Washington City Paper (January 11, 2019)

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NEWS: THE SORRY STATE OF WARD 4 POLITICS 4 FOOD: A D.C. BARTENDER’S PATH TO CITIZENSHIP 15 ARTS: IT’S A GREAT TIME TO REVISIT MADONNA 20

Capital One Arena • Washington, D.C.

MUSE

.......................................................................................................... APRIL 2 Ticketmaster

Merriweather Post Pavilion • Columbia, MD

THIS WEEK’S SHOWS

Jay Pharoah This is a seated show. ............................................................. F JAN 11

M3 ROCK FESTIVAL FEATURING

Jumpin’ Jupiter and The Grandsons w/ Virginia and The Blue Dots & Dingleberry Dynasty ..................................... Sa 12

Whitesnake • Extreme • Warrant • Skid Row • Vince Neil • Kix and more! .....................................................MAY 3-5 For a full lineup, visit m3rockfest.com

JANUARY

FEBRUARY (cont.)

ALL GOOD PRESENTS

The Wood Brothers w/ Priscilla Renea ..........Th 17 & F 18 Cracker & Camper Van Beethoven ....Sa 19 Super Diamond .....................Th 24 JAN 26 SOLD OUT!

Guster w/ Henry Jamison ...........F 25 Poppy Early Show! 6pm Doors ......Th 31 Amen Dunes w/ Arthur Late Show! 10pm Doors ....................Th 31

FEBRUARY

Daley & JMSN ............................F 1 White Ford Bronco: DC’s All ‘90s Band .....................Sa 2

Sharon Van Etten w/ Nilüfer Yanya ............................W 6 Mandolin Orange w/ Mapache .Th 7 COIN w/ Tessa Violet Early Show! 6pm Doors ........................F 8 BASS NATION PRESENTS

Space Jesus w/ Minnesota • Of the Trees • Huxley Anne

Late Show! 10:30pm Doors ..................F 8 ALL GOOD PRESENTS

Spafford ....................................Sa 9 Panda Bear w/ Home Blitz ......M 11 Dorothy w/ Spirit Animal .........Tu 12 Andrew McMahon in the Wilderness w/ Flor & Grizfolk .......................W 13 Bob Mould Band w/ Titus Andronicus ...................Th 14

Galactic feat. Erica Falls

Ticketmaster • merriweathermusic.com • impconcerts.com

(F 15 - w/ High & Mighty Brass Band) .......................................F 15 & Sa 16

The Knocks w/ Young & Sick • Blu DeTiger ...Su 17 Jacob Banks ...........................Tu 19 LP w/ Korey Dane........................W 20 Vince Staples w/ Buddy Early Show! 6pm Doors ......................F 22 Cherub w/ Mosie Late Show! 10pm Doors ......................F 22 You Me At Six w/ Dreamers & Machineheart ....Su 24 Pat Green and Aaron Watson ...............W 27 Big Head Todd & The Monsters w/ Blue Water Highway ..............Th 28

MARCH

AEG PRESENTS

Cole Escola This is a seated show. .F 1 Deerhunter w/ L’Rain Early Show! 6pm Doors ......................Sa 2 BASS NATION PRESENTS

Dirt Monkey Late Show! 10pm Doors ....................Sa 2 Citizen Cope w/ David Ramirez .Su 3 WET and Kilo Kish..................Tu 5

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

JEFF TWEEDY

w/ James Elkington ......................................... APRIL 10

On Sale Friday, January 11 at 7pm

Story District’s Top Shelf . JAN 19 Alice Smith ................................. MAR 9 AN EVENING WITH AURORA w/ Talos....................... MAR 10 The Disco Biscuits............... JAN 25 Must purchase two-night pass (with 1/26 José González Disco Biscuits at The Anthem) to attend.

& The String Theory............ MAR 20

Whindersson Nunes .......... MAR 23 Neko Case w/ Margaret Glaspy .. JAN 27 Meow Meow + Thomas Lauderdale Capturing Pablo: (of Pink Martini) .............................. MAR 25 An Evening with DEA Agents Spiritualized ............................APR 16 Steve Murphy & Javier Pena Citizen Cope .............................APR 17 A Conversation on Pablo Escobar’s Take Down and the Hit Imogen Heap With special guest ED!

D NIGHT ADD FIRST NIGHT SOLD OUT! SECON

Netflix Show Narcos ................... FEB 2

Guy Sigsworth of Frou Frou ............... MAY 3

Story District’s Yann Tiersen Sucker For Love ................... FEB 14 (Solo In Concert) .........................MAY 24 ALL GOOD PRESENTS AN EVENING WITH

AN EVENING WITH

The Mavericks ........................ MAR 8

Apocalyptica Plays Metallica By Four Cellos Tour .MAY 28

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

ALL GOOD PRESENTS

JJ Grey & Mofro w/ Southern Avenue ....................Th 7 ALL GOOD PRESENTS

The Motet .................................Sa 9 ALL GOOD PRESENTS

J Boog w/ EarthKry & Eddy Dyno .M 11

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Slayer w/ Lamb of God • Amon Amarth • Cannibal Corpse ................................ MAY 14 Train/Goo Goo Dolls w/ Allen Stone ...................................AUGUST 9

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9:30 CLUB PRESENTS AT U STREET MUSIC HALL

gnash w/ Mallrat & Guardin .... Sa JAN 19 Windhand w/ Genocide Pact ..........Th 24 The Brummies ..........................F 25 KONGOS w/ Fitness .............. Sa FEB 2 Ripe w/ Brook and the Bluff & Del Florida ......W 6 Cherry Glazerr w/ Mannequin Pussy .......................W 13 MHD ..........................................F 15

UnoTheActivist ........................Sa 16 9:30 & TRILLECTRO PRESENT MadeinTYO w/ Thutmose & Key! ..... M 18

Julia Holter w/ Jessica Moss ........Tu 19 Parcels ....................................W 20 Gang of Four ...........................Th 21 AJ Mitchell w/ Marteen .................F 22 The Suffers .............................Sa 23 Donna Missal ..........................Su 24

• Buy advance tickets at the 9:30 Club box office • 930.com

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 on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR! 2 january 11, 2019 washingtoncitypaper.com

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!

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INSIDE

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COVER STORY: AN ODE TO SHAW JUNIOR HIGH

10 A student remembers her school as it was in the 1980s.

DISTRICT LINE 4 Loose Lips: Ward 4 residents consider alternatives to Brandon Todd and the Green Team.

6 Frayed Ends: Salon workers feel the impact of the government shutdown.

7 Tell Us Your D.C. Story: Introducing our essay contest for D.C. natives

SPORTS 8 Making a Racket: Teenage tennis talent Ayana Akli makes her own decisions.

FOOD 15 American Spirit: A local bartender reflects on his trying 10-year journey from international student to U.S. citizen.

ARTS 17 Galleries: Capps on Charline von Heyl: Snake Eyes at the National Gallery of Art 18 Short Subjects: Zilberman on Destroyer and Gittell on Capernaum 19 Discography: Tosiello on Dell Fargo’s Mental Health 20 One Song: Clark on Madonna’s “What It Feels Like For A Girl”

CITY LIST 21 Music 23 Theater 23 Film

DIVERSIONS 25 Savage Love 26 Classifieds 27 Crossword On the cover: Photo by Darrow Montgomery

DARROW MONTGOMERY 900 BLOCK OF RHODE ISLAND AVE. NW, JANUARY 5

EDITORIAL

EDITOR: ALEXA MILLS MANAGING EDITOR: CAROLINE JONES ARTS EDITOR: MATT COHEN FOOD EDITOR: LAURA HAYES SPORTS EDITOR: KELYN SOONG CITY LIGHTS EDITOR: KAYLA RANDALL LOOSE LIPS REPORTER: MITCH RYALS HOUSING COMPLEX REPORTER: MORGAN BASKIN STAFF PHOTOGRAPHER: DARROW MONTGOMERY MULTIMEDIA AND COPY EDITOR: WILL WARREN CREATIVE DIRECTOR: STEPHANIE RUDIG CONTRIBUTING WRITERS: MICHON BOSTON, KRISTON CAPPS, CHAD CLARK, RACHEL M. COHEN, RILEY CROGHAN, JEFFRY CUDLIN, EDDIE DEAN, ERIN DEVINE, CUNEYT DIL, TIM EBNER, CASEY EMBERT, JONATHAN L. FISCHER, NOAH GITTELL, SRIRAM GOPAL, HAMIL R. HARRIS, LAURA IRENE, LOUIS JACOBSON, CHRIS KELLY, STEVE KIVIAT, CHRIS KLIMEK, PRIYA KONINGS, JULYSSA LOPEZ, NEVIN MARTELL, KEITH MATHIAS, PABLO MAURER, BRIAN MCENTEE, BRIAN MURPHY, NENET, TRICIA OLSZEWSKI, EVE OTTENBERG, MIKE PAARLBERG, PAT PADUA, JUSTIN PETERS, REBECCA J. RITZEL, ABID SHAH, TOM SHERWOOD, MATT TERL, SIDNEY THOMAS, DAN TROMBLY, JOE WARMINSKY, ALONA WARTOFSKY, JUSTIN WEBER, MICHAEL J. WEST, DIANA MICHELE YAP, ALAN ZILBERMAN

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washingtoncitypaper.com january 11, 2019 3

DISTRICTLINE Out of This Ward

Growing frustrations with Ward 4 Councilmember Brandon Todd already have observers looking for 2020 challengers.

By Mitch Ryals Whispers of frustrations with Councilmember Brandon Todd float among the elected neighborhood commissioners, residents, and political onlookers in Ward 4. They criticize Todd for his close ties to Mayor Muriel Bowser and his positions on major policies such as the voter-approved elimination of the tipped minimum wage (Initiative 77), paid family leave, and campaign finance reform.

“He votes whatever way the mayor tells him to vote,” says Rev. Graylan Hagler, the pastor of Ward 4’s Plymouth Congregational United Church of Christ since 1992 and an Initiative 77 supporter. “That’s the impression people have. It’s not like you have an independent councilmember. It’s not like you have someone who raises questions on behalf of the ward. That’s the feeling here.”

The perception likely stems, at least in part, from the fact that Todd is the third generation of the so-called “Green Team,” which began with Mayor Adrian Fenty’s rise from an Advisory Neighborhood Commission (ANC) to the Ward 4 Council seat to the mayor’s office. Bowser took a similar path and was Fenty’s chosen successor on the Council. She then tapped Todd, who had worked on her Council staff and as her chief fundraiser, when she was elected mayor in 2014.

Todd did not agree to an interview for this story, but Bill Lightfoot, a lawyer, former councilmember, and Green Team booster, comes to his defense when confronted with criticisms of Todd.

“You have newer people who move into the city, and they think they’re entitled to the good public services we have now, and that it happens automatically, and it doesn’t,” Lightfoot says. “The stellar public services we have are in large part due to the work of people who share the philosophy of the Green Team.”

To be sure, not every Ward 4 resident is completely dissatisfied with Todd’s tenure.

Even critics manage to sing a few praises.

Erin Palmer, newly elected to ANC 4B02, does not agree with many of Todd’s policy decisions, but she says she appreciates his

Darrow Montgomery/File

LOOSE LIPS

work on behalf of senior citizens and a bill aimed at protecting immigrants from extortion.

“He’s certainly done some positive legislation,” she says. “I have liked some of what he’s done, and disliked some of it. Unfortunately I think what I’ve disagreed with is more substantive. So for me that somewhat outweighs the positive.”

As Bowser and incumbent councilmembers prepare for the next Council session, a contingent of Ward 4 residents are shopping around for 2020 challengers. Although few are willing to raise their hands this early, there’s talk of efforts to push Todd out of office.

“I think that is on the ground out here for sure,” Hagler says of the Green Team overthrow bubbling in Ward 4.

For Todd’s detractors, the results of this past election cycle, as well as a recent public cen-

4 january 11, 2019 washingtoncitypaper.com

sure of Todd from an entire ANC, expose potential vulnerabilities to exploit.

The biggest question, then, for Tom Lindenfeld, who has worked as a campaign strategist for both Fenty and Bowser and in 2014 pleaded guilty to federal wire fraud charges stemming from work he did on former U.S. Rep. Chaka Fattah’s 2007 campaign for mayor of Philadelphia, is the competition.

“While it may be increasingly obvious that Brandon is politically vulnerable, the question of how this might turn out has more to do with what the field will look like at the end of the day,” Lindenfeld says. “If many candidates run, that might be to his advantage.” hagler and others are reading the tea leaves leftover from this past election cycle. They see the results of the Ward 4 State

Board of Education special election in December and the race for an at-large Council seat between Dionne Reeder and Councilmember Elissa Silverman as potential bad news for Todd and what’s left of the Green Team.

Bowser endorsed Reeder, but Silverman beat Reeder by 12 percentage points citywide and in Ward 4, where Bowser and Todd reside.

Todd’s handpicked candidate for the State BOE race, Rhonda Henderson, lost to Frazier O’Leary by eight percentage points, a total of 421 votes.

Lightfoot believes both Reeder and Henderson lost to “qualified candidates,” and “that’s a plus for everybody,” he says.

And while he downplays the existence of an organized political machine (possibly to avoid acknowledging its fading influence), he still refers adoringly to the “goals and aspirations of

DISTRICTLINE people who’ve identified with the Green Team.”

Others who talked with LL share a different view.

Former Ward 7 Councilmember Yvette Alexander, who the Green Team backed at one time, says the State BOE loss “does have implications politically if you are the lead person in the ward, and your endorsement doesn’t win.” That being said, she adds that “in D.C. politics, people can support you, but that doesn’t necessarily mean they’ll support the people you endorse.”

John Capozzi, a former D.C. shadow representative, has a more blunt assessment of Todd’s situation.

“He’s gonna lose,” Capozzi says of Todd. In addition to the failed endorsement, Capozzi cites the recent election of Ward 4 Democratic State Committeeman Todd Brogan, a progressive, outspoken critic of Todd and the Green Team.

“Typically a councilmember wants to keep control of Democrats,” Capozzi says. “You don’t want people from inside fighting against you.”

It Isn’t just Todd’s failed endorsement of Henderson in the State BOE race that has critics licking their chops. It may well be how he endorsed her.

At least one candidate in that race has already filed a complaint against Todd with the D.C. Board of Ethics and Government Accountability, alleging that the councilmember sent campaign emails to addresses gathered through his Council office, as first reported by WAMU. Shortly after, ANC 4C voted 7-1, with one abstention, in support of the investigation. Under city law, it is illegal to use government resources for campaign purposes. The D.C. Office of Campaign Finance confirms to LL that an investigation is underway.

Todd has denied any wrongdoing, saying in a statement last December that he used “emails collected by a variety of means through his engagement with the community over more than 10 years.” He has thus far not elaborated on exactly where the constituent emails came from.

“At no time were emails directly or indirectly given to any campaign,” Todd’s statement says.

Campaign rules have been a bother for Todd in the past as well. He was fined $5,100 by the District’s Office of Campaign Finance for failing to properly document a total of $151,000 in deposits to his 2015 special election campaign fund.

Since ANC 4C’s vote, other neighborhood commissioners who talked with LL also expressed support of the recent investigation.

Some took the opportunity to vent their frustrations with Todd.

Stacey Lincoln, for example, just won reelection in ANC 4A02 over another Toddbacked candidate. Although superb constituent services have been a hallmark of the

Green Team, Lincoln suggests that commitment comes with a price.

“I think the councilmember’s office provides constituent services to those affiliated with the Green Team,” Lincoln says. “Those who aren’t don’t get the same services.”

Lincoln’s name has been floated as a possible 2020 challenger but he denies that he has plans to run. Several other ANCs tell LL that Todd and his staff are extremely responsive to relatively minor constituent issues such as potholes and trash pick-up.

Renée Bowser, the ANC in 4D02 and an outgoing D.C. Democratic State Committeemember in Ward 4, says the energy to push a viable candidate to run in 2020 is stronger than in years past.

Bowser (no relation to the mayor) has heard a few people floated as potential challengers, though she declines to name names—except her own. She challenged Todd in 2015 and lost, and hasn’t ruled out another run. so Is the Green Team’s influence waning?

