Washington City Paper (June 14, 2019)

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POLITICS: TAX DOLLARS SPENT ON LOBBYING 6 FOOD: D.C. MEETS FARM-TO-TABLE 2.0 16 ARTS: A MULTI-GENERATION BLACK ARTIST COLLAB 18

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INSIDE

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COVER STORY: THE PLANT ISSUE

10 We go green and cultivate stories from the wild world of urban plants and gardening.

DISTRICT LINE 4 No Contact: Advocates find St. Elizabeths iIllegally locks patients alone in a room for weeks on end.

6 Loose Lips: Events DC’s hefty lobbying bill for control of RFK 7 Scene and Heard: A new column chronicling small moments in and about the District

SPORTS 8

Run Away: A D.C. teacher moonlights as an ultramarathoner.

FOOD 16 Team of the Crop: At new farmto-table restaurants, farmers are valued partners and resources.

ARTS 18 Galleries: Capps on The Black Overlay at DC Arts Center 20 Curtain Calls: Thal on Pointless Theatre’s Forest Treás and Croghan on Woolly Mammoth’s Describe the Night 21 Speed Reads: Ottenberg on Courting Mr. Lincoln 21 Short Subjects: Zilberman on The Dead Don’t Die

CITY LIST 23 24 26 26

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DARROW MONTGOMERY 1400 BLOCK OF EYE STREET NW (REAR), JUNE 11

EDITORIAL

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

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DISTRICTLINE

No Contact

Darrow Montgomery/File

Disability rights lawyers say that St. Elizabeths has been illegally locking psychiatric patients alone in a room for weeks on end.

By Joshua Kaplan St. ElizabEthS hoSpital always had trouble with Tyler Johnson. In order to control their patient, who was there for psychiat-

ric treatment, hospital staff repeatedly put him in one part of his unit and told him he couldn’t leave. There was a line on the floor: Don’t cross it. But sometimes he didn’t listen. That’s when the situation would esca-

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late. According to incident reports obtained by the disability rights program at University Legal Services—an organization that monitors treatment quality at various hospitals in D.C. and advocates for disability rights—one

time, Johnson “kept jumping back and forth across the line and was not receptive to staff directive.” So hospital staff made him go to a “seclusion room,” where he was locked up alone until they decided to release him. Another time, Johnson walked out of the area where he’d been told to stay put, and got into an argument with a staff member. They ordered him to walk himself to the seclusion room again, but he ignored that order too. So they put him in a physical hold and dragged him there. (The reports are anonymized; Tyler Johnson is not the patient’s real name.)

But the most extreme incident, ULS says, was when staff took Johnson down to the hospital’s “safety suite.” A barricaded room designed for long-term stays, the safety suite resembles a solitary confinement cell in a prison. The hospital kept Johnson locked alone in there for at least 20 consecutive days.

The District’s only public psychiatric hospital, St. Elizabeths has a long history of misusing seclusion (i.e. locking a patient alone in a room), a controversial practice that can cause severe, lasting psychiatric harm for patients.

The hospital is operated by the Department of Behavioral Health (DBH), and in 2005, the U.S. Department of Justice (DOJ) filed a complaint against the city for using seclusion too liberally at St. Elizabeths and for violating patients’ constitutional rights. The lawsuit also charged that the hospital did not provide adequate treatment to its patients, and that environmental hazards at the (consequently rebuilt) facility put patients at serious risk. But after nearly a decade of major reform, St. Elizabeths improved its care enough to meet the requirements DOJ set out. The DOJ dropped the lawsuit in 2014.

But since 2014, the percentage of patients that St. Elizabeths puts in seclusion has gone up every year. And even more concerning, says ULS, the hospital recently started ignoring the laws that protect patients from unsafe seclusion, illegally keeping patients locked up alone for weeks on end.

Johnson is one of four patients who ULS discovered were recently locked alone in the hospital’s safety suite for far longer than the law permits—and those four patients do not include the people who spent time in St. Elizabeths’ other, official seclusion rooms. Two were kept in the safety suite for at least 20 days, one for at least 11, and the fourth patient spent at least 25 consecutive days locked up alone.

The hospital may also have subjected more patients to long-term confinement without ULS finding out about it. Mark Chastang, St. Elizabeths’ CEO, tells City Paper, “The safety suite is an intensive therapeutic intervention that has been used to address consistent, violent

DISTRICTLINE behavior by six patients.”

“We are very, very concerned that this could potentially be very traumatizing to patients,” says ULS Staff Attorney Andrea Procaccino. “It’s so far from a therapeutic approach to treatment.”

It’s also illegal, says ULS. Both D.C. and federal laws impose strict restrictions on when and how psychiatric hospitals can lock patients alone in a room. Local and federal laws both mandate that seclusion can only be used in emergencies, for the minimum amount of time “necessary to prevent serious injury to the consumer or others.” But ULS says that St. Elizabeths has been keeping patients in “seclusion regardless of the patient’s current behavior, including [for] periods of time when the patient is calm and not dangerous.”

As soon as the patient no longer presents an imminent danger, by law, they must be released. In D.C., physicians cannot order seclusion for longer than four hours at a time, and staff must evaluate the patient every 15 minutes to see if they’re ready to be let free before then.

If the patient hasn’t calmed down after the four hours, the physician can keep adding another four; however, no one can be kept in seclusion for more than 24 hours without a judge approving it first. Federal regulations add that “twentyfour hours of restraint or seclusion for the management of violent or self-destructive behavior is an extreme measure with the potential for serious harm to the patient.”

There is a reason these laws are so stringent—the damage solitary confinement causes people, especially those who already have serious mental illnesses, is widely documented. “It really traumatizes people,” explains Debbie Plotnick, vice president of the mental health advocacy group Mental Health America. If you spend a long time in seclusion, she says, “you may not have gone in with a severe mental health issue, but you can bet that you’re going to leave with one.”

The lack of stimulation and human contact in seclusion rooms can have serious consequences. “That deprivation can exacerbate existing problems for people with psychosis. And it can cause psychosis in people who didn’t have it before,” she explains. “It’s antithetical to human functioning.”

But St. Elizabeths does not follow these laws when keeping patients in the safety suite, because it claims that the suite does not count as seclusion. D.C. law defines seclusion as “any involuntary confinement of a consumer alone in a room or an area from which the consumer is either physically prevented from leaving or from which the consumer is led to believe he or she cannot leave at will.” Federal regulations put forward a similar definition. But while the safety suite is a locked room that patients cannot leave, on May 23, 2018, St. Elizabeths is-

sued a policy saying that putting patients in the safety suite is not considered seclusion.

Instead, they call it a “general protective security measure.”

This refers to a vague exception in D.C.’s seclusion regulations, which were established by D.C.’s Department of Mental Health in 2005: “seclusion shall not include ... general protective security measures including, without limitation, locked wards, or other special security measures.” (DMH was later merged with the District’s substance abuse agency to become the Department of Behavioral Health.)

This means, for instance, that when the hospital locks the doors to a floor full of patients, that doesn’t count as seclusion. But St. Elizabeths has interpreted this clause liberally, using it to avoid any of the restrictions that govern how long they can keep patients alone in the safety suite.

“That is nonsense,” says Martha Knisley, who wrote the regulations that St. Elizabeths claims to be following. (Knisley was head of DMH when her agency wrote the District’s seclusion regulations, including the 24-hour limit on seclusion and the “general security measure” exception.) “A [locked] room is seclusion— that’s what seclusion is,” she emphasizes. “There’s no ambiguity there.”

Federal authorities echoed Knisley’s sentiment. A spokesperson for the Centers for Medicare and Medicaid Services, which handles the federal regulations, tells City Paper, “CMS is unable to identify any situation in which a patient is kept alone for long periods of time in a locked room that would not be considered seclusion.”

That May 23 policy goes on to say that patients may be placed in “flex cuffs” while they are being moved into seclusion or moved in and out of the safety suite. ULS attorneys also find this gravely concerning, because D.C. law explicitly forbids putting psychiatric patients in handcuffs. According to ULS, one patient was put in flex cuffs because the maintenance staff had to repair the safety suite’s locks. Another patient’s documents say that he should not be released from the suite until he has been well behaved for 20 days, including two days spent in “shackles.”

Knisley says that DMH began restricting seclusion in order to be “consistent with the reforms going on in the rest of the country” in the late ’90s and early aughts. One of the chief architects of those reforms was Charles Curie, who was head of the federal Substance Abuse and Mental Health Services Administration at the time.

Before he moved into national policy in 2001, Curie was in charge of Pennsylvania’s mental health system, where he managed to virtually eliminate the use of seclusion in all state hospitals. He tells City Paper he had realized not only that seclusion can cause seri-

ous harm to patients, but that in Pennsylvania, staff were often using seclusion “when there wasn’t any active treatment going on,” locking patients up instead of treating their illnesses.

That’s when he decided to make it a priority to eliminate seclusion entirely.

A lot of people thought this was impossible, he says, and hospital staff were against it because many “felt that they needed to do [seclusion] for their own safety.” However, when hospitals stopped using seclusion, the number of staff injuries actually went down. Curie thinks this is because Pennsylvania increased the amount of “active treatment” that patients received, and also gave staff “extensive training on de-escalation.”

In addition to improving staff training, he created bureaucratic rules to “make it inconvenient, frankly, for physicians to use seclusion.” Pennsylvania never banned the practice. Instead, he says, it redefined “seclusion and restraint not as treatment interventions, but as treatment failures.”

Additionally, “one thing that was critical for us was to make sure we had adequate staffing levels,” says Curie. “Staff may turn to seclusion if they feel they don’t have enough support to do their job.”

St. Elizabeths has successfully made similar reforms in the past, albeit at a smaller scale.

When the U.S. Department of Justice investigated the conditions at St. Elizabeths in 2005 and filed a lawsuit against the city for violating patients’ constitutional rights, one of the chief issues in the lawsuit was the hospital’s use of seclusion and restraint. (Restraint refers to any measure that physically restricts a patient’s freedom of movement.) Federal investigators found that staff were often using the practices inappropriately, in ways that were “clinically inexplicable” and “substantially depart from generally accepted professional standards.” In one instance, investigators said, a patient attempted suicide; in response, staff members just tied her arms and legs to her bed for 24 hours. Four days later, she attempted suicide again.

As part of the eventual settlement, DOJ required that St. Elizabeths substantially reform the way it used seclusion and restraint, including training all its staff on “less restrictive interventions.” It took almost a decade of hard work for the city to successfully implement all the reforms that DOJ asked for. But in 2014, the feds decided that St. Elizabeths had come into compliance with federal law and dismissed the lawsuit—with the stipulation that the city continue to let ULS monitor conditions at the hospital.

Over the past five years, the rates of seclusion and restraint at St. Elizabeths have gone up astronomically. The hospital is required by law to report how often it uses these extreme measures. (However, since it does not con-

sider the safety suite to be seclusion, there is no data on how often the suite is used.) According to St. Elizabeths’ monthly performance reports, the number of patients locked in rooms it does consider seclusion has more than doubled since 2014, when 2.55 percent of patients were locked in seclusion in any given month. In 2018, 5.9 percent of patients were placed in seclusion.

The change is even more dramatic when it comes to the use of restraints. In 2014, an average of just 0.5 percent of patients were placed in restraints in any given month. In 2018, 13.06 percent of patients were restrained each month, more than 25 times as many patients as in the year the lawsuit ended. The average number of hours patients spent in restraints also increased by more than 1000 percent over this period. Saint Elizabeths and DBH did not respond to City Paper’s request for comment on these increases, nor on whether the hospital or the agency is taking any steps to address them.

Procaccino and Curie both pointed to inadequate de-escalation training as a factor that often leads to high rates of seclusion and restraint. “If the de-escalation is done correctly, [St. Elizabeths] should have no reason to put people in these rooms,” explains Procaccino. “We don’t think there’s enough implementation of de-escalation techniques.”

In January, ULS sent a report about the safety suite to DBH and to DC Heath (which recently changed its name from Department of Health, or DOH), at which point both agencies told ULS they would investigate. According to Procaccino, both investigations are pending.

“I was hoping that DOH would come back by now saying they have to shut [the safety suite] down,” says Procaccino. “I’m surprised they haven’t closed it.”

But it appears that the DC Health investigation just concluded that ULS is correct, at least with regards to the federal law. Eight days after City Paper reached out to DBH and DC Health for comment, Chastang replied via email. “DC Health has determined that federal seclusion regulations regarding timely monitoring apply to the safety suite,” he wrote. “Saint Elizabeths is revising its policies and procedures to comply.”

ULS attorneys hope that St. Elizabeths will stop using the safety suite entirely. “It should never be necessary to expose any patient to a prison-like solitary confinement room,” wrote ULS in the report it sent to DBH and DC Health.

“Locking patients in a solitary confinement seclusion room is not only illegal, it is traumatic and damaging to a patient’s recovery.”

“St. Elizabeths hospital is not a prison,” the report continues. “It is a psychiatric facility responsible for providing treatment to the patients entrusted to its care.”

CP

washingtoncitypaper.com june 14, 2019 5

DISTRICTLINE Field Goals

By Mitch Ryals Over the cOurse of two years, the District’s sports and entertainment authority, Events DC, used taxpayer money to pay a firm to lobby Congress for control of the land around the empty Robert F. Kennedy Memorial Stadium, the former home of Washington’s professional football team.

According to federal lobbying disclosure reports, Events DC paid the firm Squire Patton Boggs a total of $150,000 from July of 2017 through September 2018.

The reports show that those lobbying efforts focused on extending the District’s lease on the RFK campus for an additional 50 years, and cite a bill introduced by Del. Eleanor Holmes Norton that would have facilitated that extension. The bill never made it out of committee.

The District’s current lease for the federally owned land expires in 2038, which is problematic for any long-term redevelopment plans, says Events DC’s president and CEO Greg O’Dell, who spoke with LL over the phone.

The lease also requires the land be used for a stadium or public recreational facilities.

For some close to this land, though, Events DC’s lobbying efforts raise concerns about efficient use of taxpayer money and about plans for the RFK site. Events DC is funded in part by a tax on hotels and restaurants.

“It does beg a bigger question of ‘Why is Events DC the entity that would be lobbying for the RFK campus if there’s no determination about what we want to do with that site,’” Ward 6 Councilmember Charles Allen says.

“In every conversation I’ve been a part of, those community and neighborhood meetings, the conversation has always been: There’s no determination as it pertains to a stadium.”

Allen has spoken against the construction of a new NFL stadium at the RFK site and has advocated for at least some of the land to be used for more housing.

Denise Krepp, a neighborhood commissioner in the area near the RFK site, shares Allen’s concerns and worries that Events DC’s lobbying effort could indicate another push to bring the local NFL team back into the District.

“We need housing, we need retail, and we do not need to be spending money on the

LOOSE LIPS

Redskins,” Krepp says.

“It’s frustrating that we’re spending precious dollars that we have lobbying to bring them back.”

O’Dell says Events DC’s discussions with members of Congress were focused solely on gaining long-term control of the land. He says the stadium eventually will be demolished and insists that the sports authority does not have a preference for its replacement.

