Washington City Paper (February 9, 2018)

CITYPAPER Washington

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ElEv8tEd ProfilE Councilmember Trayon White rose from poverty to power. Now he wields influence representing Ward 8, D.C.’s poorest district. P. 12

By Andrew Giambrone Photographs by Darrow Montgomery

2 february 9, 2018 washingtoncitypaper.com

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INSIDE on tHe CoVer: eLeV8teD ProFILe 12 The education of Trayon White, D.C.’s youngest councilmember and heir to Marion Barry

DIStrICt LIne 7 taxes al carbon: D.C. attempts to create the nation’s first carbon rebate scheme.

8 ethics enforcer out: No one can explain why Traci Hughes lost her job.

10 Savage love

FooD 17 Next door restaurateurs: Jackie Greenbaum and Gordon Banks are reviving the neighborhood restaurant.

19 Quick and dirty: Which D.C. fast food spots have received the most health department complaints?

19 veg diner Monologues: Pow Pow’s Natalie Porkman 19 pour your heart out: When day drinking gets ugly

artS 21 galleries: Capps on The Message and What Absence Is Made Of at the Hirshhorn 23 Short Subjects: Zilberman on A Fantastic Woman and Olszewski on Happy End 24 curtain calls: Klimek on 4,380 Nights at Signature Theatre 25 Sketches: Jacobson on the American University Museum’s Frank DiPerna retrospective 26 one Song: Prince’s “Tamborine”

CIty LISt 29 32 32 32 33

Music Books Dance Theater Film

DIVerSIonS 34 Classifieds 35 Crossword 4 february 9, 2018 washingtoncitypaper.com

Darrow MontgoMery 1000 Block of 15th Street NW, feBruary 7

EDITORIAL

editor: AlexA mills MaNagiNg editor: cAroline jones artS editor: mAtt cohen food editor: lAurA hAyes city lightS editor: kAylA rAndAll Staff Writer: Andrew giAmbrone Staff photographer: dArrow montgomery MultiMedia aNd copy editor: will wArren creative director: stephAnie rudig coNtriButiNg WriterS: john Anderson, morgAn bAskin, VAnce brinkley, kriston cApps, chAd clArk, rAchel m. cohen, riley croghAn, jeffry cudlin, eddie deAn, erin deVine, tim ebner, cAsey embert, jAke emen, jonAthAn l. fischer, noAh gittell, lAurA irene, AmAndA kolson hurley, louis jAcobson, rAchAel johnson, chris kelly, steVe kiViAt, chris klimek, priyA konings, julyssA lopez, Amy lyons, neVin mArtell, keith mAthiAs, j.f. meils, triciA olszewski, eVe ottenberg, mike pAArlberg, pAt pAduA, justin peters, rebeccA j. ritzel, Abid shAh, tom sherwood, Quintin simmons, mAtt terl, dAn trombly, kAArin VembAr, emily wAlz, joe wArminsky, AlonA wArtofsky, justin weber, michAel j. west, diAnA yAp, AlAn zilbermAn

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puBliSher: eric norwood SaleS MaNager: melAnie bAbb SeNior accouNt executiveS: renee hicks, Arlene kAminsky accouNt executiveS: chAd VAle, brittAny woodlAnd SaleS operatioNS MaNager: heAther mcAndrews director of MarketiNg, eveNtS, aNd BuSiNeSS developMeNt: edgArd izAguirre operatioNS director: jeff boswell SeNior SaleS operatioN aNd productioN coordiNator: jAne mArtinAche puBliSher eMerituS: Amy Austin graphic deSigNerS: liz loewenstein, melAnie mAys

LELAnD InvEsTmEnT cORp. oWNer: mArk d. ein

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Food & Drink Best Asian Restaurant Best Bagel Best Bakery Best Bar

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Dear Readers of Washington City Paper: We care what you think. Really, we do. We ask you again for your favorite haunts, your favorite bartender, your favorite vegetarian joint, your favorite bike shop, and, of course, best local band. Let’s celebrate D.C. Let’s define what we love most about living here. Let’s Vote.

Best Restaurant When You Pay Best Arts and Culture Nonprofit

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People & Places Best Apartment Building

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Best Record Store

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DistrictLine Taxes al Carbon

Support for a carbon tax in the District is broad, but lawmakers can’t decide how to implement it.

For Chaé Norris, this is really a story about a little girl who struggles to breathe.

Norris is talking about her 8-year-old niece, one of the many children affected by the District’s higher than average rates of pediatric asthma. When she’s trying to convince people to support carbon pricing in D.C., the native Washingtonian and Army veteran doesn’t talk about wonky tax debates or rebate schemes. She tells them about the pain her niece experiences when she wakes and needs to use a breathing treatment machine, and how cleaner air would help her fill her lungs more easily.

“We have this policy that we’re trying to get passed,” Norris tells people when she knocks on doors. “It really helps the environment and you get paid to do it—that’s the hook.”

D.C. could be the first jurisdiction in the country to implement a carbon pricing and rebate scheme. The idea is that the current cost of emitting carbon doesn’t include the real costs borne by the public, like environmental damage, health issues, property destruction, and other external expenses. If a carbon rebate program were implemented, the city would add a fee to oil and natural gas bills. The money collected would go back to residents, especially low-income Washingtonians, through a rebate system. Over time, that fee would increase.

“Right now, it’s free to pollute the atmosphere and that’s why we’re burning the planet,” says Camila Thorndike, an organizer with the Chesapeake Climate Action Network who is helping to lead the effort. “That’s why we don’t see the kind of investment in clean energy and the kind of conservation choices on the consumer side. Climate change is the greatest market failure that ever was.”

And so, they’re looking to fix it with a market solution. For more than two years, the Put A Price On It, D.C. campaign has been building a coalition to push for legislation that would make this a reality. The group, which includes more than 50 organizations, formally launched in May 2017.

Thorndike says interest increased after the 2016 election “because people were just de-

spairing and defeated and saw this opportunity to fight back right here under Trump’s nose.”

The coalition includes a mix of usual suspects, like environmental groups, along with some religious leaders, arts advocates, and small businesses. Pleasant Pops is on board, even though a popsicle business might stand to benefit from a hotter planet. “I’d rather sacrifice the marginal returns to have a safe world,” says owner Roger Horowitz, who adds that the business already runs on 100 percent wind power.

This is the first time that property services union 32BJ SEIU has waded into a fight over environmental policy in D.C., says Jaime Contreras, the vice president of the union. They’re doing so because “this is something that our members care about,” he says.

“It’s important that it would put money into the pockets of D.C. families, and people would be breathing less bad air. It’s becoming a health issue.”

At least six councilmembers have already come out in favor of carbon pricing to some degree — Chairman Phil Mendelson, At Large Councilmembers David Grosso and Robert White, Ward 1’s Brianne Nadeau, Ward 6’s Charles Allen, and Ward 3’s Mary Cheh, who, as the chair of the Committee on Transportation and the Environment, is heading up the effort to write the legislation.

“My office is in the process of researching how a carbon fee could fit in with the District’s existing climate initiatives and I’m hoping to introduce a bill to address our local carbon output this spring,” Cheh said in a statement to City Paper.

“There’s clearly a majority of the Council who support the direction and the concept,” says Allen. “We don’t have an actual bill in front of us because advocates are working closely with Mendelson and Cheh to help map out what the actual bill would look like. In an ideal scenario, you win this battle before you ever introduce the bill.”

Democratic lawmakers introduced a carbon fee bill this week on Capitol Hill. Neither that legislation nor others tackling climate change have much of a chance on the federal level. “Cities are where we’re going to lead,” says Allen. “Now’s the time more than ever when we have to put our foot on the accelerator.”

So where does the city ’s leader stand on the issue? Mayor Muriel Bowser committed the city to a goal of becoming carbon neutral by 2050, meaning the city ’s emissions would be balanced by actions and projects that remove c a rb o n d i o x i d e from the air, and reiterated D.C.’s commitment to the Paris climate accord after President Trump pulled the United States out of the agreement last June.

The D.C. Department of Energy and the Environment Clean Energy DC plan, an updated version of which is forthcoming, outlines 55 recommended actions to meet those goals, including mandating that electricity suppliers use renewable energy and creating a DC Green Bank. Carbon pricing is not among them.

“We’re all about hitting the mayor’s goals.

The question is, what’s the best way to do it?” says Marc Nielsen, the legislative director for DOEE. “Carbon pricing would have to be Stephanie Rudig

By Rachel Kurzius

at a level that achieves behavior change but doesn’t exacerbate how expensive it is to live in the District of Columbia. It would really depend [on] how the proposal is structured.”

He points to the large Clean Rivers Impervious Area Charges added to DC Water bills and Pepco’s request for a D.C. rate hike as issues already threatening the pocketbooks of residents. “The rebate you get back is supposed to help alleviate that problem, but it’s kind of strange as a behavioral mechanism, because if you get the money back, it ends up just creating a cash flow problem” for lower-income residents, says Nielsen.

The DOEE commissioned a report in 2016 to see how to implement a carbon tax in D.C., Bloomberg reported last April. The report predicted the fee would raise annual revenue of $200 million that would then be redistributed to residents. The agency ultimately opted to focus on other ways of reducing greenhouse emissions, and never released the document or showed it to the Council.

Nielsen says that when the Council comes out with a proposal, “we would be working with the mayor’s office to make sure it’s the most beneficial bill out there.”

Already, D.C. residents can opt for a clean, renewable source for their electrical power supply through Pepco, which has come out in favor of carbon pricing. But the decision isn’t free. A flyer sent out last week from CleanChoice Energy, the supplier of the service, admits that “supporting new renewable energy development costs more than polluting energy.”

With carbon pricing, that would change, says Thorndike of CCAN. “In a quarterly shareholder report kind of world, you have to establish a price for doing the wrong thing and a reward for doing the right thing.”

At the Wilson Building, Cheh’s office and others are working on what, exactly, that price ought to be and the logistics for paying it. Advocates are calling for a fee of $20 per ton of carbon dioxide that would rise by $10 annually until it hits a $150 per ton fee. When it hits the $150 per ton mark, advocates expect that consumers would see their bills rise by about $9 a month if they don’t switch to renewable energy.

The Public Service Commission may levy the fee, with the rebates coming from a new office within the Office of Tax and Revenue or DOEE. There could be a tax on gas that’s triggered when neighboring jurisdictions pass similar laws, or tax cuts for local businesses funded through the rebate, or investments to the not-yet-established Green Bank. But until the spring, when Cheh hopes to introduce the bill, the tinkering continues.

“Everything’s on the table,” says Allen. CP

washingtoncitypaper.com february 9, 2018 7

DistrictLinE No One Will Say Why Ethics Enforcer Traci Hughes Is Out of a Job

By Tom Sherwood

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Traci HugHes Has stepped on a lot of toes.

And now, she’s being booted out of her job.

Hughes since 2013 has been the first and only director of the D.C. Office of Open Government.

That office has broad authority to order the city’s more than 170 boards and commissions—many of them politically powerful—to follow city laws on public disclosure and open meetings. Hughes has made about 30 such rulings in the past year.

But days ago, the city’s Board of Ethics and Government Accountability (BEGA), whose current members didn’t hire Hughes, voted to not reappoint her when her five-year term is up in April. No public reason was given. Has she been made a martyr for open government?

If so, it would be a bad mark against BEGA’s independence as Mayor Muriel Bowser heads into her reelection campaign. Or is the problem, as some claim, that Hughes’ management style brought about her own downfall?

On Monday on the WAMU Kojo Nnamdi Show, Hughes said that although independent, she has been pressured to lighten up on some of her decisions. She declined to name names on the air, but said, “That [political pressure] has happened before. I resisted the pressure and I do think that’s part of the reason I am in the position I’m in today.”

Ward 6 councilmember Charles Allen, whose judiciary committee is holding an oversight hearing on BEGA Thursday morning, says he would ask about Hughes. “I expect on Thursday to raise this and dig deeper,” Allen tells City Paper. “Has Hughes been wronged?” he asks. “I don’t know that.” Allen says Hughes was appointed to a five-year term and was not entitled to “automatic renewal.”

Sources familiar with Hughes’ situation say Bowser’s administration has been upset with Hughes since at least last year.

In particular, Hughes publicly questioned whether appointments had been made legally to the Commission on the Selection and Tenure of Administrative Law Judges. The three-member commission, one of whom is appointed by the mayor, oversees more than 30 administrative law judges who resolve major and minor disputes—many financially lucrative—among dozens of city agencies, the public, and private business.

In her report on the commission, Hughes suggested that if any commission member were not properly appointed, their work and that of the administrative judges under them

may be open to legal question. Hughes’ said her report was discussed in the highest levels of the mayor’s office in December.

A spokeswoman for the mayor’s office said that BEGA chairperson Tameka Collier met in December with Betsy Cavendish, legal counsel to the executive office of the mayor.

The mayor’s spokeswoman LaToya Foster said they frequently meet, but declined to say whether Hughes had been discussed.

Hughes said Collier later suggested BEGA might “go in a different direction” rather than reappoint Hughes. City Paper’s calls to the BEGA office were not returned.

But the unhappiness with Hughes my go back much further. Back in 2016, in what some saw as an effort to end run Hughes’ office, Mayor Bowser created her own Mayor’s Open Government Office, part of Cavendish’s counsel office. The job description promotes open government, but it encourages city agencies to go to the mayor’s office for ethics advice and training rather than to Hughes’ office.

“It creates a parallel universe,” says Robert Becker of the D.C. Open Government Coalition. Under the guise of good government, he says, it allows the mayor’s office to get early warning signals of ethics complaints. Becker says the decision to not reappoint Hughes is troubling and a blow to ethics reform in the city.

Hughes’ office also recently ruled that the board of the troubled United Medical Center improperly met in secret to make crucial decisions to shut down its obstetrics ward. The UMC management crisis has mired Bowser—who nominates the UMC board members—in political battles with the D.C. Council and the community.

Critics of Hughes praise her work educating boards and commissions on ethics rules, but say Hughes chafed under BEGA management, which controls her budget, and sought legislation last year to have the D.C. Council make her work totally independent with its own staff and board members. The Council declined to act.

Some officials associated with BEGA also questioned Hughes’ reluctance to keep the board fully informed of her activities, her spending, and her performance plans. Hughes dismissed those as routine disputes within any office.

Hughes says she will be at the Council hearing on Thursday, but not as a witness. She says she was told that BEGA chairman Collier will speak on behalf of BEGA before Committee chairman Allen’s committee. But Hughes says she’ll be there in the audience to answer any questions, if anyone wants to call on her. CP

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“Eighty percent of success is just showing up,” someone or other once said. The adage applies to romantic/sexual success as well as professional success, SACK, but showing up easily accounts for 90 percent of success in the BDSM/leather/fetish scene. (Being a decent human being accounts for the other 110 percent.*) Because if you aren’t showing up in kink spaces—online or IRL—your fellow kinksters won’t be able to find or bind you. But you don’t have to take my word for it…

“The leather scene is a diverse place with tons of outlets and avenues, depending on how you navigate your life and learn,” says Amp from Watts the Safeword (wattsthesafeword.com), a kink and sex-ed website and YouTube channel. “When I was first getting started, I found a local leather contingent that held monthly bar nights and discussion groups that taught classes for kinksters at any level. It provided an easy way into the community, and it helped me meet new people, make new friends, and find trustworthy play partners. If you’re a tad shy and work better online, these contingents have Facebook groups or FetLife pages you can join. And YouTube has a channel for everyone in the kink spectrum from gay to straight to trans to nonbinary and beyond!”

“Recon.com is a great option for gay men,” says Metal from the gay male bondage website MetalbondNYC.com. “It’s a site where you can create a profile, window-shop for a play buddy, and ‘check his references.’ Even better, if you can, go to a public event like IML, MAL, or CLAW, or to a play party like the New York Bondage Club, where you can participate in a monitored space with other people around, or just watch the action. Don’t forget the motto ‘safe, sane, and consensual,’ and be sure to have a safe word! And if you do want to explore bondage, take precautions. Never get tied up in your own home by someone you don’t know. If you go to his or her place, always tell a trusted friend where you are going. And when hooking up online, never use Craigslist.”

“Be cautious,” says Ruff of Ruff ’s Stuff blog. “There are people out there who view ‘kink newbies’ as prey. Anytime anyone—top or bottom—wants to rush into a power-exchange scene, that’s a red flag. Always get to know a person first. A good-quality connection with any potential playmate is achieved only through communication. If they are not interested in doing the legwork, they’re not the right person for you.”

