Washington City Paper (May 3, 2019)

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ip of h s r e n e r’s ow t’s no tim e d y I n Dan S upon us. ate. P. 8 f o y r is ar ivers ball team se to celeb n n a ba 0th foot ig The 2 shington ndling fan e Rud i i n a a w W h d ep the am’s e

by St t s e n h o rati for t Illust g Soon n y l e

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NEWS: D.C.’S DEAD-END JOB TRAINING PROGRAMS 4 FOOD: COWORKING COMES TO D.C. RESTAURANTS 14 ARTS: PLAY YOUR INSTRUMENT AT 7DC 16

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INSIDE

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COVER STORY: REIGN OF ERROR

8

Dan Snyder bought Washington’s football team 20 years ago. The result: a team that loses again and again.

DISTRICT LINE 4 Loose Lips: Participants in a disastrous workforce development program still lack employment.

6 Housing Complex: Housing Authority dusts off a policy that disadvantages some lowincome renters with vouchers.

FOOD 14 The Working Lunch: With help from a new startup, restaurants can become coworking spaces.

ARTS 16 They Got the Beat: Inside practice studio 7DrumCity, a community hub for local musicians 18 Galleries: Tansill-Suddath on Coming of Age in Toxicity at the Museum of Contemporary American Teenagers 20 Curtain Calls: Ritzel on Round House Theatre’s Oslo and Yap on Constellation Theatre Company’s The White Snake 22 Short Subjects: Olszewski on Ask Dr. Ruth and Gittell on The White Crow

DARROW MONTGOMERY 1600 BLOCK OF PENNSYLVANIA AVE. NW, APRIL 24

CITY LIST 25 26 27 27

Music Dance Theater Film

DIVERSIONS 29 Savage Love 30 Classifieds 31 Crossword On the cover: Illustration by Stephanie Rudig, photograph by Keith Allison on flickr, used under the Creative Commons BY-SA 2.0 license

EDITORIAL

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

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DISTRICTLINE Training Wreck

Some participants in a D.C. workforce development program mopped floors rather than receive the training they signed up for. Many still don’t have jobs.

By Mitch Ryals Kyla ThursTon wanTed a better job.

The 39-year-old born and raised in Southeast D.C. was tired of working part-time at grocery stores and applying for food stamps to get by. But her felony record makes it difficult to find work.

Kimberly Hicks was trying to add to her resume. She already holds a commercial driver’s license and an equipment engineer operator license, but has had trouble getting enough experience to use the latter.

Both Thurston and Hicks looked to Mayor Muriel Bowser’s workforce development programs in the Depar tment of Employment Services (DOES). But instead of pathways to employment, they found mismanagement and dead ends. They told their stories publicly last week during an oversight hearing for DOES. Thurston graduated from two separate programs, Project Empowerment and L.E.A.P., short for Learn, Earn, Advance, and Prosper.

Both are designed to give them training and help them find permanent employment afterward. She is currently out of work, she tells LL. Hicks also enrolled in L.E.A.P. The members of her cohort were working toward mechanics’ certifications. But for the first eight months of the program, her class of 15 did not have an instructor, she testified at an oversight hearing last week. Instead of receiving training, Hicks says they were used as “cheap labor” in a government building: painting, mopping, and moving furniture.

When confronted with these stories about the cracks in workforce development programs during her own committee testimony, DOES Director Unique Morris-Hughes said that many people have been successful in L.E.A.P. and Project Empowerment.

“What we have to change is this narrative that you go to a DOES program, go to training, and then you’re placed in a job,” MorrisHughes said during her committee testimo4 may 3, 2019 washingtoncitypaper.com

Darrow Montgomery/File

LOOSE LIPS

ny. “That’s certainly not how the world of work works.”

Although D.C.’s unemployment rate is trending downward, it is still among the highest in the country (compared against states) at 5.6 percent, according to the Bureau of Labor Statistics. The highest rates of unemployment in D.C. are in Wards 7 and 8. Preliminary numbers from March of this year show a rate of 8.8 in Ward 7 and 11.5 in Ward 8. Those figures are down from 9.7 and 12.4, respectively, a year before.

At-Large Councilmember Elissa Silverman, who chairs the Committee on Labor and Workforce Development that oversees DOES, pushed back on Morris-Hughes’ sug-

gestion that Thurston and Hicks are outliers.

During the hearing, Silverman said that several more L.E.A.P. participants have contacted her office to raise concerns.

“How can our residents not be cynical if we say we’ll do something and then we don’t deliver on it?” Silverman says. “I’m in agreement with the Bowser administration on the concept, and I wish I could put money in to expand it. But I know we’re not delivering on what we promise.”

ThursTon enrolled in Project Empowerment in October 2017. The program includes life skills and job readiness courses and six months of subsidized employment. It targets individuals with barriers to employment, such

as a criminal record.

Project Empowerment placed Thurston at the First Source compliance office. There, she helped businesses comply with D.C.’s First Source law, which says beneficiaries of large public subsidies must hire District residents for newly created positions.

When the program ended, Thurston enrolled in L.E.A.P. She kept her subsidized position at First Source through April 17, 2019, when she was told there were no funds to hire her on a permanent basis.

She says her coworkers gave her a cake on her last day of work and her supervisor wondered what they would do without her.

Next, her case manager was supposed to help her find another job, but Thurston says “it was like a dog chasing his tail.”

“First they say ‘I got so many other clients, I apologize, I forgot,’” she says. “They put this facade on for you all to make it seem like it’s something very different.”

Still out of work, Thurston says she’s signed up for unemployment benefits and food stamps. She’s applied online for a few jobs, but so far has been unsuccessful, and she can’t afford to pay next month’s rent.

“This is just humiliating,” Thurston says. “I been through all of this for them to just throw you back out on the street with no help or nothing. I will keep my faith and God will work things out for me. But it’s humiliating sitting at home and having nothing to do.”

During the oversight hearing last week, Morris-Hughes declined to talk specifically about Thurston’s situation except to say that DOES staff attempted to connect with Thurston multiple times.

It took LL about 30 minutes to find a working phone number for Thurston, who picked up after the second ring.

“I’m trying not to go through a mental breakdown, but this is horrible,” she says.

“Why do they do people like this? They haven’t contacted me. If that was the case, you wouldn’t have been able to call me. I got the same phone number, same phone.” hicKs enrolled in L.E.A.P. in August 2018.

The program is designed to give participants on-the-job training within DOES or another District agency. Hicks’ cohort was assigned to the Department of Public Works (DPW), where she expected to earn a mechanic’s Automotive Service Excellence certification at the end of 12 months.

She, like Thurston, was led to believe there would be a permanent job at the end of the program.

“There’s no reason that I shouldn’t be a success story over at this program other than

the mismanagement that makes me believe it’s designed to fail,” she said in front of the oversight committee last week. “We are the fourth cohort at the automotive system over at L.E.A.P., at 1833 West Virginia Avenue, and it’s really no success stories.”

Hicks could not be reached for comment, but she testified that after doing odd jobs for the first eight months of the program, her cohort finally began training in early April. With only four months left, the instructor is trying to cram a year’s worth of material into that timeframe. In one day, Hicks says, the instructor tried to cover eight chapters’ worth of material.

“It’s very unfair to us,” Hicks said during the hearing.

Through a spokesperson, Morris-Hughes declined a phone interview, but during her committee testimony last week, she could not explain why Hicks’ cohort went without an instructor.

“My folks are looking into where there might be a disconnect,” she says. “But every intention was made from us. The MOU was signed, funding was there. I’m not sure what happened with that breakdown.”

A week after the hearing, a DOES spokesperson could not provide LL with an explanation, but did provide information on L.E.A.P. participant outcomes. In an email, a spokesperson writes that in 2016 and ’17 nearly 80 percent of residents were hired after successfully completing the program. DOES estimates the median annual income of those people to be about $30,000.

More recent data provided by the Council’s Committee on Labor and Workforce Development shows that only 71 percent percent of participants found work after completing the program, and 25 percent were not hired.

At the oversight hearing, Silverman also referenced statistics from a third workforce development program: the DC Infrastructure Academy (DCIA), which launched in March 2018 as part of Bowser’s efforts to create “pathways to the middle class.” The academy based in Ward 8 provides specialized training for high-paying infrastructure jobs.

Morris-Hughes testified that an estimated 500 DCIA participants completed training programs so far, though only 200, or 40 percent, found permanent jobs.

Silverman points to a list of participants who earned a commercial driver’s license through the program. Some found work as shuttle bus drivers or trash truck drivers, while others are working at Buffalo Wild Wings, at a hair salon, and as a nighttime food stocker at Giant.

Morris-Hughes believes literacy and numeracy challenges are possibly preventing some people from securing gainful employment. At the hearing she promised to provide the labor and workforce committee with information on where the 200 DCIA participants found permanent work.

“I think there’s always opportunities to improve, but now we have 200 Washingtonians that have unsubsidized employment that did not a year ago,” she says. “I think it’s a great place to start from. Obviously I’d love to have 100 percent.”

CP

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DISTRICTLINE

Vouch Surfing

Housing attorneys warn against a newly enforced DC Housing Authority policy, which they say prematurely cuts families off from rental assistance.

Housing attorneys and legal advocates for low-income renters continue to express unease about changes to the DC Housing Authority’s voucher program, a function of the agency that provides rental assistance to tens of thousands of clients.

They describe a newly revived effort to more strictly enforce a policy that allows the Authority to terminate families’ rental subsidies if they’re in possession of a transfer voucher but fail to use it within six months.

The Authority distributes transfer vouchers to some families who specifically request a new accommodation. But in other cases, families who live in properties that have failed multiple housing inspections are also given vouchers that allow them to transfer to a new housing unit. Even in these cases, when receipt of the new voucher is unsolicited, families risk losing their housing altogether if they can’t find a new unit on the private market within six months.

“We think that policy is likely illegal and in conflict with federal law,” says Beth Harrison, a housing attorney with the Legal Aid Society, and the director of the organization’s Eviction Defense Project. “We’ve been defending tenants who have faced that issue, and it’s a terrible policy.”

Harrison says that Legal Aid met with the former head of DCHA’s voucher program, Ron McCoy––an employee who worked at the agency for nearly two decades and resigned suddenly in March––to talk about “ways the agency could soften the policy and address [our] concerns.” (McCoy still worked at the agency at the time of their meeting.) After speaking with McCoy, Harrison says that Legal Aid was “hopeful” that the agency would consider modifying or rolling back the plan.

“Now I have no hope,” she says. “It’s a harsh across-the-board policy that doesn’t make a lot of sense to us.”

Esther Adetunji, a supervising attorney with Bread for the City, says the argument in favor of the policy change goes something like this: Some families or individuals hold onto a voucher for one, two, or three years without

HOUSING COMPLEX

6 may 3, 2019 washingtoncitypaper.com

using them. The Housing Authority loses that money, and is unable to obtain additional vouchers, because the funds lay dormant.

There are about 40,000 people on the agency’s waiting list for federal housing subsidies, so to get vouchers back online, DCHA needed to incentivize tenants to find new housing more quickly.

But in practice, Adetunji and Harrison both say that rampant source-of-income discrimination, though illegal in D.C., makes finding new housing units on the private market difficult. Exacerbating the financial and socioeconomic bias against some low-income renters is the lack of appropriately sized housing for families, some of whom need five or even seven bedrooms.

Adetunji says she has seen clients with adult children who “are leaving the household and saying, ‘to make it easier for you, Mom, I’m going to move to shelter so you can find a place big enough for your younger kids or grandkids.’ It’s breaking up homes and breaking up families.”

Other times, Harrison says, prospective landlords turn tenants down for housing because of poor credit history or an eviction record. Adetunji calls navigating the transfer voucher process for these families an “almost impossible situation.”

(Jennifer Berger, a manager and Legal Aid attorney at Legal Counsel for the Elderly, calls the policy “absolutely illogical and inconsistent with any knowledge base that’s been acquired about the affordable housing crisis in the District, and how hard it is to find affordable housing in the District. It should be common knowledge for the Housing Authority.”)

The federal department of Housing and Urban Development requires public housing authorities to give clients at least 60 days to find

a new accommodation. In an emailed statement to City Paper, a spokesperson for DCHA says that “very few families” need more than six months to find a new home, and that about 5 percent of the 10,000 vouchers issued since October of 2016 expired after six months.

(That’s about 500 families.)

The spokesperson continued, in part: “Washington, DC is one of the highest rental markets in the country and all of our customers are of modest means and many of them have large families. Nonetheless, hundreds of families in the DCHA program successfully relocate every year. [...] DCHA helps relocating families navigate the rental market and we often identify and advocate directly with the landlords on behalf of our customers; and DCHA provides ongoing consultation, beyond the 180 days, to help our customers find local

Darrow Montgomery/File

By Morgan Baskin

schools, grocery stores, pharmacies, medical facilities, etc. After approximately 120 days, DCHA amplifies its efforts with families and provides additional support to those who need additional help.”

While DCHA is obligated to send tenants a notice that they’re at risk of being terminated from the voucher program, Adetunji says that’s just “their narrative.” In prac-

tice, Bread for the City sees clients who say they’ve never received notices prior to program termination. Adetunji says that even families who go in person to the Authority’s office on North Capitol Street to request an extension are sometimes told by voucher staff to come back the day their vouchers expire, only to hear, at that point, that it’s too late to extend them.

The Authority’s voucher team has a mediation department where a small group of staff liaise between tenants and their landlords to settle disputes, like a landlord’s recommendation that DCHA terminate their tenant from the voucher program. The mediators also refer DCHA clients to organizations like Legal Counsel for the Elderly, Legal Aid, and Bread for the City, which see clients who have either received notices that they face voucher termination or have already been terminated from the program.

(Multiple sources at DCHA tell City Paper they fear that the mediation program is on the chopping block for the agency’s fiscal year 2020 budget, as part of a broader effort to redirect resources to the agency’s public housing budget.)

Berger tells City Paper that LCE alone assists and prevents program termination for about 100 seniors annually. She refers to it as “smart business” for the agency, whose general counsel would otherwise become tied up in landlord and tenant court cases.

Bread for the City’s advocacy director, Aja Taylor, says she worries these programmatic changes are in “service of [DCHA’s] development goals,” rather than an effort to keep families in their homes. “What I worry about is that they are essentially stockpiling vouchers, so they can project-base them and fund other projects.” The decision “feels like robbing Peter to pay Paul. It feels not smart,” she says.

She adds that, for families who do face termination and can’t find affordable housing on the private market, the policy amounts to “feeding people into the homeless services system. It’s not like there’s a plethora of naturally occurring affordable housing they can pick from.”

“In my view, I think it’s lost sight of its actual goal and mission, which is to help people remain and stay housed. It’s looking for an easy way out and being incredibly draconian in the application of regulations, and in some cases making up regs in order to eliminate certain people from programs and reduce people from the waitlist,” Adetunji says.

Berger questions the need for a change this dramatic. “Just because someone comes into DCHA two years ago doesn’t mean the history of what worked at the Housing Authority should be ignored in favor of changing things drastically,” she says. “They should not throw the baby out with the bathwater. Keep what works and tweak what doesn’t.”