Last August, city officials and Events DC released a $489 million plan to redevelop the site, which includes a new NFL stadium as one of the three options to replace RFK Stadium.

They’re also considering a basketball and hockey arena or adding more green space for recreational sports. Shortly after that announcement, Mayor Muriel Bowser expressed her support for bringing the the local NFL team back to D.C. at a luncheon for the team.

Last December, just months after Events DC’s lobbying ended, the Washington Post reported that a Bowser aide and Ward 2 Councilmember Jack Evans were working with congressional Republicans to clear the way for construction of a new football stadium by inserting a provision into a massive federal spending bill. Those efforts ultimately failed.

(Evans used to work a side gig for the firm Patton Boggs before its merger with the Squire Sanders law firm. Evans left Patton Boggs in 2015.)

Allen questions whether Events DC’s lobbying is related to Bowser and Evans’ work with Congress. O’Dell denies that charge.

“Unequivocally not,” he says. “I want to be clear, I think the mayor is acting in good faith.

But what we were doing was not part of the mayor’s efforts.”

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Darrow Montgomery/File

Events DC spent $150,000 in 2017 and ’18 to lobby Congress for control of the RFK campus.

O’Dell also defended the decision to hire a lobbying firm.

“I think we’re making the right investment,” he says. “I don’t have any personal experience on the Hill, nor do we have the experience in-house. I think it was prudent dollars to be spent to help us move the development forward.”

O’Dell says he attended most of the meetings on the Hill, which targeted bipartisan members of the federal lands subcommittee that was at the time chaired by Republican Rep. Tom McClintock.

He says that he and his team informed members of Congress of Events DC’s short-

and long-term plans for the site. The initial phase, 27 acres of turf fields that replaced a parking lot wasteland, opened to the public last weekend. An indoor recreational sports facility and food market are also in the works, O’Dell says.

In March, Norton introduced another bill to sell the whole 190-acre campus to the District, which would eliminate the restrictions on the land’s use. O’Dell says Events DC has no plans to hire another lobbying firm to work on the bill.

“If [the land] is transferred, then we welcome that, and will work in concert with the mayor for her vision for that,” O’Dell says. CP

Scene and

Heard Life in D.C. (and life anywhere, really) is full of fleeting, enchanting moments: a delivery man pulling a dolly and a pair of tourists on electric scooters race each other on a downtown sidewalk; a pet dog interrupts an outdoor yoga class; a group of children screamsing “Let It Go” from Frozen on the circulator.

It’s not the type of thing that you think of as news, but these moments make up our lives just as much as Council meetings, sports games, and gallery openings do. We’ve been trying to capture these moments—small scenes of people living their lives in D.C.—in City Paper this year. The March cover story “One Day” captured 15 of these scenes on a random day in D.C., and May’s “Market Value” story immersed readers in D.C.’s Florida Avenue Market through brief vignettes and photographs.

Scene and Heard, a new recurring column, will continue that effort, exploring the lives we lead in the District, one scene at a time.

Find the first entry below.

—Will Warren The West Coast, June 2019 A woman charged with checking IDs and boarding passes at Los Angeles International Airport considers a D.C. license for a moment.

It has everything a D.C. bouncer might expect to see—a birth date, address, cherry blossom background, and “District of Columbia” in big letters at the top. It’s even one of the new REAL IDs, which the TSA won’t require for domestic flights until October of next year.

“I’ll need to see a passport,” she says.

“It’s our nation’s capital,” the ID’s owner snips.

If her response is short, it’s because this happened earlier, a few hours inland at the entrance to a bar in an alley with a clubby atmosphere and purple lights. The bouncer took her ID and started speaking to her in Spanish, believing her to be Colombian. Nevermind that the ID is in English and carries the telltale “u” that differentiates between the District of Columbia and the South American nation.

The gentle reminder about U.S. geography doesn’t persuade the airport worker. She leans over to her coworker, who confirms that D.C. is, indeed, a place that issues legitimate United States IDs. She waves the traveler through to security without chagrin, and the traveler boards a plane to Oregon. She’ll go through the same thing again in Portland at a brewery. At least the bartender there seems embarrassed when he realizes his mistake.

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washingtoncitypaper.com june 14, 2019 7

Run Away

his years as a Boston College student.

Running, at the time, was something he did to stay fit for tennis. He had run a few races, including jumping into the Boston Marathon his senior year of college without having registered (a frowned upon act called “banditing”), and remembers finishing in just under five hours.

“I didn’t know that was a bad thing to do,” he laughs.

It wasn’t until he became a Jesuit volunteer in Nicaragua that Laguilles formally signed up for his first long-distance race, a half marathon through the capital city of Managua. Unlike big races in the U.S., the organizers did not shut down roads, and he had to weave through commuters and traffic to finish.

But he was hooked, and shortly after, he registered for another race hosted by the Peace Corps in Nicaragua. He finished as the top American.

“So I just kept running,” Laguilles says. “It became one of those things I did.

It was just like stress relief from teaching, just a different thing to do.”

When he returned to D.C., he started teaching and coaching tennis at Gonzaga, but kept up with his running. In 2010, he finished the Austin Marathon in 3:05:14 to legitimately qualify for the 2011 Boston Marathon, which he ran in 3:08:15.

Some runners are satisfied with sticking to the 26.2-mile distance, but the marathon marked a starting point, rather than the finish line, for Laguilles. He got into trail running, and then ultrarunning, and even started a social running group on H Street NE, the Argonaut Running Club, to foster a built-in local community around his sport. Laguilles is also Gonzaga’s assistant cross country country coach and works part-time at the Pacers Running store in Navy Yard.

“We all have our sets of passions, we all have things that fill our buckets outside of our jobs,” says Sarah Miller, a former Gonzaga teacher who ran with the club. “You hope that people have an activity that makes them happy, fills up their soul tank … We all have that, but his is just very physically taxing.”

Last June, Laguilles and Miller traveled to Argentina as chaperones for an immersion trip to Buenos Aires organized by Gonzaga and the Varsity Sports and Educational Tours travDarrow Montgomery

Gonzaga high school teacher Ariel Laguilles finds peace and meaning in ultrarunning.

U.S. Department of State Sports Diplomacy Division

SPORTS

By Kelyn Soong Ariel lAguilles sAt poolside at his Barcelona, Spain, hotel in early June, soaking in the warm glow of the late afternoon sun. A locally brewed Estrella Damm lager beer was within arm’s reach, and Laguilles’ wife, Marissa McInnis, relaxed nearby. Being on vacation more than 4,000 miles away from their taxing lives in D.C. meant the couple could unwind and find comfort in the slower pace of the Spanish city.

But Laguilles still felt restless. For the second day in a row, he hadn’t gone on a run.

No one would’ve blamed Laguilles, who turns 41 in July, if he’d wanted to take a few days—or weeks—off from running.

Two days earlier, he’d finished a 406-mile run from Azpeitia in the Basque Country of Spain to Manresa, setting a Fastest Known Time (FKT) for the Camino Ignaciano, or the Ignatian Way—the same path that St. Ignatius of Loyola, the founder of the Jesuit order, walked nearly 500 years ago.

His time was eight days, 12 hours, and 45 minutes.

“Running is just such a big part of my life.

It’s part of my routine,” Laguilles explains.

“It’s right up there with eating and breathing.

If I don’t do it, I feel off. If I’m not scheduling an off-day and if I don’t run, I just feel like my day isn’t complete.”

Being able to run is why he wakes up at 5 o’clock in the morning to pound the trails before going to work at the all-boys, Jesuit Gonzaga College High School, where he’s a Spanish teacher. It’s why he trains for ultramarathons—50Ks, 50 milers, and 100 mile races—and it’s why he was running through the Monegros Desert in northeastern Spain in 90plus degree weather. McInnis knows what to expect when they’re on vacation.

“The weird part of living with someone like this is that that stuff kinda becomes normal,” she says. “If you’re with someone for a long time, if you believe in them and know they can do it, you just want to support them.” lAguilles stArted out as a tennis player. He competed on the varsity tennis team at Gonzaga and played recreationally through

8 june 14, 2019 washingtoncitypaper.com

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el group. The founder of the group, Agustín Oulton, mentioned that he wanted to do a sporting event around the Ignatian Way, and Laguilles replied that he could probably run it.

“I took it seriously,” says Oulton, who attended Georgetown Unversity for his master’s degree in sports industry management. “I said, ‘Hey, if you want do it, I’ll support you.’”

“I guess we were having too much wine,” Oulton adds with a laugh.

The two didn’t waste much time getting the journey in motion, and set up a website and GoFundMe page for the 406-mile run. They set a tentative date for the following spring.

“400 miles in eight days is crazy no matter who is doing it,” Miller says. “But Ariel, as a colleague and friend, when he puts his mind to something, he goes through with it … When he puts his mind to something, he organizes and executes. He’s not the type of person who quits on stuff.”

A shArp pAin would shoot up Laguilles’ right foot with each step he took on the sixth day of the Camino Ignaciano. He estimates that it took him about four hours to run 11 miles. He had injured his right ankle during a trail race back in February, and didn’t know if he could finish.

When he arrived at the aid station, his crew of Oulton and Diran Devletian gave him the encouragement he needed. By the time he left, with his ankle taped up, quitting the run “wasn’t an option in my head,” Laguilles says.

Two days later, McInnis cried as she saw her husband trot to the finish near the Cave of Saint Ignatius. Laguilles dropped his trail running poles one at a time before resting his hands on his knees. He could barely hold his body up.

“I never thought in a million years that I would have an FKT, and especially a multi-day one, that’s just insane to me,” Laguilles says. “I totally just ran eight days, like who does that?

Like what, who comes up with this idea, first of all, and actually does it and has support to do it? It’s unreal.”

“To me, it has a lot more meaning for it because I’m Jesuit educated,” he adds. “I’m someone who works at Gonzaga, someone who believes in Ignatius education.”

Laguilles feels like he’s in the best shape of his life. He plans to concentrate on the 50 mile distance and has “unfinished business” with the Leadville Trail 100 Run, which he dropped out of in 2011 at about mile 70. But he won’t be competing as much this fall, he says. His attention will shift to another ultramarathon challenge.

McInnis is due to give birth to their first baby in September.

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We here at Washington City Paper aren’t what you’d call plant people. Our office gets little direct sunlight and the only plant you’ll find here is a succulent that shuffled off this mortal coil years ago and hasn’t yet been disposed of. But plants, in general, are enjoying a moment in the sun and intersecting with different aspects of life in D.C. From new retail shops that teach curious students how to cultivate blooms and craft

bouquets to the maneuvers required to legally grow marijuana indoors, plants are in and they can make your life better. They even thrive in the depths of Metro tunnels. As the days grow longer and the city’s green spaces become brighter, it’s worth considering the humble plants we encounter every day and the reasons they’re blooming (er, booming). Welcome to the Plant Issue.

—Caroline Jones

Photographs by Darrow Mongtomery

A practical and emotional guide to growing cannabis in your closet

By Anonymous When D.C. voteD to decriminalize marijuana, the new law included a strange provision that some have dubbed “Immaculate Possession.” Perhaps the purpose of the provision was to keep someone like Rep. Andy Harris (R-MD) from shutting down the legalization effort with his particular brand of political meddling—NIYBYEism (Not In Your Back Yard, Either).

Contrary to my initial interpretation, Immaculate Possession—sadly—does not mean that an angel comes down from heaven and fills you with reefer even if you didn’t ask. No. Current D.C. law says that you can possess up to 2 ounces of cannabis, but prohibits you from buying it without a medical prescription.

For the purely recreational user, Immaculate Possession means that you must control the means of production yourself if you want to stay legal. A better name for it might be the “Closet Commune” provision, since growing your own weed is the only real loophole.

So, cannabis comrade, have you ever grown anything indoors before?

Even if you have only grown an indoor lemon tree like a good millennial, or cycled out succulents as they inevitably succumb to your

poor management, you can actually grow cannabis yourself, believe it or not. I have had a poor track record with keeping plants alive, yet was able to get three (out of three!) plants to harvest on my first attempt. Even as a novice, your interest in hooking yourself up with a steady supply of herbal introspection will probably carry you over the finish line, even if your first crop doesn’t become the centerfold in High Times or reach a potency sufficient to tranquilize grizzly bears.

While you are deciding whether you want to test your indoor green thumb or wait until future legislation paves the way for recreational cannabis sales, might I recommend you read a book such as Marijuana Growers Handbook

by Ed Rosenthal? You’ll gain an in-depth appreciation for each stage of the process, discover what supplies you’ll need, and learn how to plan out your project. Also, you should definitely read D.C. Code 48-904.01 to fully understand the law if you are determined to turn your closet into a cheeba factory.

Your growing technique will vary if you choose to go the hydroponic route, but a basic soil setup is what I used on my initial and subsequent attempts. First, I went with an LED light because LED consumes less energy and puts off less heat than the alternatives—even if

10 june 14, 2019 washingtoncitypaper.com

LED lighting might not produce the very highest yields. Additionally, I used a 3 foot by 3 foot tent, coco soil, and a fan attached to a carbon filter to reduce the smell of indoor liquid fertilizer and eventual flowering. In my experience, a tent with a carbon filter in a room behind a closed door is sufficient to contain the smell of

your guest-room garden when you have company over for dinner. You should have all of these items ready before obtaining your plant material, since you wouldn’t bring a fish home without an aquarium, would you?

So, about that plant material. You can’t buy seeds or clones (small, specially prepared cut-

tings from a vegetating plant) per current law.

However, maybe your grey-market cannabis came with some stray seeds? Check any plants grown from unsexed seeds at around six weeks to make sure you see pistils at the base of the branches and not pollen sacs— the latter represent a yield-destroying male plant. Or maybe you have a friend who could give you a female plant clone, you know, because of friendship? Whatever your source, please do not press the nice people working in the grow shops around town to help you obtain these items—they can’t help you under current law, and you might sour a relationship with someone who is an invaluable resource for supplies and expertise. The good news is that once you get your plant material, you can use your own clones for future grows.

Cannabis is a hearty, robust plant that will grow rapidly under something close to the right conditions. In the vegetative stage, which lasts 10 to 20 weeks, you will keep your lighting source on for long hours, fertilizing and watering as needed. At some point, you will have pruned your special bonsai into a size and shape that meets your yield goals, at which point you will decrease the daily lighting interval to mimic fall, sending your plants into their roughly 10-week flowering stage.

Watching the tiny knob-like trichomes on your flowers fill up with cannabinoid substances like THC and CBD will add to your appreciation of what exactly is happening in this strange little plant. As you trim your first crop of what will probably be small, airy, strangesmelling buds, don’t judge yourself too harshly—it’s your first try!

The process isn’t over, though, so put away those rolling papers. After drying your buds for a few days, they will need to cure for at least a month, during which time their potency will increase. The wait is worth it! My first crop smelled like a baby diaper when I harvested it and gave me a headache when I tried it. But, six weeks later, the aroma was much more recognizable and the effects more enjoyable.