Follow Metal on Twitter at @MetalbondNYC, follow Amp at @Pup_Amp, and follow Ruff at @RuffsStuffBlog.

—Dan Savage

10 february 9, 2018 washingtoncitypaper.com

I’m a 28-year-old bi-curious female, and I ended a three-year straight LTR a month ago. It’s been tough—my ex is a great guy, and causing him pain has been a loss on top of my own loss, but I know I did the right thing. Among other things, our sex life was bland and we had infrequent sex at best. Now I want to experiment, explore nonmonogamy, and have crazy and fulfilling sex with whoever tickles my fancy. I met a new guy two weeks ago, and the sex is incredible.

We also immediately clicked and became friends.

The problem? I suspect he wants a romantic relationship. He says he’s open to my terms—open/ fuck-buddy situation—but things have quickly become relationship-ish. I like him, but I can’t realistically picture us being a good LTR match. I’m hoping we can figure out something in between— something like a sexual friendship where we enjoy and support each other and experiment together without tying ourselves down—but I have found very little evidence of such undefined relationships working without someone getting hurt. I am sick of hurting people! Any advice?

—Hoping Open Peaceful Experiences Feel Unlike Loss

Gay, straight, hairy, smooth, fat, muscled— bear is a state of mind.

If “someone might get hurt” is the standard you’re going to apply to all future relationships—if it’s a deal breaker—then you shouldn’t date or fuck anyone else ever again, HOPEFUL, because there’s always a chance someone is going to get hurt. The fact that hurt is always a possibility is no excuse for hurting others needlessly or maliciously; we should be thoughtful and conscientious about other people’s feelings. We should also remember that no one is clairvoyant and that someone can hurt us without intending to. But there’s no intimate human connection, sexual or otherwise, that doesn’t leave us open to hurting or being hurt.

So fuck this guy, HOPEFUL, on your own terms—but don’t be too quick to dismiss the possibility of an LTR. Great sex and a good friendship make a solid foundation. You’re aware that nonmonogamous relationships are an option—and couples can explore nonmonogamy together. If you can have this guy and have your sexual adventures, too—this could be the start of something big.

—DS

I’m a mid-20s, above-average-looking gay dude into spanking guys. The weird thing is, the only guys I can find to spank are straight. It’s not that they’re closeted—most of them go on to have girlfriends, and that’s when we stop—and they make it clear they don’t want anything sexual to happen. No complaints on my end! But why don’t they want a woman spanking them?

—Seriously Perplexed And Needing Knowledge

How do you know their new girlfriends don’t start spanking them when you stop? And how do you know they aren’t closing their eyes and imagining that you’re a woman when you’re spanking them? And how do you know they’re not bi—at least where spankings are concerned?

(Also: There are tons of gay guys out there into spanking, SPANK. So if you aren’t finding any, I can only conclude that you aren’t looking.)—DS I’m wondering about the application of the term “bear” to a straight man, such as myself. I’m a bigger guy with a lot of body hair and a beard. I love that in the gay community there is a cute term for guys like me reflecting body positivity. For us straight dudes, however, being big and hairy means getting thought of as an ape—big, dumb, smelly oafs. While I can be dumb, smelly, and oafish at times (like anyone), I’d also like to have a way to describe myself that is masculine yet attractive. Bear is a great term, but I’m concerned about being insensitive in appropriating it. I haven’t asked my gay/bear friends about it (though they’ve referred to me as a bear on occasion) because I’m afraid I won’t get a straight answer (no pun intended). Would it be okay for me to refer to myself as a bear or, as a highly privileged straight cis male, do I need to accept the fact that I can’t have everything and maybe leave something alone for fucking once?

—Hetero Ape Inquiring Respectfully, Yup “If you want to be a bear, BE A BEAR!” says Brendan Mack, an organizing member of XL Bears (xlbears.org), a social group for bears and their admirers. “DO YOU! There isn’t anything appropriative about a straight guy using the term ‘bear’ to describe himself—it’s a body type, it’s a lifestyle, and it’s celebrating yourself.

Gay, straight, hairy, smooth, fat, muscled—bear is a state of mind. It’s body acceptance. It’s acceptance of who you are. So if you want to be a bear, WELCOME TO THE WOODS!” Matt Bee, the promoter behind Bearracuda Worldwide (bearracuda.com), seconds Mack. “The term ‘bear,’ like any other animal descriptor, is a pretty playful one to begin with.

Please, by all means, use it and any other wellmeaning word to describe yourself!” —DS * Math is hard.

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

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washingtoncitypaper.com february 9, 2018 11

Ward 8 Councilmember Trayon White is well-loved in a part of the city rife with the fear of displacement by gentrification.

By Andrew Giambrone

Amid the frenetic bustle of the gymnasium, a tiny boy falls on the floor.

Trayon Antonio White Sr. turns from a couple of acquaintances to make sure the child is unharmed. At 5 feet 2 inches, White is short relative to the men he’s with, and even some of the teens on the basketball court.

The boy gets up and goes on his way, like nothing occurred. White looks relieved. Welldressed, he wears a light blue shirt, a darker blue tie, and a silver tie clip. Thick dreadlocks hang down to his shoulder blades.

Around him, about three dozen black youth fill the gym. Some shoot hoops on both sides of the floor, while others throw a football through the air. A few launch themselves like missiles from the bleachers, yelling and laughing and zigzagging through the room.

Several minutes later, another boy approaches White. The kid shows a faint look of recognition on his face, as if he knows who White is, but doesn’t want to say the wrong answer.

“My name’s Trayon,” White says, dipping.

“How you doing?”

The boy smiles and skedaddles. For a moment, White watches him run free through this

Photographs by Darrow Montgomery

Boys & Girls Club branch, located a block away from the D.C.–Maryland border in Southeast.

A handful of other children pass and greet White. Some mistakenly call him “Trayvon.”

Then he joins his 9-year-old son, Trayon White Jr., who stands quietly nearby, and exits the gym.

White, 33, is currently the youngest person on the D.C. Council, the 13-member legislature that passes local laws and budgets, and has oversight of the city’s agencies.

The area he represents, Ward 8, is the District’s most economically disadvantaged ward and predominately African-American.

A year into his tenure as Ward 8 councilmember, White is still learning the spoken and unspoken rules of politics. He toils in the shadow of the late Marion Barry, who championed the ward—both as mayor and councilmember—and those he called “the lost, the last, and the least.”

Today their voice is Trayon White.

Even a few of his former rivals admit this.

“Trayon brings a voice to a constituency that in many cases has been faceless and voice-

12 february 9, 2018 washingtoncitypaper.com

less and not at the table of decision-making,” says veteran activist Philip Pannell, who lost to White in two school board elections.

“He comes across with unabashed realness,” Pannell continues. “There’s no pretense with him. His sincerity is spontaneous. It’s not fake. And that is clearly refreshing.”

White keeps an extremely active—and transparent—presence on social media. He tends to post on Facebook and Instagram at least once a day, mostly while he’s out in the community. He has 19,400 Instagram followers and 5,000 Facebook friends, which is the maximum number the network allows.

One is as likely to find videos of White mentoring kids and photos of him visiting schools as one is to see event flyers and screenshots of news reports on his channels.

“He’s the heart and soul of Ward 8,” says Ward 5 Councilmember Kenyan McDuffie.

“They look at him and see themselves, they see the promise and hope of Ward 8. ... I see him as representing his ward in a way that allows people a window into the work, in a way that’s unique and special.”

But White is not a creature of the John A.

Wilson Building or a zealous legislator like other pols, according to Council watchers and staff. As a newer member, he also lacks the cachet that comes with chairing a committee. This means he must rely on senior members for support.

Beyond the Wilson Building, though, these dynamics only matter so much. White walks around like a mayor in some Ward 8 neighborhoods. People of all ages wave hello and open up about their lives to him.

Much of the time, in fact, it seems that White can’t go more than half a block without someone stopping him.

Standing near a pickup truck outside of the Boys & Girls Club on a recent evening, he and a woman in a car across the street shout in conversation. “I’m dropping off Christmas trees!” he jokes, as if the truck belongs to him.

Farther down Mississippi Avenue SE, White and his son get into a silver BMW. He starts driving toward the Malcolm X Opportunity Center, where one of his sisters is taking a business class. “She invited me to speak,” White says. “I have no clue what I’m speaking about.”

There’s a lighter and some junk below the passenger seat. A warning sensor on the dashboard beeps every four seconds, indicating the brakes need to be checked.

At one point, White rolls down the driver’s side window and hawks a loogie into the night. The car glides by Malcolm X Elementary School on 15th Street SE. “We got a meeting down here tomorrow morning at 9:30 cuz they got a lot of issues in that school,” White says. “Like the back of the building ’bout to fall out. It got an intercom system that’s like from the ’80s. … It’s terrible. They got the water problems. … It’s a lot going on.”

White knoWs thAt Ward 8, with around 70,000 residents, is on the cusp of significant changes. Last month, he attended a ceremony for the future Wizards practice facility at the St. Elizabeths East Campus that Mayor Muriel Bowser and other city leaders hosted. Expected to open in September, the $65 million arena will also host concerts and community events.

On Instagram, White posted a selfie with Wizards owner and entertainment mogul Ted Leonsis. (Bowser makes a candid cam-

eo.) “I’m all for development of buildings but we welcome good partners that believe in not just physical buildings but building people,” White wrote in the caption.

That statement of values reflects community fears about gentrification. Although many Ward 8 residents are excited for the improvements and jobs promised for their neighborhoods, others worry that economic development will push them out.

The median family income in Ward 8 is about $30,000 a year. Half of its children live in poverty. And despite citywide decreases, violent crime persists in the ward. So does fear.

Given those numbers, White says he shares concerns about displacement, but also wants Ward 8 residents to be able to work on new developments. “I don’t want to see billions of dollars spent in the ward and people are in a worse condition 10 years from now,” says White. “A lot of people need a hand up, not a handout.”

“We got a lot of potential—but it’s that fragment of our people that feel so hopeless,” he adds. “Feel like there’s nowhere for them to go because the price of living going up in D.C. and they can’t afford to live here no more.”

White’s idea of “building people” is rooted in his upbringing. Born to Sherita White-Kennedy, he is the second of seven siblings. The family lived in a cramped two-bedroom apartment on First Street SE. White didn’t have his own bed until college. “We came from nothing,” he says.

White’s grandmother, Jean Ann Roberts, was the matriarch of the family and a community pillar. “She was so strong, she was strong enough for everybody,” White remembers.

Roberts fed and babysat White’s cousins and other kids in the neighborhood.

Gunfire was common. White recalls that during summers, the children in his family couldn’t play outside for weeks because of neighborhood beefs. He says bullets came through a window in their apartment, and some of his cousins ended up in jail.

“It was always somebody getting shot, it was always somebody getting locked up,” White says. “It was just a lot of violence and drama going on every day.”

“The bus used to be 35 cent,” he notes. “We didn’t have 35 cent to get on the bus back in the day.” Instead, White and his companions

would board through the rear doors.

White’s siblings ate according to birth order, so when Tiny—his older sister—had cereal, he had to wait. The family wrung out their clothes in towels, then placed their items on the stove to dry them. And whoever was the last to take a shower might not get hot water.

“I’m so blessed,” White says, using a word he repeats six times in an interview. “I had to tell my son that. Like you complaining. You got a room at my house, a room at your mom house—with two of your own beds. Like you don’t even understand! You got a whole row of your own shoes!” in middle school White saw a fellow student get robbed at gunpoint in class. “It changed my life,” he says.

He bought a gun and began carrying it.

White says this was a matter of “protection.”

His family lived on a street that had a “small crew” compared to other streets with larger crews.

“If I woulda got caught, it’d probably alter my life,” he admits. “If I did something to somebody, I probably wouldn’t be the councilmem-

washingtoncitypaper.com february 9, 2018 13

ber today. But it’s by the grace of God that I never used it, never got in no trouble with it.”

The first book White remembers finishing is Countering the Conspiracy to Destroy Black Boys

by Jawanza Kunjufu. It was a gift from his uncle Ronell White, a father figure to him.

White had just gotten through eighth grade at Patricia Roberts Harris Educational Center—long since closed. He missed over 50 days of class that year, but the school promoted him anyway.

Violence plagued P.R. Harris, as the school was known. In 1993, a 14-year-old shot a security guard in the stomach. At other times, a teacher was shot and a police helicopter landed on the playground during recess, White recalls.

He says Kunjufu’s book opened his eyes.

“Genocide (jen’ ə sid’)n.,” the first chapter starts. “The deliberate and systematic destruction of a racial, political or cultural group.”

“My goal was to get a 4.0 GPA after I read the book,” White says.

White and his sister, Tiny, used to go to church of their own volition. Tiny says her brother “found Jesus” while he was in junior high school. “That was his turning point,” says Tiny, who is a year and a half older than Trayon. “When he became a Christian, it changed his whole life.”

Today he doesn’t identify with a particular denomination. “I’m spiritual,” White states. “I believe in ’em all. The ultimate power is God that really transformed and saved me.”

He went to Ballou Senior High School where he started a group called “Ballou Soldiers” that brought in community leaders to speak with students. Beginning in the 12th grade, he coached younger students in football.

White graduated from Ballou with honors and attended the University of Maryland Eastern Shore to study business administration. Each week, he drove back to D.C., where he continued to coach.

Death followed White. During his freshman year, his grandmother died. “I used to come home from college and still think she in the house,” White recounts. Five high school football players he knew—including James Richardson, Devin Fowlkes, and Michael Simms— were killed during his first two years at UMD. He largely ascribes the kind of violence he’s witnessed in Ward 8 to “lack of knowledge of self.” “I done buried about 97 people,” he points out. “I tried to count one day.”

White says his faith reassures him in the face of destruction. “I just know that, man, God can do anything with anybody,” he says.

“I could have just been another statistic. … I know at any given moment, I can be lying in that casket.”

His eyes widen, his voice loudens. “But that sparked something in me,” adds White. “I gotta be more than a football coach. I gotta become a life coach—an example for this generation. Because they love me so much, and I love them.”

So he doubled down in school, even as his debt piled up. He says he almost got sent home from UMD for unpaid bills twice. “I had no food,” White says. “So it was a sacrifice, man.

I was hungry. I was dedicated. I wasn’t leaving school … until I graduated.” e

14 february 9, 2018 washingtoncitypaper.com

He did—magna cum laude—in 2006, and went on to get a masters at Southeastern University, now shuttered. He founded a nonprofit dubbed Helping Inner City Kids Succeed, Inc. But struggle came first.

“I used to always have to take my last little bit of money and overdraft out of my bank account, just to fill my gas tank up to get the kids back and forth to practice,” White recalls. “I remember that because I never knew where my next check was going to come from. If you got a dollar on your bank card, you can fill your whole tank up and just have to pay the overdraft fee whenever it comes.”

Over time his finances stabilized. Then he met two mentors who would help put him on the path to power. in 2010, White had a close call with death.

He dropped his cousins off near the site of what would soon become a scene of mayhem: the infamous drive-by shooting called the South Capitol Street Massacre, which killed four and injured several in late March.

Two of White’s cousins were shot, in the back and the head. They survived.

“If I had stayed there on South Capitol, I would have got shot with an AK-47,” says White. “I just dropped them off!”

Eventually, he realized he was much luckier than that. On the night of the massacre, White met longtime Ward 8 community activist William Lockridge, who also arrived at the scene.

The pair developed a student-teacher relationship. They met at Lockridge’s house every Thursday at 11 a.m. to discuss city politics in D.C. and elsewhere.

“He was teaching me about Chicago,” White says. “He was telling me about how Chicago was real politics, D.C. was watered-down politics. I was like wow, I don’t know. He was talking about Richard Daley and all that. ... Always had me reading.”

White confesses that he “used to despise politics.” But Lockridge taught him that’s how cities work.

White says he was with Lockridge a couple of days before his mentor fell into a coma. During a phone call on the day after that get-together, Lockridge told White he wanted him to run for the Ward 8 seat on the D.C. State Board of Education—which Lockridge himself held.

It was 2011, and White was 26.

Although the board has less authority now than it did before the mayoral takeover of schools in 2007, SBOE members often end up running for higher positions.

“I was like, I’mma pray about it, man … I’ll think about it,” White recounts. “I was brushing it off.”

