Washington City Paper (August 3, 2018)

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housing: DCRA’s new pAy-to-plAy pRogRAm 5 sPoRTs: wARD 7’s HistoRiC little leAgue teAm 8 FooD: CAn you tRust yelp’s HeAltH sCoRes? 15

Balcony SceneS An oral history of the Uptown Theater P. 10

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APPROVAL

INSIDE CoVer Story: BaLCony SCeneS

10 Movie lovers and D.C. mainstays share their memories of the Uptown Theater

DIStrICt LIne 5 housing complex: The literal and figurative costs of DCRA’s fast-track permitting program 7 holding pattern: Activists protest the deplorable conditions in the D.C. Central Cell Block.

SportS 8 Major league impact: Meet the first predominantly black Little League team to win the D.C. championship.

9 gear prudence

FooD 15 settling the score: How reliable is the health inspection information Yelp now posts on its site?

17 stark craving Mad: What a pickle purveyor and ice cream maker wanted to eat while pregnant 17 are you gonna eat that?: Poca Madre’s Burrito “The King” 17 top of the hour: Discounts abound at Burger Tap & Shake.

Darrow MontgoMery

artS 19 commedia dell’art: Capps on Sense of Humor at the National Gallery of Art and CMD+F at Hemphill Fine Arts 20 short subjects: Gittell on on Custody and Olszewski on Puzzle 21 sketches: Hrusa on Baselitz: Six Decades at the Hirshhorn

CIty LISt 23 27 27 27

Music books theater film

DIVerSIonS 29 savage love 30 classifieds 31 crossword on the cover: Photograph by Darrow Montgomery

1000 Block of franklin st. ne, July 28

EDITORIAL

editor: AlexA mills Managing editor: cAroline jones arts editor: mAtt cohen food editor: lAurA hAyes sports editor: Kelyn soong city lights editor: KAylA rAndAll housing coMplex reporter: morgAn BAsKin staff photographer: dArrow montgomery MultiMedia and copy editor: will wArren creative director: stephAnie rudig editorial intern: rose shAfer contributing writers: john Anderson, VAnce BrinKley, Kriston cApps, chAd clArK, rAchel m. cohen, riley croghAn, jeffry cudlin, eddie deAn, erin deVine, tim eBner, cAsey emBert, jAKe emen, jonAthAn l. fischer, noAh gittell, lAurA irene, AmAndA Kolson hurley, louis jAcoBson, rAchAel johnson, chris Kelly, steVe KiViAt, chris KlimeK, priyA Konings, julyssA lopez, Amy lyons, neVin mArtell, Keith mAthiAs, pABlo mAurer, j.f. meils, BriAn murphy, triciA olszewsKi, eVe ottenBerg, miKe pAArlBerg, pAt pAduA, justin peters, reBeccA j. ritzel, ABid shAh, tom sherwood, Quintin simmons, mAtt terl, dAn tromBly, KAArin VemBAr, emily wAlz, joe wArminsKy, AlonA wArtofsKy, justin weBer, michAel j. west, diAnA yAp, AlAn zilBermAn

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DistrictLine Working the Line Almost a year into DCRA’s fast-track permit service, who is it really helping?

By Morgan Baskin

The DeparTmenT of Consumer and Regulatory Affairs, D.C.’s agency responsible for everything from monitoring illegal construction to issuing basic business licenses, has the distinction of being among the most essential–– and the most reviled––agencies in the region.

Complaints that DCRA is too large, and responsible for too much, have plagued the agency for years. Every incumbent councilmember running for re-election this season told City Paper in June that it’s the local agency most in need of an overhaul, and there is an active legislative effort to slice the agency in two.

Amid these criticisms, DCRA Dire c to r Melinda Bolling created a new program that, the agency advertised, would expedite building inspections and permit acquisition, ostensibly gratifying homeowners and mega-developers alike.

The Velocity program promises to slash the waiting time to acquire permits for nearly any kind of work––from demolition plans to change of use––from 30 days to as few as one, a tantalizing prospect for an agency whose permitting process is notoriously slow. The department would review plans for interior alteration, shell, footing and foundation, new construction, “and more!” it promises on its website.

All of this comes with a steep fee. Velocity costs a minimum of $50,000 for projects 50,000 square feet or smaller, and runs up to $75,000 for projects larger than 100,000 square feet. Its sister program, Expedition, offers a watered-down version of those services for a lower price. Velocity and Expedition launched in late September of 2017.

But this April, both the program and DCRA saw a heavy dose of criticism. Residents and councilmembers complained that Velocity would exacerbate already long waiting periods by diverting existing staff to larger development projects, allowing folks with deep

pockets to effectively skip the line.

All inspection and permit applications, regardless of their size, run through the same agency office, and it appeared that larger companies could now pay to receive better service, critics said. “Oh cool. Our foundation compa-

Parris acknowledges that Velocity was designed “just for those large commercial projects,” but says the decision was strategic.

“The idea was, if you put everyone in a room together, they could do a review of the disciplines DCRA can control,” she says. The agency’s design team makes same-day changes to plans so developers “can walk out with an improved plan, and move forward with construction. It’s beneficial because it helped commercial and large projects get through quicker, and took them out of the queue so we could address the smaller ones currently under review.”

Hundreds of pages of the agency’s internal email communications that City Paper obtained through the Freedom of Information Act show who the program has benefitted.

The documents offer a glimpse into the decision-making machine that has helped guide urban development in D.C. (City Paper

Carnegie Library ny just told us @dcra now taking 2-3 months to run reviews on our foundation work ... part of the new “Velocity Program.[”] BUT you can skip the wait .... for a cool $25K. @MayorBowser THIS IS LUDICROUS,” Brookland resident Bree Ryback tweeted at the time about her home.

“There was some overlap between us getting the program mobilized and getting staff deployed. There were times when DCRA operations were impacted,” Lori Parris, DCRA’s deputy director, tells City Paper. “We’re going to have hiccups, and we’ve had them.” She says the agency has responded by “bringing in contractors to assist us,” and having existing staff “working longer hours [or] overtime.”

among The firsT businesses to express their interest in DCRA’s Velocity program was boutique real estate consulting firm Taylor Adams Associates, whose managing partner, David Jannarone, met with Bolling in early September 2017 to discuss expedited permits for the Apple store opening in the Carnegie Library building, emails City Paper obtained show.

The project will see Apple coordinating a renovation of the 63,000-square-foot, 115-year-old library in Mount Vernon Square. It’s expected to open this winter.

Jannarone has deep ties to Bowser’s inner circle. He served on her finance committee during her 2014 mayoral bid, and was former mayor (and Bowser mentor) Adrian Fenty’s development director.

“Per our discussion,” Bolling wrote to Jannarone in an email dated Sept.

8, “you and your client (Apple) desire to use DCRA’s Velocity Pilot to review and approve your plan to convert the Carnegie Library into an Apple store. …

I believe you mentioned that the ideal time for the review should be the week of October 2nd. As we are still in the pilot phase, I told you the price would be $30,000.00 for the review.” She added that inter-agency coordination challenges would up the price to $50,000.

“Looking forward to following up and making your program a success for all of us,” Jannarone wrote Bolling the same day.

But the program, which DCRA created through an emergency regulation––a tool agencies use to expedite the creation or enforcement of policy that’s “necessary to protect the health, safety, and well-being of the District of Columbia”––wasn’t officially adopted until Sept. 26, 2017, public documents available on the D.C. government’s website show.

Conversations between Jannarone and DCRA precede this date by several weeks. (Jannarone did not return City Paper’s request for comment by press time.)

A separate email obtained by City Paper, sent by a DCRA spokesperson to the agenDarrow Montgomery

housing complex

per that the twin programs have raked in over $2 million for DCRA since the program started nearly one year ago, with 115 projects benefiting from Velocity and Expedition. DCRA is now scheduling Velocity reviews as far out as September.

“It was a small program in the beginning, but because of its success, it became much bigger. It’s known, it’s moving, we’re growing,” Parris says.

is still waiting on at least 18,000 more pages of emails from the agency.)

Many of the projects and buildings involved in Velocity, whether their managers have benefitted from the program or merely discussed the idea of participating with agency representatives, are located in neighborhoods experiencing transformative redevelopment, like Mount Vernon Triangle and Deanwood; interested companies include local heavy-hitters like Pepco and Compass Coffee. The program is symbolic of the kind of development Mayor Muriel Bowser’s administration has prioritized.

From the agency’s perspective, Velocity is a booming success. Parris tells City Pa-

washingtoncitypaper.com august 3, 2018 5

DistrictLine Parkway Overlook

Darrow Montgomery/File

cy’s legislative aide and dated September 29, 2017, asks whether “all of the legislation [is] in place for Velocity to launch? This showed up on Twitter,” referring to an advertisement for the program. “No, it isn’t,” the aide replied, also on Sept. 29.

And a feedback report compiled by consulting firm CDKM, dated Sept. 17 and obtained

by City Paper through the Freedom of Information Act, shows that DCRA completed at least one Velocity review, for the Early Childhood Academy Public Charter School, before it adopted the emergency regulation on Sept.

26.

It’s not just private companies that are interested in Velocity. One of the agency’s priorities, Parris says, is encouraging more affordable housing developers to use the program.

Other emails obtained by City Paper show that among the first handful of project managers to contact DCRA about Velocity was an executive at Commun-ET, a consulting firm and project management company that helps clients obtain permits for “some of the region’s largest and most complex projects.”

The executive was writing on behalf of DC Housing Authority to approve the payment of a Velocity fee for Parkway Overlook, a public housing complex in Congress Heights that has languished, deteriorating slowly over a decade after a series of financial missteps by its owners and the federal housing department. (An unintended consequence of the transaction is that it makes one local agency appear to profit from the failures of another.)

On October 19, the executive wrote to DCRA’s Lynn Underwood, “Please find enclosed the permit intake fee for the DC Housing Authority’s Parkway Overlook project. Per our discussion the other day, the Department of Housing wanted to know how we can proceed regarding postponing the permit fees until the 2nd week of December during their budget cycle. They are fine with the [$75,000] Velocity fee.”

Parris emphasized that DCHA is an independent agency that owns its own real estate and does its own development. “It’s funded by federal dollars… [and has] different financing structures for development,” she said of Parkway Overlook. In fact, that complex marks a notable shift for the Housing Authority. The project is one of the biggest redevelopment efforts in which DCHA acted as the primary developer, and the $88 million project was financed largely by local agencies.

It received $20 million from the Department of Housing and Community Development’s Housing Production Trust Fund, a figure that represents roughly one-fifth of the taxpayer-funded gap financing fund’s annual budget allotment. Parkway Overlook received an additional $38 million in bond financing from the DC Housing Finance Agency.

Parris adds that it’s standard for local agencies “to pay for services, whether it’s a sister agency or an independent agency,” and says that, by using Velocity, the agency “put more affordable units into the pipeline. DCHA was a great opportunity to do that, particularly because they were renovating an area that hadn’t had the appropriate attention. That’s why we thought this would be a great program.”

She confirms that DCRA completed a Velocity review for Parkway Overlook. The city broke ground on the building’s redevelopment in late March. mike BernsTein is preparing to open his first brick-and-mortar business in D.C., a used vinyl store on 7th and Kennedy streets NW. He’s been in this space, which used to be a laundromat, since March.

“The problem isn’t how long stuff takes to get done. It’s the unknowable nature of the process that makes it feel like a Kafka novel.”

6 august 3, 2018 washingtoncitypaper.com

He’s received support in the form of small grants from the DC Main Streets program, which aims to revitalize 12 designated commercial corridors across the city. Nevertheless, negotiating DCRA’s permitting process has been, he says, “burdensome and challenging,” especially for change of use permits.

“The problem isn’t how long stuff takes to get done,” he says. “It’s the unknowable nature of the process that makes it feel like a Kafka novel. You don’t know how much time to budget for all that … There really isn’t someone walking you through the [licensing] process.”

He describes calling the agency repeatedly until someone finally answers the phone, only to refuse to give him the contact information of agency employees who might be able to help him with his permitting questions.

DCRA is “very obviously under-resourced,” Bernstein says.

(CDKM Consulting, in its Sept. 2017 report to DCRA, suggests the agency “do everything in its power to increase transparency both inside and outside the organization.

Initial steps include publishing office directories of email addresses and phone numbers for all discipline reviewers and supervisory personnel.”)

Parris confirms that DCRA installed a permanent team early this spring, “dedicated just

to Velocity.” But the team is comprised exclusively of existing DCRA staff, she says, instead of new hires to support the program.

This spring, months into his permit application process, Bernstein contacted DCRA about Velocity. “I thought, ‘I’m pretty sure we don’t qualify, but I’ll call them,’” he says.

But the woman who responded to his call told Bernstein that his business wasn’t large enough to qualify for Velocity, and wasn’t quite right for Expedition, either.

“That’s the frustrating thing about Velocity at its heart: If you’re a big developer, you can pay an intern to go sit around DCRA’s office all day [to ask questions]. The people with the least services to spare are given the least opportunity to get through the system in a reasonable way.”

Parris ascribes this kind of frustration, which she acknowledges the agency has seen its share of, to “confusion … smaller developers thought that in order to get the permit you have to pay.” She says resources like Expedition or DCRA’s homeowners center serve as alternatives for those whose projects, or budgets, don’t meet Velocity’s requirements.

Neither of those options, incidentally, are helpful to someone in Bernstein’s position.

“I know it’s not malicious, but it’s laughable how frustrating [the system] is,” he says.

CP

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Clergy say they spent the night in cells with roaches and vermin after they were arrested for protesting.

Block, which is located in the Daly Building, is cleaned daily and regularly treated with pest-control measures, we recognize that the entire building is in need of a full-scale modernization. That is why the District’s Office of Public-Private Partnership recently opened a solicitation for qualified bidders interested in completing a full renovation of the Daly Building.”

The protest comes three years after the Washington Lawyers Committee for Civil Rights and Urban Affairs released a comprehensive report looking at the condition of confinements at DC Department of Corrections facilities, which found conditions similar to the ones Hagler describes.

“There is an active infestation of vermin/ pest throughout the facility,” the report states, and in addition to these conditions, inspectors found poor shower facilities and more than 100 physical problems that needed to be addressed.

Protesters outside the police headquarters held up signs that read “DC Cell Block: Original Roach Motel,” and “DC Jail Dirty Unsafe.”

A number of protesters said that there is a double standard when it comes to housing inmates in D.C., compared to the incarceration of political celebrities like Paul Manafort, whose trial began this week.

Julia Ridgely, a resident of Rockville, said “Paul Manafort was moved out of the D.C. jail to Northern Virginia after his crime because they considered it too bad of a jail, but it’s okay for D.C. residents. This is another example of residents in D.C. being treated inhumanely.”

A D.C. pAstor and nearly two dozen protesters stood in the rain outside the headquarters of the Metropolitan Police Department on Monday. They were chanting “Clean It or Close It!” The “it” they were referring to is the D.C. Central Cell Block, specifically the basement of the facility, where inmates are allegedly being kept in filthy cells infested with roaches and rodents.

Rev. Graylan Hagler, pastor of the District’s Plymouth Congressional United Church of Christ, led the protest after a June 14 incident in which he and eight other ministers were arrested outside of the United States Supreme Court for an action of civil disobedience. Hagler, a longtime District pastor who is well known for leading the charge on protests, has been arrested for acts of civil disobedience in the past. He said that what he and the group of ministers endured was completely unacceptable for anyone.

“For 28 hours we were kept in filth. I sat up all night and killed roaches,” Hagler tells City Paper. “It’s not about me going to jail, but there are prisoners living in inhumane conditions in the nation’s capital.”

Hagler recalled how, after the ministers were arrested for praying on the steps of the Supreme Court, they were shackled and taken to federal court. From there, they were taken to the D.C. Central Cell Block. Hagler said he and the ministers prayed inside the lock up as some of the people locked up with them for other reasons joined. But as they were praying, the ministers realized just how rough the conditions in the Central Cell Block really are. “[It] is truly inhumane,” Hagler says. “It is filled with roaches and vermin. Thousands of men and women go through these conditions ever year and there is no way that we should be operating a facility with these deplorable and inhumane conditions.”

In a statement provided to City Paper, Deputy Mayor for Public Safety and Justice Kevin Donahue says that “while the Central Cell Rev. Graylan Hagler

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SPORTS

Bobby Beathard, the local NFL team’s former Super Bowl winning general manager, did things his own way. And on Saturday, he’s being inducted into the Pro Football Hall of Fame. washingtoncitypaper.com/sports

Major League Impact

COURTSEY OF MAMIE JOHNSON LITTLE LEAGUE

Mamie Johnson Little League is the first predominantly black baseball team to win the D.C. championship.