From Lightfoot’s perspective, the gang is thriving, and the haters just don’t recognize the progress they’ve made.

“I see a deficiency in the knowledge about the history of our city and how far we have come from 15 or 20 years ago,” he says. Improvements to the education system, public safety, and public services over the long term, Lightfoot says, are attributable, at least in part, to the Green Team.

Then there’s the more progressive types—the Haglers, Brogans, and Capozzis of the world— who see Green Teamers raking in piles of campaign donations from wealthy developers and business interests and want more attention paid to lower income and working class residents.

“Is the Green Team’s star fading in Ward 4?” Brogan posits. “I think yeah, or maybe it was never that bright to begin with. The only way we’ll know for sure is elections.”

Considering the past two election cycles, when Green Team-endorsed candidates have lost five out of six times in major elections, one could make the argument for the Green Stain.

Candace Tiana Nelson, president of the Ward 4 Democrats and a friend of Todd’s, believes that his endorsement overshadowed the State BOE election. “[The endorsement] became bigger than the candidates, and everybody started talking about the fact that he endorsed anyone,” Nelson says. “I’m not against him doing it, but it’s unfortunate that became the story. The entire race was hurt.”

As for Todd’s political future, Lindenfeld makes a final point: When Fenty lost to Vince Gray in the 2010 mayor’s race, conventional wisdom said Bowser was also vulnerable.

“Not only did she not lose, but she rose to become mayor,” Lindenfeld says. “Brandon has serious political concerns ahead of him, but that was the case for Muriel as well.”

CP washingtoncitypaper.com january 11, 2019 5

DISTRICTLINE Frayed Ends

Layers of everyday workers snagged in this federal shutdown TOMORROW

ARNAUD SUSSMANN, violin PAUL NEUBAUER, viola DAVID FINCKEL, cello CHAMBER MUSIC AT THE BARNS

JAN 11

EVENING OF INDIAN DANCE JAN 19

BUMPER JACKSONS JAN 26

ST. LAWRENCE STRING QUARTET

CHAMBER MUSIC AT THE BARNS

FEB 1

THE DUSTBOWL REVIVAL & HOT CLUB OF COWTOWN

Darrow Montgomery

THE GREAT DIVIDE A CELEBRATION OF THE 50TH ANNIVERSARY OF THE BAND FEB 2 TWO SHOWS

MARTIN

LE VIN HERBÉ

(THE LOVE POTION)

WOLF TRAP OPERA WASHINGTON CONCERT OPERA FEB 9 + 10

MASTERS OF HAWAIIAN MUSIC FEB 16 + 17

CHERISH THE LADIES FEB 19 + 20

WU HAN AND FRIENDS SCHUBERTIAD

CHAMBER MUSIC AT THE BARNS

FEB 22

THE MONTROSE TRIO VIENNA TO PRAGUE

CHAMBER MUSIC AT THE BARNS

MAR 8

LAURA & LINDA BENANTI: THE STORY GOES ON MAR 9

TWO SHOWS

AND MANY MORE!

WOLFTRAP.ORG

damage extends to the local lunch carryout, the dry cleaners, and the reduced business at happy hour. Tens of thousands of low to moderate inco m e wo rke rs fe el the impact across the breadth of D.C.’s economy. The Golden Triangle neighborhood “is definitely quieter,” says Leona Agouridis, director of the Golden Triangle’s Business Improvement District.

“This is the central business district of the city.”

“I think it is going to have a huge impact,” says Barbara Lang, a business consultant who built the DC Chamber of Commerce into an influential organization in the city. “It’s a disastrous impact and I don’t think this President cares.” Lang says she took an Uber ride this past weekend. The driver was an 83-year-old retired dress shop owner. The driver said he normally works a few hours a day just to make a little extra money. But he said he is now driving nearly all day because there are fewer riders. “The empathy gene that most of us were born with, the President doesn’t have,” Lang says.

Back at Last Tangle, stylist Reese has a small TV screen tuned always to MSNBC. “It’s on here 24/7,” she says. “My clients already know.

I’m not turning the channel. I need to wean myself off. But I take a few days off and I’m saying, ‘I missed what?’”

On Monday, Mayor Muriel Bowser said the city is just beginning to see the ripple effects of the shutdown, from commercial shops to reduced fares on Metro. “People are not downtown shopping or going out to lunch.”

Bowser and the governors of Maryland and Virginia have urged Trump to call off the shutdown gambit.

“It’s contagious,” Reese says at her empty salon chair. She fears that once people learn to cutback they don’t come back. “You know what, they will say, ‘I can blow dry my own hair.’ And the weekly people then may come just once a month.”

CP

By Tom Sherwood The annoying, high-piTched whoosh of hair dryers is being heard less often at Last Tangle in Washington. The popular 19th Street NW hair salon in the downtown Golden Triangle is normally busy seven days a week.

“The average is maybe 10 heads a day, now it’s five or six,” says veteran stylist Therese Reese. “But it’s not the heads, it’s the services.” She says regular and walk-in clients may choose to postpone a more expensive color session, to forgo highlights, or skip a weave redo. “It’s kind of a sad time.”

Reese is one of more than a dozen stylists at the salon, each with their own 10-or-so clients a day. And the sign board welcoming walk-ins is out on the sidewalk as usual, but walk-ins are down, too.

In a professional town like D.C., trips to the hairstylist are not just ego trips but vital parts of professional image and opportunity. The Bureau of Labor Statistics says there are thousands of cosmetology jobs in the D.C. area, one of the best places in the nation for such work that pays on average about $50,000 a year or more, although many assistants earn less.

All the salon workers, from the assistants to the hair-styling pros like Reese, are feeling

6 january 11, 2019 washingtoncitypaper.com

the effects of the federal shutdown as government workers and government contractors worry about expenses and cut back in large and small ways.

Reese, who is 47 and lives on Capitol Hill, has an established clientele. “I’ve always done hair, I’ve never done anything else.” She leases a private room at Last Tangle. “Normally, when people come in and sit in my chair and I close the door, that’s when they’re pretty honest about what’s going on.”

She told of a mother, a federal worker, and daughter duo who normally come in for services. The daughter was home from college.

But this time, they said they couldn’t afford it. The daughter is on a college payment plan that requires a check every six months. Every little bit helps.

Reese says she has been an aggressive saver—and real estate investor—since she was burned by the government shutdown under President Clinton in the 1990s. For her private room at Last Tangle, she notes, “I have to write a check every Friday for this room no matter what is going on.” She says the owner of Last Tangle has to pay the landlord, too.

Across the expansive floor of Last Tangle, the stories are similar. And similar collateral

Attention D.C. Natives: Tell Us Your Story.

If you exited your mother’s womb and grew up in the District of Columbia, this is the essay contest for you.

By Christina Sturdivant Sani As D.C.’s populAtion just surpassed 700,000 people, we’re launching an essay competition to hear from people who were born and raised in the city. Tell us: “What does it mean to be a D.C. native?” To enter the contest, pitch us your thoughts in 300 words or less. (One entry per person!)

Guest editor Christina Sturdivant Sani will choose up to five personal essays that will lead an upcoming edition of Washington City Paper. In addition to our primary question, you can also share what it was like growing up in the city, why you’ve stayed this long, and what

newcomers need to know about the District.

To help us decide if you’re really a native, be prepared to tell us where, specifically, you were born, what neighborhood you grew up in, and what high school you graduated from.

Yep, it’s that serious!

After reviewing the 300-word pitches, Christina will choose finalists (without knowing the authors’ names) to write full essays.

Then she’ll narrow it down to the top entrants and work with them to edit and publish their stories. Go to washingtoncitypaper.com/dcnatives to submit your pitch.

CP

Program A

Program C

Tue., Feb. 5 at 7 p.m.

Fri., Feb. 8 at 7:30 p.m.

Sat., Feb. 9 at 7:30 p.m.

Thu., Feb. 7 at 7:30 p.m.

Sat., Feb. 9 at 1:30 p.m.

Lazarus (Rennie Harris)*† Revelations (Alvin Ailey)

Program B Wed., Feb. 6 at 7:30 p.m.

Sun., Feb. 10 at 1:30 p.m.

Kairos (Wayne McGregor)* The Call (Ronald K. Brown)* Juba (Robert Battle) Revelations

Timeless Ailey including Revelations

Explore the Arts Feb. 9 at 5:30 p.m.

Free Revelations workshop on the Millennium Stage *D.C. premiere †Kennedy Center co-commission Programming subject to change.

Samantha Figgins and Jeroboam Bozeman, photo by Andrew Eccles

Darrow Montgomery/File

DISTRICTLINE

February 5–10, 2019 | Opera House Kennedy-Center.org (202) 467-4600

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

washingtoncitypaper.com january 11, 2019 7

Aman Kidwai

SPORTS

“The competition is stronger than I thought ...

I thought it would be a bunch of older dads.”

Hear from the D.C. area teachers, government workers, and runners who tried out to be a Nationals Racing President. washingtoncitypaper.com/sports

Making a Racket

Elite junior tennis player Ayana Akli paved her own path to the University of Maryland.

By Kelyn Soong AyAnA Akli wAlks down a narrow hallway, past a large flat-screen TV continuously broadcasting the Tennis Channel, past hundreds of framed photos of young accomplished tennis players, including one of herself, and past a wall display full of newspaper articles and magazine covers devoted to Frances Tiafoe, the hometown kid turned professional tennis star who is the pride of the Junior Tennis Champions Center at College Park.

She has repeated the same trip thousands of times over the past decade while training to become one of the best junior tennis players in the country. Her father, Komi Oliver Akli, is the senior director of the high performance champions program at the center. She considers several people in the photos lining the walls her friends, including Tiafoe, a 20-year-old ranked 39th on the men’s professional tour.

But among the players at JTCC, Akli stands out for forging her own path, one that has often prioritized her other interests. Choosing to attend the University of Maryland is just the latest example of that. The 17-year-old Silver Spring native recently signed a letter of intent to play tennis for the Terps and plans to study civil engineering.

For the next several years, Akli is staying in the comfortable confines of College Park to compete on the exact same courts she trains on now, a rare choice for an elite junior player who has passed through the training center. She’s heard people question her decision.

It last happened when she decided to play high school tennis at Wheaton High School, a public school not known for its athletics.

Many nationally ranked juniors also choose to skip high school tennis in favor of focusing on travel for tournaments. That didn’t matter to Akli.

“I wanted to go to college and a lot of the kids here wanted to go pro, so I saw myself on a different track from them,” she says. “I didn’t really compare myself to other people.”

Darrow Montgomery

TENNIS

Akli’s pArents met on the tennis court.

Her mother, Linda, played United States Tennis Association league matches, and one day, while practicing on the courts outside Cole Field House at the University of Maryland, her team’s instructor introduced the women to his friend—a professional tennis player from Togo named Komi.

The two began to chat and he helped her improve her game. Around the same time, the newly constructed Junior Tennis Champions Center, a nonprofit organization and USTA regional training center, hired Komi as a coach.

Soon after, little Ayana arrived.

Tennis has remained part of the family’s life ever since.

“Since she was crawling, I was always taking her to the [tennis] club, taking her to the club while I’m teaching,” Komi says.

But her parents were in no rush to develop and raise an elite player. Akli started taking summer tennis classes at 4, but also dabbled in other sports, like soccer and basketball, growing up. Unlike many of her peers, she didn’t begin competing in tournaments until she was 10. That didn’t stop a local private school from reaching out to the family. They weren’t interested, Linda says.

She chose to attend Wheaton through Montgomery County Public Schools’ Downcounty Consortium instead of her home school, Northwood, because of its engineer-

8 january 11, 2019 washingtoncitypaper.com

ing program, not its tennis prowess.

(The Wheaton Knights had never won a state title in girls’ tennis before Akli, a twotime defending champion, joined the team.) As a freshman and sophomore, Akli competed on the swim and track teams, and she is currently the secretary for the class of 2019.

Akli practices at College Park multiple times a week, depending on her school schedule. Before she could drive, her bus commute from school to the facility would take more than an hour. Tuition to train at JTCC can costs tens of thousands of dollars annually, but Akli does not have to pay the fee because of her father’s role at the facility, an advantage that Komi admits lessens the pressure on his daughter. Players whose families pay the astronomical fees to train full-time at the center ($30,150 per year for two practices a day, five days a week) can feel the pressure to remain atop the rankings.

“I knew my parents didn’t pressure me to play so if I lose, they’re not going to kick me out of the house,” Akli says. “They’re not going to tell me I suck. I know if I come home, I know I’ll be OK.” But while her friends from College Park traveled the country, playing in prestigious national tournaments, Akli stayed home, competing in mostly local tournaments. As a result, her rankings were lower and fewer colleges approached her. Linda says that about 25 schools recruited Akli, but only about a half dozen were Division I. Some insisted that Akli be a walk-on. Other schools offered engineering but did not have the prestige of competing in the Big Ten. Maryland, her mom says,

hit the sweet spot of a high quality tennis team and a top 25 engineering program.

“If she had the time, and didn’t have the rigorous academic demands, yeah, she could’ve definitely been ranked differently,” says Linda, “but we never set a goal that you have to be number one. Our goal is really to love the sport. If you love the sport, you’ll be fine.” in A 12-second video captured by one of her coaches, Taka Bertrand, Akli pumps her right fist, turns to Bertrand, and quietly walks toward the net. The crowd of more than 100 spectators stands up and applauds.

She had just defeated Himari Sato, a 16-year-old from Japan who has been ranked as high as No. 38 in the world on the junior circuit, in straight sets. A stunned Akli didn’t know how to react and missed an opportunity to emulate the pros she watches on TV. “I was just like, wow, whoa, and I walked off … You know how the pros, when they throw the towels? … I didn’t throw mine because I didn’t expect them to stand up,” she says while laughing. “But I signed autographs for a couple kids.”

Akli traveled to Japan in October as part of the International Club Junior Challenge Worldwide finals. She tried on kimonos, went to ancient temples, sampled new food—and also helped bring back a title for JTCC and Team USA. It wasn’t until a few months earlier that the thought of eventually playing professional tennis even crossed Akli’s mind. She saw a jump in her national and international rankings and is currently ranked second in the Mid-Atlantic girls’ 18 and under division and among the top 60 female junior tennis players in the nation.

“I was playing well, competing well, beating people that I never thought I would beat before,” Akli says. “It was just comfortable for me to play, just relaxed, and I was like, ‘I can do this and I want to do this in the future.’”

Her dad calls her a “very, very late bloomer.” Her mother says she took the “slow road.”

Akli doesn’t regret the path she took. Neither does Maryland women’s tennis coach Daria Panova. It’s one that has potential to be a program-changer for the Terps.

“She’s fit, her footwork is really good, she has also a lot of power, which a lot of players have, but she just fights for everything, especially in the last year,” says Panova. “She’s very determined, very passionate, and not afraid to do things a lot of young players are afraid of— she comes into the net. I haven’t seen her get negative on the court. She’s very positive, and has the intangibles that separate good players from great players.”

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“When you go into the building, it’s like roses in the desert.”

The year was 1986. I was an inexperienced 12-year-old black girl and I was eager to start my 7th grade year as a student at Shaw Junior High School, which was situated in the Northwest quadrant of Chocolate City, just blocks from The Mecca—my Mecca—Howard University.

Black girls rocked gold bamboo earrings with their names spelled out in bold letters across the center, accentuated by asymmetric hairdos, jeans that fit like a glove, and knee-high rider boots. Black boys sported oversized gold chains and fresh white tees with pagers clipped to their waists. Chuck Brown’s “Run Joe” was in rotation, and pay phones were on every corner.

No one left home without their AM/FM Walkman in tow. The Madness Shop carried all the fly gear. LeDroit Park was the ’hood, and Mayor Marion Barry’s Summer Youth Employment Program guaranteed every teenager growing up in Chocolate City a job.

My dad worked at Shaw Junior High School as a custodian, but we lived out of boundary in Southwest D.C. He called on the principal, Dr. Percy Ellis, to request special permission for us to attend the school whose reputation begot a wait list of hundreds. He proudly paraded my sister and me to work so that we could

meet the principal.