White soon received a call from Nate Bennett-Fleming, an associate who informed him that Lockridge had suffered a stroke. They went to The George Washington University Hospital where Lockridge was being treated.

“It was like thousands of people outside, man,” White says. “And he didn’t make it out.

So his wife, Wanda, told me she talked to her husband that morning, and he told her that he wanted me to run for his seat.”

“Like dang, how can I say no to Ms. Wanda?” recalls White. “So I ran, and I won.” He beat eight other candidates, capturing almost a third of the vote. “I was in awe,” White says.

“The people voted for me, so I went to work.”

Tiny, for one, never suspected her brother would become a politician. “No way, José!” she says. “Politics and right things don’t always line up,” and she knows Trayon to be someone who doesn’t compromise what he believes is right.

But Ruth Barnwell, a tenant leader in Congress Heights who worked at P.R. Harris while White was a student there, wasn’t entirely surprised. “Came from a great family, great kid,” she states. “He’s in it for the right reasons. He’s in it for the people. He’s not no shady character. Big spirit.”

The first few months of his SBOE term went without a hitch. But in September, D.C. Housing Authority Police arrested White at the Woodland Terrace complex in Southeast for allegedly violating a barring notice. He said he was doing an organizing “ride-through” of the property.

you gotta be able to negotiate, cut deals. ... Activist—you just want to see it happen.”

Their personalities clashed, too. “It was awkward because they feuded a lot, and I was close to both of them,” White says.

So which is White, now that he occupies Barry’s old seat: activist or politician? “I’m just trying to find self, man,” he replies. “It’s all new to me. I’m living, man, and learning and taking the constructive criticism … and I embrace it.”

White didn’t work for Barry as a staffer, but he partnered with him on projects and frequently sat behind him on the Council dais.

He maintains that Barry took to him, not the other way around.

The appearances led some observers to call White Barry’s “protégé.” “Yeah, the newspapers say that, but you know, I don’t know,” the councilmember says.

“He’s managed to carve out a space for himself,” says McDuffie, the Ward 5 councilmember. “He’s not trying to be Marion Barry.”

White learned from Barry, though. And

“I don’t want to see billions of dollars spent in the ward and people are in a worse condition 10 years from now. A lot of people need a hand up, not a handout.”

White also denied receiving a stay-away order from the police, calling it a “lie.” He disputed the charge. The case was later dismissed.

White ran again for the Ward 8 SBOE seat in 2012 and won with about three-quarters of the vote. He stayed in the position until 2014, when he stepped down to take a job with the city’s parks department.

White’s initial victory continues to shape him.

Bennett-Fleming, who became D.C.’s shadow representative and eventually ran for Council roles, now serves as White’s legislative director.

And Wanda Lockridge, his mentor’s widow and a previous chair of the D.C. Democratic State Committee, is White’s chief of staff. d.c.’s beloved And dramatic former mayor, Marion Barry, was White’s second political mentor. During the time White held a seat on the school board, Barry served as Ward 8 councilmember.

Like William Lockridge, Barry stoked White’s growing interest in public life. But if Lockridge taught White history, Barry gave him a glimpse into the future.

“See, Marion Barry had transitioned from being a activist to a politician,” White recollects. “And William Lockridge was still a activist. ... The worlds clashed. Because in politics,

few can say they received a call from the city’s “Mayor for Life” on the night he died.

“This is 10:17 p.m.,” White says in an interview. He holds out his iPhone and plays a recording on the speaker.

A scratchy voice comes to life. “Uh, Trayon,” it begins. “M.B. I’m leaving the hospital.

I’m feeling a whole lot better than I went in.

So, uh, we’ll get together some time tomorrow.

I’m going home now and relax, watch television. So, alright. Thanks.”

Barry died roughly three and a half hours after he called White. “Tomorrow never came,” White says. “He wanted to meet with me on Sunday.”

Late on Saturday, Nov. 22, 2014, the 78-yearold Barry was released from Howard University Hospital before he collapsed on the steps of his home in Ward 8. His driver rushed him to United Medical Center in Southeast, where he was pronounced dead.

“How ironic is that?” says White, alluding to the current ongoing financial and medical crisis at UMC, a public hospital. “It was kind of crazy I missed his call.”

At first, White couldn’t believe Barry died.

He’d come to see the ex-mayor as “a brave heart,” in part because Barry had survived many other hospitalizations. White says he saw Barry go from zombie-like to Energizer

Bunny in the space of a day when he was visiting him during an earlier hospital stint. He rises from his chair to demonstrate.

“I came back—Marion Barry was walking through the hallway like this!” says White, slapping his hands on his thighs. “‘I’m feeling better than ever!’ That’s why they say ‘the nine lives of Marion Barry,’ slim, that is real!

This man was up! I mean, gown open, he got his balls—I’m like, M.B., come on, man.”

Barry gave White advice that the councilmember still uses. “‘There’s no permanent enemies, only permanent interests,’” he recalls. “He said you always gotta find what you got in common.”

White admires Barry’s self-determination most of all. “He wanted to tell his own story of triumph and overcoming and being a champion and what that looked like,” says White. “He done been through from the bottom to the top to the bottom and back to the top again. And the people loved him for that because they could identify themselves in him.”

White AlreAdy hAs a major comeback story on his resume—largely thanks to grassroots support.

In the 2015 special election to fill Barry’s Ward 8 Council seat, White lost by less than 100 votes to LaRuby May, an attorney and Florida native who had a flush campaign war chest plus the political backing of Mayor Bowser. She outspent White 16 to 1.

The race was particularly contentious, with a parade in Congress Heights at one point almost turning into a brawl between May and White partisans. At an event before the election, White encouraged his supporters to chant the slogan “we will not be bought.”

It wasn’t enough. But White attracted attention. A Washington Post headline on May 2—four days after the polls closed—read: “In Ward 8, a new face claims Marion Barry’s legacy.”

After losing, White commissioned a recount and earned a $2,276 bill. He set up a fundraising campaign on PayPal to help cover the cost.

White bided his time, knowing that May’s support in the ward was thin and that another election would be held in 2016. He took a job doing community outreach for the D.C. Attorney General’s office, headed by Karl Racine.

Racine says he was familiar with White’s reputation as a youth advocate before he hired White. “I saw it in real time, the magic that he has in terms of his special ability to garner the trust of young folks,” he notes in an interview. “Trayon right then and there was identifying the issues and the problems and the needs.”

In the months he worked for Racine, White got to know another up-and-coming White: At-Large Councilmember Robert White, who directed outreach for the attorney general’s office.

In other words, Robert supervised Trayon. He says his first impression of Trayon was that “he was frequently pulled in many directions.” But that made sense to Robert—who is also a rare millennial on the current Council—because Trayon “speaks to a larger num-

washingtoncitypaper.com february 9, 2018 15

ber of disconnected and non-political people than any other official in this city.”

“You’re not going to reign that guy in,” Robert says. “I can tell you that.”

Trayon ran for the Ward 8 seat again. The second time around, he vanquished May in the Democratic primary with over half of the vote and secured his spot in the Wilson Building.

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White’s first yeAr on the Council has been both a learning experience and reality check for him.

Aimed at relieving burdens on low-income residents, his splashiest proposals thus far have been provocative bills to reduce penalties for Metro fare evasion and to waive late fees for parking tickets.

As a practical matter, White must rely on senior colleagues to advance his proposals and form alliances to promote his agenda because he doesn’t chair a committee.

As a political matter, he’s run up against roadblocks on issues where Ward 8 residents stand to gain or lose. His maverick tendencies and unconventional style have surprised and sometimes displeased his peers.

Pinning down White can be like a game of cat and mouse. His schedule changes, he shifts locations, he shows up impromptu to the scene of a crime or fire. He also doesn’t stand on ceremony and tends not to engage in small talk, especially if he feels someone isn’t being honest. As one Council staffer puts it: “He thinks about the outside game so much more.

As long as he can say he fought for this in his ward, that’s the important thing for him, as opposed to learning all the goddamn arcane rules of the Council.”

A staffer in the Bowser administration notes that on several occasions White has sent mass group texts late at night to local officials, demanding action on violence in Ward 8 and support for his legislation.

White’s unbridled spirit both attracts the masses and manages to irk a fair number of his colleagues some days. But most of the dozen-plus people who spoke with City Paper about White praised his authenticity and commitment to the people he represents, even if they’d suffered flashes of frustration while working with him.

White’s modus operandi in the Wilson Building was on display as he fought to expand D.C.’s “rapid rehousing” program for homeless families in 2017. He introduced an amendment to a suite of controversial reforms to the city’s homeless services. In limited circumstances, it would have extended rent subsidies for families. The current policy creates a financial cliff: Families in the program typically get housing for at least a year, but in many cases they find themselves facing eviction or even homelessness again when their rent subsidies expire.

The chair of the human services committee, Ward 1 Councilmember Brianne Nadeau, opposed White’s measure, and convinced six of her colleagues to join her in voting it down.

The underlying bill passed—as did a $82 million tax subsidy to Union Market developers the Council considered on the same day.

White says it was important for him to put up a fight “because we gotta make sure in the same breath we saying we’re spending $36 million on a parking lot that we can invest in housing.”

So he lost by the slimmest of margins. He says he learned that “to get things accomplished, you gotta get to seven votes”—a simple majority.

Some still have doubts about White’s process and willingness to make compromises when he’s vulnerable. “Honestly, does he do all the legwork he needs to do?” one Wilson Building source wonders. “If he’s not interested in talking to you, he just wont engage.”

Others criticize White on constituent services and the company he keeps, no matter his popularity in Ward 8. Last June he drew scrutiny for bailing out Kendall Simmons, a close friend of his and a neighborhood commissioner who had allegedly attacked his girlfriend at a Wegmans in Maryland. At the time, White said he didn’t “condone abuse by anyone,” but that Simmons (who didn’t respond to an emailed request for comment) deserved a chance to be heard in court. Per public records, the case was dropped in September.

“I don’t think he’s above water yet,” says former neighborhood commissioner Sandra Seegers, who ran against White in the special election for the Ward 8 seat. “I think he’s realizing this is not an easy ward.”

White keeps chipper. “I don’t bury shit, man,” he says. “It come with the territory. So I take it all with a grain of salt. I do my best. And I try to use other people to help me get there.”

JAuhAr AbrAhAm, A close associate of White’s who co-founded Peaceoholics—a defunct anti-gang violence group that D.C. successfully sued for misusing city grants—says White brings a well of experience from living in low-income communities in Southeast to his job as a councilmember.

“This stuff is real to him, where the average person on the Council don’t have a clue about just surviving in this city,” Abraham contends.

Bread for the City Advocacy Director Aja Taylor notes that she’s seen White don a kufi and a dashiki. “He never tried to make his image less black or less Ward 8. … It doesn’t seem like he has to take himself off at the end of the night.”

If that assessment is true, will it harm White’s chances of progressing to higher office in D.C., no longer the Chocolate City it was under Barry?

Racine, the attorney general, doesn’t seem to think so. “He’s got a good recipe for success in politics in the District of Columbia,” Racine says. “I’m not going to opine on whether he could be an at-large councilmember, a chair, or a mayor, other than to say that the more people get to know Trayon throughout the city, the more they’re really going to like him a lot.”

That’s already the case among the children and adults who come up to White at community meetings or message him on social media— some of the lost, the last, and the least.

“See, people put you in this grand light, as this person,” says White. “But at the end of the day, I’m a servant. And the moment I forget that, the moment I start declining.”

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DGS Delicatessen closes in Dupont Circle on Feb. 11 leaving a matzoh ball-sized hole in D.C.’s deli scene. DGS owners Nick and David Wiseman are choosing to focus on expanding their fast-casual hummus shop, Little Sesame.

Next Door Restaurateurs

By Laura Hayes PeoPle hate change. Jackie Greenbaum jokes that she got death threats when she took over Silver Spring’s Quarry House Tavern in 2005. “I did get letters and emails that were quite ferocious,” she says. Someone even started a “Save Quarry House” website. “Meaning, save it from us. It was not nice to us.”

“I remember when someone was bitching about onion soup,” says Gordon Banks.

Greenbaum ap pointed him Quarry House general manager soon after she took over, and now he’s her business partner at El Chucho, Bar Charley, Slash Run, and Little Coco’s. “They wanted the old onion soup, so I went back and handed them a packet of Lipton.”

Regulars dubious of the new ownership didn’t understand that the bar, though it’s been around since the 1920s, was on life support. The previous owners blamed the financial issues on the normal life cycle of a bar, plus the implementation of the smoking ban, according to Greenbaum.

“It was there during prohibition,” Greenbaum says. “When they started issuing liquor licenses in 1934, people say Quarry House was license No. 1, but our license number says 30. It is one of the few that are still in existence from back then. It’s a rarity and a treasure.”

Animosity persisted for the first three to six months, then it dissipated. Regulars returned, among them Maryland college professors, neighborhood families, “tattooed kids,” and restaurant industry pros. “To the plain eye, it seemed like nothing really had changed,” Greenbaum says.

Nearly 14 years later, Greenbaum and Banks are experiencing déjà vu. Quarry House suffered damages in a March 2015 fire at the adjacent Bombay Gaylord Fine Indian Cuisine, forcing it to close. To keep continuity, Greenbaum and Banks reopened inside the former Piratz Tavern across the street, but that ended in February 2017.

Young & hungrY

Now Quarry Jackie Greenbaum House is a few and Gordon Banks weeks out from reopening at its original address, 8401 Georgia Ave., and the pressure is on again to keep the spirit of the place.

“I think people are going to be surprised by how the same it is, but with air conditioning that works,” Banks says. The bathrooms got the most significant upgrades, but that doesn’t mean management plans to wipe the freshly painted walls clean of graffiti. Greenbaum is even considering equipping peeing Picassos with Sharpie markers.

“It’s always been a hole in the wall,” Greenbaum says. “It’s still a hole in the wall.”

Greenbaum and Banks’ qualifications for preserving a local bar go back generations.

Greenbaum’s parents were native Washingtonians and her mother’s father’s mother was also born in the District. She’s convinced her Uncle Toots was a local bootlegger and bookie who ran booze during prohibition. Banks’ grandmother lived on Park Road and Georgia Avenue NW and his grandfather lived on Rock Creek Church Road NW. He grew up in Silver Spring.

Together they’ve nailed the neighborhood restaurant at a time when the term is abused in D.C. Some restaurateurs pitch their eateries as places with ambitions no grander than pleasing those within walking distance, but then prices inch higher, reservations get swal-

Darrow Montgomery

Why the home-grown restaurateurs reopening Quarry House Tavern this month are trustworthy stewards of the bar’s history and personality. For the second time.

lowed up, and suddenly a humble bistro is hankering for a Michelin star.

Banks employs the “Tuesday Night Test” to tell if a restaurant is a true neighborhood joint: “My wife and I worked. We don’t feel like cooking or doing dishes. It’s Tuesday night. Can we go out and each get a drink and food and not spend $200?”

Banks’ strategy has been to offer something for everyone. “At Quarry House, you can come in for a PBR and shot of Old Overholt for like $6,” he says. “Or, you can buy a $30-$400 shot of single malt [whiskey]. It’s created a vibe where you have punk rock kids sitting next to lawyers with their ties loosened.” Greenbaum adds, “We’re really price sensitive. We commonly feel ripped off by food and drink prices in this city. The feeling of something being reasonably priced is very satisfying.”

Over the past 14 years, Greenbaum and Banks have celebrated the highs that come

with opening restaurants and the sting that comes with closing them down. They met at Jackie’s, Greenbaum’s first restaurant, which opened in Silver Spring in 2004. “My ex wanted to name it after me because I think he wanted me to work there all the time,” Greenbaum jokes.

The restaurant was risky because Greenbaum didn’t have much industry experience.

She immediately called in reinforcements— James Beard award-winning local chef Ann Cashion. “I remember developing the menu over many Scotches at her apartment,” Greenbaum says. Cashion also placed Sam Adkins in the opening chef role. “Ann was from Jackson, Mississippi, and showed Sam how to make fried chicken,” Greenbaum continues.