By Kelyn Soong It started with a commercial. Chicago Bulls games were an inescapable part of Langston Speed’s childhood, and while watching a television broadcast of his favorite basketb a l l tea m at age 3, an ad for the Chicago White Sox’s summer camp aired.

Speed was transfixed—by the players, by the leaping defensive catches in the outfield, by the home runs. Everything about this unfamiliar sport intrigued him, so he started watching baseball games, even as basketball dominated the conversations in the Speed household.

“I wouldn’t understand it but I would always watch it and I would always want to play,” says Speed, now 12.

But living in Southeast, D.C. meant there weren’t many opportunities to play baseball. Fields were scarce and young kids in the city lean toward football and basketball.

Instead of picking up a bat and glove, Speed dabbled in basketball, took karate lessons, and participated in the Fort Dupont Ice Arena’s “Kids on Ice” program.

Baseball would have to wait.

“It’s all [about] exposure,” says Speed’s father, Carlos, a Chicago native. “The reason why the African-American community gravitates to basketball and football is

baseball

because there are basketball courts all over city and football fields at school. You don’t have any baseball fields.”

On a cloudy Friday e ve n i n g at the Washington Nationals Youth Baseball Academy in late July, Speed slides feet first into home plate as Curtis Banks, one of his coaches, calls

him safe.

“Nah, he was out!” shouts 12-year-old Rocco Gilbert from shortstop. “Man, he was out.”

Speed doesn’t engage in the debate and calmly walks to the dugout, knowing he did his part.

This encounter unfolds at Speed and his teammates’ first practice since the Mamie Johnson Little League 12-and-under all-star team made history at the D.C. Little League championships a few days earlier. There, the team became the first predominantly African-American team to win the title.

Starting in 1986, teams from the District were able to earn a chance to advance through the Maryland State tournament in District 3. According to Little League, 1998 was the first year that D.C. sent a direct representative to regionals through its tournament.

The team, named after Mamie “Peanut” Johnson, the first female pitcher in the Negro Leagues, who died last year at 82, beat Capitol Hill Little League, 14-7, to advance to play in the Little League Mid-Atlantic Region tournament, taking place in Bristol, Connecticut, from August 5 to August 11. A pregame send-off ceremony for Mamie Johnson Little League will be held at Nationals Park before the team leaves.

“It’s been a whirlwind,” says Keith Barnes, president and founder of the team. “I mean it’s been just amazing, just

8 august 3, 2018 washingtoncitypaper.com

the support from the community has been awesome.”

The 46-year-old from Richmond, Virginia’s North Side played on an all-black Little League team at Battery Park near his hometown and also competed for Virginia State University. He keeps an old photo of him and his teammates from the Battery Park Vikings on his phone, which he proudly shares.

“It meant the world to me,” Barnes says of playing in youth baseball. “Some of us have become lifelong friends.”

Barnes started Mamie Johnson Little League in the spring of 2015. He wanted to bring competitive baseball to kids living in Ward 7. Since launching, the team has partnered with the Nationals Youth Baseball Academy, an 18,000-square-foot education and baseball facility that opened in 2014. It uses the academy’s facilities for practices and games, and several of the players on the team, like Speed, only started playing the sport shortly after the academy was completed.

“That was not a coincidence,” says Tal Alter, the academy’s executive director.

“This was a strategic opportunity that Keith saw and we partnered with him from Day 1.

The majority of the boys in league are attending programs at the academy throughout the year.”

“These opportunities are plenty in our city but not in certain parts of it,” he continues, “and those neighborhoods are predominantly African-American.”

According to research by Mark Armour and Daniel R. Levitt from the Society of American Baseball Research, AfricanAmericans made up about 7 percent of Major League Baseball players in 2016, down from the peak of approximately 18 percent from the mid-1970s to the late ’80s.

This is not surprising to the those involved in Mamie Johnson Little League. Whenever the team travels, the players notice that very few of their opponents look like them.

Once while out for lunch with the team, 12-year-old Joshua Young, an outfielder for Mamie Johnson, says a waitress asked him if he played basketball or football.

“No,” Young replied. “I play baseball.”

Because of the racial makeup of the team and the fact that it only started four seasons ago, coaches, parents, and players believe that the group is overlooked on the field. Opposing teams would sometimes play their worst pitcher, says 14-year-old Amir Makle, who was a member of last year’s 12-andunder all-star team that made the District’s championship game.

Makle, whose younger brother, Ian, is on this year’s team, started playing organized baseball when he was 8. He competed for Northwest Washington Little League before Mamie Johnson and is blunt about why he thinks people sometimes underestimate them.

“Cause we’re a bunch of black kids playing baseball,” Makle says.

Head coach Raphael Lockett understands what other coaches may see. His team can be sloppy at times. Mamie Johnson went 1-3 and allowed 31 runs in the round robin stage before upsetting topseeded Capitol City Little League in the semifinals.

But he agrees that the team’s racial makeup largely drives outside doubts. “When the lights come on, these kids are competitors, and they’re ready to play,” says Lockett, a 35-year-old former Division 1 baseball player at Mississippi’s Jackson State University.

During practice, Speed’s father, Carlos, and Jeris Taylor, whose son Dejuan is also on the team, watch from behind the cage in the dugout as rain begins to fall. Neither parent played baseball growing up and their kids have made them appreciate the sport.

“To be quite honest, aside from practices and the games, it still took me a long time to get into it as a fan,” Carlos says. “Just me sitting and watching his games and practices has helped me understand the game at a much deeper level.”

When Speed first started playing baseball four years ago, he was confused by how few black kids were on the teams. He didn’t really know how to feel. But after winning the D.C. championship with his teammates, almost all of whom are African-American, Speed understands the significance, and what their presence means for the sport he loves.

“I have a little more pride in myself,” he says at the end of the two-hour practice. “It gives me a reason to want to play. It gives me a reason to help the sport by playing and participating as where I’m from and my skin color.”

CP

Gear Prudence Gear Prudence: I have a dilemma and my love life hangs in the balance. I’m a serious cyclist and my favorite picture of myself was taken during a ride when I was wearing a helmet and sunglasses. Can I use it as a profile pic on a dating app? Anyone I date needs to know I ride a lot, but at the same time, you can’t really see my face or hair that well.

—Today: I Need Dates. Everyday: Rides

D.C.’s awesomest events calendar.

StreetSense StreetSense

Dear TINDER: In the fickle, lookist world of dating apps, your profile pic is probably your best/only chance to make a positive impression. While a helmeted shot conveys your love of bikes and cranial safety, it really does obscure your features. Even in bike mad D.C., many people don’t accept as given that all cyclists are amazing prospective partners and still insist on knowing tiny superficial details about them, like what their faces look like.

You’ll need to use something different.

If your passion for cycling is at the core of your being, other parts of your profile will prove this while still allowing a sea of strangers to make snap judgments on your overall attractiveness and suitability for sex on the basis of one picture. Maybe put your favorite gear ratio or components gruppo in your bio. This will be alluring to diehards, but not disqualifying to everyone else.

In the meantime, diagnose why this one picture might be your favorite. If you can reasonably recapture a similar look sans accoutrement, your problem is solved. —GP

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Educating the public and empowering the homeless one newspaper at a time.

Gear Prudence: I know I’m supposed to keep air in my bike tires, but I never know how much. I pretty much just pump them up every few weeks. This seems very unscientific and I feel like I’m doing it wrong.

What’s the right way of knowing how much air your tires need?

—Pump Sometimes? Inevitably Dear PSI: Squeeze them. There should be the slightest give, but if you’re able to decompress the tire more than a small amount, give them more air. This isn’t scientific, and there are better approaches that involve things like Boyle’s Law and other junk that you’ve struggled to forget since high school, but this’ll do.

Most tires have a PSI range printed on the sidewall and you’re urged by tire makers and Big Pressure to keep your tires inflated within those ranges. For this, you’d need access to a pump with a built-in pressure gauge. (Most floor pumps have one.) As a general rule, skinnier tires require higher pressure than fatter tires.

Also, riding off-road, on bumpy or ruddy terrain, or in wet/snowy/slick conditions benefits from lower pressure than you’d typically want on regular roads.

Precision is less important than making sure your tires don’t get too deflated. This makes them more susceptible to flats, so remain regular and diligent with your pumping. —GP

StreetS

StreetSense

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Balcony Sce

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enes “I am bIg. It was the pIctures that got small.”

— Norma DesmoND (glorIa swaNsoN) IN SunSet

The Robert K. Headley Theater Collection

Boulevard, 1949.

On a Saturday night in July, I took a stroll up connecticut avenue Nw to the uptown theater to see a 10:30 p.m. screening of ant-Man and the Wasp, then the No. 1 movie in america, in its second weekend. where better to take in the latest adventure by the marvel universe’s smallest hero than on what was once the city’s largest commercial movie screen?

I counted 11 people in the audience, about the same number I remembered counting when I’d bought a ticket for the 40th anniversary rerelease of Close encounters of the third Kind last November. when I attended a screening of ali during its brief return to theaters after muhammad ali’s death in 2016, the crowd didn’t even break double digits. when I thought about it, I realized my most recent memory of being in a more-than-half-full uptown audience was for a saturday matinee of Gravity in 2013. the last time I’d stood in a long line stretching south down connecticut avenue waiting to for the uptown’s doors to open—a custom that once attended the release of every new blockbuster—was for Iron Man 3, half a year before that.

I’ve noticed other changes, too. the number of beloved old films like Close encounters being shown at the theater where I’d caught re-releases of vertigo, touch of evil, and Blade runner, among others, seems to have dropped off precipitously in recent years. and when it came to the kinds of big blockbusters that bring out armies of cosplayers on opening night, the lockheed martin ImaX theater at the National air and space museum has replaced the uptown as my go-to venue for Star Wars and marvel films, or christopher Nolan joints, or the latest Mission: Impossi-

David Grosso

82 years of space odysseys and long lines at the uptown theater

By Chris Klimek

ble. basically, anything that demanded to be experienced on the biggest screen available.

For at least 40 years—specifically, the span between the release of 2001: a Space odyssey in 1968 and the dark Knight in 2008—the uptown owned that business for washingtonians.

It had been my favorite place for “event” movies ever since I’d ventured from the suburbs as a kid to see the 1993 extended cut of the abyss, James cameron’s lone box office flop. what happened? the uptown opened on the evening of october 29, 1936, showing the clark gable and marion Davies-headlined musical Cain and Mabel. It wasn’t the city’s only movie palace back then. but for more than 30 years, it’s been the only one left—the only one with a balcony at any rate. Just across the border in silver spring, there’s the american Film Institute’s silver theatre, a beautiful venue that initially opened in 1938, closed in 1985, and was refurbished and reopened by the aFI as a cinephile’s temple in 2003. that was where I’d gone to see lawrence of arabia, all 222 glorious minutes of it, on a labor Day several years ago, and where I’d gone for 70mm presentations of new releases like the Hateful eight and Phantom thread.

In earlier times, the uptown would’ve shown those movies. In 1956, it was renovated as a venue for the new, high resolution 70mm todd-ao format, one of many novelties the film industry introduced to try to beat back the emerging threat of television. a second, more extensive remodeling six years later gutted the theater’s interior to allow for the adoption of the even-wider-screen three-projector cinerama format, which included the installation of an 85-foot-wide wraparound screen. this revamp reduced its seating capacity from 1,364 to 964. but it brought the uptown to national prominence as a world-class movie house, one that hosted the world premieres of 2001: a Space odyssey and Jurassic Park. It was one of the first 32 theaters in the world to get Star Wars on its day-of release, may 25, 1977. (For context, last may’s Star Wars movie, Solo, opened on more than 4,300 screens.) as initially the only place in the region you could see Star Wars, and then, months later, the only place you could see it in 70mm, the uptown earned a reputation as the region’s most desirable venue for blockbusters. this reputation was undiminished as recently as a decade ago, when I joined a soldout crowd of rabid nerds for the first public

screening of the dark Knight at 12:01 a.m. on July 18, 2008. the surrender of its film projectors in favor of a fully digital system in 2010, combined with the the air and space museum making its giant ImaX screen, once reserved for documentaries, available for general-release commercial movies, seemed to imperil the uptown’s dominance. (because the uptown is no longer equipped to project 70mm movies, last month’s 50th anniversary screenings of 2001 were at the aFI. It’s like even the uptown’s history is being taken away.)

In 1996, cineplex odeon, who bought the theater along with several others from local entrepreneurs Jim and ted pedas in 1988, gave the interior its most recent makeover, installing the high-backed seats that remain there today. the uptown reopened on october 9, 1996 with a restored print of alfred hitchcock’s vertigo. this pointed to the theater’s dual identity as both a blockbuster venue and a firstrate revival house catering to cinephiles. but with more modern theaters offering amenities like recliner seats, reserved seating, and higher-quality concessions (including alcoholic drinks), and the aFI hosting revival screenings year-round, both those identities are imperiled.

I asked a number of currently or formerly washington-dwelling journalists, cinephiles, and preservationists to share their memories of the city’s premier movie palace, many more than those whose comments we’ve been able to include here. their remarks have been condensed for clarity.

Bob Mondello Former theater chain publicist, nPr arts critic, 1984–present back when I was growing up, theaters tended to be 600 seats and more, because they were all singles. It was a model that worked for the 1940s and ’50s until television came along.

You’ve got smaller audiences midweek and all of a sudden you were playing to, like, 10 people in a place that seated 600. so it made sense to carve them up into multiplexes, and you’d get 10 people at each of the four movies. the uptown was the grandest house left after you got rid of the downtown houses that were down around 14th street and e. so you had loewe’s palace and the rKo Keith’s and the trans-lux. and those were big ornate palaces and it was like our broadway, if

you had a broadway for film. and the uptown was uptown. It was further out, and it would have just been another suburban theater until they turned it into cinerama. and when they did the cinerama screen it became one of the prestige houses in the country. that’s why they opened 2001: a Space odyssey there rather than in New York. because it was just a great house. we went to the uptown to see How the West Was Won in cinerama because it was this experience. [cinerama] was three separate pictures; you could see the dividing lines. when I saw it, I remember one of the screens went dark. You had three different projectors doing this thing. and when it went dark, the three projectionists had to shut down the three projectors and then line everything up and figure out how to re-sync them. the process took maybe a half an hour. but it was great. It was amazing.

Arch Campbell nBC4 movie critic 1974–2006, aBC7 critic 2007–2015, co-host of at the Movies with arch and ann podcast with ann Hornaday and Marc Sterne I think even today, the good feeling people have for the uptown goes back to Star Wars because that’s where everybody saw it. It was the only theater that ran it. they would run a movie for a year or longer before there was streaming and Vhs and all that stuff. once Star Wars hit, every summer there was a big movie and the uptown got into sort of a contest with the cinema theatre, which was across the street from channel 5 on wisconsin avenue. It’s a health club now. anyway, the cinema got the empire Strikes Back [in may 1980]. but the uptown got alien [in may 1979] and so then every summer there’d be a back and forth as to who had the biggest movie. and over time the uptown just became the place, because the screen is so big and the theater is so big. they started having all these premieres at the uptown. one I remember is dances With Wolves. Kevin costner came, and mary macDonald. they had the premiere in washington because I think the american Indian museum had just opened. [editor’s note: In fact, the screening was a benefit for the museum, which at the time was projected to open in 1998. It eventually opened in 2004.] so they start the mov-

washingtoncitypaper.com august 3, 2018 11

Courtesy Erik Janniche

Debbie Reynolds & Carrie Fisher at the Star Wars Episode III: Revenge of The Sith charity premiere, May 12, 2005 ie and they get into the second reel and all of a sudden the reel stops. what had happened is orion pictures had said, “we insist that you put a new bulb in the projector.” and the projectionist said, “that’s a bad idea. often new bulbs blow out, whereas one that’s been broken in will play for a long time.” they said, “No, you’ve got to have a new bulb.” sure enough, the bulb on the projector blew. costner and all these people run up to the projection booth. the poor projectionist can’t get the burst bulb out because it’s about a million degrees. they’re screaming and yelling. and finally the guy gets a new bulb in and he’s so rattled that he puts the wrong reel on. as it turned out, dances With Wolves won the oscar and was one of the best movies of the year. the other big premiere I went to at the uptown was the one for dick tracy, when warren beatty was dating madonna. so beatty and madonna came to the uptown, and madonna had a documentary crew following her for what became truth or dare. You see a shot of me in the movie waving the channel 4 microphone, mouthing the words “madonna! come talk to me!”

