Washington City Paper (March 30, 2018)

CITYPAPER Washington

Free volUme 38, no. 13 WashingtonCitypaper.Com marCh 30-april 5, 2018

SportS: D.C. UniteD Fan groUps FaCe oFF 6 food: Boosting BlaCk restaUrant pros 15 ArtS: last DitCh eFFort to save FUnk paraDe 18

Sixty yearS ago John Fahey pioneered american primitive guitar in takoma park. now the city iS preparing to hoSt the genre’S FirSt FeStival. p. 10 By matt cohen and JuStin weBer illuStrationS By Stephanie rudig

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INSIDE on tHe CoVer: gUItar CentereD

10 American Primitive guitar endures in Takoma Park, the town where it was pioneered.

DIStrICt LIne

5 loose lips: Anita Bonds’ quick and massive campaign haul 6 fan debase: D.C. United supporters face off over new ticketing agreements.

7 housing complex: A resident reflects on DC General’s imminent closing.

8 savage love 9 gear prudence

FooD 15 new recipe: With a book, web series, and online database, Andra Johnson is boosting the profiles of D.C.’s black restaurant professionals.

17 shelling out: Ranking D.C.’s newest taco joints 17 are you gonna drink that?: Hank’s Cocktail Bar’s Yam Thale]

artS 18 don’t funk this up: Without corporate support, can the Funk Parade go on?

19 the new possibilities: A new generation experiments with solo guitar.

19 one track Mind: Dura’s “Grace Church Road” 20 theater: Klimek on Studio Theatre’s Translations and Folger Theatre’s The Winter’s Tale 21 curtain calls: Rudig on Keegan Theatre’s Chicago 22 sketches: Capps on Do Ho Suh: Almost Home at the Smithsonian American Art Museum 23 short subjects: Gittell on The China Hustle

CIty LISt 25 30 30 32 33

Music Books Dance Theater Film

DIVerSIonS 34 Classifieds 35 Crossword

Darrow MontgoMery 2000 Block of 18th Street NW, March 26

EDITORIAL

editor: AlexA mills Managing editor: cAroline jones arts editor: mAtt cohen food editor: lAurA hAyes city lights editor: kAylA rAndAll loose lips reporter: Andrew giAmbrone housing coMplex reporter: morgAn bAskin staff photographer: dArrow montgomery MultiMedia and copy editor: will wArren creative director: stephAnie rudig contributing writers: john Anderson, 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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DistrictLine Rising Dough

By Andrew Giambrone For prooF oF the deep-seated influence of development interests and organized labor in D.C. politics, just consult the campaign finances of At-Large Councilmember Anita Bonds.

The most recent public records show that between Feb. 1 and March 10 she raised more than $51,000 for her re-election bid from only 78 donations. Almost half were for $1,000, the maximum legal amount in at-large races.

Most of these came from people and companies associated with D.C.’s booming building industry: contractors; roofers, plumbers, and painters unions; land-use lawyers at whiteshoe firms; and prominent property owners.

The contributions, and the benefits of incumbency, are paving the path for Bonds’ expected win in the June Democratic primary.

“I believe that I’ve done a good job and, given my experience, I can do an even better job,” she says. “I now have a little bit of money. I try really hard not to be a big spender, and I try to make every dollar count.”

Citing the demands of simultaneously running a campaign and being a councilmember, Bonds admits that she hasn’t started distributing literature or posting signs, but she promises that residents will see them soon enough.

Bonds faces a trio of ambitious young challengers who will likely split the vote if no one drops out. None have elected experience.

All three are men in their late twenties or early thirties. They have campaigned since last year, attending public events to gain exposure and seeking to portray themselves as more in tune with D.C.’s challenges.

Bonds, who will turn 73 in April, was notably absent from a recent candidates forum in which her three challengers participated due to what she says was “a scheduling conflict.” She hasn’t met two of her opponents, but knows the third from past community work.

“It’s apparent that Anita has lost touch with the people,” says candidate Marcus Goodwin, a real estate associate who, like Bonds, has received financial support from developers. “As

Loose LIPs

a result, she’s had to lean on the relationships she’s developed professionally in housing.”

The councilmember says “it’s easy to accuse an incumbent of being in the pocket of corporations,” but she stands for citizens. She cites her votes for issues like paid leave, a higher minimim wage, and publicly financed elections.

Bonds began fundraising in January. As of March 10, she had about $63,000 in cash, compared to Goodwin’s $32,000. This leaves her plenty of money for get-out-the-vote efforts in the weeks preceding the primary.

The incumbent’s coffers also exceeded those of environmental activist Jeremiah Lowery, who had about $23,000, and communications professional Aaron Holmes, who had about $19,000.

Bonds’ opponents raised much less money than she did over the latest reporting period. Lowery raised about $5,900, Goodwin $14,000, and Holmes $8,700. But Lowery’s and Goodwin’s campaigns received more individual donations than hers did. Lowery also got endorsements from left-wing groups like DC for Democracy and Run for Something.

The councilmember’s fundraising prowess is a testament to the clout she has built in a city that has undergone seismic changes over the past few decades. A longtime District political figure, Bonds worked behind the scenes as a campaign organizer for Marion Barry, then as a senior official for Mayors Barry, Sharon Pratt, and Anthony Williams.

She joined the Council in 2012, filling the seat Phil Mendelson vacated when he became Council chairman. Two years later, Mendelson created a new committee devoted to housing and made Bonds its chair.

She has led the committee ever since. It oversees the agencies responsible for investing in affordable housing, protecting the rights of tenants and seniors, and addressing the needs of the homeless.

Among Bonds’ legislative accomplishments are a landlord-friendly bill set for passage that exempts single-family homes from longtime protections for renters, and a tenant-friendly law that caps late fees for rent payments at 5 percent of the rent due. (Bonds says a Wilson Building staffer came up to her and thanked

her for the latter.)

She has also proposed a bill that would guarantee a minimum amount of annual investment in D.C.’s main fund for affordable housing at a higher level. But the bill has stalled and, this month, a report from the DC Auditor alleged that the funds had been mismanaged.

To her critics, Bonds’ industry-heavy campaign support present potential conflicts of interest, given her role as chair of the housing committee. Bonds sets the committee’s agenda, decides which measures to advance, and uses her pulpit to push for certain projects.

A tenant advocate who was not authorized to speak on the record criticized Bonds for not following through on proposals that would help low-income residents and for bowing to landlords. The advocate says Bonds suffers less from conflicts of interest than having sympathy for developers.

“This is another example of pay-to-play culture in D.C.,” says Lowery. “These organizations and corporations are looking to cash in after the election.”

Bonds’ $1,000 donors include Ward 8 politico and community developer Phinis Jones, William B. Alsup III of Hines, the real estate firm behind CityCenterDC, and a litany of construction and landscaping contractors.

Bonds also received $500 from Olympianturned-developer Jair Lynch, developer Bryan “Scottie” Irving, who sits on the D.C. Housing Finance Agency board and whose company, Blue Skye Construction, often wins government projects, Mayor Muriel Bowser’s senior adviser Beverly Perry, and DC Chief Tenant Advocate Johanna Shreve, whose office her committee oversees.

Her strong ties to the region’s construction community go back to her days as the director of corporate relations for Fort Myer Construction, a favored firm that has earned hundreds of millions of dollars through D.C. contracts and drawn scrutiny over its political heft.

The company has not donated to Bonds’

Darrow Montgomery/File

Campaign contributions flow to Anita Bonds.

current campaign, but it did donate to her 2014 campaign. On March 9, A. Scott Bolden, an attorney who represents Fort Myer and is linked with the Bowser/Adrian Fenty “Green Team,” gave Bonds’ campaign $1,000.

Meanwhile, Bonds remains the chair of the DC Democratic State Committee, the group that picks delegates to attend the Democratic National Convention in presidential election years and appointed her to the Council in 2012.

But even by its members’ own admission, the group has been beset by dysfunction and miscommunications under Bonds.

Geographically, much of her support comes from Wards 5, 7, and 8, which contain the District’s African-American voting base. In the 2014 Democratic primary, she won more than half of the total votes, but more than twothirds of the votes in those wards.

In a crowded field of more than a dozen candidates in the general election that year, she won more than 24 percent of the votes. Seniors are well represented at Bonds’ campaign events and turn out at the polls for her.

One Wilson Building observer believes Bonds relies more heavily on business donations than other councilmembers because the electorate that votes for her generally does not donate in large numbers to campaigns.

“It would surprise me if anyone outside of the business community, labor, or Democratic State Committee threw her a meet and greet [or] fundraiser,” the observer says.

Bonds says she has “widespread support across the District, which will be reflected on June 19.” Whether her young challengers have a real shot at her seat will become clearer as election season kicks into high gear.

They might have luck if they bide their time.

Bonds appears to want only one more term.

“I’m not going to do this forever,” she says. “But I have a record that I’m proud to run on.” CP

washingtoncitypaper.com march 30, 2018 5

DistrictLinE

Fan Debase

The fiercest matches at the new Audi Field may be between D.C. United’s fan groups.

Pablo Maurer

D.C. United supporters at RFK Stadium last fall

By Pablo Maurer D.C. UniteD’s 2018 home opener, a mostly forgettable early-March tilt against the Houston Dynamo, had many of the sights and sounds of any of their home games.

Patches of black and red colored the stands at the Maryland SoccerPlex, one of two venues United are calling their home away from home until Audi Field, their permanent digs at Buzzard Point, opens in July. There were the usual suburbanites, soccer moms and youth soccer players, plus a stray heckler or two.

And of course United’s most fervent fans made the trip: the drum-beating, flag-waving, chanting members of the club’s three recognized supporters’ groups—La Barra Brava, the Screaming Eagles, and the District Ultras.

Yet something was off about United’s support at the SoccerPlex. Interspersed between chants of encouragement and support came an unexpected cry.

“Fuck the Eagles! Fuck the Eagles!”

The chants came not from Houston fans but from La Barra Brava, and they weren’t directed at anybody on the field. They were aimed squarely at their fellow D.C. United fans, the Screaming Eagles.

In arguably the biggest year of United’s history, one which will see the club realize its decade-long quest to catch up with the rest of Major League Soccer via its new stadium, D.C. United’s relationship with its die-hards—and

their supporters’ relationships with one another—are perhaps more fractured than ever.

It wasn’t always this way.

D.C. United were once the crown jewel of the league, their supporters widely envied. The team and its initial supporters’ groups worked together to foster a fearsome environment for opponents, turning an entire side of RFK Stadium into a smoky, beer-drenched carnival. To La Barra Brava, largely comprised of the District’s soccer-starved Central American residents, it was paradise. To the uninitiated, it could be frightening.

The partnership paid dividends on the field, with United claiming three of the league’s first four championships. The club was dominant, and played with purpose.

Over time, that changed. The league evolved. D.C. United, despite great efforts, did not. RFK, once a suitable venue for the club, began to show its age. As the old stadium on East Capitol Street began to fall apart, the club began to lose money. Attendance suffered.

In 2012, the team was sold, and many of those responsible for the club’s tight-knit relationship with its supporters were shown the door.

Results, too, were often a bit underwhelming. Budget-conscious rosters frequently failed to entertain and often failed to win. Still, many of the club’s original supporters stuck it out.

When United’s years-long search for a new home finally bore fruit in 2013, some support-

6 march 30, 2018 washingtoncitypaper.com

ers celebrated. Others worried. Things would be different at Audi Field, a much smaller venue shoehorned into a tiny parcel of land on the Southwest waterfront. Gone would be the pregame tailgates in RFK’s Lot 8, along with the prime midfield seating the club had afforded their die-hards since the get-go.

Some of that change came about a month before United’s match at the SoccerPlex.

The club put out a press release announcing a strategic partnership with the Screaming Eagles, “uniting a shared passion for enriching the communities in the District through sport,” but not including the other two groups.

There was plenty to like in the release. United have a history of community service and engagement, and forging a partnership with the Eagles and DC Scores—a local non-profit which provides after-school programs, summer camps, and other resources to low-income kids—is objectively a win.

Buried in the statement, though, was something more surprising.

“The Screaming Eagles will take the lead role to manage all aspects of the supporter culture, including single game supporter tickets sales for both home and road matches as well as organizing all activities and in-game fan experiences in the north end zone.”

Ticket sales have generally been a key source of revenue for any supporters’ group.

From tailgates to banners to “tifo”—elaborate displays put on just before the start of a match—running a supporters’ group requires income, and clubs generally provide blocks of tickets at a discount to those groups for resale.

The groups often re-sell those tickets to their members at a small markup, which subsidizes their gameday activities.

United had originally suggested this arrangement would change when they moved to Audi Field. None of the supporters’ groups would have access to single-game tickets and members would have to purchase a season ticket for about $320 to be guaranteed a seat amongst their fellow supporters.

That changed, the club says, when the Eagles offered to buy a block of several hundred season tickets—at an expense of some $72,000—to re-sell to their members. In a conversation with City Paper, a United representative suggested that the club offered that opportunity to La Barra Brava as well.

La Barra refutes that. “That’s absolutely untrue,” says Jay Igiel, a leader within La Barra Brava. “We were never offered the opportunity to buy tickets on the same terms as the Screaming Eagles.” Igiel says La Barra reached out to the club initially last year to explore potential payment arrangements and the possibility of some sort of insurance should La Barra’s tickets remain unsold. The club declined to entertain those requests.

After that, Igiel says, the club was largely

non-responsive. “Save for one meeting about logistics, we had no substantive communication with the front office. They cancelled a conference call in October and we emailed them repeatedly in December, January, and February without response.”

La Barra’s members have also taken issue with what they see as a whitewashing of United’s fan base, saying in an official statement that “[we] may not fit the homogenous suburban image that the front office appears to want to promote, but we represent the team’s most loyal fans. We reject the elitism embodied in every aspect of this partnership, and will continue to celebrate our diversity and group’s Latin American origins—as well as the passion of our members from some 50 nations.”

Igiel says La Barra’s membership is diverse and blue-collar. “Our members rely more on gameday ticket sales than the Screaming Eagles do. Our impression is that that’s not the type of individual or group of people the front office wants to target.”

A United representative expressed concern over the perception that the club would purposefully exclude any fan, suggesting that the club’s efforts in the community prove otherwise. “We are very concerned about making sure everyone, no matter who you are and where you come from, feels comfortable and welcome at Audi Field.”

James Lambert, President of the Eagles, largely echoed those sentiments. “We would never cooperate with [an effort to exclude any particular fans],” says Lambert. “People can look at our membership base—I think all of the groups are very diverse.”

Despite the generally negative response— on Twitter, at least—to the club’s partnership with the Eagles, Lambert holds out hope that all three supporters’ groups can reach some sort of agreement, or at minimum a truce, something the club seems willing to foster. In recent days, members of La Barra have begun talks with the team, and the club has expressed a willingness to move past all of this.

“We’re people who like to go out and see a match, and see D.C. United,” said Lambert.

“So yes, there’s always going to be hope of coming together … It’s not our intention to try and exclude any group at all.”

To La Barra Brava, the way forward is a bit more clear, the establishment of a “meaningful supporters’ council [made up of members from all groups] that takes over ticketing operations and is in charge of gameday operations.”

For now, the acrimony remains palpable. At the SoccerPlex, La Barra took one last jab at the Eagles, tweeting out a photo of a handful of their newly-minted adversaries quietly taking in the match.

“Our D.C. United-appointed overlords in action,” read the caption.

CP

DistrictLinE

Closing Time

As D.C. expedites plans to demolish its largest homeless shelter, a resident relays confusion inside.

In January, Mayor Muriel Bowser doubled down on a promise to shutter the city’s largest homeless shelter by the end of 2018. The city plans on replacing the facility, which on any given day can support nearly 800 people, with one smaller site in each ward.

And for Keisha*, a resident of D.C. General, the decaying shelter’s imminent closure is something to be grateful for.

The 32-year-old mother of four says she has been homeless for three years, time she’s spent oscillating between different shelters around the city. She spent time in the notorious string of motels, semi-converted into overflow homeless shelter space, along New York Avenue NE. In her first stay at one of those, her then-3-year-old son managed to open the flimsy latch at 7 a.m. while his family was asleep, toddling down New York Avenue NE past a series of security checkpoints stationed outside of the property.

She says that others she knew living in those motels have been victims of theft, coming back to their rooms to find belongings missing.

D.C. General, she thinks, is much better than the motel facilities, which are cramped, often dangerous, and lack the same resources families receive at D.C. General, where she says she’s been for a year. But that’s still a pretty low bar.

“People can’t see from the outside that it’s terrible in here. Staying in these four walls—it wears you down,” she says.

The shelter is a notorious horror, wracked by infestations of rodents, parasites, and bugs, frequent outages of hot water and heat, swaths of mold and rotting walls, and sexual misconduct. The site was also the home of Relisha Rudd, a D.C. General resident last seen in 2014, when she was 8 years old, with 51-yearold D.C. General janitor Kahlil Tatum.

Keisha’s issues with the facility are similar to those that have been reported time and again.

Her caseworker is largely absent; she’s had pipes burst in her rooms, flooding the unit and weakening the walls; her children can’t shake respiratory illnesses. (Also, she says, the food is very bad—she used to receive molding bread.)

housing complex

One of her sons, now 4, “loves hugs,” she says.

But she describes a handful of the shelter’s security guards as cold, often filled with disgust when he reaches out to them for affection.

“The problem is that they judge you on your situation. They judge you for being homeless but they don’t know what got you there,” she says. “And the people who are supposed to help don’t. It’s just disappointing.”

So she and her kids are trying to get a new start. She’s applied for permanent supportive housing, and is waiting to hear on the status of her application.

About three months ago, she says, staff at D.C. General held a meeting to tell residents that they’d settled on a timeline for moving people out of the shelter. In Keisha’s telling, it was scant on details—she just heard that the

about 200 feet away from the family shelter, will begin in April. And in May, the city will stop placing new families in the shelter. But none of those developments will affect families already living in D.C. General, Barry says.

The confusion among residents has been exacerbated by the fraught public narrative of D.C. General’s closure. At a hearing this month on DHS plans for the shelter, Bread for the City’s Aja Taylor accused the Bowser administration of “manufactur[ing] a sense of urgency,” expediting the closure and demolition of D.C. General to incentivize Amazon to build its second headquarters in the District. There’s been unconfirmed chatter that the city wants to begin demolition on the shelter by October.

Melanie Hatter, a staffer at The Homeless Children’s Playtime Project, notes that because “there’s been talk of closing the shelter for several years, [it] came as a shock to many families when the announcement was made that it was really happening this year.”

Other advocates for the homeless expressed concern that, if the city proceeds in its work on the surrounding buildings before residents completely move out, it risks exposing children to lead poisoning. (Barry says the city is “confident this work can be done safely [in] a way that’s not disruptive to families.”)

If and when the city does close D.C. General this fall, it’s possible that none of the planned replacement shelters will have opened by that time. Only three of them are scheduled to open later this year.

It’s hard to plan when you don’t know what you’re planning for. But despite the tangled logistics, Keisha is ready to leave. I ask her if she’s frustrated or saddened by the shelter closing so soon. “No!” she trills, laughing. “I can’t wait to get out of here.” She’s perched on a chair, speech briefly punctuated by frustrated sighs, telling two of her sons—who are very busy running in circles around her, screeching and cackling and playing with toy robots—to calm down.

