Washington City Paper (June 1, 2018)

CITYPAPER Washington

J U N E 8  17, 2 018

See event listing inside!

For tickets visit dcjazzfest.org

Free volume 38, no. 22 Washingtoncitypaper.com June 1-7, 2018

Housing: busted roof leaks rain on seniors 7 Food: sports bars get creative or close 12 Art: The mixTape abouT noThing turns ten 15

Asylum seekers Insulin shock therapy. lobotomies. seclusion and restraints. The history of lGBTQ pain at st. elizabeths Hospital, and how two “archive activists” are bringing it to light. P. 8

By Andrew Giambrone

Photographs by Darrow Montgomery

Overflowing with Pride

Restrictions apply. Not available in all areas.

2 june 1, 2018 washingtoncitypaper.com

DIV031-NED-A4-V2

From painting the town colorfully to loving openly, there are many ways to revel in pride. Xfinity celebrates you with a first-of-its-kind, community endorsed LGBTQ Film & TV Collection. Just simply say “Pride” into the X1 Voice Remote to easily discover an awesome, diverse entertainment experience. Find yourself at xfinity.com/LGBTQ, because on X1, it’s Pride all year, only with Xfinity.SM

INSIDE on tHe CoVer: aSyLUM SeeKerS 8

Two local researchers dig into the the sordid history for LGBTQ patients at St. Elizabeths Hospital and find horrors that echo today.

DIStrICt LIne 5 ripples of hope: Ronald Godfarb on Robert F. Kennedy’s legacy 50 years after his assassination 6 caps fandom for dummies: How to root for the home team without acting a fool 7 housing complex: As rainwater leaks into seniors’ apartments, the District drags its feet.

FooD 12 drinking games: D.C.’s sports bars fight to differentiate themselves in a “minor league” sports town.

artS 15 an article about nothing: Looking back on Wale’s The Mixtape About Nothing, the album that put D.C. hip-hop on the map 17 curtain calls: Jones on The Remains at Studio Theatre and Klimek on Flood City at Anacostia Playhouse 20 short subjects: Zilberman on Filmworker and Gittell on How to Talk to Girls at Parties 21 sketches: Capps on Magali Hébert-Huot: Les Grandes Étendues at Hamiltonian Gallery 22 speed reads: Ottenberg on It’s Better Than It Looks: Reasons For Optimism In An Age of Fear

CIty LISt 25 30 31 32

Music Books Theater Film

DIVerSIonS 33 Savage Love 34 Classifieds 35 Crossword

Darrow MontgoMery 1200 Block of H Street NW, May 29

EDITORIAL

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DistrictLine Ripples of Hope

Fifty years after the assassination of Robert F. Kennedy, two area authors are still grappling with unanswered questions about the would-be president.

By Michon Boston “He was a work in progress,” says Ronald Goldfarb inside his offices in Old Town Alexandria.

Goldfarb is speaking of Robert F. Kennedy, who will have been dead 50 years as of next week. And while significant questions about his assassination are still unresolved, so is the question of who Kennedy was and what his country might have been had he lived.

It’s the latter question that occupies Goldfarb’s mind. He is 84—an attorney, writer, and literary agent who divides his time between Miami and his home base in Virginia.

But in 1961 Goldfarb was a newbie in Robert Kennedy’s Department of Justice. He took the job reluctantly. New York would have been much more exciting for the young Yale Law grad, but a former classmate pressed him to explore opportunities in President John F. Kennedy’s “New Frontier.”

“I didn’t like what RFK had done working for the McCarthy Committee, and even for the McClellan Committee,” says Goldfarb. “I just thought, like other people, that he was brash, and a bully, and that it was strictly nepotism that he was made attorney general.”

Goldfarb’s sentiment changed after he took the job. “The more I got to know him up front, close, and personal, the more I began to admire him, and have strong feelings about what he was doing.”

These latter feelings anchored Goldfarb in his DOJ job and everything that followed.

He later served as a speech writer on Kennedy’s 1964 New York Senate campaign, wooing the same “Village Voice, West Side Super Liberals” he left to take the D.C. job, as well as Democrats supporting moderate Republican incumbent Kenneth Keating. They “didn’t quite understand that this was a man of many dimensions,” says Goldfarb, looking back.

Goldfarb has authored several books plus a novel, and is currently working on adapting his 1995 book Perfect Villains, Imperfect Heroes: Robert F. Kennedy’s War Against Organized Crime for a TV drama series. It covers his years at the DOJ.

In describing what it was like to be part of the New Frontier, he says, “You weren’t there to get some credentials that you could then sell to get a better job. You were there because you really felt you were making a difference.”

Goldfarb’s DOJ section successfully investigated and prosecuted interstate gambling as well as the big profits funneled to corrupt local officials from liquor trafficking, narcotics, and prostitution. Their work to break up racketeering in labor unions was a carryover from Kennedy’s time in the late 1950s serving as chief counsel to the McClellan Committee of the U.S. Senate, which investigated criminal practices in labor organizations. His brother John was on the committee as the Senator from Massachusetts.

The DOJ’s organized crime section investigated Jimmy Hoffa, who headed the International Brotherhood of Teamsters, and mafia figures Sam Giancana, Santos Trafficante Jr., and Carlos Marcello.

Investigative reporter Dan Moldea, author of The Hoffa Wars and The Killing of Robert F. Kennedy, says “Bob Kennedy, a person whom I admired and respected, I believe was the greatest crime fighter this country’s ever had.” Kennedy’s chief investigator on the Mc-

Clellan Committee, Walter Sheridan, mentored Moldea in D.C. Serving as attorney general during the John F. Kennedy administration, Robert Kennedy faced an issue that demanded a different kind of response: civil rights. Violence against civil rights workers in the South was intensifying.

It became a matter of political expediency for the young administration.

Robert Kennedy approved FBI director J. Edgar Hoover’s request for a wiretap on Martin Luther King Jr.’s phone when it was discovered that Stanley Levison, an attorney and businessman who financed the Communist Party in the U.S. in the late 1940s and early 50s, was counseling the civil rights leader. Kennedy asked writer James Baldwin to invite influential black leaders to meet with him off-therecord in a Kennedy family apartment in New York. Playwright Lorraine Hansberry; actors Harry Belafonte, Lena Horne, and Rip Torn (who is white); and freedom rider Jerome Smith, who was being treated for head injuries by specialists in New York, all attended.

“They really jumped on him,” says Goldfarb. “I think he took that to heart. Black leadership was impatient with the Kennedys, especially JFK,” says Goldfarb. “Everybody was worried about Martin Luther King’s March on Washington.”

For his part, Goldfarb joined the marchers.

“It was such a warm and good feeling. Old people, young people, black people, white people. There wasn’t an incident,” he recalls.

The President and attorney general redoubled their civil rights efforts, and at the DOJ, people working in the organized crime section moved over to the Civil Rights Division.

But the “game changed totally,” according to Goldfarb, on November 22, 1963, when President Kennedy was shot and killed in Dallas. The attorney general spent time at his home in McLean grieving for his brother, and when he finally came back to DOJ, Goldfarb says, he was “a ghost of himself ”—the outcome that his enemies wanted. He became a “lame duck” attorney general under President Lyndon B. Johnson, with whom he had a re-

lationship of “mutual contempt.”

He resigned as attorney general in the summer of 1964, and after leasing a house on Long Island announced his run for Senator of New York. He won, and Goldfarb was among those who subsequently encouraged him to run for president.

After President Johnson announced he wouldn’t seek re-election, Kennedy announced, on March 16, 1968, “I run to seek new policies—policies to end the bloodshed in Vietnam and in our cities, policies to close the gaps that now exist between black and white, between rich and poor, between young and old, in this country and around the rest of the world.”

He died after being shot in the pantry of the Ambassador Hotel in Los Angeles, just after winning the California primary.

Palestinian immigrant Sirhan B. Sirhan, then 24, was arrested at the scene and later sentenced to death for the murder of Robert F. Kennedy. California rescinded the death penalty in 1972, and he’s now serving a life sentence.

A theory that a second shooter fired the bullet that killed Kennedy has endured for the past half century, and has even gained traction recently. Moldea was among those convinced that a second shooter killed Kennedy, and made it the premise for his 1995 book. But after conducting an extensive review of the evidence and interviewing Sirhan and the armed private security guard standing next to Kennedy in the pantry, among others, Moldea concluded that the Los Angeles police had their man; it was Sirhan alone.

Kennedy’s labor affairs advisor Paul Schrade, who was shot in the pantry but survived his wounds, revisits the second shooter theory in the recent Netflix docuseries Bobby Kennedy for President. But series director Dawn Porter offers no resolution.

“I think the real takeaway,” says Porter, “which not many people have focused on except his lawyers, was how Sirhan’s trial did not allow for a real challenge to the evidence against him.

That’s not the same as saying he’s innocent.”

Embedded in the crime scene debate are the “What if ’s” that accompany any young death. In Kennedy’s case, those unresolved questions include the future of a nation.

“There are a lot of things that have happened in the 20th century which I still think need to be resolved,” says Moldea. “The JFK murder, the RFK murder, the disappearance of Jimmy Hoffa. Until that happens I think, for many, there will continue to be a lack of confidence and trust in our government, in our law enforcement institutions, and I think it’s important we have that credibility.”

CP washingtoncitypaper.com june 1, 2018 5

DistrictLinE Caps Fandom for Dummies From rocking the red to icing, here’s how to jump on the bandwagon without looking clueless.

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Alex Ovechkin

By Brian Murphy The main reason the Washington Capitals have always been my favorite sports franchise is that the vast majority of people reading this didn’t care about them when I was growing up.

My father worked with a guy who had a second job at the old Caps arena, and because the building was almost never full back in those days, Tommy would regularly call us up and say, “If you guys can get here before the puck drops in 45 minutes, I have three tickets for you at will call.”

We’d rush to Landover, pick up the comped tickets, and find ourselves one or two rows from the glass. My family couldn’t afford season tickets, but because the Capitals typically fell in the category of “solid, but unspectacular,” I spent a large chunk of my youth rooting for D.C.’s fourth most popular sports franchise. The Caps fell behind the football team, the Bullets, and even the Baltimore Orioles.

While I could regale you with stories about 10-year-old me fighting to stay awake long 6 june 1, 2018 washingtoncitypaper.com

Brian Murphy

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enough to see which team won the Easter Epic (spoiler alert: It wasn’t the Capitals) or about the time, while in the U.S. Army, I got permission from my drill sergeant to miss curfew and attend what turned out to be a quadruple overtime loss to the hated Pittsburgh Penguins in ’96, this isn’t about me.

Sure, I’ve loved the Caps since helmets were optional and a goalie’s gear didn’t take up the entire net, but I’m the first to admit that things are much more enjoyable these days. Having the building packed with passionate and vocal fans who actually care about the home team has made the last decade so much better— even if I have to pay for my tickets now.

So I’ve put together a guide for bandwagon fans. Before you take out a second mortgage to cover the cost of Stanley Cup Finals tickets, do us all a favor and familiarize yourself with the basics about your Washington Capitals.

• If you’re going to support this franchise, the first thing you should know—even before you try to comprehend the rules of the game—is that everyone in this town

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wears red. It isn’t optional. It isn’t up for debate. If you show up wearing anything other than a red T-shirt or jersey, everyone in the building will think less of you.

If you’re going to “Rock the Red,” then “Rock the Red.” What your choice in Caps jersey says about you: If you sport an Alex Ovechkin sweater, you’re either a 6-year-old or a bandwagon fan who came directly from Dick’s Sporting Goods. If you don a Braden Holtby, you dig the quiet, brooding type. And vampire movies, probably.

If you wear a Christian Djoos jersey ... you’re related to Christian Djoos.

Hockey is the original hipster sport, so while other games are broken up into things that make sense, namely halves or quarters, hockey has three periods. Look, we all know it’s completely ridiculous, but we’ve learned to accept it and move on.

It has something to do with the Canadian exchange rate or the whales in Hartford.

Or something.

Find a primer online explaining offside and icing. Knowing these will help you understand the flow of the game, and actually understanding what is and isn’t icing will put you ahead of most of the crowd, and many of the linesmen.

Never in the history of our country has it been more popular in D.C. to love all things Russian. Lucky for you, the local hockey team features some of the best talent Mother Russia has to offer in Dmitry Orlov, Evgeny Kuznetsov, and the Russian Machine himself, Alex Ovechkin.

Up until about a week ago, the Capitals were known as a phenomenally gifted regular season team that routinely suffered devastating and demoralizing losses in the postseason.

Thanks to a large dose of something known as “puck luck” and possibly even mythical beings known as “hockey gods,” the Caps and their fans (even the brand new ones!) are tormented no more.

Figuring out what constitutes a penalty in the playoffs is a mystery inside a riddle inside an enigma for even the most diehard longtime hockey fan. Take your cues on hollering at the officials from the rest of the crowd.

That said, if you feel the urge to chant “Ref You Suck,” you’re probably right.

Little known fact: All Caps players have a clause in their contract stating that they must make six passes before attempting a shot on net.

On the power play, the clause goes up to eight, in honor of Ovechkin.

If you’re able to get your hands on an actual ticket to Game 3 or 4, make sure you bring cash with you. Loud Goat doesn’t accept Paypal or Venmo, so you’ll need

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a few bucks in your pocket if you’re going to take a selfie with the team’s unofficial mascot. (I kid. I kid. Goat takes Apple Pay.) Vegas General Manager George McPhee, who served the same role in D.C. from 1997 to 2014, deserves tons of respect and admiration from Caps fans for rebuilding this franchise. Unfortunately for GMGM, he traded away top prospect Filip Forsberg for a bag of pucks named Martin Erat, and Caps fans will never forgive or forget this colossal mistake. Like the case of D.C. quarterback Gus Frerotte, who injured himself head-butting a wall, McPhee’s bad trade is all anyone will think about whenever they see him until the day he dies.

Mercifully, GMGM’s replacement, Brian MacLellan (known as GMBM because hockey fans are lazy), has managed to keep the Capitals among the best teams in hockey throughout his time in charge. Just as important, he hasn’t made any moves nearly as badly as McPhee’s McPhailure— well, unless Golden Knights top defenseman Nate Schmidt scores the Stanley Cup clinching goal for Vegas.

Heading into the postseason, head coach Barry Trotz benched Holtby, one of the best goalies in all of hockey. Two games later (both losses), the Caps coach reinserted his bearded backstop and the Capitals have never looked back. Similarly, Trotz sat André Burakovsky midway through the Eastern Conference Finals and then, two games later, the baby-faced winger was back in the lineup for Game 7 and responded with two key second-period goals to clinch the franchise’s second trip to the Stanley Cup Finals. Do these moves make Trotz a genius or a fool? No seriously, even us lifers have no idea what to make of this.

Speaking of Holtby, the goalie will leave the net from time to time. If nobody else is freaking out about it, there’s no reason for you to.

True story: During his rookie season, Tom Wilson wasn’t even given a hockey stick or gloves. Washington’s coaching staff simply gave him boxing gloves and pointed him in the direction of whoever they wanted him to “Hulk smash.”

That said, at this stage of the playoffs, the likelihood of a fight is very low. Constantly saying, “I hope there’s a fight” or shouting “Fight! Fight! Fight!” throughout the game is the hockey equivalent of “Freebird!” Nobody likes “Freebird!”

A 2-0 lead, whether during a game or a series, is legitimate cause for concern. If the Caps manage to take a 3-1 lead, the local fan base will not take it well. Please give longtime fans a little extra time and space to work through it.

CP

DistrictLinE Waterlogged

A group of seniors in an Iowa Avenue NW apartment building have lived for months with a roof that leaks rainwater into their homes.

By Morgan Baskin the D.C. area saw torrential rain douse its streets for much of May—with the city itself on the receiving end of between 5 and 7 inches—and thousands of DMV residents lost power.

A small handful of homes burst into flames after being struck by lightning. Flood warnings covered the entire region, and 37 different streams and rivers had moderate or minor flooding.

In Northwest D.C., that downpour exacerbated longtime issues with the integrity of the roof of 4524 Iowa Avenue NW, a two-storybrick rental building sandwiched between 13th Street and Iowa Ave. Joe Vines, an 87-year-old man who says he’s lived in the building for 50 years, reports that the rain caused its roof to partially collapse, forcing seniors to place tubs and buckets around their apartments to catch the water. While they sleep, water drips onto their bodies.

JNM Enterprises One LLC, the management company that owned the building for nearly two decades—up until about a week ago—waited days to send a contractor out to survey the damage, according to Vines. He tells City Paper that as many as eight units in the building have ceilings that leak when it rains, but that, despite months of repeated requests for maintenance, property manager and JNM owner Joel Martin didn’t make any substantial fixes. (Martin did not return City Paper’s requests for comment.)

And when the Latino Economic Development Center’s Victoria Goncalves called DCRA to schedule an inspection and report the damage, she says the operator told her that he couldn’t help. “I was told that this was not considered an emergency,” she says. (LEDC is a housing advocacy organization for lowincome residents, many of whom are Spanish speakers with little English proficiency.)

“I told them that the roof literally fell and there was water coming into the apartment when it rained yesterday,” Goncalves wrote in an email. “[The DCRA representative] said he just had someone else call for the same thing and was just told by his supervisor that roofs caving in are not emergencies.” He then told Goncalves to schedule a regular housing inspection. (DCRA Direc-

Darrow Montgomery

housing complex

tor Melinda Bolling, replying to Goncalves’ email, denied that the agency wouldn’t consider the roof collapse an emergency.)

DCRA urges residents to schedule a housing inspection if they feel their accommodations violate D.C.’s housing code. It usually takes about a week for inspectors to visit the property, but the agency says an inspector “can respond sooner in emergencies.” If the inspector finds a housing code violation, they will issue a notice to the property manager ordering abatement.

But weeks after tenants at 4524 Idaho Avenue NW first reported leaks to the property manager and days after a DCRA inspector visited the property, Vines says the ceiling is only partially patched.

Residents have complained for years about the building: the hulking grid of mailboxes that regularly falls off of the wall onto tenants while they retrieve their mail; the electricity, which frequently doesn’t work; chunks of plaster that occasionally fall from the ceiling; the water, which tends to run cold; the leaking toilets.

DCRA property inspection records show that it has two outstanding inspections from 2017 scheduled, each for a different unit, and that it has told the property manager to abate about a dozen different issues over the last decade.

