Washington City Paper (October 6, 2017) by Washington City Paper

CITYPAPER Washington

Free Volume 37, No. 40 WAshiNgtoNCityPAPer.Com oCt. 6-12, 2017

Second Impressions Renoir’s masterpiece “Luncheon of the Boating Party” has long been one of the city’s most iconic paintings. Now the Phillips Collection is revealing its hidden secrets. P.14 By Kriston Capps

POLITICS: ANtWAN WilsoN ANd his Well of suPPort 8 fOOd: A gulf betWeeN sNAP ANd fArmers mArkets 23 ArT: A CreAtiVe dC: it’s more thAN A hAshtAg 25

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INSIDE

14 second impressions Renoir’s masterpiece “Luncheon of the Boating Party” has long been one of the city’s most iconic paintings. Now the Phillips Collection is revealing its hidden secrets. By Kriston Capps

4 Chatter distriCt Line 7 Housing Complex: D.C.’s Department of Consumer and Regulatory Affairs gets a double dose of scrutiny. 8 Loose Lips: D.C. Public Schools Chancellor Antwan Wilson has made a good first impression. Time for him to embrace his well of support. 10 Unobstructed View 12 Savage Love 13 Indy List

food 21 SNAP Gap: District residents with food stamps aren’t redeeming their benefits at area farmers markets, leaving fresh fruits and vegetables on the table. 23 Chain Retraction: Skip the chain restaurants and try these local spots instead. 23 Veg Diner Monologues: The Greek Spot’s Veggie Steak & Cheese Sandwich 23 Top of the Hour: Taqueria Nacional’s discounted beer, wine, and margaritas

arts

26 The Scene Report: New local music that spans genres, from achingly beautiful bedroom pop to grunge to Americana 28 Curtains: Jones on Native Gardens at Arena Stage and Klimek on Death of a Salesman at Ford’s 30 Short Subjects: Gittell on Lucky and Zilberman on Blade Runner 2049 32 Discography: Warminsky on Paperhaus’ Are These The Questions That We Need To Ask?

City List 35 City Lights: Kesha’s triumphant return to the spotlight continues Friday at The Fillmore Silver Spring. 35 Music 39 Theater 40 Film

42 CLassifieds diversions 43 Crossword

On the cover: Photo by Stephanie Rudig

25 Let’s Take This Offline: A Creative DC sets up a new headquarters and widens the scope of its programming. washingtoncitypaper.com october 6, 2017 3

CHATTER

In which our readers continue to think about the Mayor-for-Life

Darrow MontgoMery

A representative selection of comments on articles in last week’s issue:

“You’re So D.C. If…” By our readers

The @wcp did a much better job with this than I expected. Maybe the editors even worked in Marion Barry’s Summer Youth Employment Program. —Tanya Golash-Boza on Twitter Live in DC? u should read this! a really fascinating look @ how identity is sometimes politicized + sometimes not but always multitudinous —Tajha C-L on Twitter How many of the people polled are ACTUALLY from D.C.? —Damali Saddler on Facebook “You are white and don’t speak to your black neighbors in a gentrified black community” — ZING! and with this real quote, I started respecting this article. I totally thought they wouldn’t include quotes like this for this piece. —ntaylor08 on washingtoncitypaper.com You’re so DC if you participate in listicles. —rtpmcman on washingtoncitypaper.com

“This D.C. Yoga Teacher is Running for Mayor” By Regina Park

HA HA HA! I have heard of some ridiculous schemes in DC politics, but the whole running for office to find a free place to stay is a new one! Somewhere, Marion is smiling. —Rake on washingtoncitypaper.com Dustin was in my teacher training. Very nice guy but I thought he was going to create fitness apps or something. I’m going to enjoy this. —Jen DeMayo on Twitter When I said we need another mayoral candidate, this isn’t what I meant. —Judah Ariel on Twitter Almost a quarter of #dcstatehood voters are independent. Why does a city which says it’s progressive disenfranchise them? #DCvalues —“Beltway” Greg Boyd on Twitter

1300 Block of New York Ave. Nw, octoBer 3

EDITORIAL

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DistrictLine D.C.’s Department of Consumer and Regulatory Affairs gets a double dose of scrutiny. By Andrew Giambrone Between a proBing public roundtable on rental housing conditions and a critical report on illegal construction, the District agency responsible for policing those two areas has had a tough week. Both the roundtable and the report—the former held by the D.C. Council and the latter released by the independent Office of the Inspector General—suggested major gaps in the Department of Consumer and Regulatory Affairs’ ability to enforce laws that are designed to shield residents from various building deficiencies. The public airings also underscored concerns that DCRA doesn’t respond expeditiously to complaints and service requests across a growing city. But the sprawling agency, headed by Melinda Bolling, whom Mayor Muriel Bowser appointed in 2015, says it’s working to turn itself around with greater investments and new staff after years of mismanagement. DCRA boasts around 400 employees and an operating budget of about $60 million this fiscal year, which began on Oct. 1. Bowser herself oversaw a wide-ranging weeklong review of the agency in August 2016, hoping to learn strategies for making DCRA more efficient. The stakes surpass mere good governance. To many business owners and residents, DCRA is the face of local bureaucracy and a reliable source of frustration. To others, it is a vital path of recourse for entrenched qualityof-life issues at their homes. In recent months, the council has been looking over the agency’s shoulder more than usual. Council Chairman Phil Mendelson is conducting a series of oversight hearings on DCRA that are separate from the annual performance and budget hearings for city agencies administered during the first third of a calendar year. Mendelson ran the second of these supplemental sessions on Monday. It drew fewer than a dozen public witnesses, Bolling, and other DCRA leaders. Kevin Cummins, a Northeast resident who reported

housing complex

intimidation tactics by a developer working on the rowhouse next to his, theorized that meager attendance at council hearings on DCRA was due to the agency’s poor record. “District residents who have faced DCRA abuses and failures firsthand may have simply given up,” he posited. “Or maybe they no longer have any confidence in the council’s ability to clean up a city agency that has been running amok for years.” (Cummins also spoke at Mendelson’s first hearing in July, which had a similar number of attendees.) Anne Cunningham of the Children’s Law Center and Evan Henley of the Legal Aid Society of D.C. each discussed struggles with obtaining DCRA inspection reports on behalf of clients. Rob Wohl, a tenant organizer at the Latino Economic Development Center, went further, diagnosing DCRA’s purported weakness in cracking down on neglectful landlords as a structural challenge. “DCRA simply isn’t creating an incentive for landlords to comply with the law,” Wohl contended. “There’s a cycle of inspection, superficial correction, but then re-appearance” of problems due to more-deeply rooted issues like untreated leaks and damaged roofs. He added that conditions at low-income rental properties are “tied to [the District’s] affordable housing crisis” because many landlords do not want to bear the cost of significant repairs after years of deferred maintenance. Besides, Wohl noted, tenants may lose interest in the welfare of their buildings, especially run-down ones, over time. This complicates organizing residents to press for change: “They’re just looking to get out.” Nonetheless, Bolling is bullish on the agency’s future. “DCRA works hard each day to improve its processes and the customer experience,” she says in a statement. “We’ll continue to take steps to drive improvement.” Among such steps are “new enforcement protocols” for problematic landlords and a new chief building official. At Monday’s hearing, Bolling spoke about nearly a dozen new positions at DCRA, most of which have been filled, and successes at the Housing Conditions Calendar, a part of

and combating illegal construction,” the office states. Partly due to “deficient documentation,” per the report, “[OIG] was unable to assess thoroughly DCRA’s ability to identify and address illegal construction proactively or determine whether DCRA has the ability to deter illegal construction before it begins.” Moreover, the inspector general’s office says it was not always clear from the department’s data when a violator paid a fine, what steps an inspector took to make a final determination in a case, and when inspections were performed. Although DCRA told OIG it inspects “80 to 90 percent of illegal construction complaints on the same day it receives the complaint,” OIG

Darrow Montgomery

Code Break

D.C. Superior Court where tenants can sue landlords over alleged housing code violations. When asked, she could not give Mendelson a “cure rate” based on the number of violations DCRA records during initial inspections and then re-records during followup inspections, after which point the agency can levy fines on landlords. Bolling and her staff also testified about improvements to DCRA’s tracking of inspection data, as well as new “algorithms” the department plans on rolling out over the next two months that could help it target problematic landlords. The software will make it easier for DCRA to trace “common ownership” across troubled properties that are registered unMelinda Bolling der different corporations, they said. But as the hearing elucidated, even if DCRA properly cites housing code violations at a property, a landlord can appeal fines in administrative court. “How long can I drag this out before I have to pay?” the chairman inquired, as if he were a landlord. Bluntly, Bolling replied: “It could be years.” Within the past week, D.C. Inspector General Daniel Lucas also criticized DCRA. His office outlined shortcomings in the agency’s illegal-construction enforcement program in a new report. The report covers the three fiscal years between October 2013 and September 2016, and is based on more than 6,600 case files, nine interviews with staffers, and other agency documents. Lucas’ team found that DCRA’s electronic system for illegal-construction cases was “insufficient” for monitoring “inspectors’ performance, responsiveness, and workflow;” that DCRA didn’t have “adequately documented policies and procedures” for handling allegations of illegal activity; and that DCRA didn’t “consistently” enforce germane laws overnight and on weekends and holidays. According to the report, DCRA’s “Illegal Construction Unit” consists of fewer than 10 employees. The unit issued approximately 1,500 citations for unpermitted construction work over this period, including stop-work orders and notices of infraction. Program fines start at $2,000 per infraction. “Overall, [OIG] found it difficult to evaluate how effectively the ICU was deterring

found that about half of the case files studied “had inspection dates more than 48 hours after their request dates.” The office recommended that DCRA streamline its main data system and bolster ICU staff levels outside of normal business hours, among other measures. In a Sept. 18 letter to Lucas, DCRA’s Bolling wrote that the agency had already upgraded its “long ignored and unfunded” IT systems, and would soon finalize standardized procedures for inspectors. She added that the recruitment hurdles identified in OIG’s report persist in part because ICU roles “are extremely difficult to fill.” Then, in a late-September letter to Bolling, Lucas wrote that his office was “encouraged” by the agency’s “current and planned actions” to enhance illegal-construction enforcement. “[We] will follow up with DCRA during fiscal year 2018 to monitor implementation,” he said. The office may have to iron out a few things with DCRA first though. In a statement, Bolling says the agency is working with OIG to ensure the report “accurately captures the feedback the agency provided.” CP

washingtoncitypaper.com october 6, 2017 7

DistrictLinE Placement Test

Phoro courtesy of DCPS

D.C. Public Schools Chancellor Antwan Wilson has made a good first impression. Time for him to embrace his well of support.

By Jeffrey Anderson In the eIght months since he took the helm of D.C. Public Schools, Chancellor Antwan Wilson has done as much to distinguish himself from his predecessor as he has to build on her legacy. He arrived under cover of darkness last November as Mayor Muriel Bowser secretively sprung his nomination on an education community that had grown distrustful of a centralized power structure under the thumb of the politically untouchable Kaya Henderson. Wilson had nothing to do with either circumstance, and debuted as a true educator with a quiet commitment to children. His mantra of empowerment has a broad appeal, and the education community wants to believe in him. But the honeymoon is dwindling, and policymakers and advocates are looking for details and transparency as he walks the line between embracing successful reforms and forging his own path. Central to that path is decentralized decisionmaking and a focus on the “whole child,” a concept he wants school leaders, teachers, parents, and students to own. When will he put something concrete on the table to explain how he plans to accomplish this, is the question. “Chancellor Wilson has

loose lips

articulated the right aspirational goals,” says Catharine Bellinger, director of the D.C. chapter of Democrats For Education Reform. “I would like to see [him] articulate this idea further, as it signals a welcome shift in strategy—the school as the lever for change. How will this [affect] policy and practice?” Wilson is a tall man with a gentle handshake. He eschews fiery rhetoric but in a softspoken manner conveys a sense of conviction. He uses edu-speak—as most education people do—but is capable of going off script. He is at his best when he speaks from personal experience. “What does excellence look like?” he asks during a recent chat with Loose Lips. “How do we promote equity for students who need it most, in addition to our students who come from families where they are expected to be successful?” Under Henderson’s tenure, DCPS claims, her 2012 strategic plan produced aggregated gains on standard tests, improved graduation rates, and led to higher enrollment. DCPS projected itself as a model of reform, particularly outside the District. “No one loves you locally like they love you nationally,” Wilson says. “And I will tell you that, nationally, school districts have been in love with DCPS for awhile.” Wilson’s strategic plan builds on Henderson’s progress, while calling out the inequities she left behind. D.C.’s system has struggled to show improvement in schools

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that need it most. He proposes to double the percent of college ready students—triple for at-risk students; prepare 100 percent of K-2 students to read at or above grade level; and graduate 90 percent of students in five years. His more nebulous claims are that he wants 100 percent of students to feel “loved, challenged, and prepared,” and 100 percent of DCPS schools to become “highly rated or improving.” The first endeavor wins over some, while others wonder what he actually plans to do to achieve any of this. But get him talking, and he is undaunted by skepticism. “Culture eats the lunch of strategy everyday,” Wilson says. “We know that whether people are successful in their 30s depends less on aptitude and more on attitude.” Academic performance is one thing, but holistic growth, self-dependence, and accountability are what Wilson is after. “We want to develop resilient kids who have high expectations and believe in themselves, who know how to accept feedback, who know how to relate to other people … That’s what we’re trying to grow, and those are the types of employees we are trying to hire.” He relates to these goals on a personal level. “I went to a different elementary school every year and lived in 15 different houses before graduation,” Wilson says, emphasis on graduation. “You don’t want to be going through that. You want to be in one school. You’re meeting new friends, but sometimes you are dealing with bullying, anxiety, and fear. It probably fed my introversion and shyness.” As the oldest of three, Wilson says he took on extra responsibility. His mother worked multiple jobs and moved her children to different schools when she didn’t think the academic environment was rigorous enough. Such vigilance paid off as Wilson fielded offers to attend private and public colleges. “I had to learn,” he says. “I had some high school teachers that made sure I was in the right class, made sure I advanced, made sure I did the work. I also had some elementary school teachers who challenged me, and sometimes spoke [the] magic words that I hated to hear ‘We spoke to your mother.’ And that makes a difference.” He has an explicit challenge to DCPS parents. “Sometimes I see families obsessing over ‘My kid has to be in this school or that school or they won’t make it.’ And what I say to a parent is, ‘You make the difference, you

send your child to this DCPS school, you spend time meeting with school leaders and getting involved with the PTA or the local school government council, you and your neighbors come to our parent cabinet meetings together, and your child will be successful.’” Wilson cites various methods he believes in—home visits, excursions to expose children to new people and places, collaboration among agencies that provide health care and job training—but he keeps coming back to matters of the heart. “All of our teachers care,” he says. And of students: “When you really care for them, they’ll let you challenge them. They know you are not trying to hurt them. They know you’re not trying to judge them negatively.” Empowering schools to develop their own culture is a shift away from Henderson’s legacy of centralized curricular control and standard tests as the measure of achievement. “His plan suggests an urgency in what needs to be done now,” says Laura Wilson Phelan, Ward 1 representative to the D.C. State Board of Education. “I love that he is talking about the whole child. He’s struck a balance between that and the priorities he has set. His five goals are spot on. They are clear, and not unreasonable. That is the sweet spot, and that breeds confidence in me.” Ward 6 representative to the state board Joe Weedon likes the initiatives Wilson has outlined, but is unimpressed with the level of community engagement and what he sees as a lack of specificity in how funding for at-risk students will be spent—a legitimate concern, given Henderson’s failure to adequately fund her pledge to improve underperforming schools. At-risk schools may have seen marginal improvements, he says, but that is because of the achievement among white, affluent children that attend those schools. “The rhetoric is right,” Weedon says, “but I’m not sure he has conveyed how the resources are reaching those who need it most. It’s hard to see much movement on the ground.” Bellinger tells LL that she does not think Wilson has fully grasped the support he has across the education spectrum to stick his neck out further and meet the skeptics with more concrete details that speak to his vision. “For the first 10 years of reform, tight [central] management was the only way to get the kinds of gains we’ve seen in student achievement, talent, and enrollment,” she says. “Now it’s time to expand school-level decision-making authority. The question is whether the chancellor realizes that he has the public support and political capital to lead on this front. My sense is that he’s an extremely capable educator and leader, but is still adjusting to the politics of D.C. It’s a bit of the proverbial ‘hiding one’s light under a bushel,’ but I don’t think he needs to. D.C. is ready for his vision.” CP

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9/25/17 3:36 PM

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VIEW

The Cantor and the Football Player’s Tattoo By Matt Terl This Time of year, I often think of Gershon Levin. Levin was the cantor at Shaare Tefila Congregation—founded in Northeast D.C. in 1951 before moving to White Oak for 40 years, and now located at a new site in Olney, Maryland—from 1966 until his retirement in 2005. I’m not sure when I last saw him lead services, but it was well before he retired. Despite that, when I picture high holiday prayers in my head, they’re led by Cantor Levin, a big man with an equally big voice. This year, during the Ten Days of Repentance between the Jewish new year of Rosh Hashanah and Yom Kippur, the day of atonement, I thought of him for a totally different reason: because tight end Vernon Davis caught a touchdown to extend Washington’s lead over Oakland in the Sunday Night Football game on Sept. 24. It’s not an immediately obvious connection to make, even if you’re looking directly at the reason. The D.C.-born Davis has a lot of tattoos on his 6’ 3” frame; the relevant one is on his right forearm, Hebrew letters surrounded by a rose and thorns. The text comes from the Song of Songs, chapter 3, verse 4, and the original design was hand-calligraphed by Cantor Levin. The bridge between the two men was Cantor Levin’s daughter, Dahlia. Dahlia worked at the University of Maryland from 2001 to 2013 in an assortment of academic advisory roles, providing academic guidance to student-athletes. It’s the kind of job that, when done correctly, can have a real impact on the lives of the students—Dahlia helped develop Davis’s love of art and encouraged him to change his major from criminal justice to studio art. It’s also a job in which the advice given might cover a wide variety of topics. In 2005,

Dahlia Levin

COME FIDO!