Dr. Ellis was small in stature but had a big presence. He had a reputation for being a stern yet compassionate leader. He held everyone to a high standard. No one received a pass, no matter their socio-economic background. He was running a high-performing school in a marginalized community.

In between scolding students and attending to various emergencies, Dr. Ellis handed us an impromptu reading and math test to complete while we awaited his return to the main office. If we were accepted, my older sister Jameela would start the following fall while I would wait one more year. I had been anticipating junior high school for years. The idea of taking the 70 bus, one of D.C.’s most eventful bus routes, through town to school with my sister was exhilarating.

After what felt like an eternity, Dr. Ellis returned. He collected our tests and carefully scanned our responses. Without warning, he leaned in toward us, his eyes looking over the large frames that occupied nearly his entire face, and said, in a stern voice, what we had been hoping to hear all morning: “Welcome to Shaw.”

Over the years my sister and I gloated at the

10 january 11, 2019 washingtoncitypaper.com

idea of getting into Shaw because of our exceptional performance on those tests. We didn’t know that Dr. Ellis’ decision to grant us special permission to attend his school had little to do with those tests, and everything to do with the relationship he’d fostered with our dad.

I was eager to start my new chapter at Shaw. I could hardly wait for band tryouts, and I made the cut. The 300-member marching band had a reputation for being one of the most energetic and highly decorated ensembles in the country. Dr. Ellis and our assistant principal, Mr. Wilson Morgan, were so supportive of the band, they traveled with us during local and out-of-town performances.

I can still feel the energy that filled my entire being as I anticipated our band performances, which included high stepping majorettes and flag girls wearing shiny white boots accented with perfectly crafted tassels that rhythmically moved from side to side with every high step, and an enchanting drumline led by the only female percussionist.

We kicked off every performance with a call and response from our more-than-energetic drum major, Kojack. He would call out to us from a place deep down within his diaphragm.

“Band! Attention!” As we quickly positioned

ourselves into perfectly straight lines awaiting permission to move, we would respond in unison with both our voices and bodies, “One, two, three, four, Shaw!” At the sound of “Shaw,” all 300 of us would push our bodies back into a lean that signaled we were ready for take-off. This motion would spark a feeling of pride and joy from fellow band members and onlookers alike.

“Shaw makes your body move!” we shouted out to the beat of the snare drums. Our legendary chant reverberated through the neighborhood when we marched a parade. For many of us, the band was more than just an extracurricular activity. It was a nucleus of invaluable lessons and authentic, life-long relationships we would cultivate and nurture into adulthood.

My experience with the band is something I will treasure for the rest of my life.

Dr. Ellis was strategic and thoughtful about everything that happened at Shaw. From our band rehearsals that took place three times a day—8:00 a.m. before school, during lunch, and after school—to our widely attended parent teacher conferences that opened with electrifying student performances that guaranteed parent participation, school pride extended beyond the good grades and high-test scores

Courtesy Charles Sumner School Museum & Archives Darrow Montgomery

we collectively earned. Every school organization at Shaw excelled at what it did. The school choir, cheerleading team, double-dutch team, annual school musical, and string ensemble all exuded excellence. The teams entered and often won competitions.

Mr. Morgan, our most memorable assistant principal, walked full speed throughout the halls of Shaw, with never a sign of slowing down. There was no such thing as a small matter for Mr. Morgan. He approached every situation with a sense of urgency, and he had a special name for everyone. “Ball-It, Lil BallGirls,” is what he affectionately called my sister and me while we were at Shaw.

There was something for every type of student, and we had the best of everything. From striking band uniforms and fancy choir robes, to a full string ensemble where students full of potential but with low economic capital received free private lessons, everyone could find their niche. Many students were accepted into Duke Ellington School of the Arts and other premier institutions. Dr. Ellis and his dream team believed in us, and we believed in Shaw.

I still remember roaming the commons area, which doubled as our gathering place before school and after lunch. Shaw did not allow students to leave the building for any reason.

While as junior high school students, we did not always like the idea of being locked in, ultimately it gave us a feeling of safety and security. I met some of my best friends in the commons area, and we have remained friends.

The hallways were rich with history and legacy. The original Shaw Junior High School opened in 1928. In our new building, which opened in 1977, class pictures dating back to the early years hung on the walls outside the principal’s office. I remember studying the ancestors in those pictures and wondering what kinds of tests they had to pass to get into Shaw.

“Little boy, little boy!” Dr. Ellis could be heard yelling from down the hall, his voice amplified by the oversized bullhorn that was a fixture on his small frame and disproportion-

ately large feet. It was normal to hear Dr. Ellis yell into the speaker of his handheld megaphone: “You see that piece of paper on the floor?” “No Dr. Ellis,” was the usual response from any random kid held hostage by the overzealous principal. Dr. Ellis had a way of seeing things not visible to the rest of us. “That little tiny piece of paper right there. Pick that up little boy!”

I chuckled to myself as I reflected on a story my dad told me of a time his supervisor wrote him up for having left dust on top of a

classroom cabinet. Like most students during that time, I had no idea of the great lengths to which Dr. Ellis was willing to go to uphold his reputation of maintaining a clean school.

I can’t recall a time when Dr. Ellis was not present. Legend has it, he never took a day off during his entire 33-year Shaw career. He and his team made everyone, from the cafeteria staff, custodians, security officers, teachers, and most importantly, students feel proud to be Shaw Hawks. We were constantly told we were smart—brilliant in fact. We believed it!

And our school culture reflected it.

I remember the day we had hand dryers installed in the restrooms. Dr. Ellis called the entire school of over 1,200 students and staff members to the auditorium for an assembly on how to appropriately use the new hand dryers. “Listen carefully as I explain to you how to appropriately use the dryer,” he said. “You take one finger, your index finger, and push the button. Let your hands dry and leave the restroom. One finger. Your index finger. Not your pinky, thumb, or middle finger.” The auditorium filled with laughter. Dr. Ellis also had a witty sense of humor. “What finger do you use?”

The entire auditorium responded, “Your index finger!” Throughout my three years at Shaw Junior High School, I can’t recall anyone ever misusing those hand dryers.

Even the way in which the cafeteria was arranged was strategic. Shaw abandoned the traditional long cafeteria tables with attached stools lined on both sides for round ta-

washingtoncitypaper.com january 11, 2019 11

Not uNtil i became an educator in a highneeds middle school did I realize that the security officers at Shaw who searched our bags for candy and chewing gum were also keeping the crack and guns that had flooded the streets of D.C. out of our school. Nothing that Dr. Ellis did was coincidental. In retrospect, I see how prohibiting Timberland boots, untucked shirts, hair bows, and bandannas was a strategic way of keeping the drug culture from infiltrating our learning environment.

During the late 1980s, the intersection of poverty and crack cocaine crippled black communities throughout the country. Crack cocaine snuck in like a thief—like a well trained military regiment waiting to wage war on her enemy. Crack infiltrated our neighborhoods, kidnapped our mothers, murdered our boys, incarcerated our fathers, and in the aftermath, left generations of broken black families to mend themselves.

Chocolate City, the nation’s capital, was no exception. Crack flooded the streets of D.C. Even Mayor Marion Barry, a chemistry Ph.D candidate and civil rights leader turned masterful politician, was at a loss for how to stop the violence that snatched hundreds of black boy bodies a year in his city. Like many politicians before and after him, he had his own bout with drug use.

Before crack cocaine tore through our community, Chocolate City was a place where black families created villages out of government-manufactured housing projects and poor black children didn’t know they were poor. I watched children become victims of the gun violence that paralyzed D.C. I remember the day I learned that a schoolmate was shot in the back of the head on her 12 january 11, 2019 washingtoncitypaper.com

Leon Barnes, Ateya Ball-Lacy, and Collis Baker

Photo courtesy Ateya Ball-Lacy

bles and booths that encouraged community style dining. There were healthy food choices and a fresh salad bar with every option. We looked forward to eating school lunch. Pizza and fried chicken were among our favorites.

While I no longer indulge in the pleasantries of consuming poultry, I remember the aroma of Shaw’s signature crispy, fried chicken. The smell would travel from the basement level of the building, up into our classrooms, holding our nostrils hostage until the afternoon bell sounded, signaling it was time for lunch. We believed that Shaw had the best lunches of any public school in the city.

Shaw also had pageantry. The entire Shaw community would come out in support of the King and Queen Pageant. This annual, royal event served as the primary fundraiser for the school, and it simultaneously helped us instill pride in ourselves. Students had to meet strict criteria to participate. I remember the pressure of selling tickets the year I ran for Miss Shaw. Searching for the perfect floor length gown, and an escort, was well worth the reward. The day of the pageant, everyone anticipated the transformation of the school auditorium, the reveal of the new Shaw Royal Court, and of course, the amount of money each contestant raised. That year, with the help of my dad, I was crowned Miss Princess.

from Shaw Junior High School.

As we entered the church, I heard a familiar voice say, “Lil Ball Girls, Ball-It!” It was my favorite assistant principal, Mr. Morgan. Hearing his voice caused emotions to swell inside us that no room could contain. In that moment, my sister and I were no longer adult professional women with careers and families of our own.

We were vulnerable young girls overwhelmed by our feelings. Thirty years later, Mr. Morgan still called us by our special names.

Runelle “Kojack” Gilliam, Ateya Ball-Lacy, and Patricia West

Darrow Montgomery

over the paSt few months I’ve looked up some of my teachers to see what they remember about their Shaw experience. I had an extensive conversation with Ms. Patricia West, my 7th grade social studies teacher. She candidly talked about her love for teaching with the same energy and passion I remember her having when I was in her classroom. I believe it’s worth mentioning that she remembered the full name of every person in my family. During the interview I asked Ms. West to elaborate on the challenges she faced as a first year teacher at Shaw Junior High School and how Dr. Ellis’ leadership impacted her teaching career.

way to school. She did not survive that gunshot. And I recall the time another schoolmate was shot in the chest. Rumors that a fight would take place after school had been circulating. Following dismissal, a crowd started to gather in anticipation of the brawl.

I heard the whisper of my mother’s voice in my ear, “Ateya, always run in the opposite direction of a fight. A bullet has no name.” My sister and I walked away from the crowd and boarded our bus.

The shooting made the news before we reached home, and I remember seeing my mother’s worried face. I can’t imagine the horror she must have felt as she waited for us. It was then that we learned of the shooting. My mother told us that a Shaw student had been shot following a fight, and it was reported that she could succumb to her injury.

I recently researched the details of what actually happened that gruesome day. Reliving this memory was more difficult than I expected. We were children, barely teenagers, forced to cope with the trauma of gun violence.

Tanessa Starnes is her name. The date was June 2,1987, and she was 14 years old when a single bullet nearly ended her young life. After undergoing emergency surgery at Children’s Hospital, Tanessa miraculously made a full recovery. Contrary to what I remembered, the bullet was successfully removed from her body months after the shooting.

Very few black families were unscathed by the violence intensified by the invasion of crack cocaine. I myself lost several first cousins to gun violence. My middle school years were full of both triumphs and tragedies.

Even through the deterioration of families and

whole communities, Shaw remained an incubator for greatness.

Shaw Junior high School was my living classroom—the blueprint for how I lead and serve in my community. Today, I proudly serve as a middle school assistant principal and academic dean of students within the Prince George’s County Public Schools system. While the work is challenging, it is far more rewarding.

Long before I was a college student in the lecture halls of The Mecca, I learned through personal experiences the effectiveness of paying attention to details, sweating the small stuff, maintaining positive school culture, showcasing students as a strategy for parent participation, putting safety and security first, and of course, having a special name for every one of my students. These practices are in my professional tool belt as a passionate educator.

Dr. Ellis, the legend, passed away in 2003. I attended his homegoing celebration with my

infant daughter at Plymouth Congregational United Church of Christ—a celebration that attracted educators, politicians, and generations of families that had all been impacted in some way by his brilliance. He had retired in 1995 after working for 46 years in the D.C. Public Schools system, and 33 years at Shaw. He was charged with educating every student who resided within the boundaries of his school, and he saw the potential in all of us. For him, we were diamonds in the rough waiting to be unearthed. His eulogies reflected that.

Twelve years later, in 2015, my sister and I went to the memorial service for our beloved band director, Mr. Lloyd Hoover. By then, nearly three decades had passed since we’d been students in the halls of Shaw. A crowd of grieving former Shaw students and teachers stood outside the church. They were all there to honor the life of Mr. Hoover. While we were saddened by his sudden passing, it was refreshing to see so many familiar faces

Ms. Patricia West I started teaching at Shaw when I was just 22 years old. I thought students and parents would not accept me because of my age. Dr. Ellis created an environment where all staff and students felt fully supported and respected, which made my challenges as a new teacher obsolete.

The things we speak about in education today as innovative thought, Dr. Ellis implemented during the 1980s. He had a shared vision. He wanted Shaw to be an inner city school where nothing was impossible to achieve. He ensured that every teacher in his building was certified and delivered great instruction. Dr. Ellis built the school’s master schedule himself, strategically matching students with specific teachers to maximize their success. Even back then, he rejected the one-size-fits-all approach. Teachers had to be able to offer more than just great instruction. Each teacher at Shaw Junior High School had to have a skillset that would benefit students outside of the classroom.

Things were not always perfect. During my tenure at Shaw, I lost three of my students to gun violence. The violence that was happening in the city during the 1980s as a result of the crack epidemic took a toll on all of us. Because of the nurturing and caring environment Dr. Ellis created, we had great school counselors that helped students and staff cope with the tragic loss of our students.

Dr. Ellis had three assistant principals that focused only on academics. Many school districts have adopted this approach. Dr. Ellis even understood the impact of the arts. He understood the importance of nurturing the whole child and understood how the arts and sciences complimented one other. Dr. Ellis’ leadership set the standard for how I teach even today. He was an extraordinary leader.

Many often wonder how Shaw Junior High School could produce such masterful musicians during a dire time, in a community with

washingtoncitypaper.com january 11, 2019 13

Dr. Leroy Barton I attended Howard University as a music education student. I was blessed to be assigned to Shaw Junior High School to fulfill my student teaching requirement. Mr. Hoover was my student teacher supervisor.

I can recall a fellow HU student speaking about how rough the old Shaw neighborhood was. I remember him saying, “When you go into the building, it’s like roses in the desert.” The environment was rough but had nothing to do with what we could do on the inside.

Coming out of New York, I played with some of the finest concert bands there ever were. I also had experience playing in the Marine band before being accepted to Howard on a veteran scholarship. During my senior year at Howard, I recall going to an event at one of the prestigious museums hosted by Mrs. Pat Nixon, President Richard Nixon’s wife. I walked in on Mr. Hoover’s rehearsal and was absolutely blown away. His students sounded as good as the Marine Concert Band I played with.

Mr. Hoover’s vision was to give his students the greatest experience they could have because he knew it would change their lives. I shared Mr. Hoover’s vision. I was brought up in excellence— no excuses, no substitutes, no opting out. That’s what I wanted to give to my students.

Dr. Ellis demanded excellence and that’s what we gave. I believe in the self-fulfilling prophecy. If I tell you you’re great, that’s what you’re going to believe. Dr. Ellis set high standards for his faculty and expected everyone to live up to them. He charged us with giving our students the best education. You all had no choice but to be great. Mental discipline was at the forefront of everything we did with our students because we understood mental strength would make you all successful.

Shaw Junior High School’s band was better than most high school and some college bands.

Dr. Ellis was an extraordinary individual. He was committed to managing a building that was first rate. He was a no-nonsense administrator.

There was no junior high school in the country like Shaw.

Kojack, our drum major, captivated audiences around the city with his signature dance moves. His style was a combination of athleticism and a high-step that expressed unabashed confidence. Kojack was a local celebrity when I was at Shaw. I spoke with him for the first time in 30 years in preparation for this story. I asked him to explain how he became the drum major and what impact that experience had on his life.

Runelle “Kojack” Gilliam When I was in the 7th grade I tried to sneak out of a side door. Ms. Lee, a vice principal, caught me as I was attempting to make my exit from the school building. She immediately took me to the main office to report my behavior to Dr. Ellis. I thought for sure I would get a pink slip (a small sheet of paper that signified a school

Courtesy Charles Sumner School Museum & Archives

few resources and little hope. I asked Dr. Leroy Barton, co-director of the band during my time at Shaw, to share his account of how they achieved this level of excellence.