“The building has been neglected for a long time. And the whole system for financing affordable housing isn’t designed to work for housing like this. Nobody knows how to manage these buildings and they fall through the cracks,” says Rob Wohl, an advocate at LEDC.

Maintenance issues reached their peak just as the building switched hands. After JNM put the building up for sale, residents used the Tenant Opportunity to Purchase Act to make way for a third party, Affordable Housing Specialists LLC, to buy the building. Vines says the new company has been more responsive to maintenance issues during its first days of ownership, restoring electricity and patching some of the leaks. (AHS did not return City Paper’s requests for comment.)

Problems with DCRA’s inspection and enforcement arms are long and well documented. In 2016, the Legal Aid Society published a review of 78 cases sitting in the Landlord-Tenant Branch of D.C. Superior Court. Seventy percent of tenants said their landlord “never finished all the repairs required by the DCRA inspector’s report, a figure that is quite troubling in and of itself.”

Legal Aid concluded that, among other issues, DCRA is either “not using its power to force the landlord to fix [housing code] violations” or not telling tenants what enforcement actions the agency has taken against their property manager.

Pervasive issues like those prompted D.C. Council Chairman Phil Mendelson to propose cleaving the agency in two, tasking a new Department of Buildings with enforcing the city’s housing code for rental units, among other oversight responsibilities. “It has become abundantly clear that DCRA is an agency in need of major change,” Mendelson said in January when introducing the bill.

CP

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Asylum seekers

8 june 1, 2018 washingtoncitypaper.com

As the st. elizabeths Hospital campus is redeveloped into brand new neighborhoods, two independent scholars uncover the traumatic treatments lGBTQ people suffered there.

By Andrew Giambrone Photographs by Darrow Montgomery

St. ElizabEthS hoSpital for the Insane was supposed to help straighten Thomas H. Tattersall out, but by all appearances, it put him through a world of pain.

Tattersall was admitted to the federal hospital in Southeast D.C. in the mid-1950s, after he had been forced out of his job at the U.S. Department of Commerce. Bureaucrats in the Eisenhower administration learned that Tattersall, a married man with a history of mental illness, was what was then pejoratively labelled a “self-admitted homosexual.” He was gay, in other words—and needed to be cured of it.

So off he went to the country’s first federally operated psychiatric facility, established a century earlier by an act of Congress at the urging of reformers Dorothea Dix and Thomas Miller. They championed humane treatment for the mentally ill who lived in the area, and who previously had been sent to prisons and almshouses that offered little if any therapeutic care, much less dignity.

The facility, originally known as the “Government Hospital for the Insane,” started going by its Victorian moniker because Civil War soldiers were embarrassed to tell their families that they were recovering at a mental institution. In letters, they called it “St. Elizabeths,” the name of the land-tract that the site’s 17th-century owner had patented. Congress renamed the hospital as such in 1916 and—in an apparent surrender to colonial-era orthography—the apostrophe has been missing ever since.

But Tattersall’s experience of St. Elizabeths has survived in the historical record. Ousted from his job, the civil servant was certified “insane” and received a battery of “insulin shock therapy” sessions by injection. Over the course of weeks, Tattersall endured insulin-induced

comas that St. Elizabeths caregivers believed would heal him.

This method, among others, was a treatment for his mental illness, which physicians of that era believed included his homosexuality. Being gay—anything but straight and cisgender, really—was deemed a disease.

The U.S. government subscribed to that theory, too. Investigators for the U.S. Civil Service Commission, an agency that vetted federal employees, used Tattersall as an informant, even while describing him as “mentally deranged” in interrogation papers. The investigators sought to ferret out homosexuals, or suspected homosexuals, from the government.

In this post-war period of American supremacy, officials believed that LGBTQ people who worked for the federal government could be blackmailed and therefore were a threat to national security. They also believed that LGBTQ people would disgust their co-workers and were not suitable for civil service. The resulting policy objective was simple: The more that officials could prevent LGBTQ people from corrupting the moral fiber of the federal government, the better.

Thomas H. Tattersall became a vessel for that goal—in between receiving insulin treatments that rendered him zombie-like. In an affidavit he gave to the CSC in 1955, he named dozens of men and women as LGBTQ based on photos investigators had shown him and personal encounters. In one instance, he identified employees across 22 federal agencies. In another, he chatted on the phone with a friend at the U.S. Interior Department while an investigator monitored the call.

The investigator wrote in a report that Tatter-

sall and his friend had used “various homosexual terms,” recounts University of South Florida professor David Johnson in his 2004 book on the persecution of queer Americans during the Cold War, The Lavender Scare. The “tone of the conversation” and the friend’s “tone of voice” were “definitely homosexual,” the agent concluded. today thE St. ElizabEthS campus looks like the spectre of a once-bustling fortress within a city. Dozens of red-brick buildings, designed in the Italian Renaissance style, dot the landscape, a bifurcated site on either side of Martin Luther King Jr. Avenue SE. Wide windows, overgrowth, and rust cover their façades. The main building is a shell of its former self, gutted in 2016.

The site will look radically different in a few years. Already, two modern event spaces grace the campus: the R.I.S.E. Demonstration Center, housed in St. Elizabeths’ erstwhile chapel, and Gateway DC, a low-lying pavilion that resembles the wing of a starship that crashed to Earth.

The hospital itself, currently managed by D.C.’s Department of Behavioral Health, is a 450,000-square-foot facility with enclosed courtyards and a large green roof. It serves about 300 patients and runs a residency program. But the 163-year-old campus is long past its heyday of serving more than 8,000 patients across 300-plus acres in the 1950s.

As St. Elizabeths’ operations have dwindled, so has the hospital’s benighted history for LGBTQ patients like Tattersall. The campus’ name now signals forward-looking real estate development, with D.C.’s construction boom barreling east of the Anacostia River.

The District and private developers have set their sights on massive growth at the campus.

The land is slated for a practice arena for the Washington Wizards, thousands of housing units, and a complex for the U.S. Department of Homeland Security. Plans for this kind of overhaul have been in the works for more than a decade: A 2008 redevelopment framework by the District called St. Elizabeths “arguably the most famous mental hospital in the United States.”

SomE of thE darkest realities of St. Elizabeths’ fame are still largely hidden. But two local residents who describe themselves as “archive activists” want to change that for the institution’s LGBTQ history.

Charles Francis and Pate Felts stumbled across a curious omission last year that sparked their interest in St. Elizabeths. While touring the National Building Museum’s 2017 exhibit on the institution, Architecture of an Asylum, the men noticed there were practically no materials on the queer patients whom St. Elizabeths had treated as supposed “perverts.”

According to the museum, the exhibit focused on “the story of St. Elizabeths’ change over time, evolving theories of how to care for the mentally ill, and the later reconfiguration of the campus as a federal workplace and mixed-use urban development.” Francis and Felts say Asylum included some items that addressed the experiences of specific identity groups at the hospital, like African and Native Americans—just not queer people.

“The exhibit was de-gayed,” says Francis.

“We did see one wisp of a mention of homosexuality, though, in a diagram entitled ‘Alcoholic Woman No. 2.’” The diagram showed circles of Freudian maladies that a St. Elizabeths patient supposedly suffered from, including homosexual tendencies.

Sarah Leavitt, a curator at the museum, says the exhibit described homosexuality as “one major reason people ended up at St. Elizabeths,” but notes that the exhibit was primarily about the design of the hospital. “It certainly was not comprehensive,” she says. “We tried to include a lot, but if museums do anything, they should encourage people to explore more on their own.”

Unsatisfied, Francis and Felts set about finding the stories of LGBTQ patients at St. Elizabeths. The two men have been researching gay history for years as members of the Mattachine Society of Washington, D.C., a nonprofit founded in 2011 and named after a precursor group created in 1950 by late gay activist Frank Kameny.

“Most people who retire get into genealogy.

We got into LGBT political history,” says Francis. They call their mission “Vergangenheitsbewältigung,” a German word that means “the struggle to come to terms with the past.”

(It typically comes up in discussions about Nazi Germany and historical memory.) The compound word featured in the title of a 2017 article Francis and Felts authored in QED—a queer journal published by Michigan State University Press—that laid out Tattersall’s story and their own enterprise.

Francis is a Texas native and former publicrelations professional who worked for major clients including David Rockefeller, Citicorp, and ExxonMobil. He was a close friend of Kameny’s and co-founded the Kameny Papers Project, which is dedicated to preserving the civil astronomer’s legacy. Kameny was fired from the federal government for being gay and spent his life battling against discrimination.

Felts is Mattachine’s chief financial officer and was born in rural Virginia. He worked as CFO at a consultancy in D.C. and chief of staff to former Arkansas Sen. David Pryor.

They faced a colossal task in researching St. Elizabeths.

In many cases, the experiences of the hospital’s queer patients have been erased—lives forgotten in the flow of time and eclipsed by the institution’s more famous residents, like poet Ezra Pound, would-be Reagan assassin John Hinckley Jr., and actress Mary Fuller.

Still, available records suggest hundreds, if not thousands, of LGBTQ Americans have stayed at St. Elizabeths since its opening in 1855. It is unknown exactly how many were committed on account of their sexual orientation or gender identity. No centralized list was kept, and countless patient records have been destroyed or lost. A museum that opened at the campus in 1981 began shipping off its holdings in the mid-1990s as the hospital waned.

The documents that still exist are a paper diaspora, spread across various archives maintained by government agencies, university libraries, and, researchers hope, private citizens.

Francis and Felts had their first major breakthrough last August when they visited the Jeanwashingtoncitypaper.com june 1, 2018 9

Karpman gave his patients were not universally well received. “At the moment, I have a fairly strong desire to throw the typewriter out of the windows, bars and all,” wrote a person in his care, per records the Mattachine Society read.

Kunzel describes Karpman as “a kind of heterodox Freudian” who was “not moralizing at all

to St. Elizabeths in the mid-1900s had been “rounded up in gay cruising areas.” She is writing a book on what it was like for LGBTQ patients to receive treatment at the hospital, based on their accounts. “For me, that’s crucial,” Kunzel says. “We’re in another era of happiness that distorts and erases some of that history.”

St. Elizabeths Hospital Collection, Otis Historical Archives, National Museum of Health and Medicine

Nickolaus Tretter Collection in Gay, Lesbian, Bisexual, and Transgender Studies at the University of Minnesota. The archives hold the papers of Benjamin Karpman, who served as senior psychiatrist at St. Elizabeths from the 1920s to the 1960s. Francis and Felts went through 21 boxes of materials, writing notes as they went. (Visitors cannot take photos.)

Born in Russia, Karpman studied psychoanalysis in Minnesota. At St. Elizabeths, he practiced on homosexuals committed by judges, and served as a federal expert on complications of sex and gender. In 1948, according to documents the Mattachine Society has reviewed, he told the Post Office Department—in testimony about obscenity in the mail system—that “90 percent of the cases at St. Elizabeths have many problems centered on some sexual difficulty.”

Six years later, Karpman mused on the challenge that homosexuality represented. “Chasing all of the homosexuals out of one city (even assuming such a thing were possible) would not solve the problem of homosexuality, any more than chasing all of the thieves out of one city would solve the problem of dishonesty,” he explained. “Psychiatry should take time out from discussing homsexuality as an individual ‘disease’ and offer a constructive plan for dealing with it as a social problem.”

The Karpman papers include about 77,000 pages of records—dream analysis, his essays, and patients’ personal writings, among other items. They shed light on the treatment LGBTQ people received at St. Elizabeths and the theories behind that treatment.

“Karpman was not unusual in his efforts to treat and cure people of homoxesuality and what he called ‘trasnvestism,’” says Regina Kunzel, who leads Princeton University’s program in gender and sexuality and curated the Karpman papers while at the University of Minnesota. “He’s less of a dogmatic psychoanalyst than many people practicing at the time and he was a very strong critic of the criminalization of homosexuality. He doesn’t really use the language of disease, but he does use the language of arrested development.”

Under Karpman, Kunzel notes, practitioners at St. Elizabeths did not use electroshock therapy and lobotomies exclusively on LGBTQ patients, but they did rely heavily on psychoanalysis and aversion therapy to treat such patients around the 1950s and 1960s. Kunzel says queer people, like other St. Elizabeths patients, received shock treatments and lobotomies for depression or schizophrenia, which physicians thought was closely related to homosexuality. Doctors at St. Elizabeths occasionally used seclusions and restraints on patients they saw as difficult or dangerous.

Karpman worked as head of psychiatry at Howard University from the 1920s to the 1940s.

He drew up at least one “questionnaire for specific types of sexual deviates,” which asked patients whether they believed “there can be a lasting emotional relationship between two homosexuals” and how it could be maintained. Francis and Felts suspect that the U.S. Civil Service Commission used Karpman’s questionnaire to sniff out LGBTQ federal employees.

The pair saw that the written assignments

about homosexuality or gender nonconformity,” but did believe that people could be “cured.”

The papers themselves have a fascinating provenance. As the Minnesota Post reported last year, about a decade ago the documents were “discarded in a trash bin outside St. Elizabeths … ready to be tossed in a landfill.” But an anonymous discoverer found them and, recognizing their value to LGBTQ history and familiar with the Tretter Collection, donated the papers to the University of Minnesota. “It’s amazing the Karpman Papers were saved,” Francis explains.

Kunzel says some of the people who went

10 june 1, 2018 washingtoncitypaper.com

in octobEr, at the National Archives in downtown D.C., Felts and Francis examined papers revealing how another high-ranking doctor at St. Elizabeths shaped federal attitudes toward queer people.

Winfred Overholser, the superintendent of the hospital from 1937 to 1962 and the president of American Psychiatric Association for one year, was instrumental in arguing that homosexuals should be separated from the military and undergo clinical therapy.

Overholser was a chief architect of policies that lumped LGBTQ people into a cabal of sex-

ual degenerates (killers, rapists, voyeurs, pedophiles, homosexuals) during the period following World War II. “Some of these perverts are potentially dangerous,” Overholser said in 1947, as reported by the Evening Star newspaper. “In either event, they should be dealt with and not allowed to remain at large.”

While superintendent of St. Elizabeths, Overholser chaired a committee on neuropsychiatry for the National Research Council. In 1942, he wrote a letter to Forrest H. Harrison, a captain in the U.S. Navy, where he distinguished between a “small group” of people stuck in “the homosexual level” of psychological development who would “resort to violence to compel submission to their demands,” and another group of “homosexuals who engage in their chosen sexual activity with others of like tastes.” Members of the former group should face punishment, Overholser wrote, while those of the latter should not.

He acknowledged that “the emotional reaction of the public against homosexual activity” was “out of all proportion” with homosexuality’s actual threat to personal rights and public order,” but then recommended that gays be promptly discharged from the armed forces. “An honorable medical discharge would not serve the purpose intended,” he wrote, advising “dishonorable” or “for ineptitude” discharges instead. aS franciS and Felts tell it, anti-LGBTQ policies took root at the federal level during J. Edgar Hoover’s tenure at the FBI. Rumored to be gay, Hoover pursued efforts to oust homosexuals from civil service, including by famously requiring FBI supervisors to “underline in green pencil the names of individuals mentioned in any report, letter, memorandum, newspaper article or other communication who are alleged to be sex deviates.”

“Sex deviates” was Hoover jargon for homosexuals. Francis and Felts says the term masked the FBI director’s obsessive animus against LGBTQ people that fed a state-sponsored “witch hunt.”

News coverage of sex crimes during this era nursed widespread panic about transgressors. In 1948, D.C.’s congressional overlords approved the Sexual Psychopath Act, which criminalized queer behavior, including oral sex, sodomy, indecent exposure, and “prostitution, or any other immoral or lewd purpose.”

Overholser, the St. Elizabeths superintendent, helped draft the law.

If a person was determined to be a “sexual psychopath,” a D.C. court could send him or her to St. Elizabeths, where the person would remain until the hospital’s superintendent found that “he has sufficiently recovered so as not to be dangerous to other persons.” Dozens of people were indicted under the law, which effectively supplied a pipeline of LGBTQ people to St. Elizabeths.

But the hospital also indoctrinated medical professionals to believe queer people were damaged and needed to be fixed, the Mattachine Society’s research shows. In December, they requested more than 85 digital copies of St. Elizabeths documents at the National Museum of Health and Medicine in Silver Spring.

It took them 30 days to get a permit to visit the

in thEir quESt to obtain memos, correspondence, meeting minutes, and documents on other aspects of LGBTQ history, Felts and Francis have encountered what they call “rampant stonewalling.” But the Mattachine Society has a capable partner in international law firm McDermott Will & Emery. Over the last several years, the firm has helped Mattachine to file public-records requests and, in a 2016 case that has not yet been resolved, to sue the Justice Department and the FBI for failing to satisfy a FOIA request for documents pertaining to an executive order by President Dwight Eisenhower. The order included “sexual perversion” as a basis for examining whether federal employees were national security risks, and was used to purge queer people.

McDermott now has 20 attorneys working with the Mattachine Society pro bono, up from half a dozen when the partnership débuted. On behalf of the group, the firm wrote an amicus brief in the landmark Supreme Court decision Obergefell v. Hodges in 2015 that legalized same-sex marriage nationally.

Lisa Linsky, a McDermott partner who launched an LGBTQ diversity committee at the firm more than a decade ago, met Francis via one of the committee’s events in 2012. She

St. Elizabeths Hospital Collection, Otis Historical Archives, National Museum of Health and Medicine

Otis Historical Archives at the museum, and, when they did, they had to view the images using a “magic lantern” device.

“The box weighs a ton,” Felts quips about the device, which illuminates slides.

The archives have “etiological studies” or diagrams that purport to map out pathologies common among LGBTQ people. To the lay eye, many of these slides appear quizzical, even absurd. One depicts concentric circles bisected by the words “homosexuality” and “incest,” both of which are surrounded by two curved instances of the word “masturbation.”

Another, labelled “Acute Homosexual Panic No. 1,” features a flow chart of a “family setting” that resembles a game of “Chutes and Ladders” with dramatic outcomes: “paternal ambivalence,” “guilt,” “inferiority,” “latent homosexuality,” “family slavery,” “frustration,” “marital difficulties,” “psychic impotence,” “oedipus complex,” “paraphiliac tendencies erupting to the surface.”

Diagrams on “female homosexuality” show the following: “alcohol,” “masturbation,” “masculine protest,” “neurosis.” Another chart, on “subclinical acute homosexual panic,” is color-coded by time of diagnosis and centered around the word “guilt,” which appears three times in concentric circles.