I must have covered two dozen premieres.

they used to have them all the time, especially when Jack Valenti was running the mpaa. that was his way of of juicing congressmen and senators.

rolled; they didn’t have to borrow money. they were scooping up the neighborhood theaters. everybody was being squeezed. we knew then that it was inevitable [we would sell].

Ted Pedas owned the uptown with his brother, Jim Pedas, as part of their Circle theatres chain between 1978 and 1988

Henry Rollins Musician, author, spoken-word artist, radio and tv host

It was the most fun time ever. It was a sweet spot, nothing like what the theater business is today. little independents could start out and compete against the big guys. the uptown, when we acquired it, was for event films. these are the real blockbusters that would only open in five markets in the u.s. and canada: toronto, New York, D.c., chicago, and l.a. those five screens had to be available if you wanted to launch a big movie in those days. there was a lot of power in a theater like the uptown. and there was a great demand for a theater with a lot of seats.

[In the late ’80s,] the film companies were all financing and acquiring theaters. they had all this cash they were supplying to cineplex odeon and some others. they were bank-

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I went to school with george pedas. his dad owned or partially owned the uptown. george was one of those guys: super nice and, like me, not a great student, but just a really good guy. we were on the same school bus every day so I knew george from like seventh grade to graduation. that was my initial connection to the uptown: I went to school with george.

I saw Star Wars’ first run there, in may 1977.

It was just where that film was being shown. I was told it premiered there because of something having to do with the screen size, or it just being a place that could really accommodate the hugeness of that film. that could all be a bunch of b.s., but I do remember seeing Star Wars there and it was cool.

I don’t know if I ever met george’s dad, nor was I ever given free tickets. however, I did

get into that theater more than once for free, because if you go down—and this is 100 years ago; this is the carter administration—but if you go down the far right aisle, keep on going beyond the screen. there’s a door to the back parking lot. one guy would pay the three dollars to get in, walk back there, pop the door and all his dumbass friends (me) would pile in. there’s no usher; there’s nobody in authority there to bust you. I can’t remember which films I saw for free there but I’m thinking maybe animal House? It was maybe a total of three films I saw for free, basically by breaking in.

Scott Mueller Cinephile and film lab worker In 1990, around November or December, the uptown had the exclusive screenings of dances With Wolves. I’m sure there was some article in Premiere magazine about it. It was three hours long, and in my mind I was like, “oh this is like an old hollywood epic.” so I was like, “I really need to go to the uptown to see this.” so we go in, and I’m like, “wow this is like an old school movie theater.” and then I see

Darrow Montgomery

the sign: thIs waY to the balcoNY. and I was, like, “there’s a balcony?”

I was really swept up in this theater that was like that kind of movie palace that I would read about, or I would see in a movie like radio days or the Purple rose of Cairo or some movie set in the past. ’96 was the year I started going to the uptown hardcore. on July 4th weekend, they were open 24 hours a day, just running Independence day continuously. up until then, my experience had been going to matinees to see dances With Wolves or the Player or twelve Monkeys. arty movies. Nothing with big lines.

You’d arrive pretty close to showtime, and just buy your ticket and go in. but now I was well into my teenage years, so I was like, “hey, there’s a one o’clock show! let’s go see a movie at one in the morning!” so we roll up at probably 11:30, and it was just pandemonium. the line. people just hanging around. News crews. and they’re completely sold out. the only tickets left are for the 4 a.m. screening. this is the moment that separates the true film geeks. so half of us are like, “I’m not seeing a movie at four o’clock in the morning!” but I bought a ticket and a couple of my friends did, too.

It was almost like a rock concert. the movie was over at like 6:30 in the morning. It was the only time I’ve ever gone into a movie theater at night and come out into the sunlight. I remember a news crew coming to me and saying, “hey, what’d you think?” I had one friend who was kind of skeptical about it, and I was like, “what are you talking about? that was the greatest movie ever!” It finally clicked that I could see these movies at my mall theater, but it’s not going to have that same energy. we went there opening night for the thin red line, four of us, and it was so packed we each had to find individual seats. I went up to the balcony, my usual spot. we were rabid terrence malick fans, but I could tell most of the people there were not. the thin red line came out the same year as Saving Private ryan, which was a huge hit, and I think this crowd was expecting a similarly action packed, starstudded world war II movie. and maybe 30 or 45 minutes in, I notice the audience getting restless. this is pre-cell phone, but everyone had those watches with the green leD light-up face. and after half an hour, from the balcony, I can see people wiggling, and then I start noticing the green lights from those watches go-

ing on. and an hour and a half in, the lights are increasing. and by two hours into the movie, the uptown was a sea of people checking their watches. afterwards, my friends and I were all, “that was great! malick, back on form! Very poetic!” and everyone else was saying, “what a boring piece of shit!”

In 1997, GeorGe lucas rereleased the three films of the star wars trilogy in January, February, and March—with digital alterations that made some fans livid—as a way of building interest for the star wars prequels that would go into production later that year. In May 1999, star wars: episode I—the phantom menace arrived, to monumental levels of hype.

Meredith Bragg director, waiting for Jar Jar, a 28-minute documentary about fans camped out on Connecticut avenue nW awaiting the opening of star wars: the phantom menace If you were a diehard fan, and you wanted to go see Star Wars on opening day, the uptown was where you wanted to be.

Erik Janniche Washington, d.C. line coordinator for star wars: the phantom menace, 1999 In 1997, the Star Wars special editions came out. and I was watching tV one night, on the local news, and they showed a group of people who were lining up and camping out to see Star Wars down at the uptown. and the light bulb went on over my head. I was born in ’71. I was 6-and-a-half when Star Wars came out. when I saw the people camping out on the sidewalk at the uptown, I looked at my sister and said, “lisa, you’ve got to drive me down there.” I was already married, but my wife was in bed. so I got down there after midnight, and I slept on the sidewalk in a sleeping bag to see the first show of the Star Wars special edition that following morning at 10 a.m. so when the prequels were coming out two years later, I’d already established that the uptown was the place to see it. there was these groups out in california at mann’s chinese theater that we’re doing these like massively long campouts for episode I, camping out like a month. sotheysetuptheseonlineforumsforothercities

washingtoncitypaper.com august 3, 2018 13

Meredith Bragg Iwenttothatneighborhoodassociationmeeting and I shot all of that. that was two hours and then it only made a brief blip in the film.

Erik Janniche I had to go to a town hall meeting. they were pretty cool about it. they just wanted to make sure we didn’t trash the place. I would definitely deem it a success. we never had any major problems. everyone quickly realized that we’re getting a lot of media coverage. the businesses along the street there were supporting us. they would bring us food and stuff. they wanted to use us as advertisers, basically. so the community quickly realized we weren’t that much of an annoyance. we were cognizant that we had to behave. we weren’t acting like idiots.

Scott Mueller thecrowdenergyfor [2005’s]revengeoftheSith, maybe just because everyone knew it was going to be allover after this, was alot higher. while we were waiting for the show to begin, a giant, nerdy lightsaberbattleoccurredinfrontofthescreen.everybody in jedi robes, everybody who had lightsabers, went up front and started this lightsaber battle that probably lasted five minutes. I don’t remember a lightsaber battle before the Phantom Menace or attack of the Clones. and it was varying degrees of authenticity,frompeoplewithprofessionallookinglightsabersondown.andsomebodyhadbeenpassingout thesecheeriosgeneralmillsfreelightsaberspoons that lit up. so as the battle is raging, somebody gets in the center of it and then unsheathed the glowing lightsaber spoon. that pretty much broke up the lightsaber battle.

In 2010, the uptown installed a digital projection system, bringing an end to its ability to show 70mm celluloid film.

Scott Mueller post-avatar, theaters were starting to convert to digital. I knew it was only a matter of time that was going to happen at the uptown. the first mov-

Darrow Montgomery

to do campouts. I think it was counting Down dot comorsomething.anyway,theuptownisthecoolest theater—the most historic, the most iconic.and they have this huge sidewalk for the line.

If you’ve never been there before, you’re kinda taken aback at first. when the curtains open, they just never stop opening. they keep going and going and going. and the sound system was state of the art back in the ’90s. Now every theater has an awesome sound system. the special editions came out in the winter and early spring, so there weren’t nearly as many people camping out for those, because it was freezing. but the theater manager would still tell us, “people are getting upset.” the cops would come by and remind us to keep the noise down. so we knew going in to the campout for episode I that we had to get ahead of the issue, so the cleveland park folks wouldn’t instantly be trying to kick us off the sidewalk. ie that the uptown was going to show digitally was tron: legacy. when it started, my heart sunk. I’m a film purist, but I realize that this is a commercial theater. part of me wishes they’d kept the projectors so they could still show film. their booth is big enough where they could have done that. but it was a poor experience. the focus was soft. the 3D didn’t look that great. but the heartbreaking thing to me was that this huge curved screen, because of the limitations of the digital projection, the image couldn’t fill out the entire screen. so the presentation is not what it once was.

I did see the Force awakens at the uptown opening night. It was fun, but then the next day we went to go see it again at the air and space museum.

Gary Arnold washington post film critic, 1969–1984, washington times film critic, 1989–2009 one of the most memorable events there for us as a family was the premiere of Superman there, which must must have been I guess it was either at the end of November or early December of 1978 [editor’s note: Some other sources remember superman premiering at the Kennedy Center]. our third daughter had been born on october 14th, esther, and we had two older girls. pauline was 7 and Jane was 4. we sat in the last row the uptown on the lefthand side. my wife was nursing esther at the time, and weren’t really sure if this was going to work out. the whole prologue, as you remember, as Krypton is dying, is full of shrill sound effects. so the baby was startled by that on a couple of occasions. the director, richardDonner,wasstandingatthatdoor at the back of the auditorium. on two or three occasionsheservedasadoormanasmywifeduckedout of the auditorium into the lobby. he was very gallant all evening long. we loved the movie.

I always sort of wish that it would be feasible for the management to spend maybe a couple of summer weeks or some time in what might be the kind ofslackseasonandrevivea lotofthelargescaleolder movies there. You know, the aFI theater does it I think annually with lawrence of arabia and Spartacus. I think the uptown would be an ideal place for that if there’s still a decent 70 millimeter print around.

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Amy Argetsinger washington post Style section editor, reliable Source columnist, 2005–2013 It’s such a vivid, tactile experience going there.

Just the carpet in the lobbies and the fact that there’s an upstairs. the ladies room is kind of this somewhatoversizedone,withartdecotouches,andthen the theater itself is so grand, and yet the seats are so lousy! there were a couple of premieres there, and they’re all weird movies that you wouldn’t think of as being uptown movies. I saw [2007’s] lions for lambs. tom cruise and Katie holmes were there.

You can see why people are drawn to that area because it’s this grand space that looks like a movie theater, which most movie theaters in washington don’t look like anymore. even people who aren’t cinephiles revere the uptown as a specimen of art deco architecture. In 2017, aMC theatres, which acquired the uptown when it merged with loews in 2005, announced plans to replace the cinema’s distinctive red neon sign with one bearing the aMC logo. a small tempest ensued.

Carin Ruff director, Cleveland Park Historical Society there’s a ton of discussion about the economic health of our little cleveland park part of the connecticut avenue Nw corridor all the time. the discussion about the service lane never ends. everybody panics every time a restaurant closes. theuptown,inrecentyears,hasnotbeenamatter of concern until the issue of the sign came up.

It’s always been the kind of art deco anchor of the street, and all of the conversation focuses on the other side of the street. the uptown just sits there as the grand Dame of our little bit of connecticut avenue Nw. sowehadtheuptownastheanchorofthisinteresting late ’20s early ’30s historic area, but it hadn’t beenthekindofthingwhereallthepreservationists rush in and feel like they have something to galvanize about, until the question of possibly replacing thesigncameupafewmonthsago.wewereallsur-

prised by the strength of feeling. people who can’t agreeaboutanythingaboutclevelandparkallsaid, “oh my god, the uptown sign! we have to save the uptown sign! It’s an icon.” sothatwasheartening.everybodylovestheuptown sign! and I think it made those of us who are preservation focused think, “a-ha! we don’t just have a reliable large building that happens to be a movie theater. we actually have a kind of design icon here.” If everybody is so invested in that sign, which is very much part of the kind of period design of the building,then that’ssomething thatwe could capitalize on. we had a presentation from the sign company that amc has retained to actually do the work. and theytheydidsomedetailedinvestigationofthefeasibility of saving the current uptown sign. the original proposal was to get rid of the word “uptown,” andthat’swhatmadeeverybodyfreakout. sothat’s not happening. It will still say “uptown,” it will still be red.

I think the members of the committee generally went into the meeting thinking, “No you cannot replace the sign; you have to repair the sign. but those letters are anchored into the facade with iron rods, which have rusted and are in danger of falling onto the street. those letters could physically come down and each of them is 4 feet tall. so we came away convinced that replication in leD is a reasonable way to proceed. a less thrilling addition is that amc wants to put 2-foot high, similar looking red freestanding red letters on top of the marquee that say “amc.” amc actually applied to put three of them, one on each side of the marquee. our committee said one would be sufficient, thank you very much. amc is very concerned with their own branding. honestly, I think hell will freeze over before anybody says, “I’m going to go to the amc to see a blockbuster movie!” No, I’m going to the uptown. I don’t think anybodyreally careswhoownsmovie theaters.but amc thinks people care who owns the theaters. so they want their branding up there.

Michael O’Sullivan washington post film and arts critic, 1993–present I remember going there last in 2011 for the finale of the Harry Potter movie series, the deathly Hallows, Part 2. It’s always been known as kind of like an event theater. every so often you get these lines around the block for something like a Harry Potter. my son was 10 or 11 then.so we stood in line and on the sidewalk for like two hours, there were all these people in harry potter costumes and wizard costumes and that’s part of the fun of it. some of [D.c.’s former movie palaces] are still around, and the ghosts of their past as a movie theaterhauntsthem.Ifyouvisitthemforwhateverreason you can kind of hear those ghosts. I guess I’m bracing myself for that to happen to the uptown. sometime in my lifetime it will become something other than what it is. maybe not. I hope not. but I’m preparing myself for that eventuality because market forces seem to be pushing things in that direction.

CP the author of this story gratefully acknowledges the contributions of robert K. Headley’s book motion picture exhibition in washington, D.c. a new book, movie theatres of washington, D.c., by Headley and Pat Padua, will be published by arcadia

Laura Hayes

DCFEED

Mirabelle reopens on Aug. 7 with a new chef and new menu. While still FrenchAmerican at its core, diners can expect to try dishes inspired by everywhere from New England to North Africa.

Settling the Score

Yelp now displays how well D.C. restaurants do on their health inspections, but the values may be based on old information.

By Laura Hayes

Darrow Montgomery

Placards displaying a restaurant’s grade are conspicuously posted for diners to see.

“Within two years there was a 13 percent reduction in [foodborne illness-related] hospitalizations,” Lowe says. “Ninety percent of of restaurants had A and B scores. It raised the bar in terms of upping people’s games.

Thousands of Americans die per year of foodborne illnesses they get in restaurants.”

The rating procedure District health inspectors employ isn’t as compatible with generating a single number from zero to 100. The Department of Health (DOH) utilizes the Food and Drug Administration’s system of tabulating violations in three categories: priority, priority foundation, and core. To help translate these results into something more meaningful to consumers, Yelp contracted with HD Scores, a private company that aggregates health inspection data.

“I’m not sure if I showed you the algorithm, you would understand it,” says HD Scores chief marketing officer Glynne Townsend.

“It takes a view of a restaurant over a two year period. A report from last Tuesday will have a stronger impact than one from nearly two years ago.” HD Scores’ system looks at how many critical versus non-critical violations a restaurant racks up and applies a number to them. Repeat offenses carry more weight.

To understand how the scoring system works in practice, City Paper chose a D.C. neighborhood—Georgetown—and sought out the highest and lowest health scores posted on Yelp thus far. Fine dining mainstay 1789 Restaurant, which just completed a 19-month renovation, came away with a perfect 100.

On the other side of the spectrum, Simply Banh Mi scored a 59. Health inspectors last evaluated the Vietnamese deli on Dec. 9, 2016, after a complaint was filed. They found

“You know what I think?” Matteo Russoniello says. “Yelp sucks anyway. Who really cares. Just losers go there.” The online review platform’s recent decision to publish restaurant health scores in more cities and states as a part of its Local Inspector Value-Entry Specification (LIVES) program has frustrated the general manager of Il Canale. The program launched in 2013 in San Francisco and New York, and expanded to D.C. on July 24.

