Washington City Paper (September 14, 2018)

CITYPAPER Washington

2018 FALL AR ENTERTAINM TS AND ENT GUIDE

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D.C. counts on automated traffic tickets to stuff its coffers, but offers questionable evidence that residents are getting safer roads in return. P. 10

By Vinnie Rotondaro

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Photographs by Darrow Montgomery and Stephanie Rudig

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FALL ARTS GUIDE INSIDE

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FALL ARTS GUIDE INSIDE

Driving Revenue D.C. counts on automated traffic tickets to stuff its coffers. Do residents get safer roads in return? P. 10

By Vinnie Rotondaro Photographs by Darrow Montgomery and Stephanie Rudig

MAYOR BOWSER AND THE DC COUNCIL SHOULD NOT BE WORKING TO OVERTURN THE WILL OF BLACK VOTERS. 7 OF D.C.’S 8 WARDS VOTED TO PASS INITIATIVE 77 WITH D.C.’S POOREST AND BLACKEST WARDS VOTING OVERWHELMINGLY IN FAVOR OF IT BY MORE THAN A 20% MARGIN. “A $15/hour wage means being assured that I will be able to make ends meet. It means knowing that th whether or not I make money that day won’t depend on what day of the week I was assigned to work, how popular my bar or restaurant is, my race, my gender, or just how generous patrons are feeling that day.”

Anonymous DC Restaurant Worker

TELL MAYOR BOWSER AND THE DC COUNCIL TO RESPECT BLACK VOTES AND BLACK WORKERS BY VISITING PROTECT77.ORG. 2 september 14, 2018 washingtoncitypaper.com

INSIDE COVER StORy: DRiVing REVEnuE

10 Traffic tickets bring in big money for the District, but the cost to those who receive them is extreme.

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DiStRiCt LinE 5 bad sign: The ACLU-DC takes on a property management company that allegedly denied a woman timely access to health services.

5 loose lips: With S. Kathryn Allen off the ballot, at-large Council candidate Dionne Reeder is ready to fill the void.

SpORtS 6 gear prudence 8 dreaming big:The WWE becomes more progressive with help from the D.C.-born wrestler known as Velveteen Dream.

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DistrictLinE

Bad Sign

Independents’ Day?

Former Mayor Williams dumped Council candidate Dionne Reeder to support S. ACLU-DC alleges that a “profoundly deaf” tenant of Ward 2’s Claridge Towers was unable Kathryn Allen, but Allen was disqualified this week, and Reeder is ready to fill the void. to access health services in a timely fashion.

The AmericAn civil Liberties Union of D.C. has filed a lawsuit against DC Housing Authority, the city itself, and building manager CIH Properties over allegations that employees of the authority violated the Americans with Disabilities Act, threatening the health and safety of an elderly, deaf tenant.

The suit, filed in U.S. District Court on Aug. 30, alleges that a “profoundly deaf ” tenant of Ward 2’s Claridge Towers was unable to access health services in a timely fashion after complaining to her son that she experienced problems breathing.

The tenant, 77-year-old Army veteran Evelyn Arthur, relies on a “video relay system” hooked up to a television in her bedroom to communicate with friends and family. (The system connects both Arthur and the hearing person to a trained sign-language interpreter, a service paid for by the Federal Communications Commission.)

Building manager CIH Properties had, for months, allowed Arthur’s son Robert—her primary caretaker—to visit her without having the front desk call via the video system.

But in January of 2017, CIH allegedly rescinded that accommodation. The suit alleges that Robert verbally complained to management about this change, since Evelyn can only see incoming calls when she is in her bedroom and looking directly at the television.

Months later, in June, Evelyn called her son to complain of breathing issues, the suit alleges. But when Robert went to his mother’s apartment, the security guard was unable to reach her by phone.

“In fear for his mother’s health and well-being, Mr. Arthur nevertheless went to his mother’s apartment to check on her,” the suit says.

“He promptly returned with her to the lobby, where she confirmed that she had called him in medical distress and had asked him to come over right away. Despite explicit identification of and approval from Ms. Arthur for her son’s visitation, [the security guard] called CIH Properties and the DCHA police, seeking the issuance of a ‘Bar Notice’ barring Mr. Ar-

housing complex

thur from entering Claridge Towers.”

When one member of the housing authority’s police department determined that a bar notice wasn’t warranted, the security guard on duty—who is also named in the ACLU’s suit— called a DCHA police sergeant, who reportedly ordered the issuance of a bar notice without having responded to the scene or communicating with either Arthur or her son.

“D.C. police officers … failed to accommodate Ms. Arthur’s disability and used excessive force against her. As a result, Plaintiffs have suffered grievous harm at the hands of the Defendants,” the suit says.

Further, the suit alleges that Evelyn Arthur wrote two letters to CIH and DCHA, asking them to rescind the bar notice. “Her letter pointed out that her son was her only family in Washington and ‘the only person I have to help me,’” it says.

Not only did she not receive a response to that letter, the suit alleges, but she also received a notice from Claridge Towers later in June “informing her that a Bar Notice had been issued against Robert Arthur, effective from June 17 to Aug. 17, 2017, and that she could be evicted and subject to proceedings in landlord-tenant court if she were to permit Mr. Arthur to enter her home or Claridge Towers.”

In an emailed response, DCHA spokesperson Rick White says, “Like all DCHA residents, we have attempted to meet her requests for accommodations. DCHA will continue to respond to her requests, subject to any laws or prohibitions applicable to her or her son.”

CIH Properties, Inc. President Kevin P. O’Malley says, “CIH Properties, Inc. has worked in concert with DCHA and Ms. Arthur, in view of all applicable regulations and laws, to accommodate Ms. Arthur and continues to be willing to take whatever steps are appropriate to assist her in meeting her needs.”

The suit alleges that the offices of both Mayor Muriel Bowser and DC Housing Authority Director Tyrone Garrett were notified of the alleged incident on December 15, 2017. DCHA oversees a portfolio of 56 public housing properties and is the landlord of about 20,000 public housing residents.

CIH Properties has been cited before by the District’s Department of Consumer and Regulatory Affairs for housing code violations. CP

By Tom Sherwood Late Last year, Dionne Bussey-Reeder was just organizing her at-large race for the D.C. Council.

She and her wife Stephanie— they’ve been together for 19 years—agreed that for ballot simplicity, she would file as Dionne Reeder. They agreed that Reeder could campaign and maintain her three-year-old restaurant Cheers in historic Anacostia.

But Reeder, 46, was making her first run for office. The third-generation Washingtonian had worked nearly eight years for Tony Williams, first when he was CFO of the District and later, when he was mayor, as his Neighborhood Service Coordinator for Ward 8.

So Reeder says she set up a meeting with Williams last December and asked for his endorsement. “I asked him, I said, ‘Mayor Williams are you going to support me?’ And he looked at me and he said, ‘Definitely I’m going to support you. I wouldn’t be here if I wasn’t going to support you.’ I said, ‘Will you endorse me?’ And he said, ‘I definitely will endorse you.’”

In an interview with City Paper on Tuesday evening, Reeder said Williams even agreed to do an endorsement video. But she says Williams postponed the event for a family matter, and not long after, announced that he was instead supporting S. Kathryn Allen.

“It was the strangest thing,” Reeder said in the interview. “It really was.”

Reeder spoke to City Paper after the D.C. Board of Elections ruled Allen off the November ballot because of faulty and fake campaign petition signatures. Williams and former D.C. Council member David Catania had been co-chairmen of the Allen campaign. Both have declined to comment on how the Allen campaign imploded. Williams was traveling and unavailable for comment on Reeder’s endorsement description.

But a source close to Williams says the for-

loose lips

mer mayor had decided that Reeder “was not taking off ” and decided to support Allen, who Catania was backing.

“I didn’t get into this race for them to support me,” Reeder says. “I just knew I had to do something different. I’m running an inclusive campaign.” Living in the family home she grew up in on Kenyon Street NW in Columbia Heights, she says the city needs to do more for jobs and affordable housing and education— all areas in which she has experience.

As a small business owner, Reeder says she objected to the financing for the city’s new paid family leave program backed by incumbent Councilmember Elissa Silverman, her opponent in November. “I’m progressive but I’m a productive progressive,” Reeder says. She says that the .62 percent tax on employers is a strain on their businesses and that most of the beneficiaries of paid family leave are suburbanites who work in the District, and that employees should pay part of the tax. She says Mayor Williams had promised to work with her to help explain to voters why the employer tax was a bad idea.

Reeder says she also opposed Initiative 77, which would abolish the city’s two-tier, tipped wage system. She says she pays her bartenders $10 an hour plus tips and believes the city should enforce the law that requires restaurant owners to make up wages if tipped workers don’t earn a minimum wage. “I want my bartenders to have a quality of life.”

But right now, Reeder is surveying the changed election landscape with less than two months to go. Reeder, despite low fundraising and name recognition, suddenly is the independent candidate best positioned to be an alternative to Silverman. Whether business or other groups unhappy with Silverman turn to Reeder is an open question. But she says she’s ready for a real campaign and hopes communities schedule a lot of debates.

“I’m not dismayed by anything that has happened. I’m on fire to win.”

CP Darrow Montgomery/File

By Morgan Baskin

washingtoncitypaper.com september 14, 2018 5

Gear Prudence

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SAVE THE DATE!

Gear Prudence: I don’t ride a bike, but I have a lot of friends who do. And without fail, each time I’ve visited one of their apartments, I’ve found so much bike-themed decor. Posters, pillows, coasters, calendars, refrigerator magnets—like whoa, I get it, you like bikes. I drive a Honda, but you don’t see my walls covered in pictures of vintage Civics. What’s the deal with this? What is it about riding a bike that makes people want to surround themselves with so much bike-themed crap? It seems obsessive.

—Buddy, I Know! Employ Another Room Tableau Dear BIKEART: “Bicyclist” is not a personality. But it can be a useful decorating crutch and a good way to provide some coherence to an interior space. The reasons for your friends’ adoption of bike-themed decor are multifarious, and because the same object and activity can stand for so many different things, its recurrence isn’t as surprising as you might think. Let’s unpack.

Bicycling is a sport. Many people decorate with team merchandise as a way to express their fandom, and bike decor can accomplish the same thing. Given bicycling’s long history, images of 1930s Tour de France riders or 1880s high wheelers prove compelling decorations for people who like to hang up old-timey pictures. Likewise, many people decorate their homes with objects picked up as souvenirs on their travels. If your friends biked on vacation, maybe you’re seeing visual reminders of their past feats and adventures.

The bicycle itself is, objectively, an interesting visual object. It lends itself well to representation, and that’s why you see them slapped on many objects—coasters, pillows, dish towels, snowglobes, whatever. (Etsy currently has 151 results for ‘bicycle napkins.’) Bikes are not especially difficult to render (far easier than a Civic) and this also plays a part in the proliferation. The widespread diffusion of bicycle objects combined with the great variation in bicycle designs and depictions further helps broaden the appeal of bike decor. If there was only one kind of bike and one way to depict it, you likely wouldn’t see it as much.

But ultimately, yes, there is something about riding a bike that makes people want to surround themselves with bike-themed stuff. Many bicyclists do feel that bicycling is part of their identity, and want to celebrate that. Their participation in the activity is meaningful to their concept of self.

But even if it’s not about their identity, it’s an object about which they have positive feelings. (You don’t decorate your house with stuff you hate!)

Or maybe bicycling is the only distinctive thing your friends’ friends know about them, and their apparent decorating strategy is nothing more than the accumulation of years of secret santas, birthday presents from exes, and housewarming parties. Either way, it’s better than blank walls and empty shelves, so cut your friends some slack.

—GP

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The new Providence will look to transform the way care is delivered in the District with a new community-focused perspective that provides other types of needed services, such as care coordination, telehealth/virtual care, primary and urgent care, home care, community-based behavioral healthcare, senior care and more. The effort will sustain Providence for generations to come while improving the health of the community it is privileged to serve.

Providence Health System recently announced its decision to transition out of acute care services by December 2018 so that it can shift its focus to leading the collaborative work to create a model that will keep health at the center, remove the obstacles and barriers to a healthy life for all, and better meet the needs of a changing and growing community.

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Last month, Providence began holding internal and external listening sessions with associates and members of the community to provide their thoughts on the future of Providence following implementation of the announced decision. Multiple transition teams representing associates and physicians are working to define transition plans for the future state of Providence. Providence is also working with the DC Department of Health and other healthcare institutions.

“Over the years, Providence has adapted to the changing needs of the community,” said Vander Kolk. “Our future transformation is a continuation of that legacy and our commitment to serve the community where and how we are most needed.”

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Courtesy of Howard Athletic Department

SPORTS

Howard University’s football team is off to a 0-2 start this year after a historic 2017 season. But hopes are still high with secondyear coach Mike London and dual-threat quarterback Caylin Newton in charge. washingtoncitypaper.com/sports

Dreaming Big

Courtesy of WWE

D.C.-born WWE star Patrick Clark breaks ground in the ring.

By Joshua Needelman The lighTs go dark and the big screen comes to life, panning over Patrick Clark’s crotch and his six-pack abs before landing on his face.

White beads hang around his neck and from the tips of his sunglasses. Some say he channels Prince. To others, he’s just a flamboyant, costumed wrestler.

“D.C.,” he says, rolling his head to the right, his voice taking on a confident playfulness.

“It’s time.” This is Clark’s homecoming and he isn’t going to let anyone forget it.

Clark, 23, is a D.C. native and professional wrestler for WWE’s developmental territory NXT, embodying a persona known as Velve-

wrestling

teen Dream. Despite his ostensible characterization as a “heel”—a bad guy—Velveteen Dream is the main attraction at NXT’s April 19 show at The Anthem in Southwest D.C. Chants of “Velvet-een! Velvet-een!” emanate from the mostly male, mostly drunk crowd as he challenges Ricochet. Velveteen Dream shirts have been “selling like wildfire,” says the guy working the T-shirt stand. During intermission, the event’s in-house announcer asks a young girl with her father who her favorite NXT wrestler is. She doesn’t hesitate: “Velveteen Dream!”

Exceedingly flamboyant characters are not new to WWE programming, but in the past they’ve often been portrayed through the lens of homophobia, while the typical wrestler persona is built around a traditional definition of masculinity.

8 september 14, 2018 washingtoncitypaper.com

But in recent years, WWE, not immune to declining television ratings across the board, has followed in the footsteps of many entertainment mediums in moving toward more socially progressive programming. Velveteen Dream, with his long earrings, skimpy shirts, and serious placement on the card, is perhaps the WWE character most befitting the national moment.

“In a sport like wrestling, where it’s majority dudes here, you know? And it’s like, we’re chanting Velveteen fuckin’ Dream,” says Richard Echols, an Alexandria resident who attended the D.C. show. He lets out a chuckle, as if in disbelief. “It’s cool that we’re willing to accept that, and cheer for it. I mean, he’s supposed to be a heel, right?”

