Washington City Paper (October 4, 2019)

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LIFE, CAMER A, ACTION Local birth and newborn photographers find strength in pregnancy, childbirth, and each other. PAGE 12 BY

KAYLA RANDALL

Scene and

Heard Justice, October, 2019 A dull chugging sound fills the humid morning air, drowning out whizzing traffic and playing children. The source—a large vehicle— turns the corner sharply, hugging the wrong side of a residential road.

There’s a car up ahead of it, pointed in the right direction, and the two find themselves in an admittedly slow game of chicken. Who will blink? Who will turn first? The larger vehicle nears the smaller before suddenly turning wide. Of course it did. It’s a street sweeper, and its momentary opponent is parked, without a driver.

The sweeper scrubs a clear mark of shame around the parked car as it arcs back to the curb. Up ahead, the driver performs an identical maneuver, dodging a second parked car.

Because there is no justice in the world, neither car has a ticket. Everyone else has followed the rules: You need only look across the street to see the proof. That side, the one that gets swept tomorrow, is jam-packed with parked cars.

Further ahead, a young man rushes to his car—in the street sweeper’s eventual path— and is relieved to find his vehicle unticketed.

He’s a few minutes late, but he got lucky. He drives off as the sweeper turns to loop around.

When it returns, a police car drives in front of it. But the cop car doesn’t stop as it passes the offending vehicles, and continues on its way.

Eventually, a white car pulls up behind one of the parked cars, its hazard lights on. Parking enforcement has arrived. A woman gets out of the car and sighs, the sword of justice in her hand.

—Will Warren Will Warren writes Scene and Heard.

If you know of a location worthy of being seen or heard, email him at wwarren@washingtoncitypaper.com.

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COVER STORY: LIFE, CAMERA, ACTION

12 Local birth and newborn photographers go to elaborate lengths to capture families’ first moments .

DISTRICT LINE 2 Scene and Heard 4 The Curious Case of Benjamin Ordoñez: One man’s complicated journey into and out of ICE custody 6 Mumble Sauce: On supporting sex workers and fighting to protect black trans women

SPORTS 8

Senior, Superlative: 94-year-old Dixon Hemphill prepares to race in a Navy Mile heat now named in his honor.

FOOD 16 You Don’t Know Jack’s: Meet the family behind one of D.C.’s most popular buffets.

ARTS 20 Letter of Consent: Three organizations’ mission to build safe, consensual environments at local events 22 Curtain Calls: Thal on Washington Stage Guild’s Candida and Ritzel on Synetic Theater’s The Tempest 24 Sketches: Randall on Happy Accidents at Franklin Park Arts Center 26 Short Subjects: Zilberman on Joker

CITY LIST 29 Music 30 Theater 34 Film

DIVERSIONS 35 Savage Love 36 Classifieds 37 Crossword

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EDITOR: ALEXA MILLS MANAGING EDITOR: CAROLINE JONES ARTS EDITOR: KAYLA RANDALL FOOD EDITOR: LAURA HAYES SPORTS EDITOR: KELYN SOONG LOOSE LIPS REPORTER: MITCH RYALS CITY DESK REPORTER: AMANDA MICHELLE GOMEZ CITY LIGHTS EDITOR: EMMA SARAPPO STAFF PHOTOGRAPHER: DARROW MONTGOMERY MULTIMEDIA AND COPY EDITOR: WILL WARREN CREATIVE DIRECTOR: JULIA TERBROCK SOCIAL MEDIA MANAGER: ELIZABETH TUTEN DESIGN INTERN: MADDIE GOLDSTEIN CONTRIBUTING WRITERS: MICHON BOSTON, KRISTON CAPPS, CHAD CLARK, MATT COHEN, RACHEL M. COHEN, RILEY CROGHAN, JEFFRY CUDLIN, EDDIE DEAN, CUNEYT DIL, TIM EBNER, CASEY EMBERT, JONATHAN L. FISCHER, NOAH GITTELL, SRIRAM GOPAL, HAMIL R. HARRIS, LAURA IRENE, LOUIS JACOBSON, JOSHUA KAPLAN, CHRIS KELLY, AMAN KIDWAI, STEVE KIVIAT, CHRIS KLIMEK, PRIYA KONINGS, NEVIN MARTELL, KEITH MATHIAS, BRIAN MCENTEE, CANDACE Y.A. MONTAGUE, BRIAN MURPHY, NENET, TRICIA OLSZEWSKI, EVE OTTENBERG, MIKE PAARLBERG, PAT PADUA, JUSTIN PETERS, REBECCA J. RITZEL, ABID SHAH, TOM SHERWOOD, CHRISTINA STURDIVANT SANI, MATT TERL, IAN THAL, SIDNEY THOMAS, HAYWOOD TURNIPSEED JR., JOE WARMINSKY, ALONA WARTOFSKY, JUSTIN WEBER, MICHAEL J. WEST, DIANA MICHELE YAP, ALAN ZILBERMAN

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DISTRICTLINE The Curious Case of Benjamin Ordoñez

After landing in ICE detention, he became a symbol of the federal government’s subversion of D.C.’s sanctuary city status.

His story shows that the truth is more complicated.

On the mOrning of Aug. 27, 2018, D.C.’s Metropolitan Police Department brought Benjamin Ordoñez to court for arraignment. There, the U.S. Marshals Service, federal agents who provide security for the courthouse, detained Ordoñez so he could be handed over to Immigration and Customs Enforcement. He was arrested for pocketing coins and cash from a purse he took at a salsa dancing social.

Ordoñez is an undocumented immigrant originally from Guatemala with no prior convictions, according to court documents. ICE had attached a “detainer” to Ordoñez’s name.

(A detainer is a request ICE sends to a public safety agency, such as a jail, asking for 48 hours notice before releasing an undocumented person so that ICE has time to pick them up.)

“He was disappeared from our community with no contact for days with his friends and family,” says Ayla Bailey, a friend of Ordoñez’s.

Friends and supporters of Ordoñez launched a GoFundMe and a letter writing campaign.

Their descriptions accused MPD of handing Ordoñez over to ICE directly after he was arrested. But both Ordoñez and ICE say it was the U.S. Marshals who honored the detainer.

Sanctuary DMV, an activist group that supports local immigrants, sent out a mass email in mid-September that said Ordoñez had been detained by federal agents at the courthouse (though it linked to the GoFundMe with the claim about MPD.) “In effect, DC Police has stolen Benja, among others, from us,” said the email.

Stories in the Washington Post and WAMU in the weeks that followed ended with Ordoñez in immigration limbo, awaiting deportation in ICE custody. Ordoñez became a symbol of D.C.’s lackluster record as a sanctuary city, and a case study in how federal agencies can undermine local D.C. immigration policies.

But Ordoñez was not deported. In fact, he

Darrow Montgomery/File

By Will Lennon

D.C. Superior Court left an ICE detention center in Farmville, Virginia, nearly a year ago thanks to a decision from a federal immigration judge and bail money raised through the GoFundMe page.

Even the misdemeanor theft charge that brought him to D.C. Superior Court in the first place was disposed on Sept. 16 due to an issue with a piece of missing evidence. The MPD officer who made the arrest had misplaced the writing pad he used to jot down notes during his initial confrontation with Ordoñez. The of-

4 october 4, 2019 washingtoncitypaper.com

ficer has since gone on to work for the Department of Defense.

OrdOñez’s jOurney thrOugh federal custody began the morning after D.C. police arrested him. ICE has a number of ways to access information about people who have had contact with the criminal justice system. In this case, as the Washington Post reported last year, ICE got Ordoñez ‘s booking information and filed the detainer with the U.S. Marshals,

who moved to take him away seconds after a D.C. Superior Court judge ordered him to return for his next hearing and dismissed him.

Ordoñez says his attorney, who did not have much experience with immigration law, didn’t know how to react. (He spoke to City Paper with Bailey, who started his GoFundMe page and translated his words from Spanish to English.)

The U.S. Marshals Service tells City Paper in a statement that their policy is to honor detainers, but also claims to be a relatively passive actor where ICE is concerned. “The court determines whether defendants are to be released on bond or remanded to custody to await trial in the criminal proceedings,” says the statement. “The Marshals do not disclose any personal information, court scheduling, transportation details or other inmate information, other than to verify an inmate is in our custody.”

ICE gives City Paper an account of the Ordoñez incident that makes their relationship with the Marshals sound more collaborative.

According to ICE, the Marshals service “transferred Ordoñez to ICE custody after he was released from local criminal proceedings.”

Ordoñez says that after the Marshals Service brought him to a cell, two men in plain clothes came to pick him up along with three other detainees. “They put us in a van and they took us someplace that looked like a warehouse,” says Ordoñez. “It just looked like a regular van. It didn’t have bars or anything. It didn’t say ICE on it.”

According to Ordoñez, the cells at the warehouse-like facility were kept cold, with no blankets. When one of the people running the facility asked him for information about his family and his country of origin, Ordoñez refused to give any information other than his name. Ordoñez says they called him a criminal and threatened to send him back to the cold cell. Soon after, Ordoñez and around 45 other detainees were loaded onto a bus bound for the ICE detention center in Farmville.

At the last minute, the detainees found out they wouldn’t be headed to Farmville after all.

The facility was in the middle of an outbreak of chickenpox. According to Virginia Public Radio, the same facility has more recently seen an outbreak in mumps.

Instead, they went to Norfolk City Jail.

There, Ordoñez says, people detained for immigration-related reasons were kept together in a big room. The room had enough beds for around 65 people, but soon there were more people than beds. Ordoñez says that the jail gave some detainees what he refers to as “canoes,” stretcher-like apparatuses big enough to lie down in. Eventually, the room got so full that it was difficult to walk between the canoes. (A spokesperson for Norfolk City Jail

says that in situations like the one Ordoñez described, detainees are given “stackable beds,” which come with a mattress and bedding.)

According to Ordoñez, the water from the jail showers was bad smelling and uncomfortably hot. Meals were served at 3:30 a.m., 10:30 a.m., and 3:30 p.m. The food—mostly pasta, eggs, and bread—was too salty. A flu spread through the facility, bringing with it fever and shivers. Ordoñez caught the virus. He says the jail did not provide medicine.

“We didn’t get to go out at all,” Ordoñez says. “We were just totally enclosed inside.”

The Norfolk City Jail spokesperson says they could not comment on the specifics of Ordoñez’s time at the facility because records of incarcerated people are exempt under FOIA, but notes that the jail recently passed an audit.

After nearly a month, Ordoñez was transferred to the ICE detention center in Farmville.

Ordoñez says the ICE facility was an improvement for the most part. He and other inmates played volleyball and soccer, and the food was better. The main problem was a guard who treated inmates poorly. According to Ordoñez, after a group of inmates got together and made a petition denouncing the guard’s behavior, they were chastised and transferred to a higher-security section of the facility.

Finally, on Oct. 3, a federal judge granted Ordoñez bond. He was able to post bail and leave ICE detention.

The Executive Office for Immigration Review, an office within the Department of Justice, handled Ordoñez’s immigration case. The EOIR has the power to decide whether individuals charged with violating immigration law are removable and whether they are entitled to relief or protection from deportation. Undocumented people who require legal representation in these courts have to provide their own lawyers, “at no expense to the government.”

According to a court document, Ordoñez was released because his immigration attorney “presented arguments that Mr. Ordoñez could be eligible for cancellation of removal.”

Non-legal permanent residents have to have lived continuously in the U.S. for 10 years to qualify for cancellation of removal. They also have to prove that they have a relative in the U.S. who is a citizen or a legal permanent resident, and that that relative will face serious hardship if the person in question is removed. A non-legal permanent resident also has to successfully argue that they are of “good moral character,” and can be disqualified if they have been “convicted of certain criminal offenses.”

There is a strict 4,000-person “cap” on the number of non-legal permanent residents who can benefit from cancellation of removal in a year, and even if an undocumented person is granted cancellation of removal, the Department of Homeland Security can appeal the decision with the Board of Immigration Appeals, the EOIR’s appellate-arm.

Ordoñez returned from detention to find his misdemeanor theft case in progress. Over the next few months, Ordoñez repeatedly requested a jury trial, citing “potential deportation consequences” he could face if convicted, “especially considering the current adminis-

tration’s policy/promise to deport immigrants with criminal records.”

Ordoñez argued that a conviction for theft could jeopardize his “good moral character” and disqualify him for cancellation of removal. The requests for a jury trial were denied. However, the case was ultimately disposed, apparently due to the problem of the missing notepad.

“This case is more serious,” said Judge Carol Dalton before dismissing Ordoñez on Sept.

16. “There are additional issues that make me feel more concerned.” (City Paper reached out to Judge Dalton to ask whether she was referring to the contents of the arresting officer’s missing notebook or to Ordoñez’s immigration status, but did not receive a response.)

His hard journey does not end here, though.

Ordoñez tells City Paper that at his last immigration hearing, he agreed to “voluntary departure,” an alternative to deportation that requires the undocumented person to leave the country on their own dime. Voluntary departure does not permanently restrict a person from returning to the United States. Still, according to Ordoñez, coming back legally would be a difficult, years-long process, if he ever manages it at all.

Although he has thus far managed to avoid outright deportation, the past year has been devastating for Ordoñez. For six months he has been seeing a therapist to help him process all that he experienced while detained.

“I was able to get out because I had friends who were able to get in touch with a lawyer and raise bail money and submit an immigration case on my behalf,” Ordoñez says. “Physically I’m OK, but emotionally, mentally, it’s hard for me to just go out in the street. For a while I didn’t want to see friends. I just went into hiding … My whole future has come tumbling down.”

The ICe deTaIner on Ordoñez’s name is one of 169 the U.S. Marshals received in 2018 in D.C. That’s up from 2014, when the Marshals received 11 ICE detainers. Meanwhile, D.C.’s Department of Corrections received 47 detainers in 2018, down from 202 in 2014. These data are from Syracuse University’s widely cited Transactional Records Access Clearinghouse, or TRAC, which keeps comprehensive immigration data.

Julie Mao, an attorney with Just Futures Law, urges a deeper reading of the numbers. “Articles in the press have focused on the U.S. Marshals angle, but overlooked how local policing practices are a major pipeline to deportation,” she tells City Paper. “A lot of air time is given to ICE’s large scale raids, but from my anecdotal experience the largest portion of people, if not most individuals, enter immigration detention because of some form of local police contact.”

Local activists say the DOC responds to every ICE detainer it receives and provides the federal agency with a 48 hour warning before they release an undocumented person. A document received by City Paper in a FOIA request lists over 40 “ICE pick-ups” from DOC facilities between 2016 and summer of 2019.

The Syracuse database lists a total of 1,480 detainers sent to local and federal agencies in D.C. since 2003. ICE is currently withholding information on how many of the detainers’ targets were actually picked up by the agency.

CP washingtoncitypaper.com october 4, 2019 5

DISTRICTLINE Mumble Sauce

Darrow Montgomery/File

Stop criminalizing survivors.

By Jordan N. DeLoach Mumble Sauce is a summer and fall 2019 column about how DMV Black communities uplift healing and creativity in the face of gentrification, displacement, policing, and incarceration. This is installment eight of 10.

My great-great aunt ran a cathouse in Columbus, Mississippi. My grandfather lived with her until he was 4 years old. He spent a lot of time in the cathouse, which, according to my grandfather, got its name from the illegal moonshine (aptly called “catpiss”) that patrons could purchase at the brothel.

The bottles of moonshine were buried in

the backyard, my grandfather tells me, and he knew the location of each one. When someone ordered a drink, my great-great aunt would send him to the back to dig up a bottle from the earth with his small brown hands.

My grandfather didn’t enjoy life at the cathouse that much, but he tells me now that it beat picking cotton.

Like a lot of Black people, my grandfather was forced to understand the concept of “getting it how you live it” at an early age. The underground economy—like drug dealing and the sex trades—is filled with people trying to get it how they live it, figuring out how to get their needs met with the means life has provided.

A popular refrain among people in the sex

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trades is that “everyone knows a sex worker”— if you feel like you’re an exception to the rule, it’s likely because the sex worker in your life doesn’t feel comfortable telling you. Sex workers are members of our communities. They are mothers, friends, uncles, cousins, and greatgreat aunts.

I didn’t know my family’s connection to sex work when I started getting involved with advocacy in D.C.’s sex worker community in 2018. I’d been an organizer with BYP100 DC—a collective of radical Black organizers—for a couple of years, and we were members of the Sex Workers Advocates Coalition.

SWAC is a coalition of several organizations in D.C. that formed in 2016 to create safety and

support for people in the sex trades, prioritizing the decriminalization of sex work as a policy goal.

I was late to the party by the time I got involved, but I’d had a soft spot for sex workers since I was young. A couple of my middle school friends talked about wanting to be strippers when they grew up, and I had some friends in college who danced and Tamika Spellman did sex work to help pay for living exp ens es.

Being tangentially involved in the world of sex work became a small pastime.

One of my college friends and I would climb into bed together and scroll the Craigslist personals, giggling into the night about the men we saw, drafting and deleting posts about being coeds looking for a free meal.

L o o k i n g through Craiglist personals for enter tainment was far from the lived realities of many sex workers. I knew I had a lot to unlearn by the time I started regularly joining SWAC meetings in 2018. Leaders in the coalition—like Tamika Spellman, Nona Conner, and Shareese Mone—made this unlearning possible for me as they shared their wisdom and insight. In BYP100 DC, friends like Nnenna Amuchie helped me understand the extent to which criminalizing sellers and buyers of sex harms Black communities and is a central contributor to mass incarceration.

I’ve found another family with the people I organize with. We were proud to join the legacy of freedom fighters like Marsha P. Johnson and Sylvia Rivera, who called to decriminalize sex work and invest in community in the 1970s. And we knew that to fully decriminalize sex work in the District, we had to shift hearts and minds. Through DECRIMNOW,

we started uplifting the stories and perspectives of the countless Black and brown trans sex workers who experienced violence and wanted to be safe.

Now, after decades of fighting to be respected and supported, the D.C. Council is starting to take the needs of people in the sex trades seriously.

