Washington City Paper (January 18, 2019)

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As homicides continue to rise in D.C., parents whose children suffered violent deaths in recent years reflect on open wounds. P.10

By Candace Y.A. Montague Photographs by Darrow Montgomery

NEWS: FEDERAL EMPLOYEES ARE HOPPING MAD 6 FOOD: WHEN RESTAURANT MANAGERS EAT OUT 16 ARTS: A REVIEW OF A NONSMITHSONIAN EXHIBITION 18

Capital One Arena • Washington, D.C.

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THIS WEEK’S SHOWS ALL GOOD PRESENTS

The Wood Brothers w/ Priscilla Renea ................................. Th 17 & F JAN 18 Cracker & Camper Van Beethoven ..................................................... Sa 19

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

JANUARY

FEBRUARY (cont.)

Super Diamond .....................Th 24

Cherub w/ Mosie Late Show! 10pm Doors ......................F 22

JAN 26 SOLD OUT!

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

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FEBRUARY

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Vince Staples w/ Buddy .........Sa 23 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

DC’s All ‘90s Band .....................Sa 2

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

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

Spafford w/ Of Tomorrow .........Sa 9 Panda Bear w/ Home Blitz ......M 11 Dorothy w/ Spirit Animal .........Tu 12 Bob Mould Band w/ Titus Andronicus ...................Th 14 Galactic feat. Erica Falls (F 15 - w/ High & Mighty Brass Band •

Sa 16 - w/ Aztec Sun) .....F 15 & Sa 16

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MARCH

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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.

OUT! SECOND NIGHT ADDED!

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Neko Case w/ Margaret Glaspy .. JAN 27 Capturing Pablo:

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

Whindersson Nunes .......... MAR 23 Meow Meow + Thomas Lauderdale (of Pink Martini) .............................. MAR 25 Spiritualized ............................APR 16 Citizen Cope .............................APR 17 Imogen Heap With special guest

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

An Evening with DEA Agents Steve Murphy & Javier Pena

ALL GOOD PRESENTS

Story District’s Yann Tiersen Sucker For Love ................... FEB 14 (Solo In Concert) .........................MAY 24

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

The Motet w/ No BS! Brass Band .................Sa 9

A Conversation on Pablo Escobar’s Take Down and the Hit Netflix Show Narcos ................... FEB 2

ALL GOOD PRESENTS AN EVENING WITH

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

AN EVENING WITH

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

Apocalyptica Plays Metallica By Four Cellos Tour .MAY 28

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J Boog w/ EarthKry & Eddy Dyno .M 11 ALL GOOD PRESENTS

Trevor Hall w/ Dirtwire & Will Evans ............Tu 12 Smallpools ...............................W 13

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COVER STORY: LIFE AFTER DEATH

12 For grieving parents of homicide victims, the troubles do not end at the crime scene.

DISTRICT LINE 4 Loose Lips: Who gets to see police footage of Ward 8 Councilmember Trayon White?

6 Fed Up: As the government shutdown stretches on, federal workers’ frustration increases.

SPORTS 8 Sweeper Hit: Locals hit the ice to learn the ins and outs of curling.

9 The 19th Hole: The future of Langston Golf Course hangs in the balance as the National Park Service searches for a new operator.

11 Gear Prudence

FOOD 16 Managing Expectations: What general managers see when they dine out

ARTS 18 Galleries: Anderson on Permanence, You and Me, and Play Date at IA&A at Hillyer 20 The Scene Report: New songs from local rock, R&B, dark wave, and “Depressive Black Metal” artists 21 Short Subjects: Zilberman on Glass and Olszewski on Cold War

CITY LIST 23 Music 27 Theater 28 Film

DIVERSIONS 29 Savage Love 30 Classifieds 31 Crossword

DARROW MONTGOMERY 1600 BLOCK OF COLUMBIA ROAD NW, JANUARY 14

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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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DISTRICTLINE Candid Camera

The Washington Post is suing the District for police footage of Councilmember Trayon White.

By Mitch Ryals The DisTricT Does not want you to see police body camera footage of a 2017 traffic stop and arrest of Councilmember Trayon White.

D.C. Attorney General Karl Racine argues in court documents that White’s expectation of privacy outweighs the public’s right to view the footage of an interaction between a sitting councilmember and a District police officer on a public street. The AG’s office declined to comment on the pending lawsuit.

Mayor Muriel Bowser’s office has weighed in as well. A letter from the Mayor’s Office of Legal Counsel denying a Freedom of Information Act request submitted by the Washington Post says that White has a “strong privacy interest in not being associated unwarrantedly with alleged criminal activity.”

White said Friday that he has no problem with the District releasing the footage.

“I’m intrigued that the Wash Post is spending money on lawyers about this situation,” he says via text message. “I see it’s an agenda. D.C. should just go ahead and release the footage.”

The fight over access to the body camera video is playing out in a lawsuit the Post filed in August 2018. The case cleared an initial hurdle early last week when D.C. Superior Court Judge Hiram E. Puig-Lugo rejected the District’s attempts to get the lawsuit thrown out. But the judge stopped short of ordering the footage to be released. The next hearing is scheduled for Feb. 2.

“The residents of the District of Columbia have a right to know, not just whether the Councilmember sought preferential treatment, but whether the complaints about MPD that he has raised over time manifested during the traffic stop on June 27, 2017,” Puig-Lugo writes in his opinion.

The case has implications for the future of public access to police body camera footage in general, as well as for White in his role as a councilmember.

Attorneys and experts in open government

Darrow Montgomery

LOOSE LIPS

law say the case is the first to test the District’s FOIA law as it pertains to body camera footage. The outcome could more clearly define what footage must be released and what footage police can keep from the public eye.

“I don’t know of any other Superior Court case about privacy in body worn camera situations,” says Fritz Mulhauser, a lawyer familiar with FOIA issues, who sits on the board of the D.C. Open Government Coalition but spoke with City Paper in an individual capacity. “MPD’s definition of privacy with regard to body worn cameras hasn’t been tested previously in court.”

4 january 18, 2019 washingtoncitypaper.com

The Post sees the footage as an essential piece of information about a D.C. lawmaker who has authority over MPD. The paper declined to comment for this article while the case is pending.

The “public has an interest in knowing whether Councilmember White may have attempted to take advantage of his position of authority—or whether he received favorable treatment—during his stop and arrest,” the Post says in court documents. iT was arounD 11:30 p.m. on June 29, 2017 when an MPD officer stopped White for driv-

ing with his headlights out on Pennsylvania Ave. NW near 13th St. NW, less than a block from his office at the Wilson Building.

White told the officer that he left his driver’s license in his other vehicle and instead offered his D.C. government ID card, according to the officer’s account of the interaction.

The officer then found that White’s license was suspended and arrested him. The charge for driving on a suspended license was dropped in August 2018, according to the court’s docket available online.

Less than four months after White’s suspended license charge was dropped, he in-

DISTRICTLINE

For open government advocates, this case is another example of the District’s opacity with body camera footage.

Back in 2015, when the city was shaping its body camera policy, Bowser initially wanted to make all police body camera footage ex-

empt from public disclosure, in part because of the anticipated expense of producing the footage and concerns about personal privacy. Ultimately, the Council rejected the mayor’s strict position and the two sides came to a compromise that exempts some footage from disclosure.

Since then, however, open government attorneys say D.C. has taken a broad definition of what footage qualifies for exemption or redaction.

“MPD has been notoriously bad about this,” says Bob Becker, a lawyer and member of the D.C. Open Government Coalition, speaking in an individual capacity. Becker points to two cases to illustrate his point.

The first involves Fox5’s efforts to get footage of drunk driving arrests used as evidence in court. The redacted videos that MPD provided obscured officers’ and suspects’ identities beyond what would have been shown in court, Becker says, adding that “they obliterated everything meaningful in [those videos].”

In the second, more recent example, MPD’s FOIA office returned an Advisory Neighborhood Commissioner’s request for body cam footage with a $5,000 bill to cover the cost of redactions. Denise Rucker Krepp, the neighborhood commissioner, requested body camera footage of an encounter between officers and three young boys in a Capitol Hill neighborhood. Police have said the boys were accused of threatening a man with a knife, but were never charged, Fox5 reported.

The encounter includes 229 minutes of video. The approximately $5,000 bill comes to about $23 per minute.

Krepp asked MPD to waive the fee, and they responded that now they won’t be releasing the footage at all because the subjects are minors.

For Mulhauser, the open government lawyer and advocate, the $5,000 bill raises more concerns about how police are choosing to interpret the law that allows them to redact body camera footage.

The D.C. FOIA allows a law enforcement agency to withhold records (including body camera footage) if the release would be an “unwarranted invasion of personal privacy.”

But how does the department define “unwarranted?” Those rules are not publicly available, according to Mulhauser’s blog post on the D.C. Open Government Coalition’s website. MPD did not not provide its redaction policy to City Paper by press time The court battle over footage of White’s interaction with the MPD officer doesn’t yet have implications for the department’s redaction policy. But, Mulhauser notes, if MPD elects to release the footage with redactions, and the Post decides to challenge the department’s decision, the redaction process could become much more transparent.

CP

Kevin McKenzie, Artistic Director

Harlequinade Choreography by Alexei Ratmansky

Isabella Boylston and James Whiteside, photo by Marty Sohl

troduced legislation aimed at restricting the city’s ability to suspend drivers’ licenses for low income people with ticket debt “apparently without disclosing that he himself had been arrested and charged with driving on a suspended license,” according to the Post’s lawsuit. The bill passed unanimously and currently awaits Bowser’s signature.

The Post cites examples of White’s police criticism dating back to his time as an elected member of the State Board of Education to bolster its case for the release of the body camera footage. Such footage would allow the public to “evaluate the propriety of the MPD’s stop and arrest of Councilmember White, and whether there is merit to his accusations of politically motivated policing,” the newspaper argues in court documents.

While on the State BOE in 2011, White was arrested during a protest outside the Woodland Terrace public housing complex, according to the lawsuit. At that time, White issued a statement saying MPD targets him because he speaks out against police misconduct.

“Police follow me all the time even when I’m driving with my family. I was assaulted

by MPD in 2006 and sued DC. Ever since then I have been a target by DC police. I have a great relationship with MPD senior officials who really cares. However, the vice unit aka ‘jump outs’ is unethical and get away with illegal activities at the expense of people lives. This is one of many incidents.

I have no criminal record, except protesting at the White House. I feel disrespected and targeted. I have been labeled the leader for my generation, especially for Ward 8. That is one of the main reasons the people arrested me.”

In 2014, White sued the District government for violations of his civil rights. The lawsuit says an officer slammed the trunk of a car on White’s head and shoulders causing him to be hospitalized. The case was resolved out of court after he took office as a councilmember.

The Post notes at least two other incidents where White documented his interaction with police as well as police interactions with others in videos posted and streamed to Facebook. With one video, which shows officers who had stopped two teenagers, White wrote: “While I understand they are trying to get guns off the streets. This is illegal and unethical,” according to court documents.

To be clear, the newspaper is not asserting that White’s interaction with the officer in 2017 was tainted by his political position.

That’s what they’re trying to find out.

January 29–February 3 Opera House with the Kennedy Center Opera House Orchestra Casting available at Kennedy-Center.org

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

American Ballet Theatre’s engagement is made possible through generous endowment support of The Lee and Juliet Folger Fund.

Support for Ballet at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

washingtoncitypaper.com january 18, 2019 5

DISTRICTLINE

Fed Up

“If you’ve already decided to give us back pay, then let us go back to fucking work.”

In hIs 30 years at the Department of Commerce, Doug has been through a lot of government shutdowns. None of them, however, have affected him like this. He is used to adjusting to the occasional furlough, but as the longest shutdown in American history breezes through its fourth week, he has “personally shut down.”

He has been cutting back—shopping only for “necessities;” keeping the house cold; rationing gas; “doing everything my grandma complained about from the Great Depression”—but with a family and elderly parents to care for, it has not been enough. So he filed for unemployment and has been applying for other jobs, two furlough firsts for him. Money has not started coming in from unemployment yet, though, and while he has only been looking for short-term work, so far he has yet to get a reply. “I hope for the best—to return to the position I had before the furlough—but it’s about to the point to prepare for the worst and consider anything I need to do,” he says.

The District of Columbia is home to roughly 100,000 federal employees at agencies affected by the shutdown, as well as an untold number of contractors. Many of the federal workers are furloughed, and while they are virtually guaranteed to eventually receive back pay, when that will happen is anyone’s guess. Others are being made to work without pay, and those contractors who have stopped receiving paychecks are unlikely to receive back pay at all.

Each passing week, the toll on workers across the DMV increases, and for many, the struggle is psychological as much as it is financial.

One early childhood educator working with the Smithsonian tells City Paper that she has not had a full night’s sleep since the shutdown started. While she has dealt with general anxiety since she was a child, she has been able to manage it well in recent years. But not knowing when she will be back at work or what the future holds has brought sleepless nights and panic attacks “back into [her] daily life.” “I think what hurts the most is the fact that I really consider my work a calling… To see it all held hostage as part of a political stunt makes me angry and scared,” she says.

She is far from the only person struggling to watch her work go undone. Jane, a longtime National Park Service employee (she requested a pseudonym to protect her identity), has not had trouble living off her savings so far. But all the same, she says, “I can barely get out of bed.

I’m lucky if I’m dressed before 2.” She spends a lot of time hanging out in NPS Facebook groups, where Parks employees trade financial tips and monitor the damage being done to the parks during the shutdown.

While she has plenty to worry about, especially if the shutdown lasts much longer, this harm to the parks might be what is making her the most anxious.

National parks have remained open during the shutdown, but without the staff there, visitors are cutting down trees, and trash and human waste are accumulating. “The poop and the garbage are just monumental.” She has trouble shaking it.

“There’s a reason we’re there. It’s as if we don’t matter,” she says. “There’s rage, there’s exhaustion, there’s frustration—then it’s back to rage again.”

Ma k i n g e n ds meet right now is also at the top of many peoples’ minds. Food pantries in the area report a flood of requests as workers’ savings start to run thin. Florence, who works for the Dep ar tment o f Homeland Security, tells City Paper that she has been among those going to food pantries for the first time ever, getting help from the Capital Area Food Bank. In January, she managed to pay some of her bills and keep food on the table, but she could not make her mortgage payment. She knows she will get her electricity bill soon, and she does not have the money in her budget to pay it. But what scares her most is “the uncertainty of what will hap-

6 january 18, 2019 washingtoncitypaper.com

pen if it takes too long for us to go back to work and I don’t have any more food.” Some days she feels normal, but other days, she just cries.

All this chaos is making some federal work-

that she says finding work elsewhere would be hard. Beyond that, she worries about how an employee exodus would affect the agency and who would be around to take over her responsi-

ers ask if they should even return to government jobs after this is all over. Caitlin, who has left D.C. to be with family until the shutdown is over, explains that she joined the Food and Drug Administration thinking that “government jobs were some of the most stable jobs available.” As much as she enjoys her work, the shutdown has made her consider moving to the private food industry.