As dusk settles in on the shelter, she walks her kids to the playground across the street.

The one erected in 2014, months after Rudd disappeared. *This name has been changed to protect the privacy of the individual.

CP Darrow Montgomery/File

By Morgan Baskin

shelter would try to start re-homing families in April, and stop allowing new families in altogether by early May. “They said we have to leave; they said it’s about to close,” Keisha says. “They’re trying to get people out by April—but April is next month.” I asked her whether shelter staff or city officials gave her a specific date she’d have to be out of the shelter. The answer was a crisp “no.”

Sean Barry, a spokesman for the Deputy Mayor of Health and Human Services, clarifies the timeline: While the city began putting up fencing and removing “hazardous materials” from vacant parts of the complex this year, deconstruction of building 9, an empty space

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I’m in a D/s relationship. I’m not submissive around the clock, but my partner owns my cock.

We’ve purchased several male chastity devices, but I can pretty easily get my cock out of them.

My partner did some investigating and learned that the only effective devices work with a Prince Albert piercing—a ring through the head of the penis that locks into the device, preventing the sub from pulling his cock out. My partner now wants me to get a PA. I don’t want to get my cock pierced and I’ve said so, but I haven’t safe-worded on it.

I would very reluctantly do it to please her. My partner made an appointment for a piercing three months from now, on our second anniversary. She told me that we can cancel it if I can find an effective chastity device that doesn’t require a piercing. Do you or any of your contacts in the fetish world know of any devices that are inescapable?

—Piercing Appendage Unnecessarily Scares Eager Sub “I’ve never come across a standard male chastity device I couldn’t pull out of,” said Ruffled Sheets, “so PAUSES’ partner has obviously researched regular chastity devices well.”

Sheets is an IT consultant who lives in the United Kingdom with his partner of 15 years.

Male chastity devices have fascinated him for more than two decades and, as of this writing, he owns 37 different kinds of cock cages. His partner frequently keeps his cock locked up for weeks or months at a time—and if there were such a thing as a commercially available male chastity device that was inescapable, Sheets would know about it.

“However, all is not lost,” said Sheets.

“Piercing is one of two ways to ensure the penis cannot escape. The other is a full chastity belt. Now, full belts aren’t without their drawbacks—they are generally more expensive, are harder to conceal under clothes, and take longer to get used to, especially at night. But they are secure. I have three custom-fitted chastity belts and, once properly fitted, they’re inescapable.” Sheets’ chastity belts were made for him by Behind Barz (behindbarz.co.uk) and Fancy Steel (fancysteel.com.au).

But if most commercially available male chastity devices aren’t inescapable, what’s the point? Why would a person bother to wear one?

“You can only partially escape,” said Sheets.

“It’s possible to pull out the penis but not remove the device,” which is anchored around the balls and base of the shaft. “And a partially removed device is awkward and uncomfortable.”

For many male subs and their Doms, the symbolism of a male chastity device is what matters most, not its inescapability. And as with other forms of sex play and most aspects of healthy relationships, the honor system makes it work.

“As in any negotiated relationship, you can

8 march 30, 2018 washingtoncitypaper.com

cheat,” said Sheets. “But why cheat? They’re easy to keep on if you’re genuinely interested in submitting.”

Fun fact: Locking a guy’s cock in an inescapable device doesn’t prevent him from coming.

“A device can be locked in place with a belt or a piercing, but orgasms are still possible,” said Sheets. “I’ve yet to discover any kind of device that can prevent the wearer from achieving orgasm if he’s holding a powerful wand massager against it, especially after weeks without coming.”

So if your Dominant is locking up your cock to prevent you from coming, PAUSES, she’ll also need to lock up her vibrators.

There are two other things Sheets wanted you to be aware of as you begin to explore male chastity, PAUSES. “Lots of men are shy about being submissive,” said Sheets, “so they’ll say things like ‘I’m normally dominant in real life,’ kind of like PAUSES opened his letter by saying he isn’t submissive ‘around the clock.’ I just wanted to make sure he understood that chastity is a long-term game. For most of us in chastity devices, it’s a 24/7 affair—literally around the clock.” If you said you weren’t submissive around the clock because you didn’t want to admit that you are, in fact, submissive around the clock, PAUSES, chastity play won’t be a problem. But if you meant it—if you’re not capable of remaining in a submissive headspace

Male chastity devices have fascinated him for more than two decades and, as of this writing, he owns 37 different kinds of cock cages. for more than a few hours—you’ll need to ask your partner, before the padlock clicks shut, just how long she intends to keep your cock locked up.

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My girlfriend of four months has unofficially moved in with me. We began as a long-distance thing; I live in New York City and she lived in the Deep South. What began as her visiting me for the holidays ended up with her staying with me indefinitely. She comes from a very poor family, and going back home means sleeping in her grandma’s living room. Things are going well, but we are moving fast. I’m not sure how I feel about this. On one hand, I’m loving it and loving her. On the other hand, I feel like she could be using me. She has found part-time work. She hasn’t pitched in for rent—I also have a roommate—but she has pitched in for groceries. Do I ask her for rent money? Do I send her back to her grandma’s place? I don’t know what to do because I feel like I am housing a refugee.

—She’s Here Indefinitely Now Instead of ending things now to protect yourself from retroactively feeling shitty about this relationship if it ends at some point in the future, SHIN, you should have a convo with your girlfriend about rent, reality, and roommates.

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You should also encourage her to think about getting her own place. Not because you want to stop seeing her—you’re loving it and loving her—but because a premature commitment (and cohabitating is a commitment) can sabotage a relationship. You also don’t want her to feel so dependent on you that she can’t end things if she needs to. You want her to be with you because she wants to be with you, not because she’s trapped.

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It’s a vintage bike that has been lovingly restored and is truly one of the most beautiful bikes that I’ve ever seen. I’ve also restored vintage bikes, and it’s a real labor of love. I want to tell her how great her bike is, but because the owner is so attractive, I don’t want her to think that I’m hitting on her!

Really, it’s just about her bike. What’s the right way to compliment someone’s bike (but make it clear that you’re not hitting on them)?

—A Dream Machine I Really Enjoy Ravishes Dear ADMIRER: Your query leaves GP with more questions than answers. The first of which is why you think it’s so important to express your praise at all. It is very cool that another person owns a beautiful bicycle, and even better that you sometimes get to see it.

You’ve twisted yourself into knots over the extremely optional triviality of unsolicitedly letting her know your opinion. Can you really not keep this to yourself? And if casually saying, “I like your bike,” if you ever happen to see her stopped at a light, isn’t enough to quench your unrequited desire, it seems like you want something more from this interaction. What exactly? If it’s not to hit on her—and you protest just a bit too much on that front—is it to try and become friends? To ask a question about a particular part that you can’t find? To swap stories about replacing the headset on wonkilysized ’60s French bikes? It seems like there’s something more going on here.

The best bike compliments are specific, brief, and focus solely on the bicycle itself. Once you veer into mentioning anything about the rider, you’re no longer in bike-compliment territory and the likelihood of things going wrong increases. You can ground a bike compliment with your personal experience. “I used to have a _____. It’s a great bike. Yours is very cool.” The best bike compliments occur spontaneously and are fleeting utterances of admiration emitted in moments of pure happenstance. You don’t chase down someone and follow them for blocks just to say a kind word about their seatpost. That’s too much.

Some people have showy bikes and are used to receiving heaps of praise from strangers. But that’s not everyone, and for lots of reasons, good and bad, many bicyclists don’t want their solitude broken, even for a nicety. Which is to say, don’t have any expectations that the person whose bike you’re complimenting responds with gratitude or even reacts at all. Just say your thing and let it go.

—GP

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washingtoncitypaper.com march 30, 2018 9

In 1958, Takoma Park native John Fahey’s first recordings spawned a new genre of solo guitar music. Sixty years later, American Primitive guitarists are debating what, exactly, the genre means.

By Matt Cohen and Justin Weber Illustrations by Stephanie Rudig

10 march 30, 2018 washingtoncitypaper.com

You can’t talk about American Primitive without talking about John Fahey. And you can’t talk about John Fahey without talking about his hometown of Takoma Park. For Fahey, whose first recordings on the 1950s and ’60s Frederick folk label Fonotone turn 60 this year, Takoma Park loomed large in his oeuvre.

“The thing that fascinated me most about John Fahey was that he described his music as the pathos of the suburbs,” says Steve Lowenthal, author of Dance of Death: The Life of John Fahey, American Guitarist. “You hear that in his music and if you are a product of the suburbs, you can relate to that.”

Fahey named the record label he founded to release some of his first records Takoma Records, which went on to release the music of legends like Leo Kottke and Robbie Basho.

And you don’t have to look far in Fahey’s catalog to find examples of the local landmarks that shaped him: “Sligo River Blues,” “Twilight on Prince Georges Avenue,” and “Dance of the Inhabitants of the Invisible City of Bladensburg.”

On the weekend of April 13, the city of Takoma Park will celebrate Fahey, who died in 2001, and his music legacy with a three-day festival called The Thousand Incarnations of the Rose: A Festival of American Primitive Guitar.

The liner notes inside the festival’s companion compilation CD says, “‘American Primitive’ is a term originally coined to describe homegrown painters of the 18th, 19th and 20th centuries who were self-taught, not trained academically.” It has since been applied in the music world to describe Fahey’s unique style of fingerpicked guitar. “Fahey hated boxes. He hated being called a folk guitarist,” says Glenn Jones, a musician and writer whose friendship with Fahey spanned more than two decades, until his death in 2001.

By Jones’ estimation, it was Takoma Records co-founder Eugene “ED” Denson who came up with the term American Primitive to describe Fahey’s music. He says Laura Weber first asked Fahey about the term in 1969 on her PBS show Folk Guitar With Laura Weber. This is how Jones recollects the interview: “‘John,

your music has been described as American Primitive.’ And he’s like, ‘Yeah, that seems like a good term. Everything is self taught.’”

The Thousand Incarnations of the Rose is the first festival of its kind to celebrate that niche genre of guitar music that Fahey pioneered. Guitarists across generations who play in the American Primitive style will be there.

In the last 15 years, younger players, like Daniel Bachman and the late Jack Rose, invigorated the genre and brought comfort to older players that American Primitive will survive beyond them.

“It wasn’t until I saw Jack in 2003 the first time that I suddenly realized—holy shit! There are people that are listening to this music as hard as I listen to it and for whom it is as important as it was for me,” says Jones. “When Robbie [Basho] died, all his records were out of print, and I thought in 10 years nobody’s even going to know who that guy was. And he’s got more people listening to him now than he ever did when he was alive.”

These days, the genre that was once considered niche, and on the fringes of both the folk and experimental music scenes, is more popular than ever before, with more artists shaping it. But if there’s one consensus that American Primitive guitarists have, it’s that there is no consensus about what American Primitive actually is.

The Thousand Incarnations of the Rose festival is an opportunity for those often labeled as American Primitive musicians not only to perform, but to debate exactly what American Primitive is and where it should go as well as to confront the challenges presented by Fahey’s legacy. Below, nine of the festival’s participants tell City Paper how they view American Primitive.

The Thousand Incarnations of the Rose: A Festival of American Primitive Guitar takes place April 13-15 in Takoma Park, Md. Tickets are available at 1000rose.org.

These interviews have been edited for clarity and length.

Festival Organizer, Guitarist American Primitive music is basically, at its core, just emotive music. One of the reasons why I think I gravitated to it in the early days for myself was because I was looking for something that both had the kind of—I was heavily into Hendrix and the sort of guitar virtuosity from the ’60s and ’70s and I was also into preWar blues and country.

For me, American Primitive is basically unschooled folk painting. It’s sort of applying that into the music world a bit. But really American Primitive doesn’t mean anything, it’s just something that was a blank thing that Fahey could throw out because he didn’t wanna be called “folk” or anything else. So that’s one of the reasons why the term is so confounding, because Fahey wanted it to be obtuse and wanted it to have a lot of different meanings to a lot of different people. The problem with that is, if you use the term to mean anything, then the term means nothing. It’s a broad term, it’s meant to have a lot of facets, but I think that that means everybody gets to take a position on it and ultimately we all get to hash it out in a way that is respectful.

There’s always a propulsive thing in American Primitive. Even if you take Robbie [Basho’s] perspective, which is more sort of like free-flowing, pulling in influences of music from India and American Indian traditions, or if you’re going into Fahey’s music and you’re dealing with American Blues and Spanish music or South American music, it always sounds like it’s an emotive sort of structure over a very rooted folk tradition.

Some of the artists [playing the festival] had reactions like, “I don’t feel like I’m American Primitive.” And Glenn [Jones] was like, “Of course, you are!” Some of the artists were like, “Well, I’m American Primitive but so is Bill Orcutt, because he’s someone who is turning over the apple cart, just like Fahey.” We all sort of came at it from a different perspective, but at the same time, when you take those songs and you sort of transform them through the prism of Fahey’s presence, they become this thing we’re talking about, this incredibly emotive, powerful experience. And that’s why the music is still here—because whenever people pick up a guitar and they feel like [they] can literally just let [their] soul shine through this instrument.

washingtoncitypaper.com march 30, 2018 11

Guitarist What does the word primitive mean, and who is saying it, and about whom? That word, in general, is … oy. What is American music? It’s a national identity that’s made up of influences from all over the world, so that’s that. And then primitive, I just don’t even understand how any music can be called primitive—anybody’s music. I get that the genre needs a label, and that’s the label, and it’s somebody’s battle to change that. I think over time, hopefully, it will. But at the moment, that’s what we have got. That’s what people know it by, and I think pushing out of the boundaries of what those meanings are is a good idea.

I don’t think about it. I’m not the one that

Guitarist It was really more like an interest in folk music and all good music of any genre, in particular certain old sounds just really called certain people like Fahey and me, that it touched something. But I think Fahey—I’ll give him credit for kind of making it more accessible to my ears. Fahey was a little older and somehow he focused on the right thumb of people like

needs that word to describe what I do. That’s something that someone else might come along and be like, “What you do falls into this category,” and I might have points of agreement with that and points of disagreement with that, but I’m not thinking about that. I’m not like, “Well, I’m part of this particularly labeled scene, therefore I have to do things in a certain way.” I’m just doing me, and it’s to the critics and the people who need to sell records to describe it.

I think one main thing is that on a guitar, like a piano, you can express multiple lines of music at once, which is not something you can do on a wind instrument or a brass instrument.

So that’s, I think, the fundamental thing. Beyond that, there’s a lot of different tonal elements. And I play electric, I don’t play acoustic as much. And one of the reasons that I do is because I like to play very quiet and very loud both. And I also like to play with the tonal elements of what a solo electric guitar gives me.

So I’m a little bit of an outlier in terms of the festival, because it is mostly an acoustic guitar festival. But things that I really am attached to in my own music are dynamics and tone. I find that just as important in conveying the essence of the piece as melody, or harmony, or rhythm. And I think one other interesting thing that a guitar can do more easily than some other instruments is express quite complicated rhythmic ideas. Through strumming or through good right hand technique, you can really do polyrhythms and syncopations that can be spelled out more thoroughly than, again, a non-chordal instrument.

John Hurt and Charley Patton, and he found a way to isolate it. He listened to all the static and scratchiness of the old 78s and then he played it clean and anew in such a skeletally pure way that it was like really alarmingly good. It was like, “Wow, he caught that thing.”

It was also opening the door that I could actually have a direct relationship with the older musicians.

I’m all over the place as far as music that I

12 march 30, 2018 washingtoncitypaper.com

It’s kind of a loaded phrase now, with semantics, and what it means to say that. But I think those guitar players were bringing together a lot of different types of music. They were playing blues style, and some jazz influences. A lot of them played with Eastern influences, like Indian guitar and Sitar-style influences, which is not American at all. So I don’t know, all that works together to create this label, which has a lot behind it. Although maybe it needs to be

talked over to really figure out what it means.

A lot of the guitar players that were influential on the scene [also] sang; they had some instrumental records, and then some where they’re singing, like Bert Jansch and Robbie Basho. It’s all part of the same thing. I’ve put out a couple tapes that are just instrumental, but they’re not on the radar at all. But I think that that’s the festival trying to reach out to different styles of people that are interpreting this music, and getting a good assortment of people from different parts of this genre. There’s a couple of different schools: There’s the pastoral, Fahey is really good [at] doing that. And then I’m a fan of the mystical side, which is like Robbie Basho, and that sort of thing.

I would say if they feel a personal connection to the performance, that’s the most important thing. Because this style of music, in my opinion, when it’s the best, besides pure technical skill, which is really fun to watch, it’s also good when a player can create an emotion through the tone and evoke something that’s non-musical through musical means. So if the viewer feels something when they’re watching a performance, I think that’s all you can really ask for. That’s what marks a good performance for me.

love and that influences me. Somehow when I sit down to play it comes out with this real simple stuff, and when I tune my guitar to an open tuning it makes it even easier and simpler. I’m just kind of amusing myself I guess, and I’m sort of surprised at when other people are amused too—they like it and find it worth

taking the time to listen to.

Maybe you run into somebody who’s heard of Fahey, but I think most people don’t know, or they do know but they don’t care. It’s like this little niche of aficionados or something, and I’m not even sure what they’re getting out of it. Some of if is a little too repetitious for me, I get restless and I start to get bored and think, “OK, I’ve heard that pattern and now you’re starting it for the third time, and what’s new? Are you going to introduce a new musical idea in here, or do we just have to hear this very slow and repetitive thing going on?” I don’t know how people’s ears decide that something is good enough to not get restless.

Guitarist (Itasca)

Author, Dance of Death: The Life of John Fahey, American Guitarist Initially, when I first heard John Fahey, I didn’t really have a context for it. It almost sounded like country music, but it still had this repetitive, minimal, experimental, kind of bent.

Which was sort of fascinating, in a way. Then the more I explored the world of solo guitar, I realized there’s an entire spectrum of music that could be contained therein. You know, on the more traditional end of it you have some of the more bluegrass inspired players and more of the people who are coming out of country blues, who some of the old guard are representing at the festival because that’s the music that they grew up listening to and that’s how they learned to play guitar from learning how to play old blues records and stuff.

Fahey was the first of the cannon in that world that I had heard. Basho and Kottke and all those other guys came afterward for me.

Because I didn’t listen to the blues, I didn’t listen to ’60s music really. I was coming from a punk and indie experimental background. I was a young guy, pre-internet era. I was really getting a lot of my knowledge through zines and people like Thurston [Moore] and Byron Coley. Then the more I learned about John Fahey, the more I realized he was equally referencing the blues and bluegrass and American folk music. At the same time, he was also very much influenced by 20th century modern classical music and experimental music and dif-

Guitarist Fahey was just doing both worlds. He had one foot in knowledgeable music background and then he was really getting pretty far out. That was the first time I ever heard anybody really combine stuff like that. Not really modern-

Guitarist

ferent music cultures through various parts of the world.

I always say John Fahey is like the godfather of 21st century guitar because the techniques and ideas that he had are still really contemporary. Leo Kottke’s fantastic, but the best Leo Kottke record sounds like it was made in the 1960s. It’s very of its time. It’s a fantastic record. You could listen to John Fahey records right now and it will sound contemporary. The Great San Bernardino Birthday Party, Requia, those are modern sounding records.