On Oct. 17, the Council will have a hearing for the “Community Safety and Health Amendment Act of 2019,” a bill that would remove criminal penalties from selling and buying sex in D.C. Sponsored by Councilmembers David Grosso, Brianne Nadeau, Robert White, Anita Bonds, and Charles Allen, the bill was introduced this summer with the help of SWAC and the DECRIMNOW campaign.

My co-organizers and I are passionate about the bill because we’ve seen criminalization and policing bring harm to people in the sex trades and our broader communities. Police abuse against people in the sex trades is common.

Criminalization pushes the trades into the shadows where people aren’t able to access support due to stigma and fear of police involvement.

Incarceration is inhumane, and having a criminal record exacerbates obstacles to accessing resources. Decriminalizing sex work and investing in safe and stable housing, health care, transportation, education, and other forms of support would benefit us all.

D.C. has a rich history of resistance from Black LGBTQ+ folks, so it’s no surprise that the District is one of the first places to introduce a bill like this. While many sex workers are in the trades because they enjoy it, a lot of sex workers in D.C. are Black and brown trans women, cis women, trans men, and non-binary people who turn to the trades to survive.

With limited access to support, selling sexual services is one of the only ways many people are able to support themselves.

Some people in the sex trades are escaping abusive family situations. This was the case for my big-sister-from-another-mister Nona Conner, one of the organizers with SWAC and DECRIMNOW who works at Collective Action for Safe Spaces. Conner ran away from her family’s home in Southeast D.C. when she was 15 with nothing but $20 in her pocket. She fled to K Street and met several other Black trans girls who had escaped abuse and violence, too. They all did sex work to survive. Being turned away from job interviews because of her identity made Conner rely on sex work even more.

Conner had little recourse when she experienced assault at the hands of clients or strangers. Police officers couldn’t be trusted.

They often enacted the abuse themselves.

Police abuse is one of the main reasons why Spellman, a mother to many in the move-

ment, is fighting for the decriminalization of sex work. An advocate with local harm-reduction nonprofit HIPS and a leader in SWAC and DECRIMNOW, Spellman spends most of her nights visiting popular strolls in D.C. to make sure sex workers have condoms and access to safety. She wrote in 730 DC last year about some of her experiences with police brutality while sex working, including a time when an undercover officer engaged in a full sex act with her before revealing that it was a sting. It’s an experience many sex workers in the District can relate to. Police abuse against sex workers—including sexual assault—is an open secret in D.C. Spellman enjoys sex work, but she doesn’t enjoy how hard it was for her to find a job despite having a college degree. She certainly doesn’t enjoy the police abuse that she’s experienced, abuse that is encouraged by a society that demonizes sex workers and Black trans women. And it hurts her heart to see so many of her sisters lose their lives to violence.

Spellman and others in the DECRIMNOW campaign often call on the names of Zoe Spears and Ashanti Carmon, t w o Bl a c k trans women with experience in sex work who were killed earlier this year. In my last “Mumble Sauce” entry, Bianca Bonita Carter, an organizer in SWAC, DECRIMNOW, and No Justice No Pride, recalled seeing Spears at a cookout the day before she was murdered. To Carter, it seems like violence against Black trans women in the DMV, especially those with experience in the sex trades, is escalating.

Stigma against sex workers and discrimination against Black and brown trans women contribute to violence against our loved ones.

It’ll take a long time to repair the harm that has been done. The bill to decriminalize sex work is a small piece in a larger puzzle of creating safer environments for everyone in our communities.

Ultimately, all people in the sex trades need access to resources and community support, not the threat of arrest and harm. Moralistic arguments about whether it’s “right” to sell sex quickly become moot when you have nothing to eat and nowhere to live.

I’m a Black queer woman with family from Maryland to Mississippi. My grandfather grew up in a cathouse because his daddy was lynched before he was born. I understand the history around violence, including sexual violence, against my people throughout slavery and colonialism. Having autonomy over our bodies is central to our freedom and liberation, and that includes having the choice to trade sex to provide for ourselves and our families. Restricting that choice using stigma, policing, and shame is simply another form of control.

We deserve support and liberation instead.

HEALTH & WELLNESS THE STATE OF MATERNAL HEALTH IN D.C.

Police abuse against sex workers—including sexual assault—is an open secret in D.C.

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washingtoncitypaper.com october 4, 2019 7

Kelyn Soong

SPORTS RUNNING

Senior, Superlative Dixon Hemphill, 94, refuses to let cancer or his age stop him from doing what he loves most: running.

HempHill’s HomeTown of Pawcatuck, Connecticut, sits across a river that separates it from Westerly, Rhode Island. The town is so small that he had to travel to Westerly to access the post office.

He grew up the middle child of three boys in the picturesque village known for its historic, Victorian-style houses, and spent his youth as a track and field athlete—minus the running.

He pole vaulted, high jumped, and threw discus in high school.

After graduating, Hemphill, now 94, attended Amherst College in Massachusetts for a year.

He admits he did “very poorly” in his academics.

World War II had started, so, like his father before him, Hemphill joined the Navy, and served from 1943 until 1946 on a cruiser in the Atlantic and a landing craft in the Pacific. He did not see combat, but completed three years of active duty and 17 years in the reserves.

When the war ended, Hemphill returned to school, this time at Middlebury College in Vermont.

Above: Dixon Hemphill Left: Orville Rogers and Dixon Hemphill racing in 2018

Courtesy of Susie Howard

TwenTy years ago, doctors told Dixon Hemphill he would never run again.

He was riding his bike down a hill, going about 20 miles per hour, when “some character in a Cadillac” came up alongside him and sent him flying into the pavement. Hemphill, who was almost done training for his 15th consecutive Reston Triathlon, broke his pelvis, suffered a collapsed lung, and spent 41 days in three different hospitals following the event.

The surgery to keep his pelvis together resulted in a staph infection, further complicating his recovery. He was 74 at the time.

“I realized with this accident I had and so forth, it might be that my time was numbered,” Hemphill says. “I might not live too long if I didn’t exercise. It sounds kind of morbid, but I did feel that way.”

His wife, June, says she wasn’t even thinking about his running. She just wanted him to walk and feel normal again.

But Hemphill had other plans. He decided he could not stop running.

Darrow Montgomery

By Kelyn Soong

He enjoyed the atmosphere there and competed in the pole vault, high jump, and discus.

He also ran cross country for a few years and played football for one season. “You played in the whole thing, both offense and defense, the whole time” Hemphill recalls. “I was second string.”

According to his biography on the Middlebury website, Hemphill won the 1949 College decathlon and set a Middlebury school record in the pole vault, using a bamboo pole.

He placed third in the pole vault at the Millrose Games, the world’s longest-running indoor

8 october 4, 2019 washingtoncitypaper.com

track and field competition, in New York City.

Hemphill competed in a few decathlons after college, but it would be decades until he took running seriously. He felt he had more important things to focus on.

While working at General Electric, Hemphill met a woman named June in Fort Wayne, Indiana, where he was training for a few months. Next January, the two will celebrate their 65th wedding anniversary.

HempHill dabbled in tennis and golf after having children, but didn’t do much else for exercise. Raising a family and working in the industrial boiler business took up most of his time. One day, while sitting at home in his late 40s, he found himself gaining weight and decided to sign up for a local one-mile race put on by the Potomac Valley Track Club.

“I couldn’t finish it,” Hemphill remembers.

“I just went out and ran half a mile and started walking.”

Motivated and embarrassed by his result,

The Nats are dancing into October. washingtoncitypaper.com/sports

he vowed to return and run other meets. About a year later, the club invited him to compete in a relay race at Hains Point. His team won.

“I was hooked after that,” Hemphill says.

June, 93, prefers to spectate her husband’s races instead of running. Through the years, she’s watched as Hemphill has gone from a runner who could barely finish a one-mile race to an owner of a running store company, Fairfax Running Center, a race director, and a world-record setting masters runner (the classification for participants 35 and over in track events and 40 and over for distance-running events).

The two have four children and nine grandchildren and still live in the same Fairfax Station house that they bought more than five decades ago.

In 2017, Hemphill went viral for his thrilling 60-meter race against against 99-year-old Orville Rogers at the USA Track and Field masters indoor championships in Albuquerque, New Mexico. (He lost by five-hundredths of a second.) In a drawer in their living room, Hemphill keeps printouts of newspaper clips about his running exploits as a masters runner.

In the mid-1990s he qualified for the Boston Marathon, the gold standard for amateur longdistance runners, with a personal best time of 3 hours and 44 minutes. At the age of 71, he finished the 100th edition of the prestigious race in 4:38:13. Hemphill’s license plate reads, “GUD2RUN,” and positioned right next to it are WWII and 26.2 stickers. Next month, he will return to Middlebury to be inducted into its athletics hall of fame.

“I think it’s great,” June says of the attention Hemphill has received. “I’m basically rather shy and I wouldn’t want it on myself. I couldn’t handle it, so I’m happy he has it.”

Hemphill’s daughter, Chris Wheeler, recalls that her father once told her mother that he didn’t like the attention that came with his accomplishments. “Yeah you do,” June responded with a laugh.

Over the years, Hemphill has pushed through several physical setbacks. He had his right hip replaced in 2008 and was diagnosed last year with stage 4 prostate cancer. He doesn’t have to go through chemotherapy or radiation, but gets a prescription drug injection every three months. His last shot was two weeks ago.

“I was concerned, but it’s very slow. It’s the best cancer you can get,” he says with a laugh, “because it’s very slow. Older people who have it usually die of something else.”

Hemphill describes himself as a “glass half full” type of person and cites his optimism and diet as reasons for his longevity.

“In other words, have a goal,” he says. “That to me, that’s very important. Just have some-

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June and Dixon Hemphill thing to look forward to.”

He avoids fried food and drinks plenty of liquids, including a bottle of Samuel Adams every night and the occasional glass of red wine. “I used to drink martinis,” he says, “and they’re pretty potent. So that’s a big change.”

At an age where his peers have slowed down, Hemphill is finding more ways to stay busy. He dreads the thought of ever having to move into a retirement home. “That’s the last thing I want,” he says. “Here we have a house. We’ve got an upstairs and downstairs, got a nice yard that I take care of, got a shed out back where I build things.”

About four years ago, he picked up a hobby of fixing clocks, taking old, key-wound clocks and reassembling them into battery operated versions that are displayed all over his home.

Sometimes he’ll build his own clock frames and sell them to friends. He also builds furniture in the shed behind his house and recently started taking painting lessons.

“I just enjoy it,” Hemphill says. “I just like to do something. I can’t sit home and do nothing.”

He fits that in around track workouts at the George Mason University Field House three times a week. He drives the 10 minutes down Route 123 by himself, and once at the track he does a regimented warmup routine before going into 100- or 200-meter sprints.

He writes down copious notes of each workout and often runs under the watchful eye of his coach, Alisa Harvey, a former professional runner from Arlington who he’s worked with for the past year and a half.

“Oh my gosh, the duration, the fact he still has the drive, he still has the ability and drive to push himself at an amazing age of 94, peo-

ple are in awe when they see him,” Harvey says.

Exactly Eight months after his bike accident, Hemphill ran the Race for the Cure 5K in D.C. “That was the happiest day in my life,” he says. “’Cause here I was back running again. I didn’t care how fast I was running, but I was running.”

Twenty years later, Hemphill is still doing what he loves the most: running and competing.

Each time Hemphill enters a meet, he has the goal to win his age group. And on Sunday, he will line up for the fifth edition of the Navy Mile on Pennsylvania Avenue NW. This year’s race will have special meaning for the World War II veteran. The 70-and-over heat has been renamed the Lieutenant Commander Dixon Hemphill heat.

“That meant a lot to me,” he says of the honor.

Also running will be three generations of the Hemphill family. His son, Pete, will be competing and so will several of his grandchildren, including Lisa, who says her grandfather has guided her through her own races.

“It’s great,” says Pete. “It makes me want to keep going and keep active like him.”

“He’s like a running rock star,” adds Lisa.

“He’s the biggest celebrity in our family. Everyone’s super proud of him. We post his articles and viral videos and send it to our friends and stuff. It’s just really cool.”

Hemphill runs, in a way, for them. He says he’s looking forward to turning 95 in January and moving up to the next age group (95 to 99) and wants to run at least “another two or three more years.” Maybe even until he’s 100, he adds.

“I’ve got a big family,” Hemphill says. “And I want to be around. I’m sounding dramatic, [and] I don’t mean to be, but that’s why I like to run, just to be around.”

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Important Facts About DOVATO

This is only a brief summary of important information about DOVATO and does not replace talking to your healthcare provider about your condition and treatment.

What is the Most Important Information I Should Know about DOVATO? If you have both human immunodeficiency virus-1 (HIV-1) and hepatitis B virus (HBV) infection, DOVATO can cause serious side effects, including: • Resistant HBV infection. Your healthcare provider will test you for HBV infection before you start treatment with DOVATO. If you have HIV-1 and hepatitis B, the hepatitis B virus can change (mutate) during your treatment with DOVATO and become harder to treat (resistant). It is not known if DOVATO is safe and effective in people who have HIV-1 and HBV infection.

• Worsening of HBV infection. If you have HIV-1 and HBV infection, your HBV may get worse (flare-up) if you stop taking DOVATO. A “flare-up” is when your HBV infection suddenly returns in a worse way than before. Worsening liver disease can be serious and may lead to death. ° Do not run out of DOVATO. Refill your prescription or talk to your healthcare provider before your DOVATO is all gone. ° Do not stop DOVATO without first talking to your healthcare provider. If you stop taking DOVATO, your healthcare provider will need to check your health often and do blood tests regularly for several months to check your liver.

What is DOVATO? DOVATO is a prescription medicine that is used without other antiretroviral medicines to treat HIV-1 infection in adults: who have not received antiretroviral medicines in the past, and without known resistance to the medicines dolutegravir or lamivudine. HIV-1 is the virus that causes Acquired Immune Deficiency Syndrome (AIDS). It is not known if DOVATO is safe and effective in children.

Who should not take DOVATO? Do Not Take DOVATO if You: • have ever had an allergic reaction to a medicine that contains dolutegravir or lamivudine.

• take dofetilide.

What should I tell my healthcare provider before using DOVATO? Tell your healthcare provider about all of your medical conditions, including if you: • have or have had liver problems, including hepatitis B or C infection.

• have kidney problems.

• are pregnant or plan to become pregnant. One of the medicines in DOVATO (dolutegravir) may harm your unborn baby. ° You should not take DOVATO if you are planning to become pregnant or during the first 12 weeks of pregnancy. Your healthcare provider may prescribe a different medicine if you are planning to become pregnant or become pregnant during treatment with DOVATO. ° If you can become pregnant, your healthcare provider will perform a pregnancy test before you start treatment with DOVATO. ° If you can become pregnant, you should consistently use effective birth control (contraception) during treatment with DOVATO. ° Tell your healthcare provider right away if you are planning to become pregnant, you become pregnant, or think you may be pregnant during treatment with DOVATO.

©2019 ViiV Healthcare or licensor.

DLLADVT190009 June 2019 Produced in USA.

Learn more about Leo and DOVATO at DOVATO.com

10 october 4, 2019 washingtoncitypaper.com

Tell your healthcare provider about all of your medical conditions, including if you: (cont’d) • are breastfeeding or plan to breastfeed. Do not breastfeed if you take DOVATO. ° You should not breastfeed if you have HIV-1 because of the risk of passing HIV-1 to your baby. ° One of the medicines in DOVATO (lamivudine) passes into your breastmilk. ° Talk with your healthcare provider about the best way to feed your baby.

Tell your healthcare provider about all the medicines you take, including prescription and over-the-counter medicines, vitamins, and herbal supplements.

Some medicines interact with DOVATO. Keep a list of your medicines and show it to your healthcare provider and pharmacist when you get a new medicine.

• You can ask your healthcare provider or pharmacist for a list of medicines that interact with DOVATO. • Do not start taking a new medicine without telling your healthcare provider.

Your healthcare provider can tell you if it is safe to take DOVATO with other medicines.

What are Possible Side Effects of DOVATO? DOVATO can cause serious side effects, including: • Those in the “What is the Most Important Information I Should Know about DOVATO?” section.

• Allergic reactions. Call your healthcare provider right away if you develop a rash with DOVATO. Stop taking DOVATO and get medical help right away if you develop a rash with any of the following signs or symptoms: fever; generally ill feeling; tiredness; muscle or joint aches; blisters or sores in mouth; blisters or peeling of the skin; redness or swelling of the eyes; swelling of the mouth, face, lips, or tongue; problems breathing.

• Liver problems. People with a history of hepatitis B or C virus may have an increased risk of developing new or worsening changes in certain liver tests during treatment with DOVATO. Liver problems, including liver failure, have also happened in people without a history of liver disease or other risk factors. Your healthcare provider may do blood tests to check your liver.

Tell your healthcare provider right away if you get any of the following signs or symptoms of liver problems: your skin or the white part of your eyes turns yellow (jaundice); dark or “tea-colored” urine; light-colored stools (bowel movements); nausea or vomiting; loss of appetite; and/or pain, aching, or tenderness on the right side of your stomach area.

• Too much lactic acid in your blood (lactic acidosis). Lactic acidosis is a serious medical emergency that can lead to death. Tell your healthcare provider right away if you get any of the following symptoms that could be signs of lactic acidosis: feel very weak or tired; unusual (not normal) muscle pain; trouble breathing; stomach pain with nausea and vomiting; feel cold, especially in your arms and legs; feel dizzy or lightheaded; and/or a fast or irregular heartbeat.

• Lactic acidosis can also lead to severe liver problems, which can lead to death. Your liver may become large (hepatomegaly) and you may develop fat in your liver (steatosis). Tell your healthcare provider right away if you get any of the signs or symptoms of liver problems which are listed above under “Liver problems.” You may be more likely to get lactic acidosis or severe liver problems if you are female or very overweight (obese).

SO MUCH GOES INTO WHO I AM HIV MEDICINE IS ONE PART OF IT. Reasons to ask your doctor about DOVATO: DOVATO can help you reach and then stay undetectable* with just 2 medicines in 1 pill.