Almost every Wednesday night, when NXT airs on the WWE Network, Clark’s character tests commonly held beliefs about how

a tough guy is supposed to act. But it’s hardly surprising to some who know the man behind the snazzy shades.

“He was always looking in your eyes,” says Robert Locke, who trained with Clark at Maryland Championship Wrestling in Joppa, Maryland, “and trying to challenge you.”

Professional wrestling started out at as an escape for Clark, a way to block out the drugs and violence surrounding his Capitol Hill home in Northeast D.C. And then it became a way to create a positive legacy, the means to dissociate himself from the world that claimed his father, who was killed when Clark was 2 years old.

“Wrestling gave me something outside science, which was my muse before this,” Clark tells City Paper.

He was a standout on the wrestling team at the now-defunct Forestville Military Academy in Prince George’s County. Former Forestville wrestling coach Rio Thompson says Clark was innovative on the mat, constantly searching for alternative ways to escape contemporary holds.

When MCW’s training school opened in 2014, Clark and Lionel Green, a Lanham native who now wrestles for WWE under the name Lio Rush, were the first two waiting in line. They carpooled together from the D.C area to Joppa, sleeping in the car before early morning sessions, MCW owner Dan McDevitt says.

When they were unable to drive, they’d hitchhike in and stay as long as they could.

“Unless we told them, ‘You have to get out of the ring,’ they’d stay in there,” says McDevitt. Clark “flew through everything,” adds RJ Meyer, who helped train Clark at MCW. “It was very few and far between when you had to show him something more than once.”

MCW often hosted birthday parties for children, and Clark took the opportunity to try out different characters. He adopted one persona, Pretty Ricky, for which he donned a bright orange, long-haired wig. Pretty Ricky’s intentions were unclear, Meyer says. “You didn’t know if he was going to ask you on a date, or kick your ass.”

When asked about Pretty Ricky, Clark is terse, and channels his alter ego: “The Dream has no memory of that.”

Clark went on to compete in the WWE reality competition show Tough Enough in 2015.

He was eliminated after four episodes, but the then-19-year-old impressed WWE executives enough to earn a developmental contract.

Velveteen Dream made his NXT debut on May 24, 2017. Dressed in purple tights and a ruffled white shirt, he sauntered into the ring, lips pursed. His earrings sparkled, as did the gold

SPORTS statement choker around his neck and the rainbow headband around his forehead. The NXT announcing team tried to make sense of him.

“Hey, look, only thing I can say is, don’t judge a book by its cover. I’ve seen this guy train,” announcer Percy Watson said during the show. “Are you ready to experience the Velveteen Dream?”

Nigel McGuinness responded in confusion: “I’m not really sure. I’ll reserve my judgement. He looks certainly enigmatic. Perhaps I can call him ambiguous as well.”

Locke, who came up with Clark at MCW, says his debut felt right.

“As soon as I saw him, I said, ‘Thank God that guy finally found out exactly who he is,’” Locke recalls. “That’s the true guy. You give him the resources of WWE, and it takes him two years to figure out who he is. If he was walking the streets of Baltimore it would’ve taken him 10 years.”

Locke says Clark kept his peers on their toes at MCW. He would survey people, mining their worldviews for their preconceptions of him, perhaps about his appearance or his upbringing. And then he’d challenge them.

In response to that, Clark says, “I fought for what I believe is right.”

“The guy you see on stage, as Velveteen Dream is right now, without the resources of WWE, is the guy he would’ve turned into by the time he turned 28,” says Locke. “That was going to be him.”

Velveteen Dream’s first year with NXT was a hit. He engaged in a memorable rivalry with Aleister Black and had acclaimed matches with Kassius Ohno and Ricochet. His dress and mannerisms and provocative speech—he repeatedly implored Black to “say my name”— didn’t impede his success.

Professional wrestling journalists and fans have described Velveteen Dream as androgynous and gender non-conforming. Clark views things differently.

“I can’t make anything of those descriptions of Velveteen Dream. I don’t consider myself either of those. It’s very hard for a performer to take that outside look. I’m a very introspective individual. It’s hard for me to label myself or characterize myself,” Clark says. “I do believe that current performers in WWE, more specifically in NXT, we have more freedom to be ourselves. I can say the people you see on TV are real-life individuals, not just people playing a role, myself included.”

Before Velveteen Dream, WWE hadn’t always gone out of its way to present characters of that ilk in a positive way. Things have changed.

“They’re eager to be seen as a progressive wing of sports and entertainment,” says Kenny Herzog, a regular contributor to The Ringer who covers professional wrestling. “WWE wants to be seen on the right side of history, even if it be-

lies the fact that they’re an organization run with some puzzling political associations.”

WWE’s social direction is different in 2018.

Women are no longer classified as Divas, paraded around in bikinis, ogled, and objectified.

In October, WWE will hold Evolution, the firstever all women’s pay-per-view event. Finn Balor, a popular wrestler on the main roster, wore rainbow-trim ring gear for his match at WrestleMania 34 in the Mercedes-Benz Superdome and was cheered on by members of the New Orleans LGBTQ community.

In 2018, WWE, a publicly traded company with corporate sponsors to whom it answers, has created an environment in which Velveteen Dream can thrive.

“WWE has never turned away something that’s good for business,” Herzog says. “Even if they don’t care one way or the other about inclusivity or representation, it’s good business.”

Before his NXT Takeover: Brooklyn IV match on Aug. 18, Velveteen Dream, with his back to the camera, lifted up his vest and tugged on his tights, shaking his hips in the way Divas used to on a weekly basis. “CALL ME UP VINCE,” the back of his tights read, a nod to WWE CEO Vince McMahon.

Barely a year after Velveteen Dream’s NXT debut, many are clamoring for McMahon to heed the performer’s request. Legendary broadcaster Jim Ross championed Clark as a future WrestleMania headline on his podcast in August, and John Cena said Clark could be “the one” during a question and answer session at MegaCon Orlando in May. But not everyone is confident WWE would present Velveteen Dream properly on RAW or SmackDown, its two primetime shows that air weekly on USA Network and combined draw millions more viewers than NXT. “Vince is just very traditional. Probably very Republican, if that makes any sense,” says Pablo Rosas, an Arlington native who also attended the D.C. show. McMahon’s wife, Linda, donated $7 million to super PACs that supported Donald Trump’s 2016 campaign, according to campaign finance records. She now leads Trump’s Small Business Administration.

The crowd on April 19 is too invested in Velveteen Dream’s match against Ricochet to think about the future. Most of the people packed into the dimly lit venue on Wharf Street SW eat up his every move.

“Say his name!” shout some.

“Velveteen!” shout others.

Velveteen Dream loses to Ricochet and makes for backstage. He stops at the top of the entrance ramp, flings his arms in the air defiantly, and disappears behind the curtain.

Soon he’s back on the road, leaving behind the city and the circumstances he set out long ago to transcend. He has another match in 24 hours, another show to steal, in front of another crowd happy to say his name.

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washingtoncitypaper.com september 14, 2018 9

Driving Revenue The District has a multi-million dollar cash cow in the form of costly traffic tickets that increase in volume each year.

By Vinnie Rotondaro Photographs by Darrow Montgomery and Stephanie Rudig 10 september 14, 2018 washingtoncitypaper.com

The AmericAn riTe of passage known as a traffic ticket can ruin a good day and tank a bad one.

But in D.C., where tickets top off at $300, double if unpaid after 30 days, and are issued in perverse abundance via automated cameras, traffic tickets are ruining a lot more than a day for many of their recipients—especially those who struggle economically. Meanwhile traffic fatalities are on a slight but steady rise.

The District’s ticket habit is of concern to all.

In recent years, revenue from automated enforcement has become a virtual cash cow for D.C., with income from red light and speed-

ing camera tickets alone jumping from just over $69 million in 2015 to over $123 million in 2016.

A bill currently under mayoral review addresses some of the harshest side effects of this revenue-cum-enforcement strategy. The Traffic and Parking Ticket Penalty Amendment Act of 2017, as it stands, would discontinue the suspension of drivers licenses for residents who have unpaid tickets, eliminating a pathway from fines to criminal charges if residents with suspended licenses get caught driving. But it would not reduce the price of tickets.

According to AAA Mid-Atlantic, District red light camera tickets are 200 percent higher than they are in Virginia and 100 percent higher than they are in Maryland. Speed camera tickets range from $50 to $300 in D.C., while such tickets are $40 in Maryland and do not exist in Virginia. The District’s highest speed camera ticket of $300 is 650 percent higher than a speed camera ticket in a work zone or school zone in Maryland.

While parking enforcement tickets have been decreasing as more drivers use smartphone and ride-hailing apps to pay for parking or get around town, photo citations have more than made up for the loss. The issuance of red light, speeding, and stop sign tickets jumped 70 percent in fiscal year 2016.

“There is ample evidence that automated enforcement reduces fatalities,” says Yesim Sayin Taylor, executive director of the D.C. Policy Center, which has issued reports on the subject of automated fines, “but we cannot rule out that the city is hooked on the revenue.”

Revenue collected through parking and photo citation enforcement currently goes to the city’s General Fund, which funds government operations, debt financing, and helps pay for water and sewer services. In 2018, the General Fund sits at about $9.1 billion.

The problem, says Sayin Taylor, who used to work in the Office of the Chief Financial Officer, is that the city is forever looking to increase the General Fund’s baseline—always up, and never down—and so the idea of lowering ticket prices becomes politically untenable, as no one department or program is willing to stomach a cut.

“In 2017, the total revenue was $190 million supporting the General Fund,” she says.

“If the District adopted a fee structure that is less onerous on low income families—let’s say cutting the fines by half—then the city would have to find a way to make up $80 million of revenue. In other words, we are addicted to the revenue and it is so large now that it is hard to make up for it.”

“The city unfortunately uses various fines as a revenue source,” says David Brunori, professor of public policy and public administration at George Washington University. “There is a place for fines—to deter bad behavior. But there is something untoward to use them for General Fund revenue. The problem is that the city raises so much money fining people that it becomes a part of the budget. The city almost needs people to speed because they are relying on the money.” in AugusT 1999, the city activated its first red-light intersection safety camera at the corner of New York Avenue NW and 4th Street NW. In that year, there were 47 traffic fatalities. Throughout the early aughts, the District followed a national trend of implementing and expanding its program of traffic camera enforcement. Residents were voicing concern over the issue of aggressive driving, and bit by bit traffic deaths decreased, hitting a low of 19 in 2012.

In 2016, D.C. fine-tuned its photo citation program and the issuance of tickets skyrocket-

ed, jumping from 657,444 in 2015 to 1,103,769 the next year. In 2017, the city hired a vendor called American Traffic Solutions to run its camera enforcement program for a fixed price contract of $3,528,261.63 per year. Today, there are approximately 150 cameras up and running throughout the city, generating unparalleled levels of revenue.

For the District’s well-to-do, this newfound reality has become a normal, if annoying, extra charge. But as the region’s cost of living soars, and as rent and housing prices reach into the stratosphere, the city’s policy of slamming drivers with steep fines and then doubling them upon non-payment is wreaking havoc on the lives of residents and commuters who struggle to get by.

According to a 2017 DC Fiscal Policy Institute report, households in the top 20 percent of income have 29 times more income than those in the bottom 20 percent, and the low-income group is largely African-American. While proponents of machine-based ticketing argue that it reduces the potential for racial discrimination, a D.C. Policy Center analysis titled “Predominantly black neighborhoods in D.C. bear the brunt of automated traffic enforcement” shows the opposite.

“My analysis of moving violations citations and crash data suggests that the racial geography of D.C. does play into in the enforcement of traffic violations,” wrote the study’s author, William Farrell. “Census tracts with higher proportions of black residents are associated with a higher incidence of traffic fines, despite not experiencing a greater number of crashes.”

Earlier this year, Sheika Reid ran for the Ward 1 Council seat on a platform that elevated automated traffic and parking tickets alongside issues like affordable housing and small business development. Like many who work on the issue, the 27-year-old architectural drafter and D.C. native had been personally impacted by the high cost of tickets, having her car towed and later confiscated for failure to pay in January 2017.

“I was using my car for job hunting, so I wasn’t able to pay,” she says. “With my community organizing background, I thought, ‘If this is a cold for me, it’s a like the flu for people who are more economically vulnerable.’”

But it’s not just the economically vulnerable or people of color who are impacted, Reid says.

“I’m a young black woman, and this was across Ward 1,” she says. “Everyone was saying they can’t make sense of speeding and parking tickets and their expenses, and there was this moment, this demand for a community voice that understands that the cost of living is so expensive and that [tickets] really do hurt.”

Chioma Iwuoha, a fellow community organizer and friend of Reid’s, helped with the effort to raise awareness. After gutting her savings more than once to pay for tickets, Iwuoha decided to launch a campaign. She created a survey and sent it out to friends and family and on Facebook. Respondents to Iwuoha’s survey painted a picture of high fines as a straw that can break the camel’s back in an already extremely expensive city.

“It’s a great barrier,” wrote one respondent.

“I find that money that goes to paying overpriced tickets could be better spent on things I actually need, like paying rent and groceries.

It’s keeping me from being able to change my registration to DC, which in turn causes me to get more tickets.”

Multiple respondents complained of owing thousands of dollars for tickets that had doubled.

Jennifer Bryant, a 32-year-old communications worker who lives in Benning Ridge, wrote that she owed D.C. a whopping $1000 in tickets in 2016. Reached for an interview, she explained, “2016 was a bad year for me, and tickets made it ten times worse.”

In the span of about seven months, Bryant got hit with multiple speeding and parking tickets. Because she was unemployed she couldn’t pay, and all of the tickets doubled. “I was using my car to drive Uber. I needed my car to go to job interviews, and I was so scared to drive around because I thought they were going to boot my car or tow it.”

Another respondent, Allison Basile, who helps run a worker-owned labor cooperative called Tight Shift that consists of people returning from prison, says she incurred over $1,600 in D.C. tickets in 2016, roughly equivalent to 11% of her income that year. In 2017, after almost a decade of living in the District, Basile decided to move to Maryland. “It was the financial burden,” she explains, “and the tickets were a huge part of that financial burden.”

“Once I had to get a loan to pay for my car tickets,” wrote a D.C. resident named Tiye.

“It’s by the grace of God that I was able to get a loan from a family member because otherwise I would’ve been without a car and unable to get to my job at the time. Tickets in DC are WAY too expensive. They shouldn’t be doubled if you’re late, because if I didn’t have money to pay $100 I definitely won’t have $200.”

This kind of economic suffering appears to serve no one and nothing so much as it does D.C.’s coffers.

Traffic deaths and the issuance of automated tickets are both on the rise. While city data on red light, speeding, and stop light related crashes are available until 2015, MPD did not produce data on crashes in 2016, 2017, or 2018 in response to City Paper’s several requests.