“I’ve been a Jackie fan since the first time we met, which had to be in the early 1990’s,” Cashion says. “Her smarts, her energy, and her sensibilities make her great company and

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DOUGLASS LIFE AND LEGACY

FREDERICK DOUGLASS BRONZE STATUE BY STEVEN WEITZMAN

Unique Spaces and Menus For Social Events 17th & Rhode Island Ave. NW 202-872-1126 www.BBGWDC.com

FRIDAY, FEBRUARY 23, 2018 | 7:00 PM HISTORIC LINCOLN THEATRE 1215 U Street, NW, Washington DC 20009 | Free admission

I AM Frederick Douglass commemorates the 200th birthday of Frederick Douglass by presenting excerpts of the film Enslavement to Emancipation, a panel discussion on the legacy of Frederick Douglass, musicians from the National Symphony Orchestra and a Douglass actor portrayal by LeCount Holmes, Jr. This event is presented by the DC Commission on the Arts and Humanities in collaboration with the Mayor’s Office on African Affairs, the Mayor’s Office on African American Affairs, and the Office of Cable Television, Film, Music and Entertainment.

Please RSVP at dcarts.dc.gov. For more information call 202-724-5613

18 february 9, 2018 washingtoncitypaper.com

she is funny as hell. I knew her creativity and talent would carry the day.”

The doors opened and Jackie’s was an immediate hit. Silver Spring had few restaurants of its caliber. “We opened on a Thursday, and on Friday we did 250 covers in an 80-seat restaurant,” Greenbaum says.

When Post critic Tom Sietsema’s review came out, she cried. “I was in line at Crate & Barrel,” she recounts. “The lady behind me was talking to her husband reading the review. I remember thinking, ‘Holy shit, they’re reading and talking about me and I’m in a random place.’”

Jackie’s is also where Greenbaum discovered Banks. Her future partner’s sister tipped him off about the restaurant. They only had a host position open. He applied and got the job and was named head host within a week. Then one night Banks let loose over drinks.

“He proceeded to tell me, in a rant, everything that’s wrong with the restaurant,” Greenbaum says. “We were at least five, 10, or 15 shots of Jameson in.” Instead of getting mad, Greenbaum named him general manager.

After launching Jackie’s and taking over Quarry House, Greenbaum didn’t make another big move until 2010, when she opened Sidebar adjacent to Jackie’s. She brought Banks over to bartend. It was his first foray into cocktails. “At the time it was just PX, The Gibson, and Sidebar,” he says of the then-nascent area cocktail scene. “I drank enough beer and whiskey at Quarry House.

You get to the point where you just want to make something.”

The pair opened their first restaurant in D.C. proper—and their first restaurant as partners— in 2012. They built El Chucho in Columbia Heights from scratch and hired Diana Dávila, a Mexican-American chef who had been working at Jackie’s, to create the menu. (She now runs the buzzed-about Mi Tocaya restaurant in Chicago.)

Then growth picked up. “We were full-tilt in an expansionist moment back then,” Greenbaum says. “It’s very exciting to open restaurants. It’s creatively stimulating.”

They debuted Bar Charley in Dupont in 2013. “We almost named it The Bar Next To Lauriol Plaza,” Banks jokes. “We hate naming things, actually,” Greenbaum adds.

Charles is Banks’ middle name. “I viewed it as a way to bring Sidebar into D.C.,” Greenbaum says. They even created a shochu-based cocktail called Jiro Dreams of Sidebar.

At both Bar Charley and Slash Run, which they opened in Petworth in 2015, Banks and Greenbaum nimbly responded to what the neighborhood wanted. Their initial Bar Charley menu was small plates-based at the height of small plate pandamonium. But last year they switched to an affordable steakhouse menu. For $29.99 you can get an 8 oz American Wagyu flat iron steak with a salad, sauce,

and a side.

“We learned our customer base,” Greenbaum says. “Even though there were young people, they weren’t particularly adventurous eaters. If we wanted them to buy as much in food as they were spending on cocktails, we needed to find a sweet spot that met our standards and theirs.”

Greenbaum intended Slash Run to be a bar-meets-burger joint inspired by her punk rock alter ego. (In the 80s, she lived in the storied apartment atop the old 9:30 Club where you could hear concerts through an air shaft.) But when the doors finally flung open, the neighborhood was more of a nest for new families than a group house haven.

“We thought we were opening a bar, but we opened a restaurant with a lot of toddlers in it,” Greenbaum says.

Their latest restaurant, Little Coco’s, opened at 3907 14th St NW in Sept. 2016. It’s a pizza and pasta joint headed by Chef Adam Harvey. The place manages to offer both an impressive amaro selection and an affordable dinner date option. Greenbaum and Banks are fans of nearby bars Red Derby and Lyman’s Tavern and had long sought to open a restaurant in the neighborhood.

Not every one of their businesses made it through 2016, though. Greenbaum closed Jackie’s and Sidebar in March of that year.

“It’s tough to take the pulse of your restaurant during the life of it, but it’s essential,” Greenbaum says. “I had contemplated closing it for longer than people knew.” She paused annually to ask: Should we still be here? Are we doing anything interesting? Are we still good?

Much of the original customer base had moved on. Some had kids and moved away.

Others died. “You have to be able to recreate or continue building a customer base, and it’s exhausting,” Greenbaum says.

As for what’s next, Greenbaum and Banks are feeling settled. “I’ve been talking about the bubble exploding for a long time, and I get the sense that that has begun,” Banks says.

“There are too many restaurants for the number of people.”

“I’m also older and don’t have the drive I did before,” Greenbaum says. “In the beginning I felt I had something unique to contribute ... I don’t have such an ego to think I have something more or better to offer than all of the really wonderful places.” She’s surprised by the caliber of restaurants young chefs are opening and how many neighborhoods have exceptional dining.

“We opened things faster than we probably should have,” Banks concludes, adding that they’re going to put a little more TLC into their existing concepts instead of expanding. For now. “Let’s make the places we have as awesome as they can possibly be, and then relax. Then, maybe open a dozen or more.”

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what we ate this week: Soy-glazed chicken thigh, pickled mustard greens, scallion ginger oil, fried garlic, pineapple fish sauce, and chicken rice, $9 for a small, Balo Kitchen at The Block. Satisfaction level: 4 out of 5. what we’ll eat next week: avocado beignets with coconut chutney, $8, Spark. Excitement level: 4 out of 5.

Grazer

Quick & Dirty

PourYour HeartOut

McDonald’s 50 Massachusetts Ave. NE 5 complaints

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Putting a Ring on It Doesn’t Mean Act Like a Maniac

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By Laura Hayes The DC Department of Health keeps a record of its health inspections, making it possible to see which fast food restaurants have racked up the most complaints for being unclean. We queried all D.C. proper locations of McDonald’s, Wendy’s, Burger King, Popeyes, Pizza Hut, and Chick-fil-A to see which eateries had the highest number of complaints from 2015 to date. Common reasons for complaints include whether food-contact surfaces are clean and sanitized; whether or not insects, rodents, or animals are present; and whether employees’ hands are clean and properly washed.

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Veg Diner Monologues A look at vegetarian dishes in the District that all should try

Pow Pow’s Natalie Porkman Where to Get It: Pow Pow, 1253 H St. NE Price: $9 regular/$11 large What It Is: A rainbow-colored, flavorblasted meal that straddles Caribbean and Asian cuisine. It features vegan

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When brunch is rocking at a very popular restaurant, usually you are serving coffees, mimosas, Bloody Marys, and the occasional Pimm’s Cups. A sign that it’s a different brunch than usual is when guests start ordering nonbrunchy cocktails at 11 a.m. After noticing a bartender whipping up a few spicy tequila drinks for these guests, I didn’t think much of it. When they were still there an hour-and-a-half later, I realized this would be no ordinary day.

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A new recurring print feature in which local bartenders anonymously submit short accounts of patrons behaving badly. Submit your horror stories to lhayes@ washingtoncitypaper.com.

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pork seitan fried in the style of Japanese pork katsu, grilled pineapple “kimchi,” tomato, carrots, bean sprouts, pickled onions, and scallions all swirled in a sticky housemade sweet and sour sauce. All of these ingredients sit atop a mix of greens and a chewy trio of grains: white jasmine rice, black forbidden rice, and quinoa.

The Story: Co-owner Shaun Sharkey’s wife Margaux Riccio is Pow Pow’s ace in the hole. Though not a vegan, she started creating meatfree patties from scratch for her own consumption. Sharkey and co-owner John Yamashita noticed that they were spot on in flavor and texture and decided to serve them. Unlike some places that pull from packaging, Riccio makes

McDonald’s 2334 Georgia Ave. NW 5 complaints

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I was beckoned to introduce myself.

“Come meet our friends, they just got engaged!” exclaimed another bartender as he passed out a shot of “Mexican wine” (tequila). One customer worked for the government and the other was in a consulting role. Both were in their 40’s. I noticed their tab slowly climbing.

Then I saw a few of their neighbors join them for a few more rounds of shots.

Seventeen tequilas later, it took no professionalism to realize they had been over-served.

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the vegan proteins once a week. “Our little niche here is catering to both meat eaters and vegans,” Sharkey says. “Vegan people worry about cross contamination. We take it so seriously.” The Natalie Porkman is a play on vegan actress Natalie Portman’s name.

Why Even Meat Eaters Will Like It: Natalie Portman has probably never indulged in anything fried, but if she wanted to make the dietary leap, her namesake dish at Pow Pow wouldn’t be a bad option. The texture of the “pork” is on point, the grilled pineapple is a tropical treat, and the mix of grains is aromatic. Overdressed lettuce and toosharp onions (perhaps they didn’t pickle long enough to tame the sting) are the only negatives.

—Laura Hayes

It was then 3:30 p.m. and the brunch crowd had dwindled. During pre-shift that day, we were told that the Food Network would be shooting for the series Meat & Potatoes. The camera crew dragged in their cameras, lighting, and sound equipment and began setting up.

The bartender making the drink for the show was looking at the camera dead on to begin the shoot.

Flash over to the newly engaged couple. When we tried to cut them off, the woman stood up and screamed, “Fuck you, you fat white bitch” at my manager. Guests were taking videos and asking questions. The issue wasn’t resolved until the cops came and our general manager was slapped in the face. The whole time this was going on, the Food Network was filming, insisting that the audio would be inconsequential as this was only video reel. I’m sure they had a blast when they got back to the studio.

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CPArts

Quite the Future Two cerebral new shows at the Hirshhorn chart a course for the modern art museum’s bold future.

In Wawa Shabbawa performance artist Brian Feldman celebrates Shabbat in the 19th Street NW Wawa. washingtoncitypaper.com/arts der the transcripts of their exchanges in flat robotic voices. (Picture Siri trying to seduce Alexa, in a scene performed by Legos.)

The comical presentation irons the eros right out of the sexts. Instead, it teases out a faltering sense of innocence behind all the sexy talk.

The medium, of course, is the message throughout The Message. In “Halka/Haiti 18°48’05” N 72°23’01” W” (2015) artists C.T. Jasper and Joanna Malinowska stage an opera, Stanisław Moniuszko’s Halka, in the mountain village of Cazale in Haiti. For

The Message: New Media Works At the Hirshhorn Museum and Sculpture Garden to April 22

What Absence Is Made Of

At the Hirshhorn Museum and Sculpture Garden to Summer 2019

By Kriston Capps Arthur JAfA’s “Love Is the Message, the Message Is Death” (2016) is a pitch-perfect music video.

It starts with the song, an extended loop of Chance the Rapper’s Grammy-worthy preamble to “Ultralight Beam,” the ascendant opener to Kanye West’s The Life of Pablo. In his sometimes fragile voice, Chance measures out pain with preciousness; on “Ultralight Beam,” he exalts a mighty God even as he confesses, “I’m just having fun with it.” Jafa is having fun with it, too, even though his subject is also righteous and terrible.

Relevant and new works like Jafa’s may be winning a different audience for the Hirshhorn Museum and Sculpture Garden. While it’s purely anecdotal, over recent visits, visitors at the museum appear to be younger and more diverse than the usual set of National Mall museumgoers—even for an art museum. While the difference could simply be the long tail of the blockbuster Yayoi Kusama exhibition, the Hirshhorn is putting in the work to hold onto these millennials. Drawing from pieces in the collection and beyond, two cerebral shows on view—The Message: New Media Works and What Absence Is Made Of—chart the course for the museum.

“Love Is the Message, the Message Is Death” is a supercut of iconic moments in black history mixed with everyday scenes of severity and disgrace. There’s the bystander video of a police officer in McKinney, Texas, violently restraining a 15-year-old black girl at a pool party, after a fight broke out over a segregationist slur (“Go back to your Section 8 home”)—as well as tape of LeBron James, larger than life, destroying the rim. There’s the newsreel of Charles Ramsey talking to camera crews after he rescued Amanda Berry, a Cleveland woman who was kidnapped and held against her will for years (“I knew something was wrong when a little pretty white girl ran into a black man’s arms. Dead giveaway.”)—and also video of James Brown, electric, testifying through dance. “Love Is the Message, and the Message Is Death” finds footage in two modes of black video: the celebrity highlight and the police-cam vid.

This heinous, gorgeous artwork culminates, in a way, with a

museums

“Safe Conduct” by Ed Atkins (2016) home video recording of an unseen figure instructing a black toddler to put his hands against the walls. The boy’s quivering lip breaks into a silent wail as he tries uncomprehendingly to process the instructions he is receiving from behind the camera, presumably from his father. This scene reads like a raw stage production of the talk that black parents must have with their children about law enforcement. Meanwhile, when the legendary Mahalia Jackson, goddess of gospel, lifts up her arms in praise, her rapture reads as “hands up, don’t shoot.” Sequences of the surface of the sun interrupt Jafa’s narrative, maybe to offer a way for viewers to process an abstract or real pain, by tracing the senseless fury that erupts in arcs along white-hot solar flares. “This is a God dream, this is a God dream, this is everything,” West sings.

The Message: New Media Works borrows its name from Jafa’s video artwork. But in truth, this piece is not an easy fit for a group show. “Love Is the Message” is singular, powerful, and accessible, a crisp edit of clips of performers like Drake and Steph Curry alongside similarly familiar scenes of police brutality. In the Hirshhorn’s basement show, curator Mark Beasley had the good sense to follow it up with Frances Stark’s “My Best Thing” (2011).

In this bonkers yet bewitching computer animation, blocky figurines stand in for the artist and a pair of Italian suitors, whom Stark meets in sex chat rooms. Text-to-speech programs ren-

viewers watching the panoramic film at a museum in D.C., the transfixed and perhaps nervous inhabitants are as central to the production as the performers. A goat tied up to a pole takes second billing only to the soprano. “How Not To Be Seen: A Fucking Didactic Educational .MOV File” (2013) by Hito Steyerl is a work of sustained intensity: a kaleidoscopic essay on cinematic editing, aerial photography, and facial-recognition technology. It’s also a love-note to falling into a very particular kind of YouTube hole: luxury apartment development architectural demo videos.

What Absence Is Made Of , another group exhibit on the Hirshhorn’s third floor, is just as conceptually rigorous yet still inviting to viewers. That’s in large part thanks to Ann Hamilton’s “at hand” (2001), a long-time fan favorite from the Hirshhorn’s permanent collection. The piece comprises ceiling-mounted printing machines that drop white pages like snow to the ground, making drifts of translucent fax pages. Somnolent whispers played over speakers lend to an atmosphere that’s ideal for daydreaming (or sharing on social media). It’s a shame that this room-sized installation is mounted right next door to Hiroshi Sugimoto’s essential silver gelatin sea horizons, as well as On Kawara’s minimalist date paintings—both of which demand silence and isolation.

Gianni Jetzer, the curator for What Absence Is Made Of, assembled several familiar works from the collection, including Chriswashingtoncitypaper.com february 9, 2018 21

CPArts tian Boltanski’s haunting “Monument” (1989), which memorializes the Holocaust without naming the victims in the photographs he uses. Hans Haacke’s “Condensation Cube” (1963) and Damien Hirst’s “The Asthmatic Escaped II” (1992) showcase how loss and limitation have evolved as sculptural themes over generations. Absence, as a concept, invites cascading interpretations in contemporary art. Without stretching the idea too far, Jetzer fits a host of different takes under this umbrella.

Ed Atkins’s “Safe Conduct” (2016), a new museum acquisition, shines in What Absence Is Made Of. This nervous computer animation watches a man place parts of his body through airport security. “Safe Conduct” tugs at the irrationality of global security rituals, like a fever dream inspired by Radiohead lyrics (but set in this case to Maurice Ravel’s classical Boléro). The three-channel installation, displayed on a triangle of suspended screens, looks as though it should be hanging over a baggage claim. (It would feel right at home in the Hirshhorn’s lower-level media show, too.)