That means fewer medicines† in your body while taking DOVATO

You can take it any time of day with or without food (around the same time each day)—giving you flexibility

DOVATO is a once-a-day complete treatment for adults who are new to HIV-1 medicine.

Results may vary. *Undetectable means reducing the HIV in your blood to very low levels (less than 50 copies per mL). † As compared with 3-drug regimens.

LEO‡ Living with HIV

What are Possible Side Effects of DOVATO (cont’d)?

• Changes in your immune system (Immune Reconstitution Syndrome) can happen when you start taking HIV-1 medicines. Your immune system may get stronger and begin to fight infections that have been hidden in your body for a long time. Tell your healthcare provider right away if you start having new symptoms after you start taking DOVATO. • The most common side effects of DOVATO include: headache; diarrhea; nausea; trouble sleeping; and tiredness.

These are not all the possible side effects of DOVATO. Call your doctor for medical advice about side effects. You are encouraged to report negative side effects of prescription drugs to the FDA. Visit www.fda.gov/medwatch, or call 1-800-FDA-1088.

Where Can I Find More Information?

• Talk to your healthcare provider or pharmacist.

• Go to DOVATO.com or call 1-877-844-8872, where you can also get FDA-approved labeling.

Trademark is owned by or licensed to the ViiV Healthcare group of companies.

Compensated by ViiV Healthcare

‡

Could DOVATO be right for you? Ask your doctor today.

washingtoncitypaper.com october 4, 2019 11

LIFE,

CAMERA,

ACTION

Birth photographers see labor and delivery as beautiful, not taboo.

They show mothers as paragons of strength.

BY

KAYLA RANDALL

The birTh phoTographer dinner club is a sacred sisterhood dedicated to motherhood. They record mothers laboring for hours and hours, at home or at the hospital, sitting and standing, in water and out of water. They photograph vaginal births and cesarean deliveries, and when mothers first meet the eyes of their babies. They show the minute when a tiny new vernix-covered human first inhales, and the first time a mother touches her child’s soft, fragile skin.

A group of local women have found community in birth photography—they love documenting birth and being around it and each other. Perhaps they’re the only ones who could understand exactly what they do: make the transfixing power of childbirth into art.

Some of these women wanted photographers present at their own births, and went on to become the photographer they were looking for; some dabbled in photography and recorded the births and babies of friends and family, and then a hobby blossomed into a business.

For some, it was a combination of both. Now, documenting pregnancy, childbirth, and newborns is their main job, and they service much of the D.C. area.

Heidi Daniels has been moved by birth photography since before she ever became pregnant herself. “I had come across some birth photography slideshows from a couple photographers in Texas where I guess birth photography is really big,” she says. “And I cried over these slideshows of birth photos of people I had never met.”

She got her initial chance to photograph a birth in 2012, after she had the first of her three children in 2011. A resident of Gainesville, Virginia, Daniels’ business began with a handful of free photos: a home birth, a hospital birth, and a birth center birth. She set up her website and before long was inundated with inquiries.

A couple years after she started her business, she says, the art form became a growing niche market. Now she produces birth films as well.

12 october 4, 2019 washingtoncitypaper.com

“Daniels” by Angie Klaus, 2019

Clockwise from top left: “Frazier” by Stefanie Harrington, 2016; “Goddard” by Danielle Hobbs, 2018; “Goodwin” by Danielle Hobbs, 2019; “Burgoyne” by Heidi Daniels, 2018

The job of birth photography itself is full of emotional labor. “There have been times that I’ve cried the whole way home from a birth,” Daniels says. “It’s a lot to carry sometimes.

That’s where having a community of birth photographers is really helpful because we can decompress with each other.”

They’ve even taken photos of each other giving birth. Angie Klaus, one of Daniels’ close friends, took photos of her as she gave birth to her daughter this spring. And Daniels photographed Klaus’ fourth birth, just seven weeks ago. Daniels wanted Klaus to document her birth, and then Klaus got pregnant and wanted Daniels to document hers.

Emily Gerald shot her first birth in 2014, and she was red in the face from it. “That was the first time I saw a baby being born,” she says.

That birth was an induction. Gerald went from having a normal conversation with the mother to witnessing a baby’s birth in a matter of minutes. “I was in shock,” she says. Also of Gainesville, she shoots maternity and newborn photos as well, and she loves getting to be behind

the scenes in other people’s lives and stories.

Gerald took photos of fellow birth photographer Stefanie Harrington’s family and newborn daughter in 2016. Harrington lives in Northwest D.C., and says her process is to be supportive of the birth environment and each mother’s labor, making an effort to stay out of the way of present medical staff.

These women get to know the most specific details about a pregnancy, from when a mother’s water broke to which family members were present at her birth. Danielle Hobbs, another Gainesville birth photographer, believes the snapshots spark and create memories.

“These photographs ultimately become family heirlooms,” Gerald says. She has shot more than 50 births since her first, and her own babies—twins—will be 2 in November.

Hobbs says that being a mother helps in knowing how birth works and anticipating what will come with it. She is a mother of three, Klaus is a mother of four, Daniels is a mother of three, Gerald is a mother of two, and Harrington is a mother of three.

The women go out to dinner together once a month to bond over how to handle the unpredictable force that is birth.

“I really try to stay a fly on the wall,” Hobbs says. “There’s really no way to manipulate a birth session. The longest birth I had was 36 hours, which ended in a C-section. It was a unique situation where mom was preterm and every two hours they were checking her to see if she needed to be rushed to a C-section.” Hobbs goes in to each birth expecting to be there for at least 10 to 12 hours.

And one refrain you’ll hear these photogs say: “Every birth is different.”

The longest birth Klaus photographed lasted 52 hours at George Washington University Hospital. She slept on the floor, showered once, and ate a lot of granola bars. “But that mother was so grateful,” she says.

Many hospitals in the area do not allow photographers in the operating room for a C-section, Hobbs says. So, in those situations, she must send a partner in with her camera, and hope that a nurse can take a few photos, too.

Vaginal hospital births and vaginal home births are also different scenarios when it comes to photography. If someone giving birth in a hospital has an epidural, there’s going to be a lot more downtime compared to a home birth where a mother is constantly moving all around the room and around the house.

Hobbs says she’s had some home birth clients who want her to capture everything with full coverage and no censorship. But plenty of her hospital birth clients prefer her to stay over their shoulders. Each birth photographer has her own style, but they honor what the parents want first.

The need for birth photography is better understood after birth. The photos and videos solidify the experience, helping parents remember what they and their children looked like.

What did their baby’s first cry sound like? Were they born with a head full of hair?

Photos have helped Daniels remember and reckon with her own births, serving as proof of her power and strength.

“When you’re giving birth, you are very

washingtoncitypaper.com october 4, 2019 13

“Gerald” by Liz Cook, 2017 much in that moment and sometimes it’s sort of a haze, especially if things were harder than you expected or they didn’t go the way you wanted,” Daniels says. “Having the photos really helped me remember things I didn’t remember and see myself from the outside, to be able to see how strong I was. It helped me to process emotionally what happened.”

Birth so often is in the shadows, Daniels says. In her experience, most women don’t speak publicly about their births, after which a woman is not the same person, she says.

“There’s this sort of stigma against it too, like well it’s kind of messy and gross and we don’t want to talk about that too much,” she says.

“Sure, it’s messy, but the emotional journey that a woman has to go through to give birth to a baby is such a huge deal and I wish people would talk about it more and share it more. I love that birth photos are becoming more of a thing because women feel more comfortable sharing.”

The photographs have begun to open up a

dialogue about childbirth and normalize the experience of seeing it up close. When people do something amazing in life, Daniels says, they talk about it. They advertise the accomplishment of climbing Mount Everest. But people give birth every day, every hour, every minute, every second, and it’s considered private, she says. “You think ‘I can’t do this,’ and then you go and you do it. There’s nothing more powerful than that feeling. I think women should be loudly advertising that.”

The gig has taken these women all across the region, from home to hospital to birth center. Sometimes, they’re stuck in a corner of a small room with horrid lighting and technical challenges. But what keeps them going is the honor of the access to new life. To these documentarians, birth is beautiful. But when they explain what they do for a living, not everyone understands.

Harrington says the art form has become more popular and sought-after in the last five years. Many, though, are still taken aback.

14 october 4, 2019 washingtoncitypaper.com

“Gerald” by Liz Cook, 2017

“When you tell people you photograph births, they have a look on their face that says, ‘Oh, you do what?’” Harrington says. Some people wonder why anyone would even want to have their birth photographed. “We photograph so much of our lives, so why not photograph one of the most amazing moments?”

Harrington says.

Gerald says growing up with a mother who was a labor and delivery nurse has helped to give her a perspective on birth that allows her to photograph it. She celebrates it as something to never shy away from, hide from, or be embarrassed by. “It was never scary, it was never weird, it was never gross,” she says.

“It was just how babies come into the world, a very matter of fact thing. This is birth. Everybody came into the world by being born.

I have some distant family members who are like, ‘What do you do?’ They don’t understand it. I explain to them that it’s about the story and not just the actual moment that a baby leaves your body.”

The nature of being on-call is the most difficult aspect of being a birth photographer. They must be prepared for weeks, at all hours, to photograph a birth when they get the call that the baby is coming.

“I am contracted to be on-call two weeks before their due date and two weeks after their due date,” Hobbs says. “Some babies come early, some babies come late. For four weeks for every birth, I’m on-call, which means that I can’t drink; I can’t go more than an hour away; I have to take my camera with me everywhere I go; if I’m going to Target or to dinner with friends I have to drive separately.”

Being a birth photographer changes their lives. Clients get booked months in advance of a birth, generally in the first or second trimester. The photographers follow pregnancies sometimes from the very beginning. “I often get calls when someone has a positive pregnancy test,” Klaus says. “Sometimes I’m the first to know, even before a spouse or a parent.”

Photographer Nafa Ribeiro doesn’t currently take on births because she simply doesn’t have the time to be on-call. But she does specialize in maternity and newborn photography. Ribeiro’s Silver Spring-based photography company Judah Avenue does everything from weddings to holiday portraits. Though she has a team of photogs, she’s still the only maternity and newborn photographer on staff, giving her the chance to showcase the aesthetic beauty of motherhood. Her portfolio is full of pageantry and delight.

Ribeiro, originally from Ghana and a mother of two herself, says she knows how important it is for a woman to feel confident before, during, and after pregnancy. That confidence, she says, is tied to how they feel on the inside. The work she produces “is known to be dreamy with lots of femininity, elegant clothing, and clean vivid colors.”

In her view, she’s helping people create art.

There are some women who view their pregnant bodies as works of art to be captured and hung on their walls. And, Ribeiro says, her maternity photography allows pregnant women

“Elsabet” by Nafa Ribeiro, 2019 to have fun and not think about doctors or nurses or anxiety about the health of the baby or themselves. “They come in excited and happy. It’s therapeutic for them and it’s very fulfilling for me.”

She began her business about 10 years ago, and was always good with mothers, but at first resisted photographing babies because she couldn’t tell them how to pose. She generally photographs babies within nine days of birth.

“After being peed on a number of times, I wasn’t so confident that I wanted to photograph babies,” she says. “My clients would insist that I do it. And after doing this for a couple of years, I understood how to handle babies, how to comfort them, pose them, and generally get their cooperation. When I hold those babies, they become my babies. I actually get to see them growing from when they were in the womb. I make them call me Auntie Photographer.”

Diversity in front of the camera is also essential. It’s important for Ribeiro and the oth-

er members of the Judah Avenue photography team to be able to capture different skin colors and tones accurately, as clients come in many shades and from many walks of life.

“A lot of my support is from black women, African women, people just like me,” Ribeiro says. “I think I capture people who are like me and it’s important to show how beautiful the black body is, the black female body is. When you search Google for maternity photography, you see a lot of other races and not so many black women. I think it’s great that people like me can see themselves in my work.”

A couple years ago, Klaus made a conscious effort to have more variation in her birth and family sessions. She wants every kind of family to be represented in her work, not just those who are wealthy or who have white skin. So, she put the word out. Her efforts were intentional, she says, and they’ve paid off. She now has an inclusive portfolio, with families of all colors and backgrounds.

“My art has shaped itself, and my voice is more clear now than it used to be,” Klaus says.

“But the essence of my work is still the same. It still centers itself around raw emotion, details, the support that people show to the mother and the strength of the mother, and the environment, like where this story was told, where this baby was born.”

The art of birth photography, Harrington says, is documenting a story that is completely undefinable, and out of anyone’s control, more so than anything else she photographs. “There are so many unknowns,” she says.

Those unknowns can include complications.

Some births involve moments of extreme anxiety and tension, and photographers have even witnessed less than ideal treatment of families by care providers. And then, there are losses.

“I did just volunteer last year to photograph a loss,” Daniels says. A mother’s doula reached out to see if there was anyone who could take photos of a baby girl who had passed. At 37 weeks, doctors did not find a heartbeat for the baby. The mother delivered her baby stillborn, and she wanted some photos of her daughter.

“It was really hard. It was very intense, really focusing on making sure this family had beautiful photos of their daughter. I don’t think you ever forget that.”

Daniels wants to do more of this type of photography, but says she won’t be emotionally prepared enough to do it until she’s finished having children of her own.

The sessions that stick with her are the hardest ones. Last year, she photographed a birth that included an induction and lasted for six days. Daniels came on the last day, and it was a slow burn. The mother pushed for five hours, Daniels says, which she had never seen anyone do before. “Some hospitals don’t let you do that, they have like a two-hour cutoff and then it’s an automatic C-section,” she says. “It was just amazing for me to see her keep going.

She was so tired, but she never talked about being tired. She never gave up faith that she was going to have her baby. And she did end up having a vaginal birth. I was like ‘How is she doing this?’”

Birth photography can be a large investment—it’s rare to find services for less than $1,500. Gerald says sometimes it can be hard for people to come to terms with the cost of birth photography.

“You buy a brand new car and you drive it off the lot, and it’s immediately devalued,” she says. “With birth photography, you’re capturing these images, and the further you get from the day your baby was born, the harder it is to remember all of the little things that happened and the little moments.”

People can forget the details, she says, like the way a father looked when he saw the baby for the first time, and how many tears he cried. Or, the way a family member gnawed on ice chips from a plastic cup in the hospital.

Those are moments no one can ever get back or recreate. Photographers aren’t immune to the power of those moments, and every moment, during birth.

“I think I sob every time I put together a client slideshow,” Harrington says. “Every time.” CP

washingtoncitypaper.com october 4, 2019 15

Nina May

DCFEED YOUNG & HUNGRY

You Don’t Know Jack’s How an immigrant’s promise to his wife led to 27 years of satisfying D.C.’s hunger at Jack’s Fresh

On any given day, loyal Jack’s Fresh customers may notice namesake owner Jack Kim hustling around the buffet steam table in his neatly pressed apron as he peeks over his glasses at the trays of food inspired by dishes from around the world, refilling them whenever supplies dip.

What they may not realize, despite coming for years, is that Kim visits the Restaurant Depot wholesale food supplier near his home in Chantilly, Virginia, every weekday at 6 a.m. to pick out fresh produce for that day’s meals and drive it into the city in his pickup truck with a massive icebox in the back.

That’s not the only way he puts significant care into his pay-by-the-pound restaurants.

When Jack’s Fresh first launched as Jack’s Famous Deli in 1992, Kim traveled to other cities to learn about their specialties. He flew to Los Angeles to eat at In-N-Out Burger, for example. He took his family to New Orleans to learn how to cook and serve seafood.

And there was no way Kim would introduce a cheesesteak without first visiting Philadelphia.

“That was when I was in my late 30s,” Kim says. “I was 190 pounds.” He’s now 55 years old and trimmer at 160 pounds. His face creases into a warm smile when he laughs.

“I ate too much.”

Kim’s daughter Mi Jin Kim accompanied her father on some of the food fact-finding missions. “Growing up we did take a lot of road trips,” she says. “A lot of them consisted of food, because mom and dad were always trying to do better. They wanted to learn and the best way to learn is to experience it for yourself.”

“When I started, I didn’t know what American people liked to eat or anything about American food,” Jack Kim admits. “I didn’t even know what a bagel was. I thought it was a doughnut that was too hard.”

Another way Kim and his wife, Soo, taught themselves about which foods people in the U.S. like to eat together was by visiting supermarkets and studying the frozen food aisle. If

Darrow Montgomery

By Anthony Lacey

Mi Jin Kim and her father, Jack they saw spaghetti served with a slice of garlic bread, they knew their menu should offer both items simultaneously. That’s also how they learned steak and mashed potatoes are fast friends.

“That was their way of studying because they didn’t have a formal education,” says Mi Jin. “They were definitely creative and innovative and very hardworking.”

The origins of Jack’s Fresh can be traced back to a promise Kim made to his wife. He grew up in South Korea and met his future bride in school when they were both 16 years old. They married four years later. “She asked me how I was going to support her,” Kim remembers. He vowed to have his own business by the time he turned 30. “She said, ‘How?’ And I said, ‘We have 10 years, don’t ask me now.’”

In 1984, Kim left South Korea and immigrated to Washington state to live with other family members who had already traveled to America, and Soo eventually followed him.

“Almost 35 years ago, Korea wasn’t all that good and I didn’t have any family left there,” Kim explains. He sensed more opportunity

16 october 4, 2019 washingtoncitypaper.com

elsewhere. He initially took on some jobs in Spokane, Washington, before relocating to D.C. in 1989.

He was lured to the District by a friend from Spokane who’d already made the move. Kim visited and was enticed by the grander scale and quicker pace of life. It was a vibe more similar to the big city of Seoul. “My friend who moved here said, ‘If you come, I think you can change your life,’” Kim says.