Recent studies in cities like Chicago and New Orleans show that traffic cameras can work to reduce crashes and traffic related deaths. A 2002 study of D.C.’s early speed camera system found that speeding was reduced by 14 percent at speed camera sites, and the incidence of vehicles going 10 miles per hour over the speed limit decreased by 82 percent.

But criminologists and social scientists that City Paper interviewed argue that the practice of sending high priced fines through the mail is not an effective way to achieve city-wide safety.

“When you’re trying to change behavior, it’s intuitive to focus on making the punishment more severe,” says Adam Fine, assistant professor of criminology and criminal justice at

washingtoncitypaper.com september 14, 2018 11

Arizona State University and co-founder of ComplianceNet, a scholar network that publishes research and hosts conferences relating to the science of compliance. “However, the science tells us that this is one of the least effective ways to change misbehavior.”

“The problem here is that these tickets come in the mail,” he says. “If I receive a ticket in the mail, I’m probably not going to speed at that intersection again or go through that specific red light. But I’m just one person. No one else knows that I got caught or punished. If improving public safety is really the goal, your money would be better spent on increasing public awareness.” More conspicuous red light and speeding camera signs, or signs announcing the presence of cameras, are the kinds of interventions that help raise awareness to drivers.

To really change behavior, the sting of enforcement needs to be “swift and certain,” says Gregory Ridgeway, a criminology professor at the University of Pennsylvania, and former acting director of the National Institute of Justice. “If every time I ran a red light $5 was immediately deducted from my bank account, and I was immediately informed of that fine,” he says, “then I think that would have a very strong deterrent effect.”

Psychologically speaking, something gets lost in the time that it takes to receive a ticket in the mail, these experts say. The “sting” of enforcement comes after the fact, away from the scene of the crime or infraction and in a more or less random way, as not every red light has a red light camera, and not every street has a speeding camera. This kind of approach could have a “specific” effect, at specific intersections or on specific streets, the experts say, but it would not have a “general” or city-wide effect, and the data seem to bear that out.

Advocates for lower ticket prices argue that if automated enforcement worked to get people to stop speeding and running red lights, the issuance of photo citation tickets would be going down. But that is not the case. Photo citations keep going up and up.

According to city data, D.C. issued 1,103,769 photo citations in 2016; 1,229,239 in 2017, and 350,900 as of January 31, 2018. “We are on pace to break the record,” says John Townsend of AAA Mid-Atlantic.

At the same time, and despite the surge in tickets, traffic fatalities have also been on the rise: 26 deaths in 2015, 28 in 2016, and 30 in 2017. So far this year, there have been 23 traffic fatalities, on par with where we were this time last year. (The last publicly available traffic safety report shows that the number of crashes fluctuated between 2013, 2014, and 2015.

The city has not produced publicly available data for 2016 or later.)

The criminologists say another important issue to consider is that of fairness. “If the procedures of making new laws and of enforcing them are fair, people will have a higher likeliness to obey these rules voluntarily,” says Benjamin van Rooij, global professor of law at University of California, Irvine. “Unfair enforcement can thus also come to undermine its own effectiveness.”

“What does feel unfair is to be suddenly

hit with a $150 fine for a single incident,” says Ridgewood of University of Pennsylvania.

“That could very well be the difference between making rent and not making rent one month. If the aim is really deterrence, then theory suggests that swift, certain, and mild fines are the best approach.”

Representatives for pedestrian and bicyclist groups fault the city for not doing enough to create safer roads, but say that there is no excuse for speeding.

“It’s very easy to not get a speeding ticket, you just have to not speed,” says Colin Browne, communications director for the Washington Area Bicyclist Association (WABA). “Speed limits are not there to annoy you and they’re not there to make money, they’re there to keep people safe.”

Nevertheless, he says, “at the public policy level, if you’re relying on enforcement only as your traffic safety measure, you’re doing it

wrong and you’ve already failed.”

In July, WABA held a protest outside the mayor’s office demanding that the city do more to eliminate traffic fatalities and live up to its “Vision Zero” plan, which the mayor initiated in 2015 with the aim of eliminating traffic deaths by 2024.

“The problem is that we’ve built our cities using this arcane set of guidelines that were designed for the interstate highway systems in the ’60s, and surprise surprise, people speed,” Browne says. “The way you back fill that is to add traffic cameras and do speeding enforcement, and that’s not a good solution.”

Ben Welle, a senior associate urban and transportation planner at the World Resources Institute, and a voting member of the D.C. Pedestrian Advisory Council, echoes the point, calling automated enforcement a “Band-Aid approach.”

“Overall deaths have been going up slightly

“The problem is that the city raises so much money fining people that it becomes a part of the budget. The city almost needs people to speed because they are relying on the money.”

12 september 14, 2018 washingtoncitypaper.com

over the past three years, and that’s despite the city taking on this Vision Zero policy,” he says.

“I want to be optimistic—and there are good things happening here and there—but there needs to be a leadership push to make more progress. It’s nice to put out platitudes about Vision Zero and making the city safer for everyone. But there needs to be a paradigm shift, and I just don’t see that happening.”

The Traffic and Parking Ticket Penalty Amendment Act of 2017—in addition to discontinuing the policy of suspending drivers licenses for non-payment of traffic tickets— would provide a community service option in lieu of monetary payment, allowing residents to work down their ticket charges at the rate of the minimum wage. It would also shorten the statute of limitations for unpaid tickets from 16 to 10 years. And if the city can find a way to make up for an estimated $28 million in lost revenue, the bill would extend the time it takes for a ticket to double from 30 to 60 days, offering breathing room for residents who say they can’t get the money together fast enough.

But the bill would do little to take away the city’s ability to make people pay up. And therein lies the problem, say public policy experts and community organizers who praise the bill as a good first step, but complain that the burden of excessively high fines remains.

There is no way to know how the millions of dollars extracted from drivers translates into cost of living in and around D.C. According to a widely cited MIT living wage calculator, a single District resident working full time needs to earn $17 an hour to cover cost of living, and a single adult with a child needs to earn $30 an

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Must Be: hour. In the greater metro area, those numbers are just a hair less. But “sadly the tool does not include such things as fines,” says Professor Amy Glasmeier, who created the calculator.

The fact that this cost of living is essentially hidden may help explain why more people do not understand it to be a legitimate issue in need of political action.

Iwuoha recalls participating in a panel event involving the Ward 1 Council candidates and bringing up the issue of tickets. She remembers one of the candidates dismissing her concern, saying, “Out of all the doors I knocked on, not one person mentioned parking tickets, so it’s not a priority for me.”

“You know,” Iwuoha says, “if someone came to my door and asked me what are your top two issues, tickets probably wouldn’t come up. But it’s very interconnected with my top issues. I can’t pay my rent, and you’re wiping out my savings to pay for parking tickets, you understand?”

She worked on the issue with Ward 8 Councilmember Trayon White, one of the authors of the Traffic and Parking Ticket Penalty Amendment Act. Ward 3 Councilmember Mary Cheh, who synthesized the act from a series of earlier bills introduced by multiple councilmembers, and who serves as chair of the Committee on Transportation and the Environment, says that the issue of tickets has not “translated into a political issue that gets on the radar” because “it’s crowded out by things like affordable housing, crime, the schools.”

“Losing your license is a disproportionate hardship for poor people who can’t pay,” she says. “They may lose their job, they may have obligations that tempt them to drive when they don’t have the license, and then things can snowball and it becomes a criminal offense.

“The bill addresses the loss of licenses,” she says, “but it doesn’t take away the other ways we have to make people pay up.”

“Ultimately, nothing in the bill reduces revenue,” says D.C. Policy Center’s Yesim Sayin Taylor, “It just shifts the collections into the future.”

Drivers are currently only allowed one-time

access to a payment plan where tickets can be paid in installments. A provision proposed in earlier bills that would allow drivers to access the payment plan more than once is stuck in the mud. “I don’t think it has even had a hearing,” Cheh says of the provision.

And even with the new bill’s community service option, where drivers can pay off tickets at the rate of the minimum wage—currently set at $13.25—it would take over 11 hours of community service to cover the cost of one $150 red light ticket, and over 22 hours for a red light ticket that doubled in price due to late payment. This is assuming that people who lack the money to begin with can find the time.

Finally, the provision extending the payment from 30 to 60 days before doubling in the Traffic and Parking Ticket Penalty Amendment Act will only become law if the Office of the Chief Financial Officer finds a way to “make up for that money.” If not, the provision will die.

Asked whether the city really needs the estimated $28 million that would be lost if payment were extended from 30 to 60 days, Cheh responds, “I don’t think we need that money, and there is a suspicion that people have in any event that a lot of these things are just money makers.”

She says that the District Department of Transportation has sent her requests for fine increases in the last two or three years, but that she’s sent them back. “I said, unless you can show me some causal relationship between compliance and raising fines, that’s what people will think, and maybe they’re correct,” says Cheh.

Neither the Office of the Mayor nor the District Department of Transportation responded to requests for comment about the city’s automated enforcement pricing policy and failure to reduce tickets and traffic deaths.

For her part, Iwuoha calls for “radical policy change.”

“Listen,” she says, “I have a 5-year-old child.

I don’t want people zooming up and down the street. But the way to achieve that is not to give people a $300 dollar ticket.”

“This city has become predatory.”

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washingtoncitypaper.com september 14, 2018 13

DCFEED

Amparo Fondita is popping up inside Brookland’s District Space through the end of the month. Visit Wednesday-Saturday nights for creative Mexican cuisine from Chef Christian Irabién like chamorro pibil pork topped with dragonfruit.

Innard Circle

Phi Nguyen

By Laura Hayes If you want to impress your friends, order No. 32 on the Bún DC menu. A bowl of bubbling, 14-ingredient crab and tomato broth arrives filled with a tangle of vermicelli noodles, all topped with pork belly, heart, liver, blood, ear, and rounds of pork roll. According to Phi “Nina” Nguyen, the bún riêu soup with pork organs is slightly more popular than No. 31—the version with the chicken guts.

Nguyen operates the new Vietnamese res-

young & hungry

taurant on Sherman Avenue NW with her 70year-old mother Dep Le. She put the organ meat, commonly known as offal, on the menu for nostalgic reasons. “When I was little in early middle school, I always saved some extra money in my pocket,” she says. “In Vietnam, we sell congee soup on the street with chicken organs. I’d save money to eat those things.”

She also seeks to give customers a window into her world. “Hopefully customers will like it similar to me, and won’t be scared,” Nguyen says. “Please don’t be scared of the chicken insides, the pork insides.”

While pho shops in the District often serve beef tripe and tendon, full-service Vietnam-

14 september 14, 2018 washingtoncitypaper.com

Laura Hayes

Are organ meats and offcuts becoming more readily available to try at restaurants in D.C. proper?

ese restaurants like Miss Saigon and Vietnamese Chelsea Restaurant shy away from offal altogether. “I don’t see it,” Nguyen says. “People are a little scared to put it on the menu because they think customers won’t eat it. Why not? Just try it. It’s meat!”

Toh Roong, a Thai noodle soup pop-up launching Friday inside Lucky Buns, will sell boat noodle soup the traditional way—thickened with pork blood. Chef Kitima Boonmala hasn’t decided whether to list the ingredient on the menu. “It enhances the flavor almost the same way as bitters in a cocktail,” Boonmala explains.

She soaks lemongrass leaves in the blood to

zap any unwanted gamey or metallic flavors before adding it to the soup. Nguyen takes a similar approach using ginger and garlic. “If they don’t know, they’ll be more open-minded,” Boonmala says. “The bottom line is, it tastes good.”

While a handful of D.C. restaurants have historically served menudo soup gurgling with tripe or Chinese preparations of crispy pork intestines or congee with duck blood, diners who dig the distinct flavors and textures of offal have typically had to flee to suburban strip malls in Falls Church, Annandale, Wheaton, Rockville, and Hyattsville to get their fix. Is the small uptick in District restaurants serving innards anecdotal and merely a result of a rapidly expanding restaurant industry? Or is there a shift in how and what we’re eating?

Chef Erik Bruner-Yang says it’s both.“It’s always been here, there are just so many more restaurants now,” he says. “At least since Toki Underground opened [in 2011], there’s always been a few chefs doing stuff like that … But more and more places are chef-driven and looking to provide diners with new experiences that remind them of traveling somewhere.”

Bruner-Yang serves a play on a Taiwanese blood cake at his Japanese-style standing restaurant Spoken English. Cooks there soak rice in pork blood with aromatics and steam it, forming a cake that’s grilled and topped with cilantro, peanuts, and lime. To his delight, people are trying it. But it wasn’t always that way.

“We’ve been serving this dish dating as far back as when we were doing Maketto pop-ups at Hanoi House,” he says. That was in 2013.

At first they called it blood cake, and it didn’t move. “As soon as we changed the name to ‘black sticky rice,’ everybody bought it.” Five years later, he brazenly writes blood cake on the menu at Spoken English, suggesting diners are less squeamish.

The chef has another theory, which others echo. “You’re seeing a lot more ethnic and heritage-specific cuisines, and typically those count on a heavy use of all of the parts of an animal,” he says.

“In Laos, a family man who is a farmer and works long hours buys a whole cow and shares it with the village and they all have a ceremonial meal,” explains Chef Bobby Pradachith of Thip Khao and a forthcoming Lao restaurant that’s yet to be named. “They’re not just going to eat the filet. This guy worked hard, so let’s make use of it and eat the intestines and the heart.”

Pradachith is tracking a trend where chefs

DCFEED are going back to how people have cooked historically. Look at Maydan and The Dabney being heralded for their live fire cooking methods, for example.

“Back then in poverty situations, offals were a necessity,” says Pradachith. “If you’re eating a rib-eye or a filet, it’s muscle. Offals too are muscles.” He in part blames “Western media” for the perception that offal is “disgusting and not delicious.” Sometimes they’re labeled offcuts—a term that shouts “other” or “not as desired.”

Until recently, Thip Khao had a standard menu and a “jungle menu.” The latter listed the Lao restaurant’s daredevil offerings, be they dishes with sweltering levels of spice or preparations containing offal. The chef, committed to bringing D.C. a true taste of Laos, recently integrated the two menus so that the grilled chicken hearts and fried pig ears aren’t in a separate category.

Pradachith believes restaurants can play a role in educating diners about offal. “I had a guest who seemed interested in chicken hearts,” he explains, adding that she had formed an opinion before trying them. “I sent it out to her complementary and said, ‘If you don’t want to eat it, that’s fine.’ She ate it and really loved it.”

He hopes diners continue to trust him. “I want people to come into the restaurant repeatedly and become more curious and more willing to try more things,” he says. “You’re going to see a lot more of the offcuts because it’s simply how Lao people eat … This is what we’re offering. We’re not going to change.”

Andrew Chiou and Masako Morishita take a similar approach at Momo Yakitori—their Woodridge Japanese restaurant specializing in grilled skewers. Some customers hesitate to try the chicken liver, heart, comb, and gizzard or duck heart or liver. “We’ll have a server gauge if they’ll freak out if we send it out [on the house],” Chiou explains.