Between Jafa’s video artwork in the basement and Hamilton’s installation upstairs, new viewers may find enough handholds at the Hirshhorn to appreciate contemporary art even when it doesn’t involve lining up around the block for Infinity Mirrors or snapping glam guitarwork by Ragnar Kjartansson. The good news is that these new media shows are filled with essential experiments, not cynical draws—the kind that turn the curious into viewers for life, not members for the moment.

CP Independence Avenue and 7th Street SW. Free.

(202) 633-1000. hirshhorn.si.edu.

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“My Best Thing” by Frances Stark (2011)

FilmShort SubjectS course but to take matters into her own hands, in a way that an opera heroine might appreciate.

By the end of A Fantastic Woman, Marina sings with poise and perseverance. We know what she means when she looks into the camera, even if the film does not provide her any subtitles.

—Alan Zilberman

A Fantastic Woman

A Fantastic Woman opens Friday at Landmark E Street Cinema and Angelika Film Center Mosaic.

On Her Own A Fantastic Woman

Directed by Sebastián Lelio All films demAnd observation, but few fiction films have characters who realize they are being watched. The hero of A Fantastic Woman, Chile’s official selection for Best Foreign Film, is keenly aware of how others look at her. Just from a glance or stare, she can feel admired, celebrated, embarrassed, or even humiliated.

Sometimes she stares directly into the camera, provocatively breaking the fourth wall. Directed and co-written by Sebastián Lelio, this film is a straightforward drama—with flourishes of surreal imagery—that’s anchored by a star-making performance. You cannot take your eyes off Daniela Vega, and you may even get the uncanny sense she does not want you to.

A few minutes pass before Vega first appears on the screen. Until then, we follow Orlando (Francisco Reyes), a middle-aged man, as he goes through his routine. He walks into a nightclub, where Vega sings and dances on the stage. Her character is Marina, and she is Orlando’s lover. They are celebrating this evening because it is Orlando’s birthday. Later that night, he does not feel well. He collapses, so Marina rushes him to the hospital, and he is pronounced dead shortly afterward. But before Marina can start grieving, she has to deal with some nosy questions from the hospital staff. These questions sound routine, yet there is a needling cruelty to them, too. Like Daniela Vega, Marina is transgender, and seemingly everyone wants her to impugn her identity.

A Fantastic Woman is all about the fallout over Orlando’s death. Before Marina, Orlando had a wife and adult children. Needless to say, they do not approve of Orlando’s current lifestyle, so when his ex-wife and son turn up, brusque interactions with Marina devolve into outright hostility. The script by Lelio and Gonzalo Maza blur the line between prejudice, frustration, and grief: It is unclear whether Orlando’s family hates Marina for who she

is, what she represents, or simply because they need an outlet for their emotions.

There is also a police investigation: Orlando fell down the stairs before he arrived at the hospital, and a detective suspects foul play. We know Marina is innocent, and the film follows one harrowing ordeal after another. She keeps it together through a mix of pride and the ability to face the burden of everyone haphazardly denying her an opportunity to feel anything.

By the time a forensic technician photographs Marina’s naked body, the intrusion feels like everyone is conspiring against her.

Through shrewd directing choices, Lelio prevents this material from getting too maudlin. Most of the actors have understated performances, as if guarding their true feelings.

What is even more effective, however, are exaggerated sequences that mirror Marina’s mental state. After a crushing conversation, she walks along a city street, with the wind pushing against her so hard she stands at a 45-degree angle. Then there is a moment when Marina wanders into a nightclub, desperate for affection, and the evening converges into a synchronized dance sequence. She practically leaps into a close-up, announcing her desire to be regarded with the beauty she feels within.

This is not an “issue” film, with Marina serving as an avatar for transgender civil rights. Instead, her identity effectively serves as empathy barometer for the men and women she meets.

Many folks are kind, but some treat her with disdain and hostility. Even the semblance of tolerance can be cruel: The detective explains to her colleague what pronouns she prefers, and she speaks about Marina like she is a child. Marina endures because she knows who she is, and will not compromise for anyone. Vega gives a heroic performance, and even when she sobs bitterly, the overall impression is that your pity is the last thing she wants.

On top of the dance sequences, A Fantastic Woman gives Vega several opportunities to sing.

She is a gifted vocalist, equally comfortable with popular tunes and a haunting aria. Each song reflects Marina’s outlook on life: The melodrama of opera coupled with the indignities of her personal life are like a grim joke. Pushed beyond the point of grieving, Marina has no re-

then sent to live with her father, Thomas (Mathieu Kassovitz), and his second wife, Anaïs (Laura Verlinden). But they’re a snug group, at least physically: Thomas lives in an apartment within the grand residence of his father, Georges (Jean-Louis Trintignant), which also houses Anne, his sister, and Pierre (Franz Rogowski), his nephew.

Anne runs the construction company, which at the film’s opening has an accident at one of its worksites. Haneke trains his camera on the location as a radio is heard in the background; you’ve physically seen no one yet besides a girl in a video Eve is watching. The edge of a dig site collapses, its significance a mystery. So when Anne gets a call about someone being

Happy End

Family Ties Happy End

Directed by Michael Haneke isAbelle Huppert embrAces characters who are badasses. In last year’s Elle, Huppert played a woman who refuses to let a brutal sexual assault change her life. In Things to Come, she was a philosophy professor who, though shocked, ultimately reacts to her philandering husband’s request for a divorce with a matter-of-factness that’s the equivalent of a shrug.

And in Michael Haneke’s Happy End, her Anne breaks her son’s finger in front of a dining hall of engagement-party guests when he starts to shove her in drunken resentment. “Sorry, but what else could I do?” she says before forcing an all-is-well smile.

One of the disappointments of Happy End is that there’s not enough of the masterful actress. More critical issues, however, are the film’s lack of focus and exposition. Haneke’s follow-up to 2012’s Amour presents the Laurents, an upper-class family in the construction business. First we meet—or at least hear the voice of—Eve (Fantine Harduin), a 13-yearold obsessed with watching and posting socialmedia videos. She also has a penchant for slipping pills to the unsuspecting, including her hamster (documented for the world) and her depressed mother (“It’s all about her”). Eve is

in the hospital, you assume it’s Eve’s mother.

No, there’s also an ailing construction worker.

And it’s eventually revealed that Pierre is the company foreman.

As Happy End progresses, you eventually figure out what’s what. But Haneke makes you work for it. Perhaps he was too distracted with dropping in valentines to himself to ensure the characters and storyline were clear. The most obvious self-reference is Georges; Trintignant also played Georges in Amour, and at one point tells Eve about his wife’s death, which matches that film’s plot. Huppert played his daughter in Amour as well. But the more prominent quotations are from 2005’s Caché.

Along with seeming to damn the voyeurism social media encourages, Haneke includes many surveillance-like shots in which the characters are far in the distance or their conversations can’t be heard. It gets to be infuriating. There are also subplots that are given extremely short shrift, including Anne’s romance with Lawrence (Toby Jones) and Thomas’ affair with a woman to whom we see him type explicit messages.

Throughout, none of the strands ever take prominence, though social media use pushes forward slightly. Anyone familiar with Haneke will know that Happy End is an ironic title. But even by the film’s unhappy end, that may be all you know for sure.

—Tricia Olszewski Happy End opens Friday at Landmark West End Cinema.

washingtoncitypaper.com february 9, 2018 23

TheaTerCurtain Calls

Corey Cott as Tony

Solea Pfeiffer as Maria

Krysta Rodriguez as Anita

The Dark NighT 4,380 Nights

By Annalisa Dias Directed by Kathleen Akerley At Signature Theatre to Feb. 18

Ephraim Sykes as Riff

Joel Perez as Bernardo

West Side Story in Concert February 14, 16 & 17 | Concert Hall National Symphony Orchestra Steven Reineke, conductor Francesca Zambello, director Eric Sean Fogel, musical staging & assistant director

S. Katy Tucker, visual designer Mark McCullough, visual designer Lynly Saunders, costume design

Celebrate Leonard Bernstein’s cherished musical take on Romeo & Juliet in a lightly staged National Symphony Orchestra concert performance featuring a cast of Broadway favorites.

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

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

David M. Rubenstein is the Presenting Underwriter of the NSO.

AARP is the Presenting Sponsor of the NSO Pops Season.

NSO Pops: West Side Story in Concert is sponsored in part by U.S. Trust, Bank of America Private Wealth Management.

24 february 9, 2018 washingtoncitypaper.com

PART OF

The long shadow of imperialism gets an enhanced interrogation in 4,380 Nights.

Annalisa Dias’ world premiere conflates the 21st century legal limbo of an Algerian man in U.S. custody at Guantanamo Bay with an Algerian who abets a French army officer’s abuses during the 19th century occupation. Ahmad Kamal, a strong actor who also played a Middle Eastern man under suspicion in Mosaic Theater’s The Return last summer, anchors the show, playing the Algerians of both centuries. In the 19th, he seeks the occupier’s favor. In the 21st, he just wants to be released from prison—a prison where the lights never go out, and where sleep deprivation and other forms of don’t-call-ittorture are a matter of course. The title refers to the length of his confinement.

It’s an odd coincidence that 4,380 Nights, like Sovereignty—another new play debuting in the Women’s Voices Theater Festival— asks us to follow discrete but overlapping narratives set nearly 200 years apart, with fictional characters in the present but real historical figures in the past. (Or at least one historical figure, in this case: Aimable Pélissier, the French officer played with oily menace

by Rex Daugherty, was a real person, whose brutality in bringing the locals to heel caused a scandal at home in France in 1845. His career survived, and he was appointed Governor-General of Algeria 15 years later.) 4,380

Nights is the more difficult to follow of the pair, but also the more haunting and poetic, not least because Dias’ characters don’t speak like they’re giving a TED Talk.

Scenic designer Elizabeth Jenkins drapes the small stage of Signature Theatre’s intimate Ark space in a curtain of chains, with a simple metal table in the center. Kamal, dressed in a prisoner’s blaze-orange jumpsuit, is shackled to the floor.

In the 21st century scenes, Kamal has a convincing rapport with Michael John Casey, who’s marvelous as an attorney who spends years trying to navigate the Kafkaesque pop-up justice system established for “enemy combatants” scooped up in the post-9/11 dragnet. He’s acting out of a beleaguered sense of patriotism, and not the cheap, MAGA-hat kind. To him, the legal quicksand represents “a hole in the argument for the idea of who we are.” Daugherty recurs in the 21st century scenes, too, playing a military interrogator (or civilian contractor) whose simulated beating and physical humiliation of Kamal, fight directed by Robb Hunter, is persuasive enough to turn your stomach.

Lynette Rathnam is present as a character occupying yet another time and place.

She’s identified only as The Woman, but she might be Scheherazade, the character from The Arabian Nights who persuades her serial-killer husband to spare her life each night by telling him an engrossing story but withholding the climax. The way The Woman’s story ultimately relates to the others is rewarding enough to wave away any momentary confusion. This is a work of genuine humanity and insight, and the relief you may feel once it finally releases you from its grip is genuine, too.

—Chris Klimek 4200 Campbell Ave., Arlington. $40–$89.

(703) 820-9771. sigtheatre.org.

GalleriesSketcheS

Frank DiPerna Retrospective

At the American University Museum to March 11 As you visit the American University Museum’s retrospective of works by the D.C.area photographer Frank DiPerna, it’s possible to think of the artist’s career arc as the line one could trace in one of his bold mountain landscapes: a slow rise initially, a majestic peak in the middle, and then a tail-off toward the end.

The spacious exhibit collects dozens of images that DiPerna made over 40 years, much of it while teaching at the Corcoran College of Art and Design. The retrospective groups his images chronologically, which in DiPerna’s case also means they are grouped thematically and according to photographic technique, since his career had such a linear progression. Matrices, usually of six images each, offer commonalities in subject matter and style.

Initially, as was de rigeur in the 1970s, DiPerna produced pleasantly airy blackand-white images, showing a knack for detecting and recording visual oddities, such as a bus perched on top of a building or a statue of a “dead outfielder” on a late baseball player’s grave. By the late 1970s, DiPerna had moved on to color film—a relatively early adopter in the field—often capturing oddly hued flat surfaces such as walls and business display signs. A detour into smallformat Polaroid SX-70 images didn’t produce work that rose much above the realm of snapshots, but then again, given the SX70’s limitations in tone and format, that’s not especially surprising.

It took until the 1980s and early 1990s—

4400 Massachusetts Ave. NW. Free. (202) 8851000. american.edu/cas/museum.

Kennedy Center debut

DIAVOLO Jacques Heim, Creative Director

“Passengers” from L.O.S.T. D.C. premiere

The Veterans Project: A Long Journey Home D.C. premiere “Passengers” from L.O.S.T., photo by George Simian

Lens Crafter

when DiPerna attempted to document much wider expanses—for his work to fully crystallize. His largescale landscapes, while perhaps a bit too washed-out in their color palette than the scenes deserve, are stunning in a way that his earlier work never was.

A view of the Great Sand Dune National Monument in Colorado is an elemental collage of beige, blue, and wispy white; an image of hills in Death Valley in California suggests nothing less than a fragile pile of cocoa powder.

DiPerna’s eye for vegetation is strong—a riot of charred palmettos reaching skyward in one image from Mexico, or a surprisingly verdant swath of beach shrub that plays off the reddish volcanic dirt in Maui.

In a few cases, his landscapes are surprisingly calming—a sweeping expanse of wet beach sand on Long Island, for example, or adjoining but forever out-of-reach breakwaters constructed off the coast of Venice.

It’s hard to match the magic of such work, and in the latter part of his career DiPerna never really does. In one 1990s-era series, he places works of art within a landscape setting.

While conceptually intriguing—in one image, for instance, a painting of an Indian chief is located in what might have become his descendants’ forest—the effort seems excessively contrived.

Meanwhile, an early 2000s dive into photographing objects such as fake birds and insects up close seeks to elevate kitsch, but the series is never as groundbreaking as, say, similar works by Stephen Shore. (There is one resfreshingly odd image in the mode of William Eggleston; it shows mannequins mingling on the patio of a red brick house.)

DiPerna’s series on surfaces in Italy also counts some successes; here, Renaissance art mixes uneasily and unironically with advertising imagery as utilitarian wall-coverings.

Ultimately, DiPerna’s continued stylistic reinventions and his commitment to sampling the latest photographic techniques deserve respect. Still, as this retrospective suggests, not all experiments end up equally valuable.

Sometimes when you find something that works—in DiPerna’s case, going West, and going big—there’s value in sticking with it.

—Louis Jacobson

Trajectoire D.C. premiere

February 23 & 24 Eisenhower Theater TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

Tickets also available at the Box Office. Groups call (202) 416-8400.

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

washingtoncitypaper.com february 9, 2018 25

ONESONG Prince’s “Tamborine”

NEA JAZZ MASTER

RANDY WESTON’S AFRICAN RHYTHMS: A TRIBUTE TO JAMES REESE EUROPE S AT. , F E B R U A RY 1 0 AT 7 P. M . | T E R R A C E T H E AT E R NEA Jazz Master Randy Weston and his African Rhythms Octet salutes James Reese Europe, the musician often credited for helping introduce jazz music to Western Europe.

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

Tickets also available at the Box Office. Groups call (202) 416-8400.

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

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

26 february 9, 2018 washingtoncitypaper.com

In earlIer essays in this series, I tended to examine darker, more melancholic songs.

But I don’t want to always be Mr. Bummer. I want to counter that reputation by discussing a song that is fun, blithe, and, honestly, completely ridiculous.

It’s February, the month of love! Maybe it’s perverse, but I wanna talk about Prince’s “Tamborine.”

“Tamborine” is roughly two minutes of threadbare metaphor for masturbation. When you listen to it, you giggle a little bit. Is it worth pondering beyond that? I think so.

First thing to note about this song is it appears on the album called Around The World In A Day, which was the deliberately Sgt. Pepper’s-ish 1985 follow-up to Purple Rain. It’s the same album that has the masterful singles “Raspberry Beret” and “Pop Life.” (I know you’d probably rather talk about those perfect songs, but let’s stay on track here.)

Why is it notable that “Tamborine” appears on this album? Because Around The World In A Day is credited to Prince and The Revolution.

It’s a full-band record, not a solo album.