In D.C., Kim worked at a Korean restaurant as a waiter for three years, saving money and thinking about how to fulfill the promise he made to his wife. In 1992, he hatched a plan to open his own dining establishment with hours that would make it easier to manage having a family. His son was already 4 years old at the time, and in 1993 he’d welcome a daughter, Mi Jin. Although he didn’t have experience in the kitchen, his time working for the Korean restaurant taught him the logistical side of the industry, from hiring staff to ordering supplies. After scouring newspapers advertising businesses for sale, Kim found what would become his company’s first location on 15th Street NW across

New restaurant Nina May will replace the short-lived Frenchy’s Naturel in Logan Circle serving New American cuisine. Chef Colin McClimans will source ingredients from within 150 miles of D.C.

from the former Washington Post building.

On a typical weekday, you’ll see office workers, tourists, construction workers, and other passersby stream through for either breakfast or lunch. At its peak, Jack’s Fresh boasted nine locations. The Kims still run the ones located at 1197 20th St. NW and 1400 L St. NW and they sold others that are still operating under the Jack’s Fresh name.

The restaurants have a counter where diners can choose from made-to-order sandwiches and burgers, as well as hot and cold buffet bars brimming with selections that take diners around the world. There’s teriyaki chicken, mac and cheese, barbecue ribs, spinach pie, chicken potstickers, and a salad bar. About 70 percent of the menu is always available, while 30 percent are rotating specials or new items Jack was inspired to create.

Some of the most popular items are the Americanized Chinese food: General Tso’s chicken, fried rice, pepper steak, and kung pao chicken. Kim’s favorite is the baked salmon. But whatever is on the menu, he’s tried it and stands behind it. “If I don’t like it, I don’t put it out,” he says.

Kim closely monitors who’s buying what, so that he can determine which options should stay and which he needs to “86,” restaurant speak for cancel. “If by the second or third day it doesn’t trend, then people are not interested and it comes off,” he explains. After doing this for 27 years, he’s got a good grasp on what people gravitate toward.

A number of patrons visit daily, while others only come on the days that they know their favorite dishes will be available. Some have been coming to Jack’s Fresh for so long that they’ve seen Mi Jin grow up.

Jack’s’ staff has also remained consistent over the years. He placed help wanted ads to recruit his first kitchen team, but says that was the only time he’s ever had to advertise for workers. Many employees have stayed with him for more than a decade. When employees did leave, their spots were often filled by family members or friends.

He speaks with clear pride about his employees and customers, and plans on keeping Jack’s Fresh going for at least another five years. After that, he might sell and switch to a business with a lighter workload. He doesn’t expect his son or daughter to take over.

They’re both employed in other sectors.

Kim doesn’t plan to slow down as his restaurants enter their twilight years. He’s still eager to go on road trips to discover dishes to add into the rotation. “I’m still traveling, still taking long weekends with my wife and my family,” he says. “I always ask them, ‘Are you looking for a new menu?’”

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CITYPAPER WASHINGTON

CRAFTY arts & makers festival

Thanks for celebrating Crafty’s sweet 16 at the Akridge Lot at Buzzard Point.

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washingtoncitypaper.com october 4, 2019 19

Depraved

CPARTS

Letter of Consent

Illustration by Julia Terbrock; Image source: Vecteezy

How three D.C. event organizers are working to create consent culture

By Mikala Jamison At the AlexAndriA Westin in January, some Interfusion Festival staff members wore badges that said “consent” and armbands emblazoned with the letter “C.” The festival offers workshops in movement, holistic practices, and intimacy and sexuality, and these staff members were the guardians of its consent policy and code of conduct. The code was posted throughout the space, and incident reporting forms were stacked on tables.

The festival will happen again in 2020 in Crystal City, from Jan. 16 to 20. This year’s festival brought around 1,500 attendees and offered workshops in movement and dance, mindfulness, and sexuality and intimacy.

This was the first year it introduced a consent code, on-site team, reporting system, and intervention protocol.

Interfusion is among other D.C. organizations addressing consent in their dance, art,

and community-building programming. The leaders of Interfusion, and Meso Creso and Mischief DC, two arts collectives that host events all year, say that people have reported harassment and assault at their events in the past. Now, the leaders of all three organizations are creating their own “consent culture,” by introducing trainings, policies, and procedures that are meant to protect attendees.

As the #MeToo movement has brought conversations about sexual violence and consent further into the mainstream, these organizers are trying to be both proactive and reactive. While they express that the structures in place may not be perfect, they agree: They had to take a first step.

It’s difficult to imagine that any event drawing hundreds or thousands of people could issue comprehensive consent language and practices, accounting for every potential context and variable, upon which everyone agrees.

Interfusion, Meso Creso, and Mischief lead-

20 october 4, 2019 washingtoncitypaper.com

ers all say they’ve experienced some pushback just for trying.

Interfusion founder Christian Rodriguez posted the group’s code to Facebook on Jan. 9. It includes: “Check in during any physical activity for another ‘yes;’” “Consent resets: a ‘yes’ once does not mean ‘yes’ in the future;” and, “Compliance: If someone says STOP to you, that means your interaction ends immediately.”

Many commenters applauded it, while some deemed it “ridiculous” or “draconian.”

“We got some heat from people,” Rodriguez says, particularly from dancers who thought it might be “disruptive” to ask for consent repeatedly when switching partners often.

Indigo Dawn, Interfusion’s consent team director, says they know what spurred the “heat.”

“People think this means that there’s going to be a victim and a perpetrator, or [think] ‘Yeah, yeah, I know I shouldn’t penetrate someone without asking,’ or, ‘We’re not having sex here, why should we talk about this?’”

Check out previews of this year’s Spooky Movie International Horror Film Festival offerings. washingtoncitypaper.com/arts Rodriguez answers: “We have a responsibility as an organization not to just assume [that people understand consent],” he says.

Meso Creso and Mischief are both 10 years old, and Meso Creso will host a Halloween party on Oct. 26 this year at the DC Eagle.

The language on Meso Creso’s website and online event pages says, in part: “We love consent-based activities, believe that altered states are no excuse for bad behavior, and have a zero-tolerance policy for those who think or act otherwise.”

Emma Kaywin and Diana Rhodes are consent co-leads at Meso Creso. Three years ago, they instituted a crew of “safer space” volunteers at events, who wear light-up crowns to identify themselves on the dance floor.

Kaywin says organizers at Meso Creso hear pushback “all the time” from people who think the organization’s consent culture is policing them. But volunteers, she says, are not present at events as a “policing factor”—they’re “partying with their eyes open.”

She created Meso Creso’s two-hour volunteer training, which includes training on bystander intervention, dealing with and deescalating situations involving intoxicated people, and providing crisis support to people who report incidents. She’s done the same training at House of Yes in New York, where she directs its consent program.

Meso Creso, Kaywin says, is creating “a container of safety within the reality of pervasive rape culture.”

Mischief, meanwhile, has volunteers called “consent rangers,” says Liz Kramer, board member and creator of its consent policy.

Naughty Snowball, Mischief ’s annual holiday party, was held in December last year at the DC Eagle, a “historic leather/fetish bar.” There were areas where people could engage in kink scenes, and Kramer says guests had to check in with consent rangers before they began. If they didn’t, rangers could intervene to make sure everyone was safe. This year’s holiday party will be held on Dec. 14 at the same location.

Kramer says Mischief received flak about its policy. It outlines that consent must adhere to the oft-referenced acronym F.R.I.E.S.: freely given, reversible, informed, enthusiastic, and specific. It also goes into examples readers can consider, and explains that people in positions of power cannot get consent from someone who is a subordinate. Some said it was too long, or it restricted personal expression, but one consent ranger dropped out, citing not enough regulations for safety.

“We’re never going to please everybody,” Kramer says. “It’s a jumping-off point. We have to start somewhere.”

Nexus, emeritus board member for Mis-

CPARTS chief, stepped down June 5. In a public September Facebook post, he cited concerns with how the board handled a consent-related allegation and said it failed to project consent as a value. He says consent volunteers should roam event spaces in pairs, obvious to guests as people to whom incidents can be reported, and feels they would be most effective if they had specific training. Kramer says since he’s left the board, it has resolved the allegation issue as best it could and has found a way forward that works for all parties.

At Interfusion, Dawn says, the consent team adapted its code from the SoulPlay Festival in California, which has a 10-page consent code and protocol.

On the incident reporting form, attendees can choose what kind of response they would like: facilitated mediation, the team’s follow-up with involved parties on the person’s behalf, a further conversation with the team, or no follow-up—“I just want you to know about the incident.”

What follows, Rodriguez explains, could and has included discussions with both parties, warnings to the accused and education of appropriate behavior, required statements of apology, and follow-ups with everyone involved.

Meso Creso, Kaywin says, emphasizes “acculturation” and explaining to someone why their behavior isn’t OK. For example, “You just

grabbed my ass, you’re not allowed to do that.

Can we talk about why you can’t do that without asking?” she says.

If someone continues to engage in harmful behavior, they’re removed. As a rule, Meso Creso does not perform mediation, Kaywin says.

At Mischief, Kramer and the board handle reports on a case-by-case basis. Sometimes, those who are accused are offered a “path back to the community.” In the past, multiple reports accused someone of making others feel uncomfortable and they were blacklisted for a year. To come back to events, they had to enroll in the “Rethink Masculinity” course by the Collective Action for Safe Spaces or get what Kramer calls “some kind of personal therapy.” They haven’t, and remain blacklisted.

“We value providing a path back to the community but we also value keeping our spaces safe,” Kramer says. “We have had instances where pillars of our community, [people] in the community for 10 years, things have come up against them and we’ve said, ‘Sorry dude, you’re not allowed at our party.’”

While all three organizations have banned people, their leaders also say that law enforcement has not been involved when someone reported discomfort, harassment, or assault.

In May, Salon reported on Burning Man’s

organizers’ “dismissive” response to reports of sexual assault and “inadequate self-policing system.” Burning Man’s volunteer security team members are “primed,” according to a former volunteer, to “interrogate victims to find out if their experiences are the result of having sex with regret,” and evaluate “if and when consent falls into a ‘gray zone.’”

Interfusion, Meso Creso, and Mischief leaders, however, say their protocols let the reporting person guide what happens, without organizers making decisions themselves.

“We follow the lead of the person who has been harmed and support them in their decision,” Meso Creso’s consent co-lead Rhodes says.

If contacting law enforcement is the route someone at Mischief wants to take, Kramer says, “We are happy to help facilitate, hold hands, hold space, in whatever capacity they need.”

Codes of conduct, the creation of a consent culture, and a reporting protocol won’t necessarily prevent harassment and assault, of course. But these leaders are trying to make space for people to be heard, no matter when they speak.

This year at Interfusion, Rodriguez says there were seven total reports of minor violations that did not require involving authorities.

Just after the festival on Jan. 23, two reports

had been made. Interfusion then sent an email to attendees on Jan. 27 called “Post-Festival Guidance.” “Kindly reflect on consent,” it read. “Reach out to the consent team and report any issues, larger or small, even if you are feeling unsure.” Then, five more reports came in. Rodriguez says further updates to Interfusion’s consent policy will be made public in the next few weeks.

D.C. is a diverse city, Rhodes says, and creating unique consent cultures is important when many people from different backgrounds come to events.

“On some dance floors, one thing might be acceptable, [but] Meso Creso is a global music and arts community, many of us are immigrants or kids of immigrants, so we understand that there’s cultural differences,” she says.

Kramer thinks there’s another reason the people of D.C. can appreciate consent policies designed to raise our collective consent consciousness: They like structure and policy in general.

“We’re a bunch of nerds,” she says.

During a workshop at Interfusion, someone reflected on a time they may have crossed a boundary, acknowledging they weren’t conscious of another person’s feelings. It was an admission of a potential mistake framed as a space for growth.

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washingtoncitypaper.com october 4, 2019 21

THEATERCURTAIN CALLS

THE REV, HIS WIFE, AND THE POET Candida

By George Bernard Shaw Directed by Laura Giannarelli At the Undercroft Theatre to Oct. 20 Working as a London theater critic in the late 19th century, George Bernard Shaw despised the melodramas that were popular at the time, no doubt believing he could do better. Candida, his attempt at melodrama, was not widely admired at its premiere in 1894. But after its New York premiere, fan enthusiasm inspired the coinage of the term “Candidamania.” It would become Shaw’s most frequently produced play in his lifetime.

At its core the plot centers on a love triangle: A young poet from an aristocratic family, Eugene Marchbanks (Ben Ribler), has become infatuated with Candida (Emilie Faith Thompson), the wife of Reverend James Mavor Morell (Nathan Whitmer), and challenges him for her love. However, as a Fabian socialist and supporter of the suffrage movement, Shaw had a keen eye for the social injustices around him. James, curate Reverend Lexy Mill (Danny Beason), and secretary Proserpine “Prossy” Garnett (Danielle Scott) are Christian socialists who believe the pursuit of the Kingdom of Heaven goes hand-inhand with the fight for a living wage, and are not above shaming James’ father-in-law, Mister Burgess (David Bryan Jackson), the owner of a textile factory. Meanwhile, Eugene, for all his boyish charm, does not know how many servants labor in his father’s house, and is shocked that Candida’s hands get dirty with housework.

Director Laura Giannarelli leaves no obvious stylistic fingerprints of her own on Washington Stage Guild’s production beyond assembling a solid cast. Ribler balances Eugene’s awkwardness and charm, gesticulating when an idea takes hold of him, and curling up or fidgeting when he realizes he’s behaved inappropriately. Thompson imbues Candida with the charisma that has inspired the respect and affection of all around her. Whitmer gets to the core of the play’s most complex character, James, displaying his flaws alongside his integrity. Scott and Jackson are perfect comic foils to the main cast, while Beason carries himself well in the unenvi-

able role as the straight-man to the proceedings.

If there is a problem with this particular production, it is that there seems so little basis for James’ jealousy. Only in the imagination of the two rivals is Eugene even a rival, as he seems to inspire little more than maternal feelings in Candida, despite Shaw writing a line or two that could allow Candida to hint that she entertains a flicker of fantasy. By contrast, that sensuality exists in the Morells’ marriage is unquestionable.

Scenic designers Carl Gudenius and Jingwei Dai adorn the drawing room of Saint Dominic’s parsonage with ornate lapis lazulicolored wallpaper and wainscoting with church arch designs, porcelain oil lamps, and a painting portraying the Annunciation. Cheryl Yancey outfits the cast in wonderful period costumes that illustrate the roles the characters play in their society, from Eugene’s rumpled finery, to Burgess’ suit through which he advertises himself as a successful businessman, to Prossy’s simple blue and white outfit that hints at her suffragette sympathies, to Candida’s stylish pink travel outfit with a feathered hat and her floral-patterned dress for the home.

At the time he wrote Candida, Shaw was under the influence of Ibsen, but whereas A Doll’s House portrays Nora’s realization that her self-actualization has been stifled by her marriage to Torvald, Shaw is modeling a marriage compatible with Candida’s actualization, despite the strict gender and class roles of the Victorian era. Shaw’s wit and radicalism, as both a Fabian socialist and supporter of the suffrage movement, are in evidence, but as one of his “Plays Pleasant” these concerns are kept to the background. The workers that Burgess exploits in his textile factories remain off-stage, while the physical labor needed to maintain the Morell household is spoken of but not seen. That an aristocrat like Eugene is slumming with the petite bourgeoise plays more for comic effect than class conflict. Onehundred-twenty-five years after its premiere, the play comes across as nostalgia, remarkable mostly for Shaw’s craft.

Let it not be said however that our times have rendered Shaw tame: The Shavian canon contains numerous works, like Press Cuttings (which was at one point banned by state censors in the UK) that still indulge our fetish for period costume and scenic design but with more penetrating satirical bite. The time is ripe for re-evaluation, in which we inquire what is most vital among Shaw’s works today, and not what was popular then.

—Ian Thal 900 Massachusetts Ave. NW. $25–$60. (202) 900-8799. stageguild.org.

22 october 4, 2019 washingtoncitypaper.com

WATER DANCERS The Tempest

By William Shakespeare Adapted by Nathan Weinberger Directed by Paata Tsikurishvili At Synetic Theater to Oct. 20 My favorite love-at-first-sight moment in the Shakespearean canon is when Leonardo DiCaprio peers at Claire Danes through a gigantic fish tank, just as Des’ree croons “I’m Kissing You,” in Baz Luhrman’s Romeo + Juliet.

I’m not original; I don’t pretend to be.

My second-favorite love-at-first-sight moment is when Ferdinand (Scott Brown) first touches Miranda (Maryam Najafzada)’s palm in Synetic Theater’s production of The Tempest.

She’s hiding underneath a benchless grand piano while her soon-tobe-lover crouches in front of the keys. He can’t serenade her, however, because not only would that be cliché, in this production, the disemboweled piano has been transformed into a fountain, and an onstage waterfall streams over the remaining ivories. He stretches his hand through the cascade and when she meets it, they marvel at the way strong and slender fingers can mesh together.

After Synetic first staged The Tempest in 2013, gushed about the iconic fountain scene while interviewing a Shakespearean director.

“That’s sounds lovely,” he said, testily. “But if I put Miranda onstage behind a waterfall, then no one in the audience will ever be able to HEAR THE DIALOGUE.” Oh that’s right. The dialogue.

Synetic Theater stages wordless adaptations of Shakespearean plays and other classics, telling these well known stories through movement and music. The Tempest is my favorite, one of the company’s funniest and most beautiful productions. Now it’s back, even better than before, and once again performed in a giant, shallow pool of water. You’ll have to wear a poncho if you sit in the first four rows, so see this Tempest at your own risk.

Do see it. Because even though we are eternally grateful for Shakespearean lines like “what’s past is prologue” and “we are such stuff as dreams are made on” (both from The Tempest), the Bard gives us more than words to mine.

That’s why ballets (like Christopher Wheeldon’s The Winter’s Tale) and some films (like Luhrman’s R+J) and Eastern European move-

ment theater adaptations (like Synetic’s) remain valuable Shakespearean experiences.

At his peak-genius moments—like the meetcute scene beneath the piano—director Paata Tsikurishvili finds ways to make Shakespeare’s meaning more clear than most conventional productions do. When Miranda meets Ferdinand, she is supposed to be seeing a man for the very first time, and be instantly smitten. She’s a teenage girl raised on a deserted island, having been banished along with her father 12 years hence.

