Washington City Paper (October 12, 2018)

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News: TenanTs Tangle wiTh caTholic church 5 sports: how To ride The caps vicTory for life 7 Arts: The invesTigaTive film fesT reTurns 19

It’s hard to plan for D.C.’s baby boom when the city hides data on school facilities. p. 12 by rachel m. cohen

Photographs by darrow montgomery

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INSIDE

ADvERTISEmENT

COVER StORy: SChOOlhOuSE BlOCk

12 D.C.’s public school population continues to grow, but information about facilities’ fitness can be hard to find.

DIStRICt lINE 5 housing complex: Catholic neighbors help residents fighting the National Shrine for housing.

6 socialist studies: The Democratic Socialists of America make a play for hyperlocal elected positions.

SpORtS 7 banner year: Despite a new season starting, Caps fans can’t get over their Stanley Cup victory.

9 the scoreboard 10 gear prudence

FOOD 16 breaking down primrose’s poisson rôti: The techniques behind the Brookland restaurant’s standout dish 16 hangover helper: Tyber Creek’s Smoked Salmon Toast 16 top of the hour: Discounted cocktails, sandwiches, and oysters at Joe’s Seafood, Prime Steak & Stone Crab

DARROw MONtgOMERy Unit Block oF First street ne, octoBer 6, 2018

ARtS 19 film: Reviews from the Double Exposure Investigative Film Festival 20 curtain calls: Jones on Shakespeare Theatre Company’s The Comedy of Errors and Paarlberg on Washington National Opera’s La traviata 22 galleries: Capps on Rachel Whiteread at the National Gallery of Art 24 short subjects: Olszewski on First Man

CIty lISt 27 Music 31 theater 32 film

DIVERSIONS 33 savage love 34 classifieds 35 crossword

EDITORIAL

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DistrictLine Catholic Charity

group of Catholic residents who call themselves Archdiocese of Washington Catholics for Affordable Housing urges basilica rector Walter Rossi to “immediately hear the plea of tenants … who are again reaching out to ask that the Basilica follow gospel mandates and Catholic Social Teaching and not make these tenants, who live in the shadows of the Basilica, without a home.”

They lay out three asks: that representatives from the basilica “sit down with tenants … to work out a mutually agreeable deal”; that bavelopment if they own no more than four rent- silica leadership make these tenants’ concerns al units, another factor that makes Doyle’s for- known to its board of directors; and that the basilica immediately enter a conciliation promer properties uniquely vulnerable.)

In all, the transfer of Doyle’s properties to cess with tenants.

The letter quotes extensively from the Unitthe basilica and the confusion it has stoked has left dozens of tenants worried in recent ed States Conference of Catholic Bishops treamonths that they’ll face housing instability be- tise on affordable housing called “The Right to cause of TOPA loopholes and a lack of com- a Decent Home: A Pastoral Response to the Crisis in Housing.” It reads, in part: munication from the church’s leaders.

“We take this opportunity to reflect on the And while the sale of three of these fourunit apartment buildings were recently final- consequences of poor housing. The physical and social environment play an 636 Girard Street NE important role in forming and influencing the lives of people. We cannot ignore the terrible impact of degrading and indecent living conditions on people’s perception of themselves and their future. The protection of the human dignity of every person and the right to a decent home require both individual action and structural policies and practices.”

By the next day, a representative from the basilica reached out to 636 Girard Street NE tenants to offer a meeting at the church itself, with Kavanaugh and two of the basilica’s lawyers. This meeting will, of course, only benefit the tenants living in buildings whose sales to new owners have not yet been finalized.

(A spokesperson for the basilica confirmed to City Paper that this meeting will take place, but did not respond to the allegations that its perceived unwillingness to find a buyer interestized, at least two others have not yet execut- ed in preserving the buildings’ affordability ed a sale—giving tenants and their advocates would likely displace many families.)

Yasmina Mrabet, an organizer with Jusmere weeks, if not days, to find a buyer before tice First, calls it the church’s “moral respontheir TOPA rights expire.

In addition to housing organizations like sibility” to “uphold the Catholic Church teachJustice First and Housing Counseling Servic- ing that housing is a right.”

“Despite ongoing obstacles including strict es, a group of local faith leaders and members of the Catholic community in D.C. have orga- TOPA timelines and in some cases failure to renized, too, on behalf of 636 Girard Street NE ceive TOPA notices at all, tenants in the Rhode Island Ave NE corridor are fighting to protect and 1364 Bryant Street NE tenants.

In a letter they say they hand-delivered to their homes and families from displacement,” Kavanaugh and Cardinal Donald Wuerl, a she says.

CP

Residents of Northeast D.C. get an extra hand in their fight to secure housing from the National Shrine: a group of Catholic neighbors.

Last month, City Paper reported on 636 Girard Street NE, a four-unit apartment building in residential Edgewood, just a 15-minute walk from the Basilica of the National Shrine of the Immaculate Conception.

The basilica is the continent’s largest Catholic church, and it’s also now a prolific local property owner— at least temporarily. Deceased D.C. resident Joanne Doyle bequeathed 13 properties, including half a dozen four-unit apartment buildings, to the church just before she died. The buildings are largely concentrated between Trinidad and Edgewood, in neighborhoods seeing rapid appreciation in property values, on Girard, Bryant, and Raum streets NE. On Feb. 20, the executor of Doyle’s estate transferred the deeds of these properties to the basilica for a sum of zero dollars. The tenants found themselves in an unusual bind, caught in legal limbo by both District rental laws and those applying to religious institutions. Though D.C.’s Tenant Opportunity to Purchase Act gives tenants a first right of refusal to purchase their buildings when they go up for sale, TOPA doesn’t apply when the building changes hands through a deed transfer from a decedent to a charity.

And as the Roman Catholic Church, the basilica “is not permitted to manage or own rental properties as a trade or business,” according to a letter that Kevin Kavanaugh, treasurer of basilica subsidiary BNSIC Title Holding Corporation, sent to 636 Girard Street NE resident Heather Benno this summer. Kavanaugh is also the comptroller of the basilica.

“Unfortunately, there is no way for the Shrine to intercede on these issues and/or impose additional demands on the buyer regarding the tenants,” he wrote.

But tenants, and advocates fighting for them to stay in their homes, say that’s not true.

They’re lobbying the church to sell to an affordable housing developer, or another similar party

housing complex

with a vested interest in keeping the apartments affordable. Tenants’ biggest concern, they say, is that a new owner would mean rent hikes and—if they couldn’t afford those—eviction. At least one buyer who purchased one of Doyle’s four-unit buildings in Southeast has claimed a rent control exemption, tenants say.