That said, the giblets, which can be ordered separately or in a set, are quite popular and often sell out. “Half of our customers are familiar with yakitori and Japanese culture,” Chiou says. “They go right for it.” He personally prefers offal. “Some of them are really creamy.

I like that mineral flavor. They’re a lot more bold than just plain meat.”

“I’m so happy that more and more people are interested in eating these amazing little parts,” Morishita adds. In Japan, where she grew up, there’s a concept called mottainai, which loosely translates to “waste not, want not.” “You praise and appreciate all of the parts of meats.” Like Pradachith, she relishes the opportunity to introduce diners to something new.

Chiou says he’s seeing more offal on D.C. menus and credits the farm-to-table move-

ment. “If you’re buying straight from a chicken farmer, they have all of the giblets anyway so it’s either we take them, they give them to their animals, or they sell them,” he explains. He buys whole birds from Pennsylvania through respected meat purveyor D’Artagnan.

“The quality of meat has improved lately,” Chiou says. “When it was just the big farms, most offal didn’t taste good. Livers from the Tyson plant aren’t tasty. I don’t even think they sell them for human consumption.”

Jamie Forsythe, a D.C.-based D’Artagnan sales representative, explains that the birds Momo Yakitori uses arrive fresh every night of the week. As someone who sells to a bevy of District restaurants, Forsythe is a good barometer for how much offal is actually making its way into local bellies.

“For us it’s been pretty steady,” he says.

“Hearts we’re selling more than we were before. Livers have been strong and steady for a long time. I’m starting to get more people asking for brains.”

He’s noticed that some chefs, like BrunerYang and Neighborhood Restaurant Group’s Nate Anda, consistently order blood and guts, making it worthwhile to continue to sell them. “But a lot of people will jump into it and jump back out,” Forsythe says. “Either it doesn’t sell or they’re not sure how to work with it. I don’t feel like people are beating down the door for offal more than they were years ago.”

Just because a country’s cuisine incorporates offal doesn’t mean restaurants will make the leap. Chef Danny Lee goes to To Sok Chon in Annandale for dishes featuring Korean blood sausage, known as soondae, and he’ll happily tear into some gopchang—small intestines hiding in a casserole or hot off the grill. But that doesn’t mean he puts either dish on the menu of his downtown Korean restaurant Mandu.

“I love eating offal but I don’t have the most experience at cooking it,” he says.

“It’s also not on the Mandu menu because it doesn’t sell. With Korean food, it took us a long time to get people to know what kimchi is, then we throw beef intestine at them?

I’m not opposed to running it as a special, but as a set menu item, something like that would be a waste.”

Even though he doesn’t serve it, Lee would like to see more restaurants coax diners into trying it. “It would be great to see more people using offal, and maybe there’s a way to educate people about it,” Lee says. “It’s been around for a while and it’s something people aren’t used to if they didn’t grow up eating it.” CP Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com.

Center Cut Pork Loin Chops $3.99/lb Chicken Leg Quarters $0.99/lb Roseda Farms Beef Marrow Bones for soup or bone broth (or your dog!) $3.99/lb

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DCFEED

what we ate this week: Squid ink-battered softshell crab tempura, $16.50, Sushi Taro. Satisfaction level: 5 out of 5.

Grazer

what we’ll eat next week: Hummus bowl with sweet corn, salt-roasted onion, pickled Fresno chili, taalia, and cilantro, $9, Little Sesame. Excitement level: 4 out of 5.

Are You Gonna Drink That?

New Res+auran+ Ma+h

By Laura Hayes

= LittLe SeSaMe (1828 L St. NW) Drink Company’s Ricky and Morty Pop-Up + threats from Turner Broadcasting - Rick and Morty + Richmond heavy metal band + “hall of blood”

Laura Hayes

= GWaR PoP-UP BaR (1839 7th St. NW) Fluorescent pink dragon fruit bowls + coconut sticky rice with Thai baby bananas - boring breakfast options + Vietnamese coffee

= BiRd’S eye Coffee BaR & eateRy inside doi Moi (1800 14th St. NW)

Train commuters + cupcakes + pop-culture - anyone on a diet + New York City import = MaGNoLia BakeRy (Union Station, 50 Massachusetts Ave. NE) Georgetown waterfront - Orange Anchor + Tex-Mex + brunch chilaquiles + cheesecake chimichangas

Rey Lopez

Anna Meyers

New location + creamy hummus + pita sandwiches + vanilla tahini soft serve - weekend hours

= GUaPo’S (3050 K St. NW)

Peruvian cuisine + eight ceviche choices + grilled beef heart + sangria pitchers + happy hour crowd = PiSCo y NazCa (1823 L St. NW)

Top of the Hour Where: Dino’s Grotto, 1914 9th St. NW; (202) 686-2966; dinosgrotto.com

Morgan Baskin

Hours: 5-7 p.m. Tuesday and ThursdaySaturday; all day Sunday; and all night Monday Drink specials: $8 signature drinks and negronis; $6 wine, bellinis, and spritzes; and $4 drafts Food specials: $5 antipasti, $10 charcuterie boards, and rotating reducedprice food specials including mussels, burgers, lasagne, burrata, and meatballs ($7-$12.50)

Pros: Every day of the week Dino’s offers a different, steeply discounted (and delicious) entrée, on top of a standard list of drink and food specials that apply during every happy hour

18 september 14, 2018 washingtoncitypaper.com

service. See if you can find a more filling happy hour meal in the District than the bar’s duck bolognese lasagne—a generous slice of glazed noodles served nestled in a cast-iron skillet. The bar stools are more like bar benches—wide, comfortable, and sturdy—and the sweet strings of Christmas lights are cheery year-round.

Cons: Happy hour specials are only available at the downstairs bar, which is closed on Wednesdays. The breadth of dishes available and limited seating may leave you with a crippling fear that, one day, it’ll be too crowded for an impromptu dinner at the bar.

—Morgan Baskin

The Drink: “The Garden Of...” with rum, vodka, fig, dates, apple, honey, apricot, hibiscus, mint, and saffron Where to Get It: Nocturne, 1932 9th St.NW Price: $16 What It Is: A cocktail with Middle Eastern flavors served in a petite French press that evolves from a balanced, boozeforward cocktail to a sweet final sip. The change occurs because the French press is filled not only with the cocktail but also with dried mango, apricot, dates, and figs. The longer it steeps, the more nectarous it becomes. “I always wanted to do a French-press style cocktail, but I didn’t want it to just be a vessel, I wanted it to make sense also,” says new beverage director Hakim Hamid. This drink has too many ingredients to count. It’s as if Hamid headed to a halal market and cleared the shelves in a frenzy. They include saffron, hibiscus, pomegranate tea, rose water, honey, mint, cinnamon, cardamom, star anise, cloves, and apple.

Hamid incorporates most of these flavors by infusing the vodka.

What It Tastes Like: Christmas in Morocco. The fruity drink is bursting with baking-spice flavors reminiscent of holiday cookies or an orange and clove pomander. But take one more sip and then another and the gentler Middle Eastern flavors slide through, like the saffron and rose water. It has the potential to be too sweet, but the hibiscus, pomegranate, and lemon make lips pucker.

The Story: Nocturne, a cocktail bar below Sugar Shack Donuts in Shaw, debuted a new menu almost three weeks ago when Hamid took over. He divided the drinks into four regions: The Middle East, Scandinavia, the Americas, and Western Europe.

Patrons can purchase one cocktail for $16 or order a trio from any region for $43.

The Middle East offerings have been the most popular so far, according to Hamid, who came to Nocturne from Cusbah. Try the “In The Garden Of…” with the recommended snack—a mix of walnuts, dates, and cinnamon.

—Laura Hayes

CPArts

After seven years, D.C. Music Download—one of the region’s best hubs for all things local music—is calling it quits. washingtoncitypaper.com/arts

Silent Screams

The ways humans choose to communicate are the focus of season-opening plays at Woolly and Round House.

Gloria

Gloria

By Branden Jacobs-Jenkins Directed by Kip Fagan At Woolly Mammoth Theatre Company to Sept. 30

Small Mouth Sounds

By Bess Wohl Directed by Ryan Rilette At Round House Theatre to Sept. 23

By Chris Klimek After he wAs valedictorian of the Class of 2002 at St. John’s College High School here in Washington, but before his debut play Neighbors opened at the Public Theater in New York City eight years later, Branden Jacobs-Jenkins worked as an assistant in the fiction department at The New Yorker.

His startling 2015 play Gloria, now having its regional premiere at Woolly Mammoth, doesn’t name the venerable publication in whose midtown Manhattan offices its first half is set.

theater

But we can see the place is a pressure cooker populated by ambitious young Ivy Leaguers (Jacobs-Jenkins graduated from Princeton University) and panicked slightly less-young ones, each desperate to sell their book proposals and mortified they might not be as brilliant and/or lucky as the literary geniuses who preceded them in these dignity-swallowing jobs. (One of the silverback assistants has barely dragged himself to his desk before he is summoned to transport a trash bag of his boss’ vomit from her office to the bathroom.)

Jacobs-Jenkins was likely freed of such insecurities even before he got the phone call—and the first installment of the $625,000 grant—from the MacArthur Foundation formally recognizing him as a “genius” two years ago. No one who’d been following his career could have been surprised. His prior two shows to be staged at Woolly, 2013’s Appropriate and 2016’s An Octoroon, ruminated on the fallout of having built an ostensibly free country on slave labor. Gloria is about two more modern cancers: the proximity of deadly violence in a society where firearms are as abundant as people and the commodification of suffering. Race is a factor in this poisonous equation, too, but it’s not in the foreground of the story Jacobs-Jenkins is telling this time.

Gloria’s deceptive first hour is devoted to observing the gossip and backbiting endemic to any office of strivers. Justin Weaks plays a black intern in this mostly white workplace (Jacobs-Jenkins interned at The New Yorker before he was employed there) who wants his boss to get him a brief audience with the editor-in-chief on his final day. That boss, Dean (Conrad Schott), is hungover from a house party thrown by Gloria, where he’d wrongly calculated his colleagues would accompany him. Their reason for disliking Gloria seems to be that she’s had the same research department job for a long time. Her stagnation might not be contagious, but why take chances?

Another assistant, Kendra (Eunice Hong), is enraged that someone else has been assigned the obituary of a folk singer whose death has been reported that morning, and her tantum mutates into a well-worn stump speech indicting the generation before hers for not “anticipating the internet,” not dying quickly enough, and ruining the New York City where “apartments cost like a dollar.” When she ascribes discriminatory motives to this latest slight, Dean points out that as a Harvard grad from Pasadena, she is “basically a white male” in societal advantage.

Jacobs-Jenkins is more discerning in his targeting than sitcom writers get to be, but the form of all this—sardonic workplace comedy—is familiar, which is why the climax of the first act is so powerful and the uneven quality of the performances doesn’t reveal itself until the second.

It’s set some months after the first, and the actors who haven’t been assigned new characters entirely—and Jacobs-Jenkins is crafty about the double casting, the way Caryl Churchill was in Cloud Nine, for example—are playing versions of their characters that have been changed, their ravenous careerism is now complicated by trauma and notoriety.

Kip Fagan, who returns to Woolly after directing 2016’s Women Laughing Alone With Salad, doesn’t have as steady a hand navigating the play’s tighter corners as An Octoroon director Nataki Garrett did. Weaks, Megan Graves, and Ahmad Kamal are all relaxed and believable, the latter playing a former fact-checker at the magazine who attempts a career change. As one of the magazine’s more senior assistants, Schott is saddled in act two with a laughably phony beard that interferes with the delicate work he’s trying to do. That’s an easy fix, and Fagan should fix it.

Hong and Alyssa Wilmoth Keegan—who appears as Nan, the editor who was heard but not seen in the prior act—have an unsyncopated stridency in a pair of two-hander restaurant scenes in the play’s second half that muddy the piece’s satirical intention by making their characters seem individually malicious. But the final scene, set in the offices of a film and television production company in Los Angeles, corrects the balance, making Gloria the harsh look at the attention industry its author wants it to be rather than just a study of a few particularly unsavory people within it.

641 D St. NW. $20–$69. (202) 393-3939. woollymammoth.net.

Like BrAnden JAcoBs-Jenkins, Bess Wohl was an actor before she was a playwright. Her experimental 2015 play Small Mouth Sounds might’ve been inspired by a game much beloved by parents of young children, Who Can Stay Quiet the Longest.

It follows a half-dozen participants during a silent retreat at some sort of rustic New Age property, where they’ve paid a presumably hefty sum to be briefly liberated from the soul-eating distractions of frivolous talk. While they occasionally break washingtoncitypaper.com september 14, 2018 19

CPArts the rules and speak, long passages of the show, that in Ryan Rilette’s sturdy production for Round House Theatre runs about 100 minutes, are wordless. That’s a challenge that must have appealed to the actors—three women and three men—playing the campers, most of whom are familiar to Round House audiences. The exception is Andrea Harris Smith, a Round House first-timer who plays a woman attending with her partner (Beth Hylton) and finds that silence emboldens her curiosity about life beyond what we infer has been a long relationship.

The other new face in the company is, well, a voice: Timothy Douglas, who, as the heard-but-not-seen instructor, perfectly captures the addled pretension and vapid sloganeering of so many self-help gurus. “I recently acquired e-mail. It is very convenient,” he bloviates, his crawling cadences implying a thought too complex for language. He fumbles for the name of that machine people use to mow lawns.

Watching the half-dozen actors react to their suspicion of their supposedly tech-abjuring teacher’s credibility when, for example, his phone keeps ringing in the middle of a session, is amusing, and their silent negotiations for contraband or sex are, too, even if they sometimes feel like acting class exercises. Annie Baker’s play Circle Mirror Transformation, which is actually set in a community center acting class, trafficked in similar microobservations of behavior, and Baker has pushed its silences further with each subsequent show. In Small Mouth Sounds, Wohl actually beats Baker in that old parental game.

CP

Small Mouth Sounds

4545 East-West Highway, Bethesda. $50–$67. (240) 644-1100. roundhousetheatre.org.

BURTON CUMMINGS

LEGENDARY LEAD SINGER OF THE GUESS WHO

October 24, 2018, 8 p.m.

Hits include “Love My Way,” “Pretty In Pink,” “Heaven,” “The Ghost In You,” and “Heatbreak Beat.”

Tickets are $75 Regular, $70 Faculty/Staff, and $65 Students w/ID

November 16, 2018, 8 p.m.

Hits include “Undun,” “These Eyes,” “Laughing,” “No Time,” “American Woman,” “Share The Land,” and “Hang On To Your Life.”