Runelle “Kojack” Gilliam suspension).

After giving me the scolding I had coming, Dr. Ellis walked me to Ms. Ross, my homeroom teacher. Ms. Ross told Dr. Ellis about my dancing skills and suggested I see Mr. Hoover, the band director. Mr. Hoover’s first question to me was, ‘Do you know anything about instruments?’ I told him that I played the French horn. He responded, ‘If you can play the French horn you can play anything.’

Mr. Hoover worked with me from that moment forward. That summer he put me in a drum major camp where I learned about being a leader. For the first time, I was intrigued by the idea of being a leader. By 8th grade I became the 2nd drum major. It wasn’t long before I was the drum major. Mr. Hoover was a steady fixture in my life from age 12 to 24. I studied music at the collegiate level under the guidance of our co-band director, Dr. Barton.

Mr. Hoover guaranteed me a scholarship for as long as I was enrolled in college.

My talks with these great men taught me how to be a man, they prepared me for life. Dr. Ellis, Mr. Morgan, Mr. Hoover, and Dr. Barton were not just educators. They were mentors and role models. Their guidance gave me the confidence I needed to lead the famed 300-member marching band at the tender age of 13. I was the best at what I did because these men motivated me, they had faith in me.

I also interviewed Mr. Ricky Kelley, who served as one of our school security officers, to ask him to talk about his efforts to ensure our safety at Shaw.

Mr. Rick Kelley Safety for Dr. Ellis was a high priority. He was the

14 january 11, 2019 washingtoncitypaper.com

first principal to install metal detectors. Today every school in the city has metal detectors because of Dr. Ellis. During the time when you were a student at Shaw, we had a lot of kids involved in gang and drug activity in the community. The idea of teachers having a duty post is an extension of Dr. Ellis’ forward thinking.

He stressed being on time and being where you were scheduled to be. He often said, “If you’re where you’re supposed to be, things can’t happen.” Many of you were not aware of the people who would try to get into the building from the outside. We protected you all from that. Your safety and the safety of every staff person in the building was Dr. Ellis’ first priority.

I recently rode past my old school. I was appalled at what stood before me. The exterior was covered in graffiti. I saw signs of abandonment. The current state of the old school building does not coincide with its legacy.

From the outside, one would never know the history and fond memories that building holds for so many. I met some of my best friends there: Dana, Chatika, and Mattie. Seeing my old school compelled me to resurrect the Shaw experience and memorialize it in a way that would pay homage to our great leaders, the life-long friendships we’ve maintained, and the memories we carry with us.

We lost many soldiers during that tumultuous time when we were Chocolate City. Some got caught in the crossfire, some got turned out by the fast money, some simply lost their way.

Those of us who survived did not come out of that experience alone. There were villages that surrounded us. Villages like Shaw Junior High School that were intentional and delib-

erate about keeping us safe.

My daughter Nia recently handed me a piece of paper from her school announcing a feasibility study to determine if my beloved Shaw Junior High would be the new home for her school, Benjamin Banneker Academic High School. My heart smiled at the idea of my daughter, along with hundreds of brilliant, high achieving black students, once again gracing the halls of Shaw. With its extraordinary reputation for high academic performance, the idea of Banneker High School occupying a space that serves as a pillar for excellence in our city is genius. I can’t think of a better way to honor Shaw’s legacy.

My conversation with Kojack reaffirmed the impact the Shaw experience had on our young lives. When I asked him what he would say if he could have one last conversation with his icons, Dr. Ellis and Mr. Hoover, he tearfully responded, “I would say thank you. Thank you for making me the man I am today.”

This is an ode to you, Shaw Junior High. May you always live in our hearts. May the energy of all the beautiful memories you’ve created forever make our bodies move!

Everyone at Shaw was expected to learn the school song, which we’d sing to kick off assemblies and all-school events. I can still hear us sing: Praise we our school, our dear Shaw Junior High Thy name we pledge to love and glorify.

With glowing hearts we will do our best To perform our tasks with cheer.

And pay honor to the dear teachers rare Who labor with us here.

CP

DCFEED

Rasika alumni Dante Datta and Suresh Sundas are partnering to open a cocktail bar with an Indian twist at 1451 Maryland Ave. NE by the end of 2019.

American Spirit

Darrow Montgomery

A Nigerian-born bartender’s path to citizenship winds through the D.C. hospitality industry.

By Laura Hayes in the earLy 2000s, Frederick Uku found himself in D.C. on an expired student visa with no degree. He calls the decade he was undocumented in the U.S. the “Dark Years,” and points to one of his most desperate attempts to support himself financially—donating his bone marrow for $250. Uku had the procedure done in Rockville. “I was sitting in a wheelchair in the most excruciating pain until I could walk to the bus and the Metro,” he says. “I did that all by myself.”

He likens the “Dark Years” to the experience of the protagonist in Americanah by Chimamanda Ngozi Adichie. The story chronicles the life of a Nigerian woman named Ifemelu who

YOUNG & HUNGRY

immigrated to the U.S. to go to college.

“I cried when I read that book because I remember some of the demeaning, soul-crushing shit I had to do to survive,” Uku says. “The thing that kept me going was knowing if I quit and went home that’s ball game. I would go home with nothing to show for it—just a broken kid moving home to be with his parents.”

Uku currently works at The Red Hen in Bloomingdale. On most nights, the stools that crowd the bar he mans are taken by 5:30 p.m.

He’s the gregarious, hospitable bartender everyone’s there to see. And now he has an immigrant story of hardship and resilience that culminates in triumph: Uku became a naturalized U.S. citizen on Dec. 11, 2018.

Like ifemeLu in Americanah, Uku came to the

U.S. in 1998 to attend Howard University. The Lagos, Nigeria, native was only 16. While most Americans are attempting to grasp precalculus at that age, Uku was ready to enroll in college. “Nigerians are chronic over-achievers,” he explains.

Uku so yearned to come to the U.S. that he didn’t sit for the Nigerian national college entrance exam. Instead, he struck a deal with his parents. They would pay for his first year of tuition at Howard, but after that it was on Uku to land a full scholarship. “A younger version of myself and a younger version of my parents thought that sending a 16-year-old to a foreign country to start university with no real financial of familial support was a good idea. It wasn’t.”

After his first year, Uku says, he successfully landed a scholarship to continue pursuing a degree in electrical engineering, but

that scholarship wasn’t active long. Uku says he was among a group of international students who lost their financial aid. He believes the program was in danger of losing its accreditation and needed to make cuts. (A Howard University representative tells City Paper that they cannot confirm any details related to student scholarships due to Family Educational Rights and Privacy Act guidelines.)

At this point Uku was a junior and needed to pay his way to graduation. But when you’re a student on an F-1 Visa, there are rules governing where you can work. Off-campus employment was off limits, and he was only allowed to work certain on-campus gigs that paid as little as $9 an hour.

“There aren’t enough hours in the week to pay tuition,” he says. “But I tried anyway. I did that for as long as I could stand it.” He needed help, but his parents were thousands of miles away and had fulfilled their financial obligation. “I’d like to think that would break anyone … It definitely broke me.”

Hopelessness and loneliness begot depression and even a suicide attempt. Uku did not finish school. His F-1 Visa expired on Dec. 31, 2003. The date is as permanent in Uku’s mind as a tattoo would be on his body.

Those who remain in the U.S. on expired visas are known as “overstays,” and are considered “out of status.” Consequences of being discovered in the early 2000s included forced departure from the U.S. and barred reentry for three years. When overstays seek employment, they become vulnerable, as many businesses utilize E-Verify. The website operated by the Department of Homeland Security tells employers whether an applicant is eligible for employment based on immigration status, positioning them to avoid penalties for hiring unauthorized workers.

“You have three choices,” Uku says. “You find a way to get back into school. You go back to whatever country you’re from. Or you go underground. I chose door number three.”

He gambled on the riskiest path because “job prospects for college dropouts in Nigeria aren’t the best … If I stayed here, I’d at least have a fighting chance at something.”

Uku worked where he could. He tried to become a taxi driver; manned the door at night clubs; participated in paid clinical trials; and managed the books for a financial planner in Landover. He slept on friends’ couches at first, but eventually found a room in a group house on Capitol Hill. Uku lived with two men, both of whom are now deceased.

While one roommate, Chris Babor, was still alive, he introduced Uku to the industry that would save him. “He was like, ‘Let me

washingtoncitypaper.com january 11, 2019 15

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DCFEED teach you, train you on how to wait tables. It’s a much better way of earning money and if you find the right restaurant, the owner will look the other way.’” The pair worked at La Brasserie on Capitol Hill. “Chris gave me a skill set that I’ve now traded off of for 15 years.”

La Brasserie closed in 2005. Uku’s next big break was at Left Bank in Adams Morgan, which is also closed. “That’s where I figured out that I’m good at this,” he says. “My strength is talking to people and figuring out some small way to make their day much better. If someone comes in and sits at your table or your bar, for a split second you get to parachute into their world.”

“He makes [bartending] personable and really tries to connect with his customers,” says Peyton Sherwood, who co-owns Midlands Beer Garden and first met Uku in 2004. The men are close friends.

The hospitality industry started as a means to an end for Uku, but became his calling. “I love this business,” he says. “When I needed it the most, when I needed to survive, this industry and only this industry gave me an opportunity to have a life.”

But while Uku was at Left Bank finding his professional footing, he faced another setback. In October 2004, Uku’s father visited him in D.C. “I knew the first time I saw him, I knew he was sick,” Uku says. They spent time together and then on an emotional bus ride to the airport, it became obvious Uku’s father intended the visit to be a farewell. “He said things on that bus ride that he never said before—telling me how he met my mom,” Uku says. He escorted his father to the escalator leading to departures. “I thought he’d turn around and wave, but he didn’t.”

Uku was between a double shift at Left Bank on Dec. 4, 2004 when he got the call that his father had died. “I was the only member of my family who wasn’t there,” he says. “When you go rogue there are certain things you can’t do.

You can’t leave the country and come back, so I missed my father’s funeral. My sister got married and I couldn’t go to her wedding. I missed my kid brother’s entire adolescence. I couldn’t vote for Barack Obama the first or second time.”

Uku remained “Out of Status” from 2003 to 2013. “That’s 10 years of being scared. Of living in the shadows,” he says. “Any undocumented person in this industry will tell you that you learn to live very carefully.”

Because Uku married in 2012, he was eligible to apply for a temporary green card that lasts two years, followed by a permanent green card, which is valid for 10 years. Even though Uku and his wife divorced, his permanent resident status positioned him to apply for citizenship.

“My time to apply for naturalization coincided with Donald Trump being elected,” Uku recalls. “My immigration lawyer called me and said, ‘Apply for your citizenship right

now.’ He predicted that the number of people applying for naturalization was going to skyrocket, which it did.”

The Post reported a sharp spike in the number of permanent residents applying for naturalization in August 2018, noting a resulting “growing backlog of citizenship applications at a time when Trump’s immigration crackdown has made even permanent residents feel like they may be at risk.” According to U.S. Customs and Immigration Services, as of March 2018 there were 20,485 pending applications in Maryland, 16,564 in D.C., and 4,762 in Virginia.

Uku completed the application process, which involved paperwork, fingerprinting, an exam, and an interview. USCIS publishes about 100 questions in advance for applicants to study.

“Some of them are harder than others,” he says.

When his examiner asked, “Who writes the laws in this country?” Uku says it “took every fiber in me not to answer, ‘Lobbyists on K Street.’”

He passed tHe exam and was assigned a ceremony date of Dec. 11, 2018. Uku was among more than 100 people who became citizens that day at the U.S. Court of Appeals for the D.C. Circuit. He hedges that the U.S. currently has its challenges, but calls his new country the only place where his story is possible. “That’s what naturalization means to me,” he says.

Several friends were in the courtroom, including Sherwood and Uku’s partner Andrea Tateosian, who heads the DC Craft Bartenders Guild. “It was great seeing him stand up and have his name called out,” Sherwood recalls. “I’ve watched him go through trial and tribulation with this country. It wasn’t easy for him. It wasn’t an easy thing for him to do.”

Tateosian adds, “It’s been incredible to watch it come to the correct conclusion.”

When she first heard her boyfriend’s story, she says it sounded like a movie plot. “The ceremony had special significance to me because about 33 years ago, my father was sitting in the same place when my mother got naturalized.”

She admires Uku’s lovable candor and talent behind the bar, but notes that he’s not a “startender” looking for a squeeze of the limelight. “He makes eye contact with the people he’s meeting, smiling, offering a good handshake,” Tateosian says. “All these little things that people take for granted.” Though he wore a flashy American flag onesie to his citizenship party at The Crown & Crow, Tateosian says he’s never sought the public eye.

After all, he couldn’t be the face of anything for 10 years. “I used to resent what I called ‘doers,’” Uku explains. “People who would be in newspaper articles, start bar programs, or create things, because I couldn’t be one of those people.

I spent 10 years doing a fairly visible job in the shadows.” Now Uku is timidly reaching for his dreams. “I’ve had to relearn that I can do things.

I can build things. I can create things.”

CP

CPARTS

Howell E. Begle Jr., a former D.C. lawyer who fought to get royalties for ’50s and ’60s R&B stars, dies at age 74. washingtoncitypaper.com/arts

Eyes of the Beholder

comes to mind is George Condo, whose portraits hung in a salon-style show at the Phillips Collection in 2017. Condo appears drawn to the high-key sexuality and hard-charging bravado of the era. (Unsurprisingly, his works graced the cover of a Kanye West album.) Condo borrows Cubist strategies to draw out the violence and vigor in his portraiture subjects, whether he’s mocking royals or workaday joes. But when von Heyl borrows from Matisse or Picasso, it’s with a lighter touch and a keener eye to formal values. She cites Paul Cézanne as a reference for “Carlotta” (2013), a piece with a muddle of abstraction at the center dividing a partial portrait and a hard-edged abstract painting. “Carlotta” gestures at whole eras of painting in a single coherent work.

Pastiche is just one tool in von Heyl’s kit.

Two paintings frame Snake Eyes: the aptly named “P.” (2008), which stands for “painting,” and “Dub” (2018). In “P.”—a standout in this show—von Heyl drafts an amorphous cloud in charcoal and pastel crayon that is circumscribed by bolder geometric forms. The central shape looks like a stain on the canvas. It’s contained by a ring of jagged chevron shapes, a string of triangle flags in black and red. In painterly terms, it’s an atmospheric abstract painting bound by a hard-edged geometric painting. “P.” is another window in the canvas, a portal that offers a glimpse into a different world—but both the frame and the scene it contains belong to the same surface. Von Heyl doubles down on “P.” with “Dub,” a quotation that uses lighter triangles on the edge and thicker abstraction for the center, as if the storm had strengthened and the window had waned.

Von Heyl moves forward by looking backward. Her work shows that painting still benefits from its rich internal dialogue with history. That’s not to diminish the de-centered, artwork-free performance orchestrated by Tino Sehgal over the fall, or the flashy interactive installation by Rafael Lozano-Hem“P.” by Charline von Heyl (2008) mer currently up at the museum—far from Other paintings by von Heyl, a German artist who lives and it. Unfortunately, there is a conservative train of thought that works in New York and Marfa, Texas, are just as smirking. “The prizes painting over any other genre for all the wrong reasons Language of the Underworld” (2017) winks at art history. The (mainly stuffy patriarchal values about beauty). Praise paintacrylic and charcoal painting features forms that draw from ing too much, wind up with these strange bedfellows; dismiss the visual vocabulary of early modernism: namely faces with painting as dead, risk associating with a different kind of brute.