The Revolution was Prince’s best and most famous band. Like James Brown, George Clinton, and Miles Davis, Prince had a few bands in the course of his work. And just like Brown, Clinton, and Davis, he only worked with excellent, limber musicians—never scrubs. But, I mean, come on… The Revolution absolutely ruled, people! Their aggregate charisma amplified Prince’s vision way more than any other ensemble before or after. It’s pointless to deny it.

So here’s the interesting thing: Though the song is officially credited to Prince and The Revolution, “Tamborine” is actually just Prince in the studio all by himself.

Prince programmed the Linn drum machine that forms the spine of the groove. He then overdubbed funk drums on top of that.

The dude was super-gifted and disciplined. He could play any instrument competently. He is the everybody on this song.

But why? He had access to one of the best and coolest bands in the world! Why would he choose to do this? Recording solo had to be a more time-consuming process, right?

Well, it’s pretty obvious: “Tamborine” is a song about self-pleasure that was created alone. Perfectly meta. Throughout the song, Prince is winking to the listener about this. He

does falsetto vocal riffs that sound like backing singers commenting on the main singer’s lyrics. But it’s just Prince talking to Prince.

There’s a burst of multi-tracked harmonies that blossom in the middle of the song that sound ecstatic and spontaneous, almost like gospel. But by the nature of the process, this had to be fastidiously arranged and planned.

It’s really fun when you picture it: Overdub after overdub, Prince put a “group” together.

“Tamborine” is about sexual pleasure, but you have to admit it’s a pretty eccentric physical metaphor.

I mean, tambourines are not particularly erotic objects. If this was an AC/DC song, they would have gone with a more conspicuously phallic or vaginal choice. I love AC/DC, but you know they were terrifically dumb that way. But when Prince wanted to sing about masturbation and genitalia, he selected an object that was neither male nor female. Clever way of conveying his erotic value system.

Speaking of his value system, it’s a Prince song about sexual desire and pleasure, so of course he had to express his enduring moral tension around this area. Whenever Prince got horny in music—which was often—the concepts of sin and guilt were never too far away.

“Tamborine, what are you?/ Why are you the star of all my dreams?/ Are you good? Are you bad?/ Are you just a necessary means?”

That’s fantastic writing. And he delivers it with lust and exuberance and just the right amount of torture.

Throughout the song, Prince onomatopoeically imitates the sound of shaking a tambourine. He repeatedly sings “truh-buh-LING!” But of course this comes out as the word “troubling!” A fun little play on words.

The song comes to a climax (heh) with the line “Lonely days, lonely nights/ Too bad we’re not allowed to scream/ Yeah yeah too bad/ Guess I’ll stay at home/ All alone and play my tamborine.”

The song manages to be both clever an dopey all at once. And, in keeping with the psychedelic theme of Around The World In A Day, it’s also trippy. (For some reason, he repeatedly refers to trolley cars? Your guess is as good as mine) There are certainly more famous songs about self-pleasure (The Divinyls’ “I Touch Myself,” Chuck Berry’s “My Ding-a-ling” and Cyndi Lauper’s “She Bop,” etc.) but I think this weird little funk freakout is the most evocative and most fun.

—Chad Clark

washingtoncitypaper.com february 9, 2018 27

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

FLORIDA GEORGIA LINE

David Byrne

........... JUNE 7

............................................................................ SAT JULY 28

On Sale Friday, February 9 at 10am

THIS WEEK’S SHOWS

White Ford Bronco: DC’s All-90s Band .............................................. F FEB 9 Múm................................................................................................................ Su 11

PHISH

................................................................ AUGUST 11 & 12

On Sale Friday, February 9 at noon

M3 ROCK FESTIVAL 2018 TAL

FEBRUARY

MARCH (cont.)

U STREET MUSIC HALL PRESENTS

Matoma w/ Elephante & Youngr .............Th 15 ZZ Ward w/ Black Pistol Fire & Billy Raffoul ..............................F 16 U STREET MUSIC HALL PRESENTS

Ganja White Night w/ Dirt Monkey & Subtronics ....Su 18 The Oh Hellos w/ Lowland Hum .........................W 21 U STREET MUSIC HALL PRESENTS

Lane 8 w/ Enamour .................Th 22 ALL GOOD PRESENTS

Railroad Earth w/ Roosevelt Coliler .......F 23 & Sa 24 Rhye w/ Boulevards ....................M 26 Lights w/ Chase Atlantic & DCF .Tu 27 MARCH

Kelela .........................................Th 1 Galactic (F 2 - w/ Butcher Brown) .... F 2 & Sa 3 Hippie Sabotage w/ Melvv & Olivia Noelle ..............Su 4 Orchestral Manoeuvres in the Dark w/ GGOOLLDD ......Tu 6 Cornelius ....................................W 7 No Scrubs: ‘90s Dance Party

with DJs Will Eastman and Brian Billion .........................F 9

Beth Ditto w/ SSION ................Sa 10

AN EVENING WITH

(Sara Watkins, Sarah Jarosz, Aoife O’Donovan) ....................Tu 13

Mason Bates’s Mercury Soul ........................Th 15

Queensryche • Kix • Tom Keifer • Ace Frehley and more! .............................................................. MAY 4 & 5

M3 SOUTHERN ROCK CLASSIC FEATURING

STEEZ PROMO PRESENTS

Dierks Bentley w/ Brothers Osborne & LANCO ................................................. MAY 18 Jason Aldean w/ Luke Combs & Lauren Alaina .................................................. MAY 24 Sugarland w/ Brandy Clark & Clare Bowen ......................................................... JULY 14

The Floozies w/ Anomalie Late Show! 10:30pm Doors .............Sa 17 Moose Blood w/ Lydia ............Su 18 Coast Modern..........................M 19 Wild Child w/ The Wild Reeds . Tu 20 D SHOW ADDED!

FIRST SHOW SOLD OUT! SECON

Betty Who w/ Pretty Sister & Spencer Ludwig........................W 21 Dan Auerbach & The Easy Eye Sound Revue

ERN R !

S E F T

H

SOUTOCK

The Marshall Tucker Band • Blackberry Smoke • The Outlaws and more! .................................................................. MAY 6

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

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

AEG PRESENTS

STUFF YOU SHOULD KNOW (LIVE)

RICK ASTLEY

w/ Shannon and the Clams ........Th 22 Godspeed You! Black Emperor w/ KGD .......................................Sa 24 of Montreal .............................Su 25 Turnover w/ Mannequin Pussy

............................................................. APRIL 18

THIS SATURDAY! STORY DISTRICT’S

AEG PRESENTS

Sucker For Love ................... FEB 10 Pod Save the People (Live) . FEB 18

FIRST SHOW SOLD OUT! SECOND

SHOW ADDED!

& Summer Salt ...........................Tu 27

Andy Borowitz ........................ FEB 24

ALL GOOD PRESENTS

Dixie Dregs

The Soul Rebels feat. GZA & Talib Kweli .......Th 29 ALL GOOD PRESENTS

Pigeons Playing Ping Pong 2-Night Passes Available .....F 30 & Sa 31

........... TH APRIL 5

On Sale Friday, February 9 at 10am

feat. Robert Finley and Shannon Shaw

(Complete Original Lineup with Steve Morse, Rod Morgenstein, Allen Sloan, Andy West, and Steve Davidowski) ..................MAR 7

Bianca Del Rio ...................... MAR 15 PostSecret: The Show ...... MAR 24 Rob Bell w/ Peter Rollins .......... MAR 27 Max Raabe & Palast Orchester.............APR 11 Calexico w/ Ryley Walker ............APR 27 Robyn Hitchcock and His L.A. Squires w/ Tristen .......................................APR 28

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

APRIL

Cigarettes After Sex ..............M 2 Yo La Tengo ...............................W 4 ALL GOOD PRESENTS

The Motet .................................Th 5 Anderson East w/ Devon Gilfillian ..........................F 6

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Nils Frahm ...............................F 16 Jon Batiste (Solo in the Round) Early Show! 6pm Doors ..................Sa 17

ALL GOOD PRESENTS

J Boog w/ Jesse Royal & Etana .............Su 11 K.Flay w/ Yungblud ...................M 12 I’m With Her w/ Andrew Combs

ME T! ES

F

930.com

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Why? w/ Open Mike Eagle .................F FEB 9 Anti-Flag & Stray From The Path .. Sa 10 Wylder w/ Virginia Man ....................... Sa 17 MAGIC GIANT w/ The Brevet .............. Su 18 MAKO w/ Night Lights .......................... Sa 24 Gabrielle Aplin w/ John Splithoff & Hudson Taylor ......... Su 25 Sevdaliza ........................................... Tu 27

Missio w/ Welshly Arms ...................F MAR 2 Ella Vos w/ Freya Ridings ....................... M 5 Amy Shark w/ MILCK .......................... M 12 The Hunna & Coasts w/ Courtship ... Sa 17 The Strypes ......................................... F 23 The Marmozets ................................ Sa 24 Vinyl Theatre & Vesperteen w/ The Stolen ........................................ Su 25

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

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

9:30 CLUB BOX OFFICE HOURS are 12-7pm on weekdays & until 11pm on show nights, 6-11pm on Sat, and 6-10:30pm on Sun on show nights.

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR! 28 february 9, 2018 washingtoncitypaper.com

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

930.com

CITYLIST

ERIC LINDELL

Music 29 Books 32 Dance 32 Theater 32 Film 33

Moor Mother at Rhizome DC, Feb. 9

FAT TUESDAY

MARDI GRAS CELEBRATION

TUES. FEB. 13 ~ 8:30PM TIX: $25-$30

H 2.8 2.9 2.10 2.13 2.15 2.16 2.17 2.19 2.20 2.22 2.23 2.24 2.27 3.1

Music Friday Country

EaglEBank arEna 4500 Patriot Circle, Fairfax.

(703) 993-3000. Chris Young. 7:30 p.m. $137.99–$248. eaglebankarena.com.

Jazz

BEthEsda BluEs & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Daryl Davis Presents: Thanks For The Memories 2017. 8 p.m. $25. bethesdabluesjazz.com.

roCk

9:30 CluB 815 V St. NW. (202) 265-0930. White Ford Bronco. 8 p.m. $22. 930.com. thE hamilton 600 14th St. NW. (202) 787-1000.

Aztec Two-Step. 8 p.m. $24.75–$44.75. thehamiltondc.com. rhizomE dC 6950 Maple St. NW. Moor Mother. 8 p.m. $10. rhizomedc.org.

u strEEt musiC hall 1115 U St. NW. (202) 588-1889.

Why? and Open Mike Eagle. 7 p.m. $20. ustreetmusichall.com.

WarnEr thEatrE 513 13th St. NW. (202) 783-4000.

Tedeschi Trucks Band. 8 p.m. $67–$87. warnertheatredc.com.

VoCal BlaCk Cat 1811 14th St. NW. (202) 667-4490. The 9: Singer-Songwriter Showcase. 8 p.m. $12. blackcatdc.com. hoWard thEatrE 620 T St. NW. (202) 803-2899.

Jorge Drexler. 8 p.m. $35–$60. thehowardtheatre.com.

Saturday ClaSSiCal

musiC CEntEr at strathmorE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. National Philharmonic: Brian Ganz Plays Chopin’s Hidden Gems & All-Time Favorites. 8 p.m. $28–$88. strathmore.org.

ElECtroniC tEn tigErs Parlour 3813 Georgia Ave. NW. (202) 506-2080. Bjarki. 10 p.m. $15–$20. tentigersdc.com.

Funk & r&B

kEnnEdy CEntEr EisEnhoWEr thEatEr 2700 F St. NW. (202) 467-4600. For Lovers Only: Alice Smith & Bilal. 8 p.m. $29–$69. kennedy-center.org. u strEEt musiC hall 1115 U St. NW. (202) 588-1889.

Funk Hunters. 10 p.m. $15. ustreetmusichall.com.

Hip-Hop

EChostagE 2135 Queens Chapel Road NE. (202) 503-2330. Steve Aoki. 9 p.m. $31–$431.03. echostage.com.

pop

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

roCk

FillmorE silvEr sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Celebrating David Bowie.

8 p.m. $25. fillmoresilverspring.com. thE hamilton 600 14th St. NW. (202) 787-1000.

Newmyer Flyer Presents: An Evening with Love Songs: The Beatles Vol. 5. 8 p.m. $25–$75. thehamiltondc.com.

3.2 3.3 3.6 3.8 3.9 3.10 3.11 3.14 3.15 3.16 3.17 3.22 3.24

H ANGELA PERLEY & THE HOWLIN’ MOONS KITI GARTNER TRAGEDY:ALL METAL TRIBUTE TO THE BEE GEES & BEYOND ERIC LINDELL CALEB CAUDLE JUMPIN’ JUPITER FOLK SOUL REVIVAL SCOTT H. BIRAM / THE HOOTEN HALLERS JON DEE GRAHAM ALSO FEATURING: BEN DE LA COUR JAMIE MCLEAN BAND THE HIGHBALLERS JONNY GRAVE & THE TOMBSTONES CALEB STINE BAND MINDY MILLER & THE CHROME TEARS LEFT LANE CRUISER SUZY BOGGUSS (TWO SHOWS) HERB & HANSON HOLLERTOWN CHAMOMILE & WHISKEY VANESSA COLLIER C2 & THE BROTHERS REED GANGSTAGRASS 6 STRING DRAG KAY ADAMS BARRENCE WHITFIELD & THE SAVAGES THE COLD HARD CASH SHOW CORY MORROW

HILL COUNTRY BARBECUE MARKET

u strEEt musiC hall 1115 U St. NW. (202) 588-1889.

Anti-Flag & Stray From The Path. 6 p.m. $22. ustreetmusichall.com.

410 Seventh St, NW • 202.556.2050 Hillcountrylive.com • Twitter @hillcountrylive

WarnEr thEatrE 513 13th St. NW. (202) 783-4000.

Tedeschi Trucks Band. 8 p.m. $67–$87. warnertheatredc.com.

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro

washingtoncitypaper.com february 9, 2018 29

thh

TRIVIA E V E RY M O N DAY & W E D N E S DAY

$12 BURGER & BEER MON-FRI 4 P M -7 P M

presents

presents

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

Feb. 14, 7:30pm

600 beers from around the world

Downstairs: good food, great beer: all day every day *all shows 21+ FEB 9TH

ALMOST LADIES NIGHT WITHTOMMYTAYLORJR.

DOORS AT 7PM, SHOW AT 8PM FEB 10TH

ALL MALE REVUE

SHOWS AT 8PM AND 10:30PM FEB 11TH

DR.SKETCHY’S ANTI-ART SCHOOL AT 2PM

PROFS & PINTS:MARDI GRAS 101 DOORS AT 6PM, LECTURE AT 7PM FEB 12TH

LAUGH BUZZ COMEDY DOORS AT 7PM TRIVIA NIGHT AT 7:30PM FEB 13TH

CAPITAL LAUGHS

THE LOVE LECTURE

DOORS AT 6PM, LECTURE AT 7PM FEB 15TH

DMV COMEDYWARS: AN INTERACTIVETEAM COMEDY COMPETITION PLUS ESPN’S REESEWATERS

DOORS AT 7PM, SHOW AT 8PM FEB 16TH

DCWEIRDO SHOW

DOORS AT 8PM, SHOW AT 9PM FEB 17TH

SMASHED:A FREE NERDY AND DIRTY STORYTELLING DOORS AT 7PM, SHOW AT 8PM FEB 18TH

MY FUNNYVALENTINE CHARITY SHOW

PRESENTED BYTOMMYTAYLORJR. DOORS AT 6PM, SHOW AT 7PM 1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

Jazz

BluEs allEy 1073 Wisconsin Ave. NW. (202) 3374141. Owen Adams. 8 p.m.; 10 p.m. $22. bluesalley. com.

PHIL VASSAR HL 16 ERIC ROBERSON 17&18 ARLO GUTHRIE exie ayden

roCk

thE anthEm 901 Wharf St. SW. (202) 888-0020.

Noel Gallagher’s High Flying Birds. 8 p.m. $37.50– $329. theanthemdc.com. songByrd musiC housE and rECord CaFE 2477 18th St. NW. (202) 450-2917. The Mild Animals. 8 p.m. $10–$12. songbyrddc.com.