Nobody else was making records then, that sound modern now.

izing traditional music, but like abstracting it, you know what I mean? It was cool. I got hooked, I was into that stuff.

Some of the people now don’t really have any of the syncopated, more rhythmic blues type stuff when they’re playing at all. The only reason that I think they get compared to John

If it’s American Primitive, primitive to me means very simple, or it could be. I think it’s more about an approach to the guitar and it doesn’t necessarily have to sound like blues basically, which a lot of that stuff can sound sort of like delta blues. Pretty much anything like that ends up sounding like that, you can be like, “That’s American Primitive.” But I don’t know. I just would like to see it become a little more open and see what could happen from that.

That’s kind of the issue, I guess. I don’t know. That’s partly why I’m burnt out on it, I think, ’cause it’s so easy to—there’s more and more people kind of doing the same thing and it all blurs together, honestly to a lot of that stuff, a lot of that music sounds the same to me. And, I don’t know, I’m hoping people will start to incorporate more instruments into it.

There’s a part of me that likes that some people are keeping tradition, and then I do wish the genre, the name, I wish it encompassed more styles of music. And I think that’s been a conversation that’s been happening in that little community about incorporating more guitar, instrumental guitar players, also because Fahey was into all types of stuff, like he would make experimental music at the end of his career. I just think if he’s the dude that created that genre, then he—I think it could

be more encompassing for different styles of playing, basically.

For people to get into it, it has to be presented in a certain way. And when it’s not given the kind of reverence or something, when it’s not performed in a space where people are quiet and listening to pay attention, then, because so much of that music has to do with subtleties, if it’s background music and you’re playing at a bar, it just doesn’t really belong. It really takes a certain setting for that type of music and I guess there was a heyday for that.

In the ’60s, Fahey could probably go play a big room and everybody would be quiet. It just seems it’s a little harder to get that type of audience nowadays. You can easily just flip a switch in your mind and think this is background music, but there is a lot of weird subtleties going on and that’s what I’m interested to hear. That’s the most interesting stuff to me, someone’s tone and their dynamics and things like that. It takes being kind of sensitive I think.

Certain people might be really bored with it and other people might be able to tune in. It fits in that realm of drone music and ambient music. It’s a similar headspace you have to be in, not thinking, or, there’s obviously there’s no words to listen to so you’re really just—it’s supposed to just give you a feeling.

Fahey is because they have the solo guitar connection. That’s a personal preference, man.

The blues aren’t for everybody. It’s cool, and especially playing it. I tend to dip my feet in and out of it too because I’m just going, I don’t know, sometimes it’s not me.

You can be incredibly expressive with an acoustic guitar. When you learn how to bring your voice into the instrument, you can be as expressive as anything really, with a piano or a violin soloist, something like that. You can do the same kind of thing.

I think the Fahey stuff is so profound for me because of the emotion he put in it. That’s what I’ve really been trying to get at forever. I think I’m starting to scratch the surface. The older that I get, the deeper I get into it. I mean in the beginning it was just like technical stuff and I was trying to learn stuff. Now, I don’t know, you just really try to put your whole heart into something. I know a lot of people say that, “I

think that you can feel it when somebody feels it.” That’s what’s kind of tiring about it and also what is beautiful about it—when you really try to give people something from who you are.

I think [the label American Primitive] frustrated John Fahey and I’m not sure if it’s something that he would have really wanted that to be what his music was called. I know that in the beginning he was kind of tongue-in-cheek about it, and then it got a life of its own and different stuff. I do think that the spirit of what that term is trying to say is pretty appropriate.

It’s mostly people that don’t have any formal education in their instrument or composition trying to make larger works compositionally and stuff. I get where it’s coming from. It kind of bums me out when people say that too. So I’m just like, “Man I’m a guitar player. That’s what I do.”

We’re quick to label these days—I guess we’ve always been—but that’s cool.

washingtoncitypaper.com march 30, 2018 13

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In terms of this type of fest, I’ve never really played a festival that’s this narrowly-defined, I guess. And so it’s strange to me, also just as a guy who doesn’t play guitar. I understand that a lot of these people that are playing have been wrestling with both influences and legacies, and the problematic legacies of this music.

Ideally, a festival like this is a site both to celebrate kind of a rich stream of music and voices, but also interrogate why this music is what it is and why. I just don’t really know what it means, so I’m eager to see what other people think in the context of playing this festival, and I’m eager to see how we can stretch the boundaries of it. I also teach English, and I have complicated thoughts about ideas of a canon, or forwarding a canon through the creation of or the furthering of traditions that may not have much to do with the world as it is anymore.

It’s such a rich opportunity to talk about this and figure out what the future looks like of people playing fucking instrumental guitar music—ponderous, navel-gazing guitar music. When Glenn told me about the idea for this, I was really tickled because it sounded so particular and so kind of idealistic. Well, not idealistic, but like, “Oh man, what a fantasy to have all these people here who

Guitarist, Festival Organizer I think, more so than most music, there isn’t really a consensus on what American Primitive is. It’s not like bluegrass or blues or old time music, where even within the variety within those musics, there are at least a number of characteristics that allow you to define it. One of the things that kind of defines American Primitive is that there isn’t a specific set of traits, or something that you can say, “Ah yeah, this is what makes it that.”

You’re talking about roots music, there’s certainly a lot of blues and hillbilly and gospel music and Fahey and stuff like that, but you’d be very hard pressed to find any of that in Peter Lang’s music for instance, or Robbie Basho.

So there’s also the big Indian and Eastern influence, but then you’d be hard pressed to find that in Cockney’s music, for instance. It’s all these different things.

Players of this music mostly wrote their own material. They composed their own pieces. So, unlike classical players who are mostly interpreters of the classical literature, with the American Primitive players, they were kind of creating their own thing and kind of inventing their own peculiar techniques to allow them to play whatever it

seem to be into this fairly minor scene.”

If the umbrella here is American Primitive, then the curators decide what is American Primitive and isn’t. And that’s up to them.

However we define that genre, it’s a bunch of, historically, ponderous white dudes. It seems pretty baked into that particular strain of folkies in the ’60s and ’70s who were fortunate and privileged enough to have access to things and a commercial world that was willing to spread their work. And so we’re reaping the effects of that. “it’s both a baked-in issue of the loose genre, but then also if we get really hyper-specific about how we define American Primitive, then I would say it’s only gonna get more and more white and male.”

was they wanted to express.

And certainly when you look at the pantheon of great guitar players, you wouldn’t say that John Fahey was a great technician. There are players who can just play circles around John, but we’re not talking about them as much as you talk about John because I think there’s a second thing that’s important, too, which is that the music expresses a certain emotional quality that has more to do with the character and feelings of the player than it does ... It’s basically not treating the guitar as an instrument of virtuosity for its own sake. It’s like trying to find a way to say something, not to just dazzle you with this incredible technique.

If there’s anything that we’ve been criticized for in terms of the festival, it’s the fact that we’re taking a very conservative definition of American Primitive for this festival. People have said, “You could have Thurston Moore, Lee Ranaldo, or the No-Neck Blues Band. All these people are playing American Primitive, too,” and all this stuff, and it just kind of shows you how wide open the definition is for that.

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DCFEED

Little Sesame will return this spring at 1828 L St. NW. The hummus shop that got its start in the basement of DGS Delicatessen will serve hummus bowls, pitas, salads, sides, and sweets during lunch and dinner hours.

New Recipe

Andra “AJ” Johnson is on a mission to help D.C.’s black restaurant professionals open their own spots.

By Laura Hayes AndrA “AJ” Johnson, the general manager of Macon Bistro & Larder, looks forward to reading Washingtonian’s “100 Very Best Restaurants” issue every year. But when she sat down to read the 2017 edition, she was jolted by an unnerving discovery. “Going through it, I realized that there were no black owners,” she says.

The selections focused on Asian food, French food, and big corporate owners. “I recognize that decor and reach and neighborhood have to do with the entire package,” Johnson says, “but there is zero way that in Chocolate City we have nobody.”

Washingtonian is not alone in the shortage of black-owned restaurants on its lists. Washington Post critic Tom Sietsema didn’t highlight any in his 2017 “Fall Dining Guide,” which is traditionally a collection of his favorite restaurants and recent discoveries.

Eater’s list of “The 38 Essential Restaurants in D.C.,” published in January, included only Zenebech from Zenebech Dessu and Gebrehanna Demissie.

The 2018 rankings in Washingtonian showed improvement. Kwame Onwuachi’s restaurant Kith and Kin placed 78th and Ethiopian restaurant Chercher from Alemayehu Abebe landed in the 96th position. But Johnson had already committed to making a change.

Johnson was born in New York and lived in the Bronx for three years before moving to Los Angeles. She and her family made their way to the D.C. area in 1998, where Johnson has remained, save for two years she spent at Temple University in Philadelphia. “I went to school but I didn’t go to class, let’s put it that way,” she jokes.

Her resume includes stops at Open City, The Diner, Eola, Le Diplomate, and Robert Wiedmaier’s Mussel Bar & Grille in both Arlington and Bethesda. She was still employed by Wiedmaier when the Macon Bistro & Larder opportunity presented itself.

Johnson had passed her level one sommelier exam and was looking for a place to use her

Darrow Montgomery

Young & hungrY

wine knowledge.

Johnson has spent more than three years

at the Southern-meets-French restaurant in Chevy Chase. In addition to serving as gener-

al manager, she is the beverage director.

Johnson’s creativity also flows when it comes to cocktails. For the premiere of Black Panther, which coincided with Black History Month, she drew up a slate of cocktails like “Wakanda Ish is This?” with two types of rum, lime, orange, pineapple, peach, and brown sugar and “T’challa Back” with gin, ginger liqueur, amaro, hopped grapefruit bitters, and club soda.

Over the course of three days, the bar sold $1,500 worth of Wakanda-themed drinks.

That inspired Johnson to donate $3,000 of her own money to organizations including Black Lives Matter and the ACLU. She’s earmarked $1,000 of that sum to go to a specific D.C. public school’s science program and is working through the paperwork to make that possible.

The 30-year-old is about a year into working on a book, White Plates, Black Faces, which addresses the African-American experience and “cultural neglect” in the local restaurant industry.

“It’s not just an opinion book,” Johnson says. “It’s me collecting stories and doing interviews. I can’t tell this story if it’s just opinion-based. It has to be fact based—this is our collective experience.” She distributed a questionnaire to and recorded the experiences of local black restaurant professionals to bolster her observations. She says her conclusions are based on a deeper understanding of the discrepancies she found while researching what she calls the “wealth gap.”

She hopes to shop around the book highlighting black service industry professionals to publishers over the summer in order to get the finished product to readers by the end of the year. “I want to acknowledge actual talent and make sure we’re getting a fair shake,” she says.

The crux of the issue Johnson explores in her book isn’t just that the media skimps on its coverage of black-owned restaurants. It’s that there are so few black-owned restaurants in D.C. to begin with. Few pipelines exist to help service industry workers move from employee to employer.

Johnson believes that real estate development has forced African-Americans and other people of color out of booming, restaurant-dense neighborhoods, creating long commutes.

“First kick the people out, then build the condos, then put restaurants underneath them,” she says. “That’s the process across the board, which means we’re not living where we could be working. That just bugs me.”

In addition to writing a book, Johnson is

washingtoncitypaper.com march 30, 2018 15

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creating a web series, White Plates, Black Faces: Breaking Bread. The first episode will debut in April. It brings together black food and beverage professionals to talk openly and honestly about their experiences.

One episode features Rabia Kamara of Ruby Scoops and Morgan Fykes, a former server and bartender who created the interview series and website DCFunemployment. Fykes works to highlight “women doing what they love” in various fields.

Kamara talks about the design of her company’s logo. “I tell other black entrepreneurs to really be themselves,” she says in a clip. “It was very important to me not that the logo looked like me, but that it represented blackness—I wanted it to be a brown, curly haired girl. … I’m steadfast in who I am and what I represent. There is plenty of cookie cutter shit going on. Don’t be cookie cutter.”

In the same episode, Fykes talks about how she couldn’t connect the dots to make bartending a sustainable, long-term career. “There wasn’t a transition between OK, you want to make a career out of bartending, here’s the path to do that.

Here are the people that are going to support you.

Here are the people that are going to invest in you having a business down the line.”

Breaking into the hospitality industry, whether as an entry-level employee or an owner, can be an intimidating uphill battle rife with obstacles, especially at restaurants and bars that don’t already have African-Americans in positions with hiring power.

“We have to look over people’s shoulders to see what they’re doing and copy that because they’re talking to us with their back to us,” Johnson says. “On the back-of-house side you have to have somebody trust you first.”

Johnson was fortunate to find teachers early on. “The female beverage community in this city is terrific,” she says, recalling a time she met up with bartender Rachel Sergi at The Diner at 3 a.m. She asked Sergi to teach her everything there is to know about Scotch and she agreed.

Later at Eola, Darlin Kulla gave Johnson her start in wine. “I guessed all of the wines in a blind taste test in a pre-shift meeting,” Johnson recalls. “She’s like, ‘You need to do this.

Come in an hour early. Read these books. Join these tasting groups with me and just learn.’”

Johnson has been tracking culinary school enrollment on a national level and says African-American enrollment is up 25 to 30 percent. Yet African-Americans in D.C. still hold fewer ownership and leadership roles than in other cities.

A 2015 Restaurant Opportunities Centers United study, “Ending Jim Crow in America’s Restaurants: Racial and Gender Occupational Segregation in the Restaurant Industry,” found that in California, people of color are paid 56 percent less than white workers. Women and workers of color, according to the study, are

concentrated in the lowest paying positions in the industry.

Johnson suggests there are two tracks that lead to restaurant ownership. “In the restaurant industry you either have to be on T.V. and court these private buyers who have no idea how to run a restaurant or you need to go to a bank,” Johnson says. “Historically black people have had a hard time going to banks and getting funding for anything.”

Recognizing how much aspiring black business owners stand to learn from trailblazers who have already found success, Johnson decided to create a free online database inspired

by Victor Hugo Green’s Negro Motorist Green Book. Published from 1936 to 1966, the mailman from Harlem pointed his readers to businesses that were friendly to African-Americans during the height of segregation.

“It’s focused on building black business around the city, not just restaurants,” Johnson explains. She describes her “DMV Green Book” as Yelp, but without the reviews. The goal is to disseminate information about how to start a business, thus encouraging her peers to make money for themselves instead of “breaking their backs every day for someone else.” It will also launch in April.

“You can go online, hit a link and go, ‘Oh, that guy is a personal trainer. That sounds like a cool thing for me to get into. How do I do that? How do I find a space? Where can I find him to go talk about it?’” Johnson says the business owners who have signed on to participate are eager to help others.

The DMV Green Book listings will be accompanied by short videos produced by the same team as Johnson’s web series—executive producer Debra Alligood White (Johnson’s mother), director Melina Marie Greene, and camerawoman and editor Khristine Renay.

They’ll highlight each business owner’s space, as well as their responses to questions about their ups and downs while getting their enterprises off the ground.

Johnson has been surprised by how candid some of the business owners have been about the discrimination they’ve faced. “Some of these stories make you go, ‘Oh my god, stop the tape!’” she says. “You don’t have to name names,” she tells them. “You can be as vague or direct as you want—we’ll still be able to understand the tone.’”

Kamara, who met Johnson this year through White Plates, Black Faces is optimistic about the potential impact of Johnson’s multifaceted project. “It’s going to be awesome shining that light on those who are passionate and making our way,” she says.

“A lot of times when we bring up issues related to race, people diminish what we’re feeling,” Kamara continues. “My hope is people will watch and learn what we’re going through so we can make it better for young people coming up into the industry.”

CP

DCFEED

what we ate this week: enchiladas de mole with braised brisket, sesame seeds, cotija, and crema, $21, Mi Vida. Satisfaction level: 5 out of 5.

Grazer

1

2

Are You Gonna Drink That?

Laura Hayes

Shelling Out: Ranking the Tacos at Five New Restaurants

what we’ll eat next week: Filipino street BBQ with pork belly and banana ketchup, $15, Kaliwa.

Excitement level: 4 out of 5.

By Laura Hayes

D.C. didn’t become Southern California overnight, but the city is seeing a boom in Mexican restaurants. Dedicated taquerias, as well as restaurants with broader menus of Mexican cuisine, are looking to satisfy. Some of their tacos have as much spirit as a mariachi band, while others fall quite flat. After a taste test of restaurants that opened in the past couple of months, we ranked them from first to worst.

3

Mi Vida 98 District Square SW This monstrous Mexican restaurant at The Wharf serves food from Roberto Santibañez. For a celebrity chef, his tacos are a little lacking. The achiote-marinated chicken tacos look like they were filled by an artist obsessed with empty space, and they cost $12 for three.

The fish tacos, if you order them crispy, are an improvement at $14 for three.

They’re topped with pickled cabbage, spicy avocado mayo, pasilla de Oaxaca salsa, and cilantro. What’s most frustrating is that, unlike at other restaurants, you can’t mix and match your taco flavors.

Cortez 1905 9th St. NW You won’t believe this rainbow colored dining room and rooftop used to be 1905.

Cortez specializes in getting you tipsy with tequila, but their tacos ($5 each) are worth not only sampling, but celebrating. The beer-battered fish taco tastes straight out of San Diego. The fry on it is reminiscent of funnel cake and the fish comes topped with lime mayo, pickled red cabbage, and Fresno chili slices. The cochinita pibil tacos are just as flavorful and satisfying, and you shouldn’t skip the skirt steak taco either. It features medium-rare meat and a kick from two salsas.

4

Zen Taco 1747 Pennsylvania Ave. NW Initial skepticism arises at this New York import when perusing the menu because the restaurant also takes on poke, and even piles said poke on noodles. There are Asian-inspired tacos like the “Sure Bet” with brisket, orange ginger chipotle slaw, Asian slaw, pickled onions, cilantro, and sesame seeds. Over on the “Latin” side of the menu, “The Basic,” combines pork, cilantro, onions, tomatillo, and avocado sauce. The tacos are slathered in too many slaws and sauces, rendering them wet. Juices fly everywhere, leaving you forking your way through a soggy pile. Ordering and pricing are confusing, but you get can three small tacos for about $10.

Bandit Taco 1946 New Hampshire Ave. NW Bandit Taco’s tortillas are the size of silver dollars, so you’re going to need at least four to fill up. But that’s not a bad thing since the restaurant offers a plentiful selection priced at $3.50 to $4.25 per taco. They serve standards like carnitas and al pastor as well as some surprises like Korean beef and wild mushrooms. The corn tortillas by Masienda are rich in flavor. Don’t dare miss the crispy shrimp taco piled high with red cabbage and a cream sauce.

5

Taqueria Local 1627 K St. NW You might need a lunch mulligan after sitting down to three tacos ($3.75 to $4.75 each) at this new fast-casual taco joint from a nightclub owner. The corn tortillas crumble when you handle them, suggesting they haven’t seen heat for a while. The al pastor taco features hunks of dried out, mealy pork with no seasoning, while the shell containing “spicy shrimp” has no heat to mask the flavor of shrimp that doesn’t taste fresh. The two salsas that come with an order of three tacos add muchneeded moisture, but zero flavor. Only a side of Mexican corn encourages one to keep eating.