Instead, a painting like von Heyl’s “Mana Hatta” (2017) is a funky snout noses, a clear callout to Cubism. There are flower cut-out forms repeated in black, white, and black-and-white reminder that it’s almost impossible to exhaust a medium, even stripes. Von Heyl is pitting Matisse against Picasso and put- when it seems like there’s nothing new under the sun. “Mana ting herself at the center of this mod conversation. For good Hatta” depicts a system of some sort, with complex coils or gears measure, the artist drops in some words in Pop Art lettering that look back to the geometric Cubism of Sonia Delaunay. It also that she has also obscured—words like “handsome,” “posthu- features fauvist forms, including rabbits rendered in what could mous,” and “shadows!” in small-caps lettering. A restricted pal- be Ben Day dots—borrowed either from old comic strips or the ette of white, black, highlighter-yellow, and blush rose gives modern art wing. Von Heyl insists that painting can still claim the the painting a vaguely vintage newsprint feel. At a glance, it same ground today as it has done in generations past. If there’s a works like a Stuart Davis painting in a Roy Lichtenstein mold. single value that stands out in Snake Eyes, it’s a re-think of what Other contemporary painters have turned to modernist progress looks like in contemporary art.

CP heavy-hitters for inspiration, of course, and some of them have borrowed so liberally from the likes of Picasso and Fernand Lé- Independence Avenue and 7th Street SW. Free (but closed until the ger that they force viewers to ask what’s going on. The artist who government shutdown ends). (202) 633-1000. hirshhorn.si.edu.

The Hirshhorn’s latest exhibition is a terrific, straight-up painting survey that you can’t see thanks to the shutdown.

Charline von Heyl: Snake Eyes

At the Hirshhorn Museum and Sculpture Garden to Jan. 27

By Kriston Capps Give me an old-fashioned painting show. No infinity mirror rooms with endless lines for selfies. No girls in glittering gold strumming guitars. No wall-to-wall drawing installations. No 360-degree anything.

With all due respect to Mark Bradford, Linn Meyers, and the other artists who have wrapped their work around the curvaceous walls of the Hirshhorn Museum and Sculpture Garden recently, the latest exhibition there is a sight for overstimulated eyes. Charline von Heyl’s work makes no mention of the doughnut-shaped building, in form or any other way. Her show features no razzledazzle beyond what the painter brings to the canvas.

And for the time being, Charline von Heyl: Snake Eyes has the ultimate feature in a quiet show: no audience. On Jan. 2, the Smithsonian Institution finally caved to the federal government shutdown, which is now running into its second week. All 17 of D.C.’s Smithsonian museums, including the Hirshhorn, are closed. With no end in sight—and no extension for Snake Eyes in the works—the shutdown could cut short von Heyl’s run by a month if the government does not reopen before the end of January.

That would be a shame. Charline von Heyl: Snake Eyes, a survey of this artist’s work since 2005, offers a glimpse into the mind of a brainiac. Her thoroughgoing paintings pull together threads from Cubism to Pop Art to the present. Von Heyl’s artworks read like public puzzles, complete with clues, dead-ends, and red herrings (or as the artist describes them, “tricks”). They reward close looking, without being deliberately obscure. Viewers who spend time with them will find themselves teasing out old lessons from art history, or simply delighting in looking. (If they get the chance.)

While new painting can be a challenge to viewers who aren’t steeped in recent trends, von Heyl’s work is welcoming. Part of that is her sense of humor. “Vacancy” (2017) is as close as contemporary art gets to a punchline. The painting features vertical stripes of pastel color with a soft, indistinct print pattern, like a humdrum wallpaper. In the center of this stripe painting, the artist leaves a dab of black acrylic—a gash, maybe, or tear in the wrapping paper. Strips of what look like white tape seem to be keeping disaster at bay. There’s a cartoonish, Wile E. Coyote physical comedy to the painting, as if it were being held together by ACME adhesive. But the whole thing’s a gag: There is no hole, and also no paper. The artist combines screen-print and comic-illustrational painting styles for a prank in abstraction. “Vacancy” is not quite a feat of trompe-l’œil. It’s playful creation, not reproduction.

GALLERIES

washingtoncitypaper.com january 11, 2019 17

FILMSHORT SUBJECTS Destroyer

COP OUT Destroyer

Directed by Karyn Kusama There is a temptation to conflate grittiness with authenticity. If a filmmaker puts his actors and audience through an emotional ringer, heightening suspense with atmosphere and hard-boiled dialogue, then the implication is that the film in question is a more honest exploration of human nature.

Destroyer, the new dramatic thriller from director Karyn Kusama, upends that idea because it is simply too tough for its own good.

Anchored by a committed Nicole Kidman performance, the film unfolds like a Key & Peele parody of a police procedural. By the time the film reveals all its secrets, its total divorce from human behavior will make it impossible to care what happened.

Detective Erin Bell (Kidman) looks like shit.

After a drunken night, she stumbles out of her car and into a crime scene. There is a dead body, and Erin seems to know the victim. Her colleagues are past the point of concern or pity, and barely conceal their contempt instead. It’s no wonder: Caked under layers of grit, Erin probably smells worse than she looks.

Kidman sheds all of her usual glamour for the role. Under a distractingly bad wig and layers of prosthetics, she also speaks with a guttural drawl that sounds like her only diet is cigarettes and cheap gin. As Erin begins her investigation, her professional conduct matches her self-destructive nature. There is an already-infamous scene where Kidman gives a

source a handjob in exchange for his cooperation. The absence of eroticism is intentional, while the feeling of embarrassment for the actors is not.

Kusama is no stranger to the thriller genre.

Her last film, The Invitation, was a terrific slowburn about a couple who slowly realize their dinner companions are in a cult. She again teams up with screenwriters Phil Hay and Matt Manfredi, except here they abandon escalating tension with a time-hopping conceit that confuses more than it illuminates.

We see Erin at a younger age, when she was an ambitious undercover FBI agent. Her partner (Sebastian Stan) is her only tether to an ordinary life, and since he is not around for the scenes in the present, it is safe to assume his absence partially led to her downfall. Destroyer reveals more about Erin in a haphazard way, so when we see all the layers and context, there is no coherent line between the person she was and the person she has become. The whole thing is in service of a grueling, borderline mean-spirited tone, and the cacophonous score by Theodore Shapiro only undermines the tone Kusama strives for.

If Destroyer has any direct inspiration, it is in Michael Mann thrillers like Heat and Collateral. Those films are also set in Los Angeles, and they use violence to explore the nature of hardened characters. But there is a lyricism to Mann’s work—he could strike elegiac notes that recalled Terrence Malick—while Kusama’s film has all the grace of dancing through sludge. Midway through Destroyer, Erin stumbles upon a bank robbery and decides to intervene with a semi-automatic rifle she happens to carry in her trunk. The subsequent shootout unfolds in a perfunctory way, with the lines

18 january 11, 2019 washingtoncitypaper.com

of scrimmage barely defined. Since there was no lead-up to the scene, its consequences carry little significance beyond Erin’s distracting disregard for civilian life.

This is the rare thriller where you may find yourself questioning why it even exists in the first place. Its primary purpose is not entertainment—its tone is too oppressive, its narrative details too clumsy—and it fails as a character study since Erin’s choices are born out of convenience, not psychology. Maybe Destroyer is mood piece, or a tone poem, in a detective’s clothing. It creates a grim milieu, one where hope is a cynical punch line, minus the groundwork for such an approach to feel plausible. In other words, this film is a depressing slog, just not in an intentional way.

—Alan Zilberman Destroyer opens Friday at Landmark E Street Cinema and Landmark Bethesda Row Cinema.

HARD TIMES Capernaum

Directed by Nadine Labaki iT’s a universal fact that most children can’t wait to tell you how old they are. It’s literally their favorite thing to do. So it’s cause for significant alarm when Zain (Zain Al Rafeea), the Syrian refugee child at the center of the stirring Capernaum, stands before a judge and asserts that he doesn’t even know his age. Zain, who we

discover is around 12 but looks much younger, has been serving time in a juvenile prison for stabbing a man, but he is in court this day to sue his parents, sitting at the next table. He doesn’t want money. Intead, he has a more altruisticgoal: “I want them to stop having children.”

Winner of the Grand Jury Prize at last year’s Cannes Film Festival, the stirring Capernaum takes us back through the tragedies of Zain’s existence, demonstrating the realities of life on the streets for immigrant children in wartorn countries through a naturalistic lens. For Zain, it is a series of faint hopes followed by devastating disappointments. Living in a Beirut slum with his distracted family, he spends his days wandering the streets, trying to earn a few dollars to help out. His only joy comes from the bond with his 11-year-old sister, but she gets married off to an older shop-owner in the first reel.

After he runs away from home, Zain is taken in by an Eritrean amusement park worker who, despite living illegally in Lebanon, offers the promise of love and nurture. But she gets arrested, leaving Zain suddenly in charge of her infant son. Zain finally makes some money, which he needs to get him and the baby out of Lebanon, but he gets evicted from the room he was squatting in and loses everything. In this world, the fundamental laws of physics are perverted: Every action has a disproportionately awful reaction.

Director and co-writer Nadine Labaki portrays these hardships, so unimaginable to most who will pay to see Capernaum, as common to Zain and others like him. No one takes much notice of the little boy dragging an infant around with him as he tries to hustle a living. Labaki ensures, however, that we notice every indignity, keeping her camera close to Zain’s face to capture each nuance and contradiction. Al Rafeea, with his marvelous performance, welcomes the scrutiny. He can be tender and vulnerable when abandoned, but when backed into a corner, he displays preternatural courage that is quietly terrifying, especially when he picks up that knife. Some movies would make Zain a pitiable figure, but he is so strong, independent, and emotionally available, that he engenders a very grown-up kind of respect from us.

It’s a major achievement by Labaki, who shot over 500 hours of footage with real-life refugees and first-time actors, allowing them to improvise until they achieved the authenticity she was seeking. It’s an important and effective choice. With anything less than total authenticity, Capernaum would have given audiences enough distance to shed a tear for Zain, then leave the theater and never think of him again. Instead, Capernaum is an immersive film that you can’t shake about a child that everyone else has forgotten.

—Noah Gittell Capernaum opens Friday at Landmark Bethesda Row Cinema and Angelika Film Center Mosaic.

MUSICDISCOGRAPHY

Jazz Jason Moran

Artistic Director

Bobby Sanabria MultiVerse Big Band: West Side Story Reimagined Friday, January 18 at 7 & 9 p.m. | Terrace Theater

FOR YOUR HEALTH Mental Health Dell Fargo Self-released

Dell Fargo is, perhaps more than anything else, a technician. On his new 10-track effort, Mental Health, the Northeast rapper brandishes a vocational polish extraordinary for a debut full-length. His writing is verbose and tempered with meticulously patterned syllables, his punchlines hit their targets, and his breath control is virtually immaculate.

Still, Mental Health is remarkable not so much for its soundness, but for its fireworks.

Fargo’s gifts are on at full display when he amasses momentum, making for a breakneck vitality which rivals his precision. Verses open with the judicious tones of a tour guide, gradually increasing in pitch and emphasis until they’re transformed into frenetic monologues.

The driving opener “Cinematic,” anchored by an evocative flute instrumental, plays to all of his strengths, resulting in a lively manifesto.

Fargo’s words aren’t narrative or autobiographical so much as rhetorical, but succinct furnishings serve as adequate scenery for a broken District: “Bet you never thought about shootin’ shots at the Capitol/ ‘Cause that’s who passes laws that’ll let police start harassin’ you,” he raps over the dreamy sax sample of “Bad Karma,” an early highlight. His persona is that of a charismatic, wise-beyond-his-years correspondent; if Fargo hasn’t seen it all, he’s seen enough. The epic finale “Take It Like a Man,” a

duet with Rahiem Supreme, opens with a statement of purpose: “I swear I only use rapping for my insanity/ My only real relief from life’s pressures, stress, and calamity.” Together Fargo and Supreme conjure an experiential powerlessness which, while stark in its terms, doesn’t contradict any of the sentiments expressed across the tape’s 27-minute running time.

With deft production courtesy of Tallahassee, Florida, beatsmith Backpack Beatz and Newark, New Jersey’s revenxnt, Mental Health’s late-night vibe is founded upon dusty jazz bites and durable percussion. The downtempo “Vanity, Pt. 1 & 2” boasts a smoky lounge sax and earnest big-picture philosophy while retaining a stylish lyrical flair. The deep cuts are neither headbangers nor club bangers, but even those without hooks are lush, fullbodied compositions that operate within an established framework, eschewing break-loop minimalism. The effect is often reminiscent of Brooklyn’s Pro Era collective, especially given Fargo’s old-soul values delivered from a youthful perspective. “Wya” is the notable exception, a melodic pace-breaker which allows Fargo space to explore more lighthearted fare.

Although Fargo bristles with adolescent Trump-era resignation, even his most exasperated anecdotes are offset by musical smoothness, ensuring a peaceful journey into the considerable depths of his doubt and anxiety. Mental Health is a showcase of an authoritative yet palpably human rapper—a reverent, high-stakes, and inspired debut that’s exceedingly of the moment and built upon familiar touchstones. It may be a short tape, but it makes a big statement.

—Pete Tosiello

The 2019 Grammy® Award nominee for Best Latin Jazz Album West Side Story Reimagined is coming to the Kennedy Center! With an all-new instrumental orchestration of lively Latin jazz, electrifying percussionist/bandleader Bobby Sanabria and his MultiVerse Big Band pay tribute to the beloved Broadway masterpiece that redefined the American musical.

David Sánchez: CARIB Saturday, January 26 at 7 p.m. | Terrace Theater

The Grammy®-winning Puerto Rican saxophonist’s deeply personal new project uses modern jazz to explore the kinship between the West African drum rhythms of Yuba, Calinda, and Sika and music from Haiti, Carriacou, and his native Puerto Rico.

These performances are part of The Human Journey.

For more information, please visit Kennedy-Center.org/HumanJourney

Kennedy-Center.org (202) 467-4600

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

Listen to “Mental Health” at washingtoncitypaper.com/arts. washingtoncitypaper.com january 11, 2019 19

ONESONG Madonna’s “What It Feels Like For A Girl” I wanna talk about Madonna’s elegiac “What It Feels Like For A Girl.” At this postBrett Kavanaugh juncture in American life, I think it’s a fine time to appreciate it.

“What It Feels Like For A Girl” was the lowkey, musically understated third single from Madonna’s Music album.

Released in 2000, Music followed 1998’s ambitious, resplendent Ray Of Light. For Ray Of Light, Madonna selected William Orbit as a collaborator, which was at that time considered a left-field choice. Orbit was an eccentric, progressive composer and musician who was best-known for his own curious amalgam of classical and electronic music. Interesting stuff, but the dude definitely did not have any hits. Madonna adored his work and commissioned Orbit to produce, which was a nervy move. It paid off with a gorgeous masterpiece that, while not her greatest commercial success, certainly did sell well. Five million copies in the U.S. and 11 million globally.

When it came time to make a follow-up album, Madonna once again zigzagged. She chose yet another collaborative team, headed by French producer Mirwais Ahmadzaï.

She didn’t rebuke Orbit—he was invited to participate in a minor, supporting role—but she did not attempt to duplicate the alchemy of Ray Of Light. When you’re a chart-topping artist like Madonna, there is a lot of incentive to play it safe: Last album worked out great! Let’s do that exact same thing again!

Madonna is known for her chameleonic fashion sense and her strong radio-pop instincts, but not many people credit her as a risk-taker. And not many people recognize that the only true throughline in Madonna’s work is Madonna herself. This is not to detract from William Orbit’s obvious brilliance—he’s clearly key to what makes Ray Of Light great—but … Ray Of Light is a Madonna album, not an Orbit album. If you read some original reviews of Ray Of Light, you might not pick up on this distinction.

If Ray Of Light was suffused with a sprawling, gauzy, backlit mysticism—reportedly inspired by Madonna’s new motherhood—Music was the more taut, confectionary, club-ready follow-up. Even the title seemed kind of nononsense and plain.

The opening “What It Feels Like For A Girl” unspools a spoken-word soliloquy.

This dulcet sampled dialogue is Charlotte Gainsbourg in the 1993 film The Cement Garden. Pulsing, inviting textures envelop your ears as Gainsbourg intones “Secretly,

you’d love to know what it’s like, wouldn’t you? What it feels like for a girl…” The tone of this introduction is soothing enough to pass as seduction.

But this song is decidedly not erotica. This song is a treatise of feminist dissent.