What Jane spent much of her career doing is so specialized to the National Park Service

bilities if she walked out. Still, she is getting fed up. “I’m going to go back just to get my back pay, but then I’m considering [leaving] because this is untenable. I’m too old for this crap.”

The whole shutdown feels pointless to her, and she is worried that President Trump and Congress will not cave any time soon. “Well, where does that leave us?” she asks. “If you’ve already decided to give us back pay, then let us go back to fucking work.”

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washingtoncitypaper.com/sports

Darrow Montgomery

SPORTS

Bruce Allen will remain the local NFL team’s president despite Washington’s dismal record on his watch, not to mention a dwindling and increasingly angry and vocal fan base.

The 19th Hole A beloved historic black golf course faces uncertainty as a national bidding war over its future begins.

By Fredora Kamara 145 acres. 18 holes. And a setting so peaceful, you could almost forget the racial injustices that black golfers conquered all those years ago. Langston Golf Course is among the nation’s earliest integrated golf courses, and it is a long-standing haven for D.C. residents. Now, as it becomes the subject of a national bidding war, patrons and neighbors fear change for the beloved course.

“Langston is not like what it used to be,” says Adrian Stewart. He is a former player at Langston, and when he was a youth he par-

GOLF

ticipated in the junior golf leagues and tournaments once offered at the facility. “Langston had that feeling of going to your grandparents’ house. You ate good food, heard great stories, and could always find the older cats sharing their wisdom there with young people.”

But those days are becoming a distant memory for golfers and residents alike. After years of mismanagement and inconsistent operation, the famous black golf course is open to a long-term investor to upgrade and operate Langston. The National Park Service is taking a competitive route to leasing the course.

It released a request for information (RFI) for Langston—bundling it with East Potomac Tennis Center, East Potomac Golf Course, and

8 january 18, 2019 washingtoncitypaper.com

Rock Creek Golf Course—in October, with applications due this week, in the middle of the government shutdown, as it turns out.

The Federal City Council, a D.C. nonprofit that’s been working on economic growth in the city since the 1950s, was previously in talks with the NPS about refurbishing the course. The two groups had signed a letter of intent in June 2017 to negotiate a permanent lease for the Federal City Council to improve and manage this urban parkland. According to the letter, the partnership could “result in a multi-million-dollar renovation of three dilapidated golf courses and a tennis center in the District.” However, the NPS ended all negotiations with the Federal City Council in late October 2018. The NPS has yet to comment on why they switched to a competitive bidding process.

“If we had remained on the process and the time limit we’d been on, we certainly planned to engage directly with the community as soon as we were nearing signing that lease, but we’re on a different path now,” says Emeka Moneme, deputy executive director of the Federal City Council. Moneme says he can’t speak for why the NPS changed gears.

The Federal City Council anticipates there will be other operators and investors interested in the Langston project, but the nonprofit still wants the lease and is confident in its work. “We spent a lot of time developing it, so we feel comfortable competing for it. We will put together a team which we’ve been talking to, and we will pursue the solicitation,” says Moneme.

Located in the northeast quadrant of D.C., residents from the Carver and Langston Terrace communities say they want the golf course restored to its original grandeur, back to empowering African-American golfers and cultivating community. “This was the mecca of black golf on the east coast. [It drew] not only the golfers but black entertainers. Langston brought everybody together. Now, the fear is change,” says Ernest Andrews, longtime patron and professional golf instructor at the facility. “As long as the name doesn’t change,” says Andrews, who wants to see the course’s legacy preserved.

A generational mainstay, Langston continues to be vital to younger members of the community. A 17-year-old golfer and high school senior, Lauren Artis, has genuine hopes for its improvement. “I wish conditions were a lot better.

It feels like they don’t care about the golf course,”

SPORTS says Artis. Like many, she started coming to Langston young and began to learn the sport.

She now has a full ride to Hampton University because of her golf skills and achievements at Langston. “I hope they move in a direction that actually benefits the golf course and the other facilities, not just for getting the money,” says Artis.

NPS will create a formal solicitation for the lease and improvement of the three D.C. golf courses and tennis facility based on responses to the RFI. Qualified respondents to any future proposals for this lease will have to provide documentation of appropriate experience in golf course management.

Katie Liming, an NPS spokesperson, didn’t comment on what ended talks between the NPS and Federal City Council, or what compelled the federal agency to release the request for information. In response to questions (before the government shutdown), she wrote, “The courses currently have limited amenities and need substantial capital investments. The NPS has determined that a competitive lease for the management of the courses will ensure the best deal for the American people and the best possible recreational experience for visitors.” (NPS did not respond to recent follow-up questions. A spokesperson working during the shutdown says that Liming is on furlough. The working spokesperson explains that she can’t answer any of City Paper’s questions because she is an “intermediate” employee during the shutdown.)

Langston is thus far open during the government shutdown, though the NPS hasn’t released a statement on the status of its RFI submission process. The current concession holder, Golf Course Specialists, tells City Paper that it has extended its concessions contract “through the 2020 golf season.” GCS is responsible for managing the Clubhouse and the Grille, or food and beverages, at Langston.

But Langston regulars question what will happen in the long term, and whether the current process is stalled. The NPS issued one extension for the RFI before the government shutdown even began. “It’s been closed a handful of times, too. They didn’t have a contract,” says Andrews. When no concession contract is in place, operations can come to a standstill.

Mayor Muriel Bowser wrote a letter in 2017 to the White House recommending that President Donald Trump and the government “transfer or extend the lease for the long term, while also removing restrictions from future use,” on landmarks like Langston. “[We can] transform to create and preserve green space, add much-needed housing and retail, include a sports and/or entertainment purpose and above all generate jobs for our residents and the region,” she wrote. But is this what the community wants?

Langston opened its gates in 1939. Over time, it became a center for enrichment programs

for at-risk youth, employed community members, and increased the feeling of safety in the area. “[Langston] gave me something to do that helped me stay out of trouble; to compete and have fun while learning golf meant a lot to me as a kid,” says Stewart. He fondly remembers visiting the course’s after-school tutoring center, the computer lab, participating in community giveaways, applying to college scholarships there, and enjoying trips—one being an annual trip to the Bahamas for a junior golf tournament.

“It made Langston become another home for a lot of kids, including myself,” says Stewart.

Things changed when a popular acting president, James “Jimmy” Garvin, was named in a bribery scandal with former D.C. Councilmember Harry L. Thomas Jr. in early 2012.

“When I left everything ceased,” says Garvin.

He was one of five people to plead guilty to charges following a federal investigation of over $350,000 in taxpayer money—previously allocated for the arts, youth recreation, and summer programs—funneled through nonprofits into Thomas’ hands. Garvin was a principal at one of those organizations, the Langston 21st Century Foundation, and he ultimately pleaded guilty to concealing and failing to report Thomas’ theft. For these reasons, Langston’s community operations came to a screeching halt.

“When Mr. Garvin was there, the golf course would come to the neighborhood and pick up the kids by the busload and take them different places to do different things. He was the backbone of Langston,” says Shirley Richardson, an 80-year-old Langston Terrace resident and a past associate of the golf course. She served 22 years as a board member on the Langston Terrace youth program, collaborating on numerous projects with Garvin. “You can’t expect [them to bring back] what we did back in the day,” says Richardson. With a tumultuous past and an uncertain future weighing on the Carver and Langston Terrace communities, Langston Golf Course supporters face this reality with heavy hearts.

“Right now, Langston has only benefited because of the name, but we’re talking about the people. The people here are not benefitting,” says Clarence Miles, a self-titled Langston Terrace “community navigator” and director of the nonprofit youth program Uniting Our Youth. Miles worked with the golf course during Garvin’s presidency and hasn’t visited since his departure. Miles declines to discuss why collaborations have ended between the golf course and Uniting Our Youth. Rather, he talks about what the community needs and wants from a potential long-term agreement.

“We want to get people some jobs, create scholarships for the people here so they can go to college,” says Miles. “If we’re talking about a long-time project, then the people need to benefit from it.”

CP

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washingtoncitypaper.com january 18, 2019 9

SPORTS Sweeper Hit At one local club, interest in curling persists beyond the Winter Olympics.

in the path of the stone, or directing strategy from the house.

It seems simple, but there’s a reason why some call curling “chess on ice.” It requires a lot of technique and finesse. Throwing a stone past the house results in zero points, so brute strength won’t help. Knowing where and how hard to sweep will alter the path the stone travels.

By Kelyn Soong Meghan gloyd blaMes her cat. She had nearly completed her registration for a coveted spot in Potomac Curling Club’s Saturday Morning Breakfast Extravaganza when she took her eyes off her computer for 15 seconds to shoo him away. That short delay cost Gloyd a guaranteed spot and landed her on the club’s waitlist. Her curling debut appeared to be in jeopardy.

“I was really bummed … I was like, ‘Seriously? What the crap?’” Gloyd laughs. “I was refreshing the button. It took me too long to write my name.”

A year after the United States men’s curling team won gold at the Winter Olympics in PyeongChang, the club still benefits from the spike in interest. Forty new members joined the club in 2018, bringing the total to 394 at the end of the fall season, according to board president Adam Kapp.

During the winter, The Wharf hosts outdoor curling games that routinely draw the interest of casual fans to its ice rink. But learning how to throw and sweep with an established club requires more advanced planning.

Registration for the PCC’s Saturday morning events begins at 8 p.m. the Wednesday 10 days prior. Twenty spots are reserved for members and 12 are saved for non-members, in order to keep the level of experience balanced. Non-members pay a $25 fee for breakfast, play time, and drinks and snacks after the game. As Gloyd learned, it fills up quickly, sometimes within seconds.

The event almost always generates a waitlist, says Kevin White, one of the three coordinators along with Keith Wood and Mike Szabronski. During the Olympic fervor last February, the club, which operates out of the National Capital Curling Center in Laurel, had more than 40 hopeful participants on its waitlist. About 10 were waitlisted on this chilly Saturday morning in January.

A day earlier, Gloyd received an email from the club. Due to a cancellation, she had been taken off the waitlist and could join her friends on the ice.

“I have watched it in the Olympics,” says Gloyd, a Baltimore resident. “And it looked really fun.”

Kelyn Soong

CURLING

several dozen sleepy-eyed participants from all over the D.C. area arrive at the club at 7:30 with the intention of spending the next few hours playing the winter sport with Scottish roots that involves throwing large, heavy granite stones on sheets of ice and sweeping a path to a central target.

At 9:37 a.m., White, wearing a black vest with a blue name tag that indicates his status as a club member, walks over to the far corner of the room, next to the juice containers and coffee pots, and rings a bell. The room of about 30 people in the middle of finishing breakfast comes to a standstill.

“Wow, Pavlovian response,” White jokes.

With stomachs full, the group meanders over to the curling rink. A collection of brooms is located along the walls, and hung above the ice are flags of the United States, Canada, Scotland, Maryland, Virginia, and the District of Columbia.

Earlier in the day, the newcomers learned about the rules of the game.

The objective is to throw more stones near the circular target (the “house”) than the opposing team. The two teams consist of four players each: the lead, the second, the third (or vice), and the skip. Teams alternate sliding a stone (two per player), sweeping the ice

10 january 18, 2019 washingtoncitypaper.com

“I think it’s something that is just a little bit different,” says Kapp. “It definitely combines physicality and being an athlete with strategy and the mental game.”

Gloyd, wearing a green dinosaur onesie, is easy to pick out on the ice. Her friends, Andrew (a federal government employee from D.C.), and his wife, Alex, are moving to the West Coast next month and convinced Gloyd, and their other friends, fellow first-time curlers Stefan Roha and Laura Roha of Takoma, to try the activity before they departed.

A few members of the group entered the ice with a preconceived idea that the sport would be easy. Experienced curlers are used to the jokes and condescending sneers. Anyone can be an Olympian in curling, right?

“It was harder than I thought,” says Gloyd.

“The idea of both letting it curl and twisting the stone and also pushing off without going out of bounds or too fast, too slow, there’s a lot of variables. I didn’t know how to calibrate.”

“It’s definitely harder than it looks on TV,” says Stefan. “Definitely a lot of skill involved.

I’m not sure I ever really got good at judging if I were too slow or too hard.”

Two sheets over, Elisabeth Weber can’t feel her feet. Her cousin, club member Joe Morrison, had warned her about the cold,

but Weber didn’t think it’d be quite this bad and wore ankle socks. Morrison had repeatedly tried to convince Weber and her husband, Carl, to join him on the ice. The early morning proved to be a deterrent for the Ballston residents, but they finally caved.

Carl didn’t need too much convincing after watching the Olympics.

“I think Carl got into [Olympic curling] more than I did,” Elisabeth says with a laugh.

“It was kind of cool, because I had never watched curling before, but when someone explains the rules to you it’s a lot more interesting when you know what’s going on.” social interaction is a big part of curling culture, and curlers value their time off the ice.

In the curling world, the traditional post-game gathering is known as broomstacking and involves a fair amount of alcohol.

After the Saturday proceedings, Alexa Oxer picks up a shot of Irish whiskey, which she downs in one gulp.

“Oh, it’s gross,” she says, pursing her lips.

“Would you like some?”

Over the years, she’s attended two or three Saturday morning extravaganzas with her boyfriend, Morrison, and had been content with her experience. She would show up at the center to take photos of him, but did not initially feel the urge to join a competitive league.

Oxer, 27, became a full-time club member last year shortly after the two moved to Silver Spring, and now plays several times a week.

On her feet, she says after downing her whiskey shot, are equipment befitting a curling enthusiast: Goldline Quantum E curling shoes, a rubber anti-slider slip-on gripper, and Quantum slider discs attached to the bottom of her shoes (total price: $265 before tax). She has also purchased curling-related apparel like gray socks with curling rocks on them and a pearl curling rock necklace. “I love the way they look,” she says.

One table over, former George Mason University law school classmates Tim Tang and Kevin Misener are playing crokinole, a handeye coordination board game popular in curling circles, with a group of curlers. Several, like Oxer, had taken a shot of whiskey or were drinking beer. On the far end of the center is a full-service bar with cabinets full of alcohol.

“We try to make it appeal to our guests,” White says of the event. “We try to make it guest-centric so people come in, have a good time, want to come back, and tell friends that they had a good time.”

More than five hours have passed since the start of the Saturday morning breakfast, and yet half of the 32 individuals are still sitting around and socializing. The Irish whiskey has made its way around the four tables.

More games are brought out. More drinks are served. And no one is in a hurry to leave. CP

Gear Prudence Gear Prudence: A pet peeve of mine: people who ride their bikes with the seat way too low.

You should not be able to put both feet flat on the ground while stopped! I know I shouldn’t care how other people ride their bikes, but for their own good, they need to understand that they’re making it harder to pedal and probably messing up their knees to boot. Why don’t people know anything about proper bike fit?