One image from the Otis Historical Archives is plain eerie. Called “Homosexuality; Many crimes of sexual motivation,” it depicts, in black-and-white, a man whose eyes have been redacted. He is white, has short hair and a collared shirt, and seems to be between his late 20s and early 40s.

Kunzel, the Princeton professor, and Chris Babits, a PhD candidate at the University of Texas at Austin writing his dissertation on conversion therapy and LGBTQ “cures,” helped the Mattachine Society interpret these slides.

“They were the key validators,” Francis says.

says the information the team has discovered in official records has given its members an appreciation “for just how pervasive the discrimination and animus by the government” against queer people was in the 1900s.

“The documents are mind-blowing,” she notes. “You see the way government officials spoke with such venom and disregard for their fellow citizens who happened to be gay. It’s shocking, absolutely shocking.”

No less shocking to the team are the treatments that LGBTQ patients underwent at St. Elizabeths, which they argue were directly tied to discriminatory U.S. policy. “It was something out of a horror movie,” Linsky says. “Coma-inducing shock treatments, lobotomies, solitary confinement. This wasn’t done in a vacuum.

This was done in a culture of animus—created by the federal government—that made it OK to treat gay people in this way.”

McDermott is working on a white paper about the Mattachine Society’s latest research, due out before September. Francis and Felts have determined that St. Elizabeths played an essential role in the 20th-century assault on LGBTQ citizens and deleted queer history in the process. “This is coercive federal psychiatry,” says Francis. “That’s what turned us on, the Leviathan doing it.”

In the Mattachine Society’s account, which a few academics have independently reviewed, the hospital was a “headwater” of pseudoscientific theories about LGBTQ people that combined the psychoanalytic teachings of Sigmund Freud with American homophobia. Francis and Felts say the ideas that St. Elizabeths’ leaders

generated were codified in pedagogical materials that cast queer identities as pathologies, bolstering the dominant narrative at the time.

The team is quick to underscore the contemporary relevance of their research. They point out that one can draw a line from the oppression that the LGBTQ community suffered under the pretext of psychiatric “cures” to modern-day discrimination against transgender people and conversion therapies promoted by members of the religious right.

“Conversion therapy brings it home for us,” says Francis. “The gay community today, they can’t understand lobotomies and shock insulin treatments, but they can understand that.”

To the researchers, the historical treatment of queer Americans at St. Elizabeths falls on the same spectrum as the U.S. Public Health Service’s notorious “Tuskegee Study of Untreated Syphilis in the Negro Male”—which tracked the illness’ progression among black Americans, but did not provide them with curative treatment—and the contemporary torture of alleged terrorists.

It is also a harbinger of specifically anti-LGBTQ policies that persist: the ban on transgender servicemembers floated by President Donald Trump; denied bathroom access for people whose gender identities do not match the genders assigned to them at birth; international persecution of gay men and women; and, in some corners of the U.S., conversion therapy performed on LGBTQ youth under the guise of “praying the gay away.”

“This whole idea of LGBT Americans being broken and in need of a cure—religious or psy-

chiatric—is still a pernicious, damaging lie,” says Francis.

He points to the story of Garrard Conley, an Arkansas native on the Mattachine Society’s board of advisers who in 2004 entered a conversion therapy camp called Love In Action after being outed to his Baptist parents while in college. Conley wrote a memoir about his experiences, Boy Erased, that was made into an upcoming movie starring Lucas Hedges, Joel Edgerton, Nicole Kidman, and Russell Crowe. (David Johnson, the author of The Lavender Scare, and Jim Obergefell, the plaintiff in the landmark Supreme Court case on same-sex unions, are also on the group’s advisory board.)

The federal government no longer clinicizes anti-queer ideology to the extent that St. Elizabeths did last century, but the Mattachine Society worries that discriminatory ideas still have a grip on political leaders and the Trump White House. The Republican Party’s 2016 platform defended “the right of parents to determine the proper medical treatment and therapy for their minor children,” and Vice President Mike Pence once supported federal funding for institutions that assist people “seeking to change their sexual behavior.”

Linksy, the attorney who works with the Mattachine Society, says the nonprofit’s research demonstrates that the queer community’s struggle is far from over. “We cannot rest on our laurels,” she says. “LGBTQ youth in schools, suicides and attempted suicides, bullying: There is so much work yet to be done.”

“Have we made strides?” she continues.

“Yes. But now’s not the time to stop.”

CP

washingtoncitypaper.com june 1, 2018 11

DCFEED

what we ate this week: Waterman’s platter with fried fish, oysters, headon shrimp, scallops, fries, onion rings, and coleslaw, $30, The Salt Line.

Satisfaction level: 5 out of 5. what we’ll eat next week: BBQ spare ribs with fish sauce caramel and tarragon, $16, Rose’s Luxury.

Excitement level: 4 out of 5.

Drinking Games

Darrow Montgomery/File

Are a couple of playoff runs enough to sustain D.C.’s sports bars during the slow season?

By Laura Hayes All AboArd the Mug Bug—a six-seat, motorized golf cart that can reach speeds of 35 miles per hour. The Ugly Mug uses the vehicle to transport baseball fans for free from the bar, located near Barracks Row, to Nationals Park and back again after the last crack of the bat. “That’s what you have to do these days,” says Joey Allen, the bar’s director of marketing and events. “You have to do whatever it takes to make customers happy.”

Sports bars are under pressure in the Dis-

young & hungry

trict’s increasingly competitive nightlife scene, especially when some, like sports persona Michael Wilbon, subscribe to the idea that D.C. is a nascent or “minor league” sports town. Several have closed recently including 10 Tavern from Phillips Seafood in Chinatown, The Prospect on U Street NW, Parlay Sports Bar & Lounge in Dupont, and Walters Sports Bar in Park View.

When former Walters’ owner Jeremy Gifford took over a failed bar in Park View, he banked on neighbors welcoming a sports bar.

“We felt Georgia Avenue had been changing with lots of newcomers to our neighborhood— people might want to be able to watch sports from where they came from,” he says. Cus-

12 june 1, 2018 washingtoncitypaper.com

tomers fancied the “West Coast happy hour” when fans could watch late games over discounted West Coast beers.

Walters ultimately only did big business on Sunday afternoons and struggled because of the limitations of its kitchen. “Our menu revolved around a small, ventless fryer and an oven like Starbucks uses,” he says. “Maybe in a more populated neighborhood with a proper kitchen Walters could do better.”

Sports bars are fickle and come with a unique set of challenges and preconceived notions. “Sports bars are a lot harder than people think,” says Ventnor Sports Cafe owner Scott Auslander. “You can really get bogged down in costs, especially technology costs.”

His narrow, two-floor bar opened in Adams Morgan in 2005. “We were the first sports bar that could be in a tiny space,” Auslander says. He believes Ventnor was among the first bars to mount flat screen TVs, which at the time cost thousands of dollars but didn’t require as much real estate on the walls.

It’s not just the display equipment that adds up. “I have to buy all of the packages,” Auslander says. “Sports bars to most people mean cheap food and cheap drinks, but the technology is expensive. For the owner, it’s quite the conundrum.”

“NFL Sunday Ticket is kind of outrageous,” says Peter Bayne. He co-owns some of the District’s biggest sports bars with Geoff Dawson. “For large venues like Penn Social, we’re spending up to $15,000 a season.” DIRECTV determines how much to charge a venue for the football package based on occupancy.

And since bars have to purchase DIRECTV to offer NFL Sunday Ticket, they’re reliant on a satellite dish. “If you’re wondering why every bar loses footage during thunderstorms, it’s because they have DIRECTV,” Bayne says.

Sometimes the public still isn’t satisfied with the options. “A family came in and was upset that we didn’t have the golf package,” Allen recounts. “The match comes on at 2 p.m., but they want to watch all of the pre-stuff. They’re mad we don’t have it.” It frustrates him when patrons want a la carte channels but expect to pay only $4 for beer even though the price of kegs is creeping up.

Sports bars have one big thing working in their favor. Younger generations are splitting up with cable. Auslander says if there’s a live basketball game on TNT, people under 40 usually have to go out to watch it. Indeed, a 2017 Pew Research Center survey found 61 percent of people ages 18 to 29 primarily consume television on streaming platforms.

The success of a sports bar is often tethered to the triumphs of hometown teams, presenting another pitfall. Whether a team reaches the playoffs can be a make or break issue for owners. It’s why Bayne drools over doing business in a sports-obsessed city like Boston, where teams have had extended runs at greatness and fans want to watch every game.

Despite the fact that a D.C. team has not won a championship in one of the four major professional leagues in more than 25 years (the Washington football team was the last to do it, in 1992), Bayne is optimistic the future holds something better for D.C. sports and

DCFEED D.C. sports bars.

“It used to be that we were just a football town, but hockey is chipping away at it,” he says. “The energy behind the Caps feels different.” His bars are “seas of red” during playoff games.

When Walters was open, Gifford says a Caps playoff run had the ability to double his bar’s monthly sales. He also feels D.C.’s significant population of transplants plays in its favor. Maybe someone’s hometown didn’t have a basketball or baseball team.

“People from all over the country move here and latch onto our sports teams,” he says. “Nobody comes here and becomes a Redskins fan, but baseball and hockey have been adopted quickly by our transient community.”

Mike Bramson, who co-owned The Prospect, compares D.C. to Chicago, a city that has a more mature, imbedded sports bar scene. “Whether there’s a game on or not there, sports bars are packed,” he says.

“With the Caps doing so well and other sports teams getting better, I think that culture will improve here. But for now, sports bars are too niche. You do extremely well during the season or a specific game, but in the off-season it slows down.”

The peaks and valleys sports bars weather can negatively impact staffing. “You load up on big games and cut people during slower times,” Bramson says. “It’s hard to tell a good bartender, ‘We don’t have the shifts for you.’”

The swing in staff numbers can also cause consistency issues with food and service.

“Ramp up in the fall and it goes to June, then it completely dies off unless you’re a soccer bar,” Allen of The Ugly Mug adds. “Maybe there’s soccer or the Olympics, but other than that you live and die by sports.”

Allen, Bayne, and millions of fans are embittered that the U.S. men’s national team choked and didn’t qualify for this summer’s World Cup. “We would have had a line around the block at Penn Social,” Bayne says. “For them to blow it, it’s crazy. It’s sad for the team and the country, but also sad for businesses. You wait four years for this.”

Because sports outcomes are unpredictable, sports bars have to cater to more than just sports fans by differentiating themselves. “If you just try to be a sports bar, it’s not enough,” Auslander says.

He believes focusing on the surrounding community and becoming a neighborhood bar is the best strategy. “Whether it’s food, drink, or camaraderie, you have to provide something beyond sports.” Ventnor prospers on the District’s political DNA by serving specials during State of The Union addresses.

They also offer trivia nights and crowd-pleasers like summer crab feasts.

Arturo Zaloga, the general manag-

er of Lou’s City Bar, agrees. “Your bread and butter is the neighborhood,” he says.

“Games supplement it, but it’s the people from Columbia Heights that keep us going.” Bar moguls Eric and Ian Hilton began operating the bar about a year ago and recently tapped a new chef to up the quality of the food.

The Ugly Mug also made improvements to its food menu with the help of Lucky Buns’ chef Alex McCoy. “We wanted to get someone fresh and trendy in the industry,” he says.

“You don’t have divey sports bars in D.C.—you have nice sports bars with craft cocktails and gourmet hot dogs. It’s almost like your living room in here … That’s what our sports bars feel like in Washington.”

When Rob Zahn opened one his popular New York sports bars in D.C., he took a different approach. Instead of targeting a neighborhood for Proper 21, he looked for real estate surrounded by offices and found a location at 1319 F St. NW. “We’re a sports bar, but what we do is target corporate areas where there’s a built-in lunch crowd,” the NIEUW Group partner says. Work happy hours and events are big money makers.

Proper 21 is an upscale sports bar, with walls lined with art instead of dusty items commemorating yesteryear’s sports greats. Bayne’s newest bars, Franklin Hall and Church Hall, have similarly polished atmospheres. The latter even has a twinkling chandelier.

While some sports bars have gotten a leg up by offering niceties typically reserved for fancy restaurants, others attract customers by appealing to out of town teams with devoted followings. “It’s better for a business to find a fan-base that’s non-Redskins and really embrace what they want by creating a scene that’s a home away from home,” Bayne says.

Bayne courts college alumni groups with drink specials and will play a school’s fight song over the sound system when they score a touchdown. “People want the nostalgia of when they were 20-year-olds drinking light shitty beer all day,” he says.

The popularity of fantasy football has also been a big boon for sports bars. Participants went from not following football at all to agonizing over every game. In addition to welcoming larger crowds during the season, bars could host beer-fueled fantasy draft parties.

Could legalized sports betting boost sports bars in the same way?

“It will make for more people that are interested in sports,” Auslander predicts. “It’s sort of the next level of fantasy for people.”

CP

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Space, the Next Frontier NATIONAL SYMPHONY ORCHESTRA Emil de Cou, conductor actor

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An Article About Nothing Ten years later, The Mixtape About Nothing stands as Wale’s initial appointment as D.C.’s ambassador of rap.

Stewart Lupton, the enigmatic frontman of Jonathan Fire*Eater and Child Ballads, has died at age 43.

Soon after that, Johnson and UCB backed Wale and toured with him across the country. The singer still tours with him today.

For The Mixtape About Nothing, Wale took hip-hop into unchartered territories: a themed mixtape built around Seinfeld, a show that was perhaps the furthest thing from hip-hop culture. On top of that, just two years prior, Michael Richards, who played Kramer on the show, had a racist tirade at one of his stand-ups gigs go viral, in which he continuously called an attendee the n-word, which further widened the gap between Seinfeld and hip-hop.

It was a shot in the dark, but Wale took a gamble. The rapper, an avid Seinfeld fan, told Entertainment Weekly in 2008 that he had seen every episode of the nine-season series “like 30 times.”

Jerry Seinfeld told Rolling Stone in 2015 that the MC had approached him with the idea to do a mixtape at one of his shows.

“It just felt so offbeat and that’s what appeals to me,” Sein-

By Gregory Dale Ten years ago this month, a young rapper by the name of Wale released a mixtape that, at the time, was something of an oddity for D.C.’s nascent rap scene. Themed mixtapes were basically unheard of at the time, especially one based on the hit TV show Seinfeld, which wasn’t remotely connected to hip-hop culture.

But The Mixtape About Nothing was not only a defining moment in the rapper’s ascent, it also forcefully shed a spotlight on D.C.’s hip-hop scene, which had long stood in the shadows of other established rap metropolises.

Of course, there had been a handful of D.C. rappers that achieved mainstream success—like DJ Kool, who crafted the 1996 hit “Let Me Clear My Throat,” and Nonchalant who released “5 o’clock” that same year—but hip-hop in the District had always taken a back seat to the city’s native go-go scene.

By the early 2000s, the south had a stronghold on hip-hop in the same way that New York and the West Coast had on it in the ’90s. It was during this time that Wale began to build up his name in his native city of D.C.—and beyond. Two of his songs— “Rhyme of the Century” and “Dig Dug (Shake It)”—gleaned spins on local radio.

Over the course of two years, he released three mixtapes— 2005’s Paint a Picture, 2006’s Hate is the New Love, and 2007’s 100 Miles and Running. His hustle soon caught the attention of U.K. super producer Mark Ronson, who inked him a production deal on his label Allido Records.

music

Walker “Tre” Johnson, Wale’s longtime friend, frequent collaborator, and founder and former front man of the go-go band UCB, was an early believer in the rapper’s genius.

Johnson and the rest of UCB met Wale through Kenny Burns, a former executive of Jay-Z’s Roc-A-Fella Records who was also from D.C. In the early aughts, UCB was being courted

by Roc-A-Fella, but after Tre was shot during a show in 2003, the label’s interest fizzled.

“UCB was at a down point,” Johnson recalls. “We were under investigation and none of the venues wanted to touch us ... they thought that we were bad for business. Also, a lot of the clubs were closing down at that time in the go-go community because of the violence, so they definitely did not want to mess with us.”

As an attempt to switch gears, Johnson wrote the song “Sexy Lady” in order to appeal to new audiences. The song turned out to be a hit in 2005 and shortly thereafter, Burns called Johnson to see if the band was interested in working with Wale, who he had recently signed to his local imprint, Studio 43.

“When I heard his music, I was like, ‘He’s not talking about no gangsta shit, he’s talking about tennis shoes and college,’” Johnson recalls. “[I thought] this was a great way for us to rebrand ourselves and get out this hole because nobody wanted to touch us.”

feld said.

The mixtape, which prominently features audio clips of the show scattered throughout, was released in collaboration with streetwear brand 10.Deep Clothing. It also features a brief skit

by Julia Louis-Dreyfus, who played Elaine on the show.

Wale kicked the project off with “The Opening Title Sequence,” which sampled the Seinfeld theme. Using witty wordplay that he had showcased in earlier projects, the rapper addressed his grievances and opinions about a laundry list of washingtoncitypaper.com june 1, 2018 15

CPArts topics including the rap game, current events, black culture, and the District.

He scooped up A-list collaborations throughout the mixtape, to further his bonafides. “The Roots Song Wale is On” features the aforementioned Philadelphia hip-hop collective and singer Chrisette Michele. “The Feature Heavy Song” cleverly flips Jay-Z’s vocals from the title track of his 2007 American Gangster album and features vocals from Johnson on the hook, and guest verses from Bun B and Pusha T. Wale even addresses Richards’ rant and hidden racism on “The Kramer,” which is headed by an audio clip of the incident. He spits: “Pardon me, y’all, the racists I run against/ The race war, when it’s us against all of them/ They subconsciously low talk us/ And probably all think as Kramer did still but won’t talk it.”

On its surface, “The Cliché Lil Wayne Feature,” commonly known as the “Nike Boots Remix,” is a celebration of Nike’s ACG boot, which was frequently donned by hip-hop heads in the DMV area in the mid-aughts. But truly, the track talks about the unification and celebration of his hometown. Lil Wayne, who was burning up Billboard and the mixtape circuit at the time, also lends a guest verse.

MosT of The production on The Mixtape About Nothing was handled by D.C.-based producers Best Kept Secret. The duo— Craig Balmoris and Julian Nixon—crafted 11 tracks for the project. The pair originally met in high in school where they found out that they both made beats.

Balmoris says that Nixon originally met Wale at a sneaker store

at the Mall at Prince Georges. From there, they sent the budding MC their tracks, which eventually wound up on 100 Miles and Running. After that project was released, Balmoris says that Wale approached him with his ideas for The Mixtape About Nothing.