The move makes the already complicated relationship between restaurants and Yelp even more contentious.

Restaurant owners question the accuracy and fairness of the numbers, as well as the transparency of a process that can translate to dollars gained or lost.

Yelp aims to provide users with easy-to-digest numbers indicating how hygienic a restaurant is using existing government data.

YOUNG & HUNGRY

Yelp’s vice president for public policy, Luther Lowe, argues that health inspection reports on “.gov” websites are tough to access and can be rife with jargon. A simple score of between zero and 100 on a highly trafficked site, which had 155 million reviews posted as of March 2018, is more serviceable, he argues.

“There’s an incentive for health inspectors and restaurateurs to have esoteric language that keeps consumers out of the loop,” Lowe says. He isn’t confident that the average District resident could track down a restaurant’s most recent health inspection report. “Yelp is a proxy for consumers,” Lowe continues.

“We’re trying to give them a seat at the table.”

Lowe hopes the program lights a fire under bad actors who put diners in danger and points to Los Angeles as proof that demystifying health scores is beneficial. In the 1990s, the city implemented an A, B, C grading system for restaurants. A score of 70 to 80 points is a C, 80 to 90 is a B, and 90 to 100 is an A.

bonafide cause for concern: four priority violations, eight priority foundation violations, and six core violations. Violations that fall under the priority category are the most dangerous and are directly related to the elimination, prevention, or reduction of foodborne illnesses.

Some of the infractions tallied on Dec. 9 included dirty cutting boards, soup held at improper temperatures, visible rodent droppings, and no soap near the sink. As is customary, inspectors returned several days later on Dec. 12 and found that every complaint had been addressed.

Alison Reeves, a DOH spokesperson, confirms that Simply Banh Mi’s last inspection was in December 2016. “Due to a computer glitch, the re-inspection was not automatically assigned,” she says. “Now that it has been brought to our attention, we are now able to immediately correct the error.” She adds that DOH is working on implementing procedures that will prevent this oversight from reoccurring.

To determine how frequently a restaurant should be inspected, DOH assigns risk levels based on factors such as the menu and the inspection history. Risk level one locations receive one inspection per year and risk level two locations receive two per year and so on up to risk level five. Simply Banh Mi is a risk level two establishment, according to Reeves.

It should have had two inspections in 2017 and likely should have received one of its two 2018 evaluations by this point in the year.

As it stands now, the low health score rating of 59 for Simply Banh Mi is based on old information. The deli could have come a long way in 20 months. According to Yelp, the posting of hygiene scores on its site leads to a 12 percent decrease in purchase intentions for restaurants with poor scores.

“Yelp claims to be an advocate for my small business when they call me for money and yet this act seems to be in direct contradiction to that claim,” says Simply Banh Mi co-owner John Tran. “We’ve made mistakes in the past and to highlight those past shortcomings is obviously detrimental. We can only hope that the public will accept our apologies for the

washingtoncitypaper.com august 3, 2018 15

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DCFEED mistakes we’ve made in starting our business.”

City Paper contacted Yelp, DOH, and Simply Banh Mi last week when Simply Banh Mi’s health score was 59. As of July 31, the score had increased to 65, despite the fact that no new health inspection date had been posted on the DOH website. The most recent inspection date is still from December 2016.

Yelp VP Lowe says he sympathizes with Simply Banh Mi. “The restaurant is hurt by this,” he says. “They don’t feel it’s fair because it was a while back. That’s a reasonable complaint.”

But he pins the blame on DOH, not his employer. “I can’t believe you have a restaurant that hasn’t been inspected in almost two years,” Lowe says. “This is as embarrassing for the city as it is for the restaurant.” He hopes the health scores on Yelp play a role in holding both restaurants and the city accountable.

“We knew this would be disruptive, but that’s sort of the point.”

The Restaurant Association of Metropolitan Washington is displeased with the local rollout of the LIVES program. Restaurant owners wanted more notice, according to RAMW CEO Kathy Hollinger. “We could have given our folks a heads up over what could create a disturbance in the market locally,” she says.

“That wasn’t done.”

Hollinger points out that Yelp just opened a 52,000-square-foot office in downtown D.C. “It’s not a great way to enter our market,” she says. “It does not create much goodwill within the restaurant community.”

Lowe expected this response. “We know what the unanimous view of the trade associations are,” Lowe explains. “They empower and protect restaurant owners. We exist to empower and protect consumers. There’s always going to be tension.”

Hollinger argues that giving health inspection results greater visibility yields unintended consequences. “It pits one restaurant over another in terms of creating these wars in an already very competitive landscape,” she says.

Take Il Canale and Flavio, next-door neighbors on 31st Street NW, for example. Il Canale’s Russoniello was surprised to learn the Italian restaurant he manages has a score of 66 on Yelp. Most scores in the neighborhood hover between 80 and 90. “You can see through our kitchen,” he says. “It’s hard to hide dirt.”

He wonders why Flavio deserves its score of 84. “The last three reviews say people left because there were rats inside,” Russoniello says. Three recent reviews of Flavio mention vermin. Yelp users Shanna G. and Kristy W. wrote about seeing cockroaches there this month and Ashley P. talks about a rat in the rafters in her June 25 review. The only recent review of Il Canale that mentions critters is from June 2016. Incidents described by diners aren’t verified and don’t factor into a res-

taurant’s health score.

Both Il Canale owner Giuseppe “Joe” Farruggio and Russoniello are concerned about Yelp’s motivations and ethics. “Yelp sells advertisements,” Farruggio says. “They’re helping the people that pay them. We don’t spend any money.” “What they’re looking for is advertising—they added this feature just to draw people’s attention,” Russoniello adds.

Lowe refutes claims that Yelp is a pay-forplay site and that the intention of the LIVES program is to increase traffic, making the site more tempting to advertisers. “This is the anti-vaxxer, Pizzagate-level conspiracy that that has been debunked six ways from Sunday,” he says. “There has never been any amount of money people can pay to monkey with their ratings or reviews on Yelp.”

He believes that whatever additional traffic Yelp receives from introducing health scores will be marginal. “We’re already a heavily trafficked site,” Lowe says. “We want to make sure that all traffic coming in gets useful, actionable information.”

Some frequent Yelp users are confused and concerned about health data as well. Several individuals City Paper interviewed assumed the health scores were crowd-sourced like the rest of the site’s content. Clicking on the blue text that reads “health score” opens a new window with more information, but it’s unlikely everyone will click through.

Yelp user Paige F. worries the health grades will give new restaurants another leg up on older establishments. While she says she plans to look at the health scores before dining out, she will take them with a grain of salt. “I’d want to take a look back to how updated the records are,” she says.

Michael De Dora, another avid Yelp user, believes the site is well intentioned in providing consumers with more information, but feels there are some shortcomings—most notably that HD Scores isn’t being fully transparent about its score-tabulating algorithm.

“What we do know suggests there are some deficiencies,” De Dora says, referring to the fact that some scores are based on health inspections that are more than a year old. “Maybe certain restaurants should get a period where they don’t get scored for their health because there hasn’t been a recent inspection.” Otherwise, he worries, it could hurt a lot of businesses that worked to improve over the past one to two years.

“Yelp is providing restaurants with a free service. They should be thankful for that,” De Dora continues. “But [Yelp has] a responsibility to make sure what they’re providing is accurate.”

CP Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com.

DCFEED

what we ate this week: Khao Need Mamuang with mango, blue butterfly pea flower sweet rice, coconut cream, and Jacobsen salt, $10, Doi Moi. Satisfaction level: 5 out of 5.

Grazer

what we’ll eat next week: Vermont burrata with grilled local peaches, dandelion, and anchovy, $15, Garrison.

Excitement level: 4 out of 5.

Stark Raving Mad

’Top of theHour

Sheila Fain, Co-owner Gordy’s Pickle Jar Sheila Fain and her wife and business partner Sarah Gordon are expecting a baby boy in November. She faced five weeks of morn-

Victoria had a lot on her plate in the fall of 2016. “I opened the T Street store a month before Zoey was born,” she says, referring to her daughter. “I was full-on pregnant. I craved sweets but not ice cream.” But her

jamón ibérico, which would have made it taste more like breakfast. Dubbed “The King,” this burrito is also a tribute to Elvis Presley. The Pelvis’ smiling mug adorns nearly two dozen collectible plates used to serve the culinary showstopper.

Are You Gonna Eat That?

What It Is: This regal roll-up marries surf and turf for the Michelin star set. Poca Madre chef and owner Victor Albisu tucks butter poached lobster, wagyu steak seared in dry-aged beef fat, tangy robiola cheese, risotto-grade rice, and refried black beans bolstered by truffles inside a flour tortilla. The finished product is sliced in half and crowned with luscious caviar.

The Story: Having spoiled locals with worldly tacos and tortas for years at his fast-casual phenomenon Taco Bamba, Albisu says it was time to kick

Poca Madre

Where to Get It: Poca Madre, 777 I St. NW; (202) 838-5300; pocamadredc.com

things up a notch. “At Taco Bamba we’ve always taken a hard anti-burrito stance, so we thought it would be funny to serve an over-the-top burrito next door,” he says. The burrito went through several iterations before Albisu settled on the recipe. Earlier versions included uni scrambled eggs and

Where: Burger Tap & Shake, 2200 Pennsylvania Ave. NW; (202) 587-6258; burgertapshake.com Hours: 3 p.m. to 6:30 p.m. Mondays through Fridays; 10 p.m. to 1 a.m. Mondays through Saturdays; all day Sunday Drink specials: $5 draft beers and ciders and $5 mixed drinks and glasses of wine Food specials: None during happy hour, but BTS serves a $10 combination of a basic burger, fries, and soda Mondays through Fridays from 11 a.m. to 3 p.m. and a $10 burger and beer combination nightly at 9:30 p.m.

Victoria Lai, Owner, Ice Cream Jubliee

The Dish: Burrito “The King” Price: $32

biggest need was between the bun. “I craved fruit juices and burgers. My employees even gave me a gift certificate to Five Guys.” Later on in her pregnancy Lai was all about late night peanut butter and jelly sandwiches, as well as pineapple and orange juice. “I’d grab a quart [of juice] from any grocery store and drink it in the car,” she says. “It was like sneaking a cigarette. I’m really edgy.” Lai has been experimenting with creating a playful pickle ice cream flavor at her shops, but hasn’t quite nailed it yet. “Maybe I’ll tinker a little bit more.”

Laura Hayes

ing sickness before any cravings could set in. “The best thing I can equate the feeling with is dealing with a hangover that comes and goes in waves,” she says. “During that time I was eating a ton of carbs.

My diet regressed. I was eating a lot of bagels and cream cheese and boxed mac and cheese.” After 14 weeks, she says she took to dairy, citrus, and melon. “Lately I’ve been craving briny and acidic foods like olives and certain pickles,” including her own.

“The whole ice cream thing is for real,” she continues. “I’m glad we live so close to Ice Cream Jubilee and Jeni’s Splendid Ice Creams.” When their son is born, Fain says she’s going to feed him a pickle as soon as he can handle solid foods. “I can’t wait to see his little puckerface.”

Courtesy Victoria Lai

Ball & Albanese

Pickles and ice cream, separate or combined, have long been a cliche pregnancy craving. One author is even making some money from Pickles and Ice Cream, a bizarre cravings cookbook for expectant mothers. To find out what some moms crave while growing babies, we asked a local ice cream maker and a local pickle producer.

—Laura Hayes

How to Eat It: In the battle royale for dominant taste, the sweet, succulent lobster meat outshines the tender steak. No mere beans and rice combo, the savory frijoles negros and plump grains enrobed in funky dairy fill each forkful with starchy goodness. The neatly shaved truffles, glossy caviar, and diced chives add pops of richness and freshness, respectively, while pinpricks of char peppered around the tortilla introduce some welcome smokiness.

—Warren Rojas

Pros: There are ample draft beer choices in a variety of styles, like the 3 Stars Peppercorn Saison, Allagash White, and Devil’s Backbone ERA Pale. Only a handful of selections carry an asterisk, signifying they’re exempted from happy hour pricing.

If you prefer something stronger, score a whiskey soda, gin and tonic, or other simple mixed drink for $5 as well. (Only discounted drafts are available during the all day happy hour on Sunday). Saving on beer frees up some dollars to snack on sweet potato fries ($3) or spring for a Southern Comfort burger ($8.50) with pimento cheese, a fried green tomato, vidalia onions, and bread and butter pickles.

Cons: You’ll be tempted to consume your $5 brews outside on the patio where there are picnic tables ideal for larger groups, but remember that BTS is around the corner from the George Washington University Hospital emergency room. Every time you hear a siren, you’ll be forced to pause your conversation and confront your own mortality. It’s also a bummer that happy hour ends so early and that there aren’t any bona fide food specials tied to happy hour.

—Laura Hayes

washingtoncitypaper.com august 3, 2018 17

THE THOMPSON TWINS’

Adrianna Hicks (Celie) and the North American tour cast of THE COLOR PURPLE. Photo by Matthew Murphy, 2017.

TOM BAILEY August 2, 2018, 8 p.m.

Iconic hits include “Hold Me Now,” “Doctor Doctor,” “You Take Me Up,” and “Love On Your Side.”

Tickets are $65/$50 Regular, $60/$45 Faulty & Staff, & $55/$40 Students w/ID

ROBERT E. PARILLA PERFORMING ARTS CENTER Montgomery College • 51 Mannakee St., Rockville, Maryland 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301

Now thru August 26 | Eisenhower Theater TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

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

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CPArts

Commedia dell’Art As one of D.C.’s biggest art museums looks back at the history of humor in art, one of the region’s best small galleries hosts what might be the best new local artwork of the year.

Sense of Humor

At the National Gallery of Art to Jan. 6, 2019

CMD+F

At Hemphill Fine Arts to Aug. 10

By Kriston Capps

and political assassinations.

As with reading The Canterbury Tales, it takes some training to get past the intimidating and formidable language barriers with these early etchings; but as with Chaucer, it is a revelation to discover so much baudy, rambunctious, even asinine humor in them.

A 1592 etching by Annibale Caracci shows a satyr trying to sneak a glance at Venus’ vulva as she sleeps; Cupid is hovering over her, protectively, and giving him the equivalent of the finger. Two-hundred years later, Jean-Honoré Fragonard was very much on the same tip with “The Armoire” (1778), an etching that shows a couple caught en flagrante in a wardrobe; the disheveled gentleman steps out with his hat over his member.

More sophisticated humor comes in the satire of William Hogarth and Honoré Daumier. The former’s “Strolling Actresses Dressing in a Barn” (1738) is a play within a play: a depiction of actors preparing a Roman drama that lambasts a law banning theater performed without a license. Daumier’s “Baissez le rideau, la farce est joée” (Lower the Curtain, the Farce is Over)” (1834) is far less subtle: He captures King Louis-Philippe as a corpulent clown.

The leap into the 20th century blows the show wide open, since fewer of these works require much hand-holding to understand.

Rupert García’s “No More O’ This Shit” (1969), a screenprint sendup of the black chef on the Cream O’ Wheat box, is more or less a meme. A few of these works are still cryptic. Richard Hamilton’s 1968 “The critic laughs”—a photo of a Braun electric toothbrush with a denture affixed where the replaceable toothbrush head belongs, a dapple of abstract acrylic applied to the photo surface—is

“Dearest art ColleCtor,” reads the winking salutation in a letter hanging in the National Gallery of Art. “It has come to our attention that your collection, like most, does not contain enough art by women.” Paragraph break. “We know that you feel terrible about this and will rectify the situation immediately.” And then the complimentary close. “All our love, Guerrilla Girls.”

That letter—a lithograph, in fact, although one with a frowny-face flower serving as a letterhead—was meant as searing when the Guerrilla Girls issued it in 1968. Half a century later, it’s an entry in the National Gallery’s show on humor. The joke’s on them, or maybe the museum, or maybe all of us, since the National Gallery’s record of showing work by women artists is abysmal. At least the museum can laugh about it?

Sense of Humor, a summer survey of the permanent collection now on view in the West Building, searches for laughs as far back as the 15th century. The show explores the evolution of comedy in fine art, from etchings by Pieter Bruegel the Elder to comics by R. Crumb. It is above all a drawing show, and while on first glance it might look conservative—a practical overview of the evolution of a genre within works on paper—the pieces themselves are full of piss and vinegar.