—Feet Implanted Timidly Dear FIT: We’ll tackle the larger question of proper bike fit later, but you have correctly identified one of the more common misapprehensions about seat height. The too-low seat is especially common for Bikeshare riders, and it’s not rare to see someone whose seat is so low that his knees rise nearly to the height of the handlebars with each pedal. This is, as you point out, suboptimal from a mechanical advantage standpoint (think Archimedes and levers) and would, if carried on long enough, probably result in significant joint pain. It’s also a totally understandable mistake and here’s why: Bikes wobble. If you’re not used to riding one (or if you’re just really worried about falling down), of course you’re going to lower your seat to the point that you can get both feet on the ground as quickly and easily as you can when you stop. Even if it’s “wrong,” per se, it feels safer.

Knowledge about proper bike fit remains elusive for most people because this is how most conversations about bike fit go: 1. Bike shop employee eyeballs your height and suggests a properly size biked and adjusts seat, then asks “This OK?” 2. Person buying a bike, who in many cases hasn’t ridden a bike in a really long time, if ever, says “Um, yeah, I guess.”

3. The end. No one ever mentions fit ever again.

There are exceptions, and some shops and riders work really hard to get the bike completely dialed-in, but this is primarily for people using the bike in sport and competitions.

In most other cases, fit is left to guesswork because it is so idiosyncratic. Everyone’s body measurements are slightly different, bike geometry varies, and individual preference (aggressive, relaxed, bad back, wonky ankle) can lead to all sorts of different outcomes. There is a science to bike fit and you can go down an internet rabbit hole with a tape measure and protractor to arrive at the “ideal fit.” But even a “scientifically derived” fit still has a margin of error and riders should feel no compunction about taking a wrench to their bike or bringing it to a shop for advice in order to achieve what feels most right to them. Bike fit is more a process than an outcome, and if you don’t get it right on the first go round, that’s OK. —GP

JOHN OATES WITH THE GOOD ROAD BAND ADAM EZRA

JAN 17 + 18 | TONIGHT!

SEPTEMBER 23, 2018 — MARCH 3, 2019 AT THE BALTIMORE MUSEUM OF ART

EVENING OF INDIAN DANCE

JAN 19 | SATURDAY

BUMPER JACKSONS JAN 26

ST. LAWRENCE STRING QUARTET

CHAMBER MUSIC AT THE BARNS

FEB 1

THE DUSTBOWL REVIVAL & HOT CLUB OF COWTOWN

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

“A loose journey of self-discovery that can be read in mythological or biographical terms or, often, both at once.”

— New York Times, April 27, 2017

SCHUBERTIAD

CHAMBER MUSIC AT THE BARNS

FEB 22

THE MONTROSE TRIO VIENNA TO PRAGUE

CHAMBER MUSIC AT THE BARNS

MAR 8

Mark Bradford: Tomorrow Is Another Day, presented at The Baltimore Museum of Art, is made possible by the Henry Luce Foundation, Maryland State Arts Council – Department of Commerce, Nancy L. Dorman and Stanley Mazaroff, Gabriel and Deborah Brener, Katherine and Joseph Hardiman, John Meyerhoff, M.D. and Lenel Srochi-Meyerhoff, Mafia Papers Studio, and Hauser & Wirth. The project is also supported in part by an award from the National Endowment for the Arts. For more information, visit www.arts.gov.

AND MANY MORE!

WOLFTRAP.ORG

Mark Bradford, 2017. © Mark Bradford. Photo: Carlos Avendaño

washingtoncitypaper.com january 18, 2019 11

LIFE AFTER

Parents lament a lack of support in the years after losing a child.

By Candace Y.A. Montague

Photographs by Darrow Montgomery

12 january 18, 2019 washingtoncitypaper.com

DEATH

Kenny Barnes Sr. with a photo of his son, Kenny Barnes Jr.

Are you still a mother if your child passes away? What if you lose a child and just so happen to be engaged in a casual conversation with a stranger who offhandedly asks, “So, how many children do you have?” How do you answer that? In the wake of a homicide, maintaining your composure while facing questions like these could be the hardest part of your existence.

The year 2018 ended with 160 homicides on the books in D.C.—a 38 percent increase from the previous year. In the first 15 days of 2019, 12 more have died by homicide.

Parents of past victims—those who lost their children before this recent spike—know something about what’s in store for grieving families.

The victimization does not end at the scene of the crime or by capturing the perpetrator.

City Paper interviewed three D.C. parents who lost their children to bullets in years past. The lack of respect from homicide detectives, the shortage of therapists and grief counselors, the discouragement of unsolved cases, have made these parents victims in a secondary manner.

The promises of legislation like D.C.’s 2016 NEAR Act, a progressive omnibus policing bill that focuses on accountability and treating violent crime as a public health concern, are bright. But the provisions of the act have been slow to materialize, and bereavement is not included in D.C.’s paid family leave law. september 24, 2001. Kenny Barnes Sr. is standing in the morgue at DC General Hospital staring at his namesake’s body on a gurney, his life extinguished prematurely by a quartersized gunshot wound to the head. A clergyman approaches him cautiously and says, “You got to give it over to Jesus, son.” Without missing a beat, Barnes Sr. turns back to him and says, “Get out of my goddamn face! You think I wanna hear that right now? If Jesus had anything to do with this then I don’t believe in Jesus.”

Kenny Barnes Jr. was 37 at the time of his death. He was an entrepreneur who had a vision to open a store on U Street NW—before it was a trendy District hotspot. The Coolidge High School graduate opened his first store in City Place in Silver Spring and called it The Leather Shop. When he told his father that he wanted to open a shop on U Street NW, Barnes Sr. thought his son was crazy. “He said, ‘Dad, I wanna tell you something. U Street one day is going to be one of the best streets in the United States.’ So he went there in 1999 and he had a clothing store,” recalls Barnes Sr. Boutique U sold bright, unique clothes suitable for late-night parties and the clubs.

Barnes Jr. was doing well, but not getting rich, according to his father. He had a wife and five children to support. He also had a desire to give back to his community, so he employed an 18-year-old man by the name of James D. Hill, aka “Dee,” who would do odd jobs around the shop for money. Barnes Jr. was fond of him.

On the day of the murder, Barnes Jr. was in his shop talking on the phone. When Hill entered the store with another young man he was high on PCP. Barnes Jr. and Hill engaged in a conversation lasting about five minutes.

Barnes Sr. recalls what a witness told him later on. “And so the guy [Dee] pulls a gun out and says, ‘You know what time it is, Kenny.’ And Kenny said, ‘Stop playing, man. Get that gun out of my face.’ Dee clicked the gun once and it stalled. The second time, he shot him in his face. Instantly murdered him.”

Hill was wanted for two other murders in the same year that he killed Barnes Jr. A Post investigation later revealed that Hill had absconded from a group home where he was supposed to be under the city’s supervision— and that his case fit a pattern. Between 1999 and 2002, nine people died at the hands of juveniles who were supposed to be in the city’s care, according to the investigation, and the youth frequently ran away from city programs for days and even months at a time. Only two D.C. police officers were assigned to find runaways by 1999, and they often were reassigned from that task.

Hill went through Barnes Jr.’s pockets looking for money after he shot him, and attempted to open the cash register. He fled the scene after taking a shot at a bystander. “I was so mad with this young man. Still am,” his father reflects. The anger on his face looks like it happened an hour ago.

Barnes Sr. got two calls that night. One from his daughter, Carmen, telling him that Junior had been shot, and the other from his wife.

Barnes Sr. was a doctoral candidate at Loyola University Maryland in Baltimore at the time.

He couldn’t believe what he was hearing on the other end of the receiver. “He and I were like brothers. We hung out. We traveled together,” says Barnes Sr. “My son had built up a clothing store like a prophet. He saw what was coming. And the tragedy is he didn’t live to see it after it exploded.”

Hill was sentenced to 105 years in prison, but Barnes Sr. still takes issue with D.C.’s Youth Services Administration (which became the Department of Youth Rehabilitation Services in 2001). “D.C. had this agency that retains violent children. And they kept escaping.

And don’t nobody even bother to go and look for them. They didn’t put any active effort into finding them. Who’s really at fault here? I started a campaign against YSA. I felt that YSA, with its lackadaisical policies, was the reason why my son was murdered. They were directly responsible for that,” he says.

A year after his son’s death, Barnes Sr. was invited to speak on Reporter’s Roundtable, a local television program on D.C. cable Channel 16 hosted by Denise Rolark-Barnes. Then-Police Chief Charles Ramsey was also present for the show. Barnes Sr. didn’t miss the chance to voice his frustrations with the way the police handled murder cases of black victims.

“There were 15 victims of homicide represented,” he recounts. “Fourteen black and one white. Every one of the black families had a problem with the way their case was handled.

The one white guy thought his case was handled fine. He didn’t have a problem at all. I said to him, ‘Chief Ramsey, all of the black families that I talked to had a problem with how our family member’s case was handled. The detectives don’t get back to us. They don’t talk to us. It’s

like they don’t care. But this one white guy loved them. Don’t you see a problem with that?’”

These days, Barnes Sr., 73, does more research and organizing to try and turn around the juvenile crime crisis in the District. He spends his down time watching television.

“Before Kenny passed, I was living large— going to school, hanging out, going to events around town. After he died, what was right became wrong to me, and what I thought was before wrong was now right. So running the streets and chasing women and drinking was not right to me anymore.”

As for forgiveness, it’s not going to happen.

“What can he say to me? He’s sorry? He ruined my whole life. You never get closure. Anyone who tells you that has never lost a child. How can you get closure for losing a child? Just because you found the person that did it? How does that bring closure? Your child is gone forever.”

August 21, 2013. Cynthia DeShola Dawkins is about to enjoy some crabs when she gets a phone call from her son, Michael. “And he said, ‘Mama, somebody shot Timothy. He’s dead. Somebody shot Timothy. Somebody killed Timothy.’ I’m like, ‘Huh? What are you talking about? What do you mean somebody killed Timothy?’” She didn’t need to hear anymore talk. What she needed at that moment was confirmation.

DeShola Dawkins remembers racing to Fourth Street SE, a few steps from Hendley Elementary School, to find police barricades and onlookers in her way. She rushed up to an officer and shouted, “You gotta let me through! I want to know is that my son out there.” When her demands were not met, she tried a different approach.

She asked the officer four questions.

“Listen, is there somebody dead over there?”

“Is it a guy?”

“Does he have ’locks?”

“Look at me. Does he look like me?”

The officer couldn’t confirm much. But her ex-husband stood nearby along the barricade.

“I said, ‘Is that our son? Is that our son over there?’ He said, ‘Cynthia, I don’t know.’ I said, ‘What the hell do you mean you don’t know?

You don’t know your own goddamn child?’”

She didn’t find out for sure until the detective called her later on to verify that it was her son who had been lying face down in a pool of blood on the street. That was her sixth born on the sidewalk suffering from the damage of a bullet that entered the center of his back, severing his spine and then exiting his throat. She screamed and sobbed inconsolably.

The victim was Timothy Delonte DawkinsEl, 24. His mother calls him a “scholar,” the kind who loves the library more than the classroom.

He was the child who would leave the house when his siblings fought because he couldn’t take the violence. He was a father to one son, Ezekiel, who was 2 years old at the time of his father’s transition. Timothy was an avid Frank Sinatra fan who made videos of himself singing his hits. He championed the underdog. “Go talk to Dawkins,” is what his mother recalls people saying when they had trouble.

washingtoncitypaper.com january 18, 2019 13

He’d attended a five-day youth advocacy and organizing training with the Children’s Defense Fund and Marian Wright Edelman a few weeks before he died. He’d met Rep. Maxine Waters (D-Calif.) and counted Trayon White, now the Ward 8 councilmember, as his best friend and godfather to his son. “I meet thousands of people and I’ve never met another man his age on his level, intellectually or spiritually,” says Councilmember White.

Dawkins-El, who was unarmed, died in an exchange of gunfire between two other men.

The man with whom Dawkins-El was walking, Darious Scales, engaged in a gun battle with a man named Todd Green. Dawkins-El took the hit. Since forensics couldn’t prove that Green’s gun was the actual murder weapon, he was charged with carrying an illegal firearm.

Green served 17 months in prison.

Where does that leave the Dawkins family?

Angry, anxious, and dismantled. Dawkins-

gets murdered like that, I wondered, ‘Why did they murder my son?’ You know what I’m saying? Was it political? When you have seven children and you had a daycare for 10 years, everybody knows you.”

A loss of trust is common for families who lose a loved one to homicide. Stephanie Handel, Grief and Trauma Psychotherapist at the Wendt Center for Loss and Healing in Southeast D.C., explains that violent crimes can often lead to an existence full of worry.

“Homicide robs you of your sense of power and control,” says Handel. “Families are so cautious about how they talk about the death because it could potentially compromise the case. If too much information gets out it could spread something that could impact someone being apprehended. Anything like that can be unsettling for a family.” Mistrust may seep into a family member’s every interaction. “I walk down the street thinking, ‘Any one of you

might have been the person who killed my partner or my son or my daughter because I haven’t been told that anyone has been apprehended,’” says Handel.

The wounds of loss have not healed for DeShola Dawkins. And what about forgiveness? How does she feel about Green, who was, ironically, shot and killed on the same street in January of 2018? She laughs, “I’m happy he’s gone.”

July 19, 2015. Judith Davidson Hawkins never knew she could run that fast, but when she got the call that her son had been shot just a few blocks away from her home in Glassmanor, Prince George’s County, she made haste to the scene. When she arrived she saw him sprawled on the pavement very still. Police tape, lights, engines running made for the longest Sunday night of her life.

Who knew that when her son, Momo, Cynthia DeShola Dawkins with photos of her son, Timothy Dawkins-El

El’s younger sister, a certified nurse assistant who was living with him at the time of his death, was relocated to protective custody for two and a half years in case the perpetrator wanted to seek revenge. She had to disconnect from all the life she had ever known. Her mother stressed. “How was she going to work?

She had a small child so she had to get daycare.

But she was afraid to come to D.C.” DeShola Dawkins was crushed to see her daughter’s life completely uprooted.

As for DeShola Dawkins, the most unexpected struggle of living in the wake of her son’s murder was the loss of trust in a community where she reared her children. “I had to watch what I said because I didn’t know who I was talking to. And in D.C., when your child 14 january 18, 2019 washingtoncitypaper.com

“I had to watch what I said because I didn’t know who I was talking to. And in D.C., when your child gets murdered like that, I wondered, ‘Why did they murder my son?’ ... When you have seven children and you had a daycare for 10 years, everybody knows you.”

stepped out for a quick minute to retrieve his tie from a friend that he would end up shot on Addison Road? As the emergency medical technicians brought out a body bag, Hawkins began to scream. “You’ve got to breathe, boy!”

She refused to surrender to that bag. Momo, legally Alvin C. Layne II, was flown via helicopter to R Adams Cowley Shock Trauma Center in Baltimore.