Sitting there with my crumbly, brownish buds, was I happy that I spent the last six months on this project? Yes and no. On the one hand, the start-up costs are considerable (around $500). Depending on your consumption, home growing can pay for itself over time, but producing dispensary-quality cannabis will take a considerable effort. The best news is that whatever you grow will be your buds—and that’s a pretty good story to tell your friends as you’re passing around a joint of your own making.

While enjoying the rapid changes that have legalized cannabis locally—remember that these changes have preceded our societal obligation to free from incarceration those across the nation who previously enjoyed what is now legal. Generations have suffered harm under the ill conceived criminalization of a still-mysterious plant that has already, despite still being illegal in most places, provided the base material used in multiple FDA-approved medications.

Green plants have taken up residence in Red Line stations.

By Caroline Jones A 2017 Article from Apartment Therapy describes maidenhair ferns as “finicky plant divas.” The long, delicate, green tendrils are beautiful to look at, but require extreme care if you want to cultivate them in your home.

They do best when exposed to indirect afternoon sun in a room kept at around 70 degrees Fahrenheit. Good luck maintaining those conditions on a daily basis.

Many of the 200 species within the Adantium genus do better in dark, moist places, like the stone faces of waterfalls. And, it turns out, Metro tunnels.

You’d be forgiven for thinking that the flashes of Kelly green peeking through the platform-level lighting cages at the Woodley ParkZoo/Adams Morgan station and several other stations on the west side of the Red Line were placed there intentionally. Ferns, after all, are very trendy, and Metro is trying to improve the morale of its riders and make its subter-

ranean stops look more inviting. (Remember the hubbub when Metro painted the walls at Union Station white?)

The maidenhair ferns, though, took up residence on the walls voluntarily and traveled, as plant spores do, through the air.

At Woodley Park, the ferns congregate around leaking pipes and other water sources.

The best view of them comes on the right side of Glenmont-bound trains as they pull out of the station. From that vantage point, you can imagine a subterranean jungle growing under D.C. But as nice as they look, should plants be taking up residence in Metro tunnels? Might they impact Metro’s operations?

According to Metro spokesperson Ian Jannetta, the ferns aren’t much of a problem.

“The ferns do not cause adverse effects to the lighting system,” he writes. “For environmental reasons, Metro does not use chemicals to prevent their growth. The ferns are removed as needed during scheduled work on track bed lighting.”

Because the process of removing the ferns requires slightly more effort and the ferns aren’t affecting trains or lights, they can prosper underground for untold amounts of time.

The unexpected splashes of green brighten the otherwise dreary gray of Metro’s tunnels and might make your daily commute a little more exciting.

But while WMATA is content to leave the underground greenery alone, don’t assume the transit authority is suddenly in favor of all plants. Critics derided its decision, in 2013, to remove flowers installed at Dupont Circle station by Henry Doctor, the so-called “Phantom Planter” who installed spring bulbs and morning glories before Metro hit him with a cease-and-desist order. Because soil remained on the terraced slope of the station, weeds and other random plants would occasionally sprout at Dupont in the intervening years, but even those were cleaned out eventually. As of early June, the plant matter that remained was gone.

washingtoncitypaper.com june 14, 2019 11

REWILD

Fueled by a renewed interest in greenery, D.C.’s plant buying options are growing like weeds.

By Stephanie Rudig Like a grassy field that becomes dotted with dandelions overnight, flowers and tropical plants have sprung up everywhere: not just in pots and on windowsills, but bedecking greeting cards, clothing, and social media feeds. The spider plant and macrame hanger craze of the 1970s has come back around, and this time, it may be no mere trend, but the sign of a larger lifestyle shift. The international plant craze has firmly taken root in D.C., and plenty of shops and services dedicated to purchasing and caring for plants and flowers are ready and able to take on the demand.

An early brick and mortar spot heralding the plant trend was Urban Jungle, which Cody Alexander began in 2015. He bought an orchid during a chaotic time in his life, and found its presence reassuring. That prompted him to purchase several more and learn what he could about the famously persnickety plants.

The idea of opening a plant business evolved out of that discovery period. “I wanted to share my knowledge with other people, what I had

Lee’s Flower and Card Shop

learned from killing hundreds of plants,” he says. Urban Jungle fulfills much of its business online, but also maintains a showroom and conducts frequent workshops. “No mat-

12 june 14, 2019 washingtoncitypaper.com

ter where you get your plants, let me educate you or help you know what to look for and get healthy plants,” Alexander says. “Nobody’s born with [a] green thumb. It’s learned.”

Education was also a key component for Lily Cox when she opened her Shaw “plant and flower studio,” REWILD. She got her professional plant start with her freelance business, A Strange Flower, hosting plant design workshops and creating floral projects for restaurants and other clients. Of the customers who visit her shop she says, “People come in with lots of questions, and they want to watch us pot the plants, they want to know what we’re doing. It’s the same with the terrarium bar, the potting station. Everything is set up for people to interact with.” She’s continued to host her own workshops at the shop and brings in other teachers for classes on natural dying, orchid care, and watercolor painting. “I was trying to figure out why people were gravitating toward workshops so much,” she says, “and I think D.C. specifically is just in need of a creative outlet.”

Amanda McClements, who opened Little Leaf off 14th Street NW in 2016, agrees that what people put in their planters has become a form of expression. “People are so specific about the plants they want. They want to be able to handpick what they’re bringing home,” she explains. Similar to a renewed interest in vinyl record collecting, the plant movement seems to be a part of a larger trend away from increasingly digital existences. “It seems to be about creating an environment that is peaceful and calm and supportive of your well-being,” McClements posits. “Especially to younger folks, because things are crazy in the world and there are a lot of things we can’t control.”

For Holley Simmons, who opened flower shop She Loves Me in Petworth earlier this year, plants becoming a point of relaxation goes hand in hand with a concept she calls “the Californication of the East Coast.” “Things happen out West, then make their way East,” she explains. “I think as part of that movement you see introducing a lot of greenery into your home, especially succulents, since they’re native to that area.” Though she uses her shop as a homebase, Simmons still conducts workshops and pop-ups around the city. “It’s an opportunity to bring our aesthetic, our look, our vibe to a different neighborhood,” she says. “Flowers are welcome everywhere. There’s no corner of the city that wouldn’t benefit from them.”

Perhaps the citywide craze for flowers explains why even as new shops continue to open, traditional florists are also seeing an uptick in business. Some are even tweaking their operations to adjust for changing tastes. Lee’s Flower and Card Shop has been family-owned and operated since 1946, and in 2012 was sold to Stacie Lee Banks and her sister. They’ve dedicated a section of their shop to what they’re calling Cross Pollination, where local artisans and entrepreneurs can pop-up and sell their wares free of charge. More shoppers are visiting the store, too, thanks to extended weekend hours.

Though flower arrangements and bouquets remain Lee’s specialty, the houseplant surge has been a boon. “Plants have been phenomenal for our business,” Banks says. “We can’t keep them in the store! We get new shipments, then they’re gone.”

Caruso Florist has changed even more dramatically than Lee’s Flower and Card Shop

over the years—the business started on push carts in 1903, selling fruit, vegetables, and flowers, before transitioning into a brick and mortar store. Michael Caruso is part of the fourth generation of the family to operate the shop. He’s noticed a shift in the customer base toward younger people interested in buying plants for themselves. “You can tell with the influx of young people moving into D.C., they’re really adept to plants to have in their office, and coming in just buying flowers for their office once a week,” he says. He adds that advances in shipping and ordering online have revolutionized how the floral industry sources its flowers. “You really have gotten away from the middle man, because everything’s gotten so efficient that you fly things straight from the farm to Miami and truck ’em up to D.C. or fly them into Dulles. We get an awful lot of things direct from growers, instead of sitting in a wholesale house for a couple days.”

The increased ability to source flowers was integral to the business model of the elephant plant in the room: UrbanStems. Founded in 2014 during D.C.’s mini tech boom, UrbanStems sought to disrupt the traditional

prioritize what’s seasonally available. Though they’re best known for bouquets delivered in distinctive boxes, UrbanStems representatives explain that they’ve shored up their houseplant

offerings, and are even building out a dedicated potting facility in Hyattsville. Though independent shop owners acknowledge that the convenience of UrbanStems is hard to beat, they maintain that plants are better experienced in person. McLements suggests that “it’s about walking in and smelling the smells, touching the fabric, breathing that humid plant air.”

With so many buying options available, will some wither on the vine? Simmons thinks the trend may be hitting an apex. “You’ll probably see it slowing down in terms of people opening. Like any market, there’s a saturation moment,” she says. Others think there’s enough interest for everyone to get a piece of the green, and believe this enthusiasm for plants is here to stay. “Things we’re doing like hybridizing, we’re creating new things every day and making stronger plants and more household friendly plants,” Alexander says. McClements thinks that perhaps people are tapping into something that will have a lasting impact.

“I’m adamant that plants are not a trend and should be a part of life regardless,” she says.

“Once you start noticing and taking an interest in plants, your world is richer.”

vasive woody vines and bush honeysuckle.

A native of Takoma Park, he graduated from St. Mary’s College of Maryland and has a masters degree in environmental management and landscape ecology from Duke University. “I grew up camping, hiking and canoeing, so I have always had an appreciation for wild and natural areas,” he says. Right out of college he “worked with whooping cranes and sandhill cranes at Patuxent Wildlife Research

Center in Laurel.”

At his home in Greenbelt, Ossi purposely chose an end unit adjacent to a natural area. He has planted additional native plants to complement nearby oak trees and native azaleas. He speaks proudly of his milkweed plants, which attract monarch caterpillars, four of which recently metamorphosed into butterflies. “So yes,’’ he laughed, “ I do live what I preach.”

REWILD

supply chain that forces many operations to fight for a piece of the inventory. The company built its model on direct connections to farmers around the world, and changing its offerings to

The plants in your yard or on your balcony could be destroying our natural habitat.

By Tom Sherwood So you thought you’d just go to a retail plant nursery and pick out something that smells good, looks pretty, or is easy to keep.

Like the rest of life, it’s not that easy.

“Don’t buy plants that are invasive,” implores Damien Ossi, a veteran wildlife biologist for the DC Department of Energy and Environment. Ossi says invasive plants, vines, and trees—species not native to the Mid-Atlantic region—wipe out the natural order of things.

“The biggest thing about invasive plants is that there are a variety of different species.

They ... take over a natural area,” Ossi warns.

“You then have fewer species of native plants which leads to fewer and fewer insects, and then fewer mammals and birds. It’s sort of a cascade and you end up with a monoculture.”

There are long lists of both good and bad plants for the region. What’s an ignorant gardener to do? First, ask retailers if their plants are native to this area. Don’t buy them if they’re not. Then educate yourself.

Ossi recommends a book from the National Park Service and Fish and Wildlife Service with a rather severe title: Plant Invaders of the

Mid-Atlantic Natural Area. Ossi says it’s really a professional book for invasive plant managers but “it’s a good resource just for a list of plants to avoid.” Fortunately, you can read it for free online.

He also suggests a visit to the National Arboretum in Northeast Washington. The U.S. Department of Agriculture property is a natural treasure trove with a dedicated whole native plant collection in its fern valley. “That’s a good place to go to learn because all of the plants are labeled,” Ossi says, and something is almost always in bloom. The U.S. Botanic Garden operated by the Architect of the Capitol has an outside garden area of native plants.

All of the above information is free at those sites. Once you know more, “you can create small spaces that may attract butterflies, birds, or other interesting things to look at,” Ossi says.

The University of the District of Columbia has an active urban forestry and horticulture program, and some of its activities are accessible for local residents who are not students.

Ossi frequently speaks at community workshops and often can be found on Kingman and Heritage Islands trying to rid those sites of in-

washingtoncitypaper.com june 14, 2019 13

Even you can’t kill these edible plants.

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14 june 14, 2019 washingtoncitypaper.com

By Laura Hayes Maybe you just scored your first backyard, or at least a wide enough windowsill to try to grow something you can actually eat instead of a flower that’s only fun to stare at.

First time plant parenthood can be intimidating: Succeed, and gardening might become a permanent pastime. Fail, and it’s tempting to give up for years. Natalie Carver, the horticulture director at local organic garden company Love & Carrots, selected five easy herbs and vegetables to plant that can help grow your confidence.

What is it? Basil.

“It’s the taste of summer. Everyone wants to grow it.

It doesn’t last very long once you harvest it, so it’s worth growing fresh at home and clipping it right before you use it.”

How much sunlight does it require? At least four hours of sunlight, but it’s pretty forgiving.

What makes it easy to grow? It doesn’t need as much sunlight as say tomatoes or peppers.

What would I have to do wrong to kill it? You can harvest it the wrong way.

“You don’t want to pluck off individual leaves. Pinch the tips early and often and the plant will get bushier and bushier every time you harvest.”

What is it? Rosemary and lavender How much sunlight does it require? Six hours or more and the plants will do better. “The thing with these perennial herbs is the flavor will be stronger the more sunlight they have.”

What makes it easy to grow?

They’re low maintenance and great if you have a tendency to not water your plants. As Mediterannean herbs, they don’t need much water. They’re rugged and long-lasting.

What would I have to do wrong to kill it?

Over-watering will cause problems. Two or three times a week and they’re good.

“Plant it with some rocks in the bottom of the hole or plot, it helps with drainage.”

What is it?

Parsley. “I think it’s an underrated herb. It’s not something that people usually buy for their dishes, but having it at home is really nice. It adds something green to whatever you’re cooking.”

How much sunlight does it require?

About four hours of direct light a day.

What makes it easy to grow? Plant it, water it, and it’ll produce all year, even into the winter. “Your basil is going to die, your cilantro is going to die, but parsley is going to grow all season into the following year.”

What would I have to do wrong to kill it? “You really can’t unless you neglect it to the extreme. It has a really deep taproot, so it can handle erratic watering.”

What is it? Various peppers.

But not bell peppers, because they only give you 5 to 8 peppers over a long growing season. “A single habanero or jalapeno plant will give you zillions.” Also try lunchbox peppers, “the cherry tomatoes of peppers.”

How much sunlight does it require?

At least seven hours of sunlight. Ideally more than eight.

What makes it easy to grow? They’re not disease prone and they’re not as attractive to pests as other vegetables. “Everybody loves tomatoes, but tomatoes are really disease prone and need a special style of pruning ... Peppers are resilient.”

What would I have to do wrong to kill it? Underwatering them. “You don’t want to water the leaves. Water the roots.

They need water every day in full sun.

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Ruben Castaneda

DCFEED

Capitol Hill staple Sizzling Express closes on June 15 after 20 years in business. The restaurant’s rent climbed from $7,000 per month to $21,000 from 1999 to today, according to owner Gary Hang.

Team of the Crop

By Laura Hayes Mike Mustard is the farmer equivalent of a one man band. He tends to his four-acre farm in Lexington Park, Maryland, without any support. When it comes time to harvest his crops and deliver them to top D.C. restaurants—Ellē, St. Anselm, Hazel, and Mirabelle—he fills up his Fiat 500 Pop. Not much larger than a Smart car, it looks like it has the horsepower of a pony at a petting zoo.