“My building was ... recently sold to a new owner who states he is exempt from participating in the rent control program. He wants to raise the rent about 40 to 50 percent. It will

Darrow Montgomery/File

By Morgan Baskin

go from $780 to $1200 [per month],” one resident of Doyle’s former property wrote in an email to Justice First, a social justice and housing advocacy organization. “The building has been under rent control for over 25 years and I was told that the rent control status can change. I never received any documentation to purchase the building but yet they want me to sign something stating I did. What is the best step?” the tenant asks. (Property owners can apply for rent control exemption through the Department of Housing and Community De-

washingtoncitypaper.com october 12, 2018 5

DistrictLinE Socialist Studies As the Democratic Socialists of America are on the rise nationwide, the D.C. chapter is going hyperlocal for the upcoming general election.

$15 an hour by 2020, one of the highest minimum wages in the country. In 2016, the Council passed a paid family leave bill, which grants new parents—or people who need to care for a sick family member—up to eight weeks of paid leave. AtLarge Councilmember Elissa Silverman, one of the body’s most left-leaning members, spearheaded the latter effort.

But neither she nor any of the city’s councilmembers are Metro DC DSA members, and some argue that the Council isn’t as progressive as it thinks it is. In the June primary, two incumbents, Council Chairman Phil Mendelson and AtLarge Councilmember Anita Bonds saw a challenge from the left on their progressive records in the form of Ed Lazere, the executive director of the DC Fiscal Policy Institute, and activist Jeremiah Lowery, who is a member of the Metro DC DSA. Both Lazere and Lowery ran campaigns criticizing their incumbent opponents for their records on addressing D.C.’s affordable housing crisis, transportation issues, and keeping cozy relationships with deep-pocketed developers.

Though Lazere is not a member of the Metro DC DSA, he says that because both he and Lowery “come out of the progressive D.C. advocacy crowd,” several organizations—DC For Democracy, Jews United for Justice, and the Trans United Fund—coordinated their volunteers to campaign for them, calling them the “True Progressive” ticket for the primary.

The June primary didn’t see any change in the Council—all of the incumbents won reelection—but both Lazere and Lowery’s results were significant: Lazere, who was Mendelson’s only challenger, pulled in 36.38 percent of the votes; while Lowery, who ran against Marcus Goodwin in addition to Bonds, came in second in his race with 23.58 percent of the votes.

Both Lazere and Lowery’s campaigns helped spark a conversation about the future of the District’s progressive politics, and where they might be headed.

Darrow Montgomery

Zachary Eldredge

By Matt Cohen Zachary EldrEdgE is gearing up for election day. The 26-year-old physics Ph.D. student isn’t running for office, nor is he working on a single specific campaign; he’s working on 11 of them.

Eldredge, a member of the Metro DC chapter of the Democratic Socialists of America since July of 2017, is the core organizer for the political group’s campaign to get some of its members elected as Advisory Neighborhood Commissioners—elected non-partisan neighborhood representatives that advocate to the mayor and Council for their communities.

It’s part of a broader effort to, as the group puts it, “begin the process of strengthening its presence in local government and advocating for socialist policy and meaningful progressive change on the neighborhood level across the District.”

Eldredge sees the local ANC races as a pivotal opportunity. Over the past couple of years, the DSA—the largest organization of far-left progressive and labor-centered socialists in the country—has significantly boosted its profile, highlighted by Alexandria Ocasio-Cortez’s upset victory in the June Democratic primary in

New York’s 14th congressional district.

In D.C., the Metro DC DSA made national headlines this summer when its members protested Homeland Security Secretary Kirstjen Nielsen’s actions while she was dining at MXDC Cocina Mexicana. At a July meeting of the Metro DC DSA, leaders reported that the group gained about $7,000 in donations after the Nielsen protest.

“I think that... the Democratic Socialists’ movement is growing a lot in the U.S.,” Eldredge says. “I think that with Ocasio-Cortez and [Julia] Salazar and other people across the country … local offices are really starting to be a place where we clearly can compete, and I’m hopeful that we’ll move forward in the elections to come, in future election cycles.”

(Salazar defeated incumbent Martin Malavé Dilan in the New York State Senate race to become the Democratic nominee for the 18th district earlier this year.)

D.C. is an overwhelmingly Democratic city, and the Council’s record on issues often lines up with its progressive makeup: It was one of the first jurisdictions to legalize gay marriage and, just a couple of years ago, passed a bill brought to the table by living wage advocates to incrementally raise the minimum wage to

6 october 12, 2018 washingtoncitypaper.com

“The future of the left in D.C. ... is not about the liability of socialist candidates or anything like that. It’s a struggle for the soul of D.C.,” says Todd Brogan, a Metro DC DSA member who was elected in June as a Ward 4 committeeman in the Democratic State Committee as part of the Dump Trump/ Dems 4 Action slate.

“Are we going to be the type of city where there’s life on the street? The kind of place that asks the ultra-wealthy in upper Northwest, in Kalorama, and the Kushners and the Bezoses, and their 25-bathroom mansions, are we going to ask them to pay their fair share so we can provide things like healthcare, housing, education, and transportation for everybody?” Brogan wonders. “Or is it the kind of place where we’ll actually enforce labor laws that we pass?”

For Brogan, the June primary exposed a deep schism in the District’s establishment Democrats, and the future of the District in general. While he was campaigning, Brogan says he talked to many residents who felt like the current Council isn’t doing enough to address housing and displacement issues. It’s the same sentiment that Lowery says he heard from voters while knocking on doors during his campaign.

“Based upon the conversations that I had with residents throughout the city, my big takeaway is that people are still concerned about displacement in the District,” Lowery says. “People are still concerned about rent rising and the cost of living here in D.C., from Ward 1 all the way down to Ward 8.”

With the general election just weeks away, the Metro DC DSA doesn’t have any candidates running for Council. Instead, they’re focusing their efforts on the ANC races. The 11 members they have running are: Caleb-Michael Files for single member district 1B02; Dan Orlaskey for 1B02; Stuart Karaffa for 1D05; Matthew Sampson for 2B01; John Grill for 3C01; Beau Finley for 3C04; Ashik Siddique for 4C03; Luke Cieslewicz for 5C07; Ryan Linehan for 5D01; Mysiki Valentine for 7D04, and Jewel Stroman for 7B07. The group is also endorsing Emily Gasoi for the Ward 1 seat of the DC State Board of Education.

“What I think excites people in the DSA about ANC races is it’s really an opportunity for people to take some level of ownership over the decisions that affect them right down the street,” says Eldredge.