Tickets are $75 Regular, $70 Faculty/Staff, and $65 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 20 september 14, 2018 washingtoncitypaper.com

BlacKkKlansmen

Film Birds of Passage

En el Cine

Select reviews from the 29th annual Latin American Film Festival The AFI Silver Theatre and Cultural Center routinely offers some of the best film festival programming in the region—and we’re not just talking about documentaries. Now in its 29th year, the AFI Silver’s annual celebration of new work from Latin America (as well as Spain and Portugal) includes 43 films from 22 countries. Such high-profile fare like Birds of Passage may show up in local arthouses later, but for many of these films, this may be your only chance to see them on the big screen. We’ve only seen a handful of this year’s selections, but if it’s fair to extrapolate from that sample, the lineup is particularly strong.

—Pat Padua

Birds of Passage

Directed by Ciro Guerra and Cristina Gallego Colombia This festival opener—a strong contender for next year’s Best Foreign Film Oscar—begins with a vivid courtship ritual from the Wayuu people in Colombia. It’s a vision of tradition that’s corrupted all too soon. Zaida (Natalia Reyes) is a young woman preparing to meet suitors in a dance called the yonna, in which she wears a flowing red garment while chasing prospective mates—like Raphayet (José Acosta). Yet Zaida’s mother, Ursula (Carmiña Martínez), isn’t so sure about this cocksure young man, and the film bears out her fears all too well. Over a span of decades, the film follows Raphayet and his wife as they preside over a growing marijuana empire. The family moves on from humble, tranquil origins to a modern, lavish lifestyle and heavily armed guards. And despite her initial disapproval, the conservative matriarch, so protective of her heritage, becomes as bloodthirsty as the outsiders she condemns. Husband-and-wife directing duo Ciro Guerra and Cristina Gallego follow up

their Oscar-nominated Amazon jungle drama Embrace of the Serpent with another impressive look at a culture in peril. While that 2015 film evoked the forbidding landscapes of Werner Herzog for its indictment of colonialism, Birds of Passage effectively suggests a descent into criminal madness right out of Scarface. Still, despite such clear cultural influences, this is a crime epic like no other, a bitter lament of lost innocence in what once seemed like paradise.

Sept. 13 at 7:30 p.m. and Sept.15 at 7:15 p.m. at the AFI Silver Theatre and Cultural Center.

El Ángel

Who would mind if he took a few souvenirs when he left? Yet this petty thief, the product of a loving, middle class home, would go on to become one of Argentina’s most notorious serial killers. Director Luis Ortega charts Carlos’ increasingly brutal, remorseless violence as he teams up with classmate Ramón (Chino Darín, looking a lot like his father Ricardo of Wild Tales). With its charismatic leads, sexual ambiguity, and chooglin’ soundtrack of early ’70s Argentinian rock, it’s as entertaining as crime dramas get. But the movie seems to whitewash the transgressions of Carlos Eduardo Robledo Puch, who murdered 11 people in a 1971 crime spree. Ferro is impressive in his first feature, and a dead ringer for the young killer, but if this is one of the more accomplished examples of post-Tarantino bloodthirst, those deep vinyl cuts make it as superficial as a K-tel compilation.

Sept. 29, 7:15 p.m. and Sept. 30 at 8 p.m. at the AFI Silver Theatre and Cultural Center.

Museo

Directed by Alonso Ruizpalacios Mexico Juan (Gael García Bernal of Amores Perros) and Wilson (Leonardo Ortizgris) are both a little old to be living at home, but such is the Mexican family. While Juan bickers with his siblings, who inexplicably call him “Shorty,” Wilson dotes on his ailing father and doesn’t want to miss what may be their last Christmas together. After a disastrous holiday dinner with his extended family, Juan meets Wilson for a midnight rendezvous at the museum to steal the heritage that seems elusive in his own home. Museo is based on the 1985 case of two veterinary school students who pulled off a shocking art heist from the Museo Nacional de Antropología in Mexico City. The amateur thieves took advantage of drunk guards on Christmas Eve and escaped with more than 100 priceless Mayan artifacts. The movie boasts an exciting set-up and the hot subtext of cultural plundering, but it doesn’t take off, floundering after the heist as the thieves struggle to unload their high-profile contraband. Director Alonso Ruizpalacios has the bones of a slam dunk heist movie and a promising cast. Unfortunately, despite Bernal’s star power, the material somehow gets away from the filmmakers like so many unfenceable antiquities.

zilian nurse who comes from a working-class section of São Paulo. She moves to a ritzy part of town when she takes a job as a live-in nanny for Ana (Marjorie Estiano), who’s expecting a baby. The women don’t see eye to eye at first, with Ana correcting her charge’s manners and Clara subtly rolling her eyes at her boss’ goofy workouts. Still, the pair develop an unlikely friendship—and more—but Clara is understandably concerned when her boss and lover starts sleepwalking. When the baby finally comes, it’s not what anyone expected. Did I mention that this sensitive character study is a Brazilian baby werewolf movie? Directors Marco Dutra and Juliana Rojas (Hard Labor) patiently set up their feral child conceit, gleefully careening from a somnambulant Ana devouring a cat to performing ditzy aerobics the next morning. In fact, it takes nearly half the movie’s 135-minute run time for all those full moons to pay off. The cuddly beast may not be as interesting as the beauties at the center of this thriller of manners, but just when the plot threatens to become a little more predictable, veteran Tropicalia singer Cida Moreira, who plays Clara’s landlady, launches into a moving ballad.

Sept. 15 at 6:45 p.m. and Sept. 19 at 6:30 p.m. at the AFI Silver Theatre and Cultural Center.

Virus Tropical

Directed by Santiago Caicedo Colombia/Ecuador

Directed by Marco Dutra and Juliana Rojas Brazil

Santiago Caicedo’s adaptation of the graphic memoir by cartoonist Power Paola tells a typical coming-of-age story. But its vivid blackand-white animation (which would have fit right in with the underground comics of Raw magazine) is so distinct that it turns the artist’s life into a bold, dizzying ride. Paolo’s progress begins, aptly enough, with the delirious moment of her conception, which occurred after her mother had her tubes tied (the movie’s title comes from the doctor’s explanation of this unexpected pregnancy). Wiggling sperm cells fighting for her mother’s egg echo the idiosyncratic line work that makes these two-dimensional characters come alive. Paola was born in Quito, Ecuador, the youngest of three daughters. After her father returned to a priesthood that he had never really left, the family moved to Cali, Colombia, where the then-teenaged outsider struggled much like any other transfer student in a new school. With an endearing indie-rock soundtrack (wait for the “Martian” song), Virus Tropical follows Paola and her siblings as they grow up in the ’70s and ’80s, navigating peer pressures, punk music, and fashion trends. As they try to get through, adolescent Paola blossoms from the baby of the family to a remarkably self-possessed young woman.

Clara (Isabél Zuaa, a Portuguese actress who began her career as a dancer) is an African-Bra-

Sept. 15 at 5:05 p.m. and Sept. 16 at 3:15 p.m. at the AFI Silver Theatre and Cultural Center.

Directed by Luis Ortega Argentina

Sept. 18 at 7:30 p.m. at the AFI Silver Theatre and Cultural Center.

This true crime drama introduces us to Carlos (Lorenzo Ferro), a baby-faced 17-yearold, as he’s sneaking into a house in a posh area of Buenos Aires. His trespassing seems just slightly mischievous: He puts on a vinyl record and dances, and he’s a pretty good dancer, his wavy hair shaking along as he grooves.

Good Manners

washingtoncitypaper.com september 14, 2018 21

BlacKkKlansmen

FilmShort SubjectS ty villain: His outward confidence betrays an incredibly fragile ego, so the way Red/Mandy humiliate him reveals a masculinity at its most toxic. Mandy unfolds like a living nightmare, one where the revenge is so specific and brutal that it must come from an emotionally honest place. We all have daydreamed about what we would like to do to our enemies, in a world without consequences. Mandy visualizes that fantasy in such a complete way that you might end up gasping for air.

—Alan Zilberman

Mandy

Mandy opens Thursday at Regal Cinemas everywhere.

Heavy Metal Mandy

Directed by Panos Cosmatos Mandy embodies the spirit of heavy metal more than any other movie in recent memory. If you have ever gone to a metal show, shaking your fist toward the sky in triumph, then you know what that catharsis is like. For the uninitiated, or those who don’t own any Black Sabbath shirts, director Panos Cosmatos has made a hallucinatory, violent revenge thriller. Describing the film’s plot doesn’t do it any justice, since its moods, formal daring, and copious bloodshed have the cumulative effect of leaving audiences slack-jawed with wonder. Most audiences will find this too over-the-top, but for the small subset that are on its wavelength, Mandy just might be one of the year’s best films.

Cosmatos sets the mood with the opening credits. King Crimson’s “Starless” plays over them, a languid prog-rock song punctuated by pulverizing guitar licks. In what looks like the Pacific Northwest, Red (Nicolas Cage) lives with his girlfriend Mandy (Andrea Riseborough). Their life is simple, quiet: She likes to read bizarre fantasy novels, while he is happy to relax with her in front of the TV. One night, Mandy gets the attention of Jeremiah (Linus Roache), a New Age cult leader with a sadistic streak. On a whim, he has his disciples capture Mandy because he thinks she’s a kindred spirit. The kidnapping and its aftermath leave Red a husk of himself, so he has no alternative but to go after Jeremiah, along with the leather-bound psychos who have taken too much experimental LSD. The look of Mandy is key to its effect. Cosmatos and cinematographer Benjamin Loeb oversaturate the frame with color, so there are long sequences where we only see deep reds, purples, and blues. Coupled with few establishing shots, at least until the end, the film has an isolated, post-apocalyptic feel. Many takes are long, brooding, and solemn. While the film

uses digital cameras, it captures the grainy feel of slasher films from the early 1980s (albeit with more artistry). The music by the late Jóhann Jóhannsson is not heavy metal, exactly, but it has the same deep bass and ominous sound to it. Mandy oscillates between silence and overwhelming sound, until watching it feels like a dizzying contact high.

The film is split into two halves. The first is about tragedy, while the second is about revenge. It takes a while before Red embarks on his violent rampage, but Cosmatos and Cage ensure you are ready for it. It’s not just that Cage is terrific in this film, although he is. It’s that Cage finally has a project where a director has a vision that matches his propensity for excess. Most films and filmmakers are simply too timid to reach his level, but what he accomplishes in Mandy is revelatory. There is a long, painful scene where Red watches Mandy get tortured. Cage is not overacting here, but instead has the look of an ordinary man whose humanity and love are extinguished from within. By the time Red is wielding chainsaws and soaked in blood, you’ll be on the same page.

Mandy’s violence is unapologetically bonkers. One of the more understated moments comes when Red fights someone, sets him on fire, and then chops off his head. There are buckets of blood in this film, and they have the thick pinkish color you find in old movies. This is entertaining in pure genre terms, yet Cosmatos has a deeper purpose to it. This is the rare grindhouse entertainment where the hero’s vengeance matches the transgressions against him. Reduced to a husk, there is a remarkable sequence where Red drinks an entire bottle of liquor while sobbing at the top of his lungs (he does this without wearing pants). This isn’t campy or fun. It’s operatic, and it takes an actor of Cage’s courage to pull off this tragedy. This isn’t a subtle film, but it isn’t a simple one, either.

On top of the violence, there are gloriously trippy sequences. At one point, Jeremiah drugs and hypnotizes Mandy, while Cosmatos overlays their faces until it’s way creepier than any Snapchat filter. Jeremiah is a particularly nas-

22 september 14, 2018 washingtoncitypaper.com

election PligHt American Chaos

Directed by James D. Stern “he can’t win. America is not gullible enough.”

That is director James D. Stern’s opinion about the possibility of a Donald Trump presidency at the beginning of his documentary American Chaos. How crushed he’ll be by the film’s end.

Five months before the election, Stern set out across the country to talk to Trump supporters to try to gain some understanding.

“The thing to do is actually to listen,” he said, not argue. “Just take it in.” For the most part, he’s successful, gnashing his teeth only when alone. It makes for a surprisingly sympathetic overview of red-state thinking—though the prevailing thought, “This can’t be,” remains.

Stern travels to Florida, West Virginia, Arizona, the U.S./Mexico border, and Cleveland for the Republican National Convention. He compares the last to being the only person not singing at a Billy Joel concert: “You’re basically in a cult that you are not a member of.” That’s where he meets Marion, a Tea Party-er who initially thought Trump wasn’t conservative enough. Talking about her news sources, she says, “I like Stephen K. Bannon. And then I listen to Rush. He has that soothing voice. I can’t turn him off.”

And then she says Obama is planning to declare martial law in November to cancel the election. At that point, Stern has to break.

“Martial law? Who said that?” “Everyone,” she says. In West Virginia, he pushes back when David Hatfield (of the Hatfields and McCoys) claims that Trump is in touch with the working class. “He’s a billionaire,” Stern says, along with a list of other decidedly non-workingclass traits. And in Arizona three weeks before the election, with an Air Force vet who seems especially off the rails, blaming the women who have accused Trump of sexual misconduct and abuse for essentially being wimps, Stern has to argue when she American Chaos claims there will be voter fraud in favor of Hillary Clinton. When he gives his counterpoints and asks for her response, she says, “I don’t know. I just think there’s voter fraud.”

Unsurprisingly, Clinton is a favorite target, with interview subjects accusing her of being corrupt, unethical, and even treasonous. Brian, a welding business owner in West Virginia, says, “[She] should be in prison. At least.”

(Stern semi-jokes, “What’s ‘at most?’” You can guess.) You imagine that he didn’t get the irony of his candidate’s ensuing Putin slobberfest after saying of Clinton, “When you go against your country, you’ve committed treason.”

Stern, however, remains remarkably calm and even empathetic toward his subjects, particularly when they talk of how many people they know who are out of work or border ranchers who take care of “illegals” when they’re hurt crossing over. Still, he gets disillusioned. After the RNC he swigs a beer and says, “I don’t think [the election is] going to be close.” He’s heartened after the Democratic National Convention but then disheartened when Clinton calls Trump supporters “a basket of deplorables.” And on election night, he has to leave a Florida bar full of conservatives chanting, “Donald Trump! Donald Trump!

Donald Trump!” He says, “I’m going to try my hardest to do two things: not to cry, and to lose with grace, if that’s the way this goes.”

In the end, Stern idealistically hopes that the next election offers enough moderation to satisfy both the reds and the blues. And he grudgingly gets Trump’s appeal. “I found people who felt like they weren’t being heard,” he says. “So really, was it surprising that they listened to a man who told them they would no longer be forgotten?”

—Tricia Olszewski American Chaos opens Friday at West End Cinema.

TheaTerCurtain Calls

Cook, Illustrated Like Water for Chocolate

Adapted by Garbi Losada Based on the novel by Laura Esquivel Directed by Olga Sánchez To Oct. 7 at GALA Hispanic Theatre The New world order decade of 1987 to 1996 was, in retrospect, the high point of foodie melodrama in international cinema. Beginning with the American releases of Babette’s Feast and Tampopo and ending with Big Night, it peaked with two early ’90s surprise hits, Taiwan’s Eat Drink Man Woman and Mexico’s Like Water for Chocolate, which won over U.S. audiences by pushing our favorite pleasure buttons, sex and food, and linking them together.