UNOBSTRUCTED

Davis wanted a new tattoo that would represent a sentiment that was hugely important to him at the time. He discusses it briefly in a video profile created by Jess Atkinson for the university that year, showing the tattoo, saying “That’s what this tattoo on my arm represents. The things that I used to do when I was kinda lost … the things that I’m doing now, I kinda see that as being found.” Davis had always been intrigued when he heard Dahlia and her father speaking in Hebrew on the phone, so he turned to them both in helping him craft the tattoo. “One day I think we just asked my father,” Dahlia says. “Was there a Bible verse that embodied that sentiment of finding himself but in an artistic and poetic nature?” Cantor Levin, on campus to visit Dahlia at work, also appears in the video profile. First Davis summarizes the tattoo in English—“My

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VIEW heart has found what my soul’s been lookin’ for”—and then the cantor recites it, first in Hebrew (“Ma’tzati et sheh ahava nafshi”), then in a slightly more direct, less-colloquial English translation (“I have found what my soul has searched”). It was exactly what Davis had been looking for. “It was spot on,” Davis says now, reminiscing. “It worked, and I put it on my arm.” Davis drew the rose and thorns that surround the text, after reviewing Song of Songs with Cantor Levin and finding that imagery in it. The Hebrew letters were a different story, as Davis neither speaks nor reads Hebrew. It was fortunate for him—bashert, or ordained, as Jewish people sometimes put it—that Cantor Levin just happened to be a gifted calligrapher. He picked up the skill decades earlier, working a printing press for his father in Israel at the age of 10, and honed it throughout his life—including while earning a degree in art from, coincidentally, the University of Maryland. So the cantor wrote out the Hebrew words and the tight end added his own artwork and the whole thing remains on his right forearm, sharing skin with tattoos in honor of his kids and his grandmother and many other things. “All my art is meaningful,” Davis says. “Anything I put on my body, I try to make it so that it’s meaningful and it’s something I could cherish for the rest of my life.” Art has become an essential part of that life, from the personal—Davis had an art gallery in San Francisco during his time with the 49ers— to the profound—his Vernon Davis Foundation, created to promote art education and appreciation among disadvantaged kids, recently gave scholarships to students at Maryland and Howard—to the goofy—he took Huang’s World host Eddie Huang to Chris Cooley’s pottery studio to recreate a scene from Ghost. Cantor Levin died in 2014. In Judaism, the traditional phrase to insert after the name of someone who has died is “may his memory be a blessing.” Davis’s tattoo and the story around it feels, in some ways, like the physical manifestation of that concept—a verse from the Bible, done in calligraphy by a cantor with an art degree from the University of Maryland, on the arm of a D.C.-native football player who studied art at the University of Maryland, who now plays for his hometown team and gives art scholarships to kids at area schools. Dahlia, who found a framed picture of Davis’s tattoo among her father’s things after he died, finds it fitting. “My father would always nurture those sparks he saw in others,” she says. All of which is why a perfect Vernon Davis touchdown made me think of Gershon Levin and somehow seemed like a fitting part of this year’s high holidays. CP

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SAVAGELOVE I’m a 22-year-old straight male dating a 23-yearold woman. This is by far the most sexual relationship I’ve been in, which is great, except one part is freaking me out: I recently “caught” my girlfriend masturbating with her roommate’s panties. (She knew I was coming over and wanted me to catch her.) It turns out she has a habit of sneaking her roommate’s worn underwear, masturbating while smelling them (or putting them in her mouth), and then sneaking them back into her roommate’s laundry basket. She has also used her roommate’s vibrator and dry-humped her pillow to orgasm. I got turned on hearing about all this, and she jerked me off with her roommate’s panties. My girlfriend says she gets turned on being “naughty” and most of her fantasies involve being her roommate’s sex slave, me fucking the roommate while my GF is tied up, etc. Our sex life now revolves around the roommate—my GF has stolen a few more pairs of panties and even worn them while I fucked her, and her dirty talk is now almost entirely about her roommate. This turns me on, so I don’t really want it to stop, but my questions are: (1) Is this bad? (2) Is this normal? We’re conditioned to believe women are less kinky and less sexual than men, and I don’t want to buy into that. My girlfriend says she isn’t “that weird.” I don’t know what to think. —There’s No Acronym For This

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1. It’s bad. 2. When it comes to human sexuality, TNAFT, variance is the norm. Which means freakiness/ naughtiness/kinkiness is normal—science backs me up on this—and, yes, lots of women have high libidos and lots are kinky. Your e-mail came sandwiched between a question from a woman who needs sex daily (and foolishly married a man with a very low libido*) and a question from a woman who is into BDSM (and wisely held out for a GGG guy who’s getting better at bondage but can’t bring himself to inflict the erotic/consensual pain she craves**). But “variance is the norm” doesn’t get your girlfriend off the hook—or you, TNAFT. You and your girlfriend are both violating this poor woman’s privacy, potentially her health (unless your girlfriend is sterilizing her roommate’s vibrator after using it), and—perhaps most importantly—her trust. Honoring each other’s privacy and showing mutual respect for each other’s belongings are the social norms that make it possible for unrelated/unfucking adults to share a living space. We trust our roommates not to steal money out of our purses, eat our peanut butter, use our toothbrushes, etc. And even if your roommate never catches you, it’s still not okay to use their fucking toothbrush. It should go without saying that we trust our roommates not to shove our dirty panties into their mouths, use our sex toys, hump our pillows, etc. We can’t control who fantasizes about us— people can fantasize about whomever they care to—but we have an absolute right to control who handles our dirty under-

12 october 6, 2017 washingtoncitypaper.com

We trust our roommates not to shove our dirty panties into their mouths, use our sex toys, hump our pillows, etc.

pants. (My God, think of all the times you’ve run out of clean underwear and fished a dirty pair out of the laundry and worn them a second time!) Your girlfriend should make an honest, respectful, naughty pass at her roommate. And who knows? Maybe her roommate is just as pervy as you two are and would jump at the chance to have a sex slave and full use of her roommate/sex slave’s boyfriend in exchange for a few dirty panties. Or maybe she’d like to move. —Dan Savage I’m a six-months-pregnant woman in a wonderful relationship. My sex drive has skyrocketed, and I get uncomfortably horny at random times. I work at a preschool and have gone into the one-person locked bathroom during my break for a quick rubout. Is this wrong? It takes me one minute to come and I’m totally silent. But I’m at a preschool and there are little kids on the other side of that door. Thoughts? —Knocked Up And Horny You’re doing nothing wrong—and pretty soon you’ll be having sex in your home while your kid sleeps or plays on the other side of your bedroom door, KUAH, so you might as well get some practice in. And if you don’t want a kid walking in on you at home, either (and you definitely don’t), put a lock on your bedroom door. —DS I am a 29-year-old woman and getting married to my boyfriend of four years, “Adam,” in a few months. Relationship is great, sex is fantastic, no complaints. So why am I writing? Adam’s best friend, “Steve,” was his roommate in college, and Adam recently revealed that he and Steve used to masturbate together. I have no idea what to make of this. I don’t think Adam is gay and I don’t think Steve is either. Maybe they’re heteroflexible? But is it common for straight guys to masturbate together? Also, why is he just telling me this now, after we’ve been together for four years? I’m not sure how I should act around Steve. He hangs out with us a lot. Help! —Seeking To Evaluate Very Explosive Disclosure “Buddy-bating among straight guys is more common than people may think,” said Trey Lyon of Fuck Yeah! Friendly Fire, the “definitive source for straightish porn.” Lyon’s website— FYFriendlyFire.com—features porn of the “heteroflexible/almost bi” variety, i.e. two guys who aren’t afraid they’ll melt if their dicks touch

while they’re having sex with the same woman. Lyon’s website has more than 200,000 followers and he’s heard from lots of straight/straightish guys who masturbate with—read: beside— their straight/straightish male buddies. Lyon doesn’t have hard data for you, STEVED, only anecdotes, but it’s safe to say your fiancé isn’t the only straight/straightish guy out there who’s done a little “buddy-bating.” So why do straight/straightish guys do this? “In her controversial 2015 book Not Gay: Sex Between Straight White Men, author Jane Ward asserts that sexual interaction between straight white men allows them to leverage whiteness and masculinity to authenticate their heterosexuality in the context of sex with men,” said Lyon. “That by understanding their same-sex sexual interaction as meaningless, accidental, or even necessary, straight white men can homosexually engage in heterosexual ways. As a non-white guy myself, it is my hallucination that the same might be the case across racial lines as well—at least when it comes to dudes jerking off together” I’m going to break in here for a moment: I think Ward’s book is bullshit—at least when she’s talking about men who have anal/oral sex with other men on the regular and without a female chaperone. While I believe a guy can have a same-sex experience without having to identify as gay or bi—straight men should have the same latitude on this score that straight women enjoy— straightness is so valued (and apparently so vulnerable) that some people can look at guys who put dicks in their mouths at regular intervals and construct book-length rationalizations that allow these guys to avoid identifying or being labeled as bi, gay, or queer. (And if sucking dick allows straight men to “authenticate their heterosexuality,” wouldn’t there be gay men out there eating pussy to “authenticate” their homosexuality?) Back to Lyon… “A lot of the straight guys who reach out to me mention that they enjoy bonding in a masculine albeit sexual way with another guy, while also still only being responsible for getting themselves off,” said Lyon. “And sharing a moment of vulnerability in this way with another guy strengthens their friendship. STEVED’s boyfriend may be mentioning this now because it’s not something he feels he should be ashamed of, it’s something well integrated into his sexuality and orientation, and he feels it is important to be open with his fiancée. Wait, what’s the problem again?” —DS

* Divorce and start over. ** Keep talking, baby steps. But if he can’t, he can’t. Tops get to have limits, too. Email your Savage Love questions to mail@savagelove.net.

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interest and support for [the Phillips Memorial Gallery] than all the rest of our collection put together.” Not all the changes in this dynamic painting are welcome revelations, though, such as the unsightly lines caressing Charigot’s right nostril. Steele proved this was merely a flub with a demonstration using the museum’s standing Leica stereo-microscope. The Phillips Collection isn’t trumpeting Charigot’s follicular flaw. Rather, Renoir and Friends highlights many positive findings from Steele and Rathbone’s close watch over “Luncheon of the Boating Party.” Both have devoted substantial portions of their careers to this painting. As the Phillips Collection’s longtime chief conservator, it falls on Steele to guard the museum’s artworks against the wear and tear of time, poor handling, and bad cleanings. The Renoir is in

er lived, or its industrial smoke and squalor that his fellow Impressionist [Jean-François Raffaëlli] had recorded,” writes art historian Hilton Brown. On the eve of its platinum jubilee, the Phillips Collection is proving how much there still is to learn about one of the most famous modern paintings of the last century. For D.C. museumgoers, “Luncheon of the Boating Party” is ubiquitous, a painting that goes without saying, as familiar from reproductions and promotions as from close and reverential inspection. In an age when spectacle shows at venues such as the Renwick Gallery or Hirshhorn Museum and Sculpture Garden command Instagram notoriety, the Phillips, too, sometimes risks going overlooked. As the Phillips nears 100, its plans are more progressive and ambitious than its audience may know. The next few years will see the museum expand its program to other parts of D.C. and, in all likelihood, open a new museum building. An opportunity to take a closer look at Renoir is a chance to see the Phillips Collection in a new light (and vice versa). Taking either for granted is a mistake. RenoIR neveR loved winter. That realization dawned on Rathbone in 1998, she says, when she was assembling a show of French painting for the Phillips called Impressionists in Winter: Effets de Neige. She was rounding up the usual suspects for her checklist—Claude Monet and Alfred Sisley and other painters whose scenes of light glinting off falling snow serve as a tentpole of Impressionism—when it occurred to her how rare it is to find a Renoir set in the cold. “Monet was physically a very hardy man. Monet was tall and big and he loved food,” Rathbone says. “Renoir was slight.” On October 7, when the Phillips opens Renoir and Friends, it will be the first-ever exhibit focusing in depth on “Luncheon of the Boating Party.” The show comprises more than 40 paintings by Renoir and his contemporaries, from works centered around the essential Maison Fournaise restaurant where “Boating Party” takes place to other portraits of the various characters from his soiree. The range of the show illustrates the fundamental challenge in re-introducing a work that is so well known to viewers: saying something new about Renoir while covering all there is to say. “It’s often been looked at as a piece that shows the social freedoms of the Third Republic in Paris, and how people of different backgrounds could mix and mingle,” Rathbone says. “That may be true, but this exhibition, by looking into who were his models—who are Renoir’s friends at this time, why they might be included in this painting—shows us that this is actually a true reflection of the range of his own personal friendships.” Courtesy of The Phillips Collection

It Is not a call you expect to ever get: Some- ception. The luminous glow of Charigot’s skin, the crystal glasses twinkling on the table, the body vandalized the Renoir. Pierre-Auguste Renoir’s “Luncheon of the striped awning flapping overhead—these feaBoating Party”—the crown jewel of the Phil- tures all seem far too effortless to disguise prolips Collection, and arguably the most pop- found revisions or corrections. Yet the paintularly treasured painting in Washington, ing contains depths, secrets that the museum D.C.—appeared to be damaged. It was a for- is still teasing out, nearly a century after the mer security guard who first pointed out the museum’s founder, Duncan Phillips, acquired flaw to me: Three ugly lines sprouting from the it for $125,000, an ungodly sum for a picture right nostril of the painting’s celebrated mod- in 1923. “Luncheon of the Boating Party”—the most el, Aline Charigot, Renoir’s muse. Up close, it looked as if a crafty delinquent significant Renoir painting in the region, if had scribbled nose hairs on Renoir’s favor- not anywhere—is the star of a new exhibition ite mademoiselle. Those stubborn lines are opening this weekend at the Phillips Collection. It’s the first in more than 20 years to put still there. As it turns out, there was no call for alarm. the painting front and center in a deliberate The blemish on Mlle. Charigot’s face is a cor- way. Renoir and Friends is the home opener for ruption of pigment, not anything drawn over a series of blockbusters leading up to the muthe surface at all. As the top layer of pigment seum’s centennial anniversary in 2021. The has turned more transparent with time, some exhibit seeks to give an utterly familiar masugly under-paint has grown more visible. While it wasn’t an art-crime emergency, Infrared image it’s a wrinkle that almost no one outside of painting the museum’s staff has ever noticed. When Renoir began painting what would become his masterpiece in 1880, he started with a different model for the figure of Charigot, the woman seated on the left who coos at her froofy pup. That much is clear from written accounts, although the other woman’s name is lost to time. Models were easy to come by in Île de Chatou, an island along the Seine, and a destination for the brightest young things of Paris. Historians and enthusiasts long suspected that Renoir had painted another figure underneath Charigot—who was the woman Renoir would go on to marry, and who served as the inspiration, some say, for every woman Renoir painted afterward, no matter who was standing in as his actual model. Underneath Charigot’s cosmetic mishap, there’s subtle evidence of dramatic intentional changes by Renoir: almost invisible yet unmistakable hints at a complete substitution partway through his process. “Charigot did come to take the place of a fig- terpiece new context, exploring the intrigue ure in the painting that he removed because of the lives of Renoir and his libertine cohort. he was frustrated with that model,” says Eli- The show goes beyond a narrative explainer, za Rathbone, curator emerita at the Phillips deploying X-ray and infrared imaging of the Collection and the organizer for Renoir and painting to allow viewers to peer behind the Friends. “He was fed up with her. We don’t curtain to see how the painting was made. “Although it appears that Renoir has just know all the reasons why. Maybe she was alcaught a moment in time—which he has sucways late. “[Renoir] called her a tart,” Rathbone adds. cessfully done—he did it after laboring over the picture a great deal,” says Elizabeth Steele, “She was no help at all.” It wasn’t until 1996, when the Phillips Col- head of conservation. “There’s almost not a lection conducted its first-ever technical re- figure or thing on the table that wasn’t altered view of its Impressionist treasure—using or slightly adjusted.” Caught in the right light (which has a techtechnology newly available to museum conservators—that anyone could say with any cer- nical term: raking light), hints of these course tainty what was happening below the surface corrections, known as pentimenti, emerge all over the painting. The viewer who has an of Renoir’s painting. That there could be levels to “Luncheon idea about where to look will find that “Lunof the Boating Party” is a remarkable notion cheon of the Boating Party” is covered with on its face. The hallmark of any Impression- tracked changes. Steele and Rathbone’s disist work is a fleeting depiction of light as it coveries give brand new insight into the histofalls on a surface, whether on a satin parasol ry of a painting that Duncan Phillips predictor the river Seine. Renoir’s painting is no ex- ed in 1923 would do “more good in arousing

excellent condition, Steele says; she cites Vincent van Gogh’s “The Road Menders” (1889), with its instances of off-brand rust coloration, as an example of a painting whose star has faded over time. So the way that Renoir manipulated or erased figures—or shuffled wine glasses around in the absolutely perfect still-life that is the heart of the painting—these are the developments that reveal the artist’s restless efforts to create a painting of perfect ease. Through supplementary artworks, Renoir and Friends unspools the turning point in Renoir’s career. “Until just before he paints the ‘Boating Party,’ he’s really struggling to make a living,” Rathbone says. “We forget what it’s like to be a painter who’s hailed as great. Well, he wasn’t always.” Other truths behind Renoir’s single greatest achievement call for a different way of looking. “One could hardly guess for the painting at the poverty of the surrounding workingclass [neighborhood], where Renoir’s moth-

washingtoncitypaper.com october 6, 2017 15

Darrow Montgomery

Elizabeth Steele

“There’s almost not a figure or thing on the table that wasn’t altered or slightly adjusted.”