Hawkins had no transportation to get to Baltimore and the police held her back for questioning. “We get to Eastover and they grill me like a criminal,” she says. “All I wanted to do was get to wherever they were taking my son.

They wanted to see my ID but I didn’t have it because I ran out of the house. So I’m at the police station. They take me into a room and they’re asking me all of these questions. Do I know any friends that would do this? Where was he coming from? Was he involved in a gang? I’m like, ‘I need to get to Baltimore.’”

Layne II came out of surgery after a few hours. But the relief only lasted for a moment.

His doctor told him that he was paralyzed from the from the waist down. “Why didn’t you just let me lay there and die?” he asked his mother as he cried. It’s a question that he would repeat over and over in the months afterward. And more questions would follow. Layne II was going to need round-the-clock care from now on.

Who was going to pay for that? He would require a wheelchair to get around. Where could they stay that was accessible? What paperwork had to be filled out and what did it all mean?

Would someone come back to try and finish him off?

The only question that remains unanswered is who shot Layne II. The search for housing was a perplexing process. “When they talk about housing, people assume that when you’re disabled it’s these places that will accomodate you. But it’s not.” They filled out paperwork for places and programs. Some never even called her back. The cheapest and most wheelchair accessible place she could find was The Village of Parkland—a WC Smith-owned property between Alabama and Mississippi avenues SE. Hawkins describes it as “a real violent place.”

It was moldy and infested with roaches, mice, and bedbugs.

On May 23 of the following year, Hawkins received a text from her son while he was staying at his girlfriend’s house. “Hey Ma. This ain’t the life a nigga like me can suck up and live.” Paralysis, the wheelchair, and all the inconveniences that came along with it exhausted him. She was plenty tired as well from suing her landlord and scrambling to make ends meet while dodging her credit card bill collectors. But she spoke to him and his spirits lifted.

Then around 1 a.m., two detectives knocked on her door. Momo had shot himself to death.

“I cried and screamed,” she recalls. “I mean I ran all over that apartment.”

Policies and Programs can ease what is a stunning burden. Where the NEAR Act meets the need is that it has allotted funding for more social workers at emergency rooms to connect trauma victims to services. How-

Courtesy Judith Davidson Hawkins

Judith Davidson Hawkins with her son, Alvin C. Layne II

ard University, Medstar Washington Hospital Center, and Prince George’s Community Hospital have this program in place, according to the District’s NEAR Act website. But United Medical Center in Southeast D.C., which reports receiving 77 gunshot wound victims in 2018, is not yet on this list. Barnes Sr., DeShola Dawkins, and Hawkins needed support at several points in the wake of their children’s shootings.

Joyal Mulheron, founder and executive director of EVERMORE, a nonprofit organization based in Northwest D.C. that supports grieving families, has talked with dozens of families across the country who have lost their children to violence, illness, and accidental causes. She says that there are two sides that can create tremendous stress for a parent grieving a child. “There’s the death event itself. What’s happening on the crime scene or in the hospital as the scene is unfolding, and what does that look like?

How did the police interface with the family when the family learned of the death? And then there’s the after effect. The interaction with employers and family and clergy members or social media that can further compound or victimize.”

One of her biggest frustrations is the lack of qualified therapists who specialize in homicide. “There’s such a tremendous need in Washington,” she says. “Support groups are helpful, but the parent has to be willing to go.

Therapists who specialize in trauma can offer more clinical insight, but there are waitlists for therapists in and around D.C.” The federal government has designated parts of the District as health professional shortage areas in mental health care, along with primary care and dental.

Financial woes are another grave concern for grieving families. In Hawkins’ case, she had an employer who allowed her time away from work to bury her son, but employers are not required to offer that. The fight for paid family and medical leave in D.C. has neglected to include bereavement leave for the loss of a child, something that is desperately needed

among low income families who suffer from sudden violent events.

“I would like to believe that employers do the best they can,” says Mulheron. “They also have a business to run. So they do need their employees present. Some families have to go to work because they have bills to pay and they won’t be getting paid. Once you have financial instability, this is where I think family solvency becomes a problem.”

D.C. does have a crime victims compensation fund, and families of “innocent victims of violent crime” can apply for funds to cover funeral costs, mental health services, and two weeks of lost wages, among other crime-related needs. Between October 2017 and September 2018 the fund paid nearly a million dollars in these expenses.

From a prevention perspective, the NEAR Act has funded its Pathways Program in the DC Office of Neighborhood Safety and Engagement. The program, less than a year old, promises to engage with those most at risk of killing or being killed, helping them with employment, mental health, and substance abuse, asking them to own their past actions.

This program is too young to evaluate, and too late to save the children of Barnes Sr., DeShola Dawkins, and Hawkins. They’ve tried to make similar strides for the community, in their own ways.

Barnes Sr. has continued to shed light on issues that affect the youth in the District. He founded Reaching Out to Others Together in 2002, an advocacy group for homicide victims and their families. He brought media attention to the K2 issue in the city in 2012. DeShola Dawkins’ collaborated with another mom of a murdered son, Marion Gray-Hopkins, to start Coalition of Concerned Mothers in 2015.

The organization supports families who have been affected by community violence, police brutality, and mass incarceration.

They can’t bring their children back or fill the empty space that lingers in their lives. But perhaps they can temporarily satiate their spirits with positivity. Something that an apology from a perpetrator could never accomplish.

CP

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washingtoncitypaper.com january 18, 2019 15

Our Local Commons

DCFEED

José Andrés opened a temporary kitchen at 701 Pennsylvania Ave. NW on Wednesday to feed furloughed federal workers during the shutdown. Soups, sandwiches, and salads are available daily from 11 a.m. to 6 p.m.

Managing Expectations

Managers are the hospitality industry’s most observant employees. What happens when they dine at someone else’s restaurant?

By Laura Hayes When it comes to where she’s seated for dinner, Heidi Minora is very particular. “I always want to sit with my back to the restaurant,” says the general manager of Commissary in Logan Circle. “I’ll face a wall or a window … because if you’re facing out, you can see everything that’s happening and that’s when the brain starts going. You’re so attuned to the details, it can really give you anxiety.”

It’s the general manager’s responsibility to patrol the restaurant and notice anything impacting the customer experience. These perspicacious masters of ceremony can hear a fork drop over the din of the dining room; discern whether or not a diner is enjoying their food; and recognize when a server or bartender is in the weeds and in need of help.

General managers occasionally have a night off during their work weeks. But when they choose to spend their personal time in someone else’s restaurant, they struggle to quiet their inner monologues.

Often they notice things the average diner might not.

Like Minora, Leah Glantz, the general manager of Bloomingdale’s Tyber Creek Wine Bar & Kitchen, has trouble living in the moment when she’s in a restaurant. She’s worked in the hospitality industry since she was 14. “I can’t turn it off—it’s so terrible,” she says. “I’m constantly a crazy person.”

Her biggest pet peeve is when a server or busser clears her utensils between courses and does not replace them before her next dish arrives. “How do I eat this lovely food without a fork and knife?” she asks. If she locates the restaurant’s service station, the kiosks where clean silverware and other necessities are stored, she’ll retrieve a knife and fork herself.

“If it’s right there and I can see it and no one is around to help, I’m just going to do it,” Glantz says. “But it depends on the at-

Commissary general manager Heidi Minora

Darrow Montgomery

YOUNG & HUNGRY

mosphere of the space. I’d never do it at The Dabney, but if it’s Guapo’s or something, I’ll do it.”

Mike Deery, the general manager of Sakerum, has also helped himself to silverware. Before landing a job at the clubstaurant on 14th Street NW, he worked at both lowbrow (McFadden’s Restaurant and Saloon, a favorite of GW students) and highbrow (Del Mar at The Wharf ) restaurants.

“I try to touch every table just to make sure that everything is perfect,” Deery says. “The term we use is ‘hyper awareness.’ When you go out to eat, you cannot turn it off. It’s almost impossible … It’s not that we’re judging, it’s that it’s stuff we’re paid to notice.”

16 january 18, 2019 washingtoncitypaper.com

Restaurants that provide customers with stained napkins and silverware with traces of food still attached particularly disturb him, as does visible dust, fingerprints, or stickiness on bar bottles. Deery says if he knows the manager of the restaurant, he’ll tip them off to potential shortcomings to prevent the restaurant from getting dinged in a review.

But what Deery notices most is an unkempt staff. “When you’re in the restaurant, you put your best foot forward,” he says. “I hold myself to a high standard, appearance-wise, in terms of overall professionalism. It’s tailored suits for me.” He believes customers notice and cites a very specific OpenTable review to support

his claim.

In December 2018, JennyM wrote, “Also not one to comment on manager appearances ever, but the one who stopped by our table was like a mix of Hugh Jackman and [Christian] Grey and was dressed like he modeled suits for a living.”

Blake Smith, the general manager of Iron Gate in Dupont, agrees that presentation is important. “I know there’s no direct correlation, but if I see a server looking dirty, wrinkled, with stains, it makes me wonder about the standards everywhere else,” he says. “It drives me nuts, with my own staff and elsewhere.”

Smith likes being a general manager be-

DCFEED cause it forces him to see the whole picture and interact with every staff member. He, too, can’t turn off his internal monologue. “I don’t want to say I’m running a constant comparison between where I’m eating and where I work, but some part of me always is,” he says. “But I always go into dinner with the same perspective I want guests to come into my restaurant with—I’m not looking for a fight, or looking to find things wrong.”

That said, Smith cringes when servers address a table of diners as “you guys.” “That bothers the ladies I’m eating with,” he says.

“They’re not guys. That happens almost every time I go out.” He attributes mishaps like that to the city-wide restaurant staffing crisis. Servers, bartenders, and support staff like bussers and bar backs are in high demand and turnover is near constant.

“Staffing levels is something I notice right away,” says Geoff Bosworth, the general manager at Le DeSales downtown. “From a diner perspective, there can never be too many. There’s definitely a level when you notice they’re understaffed. If you look around and someone is running, or if they’re a little disheveled because they might have too much going on.”

Bosworth is able to enjoy himself when he dines out until he notices a slip up. Then the floodgates open. One of his pain points involves the bathroom. He’s learned to “keep looping through” the loo at his restaurants during service. As the late Anthony Bourdain wrote in Kitchen Confidential, “If the restaurant can’t be bothered to replace the puck in the urinal or keep the toilets and floors clean, then just imagine what their refrigeration and work spaces look like.”

Staffing issues can impact a diner’s experience from the moment they’re seated, according to Nick Seo, the general manager of Haikan in Shaw. “When tables don’t get greeted quickly enough, it drives me insane,” he says.

“If I’m sitting down at a restaurant with my friends and I see a table next to me and I notice they don’t have waters and haven’t been greeted within 60 seconds, it makes me want to jump up and talk to them.”

Davis Green, the general manager at The Dish & Dram in Kensington, agrees with Seo. “I get frustrated when I’m sitting for too long before server recognition. Just coming over and saying, ‘I see you, I’ll take care of you,’ goes a long way,” Green says, adding that it’s hard to tell when hiring if a server is “going to put that extra effort in.”

What’s more offensive for Green is when a server overshares with a customer. When he was dining at a chain restaurant, for example, a server made an awkward plea. “He started talking about how someone dissed him on a check earlier today and asked if I could pay in

cash because it would help things go over more smoothly,” Green recounts. “I got so weirded out by that and frustrated … Once you cross that line, I don’t want to go back to that restaurant again.”

Despite this incident, Green says he notices more positives than negatives when dining out because he has an appreciation for what’s going on behind the scenes. Chris Van Jura, the general manager of Casolare in Glover Park, agrees. “Every table is a puzzle and each piece has to come together to fit and work,” he says. When he dines out on his days off, he sets out with a good attitude. “I’m able to turn it off to the degree where I’m going to enjoy my meal, whether it’s at The Pug or Le Diplomate.”

But if there’s one thing that makes Van Jura twitchy it’s light bulbs. “When was the last time they were dusted?” he asks. “It’s a detail thing, kind of like when Bubba and Forrest [Gump] get to the camp in Vietnam and first meet Lt. Dan. He tells them, ‘Try and keep your feet dry.’” When Van Jura hires new managers, he instructs them to check the light bulbs daily to make sure they’re shining bright.

Light bulbs irritate several general managers. “I can notice a light bulb being out faster than everyone,” Minora boasts. “It really gets under my skin when you see a light bulb out.”

She’s had owners chew her out about bulbs and ask why she isn’t looking up. “Now when I’m in a restaurant, I look up.”

The same goes for Mike Stiltz, the director of operations for Rebellion in Dupont and Commodore Public House & Kitchen in Logan Circle. “When I started being a restaurant manager we had a checklist—one of the things was to make sure all of the lights are functioning and not burned out,” he says.

“This restaurant was 8,000 square feet. There were light bulbs everywhere.”

While Stiltz tracks burnt-out bulbs, he’s generally able to relax in restaurants he doesn’t run. “I think you’re always going to notice things,” he says. “If you don’t, then you’re probably not a very good general manager.”

He continues, “You’re always going to be like, ‘oh man look at this, oh man look at that,’ but if you go to a place and they’re doing some really great, you’re like ‘oh wow, maybe we should try that.’ It goes both ways.”

Green acknowledges how hard it is for everything to run smoothly. “For people who haven’t worked in the industry, sometimes they can be impressed by the wrong thing.

They think there’s some kind of crazy magic.

It’s just hard work, long hours, and a lot of people being on the same page.”

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

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CPARTS

A recreation of Ben’s Chili Bowl is coming to the Sundance Film Festival. washingtoncitypaper.com/arts

Here Today, Drawn Tomorrow While the Smithsonian’s art galleries remain closed to the public, a Dupont Circle gallery offers a trio of exhibitions by three regional artists tackling themes of nostalgia, recollection, and deterioration.

Samantha Sethi: Permanence, Salvatore Pirrone: You and Me, and Danni O’Brien: Play Date At the IA&A at Hillyer to Jan. 27

By John Anderson Art-seekers in the D.C. area might find themselves at a bit of an impasse, with the region’s biggest art museums—namely those under the Smithsonian’s umbrella—closed thanks to the government shutdown. But all is not lost: The region’s rich gallery scene has plenty to offer. To wit: A trio of exhibitions await visitors to the IA&A at Hillyer this month. All are tied together by by discrete approaches to themes of playfulness, recollection, and process.

In Play Date, the most outright striking of the three exhibitions, Baltimore-based artist Danni O’Brien overwhelms the senses with organic and colorful work. Using a process of latch hook rug-making—essentially, threading and knotting short fibers through a stiff matrix—her playful compositions seem sculptural and painterly. The composition is bold: They appear like enlarged doodles. Meanwhile, O’Brien’s high-key color palette, crossed with the physical texture of her materials—mostly wool and dollar store plastic rope—makes the works feel like Méret Oppenheim tripping on acid.