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Tommy Orange in conversation with

Ron Charles

WEDNESDAY, MAY 8, 2019, 6 – 7:30 PM National Museum of the American Indian Free admission | First-come, first-served seating With his national bestselling novel There There, Tommy Orange asks readers to examine their assumptions about who Native Americans are and how and where they live.

Join us for an in-depth conversation about this critically acclaimed debut novel with The Washington Post book critic Ron Charles.

A brilliant new writer, Orange will talk about his craft, the writing process, and Native American history and culture. A book signing will follow.

Copies of There There will be available for purchase.

Smithsonian

National Museum of the American Indian

ABOUT THE SPEAKERS: Tommy Orange is a graduate of the MFA program at the Institute of American Indian Arts.

An enrolled member of the Cheyenne and Arapaho Tribes of Oklahoma, he was born and raised in Oakland, California.

Ron Charles writes about books for The Washington Post, where he also hosts the Totally Hip Video Book Review.

Photo: Elena Seibert

washingtoncitypaper.com may 3, 2019 7

Dan Snyder has spent 20 years proving he knows how to fire coaches and executives.

Winning, however, eludes him.

By Kelyn Soong

Dan SnyDer iS not going anywhere.

Saturday, May 25 will mark the 20th anniversary of Snyder officially becoming the owner of the local NFL franchise, and throughout the years, the 54-year-old has earned a reputation as a meddlesome, micromanaging sports owner who can’t get out of his own way.

His fickle leadership, questionable treatment of his loyal customers, and dysfunctional front office have driven away droves of fans. Washington has compiled a 139-180-1 regular season record and gone 2-5 in the playoffs under 8 may 3, 2019 washingtoncitypaper.com

Snyder’s ownership, and there are often thousands of empty seats—or a crush of the opposing team’s fans—at FedExField during game days. The announced attendance of 57,013 on Week 2 last season was the lowest home opener tally since the stadium debuted in 1997.

The franchise is on its eighth head coach and has cycled through a carousel of quarterbacks, executives, and staff members in two decades. Since former City Paper sportswriter Dave McKenna wrote “The Cranky Redskins Fan’s Guide to Dan Snyder” in 2010 detailing the owner’s many failures, Snyder has

Illustrations by Stephanie Rudig

only piled on more to the list. (Snyder sued City Paper and McKenna in 2011 for that story. He eventually dropped the lawsuit.)

The organization has made so many missteps under his leadership that it’s hard to keep track. Native American activists and sports fans have directed their ire toward Snyder for his steadfast commitment to keeping the team’s name, a dictionary-defined racial slur. Snyder said in 2013 he would “NEVER” change it. A team official anonymously told the Washington Post in 2017 that it fired its general manager because he had a drink-

ing problem. And more recently, the New York Times reported that the team’s cheerleaders participated in a topless photo shoot and “an uneasy night out” with male team sponsors.

Even when there’s a glimmer of hope, like during Year One of the Robert Griffin III era, or when the team hired respected executives like Scot McCloughan, the owner finds a way to end the honeymoon with his influence.

NFL owners rarely sell their teams. D.C. is stuck with Snyder. So as this 20th anniversary milestone approaches, let’s take a trip down memory lane. Trigger warnings ahead.

Snyder also let go of Charley Casserly, the team’s general manager from 1989 to 1999.

Washington went to four Super Bowls, winning three during Casserly’s 23-year career as the GM and assistant GM. Snyder replaced him with NFL scout and Kindergarten Ninja actor Vinny Cerrato.

2000 — Wanna watch practice? Pay up.

1999 — “I do not like vanilla.”

“I’m not focused on the money, I’m focused on the opportunity and the dream,” Snyder told reporters at his introductory press conference on May 25, 1999. “Hundreds of fans have written to me with their support and suggestions ... Your most pressing issue is no different than mine. You want to win, we want to win, and we’re going to deliver that.”

The “often bitter nine-month sale process,” as the Post’s Leonard Shapiro and Mark Maske described it, concluded with a unanimous 31-0 approval from NFL owners. Snyder purchased the team from the estate of the late Jack Kent Cooke for a cool $800 million—then a record amount paid for a U.S. sports franchise, and officially ended a quarter century of majority ownership by the Cooke family. Snyder, who grew up in Montgomery County, Maryland, called it “the most wonderful thing that’s ever happened to me.”

NFL owners effused praise for the then 34-year-old, who made his fortune through Snyder Communications Inc., a marketing firm he founded in the late 1980s with his sister.

“A unanimous vote doesn’t happen very often in this league. I have a bias for owners who are passionate and will put winning on the field above everything else,” New England Patriots owner Robert Kraft said.

Snyder didn’t wait long to shake things up— or reveal his personality.

He removed Cooke’s name from the team’s home and renamed it Redskins Stadium in July. Snyder then sold the naming rights to FedEx in November in a $205 million, 27-year deal.

According to author John Feinstein, when Snyder didn’t like defensive coordinator Mike Nolan’s play calling, he left a gallon of “31 Flavors ice cream” on his desk with a note: “This is what I like. Not vanilla.” Nolan told the Post Snyder later sent even more ice cream, “three five-gallon drums this time,” with another note: “I wasn’t joking. I do not like vanilla.”

Washington had just come off a 10-6 season in 1999, and the young sports owner, eager to assert his influence over his childhood NFL team, assembled a high-profile squad of veteran free agents Bruce Smith, Deion Sanders, and Mark Carrier to make a run at the Super Bowl. To do so, he gave the aging Sanders a hefty seven-year, $56 million contract.

Ever the businessman, Snyder moved the team’s training camp from Frostburg State University to Ashburn, Virginia, the team’s current headquarters, and became the first NFL owner to charge fans a fee ($10 to park, $10 for admission) to watch.

In one of his first, but certainly not last, instances of inserting himself in the team’s quarterback situation, Jeff George replaced Brad Johnson as starting quarterback, a decision that Johnson said was “made from up top.” Asked whether he meant Snyder, Johnson replied to the Post, “I think it’s obvious.”

Snyder’s team would finish 8-8 and fail to qualify for the playoffs. He fired coach Norv Turner after a Week 14 loss and replaced him with interim coach Terry Robiskie. The Post’s Liz Clarke wrote late in the season that it was “one of the most disappointing teams in NFL history.”

2001 — “Sports Jerk of the Year” To replace Turner, Snyder turned to Marty Schottenheimer, a longtime NFL coach with the Cleveland Browns and Kansas City Chiefs.

Washington started the season 0-5, but won eight of its last 11 games. Snyder fired him anyway—revealing an impatience that would be a trademark of his ownership.

Snyder’s troubles weren’t exclusive to his football team. In April of that year, the sports owner and Verizon Communications agreed to pay $3.1 million to Florida authorities to settle claims that they transferred customers’ services to another company without authorization—a practice known as “slamming.”

For this and other inglorious acts, the comic strip, “Tank McNamara,” named Snyder the “Sports Jerk of the Year.”

2002 — It’s all about control.

Snyder hired Steve Spurrier shortly after firing Schottenheimer. Despite never having coached in the NFL, Spurrier became one of the highest-paid in the league. The folksy college coach brought his aw’ shucks demeanor and pass-happy offense to D.C. from the University of Florida.

“Steve Spurrier will bring a supercharged, exciting and dynamic brand of football to our great fans,” Snyder wrote then in a state-

ment. “His ability to energize players and teams is unprecedented. The Redskins deserve to be back at the Super Bowl and I am immensely confident that Steve is the coach to get us there.”

Schottenheimer revealed at this time that he butted heads with Snyder because they could not agree on the process of selecting players for the team roster.

“The coaching change was not about Schottenheimer or Spurrier. It was about Snyder regaining control of his football team,” wrote the team’s former quarterback Joe Theismann in an ESPN column. “With Schottenheimer, Snyder realized he had no input. Now he has it again.”

In the first round of the draft that year, with the 32nd overall pick, the team selected quarterback Patrick Ramsey, who would become the fifth starting quarterback under Snyder.

2003 — “A lousy job” Working for Snyder isn’t easy. After just two seasons, and with three years left on his contract, Spurrier resigned at the end of the 2003 season with a 12-20 record and no postseason appearances. The team’s 5-11 record was its worst record since Turner’s 3-13 season in 1994.

More than a decade later, Spurrier would admit he did a “lousy job” in Washington, but didn’t let Snyder off the hook.

“I did a lousy job,” he told the Post in March.

“The GM did a lousy job. He happened to be the owner, so who needed to go?”

He added that he was upset that Snyder “picked the quarterback” in Ramsey and that he did not have full control over team personnel.

2004 — An attempt at former glory Fans began to sense a trend. The team that won three Super Bowls prior to Snyder’s ownership became a joke in the NFL. Early that year, WJFK-FM, then the team’s flagship radio station, split up the legendary trio of Frank Herzog, Sonny Jurgensen, and Sam Huff, and replaced Herzog with Larry Michael.

In a desperate attempt to get supporters back on his side, Snyder convinced Joe Gibbs, the coach who led the franchise to those three Super Bowl titles, to return. Then 63, Gibbs signed a five-year contract worth $28.5 million, which made him the NFL’s highest-paid coach. He had been out of the coaching game for more than a decade.

But while the team gained a Hall of Famer, it also traded away a future inductee in cornerback Champ Bailey, who was sent to the Denver Broncos for running back Clinton Portis.

The team also threw in a second round pick as part of the deal.

Washington fans still pined for the cornerback years later.

“Everywhere I go outside of Denver, the only thing I get: ‘I wish you were still with the Redskins.’ That’s all I get. Even in this city, there’s Redskins fans everywhere,” Bailey told Washington reporters in a conference call in 2009.

2005 — More flags, less fun Snyder earned some praise for nearly doubling the team’s revenue since he purchased the team (although part of that comes from, as Dave McKenna puts it in Deadspin, Snyder finding “so many forms of fan gouging.”)

The franchise had already been considered a profitable franchise, but the documents he filed with the Securities and Exchange Commission during his attempt to take over control of Six Flags amusement parks revealed that the franchise’s annual revenue increased from $162 million in 1999 to $300 million in 2004.

But Snyder’s reputation as a “business genius” was put to test with his ownership stake in Six Flags in late 2005. One of the company’s first moves under Snyder was to discard the beloved Six Flags mascot, “Mr. Six.” The campaign was later replaced by an unnamed Asian man shouting the tagline, “More Flags, More Fun,” in a thick accent.

The ad was panned as racist. Six Flags filed for bankruptcy in 2009.

“Snyder’s run atop Six Flags was a debacle from the start,” McKenna wrote in 2010 for Slate. “While his NFL squad’s bottom line only got blacker, Snyder’s schemes didn’t play so well at the playgrounds.” washingtoncitypaper.com may 3, 2019 9

been regarded as one of the worst contracts ever in the NFL. Haynesworth arrived at training camp his second season in poor physical condition, questioned his coaches, and would only play 20 games in two seasons with the team. In one infamous scene in 2010, Haynesworth laid on the ground for several seconds after falling on a play.

Zorn’s tenure in D.C. appeared to be reaching its end as well. Snyder quickly soured on the coach, and four games into the season, Washington hired longtime NFL assistant Sherman Lewis as an “offensive consultant.”

Lewis had not been on an NFL staff since 2004. He was a volunteer bingo caller at a senior center when the local NFL team called.

When asked, Cerrato told reporters he did not know if the consultant had been active in football during retirement.

Lewis would take over play calling duties a few games later.

Off the field, Snyder made news for suing season ticket holders who backed out of their contracts, including a 73-year-old grandmother, Pat Hill, who had been a season ticket holder since the 1960s. The team also banned the homemade posters fans were bringing to FedExField as they grew increasingly critical of Snyder and Cerrato.

This led to more outrage—and an eventual “Burgundy Revolution.” Fans became defiant and freely expressed their hatred of both Snyder and Cerrato in the forms of T-shirts, posters, and songs.

Years later, those same feelings would be directed toward Bruce Allen, whom Snyder hired as the team’s new general manager at the end of 2009 to replace Cerrato. Allen represented a connection to the team’s glory days.

His father, George Allen, coached Washington to its first Super Bowl appearance in 1972.

2006 — Kill the trees.

The Department of Interior’s inspector general issued a report illustrating that Snyder wanted native trees on the hillside between his Potomac mansion and the C&O Canal to be removed so he would have a better view of the Potomac River.

Ultimately, the report blamed a National Park Service official, P. Daniel Smith, for helping Snyder broker a deal to cut down the trees, estimated in media reports at over a hundred, on government protected land.

According to a Washington Monthly report in 2014, Smith and his NPS colleagues, including the C&O Canal’s new interim superintendent, Kevin Brandt, agreed to grant Snyder a special permit to clear the trees on the condition he replace them with 600 native saplings. But Montgomery County, Maryland, which also had authority over the land, did not give permission, nor did anyone commission an environmental assessment.

McKenna reported in 2018 that Snyder had not yet replanted the trees. Last year, President Donald Trump chose Smith, a former lobbyist with the National Rifle Association, to be the National Park Service’s deputy director.

2007 — The end of Gibbs 2.0 Gibbs’ arrival injected the franchise with some much needed stability, but tragedy struck in the coach’s fourth year with the team. On Nov. 26, an intruder shot Sean Taylor, a fan favorite and Pro Bowl safety, in his home. Taylor died a day later.

“This is the worst imaginable tragedy,” Snyder said in a statement. “Our thoughts and prayers are with Sean’s family.”

Washington finished the regular season on a four-game win streak and reached the playoffs, the second time during Gibbs’ return. But the years took a toll on Gibbs, who announced his retirement after the team lost to the Seattle Seahawks in the postseason wild card game, sending the team spiraling into years of everescalating madness.

The coach went 30-34 during his second stint with Washington.

2010 — Monday Night Massacre

2008 — Hip hip hooray?

Following the footsteps of a Hall of Fame coach is never easy, so it made sense that the team wanted to take time to make its next hire.

After Gibbs’ departure, the team fired defensive coordinator and presumed head coach-inwaiting Gregg Williams and offensive coordinator Al Saunders.

Greg Blache was promoted to lead the team’s defense and on Jan. 25 the team hired Seattle Seahawks’ quarterbacks coach Jim Zorn as its offensive coordinator. Former New York Giants coach Jim Fassel appeared set to become Washington’s next head coach—until he wasn’t.

According to Fassel, Cerrato talked Snyder into promoting Zorn. In a stunning move, Snyder did just that, elevating Zorn to head coach on Feb. 9 after considering

half a dozen candidates. “[Cerrato] convinced [Snyder] that ‘Well, Jim Zorn’s gonna get a head job in a year, why don’t we talk to him?’ Well then everything fell in place, he pushes Jim Zorn,” Fassel recounted to New York’s Sportstalk 1240. “Jim Zorn was no more ready for that job than the Man in the Moon.”

A feud with starting running back Clinton Portis, a favorite of Snyder’s, marked Zorn’s first season in Washington. Portis has mocked Zorn for his corny attempt to rally the team with a “Hip hip hooray!” cheer.

“What the hell we doing this for?” Portis recalled in 2018 on 106.7 The Fan’s Grant & Danny show. “What is that going to do for you?