Re:Generation Tour 2018 w/Arlo, Abe & Sarah Lee Guthrie

KEIKO MATSUI 26 ANA TIJOUX presents Roja y Negro

27

THE MUSICAL BOX

performs ‘The Black Show’ version of Selling England By The Pound

Mar 1

An Intimate Evening with

GRAHAM NASH 2&3 RACHELLE FERRELL DWELE

4

DAVID ARCHULETA 6 SWEET HONEY IN THE ROCK 7 PAT GREEN 5

8 9

An Evening of

EDWIN McCAIN Newmyer Flyer Presents

LAUREL CANYON:

Golden Songs of Los Angeles 1966-73 10

THE FOUR BITCHIN’ BABES

FEBRUARY CONCERTS F9 AZTEC SUN w/ THE JOGO PROJECT SA 10 ALL GOOD PRESENTS: THE LIL’ SMOKIES w/ JORDAN AUGUST

tuESday

TU 13

Funk & r&B

JOIN THE SECOND LINE: FAT TUESDAY PARTY AT PEARL ST. WAREHOUSE!

THE GRANDSONS

FREE SHOW AFTER WHARF PARADE & FIREWORKS

W 14 TH 15 F 16 SA 17

THE EMPTY POCKETS w/ UPTOWN BOYS CHOIR ROBERT LIGHTHOUSE w/ ELI COOK THE PLATE SCRAPERS & COLEBROOK ROAD SURPRISE ATTACK w/ SAUCE

F 23

AMERICAN IDOL WINNER

SA 24

THE JAMES HUNTER SIX

DAVID COOK

w/ 3 MAN SOUL MACHINE

MARCH CONCERTS F2 THE MIGHTY PINES SA 3 NO SECOND TROY w/ TOMMY GANN F9 BUMPIN UGLIES w/ DUB CITY RENEGADES & JOINT OPERATION SA 10 CRYS MATTHEWS w/ ECHO BLOOM SU 11 CURLEY TAYLOR & ZYDECO TROUBLE TU 13 W 14 F 16

ZYDECO DANCE 3PM DOORS

FY5 w/ THE HIGH AND WIDES SHERMAN EWING WITH SPECIAL GUEST JOHN JO JO HERMANN w/ JAMIE MCLEAN BAND AN EVENING WITH

GRANT LEE PHILLIPS & KRISTIN HERSH

F 23

THE FABULOUS THUNDERBIRDS FEAT. KIM WILSON MARTY O’REILLY AND THE OLD SOUL ORCHESTRA THE REVELERS

SA 24 F 30

KYLE CRAFT BLAIR CRIMMINS AND THE HOOKERS

W 21 TH 22

ZYDECO DANCE LESSON INCLUDED!

Christine Lavin, Debi Smith, Sally Fingerett, Deirdre Flint

13 14

30 february 9, 2018 washingtoncitypaper.com

THE ZOMBIES DAVE MASON

Monday BirChmErE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Travis Tritt. 7:30 p.m. $65. birchmere.com.

In Loveland! featuring Angie Pontani, The Evil Hate Monkey, The Maine Attraction, Cherry Bomb, Ginger Leigh & Goldi Fox of the Peekaboo Revue, Hosted By Mr Murray Hill!

25

roCk

Country

BURLESQUE-A-PADES

A Capella Festival

Jazz

BlaCk Cat 1811 14th St. NW. (202) 667-4490. Viniloversus. 7:30 p.m. $15. blackcatdc.com.

Tix on sale Fri. 10/6 at 10am through Ticketmaster.com/800-745-3000.

Feb 9

THE S.O.S. BAND 20 THE ASSOCIATION 22 JEFFREY OSBORNE 24 HARMONY SWEEPSTAKES

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

DINER & BAR OPEN LATE!

Washington, DC

19

Folk

THE WHARF, SW DC

Washington, DC

15

Sunday BEthEsda BluEs & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Keith ‘Showtime” Busey.

7:30 p.m. $25. bethesdabluesjazz.com.

Tickets at TICKETMASTER.COM, 800-745-3000 Warner Theatre or at WARNER THEATRE BOX OFFICE. Feb. 14,the 7:30pm

AT 8:30PM

TRIVIA NIGHT PROFS & PINTS:

NOW OPEN

Tix on sale7:30 Fri. 10/6 at 10am through Ticketmaster.com/800-745-3000.

FEBRUARY 14, PM

OPEN MIC COMEDY

FEB 14TH AT 7:30PM

Warner Theatre

NEW MUSIC VENUE

TICKETS ON SALE! pearlstreetwarehouse.com

CaBarEt

austrian Cultural Forum 3524 International Court NW. Trio Immersio. 6:30 p.m. Free. acfdc.org. hoWard thEatrE 620 T St. NW. (202) 803-2899.

Melanie Fiona. 8 p.m. $30–$59.99. thehowardtheatre.com.

Jazz

BEthEsda BluEs & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jeff Bradshaw & Friends with Avant and Maimouna Youssef. 8 p.m. $59.50. bethesdabluesjazz.com.

WEdnESday Jazz

BEthEsda BluEs & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Jeff Bradshaw & Friends with Avant and Maimouna Youssef. 8 p.m. $59.50. bethesdabluesjazz.com. thE hamilton 600 14th St. NW. (202) 787-1000. My Funny Valentine: An Evening of Frank Sinatra’s Music starring Tony Sands. 8 p.m. $15–$39.75. thehamiltondc.com.

pop

9:30 CluB 815 V St. NW. (202) 265-0930. Sleigh Bells.

7 p.m. $30. 930.com.

World

musiC CEntEr at strathmorE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Artist in Residence: Uasuf Gueye. 7:30 p.m. $17. strathmore.org.

tHurSday Funk & r&B

hoWard thEatrE 620 T St. NW. (202) 803-2899.

George Clinton & Parliament Funkadelic. 8 p.m. $45–$85. thehowardtheatre.com.

Jazz

BEthEsda BluEs & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. The Spinners. 8 p.m. $65–$75. bethesdabluesjazz.com. smithsonian amEriCan art musEum 8th and F streets NW. (202) 633-7970. Sarah Hughes Quartet. 5 p.m. Free. americanart.si.edu.

roCk

BlaCk Cat 1811 14th St. NW. (202) 667-4490. Black Dog Prowl. 7:30 p.m. $10. blackcatdc.com. thE hamilton 600 14th St. NW. (202) 787-1000.

Cory Wong & Mr. Talkbox. 7:30 p.m. $20–$25. thehamiltondc.com.

Treat your loved one to something special on

Valentine's Day!

2 Feb 8pm - 11pm

10 Feb – Mardi Gras

13 Feb – Sip and Paint 16 Feb – Black Alley

17 Feb – Adrinkwithfriends 20 Feb – Comedy Night

22 Feb – Ryan Forrester Trio 2 Mar – Revival

3 Mar – Kim & Scooby

10 Mar – Manu Chao & Fabulosos Cadillacs 13 Mar – Sip and Paint

washingtoncitypaper.com february 9, 2018 31

2017-2018 College Performing Arts Series

F E B RUA RY F9

SU 11

DARYL DAVIS PRESENTS: THANKS FOR THE MEMORIES 2017 PRE -VALENTINE BRUNCH FEATURING A TRIBUTE TO THE SOUNDS OF THE 70’S & 80’ (1PM) KEITH ‘SHOWTIME” BUSEY’S 70’S BEST / PREVALENTINE DAY SHOW (7:30PM)

T&W VALENTINES DAY W/ 13&14 JEFF BRADSHAW & FRIENDS “A LOVE SUPREME” W/ AVANT & MAIMOUNA YOUSSEF TH & F THE SPINNERS 15&16 S 17 SYLEENA JOHNSON SU 18 BUDDY HOLLY TRIBUTE F 23 TRIBUTE TO FUNK LEGENDS SU 25 BE’LA DONA GO GO BRUNCH (1PM) BAND OF ROSES (7:30PM) WED & BILLY OCEAN CELEBRATES THURS, BBJ’s 5TH ANNIVERSARY FEB 28 HOSTED BY JOE CLAIR & MAR 1

JUST ANNOUNCED SUN, MAR 4 FRI, MAR 9

FRI, APR 6

HAROLD MELVIN’S BLUE NOTES

(2 SHOWS 2/7:30PM)

CELEBRATING THE LIFE OF NOTORIOUS B.I.G FEAT. SECRET SOCIETY

SOUL-BLUES SUMMIT: BILLY PRICE BAND W/SPECIAL GUEST JOHNNY RAWLS

http://igg.me/at/bethesdablues 7719 Wisconsin Ave., Bethesda, MD

(240) 330-4500

AN EVENING WITH

TWO STEP

adrian tominE The contemporary cartoonist discusses Killing and Dying, now available in paperback, a collection of six graphic stories. Politics & Prose at The Wharf. 70 District Square SW. Feb. 10. 6 p.m. Free.

(202) 488-3867.

9

NEWMYER FLYER PRESENTS

LOVE

davE EggErs The author of A Heartbreaking Work of Staggering Genius and The Circle reads from his latest book, The Monk of Mokha, about a first-generation Yemeni-American who plans to revitalize his homeland’s coffee trade. Sixth & I Historic Synagogue. 600 I St. NW. Feb. 13. 7 p.m. $36–$38. (202) 408-3100.

THE BEATLES VOL. 5

tayari JonEs An American Marriage is Jones’ fourth novel, and a complicated love story and examination of how the country’s justice system impacts AfricanAmerican lives. Politics & Prose. 5015 Connecticut Ave. NW. Feb. 15. 7 p.m. Free. (202) 364-1919.

SONGS SATURDAY FEB SAT, FEB 10

TEDESCHI TRUCKS BAND AFTERPARTY

10 LATE NIGHT

FEATURING THE RON HOLLOWAY BAND WED, FEB 14

MY FUNNY VALENTINE: AN EVENING OF

FRANK SINATRA’S MUSIC STARRING

TONY SANDS

THUR, FEB 15

AN EVENING WITH

CORY WONG & MR. TALKBOX

February 21-24, 8 p.m.

February 25, 2 p.m.

In a quest to expose the truth, a doctor realizes that honesty and idealism doesn’t exist in the face of selfish “practical” interests, but he is determined to defy authority and stand for what he believes in.

Tickets are $10 Regular, $8 Seniors & $5 Students w/ ID

ROBERT E. PARILLA PERFORMING ARTS CENTER

Montgomery College • 51 Mannakee St., Rockville, MD 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301

FRI, FEB 16

AN EVENING WITH

MARK O’CONNOR FEAT. THE O’CONNOR BAND FRI, FEB 16

TEDESCHI TRUCKS BAND AFTERPARTY

LATE NIGHT

WASHINGTON CITY PAPER College Perfomring Arts Series

SAT, FEB 17

THE WAILERS W/ SIGNAL FIRE SUN, FEB 18

ALSARAH & THE NUBATONES WED, FEB 21

LARRY CAMPBELL & TERESA WILLIAMS THURS, FEB 22

AN EVENING WITH

THE EVERLY BROTHERS EXPERIENCE FRI, FEB 23

MACEO PARKER SAT, FEB 24

NRBQ W/ RUTHIE & THE WRANGLERS SAT, MAR 3

JUSTIN JONES

www. BethesdaBluesJazz.com

THEHAMILTONDC.COM

Dance

alvin ailEy amEriCan danCE thEatEr The acclaimed black dance company returns to the Kennedy Center for its annual engagement. Among the featured pieces are Ailey favorite “Revelations,” Twyla Tharp’s “The Gold Section,” and Jamar Roberts’ “Members Don’t Get Weary.” Kennedy Center Opera House. 2700 F St. NW. Feb. 9. 7:30 p.m.; Feb. 10. 1:30 p.m.; Feb. 10. 7:30 p.m.; Feb. 11. 1:30 p.m. $49–$175.

(202) 467-4600. kennedy-center.org. romEo & JuliEt The Washington Ballet presents choreographer John Cranko’s Romeo & Juliet, set to Sergei Prokofiev’s exuberant score. Cranko created the ballet for the Stuttgart Ballet and it had its world premiere in 1962. Kennedy Center Opera House.

2700 F St. NW. Feb. 14. 7:30 p.m.; Feb. 15. 7:30 p.m. $25–$160. (202) 467-4600. kennedy-center.org.

Enemy of the People

FEATURING THE RON HOLLOWAY BAND

Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

32 february 9, 2018 washingtoncitypaper.com

musiC CEntEr at strathmorE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Edgar Allan Poe’s Nevermore: In Concert. 7 p.m. $30. strathmore. org.

Books

AZTEC FRIDAY FEB

VoCal

Theater

Call Angie Lockhart with any questions.

4,380 nights Tackling what it means to be Amer-

Voting Angie Lockhart ends Publicist 4 Arts Center Robert March E. Parilla Performing Montgomery College 51washingtoncitypaper.com Mannakee Street Rockville, MD 20850 phone 240-567-7538 fax 240-567-7542

Best Of 2018 out April 12 Reserve now! Call the advertising department to book your Best of D.C. ad today: 202-650-6937

ican, D.C. playwright Annalisa Dias delivers 4,380 Nights, a play about a man being held without charge at the Guantanamo Bay prison. A timely critique of fear, power, and humanity itself the play is presented as part of the 2018 Women’s Voices Theater Festival.

Signature Theatre. 4200 Campbell Ave., Arlington. To Feb. 18. $40–$65. (703) 820-9771. sigtheatre.org. all shE must PossEss This Joseph W. Ritsch-directed story centers on the Cone sisters, Dr. Claribel and Miss Etta, daughters of German-Jewish immigrants. Instead of living tranquil lives as respected Victorian ladies, the pair collected art from around the world. Rep Stage at Howard Community College.

10901 Little Patuxent Parkway, Columbia. To Feb. 25. $15–$40. (443) 518-1500. repstage.org. auBErginE As part of the Women’s Voices Theater Festival, the Olney Theatre Center presents a story of family, food, and memories. Written by Julia Cho and directed by Vincent M. Lancisi, Aubergine focuses on a Korean family, in which a son leaves his job as a chef to care for his dying father and strives to gain acceptance from him. Performed in English and Korean with English supertitles. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To March 4. $49–$74. (301) 924-3400. olneytheatre.org. thE FarnsWorth invEntion This regional premiere production is directed by Alex Levy and written by Aaron Sorkin, writer of The West Wing and The Social Network. Set in 1929, it centers on two ambitious visionaries who race against each other to invent a device called television. 1st Stage. 1524

Spring Hill Road, McLean. To March 11. $15–$33. (703) 854-1856. 1ststagetysons.org. thE grEat soCiEty As civil rights protests and the horrors of the Vietnam War divide the country, President Lyndon B. Johnson struggles to maintain his relationship with Dr. Martin Luther King Jr., stave off his political opponents, and put forth ambitious social policy projects. Playwright Robert Schenkkan’s lauded production makes its highly-anticipated D.C. premiere. Arena Stage. 1101 6th St. SW. To March 11. $56–$111. (202) 488-3300. arenastage.org.

1101 6th St. SW. To Feb. 18. $41–$101. (202) 488-3300. arenastage.org. a strEEtCar namEd dEsirE Widely regarded as 1948 Pulitzer Prize winner follows the heart-wrenching family drama of two sisters, Stella and Blanche, Center. 2700 S. Lang St., Arlington. To Feb. 9. $15–$25.

handBaggEd From playwright Moira Buffini and director Indhu Rubasingham comes the American premiere of Handbagged, a tale of two powerful British women born just six months apart: Margaret Thatcher and Queen Elizabeth II. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda.

To March 3. $45–$66. (240) 644-1100. roundhousetheatre.org.

posed to be meeting with his accountant, all the

lovE & thEraPy gonE Wrong When a motherin-law from hell comes to town, it shakes up a seemingly perfect life and relationship for a couple. Playwright Dennis Williams brings his hit independent love-themed stage play to the Howard Theatre, just in time for Valentine’s Day. Howard Theatre. 620 T St. NW. Feb. 10. $37.50–$50. (202) 803-2899. thehowardtheatre.com.