What he needs is a truck, and he’s hoping his new partnership with Blue Duck Tavern can help. Starting this month, the public can sign up for a 30-week, $600-per-customer Community Supported Agriculture (CSA) program where participants visit the restaurant on Saturday mornings to pick up a box of produce paired with recipes from Chef Adam Howard. Mustard is hoping 50 people sign up so he can put $30,000 toward a truck and spend $4,000 on a tool that will help him farm more efficiently.

“It’s not just a sack of bruised zucchinis,” Howard says. He knows the quality of Mustard’s vegetables because he cooks with them at the Michelin-starred restaurant. “It’s a really gorgeous thing he puts together. We’re trying to find some way to get him a lump of money to get the equipment he needs to keep growing.”

Mustard did something similar last fall when he had a surplus of vegetables. “I thought, ‘What about the servers, cooks, and dishwashers—everybody who works at the restaurant?’” Soon he started packing boxes for workers for $20 each. “It was enough for like six meals.”

He has empathy for restaurant staff because he had a career as a chef before he discovered his passion for agriculture. “There’s something more meaningful about the food industry than showing up and cooking a plate of food,” Mustard says.

Having worked in both industries, Mustard has insight into what chefs need from local farms and vice versa so both can thrive.

One answer is better communication. Farm-

YOUNG & HUNGRY

ers sometimes get burned when they Oyster Oyster founders grow a crop for a particular restauMax Kuller, Rob Rubba, rant at the chef ’s request and then and Adam Bernbach the chef decides not to put it on the menu. “Then the farmer has nowhere to sell the product,” he says.

When it opened in 2006, Blue Duck Tavern was one of the trailblazers of D.C.’s farm-to-table movement that put a spotlight on Mid-Atlantic growers. Its menu has always displayed the names of the area farms it uses. But the farm-totable movement has grown up. If version 1.0 was about tapping into local farms as purveyors, version 2.0 is about teaming up with them as partners. Chefs are forming intimate and innovative relationships with farmers to ensure both the longevity of local agriculture and better quality food for consumers. The timing couldn’t be better. Plant-based dining, which is both a diet and a style of dining that makes vegetables the star of the plate, is taking off.

On June 1, the founders of plantbased restaurant Oyster Oyster put 30 diners in a party bus and drove them to Root and Marrow Farm in Lovettsville, Virginia. That’s where organic farmer Erik Schlener estimates he’ll grow 80 percent of the produce for the restaurant coming to Shaw the country and one grown within driving disin late summer. The literal field trip included tance of D.C. a farm tour where Schlener clipped off sugar “A lot of what Rob and I are doing is worksnap peas for wide-eyed city dwellers to sam- ing on using the whole plant,” Schlener says. ple, followed by a family-style dinner.

“What Rob and I have is special. He shares the “I wanted to give people a glimpse into same respect for the land and for the food and what’s really inspiring us,” says Oyster Oys- the people he’s feeding.” ter Chef Rob Rubba. He also sought to shift The pair began working together when some of the limelight to Schlener, whose farm the idea for Oyster Oyster was just starting is just over a year old. “The guy is doing incred- to sprout. “It’s important to me to work with ible things. Without him, I have no purpose. someone who could tell me exactly what was That’s the thing that’s always forgotten.” going on in the farm,” Rubba says. “It’s blosQuality is the driving force behind Rub- somed into a really crazy friendship. I think ba’s partnership with Root and Marrow. He that creates a deeper relationship where we believes you can taste the difference between care if each other succeeds and we work hard an organic vegetable that made the trip across to make sure that happens.”

16 june 14, 2019 washingtoncitypaper.com

Laura Hayes

As the farm-to-table movement matures, D.C. restaurants are teaming up with local farms as partners, not just purveyors.

If a restaurant can commit to sourcing such a large percentage of the produce it needs from a single, small farm, it creates a reliable revenue stream. “When you can make a bigger order, it really makes a difference,” Schlener says. “A farm doesn’t need too many restaurants to really make a go at it … When you do that, more farms can lower their prices and be more competitive.”

One of the biggest barriers preventing more restaurants from sourcing exclusively from places like Root and Marrow is the cost.

Restaurants operate on thin profit margins and customers are already feeling pinched by steep prices. But until competition drives prices down, restaurants that decide to commit to

DCFEED working with small farms will have to become effective at telling stories about the real cost of growing good food.

Sustainability is a priority for Oyster Oyster, but the founders don’t intend to preach it inside the restaurant. “I never want to hit a guest over the head with all this information,” Rubba says. A server won’t tell you about Root and Marrow Farm when you sit down unless you ask, nor will you see farm names scrawled on the menu. “So much information—it takes away from the experience,” Rubba says. “You can use your Instagram feed to share those stories.”

Little Sesame partner Nick Wiseman believes there’s better awareness among diners about sourcing and sustainability, “but that doesn’t always extend to people being willing to pay for what caring means,” he says. “The biggest challenge we have is telling that story and connecting those dots.”

In April, the hummus shop put on a two-day “Wild Sesame” escape in Stanardsville, Virginia, with help from tiny cabin rental company Getaway and apparel company Outdoor Voices. Almost 100 people gathered in the woods to hike, forage, party, and eat the lamb and celery root that Little Sesame Chef Ronen Tenne cooked over an open fire.

“We’re trying to get people outside the restaurant and tell these stories through events where connections to agriculture are being drawn in a more clear way,” Wiseman explains. Like Rubba, he’s hesitant to shout sustainability at his customers who pop in for a quick meal, but he does want to associate the Little Sesame brand with the great outdoors.

“If we can get people outside the four walls of the restaurant to cool experiences, they’ll trust us with storytelling.”

One story Wiseman hopes to tell is about Gail Taylor—the founder of Three Part Harmony Farm. This month, Little Sesame awarded Taylor a $5,000 grant in its inaugural “Little Seedlings” fellowship program. The two-acre farm in Northeast D.C. collaborates with other woman-owned, minority-owned farms to supply more than 200 CSA customers with vegetables, herbs, fruit, cheese, and honey.

With the $5,000 grant, Taylor is hiring Earth-Bound Building to erect a structure inside the farm’s greenhouse where workers can wash produce. “We’ve been using canvas tents for three years,” Taylor explains. “I feel like I lose one every year to the wind.” She’s thankful for Little Sesame for stepping up. “That’s a lot of money for a vegetable farmer.”

Little Sesame doesn’t plan to source any produce from Three Part Harmony Farm.

The restaurant is simply partnering with the National Young Farmers Coalition to invest in farms of the future. “We’re figuring out how we can improve our supply chain,” Wiseman

says. “You hear the statistics about the age of farmers going up and young farmers not going back to the land, yet there’s all this excitement around food. We thought it would be cool to invest directly in young farms that are looking to grow and scale.”

The biggest challenges small farms face, according to Wiseman, are a lack of access to markets willing (or able) to pay a fair price and a lack of access to capital to fund infrastructure and expansion. Little Seedlings hopes to chip away at these issues, especially as fast casuals with major buying power continue to be the fastest growing sector within the restaurant industry.

“The visionary chefs of the last generation who started buying well and caring about ingredients started the movement, and now you’re seeing fast casuals able to really buy at scale and change the way people are growing and eating food,” Wiseman says. With only two shops so far, Little Sesame already buys 25,000 pounds of chickpeas annually from an organic farm in Montana.

Like Little Sesame, Chef Amy Brandwein of Centrolina supports an urban farm within the confines of the District. She was ahead of the curve when she struck up a partnership with nonprofit DC UrbanGreens four years ago. At the beginning she sourced about 50 pounds of vegetables per week. Now she’s up to about 100 to 150 pounds per week.

DC UrbanGreens operates urban farms in wards 7 and 8 with the goal of growing affordable produce for District residents living in food deserts. As the organization’s sole wholesale client, Brandwein pays top dollar for the produce. The money she spends subsidizes the nonprofit’s efforts.

“It’s every chef ’s dream to have vegetables that are super fresh, and in a city like D.C., it’s hard to get anything that’s grown in the immediate local area,” Brandwein says. “Beyond that, I like that the dollars that are being spent go back into the local economy.”

The chef hopes more restaurants find ways to support the city’s urban agriculture centers, especially as D.C. is poised to create more.

This spring the Council passed legislation to create an Office of Urban Agriculture and Mayor Muriel Bowser set a goal of adding 20 acres of urban agriculture by 2032. There are already two key programs in the hopper that are currently stalled under the management of D.C.’s Department of General Services.

“The capability of using unused land and converting it into agriculture that provides all those beneficial aspects of having a farm in D.C. is well worth doing,” Brandwein says.

“Not too many kids in D.C., Maryland, or Virginia in these densely populated areas have seen how a carrot is grown. It’s about connecting with the earth, teaching people new skills, and reconnecting with nature.”

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Robin Bell

Elizabeth Tuten

CPARTS

The Smithsonian celebrates the moon landing’s 50th anniversary with a spacesuit at Nats Park.

Reborn Identity

Three generations of black performance artists come together in a show that re-examines the work of a D.C. performance pioneer.

By Kriston Capps On June 1, before an intimate crowd at the DC Arts Center (DCAC), Holly Bass performed a piece that left her feeling sore. For the piece, she stood stock still on the black box theater stage between two wood columns, while another artist worked around her. It was a test of endurance typical of her performance art, only the piece is not hers.

At a nearby work bench, another performer, artist Wilmer Wilson IV, sawed long pieces of wood into halves and thirds.

One after another, he placed the wood slats between Bass’ figure and the columns, fitting them against her frame. Bass used her body to hold the slats in place, dozens of them, some of which crashed to the ground at times. Bracing herself put pressure on her core, she says, and her feet most of all. Just watching the performance was stressful for viewers.

One member of the audience knows her pain. “Something Akin to Living” is not a Bass original, but a re-performance of a decades-old performance by Sherman Fleming, a Philadelphia artist who called D.C. home for nearly 30 years. He first performed “Something Akin to Living” in D.C. in 1979, as part of a series of pioneering, radical, and all-but-forgotten experi-

GALLERIES

18 june 14, 2019 washingtoncitypaper.com

ments. At a time when punk and go-go were coming into their own, Fleming was moving in a wholly different direction.

“Sherman was the first black person I saw do durational performance,” Bass says. “It had an affect on me. It was a delayed effect.”

For The Black Overlay—part collaboration, part retrospective, now on view at DCAC—Bass is reviving two seminal pieces by Fleming. Later this month, she will re-perform “Pretending To Be Rock,” an endurance piece she saw Fleming do at DCAC in 1997. The Black Overlay brings Fleming’s work full circle. But in a sneaky, subversive way, it’s also a show that belongs to Bass.

“Part of it is deep respect. Part of it is selfish,” she says. “I want to be part of a tradition because I want to have that legitimacy.”

The TradiTiOn Of black performance art in D.C.—or maybe any performance art in D.C.—dates back to the late 1970s.

Fleming, who grew up in St. Mary’s County in southern Maryland, moved to the District after finishing graduate school. One of his earliest performances took place at the East Building of the National Gallery of Art, although not inside the museum.

Even before the building was finished, the angular design by I.M. Pei was already turning heads. In particular, the so-called “wedge” or “knife edge”—the 19-degree point of the facade to

the right of the museum entrance along its eastern face—was a subject of public fascination. People started to rub this edge before the building opened (and still do to this day). Fleming decided to claim it as his own.

For “Shave Sharp,” a 1978 performance, Fleming lathered his face with shaving cream and shaved his face, so to speak, by rubbing his mug against the East Building’s edge. This was part of a larger series of gestures executed by the Anti-Formalist Reclamation Organization (AFRO), an experimental group that got its start in Richmond, where Fleming studied sculpture at Virginia Commonwealth University. Fleming and the four other members of the group, among them the late conceptual artist and saxophonist Terry Adkins, tried out different strategies and provocations in the neo-dada vein of the Fluxus movement.

Between 1978 and 1984, Fleming worked exclusively in performance, alone in this field in the city. It was a verdant time for experimental art, he says, with green shoots like d.c. space and 9:30 Club finally popping up in the wake of the 1968 uprising. But performance art was a lonely calling. “No one else was doing performance the way I was doing it, from a visual art standpoint,” he says.

In 1979, Fleming performed “Something Akin to Living” for the first time, at a studio above 930 F Street NW (where the first

CPARTS 9:30 Club opened the following year). This early piece had all the hallmarks of the series he calls “States of Suspense” (or SOS). It was an endurance piece: physically demanding of the artist but stressful for the audience, too. It investigated black masculinity: Fleming performed nearly nude under the name “RodForce” to draw attention to the pernicious sexual fascination with black men’s bodies. And it packed a sociological punch: “Something Akin to Living” featured two columns, representing official Washington, with a black man trying to build a space for himself between them.

Fleming’s early performances caught the eye of Kristine Stiles, now a preeminent art historian, then a critic who reviewed his work for a magazine called High Performance. Stiles, who as an artist made work with Yoko Ono, collaborated with Fleming for a piece called “Western History as a Three-Story Building” (1989), in which the two appeared naked, separated only by a wooden board smooshed between their bodies as they shuffled through the space. For “Ax Vapor,” which Fleming (aka RodForce) performed at the original Washington Project for the Arts (at 1227 G Street NW) in 1989, the artist cut a duckpin bowling ball in two and attached the halves to the soles of army combat boots. He would attempt to stand and spin on the rounded soles, falling over again and again.

“A lot of my work has to include the breakdown, the accident, things that don’t work, fatigue,” Fleming says.

Year later, Fleming performed “Pretending To Be Rock,” a two-hour performance in which the artist—no longer performing under a pen name—kneeled on all fours as hot wax from a custom candelabra dripped onto his back. Another perform-

er (Josephine Nicholson), who was suspended over a small pool, was subjected to a continual drip of water. Bass, who was in the audience for Fleming’s project at DCAC back in 1997, will re-perform it with another artist, Maps Glover, on June 20.

She will be the one suffering burning candle wax for two hours.

“Sherman is building the candelabra,” Bass says. “He has to remake it because my back is smaller than his.”

Marina abraMović Made performance art mainstream with “The Artist Is Present,” a 2010 retrospective at the Museum of Modern Art. For this blockbuster show, Abramović hired performers to re-perform some of her own past works.

Between this and other museum surveys, in which she re-performed works by the likes of Joseph Beuys and Valie Export, Abramović established re-performance as part of the contemporary artist’s repertoire. For African-American artists, however, re-performance is an archival strategy: It serves as a vital tool to save works at risk of being lost forever.

Bass says that recent archival projects inspired her to reperform Fleming’s work. Gesel Mason, a dancer, conducted an exhaustive survey of black dancers by re-performing their work, learning solos (and styles) by performers such as Donald McKayle and Jawole Willa Jo Zollar. For a recent project at the Museum of Modern Art PS1, the artist Clifford Owens performed “scores,” or performances, contributed by 26 different black artists. These surveys have helped to shore up black performance art as a category.