In Synetic’s 2019 version, it’s Miranda’s mother who lost her title and was cast out of Milan by a political rival.

The gender flip adds considerable weight to the love-at-first-sight moment; this Miranda hasn’t seen a guy since she was 3. And while yeah, sure, maybe she should get off Love Island and try dating other people, she and Ferdinand (who turns out to be of appropriately noble kindred) are destined for each other, moving as one of their own volition.

Choreographer Irina Tskurishvili stepped into the role of Prospera, and uses her considerable prowess as a dancer to stir up trouble. (Philip Fletcherpreviously played the role.) Whenever she and her attendant mischief-making sprite, Ariel (Alex Mills) are manipulating other inhabitants of the island—both resident swamp monsters and recently shipwrecked visitors from Milan—the power trip is conveyed through movement. Like when Prospera raises her magic staff and Caliban (Vato Tsikurishvili) is slammed against a wall, or when Mills plucks streams of water flowing from the piano, and the clowns, Trinculo and Stephano (Katherine DuBois Maguire and, on the night this reviewer saw it, Joshua Cole Lucas), jump in unison, like marionettes jerked around by a vengeful puppeteer.

All this synchronized movement requires the actors to keep careful track of musical counts in their head, just as dancers would, all while working in four inches of water. Performing this Tempest takes strength, coordination, and talent.

As good as the supporting cast members are, the remount succeeds thanks to Irina Tskurishvili’s moving performance as a mother and moral center, and the compassion Brown and Najafzada put into the roles of the waterborne lovers.

When they dance together, Brown holding Najafzda just high enough so her pointed toes trace circles in the water, this show is pure Shakespearean magic, the stuff that dreams are made on.

—Rebecca J. Ritzel 1800 South Bell St., Arlington. $19–$65. (703) 824-8060. synetictheater.org.

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washingtoncitypaper.com october 4, 2019 23

GALLERIESSKETCHES

TRUE COLORS Happy Accidents: An Exhibit of Original Bob Ross Paintings At the Franklin Park Arts Center to Oct. 15

The drive To Franklin Park Performing and Visual Arts Center in Purcellville, Virginia, is as scenic and full of nature as one of Bob Ross’ paintings. The gorgeous greenery and farmland are signs of what’s to come at the center.

It’s worth every mile.

The center’s latest exhibition, Happy Accidents: An Exhibit of Original Bob Ross Paintings, is an ode to the silky-voiced, curly-haired painter of PBS’ The Joy of Painting. It’s the first exhibit of original Ross paintings on the East Coast, and it’s presented in partnership with Bob Ross Inc., which has headquarters in Northern Virginia.

“Bob would have just absolutely loved everything about what’s going on today,” Joan Kowalski, president of Bob Ross Inc., said at the exhibition’s opening reception.

The exhibition itself is an embodiment of the joy of painting and the joy of Bob Ross. His smiling face can be seen in the caption of every painting, each featuring a quote from the man himself—something he said while painting the particular picture on the show. Each of the 24 paintings is from the 1993 season of The Joy of Painting, and they span winter, spring, summer, and fall. Fans of The Joy of Painting will find a cozy home here. Those unfamiliar with Ross and his work can bask in his affable cheer.

“Happy accidents” was one of his favorite phrases to use in reference to painting mistakes. “You have happy accidents. And those happy accidents turn out to be some of the most fantastic things that can happen,” he

“Sunset Aglow” by Bob Ross, 1993 said. This is also the caption for “First Snow,” a portrait of early winter in which the pink and blue colors of the skies combine.

Because of Ross’ charming manner of speaking, each painting’s caption is full of his energy. “Glacier Lake,” a painting full of his favorite formations and plants—mountains and trees—features the caption “Painting is such an individual thing and each person sees nature through different eyes. And how you see it is the way it should be painted.”

Bob Ross on The Joy of Painting 24 october 4, 2019 washingtoncitypaper.com

Happy Accidents serves as a platform to tell the world that Ross was both a television painter and personality, and a gifted artist. His talent often gets buried in his accessibility. His positive spirit and ability to convince an audience of painting novices that they too could paint stunning nature scenes was something to treasure. But his work, as displayed in Happy Accidents, is genuinely lovely as well.

The winter painting “Aurora’s Dance” is a picturesque vision of the Northern Lights in Alaska. “Arctic Winter Day” is another winter stunner; “you better get out your heavy coat,” its caption reads.

“Sunset Aglow” is a swirl of setting sunlight, and its accompanying quote displays exactly how Ross would speak to his audience, guiding them to create their own universes. “Maybe in our world, there lives a big old cloud right up in here. He just sort of floats around and has a good time all day. You know, clouds are one of the freest things in nature I believe. So, just let them go. Shoot, let them have fun.”

Everything wasn’t always peaceful in Ross’ paintings. “Storm’s-a-Comin’” features a wild, rocky sea and dark skies. But you still can’t shake the warmth with which Ross painted.

Stepping into almost any one of these works seems like idyllic bliss.

The name of each piece showcases his undying admiration of pastoral life and the natural world—from “Home Before Nightfall” to “Daisies at Dawn,” from “Splendor of Autumn” to “Trace of Spring.” Ross, who was

from Florida, developed this proclivity toward nature as a young man, and began painting after being transferred to Alaska while serving in the Air Force. He went on to become an iconic figure, a fixture of half-hour television. The Joy of Painting lasted for 31 seasons, and sits at 403 episodes strong. Ross died in 1995, but he and his show and his art live on.

Thanks to Happy Accidents allowing Ross to speak for himself through quotes, he gives his own thoughts on his time in Alaska in the accompanying caption for “Aurora’s Dance:” “But in the wintertime, it’s dark a lot in Alaska.

Where I lived, it got down to under four hours of daylight. Yes, you’d go to work and it was dark; you’d come home and it was dark. And that bothers a lot of people, but I didn’t mind.

I find as much beauty in the winter in Alaska as I did in the summer.”

In the theater, a documentary about Ross and an episode of The Joy of Painting play on a loop, inviting visitors to revel in Ross’ calming voice and enjoy a look at who he was as a person, and how he built up an adoring audience through the years.

Going through the seasons of Ross at the Franklin Park Arts Center is a great way to spend an early fall weekend, or even just an hour or two.

His philosophies are plastered all over the exhibition—“If painting does nothing else for you, it should make you happy.” —Kayla Randall 36441 Blueridge View Lane, Purcellville. Free.

(540) 338-7973. franklinparkartscenter.org.

2019–2020

LUCY KAPLANSKY OCT 10

BRIAN NEWMAN NOV 20

LADYSMITH BLACK MAMBAZO MAR 16 + 17

GEORGE WINSTON

Women of Color: The Power of Protest

MODERN WARRIOR LIVE

October 10 | 6–7:30 p.m. | McEvoy Auditorium

OVER THE RHINE OCT 11

MAGPIE

45TH ANNIVERSARY OCT 20

OCT 30 + 31 NOV 6

THE SILKROAD ENSEMBLE NOV 15 + 16

AMY HELM NOV 21

JEFFREY KAHANE, piano CHAMBER MUSIC AT THE BARNS

DEC 1

RONNIE SPECTOR & THE RONETTES

Join the National Portrait Gallery in collaboration with the National Museum of the American Indian and the National Museum of African Art for a series of lectures and discussions that address activism and social justice through the lens of women of color.

These events are funded by the Smithsonian American Women’s History Initiative, Because of Her Story. Free—Register at npg.eventbrite.com.

BEST CHRISTMAS PARTY EVER! DEC 5 + 6

AND MANY MORE!

8th and F St. NW • Washington, DC 20001 • npg.si.edu #myNPG • @Smithsoniannpg Zitkala-Ša (detail) by Joseph T. Keiley, photogravure, 1898 (printed 1901). National Portrait Gallery, Smithsonian Institution

washingtoncitypaper.com october 4, 2019 25

FILMSHORT SUBJECTS

TEARS OF A CLOWN Joker

Directed by Todd Phillips Joker is too cowardly to be provocative. Anchored by a committed Joaquin Phoenix performance, director Todd Phillips imagines a Gotham City where everyone is desperate, and you can practically smell an ongoing trash strike. Joker has always been Batman’s primary antagonist, and since he has no adversary here, the film amounts to little more than a series of grievances. Joker steals more from The King of Comedy and Taxi Driver, Scorsese’s terrific meditations of loneliness and despair. The trouble is that Phillips pulls his punches, so his film needles the audience, daring you to be upset about it. This is the cinematic equivalent of bullying.

Phillips and longtime cinematographer Lawrence Sher do not present Gotham as an urban hellscape. Instead, this city is reeling from decades of neglect. You could say the same about Arthur Fleck (Phoenix), a clownfor-hire who barely keeps it together. Phoenix is known for his physical transformations and this is no different. Here he is, sinewy and emaciated, and his face contorts in uncomfortable ways: Fleck suffers from a condition that causes him to laugh at inopportune moments, and he chokes his way through one cackle after another.

Fleck has little support in his personal life.

His mother (Frances Conroy) is ailing from an unspecified illness, and she may be delusional. He relies on social services for medication, but his case worker tells him funding has been cut. Left with few prospects, Fleck fantasizes about a better life. He sees talk show host Murray Franklin (Robert De Niro) as a father figure, one who helps him launch his stand-up career. The screenplay by Phillips and Scott Silver shows how all these parts of Fleck’s life fail him. Only a newly acquired handgun gives him any sense of self-worth.

26 october 4, 2019 washingtoncitypaper.com

At just over two hours, Joker feels longer than its runtime. This is because Phillips keeps turning his attention away from plot developments, instead opting for yet another slow-motion sequence where Fleck dances to a tune only he can hear. These shots are no substitute for psychological depth, and nearly all the scenes with dialogue portray Fleck as a victim. His mom lies to him, strangers are mean to him, and nothing is his fault. Phoenix’s performance is an impressive feat of physical strain—Fleck is unlike past iterations of the popular character—except he only shows his commitment to the performance instead of having us connect to it.

When Fleck finally springs into action, killing three businessmen on a subway, Phillips frames the scene to suggest that Fleck had no choice, that he was pushed into it. Later on, after Fleck fully transitions into Joker, Phillips uses cheap physical humor to rob grisly violence of any serious moral reckoning. But between all the mayhem and antihero glorification, Phillips does not want us to forget that we are still watching a superhero film.

There is a subplot involving Thomas Wayne (Brett Cullen), Bruce’s father, who is not a billionaire philanthropist, but an impatient businessman with little sympathy for the little guy.

His arc dovetails Arthur’s in a way that’s depressingly predictable, as if Phillips dutifully crosses items off an origin story checklist. Another minor character is Arthur’s neighbor Sophie (Zazie Beetz), a would-be romantic interest. Like Thomas Wayne, that subplot resolves in a way that lets Fleck off the hook. The King of Comedy and Taxi Driver did not shy away from how their antiheroes related to women. Joker is too timid for that because, underneath all the grittiness, Phillips would rather have fun than think about his subject.

A more rigorous film would further explore Fleck’s darker, dormant impulses, rather than settling on his mental illness and persistent victimhood. The trouble is that kind of curiosity would require a consistent point of view, and Joker prefers the facsimile of provocation over the real thing.

—Alan Zilberman Joker opens Friday in theaters everywhere.

Fri, Oct 11

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NEW YORK • CHICAGO • NASHVILLE • ATLANTA • BOSTON • WASHINGTON DC • PHILADELPHIA • HUDSON VALLEY

washingtoncitypaper.com october 4, 2019 27

28 october 4, 2019 washingtoncitypaper.com

CITYLIST

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

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

Tix @ Ticketmaster.com

Music 29 Theater 30 Film 34

Music FRIDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Carmina Burana. 8 p.m. $15–$99. kennedy-center.org.

COUNTRY

CAPITAL ONE ARENA 601 F St. NW. (202) 628-3200.

Carrie Underwood. 7 p.m. $49–$229. capitalonearena.viewlift.com.

ELECTRONIC

ECHOSTAGE 2135 Queens Chapel Road NE. (202) 503-2330. Illenium. 9 p.m. $50. echostage.com.

FOLK

CITY WINERY 1350 Okie St. NE. (202) 250-2531.

Mason Jennings. 6 p.m. $22–$32. citywinery.com.

JAZZ

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Joe Chambers, M’Boom. 7 p.m.; 9 p.m. $29–$35. kennedy-center.org.

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Zaz. 6:30 p.m. $35–$75. thelincolndc.com.

POP

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

Zedd. 8 p.m. $41–$76. theanthemdc.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531.

Heather Mae. 8:30 p.m. $17–$20. citywinery.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Victor Internet. 8 p.m. $13–$15. songbyrddc.com.

CITY LIGHTS: FRIDAY

SCIENCE OF SPEECH

Four highly respected and politically aware hiphop acts—Talib Kweli, Styles P, Jay Electronica, and Dead Prez—come together on the “Science of Speech” tour. This is the concert for those hip-hop junkies who appreciate intelligent content and razor-sharp lyricism. Its frontliner, Kweli, broke into the music industry as one half of the seminal group Black Star, then launched a successful solo career; his 2003 hit “Get By” is one of the greatest alternative singles in hip-hop history. He’s joined by Styles P, who achieved worldwide fame as a member of the Bad Boy Records trio The Lox, released his 11th solo album in May, and is a health conscious rhymer who co-owns several juice bars in New York.

There’s also Jay Electronica, a brilliant rapper and producer from New Orleans, who is a true underground legend and a member of the Roc Nation roster. Finally, Dead Prez, a duo known known for their dope wordplay and leftist political activism, recently collaborated with singer Andra Day for the single “See The Light.” When these four acts come together, the verbal acuity will blow concertgoers away. The show begins at 8 p.m. at The Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $35. (301) 960-9999. fillmoresilverspring.com.

—Sidney Thomas

POP

ROCK

POP

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Marwan Khoury. 6:30 p.m. $50–$217.50. thelincolndc.com.

BLACK CAT 1811 14th St. NW. (202) 667-4490. Xiu Xiu. 8 p.m. $15–$18. blackcatdc.com.

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

Lauv. 8 p.m. $36–$76. theanthemdc.com.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

MAX. 7 p.m. $27. ustreetmusichall.com.

9:30 CLUB 815 V St. NW. (202) 265-0930. Built To Spill. 8 p.m. $35. 930.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Paula Cole. 6 p.m. $25–$38. citywinery.com.

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

9:30 CLUB 815 V St. NW. (202) 265-0930. Steve Lacy.

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

WORLD

ROCK

ROCK

MARKET SW 425 M St. SW. WAYTA and Crown Vic’s Weird World. 6 p.m. Free.

BLACK CAT 1811 14th St. NW. (202) 667-4490. Sheer Mag. 8 p.m. $15–$17. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Giuda. 8 p.m. $13. dcnine.com.

LINCOLN THEATRE 1215 U St. NW. (202) 888-0050.

Zaz. 8 p.m. $35–$75. thelincolndc.com.

SATURDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Carmina Burana. 8 p.m. $15–$99. kennedy-center.org.

COUNTRY

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Ian Noe. 8 p.m. $10–$12. songbyrddc.com.

9:30 CLUB 815 V St. NW. (202) 265-0930. Bombay Bicycle Club. 10 p.m. $35. 930.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Girl Band. 8 p.m. $12. songbyrddc.com.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Surf Curse. 7 p.m. $15. ustreetmusichall.com.

MONDAY

BOSSA BISTRO 2463 18th St NW. 202-667-0088.

Lyuti Chushki. 7 p.m. $10. bossadc.com.

SUNDAY

ELECTRONIC

FOLK

FUNK & R&B

HIP-HOP

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Michael Bibi. 10 p.m. $10–$20. ustreetmusichall.com.

HOWARD THEATRE 620 T St. NW. (202) 803-2899.

Sheila E. 6:30 p.m. $49.50–$79.50. thehowardtheatre.com.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Kris Allen. 7:30 p.m. $30–$35. citywinery.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Tunic. 9 p.m. Free. songbyrddc.com.

WORLD

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Greg Laswell. 6 p.m. $20–$30. citywinery.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. Kid Quill. 8 p.m. unionstage.com.

JAZZ

ATLAS PERFORMING ARTS CENTER 1333 H St. NE. (202) 399-7993. Akua Allrich. 7 p.m. $20–$30. atlasarts.org.

"Hitsteria Tour!"

11

TOM PAXTON & THE DONJUANS

THE WHISPERS Mr. Buddy 14 ANDREA GIBSON Wakefield 13

Sons of the Sahara Tour

16

VIEUX FARKA TOURÉ & BOMBINO All Standing In the

!

GOAPELE 18 LEE ANN WOMACK 19 HIROSHIMA 40th Anniversary Tour!

17

20 22

DAR WILLIAMS SUSAN WERNER

INCOGNITO

with special guests MAYSA and DEBORAH BOND

23

JAZZ

UNION STAGE 740 Water St. SW. (877) 987-6487. The Ocean Blue. 7 p.m. $22–$40. unionstage.com.

TALL THE PAPER KITES HEIGHTS 4&5 KINDRED THE FAMILY SOUL 6 GARY PUCKETT AND THE UNION GAP 7 KEIKO MATSUI 9 OTTMAR LIEBERT & LUNA NEGRA 10 PHIL VASSAR

Oct 3

In the

!

SAM BUSH BAND & THE TRAVELIN' McCOURYS 24 JUSTIN HAYWARD

'All The Way & Harris More Tour!' withBrowne Mike Dawes Emmylou • Jackson

Steve Earle • Patty Griffin • The Mastersons Thao Nguyen • David Pulkingham STEPHANIE MILLS

25&26

BRUCE COCKBURN Nov 1 DELBERT McCLINTON 2 RAVEN'S NIGHT 2019 3 OLETA ADAMS 27

THE LANTERN TOUR II

CONCERTS FOR MIGRANT AND REFUGEE FAMILIES

ELECTRONIC

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

Elder Island. 7 p.m. $16–$30. unionstage.com.

HIP-HOP

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Rick Ross. 8 p.m. $38.50. fillmoresilverspring.com.