Feminism is a spectrum. Madonna’s part of that spectrum is fraught with complexity. Because sexual allure is a part of her work, she wasn’t always recognized as a feminist. But this much is inarguable: She has been a consistent advocate of female agency and selfdetermination.

“What It Feels Like For A Girl” discusses that curious, disempowering practice of girls being indoctrinated to deliberately diminish their presence in order not to threaten the culture of patriarchy.

The verse is bifurcated. It begins with an admiring (or predatory?) objectification of an alluring young woman. External traits are listed: “Silky smooth, lips as sweet as candy/ Baby/ Tight blue jeans, skin that shows

20 january 11, 2019 washingtoncitypaper.com

in patches…”

This dovetails with a darker portrait of what is happening internally, where there is distress and turmoil: “Strong inside, but you don’t know it/ Good little girls, they never show it…”

Which leads us to the bleak: “When you open up your mouth to speak/ could you be a little weak?”

The line stings like sarcasm, though it is not sarcastic at all. That is precisely the straightforward request society makes of women. A covenant of diminishment. Be weak.

From here she drops us into the chorus: “Do you know what it feels like for a girl?” The premise is stripped of any playful or erotic connotations. The question is plainly stated: Have you, dear listener, considered that women all over the world endure this abject course of debasement?

And if so, what are you gonna do about it?

What are we gonna do about it?

The next verse repeats the pattern: a brief

optical tour of external femme traits followed by a darker assessment of the internal spirit and cultural circumstance. “Hair that twirls on fingertips so gently…” eventually cedes to the tragic “Hurt that’s not supposed to show/ and tears that fall when no one knows…”

This is followed by the oppressive “When you’re trying hard to be your best/ could you be a little less?” Again, same social covenant: Be weak, baby. And once again, she poses the question nakedly: “Do you know what it feels like for a girl?”

It is worth noting that the repeated trope of the word “baby” inserted in the verses has dual interpretations. One of them is affection, but the other is infantilization.

There are certainly more blunt feminist songs. And there are certainly more complex and abstract feminist songs (the Joni Mitchell oeuvre, for example). But I posit that this exact blend of daring, concision, and accessibility is a Madonna specialty.

Though Music, the album, was produced by Ahmadzaï, “What It Feels Like For A Girl” is a special collaboration with Guy Sigsworth, primarily known for his work with Björk. He is credited as co-writer and producer. It’s reasonable to assume that some of the hybrid organic/synthetic textures in this song are his work. The song certainly seems to bear his aesthetic fingerprint. But, again, “What It Feels Like For A Girl” is a Madonna song, not a Guy Sigsworth song.

Still, reviewers tend to ascribe the savvy of her work to her male producers (the more sinister and inaccurate word is “handlers”). But it’s Madonna’s curatorial moxie that leads her to select these collaborators. That moxie is a huge part of her art. Dismissing that factor is ignorant. Madonna carved her own path. William Orbit is cool and all, but you know what’s cooler? Selecting someone as idiosyncratic as William Orbit to produce a radio pop album… and pulling it off!

It’s interesting that someone as powerful and enduring as Madonna (who turned 60 recently) still suffers the withering lacerations of sexism. Think about it: Despite more than 30 years of cunningly holding the world’s attention, there are those who still doubt her artistic acumen!

Being relentlessly charismatic and influential for decades—through multiple aesthetic phases—while being persistently dismissed as a lightweight?

I guess that’s what it feels like for a girl.

—Chad Clark

CITYLIST Music 21 Theater 23 Film 23

Music

CITY LIGHTS: FRIDAY

RICKY SKAGGS & KENTUCKY THUNDER

FRIDAY CLASSICAL

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Arnaud Sussmann, Paul Neubauer and David Finckel. 7:30 p.m. $40. wolftrap.org.

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: Turangalîla-symphonie. 8:15 p.m. $35–$90. strathmore.org.

ELECTRONIC

FLASH 645 Florida Ave. NW. (202) 827-8791. nd_baumecker. 8 p.m. $9–$15. flashdc.com.

SOUNDCHECK 1420 K St. NW. (202) 789-5429. BT. 10 p.m. $15–$20. soundcheckdc.com.

FOLK

THE HAMILTON 600 14th St. NW. (202) 787-1000.

Leyla McCalla. 8 p.m. $12–$32. thehamiltondc.com.

FUNK & R&B

BETHESDA BLUES & JAZZ 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Lyfe Jennings. 8 p.m. $62– $82. bethesdabluesjazz.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000. Caz Gardiner. 10:30 p.m. Free. thehamiltondc.com.

HIP-HOP

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. MC Bravado. 8 p.m. $10– $15. songbyrddc.com.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Terence Blanchard & the E-Collective. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

TWINS JAZZ 1344 U St. NW. (202) 234-0072. Benito Gonzalez. 9 p.m.; 11 p.m. $17. twinsjazz.com.

POP

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Tallies. 9 p.m. Free. songbyrddc.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. Toby Lightman. 7:30 p.m. $20–$25. unionstage.com.

ROCK

THE ANTHEM 901 Wharf St. SW. (202) 888-0020. The Revivalists. 8 p.m. $45–$65. theanthemdc.com.

DC9 1940 9th St. NW. (202) 483-5000. One Way Out. 7 p.m. $8. dcnine.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Badfish: A Tribute To Sublime. 8:30 p.m. $15–$20. fillmoresilverspring.com.

SATURDAY

Ricky Skaggs has a bluegrass pedigree like no other. At 6, he was playing onstage with Bill Monroe. At 7, he was shredding mandolin solos on the Flatt & Scruggs television show. At 15, he and fellow Kentucky teen Keith Whitley were on the road with Ralph Stanley’s Clinch Mountain Boys. But what sets Skaggs apart from the herd are his deep roots in mountain music. Growing up in eastern Kentucky, he learned from old-time masters like Santford Kelly, a fiddler in his 70s with overalls too short for his lanky frame who handed down tunes as old as the hills, like “Forked Deer.” “When he played ‘Turkey in the Straw,’ he’d take the bow and go pop-pop-pop-pop! on Dad’s head, tapping out the beat,” recalls Skaggs in his memoir. “I thought he was the coolest thing.” Kelly’s signature tune was “Flannery’s Dream,” brought to the Appalachians by Irish settlers in the 1700s. When Skaggs played the song at a session with Irish band The Chieftains, fiddler Seán Keane told him, “That’s how they play in Donegal!” Skaggs, who was recently inducted into the Country Music Hall of Fame, leads his veteran band Kentucky Thunder for his annual two-night stand at the Birchmere. Ricky Skaggs & Kentucky Thunder perform at 7:30 p.m. at The Birchmere, 3701 Mount Vernon Ave., Alexandria. $39.50. (703) 549-7500. birchmere.com.

—Eddie Dean

FLASH 645 Florida Ave. NW. (202) 827-8791. Bamboozle. 8 p.m. $9–$15. flashdc.com.

FUNK & R&B ROCK & ROLL HOTEL 1353 H St. NE. (202) 388-7625.

Got My Own Sound. 9 p.m. $12. rockandrollhoteldc. com.

COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. Hammered Hulls and Savak. 10 p.m. $12– $14. cometpingpong.com.

JAZZ

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. So. Dakota. 9 p.m. Free. songbyrddc.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Terence Blanchard & the E-Collective. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

BLUES

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Darryl Yokley & Sound Reformation. 6 p.m. Free. kennedy-center.org.

CLASSICAL

TWINS JAZZ 1344 U St. NW. (202) 234-0072. Benito Gonzalez. 9 p.m.; 11 p.m. $17. twinsjazz.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000.

Swampcandy. 10:30 p.m. Free. thehamiltondc.com.

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Cornell Glee Club. 7:30 p.m. $20–$40. strathmore.org.

ELECTRONIC

ECHOSTAGE 2135 Queens Chapel Road NE. (202) 503-2330. Laidback Luke and A-Trak. 9 p.m. $15–$30. echostage.com.

BLACK CAT 1811 14th St. NW. (202) 667-4490. Jon Spencer & the Hitmakers. 7:30 p.m. $18. blackcatdc.com.

ROCK

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Arc Iris. 8 p.m. $12–$14. songbyrddc.com.

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. Hollywood Nights. 9 p.m. $22. thestatetheatre.com.

9:30 CLUB 815 V St. NW. (202) 265-0930. Jumpin’ Jupiter and The Grandsons. 8 p.m. $20. 930.com.

SUNDAY

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. The Verve Pipe. 8 p.m. $22–$27. wolftrap. org.

BLACK CAT 1811 14th St. NW. (202) 667-4490. Current Joys. 7:30 p.m. $15. blackcatdc.com.

ROCK

washingtoncitypaper.com january 11, 2019 21

CITY LIGHTS: SATURDAY

CITY LIGHTS: MONDAY

A-TRAK

NICOLE CHUNG

If you were clubbing back at the turn of the decade, you were sure to hear one song more than most: A-Trak’s remix of Yeah Yeah Yeahs’ “Heads Will Roll.” What began as a synthpop throwback from the New York rockers became—in the hands of the Canadian DJ-producer—the epitome of “blog house,” a scintillating rollercoaster of kinetic dance floor energy that presaged the coming EDM revolution. But as iconic as the remix became for dancers of a certain vintage, it’s far from the only highlight of A-Trak’s career. The 36-yearold started off as a wunderkind turntablist before becoming Kanye West’s tour DJ and cofounding the influential Fool’s Gold Records, helping to introduce the world to Run The Jewels and Danny Brown. The genre agnostic approach at Fool’s Gold mirrors itself in his collaborations and sets, where he’s just as likely to amp up the day’s hip-hop hits as he is to flashback to the glory days of disco. And if you’re lucky, there just might be some blog house in the mix. A-Trak performs at 9 p.m. at Echostage, 2135 Queens Chapel Road NE. $15–$30. (202) 503-2330. echostage.com.

—Chris Kelly

CITY LIGHTS: SUNDAY

As a child, Nicole Chung was told that her Korean parents couldn’t give her the life they thought she deserved, and gave her up for adoption. Chung, editor-in-chief of the literary magazine Catapult, didn’t question the narrative; the white Catholic couple that raised her were loving parents. Yet, growing up in a southern Oregon town where she was the only Korean her family and friends knew (in fact, the only one she knew), Chung never quite felt like she belonged. Chung’s 2018 memoir All You Can Ever Know charts the search for her biological parents, spurred by the birth of her own child and a hunger to learn where she came from. Furthermore, Chung’s investigation invites us to question the stories that we are told and take for granted. Join Chung, in conversation with journalist Melody Schreiber, on the road to discovery. Nicole Chung speaks at 7 p.m. at One More Page Books, 2200 N. Westmoreland St., Arlington. Free. (703) 300-9746. onemorepagebooks.com.

—Pat Padua THE HAMILTON 600 14th St. NW. (202) 787-1000. Lee Child and Naked Blue. 7:30 p.m. $20–$75. thehamiltondc.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Musha Kusha. 9 p.m.

Free. songbyrddc.com.

MONDAY CLASSICAL

DUMBARTON OAKS 1703 32nd St. NW. (202) 3396401. ZOFO. 8 p.m. $54. doaks.org.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Alex Skolnick Trio. 8 p.m.; 10 p.m. $25. bluesalley.com.

POP

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Lipstick Gypsy. 9 p.m.

Free. songbyrddc.com.

Considering how Terence Blanchard got his break—in Art Blakey’s Jazz Messengers, where he replaced trumpeter Wynton Marsalis—he might easily have been expected to live out his career on the bebop purist path. He’s done anything but, as evidenced by his current E-Collective ensemble. Yet while the rock, funk, hip-hop, and electronica elements in their music have surfaced here and there in Blanchard’s mix for years, he declares that it was our moment in history that animated this fusion. He and the E-Collective want to keep the gun violence conversation going. “Real life was happening,” he told JazzTimes last year, “And we couldn’t avoid that.”

The group’s 2018 album Live was recorded in cities affected by high-profile instances of gun violence. While it’s not quite the same thing, seeing the band in the nation’s capital, while it’s darkened by a shutdown that racial paranoia set in motion, has a resonant meaning of its own. Terence Blanchard performs at 8 p.m. and 10 p.m. at Blues Alley, 1073 Wisconsin Avenue NW. $40. (202) 337-4141. bluesalley.com.

—Michael J. West 22 january 11, 2019 washingtoncitypaper.com

WEDNESDAY CLASSICAL

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Lukáš Sommer. 6 p.m. Free. kennedy-center.org.

COUNTRY

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Travis Tritt. 7:30 p.m. $75. birchmere. com.

FUNK & R&B

BARNS AT WOLF TRAP 1635 Trap Road, Vienna.

(703) 255-1900. Toots & The Maytals. 8 p.m. $50–$55. wolftrap.org.

MANSION AT STRATHMORE 10701 Rockville Pike, North Bethesda. (301) 581-5100. Dante’ Pope. 7:30 p.m. $17. strathmore.org.

WORLD

JAZZ

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Cante Alentejano. 6 p.m. Free. kennedy-center.org.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. M3 - Marcus Mitchell, Marcus Young & Marcus Canty. 8 p.m.; 10 p.m. $22. bluesalley.com.

TUESDAY

THURSDAY

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Kennedy Center Opera House Orchestra. 6 p.m. Free. kennedy-center.org.

ECHOSTAGE 2135 Queens Chapel Road NE. (202) 503-2330. Diplo. 9 p.m. $40–$50. echostage.com.

CLASSICAL

TERENCE BLANCHARD

HILL COUNTRY LIVE 410 7th St. NW. (202) 556-2050.

The Lustre Kings. 8:30 p.m. Free. hillcountrywdc.com.

COUNTRY

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Travis Tritt. 7:30 p.m. $75. birchmere. com.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Tiffany Lloyd. 8 p.m.; 10 p.m. $22. bluesalley. com.

POP

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Fanfaire. 9 p.m. Free. songbyrddc.com.

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Church Girls. 8 p.m. $8. dcnine.com.

ELECTRONIC

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Psymbionic. 10 p.m. $15–$20. ustreetmusichall.com.

FOLK

9:30 CLUB 815 V St. NW. (202) 265-0930. All Good Presents The Wood Brothers. 7 p.m. $30. 930.com.

FUNK & R&B

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. 512 Experience. 8 p.m.; 10 p.m. $22. bluesalley.com.

HIP-HOP

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Ja Rule. 8 p.m. $26. fillmoresilverspring.com.

ROCK

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. John Oates and The Good Road Band. 8 p.m. $42–$47. wolftrap.org.

CITY LIGHTS: TUESDAY

CINDERELLA

What if Cinderella lost her glass slipper not on the steps of a fairy tale castle, but outside London’s Café de Paris in the middle of The Blitz? That’s the harrowing premise of this new touring production by genius choreographer and director Matthew Bourne.

Most famous for creating an all-male Swan Lake, Bourne and his company New Adventures have continued to defy traditions and categorization.

Case in point: The Kennedy Center is cross-listing Cinderella on both its contemporary dance and ballet series, yet when the show moves on to Los Angeles next month, it will be presented on the Ahmanson’s theater season. Arts presenters may get hung up on labels, but hopefully audiences won’t. Hopefully, anyone in Washington who wants to see a beautiful, well told Cinderella story will show up. The World War II setting makes for a production that’s darker than Disney, as does Prokofiev’s score. The music will be pre-recorded, regrettably, but everything else about this Cinderella should be a theater/dance dream. The show runs to Jan. 20 at the Kennedy Center Opera House, 2700 F St. NW. $29–$129. (202) 467-4600. kennedy-center.org.

—Rebecca J. Ritzel BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Ventures. 7:30 p.m. $29.50. birchmere.com.

BLACK CAT 1811 14th St. NW. (202) 667-4490. Mineral.

7:30 p.m. $30–$35. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Yesferatu. 8 p.m. $10. dcnine.com.

Theater

ADMISSIONS This production, a look at privilege, power, and the perils of whiteness, is from the author of Bad Jews, the best-selling play in Studio Theatre history. Bill and Sherri are the white, progressiveand-proud headmaster and dean of admissions at Hillcrest, a mid-tier New Hampshire boarding school.