This novelty may seem quaint in the context of our present-day foodie renaissance, with its bad boy celebrity chefs and passionate presenters. But it was a necessary learning

moment for many because, as that genre’s archetype, the late Anthony Bourdain noted, Americans love Mexican food but don’t love Mexicans. Food has always been a cultural bridge and an entry point to messier questions of identity, authenticity, appropriation, and historical memory.

Educating Americans about Mexico using food porn wasn’t exactly what author Laura Esquivel had in mind when she wrote the novel on which both the movie and GALA Hispanic Theatre’s new production are based. Like Water for Chocolate is a deeply domestic Mexican saga, a tale of revolution in miniature within one household and, mostly, within one kitchen. Appropriately, a wood-burning stove is always at the center of director Olga Sánchez’s sets and always operating. It also represents the broken promises of the Mexican Revolution as much as its aspirations, though it’s unclear how deliberate that representation is.

The 1910 to 1920 (or thereabouts) revolution swept aside a tyrannical political order without doing the same for equally tyrannical social inequalities. Within the De la Garza family, the Porfirio Díaz stand-in is Mamá Elena, who terrorizes her three daughters in the name of upholding family traditions, including ones that make no sense except to create plot conflict. Most notable is the rule that

her youngest daughter, Tita, must never marry and must care for her mother until her death, despite the fact that Elena is wealthy enough to employ multiple live-in servants. Tita, naturally, falls in love at first sight with smooth talking louche Pedro, who, naturally, marries her sister Rosaura instead, but only to be closer to Tita, he says (and she buys).

Esquivel’s novel is, among other things, the Mexican answer to the South American magical realism of Gabriel García Márquez and Isabel Allende, in which the magic centers on the continent’s richest culinary patrimony: dishes so imbued with Tita’s emotions that they make the eaters vomit in grief or tear off their clothes in lust. This stage adaptation can only imply what the movie could depict in full-frontal glory. Nevertheless, the GALA cast and crew, with experience staging magical realist works in the past, draws out the book’s fantastical elements with more of a wink and a nod than the overwrought film did. And in the character of Mamá Elena, portrayed demonically by GALA stalwart Luz Nicolás, playwright Garbi Losada hews closer to the novel.

As usual, GALA’s internationally diverse cast, whose mix of accents don’t always correspond with the Mexican setting, is spot on in every other respect.

Anchoring the production is Colombian actress Inés Domínguez del Corral with a vivacious interpretation of Tita, whose pluck never falters despite being literally beaten down by her mother. As her suitor, Pedro, Peter Pereyra strikes the right balance of glum resentfulness and smug entitlement, while Guadalupe Campos, as his neglected wife Rosaura, has the unfortunate challenge of depicting the second-most wronged character in the story as the butt of a series of fart jokes.

Yet the most tragic, and tragically overlooked character in Esquivel’s epic and all of its adaptations is Chencha, one of the De la Garza’s live-in maids. Played by a relentlessly upbeat Karen Morales, she never leaves her subaltern station in life throughout the story and Revolution; she is, at one point, raped in an attack on the family ranch. As the events of a century ago wind their way through the De la Garza household, one president-forlife is overthrown, and the ability of women to choose their sexual partners, and whether to have children or not, becomes a reality.

For some women. For those with the privileges of class, the social openings ushered by the downfall of the Porfiriato were genuinely liberating. For those without, things didn’t change much. The lot of the Chenchas of the world merits greater consideration than they have been given by novelists or by politicians. For someone who is both—Esquivel now serves as a member of Mexico’s Congress—it’s even more of a moral duty.

—Mike Paarlberg

National Symphony Orchestra Pops

Get Out

(film with live orchestra) Michael Abels, conductor and composer

Thu., Sep. 20 at 8 p.m. | Concert Hall Kennedy-Center.org

Groups call (202) 416-8400

(202) 467-4600

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

David M. Rubenstein is the Presenting Underwriter of the NSO.

AARP is the Presenting Sponsor of the NSO Pops Season.

3333 14th St. NW. $30–$48. (202) 234-7174. galatheatre.org. washingtoncitypaper.com september 14, 2018 23

—The London Times

CA M ERO N M AC K I N TO S H PRESENTS

B O U B L I L & S C H Ö N B E R G ’S

December 11–January 13 | Opera House Kennedy-Center.org

Groups call (202) 416-8400

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

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

Kennedy Center Theater Season Sponsor

(202) 467-4600

Theater at the Kennedy Center is made possible by

24 september 14, 2018 washingtoncitypaper.com

ON SALE NOW!

CITYLIST Music 25 Books 26 Dance 27 Theater 27 Film 28

Alina Baraz at 9:30 Club, Sept. 15

rock

Music Friday

ElEctronic

SoundCheCk 1420 K St. NW. (202) 789-5429. Victor Calderone. 10 p.m. $15. soundcheckdc.com.

Funk & r&B

9:30 Club 815 V St. NW. (202) 265-0930. Los Amigos Invisibles. 8 p.m. $25. 930.com.

Jazz

AMP by StrAthMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Charlie Sepulveda. 8 p.m. $32–$37. ampbystrathmore.com. twinS JAzz 1344 U St. NW. (202) 234-0072. Michael Thomas Quintet. 9 p.m.; 11 p.m. $15. twinsjazz.com.

opEra

MuSiC Center At StrAthMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Maryland Lyric Opera: La Fanciulla del West. 7:30 p.m. $50–$70. strathmore.org.

pop

JAMMin JAvA 227 Maple Ave. East, Vienna. (703) 2551566. Never Shout Never. 8 p.m. $20–$35. jamminjava.com.

birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Nils Lofgren. 7:30 p.m. $55. birchmere.com. blACk CAt 1811 14th St. NW. (202) 667-4490. Black Cat 25th Anniversary. 7 p.m. $25. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Vinyl Theatre.

7:35 p.m. $15. dcnine.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Tigers Jaw. 8 p.m. $20. rockandrollhoteldc.com.

Songbyrd MuSiC houSe And reCord CAfe 2477 18th St. NW. (202) 450-2917. Double Grave. 8 p.m.

Free. songbyrddc.com.

Songbyrd MuSiC houSe And reCord CAfe 2477 18th St. NW. (202) 450-2917. The Moondoggies. 8 p.m. $12–$15. songbyrddc.com. union StAge 740 Water St. SW. (877) 987-6487.

Palm. 8 p.m. $15–$25. unionstage.com.

Saturday caBarEt

kennedy Center terrACe gAllery 2700 F St. NW. (202) 467-4600. Renée Fleming VOICES: Meow Meow. 7:30 p.m. $29–$39. kennedy-center.org.

ElEctronic

eChoStAge 2135 Queens Chapel Road NE. (202) 503-2330. K?D and Two Friends. 9 p.m. $20–$30. echostage.com. flASh 645 Florida Ave. NW. (202) 827-8791. ItaloJohnson. 8 p.m. $8–$15. flashdc.com.

ten tigerS PArlour 3813 Georgia Ave. NW. (202) 506-2080. U Street Music Hall & SubDistrick Present Om Unit. 10 p.m. $10. tentigersdc.com.

Hip-Hop

Songbyrd MuSiC houSe And reCord CAfe 2477 18th St. NW. (202) 450-2917. JPEGMAFIA. 8 p.m. $15. songbyrddc.com.

Jazz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Christian McBride’s New Jawn. 8 p.m.; 10 p.m. $35–$40. bluesalley.com. twinS JAzz 1344 U St. NW. (202) 234-0072. Michael Thomas Quintet. 9 p.m.; 11 p.m. $15. twinsjazz.com.

opEra

MuSiC Center At StrAthMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Maryland Lyric Opera: La Fanciulla del West. 7:30 p.m. $50–$75. strathmore.org.

pop

9:30 Club 815 V St. NW. (202) 265-0930. Alina Baraz.

10 p.m. $30. 930.com.

rock

birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Nils Lofgren. 7:30 p.m. $55. birchmere.com. blACk CAt 1811 14th St. NW. (202) 667-4490. Black Cat 25th Anniversary. 7 p.m. $25. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Chamberlain. 7 p.m. $20–$25. dcnine.com.

washingtoncitypaper.com september 14, 2018 25

Songbyrd MuSiC houSe And reCord CAfe 2477 18th St. NW. (202) 450-2917. Trash Boy. 8 p.m. Free. songbyrddc.com.

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

Devon Welsh at Songbyrd Music House and Record Cafe, Sept. 17

StAte theAtre 220 N. Washington St., Falls Church.

(703) 237-0300. Chemlab. 9 p.m. $25–$65. thestatetheatre.com.

Sunday BluES

presents

StAte theAtre 220 N. Washington St., Falls Church.

(703) 237-0300. Coco Montoya. 8 p.m. $20–$23. thestatetheatre.com.

Dec 3, 8pm, Music Center at Strathmore, No Bethesda Tickets on sale fri, 9/14, 10am at www.Strathmore.org or call (301)581-5100.

Sept 13

THE BRIAN McKNIGHT 4 An Acoustic Evening with

NILS LOFGREN & FRIENDS 17 MICHAEL NESMITH 14,16

& The First National Band

THE MARSHALL TUCKER BAND 20 RED MOLLY 21 EUGE GROOVE 18

24

BUDDY GUY

Tom Hambridge

ERIC BENET 29 HIROSHIMA 30 BASIA Oct 1 CHICK COREA TRIO Vigilette with Carlitos Del Puerto & Marcus Gilmore 27&28

3

CHICKS WITH HITS

TERRI CLARK, PAM TILLIS, SUZY BOGGUSS 4&5

THE STEELDRIVERS Kieran Kane & Rayna Gellert

MICHAEL FRANKS 7 HERMAN'S HERMITS starring PETER NOONE The Other 9 BONNIE 'PRINCE' BILLY Years 10 LEO KOTTKE Harrow 11 THE JAYHAWKS Fair 12&13 THE WHISPERS 14 KEIKO MATSUI 15 LISA STANSFIELD The Deeper Tour North America 6

16 17

INCOGNITO

with specialguest MAYSA

WYNONNA

& The Big Noise

CANDY DULFER 19&20 STEPHANIE MILLS 18

claSSical

kennedy Center terrACe theAter 2700 F St. NW. (202) 467-4600. Brian Mulligan and Timothy Long. 2 p.m. $55. kennedy-center.org.

Folk

Songbyrd MuSiC houSe And reCord CAfe 2477 18th St. NW. (202) 450-2917. Jesse Ruben. 8:30 p.m.

Free. songbyrddc.com.

Jazz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Laurin Talese. 8 p.m.; 10 p.m. $25. bluesalley. com.

pop

dC9 1940 9th St. NW. (202) 483-5000. Conrad Sewell.

8 p.m. $15–$50. dcnine.com. union StAge 740 Water St. SW. (877) 987-6487.

Choir! Choir! Choir!. 8 p.m. $18. unionstage.com.

rock

birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Nils Lofgren. 7:30 p.m. $55. birchmere.com.

Songbyrd MuSiC houSe And reCord CAfe 2477 18th St. NW. (202) 450-2917. Mimicking Birds. 8 p.m. $10–$12. songbyrddc.com.

Monday country

birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Michael Nesmith & The First National Band. 7:30 p.m. $59.50. birchmere.com.

Jazz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Kneebody. 8 p.m.; 10 p.m. $25. bluesalley.com.

pop

Songbyrd MuSiC houSe And reCord CAfe 2477 18th St. NW. (202) 450-2917. Devon Welsh. 8 p.m. $13–$15. songbyrddc.com.

rock

blACk CAt 1811 14th St. NW. (202) 667-4490. Rolling Blackouts Coastal Fever. 7:30 p.m. $15. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Bit Brigade performs The Legend of Zelda. 8 p.m. $12. dcnine. com.

tuESday country

the AntheM 901 Wharf St. SW. (202) 888-0020. Alison Krauss. 8 p.m. $56–$126. theanthemdc.com.

JAMMin JAvA 227 Maple Ave. East, Vienna. (703) 255-1566. Robbie Fulks and Linda Gail Lewis. 8 p.m. $22–$25. jamminjava.com.

Folk

dC9 1940 9th St. NW. (202) 483-5000. Reed Appleseed. 8 p.m. $8. dcnine.com. linColn theAtre 1215 U St. NW. (202) 888-0050.

Amos Lee. 8 p.m. $60. thelincolndc.com.

Songbyrd MuSiC houSe And reCord CAfe 2477 18th St. NW. (202) 450-2917. Juke Ross. 8 p.m. $10–$15. songbyrddc.com.

Jazz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Corcoran Holt’s “Birthday Celebration”. 8 p.m.; 10 p.m. $22. bluesalley.com.

rock

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

26 september 14, 2018 washingtoncitypaper.com

birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Marshall Tucker Band. 7:30 p.m. $49.50. birchmere.com. blACk CAt 1811 14th St. NW. (202) 667-4490. Dead Sara. 7:30 p.m. $12. blackcatdc.com.

WEdnESday country

blACk CAt 1811 14th St. NW. (202) 667-4490. Goodnight, Texas. 7:30 p.m. $15. blackcatdc.com.

dC9 1940 9th St. NW. (202) 483-5000. LVL UP. 8 p.m. $13–$15. dcnine.com.

JAMMin JAvA 227 Maple Ave. East, Vienna. (703) 2551566. Matt Mays. 8 p.m. $15–$25. jamminjava.com.

Songbyrd MuSiC houSe And reCord CAfe 2477 18th St. NW. (202) 450-2917. Space Eraser. 8 p.m. $10–$15. songbyrddc.com. u Street MuSiC hAll 1115 U St. NW. (202) 588-1889.

The Buttertones. 7 p.m. $15. ustreetmusichall.com. union StAge 740 Water St. SW. (877) 987-6487.

White Ford Bronco. 8 p.m. $40–$70. unionstage.com.

Folk

the hAMilton 600 14th St. NW. (202) 787-1000.

Birds Of Chicago. 7:30 p.m. $12–$35. thehamiltondc. com. union StAge 740 Water St. SW. (877) 987-6487.

River Whyless. 8 p.m. $15–$30. unionstage.com.

Hip-Hop

fillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Residente. 8:30 p.m. $39–$151. fillmoresilverspring.com.

Jazz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Erkin Kydykbaev and Salt Peanuts Jazz Band. 8 p.m.; 10 p.m. $22. bluesalley.com.

pop

dC9 1940 9th St. NW. (202) 483-5000. Future Generations. 8 p.m. $13–$15. dcnine.com.

rock

9:30 Club 815 V St. NW. (202) 265-0930. Car Seat Headrest. 7 p.m. Sold out. 930.com.

tHurSday ElEctronic

u Street MuSiC hAll 1115 U St. NW. (202) 588-1889.