A collaborative effort by three National Gallery curators (Jonathan Bober, Judith Brodie, and Stacey Sell), Sense of Humor reads like an exquisite corpse drawing. The show’s three rooms are arranged by chronological emphasis: the 15th through 17th centuries, 18th and 19th centuries, and the 20th century. Caricature is the through-line in the show, a baton handed from Jacques Callot to William Hogarth to Honoré Daumier.

The first crack comes in a 1470 woodcut from Germany, “Allegory of the Meeting of Pope Paul II and Emperor Frederick III.” Stop me if you’ve heard this one before: The Pope and the Holy Roman Emperor are wrestling, a symbolic depiction of their argument after Paul II rejected King George of Poděbrady of Bohemia in favor of the Utraquists.

Paul’s got Frederick on the ropes! While the very earliest bits might get crickets from modern viewers, it’s a surprise how quickly fine art settles into fart jokes "The Ass at School" by Pieter van der Heyden (1557)

museums

Local post-punk trio Flasher performs for NPR Music’s Tiny Desk. washingtoncitypaper.com/arts a response to Jasper Johns’s even stranger 1969 sculpture, “The Critic Smiles.” This critic smirked.

R. Crumb’s comics are always a delight, and a glass vitrine showing some 1970s-tastic work by him and his peers (Gilbert Shelton, Jim Nutt) for indies such as Hairy Who and Zap had me wondering whether a more expansive look at the funnies wouldn’t be a better bet for a show about humor. For all of Daumier’s extraordinary talents, it’s nevertheless hard to fully appreciate a piece like “Le ventre législatif (The Legislative Belly)” (1834) without knowing more about France’s Chamber of Deputies than anyone could possibly be expected to know today. Christina Ramberg’s “False Image Decal” (1969) bears all the pathos of Lichtenstein’s most famous “Brad” paintings, but it’s stranger and cooler.

Only one piece made me laugh out loud: Saul Steinberg’s “Parade 2” (1950–51), an idle ink drawing made with the assistance of rubber stamps. Little men carry words reading “RUSH,” “VOID,” “APPROVED,” and “FRAGILE;” another mover bears the the artist’s fingerprint. The piece screams boredom, the kind of humor that emerges from being stuck in an office—the comedy of fucking around. This doodle looks like a New Yorker cartoon, but it’s one of the few drawings on view that doesn’t read like one.

It’s stIll early but “In the Middle, Somewhat Elevated (to Forsythe and Willems)” might be the best new local artwork of the year. The light installation by D.C. artist Tommy Bobo reads like a painting. Motion-controlled bulbs installed along a wall project light across a sequence of little square mirrors that bend and scatter the colors in kaleidoscopic combinations. The piece is mesmerizing, an array of one tight abstraction after another.

Or maybe the highlight for 2018 is “The Calm in the Day, Saved for the Moment (R-GB Arrangement),” an even simpler arrangement by Bobo. This one’s static. Three lights (LEDs under red, blue, and green gels) shine over a sequence of five nails, whose diffuse shadows make a kind of minimalist drawing. Three other light installations (or are they paintings?) show how an artist with a tight sense for composition can mine variations from just a few variables—in these works, lights and impediments.

Bobo’s work is on view as part of CMD+F, a summer group show at Hemphill Fine Arts that also features work by James Huckenpahler and Rachel Schmidt. But Bobo’s work ought to get the room. That’s no knock against Huckenpahler or Schmidt. The former’s digital prints look like Andy Warhol portraits by way of a black mirror. The works could be inverted black-and-white photos that he’s then painted over with bright DayGlo colors. Huckenpahler’s pieces are anonymous infosec portraits that summon a sense of dread: Pop Art from the dark web.

Schmidt’s piece is similarly foreboding. The installation takes the form of a series of low-slung icebergs along the ground. White lights underneath them pulse. A similar berg form hangs on the wall, over which the artist projects video clips depicting fairly innocuous scenes of urban life. The piece suggests, perhaps too literally, the seams coming apart around us.

Huckenpahler and Schmidt are on the same page; Bobo’s work, while bold and edgy, comes from a different headspace. He would be a better fit alongside the work of Rockne Krebs, a late D.C. artist whose work Hemphill has shown in the past. With any luck, this is the first of more shows by Bobo to come.

CP 6th and Constitution Avenue NW. Free. (202) 737-4215. nga.gov.

1515 14th St. NW. Free. (202) 234-5601. hemphillfinearts.com washingtoncitypaper.com august 3, 2018 19

FilmShort SubjectS

Pieces of Me Puzzle

Directed by Marc Turtletaub There’s a small gut-punch at the beginning of Puzzle. Agnes, a housewife and mother of two college-age boys, is cleaning her home and decorating for a birthday party. Later, the house is packed, and when Agnes leaves the kitchen to serve hors d’oeuvres and pick up the pieces of a broken plate, she asks her husband,

ed by Oren Moverman (Love & Mercy, The Messenger) and Polly Mann (a first-time scripter) and directed by Marc Turtletaub. The filmmakers get most everything right; this is a sensitive portrayal of a sheltered, sensitive woman. Most everything, that is: There are some details that don’t add up, such as why so many people are at Agnes’ birthday party if she rarely leaves her house, or how she can easily navigate New York if she doesn’t even know where to buy a puzzle (she asks the gift-giver). And would a mom really not know where to buy a puzzle?

Denman and Khan join Macdonald in giving nuanced performances that are at once funny and heartbreaking—in other words, human.

Denman’s Louie isn’t a one-note jerk who freaks

Puzzle

Louie, if he’s having a good time. He says he is and thanks her. Then it’s time for cake.

It’s Agnes’ birthday.

Agnes is played by Kelly MacDonald, perhaps best known for Boardwalk Empire. Seeing her as a film lead—and not just a leading lady, but a lead lead—is a welcome surprise after two decades of supporting roles, and her Agnes is both sympathetic and terribly likable as an introverted woman who has long put her needs aside. When a birthday present of a jigsaw puzzle leads to her discovery that she has a knack, it gives her a glimpse of the world she’s been missing while being subservient to her husband (David Denman) and sons (Austin Abrams and Bubba Weiler).

Agnes’ satisfaction after she completes that 1,000-piece puzzle prompts her to buy another. In the store, she sees an ad from someone searching for a puzzle partner and texts the number (never mind that she’s used cellphones only for emergencies before). The searcher is Robert (Irrfan Khan), a wealthy New York inventor who needs a partner not for leisure but for a tournament, a fact that catches Agnes off guard. But she’s into it: Yes, she will travel from her working-class suburb by train twice a week to practice.

No, she won’t tell her family. Are you kidding?

Puzzle is a remake of an Argentine film, adapt-

out when, for example, Agnes says she’s going to help her hobbled aunt a couple times a week; at times he’s tender, and you can see why Agnes grows conflicted about her imperfect marriage after becoming close to Robert. Khan, meanwhile, is a walking (but frequently joking) wound as the competitive hobbyist whose wife left him.

His other obsession is natural disasters and aching over the scores of people who lose their lives to them.

But it’s Macdonald’s show to steal. “I’m not comfortable, generally” her Agnes tells Robert when he says that she seems uncomfortable around him. She’s hesitant and kind, the type to repeatedly apologize when she cuts off a car even though the driver obviously can’t hear her. She nearly apologizes for her existence. But Agnes quickly grows a spine, emboldened by Robert’s interest in her and, more, her realization that she’s very good at something besides housework.

Like the character, Puzzle is refreshing, predominantly because it doesn’t follow the practicing-for-a-championship storyline that so many films about competing do. But it’s just as satisfying to watch this shy puzzler figure out that the life she’s known for so long doesn’t quite fit.

—Tricia Olszewski Puzzle opens Friday at Angelika Mosaic.

20 august 3, 2018 washingtoncitypaper.com

Parental advisory Custody

Directed by Xavier Legrand For children, iT’s not a matter of debate: Monsters are real. As adults, we forget this, burying the truth under blankets of logic and proclamations of moral relativism. Custody, a terrifying French domestic drama, follows in the tradition of great films about divorce such as Kramer vs. Kramer and the underseen What Maisie Knew, but while those films ultimately refused to fully condemn its badly behaving adults, Custody knows a monster when it sees one.

The film starts, as most great arguments do, by acknowledging the very point it ultimately refutes. Miriam (Léa Drucker) and Antoine Besson (Denis Ménochet) sit before a judge, each of them making their case for custody. Miriam has accused Antoine of physical abuse, which her teenage daughter and younger son have corroborated. Antoine disputes it so calmly and reasonably, we leave the scene thinking that there may be two sides to every story after all.

The judge agrees, granting Antoine joint custody, and we never see him so calm again.

Over the course of the next several days, he will unravel in increasingly terrifying ways.

First, there’s the subtle pressure he places on his son Julien. Writer/director Xavier Legrand films several scenes of the father and son in the car in long, still shots, with Antoine slowly trying to turn him against his mother. Julien (Thomas Gioria), not yet a teeanger but old enough to know that he is being used, heartbreakingly tries not to crack under the pressure of trying to placate one parent without betraying the other. Tense and tender, he gives Custody

one of the great child performances in recent film history.

It’s hard to know just how dangerous Antoine is, due to Ménochet’s slow-burn performance. Yes, he screams and yells, but he’s even more terrifying when he is still, watching TV or driving with dead eyes, like a predator just before the kill. Legrand makes space like this for all of his actors to shine; Léa Drucker offers a study in quiet strength as a woman who is nearly consumed by a fear she cannot let her children see. As the teenage Josephine, Mathilde Auneveux is mostly absent until the final act, when all parties come together at Josephine’s 18th birthday party, and Auneveux steals the show with an unexpectedly poignant musical performance.

It’s a gripping, difficult story that induces some serious claustrophobia. We are stuck with this abusive man, much like his family members. Still, despite (or perhaps because of ) how disciplined Legrand’s narrow gaze is, the pain of the Besson family ripples outward.

Consider its legacy in the canon of French cinema. One cannot hear the name Antoine without thinking of Truffaut’s The 400 Blows and the childhood hero Antoine Doinel that Truffaut revisited in several later films. He is perhaps the most iconic character in French cinema. If this Antoine is meant to be a French everyman, Custody is painting a tragic and disturbing portrait of contemporary life.

Why shouldn’t it? The existence of monsters is a subject that has received vigorous debate in our age. As our society gets increasingly polarized, some are tempted to explain away immoral and offensive behavior through an overreliance on empathy. Look at it from his perspective, they might say, or walk a mile in her shoes. Custody both affirms and corrects this notion, demonstrating with skill and insight that even when there are two sides to every story, one might still be told by a monster.

—Noah Gittell Custody opens Friday at Landmark E Street Cinema.

GALLERIESSketcheS Figuratively Speaking

red, and ochre. The “Fracture” series finds him zooming in compositionally, slicing the figure among the trees, and mixing in swaths of blue and black in place of reds and ochres.

By 1969, Baselitz wanted to obliterate any expectation of what a figurative painting or a porBaselitz: Six Decades trait should be. He inverted the image, painting At the Hirshhorn Museum and Sculpture upside-down. The upside-down figure beGarden to Sept. 16. came the new constant. Over the next decade, Georg Baselitz’s signature style is upside- Baselitz explored various motifs as subject matdown figurative painting. But he did not start ter—Elke, his wife; seated figures; portraits; out painting upside-down figures—he evolved birds; finger painting. The trees eventually morinto it. A mostly fantastic exhibition currently phed into background grid structures. Line and on view at the Hirshhorn, Baselitz: Six Decades, form were looser and more painterly. For the documents chronologically how he got to the first time his color palette turned radiant with upside-down—and where he went from there. rich yellows, blues, and reds.

The paintings shown in the Hirshhorn’s exWhile studying art in East Berlin in 1958, Baselitz encountered Abstract Expressionism hibit from the 1980s are the highlight of the and the work of Jackson Pollock, Willem de show and a wonder to behold, especially “OrKooning, and Philip Guston for the first time. ange Eater (IX),” “The Brücke Chorus,” and This was a seminal event for the young painter “Eagle in Bed.” Thankfully “The Brücke Chobecause he had never seen anything like it. It rus” is given the prominent display it deserves. left him questioning what it meant to be a post- Because of their historical implications for American painting, the Hirshhorn should have war German painter. dedicated more gallery Many postwar Europespace to this era of work— an artists began exploring consolidating the previthe body as subject matter ous two decades of paintin response to the war and ings on display—to allow Social Realism. To solve for more room. his own dilemma, Baselitz The same can be said firmly committed to figufor the ensuing “Remix” ration and, influenced by series from the 2000s and Abstract Expressionism, the survey of large sculpto painting the figure extures on display. Because pressively. This paradoxBaselitz’s work from the ical dualism—the ab1980s is so strong, some stract figure—proved to of his earlier and later be fertile ground for exwork pales in compariperimentation. It providson—or functions merely ed a set of variables where as a path towards a future X equals the constant, the and a departure from his figure, and Y can be any“Orangenesser (IX]” by past. This is a problem inthing. His early figurative Georg Baselitz (1981] herent with chronological paintings displayed in the first gallery, such as “Oberon” (1963), are survey shows. Perhaps the idea of a remix could haunting and decimated and show Baselitz’s have been taken a step further and applied to burgeoning interest in history as indirect sub- Baselitz’s whole career.

Baselitz says a painter must keep painting ject matter.

After this first gallery is a hallway interlude and he has recently reached a second peak of of drawings and print materials from the early work that rivals his work from the 1980s. These 1960s, including a copy of Baselitz’s manifes- recent paintings are a testament to Baselitz’s to Pandemonium. These interludes dispersed incessant powers of reinvention and self-asthroughout the rotunda are not as interesting as sessment. He continues to paint large scale the paintings they support. Though they func- upside-down paired figures but also single figtion well as a chronological archive and docu- ures floating upon a horizontal plane. Some figmentation, the interludes and print materials ures are decapitated. He has also begun to paint would be better served collectively as a focused small portraits. The color palette has been regallery rather than materials passed by in order duced to a translucent mixture of pale whites and reds and yellows dominated by black backto see the next group of paintings.

Spread across two gallery spaces, Baselitz’s grounds and exquisite chalky textures. After six successive series of works over the rest of the decades, Baselitz looks in the mirror and asdecade reflect a torn, divided country searching tounds us with whispered memories of morfor a new identity while reckoning with its past. tality.

—Paul Hrusa His “Heroes” figures, with their small heads and elongated appendages, are consumed by stark, centralized trees and exaggerated, con- Independence Avenue and 7th Street SW. Free. vex landscapes in muddy hues of brown, green, (202) 633-1000. hirshhorn.si.edu.

The “master storyteller” (New York Times) returns to Woolly to tackle America’s most provocative subject CREATED AND PERFORMED BY

MIKE DAISEY

WOOLLY MAMMOTH THEATRE COMPANY

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

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7/30/18 12:17 PM

washingtoncitypaper.com august 3, 2018 21

THIS WEEK’S SHOWS

White Ford Bronco: DC’s All 90s Band .................................................. Sa 4 OUT! EARLY SHOW ADDED!

FIRST SHOW SOLD

AEG PRESENTS Bitch Sesh 3pm Doors. This is a seated show. ....................................................... Su 5

THIS THURSDAY!

Merriweather Post Pavilion • Columbia, MD

Lady Antebellum & Darius Rucker w/ Russell Dickerson

.............................................................................................. AUG 2

THIS SAT & SUN!

CDE PRESENTS SUMMER SPIRIT FESTIVAL FEATURING

AUGUST

SEPTEMBER (cont.)