Over the last 15 years, they’ve worked to diversify the school’s mostly white population, but when their high-achieving son Charlie’s Ivy League dreams are jeopardized, the family’s reaction blasts open a deep rift between their public values and private decisions.

Studio Theatre. 1501 14th St. NW. To Feb. 17. $20–$104.

(202) 332-3300. studiotheatre.org.

KINGS This lacerating comedy about money, power, and what democracy actually looks like comes from Alexandria native Sarah Burgess. Newly elected congresswoman Sydney Millsap arrives in D.C. armed with her ideals and sense of duty, and refuses to play by the rules of special interests—or her own party.

Kate’s a lobbyist who backs winners. So when she crosses paths with Representative Millsap, she dismisses her as a one-term neophyte…but ends up hearing a call to conscience she thought she’d left outside of the Beltway. Studio Theatre. 1501 14th St. NW. To Jan. 13. $20–$62. (202) 332-3300. studiotheatre.org.

MATTHEW BOURNE’S NEW ADVENTURES: CINDERELLA Matthew Bourne’s New Adventures follows up the dazzling adaptation of The Red Shoes in 2017 with one of its most popular and beloved productions, Cinderella—this time set in London during World War II when a chance meeting results in a magical night for

Cinderella and her dashing young RAF pilot, together just long enough to fall in love before being parted by the Blitz. Kennedy Center Opera House. 2700 F St. NW. To Jan. 20. $29–$129. (202) 467-4600. kennedy-center.org.

OH, GOD Directed by Michael Bloom, this witty and touching play explores the life of a psychotherapist named Ella, the single mother of an autistic child. She soon gets a visit from a new and desperate patient: God. The late Anat Gov was known as Israel’s Wendy Wasserstein, and in her gently veiled analogy, Ella and God must learn to help each other—God is suffering from having accrued too much power, while Ella has lost whatever faith (in God) she might have had.

Atlas Performing Arts Center. 1333 H St. NE. To Jan. 20. $20–$65. (202) 399-7993. atlasarts.org.

Film

DESTROYER Nicole Kidman stars as a police detective on an obsessive quest to reconnect with people from an undercover assignment, bring a gang leader to justice, and ultimately make peace with her past.

Co-starring Sebastian Stan, Toby Kebbell, and Tatiana Maslany. (See washingtoncitypaper.com for venue information) A DOG’S WAY HOME Searching for her owner, a dog named Bella traverses more than 400 miles. Starring Bryce Dallas Howard, Ashley Judd, and Alexandra Shipp. (See washingtoncitypaper.com for venue information) STAN & OLLIE John C. Reilly and Steve Coogan star as legendary comedy duo Laurel and Hardy as they attempt to reignite their film careers on a grueling tour of post-war Britain. Co-starring Shirley Henderson and Danny Huston. (See washingtoncitypaper. com for venue information) THE UPSIDE A wealthy man with quadriplegia develops a relationship with the person hired to help him— an unemployed man, with a criminal past. Starring Bryan Cranston, Kevin Hart, and Nicole Kidman. (See washingtoncitypaper.com for venue information)

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

THE S.O.S. BAND

Jan 10

RICKY SKAGGS & Kentucky Thunder

McCALLA

TRAVIS TRITT THE VENTURES

RAYLAND

11

15&16 17

18&20

EDDIE FROM OHIO

w/ Sara Niemietz & Snuffy Walden (18,19), Jake Armerding (20)

ANGIE STONE 22&23 TOMMY EMMANUEL, CGP & JOHN KNOWLES, CGP 21

“The Heart Songs Tour”

KYLE CEASE of "Baked", 25 TOM PAPA "Live From Here" 26 ATLANTIC STARR 27 THE KINGSTON TRIO 29&30 GAELIC STORM Feb 1 WILL DOWNING Carly 5 KASEY CHAMBERS Burruss 24

6

An Evening with

DREW & ELLIE HOLCOMB "The You & Me Tour"

MUSIQ SOULCHILD

7

8&9

10

ARLO GUTHRIE "Alice's Restaurant" Tour with Sarah Lee Guthrie

ESTELLE

14

BURLESQUE-A-PADES IN LOVELAND “A Valentine's Day Spectacular”

Pontani, Murray Hill, & more!

ERIC ROBERSON

16 Daryl Davis Presents: Thanks For The Memories – 2018

A tribute to the musicians we loved and lost in 2018.

Featuring DC area's finest musicians!

17

THREE DOG NIGHT

21

JAMES McMURTRY (Solo)

22

10,000 MANIACS

11

BAXTER W/ ILLITERATE LIGHT SATURDAY

JAN 12

SUN, JAN 13

AN EVENING WITH

LEE CHILD AND NAKED BLUE

EXPLORING JACK REACHER THROUGH MUSIC

FRI, JAN 18

TOWN MOUNTAIN

W/ THE 19TH STREET BAND SUN, JAN 20

RARE ESSENCE W/ BE’LA DONA FRI, JAN 25

STEEP CANYON RANGERS

W/ KAIA KATER

SAT, JAN 26

AN EVENING WITH EARLY

ELTON

THURS, JAN 31

G LOVE AND SPECIAL SAUCE W/ RON ARTIS II & THE TRUTH

FRI, FEB 1

FLOW TRIBE W/ THE BEAT HOTEL SAT, FEB 2

JUNIOR MARVIN: A BOB MARLEY BIRTHDAY TRIBUTE AN EVENING WITH GREG

DAVID SANBORN

feat. Angie

FRIDAY JAN

WED, FEB 6

“Experience Lover’s Rock Live!”

13

15

LEYLA

BROWN

THURS, FEB 7

AN EVENING WITH

WALTER TROUT AND ERIC GALES SAT, FEB 9

NEWMYER FLYER PRESENTS

LOVE SONGS: THE BEATLES VOL. 6 THURS, FEB 14

MY FUNNY VALENTINE: AN EVENING OF FRANK SINATRA’S MUSIC STARRING TONY SANDS

THEHAMILTONDC.COM

washingtoncitypaper.com january 11, 2019 23

Fri & Sat, Jan 11 & 12 at Midnight!

555 11th Street NW Washington, DC 20004 • (202) 783-9494

CITY LIGHTS: WEDNESDAY

TOOTS & THE MAYTALS

FEATURING LIVE SHADOW CAST SONIC TRANSDUCERS!

Bruce, a 9 month old Saluki mix saved from Qatar! Bruce is a sweet and loving dog. He is very affectionate when he warms up to you, but can be shy at first. He is a playful pup that adjusts to the surrounding energy level - if he’s outside, he likes to chase and be chased, but once inside, give him a chew toy for playtime or a dog bed and he’s ready for a nap! Bruce loves getting his tail end scratched and will snuggle up to you for maximum closeness at all times!

He is fully house and crate trained. He’s also VERY food motivated & eager to please so it makes training easy! Bruce suffered an injury to one of his eyes, and he likely does not have full vision in that eye. Because of his vision, he can be shy at first and can be startled by loud noises and sudden movements - but once he has warmed up, he’s ready to play and snuggle! Bruce can’t wait to find his forever home!

MEET BRUCE!

” D VICE VOTE PET SER18 T 0 “BES T OF DC 2

emte.

plike ho e a c a no pl t i ere’s h t s e us beca BES

PROFESSIONAL IN-HOME PET SITTING

Please contact Rural Dog Rescue www.ruraldogrescue.com to complete an application or visit us at the adoption event this Saturday from 12-2 at Howl To The Chief 733 8th Street SE, DC.

®

,inc.

Wash D.C 202-362-8900 Arl/Ffx Co. 703-243-3311 Mont. Co. 301-424-7100

After being launched into international fame by The Harder They Come, a 1972 Jamaican gangster movie that showcased some of the island’s best reggae musicians, Toots Hibbert embarked on a decades-spanning career, sometimes performing as a solo artist and sometimes with the help of his band, The Maytals. The meteoric rise of Toots & The Maytals coincided with those of the rocksteady and ska genres, but Toots himself has since garnered comparisons to Otis Redding and has been covered by the likes of The Clash and Amy Winehouse. Toots & The Maytals play in the same league as Desmond Dekker and Jimmy Cliff, reggae pioneers who played indispensable roles defining the genre. Decades after their founding in the early ’60s, Toots & The Maytals shows still feel like wild parties, and their music remains compulsively listenable. Listen for classics like “Pressure Drop” and “Funky Kingston,” and for their tearjerking cover of John Denver’s “Take Me Home, Country Roads.” Toots & The Maytals perform at 8 p.m. at The Barns at Wolf Trap, 1635 Trap Road, Vienna. $50–$55. (703) 255-1868. wolftrap.org.

—Will Lennon

EST. 1980

WWW.SITAPET.COM BONDED INSURED

VALET & SECURE PARKING aVAILABLE

CITY LIGHTS: THURSDAY

take your wine to-g0 with growlers & retail wine!

RESTAURANT | BAR | MUSIC VENUE | FULLY FUNCTIONING WINERY | EVENT SPACE

* BECOME A CITY WINERY VINOFILE MEMBER *

EXCLUSIVE PRESALE ACCESS, WAIVED SERVICE FEES, complimentary valet & MORE! JAN 11

JAN 12

The Chuck Brown Band

The World’s Greatest Eagles Tribute Band

& The Moody Wing Band

A NIGHT WITH DAVID ‘OGGI’ OGBURN in the wine garden

w/ Don Antonio (band)

JAN 16

JAN 18

JAN 19

JAN 20

JAN 20

EagleMania

JAN 13

JAN 13

Denny Laine

PORTRAITS IN TIME

JAN 15

Alejandro Escovedo

JUDY GARLAND: A STAR IS BORN

Crush Your Craft feat. KevOnStage

Vertical Horizon

Marcus Johnson

louis york & the shindellas

Mousey Thompson & The James Brown Experience

JAN 21

JAN 23

JAN 24

JAN 24

JAN 25

The DC Moth StorySLAM: Backwards

Peter Asher (of Peter & Gordon) and Jeremy Clyde (of Chad & Jeremy)

Danny Burns

lil’ mo

Briclyn Ent. Presents

PETER & JEREMY:

“North Country” Album Release Party

steve earle’s

Annual Winter Residency W/ Special Guest Paul Cauthen

1350 OKIE ST NE, WASHINGTON DC | CITYWINERY.COM/WASHINGTONDC | (202) 250-2531

24 january 11, 2019 washingtoncitypaper.com

Why does Judy Garland occupy such an esteemed position in popular culture? Is it because generations of musical lovers were introduced to her mellifluous voice at an early age? Is it because she recorded the definitive version of the best and truest song about Christmas? Is it because she was charismatic and game enough to turn songs about trolleys and hats into American standards? Consider these questions when you attend Signature Theatre’s latest cabaret production, featuring the songs Garland made famous. Local favorites Awa Sal Secka and Katie Mariko Murray will serenade audiences with their renditions of classics like “Get Happy,” “Over the Rainbow,” and, of course, “The Man That Got Away.” That song, full of love, longing, and intense melancholy, defines late-era Judy, so skip Bradley Cooper and Lady Gaga’s retelling of the Star Is Born tragedy and envelop yourself in Garland’s world instead. The cabaret runs to Jan. 26 at Signature Theatre, 4200 Campbell Ave., Arlington. $38. (703) 820-9771. sigtheatre.org.

—Caroline Jones

SAVAGELOVE I’m a 40-year-old guy with a 30-year-old girlfriend. We’ve been together a year, and I can see a future with her. But there are problems. This girl comes after two minutes of stimulation, be it manual, oral, or penile. As someone who takes pride in my foreplay/pussy-eating abilities, this is a bummer. She gets wet to the point where all friction is lost during PIV and my boners don’t last. It’s like fucking a bowlful of jelly.

Part of me is flattered that I get her off, but damnit I miss a tight fit! (Her oral skills aren’t great, either, so that’s not an option, and anal is a nogo.) I love to fuck hard, and that’s difficult when I’m sticking my dick into a frictionless void. Is there a way to decrease wetness? Help, please.

—Can’t Last Inside Tonight

First things first: She’s not doing anything wrong, CLIT, and neither are you—at least you’re not doing anything wrong during sex.

(When you sit down to write letters to advice columnists, on the other hand…) She can’t help how much vaginal mucus she produces or how much vaginal sweating your foreplay/ pussy-eating skills induce, any more than you can help how much pre-ejaculate you pump out. (Her wetness is a combo of vaginal mucus and vaginal sweating—the latter is not a derogatory expression, that’s just the term for it.) And all that moisture is there for a good reason: It preps the vagina for penetration. In its absence, PIV can be extremely painful for the fuckee. So the last thing you want to do is dry your girlfriend up somehow.

Now here’s something you are doing wrong: “It’s like fucking a bowlful of jelly,” “I miss a tight fit,” “Her oral skills aren’t great, either,” “I’m sticking my dick into a frictionless void.”

You’re going to need to have a conversation with your girlfriend about this, CLIT, you’ll need to use your words, but you can’t have that conversation—not a constructive one— until you can find some less denigrating, resentful, shame-heaping words.

Again, she’s doing nothing wrong. She gets very wet when she’s turned on. That’s just how her body works. Too much lubrication makes it harder for you to get off. That’s how your body works. And this presents a problem that you two need to work on together, but insults like “bowlful of jelly” and “frictionless void” are going to shut the conversation down and/ or end the relationship. So try this instead: “I love how turned on you get, honey, and I love how wet you get. But it can make it difficult for me to come during PIV.” If you don’t put her on the defensive—if you don’t make her feel like shit about her pussy— you might be able to have a constructive conversation and come up with some possible PIV hacks. If there’s a move (clitoral stimulation) or an event (her first orgasm) that really opens up the tap, CLIT, save that move or delay that

event until after you’ve climaxed or until after you’ve reached the point of orgasmic inevitability—if PIV isn’t painful for her when she’s a little less wet.

You can also experiment with different positions to find one that provides you with a little more friction and doesn’t hit her clit just so— perhaps doggy style—and then shift into a position that engages her clit when you’re going to come. And there’s no shame in pulling out and stroking yourself during intercourse before diving back in. Be constructive, get creative, and never again speak of her pussy like it’s a defective home appliance, CLIT, and you might be able to solve this (pretty good) problem (to have).

—Dan Savage

Insults like “bowlful of jelly” and “frictionless void” are going to shut the conversation down and/or end the relationship.

I’m a woman in an open relationship of four years.

I adore my partner. When we were first dating, it was casual and there were no ground rules. During that time, I slept with a guy without condoms after he cornered me in a motel room. One of the biggest rules in my current relationship is to use condoms with other partners. My current partner has made it clear that he would consider exchanging fluids with someone else cheating. I’m worried he’ll somehow find out about that night in the motel room, and I feel bad keeping it a secret. If I tell him, there’s a chance that our relationship will end and I’ll be living in my car. What should I do?

—Burdensome Unbearable Guilt Sucks This thing happened—or this thing was done to you—before you made a commitment to your current partner, BUGS, and before ground rules were established. I’m assuming you got tested at some point over the last four years; failing that, I’m assuming neither of you has developed symptoms of an STI over the last four years. (And condoms don’t protect us from all the STIs out there, so even if you did come down with something, your partner could have passed it to you.) So cut yourself some slack, BUGS: You had unprotected sex under a sadly common form of duress. Fear-

ing something much worse, you “agreed” to unprotected sex—you agreed but didn’t freely consent to unprotected sex. Too many men don’t understand that kind of fear or the de-escalation techniques women are forced to employ when they find themselves cornered by threatening men—de-escalation techniques that can include “agreeing” to but not freely consenting to sex, unprotected or otherwise.

You’re under no obligation to tell your current partner about that night, as it took place before you established your ground rules, so it’s not really any of his fucking business. And if homelessness is a potential consequence of telling your partner how you were pressured into sex you did not want, then you’re lying to him now for the same reason you went bare with that asshole back then: duress.

—DS

I’m a man in love with a woman half my age. We met shortly after I had to leave the city I was living in to escape a toxic relationship. I know this girl has feelings for me. My gut screams it. We also share a strange connection. It’s something I know she feels. She simply can’t help being tied to the energy I’m feeling. A while back, I hurt her. Unintentionally, but it hurt just the same. I was still not over my ex and very leery of ever experiencing that kind of pain in my heart again. The problem now is that this young woman won’t acknowledge her feelings for me. She swears she never had feelings for me. We found ourselves alone one day, and her actions were clearly indicating that she wanted to have sex with me but her words prevented me from taking the opportunity. How can I reach this girl?