10 may 3, 2019 washingtoncitypaper.com

Does that make you say, ‘Ahhh, I’m about to go jump through this window. Ahhh, I’m about to give it to them today.’ I’m like, what the? I’m grown. I don’t even play that kind of game with my child … That’s how the locker room got divided. Because those dudes that was doing it, as a grown man, you’re sitting up here talking about ‘hip, hip’ and throwing it up, like, are you kidding me?”

2009 — The bingo caller In a move that still makes fans’ skin crawl, Snyder signed defensive tackle Albert Haynesworth to a seven-year, $100-million deal, then one of the richest in the league’s history. It’s

On Week 10, Philadelphia Eagles quarterback Michael Vick decimated Washington with 413 total yards in a 59-28 victory. The team finished the season 4-12 and Snyder fired Zorn after he compiled a 12-20 record in two seasons in D.C. Not long after, Snyder found his new guy in Mike Shanahan during a booze-fueled episode with some of his closest advisers, according to sportswriter Mike Wise, who recounted the events in a 2011 Post column. Snyder drank glasses of Sassicaia, Wise said, and then “graduated to Crown Royal,” before finally saying, “Let’s go get Mike Shanahan.”

Shanahan, a Super Bowl-winning coach with the Denver Broncos, signed a five-year contract to become the executive vice president and head coach for the team.

Even with those hefty titles, Shanahan had trouble getting Snyder to keep his hands out of team personnel decisions. Washington traded a 2010 second-round draft pick plus a conditional third- or fourth-round pick in 2011 for an aging Donovan McNabb, a move that Shanahan later said, on ESPN 980, came from Snyder.

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washingtoncitypaper.com may 3, 2019 11

2011 — Quarterback carousel Consistency is key for a successful NFL franchise. Washington, under Snyder, is not known for stability.

On Week 7, Shanahan, Snyder’s seventh head coach, started journeyman John Beck, who replaced a struggling Rex Grossman to become the 13th quarterback to start for the team under Snyder.

Beck had not started a game since his rookie season in 2007 and Washington went on to lose, 33-20, with the quarterback throwing 22for-37 for 279 yards, one touchdown, and one interception.

Grossman replaced Beck a month later. Washington finished the season 5-11, the fourth straight season it placed last in the NFC East.

2012 — A shiny new toy It’s been well documented that Snyder likes to make big splashes during the off-season, and no player exemplified this more than Robert Griffin III, the dual-threat quarterback from Baylor University with Olympic-caliber speed and a social media-ready personality.

The team badly needed a quarterback and a jolt of energy for the fanbase, and so it traded its original first-round selection, the sixth overall pick, a second-round selection, and firstround selections in 2013 and 2014 to the St. Louis Rams in exchange for the second overall pick, which Washington used to get Griffin.

Shanahan, whom Griffin has since said “never wanted” him, also drafted quarterback

Kirk Cousins in the fourth round.

For one season, Griffin electrified the fan base and the NFL, carving up defenses on his way to becoming the league’s offensive rookie of the year. Washington won its final seven games en route to the playoffs, where Griffin badly injured his knee.

2013 — Not a mascot Opposition to the team’s name, a racial slur, began to grow louder, and efforts from activists who have protested the name and the team’s Native American mascot imagery for decades gained momentum.

In the midst of this heated debate, USA Today reporter Erik Brady interviewed Snyder as part of a story about his wife receiving an award from the American Cancer Society.

Would Snyder ever consider changing the team name, Brady asked.

“We will never change the name of the team,” Snyder replied. “As a lifelong Redskins fan, and I think that the Redskins fans understand the great tradition and what it’s all about and what it means, so we feel pretty fortunate to be just working on next season.”

Brady persisted, and asked if Snyder would consider a change if the team lost the ongoing federal trademark lawsuit.

“We’ll never change the name,” Snyder said.

“It’s that simple. NEVER—you can use caps.”

(In 2017, the Supreme Court ruled that a section of the federal law banning trademarks that may be considered disparaging violated the First Amendment. The Native American activists fighting the team over its trademark

registrations ceased their legal case shortly after the ruling.)

On the field, Griffin and the team failed to recapture the magic of the 2012 season and finished the year with a 3-13 record. Years later, Shanahan would say that Griffin mentioned specific plays that he would and would not run.

The coach, according to Sally Jenkins of the Post, believed Griffin’s words came “straight out of the owner’s mouth.”

2014 — “A culture of fear” After Shanahan’s scorched-earth exit, where he denied being the source of anonymous leaks, the Post published a deep-dive into Snyder’s dysfunctional leadership. Every head coach has left Snyder’s team with a losing record.

“What you find is there’s a culture of fear,” one anonymous former employee told reporter Rick Maese. “That seems to be [Snyder’s] approach. I wouldn’t say he has the ability to inspire, not much in the way of leadership skills… People are afraid to step out of the box.

Do his executives go out of the way to challenge him? I don’t think so. You heard a lot of, ‘This is what the corner office wants.’”

The report painted a picture of a meddling owner who brings trouble on himself. The words “moody,” “mercurial,” “unpredictable,” and “openly hostile” were used to describe him. Multiple staffers told the Post that they received bags of apples in lieu of a holiday bonus one year.

Not long after the Post article ran, Snyder hired Jay Gruden, the brother of Super Bowl-

winning coach Jon Gruden, as the eighth head coach under his ownership.

Later on during the season, fans took photos of expired beer from that summer’s World Cup, a flashback to 2006, when the team sold bags of peanuts from an airline that had been out of business for more than a year.

2015 — A (brief) new era In a move that fans hoped would finally signal a new era of responsible front-office leadership, Washington hired a well respected talent evaluator, Scot McCloughan, as its general manager.

McCloughan took over Allen’s duties in shaping the team’s personnel—at least that’s what Allen told reporters. McCloughan had found success with the San Francisco 49ers and Seattle Seahawks but also admitted to struggles with alcohol.

“Since I’ve been here, it has been nothing but…, ‘Let’s get better and find a way to win football games!’” McCloughan told the Post shortly after his hiring. “As a general manager, it is so nice to feel that and hear that. It has been awesome.”

The team would name Cousins as the starting quarterback, effectively ending the RGIII era in Washington.

2016 — Captain Kirk “A different vibe from Redskins owner Daniel Snyder,” a Washington Post headline declared in January 2016.

Maybe Snyder had learned from his mistakes. The team had just come off a 9-7 season with a playoff appearance. A young, promising coach in Gruden roamed the sidelines and an even younger football genius named Sean McVay served as the offensive coordinator. McCloughan was in charge of putting together the team. Now Snyder just had to resist the urge to interfere.

Cousins, whose inconsistent performance had split the fan base between supporters of him and Griffin, was on his way to setting several franchise records.

But the team finished a disappointing 8-7-1, and the seemingly solid foundation was cracking, even if fans didn’t know it at the time.

2017 — Throwing an employee under the bus McCloughan became the only GM that season to miss the NFL scouting combine. Rumors began to spread.

In early March, Allen announced that the team fired McCloughan a little more than two years into his four-year contract. Publicly, Allen and the team wished the executive well, but in a Post article about the firing, an anonymous official attributed the decision to McCloughan’s drinking problems.

“He’s had multiple relapses due to alcohol,” the official said. “He showed up in the locker room drunk on multiple occasions. … This has been a disaster for 18 months.”

Players in the report said they did not see

12 may 3, 2019 washingtoncitypaper.com

anything from McCloughan that would compromise his job performance. Media members and fans ripped how the team handled the situation.

“If this really was the issue, you don’t send him out the door by smearing his reputation or pointing the finger at him,” said ESPN’s Michael Smith. “This is why this team will never prosper … That is not the way you treat an employee.”

2018 — Tell the truth. Get fired.

Time and time again, Allen incorrectly pronounced his starting quarterback’s name.

In video interviews, Allen referred to Kirk Cousins with what sounded like “Kurt.” To some, it showed a lack of respect for the player who set several passing records for the franchise. Washington appeared reluctant to give the quarterback a long-term deal.

Cousins’ status with the team proved to be one of the biggest questions in the off-season. He eventually signed with the Minnesota Vikings for a fully guaranteed three-year, $84 million deal. The team replaced him with Alex Smith.

A few months later, some of the team’s cheerleaders told the New York Times about a topless photo shoot and uncomfortable night out in Costa Rica in 2013 that included being “personal escorts at a nightclub” for some of the team’s sponsors. Cheerleaders told the Times that “their participation did not involve sex,” but described the arrangement as “pimping us out.” The team responded in a statement that each cheerleader “is contractually protected to ensure a safe and constructive environment.”

That May, Snyder, in another apparent effort to appease fans and quiet discontent, hired Brian Lafemina as the team’s president of business operations and chief operating officer. He came with years of experience in the NFL and managing programs focused on fan experience.

It offered a small glimmer of hope. One of the Lafemina’s first moves was to eliminate the season ticket waitlist that the team had boasted about for decades, asserting it sold out home games dating back half a century.

“I’m a pretty simple person,” Lafemina told The Post that September. “If you have something to sell, I think the best way to sell it is to tell them it’s for sale. To me, it was no more

complicated than that.”

Snyder parted ways with Lafemina and the executives he brought in less than eight months later. The team, according to the Post, had been “dissatisfied with the early returns on his efforts to boost flagging season-ticket sales and game-day revenue.”

2019 — Superyacht With McCloughan and Lafemina gone, Allen’s position within the team’s hierarchy has been strengthened, even as fans call for his firing.

Speaking at the Senior Bowl, Allen made a rare media appearance and explained why he believes he’s the right person to lead the team.

“I share [the fans’] passion for this franchise,” he said. “I share their passion for the things that we can accomplish … We’re going to get this whole organization believing in it.”

Around the same time, the Guardian reported that Snyder had bought a $100 million, 305-foot superyacht, the Lady S, outfitted with the world’s “first floating private Imax movie theater,” which cost an additional $3 million.

Presidential candidate Elizabeth Warren recently called out Snyder for the purchase.

“I’m pretty sure he can pay my new #UltraMillionaireTax to help the millions of yachtless Americans struggling with student loan debt,” she tweeted.

Prior to last month’s NFL Draft, a report leaked that Snyder would once again have a hand in who the team drafted. Washington would end up with former Bullis School star Dwayne Haskins Jr., the player Snyder reportedly wanted, with the No. 15 overall pick, and complete a draft that pundits have deemed “excellent.”

But as history has proven, the bigger the hope, the greater the disappointment. Snyder has shown little ability to change. And while he is loathed as one of the worst owners in sports, he can count on at least one fan in high places: Donald Trump.

“The owner is a—he’s really a good guy,” the president told Larry O’Connor of WMAL. “He’s been a supporter, and he’s done a very good job.”

Trump must be watching a different team.

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Leonard Shapiro contributed to this report. washingtoncitypaper.com may 3, 2019 13

Wannaret Tangtaeng

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Laos in Town is now open in NoMa serving traditional Lao cuisine paired with cocktails at 250 K St. NE. Start with papaya salad before moving on to a dill-laced soup called orb.

The Working Lunch

A local startup is transforming D.C. restaurants into coworking spaces. Both teleworkers and restaurateurs stand to benefit.

What if you could whip out your laptop at a restaurant and fire off some emails without fielding dirty looks that make you feel like you’re breaking with decorum? An innovative new startup whose app launched Wednesday is transforming D.C. restaurants into coworking spaces during their off-peak hours. WorkChew offers an alternative to coffee shops, libraries, and places like WeWork and Cove.

Here’s how it works. Washingtonians can choose between a day pass or two monthly membership plans. One allows you to WorkChew in restaurants concentrated in one neighborhood while the other, an all-access pass, lets you WorkChew at all participating locations. WorkChew is a noun and a verb, like Uber.

Fourteen D.C. restaurants have signed on so far: HalfSmoke, RedRocks on H Street NE, Bareburger, Homestead, The Ministry, Osteria Morini, MXDC, Pitango Gelato on Columbia Road NW, Kaliwa, Casolare, Cork Wine Bar and Market, Matchbox on 14th Street NW, Shaw’s Tavern, and Fare Well. Across the river in Northern Virginia, Cheesetique in the Mosaic District, Colada Shop in Sterling, and Red’s Table in Reston are also WorkChew locations.

Members open the app and reserve a dedicated space at a WorkChew restaurant, which guarantees them an outlet and access to highspeed internet. Most restaurants keep WorkChew hours between 11 a.m. and 5 p.m. during the workweek, though there are some exceptions, like Casolare. Because the Italian eatery is inside a hotel that offers breakfast, its WorkChew hours are 7 a.m. to 3 p.m.

Each participating restaurant offers WorkChew members a deal. At Kaliwa it’s 15 percent off all food; Casolare takes 10 percent off the whole check; and Cork Wine Bar offers happy hour pricing. “We let the restaurant decide what they want to offer members, understanding that as we get more locations, it’s going to become more competitive as far

YOUNG & HUNGRY

as where people decide to go,” explains WorkChew CEO Maisha Burt.

Burt’s background is in big data, corporate strategy, finance, and investment banking. She has worked at commercial and investment banks as well as for the federal government as a contractor. She teamed up with co-founders Paul Dahm and Allyson McDougal to

tacts in the D.C. restaurant scene. He leveraged these connections to help WorkChew with its initial outreach.

McDougal, the COO, was the third to sign on. She was building a company that would aid startups when she saw an ad for WorkChew on Instagram and joined. She had already made a habit out of working out of Junction Bak-

ket to find the sweet spot for pricing. Dahm says the Windy City is responding well to WorkChew, giving them forward momentum.

The trio is aiming to expand beyond these two cities. “There’s almost no place this wouldn’t work,” Dahm says, explaining that all WorkChew requires is a city with a decent dining scene and a diverse economy with a varied workAllyson McDougal, Maisha Burt, and Paul Dahm

Darrow Montgomery

By Laura Hayes

launch the startup.

Dahm, the chief relationship officer, was previously the executive director of Brainfood.

The nonprofit, which no longer operates, engaged teens by teaching them cooking and life skills and helped them find employment in kitchens. Local chefs often served as guest instructors and fundraiser participants, which helped Dahm develop a close network of con-

14 may 3, 2019 washingtoncitypaper.com

ery & Bistro in Alexandria. “I reached out and said, ‘I’d love to come on board and help you guys scale,’” she says. “Over time it transformed into me coming fully onto the team.”

After a quiet roll out in D.C. that began in June 2018, WorkChew was accepted into the Chicago-based startup accelerator The Food Foundry. Through the program, the team profiled potential customers and tested the mar-

force. “It’s super scalable, especially because it’s capital-light. We’re not building buildings.”

They’re optimistic about securing investment and going national because they believe WorkChew solves two problems simultaneously. First, it provides the ballooning sector of teleworkers, self-employed entrepreneurs, and other professionals who work remotely with a fresh option that’s dependable and

competitively priced.

“The future of work is changing,” Burt says.

“More companies are comfortable with the telework aspect.” According to Gallup’s 2017 “State of the American Workplace” report, 43 percent of American employees work remotely in some capacity. That’s up from 39 percent in 2012. These figures do not include self-employed professionals.

In the D.C. area, 32 percent of non self-employed workers worked from home or coworking spaces in 2016 “at least occasionally,” according to the Metropolitan Washington Council of Governments’ most recent “State of the Commute” survey. Those working remotely aren’t just stereotyped millennials carving paths in emerging industries. According to several reports, the federal government is still the single largest telework employer.