EMMYLOU HARRIS • JACKSON BROWNE STEVE EARLE • PATTY GRIFFIN • THE MASTERSONS THAO NGUYEN • DAVID PULKINGHAM November 5, 2019 • 8pm • warner theatre

Produced by

Tickets at Ticketmaster.com

B L ACK V IOLI N

POP

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

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

Maggie Rogers. 8 p.m. $45–$75. theanthemdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Elizabeth Moen. 8 p.m. $10–$12. dcnine.com.

Saturday november 9 at 8 pm

Meyerhoff Symphony Hall, Baltimore tickets @ ticketmaster.com

washingtoncitypaper.com october 4, 2019 29

ROCK

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. The Medium. 9 p.m. Free. songbyrddc.com.

TUESDAY COUNTRY

OLD MAN LEUDECKE

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Bonnie Bishop. 8 p.m. $18–$20. citywinery.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Kelsey Waldon. 8 p.m. $12. songbyrddc.com.

FOLK

CITY WINERY 1350 Okie St. NE. (202) 250-2531.

Tyrone Wells. 6 p.m. $20–$28. citywinery.com.

HIP-HOP

UNION STAGE 740 Water St. SW. (877) 987-6487. Tobi Lou. 8 p.m. $16–$59. unionstage.com.

POP

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

TUESDAY, NOVEMBER 5 $12ADV/$15DOS

H

10/3 THU 10/5 SAT 10/9 WED 10/10 THU 10/11 FRI 10/12 SAT 10/14 MON 10/17 THU 10/18 FRI 10/19 SAT 10/24 THU 10/25 FRI 10/26 SAT 10/31 THU 11/1 FRI 11/9 SAT 11/15 FRI 11/16 SAT

H

CHUCK HAWTHORNE + GREYHOUNDS $15 AFTER FUNK + OF TOMORROW $10/$12 ANDREA VON KAMPEN + IRA WOLF $12/$15 LITTLE BIRD $10/$12 TALKING DREADS (TALKING HEADS REGGAE TRIBUTE) $15 SUNNY LEDFURD $15/$20 SLAID CLEAVES $22/$28 JOEY HARKUM BAND $10/$12 MAMMOTHS + ORANGE CONSTANT $10/$12 THE MESSER CHUPS $15/$20 MEADOW MOUNTAIN ARGONAUTS AND WASP $12/$15 C2 + THE BROTHERS REED + LARA HOPE & THE ARKTONES $12/$15 THE HOOTEN HALLERS + THE CASSADAY CONCONTION $10/$12 JUSTIN TRAWICK & THE COMMON GOOD $12/$15 ALLMAN OTHERS BAND $12/$15 THE HONEY DEWDROPS & THE DIRTY GRASS PLAYERS $12/$15 TUCKER BEATHARD $15/$20

HILL COUNTRY BARBECUE MARKET 410 Seventh St, NW • 202.556.2050 HillCountry.com/DC • Twitter @hillcountrylive

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro

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

Maggie Rogers. 8 p.m. $45–$75. theanthemdc.com.

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Kiana Ledé. 7 p.m. $25. ustreetmusichall.com.

ROCK

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

WEDNESDAY

CITY LIGHTS: SATURDAY

VISUAL POETRY AND DOUBLE VISION

Through early October, Photoworks is spilling out of its cozy confines at Glen Echo Park and into the neighboring Popcorn Gallery with a pair of exhibits featuring a combined 100 photographs. In Visual Poetry, an image or series is paired with verse; of special note are Diane Charnov’s photograph of tail lights seen through a rain-speckled windshield, Gayle Rothschild’s moon and indigo sky captured through spectral window blinds, Alejandra Vallejo’s spindly palms set against an ocean horizon, and Mac Cosgrove-Davies’ eclectic assortment of more than a dozen tiny, framed scenes.

Across the hall, in Double Vision, a joint faculty-student exhibit, some of the most intriguing photographs mimic other art forms, like Cosgrove-Davies’ sketch-like white-picket tableau, David Scherbel’s etching-style “Utah Juniper,” and Paige Billin-Frye’s retro streetscape, which suggests a handtinted postcard from the 1930s. But for sheer playfulness, take note of Mark Godfrey’s blue-hued, cameraless image of gauze that unravels and descends into chaos on its right edge. The exhibitions run to Oct. 6 at Photoworks and the Popcorn Gallery at Glen Echo Park, 7300 MacArthur Blvd., Glen Echo.

Free. (301) 634-2274. glenechophotoworks.org.

—Louis Jacobson

DJ NIGHTS

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Sam Divine. 10 p.m. $15–$20. ustreetmusichall.com.

FOLK

BLACK CAT 1811 14th St. NW. (202) 667-4490. Charlie Parr. 7:30 p.m. $15–$18. blackcatdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Madison Cunningham. 7:30 p.m. $12. dcnine.com.

THE HAMILTON 600 14th St. NW. (202) 787-1000. We Banjo 3. 6:30 p.m. $16.25–$45.25. thehamiltondc.com.

HIP-HOP

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. P-Lo. 8 p.m. $16–$18. songbyrddc.com.

JAZZ

MR. HENRY’S 601 Pennsylvania Ave. SE. (202) 5468412. Hillfest Kickoff and Capitol Hill Jazz Jam. 8 p.m.

Free. mrhenrysdc.com.

ROCK

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

THURSDAY CLASSICAL

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Janowski conducts Bruckner’s Seventh/Steinbacher plays Mozart. 7 p.m. $15–$99. kennedy-center.org.

COUNTRY

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

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

DJ NIGHTS

U STREET MUSIC HALL 1115 U St. NW. (202) 588-1889.

Helena Hauff. 11 p.m. $10–$25. ustreetmusichall.com.

FOLK

CITY LIGHTS: SUNDAY

AKUA ALLRICH

Akua Allrich is one of D.C.’s most gifted jazz singers. A graduate of Howard University, she reflects the breadth of the African diaspora in her music. It incorporates African American jazz and soul traditions, as well as her deep knowledge of various cultures from across the African continent. One of the local jazz calendar’s highlights is Allrich’s annual tribute to Nina Simone and Miriam Makeba, now in its 11th year. The influence of these two vocalists on Allrich’s style is obvious, but she manages to take their songs and make them her own with the help of her band, The Tribe. It’s full of some of the area’s finest jazz musicians, and lifts the singer’s already formidable dynamism to new heights. Akua Allrich performs at 7 p.m. at Atlas Performing Arts Center, 1333 H St. NE. $20–$30. (202) 399-7993. atlasarts.org.

—Sriram Gopal

ROCK

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Lagwagon. 7:30 p.m. $29.50. fillmoresilverspring.com.

RHIZOME DC 6950 Maple St. NW. Kal Marks, Bethlehem Steel, Taciturn, and Tosser. 7 p.m. $10. rhizomedc.org.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Brad Stank. 8 p.m. $15. songbyrddc.com.

WORLD

TROPICALIA 2001 14th St. NW. (202) 629-4535. RAM. 8 p.m. $20. tropicaliadc.com.

BLACK CAT 1811 14th St. NW. (202) 667-4490. Elena Lacayo. 7:30 p.m. $10–$12. blackcatdc.com.

FUNK & R&B

THE HAMILTON 600 14th St. NW. (202) 787-1000. Con Brio and Lyrics Born. 6:30 p.m. $19.50–$24.50. thehamiltondc.com.

POP

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

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Eric Hutchinson. 6 p.m. $25–$35. citywinery.com.

30 october 4, 2019 washingtoncitypaper.com

Theater

1 HENRY IV Folger puts on 1 Henry IV, the story of a king and his ill-suited heir, Prince Hal, in court and on the battlefield. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Oct. 12. $27–$85. (202) 544-7077. folger.edu.

CANDIDA In the George Bernard Shaw play, a poet and a preacher both love the same woman—and both are baffled by her ultimate choice. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Oct. 20. $25–$50. (240) 582-0050. stageguild.org.

CATS A group of alley cats are given a chance at an extra life in this classic Andrew Lloyd Webber musical.

Kennedy Center Opera House. 2700 F St. NW. To Oct. 6. $49–$149. (202) 467-4600. kennedy-center.org.

DAY OF ABSENCE This 1965 script features a discovery that upends a southern town in a comedic commentary on racism. Theater Alliance at H Street Playhouse. 1365 H St. NE. To Nov. 3. $20–$40. (202) 2412539. theateralliance.com.

DISENCHANTED! Poisoned apples. Glass slippers.

Who needs ’em?! Not Snow White and her posse of disenchanted princesses in the hilarious hit musical that’s anything but Grimm. Forget the princesses you think you know – the original storybook heroines have come to life to set the record straight. Creative Cauldron. 410 S Maple Ave., Falls Church. To Oct. 27. $20–$35. creativecauldron.org.

DOUBT: A PARABLE Studio Theatre stages John Patrick Shanley’s Pulitzer-winning play Doubt: A Parable, where an allegation of abuse tears apart a 1960s Catholic school. Studio Theatre. 1501 14th St. NW. To Oct. 20. $20–$80. (202) 332-3300. studiotheatre.org.

washingtoncitypaper.com october 4, 2019 31

CITY LIGHTS: MONDAY

MAGGIE ROGERS

Maggie Rogers is “the Pharrell girl” no longer. In 2016, a video of Rogers earning Pharrell Williams’ unequivocal adulation launched her from talented NYU student to the cusp of folk-pop stardom. She released the finished cut of “Alaska”—the song Williams called “singular” and likened to a “drug”—and its pulsing, electric beat propelled the single to 13th on Billboard’s U.S. Adult Alternative Songs chart. (Later, her euphoric “Light On” would peak at the top of the charts.) Now, with a well received EP and album fueling her rise, Rogers has proved she has the musical chops to back up the multi-hyphenate producer’s praise.

With the convergence of her banjo-playing roots and folk-tronica aspirations solidified in Heard It In A Past Life, Rogers blends self-aware lyrics with her earthy sound. Her Anthem appearance is sure to be a dance-filled celebration. Maggie Rogers performs at 8 p.m. at The Anthem, 901 Wharf St. SW. $45–$75. (202) 888-0020. theanthemdc.com.

—Amy Guay

JOIN MAYOR MURIEL BOWSER AT

CITY LIGHTS: TUESDAY

SOUL POWER

In 1974, an all-star concert of top R&B, salsa, and African acts was scheduled to take place in Kinshasa, Zaire (now the Democratic Republic of the Congo), along with the famous “Rumble in the Jungle” boxing match between Muhammad Ali and George Foreman. But Foreman got injured while training, so the music festival ended up happening six weeks before the postponed fisticuffs (where Ali defeated Foreman).

Both events were filmed, but due to legal issues, the boxing release When We Were Kings didn’t come out until 1996 and the concert movie Soul Power was held up until 2008. Soul Power features a who’s who of greats in their prime—James Brown, B.B. King, Bill Withers, Miriam Makeba, and Tabu Ley Rochereau. While this documentary includes too much behind the scenes footage of the concert preparation, it’s worth sitting through that to see the highlights—James Brown doing splits as his band gets funky, the Spinners’ choreographed dance moves, and Celia Cruz warbling over the speedy clave beat of the Fania All-Stars. You’ll have to figure out yourself who everyone in the movie is, as it sadly has no captions. But even if you can’t, the clips of Manu Dibango playing on the street, Ali discussing black power and white supremacy, and a group of musicians jamming together on the airport runway are still memorable. Soul Power screens at 8 p.m. at Suns Cinema, 3107 Mount Pleasant St. NW. $10. sunscinema.com.

—Steve Kiviat

GEORGIA AVENUE NW OCTOBER 5, 2019 | 10:00 AM

OPENSTREETS.DC.GOV

ESCAPED ALONE D.C. actress Holly Twyford directs Escaped Alone, a short play about the sometimes mundane, sometimes catastrophic fears that we all face in the modern 21st century. Signature Theatre.

4200 Campbell Ave., Arlington. To Nov. 3. $55–$93.

(703) 820-9771. sigtheatre.org.

FENCES Directed by Timothy Douglas, one of a handful of directors who has directed all 10 of August Wilson’s Century Cycle canon, Fences follows former Negro League baseball star Troy Maxson as he struggles to provide for his family and wrestles with the constraints systemic racism and his own hubris have placed on his life. Ford’s Theatre. 511 10th St. NW. To Oct. 27. $20–$70. (202) 347-4833. fords.org.

FOOTLOOSE This semi-staged concert takes the beats of the movie and musical to tell a story about kids who have an itch to dance and just can’t be stopped. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Oct. 13. $59–$175. (202) 467-4600. kennedy-center.org.

JIMMY BUFFETT’S ESCAPE TO MARGARITAVILLE People come to Margaritaville to get away from it all— and there, they discover things they weren’t expecting. This musical uses classic Jimmy Buffet songs alongside original songs to send you to paradise.

National Theatre. 1321 Pennsylvania Ave. NW. To Oct. 13. $54–$114. (202) 628-6161. nationaltheatre.org.

32 october 4, 2019 washingtoncitypaper.com

JITNEY A Pittsburgh jitney station—a symbol of community stability—is threatened on all sides by a stagnant neighborhood with no jobs and encroaching gentrification. Arena Stage. 1101 6th St. SW. To Oct. 27. $76–$95. (202) 488-3300. arenastage.org.

LA VIDA ES SUEÑO La Vida es Sueño by Pedro Calderón de la Barca and directed by Hugo Medrano with adaptations by Nando J. López is about free will, destiny, and tyranny. It will be presented in Spanish with English subtitles. GALA Hispanic Theatre. 3333 14th St. NW. To Oct. 13. $30–$48. (202) 234-7174. galatheatre.org.

MY BARKING DOG My Barking Dog, a show by The Edge of the Universe Players 2, features Tia Shearer and Christopher Crutchfield Walker in a show about a woman, a man, a wild coyote, and a change. Edge of the Universe Players 2 at Caos on F. 923 F St. NW. To Oct. 13. $25. (202) 355-6330. universeplayers2.org.

THE ROYALE The Royale, inspired by the story of boxer Jack Johnson, follows an African American man who dreams of breaking the color line in boxing, despite his knockouts and doubt from his manager. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Oct. 27. $49–$54. (301) 924-3400. olneytheatre.org.

SCHOOL GIRLS; OR, THE AFRICAN MEAN GIRLS PLAY Paulina, the queen bee of the Aburi Girls Board-

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

THIS WEEK’S SHOWS

THIS FRIDAY!

Caravan Palace Early Show! 6pm Doors..................................................... Th OCT 3 Luna performing Penthouse w/ Olden Yolk Early Show! 6pm Doors. ................ Sa 5 Noah Kahan w/ JP Saxe .................................................................................. M 7 Kero Kero Bonito w/ Negative Gemini ......................................................... Tu 8 Shovels & Rope w/ Cedric Burnside ............................................................... W 9 OCTOBER

NOVEMBER (cont.)

ALL GOOD PRESENTS

Perpetual Groove w/ Kendall Street Company ........F 11 Small Town Murder This is a seated show. ......................Su 13

Moonchild w/ Braxton Cook

& Devin Morrison .........................W 16

Bishop Briggs w/ Miya Folick & Jax Anderson ..Sa 19 Anthony Brown & group therAPy w/ Maurette Brown-Clark &

Will McMillan This is a seated show. . M 21

SOFI TUKKER w/ Haiku Hands & LP Giobbi ........W 23 Josh Abbott Band w/ Ray Fulcher ...........................Th 24 U STREET MUSIC HALL PRESENTS

Lost Frequencies (Live) w/ Throttle Late Show! 10:30pm Doors .F 25 HellBENT featuring Lemz, Jacq Jill, Ed

Bailey, DJ Damn Kham • Hosted by Pussy Noir • Visuals by Ben Carver • Performances by Ana Latour, Betty O’Hellno, Sasha Adams, haus of bambi ..........................Sa 26

bea miller w/ Kah-Lo & Kennedi ..................M 28 Big Freedia w/ Low Cut Connie ......................Tu 29

Mumiy Troll Late Show! 10pm Doors ......................Su 3 Cavetown w/ Field Medic & Spookyghostboy..M 4 ALL GOOD PRESENTS

SunSquabi w/ Goose .................F 8 Ra Ra Riot w/ Bayonne .............W 13 Wild Nothing w/ Kate Bollinger .........................F 15 Neon Indian ............................Sa 16 Alice Merton ...........................Tu 19 Christone “Kingfish” Ingram .....................................Th 21 San Fermin ...............................F 22 Sasha Sloan w/ Winnetka Bowling League Early Show! 6pm Doors ....................Sa 23 Alex Cameron

The Maine w/ Twin XL & Nick Santino .............F 1 The Cinematic Orchestra w/ Photay & PBDY ........................Sa 2 Chelsea Wolfe w/ Ioanna Gika

9:30 CUPCAKES

9:30 CLUB SHOW SOLD OUT! 2N

MARIA BAMFORD

Early Show! 6pm Doors ................... OCT 24

LOS ESPOOKYS LIVE

Late Show! 9:30pm Doors ................ OCT 24

PETE HOLMES w/ Jamie Lee - LIVE!

Early Show! 5:30pm Doors ............... OCT 25

THE NEW NEGROES FEAT.

BARON VAUGHN • OPEN MIKE EAGLE • DULCE SLOAN • JABOUKIE YOUNG-WHITE • HAYWOOD TURNIPSEED JR. • VIOLET GRAY

Late Show! 9pm Doors ................... OCT 25

ROXANE GAY:

CALL YOUR GIRLFRIEND L ivE !