Lowery feels similarly. “Labels aside, I think the majority of people do agree with our messaging, even with what the messaging is telling DSA members,” he says. “People do generally agree that we need to focus on the needs of the most marginalized residents over the needs of wealthy donors, over the needs of luxury condo developers here in the city; that we need to focus on inequality economically, in our educational system.”

CP

Courtesy Patrick McDermott

Banner Year

Jamie Smed/flickr

SPORTS

One of the biggest reasons the Washington Spirit had a nightmare of a season was because its two young stars, Mallory Pugh (pictured) and Rose Lavelle, were injured for long stretches. Now healthy, the pair is already looking for redemption with the U.S. national team. washingtoncitypaper.com/sports

Months after their team won the Stanley Cup, lifelong Caps fans can’t get over their luck.

By Brian Murphy For 44 years, the Washington Capitals were consistently good enough to get their fans hopes up. As soon as those fans let their guard down, the team promptly self-destructed in the most soul-crushing way imaginable.

Losing a quadruple-overtime playoff game—on Easter Sunday? Check. Being eliminated, time and time again by the Pittsburgh Penguins, their most hated rivals, rubbing ample amounts of salt in the wounds? Yep. Winning the President’s Trophy as the league’s best regular season team,

hockey

just to blow a 3-1 series lead to the eighth-seeded Montreal Canadiens? Even the most cynical sports fans had a tough time bouncing back from that one.

Those postseason failures definitely affected the way many longtime Caps fans supported their favorite hockey franchise. At the slightest sign of adversity, panic inevitably started to set in. After decades of mental anguish, it was clear that Capitals fans had become conditioned to expect the worst. And, I’ll admit, I was part of the problem. If the Capitals were on the verge of being bounced from the postseason, I no longer wanted to be in the building. Rather than subjecting myself to yet another sad Metro ride home, I opted for the

safety and security of my basement, where I could hunker down for the team’s annual collapse.

But a magical thing happened along the way—my 7-year-old son began regularly watching Caps games with me and, just like when I was his age, fell in love with the boys in red. While players like Scott Stevens, Al Iafrate, and Olaf Kölzig drew me in all those years ago, my son watches Alex Ovechkin “unleash the fury” on the power play, Nicklas Bäckström deliver the perfect puck through traffic, and Braden Holtby stand on his proverbial head to will his team to victory. And he can’t get enough of it. He hasn’t been around long enough to know what the Capitals have

and haven’t done over the last four decades.

He’s seen them win more games than they’ve lost, and that’s good enough for him.

When the postseason rolls around, my son is convinced that this is their year. And if it isn’t, there’s always next year. Watching games with him has changed the way I support the franchise. I’m far less likely to fixate on a bad call or an ill-advised penalty and much more likely to cherish the victories, big and small.

And then the Washington Capitals won the Stanley Cup. Charlie Brown finally kicked the football. The dog finally caught the car. The hockey franchise that was always its own worst enemy suddenly achieved true greatness.

Months later, it still seems unfathomable.

For the players, everything is pretty straightforward. Each of them got to spend a day with the cup, snag a ridiculous championship ring (retail cost: $12,018), and then watch as the team raised the championship banner to the rafters at Capital One Arena. Minutes later, the puck dropped on a new season. Their attention could no longer be focused on the past.

“I think that the time that I spent with the Cup, sharing my happiness with my teammates, with all the fans, all the people who I know, it was something special and you just want to do it over and over again because when you taste it, you don’t wanna let it go,” Ovechkin recently told reporters at a luncheon. “Last year nobody was expecting us to win but we won and right now everybody is gonna play against us hard. But the motivation, it’s like you just want to repeat it and do it over and over because the days spent with the Cup is something that we’ll never forget.”

It makes sense for the players to turn their attention to the challenges of a new season.

But what about the fans? Is it possible for someone who’s built up thick scar tissue over the decades to move on so quickly? Maybe not.

“I get that the players have business to tend to, but I, personally, intend to soak in the afterglow of that giant silver trophy until they aren’t champs anymore, and I’d encourage any fans to do the same, especially those who’ve been along for the ride for any length of time,” says Caps season ticket holder and superfan William “Loud Goat” Stilwell.

Stilwell isn’t alone in wanting to take an extra victory lap or two before moving on.

Jack Anderson, 29, pooled together enough cash to fly to Las Vegas to attend Game 5 of the Stanley Cup Final. He headed into the arena that night with “cautious optimism.”

After the horn sounded, Anderson spent an hour fielding congratulatory phone calls from friends and loved ones. He didn’t log a minute of ice time, but those who know him under-

washingtoncitypaper.com october 12, 2018 7

Vote in the Tuesday, November 6, 2018 General Election Polls will be open from 7 am to 8 pm.

During the General Election, all registered voters and District residents eligible to register, may vote.

CONTESTS ON THE BALLOT: Delegate to the United States House of Representatives Mayor of the District of Columbia Chairman of the Council of the District of Columbia At-large Member of the Council of the District of Columbia Ward Member of the Council of the District of Columbia(Wards 1, 3, 5 and 6) Attorney General of the District of Columbia United States Senator United States Representative Ward Member of the State Board of Education (Wards 1, 3, 5 and 6) Advisory Neighborhood Commissioner

WANT TO VOTE EARLY? Early Voting will start at One Judiciary Square (OJS) on October 22, and at satellite Early Voting Centers on October 26. Early Voting Centers are open daily (including weekends) through November 2, from 8:30am until 7pm. Both paper and touchscreen ballots will be available at OJS. Satellite Early Voting Centers will open on October 26, and they will have touchscreen ballots only. Eligible voters may vote at any Early Voting Center during Early Voting, regardless of their address or Election Day polling place. Early Voting Center locations can be found online at https://earlyvoting.dcboe.org/.

NEED MORE INFORMATION? For more information on the upcoming election, on voter registration, to confirm your registration information, or to find your polling place, please visit www.dcboe.org or call (202) 727-2525.

8 october 12, 2018 washingtoncitypaper.com

SPORTS stand how much the team means to him. And when they saw what the Capitals had finally achieved, their thoughts immediately shifted to Jack. The same goes for Loud Goat, or any other long-suffering fan who chose to support the franchise decades ago and has stuck by them for better or for worse.

“I had gone over that scenario in my mind countless times, but to actually see it come to fruition was one of the more emotional nights of my life,” says Anderson. “Seeing the clock at 0.6 seconds, with just one face-off left, and then the puck dropped, and we’re the champs. The next hour was all a blur. ...It’s not often we get to experience the pinnacle of our sports fandom, but as the night wore on and I celebrated with Caps fans from all over the world, it was evident it wouldn’t get better than that night.”

When Craig Laughlin, who joined the Caps as a player during the 1982-83 season and is now a color commentator on the team’s television broadcasts, first arrived in D.C., the franchise had trouble selling tickets and thenowner Abe Pollin was considering moving the team out of Washington.