“Those people want to get out of the house,” Burt continues. “They’re sick of working from home where there are distractions. The only place they know to go right now are coffee shops. They’re packed all of the time. We want to fill that gap and also say that you have an alternative to a full-blown coworking space where you’re paying $300 a month.”

WeWork’s “hot desk” prices in D.C. start at $350 per month. A “hot desk” means you choose a new spot every visit in a shared common area. Over at Cove, an unlimited access plan for a hot desk set-up costs $229 per month; AdvantEdge Workspaces charges $229; MakeOffices asks for $400; Spaces NoMa will run you $350; and Locale comes in at $159.

Comparatively, WorkChew’s neighborhood pass is $24.99 per month and its all access pass costs $49.99. You can also buy a day pass for $14.99. “We think all people should have access to a workspace that’s predictable and flexible without a hefty price tag,” McDougal says.

While some coworking spaces are high on aesthetic and come with amenities like printing and private phone booths, WorkChew argues its members get to work out of restaurants, which already aim to be inviting and attractive.

WorkChew seeks a symbiotic relationship with its restaurant partners. The second problem the company hopes to address is slow daytime business that can contribute to the financial strain restaurants face in increasingly oversaturated, hyper-competitive markets like D.C. “It really is a partnership,” Dahm says. “Nobody is taking advantage of anybody. We’re solving a problem on both ends. There are not enough places to work and restaurants are getting squeezed. Real estate costs are crazy, margins are crazy. If we can boost their revenues by a little bit each month, we give them a little more runway.”

More butts in seats creates the appearance of a popular restaurant, which often begets more business. “A lot of our restaurant folks, the first thing they’ve said is, ‘Can I put your people in the front window?’” Dahm continues. “They understand that people are followers. If a place looks busy, it’ll get busier.”

WorkChew also tries to nurture a community among its members with message boards

and networking events. “When you’re that mobile worker and you don’t have the profession that keeps you in your office from 9 to 5, you miss the catered lunches, snacks, and camaraderie with colleagues,” McDougal explains. The founders say they’re going to plan happy hours and other evening events at WorkChew restaurants, further driving diners in their direction.

“While I’ve never been an at-home worker, I think being able to have a network of places with delicious food that are welcoming to you coming in to do some work and use their internet sounds much more appealing to me than the alternative where the TV beckons,” says Kaliwa General Manager Nikki Gulick.

WorkChew is a good fit for Kaliwa because business at The Wharf is often dictated by concerts and the weather. The Asian restaurant has plenty of availability during its WorkChew hours of 11:30 a.m. to 4:30 p.m. “We guide guests to the bar and chef ’s counter because there’s an outlet at every seat,” Gulick says. “It’s easier to serve those guests without being intrusive, too. If you’re at a table, someone will come every 15 minutes asking, ‘Are You OK?’” “There’s a time in the middle part of the day where guests need somewhere to go and we have the space,” says Casolare General Manager Christopher Van Jura. “It’s a no-brainer.” He expects to see a bump in revenue but not necessarily from WorkChew members during the hours they’re clacking away on keyboards. “In all likelihood, they’re going to come back to whatever restaurant they’re utilizing and they’re going to have dinner or happy hour. It’s not about the ‘now’ money.”

Cork Wine Bar and Market Co-owner Diane Gross is banking on the same thing. “It’s always great if you can explore other ways of bringing people in that don’t know about your place,” she says. WorkChew members might peruse the dinner menu or spot the new patio and come back with friends or family in the evening. Mostly, though, she’s interested in spreading the word that Cork is open for lunch. “This is at a minimal cost, if any really, and probably more of a benefit,” Gross says.

“It seems advantageous all around.”

There is of course the concern that WorkChew members won’t spend money because they’re not obligated to. “But that hasn’t been the experience so far,” Gross says. “By and large, people are respectful of these situations.”

“We’re trying to build that culture,” Burt says. “In our messaging, when people become members, we reach back out and say we’ve built WorkChew to not only help you guys, but the restaurants as well. Although you’re not required to buy anything, please do spend because you’re helping local restaurants stay open, which helps the local economy.” WorkChew offers spending reward points to further coax members into ordering.

“There’s a reason why ‘chew’ is in the name,” Dahm points out. “We want to appeal to people who like restaurants. If all you care about is coffee and a danish, maybe you’re not the ideal member. We want people who want to come to cool places and eat good food.” CP

RHIANNON GIDDENS & MEMBERS OF THE

BALTIMORE SYMPHONY ORCHESTRA

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CPARTS

An anxious arts community discussed concerns about the DC Commission on the Arts and Humanities. washingtoncitypaper.com/arts

They Got the Beat

In a city strapped for musician rehearsal spaces, 7DrumCity has emerged as not just a practice studio, but a cultural hub and pipeline into the local music scene.

By Sriram Gopal

Miles Ryan

Last month, Mayor Muriel Bowser’s office finally released its long-gestating Cultural Plan for D.C. The first of its kind, the 224-page document offers an assessment of the local creative economy by quantifying its fiscal impact, laying out the challenges it faces, and offering recommendations on how to address these challenges. The Plan devotes an entire chapter to enhancing cultural spaces, which range from large national museums to pop-up venues where artists can gather and engage with each other and/or the public.

But when it comes to cultural spaces, the lack of proper rehearsal space is one of the biggest challenges facing musicians in the District.

For the past two years, 7DrumCity, located in a conspicuously painted, converted row house at 1506 North Capitol Street has served as one of the few affordable rehearsal spaces in the city— offering quality services and equipment for aspiring musicians in the area.

Dig a little deeper, though, and it becomes clear that 7DrumCity—7DC to its regulars— is more than a practice studio; it’s a community hub and conduit for those looking to get involved in the local music scene, embodying the very notion of a cultural space.

7DrumCity began its life as 7 Drum Lessons, which was located at 8th and U streets NW in a building owned by I.M.P. “We’ve got some of the 9:30 magic in the bones of this place,” says drummer and 7DC owner Miles Ryan, who used the same contractor that renovated the storied nightclub to build out both the previous and current locations of his business.

While the vision for 7DrumCity has evolved over time, Ryan’s core drive is to provide a creative outlet for people living in a city that often fetishizes overwork and leaves little time for simple hobbies. Drumming, as he explains it, holds a special place in music and nearly all cultures, so it presents an effective vehicle to achieve this goal. Just listen to a go-go recording or go to Malcolm X Park on a Sunday afternoon to see what a unifying force rhythm plays in the local community. “[7DrumCity] is allowing people to lead balanced lives 16 may 3, 2019 washingtoncitypaper.com

Darrow Montgomery

MUSIC

through music,” he says. “The growth of this place is a testament to the need that already existed.”

Ryan began teaching drums out of his own home in 2011, built up a sizable clientele, and opened 7 Drum Lessons in 2013.

Its current home on North Capitol Street opened in February 2017, with a day-long festival featuring nearly two dozen bands.

Isabelle De Leon, who plays drums in Prinze George, Paperwhite, and Lionize, served as 7DC’s marketing director during the transition and worked with Ryan to organize the festival and re-brand the business. Part of Ryan’s goal, she notes, was to create a space of inclusion and diversity. During her time as 7DC’s marketing director, a role she has since left, 40 percent of the students were women.

“Having people like that and spaces like this, it makes you feel more comfortable,” says De Leon, who still teaches at 7DrumCity. “When you’re more comfortable, it’s setting you

up for success.”

The building currently has nine soundproofed rooms of varying size with the larger spaces used primarily for band rehearsals and the smaller rooms used for individual practice and private lessons. 7DC provides at least one drumset in each room (two in those where lessons are held), as well as amplification and accessories, like cables and cords, for bands to use. A separate carriage house out back is home to Rock’n Repair, an instrument repair shop that keeps all the gear in working order.

Ben Tufts, who has been teaching in the area for 20 years and plays drums for Uptown Boys Choir, Bobby Thompson, and Fuzzqueen, believes the quality of the facility and gear is one of several keys to 7DrumCity’s success.

“There tends to be a tragedy of the commons in most teaching and rehearsal studios,” Tufts says. “It doesn’t do the lesson justice when you’ve got to work with a practice pad kit in-

CPARTS stead of a drum set.”

Tufts was the first teacher Ryan hired and is one of 15 parttime instructors who offer lessons in drums, guitar, voice, and piano. In order to maximize effective pairings, each office manager on staff takes one lesson with every teacher to get a handle on differing styles. Ryan trusts his instincts when it comes to partnering with instructors, but also has two basic requirements: The teachers must be active performers and have had formal lessons at some point to ensure familiarity with the pedagogy. Though several teachers have music degrees, it’s not one of Ryan’s requirements.

“I don’t have a music degree or a business degree,” he says.

“That sort of plays into the culture a little bit because I want it to be a warm, inclusive space, and that includes the teachers too.”

Ryan captains the ship, but 7DC’s leadership also includes an enrollment manager, property manager, and financial advisor. At times, Ryan has also called on close family and friends for their advice as the company has grown.

“A good business has to have its branding, its messaging, and its marketing in order, but for an appointment-based business, you have to create a vibe,” Tufts says. “Miles has done it.”

According to Ryan, approximately 70 percent of 7 Drum City’s students are adults who live in or near the District, which differs from instructional studios in the suburbs that tend to focus on teaching children. The next step was developing a way to get students from the practice room to the stage, which Ryan did in 2016 by acquiring Flashband.

Started by Neal Humphrey in 2011, Flashband provides a

process for musicians to find collaborators. Participants first come together for a meet-and-greet jam session where they find like-minded musicians. After a month, all of the bands that are formed come together for a showcase. With Flashband, Ryan not only had a facility where bands could rehearse and students could learn, but also one that could take in a novice and provide a path for someone who is not musical to being in a band on stage.

“It’s a factory for performing musicians,” De Leon says. “It’s an easy gateway into the music community if you’re starting from scratch and have no idea how to get into the scene or how to play a show. That’s a unique thing to offer.”

John Nolt and Jenny Thomas are two-thirds of the local pop-punk outfit Ménage À Garage. They came together at a Flashband event in 2015.

“I saw this guy with a melodica, which was a pretty unusual instrument to bring to a Flashband,” Thomas says of her first encounter with Nolt.

The two joined up with a drummer who was also at the meetup, and soon found themselves playing at a showcase celebrating Flashband’s third anniversary. Based on that performance, they received an invite to perform at Velvet Lounge. Four years later, and with a different drummer, Ménage À Garage still perform regularly around town and received Wammie nominations—D.C.’ annual local music awards—for Best Punk Album and Best Punk Artist/Group. The trio continues to rehearse weekly at 7DrumCity.

“It’s like going to your favorite bookstore,” Nolt says of practicing at 7DC. “You want it to be there because you enjoy it, so

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we’re going to keep giving [7DrumCity] our money.”

In addition to producing the Flashband events, 7DrumCity engages with the broader music community by sponsoring open mics and performances at Sauf Haus, Boundary Stone, The Ugly Mug, and Songbyrd, while also presenting a series that Tufts curates of one- and two-person acts at the nearby The Pub & The People.

7DC opens its doors once per month for its free “potluck jams,” where people can gather and play with fellow attendees. For bands further along in their development, Ryan has the goal of hosting two showcase events per year, with the last one being held at Union Stage.

7DrumCity is already in the next phase of its expansion to accommodate all this activity by leasing the building next door and adding an additional five lesson/rehearsal studios. Scheduled to open in late spring or early summer, with an accompanying festival in June, the new facility includes a 60 to 70 person capacity performance venue with a beer and wine bar, soundbooth, and lighting by the same person who designed the systems for The Pie Shop, Rock & Roll Hotel, and DC9. In addition to performances, Ryan plans to use the space for group lessons and workshops.

While a new venue is always welcome, it’s 7DrumCity’s intangible qualities that continue to draw people through its doors.

As Tufts puts it, “At a lot of the places I’ve taught at, when somebody says the name of the store, it makes me think of the physical location. When someone says 7DC or 7DrumCity to me, what I hear is a world; it’s a place, it’s a concept, it’s a philosophy.”

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GALLERIES

The Toxicity Avengers

Peter Williamson

How a group of Bethesda teens turned vicious sexism in their school into a thought-provoking examination of coming-of-age in an era of toxicity.

An exhibit from Coming of Age in Toxicity at the Museum of the Contemporary American Teenager

By Callie Tansill-Suddath Lee schwartz dIdn’t anticipate that her final months of high school would be quite so chaotic. A senior at Bethesda-Chevy Chase High School, Schwartz prepared for the normal student stress that accompanies the end of high school: play rehearsals, college decisions, and final exams.

But then, The List: a collection of names of female students, created by a male classmate, along with a ranking based on their appearance. Word got out to the school administration, and then the world outside of school.

Soon, stories of The List appeared in the Washington Post, Jezebel, and even on Good Morning America. The resulting media storm was far

beyond what anyone, especially Schwartz, expected.

But, long before The List was created, the “dark underbelly of teenage life,” as fellow B-CC senior Pria Dahiya puts it, was on the minds of many students. April was declared “Toxicity Month” by the school in an effort to bring light to the harmful aspects of American culture that affect teens on a daily basis.

But a group of students wanted to examine this further.

Schwartz, Dahiya, and Néa Ranganathan, another senior, are among a group of upperclassmen that worked on a project for much of the school year. After a month of different events throughout April, the group presented their magnum opus last weekend at

18 may 3, 2019 washingtoncitypaper.com

the second annual Museum of Contemporary American Teenagers (MOCAT) in Bethesda.

The immersive, interactive pop-up exhibit explored the concept of cultural toxicity, and its effect on Generation Z. In an extensIve project proposal, the students liken cultural toxicity to a noxious substance “that result(s) in the risk of death, disease, injury, defect,” or, more commonly, “... as decreased growth or corrosive behavioral change.” The idea that teens are subjected to life-altering social norms before they can legally drink alcohol is alarming but not unsubstantiated: In March, The Journal of Abnormal Psychology published a report that revealed symptoms of major depression increased by

more than 50 percent between the mid-2000s and 2017 in two separate age groups: both 12 to 17 and 18 to 25 years. The National Survey of Drug Use and Health attributes the increase to more abstract forces like social media, rather than substance abuse. Among teens, the rates of substance abuse are actually down in that same time period.

The month-long series of projects began on April 4 with an event called “The ABCs of Modern Masculinity: Raising boys without lowering expectations”—this was Schwartz’s primary focus. It featured student performances before a showing of the 2018 documentary Roll Red Roll at the nearby Avalon Theatre in Northwest D.C. The film follows a highly publicized rape case that took place in Steubenville, Ohio in 2012. Following the screening, Schwartz organized a panel with speakers from a number of local survivors’ advocacy organizations, moderated by Post investigative reporter Jenn Abelson.

On April 6, Dahiya organized an event called CATillion at President Lincoln’s Cottage. It was a performance piece of sorts that tackled issues of consent and etiquette through a series of songs and monologues performed by Dahiya as a character named “Miss Stepps.” Throughout, Dahiya relayed advice less about pulling out chairs for your date, and more about the limits of what a “No Means No” attitude looks like.