The Drink: Yam Thale with peanut-infused gin, cucumber, lime, ginger, chili, fish sauce, and cilantro-peanut oil Where to Get It: Hank’s Cocktail Bar, 819 Upshur St. NW; (202) 290-1808; hankscocktailbar.com Price: $14 What It Is: To make this savory cocktail that tastes like it came from the kitchen, bar manager Hunter Douglas infuses gin with peanuts. Then he adds cucumber bitters, chili-infused fish sauce, house-made ginger syrup, lime juice, and droplets of cilantro-infused peanut oil. The drink is listed on the bar’s “Food Production” menu page, which is dedicated to drinks that have culinary inspiration. “Since we don’t have a kitchen, some people will read it and think it’s our food menu,” Douglas explains.

“Someone ordered it and thought it was a salad.”

What It Tastes Like: Ginger prevails as the dominant flavor, which gives the drink a welcome warming quality. While the funk of fish sauce boldly introduces itself via the nose, there’s only faint brininess on the tongue, so it shouldn’t scare off imbibers who don’t dig Vietnamese and Thai cuisines where fish sauce is used liberally. The drink is a variation of a daiquiri and has the overall effect of transporting you somewhere tropical.

The Story: Douglas’ partner in crime, head bartender Jessica Weinstein, wanted to create a drink that would be a wink at her favorite dish at Baan Thai in Logan Circle—green mango salad with peanuts, scallions, onions, cilantro, carrots, and roasted coconut flakes. It’s safe to say she nailed it. Hank’s Cocktail Bar isn’t the first to play with these flavors. Dram & Grain serves a cocktail called “Papaya Salad from a Bangkok Night Market,” and Nocturne’s infamous ramen cocktail, “Nuac the Casbah,” uses ginger juice, fish sauce, and a Thai chili tincture.

—Laura Hayes

washingtoncitypaper.com march 30, 2018 17

CPArts

Check out a 1968 playlist inspired by the George Pelecanos novel Hard Revolution. washingtoncitypaper.com/arts

Don’t Funk This Up

In four years, the Funk Parade has quickly become one of D.C.’s most popular festivals. Now it’s struggling to raise funds to keep going.

Years ago, Justin rood, the co-founder of one of D.C.’s most cherished nascent street celebrations, the Funk Parade, had a prophetic dream.

“There was this rumble in the distance, and coming east down U Street there was a parade, and at the front the Grand Marshal was George Clinton and behind him was the Howard University Marching Band, and there were all these dancers,” Rood says. “As it came through the neighborhood, people came out of their houses to see what was going on, and they all joined the parade, and by the time it wrapped through the neighborhood and back down U Street, there was a column of thousands of people dancing together.”

He called the dream one of the best he’s ever had—so good, in fact, that he told person after person about it, and everyone he spoke to agreed he should make it a reality. Together with a team of volunteers as well as co-founder Chris Naoum, who had experience in the local music industry programming the Kingman Island Bluegrass & Folk Festival and as the founder of Listen Local First, Rood did just that (albeit without George Clinton at the helm). The first Funk Parade took place in 2014, and hit its highest attendance levels in 2016 with an estimated 70,000 visitors. Last year’s rainy iteration attracted around 35,000 attendees.

But this year, the annual gathering on U Street NW that celebrates the eponymous genre and D.C.’s local music scene posted an announcement on its Facebook page on March 6: “It is with great sadness that we announce that the Funk Parade will most likely not be happening in 2018.”

After the post went live, comments asking how to help came pouring in, and the organizers quickly set up a crowdfunding page, which has raised nearly $21,000 from more than 400 individual donors.

Music retail store Chuck Levin’s Washington Music Center, which has supported the event since its inception with free equipment rentals, jumped in with a pledge to match crowdfunding donations, currently leaving the parade with a $20,000-plus shortfall.

The event’s co-founders both say that they are more optimistic now that the event will take place than when they first publicly announced the funding challenges, although it may not feature all of the spin-off events—like a day fair—of years past. They’re also considering requesting small donations for the evening indoor Funk Parade parties, at places like Tropicalia, that have traditionally been free.

While hundreds of supporters have donated through the crowdfunding campaign, organizers say the funding shortfall stems from the inability to secure corporate sponsors.

18 march 30, 2018 washingtoncitypaper.com

Courtesy of NanaGyesie/Flickr

By Avery J.C. Kleinman

“The donations have been inspiring—the fact that people are willing to put their own money up, even when you don’t see the same level of commitment from the folks and developers who are profiting off of the changes in the city,” Rood says.

According to tax returns for All One City, the 501(c)(3) organization that puts on Funk Parade, the event cost $126,712 in 2016. That year, the largest private sponsor at $10,000 was developer JBG, which declined to support the event this year. The company has been involved in a number of projects in the U Street NW neighborhood, like the Atlantic Plumbing condos.

The neighborhood’s reputation as one of the city’s most gentrified is part of why the local Advisory Neighborhood Commission (ANC 1B) has supported the event since its first year with grants of several hundred dollars, according to commissioner Jessica Smith.

“The Funk Parade is an event that brings all different groups of people together, it’s an equalizing event that everyone can attend and enjoy,” she says. “With so many people coming in, it’s important that we respect where the city has been and the history, especially in an area of the city that’s changing.”

Local musicians have also jumped in with offers to donate or play for free, but co-founder Naoum says that runs contrary to the event’s mission of celebrating and supporting local music. He says the Funk Parade, unlike other free festivals, is committed to paying all musicians a fair and standard rate for their work.

“I see artists telling me they want to make a contribution, and I want to tell them we love you guys, but we want to be the ones paying the artists,” Naoum says. “The individual dona-

tions are amazing, but they are not going to sustain this festival in the long run … I feel bad in a way because there are definitely people and institutions that could make this happen in a heartbeat.”

In addition to corporate sponsors, the parade has traditionally been paid for with grants from the city, as well as donations from the businesses in the neighborhood. One of those businesses is Lee’s Flower Shop at the corner of 11th and U streets NW. Coowner Stacie Lee Banks sees an economic benefit to the event, even if attendees don’t necessarily buy flowers the day-of.

“It brings people to the street who may not normally come here, or if they do they may come in the evening, when we are closed,” she says. “I don’t think it increases our businesses that day, but it does increase exposure.”

Lee’s Flower Shop has operated on U Street NW as a family-owned business since 1945, but the wave of gentrification along 14th Street NW and U Street NW has ushered in many other businesses that lack D.C. roots.

“It’s difficult to get buy-in from anyone who’s not a business that’s owned in D.C.,” Naoum says. “They’ve got a whole corporate ladder to go up.”

Chuck Levin’s Washington Music Center, like Lee’s Flower Shop, is a family-run business that has operated in the D.C. area for more than 50 years. Adam Levin, one of three family members currently managing the store, says he and his family were motivated to match crowdfunding donations because they see the event as embodying the spirit of the city.

“I think it’s very much like Mardi Gras in New Orleans, Funk Parade is to D.C.—the heart and soul. The Funk Parade is the opportunity to show what D.C. is about,” Levin says. “It’s not often there’s a full day just to celebrate local music, specifically local.”

And the local musicians who’ve participated in the past are eager to see the parade continue, as it’s important for the scene they helped foster.

“I think D.C. has a reputation for being a transient city, if you aren’t from D.C. you may not be aware of the culture that’s here,” says Stephane Detchou, the frontman for local band Aztec Sun. “Funk Parade is focused on highlighting bands that are created here, showing you all of the ways you can have access to the arts here, it’s changing the perspective.”

Co-founders Rood and Naoum say they’d like to see more support from the city government, too. Earlier this month, Mayor Muriel Bowser was in Austin, Texas for South by Southwest, the kind of event that they think the Funk Parade could become. Last year’s event included a number of tech components, like a virtual reality expo and classes through the Academy of Funk, including one about Afrofuturism philosophy.

“What about the idea that we could build a SXSW here?

There’s so much talent not only in terms of music and the arts but in terms of real innovation,” Rood says. “At the end of the day, we’re in love with D.C. We want to talk about all of the things that are great about it.”

CP

CPArts Arts Desk

Listen to our curated playlist of American Primitive artists at washingtoncitypaper.com/arts.

ONE TRACK MIND

The New Possibilities On this week’s cover, we talk about Takoma Park-born guitarist John Fahey and the style of fingerpicked guitar playing he pioneered, American Primitive. Or rather, nine American Primitive musicians discuss what, exactly, that expansive and somewhat ill-defined label means—how it can be both limiting and expansive, meaningless and deeply meaningful.

Though Fahey and contemporaries like Max Ochs, Leo Kottke, Robbie Basho, Harry Taussig, Peter Lang, and Mark Fosson helped pioneer American Primitive, there’s a new generation of talented guitarists who are pushing the boundaries of solo guitar music and all that it can be. Here’s a mere sampling of some of those musicians.

—Matt Cohen

Dura,

“Grace Church Road”

Tashi Dorji Bhutanese-born, North Carolina-based guitarist Tashi Dorji is perhaps one of the most exciting six-string innovators in today’s music world. Dorji’s improvisation techniques often include using a prepared guitar with various objects jammed between strings, which transport his instrument to new dimensions.

Sarah Louise Part of what makes Sarah Louise’s music so exciting is its connection to the natural world. On her debut album, Field Guide, Louise’s lush fingerpicked melodies send listeners to a meditative plane, full of dense woods and peaceful surroundings.

Rob Noyes Eastern Massachusetts mainstay Rob Noyes channels the spirit of Robbie Basho in his 12-string compositions, but plays with the force and ferocity of a freight train barreling down the tracks.

He takes listeners on a wild ride on his debut record, The Feudal Spirit.

Alexander Turnquist If American Primitive is a spectrum, upstate New York-based 12-string guitarist Alexander Turnquist would probably fit on the fringes. Turnquist’s compositions feel like a dream, one that culls influence from experimental composers like Phillip Glass and Steve Reich as much as fingerpickers of yesteryear.

Willie Lane Willie Lane is something of a mythic figure in the solo guitar world: He self-releases his own records, with hastily pasted-on cover art, and rarely performs live, much less outside of his home state of Massachusetts. But all that adds to the charm of Lane’s hazy, meandering experimental guitar melodies, which are so easy to get lost in.

Jon Collin For Swedish guitarist Jon Collin, the environment is an instrument. The innovative guitarist’s minimalist compositions and improvisations utilize distinct sounds and tones from his slide and other reverberations, but it’s the recordings that really take his music to another level—birdsongs, the ruffle of leaves from a slight breeze, and other sounds are captured on tape as he plays.

Standout Track: At the center of Dura’s meditative new record, Repetition Suppression, sits “Grace Church Road,” which works as both an intermission and an early peak. At the bookends of the song, gentle ascending arpeggios give way to silence, cymbal accents, and a field recording of nighttime crickets and rustling. Filling the moments between, Dura’s delicate fingerpicking paints the uncertainty and playfulness of shadows in the night. Working together, these two personalities prime the mind for deeper reflection.

Musical Motivation: Repetition Suppression was “a project to reconnect with the sound of the instrument” according to Mattson Ogg, the guitarist behind Dura. During this project, he moved back to the D.C. area after years in New York and enjoyed walking around the places he grew up in Silver Spring, Maryland. “The sound of the amp and the style of the picking reminded me of that temperature or visual effect of the trees and friendly shadows,” he says, “You can see something is there, but you can’t make it out super clearly. It’s an outline of something you’re perceiving or remembering.”

A Walk to Remember: Ogg, who also records other artists, sees himself as more of an engineer than a guitarist—“I like amps more than guitars,” he says—and focused on adding more depth to Repetition Suppression than guitar-alone would allow. One night, while watching his parents’ house, he decided to take a walk across Georgia Avenue to his old elementary school and record it. “The arc of the walk and the arc of the record just happen to line up pretty well,” he says so he layered it—unedited— beneath the tracks to bring the minimal sound alive. “In a lot of the spaces I leave in the songs, you can shift your attention back over to the field recording,” Ogg says. —Justin Weber Listen to “Grace Church Road” at washingtoncitypaper.com/arts.

washingtoncitypaper.com march 30, 2018 19

TheaTer Translations

Father tongue

New productions of old favorites at Studio Theatre and the Folger Theatre ask audiences to consider how we understand our languages, our families, and ourselves.

By Chris Klimek

Translations

By Brian Friel Directed by Matt Torney At Studio Theatre to April 22

The Winter’s Tale

By William Shakespeare Directed by Aaron Posner At the Folger Theatre to April 22 Brian Friel’s TranslaTions opens with a young woman who suffers from a severe speech impediment being gently coached on how to introduce herself. Seldom has a play succeeded so completely in encapsulating its schema within its very first moment. Identity, and the extent to which it is governed by language, are Friel’s areas of inquiry in this beloved Irish export, which has had innumerable productions since its premiere in Derry in 1980. Whether identity changes when language does is his specific question. “What’s in a name,” is how a playwright who died nearly 400 years before Friel did put it. To specify that it was an English playwright would be needlessly cruel.

Anyway, that woman, Sarah (Megan Graves), is a student at a provincial “hedge school” in Ballybeg, a fictional village in County Donegal where many of Friel’s most celebrated plays (including the later Olivierand Tony Award-winning Dancing at Lugh-

nasa) took place. The year is 1833, nearly a century before this part of northern Ireland would become Northern Ireland, but Anglo-Irish conflict is already a scourge beyond memory. Manus (Matthew Aldwin McGee), the sensitive son of the drunkard schoolmaster Hugh (Brad Armacost), has largely taken over his father’s duties of teaching their adult pupils Greek and Latin—but not English, the tongue of their oppressors. Meanwhile, Royal Army surveyors have arrived to map this part of the island and to Anglicize place names to simplify navigation and taxation. No one calls them occupiers.

Easing the way for the soldiers is Manus’ long-absent brother Owen (Erin Gann), a prosperous Dublin merchant who has returned home as the Army’s fixer. Although nearly all the dialogue is performed in English, we quickly apprehend that the villagers are speaking “Irish,” or Gaelic, and the soldiers are speaking English. Owen is serving as translator, often tweaking the message in flight. His employers reflexively Anglicize even his name, calling him “Roland.”

Manus understands the Army men, too, but plays dumb out of spite.

The captain in charge of the mapmaking mission (Jeff Keogh) is a severe man who expects obedience from the villagers. He slows his tempo and raises his voice when addressing them, as though that will help them decipher his foreign tongue. But his aide, Lieutenant Yolland (Cary Donaldson), is a more sympathetic sort, charmed by the countryside and determined to speak and understand Irish for himself. And that’s before he becomes smitten with Maire (Molly Carden), a milkmaid who wants to learn English and immigrate to America.

Few of the other characters share their mutual yearning for connection: Jimmy Jack (Martin Giles), is a gentle old nutter who sits around reading Homer and Virgil and claims to have bedded Athena. He ignores hygiene

20 march 30, 2018 washingtoncitypaper.com

and anything else that might privilege the physical world he lives in above the world of dead languages in his mind. Feisty Bridget (Caroline Dubberly) reports ominous rumors of standardized national schools that will soon take children aged 6 to 12 away from their agricultural chores to be educated all day long, in English. It must be a credit to these actors that the “threat” of children being spared hard labor for six years so they can acquire some baseline literacy indeed registers as a cause for mild alarm.

Director Matt Torney is a native of Northern Ireland who has felt the latter-day echoes of the ancient fracture examined in Translations firsthand. He’s careful not to present the villagers as all alike in their desires. Though the show settles into a more languid groove after that powerful opening with Graves learning to speak her name, and parsing the relationships among the many characters requires attentive viewing, it’s difficult to imagine what Torney might’ve done to make the story or its subtext any more intelligible.

He has cast his production masterfully, finding 10 actors—many performing at Studio for the first time—who are strong and distinct enough to keep the large number of characters variegated, and to make the matter of who can and cannot understand which lines in any scene utterly clear. (This is much more important than perfecting their accents, though to my tin yankee ear, they all sounded right enough.) Torney’s light hand is never more deft than right after intermission,when Carden and Donaldson share a private moment late at night, conversing intimately though each can only partially decode the other’s words.

They give the show—which is, I should say, frequently very funny— its measure of sweetness before tragedy strikes, while Armacost supplies its thundering climax. “To remember everything is a form of madness,” he says, before settling in to recite a passage of The Aeneid that captures the villagers’ present conundrum. He can’t quite remember it.

1501 14th St. NW. $20–$69. (202) 332-3300. studiotheatre.org. late in his career, William Shakespeare wrote several plays that involved daughters forgiving their fathers for their frequent absences or worse behaviors. Among these is The Winter’s Tale, a tonal puzzler that is the inverse of Translations—a tragedy in its early

acts, a comedy in its later ones—and happens to contains the most famous stage direction in theater: exit, pursued by a bear.

The show concerns Sicily’s King Leontes (Michael Tisdale), who becomes convinced that his Queen Hermione (Kate deBuys) has cuckolded him with his old pal Polixenes, King of Bohemia (Aldo Billingslea), and that the child she’s carrying is in fact the Bohemian’s. Once the girl is born, Leontes orders her exiled. There’s a gap of 18 years—16, originally, but life expectancies have grown and social mores have changed—before we learn what became of that little girl, performed as a puppet by Daven Ralston in the show’s somber first half and by Ralston sans puppet in its more festive second.

In his new Folger Winter’s Tale, director Aaron Posner has cast one of his favorite performers, Eric Hissom, as Antigonus— the loser of that ursine foot race, I am sorry to tell you—and as the show’s guitar-strumming narrator, a post of Posner’s own invention. (All the parts save for Tistale’s maniacal, then grief-haunted Leontes are double or triple-cast.) Easygoing troubadours who speak to the audience directly are a treasured Posner trope. (On press night, I was personally implored to roar like a lion, so avoid the aisle seats if you fear that sort of thing.) Kimberly Gilbert, another frequent Posner collaborator, gets to play her ukulele and sing bawdy The Winter’s Tale

sea shanties and generally clown it up as a pickpocket.

A problem play like this one welcomes Posner’s what-you-will approach more readily than some of the better-known Shakespeares he’s tackled at the Folger in recent years, and Tisdale and Billingslea are superb as the show’s dual kings. Tisdale has an especially daunting job, in that he must persuade us of Leontes’ fast-descending madness, his humiliation and repentance, and of the restoration of a wife and daughter he’d believed lost for a generation. An actor who can pull that off deserves all the stage time he can get.

CP

201 East Capitol St. SE. $35–$79. (202) 5447077. folger.edu.

TheaTerCurtain Calls

Jazz, aged Chicago

Music by John Kander Lyrics by Fred Ebb Book by Fred Ebb and Bob Fosse Directed by Susan Marie Rhea and Mark A. Rhea At Keegan Theatre to April 14 ChiCago is one of those shows that suffers from over-familiarity. It’s the longest-running American musical in Broadway history, and the

second longest-running Broadway musical ever. It was nominated for 11 Tony Awards during its original run and won six when it was revived in 1996 with Bebe Neuwirth at the helm. The 2002 film adaptation made a respectable box office and snagged the Academy Award for Best Picture. All this to say, when you see Chicago, it better snap your garters right off.

“Give ’em an act with lots of flash in it / And the reaction will be passionate,” goes the line from “Razzle Dazzle,” but in the Keegan Theatre’s production, there are only a few flashes to be found. Though this production suffers from some inflated expectations, the game cast makes it work and provides plenty of fun throughout.