The individual works of Play Date support the exhibition’s overall titular theme, with titles like “Swing,” “Bare Foot,” and “Slumber Party.” Those titles aren’t terribly literal. Presumably, most come from Rorschach-like free-association. For instance, “Bare Foot” which is a fuzzy peach blob framing numerous dark star-like shapes, leans against a wall, on a peachcolored form that looks like a misshapen radiator. “Swing” gets closer to the literal: The cloud-like blob of pink and peach, bisected by a jagged line of gray, seems unlike the seat of a swing, but it does appear to be suspended on the wall by dangling yellow ropes. It’s like a swing in free-fall after its rider has jumped off. O’Brien’s most visibly illustrative work has perhaps the most abstract of titles; “a Bloop and a Blast” displays two ceramic hands connected by a single fuzzy arm on a green shelf, like a field. A latch hook cloud swirls above the disembodied hands, illustrating baseball gloves and bats, dancing in a field on a bright blue day.

The themes of O’Brien’s works hint at her personal adolescent girlhood memories and motifs, but they’re nonetheless universal themes: Who among us has not had some joy on a swing, or in a sport, at some point in our lives? However, there are too many colorful objects in the gallery to give the viewer

GALLERIES

18 january 18, 2019 washingtoncitypaper.com

“Object Impermanence (Ishtar Gate, Berlin)” by Samantha Sethi (2018) space to really enjoy any one of them for very long: It’s sensory overload. Like a kid on a playdate, you can’t play with all your friend’s toys at once.

By contrast Salvatore Pirrone’s work in You and Me is comparatively sparse: a big concrete cone, a wall of plastic sheeting, piles of blue sawdust, and a heap of tool-shaped candy. Like O’Brien, the D.C. artist is tinkering with childhood memories— a love of jolly ranchers, snow cones, the color blue, and a very specific memory of disfiguring the exterior of his grandmother’s home when he was little. He then combines these specific childhood memories with certain adult pastimes; his tools and building things as an architect and furniture maker, primarily.

The sawdust is simply a byproduct of one of those activities.

The work lends itself toward obsession. He collects the saw-

dust from various woodworking projects; what is on display is only a fraction of what’s left behind in the studio. The same is true for the pile of candy cast from molds of his tools. Even the wall of plastic sheeting, which is elegantly shaped and formed of wooden frames and plastic, contains more than one million marks, obsessively scratched into its surface, one hour at a time.

You and Me is interesting for its obsession and form—and the craft of each individual piece is fanciful and transformative. But the work also feels useless, which is an interesting choice for a former architect. The cone, positioned upside down, holds nothing, and if right side up, it would topple over. The candy tools, of course, won’t work, and positioned as a pile on the floor they aren’t exactly appetizing. The wall, transparent in nature, doesn’t conceal anything; it’s made of thin wood and plastic,

CPARTS and it’s not the sturdiest of barriers, either. The sawdust is literally just detritus from an activity.

As an object, the sawdust is likely the most symbolic for the nostalgia at play in Pirrone’s work: It’s a record of an activity, reshaped into something more orderly, and colored, much like our memories are colored (or faded) by time. But that fondness comes across like hearing someone else’s high school memories over a beer. It might sound familiar, but it’s hard to connect with many of the characters in the story; a “You had to be there” moment in real time. The resulting feeling is that there’s a lot more “Me” than there is “You” in You and Me. Finally, Samantha Sethi’s work in Permanence is possibly the most direct of Hillyer’s three exhibitions. It’s also the most fraught with cold practicality. Quite literally: Ice is a primary medium in her two distinct bodies of work on display.

One series displays the wonders of the world—an Egyptian pyramid, a Mayan pyramid, the Colosseum, the Parthenon, the Taj Mahal. Each wonder is displayed on a pedestal, and presented in three media: ice, sand, and concrete, each one molded from a child’s sand toy.

Entropy is at work, as the ice form melts daily into a fern beneath it, only to be replaced the following day. Water evaporates from the sand form over time; eventually it too will begin to crumble. The concrete form is the more stable of the three, especially in the controlled environment of the gallery. But were it to be outside—exposed to the elements of rain, wind, sun, and temperature fluctuation—the concrete would even-

of tile designs derived from the floors of the San Marco Basilica in Venice, Italy, the Library of Congress, and the walls of the Ishtar Gate—formerly in Babylon, now in Berlin. Each acrylic painting— some from this exhibition, and some from previous exhibitions—has been situated horizontally beneath a block of ice left to melt over the course of the day. As the ice melts, it dampens the gouache on the surface, causing it to lift, flake, smear, or dissolve, slowly distorting the image. Permanence is, once again, in question.

For each time-based performance of the ice destroying these paintings, visitors can see it projected onto the gallery floor. It’s a visual record of an act that might also have a level of impermanence: Just because it has a closed-circuit broadcast doesn’t mean it’s actually preserved to a hard drive. The projection also offers a subtle critique on how we consume news: looking down. In this “Pillow Pile” by Danni O’Brien (2018) case, gallery-goers will have to look down to the floor, rather than a phone in their hands. But the broadcast makes the performance more accessible. Only a coutually crumble as well, just like the monuments they depict.

Even the ferns are experiencing some breakdown. Though ple people can gather around the pedestal to watch the physithey may be suited to absorb lots of water, and live in low light, cal ice melt on the physical painting: More people can watch it these plants are getting overwatered and starved of light. As happen in real time on the screen.

Taken as a whole, the three exhibitions work well with one a result, they’re starting to brown. If the conditions are right, another. The themes are broadly similar, but the approaches none of these items will last forever.

Sethi’s other body of work involves tiles. Along a wall of the aren’t repetitive. All are playful, but that play isn’t always fun. gallery are several small paintings done in gouache, a waterbased medium, on acrylic tiles. The paintings, themselves, are 9 Hillyer Court NW. Free. (202) 338-0325. Athillyer.org.

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CPARTS ARTS DESK

Watch the new music video from D.C. postpunks Gauche. washingtoncitypaper.com/arts

THE SCENE REPORT

A survey of new tunes from around the District, from the latest Dischord Records signee, to Depressive Black Metal (which, yes, is a real thing).

—Matt Cohen TK Echo, S/T

Dischord Records TK Echo—the newish rock ensemble comprised of vocalist/guitarist Chris Richards, keyboardist/vocalist Fiona Griffin, bassist Aaron Leitko, and drummer Josh Blair, all Dischord Records alums from previous projects— takes its time. Not just in practice (the group, formed in 2016, are just now releasing their first recordings), but in song. And for good reason: The three breezy songs on its debut EP don’t settle for simplicity. Each one contains its own universe of rhythm and

groove, beckoning you to get lost in it.

RIYL: Post-punk, Q and Not U, Paint Branch, Dischord Records

Dreamcast + Burymeinamink, The Lost Tape vol.2 Self-released

Dreamcast might be the District’s most prolific artist, and his newest record, The Lost Tape vol.2, is a perfect example of why. A mishmash of songs that span genres—from dreamy R&B to experimental noise and free jazz—The Lost Tape vol.2 isn’t just a showcase

20 january 18, 2019 washingtoncitypaper.com

of Dreamcast’s versatility, but also his workmanlike spirit of collaboration. The album was recorded over the course of a year-and-a-half, in D.C., New York, L.A., and London, with artists in all of those cities, including D.C.’s own Nappy Nappa.

RIYL: Experimental R&B, the spirit of free jazz, and experimentation.

Comprised of Josephine Olivia, guitarist Carson Cox, and drummer Chris Moore (with Cox and Moore providing programming and electronics, respectively), Aertex’s two songs on this selfreleased demo throb and pulse with dark energy.

RIYL: Dark wave, Cold Cave, The Cure, sounds from a dark abyss.

Aertex, Superstition Demo

Griefloss, S/T

Chaos reigns on the first demo from this newly formed dark wave trio.

Music is about learning. Case-in-point: I did not know that “Depressive Black Metal” was a genre until I stumbled upon the Bandcamp page for the D.C. metal quartet Griefloss. The band’s burnt-blackened metal songs oscillate between a haunting stillness and fullthrottle rage. Depressive black metal, according to the reviews left on the Griefloss’ Bandcamp, is a divisive subgenre of metal, but this band seems to be winning over metal fans all over—and for good reason.

RIYL: Depressive Black Metal, sounds from a black abyss.

Self-released

Self-released

FILMSHORT SUBJECTS about showdowns and origin stories, the film devolves into a celebration of its own ingenuity. If there were no comic book movies or TV shows between Unbreakable and today, Shyamalan might have had something here.

In spite of Shyamalan’s purpose, there is some actual entertainment in Glass. McAvoy is clearly having fun, reprising his seamless transitions between his character’s distinct accents/mannerisms, while Jackson recalls the menace and intelligence from Unbreakable. Willis may have been sleepwalking through recent roles, but now he somehow manages a simulacrum of a convincing actor. Unfortunately, their goodwill is all in service of a cranky magician who would rather show off his skill, instead of wow his audience.

—Alan Zilberman

BALKING ON BROKEN GLASS Glass

Directed by M. Night Shyamalan No oNe cared about superhero movies when M. Night Shyamalan made Unbreakable. This was before The Avengers, Batman Begins, or even Sam Raimi’s Spider-Man. The premise of Unbreakable, that superheroes are real and comic books are faithful, albeit flawed accounts of extraordinary humans, was a potent one because Shyamalan imbued his characters with intelligence, sensitivity, and the heft of real-world consequences. Now there is Glass, a direct sequel to both Unbreakable and his 2016 psychological horror film Split. Shyamalan jettisons everything that made those films interesting— strong characters, a palpable sense of atmosphere, and a literate script—preferring to harp on his bitter delusions of cinematic grandeur.

Shyamalan wants his audience to be keenly aware of how his sequel fits into superhero mythology, so Glass has a distinct three-act structure.

The first is perfunctory, a catch-up so we can see what the characters have been up to since the events of the previous films. It is also an excuse to get them all into the same spot, an insane asylum where most of the action takes place.

A psychiatrist (Sarah Paulson) has a special project: She wants to disabuse these disturbed, flawed men of the notion they are “super.” Both Elijah (Samuel L. Jackson) and Kevin (James McAvoy) see themselves as villains—the former is a mastermind, while the latter has multiple personality disorder and his identity “The Beast” gives him raw power— and David (Bruce Willis) is a mild-mannered hero with superhuman strength. The psychiatrist’s plans falls apart, of course, so the final act in Glass involves a final showdown with these men and the people who care about them.

As Glass settles into its groove, with the three main characters in separate rooms, Shyamalan has a strange disinterest in any traditional genre payoff. Rather than imbue the film with suspense or stakes, it unfolds like an pseudo-intellectual exercise, with Paulson’s character needling our interest in the story, as both text and subtext.

Maybe Shyamalan has a bone to pick with a cinematic landscape that abandoned him—arguably he was the first filmmaker to treat superheroes seriously—and now he wants to interrogate that idea. If this is a film about a maligned auteur grappling with his legacy, then Unbreakable fans are secondary in his mind.

You may notice that Glass was produced

by Blumhouse, a studio that’s known for its tight budgets. Split used that limitation to its advantage, with most of the film taking place in a creepy basement. In Glass, it is easier to see where Shyamalan cut corners. There are frequent monologues, allowing the actors to work around each others’ schedules. Extreme close-ups are common, which is an artful way for Shyamalan to hide his limited canvas. Regrettably, the director has no gift for complicated choreography, so Glass’ fight sequences are downright clumsy. Even the location of the climactic showdown is a bait-and-switch, a commentary on how lesser directors have an opportunity to play in a bigger sandbox.

Unbreakable was a strong film because character studies surrounded the comic book proselytizing. Before David realizes he’s a superhero, the film is essentially a muted, ultimately affecting drama about a couple on the cusp of divorce, with their son as a hopeless bystander (Spencer Treat Clark, who was a boy during Unbreakable, reprises his role now as a young man). In Glass, however, Shyamalan leans into the meta-dialogue. Way too many actors are given clunky, expository dialogue about how this film fits into a superhero mythos.

At one point, Jackson weightily says to McAvoy, “So this is the part where the bad guys are teaming up,” and it only inspires more eyerolls from there. Maybe Elijah would speak with this kind of clinical disinterest in humanity, but when the supporting characters talk

Glass opens Friday in theaters everywhere.

FROSTBITE Cold War

Directed by Paweł Pawlikowski There’s No filler in Paweł Pawlikowski’s Cold War. Its central relationship is portrayed as hopscotch; told almost strictly in flash-forwards, it offers you only the meat of the romance and none of the fat. It’s efficient, but not entirely satisfying.

The 88-minute film begins rather startlingly with a blare of bagpipes and Polish peasants singing directly to the camera. It introduces a search in 1949 Poland by music directors Wiktor (Tomasz Kot) and Irena (Agata Kulesza) to find singers and dancers for the government’s effort to put on a traveling show highlighting folk art to inspire nationalism. During an audition, Wiktor is transfixed by Zula (Joanna Kulig), a young vocalist who confidently sings a Russian ballad. It may not be Polish, but Wiktor gives her the go-ahead anyway.

Irena gossips that she heard that Zula did time for killing her father. Beautiful and dangerous? Wiktor’s really on the hook now.

Soon the two are having a tryst as the show becomes more and more successful, and Pawlikowski starts skipping ahead: 1951 Warsaw,

1952 East Berlin, 1954 Paris. In Berlin, Wiktor waits to meet up with Zula so they can defect, but she never arrives. So he goes to France and becomes a pianist in a jazz club. One night they meet, though they’re both currently with other people. Wiktor later tells his girlfriend, “I was with the woman of my life.” (Her reaction: “That’s wonderful. Let me go to sleep then.”)

Cold War continues in this way, presenting only a highlight reel of their relationship: reunions, arguments, reconciliations. And though there are passionate moments, it’s nearly impossible to feel their heat as the story keeps steadfastly skipping along. Filmed in stark black and white (like the director’s previous Oscar-nominated effort, Ida), the movie already feels cool; without the chance to settle in with these characters, they stay at even more of a distance.

These interludes also lack energy, with the lovers forlorn more often than they’re passionate.

One exception takes place in a Paris club in 1957.

While Wiktor kisses up to a new friend, Zula sulks at the bar, drunk and bored. Then “Rock Around the Clock” starts playing, and she comes alive: first bobbing her head, then twirling on the dance floor with any guy who’ll indulge her. She ends up on the bar and then falls into Wiktor’s arms, which feels like a douse of cold water on her mini party. Kulig, who’s been steadily transfixing, is pure magnetism here.

Also keeping the audience at a distance is the film’s politics; namely, if you’re not familiar with the state the world was in between 1949 and 1964, you’ll likely be lost in scenes such as Wiktor’s apparent deportation and not understand why he ends up in jail. Pawlikowski used such shorthand in the more successful Ida, too, but the story revolved around the Holocaust and not the intricate business of European socialism, as is the case here. But the gist is that it’s not only their whims that keep the couple drifting apart. Early on in the film, Zula tells Wiktor, “I’ll be with you ’till the end of the world,” and the bittersweet ending proves this to be the case. To an impatient viewer, though, it will only feel like forever.