“Now, all of a sudden, you can’t get a seat,” Laughlin says. “So, I just think the Caps got to relish the fact that this franchise has finally won a Stanley Cup.” Mike Rucki became a season ticket holder 19 years ago, when Ted Leonsis acquired the team. He and his wife have watched the good, the bad, and the ugly from the 400 level for nearly two decades. That’s a sizable commitment in terms of time and money, which is why he’s happy to heed the advice of Stilwell and enjoy the ride for as long as possible.

“This accomplishment will not be repeated,” Rucki says. “Winning back-to-back would be incredible, but nothing will compare to the euphoria this first championship brought to Caps fans and to D.C. As it must have been for Cubs and Red Sox supporters, the decades of frustration and anguish made the long-overdue victory that much sweeter.”

Whether Caps fans are prepared to turn the page or not, the next season has officially begun. In talking with several current players, they were genuinely blown away by what they saw in D.C. during the improbable march toward Lord Stanley’s most precious hardware. Seeing Capital One Arena packed to the rafters with enthusiastic fans at a watch party because the actual game was taking place in Las Vegas definitely made an impact in the locker room.

“I don’t think fans sometimes realize the effect that they have on players, whether that’s positive or negative,” defenseman Brooks Orpik tells City Paper. “I remember last year in the playoffs, in a positive way, there’s times where you’re pretty low on energy and the energy that the fans create definitely injects itself into us. It kinda gives you that extra edge

over your opponent and can be overwhelming for other teams.”

And that energy—or lack thereof—goes the other way too, according to Orpik.

“I’m not gonna lie to you, guys feel that nervous energy,” he says. “Especially when home fans are just waiting for something to go wrong and I think everybody as a player knows it, if you’re approaching games, not to make mistakes, you’re in a lot of trouble against good opponents. Hopefully we kinda broke through on that and hopefully it’s more of the positive energy going forward.”

Forward T.J. Oshie echoes Orpik’s sentiments. He hopes now that the team has achieved true greatness, everyone involved will stick together even when things aren’t going very well. As John Walton, the radio voice of the Capitals, once said, “It’s okay to believe.”

“I think there is maybe a renewed confidence in what we’re able to do,” Oshie says.

“I think all the talk of jinxes and things like that, people can kind of get out of their mind.

I think we’ve learned how to play in big situations through some heartbreaking failures.

And I’m not saying we’re going to win every one, but I have confidence that this group can stay cool under pressure in those moments.”

Look, I get that winning the Stanley Cup might not change the way every single fan watches future games. If nothing else, my hope is that seeing those names engraved on the most magnificent of trophies will at least impact the reactions, or overreactions, during or after games. There’s no reason why a random Tuesday night loss in February should carry the same weight it might have in the past.

So enjoy the ride, Caps fans. Soak it in for as long as you see fit. As Oshie said, their names are etched onto the Stanley Cup for up to 65 years, so this party can continue for a while longer. And even if the Capitals fail to defend their title this season and some other hockeyloving town gets their turn to do push-ups in a local fountain, no one can ever take this away from you.

“All the years of pondering which way the Caps would dash our hopes on the rocks of another all-too-early playoff exit. All the years of poring over the numbers around blown series leads, disappearing power plays, suddenly shaken Caps goalies, suddenly superhuman opposition goalies, the night terrors whenever the word ‘overtime’ even comes up in conversation, they’re in the rear view mirror,” Stilwell says.

I’ll leave it to Mike Vogel, the team’s senior editor and content strategist who has been with the organization since 1999, to effectively sum up this entire experience for the players—and the fans.

“You dream of this your entire life and then it happens,” Vogel said, “and you realize you didn’t dream big enough.”

CP

T H E

S C OR E B O A R D

The Scoreboard is a sports feature spotlighting the winners and losers, the champs and chumps, the highlights and lowlights, and anything in between, of sports in the D.C. area.

muscle) injury, according to Shams Charania of The Athletic.

Thomas Bryant, another big man, hyperextended his left knee and sprained his left ankle during a preseason game this week. His timeline, like Howard’s, remains uncertain.

ACTUALLY

by Anna Ziegler

at Arena Stage

A Provocative New Drama Dealing With Sexual Consent on a College Campus

But the Wizards aren’t too worried. Not yet, at least

TickeT STamped Kerry Allen knows exactly what she’ll be doing on Feb. 29, 2020. Over the weekend, the 30-year-old Columbia Heights resident qualified for the Olympic Marathon Trials by finishing the Twin Cities Marathon in Minneapolis and Saint Paul, Minnesota in 2 hours, 41 minutes, and 33 seconds. Her time is several minutes under the minimum standard for the Olympic trials.

“It’s something I had felt was possible for the last few years,” Allen tells City Paper. “I knew I was capable of doing it, but being capable is very different than actually doing it.”

She will join several other D.C.-area runners who have already qualified to race in Atlanta, which will host the trials in 2020. According to RunWashington’s Charlie Ban, that list includes Bethany Sachtleben, Kelly Calway, Jessica McGuire, Shauneen Werlinger, Caitlyn Tateishi, and Jillian Pollack on the women’s side. Kyle Stanton of Rockville has qualified to represent the area men.

“It’s awesome that we have that many women in the D.C. area that have achieved this,” says Allen, the president of the elite post-collegiate Georgetown Running Club. “I think each one of those runners has a really cool story.” injury prone The Wizards appear to be limping into the regular season. The season opener against the New York Knicks at Capital One Arena is scheduled for Oct. 18 and Dwight Howard, the big-name offseason acquisition, has yet to play for the team. The All-Star center was originally diagnosed with a lower back injury before visiting a specialist in New York, who diagnosed Howard with a piriformis (buttocks

“I think when you get to the regular season and [Howard’s injury] gets real bad, that’s tough for us, but he’s been working out and taking the next step as he can,” point guard John Wall told The Washington Post. “That’s all we can do is sit back and wait to see what happens after that.” criSiS pr Josh Norman was once considered one the best cornerbacks in the National Football League. In 2016, just two days after being released by the Carolina Panthers, the local NFL team gave Norman a five-year, $75 million deal, making him the highest paid cornerback in NFL history at the time. Two years later, he’s not even the best player at his position on his own team, according to analysts.

He was benched briefly to start the second half of Monday night’s 43-19 loss to the New Orleans Saints. Afterward, Norman made even more headlines when he got into a Twitter exchange with Saints wide receiver Michael Thomas, who trash talked him during the game.

During the game broadcast, analyst Booger McFarland declared that Quinton Dunbar is the Washington football team’s best cornerback, not Norman.