In case you missed the Chicagos of yore, the plot concerns Roxie Hart, an unhappily married former chorus girl who murders her lover when he tries to walk out on her. She’s arrested and taken to the Cook County Jail, where she forms a rivalry with vaudeville star and fel-

AARON DIEHL TRIO

1742 Church St. NW. $45–$55. (202) 265-3767. keegantheatre.com.

KRONOS QUARTET & WU MAN, pipa

Savor the “melodic precision [and] harmonic erudition” (New York Times) of jazz piano virtuoso and longtime Cécile McLorin Salvant collaborator Aaron Diehl.

Special thanks: the Susan B. Hepner Family and Great Jones Capital; the Abramson Family Foundation

Dine out! for

proceedings, as well as some truly powerful pipes. And the one moment of sobriety in the show comes from Michael Innocenti, Roxie’s long-suffering but supportive husband Amos.

He performs a gripping version of “Mister Cellophane” that conveys Amos’ barely suppressed rage.

The production benefits from the intimate space of the Keegan, where the performers are so close to the audience that the front row risks receiving a high kick right to the kisser.

Though the aisles are utilized for Billy’s entrance, they aren’t again, and not using them for some of the more show-stopping numbers feels like a missed opportunity to make the action truly immersive. Tucking the band on the upper level is a neat idea, placing jazz itself in the center of the action.

The saving grace of Chicago is its classic songs. Because one song flows directly into the next, the production gains momentum.

Though there are fits and starts throughout, that momentum reaches its peak and the show totally sticks the landing. The finale number is a fantastic showcase of the cast’s dancing abilities and the band’s instrumentals. If only they had been there since the top of Act 1.

—Stephanie Rudig

A Chinese Home

SAT, APR 7, 8pm SIXTH & I

Dining Out

low murderess Velma Kelly as the two fight for press coverage and the services of defense attorney Billy Flynn.

Individually, both slaying ladies are a treat to watch. Maria Rizzo lends a brightly unhinged sociopathy to her Roxie, while Jessica Bennett is clearly having a ball as Velma, and ramps up the character’s spunkiness instead of playing her as a straightforward femme fatale. The rivalry between the two women is the heart and soul of the show, but as great as the individual performances are, the fiery antagonism between the two doesn’t really gel until the very final number.

Also lacking oomph are some of the numbers that are supposed to be barn burners. The opening classic “All That Jazz” feels a bit tepid, falling just short of painting the town and never quite reaching the fever pitch that sets the play alight. “Razzle Dazzle” is similarly reserved, and while everyone on stage can tap, acrobatics aren’t everybody’s strong suit. Fortunately, the ensemble and supporting characters all get other moments to shine. Chicago is a funny play, and the cast has good comic timing, even with jokes you can see coming from a mile away. Kurt Boehm cuts a great Billy, particularly in his introductory number, playing up the sleaziness rather than the suavity of the character. As Matron Mama Morton, Rikki Howie Lacewell lends some gravity to the

Benefiting

THU, APR 19, 8pm LISNER AUDITORIUM

Grammy-winning innovators Kronos and pipa virtuoso Wu Man bring centuries of Chinese cultural history to life, uniting concert performance, theater, and video.

TICKETS: WashingtonPerformingArts.org

(202) 785-9727

Special thanks: The National Endowment for the Arts; The Abramson Family Foundation

Thursday, April 12th Your meal will help provide thousands of nutritious meals a day to adults and children battling HIV/AIDS, cancer and other life-challenging illnesses. See participating restaurants at www.foodandfriends.org/DiningOut

washingtoncitypaper.com march 30, 2018 21

back by magical demand

GALLERIESSketcheS

ALL SEVEN HARRY POTTER BOOKS IN SEVENTY HILARIOUS MINUTES! “CASTS THE PERFECT SPELL OVER THE AUDIENCE!”

“HAD US ROARING WITH LAUGHTER!” Washington Post

The New York Times

HOME IS WHERE THE ART IS Do Ho Suh: Almost Home

Begins Tuesday www.ShakeSpeareTheaTre.org

202.547.1122

22 march 30, 2018 washingtoncitypaper.com

At the Smithsonian American Art Museum to Aug. 5 EEriE, shimmEring structurEs rendered in ghostly fabric are Do Ho Suh’s signature. Two versions are on view at the Smithsonian American Art Museum, the artist’s East Coast debut. His “Hubs” include hallways and corridors from homes in three places where he’s lived (in Seoul, Berlin, and New York), depicted at scale in walk-through installations built in translucent fabric. So fine are the details in Suh’s recreated living quarters that it’s almost possible to read the signature on the inspection notice hanging in the hallway of the artist’s New York home, even though it’s all just stitching.

Suh’s “Specimens,” on the other hand, are features separated from the whole—all the valves, switches, locks, and sockets that make up the domestic infrastructure of our lives.

Pragmatic yet ethereal, the work in Do Ho Suh: Almost Home is about isolation. The artist dissolves out all the qualities that make a house a home and highlights instead the features that make a home a building. He’s abstracted his own dwelling to the point that place becomes little more than a line in space. Whereas a blueprint stands in as a model for a home, Suh has made the model the thing itself, a map that coincides with the territory. His “Hubs” are blueprints realized as architecture.

Suh goes even further in his eliminationist pursuit of line and form by promoting some spaces over others. Missing from the “Hubs” are the spokes—bathrooms, bedrooms, kitchens, and other lived-in spaces. Suh’s focus on the interstitial passageways within or through or around his apartments is another way that the artist has subtracted himself (or any other occupants) from these homes. Devoid of sentimental markers (like books or tchotchkes), his apartment reconstructions may be stripped of any nostalgia, but they are built with abundant care. The spaces hum with detail.

While this work is bound to strike some viewers as minimalist, it isn’t: Suh’s installations don’t follow a logic or rule, exactly, and his works tell us little about their own production. His closest kin in fine art may be Thomas Demand, an artist who makes exacting photographs by recreating scenes with paper construction and photographing them. Rachel Whiteread, an artist who casts negative space in plaster or metal or other materials, is a more distant cousin: The stairs that rise in Suh’s “348 West 22nd Street, Apartment A, Unit 2” (2011–2015) resemble one of her haunting impressions of the void. And Suh’s fabric sculptures of a radiator, fire extinguisher, and microwave—encased in pristine glass vitrines and lit by LEDs—flick at Jeff Koons’ readymades of basketballs and vacuum cleaners.

Yet Suh’s art is closer to craft than any postminimalist tradition. It’s not his materials so much as his methods. The artist combines traditional Korean sewing styles with new technologies for modeling and mapping space to build his fabric frames. They look effortless, but they’re not at all simple. Aside from a few drawings in the show, virtually every work on view involves the same strategy. It’s almost like a filter—as if Suh clicked a button and rendered his home in wireframes.

Beyond the wow-factor of Suh’s deceptively simple practice, the work runs thin in places.

The primary installation, which has the feel of a carnival attraction—like a haunted house or mirror maze—assembles three separate homes delineated by different colors. There’s no apparent reason why they’re assembled together or installed in this centipede fashion. One of his drawings, “My Homes–2” (2012), features rooms drawn from different perspectives and also laid out along linear paths, so it’s a thing for Suh. More accessible are Suh’s individual “Specimen” sculptures, including “Doorknob, Wieland Strasse, 18, 12159 Berlin, Germany” (2016), which benefit from the repetition on view.

Suh has thrown everything but the kitchen sink on the walls at the Smithsonian American Art Museum. Really, the show belongs at the Renwick Gallery, the museum formerly devoted to craft; Almost Home would even be an acceptable example of the spectacles that that museum insists on showing. But with the Renwick lost to an exhibition devoted to the art of Burning Man, American Art will have to do. The space doesn’t do the show any favors—a problem for work that practically demands the sterility of an anodyne white cube—but the larger problems with Almost Home may be conceptual.

—Kriston Capps F St NW & 8th St NW. Free. (202) 633-1000. americanart.si.edu.

FilmShort SubjectS

CO-PRESENTED BY

Orchestras in Motion!

April 9–15, 2018

Shocked and Fraud The China Hustle

Directed by Jed Rothstein Films about the 2008 economic collapse are a dime a dozen, from Oscar-nominated docs (The Inside Job) to star-studded blockbusters (The Big Short). While the goal of turning our national catastrophe into a two-hour teachable moment is a noble one, at this point they run the risk of becoming cliche and the message getting lost. The China Hustle, a winning new doc, recycles a lot of familiar elements from prior efforts but adds a new wrinkle: its brand of economic malfeasance is—gasp!—still going on.

The China Hustle focuses on a little-known type of financial fraud called “reverse mergers.” Essentially, Chinese companies are attaching themselves to defunct American companies that are still listed on the stock exchange. Then they mislead (read: lie to) their investors about their revenue, artificially inflate their prices, get American investors drooling, and bring boatloads of U.S. money into China. How do they pull this off? A convenient Chinese policy that makes lying to foreign investors completely legal.

The story is told through the eyes of several investment bankers who sniff out the problem and conduct their own investigations, picking up the slack left by the federal government, which is determinedly uninterested in the problem. As these investors “short” the fraudulent companies—essentially betting that fraud will out itself—they reveal dual motives: to root out corruption and make a boatload of money doing it. “There are no heroes in this story, including me,” says Dan David, the goateed, middle-aged owner of a boutique investment firm. But when you compare his no-nonsense, working-class character with the faceless corporate interests behind this

Four adventurous orchestras. $25 concerts at the Kennedy Center.

Plus exciting FREE performances and other events around the city!

Learn more at SHIFTfestival.org. fraud, he’s an easy guy to root for.

As it goes on, The China Hustle morphs into a traditional man-against-the-system doc, with David hauling himself down to Congress to sit in on a Congressional hearing in the hopes that something of substance will be discussed (spoiler alert: it’s not). The film’s frustration with government, while not exactly revelatory, remains valuable. David’s description of his meeting with a young staffer who, after listening to him describe this hidden fraud being perpetrated on millions of Americans, suggests that David organize a “letterwriting campaign” is enough to rouse all but the most disillusioned viewers.

Still, these hard truths are occasionally overshadowed by the film’s failures on the cinematic front. The voice-over by Jed Rothstein is painfully drab, and it undercuts the drama at key moments. It’s not hard to find a celebrity actor to voice these docs, and a Liev Schreiber or Matt Damon would have gone a long way here. Perhaps recognizing his limitations as a voice-over actor, Rothstein overcompensates with a pulsing score of driving strings that makes you feel the film reaching to heighten the drama when it should be letting the full ramifications of China’s fraud dawn on the audience.

In other words, The China Hustle works best when it lets the truth speak for itself. Toward the end, we meet a trio of regular joes who invested in these companies and whose lives have been irrevocably altered by the fraud.

While I wish I could have spent longer with them, the film is understandably more interested in the future than the past. It’s a warning shot, urging us to take a closer look at publicly traded Chinese companies, which comprise $1.1 trillion of the U.S. market. Ultimately, it does what an issue documentary must do and nothing more: spell out a problem, underline its urgency, and leave the viewer wondering what, if anything, they can do about it.

—Noah Gittell

This year’s orchestras:

Albany Symphony (New York)

Fort Worth Symphony Orchestra (Texas)

Indianapolis Symphony Orchestra (Indiana)

National Symphony Orchestra (D.C.)

Plus local participating orchestras, ensembles, and artists!

Tickets and info at (202) 467-4600 or SHIFTfestival.org

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

Presented in cooperation with the League of American Orchestras Generous support of the SHIFT Festival is provided through a matching grant from The Andrew W. Mellon Foundation; by the D.C. Commission on the Arts & Humanities, which receives support from the National Endowment for the Arts;

by Dr. Gary Mather and Ms. Christina Co Mather; and by Michael F. and Noémi K. Neidorff and The Centene Charitable Foundation.

This project is supported in part by an award from the National Endowment for the Arts, Abramson Family Foundation, Betsy and Robert Feinberg, and Morton and Norma Lee Funger.

The China Hustle opens Friday at Landmark E Street Cinema. washingtoncitypaper.com march 30, 2018 23

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

LUKE BRYAN

w/ Jon Pardi & Morgan Wallen ..... JUNE 14

On Sale Friday, March 30 at 10am

!

FEST M3 ROCK FESTIVAL 2018 METAL

THIS WEEK’S SHOWS

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

ALL GOOD PRESENTS

Pigeons Playing Ping Pong (F 30 - w/ The Fritz • Sa 31 - w/ Consider The Source) ................ F MAR 30 & Sa 31 Cigarettes After Sex ............................................................................. M APR 2 Yo La Tengo .................................................................................................... W 4

M3 SOUTHERN ROCK CLASSIC FEATURING HERN

SOUT !

CK FEST RO

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

Dierks Bentley w/ Brothers Osborne & LANCO ................................................. MAY 18 Jason Aldean w/ Luke Combs & Lauren A laina ................................................. MAY 24 CAPITAL JAZZ FEST FEATURING

APRIL

MAY (cont.)

ALL GOOD PRESENTS

The Motet w/ Soule Monde ......Th 5 The Black Angels w/ Black Lips .................................M 9 Andy Grammer w/ James TW .Tu 10 Thirdstory w/ Grace Weber .....Th 12

Bahamas ....................................Su 6 Panda Bear w/ Geologist ...........M 7 Marian Hill w/ Michl ..................W 9 Wye Oak w/ Palm .......................F 11 ALL GOOD PRESENTS

Hurray For The Riff Raff & Waxahatchee w/ Bedouine ..............................Su 15 Sofi Tukker ..............................W 18

Trampled By Turtles w/ Hiss Golden Messenger .........Su 13 Jukebox the Ghost w/ The Greeting Committee .......Th 17 Andrew W.K. w/ Moluba ........Su 20 Tune-Yards w/ My Brightest Diamond ............M 21

ALL GOOD PRESENTS

ALL GOOD PRESENTS

ALL GOOD PRESENTS

Perpetual Groove w/ CBDB ..F 13 ALL GOOD PRESENTS

Lotus (F 4/20 - w/ Staycation) ..F 20 & Sa 21 The Weepies Hideaway 10 Year Anniv. Tour w/ Curtis Eller’s American Circus .Su 22 Stars w/ Dan Mangan .................M 23 The Cadillac Three w/ Sam Grow ...............................W 25 Unknown Mortal Orchestra w/ Makeness ................................F 27 Echosmith w/ The Score & Jena Rose ..........Su 29 Kate Nash w/ Miya Folick .........M 30 MAY

Sango w/ Kaelin Ellis Early Show! 6pm Doors .....................Tu 1 U STREET MUSIC HALL PRESENTS

Carpenter Brut Late Show! 10pm Doors ....................Tu 1 ALL GOOD PRESENTS

TAUK w/ Of Tomorrow & Deaf Scene ......F 4 Ani DiFranco w/ Gracie and Rachel ..................Sa 5

Rising Appalachia .................F 25 Lissie w/ Van William ...............Sa 26 Japanese Breakfast w/ LVL Up & Radiator Hospital ....W 30 U STREET MUSIC HALL PRESENTS

Flight Facilities ....................Tu 31 JUNE

Dirty Projectors Early Show! 6pm Doors .......................F 1 Real Friends?: Beyoncé, Jay-Z, Kanye West,

Rihanna, and Drake Dance Night with DJ Dredd and Video Mix

by O’s Cool Late Show! 10pm Doors ..F 1

The Glitch Mob w/ Elohim .......Sa 2 Hop Along w/ Bat Fangs ............Tu 5 Parquet Courts w/ Goat Girl ...Th 7 Chromeo w/ Pomo ....................M 11 Ben Harper & Charlie Musselwhite ...........W 13 American Aquarium w/ Cory Branan ............................F 15

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

930.com

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

Earth, Wind & Fire • Smokey Robinson • Anita Baker and more! ..JUNE 1-3

Florida Georgia Line .................................................................................... JUNE 7 Robert Plant & The Sensational Space Shifters w/ Sheryl Crow & Seth Lakeman ..................................................................... JUNE 12 Ray LaMontagne w/ Neko Case................................................................ JUNE 20 Paramore w/ Foster The People ............................................................... JUNE 23 Sugarland w/ Brandy Clark & Clare Bowen ......................................................... JULY 14 Dispatch w/ Nahko and Medicine for the People & Raye Zaragoza ............. JULY 21 David Byrne w/ Benjamin Clementine ................................................................ JULY 28 VANS WARPED TOUR PRESENTED BY JOURNEYS FEAT.

3OH!3 • August Burns Red • Less Than Jake and more! ......................... JULY 29

Lady Antebellum & Darius Rucker w/ Russell Dickerson..........AUGUST 2 Jason Mraz w/ Brett Dennen .....................................................................AUGUST 10 AUG 11 SOLD OUT!

Phish .................................................................................................................AUGUST 12 Kenny Chesney w/ Old Dominion ............................................................AUGUST 22 • For full lineups and more info, visit merriweathermusic.com • 930.com

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

Max Raabe The Kills w/ Dream Wife .............MAY 14 & Palast Orchester.............APR 11 Gomez: Rick Astley ................................APR 18 Bring It On 20th Anniversary Tour ....JUNE 9 Eels ..............................................JUNE 11 ALL GOOD PRESENTS moe................................................APR 20 Yann Tiersen ..........................JUNE 17 Calexico w/ Ryley Walker ............APR 27 New date! All 12/5 tickets will be honored.

Animal Collective Robyn Hitchcock Performing Sung Tongs and His L.A. Squires w/ Laraaji ..................................... JULY 21 w/ Tristen .......................................APR 28

Radiotopia Live ....................... MAY 9 Jessie Ware ..............................MAY 11

AN EVENING WITH The Tallest Man On Earth . NOV 9

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Curtis Harding w/ Un Blonde ....Sa MAR 31 Fujiya & Miyagi w/ Annie Hart ..... Su APR 1 Janine .................................................... M 2 Ripe w/ Los Elk & The Fuss ......................W 4 Skizzy Mars w/ Oliver Tree ................ Tu 10 Pale Waves w/ INHEAVEN ................... W 11

Yung Gravy w/ BBNO$ • Global Dan • Kamiyada 18+ to enter. ........................................... M 23 Twin Shadow w/ Yuno ......................... F 27 Jeremy Loops w/ Ethan Tucker ......... Sa 28 Geographer w/ So Much Light .... Th MAY 10

• 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! 24 march 30, 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

1350 OKIE ST NE, WASHINGTON D.C.

CITYWINERY.COM/WASHINGTONDC

COMING SOON!

Music 25 Books 30 Dance 30 Theater 32 Film 33

Music

BEVERAGE

CITY LIGHTS: FRIDAY

EVENTS:

FRIDAY

ElEcTRoNIc

Black cat 1811 14th St. NW. (202) 667-4490. Queue.

9 p.m. $10. blackcatdc.com.

5/9

EchostagE 2135 Queens Chapel Road NE. (202) 503-2330. Monster Energy Outbreak Tour presents: Kayzo, 4B, Dubloadz, Gammer, and JSTJR. 9 p.m. $20–$35. echostage.com.

WINE 101: WINEMAKING

5/17

tEn tigErs Parlour 3813 Georgia Ave. NW. (202) 506-2080. Gina Turner. 6:30 p.m. $15–$45. tentigersdc.com.