Above: detail of glasses on table Below: infrared scan of detail

16 october 6, 2017 washingtoncitypaper.com

Courtesy of The Phillips Collection

Renoir and Friends includes several works by Gustave Caillebotte, a painter who, along with Monet, Sisley, Camille Pissarro, and others, had taken to plein-air painting along the Seine. A close friend of Renoir’s, Caillebotte is the only one of the more than 14 individuals to model for “Luncheon of the Boating Party” who was also an artist. The consensus holds that he shows up at bottom right, wearing a straw hat and draped over a backward-facing chair, glancing across the table at Charigot. Guessing the attendees of Renoir’s party is a favorite parlor game for a certain (stuffy) set. There is Ellen Andrée, a French actress who sat for Édouard Manet and Edgar Degas, seen sipping from a glass, as well as actress Angèle Legault, depicted by Renoir as doting on Caillebotte. The house proprietor’s daughter, Louise-Alphonsine Fournaise, and her burly brother, Alphonse, lean against the railing of the restaurant patio. Set somewhat apart from the rest, they take in the scene from opposite directions. Charles Ephrussi—the influential editor of the Gazette des Beaux-Arts and Renoir’s leading patron—shows up slightly out of place in a formal top hat. Perhaps an early faux-pas among the emergent Parisian leisure class. Actually showcasing these social connections means looking beyond the walls of the Phillips. This is no simple task: An earlier Renoir painting, “After the Luncheon” (1879), rarely leaves the Städel Museum in Frankfurt. There are relevant paintings by Caillebotte that his descendants only ever lend out for shows about Caillebotte. Rathbone says she tracked down some works that have never been shown together, or shown in a museum setting at all. More than 30 collectors and institutions, public and private alike, contributed works for Renoir and Friends. The Phillips itself owns just one painting by Renoir: “Luncheon of the Boating Party.” “It’s the only painting here required,” Rathbone says. The point in cataloging the identities of Renoir’s contemporaries is not merely to flesh out the 1880s edition of Who’s Who in Paris. The casual interactions of the cast set the painting into motion. Pairs and trios of figures form vectors and triangles of movement across the canvas. The success of the composition relies on a swirl of flirting glances between friends and paramours. The party is packed into an illusory space framed by the striped awning overhead, a crucial feature that Renoir did not think to include from the start. That fact is one that the Phillips knows thanks to its extensive technical testing of the painting, which is as central to Renoir and Friends as the narrative component. This show includes updated X-radiographic and infrared imaging of the painting first performed in 1996. Looking under the hood reveals new evidence about its construction. For example, the looming figure who completes a triad with Legault and Caillebotte at some point wore a hat, which Renoir later painted over. The realization, long in coming, helps to make sense of why something seems off with the gentle-

man’s mop of hair. “Most of the things we saw in 1996 are still the same,” Steele says. “But we have improved digital technology that made the Xray much more legible, and also we have an improved infrared camera. Looking at it a second time, I noticed things I hadn’t quite noticed the first time.” An X-ray of a painting works the same way as a dental X-ray. Some pigments are denser than others; these show up on an X-ray as light. Some pigments are transparent to X-rays, so they appear dark in the physical image. (Pigments with a heavy atomic weight, like lead white, are denser, while earth tones such as ochre are more transparent.) Infrared imaging works the opposite way: Paints with carbon in them (such as blacks and browns) absorb infrared rays. Under infrared, a specter appears where the character of top-hatted Ephrussi talks with a friend. In an earlier version, Renoir painted Ephrussi as looking out toward the viewer. The change of heart shows up as a horror-movie blur in the man’s face when seen in infrared. Renoir’s ghostly goofs are even easier to spot in the X-radiograph. Upon close examination, “Luncheon of the Boating Party” turns out to be a heavily redacted document. “All over the painting, you’ll find this brushwork that doesn’t correspond” with the surrounding area, Steele says. Drying cracks, where Renoir applied fast-drying paint over a slower-drying paint, betray earlier decisions and strategies, such as the red of the dress worn by the cocotte Renoir dismissed before he employed Charigot. Renoir and Friends also includes a new read of two microscopic paint samples taken from “Luncheon of the Boating Party.” Using a scanning-electron microscope, scientists at the Smithsonian Institution’s Museum Conservation Institute analyzed the samples in cross section, revealing nearly a dozen different layers of paint. That’s a whole lot of slapping a coat of white down over a mistake and starting over. A crosssection taken from near the top of the painting uncovers green pigment, which Renoir used to depict foliage extending all the way to the top of the painting, until he thought better of it and added some necessary architecture to reign in the composition. Using the technical images as a kind of guide or map, a viewer can start to make sense of the parts of “Luncheon of the Boating Party” that, up close, don’t really scan. Someone who has a clue can trace the barest imprints of missing wine glasses from the gemlike table-setting. There are other puzzle pieces yet to be put into place, too. With more sophisticated technology—better ways of looking— Steele hopes to find another missing person, a figure who faced the viewer and grasped the buffet with both hands. “I’ve shown this to several colleagues, and they say, ‘Hm, well, maybe,’” Steele says. “There will be another imaging technique that comes along when I’m long gone from here, and then you’ll really be able to see what’s underneath there.”

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The PhilliPs ColleCTion frames Renoir and Friends as the start of a countdown to its 100th birthday party in 2021. The museum is popping bottles early, in part because this milestone is unprecedented. The Phillips is the oldest modern art museum in America, having opened its doors years before both the Museum of Modern Art (est. 1929) and the Whitney Museum of American Art (est. 1931). It’s not just the Phillips’ birthday: the

whole idea of a house of modern pictures is turning 100. “We want to have a drumbeat of good things—celebratory, serious scholarship, new— right through to the anniversary year,” says Dorothy Kosinski, the museum’s director. Major shows in the works to follow Renoir and Friends include big surveys of Paul Klee, Pierre Bonnard, and Pablo Picasso, all powerhouses from the permanent collection. As the Phillips parties its way to 2021 with showcase after showcase, it also aims to underscore a commitment to new trends in the present— not just the greatest hits from the past. “One part of the Phillips Collection’s personality is about beautiful painting. Renoirs and Bonnards and Cezannes,” Kosinski says. “The other big part, which people tend to forget—because an object like the Renoir is so dazzling, it obscures it—is the fact that Duncan Phillips loved contemporary art. Most of his collecting activity was to directly support American contemporary artists.” The Phillips was the first museum to buy Georgia O’Keeffe, for example. The gallery gave work by Arthur Dove an early institutional home, but also gave the artist himself an annual stipend. Jacob Lawrence’s Migration Series (1940–41), which the Phillips

exciting plans all center around the future: The Phillips Collection is expanding its footprint in radical, relevant ways. In November, the Phillips Collection will take occupancy of a new storefront space east of the Anacostia river. The museum is partnering with the Town Hall Education Arts Recreation Campus (THEARC) on its new 92,000-square-foot expansion, which will share THEARC’s current campus near the Southern Avenue Metro station on Mississippi Avenue SE. Phillips@THEARC— one of four partnerships to be headquartered in the new facility—will focus on educational programs for Ward 7 and 8 residents of all ages. For this underserved demographic, the Phillips is planning K–12 educational programs, resources for teachers, and art and wellness projects. Back in 2015, the Phillips Collection announced a partnership with the University of Maryland that is already bearing fruit. The arrangement covers the gamut of scholarly research pursuits, from postdoctoral fellowships to lectures and symposia to a biennial book prize for original work in art history. Currently, the University of Maryland Center for Art and Knowledge at the Phillips Collection operates primarily from the museum’s

The Phillips Collection’s main gallery in 1927

Courtesy of The Phillips Collection

It’s fitting that science is driving new ways of thinking about Renoir. After all, it was a technological advance that made plein-air painting possible in the first place: the collapsible tin paint tube, which liberated artists from the studio and got them out into nature. The expansion of rail service between Paris and Saint-Germain-en-Laye in 1837 made boating excursions along the Seine popular with the bourgeoisie. “Luncheon of the Boating Party” captures Renoir and his elite company enjoying a phenomenon new to French society: le week-end. “I was always spoiled chez Fournaise, finding there as many pretty girls as I could wish to paint,” Renoir wrote to a friend. “The smart thing was to bring your girl friends to Chatou on Sundays and take them boating. Some people even left them there for several days to get the full benefit of the fresh air.” Putting Renoir’s physical accomplishments under the microscope, in the hopes of better explaining a painting that looks so breezy on the surface, is one way to offset an attitude that holds some sway today: that Renoir is really superficial. In 2015, an art prankster named Max Geller caused a minor stir by hosting a mock “God Hates Renoir” protest outside the Museum of Fine Arts in Boston. A silly demonstration, but not without a critical barb to it. Peter Schjeldahl ran a stirring defense in The New Yorker (“Hating Renoir Is Just a Phase”). Sebastian Smee, the Pulitzer Prize–winning art critic for The Boston Globe, doubled down on the resistance sentiment (even as he slammed it as “sophomoric”). “Is it worth getting worked up about Renoir?” Smee asked. “He is an artist I detest most of the time. Such a syrupy, falsified take on reality.” As rampant inequality pushes the world into a new Gilded Age, whatever social message once held sway in Renoir’s indulgent squad portrait seems lost (or irritatingly prescient). And while his personal life is irrelevant to an evaluation of “Luncheon of the Boating Party,” Renoir’s late descent into anti-Semitism colored even his evaluation of his Impressionist peers. That perfect day on the Seine was only ever a careful fiction. The pentimento blemish on Charigot’s face takes on an inadvertent reading of its own—a hint of creeping instability and social rot to come. “In the light of time it does not matter much who the figures are,” wrote Marjorie Phillips at the time of the painting’s purchase. The museum founder’s partner set a milemarker for judging just how much the world has changed since then: “They are every man, all people.”

shares with MoMA, is a vital record of the Great Migration, when some 6 million African-Africans fled the terror of the Jim Crow South for the industrial north. In the final years of his life before his death in 1966, Duncan Phillips bought four perfect paintings by Mark Rothko and built a modernist white cube–style annex. (It was later clad over with its current faux Georgian architectural facade.) In the spirit of following the bleeding edge, the museum is planning at least one project for 2021 to highlight its growing contemporary art collection. Further, the Phillips Collection is commissioning a new (and top-secret) permanent public sculpture for the corner of Q and 21st streets NW. According to Kosinski, the museum’s most

18 october 6, 2017 washingtoncitypaper.com

Carriage House building. But Kosinski says that the two institutions are looking to build something larger: an all-new museum facility in Prince George’s County. The university is eager to elevate the stature of its arts and humanities offerings, Kosinski says, and this project would go a long ways. “At the beginning, when we talked about a space out there, we were timid. We talked about open [art] storage, something modest, something smaller than modest,” she says. “Now we want to be bolder, because we see the huge impact we could have as a leading arts institution on the campus in College Park and in service to Prince George’s County. It would really allow us to stretch our wings a bit.” A fully fledged Phillips at Maryland would

help to fill the gap in locally focused, non–National Mall museums left by the demise of the Corcoran Gallery of Art in 2014. As it happens, the University of Maryland was one of several institutions that tried to prevent that beleaguered institution’s dissolution. To no avail: Now, much of the Corcoran’s artworks belong to the National Gallery of Art, while George Washington University serves as the steward for the former Corcoran art college and its flagship building on 17th Street NW. “We’ve experienced the unthinkable with a museum folding in our community,” Kosinski says. Reaching out far beyond its perch in Dupont Circle—and going so far to think strategically about how the Purple Line expansion could offer an opportunity to serve a lot more of the DMV—is a bold stroke for the Phillips Collection. In the art world, social equity is a new watchword, so in that sense the Phillips’ moves make sense. Yet when it comes to museum practices, social justice is more honored in the breach than in the observance. The Whitney’s move to a new jewel box that anchors the High Line in New York, or MoMA’s insatiable appetite for Midtown Manhattan real estate, does little to expand access to underserved populations. No, a new survey on “Luncheon of the Boating Party” doesn’t do much to establish the Phillips Collection’s progressive bona fides. Brown called the painting “a paean to the senses, to all the beautiful young women Renoir could never resist, to his gay and charming friends, to living and loving, to the physical world itself in all its happy manifestations.” To capture the same gathering of influencers today, Renoir might find himself lining up outside the trendiest rooftop bar in the hottest transitional neighborhood. But give Renoir his due: “Luncheon of the Boating Party” was an evolution. Driving it was Renoir’s devotion to the Rococo, especially the fête galante, an 18th-century compromise between the scenes of everyday life cherished by the people and the historical painting prioritized by the French academy. With earlier picnic scenes, Renoir tipped his hat directly to Jean-Antoine Watteau and Jean-Honoré Fragonard, but “Boating Party” was his own creation. Renoir built on the strength of Veronese’s “The Wedding Feast at Cana” (1563), a painting he knew well from the Louvre, as critics have long observed. Yet “Boating Party” was Renoir’s statement alone—a work of progress, if not a progressive work. Duncan Phillips’s knew right away that “Luncheon of the Boating Party” would be his museum’s north star. With its purchase, Duncan Phillips surmised, he had established his institution as “the possessor of one of the greatest paintings in the world.” The Phillips Collection is still searching for answers to Impressionist mysteries, even as the questions themselves keep changing. Renoir’s masterpiece put the American museum on the hunt. “Great museums are forming, private and public, bright gemlike areas of this youthful America, over the country everywhere,” Phillips wrote in 1924. “Fine art has found its place in the sun.” CP

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DCFEED

Visit Cafe Berlin on Capitol Hill this month to celebrate Oktoberfest. Their patio is decked out with streamers and faux strings of hops creating a festive atmosphere, and servers wearing lederhosen serve up a wide range of German beers and traditional fare. Don’t skip the sauerbraten ($21) or the wiener schnitzel ($24).

SNAP Gap

District residents with food stamps rarely redeem their benefits at area farmers markets, leaving fresh fruits and vegetables on the table.

Christen Hill

DC Urban Greens’ farm stand at Ely Place SE

By Christen Hill For years, the government has offered incentives to help poor Washingtonians buy healthier foods. People receiving SNAP, formerly known as food stamps, can shop at many local farmers markets and even double a portion of their benefits through various non-profit and District matching programs. The produce is often fresher, healthi-

Young & hungrY

er, and locally grown. But despite the offer of more food, many low-income shoppers are not biting. The District’s SNAP budget was more than $224 million in 2015, but city recipients redeemed only $66,129 at farmers markets that year. And the D.C. numbers tell a story playing out around the country. Nationwide, roughly $1 of every $3,500 in SNAP was spent at a farmers market in 2015. For many low-income residents, trekking to a farmers market for extra produce costs

too much in both time and transportation to make the trip worthwhile. Getting to wellstocked farmers markets often requires travelling to distant, wealthier neighborhoods. Others don’t know that the benefit exists. “It’s pretty challenging. It’s expensive and stressful,” says Kim Reid, a D.C. SNAP recipient and a mother of five, when asked about buying groceries. She says her monthly SNAP allotment is just under $600. “I spend that probably in a two-week time period. I get them on the 8th and they’re gone by the 23rd.”

If Reid were to take her SNAP debit card to certain farmers markets in the District, a manager could swipe her card for $10 and hand her $20 in tokens to spend within the market. FRESHFARM Markets, which has 10 locations in the District, offers this option. The organization fundraises to support the matching dollars and says it has given out more than $350,000 to customers since it began the program in 2009. Alternatively, Reid could take advantage of a District program called Produce Plus, which issues $5 checks that shoppers can use like cash at certain markets. Patrons can collect $10 worth of checks twice a week, meaning they have to go shopping two separate times to collect the full $20 benefit. (More successful than the federal effort, Produce Plus issued over $350,000 in redeemed checks in 2015 alone.) Reid could also combine the two programs. If she went shopping at farmers markets three separate times each week, she could increase her benefit allotment by $120 a month. But a few obstacles stand in her way. First, she had never heard of the program that allows her to use her SNAP benefits at farmers markets. “When you go to apply, they don’t bring up the farmers market,” she says. Second, her days are packed with a full-time job as a teaching assistant at a D.C. charter school and as a single mother to her five children. Third, at the time of this interview she didn’t have a car. When asked about transporting groceries, she said, “Oh my God, it’s the worst. You have to have a car.” Without one, she shopped at the Safeway where “riders”—not taxis, not Ubers, but rather local people with cars who know that shoppers like Reid need a ride—offered her lowcost transportation. Reid tries to do all her grocery shopping in one or two trips per month. “Instead of getting fresh produce, I get canned goods because they’re cheaper,” she says. “We eat a lot of pasta, which is not healthy. One meal, spaghetti, is $13. If I wanted to do fruits and vegetables, it’s expensive and it doesn’t last long,” she says. The idea to offer SNAP recipients incentive money to shop at farmers markets dates back nearly a decade, when lawmakers provided for a pilot program within the the 2008 Farm Bill. In that first year, D.C. residents on SNAP redeemed a grand total of $805 at farmers markets. The program has grown steadily in D.C. since then. Last year’s redemption total of $73,202 in the District represented an 8,993 percent increase from the program’s humble start. Yet it still hasn’t reached fam-

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ilies like Reid’s, and operates at a fraction of its capacity. “Farmers markets are by design not open every day, all day,” says Yuki Kato, an associate professor in Georgetown University’s Department of Sociology who researches food and health in urban contexts. “People with work hours that are not flexible will find it difficult to access these markets, especially if they are not anywhere near their home or work.” Kirsten Solomon, a SNAP recipient who frequents a farmers market near the Brookland Metro stop, has been able to find a way to do much of her shopping at farmers markets. “I learned about farmers market bonus bucks when I was pregnant,” says Solomon. (“Bonus Bucks” is the name of an organization called Community Foodworks’ matching program, and is available at the market Solomon uses.) She is a health food enthusiast and lives within walking distance of the market. Still, her mother usually gives her a ride to pick up groceries so she doesn’t have struggle to carry everything. Creating comparable options in some other parts of the city has proven a challenge. Dreaming Out Loud, an urban farming nonprofit, opened full-on markets—one in Northeast and one in Southwest D.C.—with the vision of bringing fresh produce to neighborhoods with few options. They invited regional farmers to come and sell their produce so that neighborhood customers could choose between multiple vendors. But within a few years, founder Chris Bradshaw had to close the two markets because of the lack of business. Customers could use their SNAP cards at his market, but he had no funding for a matching dollars program. And while he was able to dispense checks through the District’s Produce Plus program, some customers would take their checks and use them elsewhere. The vendors he recruited from rural areas in surrounding states weren’t able to sell enough to make the journey worth it. “A lot of farmers are poor too,” says Bradshaw. “It’s trying to do both but ends up not helping either one, really. I know farmers who are low income and get SNAP themselves.” Bradshaw’s organization has recalibrated with a new model, recently acquiring two acres of land at Kelly Miller Middle School in Northeast to farm. They plan to be a farmers market, but also a meeting place where area restaurants can order produce from local farmers in bulk. By doing this, they hope to supplement their income so that they don’t rely solely on customer transactions, government-funded or not. “East of the river, the markets are smaller” says Bradshaw. “The markets have less disposable income and fewer vendors, and people feel less like they want to spend their mon-

ey here,” he says. Compare that to one of the city’s most wellknown markets in Dupont Circle. It’s a large and bustling market open on Sundays yearround. Shoppers can choose from artisanal bread and a variety of meats, as well as exotic flowers. The produce collection includes strawberries, peaches, apples, and many other items, depending on the season. It’s a family-friendly event with food, rather than a food center where shoppers have a main objective of buying groceries. This market accepts SNAP redemptions, but getting there may require a long trip by bus and train. DC Urban Greens, an urban farming organization in Southeast, has found success running farms and small farm stands. The group sells produce they grow on their two urban farms—one at 3779 Ely Place SE and another at 1812 Erie Street SE—and hires residents from the neighborhoods to tend the crops, run their stands, and educate customers on how to use government benefits to get fresh food. They operate a farm stand in front of Ward 7’s Fort Dupont Ice Arena, which is in front of the Ely Place farm. Their stands are located on-site near their farms, and they stock a limited assortment of seasonal vegetables. Customers can choose from eggplants, tomatoes, peppers, greens, and a few other items in high summer, and can utilize D.C.’s Produce Plus program to expand their shopping budgets. On an afternoon in August at DC Urban Greens’ Ely Place SE location, the farm is in full bloom. The expanse of ripe fruits and vegetables is an unexpected summertime oasis in dense D.C. The 20-or-so shoppers there are chatting with each other, searching for the perfect greens, and getting ready to cook big meals—and about half of them are senior citizens. The other half of the customers do not appear to be elderly, but neither are most of them parents with little kids in tow. The same trend held true on summer visits to the H Street NE farmers market: Senior citizens were out in force to use their benefits. “There has been a strong presumption that poor people do not know how to eat healthy even if they had money, which continues to fund studies that focus on educating the poor, especially poor communities of color,” says Kato. “I find this to be a somewhat misguided approach, and condescending at the least, as people oftentimes know that eating food out or buying dinner at fast food chains is not healthy.” As Solomon, who lives near the Brookland market puts it, “I rarely buy frozen produce. I’m trying to get the closest to freshness.” CP Eatery tips? Food pursuits? Send suggestions to lhayes@washingtoncitypaper.com.

DCFEED

what we ate this week: Spaghetti with Merguez sausage, 63° egg, and shakshuka sauce, $21, Ardeo Bardeo. Satisfaction level: 2 out of 5.