Miami Horror ..........................F 29 Alice Smith .............................Sa 30

The New Pornographers w/ Lady Lamb ......................................NOV 6 Kishi Bashi w/ Cicada Rhythm ....NOV 8 Judge John Hodgman Live ................................................NOV 10 Sasha Velour’s Smoke & Mirrors .................NOV 11 Mandolin Orange w/ Sunny War ....................................NOV 14 BenDeLaCreme & Jinkx Monsoon: All I Want for Christmas is Attention .NOV 29 Robert Earl Keen -

A Smart, Funny, Real Afternoon In Conversation with Sasheer Zamata Matinee Show! 1pm Doors............... OCT 26 Countdown to Christmas

La Dispute w/ Touché Amoré & Empath .......Su 24

Early Show! 5pm Doors .................... OCT 26 Late Show! 8pm Doors ..................... OCT 26

w/ Shinyribs........................................DEC 6 AEG PRESENTS

Tim and Eric ............................. FEB 8

THE BIRCHMERE PRESENTS

Colin Hay (Solo) .......................APR 4

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

DECEMBER ALL GOOD PRESENTS

Collie Buddz w/ Keznamdi ......Su 1 Mac Ayres..................................Tu 3 ALL GOOD PRESENTS

Must purchase 2-Day Pass with

12/7 PPPP @ The Anthem to attend. .....F 6

Devendra Banhart w/ Black Belt Eagle Scout Early Show! 6pm Doors .....................Sa 7

Early Show! 6pm Doors. ......................Su 3

MANY MORE SHOWS ON SALE!

D NIGHT ADDED!

AN EVENING WITH

TIG NOTARO: B ut E nough A Bout Y ou

U STREET MUSIC HALL PRESENTS

AEG PRESENTS

Jónsi & Alex Somers Zaz ................................................... OCT 4 Riceboy Sleeps Natasha Bedingfield ........... OCT 14 with Wordless Orchestra .......... OCT 28 X Ambassadors AEG PRESENTS w/ Bear Hands & LPX ....................... OCT 29 Bianca Del Rio It’s Jester Joke ........................ OCT 18 Puddles Pity Party w/ Dina Martina Halloween Costume Contest!

Ingrid Michaelson Come dressed in your best! ............. OCT 31 All 9/24 9:30 Club tickets will be honored. w/ Maddie Poppe ............................. OCT 23 Angel Olsen w/ Vagabon ............NOV 1 U Up? Live ....................................NOV 4 THE BYT BENTZEN BALL

Late Show! 10pm Doors ....................Sa 23

Pigeons Playing Ping Pong w/ lespecial

NOVEMBER

METROPOLITAN ENTERTAINMENT PRESENTS

930.com

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Surf Curse ........................ Sa OCT 5 clipping. w/ Terence Hannum .........Th 10 Half Moon Run w/ Tim Baker .........F 11 Pissed Jeans w/ Knife Wife ..........Sa 12 Marika Hackman w/ Girl Friday ...Su 13 Augustana ................................ M 14 slenderbodies w/ Hazey Eyes .......Tu 15 !!! (Chk Chk Chk) .....................Th 17 Lust for Youth w/ Tuff Lover ..........F 18 Sam Fender w/ Noël Wells All 10/19 tickets honored. ................Su 20

• Buy advance tickets at the 9:30 Club box office • 930.com

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

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

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

Iya Terra w/ The Ries Brothers & For Peace Band .W 23 Maxo Kream w/ Q Da Fool & Slayter ..F 25 Ruston Kelly w/ Donovan Woods ....Sa 26 BJ the Chicago Kid w/ Rayana Jay & KAMAUU ...............Su 27 White Reaper w/ Nude Party & Wombo .................Th 31 Kindness ............................. F NOV 1 Futuristic w/ Ray Vans • Scribe Cash • Yonas • NoBigDyl ............................Su 3 Ayokay w/ Wingtip ........................Tu 5

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

930.com washingtoncitypaper.com october 4, 2019 33

CITY LIGHTS: WEDNESDAY

WE BANJO 3

When you think about it, traditional Irish music mixed with classic bluegrass is a match made in folk music heaven. We Banjo 3 have used this synthesis to great effect, creating a unique, infectious, and poignant style, dubbed “Celtgrass,” that has made them one of the biggest names in contemporary Irish music. Their fifth album, Haven, topped the Billboard bluegrass charts and received critical acclaim upon its release in 2018. Comprised of the Scahills and Howleys, two sets of brothers from Galway, Ireland, We Banjo 3 seamlessly blend fiddles, mandolins, a bodhrán, and, of course, banjos into a sound that noted music critic Barack Obama described as “incredible”. We Banjo 3 perform at 7:30 p.m. at The Hamilton, 600 14th St. NW. $16.75–$45.25. (202) 769-0122. thehamiltondc.com.

—Tristan Jung

LUCE UNPLUGGED COMMUNITY SHOWCASE Friday, October 4, 6–8 p.m. | Free

CITY LIGHTS: THURSDAY

Enjoy local bands and local beer with neo-soul songstress Alison Crockett and multi-instrumentalist Samuel Prather.

Free tastings from Hellbender Brewing Company, small snacks available for purchase. Presented with the Washington City Paper.

CLIPPING.

Don’t miss out!

8th and G Streets NW | Washington, DC AmericanArt.si.edu/events

Sign up now for local arts events, craft workshops, and ticket alerts at s.si.edu/saamlocal

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meet RIFLE Hi, I’m Rifle!

I have had a rough start to life & can’t wait to find a forever family who can give me all the love I deserve. I am timid, laid back, & very sweet. I am excited to gain some weight and get some TLC from my new family.

I know I’ll be the perfect companion for any home!

D VIC VOTE PET SER19 T 0 “BESST OF DC 2

emte.

plike ho e a c a no pl t i ere’s h t s e us beca BE

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®

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Wash D.C 202-362-8900 Arl/Ffx Co. 703-243-3311 Mont. Co. 301-424-7100 EST. 1980

WWW.SITAPET.COM BONDED INSURED

Support local journalism.

JOIN OUR CLUB. washingtoncitypaper.com/membership 34 october 4, 2019 washingtoncitypaper.com

Best known for originating the roles of Thomas Jefferson and Marquis de Lafayette in Hamilton, Daveed Diggs has also spent much of the past decade in an experimental rap group, clipping. Alongside producers William Hutson and Jonathan Snipes, Diggs makes experimental hiphop with the same multisyllabic attack found in his work with Lin-Manuel Miranda, but with beats much noisier and pneumatic. Never ones to shy away from high concepts, the forthcoming album from the Los Angeles trio, There Existed an Addiction to Blood, remakes horrorcore in their own image. Horrorcore, a hip-hop subgenre that took street rap’s violent tendencies to their extreme, blood-and-gore conclusions, gives clipping. a new sonic palette and lyrical toolbox to play with. On “Nothing is Safe,” the group pays homage to John Carpenter’s Assault on Precinct 13, telling the tale of a trap house siege over piano-and-synth menace, while the queasy “La Mala Ordina” is more Marquis de Sade than Marquis de Lafayette. “The bags on the table ain’t for weight, they for body parts,” Diggs raps, with blunted affect. “Victim skin stretched across the wall, call it body art.” clipping. perform at 7 p.m. at U Street Music Hall, 1115 U St. NW. $25. (202) 588-1889. ustreetmusichall.com.

—Chris Kelly ing School, is desperate to be Miss Ghana—but she’s got some competition from within her school, namely from Ericka, who’s just arrived from America with a decidedly Western attitude. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Oct. 20. $32–$73. (240) 644-1100. roundhousetheatre.org.

THE TEMPEST Synetic Theater is remounting Shakespeare’s The Tempest—complete with a 30-foot deep pool and “splash zone” seating. Synetic Theater at Crystal City. 1800 South Bell St. , Arlington. To Oct. 20. $20–$60. (866) 811-4111. synetictheater.org.

TRYING Trying follows the true story of the author’s time working for Judge Francis Biddle, former attorney general of the United States under FDR—and a notorious taskmaster who is trying to cement his legacy. 1st Stage. 1524 Spring Hill Road, McLean. To Oct. 20. $15–$42. (703) 854-1856. 1ststagetysons.org.

WEST BY GOD Set in the Appalachia region of West Virginia, West By God follows the stories of two families, illuminating the divide between urban and rural life experiences and the various prejudices that go along with it. Keegan Theatre. 1742 Church St. NW. To Oct. 20. $30–$50. (202) 265-3767. keegantheatre.com.

Film

ABOMINABLE A sweet Yeti has to find his way back to his family. Starring Chloe Bennet, Albert Tsai, and

Eddie Izzard. (See washingtoncitypaper.com for venue information) AD ASTRA An astronaut follows a doomed expedition across a hostile solar system to find out what happened to it—and his father. Starring Brad Pitt, Liv Tyler, and Tommy Lee Jones. (See washingtoncitypaper.com for venue information) DOWNTON ABBEY This feature film continues the story of the aristocratic Crawleys and their servants in a changing early 20th-century England. Starring Maggie Smith, Elizabeth McGovern, and Michelle Dockery. (See washingtoncitypaper.com for venue information) JOKER Batman’s greatest villain gets an origin story in this feature. Starring Joaquin Phoenix, Robert De Niro, and Marc Maron. (See washingtoncitypaper.com for venue information) LUCY IN THE SKY An astronaut’s life on Earth feels too small after what she saw in space. Starring Natalie Portman, Jon Hamm, and Zazie Beetz. (See washingtoncitypaper.com for venue information) RAMBO: LAST BLOOD Rambo is forced to confront his past and take revenge on his last mission. Starring Sylvester Stallone, Paz Vega, and Yvette Monreal. (See washingtoncitypaper.com for venue information) WHERE’S MY ROY COHN This documentary follows lawyer and political fixer Roy Cohn from his time with Joseph McCarthy to his work for Donald Trump.

Directed by Matt Tyrnauer. (See washingtoncitypaper.com for venue information)

SAVAGELOVE I met a guy right around the time my boyfriend dumped me. I met him on a dating site, but he was really only interested in my boobs and me giving him head. I really like having him in my life and he’s very attractive, but he won’t do anything with me other than let me give him head while he watches porn. I’m very insecure, so I feel like part of the reason this has been going on for so long is because I’ve never had someone so attractive be into me. He asked me to sign a “contract” that requires me to drop everything and send him pictures whenever he asks. I’m not allowed to have a boyfriend, but he can have as many girls as he likes. I do a lot of stuff for him, and he doesn’t do a single thing for me. I should have said no, but I was feeling very shitty about myself and thought I had nothing to lose. Currently he lives a two-hour bus ride away and he won’t pick me up. He’s also only available on weekdays. He keeps telling me to come out to see him, but I can’t justify a two-hour bus ride with nothing in it for me. I almost cut him out completely after an older coworker touched my butt—I confided in this guy, and he told me it would be hot if I showed my coworker a photo of my boobs.

That he would say something like that makes my blood boil, yet I still haven’t cut him off. Maybe I’m just overreacting and expecting too much of him, as he’s told me multiple times that he doesn’t like sex and he never wants to see my lower half.

—Don’t Understand My Behavior Stop seeing this guy—or stop servicing this asshole, I should say. This piece of shit swooped in when you were obviously feeling vulnerable (right after your boyfriend dumped you), and he’s been leveraging his good looks against you ever since. And it’s not just head he’s after, DUMB. He gets off on seeing you debase and degrade yourself—he wants to watch as you feed your self-esteem into a shredder—maybe because it affirms how attractive he is or maybe because he’s just that sadistic an asshole. And while you may think you have nothing to lose, this asshole clearly sees what you have to lose: your selfesteem, which he is disassembling bit by bit.

I know people with similar blow-and-go arrangements; they provide what’s called “no recip” oral to selfish and sometimes sadistic tops. But they do it for the right reason—they do it because it turns them on. If being this guy’s on-call cocksucker turned you on and got you off, DUMB, if this was a thrilling adventure for you and a break from your regular routine, a brief/erotic escape from the person you knew yourself to be (sexy, attractive, valued, etc.), this could be a healthy and playful release.

The guys I know who do this—and they’re all guys—don’t have any illusions about the men they’re servicing catching feelings for them.

And most importantly, they get off on it. It turns them on to be treated this way, to play this role,

to have this kind of cocksucker-on-call arrangement with someone who plays the role of the selfish, domineering top.

But this doesn’t turn you on, DUMB, it makes you feel terrible about yourself. And I can tell you where this is headed: This guy’s assholery is going to escalate over time. Cut this guy off now.

—Dan Savage I’m a 26-year-old woman in a two-year relationship with a 32-year-old man. I love him and we live together. He recently revealed that he thinks

“There is nothing disgusting about the word vagina. However, to many people, the word vagina has this connection because telling people that vaginas are dirty or gross or disgusting is a core tenet of the patriarchy.” the word “vagina” is disgusting. He likes the word “pussy,” but “vagina” turns him off and he hates when he hears the word. I think this is ridiculous, immature, and, honestly, a bit insulting. I am proud of my vagina—I love it, and I love what we do with it together. I don’t have a hang-up with names for parts. He assures me he loves my pussy, but vagina is a word that grosses him out. Am I crazy to be a bit upset about this terminology conflict?

—Vaginas Always Love Useful Erections “First of all, VALUE is correct,” said Dr. Jen Gunter, an OB-GYN and author. “There is nothing disgusting about the word vagina.

However, to many people, the word vagina has this connection because telling people that vaginas are dirty or gross or disgusting is a core tenet of the patriarchy. Vulva and clitoris have sadly been along for this societal shame-driven ride. I can see how a heterosexual man might have trouble with the word vagina because he has received that messaging since birth.”

But just because we can see how your boyfriend might have developed a problem with the word, VALUE, doesn’t make your boyfriend actually having a problem with the word OK. “There’s an issue when a grown man finds the word vagina disgusting,” said Dr. Gunter. “I am curious if her boyfriend’s inability to say vagina is a ‘bedroom-only’ phenomenon

or an ‘everywhere’ phenomenon. If it’s bedroom-only, maybe she can help him work up to using the word by introducing it more. Exposure therapy! However, if his disgust at the word is an ‘everywhere’ phenomenon, then I can appreciate how that is a sticking point for VALUE. I wrote a whole book, The Vagina Bible, for this very reason. If he read it and appreciated how not saying the word vagina has been oppressive for women, maybe it might help? Again, exposure therapy!”

—DS Follow Dr. Jen Gunter on Twitter @DrJenGunter. The Vagina Bible is on sale now—and on the New York Times best-seller list! Congrats, Dr. Gunter!

My husband likes to give and receive enemas during sex. I was very inexperienced sexually when we met in our early 20s and very much in love. He introduced me to enemas, and I went along at first and almost enjoyed the novelty. But in time, it started to feel less appealing. After we had kids, there was less opportunity for this sort of thing, and I eventually realized I didn’t like anal play. The enemas began to feel physically and psychologically violating. He introduced anal plugs as an alternative, but I still felt violated and frightened whenever he put one in me. I went to a sex counselor who told me I had the right to say no. My husband began pursuing his anal interests alone. Now we’re both 68. My sexual drive has waned, but his has not. I don’t want to give up on the experience of PIV intercourse, but he doesn’t seem to understand that at this stage of life, sex for me is more about closeness and feeling loved and being held than about intense sexual pleasure. He is disappointed that I am not receptive to his need for anal stimulation. I have told him he is free to find people online who will do this, or if it is so important to him to have a partner who does this, we can separate. He would prefer that I be more accommodating.

—Absolutely No Anal Love You can and you should continue to say no to any and all sex play—anal or otherwise— that leaves you feeling violated and frightened, ANAL. You can also say, “I’d like a divorce,” to a man who has proven himself incapable of taking “no” for an answer decade after miserable decade. And while your offer to allow him to find anal playmates online falls under the “perfectly reasonable accommodation” header, ANAL, I’m more concerned with your unmet need for love and tenderness than I am with your husband’s unmet needs. To that end, I think you should go find a tender lover—right after you find yourself a kick-ass divorce lawyer.

—DS

LIVE MUSIC | BOURBON | BURGERS

OCTOBER TH 3

DAN BERN “REGENT STREET” ALBUM RELEASE

FR 4

THE POWELL BROTHERS w/ THE WALKAWAYS

SA 5

AUSTIN PLAINE

TH 10 JAMIE McLEAN BAND FR 11 CHOPTEETH TU 15 THE CANVAS PEOPLE WE 16 WILLIE SHAW TH 17 WAKER w/ THE FERNS FR 18 THE CACTUS BLOSSOMS w/ ESTHER ROSE SA 19 THE MIGHTY PINES w/ ALANA SPRINGSTEEN SU 20 CORY HENRY & THE FUNK APOSTLES SA 26 MARCO BENEVENTRO “LET IT SLIDE” ALBUM RELEASE SHOW WE 30 THE MAIN SQUEEZE w/ CAVERNS TH 31 “DARK SIDE OF THE FORCE” 7PM FEATURING COVERED w/ JAM TH 31 OFFICIAL UMPHREY’S MCGEE 11PM AFTER PARTY FEATURING BAND OF TOMORROW

NOVEMBER FR 1

“BETWEEN THE LINES OF AGE” A NEIL YOUNG BIRTHDAY DANGER BIRD

SU 3

LOS STRAITJACKETS w/ BOTTLED UP

TH 7

THE MERRY KINKSTERS TOUR w/ KINKY FRIEDMAN, CLEVE, SWEET MARY HATTERSLEY, WASHINGTON RATSO AND BRIAN MOLNAR

FR 8

BOBBY THOMPSON NEW ALBUM RELEASE CELEBRATION

SA 9

ERIC GALES w/ SCHREINER

SU 11 DRIFTWOOD SOLDIER ALBUM RELEASE

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FOLLOW US @PEARLSTREETLIVE Email your Savage Love questions to mail@savagelove.net.

33 PEARL ST SW DC •THE WHARF

washingtoncitypaper.com october 4, 2019 35

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202 658 9571 Community . . . . . Proposals . . . . . . .should . . . . .be . 42 uploaded to the website Employment . . . . no . . later . . . .than . . . 5:00 . . . .PM 42 EST, on October 16, Health/Mind . . . . . . . . . . . . . . . . . . . .

SUPERIOR COURT 2019. Questions can OF THE DISTRICT OF . . . be Body & Spirit . . . addressed . . . . . . . to . . nate. . . 42 COLUMBIA schwartz@kippdc.org.