“Fundamentals are kind of killing him on his press technique, and being disciplined,” the team’s former general manager Charley Casserly told The Sports Junkies last week. “He never was the most disciplined guy. He’s very competitive, he’s just not doing a good job with his hands-on press.”

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DeAngelo Hall, a former NFL defensive back and teammate of Norman’s was even harsher, telling The Junkies that, “Josh is, I think, in love with being a celebrity right now and not necessarily being a football player.” —Kelyn Soong washingtoncitypaper.com october 12, 2018 9

Gear Prudence Gear Prudence: I’m always bothered by stripped bike frames on the street. Do bike owners just lock them and forget them, like co-workers who leave half-eaten takeout in the office fridge? Do owners opt to cut their losses after they find wheels missing? Is something more sinister going on?

—Larcenists Evidently Found The Bike Easily Hackable. I’m Nearly Demoralized.

Dear LEFTBEHIND: Sinister? How exactly?

Some sort of financial chicanery that involves creating an artificial shortage in the aluminum market that’s resolved, to great profit, when thousands of previously abandoned bike frames are finally recycled? Or a false flag operation led by a pro-car cabal attempting to portray bicyclists as nogoodnik litterers too irresponsible to be worthy of public facilities?

Imaginative (read: nutso) as these ideas might be, abandoned bikes are the result not so much of fantastical plots as sad reality.

You posit two pathways to a stripped bike and they share the same steps but in different orders.

Do thieves prey upon bikes that owners have all but forgotten, or do the thieves steal parts from bikes that their owners then choose to abandon?

Each is possible.

GP can imagine a scenario in which an owner takes an unloved bike on a rare trip, uses other means to get home, and then delays in recovering it. Maybe because they’re busy, but maybe just because they don’t really care.

In the interim, those who covet a piece or two take note of the obviously immobile bike. As more time passes, anything of value finds itself detached and we’re left with a bike carcass. In this case, the bike is less like forgotten takeout in the office fridge and more like a pickedover chocolate sampler in the breakroom, where the only morsels left are filled with coconut or cherry goo. Stealing parts from a bike (even an unloved one) is wrong, but it’s not a surprising outcome when the owner makes no attempt at recovery.

Alternatively, theft might precipitate the abandonment. Maybe a thief absconds with a wheel or two. Or a saddle. The original rider returns to find their bike less than whole, and therefore unrideable, and assesses the options. Am I really dragging this half-bike home? Or do I, mad at the universe for the cruel indignity, simply walk away and renounce ownership? This approach is irresponsible too, but seems more cosmically justified: Unable to bear the cruel fate of loss, the owner copes through denial.

In either case, most stripped bikes share one common bond: They didn’t start as great bikes. If a bike has any residual value (pecuniary or sentimental), it’s never left to rot. Its owner will attempt to recover it. But even not great bikes shouldn’t sit stripped on the street.

It’s depressing. Do your duty and report abandoned bikes through 311 to have them stickered and eventually removed.

—GP 10 october 12, 2018 washingtoncitypaper.com

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SCHOOLHOUSE BLOCK D.C.’s school system is growing fast, but the city might not tell you how or where.

By Rachel M. Cohen Photographs by Darrow Montgomery 12 october 12, 2018 washingtoncitypaper.com

This week D.C. will hold its third and final round of public meetings for a little-known planning process that could reshape the city’s balance between neighborhood schools and charters.

For the past 16 months, Mayor Muriel Bowser’s office has been developing a blueprint for the future of the city’s schools, known as a “Master Facilities Plan.” By law, this comprehensive report will provide city leaders with an overview of the state of school buildings across the District. The goal is to analyze population projections and school building data so that policymakers can plan for the next decade of D.C. public education. How should resources be directed? What schools need to be built? Where?

The stakes are high. Though D.C. has one of the largest charter school sectors in the country—educating nearly half of all city students—most families assume they could still send their child to their local neighborhood school, a District of Columbia Public School, if they wanted. A 2014 advisory committee on student assignment led by the deputy mayor for education found strong public support for maintaining schools that students living within a certain distance are entitled to attend.

But since 2008, the number of charters in the city has increased from 93 to 120, while the number of neighborhood schools has declined from 134 to 114. Only four new DCPS schools have opened in the city during this period, compared with 27 charters. Many advo-

cates say there needs to be more coordination between the two school sectors if D.C. wants to ensure that all families have access to a neighborhood public school in the future.

Expected demographic shifts add another layer of complexity. The D.C. Auditor projects school enrollment to grow by 12,000 to 17,000 students in the next 10 years, with the bulk of that growth occurring in the middle and upper grades. A separate analysis produced by the D.C. Policy Center puts those estimates even higher, predicting just over 21,000 new students by 2026.

The city historically hasn’t been great at planning for school facilities—inequitably distributing capital dollars, haphazardly drawing school boundary lines, and failing to ensure that taxpayers get the best bang for their buck. The D.C. Auditor’s office examined school modernizations between 2010 and 2013 and found that the city lacked “basic financial management” over its $1.2 billion in spending, allowing large costoverruns and misallocated funds. “District resources are finite,” said Auditor Kathy Patterson at the time. “We owe it to taxpayers to see that modernization funds are spent well and prudently, to assure our ability to complete the task of upgrading all of our schools.” The 21st Century School Fund, a local nonprofit that advocates for high-quality school buildings, estimates D.C. will need to budget at least $400 million annually to maintain its DCPS and charter schools in good repair.

While more than $4 billion has already been spent on local school upgrades since 2000, schools with high rates of students in poverty have historically gotten the short end of the stick. Some schools that clamored for renovations received practically no money for capital improvements, while others successfully lobbied for multiple rounds of investment.

D.C.’s leaders have taken a weaving path to this moment. School facility planning has been a long-standing issue, but has grown especially charged since 2015, when, aware of mounting issues, city leadership finally resolved to act. At an oversight hearing before the Council, then-DC Public Schools Chancellor Kaya Henderson advocated for revamping the school modernization process. “My very honest assessment is that the whole [capital improvement] process is jacked up,” she said, calling it too political and expensive, and proposed a new, transparent system for addressing school facilities. Henderson envisioned distributing public dollars based on “logical” criteria, not “how loudly your community screams.”

In a process spearheaded by At-Large Councilmember David Grosso, who took over in 2015 as chairman of the Education Committee, the Council held hearings and drafted new legislation—the Planning Actively for Comprehensive Education (PACE) Facilities Act— to bring order, equity, and transparency to the school planning process. Bowser signed it into law at the end of 2016.