But the final event was by far the group’s most ambitious: The interactive MOCAT popup followed the model of an escape room that lead participants on a journey of self-discovery.

“When you enter the museum… you will be [arranged] in groups, and you will be given a translucent backpack that represents your privilege,” said Ranganathan, one of the exhibition’s primary organizers.

David Lopilato, a social studies teacher at B-CC who helped guide the projects, explained further: “This is based on a little history. In 1988, Peggy McIntosh wrote an article called ‘The Invisible Knapsack.’ It talks about how people of privilege walk around with a kind of ‘backpack’ and have no idea what privileges they have. So, that’s what people are going to get when they walk into our museum: a clear backpack. It has two meanings. It is an homage to Peggy McIntosh, and is because all these high schools now have to carry around clear backpacks.”

In the wake of the mass shooting that killed 17 students at Marjory Stoneman Douglas

GALLERIES year, Thomas W. Pyle Middle School was the setting of a widespread sexting scandal. The most noticeable difference between then and now has little to do with the actions, but the re-

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High School in Parkland, Florida last year, many high schools across the country, announced that students would be issued clear backpacks as a security measure.

Throughout the museum, visitors would land on different squares similar to a game board.

They were asked a question about teen life, or had to debate with someone from a different demographic on a topic that has to do with toxicity. If they proved successful, they won points. If they weren’t, they lost points. If they had a privilege card available, it could be used to bypass the encounter. At the end of the museum, visitors saw how much toxicity they gained, depending on reactions to certain situations or what cards they were dealt.

The power of teenagers is not An exhibit from Coming of Age in Toxicity lost on Lopilato. He knows better than anyone how much actions: In 2010, there was no Access Hollywood time and effort went into this project. After all, tape; no Creepy Uncle Joe meme.

And Coming of Age in Toxicity, as well as the none of these students who organized Coming of Age in Toxicity and its adjacent events re- two related events, are all about taking action, ceived grades or credit for their involvement not a reaction. The students were working on with MOCAT; it was purely a passion project. the projects well before The List incident came “I am invigorated by what these students to light, but revelation gave their work a more have to offer and the power of their voice,” urgent purpose.

“It feels more relevant,” Dahiya explained, Lopilato said. “That being said, they don’t albut she knows The List is far from an isolated inways realize they have a voice.”

He believes teens are often reduced to one- cident. “This has been going on for awhile. We all know about it, we all know about the culture.” dimensional figures.

Ranganathan added: “We could have just “Anyone weaned on John Hughes movies from the ’80s expects high school students to focused on the guys; we could have been like only care about sex, drugs, and rock ’n’ roll. ‘Let’s punish them. Let’s keep doing this, let’s No one expects high school students to care as keep it internal.’ But when it became external much as they do about social issues or be as ar- we realized this is not about us anymore. This ticulate as they are about social issues. When is about all these things connecting and makyou see them five days a week, you quickly re- ing everyone aware.”

At the end of the day, this ambitious group alize how off those assumptions are. That’s why all the forms of toxicity they are surround- of students realizes they won’t change everyone’s minds. Moreover, they know that, if chaled by are so particularly agitating.”

The List was not the first time something lenged, conflicting points of view won’t be silike this happened among teens in Bethesda. lenced. But what these students really want is In 2010, a similar incident took place where- simple: “This is what we’re thinking,” Dahiya in a group of boys from the private Landon said. “This is what we’re feeling. This is how School created a “fantasy sex draft” that was we’re going to express it. Look at this; hear us; exposed by the New York Times. That same try to understand us.”

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THEATERCURTAIN CALLS

GIVE PEACE A CHANCE Oslo

By J.T. Rogers Directed by Ryan Rilette At the Lansburgh Theatre to May 19 recent stAte DepArtment figures show fewer than 9,000 aspiring U.S. embassy workers took the foreign service exam last year, down from a peak of more than 22,000 in 2009.

As evidence this might be a problem, one could use common sense. Or go see the outstanding bureaucratic potboiler play Oslo, which suggests that empowering smart, passionate mid-level diplomats is the world’s only hope for peace.

J.T. Rogers’ drama about Norwegian diplomats who worked behind the scenes to broker the 1993 Oslo peace accords, which aimed to resolve the conflict between Israel and Palestine, won the best new play Tony Award and received six additional nominations in 2017. The play has subsequently been staged in London, Tel Aviv, and across the United States. Round House Theatre won what was likely a bidding war to stage the D.C. premiere, and this production deserves a Nobel Prize of its own.

Now is the time to invest your time and ticket money in Round House, not only because the company has done such outstanding work in recent years, but because its Bethesda facility is closed for renovations, and this season’s final two plays are conveniently on stage at the Lansburgh Theatre on 7th Street NW. Round House artistic director Ryan Rilette directed Oslo, and made the genius move to pitch every performance in a justslightly exaggerated manner, from the caretakers of the rural Norwegian estate hosting the secret summits (Kimberly Gilbert and Todd Scofield), to the suited sunglass-wearing Israeli fearful he’ll be recognized at an Oslo hotel.

“Because, as you know, every mid-level Israeli diplomat is a rock star in Norway,” Mona Juul (Erin Weaver) huffs sarcastically, speaking in direct address to the audience. Weaver stars as the Norwegian diplomat, now working at the United Nations, who serves as both the play’s narrator and its emotional center. It’s a tricky dichotomy to pull off, but she excels at it with help from her onstage husband, Terje Rød-Larsen (Cody Nickell).

They’re the only characters not played with the aforementioned touch of stereotyping.

Yes, Rød-Larsen has typically great taste in Scandinavian footwear (“I adore your shoes,” purrs Israeli foreign minister Shimon Peres (Conrad Feininger), when he makes his Act II

entrance), and always folds his pocket square, but he’s presented as a relatable person rather than a character, an earnest international relations specialist using his position at a think tank—and his brilliant, beautiful wife—to convince Israelis and Palestinians with bruised egos (and dead relatives) that they should pursue peace after 50 years of violence.

There are only three women onstage in Oslo, compared to 12 men. Given that several actors play multiple characters, the ratio feels more like 20 to 5. Thus the drama falls into the genre of Men in Suits Plays, a category that includes Camp David, a diplomatic snooze fest Arena Stage presented in 2014, and Stuff Happens, David Hare’s sprawling 2004 epic about closeddoor meetings leading up to the second Iraq war.

Oslo is superior for many reasons. The playwright gets a healthy assist from this cast, Rilette, and Misha Kachman’s minimalist, efficient, and evocative sets—so mid-century modern!—but Rogers made the timely, pivotal choice to make Mona his axis. Every dude onstage is in awe of her, to some degree. If she has to tango with an Israeli womanizer to push this deal through, she will, but she’ll keep her suit pants on. Rogers holds such obvious affection for both his characters and his audience, and he never forgets that his goal is to distill a

complicated story for a theater full of people.

Even for those who were oblivious school kids when all this went down in 1993 (like me!) or for those who went into the theater skeptical about celebrating a 26-year-old peace accord in fucked-up 2019 (also me).

Despair and hope coexist in Oslo. If that was possible between Israelis and Palestinians 26 years ago in Norway, maybe it’s still possible in Washington today. —Rebecca J. Ritzel 450 7th St. NW. (240) 644-1100. roundhousetheatre.org.

20 may 3, 2019 washingtoncitypaper.com

SNAKE CHARMER

notices Xu Xian (the coolly charismatic Jacob Yeh), a humble, sincere man who carries a red umbrella. White Snake makes the sky rain, which gives her an excuse to get to know him.

Days go by. White Snake and Xu Xian are The White Snake married and open a pharmacy with seed monBy Mary Zimmerman ey that Green Snake steals from the magisDirected by Allison Arkell Stockman trate’s office—the dough had been obtained by At Source to May 26 extortion and corruption anyway. This pharA supernAturAl tAle of true love thwart- macy prospers on magical powers. Its potions ed by malevolence, the appealing new pro- are mysteriously curative, and word of miraduction of The White Snake that completes cles wrought reaches far and wide. But love has Constellation Theatre Company’s season at enemies. And Xu Xian doesn’t know who or Source is an artistic twist on one of China’s what his new wife actually is.

So, the villainous monk Fa Hai (an unnervFour Great Folktales. The healing power of acceptance of one’s real nature, previously hid- ing Ryan Sellers) tells him and shows him how den from the other out of fear, in a romantic re- to make White Snake reveal herself.

It does not go well. lationship is at the heart of Tony winner Mary To save Xu Xian’s life, a heartbroken White Zimmerman’s 2012 adaptation of the popular Snake undertakes a dangerous journey to the legend traceable back to 981 CE. The deep themes of the play contrast with dark Kunlun Forest, where mean girl Crane lighter tones of contemporary dramedy in Spirit sneers: “You come all this way, fly all this presentation. A gorgeous spectacle that this distance, risk your life—and for what? respects Eastern culture, it succeeds at enter- You think your beloved husband would do the taining an audience, but takes away from mak- same for you if he could see you as you really ing one feel the connection and pain inherent are? No mortal can see you in your true form in the doomed pair on stage. And yet we art and not be repulsed. You think he’d go to the ends of the earth for you? He wouldn’t go to lovers want so badly to feel. the end of the street!”

All along, the emotion of Doubt (Linda The White Snake Bard, with compelling wordlessness) has physically hectored Xu Xian, even climbing on his shoulders to weigh heavily on him. But when Xu Xian sees how much White Snake loves him despite being a spirit, his doubt evaporates. These two believe, at last—for as long as this tragic legend will let them.

A duo named Dong Xi—Chinese dulcimer musician Chao Tian and world percussionist Tom Teasley provides the evening’s accompaniment. In every performance, they will improvise live music, an ongoing musical dialogue that envelops the play’s action in joyful warmth. Despite the distraction of what seems like a nonstop mist machine, the Constellation production looks fabulous, thanks to luscious costumes from Frank Labovitz, a parade of inventive props from Alexander Rothschild, evocative set design from Daniel Ettinger, and stunningly intricate choreograThe heroine of this story is White Snake phy by Jennifer J. Hopkins.

At the helm is Allison Arkell Stockman, (Eunice Bae, translucently talented), a learned snake spirit who transforms herself into a love- the founding artistic director of Constellaly young woman named Bai Suzhen to see tion Theatre and the experienced director our mortal world—just for a day, of course. of 28 Constellation productions. Her version Her comically blunt-talking sidekick, Green of The White Snake works as a series of theSnake (the scene-stealing Momo Nakamura), atrical wonders, interspersed with Zimmerbecomes her loyal maid, Greenie. The two man’s truths that take a whole story to tell, friends come down from a lonely mountain- from beauty in the beginning to meaning at —Diana Michele Yap top to the city of Hangzhou, one of the seven the end. ancient capitals of China.

In Hangzhou, on scenic West Lake at the 1835 14th St. NW. $19–$45. (202) 204-7741.

Broken Bridge, White Snake—in lady form— constellationtheatre.org.

Vir Das Tosca In love and war, what will you stand for?

Photo by Elise Bakketun

Saturday, May 18 at 7 p.m.

Eisenhower Theater Vir Das has cemented himself as one of the biggest Bollywood stars in India, and now is one the fastest rising actor/comedians in America. He is the first Indian comedian to have a stand-up special on Netflix, which resulted in a multi-special deal with the platform.

Kennedy-Center.org (202) 467-4600

Comedy at the Kennedy Center Presenting Sponsor

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

May 11–25 | Opera House Music by Giacomo Puccini Libretto by Luigi Illica and Giuseppe Giacosa Sung in Italian with Projected English Titles.

Casting available at Kennedy-Center.org/wno

Kennedy-Center.org

Groups call (202) 416-8400

Major support for WNO and Tosca is provided by Jacqueline Badger Mars.

David M. Rubenstein is the Presenting Underwriter of WNO.

Generous support for WNO Italian Opera is provided by Daniel and Gayle D’Aniello.

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

Unexpected Italy is presented in cooperation with the Embassy of Italy.

WNO's Presenting Sponsor

International programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

(202) 467-4600

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

washingtoncitypaper.com may 3, 2019 21

FILMSHORT SUBJECTS Ask Dr. Ruth

YOU CAN’T HANDLE THE RUTH Ask Dr. Ruth

Directed by Ryan White At the beginning of Ask Dr. Ruth, Ruth Westheimer is trying to talk to “Alexis.” She means, of course, “Alexa.” “Alexa, am I going to get a boyfriend?” The virtual assistant says she doesn’t have an answer. “Unplug her!”

Westheimer says. “If she doesn’t know that, what good is she?” She’s soothed, though, when Alexa gives her an accurate mini bio of herself. “She knows who I am!” Westheimer says. “I think I’m going to keep her.”

Ryan White’s breezy documentary is full of such charming moments thanks to its 4’7” Energizer Bunny star. Westheimer, long known as “America’s sex therapist,” is 90 years old and shows no signs of stopping. “There is no such thing as retiring for me,” she says.

Pierre, her “minister of communications”— think manager—knows she’s not about to slow down, meaning his own retirement plans have been put on hold. “Most people can’t keep up with Dr. Ruth,” he says.

Westheimer became a fixture of TV and radio in the 1980s and ’90s because of her frankness about sex and sexuality combined with a sweet, funny personality. She earned spots on Hollywood Squares and commercials and she also had a sitcom and a board game. She still teaches, gives interviews, and writes books—

and doesn’t shy away from words such as “clitoris” and “orgasm,” which may not be so novel these days except for the fact that they come out of the mouth of a little grandma.

Ask Dr. Ruth chronicles Westheimer’s meteoric, late-life climb from a German immigrant to pop-culture staple, but White visits the darkness that’s followed her, too. She survived the Holocaust because her parents sent her to an orphanage in Switzerland when she was 10; her mother, father, and grandmother weren’t so lucky. For years young Ruth—née Karola Siegel—didn’t know the fate of her parents. She only knew that their letters stopped coming. White uses animation to depict these flashbacks with voiceovers from Westheimer along with her visits to orphanage friends, including her first boyfriend. (“He was so handsome!” she says of this guy as well as future boos, including three husbands.)

White follows Westheimer as she goes to Holocaust museums and finally gets to look up her parents in a database of those who were murdered. She finds both of them; there’s a date and place of death for her father, but no information about her mother except that she’d been killed. This seems to weigh heavily on Westheimer, but there are no tears shed, with the therapist seeming to believe in not mourning the past along with, ironically, compartmentalization. Her daughter, Miriam, says that the only time she’s seen her mother cry is when her third husband, to whom she was married for over 40 years, died. Her son, Joel, says that work “is her survival mechanism.”

Despite the documentary’s focus on Westheimer’s tragic past, it’s largely a joy. “I want to show I can walk fast!” she says to the cameraperson after a chapter about how she nearly lost both her legs from a bombing when she

22 may 3, 2019 washingtoncitypaper.com

lived in Jerusalem. (Fun fact: She was a sniper for the Jewish underground army, but says she never had to shoot.) She frequently asks if people have eaten and, once, if someone has called their mother. Clearly, Westheimer dotes on everyone, not just her children and grandchildren, though they all get screen time here. She didn’t start her career until she was in her 40s and knows that the battle was hard-won. “From my background, all of the things that I’ve survived,” she says, “I have an obligation to live large and make a dent in this world.” —Tricia Olszewski Ask Dr. Ruth opens Friday at Landmark’s Bethesda Row Cinema.