“He called Julian and I over to his house and, at that time, I think he was still living with his parents,” Balmoris recalls.

“When we got over there, we literally watched all of the Seinfeld episodes. From there, we started to plot what we were going to do. Wale came up with the idea of putting the quotes at the beginning of the beats so that he could get concepts to write to.”

It was a nascent time for Best Kept Secret, Balmoris says. The duo were still getting their feet wet in music production and their whole experience working on The Mixtape About Nothing was a learning process.

“It’s funny because we were still learning how to make beats—we weren’t really that good,” he says. “We were experimenting with samples and going back to old jazz. [We were looking for] anything that sounded live that we could add gogo drums to blend.”

And for that unique sound, Balmoris credits rapper Southeast Slim as one of the early innovators. He and Nixon had always aspired to make beats like Slim’s and when they met Wale, it was the perfect combination.

“Finally, when we had a vessel, which was Wale, who was trying to embrace D.C. culture and what it was, it gave us the green light to do whatever we wanted to do.”

These days, though the duo are technically no longer together, Balmoris says he and Nixon still maintain a great relationship but are hard at work on their own projects. Balmoris recently produced

Passion, power, and religious fanaticism light Botticelli’s world on fire. Will he save his love... or his art?

BY JORDAN TANNAHILL

//

DIRECTED BY MARTI LYONS

NOW PLAYING THRU JUNE 24

WOOLLY MAMMOTH THEATRE COMPANY

WOOLLYMAMMOTH.NET // 202-393-3939 // #WOOLLYFIRE

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5/22/18 11:35 AM

the song “Garden” on singer SZA’s CTRL, while Nixon has gone on to work with Jidenna, Estelle, and Dr. Dre. But they still collaborate with Wale; Nixon produced the rapper’s single “Effortless (It’s Complicated),” which was released earlier this year.

Prior To The release of The Mixtape About Nothing, Wale was touring everywhere. His popularity was growing, and according to Johnson, several record labels were trying to sign him.

In March 2008, he signed to Interscope Records. That following year he released the Back to the Feature mixtape and his debut album, Attention Deficit. The hype leading up to the album’s release was intense at both the home front and abroad.

But low sales plagued the album, as it only sold 28,000 in its first week.

Nonetheless, Wale continued to deliver solid bodies of work following his debut—four albums and numerous mixtapes. Included in that bunch is a sequel to The Mixtape About Nothing and a full album, The Album About Nothing, which was released in 2015.

Though his detractors have questioned his relevance among today’s listeners, he has proven to be a mainstay in hip-hop through his consistency. He’s bounced back from label changes and opened the door for a bevy of rappers from the DMV area, like Fat Trel and Phil Ade. Even Logic recognized Wale as an inspiration to him during a 2016 radio interview on St. Paul, Minnesota’s GO 95.3.

“The Mixtape About Nothing is what catapulted him to that mainstream,” Johnson says. “And it was that mixtape that got him his major deal, and the one that set the mark for opening the door for D.C. in the rap game.”

CP

TheaTerCurtain Calls it with aplomb.

Pa n ch o l y, re membered by TV audiences for manic turns on Weeds and 30 Rock, caref u l l y c a l i b rat e s his performance, drawing out Kevin’s explanations of past behavior, then suddenly snapping at his husband in front of their guests.

Fitzgerald’s quiet devastation over the end of his marriage allows the audience to pity him until a secret he has kept hidden reveals he may not be an innocent party. Urban’s vivid characters contain multitudes—no one is right all the time and no one is entirely wrong, which makes them such compelling figures to study.

He has built a fair amount of humor into the script, channeling much of it through the supporting characters. One could call Andrea, a heavily accented twice-divorced single mother, a stereotypical working-class Bostonian but Skraastad imbues her with such life that a simplification like that seems unfair. She is still the older sister who can read her brother like a book and use physical comedy to physically drag the truth out of him. The same can be said of Jacobson’s portrayal of Theo’s mother, Trish, and Mullavey’s portrayal of Theo’s father, Len. They could be any older, well-cultured couple in the wealthy Boston ’burbs, but Urban makes fun of their cluelessness about the ways gay men relate to each other with love. They are endearing, not caricaturish.

(To be fair, the play’s hyper-specific setting and jokes about how people in Massachusetts relate to one another seems tailor-made for individuals, like this reviewer, who hail from, or have spent a significant amount of time in, the Bay State. When Theo calls out his parents for being “racist in that polite Boston way,” pockets of the audience chuckled knowingly.)

The five characters establish their differences very early on and yet over the decade they have been related, have come to rely on one another. As Kevin and Andrea realize that they will no longer have a connection to Trish and Len, people who have behaved more parentally toward them than their own parents, the pain registers on their faces. They know, and the audience does too, that what’s devastating about a breakup is not just losing a loved one but also losing the people you have come to love through that person.

In that beautiful, sad, and sweet moment, it almost seems like abandoning the breakup would be worth it, that the love these people share is powerful enough to make them look past the lies and the wounded egos that brought them to this point.

“Can we just pretend for a little longer?”

The Remains

STAY WITH ME The Remains

By Ken Urban Directed by David Muse At Studio Theatre to June 24 What happens When the promises we make to one another change over time? Presumably, a promise lasts forever, but it’s human nature to grow and evolve.

That’s the question at the center of The Remains, Ken Urban’s emotionally rich family dramedy, making its world premiere at Studio Theatre, that examines the relationship between one of the first gay couples to marry in Massachusetts 10 years after their wedding. Over the course of one dinner, Theo (Glenn Fitzgerald) and Kevin (Maulik Pancholy), along with Theo’s parents (Naomi Jacobson and Greg Mullavey) and Kevin’s sister, Andrea (Danielle Skraastad), discuss what it means to be faithful to the ones we love, be it on an emotional or physical level. Their answers differ but the collective rumination on love and devotion cracks the shell of anyone who has loved a parent, sibling, or romantic partner.

Anxiety is high in the open-concept kitchen (designed with great taste, down to chicly contrasting wallpaper, by Wilson Chin) of the home Kevin and Theo share in Boston’s trendy South End when we meet them. They look impressively fit in their slim pants and button-up shirts, the epitome of a professional couple. Theo, the practical lawyer, throws together a salad while Kevin, the analytic academic, works on a section of his book manuscript. But appearances can be deceiving.

Within minutes, we learn that Kevin and Theo are not as happy as they appear. Instead of welcoming a baby, as Andrea predicted, they are getting divorced for reasons no one can quite agree on. Urban has perfected the awkward, vulnerable agony that comes with announcing a breakup and the cast executes

Theo asks his husband at one point in the evening. He already knows they cannot but that feeling of despair, disguised momentarily as hope, hangs in the air, left behind for the audience to consider on their walk home.

—Caroline Jones 1501 14th St. NW. $20–$106. (202) 332-3300. studiotheatre.org.

Natural and economic disasters are the tectonic forces that shape communities, and Gabrielle Reisman—a playwright who splits her time between New York and New Orleans, both of which have suffered mass-casualty calamities in her lifetime—examines their effects on Johnstown over the course of a century. Press coverage of those displaced by the 1889 flood yielded an outpouring of sympathy (and federFlood City

TRYING TO WASH US AWAY Flood City

By Gabrielle Reisman Directed by Jenna Duncan At the Anacostia Playhouse to June 17 andreW Cohen’s set for Flood City, Theater Alliance’s agreeably uncategorizable season-closer, is an installation-art attraction all by itself. From the ceiling of the Anacostia Playhouse’s black box theater, he’s suspended chairs and lamps and knickknacks that look like they’re being carried off by vengeful waters— waters like the ones that killed more than 2,200 people in the steelmaking community of Johnstown, Pennsylvania, after a dam on the Little Conemaugh River collapsed in 1889. Beneath that caravan of debris, a midcentury consolestyle jukebox rests on the runway-like stage.

Once the show begins, it will signal shifts in setting from the months following the flood to the early 1990s via period-appropriate songs from Metallica, Billy Ray Cyrus, and the Red Hot Chili Peppers. Sound designer Matthew M. Nielson is due extra credit for the backwards time-slip that’s suggested when R.E.M.’s “It’s the End of the World As We Know It (And I Feel Fine)” is subsumed by an instrumental cover performed on banjo.

al rebuilding money), which brought the town back to life only to see its steel plants shuttered a century later. Reisman’s play, a sort of creative obituary, hopscotches among survivors of the disaster in the 19th century and steelworkers drinking to their uncertain future in late 20th.

Director Jenna Duncan also works as a casting director, and her facility for finding talent that plays well together is in full bloom here.

Without the sheer chemistry of the performers, this piece might be unbearably sad. While it’s the temporal panorama that gives Flood City its sense of significance, the 19th century scenes make fuller use of her lively ensemble.

These chapters feature Lolita Marie and Kari Ginsburg as a pair of newly childless widows struggling to negotiate their lonely new reality, Jared Shamberger as a just-deputized National Guardsman trying to keep order after martial law is declared, and Ryan Tumulty as a man who woke up after the flood with a pipe stuck in his skull. This bizarre injury appears to have granted him clairvoyance and possibly the ability to heal injuries and compel the truth from those who would withhold it. Carlos Saldaña plays a New York Times reporter who’s not above paying Ginsburg’s Stacey to pose as a corpse, rationalizing that his staged photographs will convey the genuine suffering of the region. It’s a breach of journalistic ethics on his part, but Reisman’s artistic licence is current and valid, and her portrait of a town molded by tragedy is one you won’t soon forget.

—Chris Klimek 2020 Shannon Place SE. $30–$40.

(202) 241-2539. theateralliance.com.

washingtoncitypaper.com june 1, 2018 17

Take Metrobus and Metrorail to the...

JUNE

8

SATURDAY JUNE 2 JAZZ ‘N FAMILIES FUN DAYS 10:00 AM – 5:00 PM • The Phillips Collection Herman Burney Trio feat. students from Jazzin’ AfterSchool, Lena Seikaly, David Schulman, Janelle Gill Trio, Udobi, Shannon Gunn Ensemble, Paul Carr Quartet

SUNDAY JUNE 3

– 17, 2 018 THE HAMILTON LIVE 8:00 PM (Door 6:30 PM) • The Hamilton Live Delfeayo Marsalis with Eric Byrd Trio

THE HAMILTON LIVE 8:00 PM (Door 6:30 PM) • The Hamilton Live Regina Carter – Simply Ella with Elijah Jamal Balbed

EAST RIVER JAZZ 7:30 PM • WE ACT RADIO Charmaine Michelle Quintet

CAPITALBOP DC JAZZ LOFT SERIES 10:00 PM • Local 16 Jeff Parker

DC JAZZFEST AT CITY WINERY 8:00 PM (Door 6:00 PM) • City Winery DC Patricia Barber Trio

SUNDAY JUNE 10

JAZZ ‘N FAMILIES FUN DAYS Noon — 6:30 PM • The Phillips Collection Michael Ventura Quartet, Kenny Rittenhouse Ensemble, David Schulman, Tyler Leak & Freeform, Coy Fish, Origem, The String Queens

CAPITALBOP DC JAZZ LOFT SERIES 10:30 PM (Door 10:00 PM) • Union Stage Jaimie Branch’s Fly or Die

THURSDAY JUNE 7

JAZZ IN THE ‘HOODS 11:00 AM • Asbury United Methodist Church Esther Williams & Davey Yarborough 6:00 PM • JoJo’s Restaurant and Bar Andres Diaz Trio/Aaron Myers (late set) 7:30 PM • National Museum of American History Smithsonian Institution Coulter Performance Plaza Smithsonian Jazz Masterworks Orchestra – Leonard Bernstein:100 Years 8:00 PM • The Alex Craft Cocktail Cellar & Speakeasy Shacara Rogers 8:00 PM • Mr. Henry’s Batida Differente 11:00 PM • Eighteenth Street Lounge All That Jazz with Donvonte´ McCoy Quintet (also JUNE 10)

PHILLIPS AFTER FIVE 5:00 PM • The Phillips Collection Los Gallos Negros DC JAZZFEST OPENING CEREMONY 7:30 PM • City Winery DC Frédéric Yonnet with special guest Maimouna Youssef, Washington Renaissance Orchestra Octet JAZZ IN THE ‘HOODS 8:00 & 10:00 PM • Blues Alley Roy Hargrove (also 6/8, 9, 10)

FRIDAY JUNE 8 JAZZ IN THE ‘HOODS 6:00 PM • JoJo’s Restaurant and Bar Bill Heid Trio/Allison Crockett (late set) 7:00 PM • Yards Park Marvillous Beats 9:00 PM & 11:00 PM • Twins Jazz Benito Gonzalez Quartet (also JUNE 9 at 11:00 PM)

PRESENTING SPONSOR

SATURDAY JUNE 9

DC JAZZFEST AT CITY WINERY 6:30 PM (Door 5:00 PM) • City Winery DC Pharaoh Sanders (2nd show at 9:30 PM)

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JAZZ IN THE ‘HOODS 3:30 PM (Door 3:00 PM) • Pearl Street Warehouse Feufollet 4:00 PM & 7:00 PM • Rhizome Bill Cole’s Untempered Quartet/Ensemble 6:30 PM (Door 6:00 PM) • Ivy City Smokehouse Vocal Jam Session with the Chris Grasso Quartet 8:00 PM & 10:00 PM • Twins Jazz Abby Schaffer Quartet 9:30 PM • Rhizome David Murray & Kahil El’Zabar THE HAMILTON LIVE 7:30 PM (Door 6:00 PM) • The Hamilton Live Terence Blanchard feat. the E-Collective with Mark G. Meadows CAPITALBOP DC JAZZ LOFT SERIES 7:30 PM • NYU-DC Oliver Lake Big Band with Janel Leppin DC JAZZFEST AT CITY WINERY 8:00 PM (Door 6:00 PM) • City Winery DC The Bad Plus

For tickets, artists and a complete schedule, visit DCJAZZFEST.ORG

PLATINUM SPONSORS

SILVER SPONSORS

EAST RIVER JAZZ 3:00 PM • Anacostia Arts Center Beyond Genre Band feat. Tamika Love Jones

GOLD SPONSORS

BRONZE SPONSORS

MEDIA SPONSOR

MONDAY JUNE 11

THURSDAY JUNE 14

JAZZ IN THE ‘HOODS It’s a Family Affair 6:00 PM • Kennedy Center: Millennium Stage Esther Williams & Davey Yarborough

JAZZ IN THE ‘HOODS 12:30 PM • Franklin Park Samuel Prather & Groove Orchestra 7:00 PM • JoJo’s Restaurant and Bar Marshall Keys/Federico Pena/Mark Prince 7:00 PM • Former Residence of the Ambassador of Spain Javier Moreno 7:30 PM • Sixth & I Terri Lyne Carrington’s Feed the Fire: Celebrating Geri Allen’s Genius, Grace and Fire 8:00 PM • Atlas Performing Arts Center Ajoyo 8:00 PM & 10:00 PM • Blues Alley Lisa Fischer & Grand Baton

JAZZ IN THE ‘HOODS 7:00 PM • University of the District of Columbia World Percussionist, Tom Teasley 7:00 PM (Door 6:30 PM) • Ivy City Smokehouse JoGo Project with Dupont Brass 8:00 PM • Blues Alley Ola Onabulé DC JAZZFEST AT CITY WINERY 8:00 PM (Door 6:00 PM) • City Winery DC Tia Fuller

TUESDAY JUNE 12 JAZZ IN THE ‘HOODS It’s a Family Affair 6:00 PM • Kennedy Center: Millennium Stage The Redd Brothers

DC JAZZFEST AT CITY WINERY 8:00 PM (Door 6:00 PM) • City Winery DC Raul Midón

JAZZ IN THE ‘HOODS 7:00 PM • JoJo’s Restaurant and Bar Tedd Baker/Kris Funn/Quincy Phillips 8:00 PM & 10:00 PM • Blues Alley Robert Mwambe with Cynda Williams

FRIDAY JUNE 15

EAST RIVER JAZZ 7:30 PM • Anacostia Playhouse AACM Special Ensemble: Dedication to Muhal

JAZZ IN THE ‘HOODS IT’S A FAMILY AFFAIR 6:00 PM • Kennedy Center: Millennium Stage Christie Dashiell Quartet w/ C.V. Dashiell, III

THE HAMILTON LIVE 7:30 PM (Door 6:30 PM) • The Hamilton Live Allan Harris: The Genius of Eddie Jefferson with Lena Seikaly

JAZZ IN THE ‘HOODS 6:00 PM • JoJo’s Restaurant and Bar Christian Clark Trio/ Tom Williams Quartet (late)

DC JAZZFEST AT CITY WINERY 8:00 PM (Door 6:00 PM) • City Winery DC Baylor Project

WEDNESDAY JUNE 13 EAST RIVER JAZZ 7:30 PM • Anacostia Playhouse Liberation Project JAZZ IN THE ‘HOODS 7:00 PM • University of the District of Columbia JAZZAlive Allyn Johnson & Meet the Artist on the Bandstand feat. Paul Carr 8:00 PM & 10:00 PM • Blues Alley Marilyn Scott & Her LA All Star Band 8:00 PM & 10:00 PM • Twins Jazz Leo Maximal Winds 8:00 PM • Mr. Henry’s Jazz Jam led by Herb Scott and Aaron Myers

JAZZ IN THE GARDEN 5:00 PM – 8:30 PM • National Gallery of Art Sculpture Garden Michael Thomas Quintet

8:00 PM & 10:00 PM • Blues Alley Lisa Fischer & Grand Baton 9:00 PM & 11:00 PM • Twins Jazz John Lamkin III Quartet EAST RIVER JAZZ 7:30 PM • Honfleur Gallery Todd Marcus Quintet DC JAZZ FESTIVAL AND THE KENNEDY CENTER PRESENT 8:00 PM • Kennedy Center Concert Hall Chucho Valdés and Gonzalo Rubalcaba

SATURDAY JUNE 16 EAST RIVER JAZZ 3:00 PM • Kenilworth Aquatic Gardens Ka’Ba Soul Singer DC JAZZPRIX FINALS 3:00 PM • Hyatt House Washington DC/The Wharf DCJazzPrix Finalists, plus special performance by 2017 winners AMP Trio feat. Tahira Clayton