“It was important for Alice Walker to go find Zora Neale Hurston,” Bass says, referring to Walker’s 1975 essay about

TAKE THE ADVENTURE!

her search for the author. “She almost disappeared from history. I can go in any bookstore and find Their Eyes Were Watching God, but there was a moment where only a few black women knew her name.”

The Black Overlay, which was co-curated by Terence Washington, features new collages by Fleming made between 2012 and the present day. But the re-performances may count as new works, too. When Bass performs “Pretending To Be Rock,” she’ll be doing so with Glover, another black artist, whereas Fleming originally collaborated with a white woman—a detail that led the audience to misread the piece as a project about interracial relationships, Bass says. She hopes that a suite of all-black performers will help viewers to focus on formal qualities of the performance, rather than blackness in relation to whiteness.

“People impose their view of whatever blackness is onto the work, whether the artist intends that or not,” she says.

After The Black Overlay, Bass and Fleming plan to create a new work together, although they don’t know yet what that will look like. Bass says that she hopes that the show, and any future projects, help to establish a generational framework for understanding performance art in D.C.—the same kind of foundation that exists for hardcore or go-go. “Maps is in his 20s, I’m in my 40s, and Sherman’s in his 60s,” she says.

Watching Bass perform his original work, Fleming says that he was struck that the piece still holds up after several decades. Part of that, he attributes to Bass’ work as a performer. “I got sucked into her vision because she thought [the pieces] were important,” Fleming says. “It reaffirmed what I was going for.”

CP

“A must-see”

BLACKBEARD

Broadway World

The High Seas Musical Comedy

“Waltzing with malevolent political themes” Washington Post

“Spellbinding” DC Theatre Scene

“Bold and adventurous” DC Metro Theater Arts

June 18 – July 14 Pride Night: June 28

Photo of Elan Zafir and Kevin McAllister by Christopher Mueller

“A work of major ambition” New York Times

BY RAJIV JOSEPH DIRECTED BY JOHN VREEKE

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THEATERCURTAIN CALLS ing of his program. Rachel Menyuk’s choreography ranges from the aerobic exercises Riley leads her followers through to the mimetic creation of Quinton’s van to a tableau in which the vigilante’s paranoia is made corporeal. Aside from his scripting duties, Azeez has also composed the score, at times recalling Cornershop’s chiller, dreamier tracks, or the chamber music of John Cale.

Azeez’s sense of specificity with time and place is never parochial; it recalls other communities whose resilience in the face of atrocity has been reported, such as the Squirrel Hill neighborhood of Pittsburgh, where the real Mister Rogers lived, the site of this past October’s Tree of Life Synagogue massacre. Azeez is one of a small number of local playwrights who writes work that is assertive in local history without referencing the local industry.

—Ian Thal

Forest Treás

HAUNTED FOREST Forest Treás

By Navid Azeez Directed by Kelly Colburn At Dance Loft on 14 to June 29 the citizens of Forest Treás, a fictitious Montgomery County suburb, are preparing for their annual pre-Halloween Fun Run. Mr. Chylle (David S. Kessler), the retired host of a popular children’s program, Mr. Chylle’s Cul-de-Sac (an obvious pastiche of Mister Rogers’ Neighborhood) now anchors Sunrise Summit, a local morning news program with the aid of his production assistants Hiba (Sara Herrera) and Chip (Timothy Thompson). His now adult fans who have become his neighbors recite his motto: “Calm down, hear your heart, you can do this.”

The neighborhood has been designated the safest community in America, which brings freelance television journalist Roberta (Lee Gerstenhaber) to town to shoot a documentary on what makes Forest Treás special.

Though the name evokes the well known aphorism about not seeing the big picture, the residents pronounce it “triage.” (“Treás” is also Hungarian for treason.) Soon after conducting her first interview, in which the proprietor of the local gas station (an eccentric Melissa Carter) provides a local’s history of the community, a different sort of history intrudes on this suburban paradise.

In October of 2002, a series of what appeared to be randomly chosen sniper attacks tore through the region, terrifying residents.

The perpetrators targeted people in open areas, but law enforcement officials knew little about their motives. When officials finally arrested former Army sergeant John Allen Muhammed and his 17-year-old accomplice Lee Boyd Malvo on October 24, the body count came to 17 dead and 10 wounded.

In this world premiere drama presented by Pointless Theatre, playwright Navid Azeez has chosen neither to dramatize the investigation of the crimes nor the personal motivations and extremist ideology of the snipers—the killers’ names are never spoken, and only the victims’ names are memorialized. Likewise, thenMontgomery County Chief of Police Charles Moose only appears via documentary footage.

Azeez is not interested in exposing some ugly secret hidden in his idealized world. His focus is on a community’s response to terror. In documenting the crisis, Roberta rises. Gerstehaber’s performance traces a character arc as an anxiously twitchy outsider who becomes more invested in the community and more comfortable in her own skin.

Through Roberta’s interviews we see responses to the immediate threat that have unintended consequences we have only begun to understand in recent years: Power-walking guru Riley (Acacia Danielson) takes to posting her routes online, as she literally collects followers in the hope that her visibility both as a local and internet celebrity will ensure her continued existence. A sleepless self-appointed guardian of the community (Eric Swartz) who does not trust the police to track all the suspicious white vans seen on the roads of Forest Treás turns that task into his personal cause, while Quinton (Mason Catharini), who drives a white delivery van, feels compelled to let everyone know that he’s “not the sniper.”

Appropriately for a play in which television plays a central role, director Kelly Colburn is a multimedia maximalist. Video is not merely projected onto screens, it’s a live feed shot by the actors themselves, whether their characters are skilled professionals or experimenting with the equipment for the first time. Emily Lotz’s multi-part set includes the television studio where Mr. Chylle’s Sunrise Summit is filmed. Grace Guarniere’s wonderfully detailed miniatures of the school, gas station, community center, cars, and vans of Forest Treás recall the diorama of Fred Rogers’ model neighborhood seen at the opening and clos-

20 june 14, 2019 washingtoncitypaper.com

4618 14th St. NW. $30. (202) 733-6321. pointlesstheatre.com.

NOTHING BUT THE TRUTH Describe the Night

By Rajiv Joseph Directed by John Vreeke At Woolly Mammoth Theater to June 23 A plAy About truth and a government’s attempts to ignore, obscure, or outright modify it could easily be mistaken for a reaction to the Trump election and Russia’s suspected meddling in it. But Describe the Night, Rajiv Joseph’s play currently running at Wool- Describe the Night ly Mammoth, isn’t about Trump at all; at least, not directly.

Joseph began writing his tale in 2014.

This timeless play feels vitally important in our current age, but is a good reminder of how in the past, governments have spurned truth, subversive art, and journalism—and of the disastrous consequences that followed those actions.

At the center of Night is the relationship between two men, bespectacled writer Isaac Babel (Jonathan Martin) and a blockheaded soldier, Nikolai Yezhov (Tim Getman). They meet one evening in Poland in the 1930s, a night that Isaac is struggling to describe in his notebook—hence the title. The endeavor flummoxes Nikolai. “True is true,” according to the

soldier, so how could there be any difficulty in recording things as they are?

The elusive nature of capital-t truth propels the play over a nearly three-hour runtime and a span of about 90 years. After Nikolai rises to the head of the NKVD, the Soviet Union’s interior ministry, he comes to change his opinion on truth—“True is what we say is true,” he proclaims. We see the dire consequences of that line of thought as the Great Purge commences and sweeps up Nikolai’s wife (Regina Aquino), her daughter (Moriamo Temidayo Akibu), and his best friend along with it, and culminates in the meteoric rise to power of another ambitious young soldier by the name of Vladimir (Danny Gavigan).

Watching Isaac run logical circles around the dim-witted and quick-tempered Nikolai is deeply satisfying, and funny, too. The persistence of their friendship, even as Nikolai grows in power and menace and Isaac starts faltering in his attempts to step out of the way, is unlikely but important.

The further the play strays from this relationship, the murkier things get. A side-plot with a plucky reporter (Kate Eastwood Norris) chasing down the truth behind the suspicious 2010 airplane crash that killed the president of Poland could have been a satisfying thriller on its own, but here it feels tacked on, picked up in scene two and not again until hours later, as the play is nearing its end.

Director John Vreeke has reigned in this ever-straying and expanding plot with some classic Woolly flourishes. Timeline jumps are charted with quick set and costume changes, including one spectacular time change where an actress is quickly aged-up with makeup on stage. In fact, there’s almost no backstage to speak of at all—insert here your own interpretations of transparency and truthfulness—and the actors not on the small stage tend to haunt the action from the wings.

Joseph has a lot of things to say about truth and a charming and darkly humorous knack for how to say it. His efforts earned him a 2018 Obie Award for this play, and the honor is deserved.

The only real complaint with Night is that he’s stuffed so much into this one story that it feels like an absolute slog once its mysteries have been revealed and it lurches toward its conclusion. Still, an appropriately caffeinated audience will find a lot that resonates as true.

—Riley Croghan 641 D St. NW. $20–$89. (202) 393-3939. woollymammoth.net.

BOOKSSPEED READS

LINCOLN BIO Courting Mr. Lincoln

By Louis Bayard Algonquin Books, 379 pages Much has been written about Abraham Lincoln, from his fraught marriage to his profound depression, but little literature has approached the subject with as light a touch as Louis Bayard’s Courting Mr. Lincoln. Alternating between portraits of Mary Todd and Lincoln’s close friend Joshua Speed, this historical novel always seems removed from Lincoln himself. His future wife, however, is fully present: her brittle, nearly fractured sanity a fully realized half of the narrative.

The other is Joshua Speed, the perfect friend who succumbs to jealous possessiveness and attempts to sabotage Lincoln’s marriage engagement.

Bayard serves up a cold portrait of Mary Todd, whose atrocious behavior in a crisis loses the reader’s already frail sympathy. It’s a credit to his narrative skill, however, that her flaws do not alienate the reader altogether.

When rescuing Lincoln from a duel she caused and discovering him quite safe, she is not entirely relieved. “He was supposed to be dead. She had in some way counted on that. Had even in some warren of her soul longed for it. For if she were to be the spinster that life had marked her out to be, she might at least have a story to carry with her. The tragic and beautiful tale of a lady who had lost her love—had knelt over his gallant body … Future listeners would weep to hear it and, in weeping, give her the dispensation she craved. Absolve her of the high crime and misdemeanor of being alone.” This is not a sympathetic character. The Mary Todd of Courting Mr. Lincoln is, at times, a monster.

The narrator prefers Joshua Speed. But the reader may not. Speed is too perfect—until he becomes jealous and thus off-putting. Bayard’s strength lies in making these two flawed human specimens interesting, as each pursues the elusive Lincoln. The future president is not so much a novel’s character as he is a penumbra of sadness, deprived youth, overwork, and low self-esteem. With this interplay of traits, Bayard manages to convey Lincoln’s essential greatness—his principles always guide his actions, his thoughts always modify his passions.

It is no small achievement to make a character who is so thoroughly abstractly engaging.

Early on, the novel hints at the two great issues that define Lincoln’s legacy: slavery and the Civil War. Courting Mr. Lincoln emphasizes slavery, though the differences between Northern and Southern life that later contributed to the war are mentioned. Speed is very much a Southerner, and his history always implicates slavery. Thinking about why he left the South, Speed recollects working with hemp. “A slave who broke hemp every day would be coughing out his last fragment of lung by thirty. Even the inmates at the Kentucky State Reformatory, it was said, would sooner cut off their hands than break hemp.” After a day pounding hemp, Speed would return to his family’s luxurious mansion. Enslaved people would not. More to the point, Speed would not be expected to pound hemp every day until his lungs gave out—an enslaved person would.

I n c o n t ra s t t o Speed’s world of elegant family homes in Kentucky, where everything worked like a well oiled machine, thanks to the efforts of enslaved people, Springfield, Illinois, was a “slovenly, upward striving town,” where almost everyone had links to state government, especially the politically ambitious Lincoln.

Those ambitions contrast with other traits.

“It didn’t matter how innocent a question Joshua lobbed his way … Lincoln enfolded himself around every query, then disgorged the briefest and least revealing of replies. Always with a faint air of regret, as if he had been tricked into abandoning his Fifth Amendment protections. It was not caginess, it was a carapace.” The implication is that Speed understands these sorts of things about Lincoln; it’s not that Mary Todd doesn’t, but she has other designs. Clearly if matters were up to the narrator, Lincoln and Speed would have continued their days as two happily unmarried bachelors. But this is a historical novel, and history dictated something else.

While the Mary Todd of this book may be narcissistically offended by the looming prospect of her spinsterhood, other depths are revealed. At the end, the story alludes to the death of three of her children without much elaboration. Just this mention, along with her widowhood, conjures up a world of female agony, one that the real Mary Todd Lincoln endured, one that formed much of her—but that is not the subject of this book.

—Eve Ottenberg

FILMSHORT SUBJECTS

ZOMBIE LAND The Dead Don’t Die Directed by Jim Jarmusch

There is a subgenre of cult films affectionately known as hangout movies. They have a passionate niche audience, but there is also a laid back vibe or attitude that make them fun to revisit. The narrative is in no rush to get anywhere, leaving characters time to shoot the shit. The Big Lebowski is a hangout movie, and so is the Western classic Rio Bravo. Director Jim Jarmusch borrows from both in The Dead Don’t Die, a zombie comedy whose true destiny won’t be felt until the film is readily available for home viewing. Its deadpan performances are amusing enough on the big screen, but eventually, fans will be obsessed with it.

Thirty minutes unfold before we see the first zombie. Until then, Jarmusch introduces us to the mild-mannered residents of Centerville, Pennsylvania, a small town that it seems time has forgotten. There is one restaurant, one gas station, and one motel. Our heroes are police officers Cliff (Bill Murray) and Ronnie (Adam Driver), who grow increasingly aware that something is amiss. The town’s denizens all appear genteel enough, except for Farmer Miller (Steve Buscemi) who is a Trump-supporting redhat prick. Recent politics are a heavy influence here, serving as an allegory about modern ignorance and complacency. Through his long and varied career, Jarmusch has never been this despairing.

Long, strange scenes unfold where characters have no purpose but to wait for the zombie horde to arrive. This may sound boring, except every performance is attuned to Jarmusch’s low-key comedy. Many lines are repeated, to the point where the film is almost testing our patience. Since the film does not take itself too seriously, it invites us to relax and let its worldview wash over us. At one point, a song comes on the radio and Cliff remarks to Ronnie that he cannot place where he heard it before. Ronnie’s reply effectively breaks the fourth wall, and ends the illusion that we are watching any-

thing typical. The horror is not all that gory, either, with Jarmusch always cutting away before we see anything too bloody.

Before we see the title card, Jarmusch takes his time to introduce every member of his ensemble, even the unknowns. This kind of equality is generous—Adam Driver’s name gets as much prominence as RZA’s, who only has a handful of lines—and suggests everyone had fun on this collaborative effort. Still, it is inevitable that some actors will leave a stronger impression than others. Tilda Swinton is terrific as Zelda, a Scottish undertaker who knows how to wield a samurai sword. Tom Waits plays Hermit Bob, an outsider who serves as a Greek chorus over Centerville’s rising body count.