Grazer

what we’ll eat next week: Piquillo peppers with whipped goat cheese, lemon zest, and pine nuts, $9, Calle Cinco. Excitement level: 4 out of 5.

Laura Hayes

CHAIN rETrACTION

By Laura Hayes

Next time you’re standing in front of a chain eatery that serves the cuisine you’re craving, consider walking a few blocks farther to find the locally owned version. It may be more important than ever to open your wallet at small, District-born businesses. National and international chains are rapidly learning that D.C. has one of the fastest growing food scenes in America, and a sizeable population that seems averse to eating a single meal at home. Jeni’s Splendid Ice Creams (1925 14th St. NW)

up on provisions before you leave. Don’t miss Brandwein’s squid ink pasta topped with tuna crudo that gently cooks when it touches the warm noodles.

Ice Cream Jubilee (1407 T St. NW)

Walk 0.1 miles. Jeni Britton Bauer calls herself “the founder of the American artisan ice cream movement” in press materials. Don’t tell two dudes named Ben and Jerry. The first Jeni’s opened in Ohio in 2002, and there are now more than 30 shops nationwide. Practically within earshot of the D.C. Jeni’s, though, is Victoria Lai’s Ice Cream Jubilee. Don’t miss Lai’s creative flavors; some, like Chocolate Barley Beer and Banana Bourbon Caramel, fold in booze. RPM Italian

Centrolina

(650 K St. NW)

(974 Palmer Alley NW)

Walk 0.4 miles. Sure, Giuliana Rancic has D.C.-area roots, but RPM Italian comes to the District via Chicago. Try Centrolina from Chef Amy Brandwein instead. Her pastas fall in the same price range as RPM Italian, but Centrolina boasts a market so you can stock

Popeyes Louisiana Kitchen

Mason Dixie Biscuit Company

(3200 Bladensburg Road NE)

(2301 Bladensburg Road NE)

Walk or drive 0.9 miles. Popeyes has history on its side. The chain was born 45 years ago in New Orleans and now has 2,600 restaurants in the U.S. and around the world. But local fried chicken and biscuit slinger Mason Dixie Biscuit Company has some accolades of its own, including winning “Best Biscuit in America, Critic’s Choice” at the 2015 International Biscuit Festival. Its classic fried chicken thigh sandwich is made from hormone-free chicken. Nobu

Kaz Sushi Bistro

(2525 M St. NW)

(1915 I St. NW)

Walk 0.7 miles. Nobu has more than 35 locations world-

Top of the Hour Where: Taqueria Nacional, 1409 T St. NW; (202) 299-1122; taquerianacional.co Hours: 4-7:30 p.m. Monday-Friday; 9-11 p.m. Saturday Drink specials: $4 beers including Pacifico, Tecate, and Corona; $5 for wine; $6 for margaritas

Will Warren

Food specials: None Pros: The problem with happy hour is the unforgivingly narrow window of time you have to enjoy discounted drinks. Not so at Taqueria Nacional. With a 4 p.m. start time, this taco joint housed in an old post office encourages knocking off early. And if you’re running late, a 7:30

wide and spent $10 million on its D.C. buildout. You’ll pay a high price to eat at one of the 250 seats in Nobu’s 11,000square-foot D.C. space because the lion’s share of dishes contain lobster or caviar. Two pieces of octopus nigiri sushi will run you $14. Down the street at sushi stalwart Kaz Sushi Bistro, the same two pieces of octopus over rice cost $7.50. Nagoya, Japan native Kaz Okochi opened his restaurant in 1999 and has helped set the standard for sushi in D.C. Dunkin’ Donuts (801 Pennsylvania Ave. SE)

District Doughnut (749 8th St. SE )

Walk 0.3 miles The Saturday Night Live Dunkin’ Donuts skit might be one of the best non-political sketches Lorne Michaels’ troupe has rolled out recently, but the chain’s Boston Kremes don’t hold a candle to what’s happening at District Doughnut. Their chocolate peanut butter doughnut packs in more flavor than a Reese’s cup, and they even experiment with an everything bagel flavor filled with cream cheese.

p.m. last call provides a generous cushion. Even better, the restaurant inexplicably extends the deal to Saturday evenings. The offerings and environs are perfect for our fickle fall weather that swings between boiling hot and appropriately crisp—you can enjoy a frozen margarita on its T Street NW patio, or sip a red wine next to the open kitchen. Cons: After your second beer you might find yourself disappointed that Taqueria Nacional doesn’t offer discounted food. Still, with tacos starting at just under $3, it’s not hard to mix and match your way to a meal. In-the-know patrons turn to the tostada, topped with all the fixings and your choice of meat. —Will Warren

Veg Diner Monologues A look at vegetarian dishes in the District that all should try

The Dish: Veggie Steak & Cheese Sandwich Where to Get It: The Greek Spot, 2017 11th St. NW Price: $9.75 What It Is: A certain stigma surrounds the “fake meat” used in vegan or vegetarian meals. In defense of herbivores everywhere, know that this stigma is bullshit. Sure, “fake meat” may have been a gross, chemically concocted semblance of food in the ’80s and ’90s, but today that’s not the case. In fact, the variety of “fake meat” is so great that a vegetarian with a hankering for just about any type of meat-centric dish need not look far. Such is the scenario at The Greek Spot in the U Street NW corridor, which offers perhaps the finest veggie steak & cheese sandwich my mouth has ever encountered. Soy strips are grilled to perfection and topped with grilled onions, fresh lettuce, tomato, hot peppers, American cheese, and mayonnaise. Eating vegetarian doesn’t always mean eating healthy. The Story: The Greek Spot first opened its doors in 2006 and quickly established itself as a staple of the nrighborhood, with its fast-casual, homestyle take on classic Greek fare like pastichio, moussaka, and gyros. But what’s kept The Greek Spot a go-to, er, spot after all these years is its emphasis on fresh, healthy ingredients, which includes a wide selection of options for vegetarian and vegan diners. They make cheap, fresh veg options a priority rather than afterthought. Why Even Meat Eaters Will Like It: Meat eaters will be skeptical of any plant-based ingredient posing as meat. If they can get that idea out of their heads, they’ll find a hearty sandwich full of smoky, flavorful soy protein. —Matt Cohen

washingtoncitypaper.com october 6, 2017 23

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CPArts

Let’s Take This Offline A Creative DC sets up a new headquarters and widens the scope of its programming.

Morgan Hungerford West

Malissa WIlkins, third from left, listens at the closing panel for CATALYST.

By Stephanie Rudig InsIde a lIght-fIlled studio with a wide-open garage door on a recent afternoon in September, an emotional and inspiring panel is unfolding. Malissa Wilkins, a multi-disciplinary artist who often works under the moniker Afrovelvet, has recently completed the first artist-in-residence program for A Creative DC, and is holding a panel to close out her exhibit CATALYST. She’s joined by four other women she’s collaborated with on various projects. As the group discusses their artistic practices and other endeavors, the conversation turns emotional, and attendees laugh and murmur in agreement. “We should have recorded this, it’s so good,” Morgan Hungerford West laments. A true “you really had to have been there” moment. Since 2014, the phrase— or rather, the hashtag— #aCreativeDC has been a ubiquitous coda on the social media feeds (mostly Instagram) of nearly every D.C.-based millennial with any shred of creative ambition in their bones. What started as a year-long social media and blogging flight of fancy for West to “see D.C. through a bunch of different lenses” has blossomed into a full-fledged brand: A Creative DC has over 76,000 followers on Instagram and 9,000 on Twitter. Between the two feeds, the hashtag has been used close to a million times. Check out posts tagged with #aCreativeDC and you’ll find all manner of the District’s creative pursuits, from guitar strumming to glitter bombing to gourmet cooking. Tag your own post, and it may be blasted out on A Creative DC’s social media accounts where it’ll be seen by thousands of users. It’s not hard to define A Creative DC’s influence (you can even call it an “influencer,” if you’re into marketing buzz-

words), but what is harder to define is what, exactly, A Creative DC is.

the four-person A Creative DC team sees their project as a touchpoint that lifts up the work of different artists and creative entrepreneurs. After making an undeniable splash in the digital sphere, A Creative DC is applying those strategies to IRL events. They’re hoping that people will use their physical space, which is available to be booked, for their own programming and creative pursuits. It’s located along Brookland’s Monroe Street Arts Walk, allowing the group to reach different audiences and support creative communities in new ways. West herself keenly understands the critical need for arts spaces. She even gave up her own for the cause. She first rented what is now A Creative DC’s studio five years ago, at the time sharing it with a friend. Last year, she took the lease on herself, realizing she could use it as a homebase for A Creative DC activities as well as a resource for other artists. “The space allowed me to grow,” West says. “I would not have the career I have now unless I had space.” The first use of the communal studio room was the launch of the aforementioned artist-in-residence program. Wilkins was a natural fit to kick off A Creative DC’s artist-in-residency program. She’s a D.C. native and works across just about every discipline imaginable, including fashion design, photography, styling, music, and graphic design. Prior to her residency, Wilkins was working on her projects out of any space she could find. “My living room, other people’s living rooms, the Portrait Gallery, the MLK library,” Wilkins recalls. “Just around the city, wherever I could find [somewhere].” In 2013, she coordinated a photoshoot to highlight the vast range of black female identity, selecting 18 models and styling all the looks herself. The resulting photo series, CATALYST, shows women filling roles from soccer players to rock musicians to scholars. “There’s always an image around black individuals in entertainment, but I am a strong believer that we have a whole image that people don’t know about and that we want to show to the world,” Wilkins says. After a failed attempt to mount the series as an exhibition, Wilkins was feeling defeated. “I didn’t have the money myself to print them. I didn’t really know how to print them,” she recalls.

Majority Rule and pageninetynine raise more than $36,000 for charities on their recent reunion tour. washingtoncitypaper.com/arts

“It’s really hard to get visibility in D.C., especially when you don’t really have resources or you don’t know how to get space.” CATALYST isn’t the only event that Wilkins has produced with the help of A Creative DC. She put on a fashion show in the studio, which featured live music from fellow musicians. “It’s been a priority of hers to share the space with people, bringing in other creatives,” says Damon King, A Creative DC’s community engagement manager. “So we’re supporting her, and she’s immediately supporting other people. Not everybody thinks like that.” Wilkins’ impulse to use her residency to support other artists fits in line with another one of A Creative DC’s primary goals: community engagement. One of the first bookings in the studio was a pop-up for the mobile bookstore Duende District, which is currently testing out options for a permanent spot. Duende District curates selections of books written by diverse authors, and wants to engage with local people wherever it pops up. Their pop-up at A Creative DC ran for five days, with walls decked out with work by local artists and events like an open mic poetry night. photo exhIbItIons and pop-up bookstores aren’t A Creative DC’s first forays into in-person events. Within a few months of launching their social media accounts, they started doing meetups for the creative community at Maketto. Ayana Zaire, who was an intern for A Creative DC before becoming its events manager, facilitated discussions on issues that Distrcit artists face. The crowd was comprised of “young folks to folks that had been here a long time, native D.C. people and people who had just moved here and were trying to tap into a community that they knew existed,” Zaire recalls. A Creative DC also partnered with the DC Public Library Foundation in 2015 to put on coworking days in the Martin Luther King Jr. Library. Anyone working in any creative industry could apply to attend the coworking days. “I would craft these lists of people who I thought would be cool to get in the same room together,” Zaire says. In a city where the creative scene can sometimes feel scattershot or hidden, West says that “people were excited about opportunities to connect in real life.” Even within the social media feeds, A Creative DC’s goal has always been to spur the audience to get out and have tangible experiences. “Digital is just one side of the story,” West says. Ultimately, she wants people to support the work of the creatives in the feed, whether that be eating at a local chef ’s restaurant or attending a local comedian’s show. A Creative DC has plans to expand their footprint even more: They’re slated to have a podcast on the forthcoming Full Service Radio network, which A Creative DC will use “to invite people in and spend time with them,” according to West. All of Full Service Radio’s programming will be recorded live in the lobby of the soon-to-open LINE hotel in Adams Morgan, where guests can drop by and watch interviews with local figures in real time. Though A Creative DC’s primary concern is showcasing the District’s creative community to the city, it doesn’t hurt if it drives some hordes of tourists off the National Mall in the process. “We have a 7.1 billion dollar tourism industry,” West explains. “If we can post about a local artist that’s having a show at Anacostia Arts Center, let’s get people over there. Let’s have them getting a Dolcezza gelato or something.” CP washingtoncitypaper.com october 6, 2017 25

CPArts Arts Desk

At the Washington Project for the Arts, Beltway Public Works showcases a “Lending Library” for art. washingtoncitypaper.com/arts

Big Hush Spirit/Wholes Robotic Empire

The Scene RepoRT

Fuzz-pop worthies Big Hush know when to contain their shoegaze proclivities in something simmering and pretty, and when to let everything—those flannel-clad riffs, those moaning harmonies, all that cortex-throttling noise—hang out. Spirit/Wholes collects their strong EPs from 2014 and 2015, plus a new song, “Soft Eyes,” which bleeds the band’s usual Crayola box of rude colors over a gratifyingly hydraulic frame.

New local music that spans genres, from achingly beautiful bedroom pop to grunge to Americana. —Jonathan L. Fischer ezra Mae and the Gypsy Moon Valleys in the Dust Self-titled

RIYL: Sebadoh (the raw stuff), Tsunami (the loud stuff)

This late-’60s-stanning group makes bluesy music that is generally quiet, hazy, and touched by the mystical; that stuff’s fine, but it’s the scratchy, thrumming epiphanies in songs like “Wandering Preachers” that make their time machine inviting. If you’re going to deploy those hot, hot licks and those astral-plane organs, you might as well summon some demons. RIYL: Jefferson Airplane, the fact that D.C. once had a venue called the Psychedelly

keeper Salting Sad Cactus Records

Blue Plains S/T Self-released

Zines and mp3 blogs used to call this kind of bedroom pop “achingly beautiful,” with good reason. Sparse and spectral, the songs of this trio have an epistolary feel, where every breath, nocturnal guitar twinkle, and barely-there synth line seems painstakingly selected; it feels all the more unburdened and cathartic for how careful it is. “Throw punches like an orphan/ a regression toward the mean,” sings Marissa Lorusso, who cuts her lyrics with scalpels. “Now no one’s gonna trust me, when I tell them what I see.”

A zippy, gravelly Americana unit that happens to be named after D.C.’s wastewater treatment plant and has learned some lessons well. For starters, that three chords and the truth can get you pretty far, but a good fiddle player can help you scratch heaven’s basement. This alt-country group has a pleasantly undergraduate vibe, complete with Mike Mills-style background “whoa-ohs;” it’s possible they were shooting for a “millennial whoop” with a bit of twang, but they’ve landed someplace a bit more rooted.

RIYL: Galaxie 500, A Weather, The Softies

RIYL: Son Volt, early Avett Brothers, sewage treatment

Listen to these albums at washingtoncitypaper.com/arts. 26 october 6, 2017 washingtoncitypaper.com

fRieNDship Walks A WALK TO END HOMELESSNESS

Matthew bOurne’s p r o d u ct i o n o f

Please join us for a 1.5 mile fun walk around the National Mall focused on ending homelessness in the D.C. region

S at u r D ay, N o v e M b e r 4 , 2 0 1 7 10:30aM - 12PM NatioNal Mall • WashiNgtoN, DC Photo by Hugo Glendinning

@fRieNDshipplaCe

/fRieNDshipplaCeDC

@fRieNDshipplaCe

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

washingtoncitypaper.com/ calendar

RobeRt e. PaRilla PeRfoRming aRts CenteR

2017-2018 College Performing arts series Based on Greg Kotis’ book of the same name Music and lyrics by Mark Hollman and Greg Kotis Based on the film By Michael pOwell and eMeric pressburger and the hans christian andersen fairy tale music By bernard herrMann

OctOber 10–15, 2017 | Opera hOuse October 11–13, 2017, 8 p.m., October 14, 2017, 2 p.m.

Winner of three Tony Awards, Urinetown the Musical is the hilariously touching tale of love, greed, and revolution. With songs like “Follow Your Heart,” “The Privilege to Pee,” “Run Freedom Run,” and “We’re Not Sorry,” this show is one not to be missed. Tickets are $10 Regular, $8 Seniors, and $5 Students with Student ID Montgomery College • 51 Mannakee St., Rockville, Maryland 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301

tICKEtS ON SALE NOW! KENNEdy-CENtEr.Org | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400. For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540.