DANCE, DANCE DISSOLUTION The White Crow

Directed by Ralph Fiennes in 1961, 23-year-old Russian ballet dancer Rudolf Nureyev became the first Soviet artist to defect from the Soviet Union to the West. With The White Crow, director Ralph Fiennes creates a tense, climactic sequence out of this crucial moment. It takes place at an airport in Paris, where Nureyev (Oleg Ivenko) has spent the last several weeks with his company. Just before he boards his plane to London for another run of performances, he is informed that he alone will be taken back to the Soviet

Union without his fellow dancers. On the spot, he makes the life-altering decision to defect, then waits in excruciating agony as French officials and his Soviet caretakers jostle over his fate. On one side is freedom, and on the other a likely lengthy imprisonment.

It’s the only standout scene in the film, which has a strong sense of place and purpose but lacks a firm grasp on its story. Nureyev is introduced to us as an arrogant young talent, who arrives for a series of performances in Paris ready for the spotlight. He relishes his time onstage—Ivenko, a Ukranian dancer and first-time actor, impressively captures the young star’s talent—but the real story happens after each performance, when Nureyev samples the Parisian nightlife with new friends including the wealthy widower Clara Saint (Adèle Exarchopoulos). They eat, drink, and visit risque cabaret shows, while his state-sponsored handlers grow increasingly worried about his dalliances with free society.

It’s an intriguing set-up, but Fiennes and his esteemed screenwriter David Hare fail to build on it. The White Crow doesn’t really have a beginning or a middle, just one long cycle that replays itself over and over again: Nureyev goes out after a performance, is chastised by the state, and then rebels against it in increasingly dangerous ways. Wash, rinse, repeat. There are powerful moments scattered throughout, like when he rails against a high-ranking Soviet official who is watching his rehearsal. He claims that the official doesn’t deserve to be there because he lacks talent—and Nureyev is such an arrogant character we almost take him at his word—but really it’s the encroaching influence of the state on his art that he finds so oppressive.

Watching The White Crow, you might be tempted to look for an argument about the relationship between art and state, but Fiennes doesn’t have much new to say on the subject.

In an early scene that acts as a framing device, his instructor Pushkin (played by Fiennes) tells an investigator inquiring about the motives behind Nureyev’s defection, “He knows nothing about politics. It’s about dance.” It should be a refreshing take on the Cold War, eschewing spy movie conventions and international intrigue for an attempt to glorify the art that somehow survived.

Except The White Crow isn’t about dance.

It’s about the character of Nureyev, who ultimately is not drawn well enough to warrant the attention. Interspersed throughout the main narrative are black-and-white flashbacks to his unstable childhood, but they do little to make up for the void at the film’s center. Ivenko is an adequate actor, but his take on Nureyev, as a petulant child rebelling against the paternal state, doesn’t leave much room for depth of character, and he loses his ability to emote when he speaks in broken English, which he does frequently. It’s a story with a hole at its center, a dance with plenty of feeling but not enough technique. —Noah Gittell The White Crow opens Friday at the Avalon Theatre.

washingtoncitypaper.com may 3, 2019 23

Merriweather Post Pavilion • Columbia, MD JUST ANNOUNCED!

LAUREN DAIGLE

w/ AHI .................................. SAT AUGUST 23

On Sale Friday, May 3 at 10am

THIS WEEKEND!

THIS WEEK’S SHOWS

MISSIO w/ Blackillac & Swells ................................................................. Th MAY 2 Delta Rae w/ Noah Guthrie Early Show! 6pm Doors ............................................ Sa 4 Higher Brothers w/ Don Krez Late Show! 10:30pm Doors ................................ Sa 4 Son Volt w/ Ian Noe ......................................................................................... Su 5 The Dandy Warhols w/ Cosmonauts & The Vacant Lots ............................... M 6 MAY

JUNE

Ex Hex w/ The Messthetics & Clear Channel ...........................F 10

Kevin Morby w/ Sam Cohen .....Sa 1 Local Natives

ALL GOOD PRESENTS

The Devil Makes Three w/ DiTrani Brothers ..................Sa 11 Bear’s Den w/ Vera Sola .........Su 12 Architects w/ Thy Art is Murder

& While She Sleeps ....................Tu 14 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Jim James (of My Morning Jacket) w/ Amo Amo

Two-Night Pass available .................Sa 18

STEEZ PROMO PRESENTS

The Floozies

Late Show! 10:30pm Doors ..............Sa 18

Superorganism w/ Simpson ..Tu 21 Chromatics w/ Desire • In Mirrors •

Tess Roby .....................................W 22

No Scrubs: ‘90s Dance Party

with DJs Will Eastman & Ozker, Visuals by Kylos .........................F 24 U STREET MUSIC HALL PRESENTS

CloZee w/ Bluetech & Choppy Oppy (live) .Sa 25 & FINAL NIGHT ADDED! FIRST TWO NIGHTS SOLD OUT! THIRD

Betty Who w/ Loote .................Th 30 The Distillers w/ Starcrawler ..F 31

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

w/ Middle Kids ....................M 3 & Tu 4 WPGC BIRTHDAY BASH FEATURING

Jacquees • Megan Thee Stallion • Summer Walker • Q Da Fool • Kiana Lede ........W 5 FRENSHIP w/ Glades ................Th 6 Dennis Lloyd ..............................F 7 Pink Sweat$ Early Show! 6pm Doors ......................Sa 8 Mixtape Pride Party with DJs Matt Bailer, Lemz, Keenan Orr, Tezrah Late Show! 10pm Doors .....................Sa 8

Ibeyi w/ Sudan Archives ..............Su 9 Monsieur Periné ....................M 10 The Lemonheads w/ Tommy Stinson ......................Th 13 Who’s Bad: The World’s #1

Michael Jackson Tribute Band Early Show! 6pm Doors ...................Sa 15

Priests w/ Mock Identity

Late Show! 10pm Doors ...................Sa 15

White Ford Bronco: DC’s All ‘90s Band .....................F 21 Alex Aiono w/ 4th Ave & Aja9 .Su 30

930.com

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

M3 ROCK FESTIVAL FEATURING

Whitesnake • Dokken with original members Don Dokken, George Lynch,

and Mick Brown • Extreme • Warrant • Skid Row and more! ..MAY 3-5 For a full lineup and more info, visit M3rockfest.com

Slayer w/ Lamb of God • Amon Amarth • Cannibal Corpse ................................... MAY 14 DC101 KERFUFFLE FEATURING

Greta Van Fleet • Young The Giant • The Revivalists • Tom Morello • SHAED • THE Blue Stones ................................................. MAY 19

Florence + The Machine * w/ Blood Orange ................................. JUNE 3 CAPITAL JAZZ FEST FEATURING

Gladys Knight • BabyFace • Gregory Porter • Kem and more! ..... JUNE 7-9 For a full lineup, visit capitaljazz.com.

Brandi Carlile w/ Lucius ........................................................................ JUNE 14 Willie Nelson & Family and Alison Krauss w/ Lukas Nelson (A Star is Born) ............................................................... JUNE 19 Jason Isbell and The 400 Unit & Father John Misty w/ Jade Bird ............................................................................................................ JUNE 21

Phish ........................................................................................................ JUNE 22 & 23 Pitbull .............................................................................................................. JULY 11 Thomas Rhett w/ Dustin Lynch • Russell Dickerson • Rhett Akins ............. JULY 18 Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot ..... JULY 19 CHRYSALIS AT MERRIWEATHER PARK

LORD HURON w/ Bully ....................................................................JULY 23 311 & Dirty Heads w/ The Interrupters • Dreamers • Bikini Trill .......... JULY 27 Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 Chris Stapleton * w/ Margo Price & The Marcus King Band ................ AUGUST 11 Heart* w/ Joan Jett and The Blackhearts & Elle King........................... AUGUST 13 The Smashing Pumpkins & Noel Gallagher’s High Flying Birds* w/ AFI ......... AUGUST 17 Beck & Cage the Elephant * w/ Spoon & Sunflower Bean . AUGUST 22 Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com *Presented by Live Nation

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

CRIMINAL PODCAST

- L I V E S H O W ................... SEPTEMBER 11

On Sale Friday, May 3 at 10am THIS SATURDAY!

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Hellogoodbye w/ Hala ..........Th MAY 2 The Dream Syndicate TR/ST w/ Lydia Ainsworth ................Su 5 w/ Stephen McCarthy .......................F 10 Mr Twin Sister w/ Sateen ...........Sa 11 9:30 CLUB & TRILLECTRO PRESENT Lucki w/ Swoosh God .....................Tu 7 The Twilight Sad w/ Kathryn Joseph ........................Su 12 The Score w/ Lostboycrow & Overstreet ..............W 8 88GLAM ..................................Tu 14 • Buy advance tickets at the 9:30 Club box office • 930.com

Imogen Heap with special guest Guy Sigsworth of Frou Frou ............... MAY 4

24 may 3, 2019 washingtoncitypaper.com

Apocalyptica Plays Metallica By Four Cellos Tour .MAY 28

AN EVENING WITH

Josh Ritter & The Royal City Band w/ Penny & Sparrow ............MAY 17 Glen Hansard ...........................JUN 3 POLITICS AND PROSE PRESENTS Chromeo (Live Band) .............MAY 19 Elizabeth Gilbert ....................JUN 6 Yann Tiersen Corinne Bailey Rae .............. JUL 30 (Solo In Concert) .........................MAY 24 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

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

9:30 CLUB BOX OFFICE HOURS are 12-7pm 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!

AN EVENING WITH

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

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

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

Tix @ Ticketmaster.com Blake NAJEE Aaron Sam 10 MAC McANALLY Morrow 11 GARY TAYLOR

3

Music 25 Dance 26 Theater 27 Film 27

Music

13

CITY LIGHTS: FRIDAY

FRIDAY

An Evening with

GORDON LIGHTFOOT '80 Years Strong Tour' DAMIEN ESCOBAR 'Elements of Love Tour'

14&15

CLASSICAL

WHINE DOWN Jana Kramer & Mike Caussin

HYLTON PERFORMING ARTS CENTER 10960 George Mason Circle, Manassas. (703) 993-7759. American Festival Pops Orchestra: Movie Music Magic. 8 p.m. $30–$50. hyltoncenter.org.

16

JAZZ

17

NRBQ & SKIP CASTRO BAND

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Brian Auger’s Oblivion Express with Special Guest Frank Gambale. 8 p.m. $30. citywinery.com.

18

MACEO PARKER

OPERA

19

JONATHAN BUTLER

20

STEVE EARLE & THE DUKES M T

with

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Najee. 7:30 p.m. $45. birchmere.com.

CLARICE SMITH PERFORMING ARTS CENTER Stadium Drive and Route 193, College Park. (301) 4052787. Opera Scene Study. 7:30 p.m. Free. theclarice. umd.edu.

POP

23

ROCK

"CD Release Show!"

WALTER BEASLEY Pressing 30 JOANNE SHAW-TAYLOR Strings Steve 31 PAUL THORN Poltz

MONTPELIER ARTS CENTER 9652 Muirkirk Road, Laurel. (301) 377-7800. Brasilian Vibes Trio. 8 p.m. $25. arts.pgparks.com.

26

SATURDAY CLASSICAL

LIBRARY OF CONGRESS COOLIDGE AUDITORIUM First Street and Independence Avenue SE. (202) 7075507. Tetzlaff-Tetzlaff-Vogt Trio. 8 p.m. Free. loc.gov.

“Ain’t Love Strange” 20th Anniversary Tour

SASAMI

June 1

Los Angeles-based composer and multi-instrumentalist Sasami Ashworth is shaking up the standards of indie rock. Over the past 10 years, Ashworth has played the French horn in local orchestras and synths for indie rock outfit Cherry Glazerr, and she's done vocal and string arrangements for artists like Wild Nothing and Avi Buffalo. Now, with the release of an eponymous debut album, Ashworth has confidently stepped into the spotlight for her budding solo music endeavor as SASAMI. Against a brilliant blend of wistful dream pop and brooding grunge, Ashworth reflects on toxic relationships and coveted freedom in the album’s spellbinding singles as a way to finally get some shit off her chest. SASAMI performs at 7:30 p.m. at DC9, 1940 9th St. NW. $12–$14. (202) 483-5000. dc9.club.

—Casey Embert

SIXTH & I HISTORIC SYNAGOGUE 600 I St. NW. (202) 408-3100. Philharmonix. 8 p.m. $40. sixthandi.org.

SUNDAY CLASSICAL

ATLAS PERFORMING ARTS CENTER 1333 H St. NE. (202) 399-7993. Capital City Symphony presents Songs of the Universe. 5 p.m. $15–$25. atlasarts.org.

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

Chamber Singers Spring Choral Showcase. 7:30 p.m. $10–$25. theclarice.umd.edu.

HYLTON PERFORMING ARTS CENTER 10960 George Mason Circle, Manassas. (703) 993-7759. InTune

An Evening with

THE SELDOM SCENE

WORLD

HYLTON PERFORMING ARTS CENTER 10960 George Mason Circle, Manassas. (703) 993-7759. Manassas Symphony Orchestra: Beethoven Festival. 7:30 p.m. $16–$20. hyltoncenter.org.

THE NILS LOFGREN BAND

THE AMY RAY BAND w/Amanda Anne Platt & The Honeycutters

24

CITY WINERY 1350 Okie St. NE. (202) 250-2531. David Cook - Race for Hope Benefit Concert. 8 p.m. $35– $40. citywinery.com.

GEORGE MASON UNIVERSITY CENTER FOR THE ARTS 4373 Mason Pond Drive, Fairfax. (888) 9452468. School of Music Prism Concert. 8 p.m. $15–$30. cfa.gmu.edu.

he asTersons

21&22

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. NSO Pops: An Evening with Leslie Odom Jr. 8 p.m. $39–$139. kennedy-center.org.

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

Annual Pops Concert. 8 p.m. $10–$25. theclarice.umd.edu.

Desperado’s/Wax Museum Reunion

Music Studios: Spring Recital. 1 p.m.; 4 p.m. $10. hyltoncenter.org.

NATIONAL GALLERY OF ART WEST GARDEN COURT 4th Street and Constitution Avenue NW. (202) 8426941. Poulenc Trio. 3:30 p.m. Free. nga.gov.

PHILLIPS COLLECTION 1600 21st St. NW. (202) 3872151. Quatuor Danel. 1 p.m.; 4 p.m. $5–$45. phillipscollection.org.

FUNK & R&B

CITY WINERY 1350 Okie St. NE. (202) 250-2531. PJ Morton - Keys and a Mic Acoustic Tour, featuring The Amours. 8 p.m. $32–$38. citywinery.com.

POP FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Marianas Trench. 8 p.m. $26–126.50. fillmoresilverspring.com.

MONDAY FOLK

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Lissie - The Piano Retrospective Tour. 8 p.m. $25–$35. citywinery.com.