Housing/Rentals . . . . . . Interrupter . . . . . . . 42 PROBATE DIVISION Violence 2019 ADM 001003 Services Legal Notices . . . . . . . . . . . . . . . . 42 Name of Decedent, KIPP DC is soliciting Harry Music/Music Giffen a/k/a Harry Row .proposals . . . . . .from . . . .qualified . . 42 W. Giffen. Name and vendors for Violence Pets . . . . . .Paul . . . . . Interrupter . . . . . . . .Services. . . . . . 42 address of Attorney F. Riekhof, Esquire, 111 Real Estate . . . . . The . . . RFP . . .can . . .be . .found . . 42 Rockville Pike, Suite on KIPP DC’s website 975, Rockville SharedPike, Housing . at . .www.kippdc.org/ . . . . . . . . . . . 42 Suite 975, Rockville, procurement. Proposals Services . . . . . . . . should . . . . .be . . uploaded . . . . . . to 42 MD 20850.

Notice of Appointment, Notice to the website no later Creditors and Notice to than 5:00 PM EST, on Unknown Heirs, Carol October 16, 2019. QuesAnne Giffen, whose tions can be addressed address is 12622 Farnell to jacque.patterson@ Drive, Silver Spring, MD kippdc.org.

20906 was appointed Personal RepresentaSUPERIOR COURT tive of the estate of OF THE DISTRICT OF Harry Giffen a/k/a Harry COLUMBIA W. Giffen who died on PROBATE DIVISION 11/22/2013, without a 2019 ADM 000912 Will and will serve withName of Decedent, Lesout Court Supervision. lie A. Hoegberg. Notice All unknown heirs and of Appointment, Notice heirs whose whereto Creditors and Notice abouts are unknown to Unknown Heirs, shall enter their appearKathryn F. Baumann, ance in this proceedwhose address is 12755 ing. Objections to such Ordway Street, NW, Apt appointment shall be 307, Washington, DC filed with the Register 20008 was appointed of Wills, D.C., 515 5th Personal Representative Street, N.W., Building of the estate of Leslie A. A, 3rd Floor, WashingHoegberg who died on ton, D.C. 20001, on or August 8, 2019, with a before 4/3/20. Claims Will and will serve withagainst the decedent out Court Supervision. shall be presented to All unknown heirs and the undersigned with a heirs whose wherecopy to the Register of abouts are unknown Wills or to the Register shall enter their appearof Wills with a copy to ance in this proceedthe undersigned, on or ing. Objections to such before 4/3/20, or be appointment shall be forever barred. Persons filed with the Register believed to be heirs or of Wills, D.C., 515 5th legatees of the decedent Street, N.W., Building who do not receive a A, 3rd Floor, Washingcopy of this notice by ton, D.C. 20001, on or mail within 25 days of before April 3, 2020. its publication shall so Claims against the deceinform the Register of dent shall be presented Wills, including name, to the undersigned with address and relationa copy to the Register of ship. Date of first Wills or to the Register publication: 10/3/2019 of Wills with a copy to Name of Newspaper the undersigned, on or and/or periodical: before April 3, 2020, Washington City Paper/ or be forever barred.

Daily Washington Law Persons believed to be Reporter. Name of Perheirs or legatees of the sonal Representative: decedent who do not Carol Anne Giffen receive a copy of this TRUE TEST copy Nicole notice by mail within 25 Stevens Acting Register days of its publication of Wills Pub Dates: shall so inform the RegOctober 3, 10, 17. ister of Wills, including name, address and reKIPP DC PUBLIC lationship. Date of first CHARTER SCHOOLS publication: 10/3/2019 REQUEST FOR PROName of Newspaper POSALS and/or periodical: WashNew Market Tax Credit ington City Paper/Daily

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Legals

Friendship Public Charter NOTICE ISSchool HEREBY GIVEN Request For Proposals THAT: Friendship Public CharTRAVISA OUTSOURCING, INC. (DISTRICT OFisCOLUMBIA ter School seeking DEPARTMENT OF CONSUMER bids from prospective AND REGULATORY AFFAIRS vendors to provide: FILE NUMBER 271941) HAS * A personalized digital DISSOLVED EFFECTIVE NOVEMliteracy program that BER 27, 2017 AND HAS FILED provides a broad rangeOF ARTICLES OF DISSOLUTION of digital books and CORDOMESTIC FOR-PROFIT other digital PORATION WITHreading THE DISTRICT materials forCORPORATIONS students OF COLUMBIA DIVISION from grades PK-12.

Detailed project scope of Awork CLAIM AGAINST TRAVISA provided in the OUTSOURCING, INC. MUST RFP. INCLUDE THE NAME OF THE * College and career DISSOLVED CORPORATION, readiness curriculum INCLUDE THE NAME OF THE and materials, SAT & CLAIMANT, INCLUDE A SUMMAACT Professional RY OFPrep, THE FACTS SUPPORTING Development and stu- TO THE CLAIM, AND BE MAILED 1600 tracking INTERNATIONAL DRIVE, dent software.

SUITE 600, MCLEAN, VA in 22102 * Equipment used the storage and preparation ALL CLAIMS WILL BE BARRED of foods provided to UNLESS studentsA asPROCEEDING part of theTO ENFORCE THE CLAIM IS COMNations School MENCED WITH IN 3Lunch YEARS OF and School OF Breakfast PUBLICATION THIS NOTICE programs.

Delivery of IN ACCORDANCE WITH SECTION the equipment to 29-312.07 OF THE DISTRICT OF multiple InstalCOLUMBIA sites, ORGANIZATIONS ACT. lation, removal, and disposal of PCS existing Two Rivers is soliciting equipment. proposals to provide project manThe competitive agement services for a RFP small concan be project. foundFor ona FPCS struction copy of the RFP, pleaseat: email procurement@ website http://www. tworiverspcs.org. Deadline for friendshipschools.org/ submissions is December 6, 2017. procurement . Proposals are due no later than 4:00 P.M., EST, Monday November 4, 2019. Questions and Proposals should be submitted on-line at: P rocurementinquiry@ friendshipschools. org . Proposals can be submitted in person at 1400 1 st Street NW, Suite 300, Washington, DC. 20001. All bids not addressing all areas as outlined in the RFP will not be considered.

36 october 4, 2019 washingtoncitypaper.com

No proposals will be accepted after theLegals deadline.

DC SCHOLARS PCS - REQUEST FOR PROPOSALS – ModuWASHINGTON LATIN lar Contractor Services - DC PUBLIC CHARTER Scholars Public Charter School SCHOOL solicits proposals for a modular REQUEST FOR PROPOScontractor to provide professional ALS management and construction services to10/04/2019 construct a modular Issued: building to house four classrooms The Washington Latin and one Charter faculty offiSchool ce suite. The Public Request expressions for Proposals of (RFP) solicits specifi cations can be obtained on interest in the form of and after Monday, November 27, proposals with refer2017 from Emily Stone via comences from a qualified munityschools@dcscholars.org. vendor for: All questions should be sent in * Legal Counsel – to calls writing by e-mail.

No phone regarding this RFP will beoracsupport commercial cepted. Bids must beloan received capital market refi-by 5:00 PM on Preferably Thursday, December nancing. has 14, 2017 at DCwith Scholars experience newPublic Charter School, ATTN: Sharonda market tax credit financMann, 5601 E. Capitol St. SE, ing.

Washington, DC 20019. Any bids * Teacher not addressingResidency all areas as outProgram Partner – to will lined in the RFP specifi cations co-provide robust curnot be considered. riculum and classroom experiences for for Rent Apartments teachers-to-be.

Questions and proposals may be e-mailed to Ms. Eman Abdur-Rahman at eabdurrahman@ latinpcs.org with the type of service in the subject line. Deadline for submissions is COB October 18, 2019. No phone calls please.

Must see! semi-furE-mail is Spacious the preferred nished 1 for BR/1respondBA basement method apt, Deanwood, $1200.

Sep. ening but you can also trance, W/W carpet, W/D, mail (must arrive bykitchen, fireplace near Blue Line/X9/ deadline) proposals and V2/V4. Shawnn 240-343-7173. supporting documents to the following address: Rooms for Rent Washington Latin Public Charter School Holiday Special- Two furAttn: Finance nished rooms for Office short or long 5200 2 nd Street NW per term rental ($900 and $800 Washington, DC 20011 month) with access to W/D, WiFi, Kitchen, and Den. Utilities included. Best N.E. location SUPERIOR COURT along H St.DISTRICT Corridor. Call OF Eddie OF THE 202-744-9811 for COLUMBIA info. or visit www.TheCurryEstate.com PROBATE DIVISION 2019 ADM 000950 Name of Decedent, Judith Cecile Giffen. Name and Address of Attorney Paul F. Riekhof, Esquire, 111 Rockville Pike, Suite 975, Rockville, Maryland 20850. Notice

of Appointment, Notice Construction/Labor to Creditors and Notice to Unknown Heirs, Carol Anne Giffen, whose address is 12622 Farnell Drive, Silver Spring, MD 20906 was appointed Personal Representative POWER DESIGN NOW HIRofING theELECTRICAL estate of Judith APPRENTICES Giffen OF ALL who SKILLdied LEVCecile ELS! on September 1, 2017 4, 2017, without a Will about theserve position… and will without Do you love working All with Court Supervision. your hands? Are you interunknown and heirs ested in heirs construction and whose whereabouts in becoming an electrician? are unknown shall Then the electrical apprentice enter their appearposition could be perfect for ance this proceedyou! inElectrical apprentices are Objections able to earn a to paycheck ing. such and full benefi ts while learnappointment shall be ing with the trade firstfiled thethrough Register hand experience. of Wills, D.C., 515 5th

Street, N.W., Building what we’re looking for…

A,Motivated 3rd Floor, D.C. Washingresidents who ton, 20001, on or wantD.C. to learn the electrical before 3/26/20.

Claims trade and have a high school against decedent diploma the or GED as well as reliable shall betransportation. presented to the undersigned with a a littletobitthe about us… copy Register of PowerorDesign one of the Wills to theis Register top electrical contractors in of Wills with a copy to the U.S., committed to our the undersigned, or values, to training andon to givbefore or be ing back3/26/20, to the communities forever in which barred. we live andPersons work. believed to be heirs or more details… legatees of the decedent Visitdo not powerdesigninc.us/ who receive a careers or email careers@ copy of this notice by powerdesigninc.us! mail within 25 days of its publication shall so inform the Register of Wills, including Financialname, Services address and relationDenied Credit??

Work to Reship. Date of first pair Your Credit 9/26/2019 Report With The publication: Trusted in Credit Repair.

Name Leader of Newspaper Call Lexington Law for a FREE and/or periodical: credit report summary & credit Washington City Paper/ repair consultation. 855-620Daily Washington Law at 9426. John C. Heath, Attorney Reporter. of PerLaw, PLLC, Name dba Lexington Law sonal Representative: Firm.

Carol Anne Giffen TRUE TEST copy Nicole HomeRegister Services Stevens Acting of Wills Pub Dates: Dish Network-Satellite TeleSeptember 26, October vision Services. Now Over 190 3, 10. channels for ONLY $49.99/mo!

HBO-FREE for one year, FREE SUPERIORFREE COURT Installation, Streaming, OF THE DISTRICT OF FREE HD. Add Internet for $14.95 aCOLUMBIA month. 1-800-373-6508 PROBATE DIVISION 2019 ADM 000949

Name of Decedent, Auctions James B. Mentzer.

Name and Address of Attorney Reed Spellman, 6404 Ivy Lane, Suite 400, Greenbelt Maryland, 20770. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Virginia Ivin, whose address is 234A 11th Street, SE, Washington, DC 20003 Whole Foods Commissary Auction was appointed Personal DC Metro Area Representative of the Dec. 5 of at 10:30AM estate James B. Men1000s Tables, Carts tzer whoS/S died on July & Trays, 2016 Kettles up 11, 2019, with a Will to 200 Gallons, Urschel and will serve withoutinCutters & Shredders Court Supervision.

All cluding 2016 Diversacut unknown heirs and heirs 2110 Dicer, 6 Chill/Freeze whose whereabouts Cabs, Double Rack Ovens & unknown Ranges, (12) Braising are shall Tables, 2016appear(3+) Stephan enter their VCMs, 30+ Scales, ance in this proceedHobart 80 qt toMixers, ing.

Objections such Complete Machine Shop, appointment shall be and much more! View the filed with the Register catalog at ofwww.mdavisgroup.com Wills, D.C., 515 5thor Street, N.W., Building 412-521-5751 A, 3rd Floor, Washington, D.C. 20001, on or Garage/Yard/ before 3/26/20.

Claims Rummage/Estate Sales against the decedent shall be presented Flea Market every to Fri-Sat the undersigned with aRd. 10am-4pm.

5615 Landover copy to the Register Cheverly, MD. 20784. Canofbuy Wills to the202-355-2068 Register in bulk.orContact of Wills with aforcopy toor if or 301-772-3341 details intrested in being a vendor. the undersigned, on or before 3/26/20, 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: 9/26/2019 Name of Newspaper and/or periodical: Washington City Paper/ Daily Washington Law Reporter. Name of Personal Representative: Virginia Ivin TRUE TEST copy Nicole Stevens Acting Register of Wills Pub Dates: September 26, October 3, 10

SUPERIOR COURT Miscellaneous OF THE DISTRICT OF COLUMBIA NEW COOPERATIVE SHOP! PROBATE DIVISION 2019 ADM 000936 FROM EGPYT THINGS Name of Decedent, AND BEYOND Epahanna 240-725-6025J. Williams.

Notice of Appointment, www.thingsfromegypt.com Notice to Creditors and thingsfromegypt@yahoo.com Notice to Unknown Heirs, Williams, SOUTH Danette AFRICAN BAZAAR Craft Cooperative whose address is 12219 202-341-0209 Arrow Park Dr., Fort www.southafricanbazaarcraftcoo Washington, MD 20744 perative.com was appointed Personal southafricanba z a ar @hotmail.

Representative of the com estate of Epahanna J. WIlliams who died on WEST FARM WOODWORKS June 2019, without a Custom4, Creative Furniture Will and will serve with202-316-3372 info@westfarmwoodworks.com out Court Supervision. www.westfarmwoodworks.com All unknown heirs and heirs whose where7002 Carroll abouts are Avenue unknown Takoma Park, MD 20912 shall enter their appearMon-Sat 11am-7pm, ance10am-6pm in this proceedSun ing. Objections to such appointment shall be Motorcycles/Scooters filed with the Register of Wills, D.C., 515 for 5thsale.

2016 Suzuki TU250X 1200 miles.

CLEAN. Just serStreet, N.W., Building viced. bike cover A, 3rdComes Floor,with Washingand Asking ton,saddlebags.

D.C. 20001, on $3000 or Cash only.3/19/20. Claims before Call 202-417-1870 M-F between against the decedent 6-9PM, or weekends. shall be presented to the undersigned with a Bands/DJs for Hire copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 3/19/20, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by Get Wit It Productions: mail within 25 daysProfesof sional sound and lighting availits publication shall so able for club, corporate, private, inform the Register of wedding receptions, holiday Wills, including name, events and much more. Insured, address competitiveand rates.relationCall (866) 531ship.

Date of first 6612 Ext 1, leave message for a publication: 9/19/2019 ten-minute call back, or book onName of Newspaper line at: agetwititproductions.com and/or periodical: Washington City Paper/Daily Announcements Washington Law Reporter. Name of- Personal Announcements Hey, all you lovers of erotic and bizarre Representative: Danette romantic fi ction!

Visit Williams TRUE TEST www. nightlightproductions.club and copy Nicole Stevens Actsubmit your stories to me Happy ing Register of Wills Pub Holidays! James K. West Dates: September 19, wpermanentwink@aol.com 26 and October 3.

William W Crocker Events Decedent NOTICE TO UNChristmas Silver Spring KNOWNinHEIRS Saturday, December 2017 Rosemary Tate,2,whose Veteran’s Plaza address is 761 Quebec 9:00 a.m. to 7:00 p.m.

Place,celebrate N.W., WashingCome Christmas in ton, D.C. is the the heart of 20010, Silver Spring at our personal representative Vendor Village on Veteran’s Plaof William za. the Thereestate will be of shopping, arts W. Crocker whopictures died with and crafts for kids, Santa, music2002 and entertainment April 15, without a to spread cheer and more. will andholiday will serve Proceeds market will without from courtthesuperviprovide a “wish” toy for heirs children sion. All unknown in need. Join us at your one stop and whose whereabouts shop for everything Christmas. are more unknown.

Claims For information, contact against Futsum, the decedent shall be presented to or info@leadersinstitutemd.org the301-655-9679 undersigned on or call before 12/26/2019 or General forever be barred.

Persons believed to be heirs Looking to Rent yardwho space for to the decedent hunting Alexandria/Arlingdo notdogs. receive a copy ton, VA area only. Medium sized of this notice by mail dogs will be well-maintained in within 25 controled days ofdog its houstemperature publication shallanimal so care es. I have advanced inform the experience andRegister dogs will of be rid Wills, including name, free of feces, flies, urine and oder.

Dogs will be and in a ventilated kennel address, relationso they will not be exposed to winship. ter and of harsh weather etc. Space Date first publication: will be needed as soon as possi10/3/2019 ble.

Yard for dogs mustPaper be Metro Washington City accessible. Serious callers only, Rosemary call anytime Tate Kevin, 415- 846Personal Representative 5268.

Price Neg. TRUE TEST COPY Nicole StevensCounseling Acting Register of Wills MAKE THE CALL TO START WASHINGTON LATIN GETTING CLEAN TODAY. Free 24/7 Helpline for alcohol & drug PUBLIC CHARTER addiction treatment. Get help! It SCHOOL is time to takeFOR your life back! Call REQUEST PROPOSNow: ALS 855-732-4139 Issued: 10/04/2019 Pregnant?

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Questions and proposals may be e-mailed to Ms. Eman Abdur-Rahman at eabdurrahman@ latinpcs.org with the type of service in the subject line. Deadline for submissions is COB October 18, 2019. No phone calls please.

E-mail is the preferred method for responding but you can also mail (must arrive by deadline) proposals and supporting documents to the following address: Washington Latin Public Charter School Attn: Finance Office 5200 2 nd Street NW Washington, DC 20011

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