Like George Romero in Dawn of the Dead, Jarmusch uses the zombies as a blunt, effective metaphor. Traditional zombies represent the fear of death or aging, but this horde is not so decrepit and have no interest in brains. Instead, they prefer to indulge their favorite vice, whether it’s coffee, white wine, or their smartphone.

Jarmusch is warning us that our vices heighten our sense of complacency, only the film can’t get too worked up about it, either. This film is resigned to its central calamity, and the shaggydog ending only drives that point home.

In between the physical comedy and references to Jarmusch’s earlier films, two characters in The Dead Don’t Die have an allegorical purpose.

On one hand, we have Hermit Bob, whose detachment from society is so complete that the undead ignore him altogether. On the other, we have Mindy (Chloe Sevigny), a fellow police officer who cannot cope with how society slowly falls into utter chaos. How they react to the events of the film—and their fates—is where we can find the key to contentment (but not survival).

The happiest characters in The Dead Don’t Die are not the smartest or the most resourceful. They accept that our world is circling the drain. If it isn’t zombies, it will be something else. So we might as well make the most of it, whether it’s taking a stand against the horde or watching hangout films for the umpteenth time with our like-minded friends.

—Alan Zilberman The Dead Don’t Die opens Friday in theaters everywhere.

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CITYLIST

ALLIVE PRESENTS:

THE BARBECUE

Music 23 Books 24 Theater 26 Film 26

Music

CITY LIGHTS: FRIDAY

FRIDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Mozart Forever I. 11:30 a.m. $15–$89. kennedy-center.org.

H

FOLK

UNION STAGE 740 Water St. SW. (877) 987-6487. Carbon Leaf. 8 p.m. $35–$50. unionstage.com.

FUNK & R&B

9:30 CLUB 815 V St. NW. (202) 265-0930. Ari Lennox.

8 p.m. $25. 930.com.

JAZZ

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

Snarky Puppy. 8 p.m. $49–$450. theanthemdc.com.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Azar Lawrence Experience. 8 p.m.; 10 p.m. $25– $30. bluesalley.com.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. The King and Mic featuring Micah Smith. 6 p.m. Free. kennedy-center.org.

ROCK

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. The VI-Kings. 8 p.m. $15– $25. ampbystrathmore.com.

DC9 1940 9th St. NW. (202) 483-5000. Mystic Braves.

7:30 p.m. $15. dcnine.com.

SATURDAY CLASSICAL

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

MUSIC CENTER AT STRATHMORE 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. BSO: West Side Story. 8 p.m. $25–$80. strathmore.org.

FOLK

UNION STAGE 740 Water St. SW. (877) 987-6487. Carbon Leaf. 8 p.m. $35–$50. unionstage.com.

JAZZ

ATLAS PERFORMING ARTS CENTER 1333 H St. NE. (202) 399-7993. Atlas Presents Jazz: Mark G. Meadows & the Movement. 8 p.m. $13–$30. atlasarts.org.

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Azar Lawrence Experience. 8 p.m.; 10 p.m. $25– $30. bluesalley.com.

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

POP

9:30 CLUB 815 V St. NW. (202) 265-0930. Who’s Bad: The World’s #1 Michael Jackson Tribute Band. 6 p.m. $25. 930.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna. (703) 255-1900. Johnny Mathis. 8 p.m. $30–$85. wolftrap.org.

ROCK

9:30 CLUB 815 V St. NW. (202) 265-0930. Priests. 10 p.m. $20. 930.com.

ARI LENNOX

Ari Lennox’s debut album Shea Butter Baby feels just as smooth as its title suggests. The D.C. native and Duke Ellington School of the Arts alumna ushers listeners through an explicitly visual story of running into a long time admirer in “Chicago Boy,” covers the palpable joys of independent living in “New Apartment,” and seduces listeners with the sex ballad that is “Pop.” Skating through tropes of loneliness and self-realization is what makes the album feel like catching up with an old friend who also occasionally mothers you. This is Lennox’s first album and tour under J. Cole’s Dreamville record label, and clearly, an entire generation of uncertain single men and women are backing her with doting support. Our Dollar Tree wine glasses are surely in the air for this one. Ari Lennox performs at 8 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930.

930.com.

—Mikala Williams

SUNDAY FUNK & R&B

BETHESDA BLUES & JAZZ 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Zapp & Brick. 3 p.m.; 7 p.m. $59.50–$79.50. bethesdabluesjazz.com.

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Azar Lawrence Experience. 8 p.m.; 10 p.m. $25– $30. bluesalley.com.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. The Eric Byrd Trio and the U.S. State Department Jazz Ambassadors. 6 p.m. Free. kennedy-center.org.

POP

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Moona Luna. 5:30 p.m. $10–$12. ampbystrathmore.com.

MONDAY JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Marshall Keys & The Soulful Path. 8 p.m.; 10 p.m. $25. bluesalley.com.

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. The U.S. Navy Band Commodores. 6 p.m. Free. kennedy-center.org.

H

6/13 THU KIND COUNTRY 6/14 FRI TIME SAWYER W/ HANNAH JAYE & THE HIDEAWAYS $10/$12 6/16 SUN WAYNE “THE TRAIN” HANCOCK $15/$25 6/18 TUE THE BARBECUE FEAT. BE’LA DONA $20/$25 6/20 THU GREAT PEACOCK $12/$15 6/21 FRI JACKSON DEAN & THE OUTSIDERS W/ JIMMY CONNOR $12/$15 6/22 SAT 12NOON: SILVER BRANCH BREWING COMPANY BLOCK PARTY $25/VIP 6/22 SAT 9PM: DADDY LONG LEGS ALBUM RELEASE SHOW $12/$20 6/23 SUN AMANDA ANNE PLATT & THE HONEYCUTTERS $15/$17 6/25 TUE THE BARBECUE FEAT. SECRET SOCIETY $20/$25 6/28 FRI SAM BURCHFIELD $12/$30 6/29 SAT THE HIGH AND WIDES $5 7/5 FRI THE NATIVE HOWL $10/$13 7/6 SAT RED, WHITE AND COUNTRY HOLIDAY SHOW $5 7/11 THU CHRIS WILCOX & THE BOYS, HUMAN RESOURCE $5 7/12 FRI CHESTNUT GROVE $5

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 14, 2019 23

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

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

Tix @ Ticketmaster.com

THE NEW BIRTH 15 SOUTHSIDE JOHNNY & the asbury jukes 21 THE SMITHEREENS with MARSHALL CRENSHAW 22 BEBEL GILBERTO 23 PIECES OF A DREAM 14

24

26

An Evening with

KENNY G EUGE GROOVE

27

In the

!

CELSO PINA 28 THE RIGHTEOUS BROTHERS Bill Medley & Bucky Heard

29

NEWMYER FLYER PRESENTS

LAUREL CANYON Golden Songs of LA 1966–73

LEANN RIMES July 3 DONNELL RAWLINGS 5 LALAH HATHAWAY 7 COLBIE CAILLAT feat. GONE WEST with Hayley Orrantia 30

9

“Bustin Loose for Eileen Carson Schatz” A Benefit Concert featuring

JERRY DOUGLAS, STUART DUNCAN, BELA FLECK, SIERRA HULL, DANNY PAISLEY, & MARK SCHATZ 10 BILLY BOB THORNTON & THE BOXMASTERS 11 PAM TILLIS & LORRIE MORGAN Grits & Glamour Tour

JEFFREY OSBORNE 14 LITTLE RIVER BAND 12&13

15 SiriusXM The Coffeehouse Presents

MATT COSTA, JD & THE STRAIGHT SHOT MATT HARTKE 19 20,21 THE BACON BROTHERS

Friday, July 12, 8pm Music Center at Strathmore

Tickets at Strathmore.org or call 301-581-5100.

CLASSICAL

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

JAZZ

BLUES ALLEY 1073 Wisconsin Ave. NW. (202) 3374141. Gunhild Carling “Sweden’s Queen of Swing”. 8 p.m.; 10 p.m. $25. bluesalley.com.

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

POP

9:30 CLUB 815 V St. NW. (202) 265-0930. Kishi Bashi.

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

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Milo in the Doldrums. 8 p.m. $8. dcnine.com.

WEDNESDAY CLASSICAL

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Simply Three. 8 p.m. $26– $36. ampbystrathmore.com.

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

CITY LIGHTS: SATURDAY

BASED ON A TRUE STORY

The Leica Store DC is offering a taste of Gus Powell’s photographs—but just a taste—as it spotlights two projects by the New York street photographer. Lunch Pictures documents fleeting street tableaux, while The Lonely Ones offers a more free-form collection of meditative, medium-distance landscapes that channel Stephen Shore, Paul Graham, and Gabriel Orozco. The lunch images work best when Powell captures the momentary, divergent gazes of people who share nothing but the same sidewalk space. Meanwhile, The Lonely Ones images include one of a lone, umbrella-carrying figure in a suburban neighborhood, and another of the release of a mysterious but mesmerizingly textured waft of red smoke along a shoreline. The meager number of offerings from this series (just three) leave one craving the full book, released in 2015. The exhibition is on view to Aug. 4 at Leica Store DC, 977 F St. NW. Free. (202) 787-5900. us.leica-camera.com.

—Louis Jacobson

FUNK & R&B

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

ROCK

DC9 1940 9th St. NW. (202) 483-5000. Howe Gelb. 8 p.m. $15. dcnine.com.

VOCAL

KENNEDY CENTER MILLENNIUM STAGE 2700 F St. NW. (202) 467-4600. Gay Men’s Chorus of Washington. 6 p.m. Free. kennedy-center.org.

THURSDAY ELECTRONIC

9:30 CLUB 815 V St. NW. (202) 265-0930. A R I Z O N A. 7 p.m. $17. 930.com.

HIP-HOP

WOLF TRAP THEATRE-IN-THE-WOODS 1551 Trap Road, Vienna. (703) 255-1900. SaulPaul. 10:30 a.m. $10. wolftrap.org.

JAZZ

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

ROCK

9:30 CLUB 815 V St. NW. (202) 265-0930. A R I Z O N A. 8 p.m. Sold out. 930.com.

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

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

Night Moves. 7 p.m. $13–$15. unionstage.com.

WOLF TRAP FILENE CENTER 1551 Trap Road, Vienna.

(703) 255-1900. Trampled By Turtles and Deer Tick.

7:30 p.m. $30–$100. wolftrap.org.

Books

ELAINE WELTEROTH The award-winning journalist and former editor-in-chief of Teen Vogue provides readers with an intimate memoir in More Than Enough: Claiming Space for Who You Are (No Matter What They Say). Quaker Meeting House at Sidwell Friends School. 3825 Wisconsin Ave. NW. June 15. 7 p.m. $15–$35.

JACQUELINE WOODSON In her verse memoir, Brown Girl Dreaming, National Book Award-winning writer Jacqueline Woodson recounts her childhood as a

24 june 14, 2019 washingtoncitypaper.com

CITY LIGHTS: SUNDAY

HIS GIRL FRIDAY

How many rom-coms address issues like media manipulation and capital punishment? Just one of the greatest of all time, His Girl Friday, that’s all. Director Howard Hawks reportedly planned a straightforward remake of The Front Page, Ben Hecht and Charles MacArthur’s hit play and film about feisty newspaper reporter Hildy Johnson and his ambitious editor Walter Burns. Hawks asked his female secretary to read Hildy’s lines and liked the way it sounded, and the rest is history. With screenwriter Charles Lederer’s rapidfire dialogue expertly batted about by Rosalind Russell and Cary Grant at the peak of their eloquent charm, the result is a hilarious, romantic, and cynical masterpiece.

Released in 1940, but still as relevant and entertaining as ever, His Girl Friday will eat a dozen of your Hallmark Channel rom-coms for breakfast. The screening will be followed by a panel discussion with The Atlantic film critic Christopher Orr, New Yorker staff writer Margaret Talbot, and Washington Post media reporter Paul Farhi. The film screens at 2:45 p.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$13. (301) 495-6700. afi.com/silver. —Pat Padua

Merriweather Post Pavilion • Columbia, MD

THIS FRIDAY!

BRANDI CARLILE w/ Lucius ..................................................... JUNE 14

THIS WEDNESDAY!

WILLIE NELSON & FAMILY AND ALISON KRAUSS

THIS WEEK’S SHOWS

The Lemonheads w/ Tommy Stinson & The Restless Age .................. Th JUN 13 Who’s Bad: The World’s #1 Michael Jackson Tribute Band

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

Priests w/ Mock Identity Late Show! 10pm Doors .............................................. Sa 15 JUNE

JULY (cont.)

White Ford Bronco: DC’s All ‘90s Band .....................F 21 Can’t Feel My Face:

Hot In Herre: 2000s Dance Party with DJs Will Eastman and Ozker, Visuals by Kylos ......................Sa 20 STEEZ PROMO PRESENTS

2010s Dance Party with DJs Wiley Jay and Ozker, Visuals by Kylos ......................Sa 22

G Jones w/ Ivy Lab & tiedye ky .................F 26 THE CIRCUS LIFE PODCAST 6TH ANNIVERSARY CONCERT FEAT.

JULY

FeelFree, Justin Trawick and The Common Good, The Dirty Grass Players, Mystery Friends, Abigail Furr and special guests . Sa 27

Chicken & Mumbo Sauce

featuring DJs Breemz, Hav Mercy, Dylan The Gypsy, All Homage, Mista Selecta • Live Music by CCB • Hosted by Walk Like Walt..........F 5

AUGUST

Story District’s Out/Spoken This is a seated show..........................Sa 6 Nick Murphy (fka Chet Faker) w/ Beacon ....................................W 10 Randy Rogers Band .............Th 11 Yeasayer w/ Steady Holiday ......F 12 BENT: Back with a Bang

The Faint w/ Ritual Howls & Closeness .......Sa 3 Tuxedo (Mayer Hawthorne & Jake One) .Su 4

Neurosis w/ Bell Witch & DEAFKIDS .............F 9 Sonic Youth: 30 Years of

featuring Lemz, WESSTHEDJ, DJ Rosie, Dvonne, DDM, Zam Quartz, Ricky Rosé, Strap Haus • Hosted by Pussy Noir • Visuals by Ben Carver • HellBENT (in Backbar) featuring Jacq Jill and more! ......Sa 13

Daydream Nation Screening

Yuna w/ Skylar Stecker .............Tu 16 Beyoncé vs Rihanna Summer Dance Party ...............F 19

DC Music Rocks Festival featuring Sub-Radio,

with panel discussion featuring Steve Shelley, Brendan Canty (Fugazi/The Messthetics), and SY Archivist Aaron Mullan

This is a seated show. .......................F 16

The Eli Lev Collective, Yellow Tie Guy and more! .........Sa 17

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

930.com

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

w/ Lukas Nelson (A Star is Born) ............................................................... JUNE 19 Jason Isbell and The 400 Unit & Father John Misty w/ Jade Bird ............................................................................................................ JUNE 21 JUNE 22 SOLD OUT!