Chelsea MARC COHN Williams

2

THE MUSICAL BOX "A Genesis Extravaganza"

4

DAVID CROSBY & The Sky Trails Band US Tour 2019

THE ENGLISH BEAT 6 MINDI ABAIR & The Boneshakers 7 the subdudes 8 JUNIOR BROWN 9 FUNNY WOMEN OF A CERTAIN AGE 5

13 14

Willis KEB' MO' Jontavious THE NEW BIRTH

washingtoncitypaper.com may 3, 2019 25

CITY LIGHTS: SATURDAY

kovsky Violin Concerto. 8 p.m. $35–$90. strathmore.org.

3225 8th St. NE. May 4 8 p.m.; May 5. 7 p.m. $15–$30.

(202) 269-1600. danceplace.org.

COUNTRY

JANE FRANKLIN DANCE: COMPLETE DOGNESS Join dancers Andie deVaulx, Kelsey Rohr, Brynna Shank, Rebecca Weiss for a family friendly performance about a dog with bad habits who learns new tricks.

Theatre on the Run. 3700 S. Four Mile Run Drive, Arlington. May 4. 4 p.m. $10–$15. (703) 228-1850. arlingtonarts.org.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Hunter Hayes. 8 p.m. $20–$30. fillmoresilverspring.com.

Dance

HEART STÜCK BERNIE & DANCETHOS Two new works from choreographer and Dance Place artist-in-residence Sarah Beth Oppehheim, for dancers from both her company, Heart Stück Bernie, and DanceEthos, premiere at Dance Place. Dance Place.

LUCKY PLUSH: ROOMING HOUSE Lucky Plush Productions, the only dance organization to receive the MacArthur Award for Creative and Effective Institutions, makes its Kennedy Center debut with an astute and amusing dance-theater whodunit mystery. Kennedy Center Terrace Theater. 2700 F St. NW. May 3.

7:30 p.m.; May 4. 7:30 p.m. $39. (202) 467-4600. kennedy-center.org.

CITY LIGHTS: SUNDAY

IMOGEN HEAP

Imogen Heap has spent more than two decades in the music business, released four albums, and won a couple Grammys and an Ivor Novello Award, but listeners probably know her music best as a sample or a soundtrack selection. Her somber, vocoded a cappella “Hide and Seek” transformed into R&B singer Jason Derulo’s hit “Whatcha Say,” her songs have been sample sources for rappers like A$AP Rocky and Lil B and soundtracked key scenes in pop culture touchstones The O.C. and Six Feet Under. That list doesn’t even include the music she made as half of Frou Frou, whose “Let Go” played over the finale of Zach Braff ’s quirkfest Garden State. Thanks to the film and its soundtrack, Frou Frou and Heap found a new audience for their decidedly cinematic brand of sunny synth-pop. And while Frou Frou only released one album, Heap knows where her bread is buttered: Her latest tour features Frou Frou collaborator Guy Sigsworth, and the setlists are dominated by the band’s songs, letting fans “Breathe In” and “Let Go” in concert. Imogen Heap performs at 8 p.m. at The Lincoln Theatre, 1215 U St. NW. $40–$60. (202) 8880050. thelincolndc.com.

—Chris Kelly

JAZZ

ROCK

POP

WEDNESDAY

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

DC9 1940 9th St. NW. (202) 483-5000. Sarah Reeves.

8 p.m. $20. dcnine.com.

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

CLASSICAL

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Santigold. 8 p.m. $40. fillmoresilverspring.com.

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

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. The Bachelor Boys Band. 8 p.m. Free. jamminjava.com.

FUNK & R&B

ROCK

JAZZ

9:30 CLUB 815 V St. NW. (202) 265-0930. The Dandy Warhols. 7 p.m. $30. 930.com.

TUESDAY COUNTRY

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Sara Evans & The Barker Family Band. 8 p.m. $65–$75. citywinery.com.

FOLK

JAMMIN JAVA 227 Maple Ave. East, Vienna. (703) 2551566. Eliza Gilkyson. 7:30 p.m. $25. jamminjava.com.

HIP-HOP

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Smino. 8 p.m. $25. fillmoresilverspring.com.

JAZZ

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

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Ginuwine. 8 p.m. $60–$75. citywinery.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Benny Golson. 8 p.m.; 10 p.m. $35. bluesalley. com.

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Night Beats. 8 p.m. $15–$18. dcnine.com.

THURSDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Berlioz’s Symphonie fantastique. 7 p.m. $15–$89. kennedy-center.org.

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Weilerstein, Barnatan, Khachatryan and Currie: Transfigured Nights. 7:30 p.m. $55. kennedy-center.org.

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: Tchai-

26 may 3, 2019 washingtoncitypaper.com

NATIONAL GEOGRAPHIC PHOTO CAMP

A little girl with waist-length hair stands in the middle of the frame, orange popsicle dye staining her upper lip. On the streets of San Juan, a woman sells books, the flag of Puerto Rico hanging behind her. Against a vivid blue sky, a cat and rooster loiter on a roof. As part of the National Geographic Photo Camp collection at the Kennedy Center, these photographs, by Viviana Medina, Stephanie Rivera Gonzalez, and Marangeli Melendez Morales, respectively, put the perspective of displaced youth in the foreground. Entering the Hall of Nations, the portraits and scenes are blown up so, in some cases, one may see every hair follicle, every vibrant color. Featuring stills captured from photo camps in D.C., Puerto Rico, and Shenandoah National Park, this exhibition prioritizes the thoughtful perspective of young people who are too often caught in political crossfires, their humanity reduced to mere moments in their lives. Moving and optimistic, these photographs spotlight the youth who are ready to claim their points of view before the world. The exhibition is on view to June 20, 2019 at the Kennedy Center Hall of Nations and Hall of States, 2700 F St. NW. Free. (202) 467-4600. kennedy-center.org.

—Amy Guay

1101 6th St. SW. To June 2. $96–$115. (202) 488-3300. arenastage.org.

Theater

THE 39 STEPS A two-time Tony and Drama Desk Award-winning spoof of the classic Hitchcock film, The 39 Steps features a cast of four who play multiple characters. Richard Hannay is mistakenly accused of murder and is forced to go on the run in an attempt to clear his name, a beautiful woman and a nefarious spy ring just a few obstacles along the way. Horowitz Center at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To May 19. $10–$40.

(443) 518-1500. repstage.org.

ANNIE JUMP AND THE LIBRARY OF HEAVEN When small-town teen and science genius Annie Jump meets a new popular girl, she admits that she has great hair. It’s only when Annie discovers this girl might be an intergalactic super computer charged with uniting humanity with the stars that she must make a choice about her own future. Rorschach Theatre at Atlas Performing Arts Center. 1333 H St. NE. To May 19. $50–$80 for a season subscription. (202) 399-7993. rorschachtheatre.com.

THE BECKETT TRIO, PART 2 From Beckett’s “ghost period” comes Ohio Impromptu, the first Beckett drama to showcase a Doppelgänger. Come and Go focuses on a reunion between three childhood friends and the secrets they reveal to one another.

An allegory for the resistance, Catastrophe features a director and his assistant wrestling for control over the direction of one lone actor. Atlas Performing Arts Center. 1333 H St. NE. To May 5. $45. (202) 399-7993. atlasarts.org.

THE BURN Outsider Mercedes and bully Tara are forced together for a high school production of The Crucible. As tensions escalate, a teacher and his students must confront an online witch-hunt. Next Stop Theatre. 269 Sunset Park Drive, Herndon. To May 11. $20–$32. (703) 481-5930. nextstoptheatre.org.

THE CHILDREN After a natural disaster, married retired nuclear physicists live out their days in a remote cottage on the British coast only to have an arrival from their past upend the balance they’ve carefully curated. Studio Theatre. 1501 14th St. NW. To June 2. $20–$90. (202) 332-3300. studiotheatre.org.

JUNK The slick and scheming Robert Merkin prepares to seize power over a manufacturing company in Pulitzer Prize-winning Ayad Akhtar’s latest play inspired by the financial world and junk bond dealings of the 1980s. How far are you willing to go under the pretense of “saving America”? Arena Stage. 1101 6th St. SW. To May 5. $56–$72. (202) 488-3300. arenastage.org.

CITY LIGHTS: MONDAY

THE EMPIRE STRIKES BACK

“It is a dark time for the Rebellion.” So begins the second chapter in the Star Wars saga, a movie that launched a franchise so bursting with potential that, a few decades later, Disney signed a check for more than $4 billion to own its rights. Considering the sheer number of iconic moments packed into The Empire Strikes Back, its success comes as no surprise. The aerial battle against the AT-AT walkers on Hoth, the betrayal in Cloud City, and the penultimate confrontation between Luke Skywalker and Darth Vader are encapsulated in a two-hour package. Just about everything in the movie is pitch perfect, from the John Williams score to the puppetry that brings Yoda to life to the performances from Harrison Ford, Mark Hamill, Carrie Fisher, James Earl Jones, and Billy Dee Williams. Rare as it is to find a movie that marks a milestone in pop culture history and also entertains at the level of a contemporary blockbuster, The Empire Strikes Back clears those hurdles and then some. It remains one of the greatest adventure films of all time. The film screens at 6:30 p.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$13. (301) 495-6700. afi.com/silver.

—Will Lennon

CITY LIGHTS: TUESDAY

JUBILEE First organized in 1871 on the Fisk University campus, the Fisk Jubilee Singers—an African American a cappella ensemble—triumphed in the face of racism and prejudice in the U.S. and abroad. This a capella musical boasts more than three dozen songs (including spirituals and hymns like “Swing Low, Sweet Chariot” and “Wade in the Water”) to bring the enduring legacy of the Singers to life. Arena Stage.

NEW YORK GILBERT AND SULLIVAN PLAYERS: “I’VE GOT A LITTLE TWIST” Known for their “topsyturvy” takes on humorous storylines, Gilbert and Sullivan collaborated on a musical theater empire, creating fourteen comic operas together in the late 1800s.

The New York Gilbert and Sullivan Players present a cabaret evening featuring rewritten G&S lyrics, snippets of more modern musical theater, and classic G&S standards. Alden Theatre. 1234 Ingleside Ave., McLean. To May 4. $30–$40. (703) 790-0123. mcleancenter.org/alden-theatre.

THE ORESTEIA A new version of the only surviving Greek tragedy, The Oresteia poetically combines the works of Aeschylus to tell the ten year tale of grief and murder that characterizes the interlocking lives of Queen Clytemnestra, her husband Agamemnon, and Orestes. Shakespeare Theatre Company Studios.

610 F Street NW. To June 30. $44–$118. 202-547-1122. shakespearetheatre.org.

SPUNK A Guitar Man and Blues Speak Woman intertwine three stories of the black experience in early 20th century America (based on short stories by Zora Neale Hurston) to illustrate the endurance of the human spirit. Signature Theatre. 4200 Campbell Ave., Arlington. To June 23. $40–$85. (703) 820-9771. sigtheatre.org.

GOD OF CARNAGE After their adolescent sons get into a physical altercation on the playground, two Brooklyn couples meet up in an attempt to resolve the disputes of their offspring. As the night progresses and the alcohol flows, civilized courtesies devolve and taboo discussions materialize in the bitter air.

Keegan Theatre. 1742 Church St. NW. To May 25. $20– $50. (202) 265-3767. keegantheatre.com.

INTO THE WOODS Stephen Sondheim’s beloved, Tony-winning musical is a blackly comic medley of well-known fairy tale characters like Cinderella, Little Red Riding Hood, and Jack (of the Beanstalk). At the heart of the story is The Baker and his Wife, their quest to reverse a witch’s curse and have a child of their own the driving force behind this twisted tale of wish fulfillment and the relationship between parents and children. Ford’s Theatre. 511 10th St. NW. To May 22. $27–$81. (202) 347-4833. fords.org.

MARY STUART With only six performers and a minimalist set, Mary Stuart examines the complex relationship of Queen Elizabeth I and Mary, Queen of Scots through the contemporary lens of the #MeToo movement. Sex, court intrigue, and the minds and hearts of the most powerful women in the world collide. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To June 9. $44–$64. (301) 924-3400. olneytheatre.org.

OSLO Based on the true events surrounding the 1993 Oslo Peace Accords, the play that swept the 20162017 awards season illuminates the Norwegian husband-wife duo who assembled a team from the Middle East to negotiate peace between Israelis and Palestinians. Shrouded in secrecy and with international tensions mounting, the diplomats rely on empathy and personal connection. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To May 19. $50–$71. (240) 644-1100. roundhousetheatre.org.

A CONCERT PRESENTATION OF MERRILY WE ROLL ALONG Franklin Shepard is rich and influential, but what did he give up to get there? Directed by members of Mason’s professional faculty and featuring student performances, this concert presentation adapts Stephen Sondheim’s acclaimed musical comedy about fame and friendship. George Mason University. 4400 University Drive, Fairfax. To May 3. $10– $20. (703) 993-1000. gmu.edu.

GRAND HOTEL, THE MUSICAL Berlin’s Grand Hotel is the locus of a lavish world in 1928. This lively musical follows the hotel’s collection of guests and staff— including a fading prima ballerina, a fatally ill bookkeeper, a handsome but poor baron, and a typist with dreams of Hollywood fame—as they move through the high life. Signature Theatre. 4200 Campbell Ave., Arlington. To May 12. $40–$99. (703) 820-9771. sigtheatre.org.

LOVE’S LABOR’S LOST The King of Navarre and his three compatriots swear off women for three years of focused study and humble fasting in this early Shakespeare comedy. The Princess of France and her ladies render their lofty ambitions precarious; hijinks and affairs of the heart ensue. Folger Shakespeare Library. 201 E. Capitol St. SE. To June 9. $42–$79. (202) 544-7077. folger.edu.

LOOKING GLASS

THE WHITE SNAKE A snake spirit transforms into a woman in order to experience the human world and falls in love with a pharmacist’s assistant, only to have her newfound happiness threatened by a narrow-minded monk. Adapted from an ancient Chinese fable, The White Snake is a resonant romance and magic adventure story that deals in themes of loyalty, kindness, and redemption. Constellation Theatre at Source. 1835 14th St. NW. To May 26. $15–$45. (202) 204-7741. constellationtheatre.org.

In her Looking Glass exhibition, D.C.-based photographer Kaitlin Jencso turns her lens outward on people turning inward for their own lenses. The title’s allusion to the Lewis Carroll story, a childhood literary obsession for Jencso, is intentional: The people she captures looking at their phones are transfixed by a reflective surface and find themselves drawn into an alternate world.

“The otherworldly glow provided by the backlit screen and the deep fascination with whatever escapism or connection happening on the other end was alluring to me,” she says. Most of the images were taken in the D.C. area and feature a mix of friends and strangers, often in bars, clubs, and restaurants, where the contrast between having a good time in the moment and losing oneself somewhere else is at its starkest. Ironically, or perhaps appropriately, Jencso took these photographs not on her phone but with digital camera—a mirrorless camera, at that.

The exhibition is on view to May 11 at the Hamiltonian Gallery, 1353 U St. NW. Free. (202) 332-1116. hamiltoniangallery.com.

—Louis Jacobson

Film

AVENGERS: ENDGAME Following the decimation at the end of Avengers: Infinity War, Marvel’s heroes assemble once again to reverse the damage, save the planet from ruins, and defeat Thanos for good.