SUMMER SIPS WINE SERIES: ROSE ALL DAY

5/31

PBR - SUMMER SIPS WINE SERIES: SAUVIGNON WHO? SAUVIGNON BLANC

6/2

SUMMER SIPS WINE SERIES: ROSE ALL DAY; WORLD OF ROSE ON THE ROOFTOP

6/6

WINE 102: NOBLE VARIETALS

6/7

SUMMER SIPS WINE SERIES: SHINE BRIGHT LIKE A SPARKLING WINE

6 /12

TIKI TIKI TIKI COCKTAIL CLASS

6/14

SUMMER SIPS WINE SERIES: BLIND TASTE LIKE A MASTER

6/21

FRENCH WINE 101

6 /28

SUMMER SIPS WINE SERIES: 4TH OF JULY WINE

7/11

WINE 103: WINE PAIRINGS

Folk

union stagE 740 Water St. SW. (877) 987-6487. Lucy Rose. 8 p.m. $18. unionstage.com.

PoP

Barns at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. San Fermin. 8 p.m. $25–$30. wolftrap.org.

Rock

9:30 cluB 815 V St. NW. (202) 265-0930. Pigeons Playing Ping Pong. 8 p.m. $20. 930.com.

BirchmErE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Marshall Crenshaw & The Bottle Rockets. 7:30 p.m. $29.50. birchmere.com. fillmorE silvEr sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Steel Panther. 8:30 p.m. $26.50. fillmoresilverspring.com.

PEarl strEEt WarEhousE 33 Pearl Street SW. (202) 380-9620. Blair Crimmins and the Hookers.

8:30 p.m. $12. pearlstreetwarehouse.com. songByrd music housE and rEcord cafE 2477 18th St. NW. (202) 450-2917. Daddy Issues. 8 p.m. $10. songbyrddc.com.

SATURDAY coUNTRY

BirchmErE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Cleve Francis. 7:30 p.m. $35. birchmere.com.

GINA TURNER

As a globetrotting tech house DJ and producer, prominent radio host, certified vinyasa yoga teacher, record label boss, and a new mother, Gina Turner is a true renaissance woman. With her daughter’s best interests in mind, Turner balances a successful career with the joys of motherhood. “If anything, being a mom has inspired me to make more music and do bigger and better things to be a better example for my daughter,” Turner said in a recent interview with Mixmag. She strives to transcend the traditional club experience with her unique event concept, The Divine Movement, which she co-founded with Tim Rothschild. It adds a spiritual element to the dance floor through yoga, meditation, numerology, and massage. Prior to Turner’s performance at Ten Tigers Parlour, she and Rothschild will hold a vinyasa yoga class and numerology workshop for those who desire a spiritual cleansing. Gina Turner performs at 10 p.m. at Ten Tigers Parlour, 3813 Georgia Ave. NW. $15–$45. (202) 506-2080. tentigersdc.com.

—Casey Embert

ElEcTRoNIc

EchostagE 2135 Queens Chapel Road NE. (202) 503-2330. DVBBS. 9 p.m. $25–$30. echostage.com.

FUNk & R&B

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

Curtis Harding. 7 p.m. $20. ustreetmusichall.com.

Rock

9:30 cluB 815 V St. NW. (202) 265-0930. Pigeons Playing Ping Pong. 8 p.m. $20. 930.com.

Barns at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. The English Beat. 8 p.m. $30–$35. wolftrap.org.

Black cat 1811 14th St. NW. (202) 667-4490. Rogue Wave. 8 p.m. $20–$25. blackcatdc.com. fillmorE silvEr sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Dashboard Confessional with Beach Slang. 6:30 p.m. $33–$131. fillmoresilverspring.com. thE hamilton 600 14th St. NW. (202) 787-1000. The Machine performs Pink Floyd. 8 p.m. $25–$30. thehamiltondc.com.

PEarl strEEt WarEhousE 33 Pearl Street SW. (202) 380-9620. Revelator Hill. 8 p.m. $15. pearlstreetwarehouse.com.

WoRlD

Rock

PEarl strEEt WarEhousE 33 Pearl Street SW. (202) 380-9620. Casey Neill and The Norway Rats.

8:15 p.m. $10. pearlstreetwarehouse.com.

EaglEBank arEna 4500 Patriot Circle, Fairfax. (703) 993-3000. Isaignani Ilaiyaraaja. 4 p.m. $30–$200. eaglebankarena.com.

MoNDAY

SUNDAY

lincoln thEatrE 1215 U St. NW. (202) 888-0050.

James Bay. 8 p.m. $35. thelincolndc.com.

clASSIcAl

thE intErnational studEnt housE of Washington dc 1825 R St. NW. (202) 232-4007. Busch Trio. 4 p.m. $20–$40. ishdc.org.

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

Fujiya & Miyagi. 7 p.m. $15. ustreetmusichall.com. union stagE 740 Water St. SW. (877) 987-6487. Laurel Halo. 8 p.m. $15–$25. unionstage.com.

Folk JAzz

BirchmErE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Billy Cobham’s Crosswinds Project.

7:30 p.m. $35. birchmere.com.

BluEs allEy 1073 Wisconsin Ave. NW. (202) 3374141. Andrew White Quartet. 8 p.m.; 10 p.m. $25. bluesalley.com.

VINOFILE

PoP

9:30 cluB 815 V St. NW. (202) 265-0930. Cigarettes After Sex. 7 p.m. $25. 930.com.

washingtoncitypaper.com march 30, 2018 25

CITY LIGHTS: SATURDAY

TODD BARKAN

JOANNE BRACKEEN

PAT M E T H E N Y

DIANNE REEVES

FREE CONCERT!

NEA JAZZ MASTERS TRIBUTE CONCERT A P R I L 1 6 A T 8 P. M . | C O N C E R T H A L L The National Endowment for the Arts will honor the 2018 NEA Jazz Masters—pianist, composer, and educator Joanne Brackeen; guitarist, composer, and educator Pat Metheny; vocalist Dianne Reeves; and club owner, producer, and artistic programmer Todd Barkan—with a free concert hosted by Jason Moran.

RESERVATIONS AVAILABLE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Reservations also available at the Box Office.

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

This concert is presented in partnership with the National Endowment for the Arts.

WITTGENSTEIN

With a script co-written by literary critic Terry Eagleton, Derek Jarman’s 1993 meditation on philosopher Ludwig Wittgenstein is dense with intellectual exploration, but this is no mere biopic or filmed lecture. Commissioned for British television, the film bursts with highly saturated color and low-budget inventiveness. To take just one example, Jarman stages an epistolary exchange between philosopher Bertrand Russell (Michael Gough) and his lover, Lady Ottoline Morrell (Jarman regular Tilda Swinton) in bold hues, Gough decked in a fire-engine red gown and Swinton in extravagant, feathered fuchsia. Karl Johnson plays the adult philosopher, but it’s Clancy Chassay as the young Wittgenstein who gets such juicy lines as, “The drunken chit-chat of British intellectuals bored me.” Fortunately, this irreverent biography won’t bore. The film screens at 4 p.m. at the National Gallery of Art East Building Auditorium, 6th Street and Constitution Avenue NW. Free. (202) 737-4215. nga.gov.

—Pat Padua

U Street MUSic Hall 1115 U St. NW. (202) 588-1889.

HIp-Hop

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

Songbyrd MUSic HoUSe and record cafe 2477 18th St. NW. (202) 450-2917. Nothing,Nowhere. 8 p.m. $15. songbyrddc.com.

TUESDAY Folk lyceUM 201 S. Washington St., Alexandria. (703) 8384994. Craig Weir. 7 p.m. Free.

26 march 30, 2018 washingtoncitypaper.com

Rock bircHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Steve Earle & The Dukes. 7:30 p.m. $59.50. birchmere.com. black cat 1811 14th St. NW. (202) 667-4490. Superchunk. 7:30 p.m. $22–$25. blackcatdc.com.

washingtoncitypaper.com march 30, 2018 27

thh

NEW MUSIC VENUE

NOW OPEN THE WHARF, SW DC

DINER & BAR OPEN LATE!

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

CITY LIGHTS: SUNDAY

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

Tix @ Ticketmaster.com 800-745-3000

Mar 29

CRIS WILLIAMSON, BARBARA HIGBIE, TERESA TRULL

MARSHALL CRENSHAW & THE BOTTLE ROCKETS 31 CLEVE FRANCIS Apr 2 BILLY COBHAM’S 'Crosswind Project' feat.

30

Paul Hanson, Fareed Haque,Tim Landers, Scott Tibbs

3

STEVE EARLE & THE DUKES ‘30th Anniversary of Copperhead Road!’ with The Mastersons

RONNIE MILSAP 6&7 MARTY STUART & His Fabulous Superlatives

5

MARCH CONCERTS F 30 SA 31

BLAIR CRIMMINS AND THE HOOKERS w/ THE ROCK-A-SONICS REVELATOR HILL w/ KAREN JONAS

APRIL CONCERTS SU 1 TU 3

CASEY NEILL AND THE NORWAY RATS w/ GRAHAM STONE MUSIC JEN HARTSWICK & NICK CASSARINO w/ RACHEL LEVITIN

Burns SAM BUSH Danny 11 CHRISTOPHER CROSS

8

12

DAVY KNOWLES, GERRY, McAVOY, TED McKENNA

SMITHSONIAN FOLKWAYS PRESENTS DOM FLEMONS DUO CD RELEASE w/ GREG ADAMS

14

TH 5

FORLORN STRANGERS w/ CONOR AND THE WILD HUNT THE BEANSTALK LIBRARY w/ THROWING PLATES

17

SA 7

JACK INGRAM w/ TRAVIS MEADOWS

SU 8

DWIGHT “BLACK CAT” CARRIER AND THE ZYDECO RO DOGGS

3PM ZYDECO DANCE PARTY ZYDECO DANCE LESSON INCLUDED!

W 11

DELLA MAE w/ ONLY LONESOME

TH 12

DAN LAYUS w/ CHRISTIAN LOPEZ

F 13

LOVE CANON

SA 14

TOMMY CASTRO AND THE PAINKILLERS

SU 15 TH 19 F 20 SA 21 W 25 TH 26

w/ RISA BINDER

SMITHSONIAN FOLKWAYS PRESENTS ANNA AND ELIZABETH w/ MARK FOSSON THE BIG LEBOWSKI EXPERIENCE COME FOR THE WHITE RUSSIANS, STAY FOR THE INTERPRETIVE DANCE

THE LAST REVEL w/ THE NOVEL IDEAS MOTEL RADIO & QUIET HOLLERS THE HEAVY PETS w/ MAGNOLIA BLUE SARAH SHOOK AND THE DISARMERS

TICKETS ON SALE! pearlstreetwarehouse.com

THEfeaturing DRAMATICS L.J. Reynolds

13

W4

F6

A Celebration of

RORY GALLAGHER “Band of Friends" featuring

An Evening with

DON McLEAN INCOGNITOThird Nig!ht featuring

19

MAYSA

Added

Dean LOS LOBOS Rosenthal

20&21

KENNY LATTIMORE 24 BRIAN CULBERTSON 22

'Colors of Love' Tour

27

JANIS IAN 29 HERB ALPERT & LANI HALL May Carsie 3 MADELEINE PEYROUX Blanton 4&5 THE WHISPERS 6 MARCUS MILLER 10 UNDER THE STREETLAMP 11 2nd Annual Desperados/Wax Museum Reunion!

NRBQ, NORTHSTAR BAND with Ratso & Johnny Castle,

CHARLOTTESVILLE ALL-STARS with Mark Wenner

28 march 30, 2018 washingtoncitypaper.com

Since debuting near the beginning of the decade, Laurel Halo has refused to be boxed in by genre or trend. The Ann Arbor-born, Berlin-based musician started out making experimental synth pop, segued into even more experimental techno, and found a dreamy middle ground on her well-received debut album Quarantine. After that, it was back to textured techno on Chance of Rain and In Situ. Now, the pendulum has swung once again, as Halo encompassed her entire body of work—and more—on last year’s Dust. It’s an album of broken beats, faraway melodies, and lyrical fragments as likely to toy with jazz improvisation as it is to play with West African rhythms. This time around, Halo has enlisted a variety of like-minded collaborators, with vocals by Klein and Lafawndah, cello by Julia Holter, sax by Diamond Terrifier, and cowbell by D.C.’s own dance floor innovator Max D. Not that you’d be able to pick out their contributions without the liner notes, because no matter the voices, the vision is all Laurel Halo. Laurel Halo performs at 8 p.m. at Union Stage, 740 Water St. SW. $15–$25. (877) 987-6487. unionstage.com.

—Chris Kelly

NAJEE

28

feat.

lAUREl HAlo

PEarl strEEt WarEhousE 33 Pearl Street SW. (202) 380-9620. Jen Hartswick & Nick Cassarino. 8:15 p.m. $12. pearlstreetwarehouse.com.

VocAl kEnnEdy cEntEr millEnnium stagE 2700 F St. NW. (202) 467-4600. A Tribute to the American Songbook "Past and Present". 6 p.m. Free. kennedy-center.org.

WEDNESDAY clASSIcAl kEnnEdy cEntEr concErt hall 2700 F St. NW. (202) 467-4600. NSO Pops: Black Violin. 8 p.m. $39–$79. kennedy-center.org.

coUNTRY

BirchmErE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Richard Thompson Solo Acoustic with Joan Shelley. 7:30 p.m. $69.50. birchmere.com.

ElEcTRoNIc

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

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

Folk

PEarl strEEt WarEhousE 33 Pearl Street SW. (202) 380-9620. Dom Flemons. 8 p.m. $20. pearlstreetwarehouse.com.

FUNk & R&B

BluEs allEy 1073 Wisconsin Ave. NW. (202) 3374141. Hil St. Soul. 8 p.m.; 10 p.m. $32.50. bluesalley.com.

Rock

9:30 cluB 815 V St. NW. (202) 265-0930. Yo La Tengo. 7 p.m. $35. 930.com.

Millennium Stage

April 7 The String Queens

23 MON Las Áñez

The twin sisters perform delightfully unexpected arrangements of Latin American songs with minimal percussion, a loop station, and keyboard.

A celebration of the human spirit

24 TUE Sidi Touré

One of Mali’s great artists, the guitarist/ vocalist is a highly acclaimed practitioner of Songhaï music.

Free performances every day at 6 p.m. No tickets required* *Unless noted otherwise

April 5 BARRY: Mamaloshen in Dance!

25 WED Bernstein Tribute

Family Night: Sticks+Bars Youth Marimba Ensemble

8 SUN

Artists from D.C. and New York perform solo and chamber works by Leonard Bernstein along with the world stage premiere of Bernstein Tap & Rap featuring tap dancer Cartier Williams and the Cartier Williams Dance Theatre.

The program features traditional, folk, spiritual, gospel, Motown, pop, and original compositions from the Africa, the Caribbean, and America.

SHIFT: A FESTIVAL OF AMERICAN ORCHESTRAS SHIFT celebrates the vitality, identity, and extraordinary artistry of orchestras and chamber orchestras by creating an immersive festival experience in the nation’s capital.

For more information, visit SHIFTfestival.org

Co-presented by Washington Performing Arts and the Kennedy Center.

9

APRIL 2018 IN THE TERRACE THEATER

1 SUN Conservatory Project:

Cleveland Institute of Music and New England Conservatory

Students from these acclaimed music schools perform in a double bill.

Free general admission tickets will be distributed in the States Gallery starting at approximately 5 p.m., up to two tickets per person.

2 MON Simone Barron

The pianist, accordionist, and composer presents a program of classical and modern chamber music alongside jazz and world music with chamber jazz ensemble Arco Belo.

3 TUE The Blues Alley Youth Orchestra The 18-piece, award-winning big band ensemble pays tribute to the American Songbook “Past and Present.”

4 & 6 WED & FRI Songwriters:

The Next Generation

This collaboration with The ASCAP Foundation showcases the work of four young songwriters and composers.

5 THU BARRY: Mamaloshen in Dance!

Choreographed by Asya Zlatina, this dance performance celebrates life and the Yiddish culture to the iconic soundtrack of the Barry Sisters.

7 SAT The String Queens

The soulful trio creates stimulating musical experiences that inspire diverse audiences to love, hope, feel, and imagine.

Youth Orchestras of Prince William

MON

YOPW presents excerpts of the concert Blue, presented in November 2017, and Air, presented in February at the Hylton Performing Arts Center.

10 TUE Maryland Classic Youth

Orchestras of Strathmore

MCYO presents two of its stellar ensembles: the 30-member elite Chamber Ensemble and the four-member Harp Ensemble.

11 WED Songwriter Idol

Composer and singer Clarice Assad joins students from KIPP DC charter school for a performance of the students’ songs created during Albany Symphony’s residency program.

Hip-Hop Orchestra of the University of Maryland

12

THU

An unexpected union of two of the world’s best story-telling genres, the orchestra reimagines old sounds with blended concepts

13 FRI Metropolitan Youth Orchestra

A program of the Indianapolis Symphony Orchestra, MYO is joined for part of their program by the Second Chance Strings for Pachelbel’s Canon in D. MYO will perform the remainder of the program.

14 SAT American Youth

Philharmonic Orchestra

Students from the AYPO Chamber Ensemble Program play works by Beethoven, Dvorˇák, Goepfart, and Schubert.

15 SUN U.S. Air Force Strings

The group plays a diverse program of classic and new literature for string orchestra.

FOR DETAILS OR TO WATCH ONLINE, VISIT KENNEDY-CENTER.ORG/MILLENNIUM.

Brought to you by

DAILY FOOD AND DRINK SPECIALS 5–6 P.M. NIGHTLY • GRAND FOYER BARS FREE TOURS are given daily by the Friends of the

Kennedy Center tour guides. Tour hours: M–F, 10 a.m.–5 p.m., and Sa./Su. from 10 a.m.–1 p.m.

For information, call (202) 416-8340.

#MILLENNIUMSTAGE

PLEASE NOTE: Standard parking rates apply when attending free performances.

Produced by NEWorks Productions as part of its NEWorks@15 performance series.

26 THU Chuck Brown Band

The band pays homage to the late Godfather of Go-Go.

16 MON The Washington

Renaissance Orchestra

Presented in collaboration with Hometown Sounds.

The ensemble led by drummer Nasar Abadey and pianist Allyn Johnson performs with special guest vocalist Christie Dashiell.

Presented in collaboration with the National Endowment for the Arts.

17 TUE From the Rich, Dark Earth

Multi-instrumentalist and composer Abraham Brody unites both Lithuanian and BuryatSiberian traditions into the contemporary music and collaborations he creates.

The troupe merges ballet with a quirky sensibility, rethinking what it means to tell stories through dance.

28 SAT Electric Fantasy

The band performs all-time favorite rock songs from the 1970s to the present.

29 SUN In Her VOICE

18 WED Kana Uemura

The New York City–based artist sings J-Pop and American pop music, including her original songs in both English and Japanese.

Presented in collaboration with the National Cherry Blossom Festival.

Female artists of color invite the audience for an intimate journey into their creative process as they reveal narratives of identity and transformation.

30 MON U.S. Army Blues

IN THE FAMILY THEATER

Comedy at the Kennedy Center: Let’s Make a Website

19

27 FRI Agora Dance

THU

Join rock-star computer programmer Mark Vigeant as he takes audience suggestions and builds and launches a completely new original website onstage—that is, if he can overcome his ego.