International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

washingtoncitypaper.com october 6, 2017 27

TheaTerCurtain Calls Native Gardens

Make Our Garden GrOan Native Gardens

By Karen Zacarias Directed by Blake Robison At Arena Stage to Oct. 22 Somewhere in the depths of Ward 3, the two couples in playwright Karen Zacarias’ Native Gardens debate the fate of their properties. Specifically, they fight over the merits of peonies and oak trees, English ivy and tea roses, and which plants are best suited for a mid-Atlantic environment. Compared with the problems other District residents face, the problems of these four individuals seem insignificant. “White people problems,” one might say. But the play isn’t really about gardens. The gardens stand in for a bigger problem: what happens when the neighborhood occasionally referred to as “Upper Caucasia” starts to look less Caucasian. On one side of the acrimonious fence that divides the couples reside Frank and Virginia Butley (Steve Hendrickson and Sally Wingert), a retired bureaucrat and defense contractor, respectively, who’ve lived in the neighborhood for decades. On the other side, fixing up a run-down house previously rented by American University students, live Pablo and Tania Del Valle (Dan Domingues and Jacqueline Correa). He’s an associate at a downtown law firm, and she’s finishing graduate school and preparing to give birth to their first child. When Pablo invites everyone in his firm over for a barbecue, he and Tania decide to make the backyard look nicer by replacing the old fence between the two yards. A quick review of the property boundaries leads to the evening’s central conflict. The couples gather over a bottle of wine to discuss where the fence will go, but things become fraught and they begin to fight. Zacarias’

cutting dialogue briefly reminds audiences of a Who’s Afraid of Virginia Woolf? for the K Street set. The Butleys lament their insignificance and wildly gesticulate with their wine glasses while the Del Valles watch with a mix of fascination and horror. Frank, for example, asks Tania, a native New Mexican, about life south of the border when in fact, her fair-skinned Chilean husband is the immigrant, and both of the Butleys praise both Presidents Bush. (It’s easy to imagine the fictional older couple participating in the real-life debate over the Ward 3 homeless shelter.) This probing of new and old D.C. residents feels, for a moment, refreshing. Soon enough, however, the comedy reverts back to its shallow observation of local social customs. Zacarias has thrown in enough topical jokes to keep Arena Stage subscribers laughing regularly. When Pablo and Tania find out Frank’s reference to “The Agency” means the GSA, not the CIA, the audience roars. They do the same during an extended riff on current and former Washington Post slogans—patrons might as well show up wearing “Democracy Dies in Darkness” t-shirts. Zacarias, who lives in the District with her family, proves she knows the region well and Arena’s hyper-literate audiences pick up on nearly every joke. What’s less clear is how these jokes—and the show as a whole—landed in Minneapolis and Cincinnati, where it played previously. The performers, all making their Arena Stage debuts, do their best with material that’s pointed and political in one moment and tiredly trite the next. While they fall victim to cliched gesturing every once in awhile, they get the appeal of performing for a hometown crowd and relax into their roles. The supplemental ensemble members, who don’t speak but appear in select scenes as construction workers and babysitters, add extra enthusiasm. Though the play, running a brisk 90 minutes, zips by, it misses a chance to thoroughly assess the assumptions the Butleys and the Del Valles make about each other. No one actively questions the privileges that brought them

28 october 6, 2017 washingtoncitypaper.com

Death of a Salesman

west of Rock Creek Park, but hey, at least the conflict gets wrapped up in a predictable package in the final 10 minutes. Laugh all you want at this neighborhood listserv debate distilled for the stage. Just don’t expect a deeper analysis of current issues affecting urban homeowners. —Caroline Jones 1101 6th St. SW. $41–$101. (202) 554-9066. arenastage.org.

death BecOMes hiM Death of a Salesman

By Arthur Miller Directed by Stephen Rayne At Ford’s Theatre to Oct. 22 in 1949, the year that Arthur Miller’s Death of a Salesman received the Pulitzer Prize for Drama and the Tony Award for Best Play, life expectancy for American men was 65 years. Miller beat the odds for his own generation handily: He was 89 when died in 2005. More mysteriously, he was only in his early thirties when he wrote what remains the best contemporary play about the horror of aging and decay—whatever else it may say about the grinding wheels of capitalism. Willy Loman, that 60-something salesman who [spoiler warning] dies, is, paradoxically, the Miller character who seems the most proof against expiration. One need look no further than the sturdy, stirring production of Salesman at Ford’s Theatre to celebrate—or mourn—his unlikely resilience. It’s notable, still, that a person of color has been cast in the role, but what makes this production essential is that it’s Craig Wallace in Loman’s shabby suit. He’s a decade younger than the character, but that’s no matter. Wal-

lace has worked steadily all over town for 30 years. I’ve seen him in a dozens of plays but never this varied in his choices or this vulnerable. The name “Willy Loman” conjures a slight figure, but Wallace’s stocky, powerful frame makes Loman’s descent in dementia all the more tragic to observe. He’s superb. So, too, is Tim Mackabee’s set, a multi-story structure of disembodied windows that suggests the cathedral of memory in which Loman increasingly lives. The many scenes in which he vanishes into his own past for several moments before we’re reminded, by one of the frightened onlookers—a waiter, a secretary—that he’s hallucinating and talking to himself are achieved seamlessly, without obvious changes to the lighting palette or sonic clues. The balance of the casting is just as astute: Kimberly Schraf, Wallace’s real-life partner of two decades, plays Linda, the wife who’s buoyed by the nostalgic scent of shaving lotion in her home and who wants only for her husband’s suffering to end. It’s not one of the great roles, but Schraf gives a great performance, buffeting away the excess of sentimentality that will always threaten to overwhelm the stage as Linda informs Willy’s headstone that she’s at last paid off the house. As the couple’s adult sons, Hap and Biff, Danny Gavigan and Thomas Keegan have the unenviable jobs of making their postwar slang and jocular ribbing sound less corny and frankly, queer, than it may have when the play was new, and also of inhabiting their characters both as adolescents and grown men. They’re terrific, but Keegan especially, as the faded jock who never recovered from the wounds of his adolescence. Some guys disappoint their distant fathers and turn into John Cheever or Bruce Springsteen; some of them, like Biff, turn into nothing. He and Willy are both victims of their great expectations for one another, and the tragedy that turns on their mutual disappointment remains vibrant in its old age. —Chris Klimek 511 10th St. NW. $25–$62. (202) 347-4833. fords.org.

Japanese Connections featuring Kazunori Kumagai

Yumi Kurosawa

Masa Shimizu, Samuel Torres, with special guest Alex Blake

with special guest Virgil Gadson

October 18, 2017 at 7:30 p.m. | Terrace Theater TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540. This engagement is supported by the Japan Foundation. International Programming at the Kennedy Center is made possible through the generosity of the Kennedy Center International Committee on the Arts.

GREAT PERFORMANCES AT MASON CFA.GMU.EDU

With the famous “Bacchanale”

VIRGINIA OPERA

SAMSON AND DELILAH

Exhilarating work!

Shadowland

FRIDAY, OCTOBER 13 AT 8 P.M.

SATURDAY, OCTOBER 7 AT 8 P.M. SUNDAY, OCTOBER 8 AT 2 P.M. ff

Family Friendly performances that are most suitable for families with younger children

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THE MARTIAL ARTISTS AND ACROBATS OF TIANJIN China Soul FRIDAY, NOVEMBER 3 AT 8 P.M. ff SATURDAY, NOVEMBER 4 AT 2 P.M. AND 8 P.M. ff

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PILOBOLUS

ON TI SA CKE LE TS NO W

DOUG VARONE AND DANCERS

in the shelter of the fold featuring Mason Dance Company SATURDAY, NOVEMBER 18 AT 8 P.M.

Located on the Fairfax campus, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123. washingtoncitypaper.com october 6, 2017 29

FilmShort SubjectS Lucky

A LAsting LegAcy Lucky

Directed by John Carroll Lynch You don’t have to know who Harry Dean Stanton was to enjoy Lucky, a marvelous and joyous character study. But it might help. Stanton was a character actor in Hollywood for more than 60 years and was known for his hard-living lifestyle. He drank and smoked, and he looked like it. He became a star in indie circles for his soulful work in Paris, Texas and Repo Man, among others. He died in September, and Lucky is his final performance. Any actor would be so lucky—forgive the pun—to have such a film be their last. Like Stanton at the time of filming, Lucky is a grizzled nonagenarian who has survived longer than anyone could have predicted, including himself. A veteran of World War II, he lives in a tiny desert town in Arizona. By day, he drinks coffee at the diner. By night, it’s Bloody Marys at the bar. It’s a kind of purgatory. His doctor (a bemused Ed Begley, Jr.) tells Lucky that, despite his years of abusing his body, he’s perfectly healthy. “If it could have killed you,” he says, “it would have by now.” The void is waiting for Lucky, but not necessarily soon, and so all that hangs in the balance is Lucky’s soul. When one character gives him a pep talk about remaining open to love, the whole bar crowds around to see his reaction. Lucky finally blurts out, “Bullshit,” and they groan and disperse. Although Lucky’s age, lifestyle, and setting makes for a unique portrait, his journey is universal. He’s lost and frightened, not of death but of not knowing his place in the world. Just like the rest of us. It’s a role that could not possibly be imagined with anyone but Stanton playing it. Few actors make it to 90, and even fewer survive six decades in show business, so Stanton’s illustrious filmography allows fans to fill in the gaps in the character’s life. We know Lucky served in World War II and that he never married, but that’s about it. A key moment in which Lucky fully lets down his defense and sings the truth

in his heart feels entirely unexpected and yet in keeping with his courageous character. R ichly textured and heartfelt, Stanton’s performance is a flower that unfolds carefully, revealing its vulnerable interior. And the film does its actor justice. First-time director John Carroll Lynch (himself a veteran character actor) imbues each moment, no matter how banal it might seem on the surface, with an innate understanding of its purpose. A series of conversations with Lucky’s friend (David Lynch), who has just lost his pet tortoise, doubles as an inquiry into the meaning of friendship. Coffee with an estate lawyer is either a heartfelt reconciliation between two enemies, or a sales pitch by the lawyer disguised as one. Every second in Lucky contributes to its greater meaning, a remarkable achievement for a freshman filmmaker. The lessons learned from Lucky and Stanton’s career, capped off by this moving performance, are the same: You don’t have to be an expert or a virtuoso to succeed. You just have to know what story you’re telling. —Noah Gittell Lucky opens Friday at Landmark Bethesda Row Cinema.

genres—science fiction and film noir—while inventing new genres along the way. Its special effects still hold up, and parts of its vision of 2019 are depressingly similar to the world today. Still, it is a strange film, with underdeveloped characters and more atmosphere than story. In other words, any Blade Runner sequel would be met with high expectations, and not just because the identity of its hero was a minor controversy—at least until now. Directed with more style than substance by Denis Villeneuve, Blade Runner 2049 improves upon the original film, even if it cannot capture what made it so special. It’s been 30 years since the events of Blade Runner, and replicants—androids who seem human, except for enhanced strength/agility—are still necessary components of the inter-planetary economy. “Blade Runners” are cops who hunt down rebellious replicants, often terminating them on sight. Ryan Gosling plays K, one of these cops, and when we first meet him, his assignment is Sapper Morton (Dave Bautista). There are mysterious things around Morton’s compound: He has an actual tree, for example, which is rare in a future where the climate cannot support vegetation or animal life. K looks into Morton’s history, and finds a connection to Deckard (Harrison Ford), a former Blade Runner who has been missing for years. This film follows K’s investigation, leading him to shake the foundations on which the future is built. Villeneuve has cemented himself as a cerebral genre stylist—his recent films Sicario and Arrival are both visually striking and shrewdly constructed—but here he outdoes himself. Along with cinematographer Roger Deakins,

Blade Runner 2049

Future Visions Blade Runner 2049

Directed by Denis Villeneuve Released in 1982, the original Blade Runner is arguably more influential than it is beloved. It successfully weaved together two disparate

30 october 6, 2017 washingtoncitypaper.com

Villeneuve creates one beautiful, composed image after another. Sometimes the frame is rich with color: The compound where replicants are manufactured is bathed in yellow light, with dramatic architecture designed to create even more dramatic shadows. There are other scenes drained of light, such as a harrowing fight sequence that takes place in pools of unforgiving blackness. Composers Benjamin Wallfisch and Hans Zimmer deepen the style, with music that comments on Vangelis’ mem-

orable score but adds deeper, almost pulverizing electronic thrums. Through sheer filmmaking craft, in other words, Blade Runner 2049 is a singular theater-going experience. The irony is that, relatively speaking, the story is quite conventional. The details of the mystery lead to a series of character-heavy vignettes, adding dimension to the world through dialogue that borrows from classic noir tradition. K is also a noir hero: a little out of his depth, with a reserved nature and an acutely felt moral code. At first, Gosling’s performance seems too detached, but as the plot unfolds, Gosling reveals surprising depths to K. His best scenes involve interactions with women: Robin Wright plays his commanding officer, who is prickly and oddly nurturing. In the film’s strangest and best scene, K has a tender, artificial embrace with his girlfriend Joi (Ana de Armas). Villeneuve pushes emotional and physical desire to their logical endpoint, leading to a love scene that is equal parts unseemly and tragic. Still, anyone who has seen the original film more than once can figure out how Deckard fits into the puzzle K attempts to solve. Part of Blade Runner’s appeal is how it rewards multiple viewings. That is not because the film is inscrutable, but because of director Ridley Scott’s attention to detail. Like Alien and countless other Scott films, Blade Runner is a marvel of production design. Even the junk in Deckard’s original apartment adds subtext to its themes. Blade Runner 2049 does not share the same obsessive desire to fill the frame with world-building clues and details. Instead, Villeneuve focuses on striking imagery. He likes shots with clean, sharp lines, almost like a minimalist painter. His approach is gorgeous, and yet may not inspire the same obsessive devotion. Blade Runner 2049 also answers many more questions than the original film, so fans will not peer into K’s office or apartment with the same hope of another clue, no matter how inconsequential it may seem. In its oblique way, Blade Runner is one of the first sci-fi films to ask what it means to be human. There is some of that same inquiry here, except it is in service of characters, rather than something more philosophical. Jared Leto makes a memorable impression as Wallace, a replicant-designing industrialist, and his monologues are filled with brutal, realistic dispassion for replicants and humanity. No one in Blade Runner 2049, not even Wallace, comes close to answering the biggest questions, yet Villeneuve and his screenwriters create the suggestion of serious art. Maybe the effect mirrors what it would be like to encounter a replicant: so close to the real thing, but missing enough that the flaws are all the more apparent. If the absence of soul is maddening, at least it is easy to appreciate the craft. —Alan Zilberman Blade Runner 2049 opens Friday at theaters everywhere.

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Whoopi Goldberg Friday, October 13 | Concert Hall The multitalented comedian, author, actress, and activist returns to the Kennedy Center for a night of stand-up comedy presented as part of a 20th anniversary celebration of the Mark Twain Prize, which she won in 2001.

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600

Comedy at the Kennedy Center Presenting Sponsor

Tickets also available at the Box Office. R

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

washingtoncitypaper.com october 6, 2017 31

MusicDiscography NEA JAZZ MASTER LEE KONITZ AT 90 OCTOBER 14 AT 7 & 9 P.M. | TERRACE THEATER

CARRIE MAE WEEMS GRACE NOTES: REFLECTIONS FOR NOW OCTOBER 20 AT 8 P.M. | EISENHOWER THEATER Part of JFKC: A Centennial Celebration of John F. Kennedy.

DIZZY GILLESPIE CENTENNIAL CELEBRATION OCTOBER 21 AT 8 P.M. | EISENHOWER THEATER

TICKETS ON SALE NOW! KENNEDY-CENTER.ORG | (202) 467-4600 Tickets also available at the Box Office. Groups call (202) 416-8400.

For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540. Support for JFKC: A Centennial Celebration of John F. Kennedy is provided by Ambassador Elizabeth Frawley Bagley, Chevron, the Blanche and Irving Laurie Foundation, Northern Trust, and Target.

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

PROGRESSIVE ‘HAUS Are These The Questions That We Need To Ask? Paperhaus Misra Records

Web metrics probably aren’t the most important thing to Paperhaus, given that the D.C. band was formed and nurtured in the now-legendary Petworth DIY house/show space of the same name. But here’s a number that can’t be ignored: As of the end of September, the Soundcloud page for its seven-minute single “Go Cozy” had registered more than 5 million plays. The track got a big bump from a July feature in Billboard, but its modest virality speaks to something broader: For a patently indie band draped in art-pop, krautrock, and post-punk, the future is bending perceptibly toward breezier pleasures. “Go Cozy,” which deftly hops across all those genres, is hardly the only uber-listenable song on Paperhaus’ new album, Are These The Questions That We Need To Ask? Founder/frontman Alex Tebeleff and his bandmates retain their usual sincerity, but they’re more attuned to showing some heart.

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dc.craftybastards.com 32 october 6, 2017 washingtoncitypaper.com

It’s not pleasure just for pleasure’s sake, though. The layers of inquiry in the album’s title ripple underneath all eight songs, which take glimpses of doubt and frame them with optimism and, on occasion, a little showmanship. When Tebeleff asks, “Can you believe the times we’re livin’ in?/ How can we get through it?” at the outset of “Nanana,” he hardly sounds defeated or bummed. When the “na na na” chorus kicks in, it’s more like a fight song for the DIY nation—imagine Radiohead’s “Airbag” as a jock jam. There’s genuine dread elsewhere, but Pa-

perhaus couches it: Album opener “Told You What To Say,” which muses about the basics of authoritarianism, has an unsettling keyboard riff and a portentous bassline, but there’s melodic glimmer to spare. The synthheavy monster mash “Walk Through The Woods” shows its paranoid side immediately—there are no surprises here, except maybe the saxophone—but the song exits with a moody sound collage. The whole thing is overcooked, but it’s more theatrical than flatout pretentious. Elsewhere, Paperhaus takes interpersonal tensions and purposefully inflates the music around them. “It’s Not There” (a quote-unquote love song with DNA borrowed in equal parts from J. Robbins and Echo & the Bunnymen) and “Serentine” (a too-serious pop track nearly saved by sneaky Talking Heads-style polyrhythms) each strive to transcend whatever human complications might be at the core of the lyrics. Sometimes pure momentum does the job: “Needle Song” has slippery and cavernous elements, as if Paperhaus is careening around some urban nowhere, but the highBPM rhythm is nonetheless perfectly danceable. And album closer “Bismillah”—the only slow-building track here—eventually diffuses its abstract metaphysics with a surging, guitarheavy coda. Above all else, Paperhaus gives obsessive attention to the sonic details. Are These The Questions That We Need To Ask?—recorded with Peter Larkin at his Alexandria studio, The Lighthouse, and released through Pittsburgh’s Misra Records—has nary a snare hit or an echo effect out of place. Consider the breakdown about halfway through “Go Cozy.” Space opens in the mix. Handclaps announce that things have taken a turn. Bass thumps and synth squiggles compete for attention. When the main guitar motif kicks in, it resonates with confidence. Those kinds of sonic entrances and exits are a bit of a local signature, from The Dismemberment Plan’s classics, to Beauty Pill’s Beauty Pill Describes Things As They Are, to whatever smart things The Caribbean cooks up regularly. It’s not the sound of the city, per se, but it’s a very D.C. kind of intelligence. In Paperhaus’ case—especially with the band’s houseshow venue recently moved to a new location— the smarts come with an obvious desire to connect, and connect well. —Joe Warminsky Listen to “Are These The Questions That We Need To Ask?” at washingtoncitypaper.com/arts.

Merriweather Post Pavilion • Columbia, MD

THIS SATURDAY!

OPUS 1 - Experiences in Art + Sound

A convergence of art, music, and technology featuring immersive exhibitions and site-specific mixed-media installations. For more info and to reserve free tickets, visit opusmerriweather.com .......................... OCTOBER 7

THIS WEEK’S SHOWS

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

Cameron Esposito & Rhea Butcher: Back to Back Seated show! Early Show! 6pm Doors ..................................................................Sa OCT 7

Echostage • Washington, D.C.

AEG PRESENTS

U STREET MUSIC HALL PRESENTS Troyboi w/ Slumberjack Late Show! 10pm Doors ................................................ Sa 7

Flying Lotus in 3D

Ron Pope w/ Ages and Ages & The Heart Of ................................................... Tu 10

....................NOVEMBER 5

2135 Queens Chapel Rd. NE • Ticketmaster

OCTOBER

NOVEMBER (cont.)

Against Me! w/ Bleached & The Dirty Nil .........F 13 Drew Holcomb & The Neighbors w/ Lewis Watson ........................Sa 14 Julien Baker w/ Half Waif & Petal (Solo) .........Tu 17 Hamilton Leithauser w/ Courtney Marie Andrews ........W 18 Hope Sandoval & The Warm Inventions w/ Holy Wave Early Show! 6:30pm Doors ..............Th 19 U STREET MUSIC HALL PRESENTS

What So Not x Baauer w/ Kidd Marvel

Late Show! 10pm Doors ...................Th 19 ALL GOOD PRESENTS

JJ Grey & Mofro w/ The Commonheart ..................F 20 ALL GOOD PRESENTS

Moon Hooch & Marco Benevento Late Show! 10pm Doors ..................Sa 21 Benjamin Booker w/ She Keeps Bees ......................M 23 Noah Gundersen w/ Silver Torches Early Show! 6pm Doors ...................Tu 24 Beach Fossils w/ Snail Mail & Raener Late Show! 10pm Doors ...Tu 24 U STREET MUSIC HALL PRESENTS

Louis The Child w/ Prince Fox .............................W 25 Bad Suns w/ Hunny & QTY .......Su 29 Iration w/ Fortunate Youth

& Through The Roots ...................M 30

NOVEMBER

Cabinet ........................................F 3 Ariel Pink w/ Gary War & Clang Quartet .......Su 5 The Mountain Goats w/ Mothers .........................M 6 & Tu 7 Josh Abbott Band ....................W 8

A DRAG QUEEN CHRISTMAS ...............................................NOVEMBER 26

ALL GOOD PRESENTS

Campfire Caravan w/ Mipso • The Brothers Comatose •

Max Raabe & Palast ORchesteR .... APRIL 11

The Lil Smokies ........................Su 12 Hippo Campus w/ Remo Drive . M 13

On Sale Friday, October 6 at 10am

ALL GOOD PRESENTS

THIS TUESDAY!