Starring Robert Downey Jr., Chris Evans, and Scarlett Johansson. (See washingtoncitypaper.com for venue information) BREAKTHROUGH When her adopted son drowns in an icy Missouri lake, a mother prays for his recovery from the brink of death in the face of steep odds.

Starring Chrissy Metz, Topher Grace, and Josh Lucas.

washingtoncitypaper.com may 3, 2019 27

Take Metrobus and Metrorail to the...

CITY LIGHTS: WEDNESDAY

WE ARE EVERYWHERE

Tickets at dcjazzfest.org | @dcjazzfest

DC JAZZFEST AT THE WHARF SATURDAY, JUNE 15, 2019

CONCERT 8:00 PM (DOORS 6:30 PM)

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The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its 2019 programs are made possible, in part, with major grants from the Government of the District of Columbia, Muriel Bowser, Mayor; with awards from the National Endowment for the Arts, the DC Commission on the Arts and Humanities, an agency supported in part by the National Endowment for the Arts; the Office of Cable Television, Film, Music & Entertainment; the Office of the Deputy Mayor for Planning and Economic Development; and, in part, by major grants from the Doris Duke Charitable Foundation, the Galena-Yorktown Foundation, The Morris and Gwendolyn Cafritz Foundation, Wells Fargo Foundation, Gillon Family Charitable Fund, the NEA Foundation, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, and the Reva & David Logan Foundation. ©2019 DC Jazz Festival. All rights reserved.

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Authors and creators of the prominent Instagram page @lgbt_history Matthew Riemer and Leighton Brown are right on time as they come to Solid State Books to discuss their all-embracing book We Are Everywhere. Released in time for the upcoming 50th anniversary of the Stonewall Uprising, Riemer and Brown’s book showcases more than 300 photographs taken by more than 70 photographers to give readers the opportunity to delve into crucial aspects of queer history— protests, marches, celebrations, and everyday life.

This elaborate project is itself a rich timeline, from the queer movements of the late 19th century to the fight for queer rights today, vividly displaying the importance of LGBTQ history. It brings with it the much-needed honor, respect, and love for the community, encouraging a better future. Matthew Riemer and Leighton Brown speak at 7 p.m. at Solid State Books, 600 H St. NE. Free. (202) 897-4201. solidstatebooksdc.com.

—Malika T. Benton

CITY LIGHTS: THURSDAY

IDIOCRACY

Like many science fiction tales, Idiocracy begins with a question that could serve as the setup for a story or a science experiment: What would happen if a human of average intelligence became the smartest person on the planet? In the film, Luke Wilson plays an army private selected for a cryogenic refrigeration experiment thanks to his being, statistically, the most “normal” person his superior officers could find. Half a millennium later, Wilson is unfrozen in a world where the average level of intelligence has degraded severely. The president is a professional wrestler and the most popular show on television is called Ow! My Balls! The future civilization recruits Wilson to figure out why their crops have been dying, but the movie’s plot is mostly inconsequential. Idiocracy is more concerned with exploring the minutiae of its absurd new world. The film’s boosters see its warnings coming to grim fruition in the politics of 2019.

Its detractors see it as a half-baked sci-fi story that accidentally endorses eugenics. Though Idiocracy flopped hard when it was released in 2006, it has since gained notoriety as a controversial cult classic, fun to ponder even if you don’t buy its premise. The film screens at 7:15 p.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$13. (301) 495-6700. afi.com/silver.

—Will Lennon

LONG SHOT When a man is hired as a speechwriter for his childhood crush, a high profile woman making a run for the presidency, sparks fly. Starring Charlize Theron, Seth Rogen, and June Diane Raphael. (See washingtoncitypaper.com for venue information)

UNDER THE SILVER LAKE After a young man sees a mysterious woman swimming in his apartment pool, she disappears, setting him off on a journey to find her and uncover other bizarre mysteries. Starring Andrew Garfield, Riley Keough, and Topher Grace.

(See washingtoncitypaper.com for venue information)

UGLYDOLLS A group of spirited, unlikely heroes, so called “ugly dolls,” struggle with being different and learn what matters most in life in this animated adventure. Starring Kelly Clarkson, Nick Jonas, and Janelle Monáe. (See washingtoncitypaper.com for venue information)

THE WHITE CROW This biographical drama tells the tale of famous Russian ballet dancer Rudolf Nureyev and his defection to the West, which made waves.

Starring Oleg Ivenko, Ralph Fiennes, and Louis Hofmann. (See washingtoncitypaper.com for venue information)

(See washingtoncitypaper.com for venue information)

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I’ve been with my boyfriend for a few months. Prior to dating, I was clear with him that I would need to open our relationship at some point. He initially hesitated to respond, but then agreed we could do that when the time came. That time has come much quicker than I anticipated, but I feel like he’ll renege on his end of things because of many comments he’s made recently—comments like not understanding or liking nonmonogamy and how “his woman” sleeping around is a deal breaker. Is this a DTMFA situation?

—Specified Open Relationship Early Early on, you let your boyfriend know that openness “at some point” was your price of admission—the price he’d have to pay to be with you—and now he’s letting you know that monogamy is his price of admission.

What’s going on here? Well, sometimes Person A tells Person B what Person A knows Person B wants to hear regarding Topic X in the hopes that Person B will feel differently about Topic X after the passage of time or after Person B has made a large emotional investment in Person A. In many cases, Person A has the best intentions—by which I mean, Person A isn’t being consciously manipulative, but rather Person A sincerely hopes Person B will come to feel differently about Topic X or that they, Person A themselves, will. But considering how little time has passed, SORE—it hasn’t even been three months, and he’s saying shitty/judgy things to you about nonmonogamy and sexist/controlling things about “his woman”—it seems clear that your boyfriend wasn’t being sincere, he was being manipulative. DTMFA. —Dan Savage This is another request for a kinky neologism.

How about those of us who like the idea of our significant other having sex with somebody else but who aren’t into full-on cuckold-style humiliation? “Cuckold” implies a level of subordination that just isn’t my thing, and “hotwifing,” besides sounding incredibly sleazy, assumes that it’s a couple that is opposite sex and married, and the guy is only interested in watching.

Can you or the hive mind solve this problem?

—Cuck In Name Only I don’t think the term “hotwifing” is inherently heterosexist, as there are gay men and straight women out there into “hothusbanding.” (They get off on sharing their hot spouses with others, aren’t necessarily interested in getting with anyone else themselves, and don’t, à la cuckolds, get off on humiliation.) But if that term doesn’t appeal to you, CINO, there’s already an alternative: stags (a man who may or may not be dominant who likes to share his partner and may or may not participate) and

vixens (a woman who may or may not be submissive who enjoys having sex with others in front of her partner and may or may not share them with others too).

—DS I’ve experienced anal itching in the past, and I’m not ashamed to say I enjoyed it. It felt so insanely good to satisfy that itching inside. I can find lots of information about relieving anal itching, but I can’t find anything about inducing it for pleasure.

—Into Tormenting Clean Heinie According to the Mayo Clinic, keeping your ass too clean or letting it get too dirty can induce anal itching, as can pinworms, diabetes, and anal tumors. Seeing as you probably don’t want diabetes or rectal cancer, and since pinworms aren’t for sale at your local bait shop, ITCH, you could try scrubbing your ass with harsh soaps, which is what the Mayo Clinic urges people who don’t want itchy anuses to avoid. (I reversed engineered their advice for you. You’re welcome.) Good luck, and please don’t write back to let us know how you’re progressing, okay?

—DS I am a 24-year-old pansexual trans woman, and I feel sexually broken. Hormones have made it nearly impossible for me to top a partner. I’m able to do it once in a while, but not as much or as reliably as I would like. Additionally, hormones have messed up my digestive system and made bottoming difficult. I’m also relatively sexually inexperienced, which means I’m enthusiastic about oral but not very good at it. This leaves me feeling like I bring nothing to the table.

—Horny But Sex Is Thorny Getting good at oral—like getting good at anything—takes a little practice. Let your prospective partners know you’re relatively inexperienced, and you’ll be far likelier to wind up in bed with patient and supportive people who will let you practice on them. As for bottoming, hopefully your guts will settle down in time. As for topping, well, lots of women use strap-on dildos for penetration. Having a strap-on at the ready and actively seeking out partners who don’t regard strap-on sex as a consolation prize (or a fail) will allow you to experiment with penetration without the pressure of having to produce or sustain an erection. You can switch back and forth between your dick and the dildo as needed, and being able to make it happen for your lover— using whatever tools you need—will build your confidence. And you’re not broken, HBSIT. You are, like all of us, a work in progress.

Good luck.

—DS I’m a college prof. Several female students have confided in me they’re having trouble finding

guys. (They’re not hitting on me—and even if they were, no way am I dating a student.) These girls are smart, nice, interesting, and usually obese. You and I both know that in this imperfect world, many (most?) people place importance on looks. But how do I tell them that? A straight, single, male professor telling a female student, even gently, that dropping 20 pounds might help her dating prospects is extremely risky.

—Professionally Risky Observation Flummoxes Oh my god. Keep your mouth shut. First, because it’s an asshole thing to say—never mind the professional risk—and second, because it’s not true. (Welcome to America, PROF, where most people are overweight or obese and most people are partnered or married.)

The likelier culprit here (besides a skewed sample size and confirmation bias) is the scarcity of available male partners. Women now significantly outnumber men on college campuses: “Where men once went to college in proportions far higher than women— 58 percent to 42 percent as recently as the 1970s—the ratio has now almost exactly reversed,” Jon Marcus wrote in The Atlantic. Graduating will probably do more to improve their romantic prospects than dropping 20 pounds.

—DS I recently broke up with a girl because she didn’t know what plate tectonics was. We dated for three months. Great sex! Loved cooking together! Enjoyed spending time with her! But she was raised Mormon—and more important than that, she was simply NOT CURIOUS about science and the world. In all honesty, I think she’s a little dumb, although she doesn’t come off that way.

Science! Politics! Philosophy! All of these things are important in my life! Am I wrong for breaking up with her?

—Date Tectonics No! You did her a favor! I knew nothing about classical music before I fell in love with someone who’s passionate about classical music. I know a lot about it now and I actually enjoy it—but I didn’t get there in three months. My husband didn’t follow the news closely until he fell in love with a news junkie. Now he’s a daily reader of the New York Times and the Washington Post—but he didn’t get there in three months. The more time we spent together, the more interest we took in each other’s interests.

There’s a lesson in here for you somewhere, DT, but I’m going to let you tease it out—because you’re CURIOUS and SMART, right?

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

washingtoncitypaper.com may 3, 2019 29

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DISTRICT OF COLUMBIA of the claimant; NONPROFIT BodyCORPORA& Spirit . . . . amount . . . . . .of . claim; . . . . .and . 42 TION ACT date and type of service Housing/Rentals . . . . . . .Pursuant . . . . . . to42 May 2, 2019 provided.

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SUPERIOR COURT Legals OF THE DISTRICT OF COLUMBIA DC SCHOLARS PCS REQUEST PROBATE DIVISION FOR PROPOSALS – Modu2019 ADM 000371 lar Contractor Services - DC Name Decedent, ScholarsofPublic Charter School Delores A. Harvey. solicits proposals for a modular Notice contractorofto Appointment, provide professional Notice to Creditors and management and construction services to to construct a modular Notice Unknown building to house four classrooms Heirs, Kimberly Harvey and one faculty offi ceaddress suite. The Gaston., whose Request Proposals Dr., (RFP) is 6820 for Brentwood specifi cations can be obtained on Upper Marlboro, MD and after Monday, November 27, 20772 2017 fromwas Emilyappointed Stone via comPersonal Representative munityschools@dcscholars.org. of the estate of Delores All questions should be sent in A. Harvey whoNodied writing by e-mail. phoneon calls regarding this RFP will be aac12/16/2014, without cepted.

Bidswill mustserve be received Will and with-by 5:00 PM on Thursday, December out Court Supervision.

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Anne Meister Construction/Labor Register of Wills Pub Dates: May 2, 9, 16.

CARLOS ROSARIO PUBLIC CHARTER SCHOOL POWER DESIGN NOW HIRREQUEST FOR APPRENBIDS ING ELECTRICAL TICES OFContractor ALL SKILL LEVGeneral ELS! Carlos Rosario School is looking for a general about the position… contractor to renovate you love working itsDoboardroom and with your hands? Are you interreception area. For more ested in construction and information, in becoming anplease electrician? contact Randy Asbury Then the electrical apprenticeat rasbury@comcapital.org position could be perfect for oryou!

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Electrical apprentices are able to earnare a paycheck 727.

All Bids due by and full benefi ts while learn4pm on May 10, 2019. ing the trade through firsthand experience.

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COLUMBIA Motivated D.C. residents who PROBATE DIVISION want to learn the electrical 2019 000371 trade ADM and have a high school Name of orDecedent, diploma GED as well as reliable transportation.

Paulette Garner House aka Paulette G. House. a little bit us…

Notice ofabout Appointment, Power to Design is one ofand the Notice Creditors top electrical contractors in Notice to Unknown the U.S., committed to our Heirs, values,Thomas to training L. andHouse, to givSr., address is ingwhose back to the communities 1700 W we Street, #12, in which live andSE work.

Washington, DC 20020 moreappointed details… Personal was Visit powerdesigninc.us/ Representative of the careers email careers@ estate oforPaulette Garpowerdesigninc.us! ner House aka Paulette G. House who died on 11/7/2018, without a Will and will serve withFinancial Services out Court Supervision.

Denied Credit??heirs Workand to ReAll unknown pair Your Credit whereReport With The heirs whose Trusted Leader in Credit Repair. abouts are unknown Call Law for a FREE shallLexington enter their appearcredit & credit ance report in thissummary proceedrepair consultation. 855-620ing. such at 9426. Objections John C. Heath,toAttorney appointment be Law Law, PLLC, dba shall Lexington filed with the Register Firm. of Wills, D.C., 515 5th Street, N.W., Building A, Services 3rd Floor, Home Washington, D.C. 20001, on or beDish 10/18/2019.

Network-Satellite Telefore Claims vision Services. Now Over 190 against the decedent channels for ONLY $49.99/mo! shall be presented HBO-FREE for one year,toFREE the undersigned with a Installation, FREE Streaming, copy to the Register of FREE HD. Add Internet for $14.95 or1-800-373-6508 to the Register aWills month.

of Wills with a copy to the undersigned,Auctions on or before 10/18/2019, or be forever barred.

Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, and reWhole address Foods Commissary Auction lationship.

Date of first DC Metro Area publication: 4/18/2019 Dec. 5of at 10:30AM Name Newspaper 1000s periodical: S/S Tables, Carts and/or & Trays, 2016 Kettles up Washington City Paper/ to 200 Gallons, Urschel Daily Washington LawinCutters & Shredders Reporter cluding 2016 Diversacut Name of Personal Rep2110 Dicer, 6 Chill/Freeze resentative: Thomas L. Cabs, Double Rack Ovens & Ranges, House, Sr (12) Braising Tables, 2016copy (3+) Stephan TRUE TEST VCMs, 30+ Scales, Anne Meister Hobart 80 qt Mixers, Register of Wills Complete Machine Shop, Pub Dates: April 18, 25, and much more! View the May 2. at catalog www.mdavisgroup.com or 412-521-5751

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