Sub.Mission Presents The Widdler + Pushloop. 10:30 p.m. $15–$20. ustreetmusichall.com.

Folk

birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Red Molly. 7:30 p.m. $25. birchmere. com. gyPSy SAlly’S 3401 K St. NW. (202) 333-7700. Larry Campbell and Teresa Williams. 8:30 p.m. $20–$23. gypsysallys.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Courtney Marie Andrews. 8 p.m. $15. rockandrollhoteldc.com.

Jazz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Mike Stern and Dennis Chambers. 8 p.m.; 10 p.m. $40–$45. bluesalley.com.

rock

9:30 Club 815 V St. NW. (202) 265-0930. Car Seat Headrest. 7 p.m. $25. 930.com. blACk CAt 1811 14th St. NW. (202) 667-4490. Sunset Rollercoaster. 7:30 p.m. $15. blackcatdc.com.

Books

Arnold A. offner Historian Arnold A. Offner discusses his new book The Conscience of the Country, a comprehensive biography of former vice president Hubert Humphrey. Politics and Prose. 5015 Connecticut Ave. NW. Sept. 15. 3:30 p.m. Free. (202) 364-1919. bethAny MCleAn In her book Saudi America, bestselling author Bethany McLean examines the way fracking is changing the world and chronicles the ups and downs of the American oil industry. Politics and Prose. 5015 Connecticut Ave. NW. Sept. 16. 3 p.m.

Free. (202) 364-1919.

CArol AnderSon Carol Anderson discusses her new book One Person, No Vote, a comprehensive history of racist voter suppression in America. Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. Sept. 18. 6:30 p.m. Free. (202) 387-1400. eli SASlow Pulitzer Prize-winning reporter Eli Saslow talks about his book Rising Out of Hatred, the true story of a white supremacist who changed his beliefs after attending college. Politics and Prose.

5015 Connecticut Ave. NW. Sept. 17. 7 p.m. Free. (202) 364-1919. elizAbeth SPireS And MiChAel Collier Elizabeth Spires discusses her book A Memory of the Future, a collection of poems on her search for a core identity. Michael Collier discusses his book My Bishop and Other Poems, a series of meditations on everyday dualities and the complexities of friendships. Politics and Prose. 5015 Connecticut Ave. NW. Sept. 16. 1 p.m. Free. (202) 364-1919. forreSt PritChArd And ellen PoliShuk Forrest Pritchard and Ellen Polishuk talk about their new book Start Your Farm, a guide to sustainable farming in the 21st century. One More Page Books. 2200 N. Westmoreland Street, No. 101, Arlington. Sept. 20. 7 p.m. Free. (703) 300-9746. frAnCiS fukuyAMA In her new book Identity, bestselling author Francis Fukuyama examines how our demand for identity recognition is responsible for the fractured state of world politics. Politics and Prose.

5015 Connecticut Ave. NW. Sept. 19. 7 p.m. Free. (202) 364-1919.

JoAnne b. freeMAn Joanne B. Freeman discusses her new book The Field of Blood, which tells the longlost story of physical violence in the U.S. Congress in

the decades before the Civil War. Politics and Prose.

5015 Connecticut Ave. NW. Sept. 20. 7 p.m. Free. (202) 364-1919.

JuStin driver In his new book The Schoolhouse Gate, Justin Driver examines the historic legal battles fought over education and the Supreme Court’s continued failure to uphold students’ rights. Politics and Prose at The Wharf. 70 District Square SW. Sept. 17. 7 p.m. Free. (202) 488-3867. kevin Powell Kevin Powell chats about his book My Mother. Barack Obama. Donald Trump. And the Last Stand of the Angry White Man., a series of essays on the changes occurring in America through the lens of his mother, Barack Obama, and Donald Trump.

Solid State Books. 600 H St. NE. Sept. 14. 7 p.m. Free.

(202) 897-4201.

MiChele gelfAnd In her new book Rule Makers, Rule Breakers, cultural psychologist Michele Gelfand explains that human behavior across cultures depends on how tightly or loosely we adhere to social norms. Politics and Prose. 5015 Connecticut Ave. NW. Sept. 15. 6 p.m. Free. (202) 364-1919. oliviA lAing Olivia Laing talks about her new novel Crudo, the story of a woman coming to terms with the daunting commitment of marriage while adjusting to the chaos of the Trump era. Union Market. 1309 5th St. NE. Sept. 19. 7 p.m. Free. r. o. kwon R. O. Kwon discusses her new book The Incendiaries, the story of a young woman who disappears after being drawn into a extremist North Korean cult. Politics and Prose at Union Market. 1270 5th St. NE. Sept. 14. 7 p.m. Free. (202) 364-1919.

gloriA Written by Pulitzer Prize-finalist Branden Jacobs-Jenkins, this new dark comedy centers on a group of ambition Manhattan editorial assistants.

When an average workday turns into a living nightmare, two survivors must compete to turn their experience into a career-making story. Woolly Mammoth Theatre. 641 D St. NW. To Sept. 30. $20–$61. (202) 393-3939. woollymammoth.net.

if i forget This acutely personal play tells the story of a Jewish D.C. family agonizing over whether to sell their 14th street home after their mother has died and their father is in need of full-time care. If I Forget is directed by Matt Torney and written by Dear Evan Hansen Tony-winner Steven Levenson. Studio Theatre. 1501 14th St. NW. To Oct. 14. $20–$80. (202) 3323300. studiotheatre.org.

MACbeth Amended by Sir William Davenant, this Restoration-era adaptation of Shakespeare’s classic is directed by Robert Richmond and features music

by John Eccles performed live by Folger Consort. In this timeless tragedy, Macbeth and Lady Macbeth are tormented by guilt after they murder King Duncan and take the Scottish throne. Folger Shakespeare Library. 201 E. Capitol St. SE. To Sept. 23. $42-$79.

(202) 544-7077. folger.edu.

SAlly field Academy and Emmy Award-winning actress Sally Field presents In Pieces, a memoir illuminating her difficult childhood and her journey as an actress. Sixth & I Historic Synagogue. 600 I St. NW. Sept. 20. 7 p.m. $25–$42. (202) 408-3100.

Dance

the PiAniSt of willeSden lAne Theater J presents this Hershey Felder-directed play, adapted from the book The Children of Willesden Lane. Based on true events, the show tells the story of a young Jewish piano prodigy whose musical aspirations are thwarted by the onset of World War II. Kennedy Center Family Theater. 2700 F St. NW. To Sept. 30. $44–$74. (202) 467-4600. kennedy-center.org.

Theater

CoMo AguA PArA ChoColAte (like wAter for ChoColAte) Making its U.S. premiere, this production centers on a young woman who is forbidden to marry because of family tradition and takes to expressing herself through cooking. It is based on the novel by Laura Esquivel, adapted to the stage

by Garbi Losada and directed by Olga Sánchez. Performed in Spanish with English subtitles. GALA Hispanic Theatre. 3333 14th St. NW. To Oct. 7. $20–$48.

(202) 234-7174. galatheatre.org.

presents

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 Sept. 16. $99–$625. (202) 467-4600. kennedy-center.org.

MArie And roSettA Mosaic Theater Company presents a musical celebration of two extraordinary black women. Marie and Rosetta chronicles the unlikely first rehearsal between Rosetta Tharpe and Marie Knight, who would go on to become one of the great duos in music history. Atlas Performing Arts Center. 1333 H St. NE. To Sept. 30. $50–$68. (202) 399-7993. atlasarts.org.

MAke believe In this D.C. premiere, Miami-based choreographer Rosie Herrera explores how our early experiences with religion influence our romantic relationships later on. Dance Place. 3225 8th St. NE. Sept. 15, 8 p.m.; Sept. 16, 8 p.m. $15–$30. (202) 2691600. danceplace.org.

Mayor Muriel Bowser

SMAll Mouth SoundS This Ryan Rilette-directed play opens Round House’s 41st season. When six strangers arrive at a week-long silent retreat in the woods in search of enlightenment, they discover that finding inner peace isn’t as easy as they thought.

Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Sept. 23. $36–$57. (240) 6441100. roundhousetheatre.org.

South PACifiC This regional production of Rodgers and Hammerstein’s Pulitzer Prize-winning musical is directed by Alan Muraoka and choreographed by Darren Lee. Set during World War II on a distant Pacific island, South Pacific tells the sweeping love story of nurse Nellie Forbush and French plantation owner Emile de Becque. Olney Theatre Center. 2001 OlneySandy Spring Road, Olney. To Oct. 7. $64–$84. (301) 924-3400. olneytheatre.org. turn Me looSe This John Gould Rubin-directed play traces comic genius Dick Gregory’s rise to fame as the first black comedian to utilize racial comedy, intertwining art and activism and risking his safety in

Moloch Tropical at Suns Cinema, Sept. 18

Celebrating the 50th Anniversary of the DC Commission on the Arts and Humanities 2018 MAYOR’S ARTS AWARDS FINALISTS Excellence in Creative Industries Michael Marshall Design | DC Jazz Festival | DC Independent Film Festival Excellence in Humanities Tara Campbell | African American Civil War Museum | One World Education Larry Neal Writers’ Award - Youth Madeleine Freedberg | Uniyah Campbell | Arisemma Okrah

Larry Neal Writers’ Award - Adult Kitty Felde | Elizabeth Acevedo | Martha Addy Young Excellence in Arts Education Young Playwrights’ Theater | Inner City - Inner Child | DC Scores Excellence in Visual Arts Tim Tate | Jay F. Coleman/Jahlion | Cory L. Stowers

Excellence in Performing Arts Woolly Mammoth Theatre Company | Washington Performing Arts Chloe and Maud Arnold

Tuesday, September 25, 2018, 7:00 pm | The Lincoln Theatre 1215 U Street NW, Washington, DC

RSVP at dcarts.dc.gov | 202-724-5613

FOR OTHER 202CREATES SEPTEMBER EVENTS, VISIT WWW.202CREATES.COM

JOIN US FOR

VALET & SECURE PARKING aVAILABLE

HAPPY HOUR 5PM-7PM, M-F

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

UPCOMING SHOWS SEP 14

SEP 14

SEP 15

SEP 16

SEP 18

Mason Jennings

It Came From the ‘70s Superflydisco

Rhett Miller

Popa Chubby

Will Hoge

SEP 19

SEP 20

SEP 21

SEP 21

SEP 23

Badfinger: “Straight Up” Live and Complete Starring Joey Molland

Steven Page Trio (former frontman of Barenaked Ladies) w/ Special Guest Wesley Stace (aka John Wesley Harding)

An Evening With Edwin McCain

Chris Trapper w/ Diana Chittester in the Wine Garden

Boyce Avenue

SEP 23

SEP 24

SEP 25

SEP 26

SEP 27

Ian Moore “Toronto”

Louis Prima Jr. & the Witnesses

Jump, Little Children

Face To Face Acoustic w/ Austin Lucas

Art Sherrod Jr & The ASJ Orchestra

album release show

in the Wine Garden

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

washingtoncitypaper.com september 14, 2018 27

Fri & Sat, Sept 14 & 15 at Midnight!

On Paper at Cross MacKenzie Gallery, to Oct. 10

555 11th Street NW Washington, DC 20004 • (202) 783-9494

FEATURING LIVE SHADOW CAST SONIC TRANSDUCERS!

D.C.’s awesomest events calendar. washingtoncitypaper.com

washingtoncitypaper.com/ calendar

the process. Arena Stage. 1101 6th St. SW. To Oct. 14. $56–76. (202) 488-3300. arenastage.org.

PiCk of the litter This documentary, directed by Dana Nachman, follows a litter of five puppies from their births to their journey to becoming guide dogs for the blind. (See washingtoncitypaper.com for

Film

28 september 14, 2018 washingtoncitypaper.com

venue information) the PredAtor A ragtag crew made up of ex-soldiers and an evolutionary biologist must prevent the

AMeriCAn ChAoS Filmmaker James D. Stern travels across the country six months before the 2016 presidential election to find insights and answers about then-candidate Donald Trump’s surging appeal for his red state supporters in this documentary. (See washingtoncitypaper.com for venue information)

end of life as they know it after a little boy triggers the

god bleSS the broken roAd When a financially struggling woman loses her husband to war, she meets a racecar driver who introduces her to a new way of life. Starring Lindsay Pulsipher, Jordin Sparks, and LaDainian Tomlinson. (See washingtoncitypaper. com for venue information)

Holbrook. (See washingtoncitypaper.com for venue

return of the universe’s most deadly predators, now more deadly than ever before thanks to upgrades made to their genes using the DNA of other species. Starring Olivia Munn, Jacob Tremblay, and Boyd information) A SiMPle fAvor Stephanie, a mommy vlogger, tries to uncover the mystery behind the sudden disappearance of Emily, her rich, enigmatic best friend in

the nun After the death of a young nun in Romania, two people are sent to investigate and they must confront a demonic nun. Starring Demian Bichir, Taissa Farmiga, and Jonas Bloquet. (See washingtoncitypaper.com for venue information)

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PePPerMint A young mother survives a brutal attack in which she loses her family, and then goes on a vengeful rampage seeking justice for their deaths.

Starring Jennifer Garner, John Gallagher Jr., and John Ortiz. (See washingtoncitypaper.com for venue information)

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SAVAGELOVE I am a gay man in my late 50s and have never been in a relationship. I am so lonely, and the painful emptiness I feel is becoming absolutely unbearable. In my early 20s, I hooked up off and on, but it never developed into anything. I have always told myself that’s okay; I’m not a people person or a relationship kind of guy. I have a few lesbian friends but no male friends. I have social anxiety and can’t go to bars or clubs. When hookup apps were introduced, I used them infrequently.

Now I go totally unnoticed or am quickly ghosted once I reveal my age. Most nonwork days, my only interactions are with people in the service industry. I am well-groomed, employed, a homeowner, and always nice to people. I go to a therapist and take antidepressants. However, this painful loneliness, depression, aging, and feeling unnoticed seem to be getting the best of me. I cry often and would really like it all to end. Any advice?

—Lonely Aging Gay “In the very short term, LAG needs to tell his therapist about the suicidal ideation,” says Michael Hobbes. “In the longer term, well, that’s going to take a bit more to unpack.”

Hobbes is a reporter for HuffPost and recently wrote a mini-book-length piece titled “Together Alone: The Epidemic of Gay Loneliness.” During his research, Hobbes found that, despite growing legal and social acceptance, a worrying percentage of gay men still struggle with depression, anxiety, and suicidal ideation.

Loneliness, Hobbes explained to me, is an evolutionary adaptation, a mechanism that prompts us humans—members of a highly social species—to seek contact and connection with others, the kind of connections that improve our odds of survival.

“But there’s a difference between being alone and being lonely,” says Hobbes. “Being alone is an objective, measurable phenomenon: You don’t have very many social contacts.

Being lonely, on the other hand, is subjective: You feel alone, even when you’re with other people. This is why advice like ‘Join a club!’ or ‘Chat with your waitress!’ doesn’t help lonely people.”