—Tricia Olszewski Cold War opens Friday at Landmark E Street Cinema and Landmark Bethesda Row Cinema.

washingtoncitypaper.com january 18, 2019 21

22 january 18, 2019 washingtoncitypaper.com

Washington DC City Paper 01-18-19 M19NASB29 RSD Blue Light Wood.indd 1

1/4/19 5:37 PM

CITYLIST

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

Jan 17

Music 23 Theater 27 Film 28

Music

18&20

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

CITY LIGHTS: FRIDAY

“The Heart Songs Tour”

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Renée Fleming sings Schubert. 8 p.m. $15–$89. kennedy-center.org.

25

THE KINGSTON TRIO 29&30 GAELIC STORM Feb 1 WILL DOWNING Carly 5 KASEY CHAMBERS Burruss 27

COUNTRY

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

Town Mountain. 8 p.m. $12–$17. thehamiltondc.com.

DJ NIGHTS

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

Josey Rebelle. 10 p.m. $14–$18. ustreetmusichall.com.

ELECTRONIC

6

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

FUNK & R&B

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Frederic Yonnet. 8 p.m.; 10 p.m. $30. bluesalley.com.

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

GO-GO

BETHESDA BLUES & JAZZ 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Chuck Brown Band. 8 p.m. $25. bethesdabluesjazz.com.

JAZZ

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. James “Blood” Ulmer. 8 p.m. $27–$40. ampbystrathmore.com.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Bobby Sanabria MultiVerse Big Band: West Side Story Reimagined. 7 p.m.; 9 p.m. $35–$40. kennedy-center.org.

POP

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Parthenon Huxley. 8 p.m. $15–$20. jamminjava.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.

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

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

Wanted Man and Bennett Wales & The Relief. 9:30 p.m. $10–$15. hillcountrywdc.com.

An Evening with

DREW & ELLIE HOLCOMB

SOUNDCHECK 1420 K St. NW. (202) 789-5429.

Destructo. 10 p.m. $20–$25. soundcheckdc.com.

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Eddie from Ohio. 7:30 p.m. $42.50. birchmere.com.

KYLE CEASE of "Baked", From Here" TOM PAPA "Live

24

CLASSICAL

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

EDDIE FROM OHIO

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

FRIDAY

FOLK

THE VENTURES

"The You & Me Tour"

EVERYTHING IN EXISTENCE

MUSIQ SOULCHILD

7

Everything in Existence encompasses the magnitude of the concepts of eternity and infinity, and what they mean to us. The new ARTECHOUSE showcase is the first solo North American exhibition from acclaimed Italian artist studio fuse*. It has four multimedia installations welcoming gallery visitors to experience several impressions (or ideas) of reality specifically designed to digitally emphasize those concepts—eternity and infinity—which are much bigger than we can ever imagine. By processing data in real time using software, visitors can take part in living art on screens as designs continuously renew and change right before their eyes—and they’re encouraged to come back and experience it all over again, but with new perspectives. While the spectator is in control, the spectator is also at the mercy of the limitless wonders of a changing reality. Experience Everything in Existence as we begin the new year with our own new resolutions, expectations, and perspectives. The exhibition is on view to March 10 at ARTECHOUSE, 1238 Maryland Ave. SW. $8–$20. dc.artechouse.com.

—Malika T. Benton

ELECTRONIC

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

Jonny Grave. 9:30 p.m. Free. hillcountrywdc.com.

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

The Glitch Mob. 10:30 p.m. $30. ustreetmusichall.com.

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

CLARICE SMITH PERFORMING ARTS CENTER Stadium Drive and Route 193, College Park. (301) 405-2787.

Bach Cantata: BWV 159. 12:30 p.m. Free. theclarice.umd.edu.

FOLK

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. The Asian American Music Society. 6 p.m. Free. kennedy-center.org.

FUNK & R&B

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

COUNTRY

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

(703) 237-0300. The Smithereens. 9 p.m. $26. thestatetheatre.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Dylan Scott. 9 p.m. $23– $49. fillmoresilverspring.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. Sir Alden & Suburban Snoop, Irresponsible and Elizabeth II. 10 p.m. $13–$15. unionstage.com.

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

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Eddie from Ohio. 7:30 p.m. $42.50. birchmere.com.

9:30 CLUB 815 V St. NW. (202) 265-0930. Jacob Banks. 7 p.m. $20. 930.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Frederic Yonnet. 8 p.m.; 10 p.m. $30. bluesalley.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000. Fast Eddie & The Slowpokes. 10:30 p.m. Free. thehamiltondc.com.

HIP-HOP

ESTELLE

“Experience Lover’s Rock Live!”

13

DAVID SANBORN

14

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

feat. Angie

Pontani, Murray Hill, & more!

ERIC ROBERSON

16 Daryl Davis Presents: Thanks For The Memories – 2018

SATURDAY CLASSICAL

"Alice's Restaurant" Tour with Sarah Lee Guthrie

10

15

BLUES

ARLO GUTHRIE

8&9

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

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)

10,000 MANIACS 23&24 JEFFREY OSBORNE 22

27&28

MARSHALL CRENSHAW & THE BOTTLE ROCKETS The Empty 2 BOB SCHNEIDER Pockets Mar 1

washingtoncitypaper.com january 18, 2019 23

Jazz

CITY LIGHTS: SATURDAY

Jason Moran

Artistic Director

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.

Part of The Human Journey exploration: Kennedy-Center.org/HumanJourney

Discovery Artist in the KC Jazz Club

Camille Thurman with the Darrell Green Trio

Friday, February 1 at 7 & 9 p.m.

Terrace Gallery Multi-talented saxophonist, flutist, and vocalist Camille Thurman has amazed audiences all over the world. She returns to the KC Jazz Club headlining a night dedicated to her own imaginative artistry and warm voice.

NEA Jazz Master

Archie Shepp’s All-Star Tribute to John Coltrane featuring Jason Moran Sunday, February 10 at 8 p.m.

Concert Hall

Archie Shepp

Kennedy-Center.org (202) 467-4600

In this momentous concert event, Shepp celebrates the boundless impact and talent of his good friend and mentor. He’s joined by pianist and Kennedy Center Artistic Director for Jazz Jason Moran and other contemporary greats, including Amir ElSaffar, Darryl Hall, Nasheet Waits, and Marion Rampal.

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

Discovery Artists in the KC Jazz Club are supported by The Buffy and William Cafritz Family Foundation and The King-White Family Foundation and Dr. J. Douglas White.

24 january 18, 2019 washingtoncitypaper.com

GABBY’S WORLD AND YOWLER

A show featuring Yowler and Gabby’s World is a chance to go through the looking glass and explore the pains and processes of being an artist. Maryn Jones, who has also performed in the bands All Dogs and Saintseneca, fronts Yowler. She considers Yowler a more personal side project, and their first album was noted for its depressed, barebones style. Black Dog In My Path, their newest album, was made in the wake of Jones transplanting from Ohio to Philadelphia. It has more bells and whistles, but finds the singer once again in an angsty, alienated space. Drawing from folk, rock, and pop, Yowler explore the myriad ways the contemporary world complicates our relationships with those closest to us. Meanwhile, Gabrielle Smith of the solo project Gabby’s World has been making music for more than a decade, moving steadily from unstructured, experimental soundscapes to art rock that has Laura Marling and Broken Social Scene vibes. Previously, Gabby’s World has been known as Eskimeaux and Ó. Her newest album, Beast On Beast, is the first to bear the current name. The album invokes a feeling of snowed-in, meditative melancholy, a moment of zen in the art of experimental rock music. Gabby’s World perform with Yowler at 8 p.m. at Songbyrd Music House, 2477 18th St. NW. $13–$15. (202) 450-2917. songbyrddc.com.

—Will Lennon

POP

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Gabby’s World and Yowler. 8 p.m. $13–$15. songbyrddc.com.

ROCK

9:30 CLUB 815 V St. NW. (202) 265-0930. Cracker and Camper Van Beethoven. 7 p.m. $25. 930.com.

GYPSY SALLY’S 3401 K St. NW. (202) 333-7700. Skip Castro Band. 8:30 p.m. $30. gypsysallys.com.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Bachapalooza Herndon. 12:30 p.m. $5. jamminjava.com.

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

The Soft Moon. 8 p.m. $18. rockandrollhoteldc.com.

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

(703) 237-0300. Lez Zeppelin. 9 p.m. $22–$50. thestatetheatre.com.

SUNDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Renée Fleming sings Schubert. 3 p.m. $15–$89. kennedy-center.org.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Pan American Symphony Orchestra: Passion and Fire. 7:30 p.m. $50–$65. kennedy-center.org.

PHILLIPS COLLECTION 1600 21st St. NW. (202) 387-2151. Benjamin Appl and James Baillieu. 4 p.m. $5–$45. phillipscollection.org.

COUNTRY

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

Amanda Anne Platt & The Honeycutters and Time Sawyer. 8:30 p.m. $14–$16. hillcountrywdc.com.

ELECTRONIC

SOUNDCHECK 1420 K St. NW. (202) 789-5429. Benny Benassi. 10 p.m. $20–$25. soundcheckdc.com.

FOLK

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Eddie from Ohio. 7:30 p.m. $42.50. birchmere.com.

FUNK & R&B

BETHESDA BLUES & JAZZ 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Vivian Green. 8 p.m. $59.50–$79.50. bethesdabluesjazz.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Frederic Yonnet. 8 p.m.; 10 p.m. $30. bluesalley.com.

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

GO-GO

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

Rare Essence. 8:30 p.m. $25–$35. thehamiltondc.com.

HIP-HOP

THE ANTHEM 901 Wharf St. SW. (202) 888-0020.

A$AP Rocky. 8 p.m. $50–$250. theanthemdc.com.

MONDAY CLASSICAL

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Let Freedom Ring!. 6 p.m. Free. kennedy-center.org.

FOLK

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Danny Burns. 7 p.m. $15. jamminjava.com.

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

FUNK & R&B

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Angie Stone. 7:30 p.m. $59.50. birchmere.com.

JAZZ

HIP-HOP SIXTH & I HISTORIC SYNAGOGUE 600 I St. NW. (202) 408-3100. Mick Jenkins. 8 p.m. $22–$25. sixthandi.org.

JAZZ BIRCHMERE 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Tommy Emmanuel and John Knowles. 7:30 p.m. $55. birchmere.com.

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

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Tyrone Cotton. 7:30 p.m. $12. jamminjava.com.

POP DC9 1940 9th St. NW. (202) 483-5000. half•alive. 8 p.m. Sold out. dcnine.com.

ROCK COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. Dark Thoughts and The Smarthearts. 9 p.m. $10. cometpingpong.com.

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

WEDNESDAY

TUESDAY

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. NSO Pops: Star Wars: Return of the Jedi. 8 p.m. $34–$149. kennedy-center.org.

CLASSICAL

CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. NSO Pops: Star Wars: Return of the Jedi. 7 p.m. $34–$149. kennedy-center.org.

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

FUNK & R&B

ELECTRONIC

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

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

The Prototypes. 10 p.m. $10–$15. ustreetmusichall.com.

Book, music, and lyrics by Meredith Willson Musical Direction by James Moore Choreographed by Chris Bailey Directed by Marc Bruni

CITY LIGHTS: SUNDAY

Starring

LED ZEPPELIN PLAYED HERE

On Jan. 12, 1969, quintessential arena rock band Led Zeppelin released its very first album. Eight days later, still largely unknown in the United States, the Zep came to Maryland and played a concert for 50 local teenagers in the gymnasium of the Wheaton Youth Center. Or maybe they didn’t. While there are those who swear that they attended this very concert, others vow that the whole story is a myth, or a prank, or some sort of odd fever dream. So what really happened?

In 2014, local filmmaker Jeff Krulik attempted to answer this very important question once and for all with his documentary Led Zeppelin Played Here. Krulik, perhaps best known for the classic 1986 short Heavy Metal Parking Lot, is an expert chronicler of pop-cultural oddities; the story of an alleged Zeppelin concert in a suburban Maryland rec center would seem an ideal marriage of artist and subject. Krulik will be on hand when Led Zeppelin Played Here screens at AFI this Sunday—the 50th anniversary of the ostensible show. Perhaps we’ll finally get some answers. The film screens at 8 p.m. at AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$13. (301) 495-6720. afi.com/silver.

—Justin Peters

Tony Award® Nominee

Norm Lewis

Tony Award® Winner

Jessie Mueller

Emmy Award® Winner

Rosie O’Donnell

February 6–11 | Eisenhower Theater Groups call (202) 416-8400

Kennedy-Center.org

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

(202) 467-4600 Theater at the Kennedy Center is made possible by

Major support for Musical Theater at the Kennedy Center is provided by

Kennedy Center Theater Season Sponsor

washingtoncitypaper.com january 18, 2019 25

MARYLAND LYRIC OPERA PRESENTS

GAETANO DONIZETTI’S

CITY LIGHTS: MONDAY

Lucia di

Lammerm r January 24, 25 & 26 7:30pm (2pm on the 26th)

Kay Theatre

The Clarice Smith Performing Arts Center College Park, MD Conducted by Louis Salemno Directed by Nick Olcott

For tickets visit MDLO.org or call 301-405-2787 (ARTS)

VALET & SECURE PARKING aVAILABLE

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 18

JAN 19

JAN 20

JAN 20

JAN 21

Vertical Horizon

Marcus Johnson

louis york & the shindellas

Mousey Thompson & The James Brown Experience

The DC Moth StorySLAM: Backwards

JAN 23

JAN 24

JAN 24

JAN 25

JAN 26

Annual Winter Residency W/ Special Guest Paul Cauthen

steve earle’s

ella nicole in the wine garden JAN 29

PETER & JEREMY:

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

“North Country” Album Release Party

Danny Burns

lil’ mo

JAN 26

JAN 27

JAN 27

JAN 29

just jokes & notes 2

secret society

Richard Lloyd

jd simo

starring Timmy Hall, M. Lewis Music, Sylvia Traymore Morrison

(of Television) Solo in the wine garden

Album Release Show w/ Bobby Thompson Trio in the Wine Garden

vybe band

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

26 january 18, 2019 washingtoncitypaper.com

LET FREEDOM RING: AUDRA MCDONALD AND BRIAN STOKES MITCHELL

Broadway babies have received a very special gift this Martin Luther King Jr. Day. Audra McDonald (pictured) and Brian Stokes Mitchell, stars of the beloved 1996 musical Ragtime, are reuniting at the Kennedy Center to headline its annual Let Freedom Ring concert and celebrate Dr. King’s life and legacy. The song the pair is best known for, “Wheels of a Dream,” echoes Dr. King’s message of hope and faith, and a performance by Mitchell and McDonald that does not include a rendition of it is unimaginable. Expect the set list to include other uplifting standards.