Yet in the nearly two years since the PACE Act’s passage, a number of glaring obstacles to comprehensive school facility planning have emerged. The mayor’s office has blown many

months of deadlines and worked actively to conceal information about charter facility conditions and costs. Elected officials, reluctant to confront tough politics, have worked to reinterpret or simply ignore the intent of the law that they themselves authorized.

Compounding these issues is the fact that charter schools are not required to share their long-term growth plans with the public. Residents say they worry that when all is said and done, the city will not really be in a place so different from where it was before—thinking through complex issues with incomplete data, having no expectation that DCPS and chartersector leaders work together, and not even requiring that the data collected be used to guide school planning decisions. iT Doesn’T Take a rocket scientist to determine how many schools are needed to educate the District’s 91,000 public school students, and where new schools must go to accommodate student growth in the years ahead. Publicly, at least, city officials agree that they’d like to maintain D.C.’s balance of a choice-based charter system and traditional public schools that students can attend by-right. Even Scott Pearson, the executive director of the DC Public Charter School Board, has said he wouldn’t want to see D.C. go all-charter. “The current model, with two public school systems pushing each other to be better and cooperating whenever possible, is proving to be the right mix for the District’s schoolchildren,” he wrote in a 2015 Washington Post opinion piece.

But maintaining this rough balance could require new limits on the charter sector’s autonomy, something charter leaders and the

mayor’s office are loath to discuss. “It takes real planning,” says Danica Petroshius, the co-vice president of the Capitol Hill Public Schools Parent Organization. “Which means making decisions and sharing oversight over the two sectors because they are for one system of students.”

The Public Charter School Board currently has complete authority to open and close charters across the city, and typically approves new schools to open before charters have determined where they’ll in fact be located. Pointing to the long waitlists for some of the city’s top-performing charters, leaders say they feel a moral urgency to grow new high-quality schools as fast as they can. “I’m not interested in joint planning as a cover to put some sort of moratorium on charters,” Pearson once told The Post.

The passage of the PACE Act, though, was considered one of the clearest signs that leaders were finally open to making comprehensive, cross-sector decisions about school facilities in D.C. The 2013 Master Facilities Plan, which included a limited amount of charter school data, articulated the problems D.C. faces when it comes to school planning. “At present, there is little coordination of school facility needs with expenditures across all public schools, for both DCPS and charters” the 2013 report acknowledged. Charter schools were “growing haphazardly” as schools “open wherever they can find space that is both affordable and sufficient for their needs, and many remain in substandard facilities.” DCPS and charter facility data were “inconsistent, inaccessible or both,” and the lack of a comprehensive fact

base made it “nearly impossible to make strategic facility investments” and “perpetuates the conflict between DCPS and charter[s].”

Three years later, by 2016, the Council’s Education Committee reported that little had changed. The PACE Act, the Council made clear, would be its attempt to finally take action. The act directed D.C.’s education agencies and the Department of General Services to “conduct an annual survey to update information on the condition of each DCPS and public charter school facility.” The survey results “shall be disaggregated by facility, [and] made publicly available.”

The Council recognized that some charters might be resistant to increased data collection, so the PACE Act also authorized the mayor’s office to fine the Public Charter School Board up to $10,000 annually if charters failed to cooperate. several key DrafTers of the PACE Act tell City Paper there was no ambiguity at the time as to whether the legislation was intended to fill the well documented gaps in school facility data collection. The Council also felt it needed to more clearly understand charter facility conditions, as they’re nearly entirely funded by taxpayers. Unlike DCPS schools, which receive facility funding from the city’s capital budget, charter schools receive a “facilities allowance” for every student they educate, taken from the city’s operating budget. Today that allowance stands at $3,193 per pupil. However, charters are not actually required to spend their facility allowances on their school facilities, nor must they publicly document the conditions of their buildings.

Danica Petroshius

washingtoncitypaper.com october 12, 2018 13

Jump ahead to the summer of last year, though, and signs started to emerge that the process was breaking down.

In July 2017, then-Deputy Mayor for Education Jennifer Niles sent a memo to all local education agencies informing them of the upcoming Master Facilities Plan. While Niles emphasized that participation would make the process more successful, her letter suggested that participation for charter schools housed in “non-District owned facilities” would be voluntary, and that if they do participate, their facility assessments “will not be shared directly with” the mayor or the charter board. In other words, the charters located in 70 privately owned buildings across D.C. would not have to share their facility assessments with policymakers.

Mary Filardo, head of the 21st Century School Fund, sent the mayor a letter in August 2017 raising concerns with Niles’ memo. “Without full disclosure and complete data on the facility condition, design, capacity and growth plans for charter, as well as DCPS schools, it is not possible to efficiently plan for projected child population growth, equitably allocate its public education operating and capital budgets, exercise appropriate oversight of the District’s budget … or engage communities in authentic neighborhood level planning,” Filardo wrote.

She also noted that parents would not be able to make fully informed school choices if they lacked information about the safety and condition of each school.

When Niles sent a vague letter back on behalf of the mayor a month later, she didn’t respond to Filardo’s concerns directly. Instead she said that it’s her priority that charters are included in the Master Facilities Plan, and that her team was confident this would happen. “I appreciate that we both feel strongly about the need for comprehensive facility information and planning, and I look forward to further dialogue and feedback,” Niles wrote.

That same month, a group of D.C. education stakeholders convened to discuss implementation of the PACE Act, and why it appeared the mayor’s office seemed to be diverging away from its legislative intent. “It seems incomprehensible that the city would require 10 years of planning for public school buildings involving billions of dollars to be done in the dark,” said Filardo at the time.

Meanwhile, the mayor started missing PACE Act deadlines. The first was Sept. 30, 2017—when the mayor’s office was supposed to have assessed each DCPS school according to criteria that could allow for the objective prioritization of capital funds. That date was set so parents and community members would have ample time to weigh in before the mayor’s budget was finalized.

The next missed deadline was in December 2017, when the mayor’s office was supposed to submit its final Master Facilities Plan. The office first requested an extension for March 2018, but at an oversight hearing in midFebruary the public learned the mayor wanted to push the report back even further. “You will have the report next August, August 2018,” said Niles. She said the delay was due to it taking longer than expected to fundraise for charter facili-

ty assessments in privately owned buildings.

The plan still hasn’t been released, and the mayor’s office now promises it sometime before the end of 2018—a year late.

At that same February hearing, Grosso, the chair of the Education Committee, said he worried the mayor’s office was delaying the completion of the Master Facilities Plan to bypass public scrutiny on its next budget. Niles denied this, but resigned three days later, after news broke that she assisted DCPS Chancellor Antwan Wilson in gaming the school lottery.