The New York Times

unnECEssary FarCE Playwright Paul Slade Smith and director Ray Ficca bring to life this comedy about two cops, three crooks, and eight doors that lead to chaos and confusion. An embezzling mayor is sup-

A FILM BY SEBASTIÁN LELIO

A FANTASTIC WOMAN

while, two undercover cops wait to catch the meeting on videotape. Keegan Theatre. 1742 Church St. NW. To Feb. 10. $35–$45. (202) 265-3767. keegantheatre.com. thE Way oF thE World This new comedy adapted from the play by William Congreve is written and directed by Theresa Rebeck. It tells the story of Mae, an altruistic woman who has gained a $600 million

WWW.SONYCLASSICS.COM

STARTS FRIDAY, FEBRUARY 9

Ashburn ALAMO Washington, DC LANDMARK’S Fairfax ANGELIKA DRAFTHOUSE ONE LOUDOUN E STREET CINEMA AT MOSAIC drafthouse.com (202) 783-9494 (571) 512-3301

inheritance. Folger Elizabethan Theatre. 201 E. Capitol

VIEW THE TRAILER AT WWW.AFANTASTICWOMAN.COM

St. SE. To Feb. 11. $35–$79. (202) 544-7077. folger.edu. thE WolvEs From writer Sarah DeLappe, The

Washington City Paper

Wolves explores the violence and teamwork of sports and adolescence, following a group of 16-year-old girls who become warriors on the field with an ear for the empathy of the teenage years. Studio Theatre.

1501 14th St. NW. To March 11. $20–$106. (202) 3323300. studiotheatre.org.

#2

THURSDAY 02/08 1/6PG (4.666”) X 3.37” ALL.AFW.0208.WCP

TM

Film thE 15:17 to Paris Three Americans, played by the real-life heroes, help to foil a terrorist plot on a train

noura Part of the Women’s Voices Theater Festival, Noura challenges our notions of modern marriage, the idea of home, and motherhood from the perspective of Iraqi immigrants living in New York preparing to celebrate their first Christmas as American citizens. Lansburgh Theatre. 450 7th St. NW. To March 11. $44–$118. (202) 547-1122. shakespearetheatre.org.

heading to Paris. Starring Jenna Fischer, Judy Greer,

shEar madnEss A famed concert pianist who lives above the Shear Madness unisex hair salon dies in a scissor-stabbing murder. Set in modern day Georgetown, this interactive comedy whodunit lets its audience solve the crime. Kennedy Center Theater Lab. 2700 F St. NW. To June 10. $54. 202-467-4600. kennedy-center.org.

off land, and must find the courage to overcome his

thE skin oF our tEEth This Pulitzer Prize winner centers on the Eternal Family, made up of George and Maggie Antrobus, a couple married for 5,000 years, their two children Gladys and Henry, and the maid Sabina. Together, they prove they can survive an ice age, The Flood and an apocalyptic war. Constellation Theatre at Source. 1835 14th St. NW. To Feb. 18. $25–$55. (202) 204-7741. constellationtheatre.org.

er is devastated by the death of her older boyfriend.

somEthing rottEn! Set in the 1590s, Something Rotten! tells the story of two brothers desperate to write their own acclaimed play, who eventually begin to write the world’s first musical. Directed and choreographed by Tony Award-winner Casey Nicholaw, who was the director of the world premiere musical Mean Girls, The Book of Mormon, and Aladdin, this original new musical also features music and lyrics by Tony Award nominees and brothers Wayne and Karey Kirkpatrick. National Theatre. 1321 Pennsylvania Ave. NW. To Feb. 18. $48–$118. (202) 628-6161. nationaltheatre.org.

continues to threaten both her and her union. Star-

sovErEignty From director Molly Smith, Sovereignty is a production of playwright Mary Kathryn Nagle’s daring new work that travels the intersections of past and present, and personal and political truths. It centers on a young Cherokee lawyer fighting to restore her Nation’s jurisdiction, who must then confront the ubiquitous ghosts of her grandfathers. Arena Stage.

“A FANTASTIC MOVIE. DANIELA VEGA IS FANTASTIC IN IT.” -A.O. Scott, THE NEW YORK TIMES

along with Stella’s husband Stanley. Gunston Arts

hamlEt Shakespeare’s classic tragedy makes its way to Sidney Harman Hall, starring Michael Urie, of Ugly Betty fame, as the desperate Danish prince Hamlet and directed by Michael Kahn. Sidney Harman Hall. 610 F St. NW. To March 4. $44–$125. (202) 547-1122. shakespearetheatre.org.

light yEars Robbie Schaefer, of the acclaimed indie rock band Eddie From Ohio, crafts a world premiere musical that is a touching and funny personal tale of music, immigration, and the bond between father and son. The story centers on Schaefer’s journey from a childhood in India to the struggles of growing up and raising a family, and how his father’s dark past impacts their relationship. Signature Theatre. 4200 Campbell Ave., Arlington. To March 4. $40–$65. (703) 820-9771. sigtheatre.org.

®

playwright Tennessee Williams’s finest work, this

(703) 228-1850. arlingtonarts.org.

la Foto (a sElFiE aFFair) Directed by Abel López and presented in Spanish with English subtitles, La Foto is about two families changed forever by a selfie. When a selfie is sent to one person but shared by another, questions arise about the costs of a highly technological world in which it is easier to connect intimately with one another. GALA Hispanic Theatre.

3333 14th St. NW. To Feb. 25. $25–$95. (202) 234-7174. galatheatre.org.

ACADEMY AWARD NOMINEE BEST FOREIGN LANGUAGE

and Thomas Lennon. (See washingtoncitypaper.com for venue information) Bilal: a nEW BrEEd oF hEro A boy who dreams of becoming a great warrior is stolen and taken to a far obstacles. Starring Adewale Akinnuoye-Agbaje, Ian McShane, and China Anne McClain. (See washingtoncitypaper.com for venue information) a FantastiC Woman A waitress and nightclub singStarring Daniela Vega, Francisco Reyes, and Luis Gnecco. (See washingtoncitypaper.com for venue information) FiFty shadEs FrEEd Star-crossed lovers Anastasia and Christian get married, but her villainous ex-boss ring Dakota Johnson, Jamie Dornan, and Eric Johnson. (See washingtoncitypaper.com for venue information) thE lEisurE sEEkEr Helen Mirren and Donald Sutherland star as a couple traveling on an unforgettable journey in the RV they call The Leisure Seeker.

Co-starring Janel Moloney. (See washingtoncitypaper.com for venue information) PEtEr raBBit James Corden voices Peter Rabbit in this adaptation of Beatrix Potter’s classic tale about the rebellious bunny. Co-starring Fayssal Bazzi and Domhnall Gleeson. (See washingtoncitypaper.com for venue information)

washingtoncitypaper.com february 9, 2018 33

(EST), Wednesday, February 21, 2018.

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Contents:

PUBLIC NOTICE 2/24/18 10:30 AM Start 7436 Ol Alex Ferry Rd Clinton, MD Johnson M&S will sell these lots of household goods for fees due: A. Scott, G. Williams, T. Robinson, T. Dupree, J. Edwards

City Arts + Prep PCS

solicits proposals Search classifieds at for the following: · Public Relations Editor washingtoncitypaper.com Proposals and requests

EXCEL ACADEMY PUBLIC CHARTER SCHOOL INVITATION FOR BIDS MATH PROFESSIONAL DEVELOPMENT FOR TEACHERS SEVICES Excel Academy Public Charter School, a District of Columbia public charter school serving PreK thru 8th grade, is seeking bids for math professional development for teacher’s services. It is located at 2501 Martin Luther King, Jr. Avenue, SE Washington, DC 20020.

Proposals must be receive in a PDF format no later than 5:00 pm

for the full RFP should be emailed to bids@ cityartspcs.org no later than 5:00 P.M., Tuesday, February 20, 2018.

BRIDGES PUBLIC CHARTER SCHOOL NOTICE: FOR PROPOSALS FOR IT SERVICES Bridges Public Charter School in accordance with section 2204(c) of the District of Columbia School Reform Act of 1995 solicits proposals for SY 17-18· Computer Equipment Supply Services Proposals should be submitted in PDF format and for any further information regarding this notice to bids@bridgespcs.org no later than 4:00 pm Wednesday, February 21, 2018.

Two Rivers Public AdultisPhone Charter School Entertainment soliciting proposals from qualified firms to proLivelinks Chat Lines.

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For a copy of the RFP, Legals please email Sarah Richardson at procureNOTICE IS HEREBY GIVEN ment@tworiverspcs.org.

THAT: TRAVISA OUTSOURCING, INC. (DISTRICT OFPUBLIC COLUMBIA DEBRIDGES PARTMENT OF CONSUMER CHARTER SCHOOL AND REGULATORY AFFAIRS NOTICE: FOR PROPOSFILE FOR NUMBER 271941) HAS ALS IT SERVICES DISSOLVED EFFECTIVE NOVEMBridges Public Charter BER 27, 2017 AND HAS FILED School ARTICLESinOFaccordance DISSOLUTION OF with section 2204(c) CORof DOMESTIC FOR-PROFIT the District of THE Columbia PORATION WITH DISTRICT School Reform Act of OF COLUMBIA CORPORATIONS DIVISION 1995 solicits proposals for SY 17-18 A· Special CLAIM Education AGAINST TRAVISA OUTSOURCING, Services INC. MUST Coordinator INCLUDE THE NAME OF THE Proposals should be DISSOLVED CORPORATION, submitted PDF format INCLUDE THEinNAME OF THE and for any further CLAIMANT, INCLUDE A SUMMAinformation regarding RY OF THE FACTS SUPPORTING this noticeAND to BE bids@ THE CLAIM, MAILED TO 1600 INTERNATIONAL DRIVE, bridgespcs.org no later SUITE 600, MCLEAN, VA 22102 than 4:00 pm Tuesday, February 20, 2018.

ALL CLAIMS WILL BE BARRED UNLESS A PROCEEDING TO ENFORCE THE CLAIM IS COMMENCED WITH IN 3 YEARS OF $475.00 PUBLICATIONNW/PetOF THIS NOTICE worth NS Nice room, IN ACCORDANCE WITH SECTION includes utilities, WIFI,OF 29-312.07 OF THE DISTRICT w/d, kitchen, walk to COLUMBIA ORGANIZATIONS ACT. subway/shops. 240463-4919 Two Rivers PCS is soliciting proposals to provide project manBeautiful 2-level agement services for a small con2BR/2BA in historic struction project.

For a copy of the RFP, please email2 procurement@ 5-unit bldg. blks from tworiverspcs.org.

Dupont metro.Deadline Turret, for submissions is December 2017. many closets, new 6, kitch, new en suite bath, exposed brick, built-ins, new floor, fireplace. $3300/mo, term negotiable. wfstephens@ gmail.com or 617-2339763 One BR Apt for rent-near Library of Congress-Capitol Hill-W/D Free Gas/ water-Lg L/R-Hardwood floors-Skylights Contact

monaghaneric@hotmail.

Legals com DC SCHOLARS PCS - in REQUEST Rooms for rent FOR PROPOSALS – ModuSE DC near Pennsyllar Contractor Services - DC vania Branch Scholarsand Public CharterAve. School Furnished/unfurnished, solicits proposals for a modular Nonsmoking.

Metro contractor to provide professional accessible.

Includes management and construction servicesinternet, to construct a modular W/D, off-street building to house four classrooms parking and utils. $650and one faculty ce suite. The 850/mo. withoffiamenities.

Request for Proposals (RFP) $575-$775/mo. without specifi cations can be obtained on amenities. 202-271and after Monday, November 27, 2704.

2017 from Emily Stone via communityschools@dcscholars.org.

Holiday All questionsSpecialshould be Two sent in furnished rooms for calls writing by e-mail.

No phone regarding will rental be acshort or this longRFP term cepted. Bids be received by ($900 andmust $800 per 5:00 PM on Thursday, December month) with access to 14, 2017WiFi, at DC Kitchen, Scholars Public W/D, and Charter Utilities School, ATTN: Sharonda Den. included.

Mann, 5601 E. Capitol St. SE, Best N.E. location along Washington, DC 20019. Any bids H St. Corridor.

Call as Eddie not addressing all areas out202-744-9811 for info.will lined in the RFP specifi cations or visit www.TheCurnot be considered. ryEstate.com

Apartments for Rent

For rent: Beautiful 1bdr condo, in The Colonnade (2801 New Mexico Ave.), in Glover Park, $2090, all utilities incl. Small pets ok. 202468-4384, jykim0730@ hotmail.com.

Commercial Real Estate Must see! Spacious semi-furnished 1 BR/1 BA basement apt, Deanwood, $1200. Sep. entrance, W/W carpet, W/D, kitchen, fireplace near Blue Line/X9/ V2/V4. Shawnn 240-343-7173.

Rooms for Rent Holiday Special- Two furLOCATION, nished rooms forLOCAshort or long TION, LOCATION, term rental ($900 and $800 per CAPITOL month) with HILL accessand to W/D, PRIVATE OFF-STREET WiFi, Kitchen, and Den. Utilities included.FOR Best SIX N.E. location PARKING along St. Corridor.

Call Eddie CircaH1870, Historic 202-744-9811 for info. visit Two story 1632 SF or Free www.TheCurryEstate.com Standing Office building, on private lot, with 6 off-street dedicated parking spaces.

Property Taxes, Structure Insurance and Building maintenance

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Construction/Labor This ONE OF A KIND historic renovated office building was originally restored by DC’s premier historic restorationist/interior POWERdesigner, DESIGN NOWC.HIRDudley Brown,APPRENas ING ELECTRICAL TICES OF ALL SKILL LEVhis corporate office.

ELS! We love and take great pride in this property. It position… is about still the privately owned youC love working with byDothe Dudley Brown your hands? Are you interand Thomas J. Brown. ested in construction and The buildinganwill be in in becoming electrician? spotless condition prior Then the electrical apprentice toposition your move-in. could be perfect for The you!building’s Electrical current apprentices are abletenant to earn (as a paycheck 5-year you and full benefi ts while can tell by the pics)learnhas ing the trade outgrown thethrough spacefirsthandwe experience. and will miss them!

Now we are looking for what we’re looking for… our next tenant for this Motivated D.C. residents who very wantunique to learn property. the electrical The building is perfect trade and have a high school for a small business, diploma or GED as well as reliable such astransportation. an architect, law firm, lobbyist, etc. The a little bit about neighbor is anus… awesome Power Design is one of the long term business/ top electrical contractors in property owner. Hill the U.S., committed to our Auto has alwaysand been values, to training to giv-a great neighbor to us and ing back to the communities our tenants. in which we live and work.

Important, By Apmore details… pointment Only: We Visit much powerdesigninc.us/ very respect our careers or email careers@ tenants busy work enpowerdesigninc.us! vironment and request that you do not attempt to view the property without an appointment.

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POWER DESIGN NOW HIRING ELECTRICAL APPRENTICES OF ALL SKILL LEVELS! about the position… Do you love working with your hands? Are you interested in construction and in becoming an electrician? Then the electrical apprentice position could be perfect for you! Electrical apprentices are able to earn a paycheck and full benefits while learning the trade through firsthand experience. what we’re looking for…

Motivated D.C. residents who want to learn the

electrical trade and have Miscellaneous a high school diploma or GED as well as reliable NEW COOPERATIVEaSHOP! transportation. little bit about us… Power FROM EGPYT THINGS Design is one of the top AND BEYOND electrical contractors in 240-725-6025 the U.S., committed to www.thingsfromegypt.com our values, to training thingsfromegypt@yahoo.com and to giving back to the communities in SOUTH AFRICAN BAZAAR Craft Cooperative which we live and work.

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34 february 9, 2018 washingtoncitypaper.com

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For more information, contact Futsum, “The Arab Popula- or info@leadersinstitutemd.org tion in Israel 1948 to call 301-655-9679 Today” Conference General Sunday, February 11 1:00-5:00 PM Looking to Rent College yard spaceoffor Washington hunting Alexandria/ArlingLaw,dogs.

4300 Nebraska ton, VA area only. Medium sized Ave., NW, dogs will be well-maintained in Washington, DC houstemperature controled dog American University’s es. I have advanced animal care Center for Studexperience and Israel dogs will be rid ies, Arabflies, Studies Profree of feces, urine and oder.

Dogs will be in aWashington ventilated kennel gram and so they will of not Law be exposed to winCollege are hosttering andaharsh etc. Space day weather of education willexploring be needed as soon as possiPalestinian ble.

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Alexandria/Arlington, VA area only. Medium sized dogs will be well-maintained in temperature controled dog houses. I have advanced animal care experience and dogs will be rid free of feces, flies, urine and oder. Dogs will be in a ventilated kennel so they will not be exposed to winter and harsh weather etc. Space will be needed as soon as possible. Yard for dogs must be Metro accessible. Serious callers only, call anytime Kevin, 415- 846-5268. Price Neg.

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