Mitchell has become the foremost interpreter of “The Impossible Dream” from Man of La Mancha, a motivational poster masquerading as a show tune—the Kennedys even brought him in to sing it at Ted’s memorial service. McDonald, a six-time Tony winner, can make an audience believe every word that comes out of her mouth. Some may dare to call a free concert of inspirational anthems cheesy or uncool, but times are dark, friends. Take advantage of any free inspiration you can get. Audra McDonald and Brian Stokes Mitchell perform at 6 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org. —Caroline Jones

FOLK

JAZZ

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

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

CITY WINERY 1350 Okie St. NE. PETER & JEREMY: Peter Asher (of Peter & Gordon) and Jeremy Clyde (of Chad & Jeremy). 8 p.m. $22–$32. citywinery.com.

BIRCHMERE 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Tommy Emmanuel and John Knowles. 7:30 p.m. $55. birchmere.com.

ROCK JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Chris Bullock. 7:30 p.m. $12–$20. jamminjava.com.

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

UNION STAGE 740 Water St. SW. (877) 987-6487.

Grails. 8 p.m. $15. unionstage.com.

THURSDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. NSO Pops: Star Wars: Return of the Jedi. 8 p.m. $34–$149. kennedy-center.org.

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

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

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: Rodgers & Hammerstein. 8 p.m. $35–$95. strathmore.org.

COUNTRY

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Scotty McCreery. 8 p.m. $29.50. fillmoresilverspring.com.

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

The 9 Songwriter Series. 8:30 p.m. $12–$15. hillcountrywdc.com.

CITY LIGHTS: TUESDAY

ELECTRONIC

SOUNDCHECK 1420 K St. NW. (202) 789-5429. Low Steppa. 10 p.m. $15. soundcheckdc.com.

FOLK

CITY WINERY 1350 Okie St. NE. Danny Burns. 8 p.m. $17. citywinery.com.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Roy Ayers. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

POP

THE ANTHEM 901 Wharf St. SW. (202) 888-0020.

Kacey Musgraves. 8 p.m. $55–$150. theanthemdc. com.

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Liz Longley. 7:30 p.m. $20. jamminjava.com.

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

Still Woozy. 8 p.m. $12–$15. rockandrollhoteldc.com.

ROCK

TOWN

MOUNTAIN W/ THE 19TH STREET BAND FRIDAY JAN

18

RARE ESSENCE W/ BE’LA DONA

SUNDAY

JAN 20

FRI, JAN 25

STEEP CANYON RANGERS

W/ KAIA KATER

SAT, JAN 26

AN EVENING WITH EARLY

ELTON

9:30 CLUB 815 V St. NW. (202) 265-0930. Super Diamond. 7 p.m. $25. 930.com.

THURS, JAN 31

COMET PING PONG 5037 Connecticut Ave. NW. (202) 364-0404. Lala Lala and Sen Morimoto. 9 p.m. $12– $14. cometpingpong.com.

W/ RON ARTIS II & THE TRUTH

GYPSY SALLY’S 3401 K St. NW. (202) 333-7700. Nahi.

7 p.m. $13–$16. gypsysallys.com.

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

Windhand. 7 p.m. $15. ustreetmusichall.com.

G LOVE AND SPECIAL SAUCE FRI, FEB 1

FLOW TRIBE W/ THE BEAT HOTEL SAT, FEB 2

THE WAILERS FEAT. JUNIOR MARVIN: A BOB MARLEY BIRTHDAY TRIBUTE

Theater

WED, FEB 6

GREG BROWN W/ BO RAMSEY

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.

MICK JENKINS

Although he probably wouldn’t call it that, Mick Jenkins makes conscious rap—that strand of lyrically lithe hip-hop that stays laser focused on knowledge of self and sociopolitical concerns in the face of conspicuous consumption. While its popularity ebbs and flows, it’s as old as hiphop itself, with its seeds planted by proto-rap progenitors The Last Poets and Gil Scott-Heron.

The Chicago-based Jenkins clearly knows his history, as his 2018 album Pieces of a Man shares a title with an iconic 1971 Scott-Heron album, and the 27-year-old talent even borrowed his forefather’s flow and tone on a pair of jazzy, spoken word interludes. “We are here this evening to give you some free thought, some food for thought,” he purrs on “Heron Flow.” “We’ve been breaking bread over thoughts concerning the man, from place to place with face to face conversation, which can be an easy thing to lose sight of in the light of this digital age.” It’s a conversation worth having—no matter what you call it. Mick Jenkins performs at 8 p.m. at Sixth & I, 600 I St. NW. $22–$25. (202) 408-3100. sixthandi.org.

—Chris Kelly

JUDY GARLAND: A STAR IS BORN A cast of Signature favorites sings some of iconic actress and singer Judy Garland’s most famous songs, including “Over the Rainbow,” “Get Happy,” and “The Man That Got Away” along with lesser known gems in a tribute to one of Hollywood’s brightest stars. Awa Sal Secka (Signature’s Jesus Christ Superstar) and Katie Mariko Murray (Signature’s Passion) are joined by pianist Chris Urquiaga (Signature’s Entirely Elvis cabaret) to pay tribute. Signature Theatre. 4200 Campbell Ave., Arlington. To Jan. 26. $38. (703) 820-9771. sigtheatre.org.

KLEPTOCRACY From director Jackson Gay comes this fictional play inspired by historic events, a worldpremiere drama by Kenneth Lin (House of Cards) which turns the spotlight on U.S.-Russia relations. In the ensuing rampage of hyper-capitalism after the pivotal moment of the Soviet Union's collapse, the Oligarchs, a new class of robber barons, plunge Russia into a terrifying dark age of chaos and corruption. When the richest and most ruthless Oligarch attempts to reform and open Russian markets to the world, he’s confronted by a young Vladimir Putin who is charting his own path to power. Arena Stage. 1101 6th St. SW. To Feb. 24 $56–$115. (202) 488-3300. arenastage.org.

MATTHEW BOURNE’S NEW ADVENTURES: CINDERELLA Matthew Bourne’s New Adventures follows up

THURS, FEB 7

WALTER TROUT AND ERIC GALES

AN EVENING WITH 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 FRI, FEB 15

AN ACOUSTIC EVENING WITH

DONAVON FRANKENREITER

W/ BRETT BIGELOW SAT, FEB 16

SIERRA HULL W/ ANGEL SNOW SAT, FEB 16

TEDESCHI TRUCKS BAND AFTERPARTY

FEAT. THE RON HOLLOWAY BAND

THEHAMILTONDC.COM

washingtoncitypaper.com january 18, 2019 27

CITY LIGHTS: WEDNESDAY

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

CAPERNAUM In Lebanon, a hardened 12-year-old boy sues his abusive parents for their negligence.

Starring Zain Al Rafeea, Yordanos Shiferaw, and Boluwatife Treasure Bankole. (See washingtoncitypaper. com for venue information)

COLD WAR A man and a woman, who are very different from one another, have a passionate love affair in post-war Poland. Starring Joanna Kulig, Tomasz Kot, and Borys Szyc. (See washingtoncitypaper.com for venue information) 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) GLASS In this entry into M. Night Shyamalan’s cinematic universe, Unbreakable’s Samuel L. Jackson reprises his role as Mr. Glass and Bruce Willis reprises his role as David Dunn, who tracks a disturbed man with multiple identities, Kevin Wendell Crumb from Split. Co-starring James McAvoy and Sarah Paulson. (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)

CITY LIGHTS: THURSDAY

CULTURAL FUSION: THE GAMELAN EXPERIENCE

Way back in 1889, long before the invention of SoundCloud, musicians had to physically go places to hear music from other parts of the world. Such was the draw of the Exposition Universelle, the world’s fair that was held in Paris that year, which introduced the then-new Eiffel Tower to the world, but perhaps more importantly introduced French composer Claude Debussy to gamelan, the percussive traditional music of Indonesia. Thus began a brief but consequential infatuation with gamelan by Western composers that led to such innovations as use of whole tone scale by Debussy and Leoš Janáček and free time by Erik Satie, before it traveled to the U.S. to influence John Cage, Philip Glass, and the minimalists. On Wednesday, local classical music collective PostClassical Ensemble and its director, Angel Gil-Ordóñez, will perform a concert demonstration of this long standing East-West musical bridge, joined by gamelan orchestras playing two distinct styles, Javanese and Balinese, and the Western classical works they inspired. The event begins at 7:30 p.m. at Washington National Cathedral, 3101 Wisconsin Ave. NW. $15–$65. (202) 537-6200. cathedral.org.

—Mike Paarlberg

28 january 18, 2019 washingtoncitypaper.com

WINDHAND

For those about to methodically groove, Windhand repeatedly bang their head to salute you.

Over the course of four full-lengths, the Richmond doom metal band has steadily become one of the genre’s most beloved and consistent acts. Last year’s Eternal Return—produced by famed Pacific Northwest grunge producer Jack Endino—is Windhand at their most tuneful but not at the cost of heaviness. The record feels like a rich integration of low-end fuzz and haunting melodies. On “Pilgrim’s Rest,” the band isn’t afraid to strip itself down, resulting in a lovely, melancholic dirge and its first song that could be mistaken for Mazzy Star. The entirety of Eternal Return plays like a newfound mission statement for singer Dorthia Cottrell, whose voice is now more prominent in the mix, sounding confident going toe to toe with the punishing riffs. It’s a transfixing mixture and one that will likely pair nicely with the pulverizing death metal of the openers, D.C.’s own Genocide Pact. Windhand perform with Genocide Pact at 7 p.m. at U Street Music Hall, 1115 U St. NW. $15. (202) 588-1889. ustreetmusichall.com.

—Matt Siblo

SAVAGELOVE I’m a middle-aged man dating a younger guy. He wanted to be a “boy” to a Dom top daddy, and I was happy to oblige. The sex is amazing, and we click as people, too. Then, a couple days ago, he told me he wanted to explore small penis humiliation (SPH). I was taken aback—not by the request, but because his penis is NOT small! It’s not huge, but it’s at least average. And it’s thick! I’m not super hung, so it’s not that he seems small in comparison—I have maybe an inch on him. When I pointed this out, he claimed I was just trying to make him feel better about his small size! He said I was patronizing him. He ended the conversation by saying he would drop it, since it was obviously making me uncomfortable. Honestly, I am uncomfortable with it. I just can’t imagine bringing myself to go on about how small his dick is when I’m actually thinking how much that thing would hurt if he were to top me. But my bigger concern is that doing SPH might feed into possible body dysmorphia. The way he reacted to being told his penis wasn’t small was a red flag—it told me this isn’t just a fantasy. It’s not that he wants to be made to FEEL it’s small; he really believes it is small. How is this different from telling a skinny boyfriend what a big fat pig he is? I really like this guy, and I think this could go somewhere. I want to be GGG, but not at the cost of his mental health.

—Need Objectivity, Savage, Please Help!

“The boy expressed a desire to play out a specific scene; he did not request a fact-check on his dick size,” said Dr. Reece Malone, a boardcertified sex therapist with a doctorate in human sexuality. “The boy’s disappointment is understandable, especially if he was feeling hopeful that the request would be met with enthusiasm and mutual excitement.”

Your boy was probably nervous when he brought SPH up, NOSPH, and his reaction to your reaction—his complaints about feeling patronized, his demand to drop the subject—was likely motivated by shame. Not shame about the size of his dick, but shame about this particular kink. He was open with you about other kinks right away, but sharing those kinks probably didn’t make him feel as vulnerable as sharing this one did. He held SPH back until he felt he could really trust you. And after he worked up the nerve to tell you about his biggest turnon, your response was to argue with him about whether his dick is small enough to qualify him for SPH play. “I think it’s important that NOSPH revisit the conversation to examine if his reaction felt shaming,” said Dr. Malone.

“While I appreciate NOSPH’s concerns,” continued Dr. Malone, “SPH scenes don’t require one to have a small dick. It’s fully engaging in the role-play itself that’s hot and exciting. It really is no different if a daddy’s skinny boyfriend wanted to engage in a fantasy where the thought of being a ‘big fat pig’ was hot and exciting for him.”

Limits and boundaries aren’t just for subs, bottoms, or slaves. Doms, tops, Masters, and Mistresses get to have limits and set boundaries, too.

Now, if he had a history of bulimia, telling him he’s a “big fat pig” could be harmful; likewise, if he had a history of bigorexia, telling him he’s a “skinny little shit” could be harmful. Your boyfriend may have a distorted idea about average dick size—most likely distorted by porn—but odds are good he’s one of millions of people out there who have eroticized their anxieties and insecurities. So long as he isn’t contemplating some dangerous or stupid way to make his cock bigger (like getting liquid silicone injected into his genitals, something that led to the death of a gay man in Seattle last year), you can engage in SPH without doing him harm.

“But NOSPH should ask more questions and engage in a dialogue on how his boy wants the scene played out, and if and how it would change their sexual dynamic overall,” said Dr. Malone. “It’s also fair for NOSPH to share his own concerns about feeding into body dysmorphia. He also has the right to set boundaries or decline the scene altogether.”

Agreed! Limits and boundaries aren’t just for subs, bottoms, or slaves. Doms, tops, Masters, and Mistresses get to have limits and set boundaries, too. If you can’t go there, you aren’t obligated to go there. But it might make you feel better about going there, NOSPH, if you bear in mind that you can mock his tiny cock (during sex play) and reassure him about his cock (during aftercare). If your boy doesn’t feel like he has to win an argument about how small his cock is to get the SPH he wants, he might be willing to admit—or finally be willing to accept—that his cock isn’t really that small.

Dr. Reece Malone is the creator of “Lasting Longer: 6 Steps to Overcoming Premature Ejaculation.” You can learn more about Dr. Malone and his work at reecemalone.com.

—Dan Savage I’m a gay man in my late 20s finishing up a graduate program and dating a man who is 38. The sex is great. Some context: We met on Scruff and dated for a little bit. Then I suffered a loss in my family—I was sad and confused, and didn’t want a relationship during this time. We talked again in June 2018, we went to Pride in Minneapolis, and we have been together since December 2018.

Recently he hinted about children and my attitude toward children. I responded that I want to have children of my own someday. However, in a text, he stated that he wants a child in a year or two. This seemed like an ultimatum to me, one that could make or break this relationship, and I wonder why he kept this from me. I do want children, but I’m still a starving student, a child is a huge responsibility, and I worry about the state of the world. And he texted this information to me! I feel anxious and pressured. What do I need to do?

—Text Ultimatum May Unravel Loving Ties

Maybe you need to chill the fuck out, TUMULT. People put their long-term goals on the table when they start getting serious about someone—long-term goals like the places they’d like to live or the kids they’d like to have—because if you’re not on the same page about the big stuff, continuing to make a large emotional investment in the relationship sets both partners up for heartbreak. And while you seem to think he should have brought kids up sooner (or in person, which definitely would’ve been better), people who bring up kids on the first date don’t get many second dates. Six months in is a perfectly reasonable time to bring kids up.

And where you see an ultimatum, TUMULT, I see an opening—the opening of negotiations. Your boyfriend would like to be a parent in a year or two. You would also like to be a parent, but not that soon. So make your counteroffer. If two years is too soon, tell him when you think you might be ready. Three years?