Phish ................................................................................................................ JUNE 23 Pitbull .............................................................................................................. JULY 11 Thomas Rhett w/ Dustin Lynch • Russell Dickerson • Rhett Akins ........... JULY 18 Third Eye Blind & Jimmy Eat World * w/ Ra Ra Riot..... JULY 19 blink-182 (performing Enema of the State in its entirety) & Lil Wayne * w/ Neck Deep ........................................................................................................... JULY 21 CHRYSALIS AT MERRIWEATHER PARK

LORD HURON w/ Bully ....................................................................JULY 23 311 & Dirty Heads w/ The Interrupters • Dreamers • Bikini Trill .......... JULY 27 CDE PRESENTS : 2019 SUMMER SPIRIT FESTIVAL FEATURING

Anthony Hamilton • Jhené Aiko • Raphael Saadiq • DVSN • PJ Morton and more! .....................................................................AUGUST 3

Train/Goo Goo Dolls * w/ Allen Stone ...........................................AUGUST 9 Chris Stapleton * w/ Margo Price & The Marcus King Band ................ AUGUST 11 Heart* w/ Joan Jett and The Blackhearts & Elle King........................... AUGUST 13 The Smashing Pumpkins & Noel Gallagher’s High Flying Birds* w/ AFI ......... AUGUST 17 Beck & Cage the Elephant * w/ Spoon & Sunflower Bean . AUGUST 22 Lauren Daigle w/ AHI ........................................................................ AUGUST 23 Gary Clark Jr. and Nathaniel Rateliff & The Night Sweats .................... AUGUST 25 Pentatonix * w/ Rachel Platten ........................................................... AUGUST 26 Morrissey w/ Interpol ..............................................................................SEPT 5 O.A.R. w/ Andrew McMahon in the Wilderness & American Authors ..............SEPT 7 Ticketmaster • For full lineup & more info, visit merriweathermusic.com • impconcerts.com * Presented by Live Nation

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

Puddles Pity Party w/ Dina Martina ............................................OCTOBER 31 u up? Live..............................................................................................NOVEMBER 4 Kishi Bashi ............................................................................. FRI NOVEMBER 8 On Sale Friday, June 14 at 10am

STORY DISTRICT’S

9:30 CLUB PRESENTS AT U STREET MUSIC HALL 9:30 CLUB & ALL GOOD PRESENT

Moon Hooch

FINESSE RECORDS SHOWCASE FEATURING

Clubz • Girl Ultra

w/ Nathan-Paul & The Admirables . F JUN 14 plus special guests ...................Sa 22 Kikagaku Moyo w/ Sarah Louise ...Tu 18 Hinder w/ American Sin & The Adarna .W 26 Culture Abuse w/ Tony Molina • Helado Negro w/ Tasha ................F 28 Lil Ugly Mane • Young Guv • Dare • DJ Set by Poison Thorn ...................Th 20 Holy Ghost! w/ Nation of Language .Sa 29

Breaking Bread: True Stories by

Criminal Podcast

- Live Show .................................... SEP 11

Celebrity Chefs & Industry Insiders . JUL 27 Tinariwen w/ Lonnie Holley ........ SEP 19 Corinne Bailey Rae w/ Ruth B. JUL 30 AN EVENING WITH

Dawes ............................................AUG 6 Joey Coco Diaz ..........................AUG 9

AN EVENING WITH

The Waterboys ..................... SEP 22 Adam Ant: Friend or Foe .... SEP 23 Cat Power w/ Arsun ................... SEP 25 Angel Olsen w/ Vagabon ............NOV 1

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

• 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 14, 2019 25

COLUMBIA PIKE COLUMBIA 24 TH ANNUAL

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SATURDAY

2019

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CITY LIGHTS: MONDAY

FOOD •• FUN FUN FOOD FAMILYFAMILYFRIENDLY FRIENDLY

FREE!

1—8:30pm 8:30pm 1—

presented by

SUGARAY RAYFORD 2019 SOUL BLUES MALE ARTIST OF THE YEAR • BLUES

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COLUMBIA-PIKE.ORG/BLUESFEST VALET & SECURE PARKING aVAILABLE

take your wine to-g0 with growlers & retail wine!

RESTAURANT | BAR | MUSIC VENUE | FULLY FUNCTIONING WINERY | EVENT SPACE

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EXCLUSIVE PRESALE ACCESS, WAIVED SERVICE FEES, complimentary valet & MORE!

JUN 13

JUN 13

JUN 21

Got My Own Sound Band

TAFFY BRODESSER-AKNER New York Times Magazine writer Taffy Brodesser-Akner’s first novel, Fleishman Is In Trouble, is a smart portrait of modern marriage that follows a man living a post-divorce life. Politics and Prose. 5015 Connecticut Ave. NW. June 20. 7 p.m. Free. (202) 364-1919.

Hazel Mitchell-Bell Father’s Day Tribute

Christian Fresno in the wine garden

JUN 19

JUN 19

JUN 19

JUN 20

Briclyn Ent. Presents

LOW TICKET ALERT! Perry Farrell’s Kind Heaven Orchestra

SUMMER RESIDENCY Sirius Company ft. Ms. Kim & Scooby in the wine garden

Mi Viejo 50 Años Tour

JUN 23

JUN 24

JUN 24

BLACKBEARD In this world premiere musical commission at Signature Theatre, set sail with an infamous pirate for a raucous high-seas adventure as Blackbeard and his marauding crew journey across the globe to raise an undead pirate from the sea. Signature Theatre. 4200 Campbell Ave., Arlington. To July 14 $40–$98. (703) 820-9771. sigtheatre.org.

Vybe Band

KLYTMNESTRA: AN EPIC SLAM POEM In this dynamic retelling of a classic tale and one-woman slam poem written and performed by Dane Figueroa Edidi, a priestess conjures spirits after entering a cemetery suffused with black culture. Anacostia Playhouse.

2020 Shannon Place SE. To June 16. $30–$40. (202) 290-2328. anacostiaplayhouse.com.

JUN 18

al di meola

JUN 18

PATRICK RADDEN KEEFE Say Nothing is award-winning New Yorker staff writer Patrick Radden Keefe’s, well-crafted narrative about a notorious killing in Northern Ireland and its reverberating consequences. Solid State Books. 600 H St. NE. June 20. 7 p.m.

Free. (202) 897-4201.

ft. The Vince Evans Orchestra

Selwyn Birchwood

Al Di Meola Opus & More Acoustic U.S. Tour

JUN 16

young black girl in 1960s and ‘70s America. Dunbar High School. 101 N St. NW. June 20. 6 p.m. Free.

w/ Daniel Correa

Etienne Charles Creole Soul

a part of the 2019 DC Jazzfest

JUN 14

GHOST LIGHT

The new film Ghost Light aspires to be the next best thing since Slings & Arrows, the cult classic Canadian television series chronicling life at a struggling theater festival. Season one made a movie star out of ingénue Rachel McAdams, and season three reminded the world of Sarah Polley's greatness. Ghost Light won’t launch any careers, but it could provide a quality nostalgia trip. Cary Elwes and Carol Kane, both beloved for their roles in The Princess Bride, star as elder members of a summer stock theater troupe attempting to stage Macbeth in a New England barn.

“Next stop, Broadway!” Elwes’ character exclaims. But when the ghost light at center stage suddenly goes out and a series of bloody mishaps ensue, the actors are left to wonder: Is this coincidence or the Scottish play’s curse? Filmmakers John Stimpson and Geoffrey Taylor will be on hand for a Q & A after the D.C. premiere of this movie that’s taken home awards at the Austin, Oxford, and Woodstock film festivals. The film screens at 7 p.m. at the Folger Elizabethan Theatre, 201 East Capitol St. SE. $20. (202) 544-7077. folger.edu.

—Rebecca J. Ritzel

in the wine garden

Crush Your Craft ft. Walter Jones in the Wine Garden

JUN 22-23

Conya Doss

Anna Nalick

Joey Landreth in the wine garden

Edlavitch DCJCC Theater J & Plays 2 Gather Presents

EIGHT NIGHTS

Piero

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

26 june 14, 2019 washingtoncitypaper.com

Theater

THE MEMBER OF THE WEDDING Directed by Cara Gabriel, The Member of the Wedding follows the story of 12-year-old Frankie Adams, who longs to follow her

newlywed brother on his adventures to Alaska, and her housekeeper Bernice in the climate of rural Georgia in 1945. While Bernice battles with the racism of the South, she acts as a substitute mother to Frankie and her younger cousin. This coming-of-age story is adapted from the 1946 Carson McCullers novel of the same name. 1st Stage. 1524 Spring Hill Road, McLean.

To June 16. $15–$39. (703) 854-1856.

1ststagetysons.org.

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

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

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

Film

ALADDIN Kind young street rat Aladdin finds a magic lamp which releases a wise-cracking genie who can grant wishes. Starring Will Smith, Mena Massoud, and Naomi Scott. (See washingtoncitypaper.com for venue information) ALWAYS BE MY MAYBE After growing up and growing apart, a pair of childhood friends reconnect and

CITY LIGHTS: TUESDAY

ESCAPE FROM NEW YORK

The idea of remaking Escape From New York has been kicking around Hollywood for some time, possibly because the premise of a dehumanized prisoner class crushed beneath the jackboots of a police state now seems more relevant than ever. Still, a remake might be wrong-headed. The magic of John Carpenter’s 1981 action-noir lies in an era-specific setting: a distinctly Reagan-era vision of the future. Where the 1950s saw a future of flying cars and space travel, the 1980s saw a Manhattan so overrun by crime that the government declares it a penal colony. The film also leans on Kurt Russell’s performance, a Clint Eastwood riff that game designer Hideo Kojima would later copy-paste to create the protagonist for his Metal Gear series. Russell plays Snake Plissken, a former soldier sentenced to life on the island for attempting to rob the Federal Reserve. In an unlikely chain of events, the president (yep) becomes stranded in New York the same day Plissken arrives to begin his life sentence, and the best idea anyone has for getting him out is to offer Plissken amnesty in exchange for a rescue. Plissken is our guide through the dystopia of New York, and through his eyes we see the teeming hordes of what we once feared we might become. The film screens at 9:15 p.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$13. (301) 495-6700. afi.com/silver.

—Will Lennon

CITY LIGHTS: WEDNESDAY

HO99O9

The cross pollination of rap and rock had a fruitful 15year run, from “Walk This Way” to the Judgment Night soundtrack, up until Fred Durst fiddled while Woodstock ’99 burned. The idea of rap-rock remained a cold punchline for more than a decade until a new wave of artists began mixing rap and rock—along with punk, noise, and industrial music—into a vital, visceral mix. Among rap-rock’s new breed is Ho99o9 (pronounced “Horror”), an outfit led by theOGM and Eaddy. The New Jersey pair grew up on hardcore rap like Onyx and DMX before discovering hardcore of a different kind at local punk shows. Ho99o9 connected the aggressive dots between the two sounds, along with industrial rock by Nine Inch Nails and Ministry and electronic music by The Prodigy, and now churn out punk-rap attacks that mix distorted guitars, metallic beats, and glitchy noise with politically charged lyrics. “If you wanna be somebody, you understand, you better be ready for war,” they proclaim on the title track of their album United States of Horror. “Ain’t shit free, we livin’ in hell.” Ho99o9 perform at 7 p.m. at U Street Music Hall, 1115 U St. NW. $20. (202) 588-1889. ustreetmusichall.com. —Chris Kelly

Now thru July 7 | Opera House Groups call (202) 416-8400

Kennedy-Center.org

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

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

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

Kennedy Center Theater Season Sponsor

washingtoncitypaper.com june 14, 2019 27

Take Metrobus and Metrorail to the...

CITY LIGHTS: THURSDAY

For full schedule, visit dcjazzfest.org

15th Anniversary Finale

GREAT MASTERS OF JAZZ

SUNDAY, JUNE 16, 2019 • 8:00 PM•KENNEDY CENTER • CONCERT HALL

Celebrating QUINCY

NANCY

ROY

WILSON HARGROVE

JONES

SHIRLEY

Performances by JUSTIN

PATTI

AUSTIN

KAUFLIN JOSHUA

REDMAN

KENNY

GARRETT ROY HARGROVE

THE

BIG BAND

FRED

HORN & FOSS

CASSANDRA

WILSON

TAFFY BRODESSERAKNER

Few, if any, journalists become known to their readers on a first-name basis, but very few journalists build a familiar intimacy with their readers the way Taffy (Brodesser-Akner, to those not in the know) does. Whether she’s being mistaken for Tom Hiddleston’s new girlfriend while reporting a profile of the actor for GQ, describing a birdwatching trip with Jonathan Franzen, or sharing moments from her own upbringing while chronicling the lives of young people leaving ultra-Orthodox Jewish communities, Taffy’s stories always show the reader her subject without any artifice. Her nonfiction is honest and vulnerable, and it turns out her fiction is, too. Fleishman Is in Trouble, her just-released debut novel, follows Toby, a New York doctor, as he copes with the sudden disappearance of his estranged wife. His encounters with women he meets on dating apps and the Upper East Side moms who rule over his family’s social life will draw out chuckles, but the deeper truths come from Libby, his college friend who serves as the narrator. “Here is the problem,” she declares early in the novel. “You can only desire something you don’t have—that’s how desire works.” The presence of those small veracities within the larger comedy of manners make Fleishman the best kind of summer read, one you’ll devour in a single weekend but return to passages of in the subsequent days, weeks, and months. Taffy Brodesser-Akner reads at 7 p.m. at Politics and Prose, 5015 Connecticut Ave. NW. Free.

(202) 364-1919. politics-prose.com.

—Caroline Jones

Plus PRINCESS MHOON DANCE PROJECT / ROBERTA GAMBARINI SHARÓN CLARK / AND THE CHRIS GRASSO TRIO

Tributes by ADAM CLAYTON POWELL III LEON HARRIS/SUNNY SUMTER ANGELA STRIBLING/PAXTON BAKER WILLARD JENKINS

Hosted by NICK

CANNON

Visit kennedy-center.org for tickets PRESENTING SPONSOR

GOLD SPONSORS

PLATINUM SPONSORS

SILVER SPONSORS

BRONZE SPONSORS

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

28 june 14, 2019 washingtoncitypaper.com

discover they still have feelings for each other in this Netflix release. Starring Ali Wong, Randall Park, and Keanu Reeves. (See washingtoncitypaper.com for venue information) DARK PHOENIX X-Men member Jean Grey develops destructive cosmic power that tears at the fabric of the group and the planet. Starring Sophie Turner, Jennifer Lawrence, and James McAvoy. (See washingtoncitypaper.com for venue information) THE DEAD DON’T DIE When the dead begin rising from their graves, a peaceful small town must battle a horde of zombies. Starring Bill Murray, Adam Driver, and Tom Waits. (See washingtoncitypaper.com for venue information) THE FALL OF THE AMERICAN EMPIRE When a delivery truck driver happens upon a crime scene, he takes two bags full of money and chaos ensues. Starring Maxim Roy, Maripier Morin, and Éric Bruneau.