MC50: Kick Out the Jams 50th Anniversary Tour

No Scrubs: ‘90s Dance Party

with DJs Brian Billion and Ozker with visuals by Kylos ................F 10

featuring MC5’s Brother Wayne Kramer, Soundgarden’s Kim Thayil, Faith No More’s Billy Gould, Fugazi’s Brendan Canty, and Zen Guerrilla’s Marcus Durant

AEG PRESENTS

Jeremih w/ Teyana Taylor & DaniLeigh ..Sa 11 Seu Jorge .................................W 15 Mura Masa ................................F 17 DC Music Rocks Festival feat.

w/ The Detroit Cobras ................Tu 11 Los Amigos Invisibles ...........F 14 Joey Coco Diaz

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

Kyle Kinane This is a seated show. ......................Th 23 Can’t Feel My Face: 2010s Dance Party with

This is a seated show. ......................Sa 15

FIDLAR w/ Dilly Dally & NOBRO ..............Tu 18 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

DJs Will Eastman & Ozker with visuals by Kylos ................F 24

DJ Dredd’s MJ + Prince Dance Party

Car Seat Headrest w/ Naked Giants & Don Babylon .Th 20 Gary Numan w/ Nightmare Air

Early Show! 6pm Doors .....................F 21

U STREET MUSIC HALL PRESENTS

Whethan w/ Sweater Beats & Andrew Luce

with visuals by Robin Bell .....Sa 25

Late Show! 10pm Doors ....................F 21

U STREET MUSIC HALL PRESENTS

Owl City w/ Matthew Thiessen

Blisspop Disco Fest (F 31 - Claptone • Francois K •

& The Earthquakes .....................Sa 22

Charles Feelgood • Eau Claire) & (Sa 1 - Giorgio Moroder • Ultra Naté • Will Eastman) .....F AUG 31 & Sa SEP 1

SEPTEMBER

Nothing But Thieves w/ Demob Happy ............................F 7

The Growlers .........................Su 23 Highly Suspect ......................Th 27 AN EVENING WITH

Belly .........................................Sa 29 OCTOBER

Honne..........................................Su 7

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Lydia w/ Jared and The Mill & Cherry Pools ....................... Tu AUG 7

Bernhoft & The Fashion Bruises ...... Th SEP 6 Vacationer w/ Sego ..........................F 17 Let’s Eat Grandma w/ Odetta Hartman & Boniface ..........Th 13 Ra Ra Riot - The Rhumb Line 10th Anniversary Tour ................Sa 18 The Buttertones ......................Th 20 Striking Matches .....................Sa 25 SYML w/ Flora Cash .....................Sa 22

Erykah Badu • Anderson .Paak & The Free Nationals • Nas • The Roots • Method Man & Redman • Daniel Caesar • Lion Babe • Lizzo • Rapsody • Raheem DeVaughn • Bilal • Masego • Phony PPL • Ms. Kim & Scooby • Bryan J • DJ Quicksilva and more! ........................................................ AUGUST 4 & 5

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

Phish ...................................................................................................................... AUG 12 CAKE & Ben Folds w/ Tall Heights ....................................................... AUG 18 Kenny Chesney w/ Old Dominion ............................................................ AUG 22 Portugal. The Man w/ Lucius..................................................................SEPT 21 TRILLECTRO FEATURING

SZA • 2 Chainz • RL Grime • Carnage • Young Thug • Playboi Carti • The Internet • Smokepurpp • Rico Nasty and more! ......................SEPT 22

The National w/ Cat Power & Phoebe Bridgers ...................................SEPT 28 WPOC SUNDAY IN THE COUNTRY FEATURING

Brett Eldredge • Dan + Shay • Dustin Lynch • Devin Dawson • Morgan Evans • Jimmie Allen • Jillian Jacqueline .........................SEPT 30

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

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

rupi kaur

................................................................ OCTOBER 29

On Sale Friday, August 3 at 10am

Five For Fighting

with String Quartet ............... SEPT 16

Amos Lee w/ Caitlyn Smith ...... SEPT 18 Welcome To Night Vale .. SEPT 26 Blood Orange ........................ SEPT 28 Lykke Li ......................................... OCT 5 Gad Elmaleh ............................. OCT 10 Years & Years ......................... OCT 11 Eric Hutchinson & The Believers w/ Jeremy Messersmith .................... OCT 12 The Milk Carton Kids w/ The Barr Brothers ....................... OCT 13 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Garbage w/ Rituals of Mine Version 2.0 20th Anniversary Tour ... OCT 22

THE BYT BENTZEN BALL BENTZEN BALL COMEDY FESTIVAL OPENING NIGHT FEAT.

Phoebe Robinson with special guest Tig Notaro ...... OCT 25 THE BENTZEN BALL COMEDY FESTIVAL

#ADULTING with Michelle Buteau and Jordan Carlos

Early Show! 5:30pm Doors.......... FRI OCT 26 SMART FUNNY & BLACK FEAT.

Amanda Seales (HBO’s Insecure)

Late Show! 9pm Doors .......... FRI OCT 26

Cameron Esposito, Rhea Butcher, & Friends Late Show! 8:30pm Doors ..... SAT OCT 27 THE BENTZEN BALL COMEDY FESTIVAL CLOSING NIGHT

Tig Notaro & Friends ..... OCT 28

• 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! 22 august 3, 2018 washingtoncitypaper.com

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

930.com

CITYLIST

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

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

Tix @ Ticketmaster.com 800-745-3000 Sean AMANDA SHIRES Rowe 3 BILL KIRCHEN & TOO MUCH FUN

Aug

2

Music 23 Books 27 Theater 27 Film 27

featuring Johnny Castle & Jack O’Dell ‘The Return of The Classic TMF!’

4

Music

CITY LIGHTS: FRIDAY

JAKE SHIMABUKURO Christie Lenee Megan 9&10 TOAD THE WET SPROCKET Slankard 11 AARON NEVILLE 12 MORRIS DAY & THE TIME 13 MINDI ABAIR & THE BONESHAKERS Michelle 14 SHAWN MULLINS Malone 5

FRIDAY BLUES

Hill Country live 410 7th St. NW. (202) 556-2050.

Kurt Crandall. 9:30 p.m. Free. hillcountrywdc.com.

COUNtRY

BirCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Bill Kirchen & Too Much Fun. 7:30 p.m. $29.50. birchmere.com.

"Soul's Core Revival Tour"

15

union Stage 740 Water St. SW. (877) 987-6487.

Sons of Bill. 7:30 p.m. $20–$35. unionstage.com.

RASCALS

eCHoStage 2135 Queens Chapel Road NE. (202) 503-2330. Yellow Claw. 9 p.m. $25–$40. echostage. com.

Aug 16• 7:30 pm

SoundCHeCk 1420 K St. NW. (202) 789-5429. Gabriel & Dresden. 10 p.m. $15–$20. soundcheckdc.com.

w/special guest

FOLK

FUNK & R&B

BetHeSda BlueS & Jazz 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Betty Wright. 8 p.m. $65–$78. bethesdabluesjazz.com.

JAzz

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Freddy Cole Quartet. 8 p.m.; 10 p.m. $30–$35. bluesalley.com. linColn tHeatre 1215 U St. NW. (202) 888-0050.

Roy Ayers. 8 p.m. $45–$55. thelincolndc.com.

OPERA

Wolf trap filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Verdi’s Rigoletto. 8:15 p.m. $25–$75. wolftrap.org.

POP

Jammin Java 227 Maple Ave. East, Vienna. (703) 2551566. Parthenon Huxley & Friends. 8 p.m. $15–$20. jamminjava.com.

ROCK

BlaCk Cat 1811 14th St. NW. (202) 667-4490. Tiny Cat Dark Music Festival. 8 p.m. $20–$35. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. The Family Crest. 8 p.m. $15–$17. dcnine.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700. The Mantras. 9 p.m. $13. gypsysallys.com.

SongByrd muSiC HouSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Tanukichan. 8 p.m. Free. songbyrddc.com.

SAtURDAY COUNtRY

Hill Country live 410 7th St. NW. (202) 556-2050.

Scott Kurt & Memphis 59. 9:30 p.m. Free. hillcountrywdc.com.

FOLK

Jammin Java 227 Maple Ave. East, Vienna. (703) 2551566. Stu Larsen and Natsuki Kurai II. 7 p.m. $15–$25. jamminjava.com.

Adam Ezra

FELIX CAVALIERE & GENE CORNISH’S

ELECtRONIC

tHe Hamilton 600 14th St. NW. (202) 787-1000.

John Kadlecik. 8 p.m. $20–$25. thehamiltondc.com.

the FIXX

CARMINE APPICE

17

FUNK & R&B

ROCK

SongByrd muSiC HouSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. DuPont Brass. 9 p.m. $10–$15. songbyrddc.com.

BlaCk Cat 1811 14th St. NW. (202) 667-4490. Tiny Cat Dark Music Festival. 8 p.m. $20–$35. blackcatdc.com.

flaSH 645 Florida Ave. NW. (202) 827-8791. Yung Bae. 4 p.m. $15. flashdc.com.

JAzz

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Freddy Cole Quartet. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

POP

roCk & roll Hotel 1353 H St. NE. (202) 388-7625.

DC LatinSound. 9 p.m. $20. rockandrollhoteldc.com.

SongByrd muSiC HouSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Takénobu. 8 p.m. Free. songbyrddc.com.

Wolf trap filene Center 1551 Trap Road, Vienna.

(703) 255-1900. Hanson. 8:15 p.m. $30–$70. wolftrap.org.

THE MARCUS KING BAND 18 JEFF DANIELS & BEN DANIELS BAND 19 JEAN-LUC PONTY Tickets on sale now at Ticketmaster.com/800-745-3000

The Freer’s 23rd annual Made in Hong Kong Film Festival mixes it up for a night with a celebration of the intersection of hip-hop and kung fu. The main event is the Shaw Brothers’ 1982 martial arts classic Legendary Weapons of Kung Fu, about a group of Qing Dynasty-era fighters trained to withstand bullets. But this isn’t an ordinary screening. DJ 2-Tone Jones, producer and co-founder of Shaolin Jazz, accompanies with a live score that blends hip-hop, soul, and funk, bringing the multimedia approach of the music project’s popular Can I Kick It? film series to the Smithsonian. The program closes out this summer’s Fridays@Freer series—come early for Hong Kong street food, Indian cuisine, specialty cocktails, and a live kung fu performance, all set to a hiphop soundtrack. The film screens at 7 p.m. at the Freer Gallery of Art, Jefferson Drive and 12th Street SW. Free. (202) 633-1000. freersackler.si.edu.

—Pat Padua

HIP-HOP

!

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

LEGENDARY WEAPONS OF KUNG FU

kennedy Center millennium Stage 2700 F St. NW. (202) 467-4600. HearNow. 6 p.m. Free. kennedy-center.org.

In the

BirCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. 1964: The Tribute. 7:30 p.m. $35. birchmere.com.

dC9 1940 9th St. NW. (202) 483-5000. School of Rock AllStars. 5:30 p.m. $12. dcnine.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700. Better Off Dead Jerry Garcia Birthday Celebration. 9 p.m. $15. gypsysallys.com.

WORLD

tHe Hamilton 600 14th St. NW. (202) 787-1000.

Juan De Marcos and the Afro Cuban All Stars. 8 p.m. $25–$35. thehamiltondc.com.

SUNDAY FOLK

BirCHmere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Jake Shimabukuro and Christie Lenee. 7:30 p.m. $45. birchmere.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700. RIVVRS. 8 p.m. $10. gypsysallys.com.

"The Atlantic Years"

21 22

JOHN HIATT & THE GONERS featuring SONNY LANDRETH The Voice of the Moody Blues

Mike JUSTIN HAYWARD Dawes 23 TANYA TUCKER 24 LITTLE RIVER BAND 25 KEB' MO' (Solo) 27 CHRIS ISAAK 28 HIGH VALLEY 29 BOB JAMES TRIO Guitar 30 Legend DICK DALE 31 KIM WATERS Sept 1 JEFFREY OSBORNE 2 THE EARLS OF LEICESTER Presented by JERRY DOUGLAS 7 THE MANHATTANS featuring GERALD ALSTON

washingtoncitypaper.com august 3, 2018 23

CITY LIGHTS: SAtURDAY

SUMMER

tHE MIRACULOUS IN tHE MUNDANE

TICKETS ON SALE NOW!

VERDI’S RIGOLETTO

WOLF TRAP OPERA NATIONAL SYMPHONY ORCHESTRA

AUG 3

BRYAN ADAMS AUG 5

HANSON STRING THEORY

NATIONAL SYMPHONY ORCHESTRA

AUG 4

ANGÉLIQUE KIDJO’S REMAIN IN LIGHT FEMI KUTI AND THE POSITIVE FORCE AUG 7

DISNEY’S BROADWAY HITS

FEATURING BROADWAY STARS LIVE IN CONCERT

WITH WOLF TRAP ORCHESTRA

AUG 9

LYLE LOVETT & HIS LARGE BAND AUG 10

MARY CHAPIN CARPENTER

RHIANNON GIDDENS

WITH FRANCESCO TURRISI

AUG 11

ABBA THE CONCERT AUG 12

GLADYS KNIGHT & THE O’JAYS

ALAN JACKSON LEE ANN WOMACK AUG 16

TROMBONE SHORTY, GALACTIC, PRESERVATION HALL, AND MORE! AUG 17

THE REVIVALISTS ZZ WARD AUG 19

JEFF BECK

ANN WILSON OF HEART AUG 20

MICHAEL McDONALD AND PETER CETERA AUG 22

AUG 15

The Miraculous in the Mundane, a three-artist photography exhibition at Photoworks, seeks to spotlight images that depict “the good, the bad and the banal moments typical to the lives of children.” Photographers Aniya Emtage Legnaro, Katie Jett Walls, Chelsea Silbereis—all mothers— do occasionally find the miraculous, but they certainly nail the mundane. Gum chewing, potty training, egg peeling, sleeping, and lots of using headphones are all here, in a mix of color and black-and-white. For each of the artists, the moods range from charming (a snoozy sleepover) to intimate (a mom helping her daughter shave her legs in the shower) to amusing (the surprised reaction of a teen to something she sees on her phone). The most impressive images are notable for their decisive arrangements, little moments of miraculous mundanity: Walls’ child playing catch with a huge beach ball that obscures their head; Silbereis’ family spread on a couch, glancing divergently; and Legnaro’s scene of two young ping-pong players facing off through a pair of distant windows. The exhibition is on view to Aug. 12 at Photoworks at Glen Echo Park, 7300 MacArthur Blvd., Glen Echo. Free. (301) 634-2274. glenechophotoworks.org. —Louis Jacobson Jammin Java 227 Maple Ave. East, Vienna. (703) 2551566. Steve Everett. 7 p.m. $12–$25. jamminjava.com.

FUNK & R&B dC9 1940 9th St. NW. (202) 483-5000. Rob Stokes. 8 p.m. $8. dcnine.com.

HIP-HOP eCHoStage 2135 Queens Chapel Road NE. (202) 503-2330. Juice WRLD. 7 p.m. $30–$130. echostage. com.

JAzz BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Freddy Cole Quartet. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

POP SongByrd muSiC HouSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Forever In Your Mind. 2 p.m. $18–$100. songbyrddc.com.

ROCK union Stage 740 Water St. SW. (877) 987-6487.

Unsullied and Carter Lou & the Project. 7:30 p.m. $10–$15. unionstage.com. velvet lounge 915 U St. NW. (202) 462-3213. Sunshine Hysteria. 8:30 p.m. $10. velvetloungedc.com.

Wolf trap filene Center 1551 Trap Road, Vienna. (703) 255-1900. Bryan Adams. 8 p.m. $40–$85. wolftrap.org.

WORLD kennedy Center millennium Stage 2700 F St. NW. (202) 467-4600. Deepak Ram. 6 p.m. Free. kennedy-center.org.

24 august 3, 2018 washingtoncitypaper.com

MONDAY CLASSICAL

kennedy Center millennium Stage 2700 F St. NW. (202) 467-4600. Jakub Trasak and Jiri Nedoma. 6 p.m. Free. kennedy-center.org.

ELECtRONIC

union Stage 740 Water St. SW. (877) 987-6487. De Lux. 7:30 p.m. $12–$15. unionstage.com.

FOLK

dC9 1940 9th St. NW. (202) 483-5000. Many Rooms.

8 p.m. $12–$14. dcnine.com.

tUESDAY CLASSICAL

kennedy Center millennium Stage 2700 F St. NW. (202) 467-4600. The United States Army Band. 6 p.m. Free. kennedy-center.org.

COUNtRY

Hill Country live 410 7th St. NW. (202) 556-2050.

Moose Jaw. 8:30 p.m. Free. hillcountrywdc.com.

FUNK & R&B

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Kenny Wesley. 8 p.m. $25. bluesalley.com.

POP

SongByrd muSiC HouSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Trying. 8 p.m. Free. songbyrddc.com.