The most effective way to address loneliness, according to Hobbes’ research, is to confront it directly.

“LAG may just need to get more out of the relationships he already has,” says Hobbes. “He has a job, friends, a therapist, a life. This doesn’t mean that his perceptions are unfounded—our society is terrible to its elders in general and its LGBTQ elders in particular—but there may be opportunities in his life for intimacy that he’s not tapping into. Acquaintances LAG hasn’t checked in on for a while. Random cool cousins LAG never got to know. Volunteering gigs you fell out of. It’s easier to reanimate old friendships than to start from scratch.”

30 september 14, 2018 washingtoncitypaper.com

Another recommendation: Seek out other lonely guys—and there are lots of them out there.

“LAG isn’t the only gay guy who has aged out of the bar scene—so have I—and struggles to find sex and companionship away from alcohol and right swipes,” says Hobbes. “His therapist should know of some good support groups.”

And if your therapist doesn’t know of any good support groups—or if you don’t feel comfortable telling your therapist how miserable you are, or if you’ve told your therapist everything and they haven’t been able to help—find a new therapist.

—Dan Savage I’m a fortysomething gay male. I’m single and cannot get a date or even a hookup. I’m short, overweight, average looking, and bald. I see others, gay and straight, having long-term relationships, getting engaged, getting married, and it makes me sad and jealous. Some of them are jerks—and if them, why not me? Here’s the part that’s hard to admit: I know something is wrong with me, but I don’t know what it is or how to fix it. I’m alone and I’m lonely. I know your advice can be brutal, Dan, but what do I have to lose?

—Alone And Fading

Just because you wouldn’t want to sleep with you, UGLY, that doesn’t mean no one wants to sleep with you.

“AAF says to be brutal, so I’m going to start there: You might not ever meet anyone,” says Hobbes. “At every age, in every study, gay men are less likely to be partnered, cohabiting, or married than our straight and lesbian counterparts. Maybe we’re damaged, maybe we’re all saving ourselves for a Hemsworth, but spending our adult lives and twilight years without a romantic partner is a real possibility. It just is.”

And it’s not just gay men. In Going Solo: The Extraordinary Rise and Surprising Appeal of Living Alone, sociologist Eric Klinenberg unpacked this remarkable statistic: More than 50 percent of adult Americans are single and live alone, up from 22 percent in 1950. Some are unhappy about living alone, but it seemed that most—at least according to Klinenberg’s research—are content.

“Maybe there is something wrong with AAF, but maybe he’s just on the unlucky side of the

statistics,” says Hobbes. “Finding a soul mate is largely out of our control. Whether you allow your lack of a soul mate to make you bitter, desperate, or contemptuous is not. So be happy for the young jerks coupling up and settling down. Learn to take rejection gracefully—the way you want it from the dudes you’re turning down—and when you go on a date, start with the specificity of the person sitting across from you, not what you need from him. He could be your Disney prince, sure.

But he could also be your museum buddy or your podcast cohost or your afternoon 69er or something you haven’t even thought of yet.”

—DS I am a 55-year-old gay male. I am hugely overweight and have not had much experience with men. I go on a variety of websites trying to make contact with people. However, if anyone says anything remotely complimentary about me, I panic and run. A compliment about my physical appearance? I shut down the profile. I don’t like being like this. I just believe in being honest. And if I’m honest, I’m ugly. The face, even behind a big-ass beard, is just not acceptable.

I have tried therapy, and it does nothing. How do I get past being ugly and go out and get laid?

—Unappealing Giant Loser Yearns You say you’re ugly, UGLY, but there are some people who disagree with you—the people who compliment you on your appearance, for instance.

“I’m not sure I even believe in the word ‘ugly’ anymore,” says Hobbes. “No matter what you look like, some percentage of the population will be attracted to you. Maybe it’s 95 percent or maybe it’s 5 percent, but they are out there. When you find them, do two things: First, believe them. Second, shut up about it.”

In other words: Just because you wouldn’t want to sleep with you, UGLY, that doesn’t mean no one wants to sleep with you.

“I remember reading an interview with Stephen Fry, where he said that when he first started out as an actor, people would come up to him and say, ‘You were so great in that play!’ and his first response would be, ‘No, I was terrible,’” says Hobbes. “He thought he was being modest, but what he was really doing, he realized later, was being argumentative. Eventually, he started to just say ‘Thank you.’”

Hobbes thinks you should try to be like Fry, a big dude with a cute husband: “The next time someone tells him they’re into big dudes with beards, don’t argue, don’t panic, and don’t hesitate. Just say ‘Thank you’ and let the conversation move on.”

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

sion or late responses please. Interviews, samples, demonstraAdult . . . . . . . . . . . . . . . . . . . . . . . 42 D.C. BILINGUAL PUBtions will be scheduled LIC CHARTER SCHOOL at our Auto/Wheels/Boat . . .request . . . . . after . . . the 42 NOTICE: FOR REreview of the proposals Buy, . . . . . . . . . . . . . . . .

QUEST FORSell, PRO-Trade . . only.

POSAL Marketplace . . . . SprintCom, . . . . . . . . .Inc. . . . . 42 D.C. Bilingual Public Charter School in ac- . . . . . (SPRINT) to Community . . . . . . . .proposes . . . . . 42 cordance with section modify two existing Employment . . . . SPRINT . . . . . . facilities. . . . . . . . 42 2204(c) of the District of The Columbia School Reform Health/Mind . . . . activities . . . . . . .are . . proposed . . . . . . .

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42 ment - Performance 41375).

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Talk toand sexy real singles toric Places located in your area. Call now! (844) within 1/2 mile of the 359-5773 site, please submit the comments (with project Legals number) to: RAMAKER, Contractor SPRINT, NOTICE IS for HEREBY GIVEN 855 THAT: Community Dr, Sauk City, WI 53583 or TRAVISA OUTSOURCING, INC. (DISTRICT via e-mailOFtoCOLUMBIA history@DEPARTMENT OF CONSUMER ramaker.com within 30 AND REGULATORY days of this notice.AFFAIRS FILE NUMBER 271941) HAS DISSOLVED EFFECTIVE NOVEMMAYA ANGELOU PUBBER 27, 2017 AND HAS FILED LIC CHARTER SCHOOL ARTICLES OF DISSOLUTION OF REQUEST FOR PRODOMESTIC FOR-PROFIT CORPOSALS PORATION WITH THE DISTRICT Special Education TutorOF COLUMBIA CORPORATIONS DIVISION ing Services AMaya CLAIM AGAINST TRAVISA Angelou Public OUTSOURCING, MUST Charter SchoolINC. (MAPCS) INCLUDE THE NAME OF THE is seeking a Contractor DISSOLVED CORPORATION, who provides tutors INCLUDE THE NAME OF THE with professional CLAIMANT, INCLUDE A skills SUMMAand RY OFpersonal THE FACTSattributes SUPPORTING that are well to TO THE CLAIM, AND suited BE MAILED 1600 INTERNATIONAL DRIVE, have a positive impact SUITE 600, MCLEAN, VA 22102 on at-promise and disengaged youth. Tutors ALL CLAIMS WILL BARRED must be able toBE teach UNLESS studentsA inPROCEEDING any topic/ TO ENFORCE THE CLAIM IS COMskill related MENCED WITH IN 3 YEARS OF to MAPCS’s OF high school PUBLICATION THIS NOTICE curriculum.

IN ACCORDANCE WITH SECTION All bid proposals will beOF 29-312.07 OF THE DISTRICT accepted 12:00 PM COLUMBIA until ORGANIZATIONS ACT. on September 27, 2018.

Interested vendors Two Rivers PCS is soliciting will respond to the proposals to provide project manadvertised Notice of RFP agement services for a small convia upload toFor a copy of the struction project.

RFP, please email procurement@ https://app.smartsheet. tworiverspcs.org. Deadline for com/b/form/8d077a54 submissions is December 6, 2017. bcd241ae81a3f305b77 936ec.

FRIENDSHIP PUBLIC CHARTER SCHOOL NOTICE OF INTENT TO ENTER A SOLE SOURCE CONTRACT Global Freshman Academy at Arizonia State University in partnership with EdX Friendship PCS intends to enter into a sole source contract with Global Freshman Academy at Arizonia State

University in partnership Legals with EdX to offer Friendship School students DC SCHOLARS PCS REQUEST access to a duel enrollFOR PROPOSALS – Modument program via online lar Contractor Services - DC college courses.

TheSchool Scholars Public Charter decision to sole solicits proposals forsource a modular is basedtoon Arizonian contractor provide professional State University in partmanagement and construction services towith construct a modular nership EdX’s focus building to house four classrooms on removing barriers and one faculty offi ce suite. The and increasing access to Request Proposals (RFP) the firstfor year of college specifi cations can be obtained on for students. Global and after Monday, November 27, Freshman Academy 2017 from Emily Stone via iscoma collection of first-year munityschools@dcscholars.org. courses that fulfill All questions should beasent in specific set of No general writing by e-mail. phone calls regarding thisrequirements, RFP will be aceducation cepted. Bids Mathematical must be received by including 5:00 PM onEnglish, Thursday, HuDecember Studies, 14, 2017 at DC Scholars Public manities, Arts and DeCharter School, ATTN: Sharonda sign, Social-Behavioral Mann, 5601 E. Capitol St. SE, Sciences, and Natural Washington, DC 20019.

Any bids Sciences.

Students not addressing all areas as outenrolled in GFA lined in the RFP specificourses cations will willbereceive college not considered. academic credit after they’ve successfully Apartments for Rent passed their course(s), and they can take GFA courses multiple times if necessary to ensure college readiness. Since payment for academic credits are only charged once the student has passed the class(es), GFA is an excellent riskfree option for students Must see! them Spacious semi-furallowing to jumpnished their 1 BR/1 basement start firstBAyear of apt, Deanwood, Sep. encollege.

The $1200. estimated trance, W/W carpet, W/D, kitchyearly cost is approxien, fireplace near Blue Line/X9/ mately $60,000. The V2/V4. Shawnn 240-343-7173. contract term shall be automatically renewed Rooms for Rent for the same period unless either party, Holiday SpecialTwo60furdays before expiration, nished rooms for short or long gives notice toand the$800 other term rental ($900 per of its desire to endtothe month) with access W/D, WiFi, Kitchen, and Den. Utiliagreement. ties included. can Best be N.E.adlocation Questions along H St.to: Corridor.

Call Eddie dressed Procure202-744-9811 for info. or visit mentInquiry@friendwww.TheCurryEstate.com shipschools.org The Family Place Public Charter School requests proposals for the following: * Financial and Accounting Services Full RFP document avail-

able by request. ProposConstruction/Labor als shall be emailed as PDF documents no later than 5:00 PM on Tuesday, September 25, 2018. Contact: aneptune@thefamilyplacepcs.org POWER DESIGN NOW HIRING ELECTRICAL APPRENTICES OF ALLCOURT SKILL LEVSUPERIOR ELS! OF THE DISTRICT OF COLUMBIA about the position…

PROBATE DIVISION Do you workingDate with 2018 FEPlove 000118 your hands? Are you interofested Death 10, 2017 in June construction and Name of Decedent, in becoming an electrician?

David John Carroll, NoThen the electrical apprentice tice of Appointment position could be perfectof for Foreign Personal Repreyou! Electrical apprentices are able toand earn Notice a paycheck sentative to and full benefi ts while learnCreditors Elizabeth Mary ing the whose trade through firstCarroll, address experience. is hand 15 ST. Bernards Cres-

cent, Edinburgh, U.K. what we’re looking for…

EH4 1NR D.C. wasresidents appointed Motivated who Personal Representative want to learn the electrical oftrade the and estate of David have a high school John Carroll, diploma or GEDdeceased, as well as transportation. byreliable the High Court of Justice Court for Mana little bitCounty, about us…State of chester Power Design is oneon of Octhe United Kingdom, top electrical contractors in tober 20, 2017. Service the U.S., committed to our ofvalues, process may and be tomade to training givupon Michelle L. Locey, ing back to the communities ESQ., Kuder, in which we liveSmollar, and work.

Friedman & Mihalik, more Conn. details…Ave. NW, 1350 Visit 600, powerdesigninc.us/ Suite Washingcareers email whose careers@ ton, DC or 20036 powerdesigninc.us! designation as District of Columbia agent has been filed with the Register ofFinancial Wills, D.C. The Services decedent owned District Denied Credit??

Work to Reof Columbia personal pair Your Credit Reportagainst With The property.

Claims Trusted Leader in may Creditbe Repair. the decedent Call Lexington Law for a FREE presented to the undercredit report summary & signed and filed withcredit repair consultation. 855-620the of Wills for at 9426.Register John C. Heath, Attorney the Columbia, Law, District PLLC, dbaofLexington Law 515 5th Street, N.W., Firm.

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Name of Person RepAuctions resentative: Elizabeth Mary Carroll TRUE TEST copy Anne Meister Register of Wills Pub Dates: Sept, 13, 20, 27 SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION Whole Foods Commissary Auction 2018 ADM 000927 DC Metro Area Name of Decedent, Lucy Dec. 5Eastham. at 10:30AM Notice Beale S/S Tables,Notice Carts of1000s Appointment, & Trays, 2016 Kettles up to Creditors and Notice to 200 Gallons, Urschel toCutters Unknown Heirs, WIl& Shredders inliam Anderson Glasgow, cluding 2016 Diversacut whose address is 2042 2110 Dicer, 6 Chill/Freeze Pierce Rd Rack NW, Ovens Cabs, Mill Double & Ranges, (12) Washington, DC Braising 20010 Tables, 2016 (3+)Personal Stephan was appointed VCMs, 30+ Representative ofScales, the Hobartof 80 Mixers, estate LucyqtBeale Complete Machine Shop, Eastham who died on and much more! View the June 19,at2018, with a catalog Will and will serve withwww.mdavisgroup.com or out Court Supervision.

412-521-5751 All unknown heirs and heirs whose whereGarage/Yard/ abouts are unknown Rummage/Estate Sales shall enter their appearance in this proceedFlea Market every Fri-Sat ing. Objections to suchRd. 10am-4pm.

5615 Landover appointment shall Can be buy Cheverly, MD. 20784. filed with the Register in bulk.

Contact 202-355-2068 of Wills, D.C.,for 515 5thor if or 301-772-3341 details intrested inN.W., being aBuilding vendor. A, Street, 3rd Floor, Washington, D.C. 20001, on or before 2/28/2019. 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 2/28/2019, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 8/30/2018 Name of Newspaper

and/or periodical: Washington CityMiscellaneous Paper/Washington Law Reporter NEW COOPERATIVE SHOP! Name of Person Representative: William FROM EGPYT THINGS Anderson Glasgow AND BEYOND TRUE TEST copy 240-725-6025 Anne Meister www.thingsfromegypt.com Register of Wills thingsfromegypt@yahoo.com Pub Dates: August 30, September 6, 13.

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