Yonder Mountain String Band w/ The Last Revel ........................F 17 Angus & Julia Stone ............Su 19 The Pietasters w/ Bumpin’ Uglies

Yann Tiersen ..................................DEC 5

Matisyahu

w/ Common Kings & Orphan ............. OCT 10 THIS WEDNESDAY! THE MOTH AND REI PRESENT

The DC Moth GrandSLAM ...... OCT 11

& The Players Band ......................F 24

Blind Pilot w/ Charlie Cunningham . OCT 13

ALL GOOD PRESENTS

Keller Williams’ Thanksforgrassgiving feat. Larry & Jenny Keel, Jeremy Garrett, Danny Barnes, Jay Starling .....Su 25

THE BIRCHMERE PRESENTS

Colin Hay w/ Chris Trapper .......... OCT 21 Lucinda Williams feat. a Performance of Sweet Old World .. OCT 30 HT ADDED!

FIRST NIGHT SOLD OUT! SECOND NIG

Squeeze ...................................Tu 28

Josh Ritter & The Royal City Band ...................NOV 3

AN EVENING WITH

Deer Tick ................................Tu 30

AN EVENING WITH

Kevin Smith ...................................NOV 5 The English Beat ..........................NOV 7 Puddles Pity Party .....................NOV 17

DECEMBER

Priests w/ Blacks Myths & Mellow Diamond . F 1 Jungle ..........................................M 4 Wolf Alice ....................................F 8 Gary Numan w/ Me Not You Early Show! 6pm Doors ....................Sa 9

ALL GOOD PRESENTS

AN EVENING WITH

David Rawlings ............................DEC 6 Robert Earl Keen’s

Merry Christmas From The Fam-O-Lee Show .........DEC 7 NEW YEAR’S EVE AT LINCOLN THEATRE!

White Ford Bronco:

DC’s All 90s Band ..................... DEC 31 THE BYT BENTZEN BALL

OPENING NIGHT! THE MOST VERY SPECIALEST EVENING WITH TIG NOTARO & FRIENDS FEAT.

Tig Notaro .................................. OCT 26 Colin Quinn One In Every Crowd

Early Show! 5:30pm Doors .................. OCT 28

Big Terrific feat. Jenny Slate, Max Silvestri, and Gabe Liedman

Late Show! 9pm Doors ....................... OCT 28

The Mavericks ...........................NOV 18 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

STEEZ PROMO PRESENTS

Bear Grillz

Late Show! 10pm Doors. ...................Sa 9 AN EVENING WITH

Hiss Golden Messenger .....M 11 The White Buffalo .................W 13

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Hundred Waters w/ Kelsey Lu .......F OCT 6 Tricky w/ In the Valley Below ................ W 11 Susto & Esmé Patterson ................. F 13 Nai Palm ............................................ Th 19 The Fleshtones .................................. F 20 Black Pistol Fire w/ Black Foot Gypsies ........................... Sa 21 Yumi Zouma w/ She-Devils ............... Tu 24 LÉON w/ Wrabel .................................. Su 29 Shout Out Louds .............................. Tu 31

SPEND NEW YEAR’S EVE WITH

SPOON

Complimentary Champagne Toast at Midnight! ............................ Su DEC 31

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

JUST ANNOUNCED! MURRAY & PETER PRESENT

The Lone Bellow w/ The Wild Reeds ......................Sa 11

Mogwai w/ Xander Harris ........Su 10

Ibeyi w/ theMIND ..........................W 1 JR JR w/ Chad Valley ..................Th 2 ALL GOOD PRESENTS

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

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

930.com

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

Phoebe Ryan w/ MORGXN ............ Th NOV 2 Dhani Harrison w/ Summer Moon ....... Tu 7 Wax Tailor - Solo Set w/ Dirty Art Club .W 8 Orgone .................................................. F 10 Sahbabii w/ Nessly • T3 • 4orever

New Date! All 8/17 tickets honored. ................ Sa 11

The Shadowboxers w/ Harts ........... Su 12 Cousin Stizz w/ Swoosh & Big Leano ... M 13 Bully w/ Aye Nako ................................. W 15 Arkells w/ Irontom .............................. Sa 18

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

impconcerts.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 Weekdays & Until 11PM on show nights. 6-11PM on Sat & 6-10:30PM on Sun on show nights.

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

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

930.com washingtoncitypaper.com october 6, 2017 33

34 october 6, 2017 washingtoncitypaper.com

CITYLIST

WILD PONIES

Music 35 Theater 39 Film 40

Music

GALAX RELEASE TOUR THUR. OCT. 12 ~ 8:30PM TIX: $12-$15

CITY LIGHTS: FRIDAY

FRIDAY ClASSICAl

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Dvorák’s Seventh Symphony. 11:30 a.m. $15–$89. kennedy-center.org.

OCTOBER

MusiC Center at stratHMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Wagner’s Quest. 8:15 p.m. $35–$99. strathmore.org.

ElECtRonIC

10.5 10.6 10.7 10.10 10.12 10.13 10.14 10.20 10.21 10.24 10.25 10.26 10.27

eCHostage 2135 Queens Chapel Road NE. (202) 503-2330. Zomboy + Eptic. 9 p.m. $25–$35. echostage.com. songbyrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Mothica. 9 p.m. $10. songbyrddc.com. u street MusiC Hall 1115 U St. NW. (202) 588-1889. Hundred Waters. 7 p.m. $20. ustreetmusichall.com.

FolK

Hylton PerforMing arts Center 10960 George Mason Circle, Manassas. (703) 993-7759. Annie Stokes/Charm City Junction. 8 p.m. $25. hyltoncenter.org.

FunK & R&B

tHe HaMilton 600 14th St. NW. (202) 787-1000. Chopteeth Afrofunk Big Band. 8 p.m. $20–$25. thehamiltondc.com.

HIp-Hop

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. Jason Moran & Q-Tip. 7:30 p.m. $99. kennedy-center.org.

RoCK

9:30 Club 815 V St. NW. (202) 265-0930. Tash Sultana. 9 p.m. $25. 930.com. CoMet Ping Pong 5037 Connecticut Ave. NW. (202) 364-0404. Naomi Punk. 10 p.m. $12. cometpingpong. com. dC9 1940 9th St. NW. (202) 483-5000. Banditos. 7 p.m. $12. dcnine.com. MilKboy artHouse 7416 Baltimore Ave, College Park. La Manta. 8 p.m. $10–$30. milkboyarthouse. com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625. Metz. 8 p.m. $16.50–$20. rockandrollhoteldc.com.

VoCAl

fillMore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Kesha. 8 p.m. Sold out. fillmoresilverspring.com.

SAtuRDAY ClASSICAl

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Dvorák’s Seventh Symphony. 8 p.m. $15–$89. kennedy-center.org.

ElECtRonIC

9:30 Club 815 V St. NW. (202) 265-0930. Troyboi. 10 p.m. $25. 930.com.

10.28

KESHA

10.31

Since 2014, Kesha has been involved in a spirit-crushing, highly publicized legal battle with Dr. Luke, her former producer and former CEO of Sony-owned Kemosabe Records. She sued Dr. Luke, alleging that he sexually and emotionally abused her, and in return, he counter-sued her for defamation. All the while, her album was stuck in limbo. The legalities of her contract with Sony prohibited the release of her music outside of her partnership with Dr. Luke. So, in the name of her art, she dropped the California lawsuit and released her first album in five years, Rainbow. In the ultimate clapback, Rainbow debuted at No. 1 on the Billboard 200 Albums Chart, marking Kesha’s triumphant return. Rainbow features epic guitar solos from Eagles of Death Metal, celebratory horns from The Dap-Kings, and a country-tinged duet with Dolly Parton, abandoning ephemeral party-pop for more empowering hymns. On “Praying,” the album’s lead single, Kesha has the final word against her abusers and naysayers: “I found a strength I’ve never known. I’ll bring thunder; I’ll bring rain. When I’m finished, they won’t even know your name.” Kesha performs with Black Lips at 8 p.m. at The Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. Sold out. (301) 960-9999. fillmoresilverspring.com. —Casey Embert dC9 1940 9th St. NW. (202) 483-5000. Conner

FolK

Youngblood. 7 p.m. $12–$14. dcnine.com.

songbyrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Joshua Davis. 7 p.m. $12–$15. songbyrddc.com.

fillMore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Timeflies. 8 p.m. $25.

JAzz

fillmoresilverspring.com.

Hylton PerforMing arts Center 10960 George Mason Circle, Manassas. (703) 993-7759. Metropolitan Jazz Orchestra. 5:59 p.m. $28–$46. hyltoncenter.org.

u street MusiC Hall 1115 U St. NW. (202) 588-1889. Luca Lush. 10:30 p.m. $10. ustreetmusichall.com.

H WOODY PINES HEATHER GILLIS BAND KITI GARTNER GREYHOUNDS WILD PONIES ‘GALAX’ RELEASE TOUR CASH’D OUT STRAHAN & THE GOOD NEIGHBORS CLUB CLOSED - PRIVATE EVENT SCOTT KURT & MEMPHIS 59 GURF MORLIX SLAID CLEAVES DRESSY BESSY, THE SPLIT SQUAD POSSESSED BY PAUL JAMES / HOOTEN HALLERS WHITNEY ROSE / NO GOOD SISTER, JOHN TRAIN THE WOGGLES & THE HALL MONITORS, JAKE STARR AND THE DELICIOUS FULLNESS

H 11.2 11.3 11.9 11.10 11.11 11.16 11.17 11.18 11.30 12.9 1.7

H HOLLY GOLIGHTLY & THE BROKEOFFS SUNNY LEDFURD PERE UBU CHAMOMILE & WHISKEY SLEEPY LABEEF JAMIE MCLEAN BAND FOLK SOUL REVIVAL THE WOODSHEDDERS MARY BATTIATA & LITTLE PINK ALBUM RELEASE SHOW THE CURRYS FRED EAGLESMITH TRAVELING SHOW STARING TIF GINN

HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 Hillcountrylive.com • Twitter @hillcountrylive

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

washingtoncitypaper.com october 6, 2017 35

CITY LIGHTS: SAtuRDAY

BRIA SKonBERG

Bria Skonberg follows in the footsteps of fellow trumpeter, singer, and channeller of “the cool” Chet Baker. Both have a kind of natural ease, both bop along with steady trumpet licks, and both have tone that can shrink to whispers of careless nothings. But Skonberg is brasher with her trumpeting than Baker, and her vocals showcase much more dynamic range—no doubt refined from years of intense listening to jazz vocalists like Ella Fitzgerald. She gives off an almost detached quality, with a smooth, dulcet tone when she sings standards like “My Baby Just Cares For Me,” but then it can swell to a kind of sinister swing on numbers like “Whatever Lola Wants.” Look for Skonberg to bring some modern hits into her metropolitan act. Anything from Leonard Cohen to Ed Sheeran could spring from her lips. Bria Skonberg and The Metropolitan Jazz Orchestra perform at 8 p.m. at the Hylton Performing Arts Center, 10960 George Mason Circle, Manassas. $28–$46. (703) 993-7550. hyltoncenter.org. —Jackson Sinnenberg

twins Jazz 1344 U St. NW. (202) 234-0072. Michel Nirenberg. 9 p.m.; 11 p.m. $22. twinsjazz.com.

RoCK

blaCK Cat 1811 14th St. NW. (202) 667-4490. Magic City Hippies. 8 p.m. $12–$15. blackcatdc.com. tHe HaMilton 600 14th St. NW. (202) 787-1000. Splintered Sunlight. 8 p.m. $15–$20. thehamiltondc. com. linColn tHeatre 1215 U St. NW. (202) 888-0050. Paul Weller. 8 p.m. $55. thelincolndc.com.

AREYOUAWINNER?

PROvEIt!

roCK & roll Hotel 1353 H St. NE. (202) 388-7625. Alvvays. 8 p.m. Sold out. rockandrollhoteldc.com.

VoCAl

aMP by stratHMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Michael Feinstein. 8 p.m. $125–$175. ampbystrathmore.com. MusiC Center at stratHMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. The Midtown Men. 8 p.m. $45–$125. strathmore.org.

SunDAY ClASSICAl

Kennedy Center terraCe tHeater 2700 F St. NW. (202) 467-4600. The Kennedy Center Chamber Players. 2 p.m. $36. kennedy-center.org. MusiC Center at stratHMore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Baltimore Symphony Orchestra: Wagner’s Quest. 3 p.m. $35–$99. strathmore.org.

Visit washingtoncitypaper.com/promotions and enter to win anything from movie tickets to spa treatments! You can also check out our current free events listings and sign up to receive our weekly newsletter!

national gallery of art west garden Court 4th Street and Constitution Avenue NW. (202) 8426941. The Canales Project. 3:30 p.m. Free. nga.gov.

ElECtRonIC

flasH 645 Florida Ave. NW. (202) 827-8791. Bedouin. 2 p.m. $5–$8. flashdc.com.

36 october 6, 2017 washingtoncitypaper.com

FolK barns at wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Joan Shelley. 8 p.m. $25. wolftrap.org. Howard tHeatre 620 T St. NW. (202) 803-2899. Aterciopelados. 8 p.m. $35–$65. thehowardtheatre. com. songbyrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Sam Amidon. 8 p.m. $15–$18. songbyrddc.com.

FunK & R&B birCHMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. The Whispers. 7:30 p.m. $75. birchmere.com. tHe HaMilton 600 14th St. NW. (202) 787-1000. The James Hunter Six. 7:30 p.m. $20–$44.25. thehamiltondc.com.

RoCK 9:30 Club 815 V St. NW. (202) 265-0930. Glass Animals. 8 p.m. $41. 930.com. dC9 1940 9th St. NW. (202) 483-5000. WAND. 9 p.m. $12. dcnine.com. fillMore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. In This Moment. 7 p.m. $29.50. fillmoresilverspring.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625. Alvvays. 8 p.m. Sold out. rockandrollhoteldc.com.

VoCAl aMP by stratHMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Lisa Loeb. 8 p.m. $30–$37. ampbystrathmore.com.

MonDAY FunK & R&B

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Eric Nolan. 8 p.m.; 10 p.m. $42. bluesalley.com.

HIp-Hop

VoCAl

RoCK

WoRlD

9:30 Club 815 V St. NW. (202) 265-0930. Glass Animals. 8 p.m. $41. 930.com.

linColn tHeatre 1215 U St. NW. (202) 888-0050. Matisyahu. 8 p.m. $40. thelincolndc.com.

blaCK Cat baCKstage 1811 14th St. NW. (202) 6674490. Yawning Man. 7:30 p.m. $15. blackcatdc.com.

WEDnESDAY

eCHostage 2135 Queens Chapel Road NE. (202) 503-2330. Kid Cudi. 8 p.m. $57.65. echostage.com.

fillMore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. LANY. 8 p.m. $20. fillmoresilverspring.com.

VoCAl

dC9 1940 9th St. NW. (202) 483-5000. Max Frost. 9 p.m. $12–$14. dcnine.com. songbyrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Daphne Willis. 8 p.m. $10–$12. songbyrddc.com.

tuESDAY

blues alley 1073 Wisconsin Ave. NW. (202) 3374141. Loide. 8 p.m.; 10 p.m. $39. bluesalley.com.

ElECtRonIC

9:30 Club 815 V St. NW. (202) 265-0930. Mura Masa. 8 p.m. $25. 930.com. u street MusiC Hall 1115 U St. NW. (202) 588-1889. Tricky. 6:30 p.m. $25. ustreetmusichall.com.

FolK

blaCK Cat baCKstage 1811 14th St. NW. (202) 6674490. Charlie Parr. 7:30 p.m. $12–$15. blackcatdc.com. songbyrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Jess & Gabriel Conte. 7 p.m. $20–$125. songbyrddc.com.

BluES

RoCK

birCHMere 3701 Mount Vernon Ave., Alexandria. (703) 549-7500. Buddy Guy. 7:30 p.m. $99.50. birchmere.com.

barns at wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Max Weinberg’s Jukebox. 8 p.m. $50–$60. wolftrap.org.

ElECtRonIC

dC9 1940 9th St. NW. (202) 483-5000. The Lighthouse and the Whaler. 9 p.m. $12. dcnine.com.

fillMore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Syd. 8 p.m. $25. fillmoresilverspring.com.

RoCK

9:30 Club 815 V St. NW. (202) 265-0930. Ron Pope. 8 p.m. $20. 930.com. dC9 1940 9th St. NW. (202) 483-5000. Widowspeak. 9 p.m. $15. dcnine.com. Hill Country barbeCue 410 7th St. NW. (202) 556-2050. Greyhounds. 8:30 p.m. $12–$15. hillcountrywdc.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625. Turnover. 8 p.m. $18–$20. rockandrollhoteldc.com. songbyrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. LVL UP. 8 p.m. $12–$15. songbyrddc.com.

VoCAl

fillMore silver sPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Daley. 8 p.m. $25. fillmoresilverspring.com.

WoRlD

eaglebanK arena 4500 Patriot Circle, Fairfax. (703) 993-3000. Ricardo Arjona. 8 p.m. $59–$159. eaglebankarena.com.

tHuRSDAY ClASSICAl

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Tchaikovsky’s “Pathétique” Symphony. 7 p.m. $15–$89. kennedy-center.org.