DC JAZZFEST AT THE WHARF 11:00 AM — 7:00 PM • District Wharf Christian Scott aTunde Adjuah, Ivan Lins & Friends, Ben Williams Presents: I Am a Man, Mark G. Meadows, Jazz Academy Ensemble, Washington Jazz Arts Institute Ensemble, AMP Trio feat. Tahira Clayton, Akua Allrich, Batala, Michael Ventura DC JAZZFEST AT THE ANTHEM 6:30 PM (Door 5:30 PM) • The Anthem Leslie Odom Jr., R+R=NOW (A Robert Glasper Supergroup), Maceo Parker JAZZ IN THE ‘HOODS It’s a Family Affair 6:00 PM • Kennedy Center: Millennium Stage Veronneau with special guest Dave Kline JAZZ IN THE ‘HOODS 12:00 PM • Kreeger Museum Kris Funn & Cornerstore 8:00 PM & 10:00 PM • Blues Alley Lisa Fischer & Grand Baton 9:00 PM & 11:00 PM • Twins Jazz John Lamkin III Quartet 11:00 PM • Eighteenth Street Lounge Donvonte´ McCoy Quintet

SUNDAY JUNE 17 DC JAZZFEST AT THE WHARF 11:00 AM — 7:00 PM • District Wharf Fabrizio Bosso Quartet, Harp vs. Harp: Edmar Castañeda & Grégoire Maret, Melissa Aldana, Rochelle Rice, The Jihye Lee Orchestra, Hess Is More, Yosvany Terry & Baptiste Trotignon’s Ancestral Memories, Reginald Cyntje, José André Band FREEDOM JAZZ DANCE – THE MUSIC OF EDDIE HARRIS 3:00 PM • East River DC @ Penn Hill Marshall Keys Soulful Path: Freedom Jazz Dance JAZZ IN THE ‘HOODS It’s a Family Affair 6:00 PM • Kennedy Center: Millennium Stage Brian & Jessica Settles JAZZ IN THE ‘HOODS Noon • JoJo’s Restaurant and Bar DC Jazz Singers Jam 6:30 PM • The Brixton DC Jazz Jam 8:00 PM & 10:00 PM • Blues Alley Lisa Fischer & Grand Baton 8:00 PM & 10:00 PM • Twins Jazz Steve Arnold

@DCJAZZFEST

The DC Jazz Festival®, a 501(c)(3) non-profit service organization, and its 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; and the Office of the Deputy Mayor for Planning and Economic Development; and, in part, by major funding from the Anne and Ronald Abramson Family Foundation, The Morris and Gwendolyn Cafritz Foundation, Gillon Family Charitable Fund, Wells Fargo Foundation, The NEA Foundation, Venable Foundation, The Dallas Morse Coors Foundation for the Performing Arts, The Max and Victoria Dreyfus Foundation, The Reva & David Logan Foundation, John Edward Fowler Memorial Foundation, Bill and Melinda Gates Foundation, and the Mid-Atlantic Arts Foundation. ©2018 DC Jazz Festival. All rights reserved.

washingtoncitypaper.com june 1, 2018 19

FilmShort SubjectS

Working Like a Dog Filmworker

Directed by Tony Zierra It Is fascInatIng to watch documentaries about people who are singularly devoted to their vocation. The recent crowd-pleaser RBG is like that, with Supreme Court Justice Ruth Bader Ginsburg working so late that she sleeps all weekend. There are also films like Jiro Dreams of Sushi and Bill Cunningham New York, where the subject leads a monk-like existence, all in service of their chosen profession. The documentary Filmworker is of that ilk, with the added wrinkle that its subject Leon Vitali is not just devoted to his craft. He is also devoted to another man’s art, who happens to be a genius. This dual purpose leads to an uneven film, one that leaves more questions than answers.

You may recognize Leon Vitali from Barry Lyndon, the Stanley Kubrick film where he had an important role as Lord Bullingdon. Up to that point, Vitali was a journeyman actor, appearing in all manner of film, theater, and television roles. Something about working with Kubrick changed Vitali: He decided to quit acting, and learn about filmmaking techniques like editing so he could help Kubrick on his new project. Sure enough, Kubrick recruits Vitali to find a child actor for The Shining. The two men develop a symbiotic relationship, to the point where Kubrick would be hopeless without Vitali’s unwavering devotion.

Director Tony Zierra weaves clips from Kubrick’s filmography, along with archival footage and interviews with Vitali, as well as other Kubrick collaborators. The cumulative effect is perplexing, with Vitali not quite able to articulate why he changed his career in this way.

Aside from working on the films themselves, Vitali works tirelessly to make sure Kubrick’s work was appropriately preserved, advertised, archived, and restored. The impression is that Kubrick’s films would not be so well-regarded without Vitali behind the scenes.

Vitali’s work ethic required him to lead an irregular life. When Zierra introduces Vitali’s children into the film, it is jarring just because we are made to believe he had no time for anything else. The children sound resigned, even disappointed, by their father’s career. Many of the talking heads, including the actors Ryan O’Neal and Matthew Modine, speak about him with a mix of reverence and confusion.

None of them could imagine living like Vitali, so they serve as helpful audience surrogates.

We are meant to appreciate Vitali’s preserva-

tion efforts, even if his obsession with Kubrick would become his defining personality characteristic.

One bizarre detail about the film is how Zierra frames his interviews. Before he became a director, Kubrick was a photographer, where he learned all the minutiae necessary to film anyone in an evocative way. If Kubrick saw how Zierra filmed Vitali and the others, he would probably be horrified. The lighting is harsh, unearthing every wrinkle and pore on their faces. The camera’s distance is distracting, and borderline uncomfortable. No oncamera interview should ever looks like this, and with good reason. Maybe Zierra deliberately avoided the softer hues of Kubrick’s palette, just to make it clear Kubrick’s style cannot be replicated, but that is a generous interpretation. It is also possible Zierra does not know how to set up a shot.

Throughout Filmworker, Kubrick remains an enigmatic figure. Vitali is protective, even shy, about his relationship with him. There have been behind-the-scenes documentaries about Kubrick’s process before, including the famous documentary about The Shining where he verbally abuses Shelley Duvall in service of her performance. From this film, the impression was that Kubrick was a perfectionist who could be charming or fearsome in any given

moment. There are some intriguing details— Vitali appears as eight separate masked characters in Eyes Wide Shut—but the director remains obscure, elusive.

There is a curious subtext to Filmworker.

As Kubrick’s other collaborators explain how Kubrick needed Vitali, there is the suggestion they had a co-dependent relationship. In other words, Vitali’s willingness to serve Kubrick only made his outbursts and quirks all the more impossible for everyone else (Barry Lyndon’s set designer had to leave mid-production after having a nervous breakdown).

Unfortunately, Filmworker lacks the curiosity for such psychological depth. It is a straightforward biography that’s meant to highlight

20 june 1, 2018 washingtoncitypaper.com

the sort of people who go uncelebrated in the world of filmmaking. We should thank Vitali the next time we see a 70mm print of 2001: A Space Odyssey, even if Filmworker does not bring us any closer to understanding the man most responsible for it. —Alan Zilberman

dancing to advanced anal play. “They must be from Los Angeles,” one mutters.

In one corner, Enn finds the angelic Zan looking to break free from her group—essentially, run away from home for a little while—so she joins him for a life-affirming weekend, in which Enn educates her about Filmworker opens Friday at Landmark E Street the joys of romance and rock ’n’ roll. Her igCinema. norance of basic human concepts like kissing and dancing make her a dead giveaway, but it takes Enn, who is blinded by her beauty, quite some time to figure out her extraterrestrial origins.

It’s a wise choice. A different film might have lingered on this discovery process even longer, but the script by Mitchell and Philippa Goslett (based on a graphic novel by Neil Gaiman) eyes a deeper truth, one of freedom, unbridled passions, and the intensity of young How to Talk to Girls at Parties love, which, it is argued, can transcend galaxDirected by John Cameron Mitchell ies. How to Talk to Girls at Parties expresses no skepticism toward these virtues. It celebrates any and all movies about punk rock should them wholly and unabashedly.

Embodying this romance are Sharp and be approached with a certain degree of skepticism. What are are the odds that the spirit of Fanning, who both give immaculate perforanarchy can make its way through the gaunt- mances as the literally star-crossed lovers. let of the Hollywood machine untainted by Sharp has a roguish charm, with the black circorporatism? It actually happens more of- cles under his eyes indicating either a wisdom ten than you think. Classics like Sid and Nan- beyond his years or too many long nights of cy, Repo Man, and We Are the Best! somehow childish rambunctiousness. While he grounds the often psychedelic plot in human charm, Fanning elevates it with an ethereal performance. It’s a role that might have made a generation of teenage boys fall in love with her, if movies like this one were still seen by millions. She acts every scene with an open heart, embracing her character’s natural naivete and total silliness. She’s a joy to watch.

As their weekend draws to a close, however, cinematic conventions spring up around Enn and Zan. Her alien family back at the party house reveal a nefarious scheme that only Zan can stop, and before you know it, she’s faced with the kind of difficult choice that only occurs in movies about love and sacrifice. And so the question returns: Is that punk? We also can’t ignore Nicole Kidman in a supporting role as a club owner. Having an A-lister and Filmworker Oscar winner in your movie is certainly made it into cinemas and were celebrated for not punk. Neither is the film’s underlying nargetting punk right. Still, we should be on guard rative, which teaches us that conventional love between a somewhat nerdy young man and for poseurs.

So what about this new one, How to Talk to an out-of-his-league young blonde is not only Girls at Parties? Is it really punk? Turns out it’s plausible but of the highest social value.

Perhaps the film’s greatest achievement— gloriously goofy enough to qualify. The film

by John Cameron Mitchell tracks the week- and this praise goes squarely to Mitchell—is end courtship of Enn (Alex Sharp), a dedicat- that it conjures up such an indomitable spirit ed punk in late ’70s Britain, and Zan (Elle Fan- of joy and revolution that it makes you forget ning), a beautiful, rebellious alien visiting Earth all that’s conventional about it. We can nitpick on a tour of the universe. On the hunt for a good all we like, but How to Talk to Girls at Parties time, Enn and his mates stumble upon a house doesn’t give a fuck what we think. There’s where some sort of modern art party seems nothing more punk than that. —Noah Gittell to be happening. Beautiful women in day-glo spandex show them around, while bizarre rit- How to Talk to Girls at Parties opens Friday at uals are happening in every room, from trance- the Angelika Pop-Up at Union Market.

PunkDrunk Love

GALLERIESSketcheS

Pack It UP

low wax casts. A viewer might think to see the ghostly neon impressions as the exception, but the white logs are just as deceptive.

Hébert-Huot’s faux wood piles fall along an Magali Hébert-Huot: Les angle to the wall. All her sculptures hug the peGrandes Étendues rimeter: They are either suspended from the At Hamiltonian Gallery to June 23 ceiling, mounted to the wall, or slung low to the ground. There are hanging bundles of branchMagali Hébert-Huot’s latest show es, including “Untitled (Swinging Bundle at Hamiltonian Gallery, an exhibit called Les Crystal)” (2018), a cast pink branch that’s partGrandes Étendues, takes a long view of the art- ly coated with borax, a mineral, so it looks as if ist’s native home. The title refers to the phrase it’s been dipped in a sugary crystal. “Untitled that French settlers used to describe the ex- (Fleuve Saint-Laurent, with Jim)” features a sepansive colonial lands that they encountered ries of sculptural provocations that look like tiny in the area known today as Canada. Hunting, tents, meant to evoke the enclosure that a traplogging, and other references to French Cana- per might whip up to keep the howling winds at dian wilderness frame the artist’s French Ca- bay. This piece comprises four of these miniature tarps—white triangular shapes supported nadian sculpture.

But the U.S. has shaped the show more direct- by pink branches—plus a ghostly white horse’s ly. Hébert-Huot, who has lived in the U.S. for head that’s skewered by a bough.

Repetition is key in Hébert-Huot’s work. nearly 5 years, was told she had to leave over the winter. The artist was part-way through a two- There are three wall-mounted sculptures that year fellowship with Hamiltonian Gallery when employ plaques from taxidermied trophies; four she got the news: Her adoptive home would not roped bundles; and two works that feature hexagonal bases, from be renewing her visa. which she’s attached The notice she rebranches resembling ceived at Thanksgiva Christmas tree or ing told her she had an antler. She’s reless than a month to stricted her palette to exit the country. natural wood, white, “It’s the current sitand neon pink and uation,” Hébert-Huot yellow. Her works are says, referring to the variations on a few Trump administrasimple themes, but tion’s hardline posithey don’t look rule tion on immigration, bound. legal or otherwise.

The highlight here “I’m not the only one is “Untitled (Boiler it’s happening to.”

Spruce)” (2018), anSo all the sculpother floor piece. A ture in Les Grandes long, spiky branch Étendues—most of it supports an upturned made with spruce, box-like form. The pine, stucco, and ex“Untitled (Swinging Bundle Crystal)” (2018) particle-board box, panding foam—is what she could fit into her car and drive the 14 barn-like in shape, looks grainy on its exterior; the inside is lined with stucco. The piece hours from Quebec City to the District.

Hébert-Huot has popped up as a noteworthy is vaguely threatening, like an over-large trap new voice in sculpture through recent area ex- that’s been assembled incorrectly. Like much hibitions. Her work was a highlight at the final of her work, it’s a strong composition that feels (e)merge art fair in 2014. She has shown work like the start of something bigger.

Hébert-Huot’s work would fit nicely alongin two previous shows at Hamiltonian, including a two-artist review last spring. Her sculpture side the sculpture of D.C.’s own Jeff Spauldmade it into a juried survey at Philadelphia’s es- ing, whose playful plastic sculptures also ofteemed Vox Populi gallery. As a recent graduate ten hug low to the floor. Or combinations that of Maryland College Institute of Art, where she no one’s thought of yet. But Hébert-Huot has received her master’s degree in 2015, Hébert- to turn her focus back home. When her yearlong work permit expired last September, she Huot discovered the fast track quickly.

For a single car-load, Les Grandes Éten- got a one-year extension. The follow-up notice dues carries a lot of weight. “Untitled (L’Hiver she received asking for more information led Est Long)” (2018) comprises two stacks of her to realize that working stateside as an artchopped wood pieces—or rather, objects that ist would not be easy.

“I wasn’t that surprised,” she says, “but it look like firewood. Most of the logs, which look like they’ve been coated with white paint, are was still a hit in the face.” —Kriston Capps in fact made with hydrocal, a gypsum cement useful for hollow casting. But a few of the split 1353 U St. NW. Free. (202) 332-1116. planks, maybe one in 10, are highlighter yel- hamiltoniangallery.com.

Directed by Marc Bruni Choreography by Denis Jones Music Direction by Todd Ellison

ONE WEEK ONLY! Starring

Skylar Astin

John Michael Higgins

Joaquina Kalukango

Becki Newton

Nova Y. Payton

Michael Urie

Betsy Wolfe

Follow the rise of J. Pierrepont Finch as he climbs the corporate ladder from lowly window washer to high-powered executive. With a full cast and onstage orchestra, this semi-staged concert features the brightest stars direct from Broadway.

June 6–10 | Eisenhower Theater TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

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

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

Theater at the Kennedy Center is made possible by

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

Kennedy Center Theater Season Sponsor

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Additional support is provided by The Blanche and Irving Laurie Foundation and Ambassador Elizabeth Frawley Bagley.

washingtoncitypaper.com june 1, 2018 21

bookSSpeedreadS

The Grass Is always Greener It’s Better Than It Looks: Reasons For Optimism In An Age of Fear Gregg Easterbrook Public Affairs, 330 pages $28

DC JAZZ FESTIVAL AND THE KENNEDY CENTER PRESENT CUBAN JAZZ PIANO LUMINARIES

CHUCHO VALDÉS AND GONZALO RUBALCABA

J U N E 1 5 , 2 0 1 8 AT 8 P. M . | C O N C E R T H A L L TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

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

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

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

22 june 1, 2018 washingtoncitypaper.com

GreGG easterbrook’s new book, It’s Better Than It Looks, makes the rather astonishing argument that things aren’t as bad in the world as they seem. When he discusses crime, and how it’s decreasing, he’s somewhat convincing. “Since that peak year [1993], all forms of violent crime are down 300 percent”—no matter how much Donald Trump and Fox News rant about an immigrant-caused crime wave. On the absence of pandemics, despite panic over everything from avian flu to swine flu to Ebola, he is also convincing. And on many other issues. But these arguments are marshaled in service of what is, in a sense, a neoliberal manifesto, arguing that the economic, social, and environmental trends of the past 50 years have all been, well, wonderful; and that is, frankly, hard to believe.

Easterbrook argues that what has made everything so wonderful economically is the magic of free markets. But aren’t these markets the same ones that have caused inequality to soar to the point where, according to a recent book by Walter Scheidel, the 62 richest people in the world own as much wealth as the poorer half of humanity, over 3.5 billion people? Here at home, we have well over 103 million poor and near poor people and six million with no income other than SNAP. But Easterbrook would doubtless counter that citing such facts amounts to seeing the glass half-empty.

This is intransigent optimism indeed.

Though broadly neoliberal, this book is also heterodox; witness its championing of a universal basic income. Fundamentally, no matter one’s political orientation, support for a universal basic income, also called the right to exist, can be seen as radical. To address inequality, Easterbrook considers income limits, higher taxes on the well-to-do, and a universal basic income. Regarding income limits, he says of multimilliondollar CEO paychecks: “Why CEO bonanza numbers like these are not viewed as white collar crime is hard to fathom.” Of these three curbs on inequality, Easterbrook concludes a universal basic income—as currently implemented in Finland, Ontario, Kenya, and many European cities—would benefit people the most, suggesting that the government pay $1000 per month to every citizen (not just head of household). “If the value of inventions and intellectual property continues to rise, while the value of unskilled labor continues to decline, a Universal Basic Income may become vital for justice.” He also calls for reducing the costs of public universities, community colleges, and junior colleges, for better child care, and for a substantial rise in living standards in the developing world.

For all his incredible optimism, Easterbrook is most astute when acknowledging problems. “It would be much cheaper to the taxpayer for the United States to provide public funding for elections, while banning donations, than to allow officials to squander large sums in return for the silver that becomes the campaign kickback.” But it is odd that in his discussion of debt, he does not mention the ghastly Bush tax cuts, which naturally ballooned the debt. It’s Better Than It Looks was written before a similar gift to America’s millionaires, namely the Trump tax cuts, became law, so Easterbrook cannot be faulted for not mentioning them. But it’s worth noting that Bush’s tax cuts benefitted the rich, pumped up inequality and starved the government, thus serving as an argument to cut entitlements for the poor: “Oh look, the government’s broke, because governments are always wasteful, so we can’t pay for Medicaid,” is how the argument has lately run in Republican circles. Trump’s tax cuts are expected to do approximately the same. Easterbrook is very concerned about the debt, but the tax cuts that expanded it do not get mentioned.