Two months later, at an April budget oversight hearing, Grosso grilled Niles’ replacement, interim Deputy Mayor for Education Ahnna Smith, on why so many components of the PACE Act were still not being followed, including the requirement to produce a detailed analysis of the modernization needs of each school, along with timelines for new construction, and cost assessments. Grosso said it appeared the mayor was just picking and choosing which items she felt like complying with.

Smith said she didn’t have an answer to give him, but would confer later with DCPS and the Department of General Services to find out.

“I’d be more understanding if we didn’t go through a two-year public process writing this law, if the mayor didn’t actually sign it, and support it,” Grosso said at the hearing. “I think it’s disrespectful to the democratic process.” inTernal DoCumenTs show the city working closely with charter-supportive organizations to keep charter facility data hidden—even from the city itself.

The Master Facilities Plan is built on what are known as “Facility Condition Assessments,” or FCAs. These are detailed evaluations of the capital needs of each school building, conducted by an outside civil engineering firm. These comprehensive school-level reports can easily exceed 200 pages each, and are aimed at determining maintenance requirements and costs for all parts of the building, exterior and interior, over a decade. The mayor’s office budgeted to fund FCAs in all DCPS schools and charters in publicly owned buildings, but at some point the mayor’s office began working with the Walton Family Foundation to fund optional FCAs for charters leasing from privately owned buildings.

E m a i ls p ro duced in response to a Freedom of Information Act

14 october 12, 2018 washingtoncitypaper.com

request by the D.C. Open Government Coalition, and shared with City Paper, show the topic emerging as early as July 2017, though it’s not clear when or how these discussions began.

The emails show the mayor’s office working hand-in-glove with Education Forward DC (an education reform grant-making organization), Ampersand Education (a consulting firm) and the Walton Family Foundation to figure out how to fund the FCAs. They landed on creating a new layer of bureaucracy to separate the data from the public: The Walton Family Foundation would fund Education Forward DC to contract the facility assessments, and Ampersand consultants would act as liaisons between the charters, Education Forward DC, and the contractor.

Most unusual was that the mayor’s office itself was pushing to ensure that the results of the facility conditions assessments would stay permanently out of public view. The Walton Family Foundation and Ed Forward DC confirmed to City Paper that the stipulation to keep the charter FCAs private did not come from them.

FOIA’d emails show that Alex Cross, the facilities officer for the deputy mayor for education, drafted a $750,000 grant application to the Walton Family Foundation to fund these facility assessments. But rather than submitting that application directly himself, he arranged for Education Forward DC to submit it under their name. A February 2018 email from Cross emphasized to an Ampersand Education consultant that when she begins her work on this project, she or Education Forward DC should specifically communicate to charters that the collected facilities data “will not be shared with DME, PCSB, or publicly.”

A document distributed directly to the charter schools reiterated that “none of the schoollevel data will be shared with the DME, PCSB, OSSE, or any other government agency or made public in any way.” (OSSE is the Office

of the State Superintendent of Education.) The document, which City Paper reviewed, clarified that the Walton Family Foundation, Education Forward DC, Ampersand Education, the engineering firm, and the individual charters would retain access to the facility information.

City Paper asked the Deputy Mayor for Education’s office why it did not submit the grant to the Walton Family Foundation itself, as it was Cross—a city employee—who drafted much of it. City Paper also asked if prior to Education Forward DC submitting the grant, the mayor’s office otherwise attempted to secure funding to contract the assessments themselves.

The deputy mayor’s office did not directly answer these questions. “The Office of the Deputy Mayor for Education and this administration have worked hard to reach unprecedented levels of transparency and accountability throughout the 2018 Master Facilities Plan process,” said then-Deputy Mayor for Education Ahnna Smith in an emailed response.

“For the first time in the District’s history, the Master Facilities Plan will be informed by facility information on both DCPS and DC public charter schools, as a result of work by this administration.”

Maura Marino, the CEO of Education Forward DC, the group that received the Walton grant, told City Paper that this arrangement may have been decided on to help maximize participation from charter schools that otherwise might resist facility inspections. She said that some charters in privately owned facilities could have landlords who oppose the idea of contractors coming in to assess their buildings. This way, if contractors did come in, the assessments would only be shared as part of an aggregated, anonymized summary. Marino also noted that complications can sometimes arise when private groups donate directly to government, and that foundations often prefer to avoid those risks by channeling funds Mary Filardo

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“I think we all have an interest in the Master Facilities Plan being as inclusive as possible,” said Marino. “In general our goal should be more information and the best information.”

Nevertheless, unlike DCPS schools and charters in publicly owned buildings, charters in privately owned facilities will not be submitting detailed building assessments for the Master Facilities Plan. City Paper has learned that of the 70 non-District owned facilities that house charter schools, 49 have opted for facility conditions assessments, though the public is barred from knowing which buildings those are, and which charter schools lease from them.

As an alternative to FCAs, charters were invited to fill out brief surveys with seven questions related to their anticipated facility needs over the next decade, and a separate 17-question survey on facility conditions. (The Public Charter School Board drafted the survey, with feedback from the mayor’s office and the Department of General Services, according to PCSB spokesperson Tomeika Bowden.)

The questions were general. One question asks: “Does your facility have known potential asbestos hazards?” and the answer choices are “Yes” or “No”—with the option to include additional comments. Another question invites respondents to briefly describe “the most likely renovations you would undertake” in the next 10 years.

In addition to data disparities, charter schools do not have to share their long-term growth plans with the public, despite the impact charter enrollment has on DCPS enrollment. Many parents have been asking how strategic planning can really work without this

type of information.

City Paper asked the Public Charter School Board how it envisions using the results of the Master Facilities Plan in its charter approval process and was told, “we’re in the process of determining that.” The charter sector is not required to use the MFP data to guide the opening, closing, and siting of its schools.

City Paper went back to David Grosso to ask how the city could comprehensively plan for the future if school-level data for dozens of charters are not shared with the government and public.

In a statement that seems to contradict the language of his own committee’s 2016 report, Grosso said the PACE Act does not require the FCAs be made public, though he “believes it is the best interest of the families and schools to share information on the state of facilities so that everyone can make fully informed decisions.” He said it would be “up to the Deputy Mayor for Education” to incentivize charter schools to participate in the MFP. And then, in what appears an even further walk-back from the Council’s 2016 position, Grosso said, “in the end, the PACE Act was designed to provide government with a useful tool to plan for the modernization and improvement of facilities in which it can invest capital dollars.” Because charter school facility allowances come out of operating budgets, not capital budgets, Grosso’s statement implied that knowing the conditions of charter schools is less essential.

Somewhere along the way, the mayor’s office and the Council quietly decided that the PACE Act, passed to improve citywide planning and data collection, would now have sig-

nificant caveats, carve-outs, and exceptions.