CITY LIGHTS: SunDAY

KID CuDI

“I am not at peace. I haven’t been since you’ve known me,” Kid Cudi confessed in a Facebook post written after he checked himself into rehab for depression in October of 2016. “I simply am a damaged human swimming in a pool of emotions every day of my life.” But despite a low blow from Drake regarding his public struggle with mental health, Cudi returned to the spotlight in December armed with peace of mind, a fresh outlook on life, and Passion, Pain & Demon Slayin’, a brand new album. Vulnerability is the name of Cudi’s game and he truly embraces it on his sixth studio album. On Passion, Pain & Demon Slayin’, Cudi relies on atmospheric beats and catchy affirmations to soundtrack the meanderings of his mind and the calming of his inner turmoil. Carving out a more confident demeanor that sounds like it’s here to stay, Cudi’s resilience is triumphant on the Pharrell-assisted, “Surfin’’’ as he proudly proclaims, “Now, I ain’t ridin’ no waves, too busy makin’ my own waves, baby.” Kid Cudi performs at 9 p.m. at Echostage, 2135 Queens Chapel Road NE. Sold out. (202) 503-2330. echostage.com. —Casey Embert washingtoncitypaper.com october 6, 2017 37

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

1811 14 ST NW TH

www.blackcatdc.com @blackcatdc

OCTOBER SHOWS THU 5 FRI 6 FRI 6

SAT 7

RAC & LPX AWKWARD SEX

...AND THE CITY (18+) TWIRLY WHIRLY BURLESQUE (21+)

MAGIC CITY HIPPIES

NATE STANIFORTH

SAT 7 & FRI 13 REAL

MAGIC TOUR

SUN 8 QUEER GRRL MOVIE NIGHT

YAWNING MAN TUE 10 LITTLE JUNIOR WED 11 CHARLIE PARR THU 12 VAGABON MON 9

FRI 13

A NIGHT OF DARK ARTS

SAT 14

EVERYTHING, EVERYTHING

TUE 17

TRUCKFIGHTERS

TOADIES

TERRI CLARK 6 EUGE GROOVE 8 THE WHISPERS 9 WYNONNA & THE BIG NOISE 11 EMILY SALIERS Lucy (of Indigo Girls) Sept 5

Murmuration Nation Tour

Wainwright Roche

MINDI ABAIR & THE BONESHAKERS 13 10,000 MANIACS 14 POCO featuring Rusty Young 12

w/Tish Hinojosa

WMAL Free Speech Forum 16 PETER WHITE & MARC ANTOINE

“Guitar Tango”

An Evening with

LLOYD COLE RAVEN’S NIGHT 2017 Bellydance, Burlesque, & more!

21 22

AL STEWART

“Year of the Cat” Classic Album Concert with sp guests The Empty Pockets

24&25 26

BRIAN McKNIGHT

ANDERS OSBORNE & JACKIE GREENE “Tourgether 2017” w/Chris Jacobs

SUZANNE WESTENHOEFER

80th Birthday Bash!

TOM PAXTON & FRIENDS 29 JAKE SHIMABUKURO 30&31 ‘A Few Small Repairs 20th Anniversary Tour’ sp guests

TRUCKFIGHTERS

Nov 1

ACOUSTIC ALCHEMY

2 An Intimate Evening with Fado Superstar

MARIZA & Special Friends

The Birchmere Presents

COLIN HAY

with Chris Trapper

TUE SEPT 17

TOADIES

TAKE METRO!

Sat. Oct. 21, 8pm The Lincoln Theatre, Wash DC

Tickets on sale now through Ticketfly.com/877-435-9849

The Birchmere Presents

LUDOVICO EINAUDI

WE ARE LOCATED 3 BLOCKS FROM THE U STREET/CARDOZO STATION

TO BUY TICKETS VISIT TICKETFLY.COM

With the proliferation of light and video-based art in recent decades, it’s rather remarkable how forgotten the work of Thomas Wilfred has become. Wilfred was creating art from light—he called the work “lumia”—as early as 1919. His mechanical works produced rippling, ever-changing colored shadows of light, and often his works used clear, tungsten light bulbs to illuminate painted, record-like discs. Other times, he would manipulate light through the use of colored glass or metal. The gear-filled machines produced an early form of kinetic sculpture, but that ironically may have contributed to Wilfred’s later obscurity: Despite receiving praise from such artists as László Moholy-Nagy and Jackson Pollock, Wilfred’s works languished in various states of disrepair until specialists from the Yale University Art Gallery and the Museum of Modern Art refurbished them. The fruits of that labor are on display at the Smithsonian American Art Museum, a tribute to an artist and tinkerer who was light years ahead of his time. The exhibition is on view daily 11:30 a.m. to 7 p.m., to Jan. 7, at the Smithsonian American Art Museum, 8th and F streets NW. Free. (202) 633-7970. americanart.si.edu. —Louis Jacobson

An Acoustic Evening with

SHAWNLarryCOLVIN and Her Band Campbell & Teresa Williams MON SEPT 16

LUMIA: THOMAS WILFRED AND THE ART OF LIGHT

For entire schedule go to Birchmere.com Find us on Facebook/Twitter! Tix @ Ticketmaster.com 800-745-3000

FEAT. WES SWING / GULL / HAND GRENADE JOB / ALBERT BAGMAN

MON 16

CITY LIGHTS: MONDAY

“Essential Einaudi”

Sun. Oct. 29, 2017, 8pm Warner Theatre, Wash DC.

Tickets on sale now through Ticketmaster.com/800-745-3000

38 october 6, 2017 washingtoncitypaper.com

CITY LIGHTS: TUESDAY

SYD

When discussing her debut solo album last year, The Internet frontperson Syd was modest and pragmatic. “This album is not that deep, but I feel like this is my descent into the depth I want the band to get to,” she told The Fader. “For me, this is like an in-between thing—maybe get a song on the radio, maybe make some money, have some new shit to perform.” Far from these downplayed expectations, Syd’s Fin was a stunning album that found the singer-producer embracing her role as a star. Rather than the neo-soul and Neptunes diet that has fueled The Internet’s albums, Syd looked to make magic with Timbaland’s style, casting herself as a breathy Aaliyah while assessing her sexuality, her relationships, her successes, and her failures. Syd cached her hopes for Fin in “maybes,” but there are no maybes here: She is definitely a star, whether she continues as a solo artist or takes The Internet to new heights. Syd performs at 8 p.m. at The Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $52–$75. (301) 960-9999. fillmoresilverspring.com. —Chris Kelly

lutHeran CHurCH of tHe reforMation 212 East Capitol St. (202) 543-4200. Tempesta di Mare: Telemann 360. 7 p.m. $29–$49. folger.edu. Mansion at stratHMore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Brasil Guitar Duo. 7:30 p.m. $30. strathmore.org.

ElECtRonIC

u street MusiC Hall 1115 U St. NW. (202) 588-1889. Phantoms. 7 p.m. $10. ustreetmusichall.com.

FolK

barns at wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Mountain Heart. 8 p.m. $25–$30. wolftrap.org.

HIp-Hop

songbyrd MusiC House and reCord Cafe 2477 18th St. NW. (202) 450-2917. Witt Lowry. 8 p.m. $15–$65. songbyrddc.com.

RoCK

antHeM 901 Wharf Street SW, DC. Foo Fighters. 8 p.m. $100-$175. theanthemdc.com. CoMet Ping Pong 5037 Connecticut Ave. NW. (202) 364-0404. Mdou Moctar + The Messthetics. 9 p.m. $13–$15. cometpingpong.com. dC9 1940 9th St. NW. (202) 483-5000. Sun Seeker. 9 p.m. $12. dcnine.com. tHe HaMilton 600 14th St. NW. (202) 787-1000. Eilen Jewell. 7:30 p.m. $15–$40. thehamiltondc.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625. Andrew W.K. 8 p.m. Sold out. rockandrollhoteldc.com.

VoCAl

blaCK Cat baCKstage 1811 14th St. NW. (202) 6674490. Vagabond. 7:30 p.m. $13–$15. blackcatdc.com.

Theater

antony and CleoPatra Robert Richmond returns to the Folger to lead the company’s production of the Bard’s drama about the romance between a Roman ruler and an Egyptian queen. As the forces of love and politics pull the title characters apart, both must decide to put themselves or their countries first. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Nov. 19. $35–$75. (202) 544-7077. folger.edu. are you now, or Have you ever been... Set in the days before Langston Hughes was forced to testify in front of Joseph McCarthy and the Senate Permanent Subcommittee on Investigations, this play follows his turmoil as he attempts to write a poem to mark the event. Developed by Carlyle Brown, this play is directed at MetroStage by Thomas W. Jones II. MetroStage. 1201 N. Royal St., Alexandria. To Nov. 5. $55–$60. (703) 548-9044. metrostage.org. dead Man’s Cell PHone When a woman attempts to silence an incessantly ringing phone in a quiet cafe, she winds up getting involved in an elaborate caper involving a deceased man and dozens of loose ends. Written by MacArthur Fellowship grantee Sarah Ruhl, this comedy is presented as part of Mason Fringe. George Mason University Center for the Arts. 4373 Mason Pond Drive, Fairfax. To Oct. 7. $10–$20. (888) 945-2468. cfa.gmu.edu. tHe effeCt Connie and Tristan become quickly enamored with each other after meeting. They can’t keep their hands off one another but is it love or is it a side effect of the new drug they’re taking in a clinical trial? David Muse directs Lucy Prebble’s comedy about romance and the impact of Big Pharma on our daily lives. Studio Theatre. 1501 14th St. NW. To Oct. 29. $20–$55. (202) 332-3300. studiotheatre.org. tHe lover and tHe ColleCtion Michael Kahn directs a pair of Harold Pinter one-acts to open the Shakespeare Theatre Company season. In The Lover, a couple methodically plans out their extramarital affairs. The Collection follows a jealous husband as he investigates whether his wife had a fling with her coworker during an overnight trip to Leeds. Lansburgh Theatre. 450 7th St. NW. To Oct. 29. $44–$118. (202) 547-1122. shakespearetheatre.org. sotto voCe Love transcends all borders in Pulitzer Prize-winner Nilo Cruz’s passionate and lyrical Sotto Voce. A young Cuban man’s research into the fate of the S.S. St. Louis leads him to a reclusive writer who refuses to talk about the ship of Jewish refugees that fled Nazi Germany only to be denied entry into both Cuba and the United States. As he strives to uncover

washingtoncitypaper.com october 6, 2017 39

THE ANONYMOUS WHISTLEBLOWER WHO RISKED EVERYTHING IN THE NAME OF JUSTICE

TRIVIA E V E RY M O N DAY & W E D N E S DAY

$12 BURGER & BEER MON-FRI 4 P M -7 P M

O C TO B E R

“AS TIMELY AS IT GETS.”

F6 600 beers from around the world

Downstairs: good food, great beer: all day every day *all shows 21+

OCTOBER 5TH

SUPER SPECTACULAR SHOW: COMEDY FORA CAUSE PRESENTED BY GRASSROOTS COMEDY

DOORS AT 6PM, SHOW AT 7:30PM

HAPPY HOURATTHE BIER BARON

SPONSORED BY PEAK ORGANIC BREWING 4PM-7PM

OCTOBER 6TH

DC GURLY SHOW

DOORS AT 8PM, SHOW AT 9PM OCTOBER 7TH

THE 8-BIT REVUE 2:

A SEXYJOURNEYTHROUGH VIDEO GAME HISTORY

DOORS AT 8PM, SHOW AT 9PM OCTOBER 8TH

GRASSROOTS OPEN MIC COMEDY 8:30PM

OCTOBER 9TH

DISTRICTTRIVIA AT 7:30PM

COMICSAND COCKTAILS SPONSORED BY FANTOM COMICS AT 6:30PM

OCTOBER 10TH

CAPITAL LAUGHS OPEN MIC COMEDY AT 8:30PM

OCTOBER 11TH

DISTRICTTRIVIA

MIRIAMM WRIGHT, EPW BREAST CANCER FOUNDATION S7 JOHN LENNON BIRTHDAY TRIBUTE SU 8 EU (EXPERIENCE UNLIMITED) W 11 ERIC DARIUS & JJ SANSAVERINO F 13 INCOGNITO 7PM & 10PM SU 15 A TRIBUTE TO THE MUSIC OF GERALD LEVERT, DONNY HATHAWAY TH 19 THE SIDLEYS AND THE ERIC SCOTT BAND F 20 WAYNE LINSEY HOWARD HOMECOMING CONCERT SU 22 A TRIBUTE TO THE MUSIC OF STEPHANIE MILLS, CHAKA KHAN AND ARETHA FRANKLIN M 23 BJ JANSEN & COMMON GROUND FEATURING DELFEAYO MARSALIS AND DUANE EUBANKS S 28 JOE CLAIR & FRIENDS COMEDY SHOW 7PM & 10PM SU 29 BILLY GILMAN T 31 HALLOWEEN SPOOKY TUESDAY W THE VI-KINGS AND THE DCEIVERS

N OV E M B E R F3

JESSE COLIN YOUNG BAND

SETH KIBEL’S “SONGS OF SNARK AND DISPAIR”

TH 9

COMEDY HOUR

PRESENTED BY ORAL HENERY

DOORS AT 7:30PM, SHOW AT 8:30PM OCTOBER 13TH

HEXWORK

JEANETTE HARRIS & SPECIAL GUEST CECE PENISTON

http://igg.me/at/bethesdablues 7719 Wisconsin Ave., Bethesda, MD

-Pete Hammond, DEADLINE

LIAM NEESON DIANE LANE

MARK FELT

DOORS AT 8PM, SHOW AT 9PM

40 october 6, 2017 washingtoncitypaper.com

tHe wild Party Enter a den of debauchery and passion while watching this musical about love affairs and alcohol set in Prohibition-era New York. Based on a poem by Joseph Moncure March and written by Andrew Lippa, the musical is directed at Constellation Theatre Company by Allison Arkell Stockman. Constellation Theatre at Source. 1835 14th St. NW. To Oct. 29. $25–$55. (202) 204-7741. constellationtheatre.org.

Film

aMeriCan Made Tom Cruise stars as Barry Seal, a CIA pilot who becomes a drug smuggler. Co-starring Domhnall Gleeson, Jesse Plemons, Sarah Wright, and Caleb Landry Jones. (See washingtoncitypaper.com for venue information) blade runner 2049 Ryan Gosling stars as a young blade runner who discovers secrets that lead him to a former blade runner: Harrison Ford’s Rick Deckard, the original film’s central character. Co-starring Jared Leto and Robin Wright. (See washingtoncitypaper. com for venue information)

WWW.SONYCLASSICS.COM

STARTS FRIDAY, OCTOBER 6

Washington, DC LANDMARK’S E STREET CINEMA (202) 783-9494 Bethesda ARCLIGHT BETHESDA (301) 365-0213

Bethesda LANDMARK’S BETHESDA ROW CINEMA (301) 652-7273 Fairfax ANGELIKA AT MOSAIC (571) 512-3301

VIEW THE TRAILER AT WWW.MARKFELTMOVIE.COM

D.C.’s awesomest events calendar.

Washington City Paper THU 10/05

2.25" X 6.915" 1/6 PG ALL.MAF.1005.WCP

washingtoncitypaper.com/ calendar

www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

widowers’ Houses Washington Stage Guild, the region’s foremost interpreters of George Bernard Shaw, presents his first play, an excoriation of slumlords and exploitative landlords. The acclaimed playwright incorporates elements of romance and comedy into his societal drama. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Oct. 22. $25–$60. (240) 582-0050. stageguild.org.

THE MAN WHO BROUGHT DOWN THE WHITE HOUSE

(240) 330-4500

A SPELLBINDING BURLESK REVUE

1523 22nd St NW – Washington, DC 20037 (202) 293-1887 - www.bierbarondc.com @bierbarondc.com for news and events

“EXTRAORDINARY. LIAM NEESON LEADS A SUPERB CAST. A RIVETING TALE OF POLITICAL DECEPTION.”

AND MORE

AT 7:30PM

OCTOBER 12TH

-Joshua Rothkopf, TIME OUT NEW YORK

the mysteries she’s hiding, an old romance is relived and a new one blossoms. This dreamlike sonata explores the plight of the refugee, the resilience of love, and the sensuality of imagination. Directed by José Carrasquillo. Theater J. 1529 16th St. NW. To Oct. 29. $24–$69. (202) 777-3210. theaterj.org.

washingtoncitypaper.com

flatliners Ellen Page stars as a thrill-seeker, who along with friends, becomes obsessed with stopping her heart to trigger a firsthand experience of the afterlife. Co-starring Diego Luna, Nina Dobrev, and James Norton. (See washingtoncitypaper.com for venue information) MarK felt: tHe Man wHo brougHt down tHe wHite House Liam Neeson stars as Mark Felt in this true story about the man who helped Washington Post journalists Bob Woodward and Carl Bernstein uncover the Watergate scandal under the name “Deep Throat.” Co-starring Diane Lane and Tony Goldwyn. (See washingtoncitypaper.com for venue information) tHe Mountain between us Idris Elba and Kate Winslet star as two strangers who become stranded after a plane crash and are then forced to fight for their lives in the snowy mountain wilderness. CoJL/AK starring Beau Bridges and Dermot Mulroney. (See #1 washingtoncitypaper.com for venue information) My little Pony: tHe Movie The ponies must rally together to combat the dark forces that threaten Ponyville in this movie based on the popular television show My Little Pony: Friendship is Magic. Starring Uzo Aduba, Emily Blunt, Kristin Chenoweth, and Liev Schreiber. (See washingtoncitypaper.com for venue information) viCtoria and abdul Judi Dench’s Queen Victoria and Ali Fazal’s young Indian clerk Abdul Karim come together to form an unlikely friendship. Co-starring Eddie Izzard and Michael Gambon. (See washingtoncitypaper.com for venue information) woodsHoCK Kirsten Dunst stars as a woman whose life falls apart after she takes a reality-altering drug. Co-starring Joe Cole and Steph DuVall. (See washingtoncitypaper.com for venue information)

Q’ORIANKA KILCHER

CITY LIGHTS: WEDnESDAY

GIL BIRMINGHAM

BRIGID BRANNAGH

MACKENZIE ASTIN

AND

GRAHAM GREENE

“INSPIRATIONAL!

JoHn AnD HAnK GREEn

The Greens’ reign just won’t let up. John Green is continuing his dominance as a young adult author: He’s following up the devastation he caused millions of Looking For Alaska, Paper Towns, and The Fault In Our Stars readers with his upcoming book, Turtles All The Way Down. His brother, Hank, is no slouch, either. Hank is one of the most influential educators on YouTube, teaching millions of rabid subscribers—part of the pair’s collective Vlogbrothers channel—about everything from how to invest money to global warming. Now, the brothers are hitting the road, with John taking Hank on tour as his special guest. The two will answer burning audience questions (like, why does John insist on killing characters everyone loves?), perform live music, and chat about the new book, which traces the journey of 16-yearold Aza as she navigates life. Following a megahit like The Fault In Our Stars after a five-year hiatus is not easy, but if it’s anything like John’s particular brand of soul-crushing, readers will need tissues on hand. John Green and Hank Green speak at 7 p.m. at the GW Lisner Auditorium, 730 21st St. NW. $27. (202) 364-1919. politics-prose.com. —Kayla Randall

A FITTING TRIBUTE TO A TRAILBLAZING WOMAN. Kilcher brings warmth and vitality to her portrayal of Te Ata. A lovingly polished gem!”

-THE OKLAHOMAN

“AN IMPORTANT NATIVE AMERICAN

FIGURE HAS HER STORY TOLD.

This amazing story is deﬁnitely worthwhile.”