It’s Better Than It Looks refers to Bernie Sanders, Noam Chomsky, and Paul Krugman as alarmists, thus eliding their very real contributions to the national political and economic discussion. If things are as wonderful as this book claims, then it’s hard to fathom why millions of millennials voted for Sanders. They did not do so just because they wanted to believe everything is going downhill, as Easterbrook would have it. Many, many of these millennials graduated from college bankrupted by debt, coming of age essentially indentured.

Those voters—the future—evinced a deep disenchantment with capitalism and an openness to a newer, updated socialism, something certainly not discussed in this strangely Panglossian tome.

—Eve Ottenberg

washingtoncitypaper.com june 1, 2018 23

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SEE THE FULL SCHEDULE AT: THE ANTHEMDC.COM • IMPCONCERTS.COM • TICKETFLY.COM 901 WHARF ST SW, WASHINGTON, DC 20024 [BEHIND THE 900 BLOCI{ OF MAINE AVENUE, SW, ON THE WATERFRONT]

24 june 1, 2018 washingtoncitypaper.com

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CITYLIST

THE CONGRESS

Music 25 Books 30 Theater 31 Film 32

Music

SATURDAY, JUNE 9 $12/$15

CITY LIGHTS: FRIDAY

FRIDAY ClASSICAl

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. NSO Pops: Space, the Next Frontier.

8 p.m. $35–$129. kennedy-center.org.

FOlk

Wolf trap filene Center 1551 Trap Road, Vienna.

(703) 255-1900. John Prine. 8 p.m. $35–$85. wolftrap.org.

H

H

THU, 5/31 FRI, 6/1 & SAT, 6/2 SUN, 6/3 TUE, 6/5 FRI, 6/8

JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roberta Gambarini. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

MerriWeatHer post pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Capital Jazz Fest Friday. 7:30 p.m. $79.50–$155. merriweathermusic.com. tWins Jazz 1344 U St. NW. (202) 234-0072. Benito Gonzalez. 9 p.m.; 11 p.m. $15. twinsjazz.com.

POP

fillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Hayley Kiyoko. 8 p.m. $49–$137. fillmoresilverspring.com.

ROCk

9:30 CluB 815 V St. NW. (202) 265-0930. Dirty Projectors. 6 p.m. $25. 930.com.

BirCHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Here Come the Mummies. 7:30 p.m. $29.50. birchmere.com. songByrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Cleopatrick. 8 p.m. $15. songbyrddc.com.

WORlD

HoWard tHeatre 620 T St. NW. (202) 803-2899.

Jean Carlos Centeno. 8 p.m. $39–$89. thehowardtheatre.com.

SATuRDAY ClASSICAl

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. NSO Pops: Space, the Next Frontier.

8 p.m. $35–$129. kennedy-center.org.

MusiC Center at stratHMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. National Philharmonic: 100th Anniversary of Poland’s Independence. 8 p.m. $23–$76. strathmore.org.

DJ NIghTS

fillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Fillmore Flashback: 80s vs 90s Dance Party Feat. DJ Biz Markie. 8 p.m. $15.50. fillmoresilverspring.com. songByrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. DJ Detroyt and DJ Freez.

10 p.m. Free. songbyrddc.com.

FOlk

songByrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Wes Swing with Yessirov.

8 p.m. $10–$12. songbyrddc.com.

hIP-hOP

HoWard tHeatre 620 T St. NW. (202) 803-2899.

PRhyme. 9 p.m. $20–$79. thehowardtheatre.com.

SAT, 6/9 TUE, 6/12

DIRTY PROJECTORS

For the past 15 years, David Longstreth has been fronting the indie rock band Dirty Projectors.

Since 2003, a plethora of talented band members and collaborators have accompanied Longstreth—notably David Byrne and Björk—but nobody has been more personally and creatively influential than vocalist and guitarist Amber Coffman. Coffman joined Dirty Projectors in 2007, just in time for the band to pioneer avant-garde indie pop with their 2009 album Bitte Orca. Longstreth’s intricate and unconventional syncopations combined with Coffman’s R&B-inspired crooning landed Dirty Projectors in front of some heavy hitters, like Diplo and Solange. But in 2013, Coffman and Longstreth called it quits, both romantically and creatively, and went their separate ways. Since then, their heartbreaking separation has colored much of Longstreth’s creative output, as heard on 2017’s self-titled album dedicated to their breakup. It’s an adventure in him learning to reinvent the unique Dirty Projectors sound without Coffman. As it turns out, he succeeded. Dirty Projectors perform with Buzzy Lee at 6 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com.

—Casey Embert

JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roberta Gambarini. 8 p.m.; 10 p.m. $30–$35. bluesalley.com. tWins Jazz 1344 U St. NW. (202) 234-0072. Benito Gonzalez. 9 p.m.; 11 p.m. $15. twinsjazz.com.

OPERA

ClariCe sMitH perforMing arts Center Stadium Drive and Route 193, College Park. (301) 405-2787.

Pops Extravaganza: Bernstein At 100. 8 p.m. $29. theclarice.umd.edu.

ROCk

BirCHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Jason D. Williams and The Nighthawks. 7:30 p.m. $29.50. birchmere.com.

BlaCK Cat 1811 14th St. NW. (202) 667-4490. School of Rock Silver Spring. 3 p.m. Free. blackcatdc.com.

THU, 6/14 FRI, 6/15 SAT, 6/16 TUE, 6/19 THU, 6/21 FRI, 6/22 SAT, 6/23 SUN, 6/24

BlaCK Cat 1811 14th St. NW. (202) 667-4490. A Tribute to Radiohead. 8 p.m. $20–$25. blackcatdc.com. state tHeatre 220 N. Washington St., Falls Church.

(703) 237-0300. Appetite for Destruction: A Tribute to Guns N’ Roses. 9 p.m. $12–$15. thestatetheatre.com.

Wolf trap filene Center 1551 Trap Road, Vienna. (703) 255-1900. Classic Albums Live: The Beatles’ White Album. 8 p.m. $25–$55. wolftrap.org.

VOCAl

linColn tHeatre 1215 U St. NW. (202) 888-0050.

Gay Men’s Chorus of Washington Presents: Trans America. 8 p.m. $25–$65. thelincolndc.com.

SuNDAY ClASSICAl

MusiC Center at stratHMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Atlanta Youth

TUE, 6/26 THU, 6/28

REVELATOR HILL KENDALL STREET COMPANY 2 NIGHT RUN $15 HONEYCUTTERS $12/$15 CHUCK HAWTHORNE $10 THE NATIONAL RESERVE/ THE VEGABONDS THE CONGRESS $12/$15 GOIN GOIN GONE + THE TRAVELING ONES SCOTT KURT DANGERMUFFIN $14/$16 THE SEA THE SEA ANDREW DUHON DUO HIGHDIVERS/ BIG MAMA SHAKES $12/$15 BART CROW $15/$20 JONNY GRAVE JOSIAH JOHNSON (THE HEAD AND THE HEART) + PLANES ON PAPER $12/$17 VIRGINIA MAN DAN BAIRD & HOMEMADE SIN $12/$15

HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 HillCountry.com/DC • Twitter @hillcountrylive

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro washingtoncitypaper.com june 1, 2018 25

CITY LIGHTS: SATuRDAY

SUMMER

TICKETS ON SALE NOW!

JOHN PRINE

CLASSIC ALBUMS LIVE PRESENTS:

THE BEATLES WHITE ALBUM

MARGO PRICE

THE TREE OF FORGIVENESS TOUR

JUN 1

JUN 2

JAKE OWEN

NILE RODGERS & CHIC CHAKA KHAN

WITH CHRIS JANSON JORDAN DAVIS

JUN 5

JUN 3

ALISON KRAUSS WITH

DAVID CROSBY AND FRIENDS JUN 6

FITZ AND THE TANTRUMS X AMBASSADORS MIKKY EKKO JUN 7

BARRY MANILOW MICHAEL LINGTON JUN 8 + 9

ROGER DALTREY PERFORMS THE WHO’S TOMMY

WITH MEMBERS OF THE WHO BAND AND WOLF TRAP ORCHESTRA

HARRY CONNICK JR.

A NEW ORLEANS TRICENTENNIAL CELEBRATION JUN 14

SING-A-LONG

SOUND OF MUSIC JUN 16

LES BALLETS TROCKADERO DE MONTE CARLO JUN 19

STEVEN TYLER AND THE LOVING MARY BAND THE SISTERHOOD BAND JUN 21

JUN 10 + 12

26 june 1, 2018 washingtoncitypaper.com

NSO POPS: SPACE, ThE NEXT FRONTIER

“Space: the final frontier,” are the immortal words that William Shatner spoke at the beginning of nearly every episode of the original Star Trek series, which debuted in 1966. The show only lasted three seasons, but that wouldn’t be the end of it. Tons of films, spin-offs, reboots, and remakes followed, building a lasting legacy of sci-fi television. While the voyages of the starship Enterprise boldly went where no one had gone before, back here on Earth, NASA was doing much of the same, albeit with a lot fewer green aliens and phaser guns. From first landing a human on the moon in 1969 to the endless astronomical discoveries made after the space race (I’m still sad about Pluto not being considered a planet anymore), NASA has always gone warp speed ahead with education and research on all things celestial. This year is the organization’s 60th anniversary, the 60th year it has opened our minds and imaginations to the cosmos. To celebrate, the Kennedy Center Concert Hall hosts the National Symphony Orchestra performing music inspired by space, ranging from the 2001: A Space Odyssey theme to astronomer Carl Sagan’s Golden Record. Throughout the evening, look for special appearances by John Cho (pictured), who plays Sulu in the latest Star Trek films, Carl Sagan’s son Nick Sagan, and musicians Grace Potter and will.i.am. Get beamed up by it all. The show begins at 8 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $35–$129. (202) 467-4600. kennedy-center.org.

—Kayla Randall

washingtoncitypaper.com june 1, 2018 27

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

BONERAMA W/ THE BEAT HOTEL FRIDAY

JUNE 1

JON CLEARY W/ WILL KIMBROUGH SUNDAY JUNE

3

CITY LIGHTS: SUNDAY

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

Tix @ Ticketmaster.com 800-745-3000

May 31

BIG BAD VOODOO DADDY HERE COME THE MUMMIES 2 JASON D. WILLIAMS & THE NIGHTHAWKS June 1

7

In the

!

AMADOU & MARIAM 8 KELLY WILLIS & CHRIS KNIGHT 9 CHARLES ROSS’

WED, JUNE 6

SAMANTHA FISH

W/ THE RON HOLLOWAY BAND

THE 2018 DC JAZZFEST FRI, JUNE 8

DELFEAYO MARSALIS QUINTET W/ ERIC BYRD TRIO SAT, JUNE 9

REGINA CARTER: SIMPLY ELLA W/ ELIJAH JAMAL BALBED SUN, JUNE 10

TERENCE BLANCHARD

FEATURING THE E-COLLECTIVE W/ MARK G. MEADOWS

TUES, JUNE 12

ALLAN HARRIS: THE GENIUS OF EDDIE JEFFERSON W/ LENA SEIKALY

THURS, JUNE 14

DAVE BARNES

THE TOUR WHERE I SING SONGS AND DO STAND UP W/ MAMADEAR

SAT, JUNE 16

THE POSIES — 30TH ANNIVERSARY TOUR

W/ THRUSHES

MON, JUNE 18

SCOTT BRADLEE BOOK RELEASE & SIGNING WED, JUNE 20

SUZANNE SANTO (OF HONEYHONEY)

W/ LEAH JAMES

THURS, JUNE 21

DUSTBOWL REVIVAL

W/ LOWLAND HUM FRI, JUNE 22

AN EVENING WITH

BRUCE IN THE USA

THEHAMILTONDC.COM 28 june 1, 2018 washingtoncitypaper.com

RY COODER & His Band Joachim Cooder 12 DAVID SANBORN

11

MATTHEW SWEET tJ 14 DAVE ALVIN & JIMMIE DALE GILMORE

ustin rawick

13

(Backed by The Guilty Ones) w/Dead Rock West

FREDDIE JACKSON 16 PIECES OF A DREAM 15

17 Mike Seeger Commemorative 12th Annual

OLD TIME BANJO FESTIVAL

JAKE OWEN

There’s no better way to kick off summer in the DMV than with a show at Wolf Trap, especially when it’s a lineup of the country music boys of the season. Jake Owen, once known for his laid back long locks, is now shorn short, but he still pumps out the laid back jams perfect for summer evenings. He’ll end your weekend with a “Barefoot Blue Jean Night” and somehow, even when playing to a crowd, he’ll make you feel like he’s crooning “Alone with You.” On a somber note, this tour is helping Owen get back to normal less than a year after he witnessed the horrific Las Vegas mass shooting at the Mandalay Bay Resort and Casino. He had just walked out on stage for the Route 91 Harvest Festival when the carnage began, gunshots ringing out over the crowd. It’s a miracle he survived and since then, he’s been outspoken, willing to tell his harrowing story. Let this country hitmaker rock your lazy Sunday. Jake Owen performs at 7 p.m. at the Filene Center at Wolf Trap, 1551 Trap Road, Vienna. $40–$75. (703) 255-1900. wolftrap.org.

—Diana Metzger

feat. DOM FLEMONS, CATHY FINK & MARCY MARXER, KEN & BRAD KOLODNER QUARTET with RACHEL EDDIE

GORDON LIGHTFOOT Zane 19 ROBERT EARL KEEN Campbell 18

20

2018 Blues Music Awards Winner!

THE ROBERT CRAY BAND

21 The Knitting Factory Presents

CHAD PRATHER 22& 23 TOWER OF POWER “50th Anniversary!”

JONATHAN BUTLER "Plays Well 26 LERA LYNN With Others" w/John Paul White & Peter Bradley Adams

24

SERGIO MENDES 29&30 LYFE JENNINGS July 1 HAL KETCHUM 5 OHIO PLAYERS 6 SOUTHSIDE JOHNNY & THE ASBURY JUKES 7 MAYSA 8 CHERYL WHEELER & JONATHAN EDWARDS 28

Wind Symphony: Coast to Coast!. 4 p.m. $22.50–$25. strathmore.org.

COUNtrY

Wolf Trap filene CenTer 1551 Trap Road, Vienna.

(703) 255-1900. Jake Owen. 7 p.m. $40–$75. wolftrap.org.

JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roberta Gambarini. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

TWins Jazz 1344 U St. NW. (202) 234-0072. Jeff Cosgrove Steve Cardenas Quartet. 8 p.m.; 10 p.m. $10. twinsjazz.com.

rOCK

BirCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Ry Cooder with Joachim Cooder. 7:30 p.m. $110. birchmere.com. songByrd musiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Fleece. 8 p.m. $10–$12. songbyrddc.com.

WOrlD

Kennedy CenTer millennium sTage 2700 F St. NW. (202) 467-4600. Pedro Burmester and Mário Laginha. 6 p.m. Free. kennedy-center.org.

POP

tUESDAY

rOCK

Kennedy CenTer millennium sTage 2700 F St. NW. (202) 467-4600. NSO Youth Fellows. 6 p.m. Free. kennedy-center.org.

VOCAl

Wolf Trap filene CenTer 1551 Trap Road, Vienna.

(703) 255-1900. Nile Rodgers & CHIC and Chaka Khan.

8 p.m. $40–$75. wolftrap.org.

WOrlD

fillmore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Nipsey Hussle. 8:30 p.m. $29.50. fillmoresilverspring.com.

Kennedy CenTer ConCerT Hall 2700 F St. NW. (202) 467-4600. Lea Michele and Darren Criss. 8 p.m. $59–$499. kennedy-center.org.

Wolf Trap filene CenTer 1551 Trap Road, Vienna. (703) 255-1900. Classic Albums Live: The Beatles’ White Album. 8 p.m. $25–$55. wolftrap.org. linColn THeaTre 1215 U St. NW. (202) 888-0050.

Gay Men’s Chorus of Washington Presents: Trans America. 2 p.m. $25–$65. thelincolndc.com.

HoWard THeaTre 620 T St. NW. (202) 803-2899.

Cocoa Tea. 8 p.m. $25–$55. thehowardtheatre.com.

MONDAY JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Emil Viklicky Trio. 8 p.m.; 10 p.m. $25. bluesalley.com.

ClASSiCAl

FUNK & r&B

HiP-HOP

JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $45–$50. bluesalley.com.

POP

songByrd musiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Scott Helman. 8 p.m. $10–$12. songbyrddc.com.

Merriweather Post Pavilion • Columbia, MD !

THIS FRI - SAT & SUN SOLD OUT

CAPITAL JAZZ FEST FEATURING

Earth, Wind & Fire • Ledisi • Butterscotch and more! ................... JUNE 1

THIS WEEK’S SHOWS U STREET MUSIC HALL PRESENTS

Flight Facilities w/ Eau Claire ............................................................ Th MAY 31 Dirty Projectors w/ Buzzy Lee Early Show! 6pm Doors ................................ F JUN 1 Real Friends?: Beyoncé, Jay-Z, Kanye West, Rihanna, and Drake Dance Night

with DJ Dredd and Video Mix by O’s Cool Late Show! 10pm Doors .................... F 1 OUT! SECOND NIGHT ADDED!

FIRST NIGHT SOLD

The Glitch Mob w/ Elohim ............................................................................. Su 3 Hop Along w/ Bat Fangs & Bad Moves ............................................................ Tu 5 JUNE

JULY (cont.)

Parquet Courts w/ Goat Girl ...Th 7 White Ford Bronco:

Steve Hofstetter This is a seated show. 14+ to enter. .....Sa 7 Hot In Herre: 2000s Dance Party

DC’s All-90s Band .......................F 8

with DJs Will Eastman and Ozker • Visuals by Kylos .........................F 13

MIXTAPE Pride Party

w/ DJs Matt Bailer • Keenan Orr • Tezrah ................Sa 9

The Circus Life Podcast 5th Anniversary Concert feat.

