks at 6:30 p.m. at Busboys and Poets 14th & V, 2021 14th St. NW. Free. (202) 387-7638. busboysandpoets.com.

—Diana Metzger wealth as quickly as possible. CSI actress Marg Helgenberger stars as Regina Giddens, the woman who 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.

36 october 21, 2016 washingtoncitypaper.com

the thReePenny oPeRa Bertolt Brecht and Kurt Weil’s musical tale about the villainous antihero Macheath, who manages to evade a certain death thanks to some godly machinations, comes to life through students at George Mason University’s School of Theater. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax. To Oct. 30 $15–$30. (888) 945-2468. cfa.gmu.edu.

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

W/ THE HONEY DEWDROPS MON, OCT 24

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 Nov. 13. $30–$75. (202) 544-7077. folger.edu.

the night alive Quotidian Theatre Company presents Conor McPherson’s latest play in its season opener. Set in Dublin, the action follows a grumpy, unemployed man who befriends a young prostitute.

When her boyfriend shows up, the group must figure out what their relationship means. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To Nov. 20. $15–$30. (301) 816-1023. quotidiantheatre.org.

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. Lans-

boo! a madea halloWeen Tyler Perry directs, writes, and once again dons a gray wig to play the eccentric and cranky Southern granny in this spooky comedy that finds Madea chasing off ghouls, ghosts, and zombies. (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 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) 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) JaCk ReaCheR: neveR go baCk Tom Cruise stars in this action-packed thriller based on the book series

by Lee Child. In this adventure, Reacher must figure out if a former collaborator has committed espionage. Directed by Edward Zwick. (See washingtoncitypaper.com for venue information) keePing uP With the Joneses Greg Mottola of Superbad fame directs this action comedy about a suburban couple who suspect their neighbors might be spies. Starring Isla Fisher, Zach Galifianakis, Jon Hamm, and Gal Gadot. (See washingtoncitypaper. com for venue information) ouiJa: oRigin of evil In yet another film inspired by the spooky spirit-summoning board, a young girl is possessed by an evil spirit and her family must play the game in order to get her back. Written and directed by Mike Flanagan. (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)

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Legals Public Notice WASHINGTON LATIN PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS Issued: October 20, 2016 The Washington Latin Public Charter School solicits expressions of interest in the form of proposals with references from qualifi ed vendors for Educational Travel Services. We specifi cally seek a vendor to arrange an educational trip to France. Questions and proposals may be e-mailed directly to aporcelli@latinpcs.org and gizurieta@latinpcs.org with the subject line Educational Travel Services.

Deadline for submissions is 12pm (noon) October 21, 2016. No phone calls please. E-mail is the preferred method for responding but you can also mail (must arrive by deadline) proposals and supporting documents to the following address: Washington Latin Public Charter School Attn: Finance Offi ce 5200 2nd Street NW Washington, DC 20011 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

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 propLegals erty 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 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 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-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 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

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 weekLegals 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 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

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 Legals 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-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 washingtoncitypaper.com entered foreclosing the right of redemption in the real property and vesting in the Plaintiff title in fee simple Clerk of the court

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. PropertyLegals 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 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 October 21, costs, 2016attor37 purchased, court ney’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

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

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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 Legals 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 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 We offer product training, a competitive ORDERED by the Superior Court compensation package comprised of a base salary of the District of Columbia, that notice be given by the insertion plus commissions, and a full array of benefits of a copy of this order in the Leincluding medical/dental/life/disability insurance, gal Times, a newspaper having a a 401K plan, and paid time off including holidays. general circulation in the District of Columbia, once a week for three Compensation potential has no limits – we pay (3) successive weeks, notifying based on performance. all persons interested in the real property to appear in this Court For consideration please send an by the _16_ day of _nov_ 2016 and redeem the real property by introduction letter and resume to payment of $772.84, (together Melanie Babb at mbabb@washingtoncitypaper.com. with interest from the date the No phone calls please. 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 October 21, 2016 washingtoncitypaper.com 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

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 Legals 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-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 Prop-

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

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 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 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 there-

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 Legals 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.

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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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Garage/Yard/ Rummage/Estate Sales Flea Market every weekend 10am-4pm. 5615 Landover Rd. Cheverly, MD. 20784. Contact 202-355-2068 or 301-772-3341 for details.

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