Four? After you land a job in your field? After President Alexandria Ocasio-Cortez signs the Green New Deal into law?

All your boyfriend is saying—all he’s texting—is that he sees a future with you and wants to know if you’re on the same page about the big stuff. It’s a compliment, TUMULT, not an ultimatum. And while there’s no compromising about whether to have kids—you can’t have half a kid (not legally)—you can hammer out a compromise about when to have kids.

—DS Give the gift of the magnum Savage Lovecast at savagelovecast.com.

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Name of Decedent, Grace S. Barnhart.

Notice of Appointment, Adult . . . . . . . . . . . . . . . . . . . . . . . 42 Washington LeaderNotice to Creditors and ship Academy Notice Auto/Wheels/Boat . . .to . .Unknown . . . . . . 42 Request for Proposals Heirs, Patricia Davis, Buy, Teacher Sell, Trade . . whose . . . . .address . . . . . is . .1900 . . . .

Substitute Services Valley Terrace SE, Marketplace . . . . . . . . . . . . . . . . . 42 Washington Leadership Washington, DC 20032 Academy Public Charter Community . . . . . was . . . appointed . . . . . . . Personal . . . 42 School is seeking proRepresentative of the . . . . estate . . . . .of . Grace . . . . .S. . .Barn42 posalsEmployment for short and long term substitute teacher hart who died on August Health/Mind . . . . . . . . . . . . . . . . . . . . services in all subjects 16, 2018, with a Will for high school Body &students.

Spirit . . . . and . . . will . . .serve . . . .without . . . 42 Services will take place Court Supervision. All Housing/Rentals . . . . . . .heirs . . . and . . . heirs 42 at WLA’s campus. unknown Please include the folwhose whereabouts are Legal Notices . . . . . . . . . . . . . . . .

42 lowing in your RFP: unknown shall enter ● Rate/hour/service Music/Music Row .their . . .appearance . . . . . . . .in . this 42 ● Qualifications of subproceeding. Objections . . . . . . . . . . . to . .such . . . appointment . . . . . . . . 42 stitutePets teachers ● Licenses Real Estate . . . . . shall . . . .be . .filed . . .with . . . the . 42 ● References of other Register of Wills, D.C., DC charter schools Shared Housing . 515 . . . 5th . . .Street, . . . . .N.W., . . 42 Deadline for Proposals: Building A, 3rd Floor, Services . . . . . . . . . .D.C. . . . . 42 Friday, February 1 . . . . . . . Washington, Please submit bids to 20001, on or before 7/17/2019. Claims Mandy Leiter, Operations Manager: mleiter@ against the decedent shall be presented to wlapcs.org the undersigned with a SUPERIOR COURT copy to the Register of OF THE DISTRICT OF Wills or to the Register COLUMBIA of Wills with a copy to PROBATE DIVISION the undersigned, on or 2018 ADM 001533 before 7/17/2019, or be

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forever barred. Persons Adult believed to be heirsPhone or legatees ofEntertainment the decedent who do not receive a Livelinks Chatnotice Lines. Flirt, copy of -this by chat and date!

Talk to25 sexydays real singles mail within of in your area. Call now! (844) its publication shall so 359-5773 inform the Register of Wills, including name, Legals address and relationship. first publiNOTICEDate IS of HEREBY GIVEN cation: 1/17/2019 THAT: Name Newspaper INC. TRAVISAofOUTSOURCING, (DISTRICTperiodical: OF COLUMBIA DEand/or PARTMENT OFCityCONSUMER Washington Paper/ AND REGULATORY AFFAIRS Daily Washington Law FILE NUMBER 271941) HAS Reporter DISSOLVED EFFECTIVE NOVEMName of Person RepreBER 27, 2017 AND HAS FILED sentative: Patricia Davis ARTICLES OF DISSOLUTION OF TRUE TEST copy DOMESTIC FOR-PROFIT CORAnne Meister PORATION WITH THE DISTRICT Register of Wills OF COLUMBIA CORPORATIONS DIVISION Pub Dates: January 17, 24, 31.

A CLAIM AGAINST TRAVISA OUTSOURCING, MUST TWO RIVERS INC. PUBLIC INCLUDE THE NAME OF THE CHARTER SCHOOL DISSOLVED CORPORATION, REQUEST INCLUDE THEFOR NAMEPROOF THE POSALS CLAIMANT, INCLUDE A SUMMAGym Flooring RY OF THE FACTS Surface SUPPORTING Replacement THE CLAIM, AND BE MAILED TO 1600 Rivers INTERNATIONAL Two PCS is DRIVE, SUITE 600, MCLEAN, VA 22102 soliciting proposals from qualified, competent, ALL CLAIMS WILL BE BARRED knowledgeable, and UNLESS A PROCEEDING experienced flooring TO ENFORCE THE CLAIM IS COMinstallation MENCED WITHcompanies IN 3 YEARS OF that will provide theNOTICE full PUBLICATION OF THIS replacement a 60’ x IN ACCORDANCE of WITH SECTION 55’ indoor ath-OF 29-312.07 OF resilient THE DISTRICT letic surfaceORGANIZATIONS for school COLUMBIA ACT. gymnasium. Proposals are due February Two Rivers PCS is 22, soliciting 2019. proposals to provide project manThe RFP with for bidding agement services a small conrequirements can be of the struction project. For a copy RFP, please email procurement@ obtained by emailing tworiverspcs.org. Deadline for procurement@tworiversubmissions spcs.org. is December 6, 2017.

WASHINGTON GLOBAL PUBLIC CHARTER SCHOOL NOTICE: REQUEST FOR PROPOSALS Washington Global Public Charter School in accordance with section 2204(c) of the District of Columbia School Reform Act of 1995 solicits proposals for the following services:

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* Special Education Legals Services Proposal Submission DC SCHOLARS PCS REQUEST A Portable Document FOR PROPOSALS – ModuFormat (pdf) election lar Contractor Services - DC version of your proposal Scholars Public Charter School must received the solicits be proposals for aby modular school later than contractorno to provide professional 4:00 p.m. EST Tuesmanagement and on construction services to construct modular day, January 29, a2019 building to house four classrooms unless otherwise stated andassociated one faculty offi ce suite. The in RFP’s.

Request for should Proposals Proposals be (RFP) specifi cations can be obtained on emailed to bids@washand after Monday, November 27, ingtonglobal.org.

2017 from Emily Stone via comNo phone call submismunityschools@dcscholars.org. sion or lateshould responses All questions be sent in please. writing by Interviews, e-mail. No phone calls regarding this RFP will be acsamples, demonstracepted. will Bids be mustscheduled be received by tions 5:00our PM request on Thursday, December at after the 14, 2017 of at DC Public review theScholars proposals Charter School, ATTN: Sharonda only.

Mann, 5601 E. Capitol St. SE, Interested parties andbids Washington, DC 20019. Any vendors will all state not addressing areastheir as outcredentials lined in the RFP and specifiqualifications will cations and provide not be considered. appropriate licenses, references, insurances, Apartments for Rent certifications, proposed costs, and work plan.

Please include any pertinent disclosures that may be present.

Scope of Work Washington Global Public Charter School invites authorized VENDORS of special education services to provide proMust see! semi-furposals forSpacious the purpose nished 1 BR/1competitive BA basement of providing apt, Deanwood, $1200. Sep. enpricing and quality trance, W/W carpet, W/D, kitchservice. en, fireplace near Blue Line/X9/ Washington Global V2/V4. Shawnn 240-343-7173.

Public Charter School envisions a system Rooms for Rent that is based on the following: Holiday Special- Two fur* Educational nished rooms for and short or long psychological term rental ($900testing and $800 per (including remonth) with initial accessand to W/D, WiFi, Kitchen, and Den. Utilievaluations) tiesOccupational included. Best N.E. location * therapy along H St. Corridor.

Call Eddie programming to include 202-744-9811 for info. or visit therapeutic services, www.TheCurryEstate.com screenings, and evaluations * Speech & Language programming to include therapeutic services, screenings, and evaluations

* Consultation and Construction/Labor administrative services, including MDT/IEP meetings, consultation as requested on as needed basis, teacher meetings, quarterly progress reports, POWER DESIGN NOWIEP HIRdevelopment, ING ELECTRICALanalyze APPRENTICES OFdata, ALL SKILL LEVexisting evaluation ELS! results, SEDS trainings, schedule creation, or about the position… requirements to perform Do you requested love working by with services your hands? Are you interthe school outside ofand IEP ested in construction hours. in becoming an electrician?

Then the electrical apprentice SUPERIOR position couldCOURT be perfect for OF THE DISTRICT OF you!

Electrical apprentices are able to earn a paycheck COLUMBIA and full benefi ts while learnPROBATE DIVISION ing the trade throughDate first2018 FEP 000159 experience. ofhand Death August 19,

2018 what we’re looking for…

Name of Decedent, Motivated D.C. residents who Alexander Edgar want to learn the electrical Wiskup, Notice of Aptrade and have a high school pointment diploma or of GEDForeign as well as reliable transportation.

Personal Representative and Notice to Creditors a little bitTiana about us…

Katrina Wiskup, Power address Design is one of the whose is 14734 top electrical contractors in National Drive, Chantilly, the U.S., committed to our VA 20151 was appointed values, to training and to givPersonal ing back toRepresentative the communities ofinthe estate which we live of andAlexwork. ander Edgar Wiskup, more details… deceased, by the Fairfax Visit Probate powerdesigninc.us/ County Court careers or County, email careers@ for Fairfax State powerdesigninc.us! of Virginia, on October 2, 2018. Service of process may be made upon Maura Pond, 2108 Financial Services 16th Street SE, WashDenied Credit??

Workwhose to Reington, DC 20020 pair Your Credit as Report With The designation District Trusted Leader inagent Credit has Repair. of Columbia Call Lexington Law the for a FREE been filed with credit reportofsummary & credit Register Wills, D.C. repair consultation. 855-620The owned 9426. decedent John C. Heath, Attorney at the Law, following PLLC, dba District Lexington Law of Columbia real propFirm. erty: 822 - 25th St NW, Washington, DC 20037.

Homethe Services Claims against decedent may be presented Dish Teleto theNetwork-Satellite undersigned and vision Services. Now Over 190 filed with the Register channels for ONLY $49.99/mo! of Wills for HBO-FREE for the one District year, FREE of Columbia, 515Streaming, 5th Installation, FREE Street, N.W., 3rd Floor, FREE HD. Add Internet for $14.95 D.C. 20001 aWashington, month. 1-800-373-6508

within 6 months from Auctions the date of first publication of this notice.

Date of first publication: 1/3/2019 Name of Newspaper and/or periodical: Washington City Paper/ Daily Washington Law Reporter Name of Person Representative: Katrina Tiana Wiskup Whole Foods Commissary Auction TRUE TEST copy DC Area AnneMetro Meister Dec. 5 at of 10:30AM Register Wills 1000s S/S Jan. Tables, Pub Dates: 3, Carts & Trays, 2016 Kettles up 10, 17 to 200 Gallons, Urschel Cutters & Shredders inMAYA PUBcludingANGELOU 2016 Diversacut LIC SCHOOL 2110CHARTER Dicer, 6 Chill/Freeze REQUEST FOR PROCabs, Double Rack Ovens & Ranges, (12) Braising POSALS Tables, 2016 (3+) Stephan Chromebooks VCMs, 30+ Scales, Hobart is80 qt Mixers, MAPCS seeking Complete Machine Shop, proposals to purchase and much more! View the between catalog at50-75 Chromebooks to complementor www.mdavisgroup.com our curriculum. All bid 412-521-5751 proposals will be accepted until 12:00 PM on FebruaryGarage/Yard/ 7, 2019.

Rummage/Estate Interested vendors Sales will respond to the adverFlea Market every Fri-Sat tised Notice RFP viaRd. 10am-4pm.

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No proposals will be accepted after the Bands/DJs for Hire deadline. Questions can be addressed to ProcurementInquiry@ friendshipschools.org SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 ADM 001468 Get Witof It Decedent, Productions: ProfesName sional sound and lighting availHattie Bernice Spencer. able for club, corporate, private, Notice of Appointment, wedding receptions, holiday Notice to Creditors and events and much more. Insured, Notice to rates.

Unknown competitive Call (866) 531Heirs, Cun- for a 6612 ExtKatina 1, leave N. message ningham, whose ten-minute call back, oraddress book onis Redview Drive, line8212 at: agetwititproductions.com Frestville, MD 20747 was appointed Personal Announcements Representative of the estate of Hattie- Bernice Announcements Hey, all you lovers who of erotic andon bizarre Spencer died romantic fi ction!

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August 12, 2018, withnightlightproductions.club and out a Will and will serve submit yourCourt storiesSupervito me Happy without Holidays! James K. West wpermanentwink@aol.com

sion. All unknown heirs Events and heirs whose whereabouts are unknown Christmas in Silver shall enter their Spring appearSaturday, 2, 2017 ance in December this proceedVeteran’s Plaza ing. Objections to such 9:00 a.m. to 7:00 p.m. appointment be in Come celebrate shall Christmas filed with the Register the heart of Silver Spring at our of Wills, D.C., 5thPlaVendor Village on 515 Veteran’s Street, za. There N.W., will be Building shopping, arts A, 3rd Washingand craftsFloor, for kids, pictures with Santa, music20001, and entertainment ton, D.C. on or to spread 7/3/2019. holiday cheer and more. before Claims Proceeds from the market against the decedent will provide a “wish” toy for children shall be presented to in need. Join us at your one stop the undersigned with a shop for everything Christmas. copy to the Registercontact of For more information, Wills Futsum,or to the Register of Wills with a copy to or info@leadersinstitutemd.org the301-655-9679 undersigned, on or call before 7/3/2019, or be General forever barred. Persons believed to be heirs or Looking to of Rent space for legatees theyard decedent hunting who dodogs. notAlexandria/Arlingreceive a ton, VA area only. Medium sized copy of this notice by dogs will be well-maintained in mail within 25 days temperature controled dog of housits socare es. Ipublication have advancedshall animal inform the experience andRegister dogs will of be rid Wills, including name, free of feces, flies, urine and oder.

Dogs will beand in a ventilated kennel address relationso they Date will not of be exposed to winship. first publiter and harsh weather etc. Space cation: 1/3/2019 will be needed as soon as possiName of Newspaper ble.

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2018 ADM 001458 Name of Decedent, Mary Agnes Cole. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Priscilla Ramona Cole, whose address is 1522 Ridge Place SE, Washington, DC 20020 was appointed Personal Representative of the estate

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of Mary Agnes Cole who died on October 18, 2018, without 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 against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 7/3/2019, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: 1/3/2019 Name of Newspaper and/or periodical: Washington City Paper/ Daily Washington Law Reporter Name of Person Representative: Priscilla Ramona Cole TRUE TEST copy Anne Meister Register of Wills Pub Dates: January 3, 10, 17.

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