ROCK

BlaCk Cat 1811 14th St. NW. (202) 667-4490. The Essex Green. 7:30 p.m. $15. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Joan Of Arc. 8 p.m. $12. dcnine.com.

washingtoncitypaper.com august 3, 2018 25

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

PRIVATE EVENT SPACE FUNCTIONING WINERY | RESTAURANT

VALET AND SECURE PARKING AVAILABLE 8/1

GOD STREET WINE

8/19

DAMN THE TORPEDOS

8/2 8/3

MICHAEL MUSE

8/21

JUST JOKES AT CITY WINERY W/ TONY WOODS, EDDIE BRYANT & TL FITZ. HOSTED BY NIKI MOORE

ALEJANDRO ESCOVEDO & JOE ELY

8/22

SHOOTER JENNINGS

8/23

BARRENCE WHITFIELD AND THE SAVAGES / THE WOGGLES

8/4

HAYES CARLL

8/5

LORI WILLIAMS ALBUM RELEASE SHOW

8/24 8/

MOUNTAIN HEART “SOUL SEARCHING” ALBUM RELEASE SHOW

8/7

ROAD TO LOCK’N: AN INTIMATE EVENING W/ MATISYAHU

8/25

AN EVENING WITH FREDDIE JACKSON

8/8

THE ALARM

8/26

PEDRO CAPO

8/9

SUGAR MOUNTAIN: NEIL YOUNG TRIBUTE

8/28

NIKKA COSTA

8/29

AN EVENING WITH CHAISE LOUNGE

8/10

RICHARD SHINDELL

8/30

JOANNE SHAW TAYLOR W/ SIMO

8/10

IT CAME FROM THE ‘70S SUPERFLYDISCO IN THE WINE GARDEN

8/31

JEFF BRADSHAW & FRIENDS FT GLENN LEWIS & CONYA DOSS (2 SHOWS)

8/11

DAVID BROZA & THE TRIO HAVANA

8/12

ALGEBRA BLESSETT

8/15

CHAPTER:SOUL IN THE WINE GARDEN

8/15

BROTHER JOSCEPHUS & THE LOVE REVOLUTION

8/16

HONEY ISLAND SWAMP BAND

8/17

MELI'SA MORGAN

8/18

HOWIE DAY

9/2

TERRY BOZZIO

9/3

CAROLYN WONDERLAND / SHINYRIBS

9/4

EVENING WITH RICKIE LEE JONES

9/5

WAYNE “THE TRAIN” HANCOCK IN THE WINE GARDEN

9/6

WALKING TO NEW ORLEANS: TRIBUTE TO FATS DOMINO

9/7

RONNIE LAWS

9/8

BLACK ALLEY

JOIN US FOR HAPPY HOUR 5PM-7PM MON - FRI! FOR:

VINOFILE

CITY LIGHTS: SUNDAY

JUICE WRLD

Emo and rap aren’t exactly strange bedfellows: From hiphop group Atmosphere and the crew of indie label Anticon through to Kid Cudi, Drake, and 808s & Heartbreak-era Kanye West, rappers have been wearing their hearts on their sleeves for years. But as of late, the world of emo rap has exploded, thanks to a load of teenaged talents that imbue hip-hop with lyrics, melodies, and styles reminiscent of aughts Warped Tour heavyweights like Taking Back Sunday and Brand New, along with a very in vogue focus on pharmaceuticals. Perhaps no one does it better than Jarad Higgins, a 19-year-old from the Chicago suburbs who performs as Juice WRLD. Listen to him rap-sing lyrics like “I still see your shadows in my room. Can’t take back the love that I gave you. It’s to the point where I love and I hate you. And I cannot change you, so I must replace you, oh,” on “Lucid Dreams” and try to not be reminded of high school heartbreak, in all its embarrassing glory. Juice WRLD performs at 7 p.m. at Echostage, 2135 Queens Chapel Road NE. $30–$130. (202) 503-2330. echostage.com.

—Chris Kelly

CITY LIGHTS: MONDAY

SPECIAL OLYMPICS At 50

48 HOUR ADVANCE access to tickets before the public

AND SO MUCH MORE!

Educating the public and empowering the homeless one newspaper at a time. the public and empowering

ess one newspaper at a time.

In the 1960s, people with intellectual disabilities were not welcome to participate in many activities, one of the many being sporting events. They faced discriminatory questions about whether they were even fit to try. A Kennedy, one you may not be as familiar with, decided to change all that. Eunice Kennedy Shriver, sister of President John F. Kennedy, became the leading lady behind competitive sports for children and adults who were cast out and left behind. In 1962, Shriver boldly began a series of special needs summer camps called Camp Shriver. That camp bloomed into the first ever international Special Olympics in 1968 in Chicago, and the rest is half a century of history. The National Museum of American History is commemorating those 50 years with Special Olympics at 50, an eye-capturing exhibition documenting the program’s journey and history of championing those with intellectual disabilities. On display are artifacts from legendary participating athletes like Loretta Claiborne, Marty Sheets, Lee Dockins, and Ricardo Thornton—from T-shirts to knit hats to baseball caps, small objects that symbolize so much. The exhibition is on view to June 2019 at the National Museum of American History, 14th Street and Constitution Avenue NW. Free. (202) 633-1000. americanhistory.si.edu.

—Malika T. Benton u Street muSiC Hall 1115 U St. NW. (202) 588-1889.

Lydia. 6:30 p.m. $20. ustreetmusichall.com.

Pick up a copy today from vendors throughout downtown WORLD D.C. or visit www.streetsense.org for more information.

Wolf trap filene Center 1551 Trap Road, Vienna. (703) 255-1900. Angélique Kidjo and Femi Kuti and The Positive Force. 8 p.m. $28–$60. wolftrap.org.

Pick up a copy today from vendors throughout downtown D.C. or visit www.streetsense.org for more information.

WEDNESDAY ELECtRONIC flaSH 645 Florida Ave. NW. (202) 827-8791. Fakear. 9 p.m. $10–$20. flashdc.com.

26 august 3, 2018 washingtoncitypaper.com

JAzz

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Victor Provost. 8 p.m.; 10 p.m. $22. bluesalley. com.

ROCK

BlaCk Cat 1811 14th St. NW. (202) 667-4490. Wimps.

7:30 p.m. $10–$12. blackcatdc.com.

Jammin Java 227 Maple Ave. East, Vienna. (703) 2551566. exits. 7:30 p.m. $10–$20. jamminjava.com. roCk & roll Hotel 1353 H St. NE. (202) 388-7625.

Alex Lahey. 8 p.m. $15–$17. rockandrollhoteldc.com.

StratHmore gudelSky ConCert gazeBo 5301 Tuckerman Ln., Bethesda. (301) 581-5100. Erin & The Wildfire. 7 p.m. Free. strathmore.org.

name. Dave tells the story of high school teacher Dave Kovic, who finds himself hired as a standin when the president falls ill under scandalous circumstances. Arena Stage. 1101 6th St. SW. To Aug. 19. $102–$117. (202) 488-3300. arenastage.org.

CITY LIGHTS: tUESDAY

tHE COLOR PURPLE

The Color Purple tour that pulls into the Kennedy Center this week is that rare revival that critics hail as “better than the original!” That’s a compliment, not a diss. The 2005 musical is based on Alice Walker’s 1982 novel and the Oprah-beforeshe-was-Oprah film that came out three years later. English director John Doyle took a closer look at the Georgia-set musical in 2013, and the resulting West End production transferred to Broadway, eventually winning the Tony for best musical revival in 2016. Critics agreed the musical was much improved, with less preachy melodrama and an abstract set less intent on replicating a Depression-era Southern town. The storyline is still a downer rife with incest, corruption, and abuse, but the novel’s church services and juke joint scenes translate into more uplifting jazz and gospel onstage. Adrianna Hicks, a former Michael Bublé backup singer who was a swing in the Broadway production, steps into the role of Celie, the part that turned Cynthia Erivo into a movie star. The musical runs to Aug. 26 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $79–149. (202) 467-4600. kennedy-center.org.

—Rebecca J. Ritzel velvet lounge 915 U St. NW. (202) 462-3213. Smith Gardens. 8:30 p.m. $10. velvetloungedc.com.

WORLD

kennedy Center millennium Stage 2700 F St. NW. (202) 467-4600. Grupo Rebolu. 6 p.m. Free. kennedy-center.org. liBrary of CongreSS Coolidge auditorium First Street and Independence Avenue SE. (202) 7075507. Grupo Rebolú. 12 p.m. Free. loc.gov.

tHURSDAY ELECtRONIC

SoundCHeCk 1420 K St. NW. (202) 789-5429. Sigala.

10 p.m. $15–$20. soundcheckdc.com.

FOLK

union Stage 740 Water St. SW. (877) 987-6487. Wild Rivers. 8 p.m. $10–$12. unionstage.com.

FUNK & R&B

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Marcus Johnson “Urban Jam Band”. 8 p.m.; 10 p.m. $30–$35. bluesalley.com.

JAzz

tWinS Jazz 1344 U St. NW. (202) 234-0072. The Twins Jazz Orchestra. 8 p.m.; 10 p.m. $10. twinsjazz. com.

POP

Wolf trap filene Center 1551 Trap Road, Vienna. (703) 255-1900. Disney’s Broadway Hits. 8 p.m. $25–$65. wolftrap.org.

ROCK

BirCHmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Toad The Wet Sprocket. 7:30 p.m. $65. birchmere.com.

BlaCk Cat 1811 14th St. NW. (202) 667-4490. The Shondes. 7:30 p.m. $15. blackcatdc.com. tHe Hamilton 600 14th St. NW. (202) 787-1000. The Garcia Project. 8 p.m. $19.75–$24.75. thehamiltondc.com.

Jammin Java 227 Maple Ave. East, Vienna. (703) 2551566. Tony Lucca. 8 p.m. $18. jamminjava.com.

SongByrd muSiC HouSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Thunder Dreamer. 8 p.m. $10–$12. songbyrddc.com.

Books

Jodi meadoWS, Brodi aSHton, and CyntHia Hand Jodi Meadows, Brodi Ashton, and Cynthia Hand chat about their novel My Lady Jane, a hilarious rei-

magining of the story of Lady Jane Grey with a happy ending. One More Page Books. 2200 N. Westmoreland Street, No. 101, Arlington. Aug. 7. 7 p.m. Free. (703) 300-9746. katy upperman Katy Upperman celebrates the release of her new book The Impossibility of Us, the story of a teenage girl who moves to a small town after her brother is killed in Afghanistan and falls in love with an Afghan boy. One More Page Books. 2200 N. Westmoreland Street, No. 101, Arlington. Aug. 4. 3 p.m. Free. (703) 300-9746. keitH geSSen Keith Gessen’s new novel A Terrible Country tells the story of Andrei Kaplan, a New York resident who must come to terms with his feelings of dislocation from both Russia and America when he returns to his hometown of Moscow to care for his ailing grandmother. Politics and Prose. 5015 Connecticut Ave. NW. Aug. 7. 7 p.m. Free. (202) 364-1919. kelly forSytHe and david geWanter Poet Kelly Forsythe discusses her book Perennial, a series of poems about the 1999 Columbine shootings through different perspectives. David Gewanter discusses his book Fort Necessity, a collection of intensely personal poems about industrial laborers and their experiences. Politics and Prose at The Wharf. 70 District Square SW. Aug. 9. 7 p.m. Free.

(202) 488-3867. roBert W. turner ii Research scientist Robert W. Turner II discusses his book Not for Long, which reveals the lack of job security and health benefits in the NFL and why many professional football players find themselves in financial ruin. Politics and Prose.

5015 Connecticut Ave. NW. Aug. 6. 7 p.m. Free. (202) 364-1919. roy SCranton Roy Scranton discusses his new novel We’re Doomed. Now What?, a series of essays facing the unpleasant realities of war, climate change, and “the beginning of the end of civilization as we know it”. Politics and Prose. 5015 Connecticut Ave. NW. Aug. 8. 7 p.m. Free. (202) 364-1919.

Theater

tHe BridgeS of madiSon County Based on the bestselling novel, this musical was developed by the Tony- and Pulitzer-winning creative team of Jason Robert Brown and Marsha Norman. It centers on a lonely Italian war bride who has an affair with a photographer who has traveled from Washington to photograph the county’s famous covered bridges. Keegan Theatre. 1742 Church St. NW. To Sep. 2. $45–$55.

(202) 265-3767. keegantheatre.com. dave A Tony and Pulitzer Prize-winning creative team present this world premiere musical comedy based on the Oscar-nominated film of the same

generation gap This Second City production, a new original work for Kennedy Center audiences, showcases a battle of the ages from the Greatest Generation to the latest generation. Kennedy Center Theater Lab. 2700 F St. NW. To Aug. 12. $49–$59. 202467-4600. kennedy-center.org.

Hamilton Lin-Manuel Miranda’s Broadway hit finally comes to the Kennedy Center. The world famous hiphop musical chronicles the extraordinary life of United States Founding Father Alexander Hamilton. Kennedy Center Opera House. 2700 F St. NW. To Sep. 16. $99–$625. (202) 467-4600. kennedy-center.org.

H.m.S. pinafore The Hypocrites present Olney Theatre audiences with their zany take on comic twoact opera H.M.S. Pinafore. In their playful reimagining of the Gilbert and Sullivan classic sailor love story, instead of the high seas, the story takes place at a slumber party with pajama-clad sailors. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Aug. 19. $30–$74. (301) 924-3400. olneytheatre.org. an iriSH tWiSt on SHakeSpeare’S a midSummer nigHt’S dream Quotidian Theatre Company sets Shakespeare’s classic comedy in 1820s Ireland, incorporating live Irish music and dance. This regional production is adapted and directed by Stephanie Mumford and Leah Mazade, with assistance from Michele Osherow and Peter Brice. Randolph Road Theater. 4010 Randolph Road, Silver Spring. To Aug. 12. $15–$37.22. (301) 337-8290. unexpectedstage.org. tHe pirateS of penzanCe The Hypocrites, an innovative Chicago theater company, brings its critically-acclaimed version of The Pirates of Penzance to the Olney Theatre Center. The Pirates of Penzance is a two-act comic opera centering on young pirate Frederic whose Leap Year birthday becomes his undoing, with iconic music and lyrics by Arthur Sullivan and W. S. Gilbert. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Aug. 19. $30–$74.

(301) 924-3400. olneytheatre.org. tHe Story of tHe gun Written and performed by America’s preeminent monologist Mike Daisey, who was labelled “the master storyteller” by the New York Times, this new production delves into the history of America’s relationship with guns. Woolly Mammoth Theatre. 641 D St. NW. To Aug. 9. $20–$66.50. (202) 393-3939. woollymammoth.net. tHe Wonderful Wizard of oz Synetic Theater presents a brand new adaptation of this classic tale about a girl named Dorothy who turns the land of Oz upside down. Based on L. Frank Baum’s masterpiece of the same name, Synetic’s version will feature verbal and nonverbal communication converging. Davis Performing Arts Center at Georgetown University.