-FILM JOURNAL INTERNATIONAL

BASED ON THE TRUE STORY OF A GREAT NATIVE AMERICAN HEROINE SCREENPLAY BY

ESTHER LUTTRELL DIRECTEDBYNATHAN FRANKOWSKI

teatamovie.com

CITY LIGHTS: tHuRSDAY

EXCLUSIVE ENGAGEMENTS START FRIDAY, OCTOBER 6

ALEXANDRIA GAITHERSBURG AMC AMC Hoffman Center 22 Loews Rio Cinemas 18 amctheatres.com amctheatres.com

CHECK DIRECTORIES FOR SHOWTIMES NO PASSES ACCEPTED

BRITTEN & BRAHMS WASHINGTON CITY PAPER FRI 10/6

Featuring Symphony No. 3 4.666" Brahms’ X 5.141" 1/4 PG MR ALL.TEA.1006.WCP

SATURDAY, OCT. 21 AT 8 PM SUNDAY, OCT. 22 AT 3 PM Foo FIGHtERS

The Foo Fighters are one of the last great rock bands, emphasis on the rock. The group of mostly forty-something rockers grew up cutting their teeth in the underground punk scene of the ’80s, and have since channeled that sound and fury into energizing, still slightly manic music. You can thank frontman Dave Grohl for the lion’s share of the spirit that drives the Foos. Grohl, who some in D.C. can still remember as the ferocious drummer of Scream, makes it his personal mission for his own screams to fill every square inch of space. On their new album, Concrete and Gold, the band makes rock that sounds like The Beach Boys paired with Fugazi. But amid all those layers of vocal harmonies and guitar melodies are a handful of arena-ready anthems. How appropriate then for D.C.’s own (in a spiritual sense) great fist-pumping, lungscreaming band to open The Anthem, the newest live music venue in the Beltway. The Foo Fighters perform with The Struts at 8 p.m. at The Anthem, 901 Wharf St. SW. $100–$175. (202) 265-0930. theanthemdc.com. —Jackson Sinnenberg

JAMES E. ROSS,

ADULT TICKETS: $20-$80, $5 YOUTH, $10 STUDENT

Guest Conductor

703-548-0885 WWW.ALEXSYM.ORG washingtoncitypaper.com october 6, 2017 41

STATE OF NEW MEXICO IN THE DISTRICT COURT FIFTH JUDICIAL DISTRICT LEA COUNTY No. D-506-CV-2017-00528 Judge Clingman

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Legals STATE OF NEW MEXICO IN THE DISTRICT COURT FIFTH JUDICIAL DISTRICT LEA COUNTY No. D-506-CV-2017-00528 Judge Clingman EAU ROUGE LLC, Plaintiff v. TRACY LYNN SERETEAN; SCOTT ALAN SERETEAN; AMANDA MARIE SERETEAN, ALSO KNOWN AS AMANDA GROSSMAN; PATRISHIA SHANE SERETEAN; BURL JACKSON BANDY, ALSO KNOWN AS B. JACK BANDY; BURL JACKSON BANDY, AS TRUSTEE UNDER THE WILL OF SARAH AGNES BANDY; BURL JACKSON BANDY III; BURL JACKSON BANDY III, TRUSTEE UNDER THE WILL OF SARAH AGNES BANDY; MURRAY W. BANDY; MURRAY W. BANDY, TRUSTEE UNDER THE WILL OF SARAH AGNES BANDY; TANA BANDY HARLAN; TANA BANDY HARLAN, TRUSTEE UNDER THE WILL OF SARAH AGNES BANDY; JOHN W. MASON; MARGARET ANN WILLOUGHBY MASON, ALSO KNOWN AS ANNIE MASON; FREDERICK H. PRINCE, ALSO KNOWN AS FREDERICK H. PRINCE IV; AND DIANA C. PRINCE; and THE UNKNOWN HEIRS OF THE FOLLOWING DECEASED PERSONS: MARTIN B. SERETEAN, ALSO KNOWN AS M. B. SERETEAN AND AS BUD SERETEAN; FAROL FAYE FINKELSTEIN SERETEAN; AND SARAH AGNES BANDY, ALSO KNOWN AS AGGIE BANDY; and ALL UNKNOWN CLAIMANTS OF INTEREST IN THE PREMISES ADVERSE TO THE PLAINTIFF; Defendants. NOTICE OF SUIT PENDING TO: UNKNOWN HEIRS OF THE FOLLOWING DECEASED PERSONS: •Martin B. Seretean, also known as M.B. Seretean and as Bud Seretean; •Farol Faye Finkelstein Seretean •Sarah Agnes Bandy, also known as Aggie Bandy TO: UNKNOWN CLAIMANTS OF INTEREST IN THE PREMISES ADVERSE TO THE PLAINTIFF YOU ARE HEREBY NOTIFIED that the above-entitled action was filed in the above-entitled Court on April 19, 2017 by EAU ROUGE LLC. This lawsuit is a quiet title actionOctober that involves a6, controver42 2017 sy over title to oil, gas and other mineral rights previously owned or claimed by the following deceased persons: Martin B. Seretean, also known as M.B. Seretean and as Bud Seretean; Farol Faye

EAU ROUGE LLC, Plaintiff v. TRACY LYNN SERETEAN; SCOTT ALAN SERETEAN; AMANDA MARIE SERETEAN, ALSO Legals KNOWN AS AMANDA GROSSMAN; PATRISHIA SHANE SERETEAN; BURL JACKSON BANDY, ALSO KNOWN AS B. JACK BANDY; BURL JACKSON BANDY, AS TRUSTEE UNDER THE WILL OF SARAH AGNES BANDY; BURL JACKSON BANDY III; BURL JACKSON BANDY III, TRUSTEE UNDER THE WILL OF SARAH AGNES BANDY; MURRAY W. BANDY; MURRAY W. BANDY, TRUSTEE UNDER THE WILL OF SARAH AGNES BANDY; TANA BANDY HARLAN; TANA BANDY HARLAN, TRUSTEE UNDER THE WILL OF SARAH AGNES BANDY; JOHN W. MASON; MARGARET ANN WILLOUGHBY MASON, ALSO KNOWN AS ANNIE MASON; FREDERICK H. PRINCE, ALSO KNOWN AS FREDERICK H. PRINCE IV; AND DIANA C. PRINCE; and THE UNKNOWN HEIRS OF THE FOLLOWING DECEASED PERSONS: MARTIN B. SERETEAN, ALSO KNOWN AS M. B. SERETEAN AND AS BUD SERETEAN; FAROL FAYE FINKELSTEIN SERETEAN; AND SARAH AGNES BANDY, ALSO KNOWN AS AGGIE BANDY; and ALL UNKNOWN CLAIMANTS OF INTEREST IN THE PREMISES ADVERSE TO THE PLAINTIFF; Defendants. NOTICE OF SUIT PENDING TO: UNKNOWN HEIRS OF THE FOLLOWING DECEASED PERSONS: •Martin B. Seretean, also known as M.B. Seretean and as Bud Seretean; •Farol Faye Finkelstein Seretean •Sarah Agnes Bandy, also known as Aggie Bandy TO: UNKNOWN CLAIMANTS OF INTEREST IN THE PREMISES ADVERSE TO THE PLAINTIFF YOU ARE HEREBY NOTIFIED that the above-entitled action was filed in the above-entitled Court on April 19, 2017 by EAU ROUGE LLC. This lawsuit is a quiet title action that involves a controversy over title to oil, gas and other mineral rights previously owned or claimed by the following deceased persons: Martin B. Seretean, also known as M.B. Seretean and as Bud Seretean; Farol Faye Finkelstein Seretean; and Sarah Agnes Bandy, also known as Aggie Bandy, located in Lea County, New Mexico, and more particularly described as: Parcel 1: An undivided 16.55274% of the oil and gas operating rights (being the aggregate of interests formerly owned of record by Martin B. Seretean, B. Jack Bandy, Frederick H. Prince, and John W. Mason) in, to, and under United States Oil and Gas Lease NM 4312, insofar as it covers depths between the surface and 13,529 feet below the surface in the following described land: Township 19 South, Range 33 East, N.M.P.M. Section 1: Lots 1, 2, S½NE¼, SE¼

WILL OF SARAH AGNES BANDY; JOHN W. MASON; MARGARET ANN WILLOUGHBY MASON, ALSO KNOWN AS ANNIE MASON; FREDERICK H. PRINCE, ALSO KNOWN AS FREDERICK H. PRINCE IV; AND DIANA C. PRINCE; and

4312, insofar as it covers depths between the surface and 13,529 feet below the surface in the following described land:

THE UNKNOWN HEIRS OF THE FOLLOWING DECEASED PERSONS: MARTIN B. SERETEAN, ALSO KNOWN AS M. B. SERETEAN AND AS BUD SERETEAN; FAROL FAYE FINKELSTEIN SERETEAN; AND SARAH AGNES BANDY, ALSO KNOWN AS AGGIE BANDY; and

Parcel 2: An undivided 14.20899% of the oil and gas operating rights (being the aggregate of interests formerly owned of record by Martin B. Seretean, B. Jack Bandy, Frederick H. Prince, and John W. Mason) in, to, and under United States Oil and Gas Lease NM 4312, insofar as it covers depths between the surface and 13,500 feet below the surface in the following described land:

ALL UNKNOWN CLAIMANTS OF INTEREST IN THE PREMISES ADVERSE TO THE Legals PLAINTIFF; Defendants. NOTICE OF SUIT PENDING TO: UNKNOWN HEIRS OF THE FOLLOWING DECEASED PERSONS: •Martin B. Seretean, also known as M.B. Seretean and as Bud Seretean; •Farol Faye Finkelstein Seretean •Sarah Agnes Bandy, also known as Aggie Bandy TO: UNKNOWN CLAIMANTS OF INTEREST IN THE PREMISES ADVERSE TO THE PLAINTIFF YOU ARE HEREBY NOTIFIED that the above-entitled action was filed in the above-entitled Court on April 19, 2017 by EAU ROUGE LLC. This lawsuit is a quiet title action that involves a controversy over title to oil, gas and other mineral rights previously owned or claimed by the following deceased persons: Martin B. Seretean, also known as M.B. Seretean and as Bud Seretean; Farol Faye Finkelstein Seretean; and Sarah Agnes Bandy, also known as Aggie Bandy, located in Lea County, New Mexico, and more particularly described as: Parcel 1: An undivided 16.55274% of the oil and gas operating rights (being the aggregate of interests formerly owned of record by Martin B. Seretean, B. Jack Bandy, Frederick H. Prince, and John W. Mason) in, to, and under United States Oil and Gas Lease NM 4312, insofar as it covers depths between the surface and 13,529 feet below the surface in the following described land: Township 19 South, Range 33 East, N.M.P.M. Section 1: Lots 1, 2, S½NE¼, SE¼ Parcel 2: An undivided 14.20899% of the oil and gas operating rights (being the aggregate of interests formerly owned of record by Martin B. Seretean, B. Jack Bandy, Frederick H. Prince, and John W. Mason) in, to, and under United States Oil and Gas Lease NM 4312, insofar as it covers depths between the surface and 13,500 feet below the surface in the following described land: Township 19 South, Range 33 East, N.M.P.M. Section 12: E½ Parcel 3: An undivided 5.98231% of the oil and gas operating rights (being the aggregate of interests formerly owned of record by Martin B. Seretean and Frederick H. Prince) in, to, and under United States Oil and Gas Lease NM 4314, insofar as it covers depths between the surface and 13,245 feet below the surface in the following described land:

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS Parcel 4: An undivided 5.98231% ofHEALTH/MIND, the oil and gas operating rights (being the aggregate of interests BODY & SPIRIT formerly owned of record by Township 19 South, Range 34 East, N.M.P.M. Section 6: Lots 1, 2, 3, 4, 5, 6, S½NE¼, SE¼NW¼, NE¼SW¼, N½

Parcel 2: An undivided http://www.washingtMartin B. Seretean and Frederick 14.20899% of the oil and gas H.oncitypaper.com/ Prince) in, to, and under Unitoperating rights (being the aggreed States Oil and Gas Lease NM gate of interests formerly owned 6869, insofar as it covers depths of record by Martin B. Seretean, B. between the surface and 13,245 Jack Bandy, Frederick H. Prince, feet below the surface in the foland John W. Mason) in, to, and lowing described land: under United States Oil and Gas Lease NM 4312, insofar as it covwashingtoncitypaper.com Township 19 South, Range 34 ers depths between the surface East, N.M.P.M. and 13,500 feet below the surface Section 6: Lot 7, SE¼SW¼, in the following described land: S½SE¼ Township 19 South, Range 33 East, N.M.P.M. A default judgment may be en-

Township 19 South, Range 33 East, N.M.P.M. Section 1: Lots 1, 2, S½NE¼, SE¼

Legals Township 19 South, Range 33 East, N.M.P.M. Section 12: E½ Parcel 3: An undivided 5.98231% of the oil and gas operating rights (being the aggregate of interests formerly owned of record by Martin B. Seretean and Frederick H. Prince) in, to, and under United States Oil and Gas Lease NM 4314, insofar as it covers depths between the surface and 13,245 feet below the surface in the following described land: Township 19 South, Range 34 East, N.M.P.M. Section 6: Lots 1, 2, 3, 4, 5, 6, S½NE¼, SE¼NW¼, NE¼SW¼, N½ Parcel 4: An undivided 5.98231% of the oil and gas operating rights (being the aggregate of interests formerly owned of record by Martin B. Seretean and Frederick H. Prince) in, to, and under United States Oil and Gas Lease NM 6869, insofar as it covers depths between the surface and 13,245 feet below the surface in the following described land: Township 19 South, Range 34 East, N.M.P.M. Section 6: Lot 7, SE¼SW¼, S½SE¼ A default judgment may be entered against you for the relief requested in the Complaint if a written response is not filed with the Lea County District Clerk, 100 N. Main Ave., Box 6C, Lovington, New Mexico 88260, within thirty (30) days from the last date of this publication. A copy of your answer or responsive pleading must be mailed to the attorneys for EAU ROUGE LLC.: Bill B. Caraway, Kelly Hart & Hallman LLP, 508 West Wall Street, Ste. 444, Midland, Texas 79701, Tel. (432) 683-4691. WITNESS my hand and Seal of Court this 24th day of August, 2017 Nelda Cuellar CLERK OF THE DISTRICT COURT By: /s/ Sandy Long, Deputy Clerk

Legals SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2017 ADM 001045 Name of Decedent, Michele Laverne Reynolds, Name and Address of Attorney, Rashida I. Sims, 1218 Barnaby Terr., S.E., SE Washington, DC 20032. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Mikal J. Reynolds, whose address is 1218 Barnaby Terr., S.E., Washington, DC 20032 was appointed Personal Representative of the estate of Michele Laverne Reynolds who died on May 12, 2017, without a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 3/28/2018. Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 3/28/2018, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship. Date of first publication: 9/28/2017 Name of Newspaper and/or periodical: Washington City Paper/ Washington Law Reporter Name of Person Representative: Mikal J. Reynolds TRUE TEST copy Anne Meister Register of Wills Pub Dates: Sept 28, Oct 5, 12. Invitation for Bid Food Service Management Services Washington Global Public Charter School Washington Global Public Charter School is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/or CACFP supper meals to children enrolled at the school for the 2017-2018 school year with a possible extension of (4) one year renewals. All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifications outlined in the Invitation for Bid (IFB) such as; student data, days of service, meal quality, etc. may be obtained beginning on October 6, 2017 from Vika Jordan on 571-235-4195 or bids@washingtonglobal.org:

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Washington Leadership Academy Special Education Services RFP WLA is seeking proposals for occupational, behavioral service, and speech therapy services for high school students with identifi ed disabilities. Services take place at WLA’s campus on a weekly basis. Please include the following in your RFP: * Rate/hour/service * Qualifi cations of service providers. * Licenses * References of other DC charter schools Deadline for Proposals: Friday, October 13 Interim Education Placement Services RFP WLA is seeking proposals for an educational setting and/or program other than the student’s current placement that enables the student to continue to receive educational services according to his or her Individualized Education Plan and current WLA’s current curriculum. Please include the following in your RFP: * Rate/hour/service * Qualifi cations of contractors. * Licensed Special Education Teacher * References of other DC charter schools Deadline for Proposals: Friday, October 13 D.C. BILINGUAL CHARTER SCHOOL

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NOTICE: FOR REQUEST FOR PROPOSAL D.C. Bilingual Public Charter School in accordance with section 2204(c) of the District of Columbia School Reform Act of 1995 solicits proposals for vendors to provide the following services for SY17.18: •Fundraising and Grant Writing Services Proposal Submission A Portable Document Format (pdf) election version of your proposal must be received by the school no later than 4:00 p.m. EST on Wednesday, October 18, 2017. Proposals should be emailed to bids@dcbilingual.org No phone call submission or late responses please. Interviews, samples, demonstrations will be scheduled at our request after the review of the proposals only.

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Business Opportunities Subcontracting opportunity for certifi ed DBEs, MBEs, & WBEs with Fort Myer Construction for DC Water, Solicitation # 160100: Small Diameter Water Main Replacement 12c. Seeking utility subcontractors to perform Cleaning, Lining, and Replacing Water Mains at Brightwood and Takoma, N.W. Subcontracting Quotes Due: 10/5/17. Mandatory: Submit Subcontractor Approval Request form w/ quote. For more info, contact Manuel Fernandes: bids@fortmyer.com or 202.636.9535. Visit fortmyer.com for upcoming solicitations.

Office/Commercial For Sale Seeking partners for 5000sqft building in Cheverly, MD recording studio with video space inside and out, rehearsal space and meeting rooms, parking space, private yard in rear, handicap accessiblity. ALSO AVAIL offices in NW DC/Petworth area. $1200 -$2500 rent, private offi ces and recording studio. Call 202-355-2068 or 301772-3341.

Apartments for Rent 600 sq ft English basement in historic 1924 house; available 10/1. All utilities included. W/D and DW in unit. Plenty of natural light. Pet friendly (no dogs). Blocks from Van Ness metro, Giant, CVS, Farmer’s market and Rock Creek. Email 3420garrison@gmail.com

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JINYA RAMEN BAR DC 1336 14th St NW Looking For Experienced SERVERS & BARTENDERS (Part-Time/Full-Time) APPLY IN PERSON Monday-Friday 10am-4:30pm or EMAIL RESUME TO: jinyajobs@harvesteats.com

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Antiques & Collectibles Seeking responsible roommate to share a 4 BD, 2.5 BATH townhome in Silver Spring. Choose one of two available rooms, for $950/mo. or rent both rooms at a discounted rate of $1350/mo. Conveniently located within walking distance of the Wheaton metro. Parking available. Current residents include 2 young professionals (female and male). For inquires call 202-568-0277. Capitol Hill - H St. NE Corridor - Furnished Rooms Available: Short-term or Long-term. The space includes: free utilities, free WiFi, W/D, and Kitchen use. Rental amount is just - $1,100/month! Near major bus lines, Trolley, and Union Station - visit my website for details and pictures www.TheCurryEstate.com and/or call Eddie @ 202-744-9811.

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Rooms for rent in Cheverly, Maryland and College Park. Shared bath. Private entrance. W/D. $750-$850/mo. including utilities, security deposit required. Two Blocks from Cheverly Metro. 202-355-2068, 301-7723341.

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