She knows I love her. I know I’m not wrong. She wants what I want. This love is not something I chose and I’m beginning to resent it.

—In Lasting Love You are wrong. She does not want what you want. Your gut is lying to you. She is not in love with you. You do not share a connection. You need to listen to her words. She is not tied to the “energy” you are feeling. You have got to stop thinking with your dick. She was probably scared out of her wits when you managed to “find” her alone. You cannot reach this woman. She can sense your resentment and she’s afraid of you. In all honesty, ILL, I’m afraid of you. Just as this poor woman most likely fears becoming one of the many women murdered every year by men they’ve rejected, I fear being the messenger who got shot. But you asked for my advice, ILL, and here it is: Get into therapy. You need help. And my advice for her, if she sees this, is to do whatever you must to protect yourself—up to and including moving away.

—DS Email your Savage Love questions to mail@savagelove.net.

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FOLLOW US @PEARLSTREETLIVE 33 PEARL ST SW DC •THE WHARF washingtoncitypaper.com january 11, 2019 25

the following District of Columbia real property: 822 - 25th St NW, Adult . . . . . . . . . . . . . . . . . . . . . . . 42 SUPERIOR COURT Washington, DC 20037.

OF THE DISTRICT OF Claims Auto/Wheels/Boat . . . against . . . . . the . . .dece42 COLUMBIA dent may be presented Buy, Sell, Trade . . to . .the . . .undersigned . . . . . . . . and . . .

PROBATE DIVISION 2018 FEP 000159 Marketplace . . . . filed . . . with . . . .the . . Register . . . . 42 Date of Death August of Wills for the District 19, 2018 Community . . . . . of . .Columbia, . . . . . . . 515 . . . 5th . 42 Name of Decedent, Street, N.W., 3rd Floor, Employment . . . . Washington, . . . . . . . . .D.C. . . . 20001 . 42 Alexander Edgar Wiskup, Notice of Apwithin 6 months from Health/Mind . . . . . . . . . . . . . . . . . . . . pointment of Foreign the date of first publicaPersonal Representative Body & Spirit . . . . tion . . . of . .this . . .notice. . . . . . 42 and Notice to Creditors Date of first publication: Housing/Rentals . . . . . . . . . . . . . 42 Katrina Tiana Wiskup, 1/3/2019 whose address is 14734 Name of Newspaper Legal Notices . . . . . . . . . . . . . . . . 42 National Drive, Chantilly, and/or periodical: VA 20151 was appointed Music/Music Row .Washington . . . . . . . City . . . Paper/ . . 42 Personal Representative Daily Washington Law . . . . . . . . Reporter . . . . . . . . . . . . . 42 of thePets estate .of . .Alexander Edgar Wiskup, Real Estate . . . . . Name . . . . of . . Person . . . . . Repre . . 42 deceased, by the Fairfax sentative: Katrina Tiana County Probate Housing Court Shared . Wiskup . . . . . . . . . . . . . 42 for Fairfax County, State TRUE TEST copy Services . . . . . . . . Anne . . . .Meister . . . . . . . . . 42 of Virginia, on October 2, 2018. Service of Register of Wills process may be made Pub Dates: Jan. 3, upon Maura Pond, 2108 10, 17 16th Street SE, Washington, DC 20020 whose FRIENDSHIP PUBLIC designation as District CHARTER SCHOOL of Columbia agent has NOTICE OF REQUEST been filed with the FOR PROPOSAL Register of Wills, D.C. Friendship Public CharThe decedent owned ter School is seeking

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NOTICE IS HEREBY GIVEN The THAT:full scope of work will be posted in a TRAVISA OUTSOURCING, INC. (DISTRICT OF Request COLUMBIA DEcompetitive PARTMENT OF CONSUMER for Proposal that can AND REGULATORY be found on FPCS AFFAIRS FILE NUMBER 271941) HAS website at http://www.

DISSOLVED EFFECTIVE NOVEMfriendshipschools.org/ BER 27, 2017 AND HAS FILED procurement/.

Propos-OF ARTICLES OF DISSOLUTION als are due no later than DOMESTIC FOR-PROFIT COR4:00 P.M., EST, Monday, PORATION WITH THE DISTRICT February 11th, 2019.

OF COLUMBIA CORPORATIONS DIVISION No proposals will be accepted after the Adeadline.

CLAIM AGAINST TRAVISA Questions OUTSOURCING, INC. toMUST can be addressed INCLUDE THE NAME OF THE ProcurementInquiry@ DISSOLVED CORPORATION, friendshipschools.org INCLUDE THE NAME OF THE CLAIMANT, INCLUDE A SUMMASUPERIOR COURT RY OF THE FACTS SUPPORTING OF CLAIM, THE DISTRICT OFTO THE AND BE MAILED 1600 INTERNATIONAL DRIVE, COLUMBIA SUITE 600, MCLEAN, VA 22102 PROBATE DIVISION 2018 ADM 001468 ALL CLAIMS WILL BE BARRED Name of Decedent, UNLESS A PROCEEDING Hattie Bernice Spencer.TO ENFORCE THE CLAIM IS COMNotice of Appointment, MENCED WITH IN 3 YEARS OF Notice to Creditors and PUBLICATION OF THIS NOTICE Notice to Unknown IN ACCORDANCE WITH SECTION Heirs, Katina Cun- OF 29-312.07 OF THEN.DISTRICT ningham, whose address COLUMBIA ORGANIZATIONS ACT. is 8212 Redview Drive, Frestville, MD 20747 Two Rivers PCS is soliciting was appointed proposals to provide Personal project manRepresentative theconagement services for of a small estate of Hattie struction project.

For aBernice copy of the RFP, please who email died procurement@ Spencer on tworiverspcs.org.

Deadline August 12, 2018, with-for submissions is December 6, 2017. out a Will and will serve without Court Supervision. All unknown heirs and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 7/3/2019. Claims

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against the decedent shall be presentedLegals to the undersigned with a DC SCHOLARS PCS REQUEST copy to the Register of FOR PROPOSALS – ModuWills or to the Register lar Contractor Services - DC of Wills Public with aCharter copy School to Scholars the undersigned, or solicits proposals for aon modular before 7/3/2019, or be contractor to provide professional forever barred.

Persons management and construction services to to construct a modular believed be heirs or building to house four classrooms legatees of the decedent and one offi ce suite. who dofaculty not receive a The Request copy of for thisProposals notice by(RFP) specifi cations can be obtained on mail within 25 days of and after Monday, November 27, its publication shall 2017 from Emily Stone viaso cominform the Register of munityschools@dcscholars.org.

Wills, including name, All questions should be sent in address and relationwriting by e-mail.

No phone calls regarding thisofRFP willpublibe acship. Date first cepted. must be received by cation:Bids 1/3/2019 5:00 PM on Thursday, December Name of Newspaper 14, 2017 periodical: at DC Scholars Public and/or Charter School, City ATTN:Paper/ Sharonda Washington Mann, 5601 E. Capitol St. SE, Daily Washington Washington, DC 20019. Law Any bids Reporter not addressing all areas as outName ofRFP Person lined in the specifiRepcations will resentative: not be considered.Katina N. Cunningham TRUEApartments TEST copy for Rent Anne Meister Register of Wills Pub Dates: January 3, 10, 17.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 ADM 001458 Name of Decedent, Must Spacious Marysee!

Agnes Cole. semi-furnished BA basement Notice 1ofBR/1 Appointment, apt, Deanwood, $1200. Sep. Notice to Creditors andentrance, W/W carpet, W/D, kitchNotice to Unknown en, fireplace near Blue Line/X9/ Heirs, Priscilla Ramona V2/V4. Shawnn 240-343-7173.

Cole, whose address is 1522 Ridge Place SE, Rooms for Rent Washington, DC 20020 was appointed Holiday Special- Personal Two furRepresentative of the nished rooms for short or long estate of ($900 Maryand Agnes term rental $800 per Cole who on Octomonth) withdied access to W/D, WiFi, Kitchen, andwithout Den. Utiliber 18, 2018, ties included.

Best serve N.E. location a Will and will along H St. Corridor.

Call Eddie without Court Supervi202-744-9811 for info.heirs or visit sion.

All unknown www.TheCurryEstate.com and heirs whose whereabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register

of Wills, D.C., 515 5th Construction/Labor Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 7/3/2019. Claims against the decedent shall be presented to the undersigned with a POWER DESIGN NOW HIRcopy the Register of ING to ELECTRICAL APPRENTICESorOF LEVWills to ALL the SKILL Register ofELS! Wills with a copy to the undersigned, on or about the position… or be before 7/3/2019, Do you barred. love working with forever Persons your hands? Are you interbelieved be heirs or ested in to construction and legatees of the decedent in becoming an electrician? who do not receive a Then the electrical apprentice copy of this byfor position couldnotice be perfect mail 25 apprentices days of you! within Electrical able to earn shall a paycheck itsarepublication so and fullthe benefi ts while learninform Register of ing the trade through firstWills, including name, hand experience. address and relation-

ship. Date of first publiwhat we’re looking for… cation: 1/3/2019 Motivated D.C. residents who Name Newspaper want toof learn the electrical and/or periodical: trade and have a high school Washington City diploma or GED as Paper/ well as reliable transportation.Law Daily Washington Reporter a little of bit about us…RepName Person Power Design isPriscilla one of the resentative: top electrical contractors in Ramona Cole the U.S., committed to our TRUE copy values,TEST to training and to givAnne Meister ing back to the communities Register oflive Wills in which we and work.

Pub Dates: January 3, more details…

10, 17.

Visit powerdesigninc.us/ careers or email careers@ SUPERIOR COURT powerdesigninc.us!

OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 ADM 00397 Financial Services Name of Decedent, Denied Credit??

Work to ReRoderick Michael Scott. pair Your of Credit Report With The Notice Appointment, Trusted in Credit and Repair.

Notice Leader to Creditors Call Lexington Law for a FREE Notice to Unknown credit summary & credit Heirs,report Sandra Gordon, repair consultation. 855-620whose address 1403 at 9426. John C. Heath,isAttorney Montana NE, Law Law, PLLC, Avenue dba Lexington Apt 2, Washington, DC Firm.

20018 was appointed Personal Representative of theHome estateServices of Roderick Michael Scott Dish Network-Satellite who died on JanuaryTelevision Services. Now Over 190 7, 2018, without a Will channels for ONLY $49.99/mo! and will serve HBO-FREE for onewithout year, FREE Court Supervision.

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unknown shall enter their appearanceAuctions in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 6/27/2019. Claims against the decedent shall beFoods presented to Whole Commissary Auction the undersigned with a DC Metro Area copy to the Register of Dec. or 5 atto 10:30AM Wills the Register of1000s Wills S/S withTables, a copyCarts to & Trays, 2016 Kettles up the undersigned, on or to 200 Gallons, Urschel before be Cutters6/27/2019, & Shreddersorinforever Persons cluding barred.

2016 Diversacut believed to be heirs or 2110 Dicer, 6 Chill/Freeze legatees of the decedent Cabs, Double Rack Ovens & Ranges, (12) Braising who do not receive a Tables, 2016 notice (3+) Stephan copy of this by VCMs, 30+ Scales, mail within 25 days of 80 qtshall Mixers, itsHobart publication so Complete Machine Shop, inform the Register of and much more! View the Wills, including name, catalog at address and relation- or www.mdavisgroup.com ship.

Date of first publi412-521-5751 cation: 12/27/2018 Name of Newspaper Garage/Yard/ and/or periodical: Rummage/Estate Sales Washington City Paper/ Daily Market Washington Flea every Law Fri-Sat Reporter 5615 Landover Rd. 10am-4pm.

Name of Person RepCheverly, MD. 20784. Can buy resentative: in bulk. Contact Sandra 202-355-2068 Gordon or 301-772-3341 for details or if intrested in beingcopy a vendor.

TRUE TEST Anne Meister Register of Wills Pub Dates: December 27, January 3, 10.

NOTICE OF REQUEST FOR PROPOSALS Thurgood Marshall Academy charter school seeks gala caterer. Full RFP available at https://thurgoodmarshallacademy.org/about/ employment-opportunities/ or via email. Bids due to gpole@tmapchs. org with a 25-page and 5 MB file-size limit (including exhibits) by Wed., January 23, 2019, at 5:00

SUPERIOR COURT OF Miscellaneous CALIFORNIA COUNTY OF SANTA NEW COOPERATIVE SHOP! CLARA In the Matter of the FROMCase EGPYT THINGS Adoption No. AND BEYOND 18AD024780 240-725-6025 Petition Of CITATION www.thingsfromegypt.com TO PARENT In the thingsfromegypt@yahoo.com Matter of the Adoption PetitionAFRICAN of SOUTH BAZAAR Craft Cooperative AMELIA ORTIZ GARCIA 202-341-0209 Adopting Parent www.southafricanbazaarcraftcoo perative.com From the people of the southafricanba z a ar @hotmail.

State of California com To: Latoya Shade Sutherland WEST FARM WOODWORKS By order of this court Custom Creative Furniture you are hereby advised 202-316-3372 info@westfarmwoodworks.com that you may appear www.westfarmwoodworks.com before the Hon. Lorie Pegg, Judge presiding 7002 Carroll Avenue in Department 72 of the Takoma Park, MD 20912 court located at 201 N. Mon-Sat 11am-7pm, 1st 10am-6pm St., San Jose, CA Sun 95113, on Feb 11, 2019 at 11am then and there Motorcycles/Scooters to show cause, if any you have, RILEY 2016 Suzuki why TU250X for sale.

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Bands/DJs for Hire The following information concerns rights and procedures that relate to this proceeding to declare minor free from your parental control and custody as set forth in Family Code Section 7860 et seq.: 1. At the beginning of Get Wit It Productions: the proceeding the Profescourt sionalconsider sound andwhether lighting availwill or able for club, corporate, private, not the interests of the wedding receptions, holiday minor child require the events and much more. Insured, appointment competitive rates. of Callcounsel.

(866) 531If the finds thatfor a 6612 Extcourt 1, leave message the interests of the ten-minute call back, or book onminor do require such line at: agetwititproductions.com protection, the court will appoint counsel to repAnnouncements resent him, whether or not he is able to Announcements - afford Hey, all you lovers of erotic and will bizarre counsel.

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2. If a parent of the Events minor appears without counsel and is unable to Christmas in Silverthe Spring afford counsel, court Saturday, Decembercounsel 2, 2017 for must appoint Veteran’s Plaza the parent, unless the 9:00 a.m. to 7:00 p.m. parent knowingly and in Come celebrate Christmas intelligently waives the heart of Silver Spring the at our right to be represented Vendor Village on Veteran’s Plaby counsel. court arts za. There will beThe shopping, will crafts not appoint the with and for kids, pictures Santa, and to entertainment same music counsel repreto spread holiday and and more. sent both thecheer minor Proceeds from the market will his parent. provide a “wish” toy for children 3. The court may apin need. Join us at your one stop point either the public shop for everything Christmas. defender or private contact For more information, counsel.

Futsum, If private is appointed, he or she will info@leadersinstitutemd.org or receive reasonable sum call 301-655-9679 for compensation and General expenses, the amount of which will be deterLooking by to Rent yard space for mined the court. hunting dogs. Alexandria/ArlingThat amount must be ton, VA area only. Medium sized paid by the real parties dogs will be well-maintained in in interest, but not temperature controled dog housby in animal such care es. Ithe haveminor, advanced proportions experience and as dogsthe willcourt be rid believes beurine just. free of feces,toflies, andIf,oder.

Dogs will be in a ventilated kennel however, the court finds so theyany will not exposed that of be the real to winter and harsh weather etc.

Space parties in interest canwill neededcounsel as soon asthe possinotbeafford ble.

Yard for dogs must be Metro amount will be paid by accessible. Serious callers only, the anytime county.Kevin, 415- 846call 4. The court 5268.

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