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

The Bumper Jacksons • Justin Trawick and The Common Good • Louisa Hall • more TBA! ........Sa 14

Chromeo w/ Pomo ...................Tu 12 Ben Harper & Charlie Musselwhite ...........W 13 E.U. with Sugar Bear • Kid ’N’ Play • Big Daddy Kane . Th 14 American Aquarium w/ Cory Branan

The Get Up Kids w/ Racquet Club & Ageist ...........Su 15 Deafheaven w/ Drab Majesty & Uniform ........Sa 21 Sleep w/ Dylan Carlson ............Su 22 That 70s Party featuring

Who’s Bad: The World’s #1 Michael Jackson Tribute Band

Champion Sound (Live) and Vinyl DJs Gudo • John Eamon • Detroyt ......................................Sa 28

WPGC BIRTHDAY BASH FEATURING

Early Show! 6pm Doors .....................F 15

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

M. Ward ....................................Sa 16 Houndmouth w/ Liz Cooper & The Stampede ..Su 17 Story District’s Out/Spoken

AUGUST

George Clinton and Parliament Funkadelic .Th 2 Andrea Gibson w/ Mary Lambert This is a seated show. ..........................F 3

This is a seated show.......................Th 21 AN EVENING WITH

The Feelies ..............................F 22

FIRST SHOW SOLD

STEEZ PROMO PRESENTS

Ghastly ....................................Sa 23 Old 97’s ......................................F 29 JULY

Reminisce Live! ........................F 6

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

OUT! EARLY SHOW ADDED!

AEG PRESENTS

Bitch Sesh 3pm Doors. This is a seated show. .......Su 5 Mura Masa ................................F 17 DC Music Rocks Festival feat.

Black Dog Prowl • Allthebestkids • Fellowcraft •Pebble to Pearll • Kid Brother .............................Sa 18

930.com

The best thing you could possibly put in your mouth

Florida Georgia Line .............................................................................. JUNE 7 Robert Plant & The Sensational Space Shifters w/ Sheryl Crow & Seth Lakeman........................................................... JUNE 12 Luke Bryan w/ Jon Pardi & Morgan Wallen ........................................... JUNE 14 Paramore w/ Foster the People & Soccer Mommy ............................ JUNE 23 Sugarland w/ Brandy Clark & Clare Bowen ............................................. JULY 14 Dispatch w/ Nahko and Medicine for the People & Raye Zaragoza ..... JULY 21 DC101 KERFUFFLE FEATURING

Fall Out Boy • Rise Against • Awolnation and more! ....................... JULY 22

David Byrne w/ Benjamin Clementine ..................................................... JULY 28 VANS WARPED TOUR PRESENTED BY JOURNEYS FEAT.

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

Lady Antebellum & Darius Rucker

w/ Russell Dickerson ........................................................................................AUGUST 2 CDE PRESENTS SUMMER SPIRIT FESTIVAL FEATURING

Erykah Badu • Anderson .Paak & The Free Nationals • Nas • The Roots and more!..................................................................... AUGUST 4 & 5

Jason Mraz w/ Brett Dennen ................................................................AUGUST 10 AUG 11 SOLD OUT!

Phish ................................................................................................................AUGUST 12 CAKE & Ben Folds w/ Tall Heights .................................................AUGUST 18 Kenny Chesney w/ Old Dominion ......................................................AUGUST 22 Portugal. The Man w/ Lucius..................................................................SEPT 21 The National w/ Cat Power & Phoebe Bridgers ...................................SEPT 28 • For full lineups and more info, visit merriweathermusic.com • 930.com

The Modell Lyric • Baltimore, MD

THE DECEMBERISTS ............................................. SEPTEMBER 12 Ticketmaster • Modell-Lyric.com

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

eric hutchinson & the believers w/ Jeremy Messersmith ............................................................................. FRI OCTOBER 12 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

G A R B AG E

- Version 2.0 20th Anniversary Tour ....OCTOBER 22

THE BENTZEN BALL COMEDY FESTIVAL CLOSING NIGHT

Tig

NOTARO & Friends

.................................................... OCTOBER 28

On Sale Friday, June 1 at 10am

Gomez:

Eels New date! All 6/11 tickets honored. w/ That 1 Guy ..................................JUNE 12

Amos Lee w/ Caitlyn Smith ...... SEPT 18 Blood Orange ........................ SEPT 28 The Milk Carton Kids w/ The Barr Brothers ....................... OCT 13

Blackmore’s Night w/ The Wizard’s Consort ................ JULY 25

AN EVENING WITH The Tallest Man On Earth . NOV 9

Bring It On 20th Anniversary Tour ....JUNE 9

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

Cupcakes by BUZZ... your neighborhood bakery in Alexandria, VA. | www.buzzonslaters.com

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Bruno Major ................................ Tu JUN 5 Shwayze & Cisco: Logan Henderson ................................F 8 10th Anniversary Summer Tour w/ Cam Meekins ..................................... Sa 9 • Buy advance tickets at the 9:30 Club box office • 930.com

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

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

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR!

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 washingtoncitypaper.com june 1, 2018 29

Wolf trap filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Fitz and the Tantrums and X Ambassadors. 7 p.m. $30–$55. wolftrap.org.

CITY LIGHTS: MONDAY

ROCk

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

WORlD

BirCHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Amadou & Mariam. 7:30 p.m. $39.50. birchmere.com.

Books

Carl ziMMer WitH ed yong New York Times columnist and award-winning science writer Carl Zimmer speaks with Ed Yong, author and science writer for The Atlantic, about his new book, She Has Her Mother’s Laugh, a history of our understanding of

DNA, ancestry, and heredity in human society, and what exactly it means to pass things down from generation to generation. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. June 6. 6:30 p.m. Free.

(202) 387-1400. eugene l. Meyer Former Washington Post reporter Eugene L. Meyer talks about Five for Freedom: The African American Soldiers in John Brown’s Army, his new book that chronicles John Brown’s raid on the federal arsenal in 1859 and the numerous black men, often forgotten and hardly written about, who contributed to Brown's efforts. Politics & Prose. 5015 Connecticut Ave. NW. June 2. 6 p.m. Free. (202) 3641919. ruBy naMdar Author and teacher Ruby Namdar discusses his novel The Ruined House, which won the prestigious Sapir Prize for Literature of Israel, a modern meditation on religion and the collisions between tradition and contemporary life. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. June 7.

6:30 p.m. Free. (202) 387-1400.

CITY LIGHTS: TuESDAY

NAIA IzuMI

Out of nearly 5,000 entries from all 50 states, Naia Izumi stood out from the pack. The 34-yearold musician from Georgia, who now busks on the streets of Los Angeles, participated in the months-long search for NPR’s fourth annual Tiny Desk Contest winner this year. Izumi, with his delicate guitar playing and soulful voice, managed to impress judges so much that he actually won. It’s easy to see why. His entry into the competition was the genre-defying track “Soft Spoken,” a powerful meditation on his experience being a soft-spoken person and dealing with social and artistic prejudices because of how he presented himself: He identified as a woman for about seven years. “Soft Spoken” is an all out display of Izumi’s insane charisma, velvety vocals, and otherworldly musicianship. Now, stopping by Union Stage on his 10-city tour, he’ll showcase exactly why he’s the champ. He may be the Tiny Desk Contest winner, but his talent is mighty—don’t miss it. Naia Izumi performs at 7:30 p.m. at Union Stage, 740 Water St. SW. Free.

(877) 987-6487. unionstage.com.

—Kayla Randall

u street MusiC Hall 1115 U St. NW. (202) 588-1889.

Bruno Major. 7 p.m. $20. ustreetmusichall.com.

ROCk

9:30 CluB 815 V St. NW. (202) 265-0930. Hop Along.

7 p.m. $20. 930.com.

WEDNESDAY COuNTRY

Wolf trap filene Center 1551 Trap Road, Vienna. (703) 255-1900. Alison Krauss. 7:30 p.m. $40–$95. wolftrap.org.

ElECTRONIC

u street MusiC Hall 1115 U St. NW. (202) 588-1889.

Mala. 9 p.m. $20–$30. ustreetmusichall.com.

gOSPEl

Kennedy Center MillenniuM stage 2700 F St. NW. (202) 467-4600. The Campbell Brothers. 6 p.m.

Free. kennedy-center.org.

hIP-hOP

HoWard tHeatre 620 T St. NW. (202) 803-2899.

Cipha Sounds & Nitty Scott. 8 p.m. $20–$49. thehowardtheatre.com.

JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $45–$50. bluesalley.com. tWins Jazz 1344 U St. NW. (202) 234-0072. Nelson Dougherty. 8 p.m.; 10 p.m. $10. twinsjazz.com.

POP

9:30 CluB 815 V St. NW. (202) 265-0930. Francis and the Lights. 7 p.m. $25. 930.com. songByrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Yung Heazy. 8 p.m. $10–$12. songbyrddc.com.

ROCk

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

ThuRSDAY COuNTRY

MerriWeatHer post pavilion 10475 Little Patuxent Parkway, Columbia. (410) 715-5550. Florida Georgia Line. 7:30 p.m. $55–$125. merriweathermusic. com.

ElECTRONIC

ten tigers parlour 3813 Georgia Ave. NW. (202) 506-2080. Amelie Lens. 10 p.m. $15–$20. tentigersdc.com.

FOlk

BlaCK Cat 1811 14th St. NW. (202) 667-4490. Jesse Marchant. 7:30 p.m. $10. blackcatdc.com.

FuNk & R&B

HoWard tHeatre 620 T St. NW. (202) 803-2899.

All-Star Purple Party: Prince Tribute Show. 8 p.m. $25–$45. thehowardtheatre.com.

JAzz

Blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $45–$50. bluesalley.com. songByrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. The Lucky So & So’s. 8 p.m. $10. songbyrddc.com. tWins Jazz 1344 U St. NW. (202) 234-0072. The Twins Jazz Orchestra. 8 p.m.; 10 p.m. $10. twinsjazz. com.

POP

fillMore silver spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Jake Paul. 8 p.m. $46. fillmoresilverspring.com.

30 june 1, 2018 washingtoncitypaper.com

NIlE RODgERS & ChIC AND ChAkA khAN

Sometimes rejection breeds inspiration. In late 1977, disco diva Grace Jones invited bassist Bernard Edwards and guitarist Nile Rodgers to see her on New Year’s Eve at legendary nightclub Studio 54.

When they arrived, they were denied entry. The Chic founders expressed their frustration with a jam session that birthed a signature classic: "Le Freak." Originally, the refrain was “Fuck Off” but that transformed into “Freak Out.” Edwards died in 1996, but Rodgers, who survived a bout with prostate cancer earlier this decade, continues to lead a group with one of the funkiest catalogs of the ’70s and ’80s. Grammy-winning legend Chaka Khan, the funk queen who has also created an insane catalog since her days with Rufus, joins Rodgers for a night of old school funk, soul, disco, and R&B that could teach the kids a thing or two. Nile Rodgers & Chic and Chaka Khan perform at 8 p.m. at the Filene Center at Wolf Trap, 1551 Trap Road, Vienna. $40–$75. (703) 255-1900. wolftrap.org.

—Pat Padua

Theater

CaMelot This musical based on Arthurian legend is the winner of four Tony Awards. From its stunning score to its story’s legendary Round Table, Camelot is an ode to idealistic leadership that champions the potential of humankind. Sidney Harman Hall. 610 F St. NW. To July 1. $44–$118. (202) 547-1122. shakespearetheatre.org. girlfriend Todd Almond and Matthew Sweet’s vibrant coming-of-age musical duet makes its D.C. premiere. In 1993 small-town Nebraska, collegebound jock Mike and aimless Will find themselves drawn to each other. What follows is a rush of firsttime love, full of excitement, confusion and passion.

Signature Theatre. 4200 Campbell Ave., Arlington. To June 10. $40–$84. (703) 820-9771. sigtheatre.org. tHe invisiBle Hand From Ayad Akhtar, the Pulitzer Prize-winning playwright of Disgraced, comes a thriller about an American options trader and Citibank executive, whom a fringe radical group holds hostage in Pakistan. He must use his trading strategies to find a way out in the midst of violence, corruption, and inequality. Olney Theatre Center. 2001 OlneySandy Spring Road, Olney. To June 10. $49–$74. (301) 924-3400. olneytheatre.org.

tHe reMains Starring Maulik Pancholy (Weeds, 30 Rock, Star Trek: Discovery), this production centers on Kevin and Theo. Ten years after their wedding, the pair host a dinner for their families and reveal the truth of their seemingly perfect union. Studio Theatre.

1501 14th St. NW. To June 17. $20–$85. (202) 332-3300. studiotheatre.org. tHe sCottsBoro Boys In 1931, nine African-American teenagers were taken off a train, falsely accused of a crime, and hastily tried and sentenced to death.

Nominated for 12 Tony Awards and making its D.C. premiere, The Scottsboro Boys transforms an event that gripped the country into a compelling musical.

Signature Theatre. 4200 Campbell Ave., Arlington. To July 1. $40–$89. (703) 820-9771. sigtheatre.org. sHear Madness A famed concert pianist who lives above the Shear Madness unisex hair salon dies in a scissor-stabbing murder. Set in modern day Georgetown, this interactive comedy whodunit lets its audience solve the crime. Kennedy Center Theater Lab. 2700 F St. NW. To June 10. $54. 202-467-4600. kennedy-center.org. tHe sMall rooM at tHe top of tHe stairs The Small Room at the Top of the Stairs centers on Grace, who finds herself irresistibly drawn to a mysterious and forbidden room. From the award-winning French Canadian playwright Carole Fréchette and her acclaimed translator John Murrell. Spooky Action Theater. 1810 16th St. NW. To June 10. $20–$40. (202) 2480301. spookyaction.org.

CITY LIGHTS: WEDNESDAY

BY MATTHEW LOPEZ DIRECTED BY TOM STORY

PRIVATE EVENT SPACE | FUNCTIONING WINERY | RESTAURANT 1350 OKIE ST NE, WASHINGTON D.C CITYWINERY.COM/DC | (202) 250-2531

VALET & SECURE PARKING AVAILABLE

JOAN ARMATRADING JUNE 16-18, JUNE 20-21 IT’S COMPlICATED

E. Brady Robinson isn’t the first artist to turn personal struggles into art, and she won’t be the last. Robinson, a Baltimore-based art and commercial photographer, is perhaps best known for her project Art Desks, a series that explores the desks of artists, art dealers, curators, and critics along the East Coast. In It’s Complicated, her new exhibition at Addison/Ripley Fine Art, Robinson uses her smartphone and other small digital cameras to document her post-divorce life, including a mix of photographs and raw text exchanges. Robinson’s images range from nightclub pics and boudoir shots to ethereal landscapes and closeups of often explicit graffiti, including one of a Disney character that can’t be unseen. One image of a mostly deserted train platform is as formalistic as it is emotionally wistful, much like the exhibition itself. “I am so unprepared to be single in my 40s,” Robinson says. “But post-divorce can be fun and is not the end of the world. I want other women to know this. I am happy. I choose happy.” The exhibition is on view to July 21 at Addison/Ripley Fine Art, 1670 Wisconsin Ave. NW. Free. (202) 338-5180. addisonripleyfineart.com.

—Louis Jacobson

PHAROAH SANDERS

JUNE 9TH, EARLY SHOW & LATE SHOW

ANCES ERFORM

UNE 6!

BEGIN J

P

ORDER TODAY! 240.644.1100 | RoundHouseTheatre.org Bethesda Metro: 1 Block | Convenient Parking!

ERICJULY ROBERSON 27 - 28 washingtoncitypaper.com june 1, 2018 31

THE RULE S

CITY LIGHTS: ThuRSDAY

K A E R B JOSÉ ANDRÉS & FRIENDS PRESENT

JUNE 6 Tickets at dinendash.info

hOW TO SuCCEED IN BuSINESS WIThOuT REAllY TRYINg

Figuring out how to succeed in business is simpler than it seems. Based on the experiences of J. Pierrepont Finch, the protagonist of How to Succeed in Business Without Really Trying, all you need is a fancy college degree, the ability to kiss a lot of bottoms, and a fair amount of dumb luck.

Foibles will probably follow, but if the individual desiring success approaches their task with the confidence of a mediocre white man, they are probably already on their way to an executive level suite at a mid-sized company. The Kennedy Center has revived the satirical musical about the scheming former window washer as part of its Broadway Center Stage series with an allstar cast that will ideally wipe away some of the icky socio-sexual politics that haven’t aged particularly well in the five decades since the musical debuted in New York. Skylar Astin, remembered fondly as the a cappella singing Jesse in the Pitch Perfect films, leads the cast as Finch and New York theater vet Betsy Wolfe plays his love interest, Rosemary. Another Pitch Perfect alum, John Michael Higgins, and Michael Urie and Becki Newton of the late lamented Ugly Betty, join them. But this isn’t entirely an affair for stars of stage and screen: Local favorite Nova Y. Payton will play Miss Jones, a big-voiced secretary with a fondness for Finch. In a city as work obsessed as Washington, expect to hear some truisms echoing from the Eisenhower Theater. The musical runs to June 10 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $59–$175. (202) 4674600. kennedy-center.org.

—Caroline Jones Waitress Featuring original music and lyrics from Grammy-winning pop star Sara Bareilles, this uplifting musical tells the story of Jenna, a waitress dreaming of a way out of her little town and loveless marriage. Based on Adrienne Shelly’s beloved film of the same name. National Theatre. 1321 Pennsylvania Ave. NW. To June 3. $48–$98. (202) 628-6161. nationaltheatre.org.

Film

aCtion point Johnny Knoxville stars as a daredevil who decides to build and operate his own wacky theme park. Co-starring Brigette Lundy-Paine and Susan Yeagley. (See washingtoncitypaper.com for venue information) adrift Based on a true survival story, a young couple must face one of the worst hurricanes in recorded history while adrift at sea. Starring Shailene Woodley, Sam Claflin, and Grace Palmer. (See washingtoncitypaper.com for venue information)

32 june 1, 2018 washingtoncitypaper.com

first reforMed The solitary life of the pastor of a small church in upstate New York begins to spiral after an encounter with a member of his church and her radical environmental activist husband. Starring Ethan Hawke, Amanda Seyfried, and Cedric the Entertainer. (See washingtoncitypaper.com for venue information) HoW to talK to girls at parties When an alien touring the galaxy comes to Earth, she meets a young Londoner with whom she becomes fascinated.