(See washingtoncitypaper.com for venue information) GODZILLA: KING OF THE MONSTERS When ancient, giant monsters rise and face off, including the fearsome Godzilla, humanity hangs in the balance. Starring Kyle Chandler, Vera Farmiga, and Millie Bobby Brown. (See washingtoncitypaper.com for venue information) JOHN WICK: CHAPTER 3 — PARABELLUM Assassin John Wick goes on the run and becomes a target after killing a member of the international assassin’s guild. Starring Keanu Reeves, Halle Berry, and Ian McShane. (See washingtoncitypaper.com for venue information) THE LAST BLACK MAN IN SAN FRANCISCO In San Francisco, a young man searches for home in the changing landscape. Starring Jimmie Fails, Jonathan Majors, and Danny Glover. (See washingtoncitypaper. com for venue information)

LATE NIGHT A late-night talk show host who fears her firing hires the show’s first and only female staff writer, and the pair share a love of biting wit. Starring Emma Thompson, Mindy Kaling, and John Lithgow. (See washingtoncitypaper.com for venue information) MEN IN BLACK: INTERNATIONAL The galaxy defenders tackle the threat of a mole in the Men in Black organization in this new intergalactic adventure.

Starring Tessa Thompson, Chris Hemsworth, and Rebecca Ferguson. (See washingtoncitypaper.com for venue information) PAVAROTTI This documentary, directed by Ron Howard, chronicles the life of legendary opera singer Luciano Pavarotti. Featuring Spike Lee, Luciano Pavarotti, and Princess Diana. (See washingtoncitypaper.com for venue information) ROCKETMAN This biopic tells the story of famed singer Elton John’s rise to fame and the debauchery that followed. Starring Taron Egerton, Jamie Bell, and Richard Madden. (See washingtoncitypaper.com for venue information) THE SECRET LIFE OF PETS 2 After his owner gets married and has a child, Max the terrier must cope with lifestyle changes—with a little help from his furry friends. Starring Patton Oswalt, Kevin Hart, and Harrison Ford. (See washingtoncitypaper.com for venue information) SHAFT Shaft Jr. enlists the help of his famous father and great-uncle to unravel the mystery behind the death of his friend. Starring Samuel L. Jackson, Jessie T. Usher, and Richard Roundtree. (See washingtoncitypaper.com for venue information)

SAVAGELOVE I’m a straight cis woman in my early 40s and a single mother. I have not dated or hooked up with anyone in years. While I miss dating, the biggest issue right now is that my sex drive is off the charts. While watching porn and masturbating once my child goes to sleep helps, I really want to get well and truly fucked by a guy who knows what he’s doing. I could likely go to a bar or on Tinder and find a man for a one-night stand, but I’m hesitant to do that. To add to my complicated backstory, I have a history of childhood sexual abuse and have had only two partners in my whole life, one of whom was abusive. My past sexual forays have not been particularly satisfying, in part due to my lack of experience and comfort indicating what I do/do not like, as well as some dissociation during the actual act. I keep thinking it would be easier to find a sex worker to “scratch the itch,” as presumably a male sex worker would be more open, sex-positive, and skilled. But I have no idea how I might go about it or what the procedure or etiquette is. And I am fearful that I could get arrested given the illegality of soliciting in my conservative southern state. Getting in trouble could have devastating effects on my life, and I would definitely lose my job. I am trying to weigh the pros and cons, but I feel out of my depth. Any advice for a gal who wants to get fucked but is not sure how to make that happen in a safe-ish space?

—Single Mom Absolutely Stupid Horny “In the recent past, the answer would have been ‘Google,’” says John Oh, a Sydneybased male sex worker for women. “But in a post-SESTA/FOSTA world, that route is now unreliable—especially in the United States, where advertising on the web is far more difficult.”

SESTA/FOSTA—the “Stop Enabling Sex Traffickers Act/Fight Online Sex Trafficking Act”—is a 2018 law that was crafted, backers said (backers lied), to fight sex trafficking. It made it a crime for web platforms to knowingly or unknowingly allow someone to post a sex ad. The law is so vague that platforms like Craigslist, Tumblr, and Facebook purged sexually explicit content in an effort to prevent sex workers from basically being online at all.

SESTA/FOSTA’s backers claim they want to protect women—and only women—but in reality, pushing sex workers out of online spaces (where they could more effectively screen clients, share safety tips with each other, and organize politically) made sex work more dangerous, not less, and has led to more sex trafficking, not less.

But one platform—one much pilloried but still popular platform—is bucking the anti-sexworker/anti-sexually-explicit-content trend.

“Twitter is still a (mostly) safe place for sex workers, and I have not heard of law enforce-

ment using it to entrap potential clients,” says Oh. “So I believe that it is a reasonably safe place to anonymously research male sex workers. Many of us advertise there.”

Since no one knows how long Twitter will allow sex workers to use its platform, you might want to get started on that search now, SMASH. And while sex work is work, and it’s work many people freely choose to do, not everyone is good at their job. Since your experiences with unpaid sex weren’t that great, I asked John for some tips on increasing your odds of finding a skilled male sex worker.

“Sadly, in places where sex work is criminalized, it’s harder to find a suitable male sex worker,” says Oh, “especially for someone who needs extra special care due to trauma. I expect that for SMASH, traveling to a place where sex work is not criminalized would not be practical, but that might be an option for others.”

If traveling to Australia, where Oh lives and where he’s been doing sex work for nine years (legally, as sex work is decriminalized in his state of New South Wales, and legalized in much of the rest of Australia), is unrealistic, Oh suggests chatting with sex workers in your area—but not, at least at first, the male ones.

“Her best option may be to talk to female sex workers on Twitter and ask them for a recommendation,” says Oh. “This has two benefits—the first is that female workers in her general area will have local knowledge. The second is that female workers are generally very careful about endorsing male workers.

So if a few female workers suggest a male sex worker, there is a high likelihood that he will be safe, capable, and professional. But if SMASH goes this route, tipping the female workers who help her out would be polite—otherwise this would amount to asking for unpaid labor.”

You can find John Oh on Twitter @JohnOhOfSydney.

—Dan Savage An older guy at my gym tentatively inquired if he could ask me an “inappropriate question.” I told him he could. I’m straight, he’s pretty obviously gay, and I figured he was going to hit on me. Then he said the question was “sexual in nature” and was I sure it was okay? I said yes. He asked if he could buy the shoes I wear to the gym once they’re worn out. I know why someone would want my old shoes—he’s obviously masturbating with them— and that’s fine, everyone’s got their weird thing (myself included). Two quick questions: Isn’t what he did risky? (I could easily see some other guy reacting badly.) And how much should I charge?

—Smelling Nikes Entertains A Kinky Senior It was definitely a risky ask, SNEAKS, but

you’re probably not the first guy he’s approached. I imagine he has a hard-earned feel for who’s likely to react positively and who’s not (and a few canceled gym memberships along the way to show for it). And I’d say $20 would be fair. It’s not the full cost of replacing the shoes—he’s a shoe perv, not a fin sub—but it’s enough to be worth your while and it reflects the value of your old shoes. Not on the open market, but to him.

—DS A straight couple I know that “dabbles” in kink recently visited a famous leather/fetish/ bondage store with deep ties to San Francisco’s gay community (Mr. S Leather, not that it’s important). They purchased some simple bondage implements that they could have just as easily ordered online from any number of stores that aren’t institutions in the gay BDSM subculture. I don’t think straight people should be barging into spaces that aren’t theirs to purchase items that were not created for them. I am not gay myself, but I try to be a good ally, and part of being a good ally is holding other straight people accountable.

—Respect Queer Space You’ve got to be kidding me with this shit, RQS. Donald Trump banned trans people from the military, the Trump administration has made it legal for doctors and EMTs to refuse to treat queer people, they’re allowing federally funded adoption agencies to discriminate against same-sex couples, and they just shut down promising research into a cure for HIV (much to the delight of religious conservatives, who have always and still want us dead). And heaping insult on injury, RQS, Donald Fucking Trump “celebrated” Pride Month with a tweet—and you’re not only worried about a straight couple buying a little gear in a gay leather/fetish/bondage shop but you’re coming to me with this shit expecting praise? If a couple of straight people wandering into a gay-owned business that’s legally obligated not to discriminate on the basis of sexual orientation—a law that protects queer people, too—is what you’re wasting your time on right now, RQS, with everything that’s going on, you’re a shit ally and a worse human being. Just to make sure it was okay with Mr. S, I shared your letter with general manager Jonathan Schroder, who says: “We are owned by gay men and very explicitly market to gay men. But everyone is welcome here. We’re happy there are straight people who feel comfortable shopping here.”

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

Gear Prudence Gear Prudence: I work at a pretty stodgy place and we’re required to wear suits every day, even Friday. I still bike commute, and 90 percent of the time I can ride in my work clothes. But other bike commuters think I’m going to be slow just because of what I’m wearing. At every red light, they ride in front of me, only to have me immediately blow past them once the light turns green (I ride fast).

How do I get them to stop to stop making assumptions about my speed based on what I’m wearing?

—Speed Unrecognized, I Throttle Ultimately Past Dear SUITUP: It shouldn’t come as much of a surprise that people use clothes as a visual shorthand for a whole host of assumptions, and bike commuters are not exempt from this kind of judgement. But lycra no more equals a guarantee of swiftness than a suit does sluggishness. The relationship between clothes and bike speed isn’t causal, and even if the assumption proves right more often than it proves wrong, it’s still just a guess. Conveying information about your intended pace is no easy task, and you’ll have to overcome the sartorial clues that suggest slowness. Perhaps your tailor can embroider your latest Strava KOM onto the back of your jacket, or sew some appliqué lightning bolts onto the sides of your trousers. You could switch to a time trial helmet. Or mutter, “I’m fast, actually,” when they roll by. If you confound their expectations enough, GP is sure other bicyclists will be more than happy to keep their distance —Gear Prudence Gear Prudence: Like most people, I have keys and I’m used to keeping them in my pocket. But when I bike this is really uncomfortable. I’m thinking about getting a carabiner and clipping my keys to my belt. But can I really? That’s a very particular look and I’m not sure I can pull it off.

—Could Latching Items Pantwise Prove Yucky?

Dear CLIPPY: Before taking such a momentous step as [checks notes] clipping your keys to your belt and displaying them to the whole world (or to the people who happen to see you during your bike ride), pause to consider the implications. No longer will your keys be tucked away in your pocket digging into your thigh, or maybe scratching your phone, but instead will be dangling freely, exposed to the whooshing air, and jingling with each bump.

Sure, you’ll be more comfortable, but what will people say? Will they say something like “huh, I have no opinion about how this person carries their keys since it is of absolutely no consequence to me”? Or will they say something like “huh, this seems like a fairly utilitarian solution to key portaging”? The mind reels.

—GP

washingtoncitypaper.com june 14, 2019 29

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Classified Ads Print & Web Classified Packages may be placed on our Web site, by fax, mail, phone, or in person at our office: 734 15th Street, NW Suite 400 Washington, D.C. 20005 Commercial Ads rates start at $20 for up to 6 lines in print and online; additional print lines start at $2.50/ line (vary by section). Your print ad placement plus up to 10 photos online. Premium options available for both print and web may vary.

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against the decedent Adult Phone shall be presented to Entertainment the undersigned with a copy to the Register of Livelinks Chat Lines.

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Legals Persons believed to be heirs legatees NOTICEor IS HEREBYof the GIVEN decedent who do not THAT: receive copy of this INC. TRAVISA aOUTSOURCING, (DISTRICT COLUMBIA notice byOF mail within DEPARTMENT CONSUMER 25 days of OF its publicaAND REGULATORY tion shall so informAFFAIRS FILE Register NUMBER of271941) the Wills, HAS DISSOLVED EFFECTIVE NOVEMincluding name, address BER 27, 2017 AND HAS FILED and relationship.

Date OF ARTICLES OF DISSOLUTION of first publication: DOMESTIC FOR-PROFIT COR6/13/2019 Name of PORATION WITH THE DISTRICT Newspaper periOF COLUMBIA and/or CORPORATIONS DIVISION Washington City odical: Paper/Daily Washington ALaw CLAIM AGAINST TRAVISA Reporter Name of OUTSOURCING, INC. MUST Personal RepresentaINCLUDE THE NAME OF THE tive: Sheila D. Williams DISSOLVED CORPORATION, TRUE INCLUDETEST THE copy NAMENicole OF THE Stevens CLAIMANT,Acting INCLUDERegister A SUMMAof Dates: June RY Wills OF THEPub FACTS SUPPORTING 13, 20 and 27, THE CLAIM, AND BE2019.

MAILED TO 1600 INTERNATIONAL DRIVE, SUITE 600, MCLEAN, VA 22102 One School Notice of Intent to Award a ALL CLAIMS WILL BE BARRED Sole Source Contract to UNLESS PROCEEDING TO Apple forA Macintosh ENFORCE THE CLAIM IS COMComputers.

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Food Service Deadline Man- for submissions is December 6, 2017. agement Company Services Latin American Montessori Bilingual Public Charter School Latin American Montessori Bilingual Public Charter School is advertising the opportunity to bid on the management of breakfast, lunch, snack and/or CACFP supper program to children enrolled at the school for the 20192020 school year with

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30 june 14, 2019 washingtoncitypaper.com

a possible extension of Legals (4) one year renewals.

All meals must meet at DC SCHOLARS PCS REQUEST a minimum, but are not FOR PROPOSALS – Modurestricted to, the USDA lar Contractor Services - DC National School BreakScholars Public Charter School fast, solicitsLunch, proposalsAfterschool for a modular Snack At Risk contractorand to provide professional Supper meal management andpattern construction services to construct a modular requirements.

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No phone regarding this RFP or willbrian. be ac202-726-6200 cepted. Bids must be received by nielsen@lambpcs.org 5:00 PM on Thursday, December 14, 2017 at DC Proposals willScholars be ac-Public Charter School, ATTN: Sharonda cepted at 1375 Missouri Mann, 5601 E. Capitol St. SE, Avenue NW, Washington Washington, DC 20019. Any bids DC addressing 20010 byallJuly not areas8,as out2019, not lined in the RFPlater specifithan cations will 3:00pm not be considered.

All bids not addressing all areas as outlined Apartments for Rent in the RFP will not be considered.

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REQUEST FOR PROPOSAL (RFP) Food Service Management Company Services POWER DESIGN NOW HIRKIPP DC ING ELECTRICAL APPRENTICESDC OFisALL SKILL LEVKIPP advertising ELS! the opportunity to bid on the management of about the position… breakfast, lunch, snack Do youCACFP love working with and/or supper your hands? Are you intermeals en-and ested to in children construction rolled at theanschools for in becoming electrician? the 2019-20 school year Then the electrical apprentice with a possible exten-for position could be perfect sion (4) oneapprentices year reyou!ofElectrical are able All to earn a paycheck newals. meals must and full benefi ts while learnmeet at a minimum, ingare the not traderestricted through firstbut hand experience. to, the USDA National

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Pride.

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