The premier jazz ensemble of the United States Army is comprised of exceptional jazz musicians from across the nation.

April 27 Agora Dance

This program contains mature themes and strong language. It will not be streamed live or archived. Free general admission tickets will be distributed in the Hall of States starting at approximately 5 p.m., up to two tickets per person.

20 FRI NSO Youth Fellows

Participants in the National Symphony Orchestra training program offer a recital of solo performances.

21 SAT NSO Prelude

NSO members—flutist Leah Arsenault, oboist Jamie Roberts, hornist Robert Rearden—and guests musicians clarinetist Kristin King, bassoonist Samuel Blair, and pianist Jamila Tekalli play works by Ravel, Klughardt, and Poulenc.

22 SUN Annelies

This captivating choral work based on The Diary of Anne Frank is performed by Colla Voce, soprano Ariana Wyatt, a piano trio (David Ehrlich, Benjamin Wyat, Teresa Ehrlich), and clarinetist Phil Paglialonga.

TAKE METRO to the Foggy Bottom/GWU station and ride the free Kennedy Center shuttle departing every 15 minutes until midnight.

GET CONNECTED! Become

a fan of KCMillenniumStage on Facebook and check out artist photos, upcoming events, and more!

The Kennedy Center welcomes persons with disabilities.

ALL PERFORMANCES AND PROGRAMS ARE SUBJECT TO CHANGE WITHOUT NOTICE.

The Millennium Stage was created and underwritten by James A. Johnson and Maxine Isaacs to make the performing arts accessible to everyone in fulfillment of the Kennedy Center's mission to its community and the nation.

Generous support is provided by The Morris and Gwendolyn Cafritz Foundation and The Karel Komárek Family Foundation.

Additional support is provided by Kimberly Engel and Family-The Dennis and Judy Engel Charitable Foundation, The Gessner Family Foundation, The Irene Pollin Audience Development and Community Engagement Initiatives, The Isadore and Bertha Gudelsky Family Foundation, Inc., The Meredith Foundation, Dr. Deborah Rose and Dr. Jan A.J. Stolwijk, the U.S. Department of Education, the National Committee for the Performing Arts, and the Millennium Stage Endowment Fund.

washingtoncitypaper.com march 30, 2018 29

CITY LIGHTS: MoNDAY

the

BLACK

LILLIES

MARCH F 30

ALGEBRA BLESSET

S 31

PRINCE TRIBUTE SHOW FEATURING JUNIE

W/ THE BROTHER BROTHERS FRIDAY

MAR 30

the

HENDERSON

APRIL

AN EVENING WITH

MACHINE PERFORMING THE MUSIC OF PINK FLOYD SATURDAY MAR

SUN, APR 1

SU 1

EASTER SHOW-LANDAU MURPHY JR. (AMERICA’S GOT TALENT WINNER)

W4

EARTH WINE & FIRE TRIBUTE SHOW - LADIES NIGHT SOUL-BLUES SUMMIT: BILLY PRICE BAND W/ SPECIAL GUEST JOHNNY RAWLS

31

10am, 12:30pm, 3pm

F6

EASTER GOSPEL BRUNCH FEATURING WILBUR JOHNSON & THE GOSPEL PERSUADERS TUES, APR 3

S7

(7/10PM)JOE CLAIR & FRIENDS COMEDY SHOW

SU 8

SWING FOR SPRING BRUNCH WITH SVETLANA & THE DELANCEY FIVE

AN EVENING WITH

DARK STAR ORCHESTRA SPECIAL ACOUSTIC SHOW THURS, APR 5

THE SUBDUDES

SU 8

NOTHING BUT THE SAX

FRI, APR 6

F 13

ARRESTED DEVELOPMENT

SAT, APR 7

S 14

THE BLACKBYRDS

WILLIE NILE MIPSO W/ TOM BROSSEAU THURS, APR 12

THE HILLBENDERS PRESENT THE WHO’S TOMMY: A BLUEGRASS OPRY

TH 19 TITO PUENTE BIRTHDAY CELEBRATION WITH TITO PUENTE, JR. JAZZ BAND F 20

W/ ELLIS DYSON & THE SHAMBLES

JUST ANNOUNCED

FRI, APR 13

ALL GOOD PRESENTS AN EVENING WITH

KELLER WILLIAMS SAT, APR 14

RED MOLLY

LUTHER’S BIRTHDAY CELEBRATION

FRI, APR 27

CONYA DOSS FEAT. LIN ROUNTREE

SUN, APR 29 MELBA MOORE

W/ MARC DOUGLAS BERARDO

THU, MAY 3

JODY WATLEY & SRL

THURS, APR 19

SAT, MAY 12

STOKELY OF MINT CONDITION

FRI, APR 20

THU, MAY 17 EDDIE LEVERT

STEEP CANYON RANGERS AN EVENING WITH VOICEPLAY SUN, APR 22

ALAN DOYLE W/ FORTUNATE ONES

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

(240) 330-4500 www. BethesdaBluesJazz.com

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

THEHAMILTONDC.COM 30 march 30, 2018 washingtoncitypaper.com

ANDREW WHITE QUARTET

Conventional wisdom suggests that we learn who a jazz musician is when we hear them play. In Andrew White’s case, however, we learn an awful lot as soon as he enters a room. The saxophonist wears funky, colorful clothes in weird combinations, speaks raucously, and likes to make gleeful, garish faces when he converses with fans or poses for a selfie. To be fair, his demeanor becomes serious business when he’s got his alto or tenor sax in his mouth. But in that case, it’s his sound that becomes outsized and irrepressible. White blows hard and somewhat coarse, freely moving in and out of tonality as he pleases, but with a merry swagger and forward momentum that only stops swinging when it can find room to funk. It’s the sheets of sound approach invented by White’s idol, John Coltrane. Yet, it’s even more explosive, augmented to be like everything else about White: larger than life. The Andrew White Quartet perform at 8 p.m. and 10 p.m. at Blues Alley, 1073 Wisconsin Ave. NW. $25. (202) 337-4141. bluesalley.com.

—Michael J. West

Black cat 1811 14th St. NW. (202) 667-4490. Ought.

7:30 p.m. $15–$18. blackcatdc.com.

WoRlD Barns at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Ana Moura. 8 p.m. $50–$60. wolftrap.org.

THURSDAY

Rock

Black cat 1811 14th St. NW. (202) 667-4490. Khruangbin. 7:30 p.m. $16-$18. blackcatdc.com. fillmorE silvEr sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Between The Buried And Me with The Dear Hunter, Leprous. 7 p.m. $25. fillmoresilverspring.com.

clASSIcAl

kEnnEdy cEntEr concErt hall 2700 F St. NW. (202) 467-4600. NSO Pops: Black Violin. 8 p.m. $39–$79. kennedy-center.org.

coUNTRY BirchmErE 3701 Mount Vernon Ave., Alexandria.

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

Folk PEarl strEEt WarEhousE 33 Pearl Street SW. (202) 380-9620. Forlorn Strangers. 8:15 p.m. $10. pearlstreetwarehouse.com.

FUNk & R&B 9:30 cluB 815 V St. NW. (202) 265-0930. The Motet. 7 p.m. $20. 930.com. songByrd music housE and rEcord cafE 2477 18th St. NW. (202) 450-2917. Ravyn Lenae. 8 p.m. $18–$20. songbyrddc.com.

HIP-HoP u strEEt music hall 1115 U St. NW. (202) 588-1889.

Chinese Man. 9 p.m. $20. ustreetmusichall.com.

Books

Paul harflEEt The writer and illustrator introduces and reads from Pansy Boy, a picture book that features rhyming couplets telling the tale of a boy who revels in the summertime flora and fauna around him. Busboys and Poets Takoma. 234 Carroll St. NW. April 3 6:30 p.m. Free. (202) 726-9525. busboysandpoets.com.

Dance

BlackhEart BurlEsquE On their 2018 U.S. tour, the SuicideGirls pin-up dancers stop by the Howard Theatre to perform their pop culture-themed burlesque show Blackheart Burlesque. Howard Theatre.

620 T St. NW. March 30 8 p.m. $25–$110. (202) 8032899. thehowardtheatre.com.

washingtoncitypaper.com march 30, 2018 31

CITY LIGHTS: TUESDAY

nAt turner in JeruSAlem Written by Nathan Alan Davis, this production, making it’s D.C. premiere, imagines Nat Turner’s final night in a jail cell in Jerusalem, Virginia. As Turner reckons with what the dawn will bring, the story examines the power of an individual’s convictions. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring.

To April 7 $18–$38. (301) 588-8279. forum-theatre.org.

guity and tough choices. Theater J. 1529 16th St. NW. To April 29 $24–$69. (202) 777-3210. theaterj.org.

the night thoreAu Spent in JAil Playwright Robert E. Lee’s classic work hits the mainstage at the George Mason University Center for the Arts. The play focuses on the titular Henry David Thoreau, leading up to the 19th century writer’s night spent in jail for refusal to pay a poll tax designed to support a war he opposed. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax. To April 8 $15–$30. (888) 945-2468. cfa.gmu.edu.

trAnSlAtionS In Translations, languages and histories collide, kindling romance and inciting violence.

In 1833 Ireland, change comes to rural County Donegal when British army engineers arrive to map the country, draw new borders, and translate Irish-language place names into the King’s English. Studio Theatre. 1501 14th St. NW. To April 22 $20–$85. (202) 332-3300. studiotheatre.org.

the pAvilion From playwright Craig Wright and director Kelsey Mesa comes The Pavilion, a play that is both poetic and comic, romantic and philosophical.

Peter goes to his 20-year high school reunion in the hopes of winning back Kari, the girl he left behind. As the night of the reunion progresses, both characters are forced to face the consequences of choices made long ago. The Hub Theatre at John Swayze Theatre.

9431 Silver King Court, Fairfax. To April 15 $22–$32.

(703) 674-3177. thehubtheatre.org. reCorD Store 24 This premiere stage production, a one-act play written and directed by Clayton LeBouef for eight performances, centers on a record store owner who doesn’t want his dreams to become nightmares. The story celebrates ancestral wisdom, vintage music, and the return of vinyl. Anacostia Playhouse. 2020 Shannon Place SE. To March 31 $25–$40. (202) 290-2328. anacostiaplayhouse.com.

SALLY MANN: A THOUSAND CROSSINGS

Sally Mann is that rare artist who can capture a soul. The rural Virginia-born photographer’s portfolio is raw, indelibly Southern and gothic in its splendor. Her work has often made people uncomfortable as it showcases death, decomposition, and nudity, with critics raging against her photos of her own nude children frolicking. But Mann has expressed that she would do it all over again. In her 2015 memoir Hold Still she writes, “Ultimate beauty requires that edge of sweet decay, just as our casually possessed lives are made more precious by a whiff of the abyss.” Mann and her work have been controversial, but never without influence. Her story has always been one rooted in darkness, the particular darkness of the American South—she was born in a home that was once inhabited by Confederate general Stonewall Jackson. But in that darkness, her artistry was also birthed, and her photos reflect back on it, revealing something new to us: ourselves. Eerie monochrome shots of ghostly swamps and portraits of young cherubic Southern children that don’t quite seem of this Earth reveal the ugliness and beauty that may be deep inside all of us in equal measure. In that, her breathtaking work will always have value. The exhibition is on view to May 28 at the National Gallery of Art West Building, 6th Street and Constitution Avenue NW. Free. (202) 737-4215. nga.gov.

—Kayla Randall

Theater

AlAbAmA Story From playwright Kenneth Jones comes a story about a librarian in segregationera Alabama who purchases a children’s book that angers an intolerant state senator who goes on a crusade against the book. This area premiere is based on a true story from the 1950s. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To April 15 $50–$60. (240) 582-0050. stageguild.org.

ChiCAgo A Susan Marie Rhea and Mark A. Rhea-directed incarnation of the well-known stage musical with classic songs from composer John Kander hits the Keegan Theatre stage. Convicted and sent to death row, Roxie Hart vies for the spotlight and the headlines, in search of fame, fortune and acquittal. Keegan Theatre. 1742 Church St. NW. To April 7 $45–$55. (202) 265-3767. keegantheatre.com.

Don JuAn Taffety Punk presents Stephen Wadsworth’s translation and adaptation of the uncensored

roz AnD rAy Directed by Adam Immerwahr and written by Karen Hartman, Roz and Ray is a powerful, urgent, and gripping medical drama about a doctor at the onset of the 1980s AIDS crisis. The story centers on Dr. Roz Kagan, who offers a new miracle drug to save Ray Leon’s hemophiliac twins. Things aren’t always as they appear to be, though, and being on the cutting edge of medicine can lead to moral ambi-

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.

two trAinS running August Wilson’s masterpiece about everyday lives makes its way to Arena Stage. At the heart of the story is Memphis Lee’s diner in Pittsburgh’s Hill District, confronted with a changing world during the Civil Rights Movement in 1969.

Arena Stage. 1101 6th St. SW. To April 29 $56–$91.

(202) 488-3300. arenastage.org. unDergrounD rAilroAD gAme Two teachers get shockingly down and dirty with a lesson about race, sex, and power at Hanover Middle School in this unflinching Ars Nova production of the fourth wallbreaking play. Going round after round on the mat of America’s history, the teachers bare it all, in R-rated, far-reaching fashion. Woolly Mammoth Theatre. 641 D St. NW. To April 29 $20–$69. (202) 393-3939. woollymammoth.net. wAveS, All thAt glowS SeeS In this theater for the very young production, adults with their young children can follow a pathway of shells and stones into a serene tent on stage, where one man makes music and another dreams of the ocean. Featuring sand shaping, shadow puppetry, and inventive sound effects, to conjure up the feel of the sea. Kennedy Center Family Theater. 2700 F St. NW. To April 1 $15.

(202) 467-4600. kennedy-center.org. whAt your mAn won’t Do From playwright Vernon Williams III comes the story of Marc and Karla

CITY LIGHTS: WEDNESDAY

script of Molière’s Don Juan, a Spanish legend layered with the conventions of French drama and filtered through a contemporary American lens. At the heart is Don Juan, a passionate free-thinker out of sync with contemporaries who submit to king and church. Taffety Punk at Capitol Hill Arts Workshop. 545 7th St. SE. To April 21 $15. (202) 261-6612. taffetypunk.com. holD theSe truthS From playwright Jeanne Sakata and director Jessica Kubzansky comes the true story of Gordon Hirabayashi, the American son of Japanese immigrants who defied judicial injustice to uphold the ideals and values on which America was founded during a time of fear and rage. Hold These Truths presents an America reeling from the 1941 attack on Pearl Harbor, and, driven by prejudice, placing its own citizens of Japanese ancestry in internment camps. Arena Stage. 1101 6th St. SW. To April 8 $81–$111. (202) 488-3300. arenastage.org.

John When a young Brooklyn couple Elias and Jenny escape on a getaway to a cozy bed-and-breakfast in Gettysburg, Pennsylvania, a ghost seems to haunt their troubled relationship. This hyperreal transfixing work from playwright Annie Baker makes its D.C. debut. Signature Theatre. 4200 Campbell Ave., Arlington. To April 29 $40–$80. (703) 820-9771. sigtheatre.org.

32 march 30, 2018 washingtoncitypaper.com

YO LA TENGO

How do you brave a time of turmoil? Yo La Tengo, one of indie rock’s most beloved elder statesbands, provide some tentative, characteristically obscure guidance with their new album There’s a Riot Going On. In 1971, Sly & the Family Stone famously utilized the same phrase for their album to describe the societal and racial unrest of the time. A similar discontent persists but Ira Kaplan, Georgia Hubley, and James McNew don’t so much rage against the current state of ugliness as they provide a sprawling user's guide for enduring. The band’s mood here is tranquil and narcotic, world-weariness infused throughout the record's more than 60 minutes. What the world needs now is anyone’s guess but it surely involves both bomb throwers and some shelter from the storm. With There’s a Riot Going On, Yo La Tengo have created the perfect means of insulating oneself from the bile that continues to rain down. If you find comfort in meandering krautrock grooves, this show at 9:30 Club is an ideal place to seek refuge. Yo La Tengo perform at 7 p.m. at 9:30 Club, 815 V St. NW. $35. (202) 265-0930. 930.com.

—Matt Siblo

CITY LIGHTS: THURSDAY

RAVYN lENAE

To paraphrase Prince, there’s an entire generation of Chicago artists who have purified themselves in the waters of Lake Michigan. One such Chicagoan is 19-year-old R&B singer Ravyn Lenae, who first made waves by bringing a bit of Baduizm to songs by Mick Jenkins, Noname, and Saba, rappers inspired more by the Lyricist Lounge than the trap house (and part of the same scene that spawned Chance the Rapper). Lenae’s breathy falsetto soon took center stage, and while her acrobatic birdsong was a delicate complement to the woozy, wobbly beats of 2017’s Midnight Moonlight EP, it’s even better on this February’s Crush. The EP was produced entirely

by Steve Lacy, a fellow teenage up-and-comer and member of Odd Future offshoot The Internet, and it’s an all-killer, no-filler collection of sultry and soulful love songs. It’s almost maddening that a 19-year-old could come up with such a stunning showcase. There must be something in the water. Ravyn Lenae performs at 8 p.m at Songbyrd Music House, 2477 18th St. NW. $18–$20.

(202) 450-2917. songbyrddc.com.

—Chris Kelly

Jones, a married couple in a modest suburban neighborhood, who no longer attend to each other’s needs.

Soon, Karla becomes entranced with the hired help, and a ride full of drama and laughs ensues. Lincoln Theatre. 1215 U St. NW. To March 31 $55–$70. (202) 888-0050. thelincolndc.com.

lovElEss After the disappearance of their son, an estranged couple going through a rough divorce must team up to find him. Starring Maryana Spivak, Aleksey Rozin, and Matvey Novikov. (See washingtoncitypaper.com for venue information)

thE WintEr’s talE Aaron Posner directs this classic William Shakespeare play about jealousy, prophecy, and redemption in Sicilia and Bohemia. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To April 22 $35–$79. (202) 544-7077. folger.edu.

midnight sun Bella Thorne is Katie, a teenage girl who struggles with a condition that prevents her from going out into the sunlight. Co-starring Patrick Schwarzenegger and Rob Riggle. (See washingtoncitypaper.com for venue information)

thE Wiz This Tony-winning musical, famed for its soul-pop reimagining of the classic novel and movieThe Wizard of Oz, comes to Ford’s Theatre. Ford’s Theatre. 511 10th St. NW. To May 12 $27–$71. (202) 3474833. fords.org.