Starring Elle Fanning, Nicole Kidman, and Ruth Wilson. (See washingtoncitypaper.com for venue information) solo: a star Wars story Han Solo meets beloved Star Wars characters Chewbacca and Lando Calrissian on an adventure into a criminal underworld years before joining the Rebels in this prequel to A New Hope. Starring Alden Ehrenreich, Donald Glover, and Woody Harrelson. (See washingtoncitypaper. com for venue information) upgrade After a mugging leaves a man in the hospital and his wife dead, he receives an artificial intelligence implant that makes him a killing machine. Starring Logan Marshall-Green, Richard Anastasios, and Rosco Campbell. (See washingtoncitypaper.com for venue information)

SAVAGELOVE I am a 38-year-old gay man with a serious problem. My boyfriend of five years has developed a strange fascination. We’ve always watched porn together, but now he has been looking at straight porn and even lesbian porn (!!!) more and more often. More than once he has expressed an interest in having a MMF threesome—and he’s a selfproclaimed gold-star gay! This week, I discovered he had hidden a Fleshlight from me. I could tell he had used it. What is going on with him? On the other hand, we still have sex pretty frequently. He really gets off when I call his ass a “pussy,” which I’ll do to turn him on, but I find it pretty weird. He also tells me he gets off on the thought of the two of us fucking a woman together. This really seems bizarre! Could my beautiful bottom boy be turning bi? If he is, I don’t know how we can handle it. —Guy Alarmed, Yeah, By Younger Boyfriend’s Interest

I recently posted an online ad for a jack-off buddy.

I got a response from a man who turned out to be a gorgeous, young Sri Lankan dude with a huge, beautiful uncut cock. Anyway, I was really looking forward to him jacking me off and vice versa.

But when I arrived, he said he was only interested in me giving him a massage and then a handjob. Apparently, he’s a straight guy who wanted to experiment with men in a very limited way. Like I said, SUPER HOT, so I happily obliged. But after he came, I was really aching for release myself. But as I stated earlier, he made it clear he did not want to reciprocate. After we were finished, he indicated that he might hit me up again. Do you think I should continue with the massage and “happy ending” in hopes he will someday feel comfortable enough to reciprocate? Or should I just go ahead and find myself another jack-off buddy?

—Craving Uncut Masculine Sri Lankan

Turning bi? Unlikely.

Always was bi and only just realized it?

Likelier.

Always was bi but identified as gay because (1) he prefers men as romantic partners and (2) the biphobia he encountered in gay male spaces/bedrooms/buttholes convinced him to stay closeted but he doesn’t want to live a lie anymore and he’s done hiding from the man he loves but instead of using his words and coming out to you like a grown-up, GAYBYBI, your boyfriend is letting you know he’s bi with his porn choices and a big push to make a MMF threesome sound like a sexy adventure you would both enjoy? Likeliest.

As for how to handle it, GAYBYBI, you’ll have to use your words: Ask your boyfriend if he’s bi. (Spoiler: He’s bi, bicurious, or so homoflexible he could tour with Cirque du Soleil.) If you’re not interested in having sex with women, tell him so. If being with you means he can never have sex with a woman, tell him so. And if you would never knowingly date a bi guy, tell him he deserves better.

—Dan Savage

Another jack-off buddy? No, no. Additional jack-off buddy.

—DS

A relationship question that doesn’t involve sex: Occasionally when two people live together, they bump into each other or one may get in the way of the other. Is it reasonable to be put off if rather than simply hearing “Excuse me” when you are inadvertently in someone’s way, the person trying to gain access says, “Do you have to stand there?”

—Just Seems Rude People who are courteous to strangers (“Excuse me, can I squeeze past you?”) and contemptuous with intimate partners (“Do you have to stand there, you fucking dumbass?”) don’t value their partners and don’t deserve intimacy. People who are assholes to everyone don’t deserve intimacy either, of course, but they get points for being consistent.

—DS

There are sex workers out there fighting for their rights and fighting the stigma against sex work, but you don’t see the men who employ them stepping up and joining the fight.

I recently spent a wonderful weekend with a young woman from out of town who identifies as queer and poly. Being the curious guy I am, I had her explain what these things meant to her. She went on to say that she is considering changing from poly to nonmonogamous. I find this confusing.

I’m certainly nonmonogamous, but I’ve never thought of myself as poly. What is the difference?

—Confused Over Lines Inside Names I would describe the difference as Googleable, COLIN. But since you asked: A nonmonogamous person has sex with their partner and others; a poly person has or is open to having committed and concurrent romantic relationships. For one example: An ethically nonmo-

LIVE MUSIC

thh

THE WHARF, SW DC

nogamous woman fucks the boyfriend/husband she loves and other guys she doesn’t; a poly woman has two (or more) guys she both loves and fucks.

—DS

I have two complaints: one with the world and one with you. My problem with the world is that it seems to think it is possible to embrace the rights of sex workers and still stigmatize the men who employ them. I am in a happy monogamish marriage, and I enjoy a very good, vanilla-but-bordering-on-tantric sex life with my wife. Early on, when we discussed how open our marriage should be, we decided it would be all right for me to see escorts several times a year. This gives me some sexual variety and keeps her from feeling threatened by my becoming emotionally involved with a third party. She is very mono and has no interest in going outside the marriage for sex. My quarrel with you has to do with your oft-repeated advice that people should break things off with partners who don’t perform oral sex. My wife doesn’t like to give head—and I really don’t like getting it from her, since she doesn’t like doing it. It is, however, one of the things on my list for my quarterly pro session. So I go down on her, she doesn’t go down on me, and I see escorts who do. And… —It Works For Us In regards to your first complaint, IWFU, there are sex workers out there fighting for their rights and fighting the stigma against sex work—along with fighting prohibition, the Nordic Model, and SESTA (Google it)— but you don’t see the men who employ them stepping up and joining the fight. “[It’s time for] all of you clients out there [to] get off your duffs and fight,” as sex worker and sex-worker-rights advocate Maggie McNeill wrote on her blog. “Regular clients outnumber full-time whores by at least 60 to 1. Gentlemen, I suggest you rethink your current silence, unless you want to be the next one with your name and picture splashed across newspapers, TV screens, and websites.”

In regards to your second complaint, IWFU, it is true that I’ve said—on one or two occasions—that oral comes standard and any model that arrives without oral should be returned to the lot. I’ve also said that you can’t be in an LTR without paying the price of admission, and I’ve said that a lot more often.

If not getting oral at home is the price of admission you’re willing to pay to be with your wife, and if allowing you to get oral elsewhere is the price of admission she’s willing to pay to be with you, then Godspeed, IWFU, and tip the sex workers you patronize and speak up to fight the stigma against doing sex work and hiring sex workers.

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

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on November 20, 2017.

The mother of saidLegals child is Kadeja J. Alston.

DC SCHOLARS PCS - REQUEST FOR PROPOSALS – ModuA Petition has been filed lar Contractor Services - DC asking Court to School put Scholars the Public Charter an endproposals to all rights you solicits for a modular have to to your child, Baby contractor provide professional Girl Alston a/k/a Zemira management and construction services to construct modular Red Alston.

The aCourt building to house four classrooms has set a hearing to and one faculty offi ceyour suite. The consider ending Request toforyour Proposals rights child. (RFP) specifi cations can be obtained on That hearing will be held and after Monday, November 27, in the Courtroom 2017 from Emily Stone desigvia comnated for Senior Judge munityschools@dcscholars.org.

Stephen B. Lieberman, All questions should be sent in Berks County Courtwriting by e-mail. No phone calls regarding 633 this Court RFP willStreet, be achouse, cepted. Bids PA must19601, be received Reading, on by 5:00 PM on Thursday, December June 22, 2018 at 9:30 14, 2017You at DC Scholars Public A.M. have a right Charter School, Sharonda to attend theATTN: hearing.

Mann, 5601 E. Capitol St. SE, If you fail to attend the Washington, DC 20019. Any bids scheduled the not addressinghearing, all areas as outHearing willspecifi go on withlined in the RFP cations will out you and the Court not be considered. may end your rights to your Apartments child withoutfor your Rent being present. You have a right to be represented at the Hearing by a lawyer. You should take this paper to your lawyer at once. If you do not have a lawyer, cannot afford one, or go to or telephone the office set forth below to find out where you can Must see! Spacious semi-furget legal help. nished 1 BR/1 BA basement LAWYERS REFERRAL apt, Deanwood, SERVICE OF $1200. Sep. entrance, W/W carpet, W/D, kitchTHE BERKS COUNTY en, fireplace near Blue Line/X9/ BAR ASSOCIATION V2/V4. Shawnn 240-343-7173.

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WASHINGTON LATIN Construction/Labor PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS Issued: June 1, 2018 The Washington Latin POWER DESIGN NOW HIRPublic Charter School ING ELECTRICAL APPRENTICES OF ALL SKILL LEVsolicits expressions of ELS! interest in the form of proposals with referabout the position… ences from qualified Do you for love each working with vendors of the your hands? Are you inter8 ested services listed below. in construction and

in becoming an electrician?

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Deadline for submissions is COB June 8 2018. No phone calls please.

E-mail is the preferred method for responding but Foods you can also Whole Commissary Auction mail (must arrive by DC Metro Area deadline) proposals and Dec. 5 at 10:30AM supporting documents S/S Tables, Carts to1000s the following address: & Trays, 2016 Kettles up Washington Latin Public to 200 Gallons, Urschel Charter Cutters School & Shredders inAttn: Finance cluding 2016 Office Diversacut 5200 NW 2110 2nd Dicer,Street 6 Chill/Freeze Washington, Cabs, Double DC Rack20011 Ovens & Ranges, (12) Braising Tables, 2016 (3+) PCS Stephan DC SCHOLARS VCMs, OF30+ Scales, NOTICE INTENT TO Hobart 80 qt Mixers, ENTER A SOLE SOURCE Complete Machine Shop, CONTRACT – Drumand much more! View the ming Workshops - DC catalog at Scholars Public Charter www.mdavisgroup.com or School intends to 412-521-5751 enter into a sole source contract with Traditional ExpressionsGarage/Yard/ for services Sales inRummage/Estate contemporary and traditional African Flea MarketWest every Fri-Sat drumming5615 for ap10am-4pm.

Landover Rd. proximately $60,000 Cheverly, MD. 20784. Can buy forbulk. the Contact school 202-355-2068 year in 2018-19.

Thefor decision or 301-772-3341 details or if intrested being a vendor. to sole insource is due to Traditional Expressions’ proven history of training students in rhythm and drumming at DC Scholars. For more details, contact estone@ dcscholars.org.

School RFP for Waste Removal Services One school RFP for waste removal services.

To obtain copies of full RFPs, please visit our website: www.centercitypcs.org. Full RFPs contain guidelines for submission, applicable qualifications and deadlines.

Contact Person: Natasha Harrison nharrison@centercitypcs.org

DC SCHOLARS PCS NOTICE OFMiscellaneous INTENT TO ENTER A SOLE SOURCE NEW COOPERATIVE SHOP! CONTRACT – Assessment System, CoachFROM EGPYT THINGS ing, and Professional AND BEYOND Development - DC 240-725-6025 Scholars Public Charter www.thingsfromegypt.com School (DCSPCS) thingsfromegypt@yahoo.com intends to enter into a sole AFRICAN source contract SOUTH BAZAAR Craft withCooperative The Achievement 202-341-0209 Network (ANET) for a www.southafricanbazaarcraftcoo contracted Assessment perative.com system, Coaching, and southafricanba z a ar @hotmail.

Professional Developcom ment for approximately $27,650 forWOODWORKS the school WEST FARM year 2018-19, pending Custom Creative Furniture successful contract 202-316-3372 info@westfarmwoodworks.com negotiation. The www.westfarmwoodworks.com Achievement Network previously trained and 7002 Carroll Avenue on DCSPCS teachers Takoma Park, MD 20912 their assessment platMon-Sat 11am-7pm, form10am-6pm and assessment Sun materials over the past three years. For more Motorcycles/Scooters details, contact estone@ dcscholars.org.

2016 Suzuki TU250X for sale.

1200 miles. CLEAN. Just serviced. Comes for with Bid bike cover Invitation and saddlebags. $3000 Food ServiceAsking ManageCash only. ment Services Call 202-417-1870 M-F between Digital Pioneers Acad6-9PM, or weekends. emy Digital Pioneers AcadBands/DJs for Hire emy is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/ or CACFP supper meals to children enrolled at the school for the 20182019 school year with a possible extension of (4) one year renewals.

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Christmas in Silver Spring Saturday, December 2, 2017 Proposals will be acVeteran’s cepted Plaza at 80 M Street, 9:00 a.m. to 7:00 p.m.

SE, Washington, D.C. Come celebrate Christmas in 20003 JuneSpring 25, 2018 the heart on of Silver at our not later than 12 noon.

Vendor Village on Veteran’s Plaza. There will be shopping, arts All bids addressing and crafts not for kids, pictures with Santa, musicasand entertainment all areas outlined to spread holiday in the IFB willcheer notand bemore.

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OF OF For THE more DISTRICT information, contact COLUMBIA Futsum, PROBATE DIVISION info@leadersinstitutemd.org or 2018 ADM 000464 call 301-655-9679 Name of Decedent, General Doris E. Reed, Notice of Appointment, Notice to Looking to Rent space Creditors and yard Notice tofor hunting dogs.Heirs, Alexandria/ArlingUnknown Monica ton, VA area only. Medium sized D. Thomas and Suetta dogs will be well-maintained in J. Freeman, whose temperature controled dog housaddresses are 9506 es. I have advanced animal care Granhaven Upper experience andAve., dogs will be rid Marlboro, 20772 free of feces, flMD ies, urine and oder.

Dogs will in a ventilated and 74 be Michelle Rd.,kennel so they will not beVA exposed to winFront Royal, 22630 ter and appointed harsh weatherPersonal etc. Space were will be needed as soon as possiRepresentative of the ble.

Yard of for Doris dogs must be Metro estate E. Reed accessible. Serious callers only, whoanytime died on October call Kevin, 415- 84615, 2017, without a Will 5268.

Price Neg. and will serve without Court Supervision.

All Counseling unknown heirs and heirs whose wherabouts MAKE THE CALL TO are START unknown shallTODAY. enter Free GETTING CLEAN 24/7 for alcohol drug theirHelpline appearance in &this addiction treatment.

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Objections is time to take your life back! to such appointment Call Now: shall855-732-4139 be filed with the Register Wills, D.C., Pregnant? of Considering Adop515 5th Street, N.W., tion?

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20001, family on orofbefore Call 24/7. 877-362-2401.

11/17/2018.

Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 11/17/2018, or be forever barred.

Persons believed to be heirs or legatees of the

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decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 5/17/2018 Name of Newspaper and/or periodical: Washington City Paper/Washington Law Reporter Name of Person Representatives: Monica D. Thomas and Suetta J. Freeman TRUE TEST copy Anne Meister Register of Wills Pub Dates: May 17, 24, 31.

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SUPERIOR COURT http://www.washingtOF THE DISTRICT OF oncitypaper.com/ COLUMBIA PROBATE DIVISION 2018 ADM 000477 Name of Decedent, JoAnne G. Coates, Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Lolita A. Glover, whose address is 8443 Greenbelt Road, #101, Greenbelt, MD 20770 was appointed Personal Representative of the estate of JoAnne G. Coates who died on 3/19/18, with a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 11/17/2018. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 11/17/2018, or be forever barred.

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

Date of first publication: 5/17/2018 Name of Newspaper and/or periodical: Washington City Paper/Washington Law Reporter Name of Person Representative: Lolita A. Glover TRUE TEST copy Anne Meister Register of Wills Pub Dates: May 17, http://www.washingtoncitypaper.com/ 24, 31.

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Out with the old, In with the new Post your listing with Washington City Paper Classifieds

Local nonprofit seeks temporary events security staff for up coming week long convention, June 18- June 24, hourly rate $12.50 per hour.

Day and evening shifts available. For more information go to www. dar.org/job-openings PAID IN ADVANCE! Make $1000 Weekly Mailing Brochures From Home Genuine Opportunity. Helping home workers since 2001!

Start Immediately! www.IncomeCentral.net AIRLINE CAREERS begin here â&#x20AC;&#x201C; Get started by training as FAA certified Aviation Technician. Financial aid for qualified students. Job placement assistance.

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POWER DESIGN NOW HIRING ELECTRICAL APPRENTICES OF ALL SKILL LEVELS! about the positionâ&#x20AC;Ś Do you love working with your hands? Are you interested in construction and in becoming an electrician? Then the electrical apprentice position could be perfect for you! Electrical apprentices are able to earn a paycheck and full benefits while learning the trade through firsthand experience. what weâ&#x20AC;&#x2122;re looking forâ&#x20AC;Ś Motivated D.C. residents who want to learn the electrical trade and have a high school diploma or GED as well as reliable transportation. a little bit about usâ&#x20AC;Ś Power Design is one of the top electrical contractors in the U.S., committed to our values, to training and to giving back to the communities in which we live and work. more detailsâ&#x20AC;Ś Visit powerdesigninc.us/careers or email careers@ powerdesigninc.us!

MOVING?

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My Friends are producing a cover of Ted Negent and the Amboy Dukeâ&#x20AC;&#x2122;s Rock & Roll Song, â&#x20AC;&#x153;Journey to the Center of the Mondâ&#x20AC;?.

Thrivo and the Areas will be available on CD mid-summer.

Leave your cares behind, come with us and find the pleasures of a Journey to the Center of the Mind. Come along if you care come along if you dare take a ride to the land inside of your mind. Beyond the realm of thought. Beyond the streams of hopes and dreams where things are really not. Come along if you care come along if you dare take a tide to the land inside and youâ&#x20AC;&#x2122;ll see but please realize youâ&#x20AC;&#x2122;ll probably be surprised for itâ&#x20AC;&#x2122;s the land unknown to man where fantasy is fact So if you can please understand you may not come back. Come along if you care come along ifhttp://www you dare take a ride washingttooncitypaper.com/ the land inside and youâ&#x20AC;&#x2122;ll see how happy life could be if all of mankind could take a ride a journey to the center of the mind could take the time to journey to the http://www.washingtoncicenter of the mind typaper.com/ center of the mind the mind the mind James Kelly West, wpermanentwink@aol.com, 703-751-3786

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY & SPIRIT

Out with the old, In with the new Post your listing with Washington City Paper Classifieds http://www.washingtoncitypaper.com/

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/ MIND, BODY & SPIRIT http://www.washingtoncitypaper.com/

Moving?

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washingtoncitypaper.com june 1, 2018 35

Out with the old, In with the new

FIN OU RE UN RE CL HE MI &S

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KASTLES WASHINGTON

FRANCES TIAFOE

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2018 HOME SCHEDULE

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