3700 O St. NW. To Aug. 12. $20–$45. (202) 687-3838. performingarts.georgetown.edu.

AN EVENING WITH

&

LIVE DEAD RIDERS 69

THURSDAY

AUG 2

AN EVENING WITH

JOHN

KADLECIK FRIDAY AUG

CONCERT SERIES

WORLDWIDE DEBUT OF THE JERRY GARCIA MUSIC & ART EXHIBITION AUG 2 AUG 3 AUG 9

LIVE DEAD & RIDERS 69

JOHN KADLECIK GARCIA PROJECT

SAT, AUG 4

JUAN DE MARCOS & THE AFRO-CUBAN ALL STARS FRI, AUG 10

NEW ORLEANS SUSPECTS

FEAT. SPECIAL GUEST JENNIFER HARTSWICK SAT, AUG 11

AN EVENING WITH

THUNDERSTRUCK AMERICA’S AC/DC WED, AUG 15

TORONZO CANNON

W/ VANESSA COLLIER FRI, AUG 17

Film

3

AN EVENING WITH SPYRO

GYRA

SAT, AUG 18

CHriStopHer roBin Ewan McGregor stars as Christopher Robin, a working family man whose childhood friend Winnie-the-Pooh helps him see the joys in life. Co-starring Hayley Atwell and Bronte Carmichael. (See washingtoncitypaper. com for venue information) tHe darkeSt mindS In a world in which everyone under the age of 18 is feared, a group of teens form a resistance to take their rights back. Starring Amandla Stenberg, Bradley Whitford, and Mandy Moore. (See washingtoncitypaper.com for venue information) far from tHe tree Based on Andrew Solomon’s bestselling book, this documentary explores the lives of families with parents and children who are extremely different. Starring Andrew Solomon. (See washingtoncitypaper.com for venue information) miSSion: impoSSiBle - fallout Tom Cruise returns as agent Ethan Hunt, who must race against time with his IMF team to correct a mission gone wrong. Co-starring Henry Cavill and Ving Rhames. (See washingtoncitypaper.com for venue information) puzzle A suburban mother discovers a love of jigsaw puzzles, a passion which takes her to unexpected places. Starring Kelly Macdonald, Irrfan Khan, and David Denman. (See washingtoncitypaper.com for venue information) tHe Spy WHo dumped me Mila Kunis and Kate McKinnon star as best friends who become embroiled in an international spy conspiracy. Co-starring Justin Theroux and Sam Heughan. (See washingtoncitypaper.com for venue information)

DONAVON FRANKENREITER

W/ BENJAMIN JAFFE (OF HONEYHONEY) AND LISA BOUCHELLE WED, AUG 22

SWEET CRUDE FRI, AUG 24

THE DUKE ROBILLARD BAND SAT, AUG 25

RODNEY CROWELL W/ JOE ROBINSON

TUES, AUG 28

LIVE NATION PRESENTS PATY

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washingtoncitypaper.com august 3, 2018 27

THE SURPRISE MOVIE OF THE SUMMER! KELLY MACDONALD IRRFAN KHAN DAVID DENMAN

“AN UNDENIABLE SUCCESS!” -Kenneth Turan, LOS ANGELES TIMES

CITY LIGHTS: WEDNESDAY

JASON KANDER

Two years ago, if you knew Jason Kander, it meant you were probably from Missouri. That all changed when the Army vet and former Missouri secretary of state ran for Senate and produced one of 2016’s most viral campaign ads: a 30 -Jordan Ruimy, THE PLAYLIST second clip of him assembling an asFROM THE PRODUCER OF L I T T L E M I S S S U N S H I N E sault rifle blindfolded while advocating for stricter background checks on gun purchases. The direct call out of his Republican opponent’s lack of gun knowledge set off a Midwest authenticity battle SCREENPLAY DIRECTED AND BY BY that went national. Kander narrowly lost WWW.SONYCLASSICS.COM that race, but hasn’t stopped campaignArlington Bethesda Fairfax ing since. He set up Let America Vote AMC ARCLIGHT ANGELIKA to directly advocate for voting rights in SHIRLINGTON 7 BETHESDA AT MOSAIC CRITICS’ PICK CRITICS’ PICK PICK CRITICS’ amctheatres.com arclightcinemas.com (571) 512-3301 states like Georgia and New Hampshire; CRITICS’ PICK VIEW THE TRAILER AT WWW.PUZZLE-FILM.COM he spreads his message on his Majority 54 podcast and popular Twitter feed; and he’s announced he’s running for mayor of Kansas City, Missouri. His new book, Outside the Wire, is typical rising politiWASHINGTON CITY PAPER cian fare—an appreciation of life lessons learned from family, war, and politics— FRI 8/3 but Kander stands out among Midwest 1/6 PG. (4.666" X 3.371" MR white male politicians. While not as left ALL.PUZZLE.0803.WCP as a Democratic Socialist, he’s not one to #1 hedge to appeal to the center and understands that the working class isn’t just white. If he keeps going, he’s soon going to be in D.C. for more than book signings. Jason Kander speaks at 7 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $15–$40. (202) 408-3100. sixthandi.org.

—Justin Weber

“STUNNING. A NEAR-PERFECT MOVIE!”

P U Z Z L E OREN MOVERMAN POLLY MANN

MARC TURTLETAUB

STARTS FRIDAY, AUGUST 3

CITY LIGHTS: tHURSDAY

BEtH MACY

In her new book Dopesick, author Beth Macy paints a series of devastatingly emotional portraits of the lives of those lost—dead and alive—to the opioid epidemic.

She harnesses her strengths as a reporter by sharing the stories of regular users, grieving families, first responders, and even a convicted heroin dealer. One of her opioid-addicted interviewees is a Virginia mother whose addiction began after gallbladder surgery. Her doctor did not make her take powerful painkillers but simply told her to do so, and she thought she should trust her doctor. This woman’s story is not unique. She is one of about 2.6 million people facing an opioid addiction in the U.S. But how did painkillers provoke such a far-reaching epidemic?

According to Macy, the answer is not a simple one, as factors including joblessness, pharmaceutical marketing, and a culture of overtreatment all come into play. Dopesick is not an easy read, but an essential one in trying to understand, and ultimately remedy, a crisis. Beth Macy speaks at 7 p.m. at Politics and Prose, 5015 Connecticut Ave. NW. Free.

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

—Rose Shafer

28 august 3, 2018 washingtoncitypaper.com

SAVAGELOVE I’m gay and have been dating a guy for 10 months.

He’s great overall, and I would say for the most part we both want it to work out. But I am having a problem with his friends and other lifestyle choices. All of his friends are straight, and almost all of them are women. All of my friends have always been gay men, like me, so I find this strange. I don’t have any problem with women, but I don’t hang out with any women, and neither do most of my friends. He makes dinner plans for us with his straight friends almost every week, and I grin and bear it. They’re always old coworkers, so the whole conversation is them talking about old times or straighty talk about their children. It’s incredibly boring. He’s met my friends, and he likes some of them but dislikes others. It’s obvious that he is not comfortable relating to gay men, generally speaking. He does not seem knowledgeable about gay history or culture. For example, he strongly dislikes drag queens and never goes to gay bars. There is one woman in particular he makes dinner for every Friday night. It’s a standing date that he’s only occasionally been flexible about changing to accommodate plans for the two of us. Now he’s planning a weeklong vacation with her. When he first mentioned this trip, he asked if I would want to spend a week camping. I said no, because I don’t like camping. He immediately went forward with planning it with her.

I’m pretty sure the two of them had already hatched this plan, and I don’t think he ever really wanted me to go. I think it’s WEIRD to want to go camping for an entire week with some old lady. He does other weird things, too, like belonging to a strange new-age church, which is definitely at odds with my strongly held anti-religious views. He has asked me to attend; I went once, and it made me EXTREMELY uncomfortable. The fact that I didn’t like it just turned into a seemingly unsolvable problem between us. He says I’m not being “supportive.” I need some advice on how to get past my intense feelings of aversion to the weirdness. How can I not let our differences completely destroy the relationship?

—Hopelessly Odd Man Out Differences don’t have to destroy a relationship.

Differences can actually enhance and help sustain a relationship. But for differences to have that effect, HOMO, both partners have to appreciate each other for their differences. You don’t sound appreciative—you sound contemptuous. And that’s a problem.

According to Dr. John Gottman of the Gottman Institute (a research institution dedicated to studying and strengthening marriages and other interpersonal relationships)—who says he can accurately predict divorce in 90 percent of cases—contempt is the leading predictor of divorce. “When contempt begins to overwhelm your relationship, you tend to forget entirely your partner’s positive qualities,” he writes in Why Marriages Succeed or Fail. Contempt, Gottman argues, destroys whatever bonds hold a couple together.

You’ve been together only 10 months,

HOMO, and you’re not married, but it sounds like contempt has already overwhelmed your relationship. It’s not just that you dislike his friends, you’re contemptuous of them; it’s not just that you don’t share his spiritual beliefs, you’re contemptuous of them; it’s not just that his gayness is expressed in a different-than-yours-but-still-perfectly-valid way, you’re contemptuous of him as a gay man. Because he doesn’t watch Drag Race or hang out in gay bars. Because he’s got a lot of female friends. Because he’s happy to sit and talk with his friends about their kids. (There’s nothing “straighty” about kid conversations. Gay parents take part in those conversations, too. And while we’re in this parenthesis: I can’t understand why anyone would waste their time actively disliking drag queens. But being a gay male correlates more strongly with liking dick than it does with liking drag.)

This relationship might work if you were capable of appreciating the areas where you two overlap—your shared interests (including your shared interest in each other)—and content to let him go off and enjoy his friends, his new-age church, and his standing Friday-night dinner date. A growing body of research shows that divergent interests + some time away from each other + mutual respect = long-term relationship success. You’re missing the “mutual respect” part—and where this formula is concerned, HOMO, two out of three ain’t enough.

“You don’t sound appreciative-you sound contempuous. And that’s a problem.”

Here’s how it might look if you could appreciate your differences: You’d do the things you enjoy doing together—like, say, each other— but on Friday nights, he makes dinner for his bestie and you hit the gay bars with your gay friends and catch a drag show. You would go on vacations together, but once in a while he’d go on vacation with one of his “straighty” friends, and once in a while you’d go on vacation with your gay friends. On Sundays, he’d go to woowoo church and you’d sleep in or binge-watch Pose. You’d be happy to let him be him, and he’d be happy to let you be you—and together the two of you would add up to an interesting, harmonious, compelling “we.”

But I honestly don’t think you have it in

you.

—Dan Savage P.S. I have lots of straight friends, and I’m a parent, and sometimes I talk with other parents about our children, and I rarely go to gay bars, and I haven’t gotten around to watching Pose yet, or the most recent season of Drag Race, for that matter. It’s devastating to learn, after all these years and all those dicks, that I’m terrible at being gay.

P.P.S. If a straight person told you, “I don’t have any problem with gay men, but I don’t hang out with any gay men, and neither do most of my friends,” you’d think they had a problem with gay men, right?

I’ve been in an on-again, off-again relationship for the past four years. My girlfriend has an assortment of mental-health issues—anxiety, depersonalization episodes, depression, paranoia, among others— that make it very stressful and tiring to be with her.

Despite my best attempts at getting her to seek help, she refuses to take the plunge. Whether it’s a result of her illness or not, she refuses to believe that I actually want to be with her. I do care deeply about her, and the good days are wonderful. But nearly every time we go on a date or have sex, it ends in tears, and I have to endlessly reassure her that I do really want to be with her. I’m exhausted by having to defend my feelings for her multiple times per week and I don’t know what to do.

—He’s Exhausted And Lost There’s only one thing you can do, HEAL: Put this relationship on hold—take it back to offagain status—and make getting back together contingent upon her seeking help for her mental-health issues. You’ve made it clear, again and again, that you want to be with her. By finally seeking help—by actually taking the plunge— she can make it clear that she wants to be with you.

—DS

I have a very sexy German boyfriend, and he is not circumcised. His otherwise beautiful dick is a problem. It smells—sometimes a little, sometimes it really stinks. After he showers, the smell is still there. He says he uses only water. Is there a better way to wash an uncircumcised penis? Can he use some kind of soap?

—Girl Asks Gay4 Grooming Intervention Near Genitals Yes, GAGGING, there is a better way: He needs to wash that thing with motherfucking SOAP. If the soap he’s got is irritating the head of his penis or the inside of his foreskin, he needs to try other soaps until he finds one that cleans his dick without causing irritation. And you should make allowing that otherwise beautiful German dick anywhere near you contingent upon him learning how to clean it properly. There’s no excuse for stank-ass dick.

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

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SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 NRT29 Name of Deceased Settlor SUSAN TAKAGI NOTICE OF EXISTENCE OF REVOCABLE TRUST SUSAN TAKAGI whose address was 3505 Macomb Street, N.W., Washington, DC 20016-3161 created a revocable trust on November 30, 2011, which remained in existence on the date of her death on April 12, 2018, and CYNTHIA ROBIN TAKAGI, whose address is 311 Mill Valley Circle South, Sacramento, CA 95835

is the currently acting trustee, hereinafter the Trustee. Communications to the trust should be mailed or directed to c/o Roger C. Samek, Esq. at The Samek Law Firm, LLC, 15245 Shady Grove Road, Suite 300N, Rockville MD 20850.

The Trust is subject to claim of the deceased settlor’s creditors, costs of administration of the settlor’s estate, the expense of the deceased settlor’s funeral and disposal of remains, and statutory allowances to a surviving spouse and children to the extent the deceased settlor’s residuary probate estate is inadequate to satisfy those claim, costs, expenses, and allowances.

Claim of the deceased settlor’s creditors are barred as against the Trustee and the trust property unless presented to the Trustee at the address provided herein on or before January 19, 2019 (6 months after

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the date of the first publication of this notice).

An action to contest the validity of this trust must be commenced by the earliest of (1) April 12, 2019 (one year from date of the death of the deceased settlor) or (2) January 19, 2019 (6 months from the date of the first publication of this notice) or (3) ninety days after the Trustee sends the person a copy of the trust instrument and a notice informing the person of the trust’s existence, the Trustee’s name and address, and the time allowed for commencing a proceeding.

The Trustee may proceed to distribute the trust property in accordance with the terms of the trust before the expiration of the time within which an action must be commenced unless the Trustee knows of a pending judicial proceeding contesting the validity of the trust or the Trustee has received notice from a potential contestant who thereafter commences a judicial proceeding within sixty days after notification. The Notice must be mailed postmarked within 15 days of its first publication to each heir and qualified beneficiary of the trust and other person who would be an interested person within the meaning of D.C. Code, sec.

20-101(d).

Date of first publication: 7/19/18 Name of Newspaper and/or periodical: Washington City Paper/Washington Law Reporter Name of Trustee: Cynthia Robin Takag, Roger C. Samek, Esq. TRUE TEST copy Anne Meister Register of Wills

Print Deadline The deadline for submission and payment of classified ads for print is each Monday, 5 pm.

You may contact the classifieds rep by emailing classifieds@washingtoncitypaper.com or calling 202-650-6941.

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30 august 3, 2018 washingtoncitypaper.com

Pub Dates: July 19, 26, August 2.

Lost Passport: Steven Majumbu Boas Passport # AB098723 Tanzania Passport. If found call 202-560-9033 PERRY STREET PREPARATORY PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS Special Education Related Services Perry Street Preparatory Public Charter School is seeking proposals to provide school-based special education related services and evaluations.

Proposals are due via email to Rocio Taylor (cc: Kelly Smith) no later than 5:00 PM on Friday, August 3, 2018.

We will notify the final vendor of selection and schedule work to be completed. The full RFP with bidding requirements can be obtained at www.pspdc.org/apps/ pages/procurment Contact Information: Rocio Tyler, rtyler@ pspdc.org Kelly Smith, ksmith@ pspdc.org July 19, 2018 CAPITAL CITY PUBLIC CHARTER SCHOOL: REQUEST FOR PROPOSALS Professional development and school design; translation and interpretation services; special education testing services; special education and therapeutic services; special education assessment and textbooks; math consultant; planning guides, curriculum resources, quiz tools; payroll services; budgeting, account-

ing, financial and grant reporting, audit report, and analyses; financial and retirement audit; school supplies; office supplies; recruitment of teachers and resident fellows; temporary staffing; transportation services; general contracting services; janitorial services; HVAC maintenance services; landscaping services; pest control; trash and recycling collection services; information technology equipment and services; computers; IT supplies; printer and copier services.

Capital City Public Charter School invites all interested and qualified vendors to submit proposals for the above services. Proposals are due no later than 5 PM, August 10, 2018. An RFP with bidding requirements and supporting documentation can be obtained by contacting Jonathan Weinstein at jweinstein@ccpcs.org.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 ADM 000772 Name of Decedent, Stewart Stevenson Lupton. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, George P. Lupton, whose address is 3803 Van Ness Street, NW, Washington, DC 20016 was appointed Personal Representative of the estate of Stewart Stevenson Lupton who died on May 27, 2018, without a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceed-

ing. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 2/2/2019. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 2/2/2018, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 8/2/2018 Name of Newspaper and/or periodical: Washington City Paper/Washington Law Reporter Name of Person Representative: George P. Lupton TRUE TEST copy Anne Meister Register of Wills Pub Dates: August, 2, 9, 16.

MUNDO VERDE PUBLIC CHARTER SCHOOL REQUEST FOR PROPOSALS Student Support Services: Occupational Therapy, Educational Psychologist, Behavior Support Services Mundo Verde PCS seeks bids for Occupational Therapy, Educational Psychologist, and Behavior Support Services.

The RFP with bidding requirements and supporting documentation can be obtained by contacting Joe Brophy at jbrophy@mundoverdepcs.org or calling

202-750-7060. All bids not addressing all areas as outlined in the RFP may not be considered.

The deadline for application submission is 12:00pm August 14th, 2018.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 ADM 000767 Name of Decedent,Tanya Michelle Battle, Name and Address of Attorney: Maria C. Simon, 4000 Legato Road, suite 1100, Fairfax, VA 22032. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Ronald Battle, whose address is 701 Daughtridge Street, Rocky Mount, NC 27801 was appointed Personal Representative of the estate of Tanya Michelle Battle who died on April 13, 2018, without a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 1/26/2019. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 1/26/2018, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name,

address and relationship.

Date of first publication: 7/26/2018 Name of Newspaper and/or periodical: Washington City Paper/Washington Law Reporter Name of Person Representative: Denise Walker TRUE TEST copy Anne Meister Register of Wills Pub Dates: July 26, August, 2, 9.

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