Film

acrimony Taraji P. Henson stars as a scorned wife seeking revenge on her unfaithful husband. Co-starring Lyriq Bent and Crystle Stewart. (See washingtoncitypaper.com for venue information) islE of dogs A young Japanese boy goes on a perilous, epic journey in search of his lost dog. Starring Koyu Rankin, Bryan Cranston, and Edward Norton. (See washingtoncitypaper.com for venue information)

Pacific rim uPrising John Boyega stars as Jake Pentecost, who must lead a new group of Jaeger pilots to defeat a formidable Kaiju threat. Co-starring Scott Eastwood and Rinko Kikuchi. (See washingtoncitypaper.com for venue information)

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PROvEIt!

rEady PlayEr onE Participants in a virtual reality world must find a digital Easter Egg left by the world’s creator to gain a fortune. Starring Tye Sheridan, Olivia Cooke, and Ben Mendelsohn. (See washingtoncitypaper.com for venue information) shErlock gnomEs Two garden gnomes recruit famous detective Sherlock Gnomes to look into the disappearances of their fellow garden ornament friends and family. Starring Emily Blunt, Mary J. Blige, and Kelly Asbury. (See washingtoncitypaper.com for venue information)

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TWO RIVERS PUBLIC CHARTER SCHOOL NOTICE OF INTENT TO Adult . . . . . . . . . . . . . . . . . . . . . . . 42 Livelinks - Chat Lines.

ENTER A SOLE SOURCE Flirt, chat and date! Talk CONTRACT, Auto/Wheels/Boat . . . . . . Teacher . . . . . 42 to sexy real singles in Residency Buy, Call Sell, Trade . . Two . . . Rivers . . . . .Public . . . . Char . . . . your area. now!

(844) 359-5773 Marketplace . . . . ter .enter . .School . into . . . aintends . sole . . . source . .to42 Community . . . . . contract . . . . . . with . . . Urban . . . . 42 Teacher Center. For furEmployment . . . . ther . . . information . . . . . . . . about . . 42 Invitation for Bid Food Service Managethe sole source contract, Health/Mind . . . . . . . . . . . . . . . . . . . . ment Services please contact procureIngenuity Prep Body &Public Spirit . . . . ment@tworiverspcs.org . . . . . . . . . . . . . 42 Charter School

by Friday April 6, 2018.

Contents:

Housing/Rentals . . . . . . . . . . . . . 42

Ingenuity Prep PCS Legal Notices . . . MAYA . . . . .ANGELOU . . . . . . . .PUB42 is advertising the opLIC CHARTER SCHOOL portunity to bid on the Row .

REQUESTS Music/Music . . . . . . .FOR . . . PRO . . 42 delivery of breakfast, POSALS . . . . . . . . . . GED . . . .Tutoring . . . . . Services . . . . 42 lunch,Pets snack .and/or CACFP supper meals to Real Estate . . . . . . . . . . . . . . . . . . 42 children enrolled at the The intent of this schoolShared for the 2018Housing . solicitation . . . . . . . .is . to . . procure . . 42 2019 school year with a fixed hourly rate pricing Services . . . . . . to . .provide . . . . . tutoring . . . . . . ser42 possible extension .of . (4) one year renewals. vices to support student completion of General All meals must meet at Education Development a minimum, but are not (GED) at MAPCS Young restricted to, the USDA Adult Learning Center.

National School Breakfast, Lunch, Afterschool All bid proposals will be Snack and At Risk accepted until 12:00 Supper meal pattern PM on April 6, 2018. requirements.

Interested vendors will respond to the adverAdditional specifications tised Notice of RFP via outlined in the Invitation upload to: https://app. for Bid (IFB) such as; smartsheet.com/b/form/ student data, days of 0858a3ca327a4064a808 service, meal quality, b970d79fe8fc etc. may be obtained beginning on March Complete RFP details 23, 2018 from Xavier can be found at www.

Barnes at bids@ingeseeforever.org/requestnuityprep.org or (703) forproposals.

401-2952.

D.C. BILINGUAL PUBProposals will be LIC CHARTER SCHOOL accepted at bids@ingeNOTICE: FOR REQUEST nuityprep.org on April FOR PROPOSAL 14, 2018, not later than D.C. Bilingual Public May 6, 2018.

Charter School in accordance with section All bids not addressing 2204(c) of the District of all areas as outlined Columbia School Reform in the IFB will not be Act of 1995 solicits considered. proposals for vendors to provide the following services for SY17.18: · Moving Services (via

Search classifieds at washingtoncitypaper.com

Riggs Road)

Adult Phone

Entertainment Proposal Submission

Livelinks - Chat Lines. Flirt, chat A Portable Document and date! Talk to sexy real singles Format (pdf) election in your area. Call now! (844) version of your proposal 359-5773 must be received by the school no laterLegals than 4:00 p.m. EST on Friday, 20, 2018.

NOTICE April IS HEREBY GIVEN Proposals should be THAT: emailed to bids@dcbilinTRAVISA OUTSOURCING, INC. (DISTRICT OF COLUMBIA DEgual.org PARTMENT OF CONSUMER No phone call submisAND or REGULATORY AFFAIRS sion late responses FILE NUMBER 271941) HAS please.

Interviews, DISSOLVED EFFECTIVE NOVEMsamples, demonstraBER 27, 2017 AND HAS FILED tions willOFbeDISSOLUTION scheduled OF ARTICLES at our request after the DOMESTIC FOR-PROFIT CORreview the THE proposals PORATIONofWITH DISTRICT only.

OF COLUMBIA CORPORATIONS DIVISION FB for Meal Services AOne CLAIM AGAINST School IFB forTRAVISA meal OUTSOURCING, INC. aMUST services.

To obtain INCLUDE THE NAME OF THE copy of the full IFB, DISSOLVED CORPORATION, please website: INCLUDE visit THE our NAME OF THE www.centercitypcs.org.

CLAIMANT, INCLUDE A SUMMAFull guideRY OFIFB THEcontains FACTS SUPPORTING lines for submission, THE CLAIM, AND BE MAILED TO 1600 INTERNATIONAL DRIVE, applicable qualifications SUITEdeadlines.

600, MCLEAN, VA 22102 and Contact Person: ALL CLAIMS WILLamorBE BARRED Alysia Morgan UNLESS A PROCEEDING TO gan@centercitypcs.org ENFORCE THE CLAIM IS COMMENCED WITH IN 3 YEARS OF Intent to Award PUBLICATION OF THIS aNOTICE Sole Source WITH Contract IN ACCORDANCE SECTION School 29-312.07Leader OF THE DevelopDISTRICT OF ment COLUMBIA ORGANIZATIONS ACT. Washington Leadership Academy Two Rivers PCS intends is soliciting to award sole project source proposals to a provide mancontract to School agement services for a small conLeader project.

Lab for struction Forschool a copy of the RFP, please email procurement@ leadership development. tworiverspcs.org.

Deadline or for For more information submissions December Nata6, 2017. to submit,iscontact lie Gould at ngould@ wlapcs.org.

For full Notice of Intent to Award Sole Source Contract, please visit: www.wlapcs.org/bids SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 FEP 000037 Date of Death July 23, 2016 Name of Decedent,

34 march 30, 2018 washingtoncitypaper.com

Francis X. Hartman, Legals Notice of Appointment of Foreign Personal RepDC SCHOLARS PCS REQUEST resentative and Notice FOR PROPOSALS – Moduto Creditors Michael lar Contractor Services - DC F. Hartman, Scholars Public whose Charter School address is 1587 solicits proposals for Hugo a modular Circle, Wheaton, MD contractor to provide professional 20906 was and appointed management construction services to Representative construct a modular Personal building house four classrooms of the to estate of Francis and Hartman one faculty deceased, offi ce suite. The X. Request for Proposals (RFP) by the Orphans’ Court specifi cations can be obtained on for Montgomery County, and after Monday, November 27, Statefrom of Emily Maryland, 2017 Stone via comon August 16, 2016. munityschools@dcscholars.org.

Service of process All questions should be may sent in be made uponNoWilliam writing by e-mail. phone calls regarding RFPSouth will be acWallace,this 1334 cepted.

BidsAvenue, must be received Carolina SE, by 5:00 PM on Thursday, December Washington, DC 20003 14, 2017 designation at DC Scholarsas Public whose Charter School, ATTN: Sharonda District of Columbia Mann, 5601 E. Capitol St. SE, agent hasDC been filed Washington, 20019.

Any bids with the Register not addressing all areasofas outWills, D.C. decedent lined in the RFPThe specifi cations will owned the following not be considered.

District of Columbia property: 5119 45th Apartments for Rent Street, NW, Washington, DC 20016. The decedent owned District of Columbia personal property.

Claims against the decedent may be presented to the undersigned and filed with the Register of Wills for the District of Columbia, 515 5th Street, N.W., 3rd Floor, Must see! Spacious Washington, D.C. semi-fur20001 nished BA from basement within 16 BR/1 months apt, Deanwood, $1200.

Sep. enthe date of first publicatrance, W/D, kitchtion ofW/W thiscarpet, notice. en, fireplace near Blue Line/X9/ Date of first publication: V2/V4. Shawnn 240-343-7173.

3/15/2018 Name of Newspaper Rooms for Rent and/or periodical: Washington City Two Paper/ Holiday SpecialfurDaily Washington nished rooms for shortLaw or long Reporter term rental ($900 and $800 per Name of Person month) with accessRepto W/D, WiFi, Kitchen, and Den. F. Utiliresentative: Michael ties included. Best N.E. location Hartman along H St. Corridor.

Call Eddie TRUE TEST copy 202-744-9811 for info. or visit Anne Meister www.TheCurryEstate.com Register of Wills Pub Dates: Mar, 15, 22, 29

SUPERIOR COURT Construction/Labor OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 ADM 000224 Name of Decedent, Gyozo GABOR, Name and address of NOW Attorney POWER DESIGN HIRJ.ING Michael Springmann, ELECTRICAL APPRENTICESYuma OF ALL 4619 St.SKILL NW, LEVELS! Washington, DC 20016.

Notice of Appointment, about the Notice toposition…

Creditors and Do youtolove working with Notice Unknown your hands? Are you interHeirs, Kon- and ested Etelka in construction trohr, whoseanaddress in becoming electrician? is Then 3850 39th St. NW, the electrical apprentice APt B98,could Washington, position be perfect for DC 20016-2828 was you!

Electrical apprentices are able to Personal earn a paycheck appointed and full benefi ts while learnRepresentative of the ing theoftrade through firstestate Gyozo Gabor hand experience. who died on October

12, 2017, without a Will what we’re looking for… and will serve without Motivated D.C. residents who Court Supervision.

All want to learn the electrical unknown heirs and heirs trade and have a high school whose areas diplomawherabouts or GED as well reliable transportation. unknown shall enter their appearance in this a little bit aboutObjections us… proceeding. is one of the toPower suchDesign appointment top electrical contractors in shall be filed with the the U.S., committed to our Register Wills, values, to of training andD.C., to giv515 N.W., ing 5th back Street, to the communities 3rd Floor, in which weWashington, live and work.

D.C. 20001, on or bemore9/22/2018. details… fore Claims Visit powerdesigninc.us/ against the decedent careers or email careers@ shall be presented to powerdesigninc.us! the undersigned with a copy to the Register of Wills or to the Register of WillsFinancial with a copy to Services the undersigned, on or Denied Work or to be Rebefore Credit??

9/22/2018, pair Your Credit Report With The forever barred.

Persons Trusted Leader in Credit believed to be heirs Repair. or Call Lexington Law decedent for a FREE legatees of the credit report who do notsummary receive&acredit repair consultation. 855-620copy of this notice by at 9426. John C. Heath, Attorney mail within days ofLaw Law, PLLC, dba25Lexington its publication shall so Firm. inform the Register of Wills, including name, Home Services address and relationship.

Dish TeleDate Network-Satellite of first publication: vision Services. Now Over 190 3/22/2018 channels for ONLY $49.99/mo!

Name of Newspaper HBO-FREE for one year, FREE and/or periodical: WashInstallation, FREE Streaming, ington City Paper/WashFREE HD. Add Internet for $14.95 Law Reporter aington month. 1-800-373-6508

Name of Person Representative: Auctions Etelka Kontrohr TRUE TEST copy Anne Meister Register of Wills Pub Dates: Mar. 22, 29, Apr. 5.

D.C. Hebrew Language Charter, Inc. d/b/a Sela Public Charter School (hereinafter Whole Foods Commissary Auction “Sela” or “Sela PCS”) is DC Metro Area soliciting proposals for Dec. 5 at 10:30AM the following contracted 1000s S/S Tables, Carts services: & Trays, 2016 Kettles up to 200 Gallons, Urschel The Board Directors Cutters & of Shredders inofcluding Sela PCS 2016is seeking Diversacut proposals execu2110 Dicer,from 6 Chill/Freeze tive search Cabs, Doublefirms Rackwith Ovens & Ranges, in (12) Braising experience non-profit Tables, charter 2016 (3+)school Stephan and/or VCMs, interested 30+ Scales, searches in Hobart 80 qt Mixers, partnering with and supComplete Machine Shop, porting the board in its and much more! View the search for the school’s catalog at next Head of School. or www.mdavisgroup.com 412-521-5751 The school must receive a PDF version of your proposal noGarage/Yard/ later than Rummage/Estate 5:00 P.M., Tuesday,Sales April 17, 2018.

Flea Market every Fri-Sat No telephone 10am-4pm.

5615 submisLandover Rd. sions or MD. late20784. responses Cheverly, Can buy willbulk. be Contact accepted.

Inin 202-355-2068 terviews, samples, and or 301-772-3341 for details or if intrested in being a vendor. demonstrations may be scheduled at our request only after the review of the proposals.

For more information, and to retrieve the entire RFP document, which outlines requirements, please e-mail sflora@selapcs.org.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2017 ADM 246 Name of Decedent, Ida Cammon Robinson, Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Beverley Wheeler, whose address is

3527 10th Street, NW, Miscellaneous Washington, DC 20019 was appointed Personal NEW COOPERATIVEofSHOP! Representative the estate of Ida Cammon FROM EGPYT THINGS Robinson (supervised AND BEYOND by the court), who 240-725-6025 died on February 6, www.thingsfromegypt.com 2017, with a Will. All thingsfromegypt@yahoo.com unknown heirs and heirs whose AFRICAN wherabouts are SOUTH BAZAAR Craft Cooperative unknown shall enter 202-341-0209 their appearance in this www.southafricanbazaarcraftcoo proceeding. Objections perative.com to such appointment southafricanba z a ar @hotmail. shall be filed with the com Register of Wills, D.C., 515 Street, N.W., WEST5th FARM WOODWORKS 3rd Floor, Washington, Custom Creative Furniture D.C. 20001, on or be202-316-3372 info@westfarmwoodworks.com fore 9/29/2018. Claims www.westfarmwoodworks.com against the decedent shall be presented to 7002 Carroll Avenuewith a the undersigned Takoma Park, MD 20912 copy to the Register of Mon-Sat 11am-7pm, Wills10am-6pm or to the Register Sun of Wills with a copy to theMotorcycles/Scooters undersigned, on or before 9/29/2018, or be forever barred.

Persons 2016 Suzuki TU250X for sale.

1200 miles.toCLEAN. Justorserbelieved be heirs viced. Comes with decedent bike cover legatees of the and Asking a$3000 whosaddlebags. do not receive Cash copyonly. of this notice by Call 202-417-1870 M-F between mail within 25 days of 6-9PM, or weekends. its publication shall so inform the Register of Bands/DJs for Hire Wills, including name, address and relationship.

Date of first publication: 3/29/2018 Name of Newspaper and/or periodical: Washington City Paper/The Daily Washington Law Reporter Get Witof It Person Productions: ProfesName Repsional sound andBeverley lighting availresentative: able for club, corporate, private, Wheeler weddingTEST receptions, holiday TRUE copy events and much more. Insured, Anne Meister competitive rates. Call (866) 531Register Wills 6612 Ext 1, of leave message for a Pub Dates: Mar. or 29, Apr. ten-minute call back, book on5, line12. at: agetwititproductions.com SUPERIOR COURT Announcements OF THE DISTRICT OF COLUMBIA Announcements - Hey, all you lovers ofDIVISION erotic and bizarre PROBATE romantic fi ction!

Visit www.

2018 ADM 000216 nightlightproductions.club Name of Decedent, Mi-and submit your storiesCarisetti, to me Happy chael Andrew Holidays! James K. West Notice of Appointment, wpermanentwink@aol.com Notice to Creditors and Notice to Unknown Heirs, Maria Carisetti, whose address is 3723 SW Durham Drive, Apt 304, Durham, NC 27707 was appointed Personal Representative of the estate of Michael Andrew Carisetti, who died on December 4, 2017, without a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., 3rd Floor, Washington, D.C. 20001, on or before 9/29/2018. Claims against the decedent

shall be presented to Events the undersigned with a copy to the Register of Christmas in the SilverRegister Spring Wills or to Saturday, 2, 2017to of Wills December with a copy Veteran’s Plaza the undersigned, on or 9:00 a.m. to 7:00 p.m. before 9/29/2018, or bein Come celebrate Christmas forever barred.

Persons the heart of Silver Spring at our believed to be heirs orPlaVendor Village on Veteran’s legatees of be the decedent za. There will shopping, arts whocrafts do not receive a with and for kids, pictures Santa, music entertainment copy of thisand notice by to spread holiday25 cheer andof more. mail within days Proceeds from theshall market its publication so will provide a “wish” toy for children inform the Register of in need. Join us at your one stop Wills, including name, shop for everything Christmas. address relationFor more and information, contact ship.

Futsum, Date of first publication: info@leadersinstitutemd.org or 3/29/2018 call 301-655-9679 Name of Newspaper and/or periodical:General Washington City Paper/WashLooking Law to Rent yard space for ington Reporter hunting Alexandria/ArlingName dogs. of Person ton, VA area only. Medium sized Representative: Maria dogs will be well-maintained in Carisetti temperature controled dog housTRUE TEST copyanimal care es. I have advanced Anne Meister experience and dogs will be rid Register Wills free of feces,offlies, urine and oder.

Dogs will be in aMar. ventilated Pub Dates: 29, kennel Apr. so they 5, 12.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, I a 40 Kevin, something callam anytime 415- 846female that 5268.

Price Neg.is looking for one roommate to move in May 2018.

I Counseling live a low key drug free lifestyle and I amTOlookMAKE THE CALL START ing for aCLEAN like-minded GETTING TODAY. Free 24/7 Helpline for alcohol roommate.Scoop on& drug addiction the spottreatment. Get help! It is time takeshare: your lifeLiving back! Call For ustoto Now: 855-732-4139 room, dining room, kitchen, Pregnant? washer/dryer, Considering Adopden, Call outside patio, tion? us first.deck, Living expenses, housing, medical, and continfront porch, backyard. ued support afterwards.

Choose For just you: Partially adoptive family of your choice. furnished large bedroom Call 24/7.

877-362-2401. with 2 large windows, Queen size bed, private bathroom, 40 inch flat screen TV (already mounted on the wall) Cost $1375 a month includes: Twice a month professional house cleaning (including bed linen changed), lawn service, internet TV (fire stick and sling) and Wifi and security system Add ‘l financial responsibilities: 1/3 of water, gas and ½ electric (your own electric thermostat).

Extra amenities at cost: Cable and off the street parking Contact me for photos and details NE DC room for rent. $700/mo. utils included.

Security deposit required Close to Metro and parking available.

Use of kitchen, very clean. Seeking Professional. $750/mo. Call 240-715-78742.

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Capitol Hill Living: Furnished room for rent in townhouse. Amenities include: W/D, WiFi, Kitchen use, and shared bathroom. All utilities included. Close to X2 Bus, Trolley, and Union Station subway. Cost $1100/month visit TheCurryEstate.com for more details or Call Eddie-202-744-9811.

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