“Things are much more complicated than people are honest about,” says Eboni-Rose Thompson, the chair of the Ward 7 Education Council, who attended both the April and August MFP public engagement sessions. “We have students living in areas that literally couldn’t fit into their neighborhood schools if they wanted to go.”

“There’s a huge flaw if DCPS is trying to do long-term planning around population and enrollment targets, but not in conjunction with the charter sector which affects DCPS enrollment,” says Petroshius, of Capitol Hill Public Schools Parent Organization. “If charter growth is essentially unlimited then the Master Facilities Plan is essentially meaningless.”

These cross-sector issues have been debated for at least the past five years. In 2013, D.C. resident Virginia Spatz was quoted in The Washington Post as saying, “Maybe we need an entire school system full of charters. But we need to have that after public conversation, not by accident.”

Valerie Jablow, a DCPS parent who writes about school issues on her blog education dc, says she worries that a future where all students are entitled to attend public schools near their home is falling further down the priority list for D.C. leadership.

“Without a commitment to a by-right system of municipally-run schools in every neighborhood as a foundational principle of public education planning and governance,” said Jablow, “leaders will never be able to ensure that the right to education in D.C. is guaranteed and secured equitably for all everywhere.”

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DCFEED

what we ate this week: Chicken n’ Waffles with chili maple syrup, $13, Jackie Lee’s. Satisfaction level: 4 out of 5. what we’ll eat next week: “Trainwreck” classic fried chicken sandwich topped with an egg and sausage gravy, $14.99, Mason Dixie Biscuit Co. Excitement level: 3 out of 5.

Grazer

Breaking Down Primrose’s Poisson Rôti

Top of the Hour

By Laura Hayes If you’ve ever tried your hand at cooking a finicky dish like beef wellington, or just about anything “en croute,” you know what it’s like to pray to at least three gods that you get it right. The new salmon dish at Primrose ($27) from Chef Jonathan De Paz is a clinic in achieving a medium rare salmon enveloped in a warm golden outer crust made from phyllo dough. We break down the Brookland wine bar’s break-out seafood dish.

Laura Hayes

Chiffonade kale studded with diced leftover bits of potato from the pommes puree that’s sauteed together with shallots and butter

Where: Joe’s Seafood, Prime Steak & Stone Crab, 750 15th St. NW Hours: 2:30 p.m. to 6:30 p.m. daily Drink specials: Half-priced signature cocktails ($6), draft beer ($3.50), and wine by the glass ($4.50–$14) Food specials: A selection of superb “cocktail sandwiches” ($3.95–$4.95), snacks ($2.95–$4.95), and half-priced oysters on the half shell

About nine ounces of wildcaught Norwegian salmon cooked blindly to medium rare in the oven for about six minutes

Tim Ebner

HangoverHelper

the neighborhood casual breakfast and lunch, including trendy avocado toast.

“Toast is obviously having its moment right now,” Stahl says. “That’s largely thanks to the avocado, but we wanted to take it a step further and experiment with some other fun options.”

Price: $10

Do not overlook the smoked salmon selection layered with chive cream cheese, tomatoes, capers, and lox from Ivy City Smokehouse. This dish looks and tastes exactly like a lox bagel, except it’s served open face on sourdough bread and sprinkled generously with house-made everything-bagel spice.

What It Is: Tyber Creek in Bloomingdale just rolled out a new cafe menu and service hours, starting at 11 a.m. on Tuesdays through Sundays. Co-owner Jordan Stahl seized an opportunity to offer

How It Tastes: The thin slices of smoked salmon make this toasted bread memorable. But it’s the creamy chive cream cheese combined with peppery and garlicky flavors found in the everything-

The Dish: Tyber Creek’s Smoked Salmon Toast Where To Get It: 84 T St. NW (morning and afternoon cafe menu)

16 october 12, 2018 washingtoncitypaper.com

Chef De Paz toasts the phyllo dough in a medium-hot pan before putting the encrusted salmon in the oven.

Laura Hayes

Rich and silky pommes puree thickened with butter and cream

To make these crispy fish skin strips that impersonate pork chicharrones, De Paz cuts the skin into the right shape to fit into a bag and cooks the skin using the sous vide method. Then he dehydrates the salmon skins for 24 hours before cooking them in hot oil in a pan until they puff up.

bagel spice that set this smoked toast apart. Sourdough could also be a contender to beat the everything bagel. The bread holds up under some pretty hefty toppings, and it offers more surface space for your shmears.

Why It Helps: Hangovers come in many forms, but almost everyone has experienced the, “Sorry boss, I need to work from home because I’m not feeling so hot” variety. In that case, you’ll need to pull double-duty—working remotely from a spot that’s safely out of sight from co-workers and at a wifi-enabled restaurant with an all-day breakfast and lunch menu. Tyber Creek meets both those requirements. Stahl recommends pairing an order of smoked salmon toast with a Bloody Mary. “You’re really getting the protein and carbs, but also a bit of hair-of-the-dog.”

—Tim Ebner

Pros: This is a quality happy hour. You can leave the place full and decently buzzed for $25 even if “Big Spender” is playing in the background, as it was on a recent Monday. The drinks are well executed classic cocktails whose names will be familiar to you. The food menu is well above average for the price. At $3.95, the mac n cheese sticks are your fastest path to a full stomach. They look like misshapen mozzarella sticks, but inside you’ll find impressively creamy shells and cheese.

The blackened fish slider ($3.95) is another fantastic deal. The fish is moist, the bun is soft and warm. A crowd pleaser for the vegetarian set is the fried buffalo cauliflower. It’s weird but it works ($3.95). The lobster deviled eggs ($4.95) come with an inoffensive bit of lobster on well-creamed yolks. Eat each egg in two bites to make the taste last.

Separate but not unrelated: The second floor bathroom is excellent, with spacious, full-door stalls and fancy hand lotion if you need to freshen up before continuing your evening.

Cons: It’s hard to fathom who can go to happy hour at 2:30 p.m., but if you find yourself in such a situation, go straight to Joe’s. For the rest of us, the 6:30 p.m. cut off is harsh. The fact that it’s a great happy hour means it’s a popular one.

Show up on a federal holiday and you’ll get a seat, but on busy days you’ll struggle to score a table, and the acoustics make it hard to hear what others are saying.

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National Symphony Orchestra Pops

Gabriel Kahane

Andrew Bird

with Gabriel Kahane Shenandoah Frenched Lamb Racks $29.99/LB Roseda Farms Boneless Chuck Roast $7.99/LB Green Circle Free Range Chicken $3.99/LB Hours of Operation: Tues. - Sun. ~ 8am - 8pm

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Steven Reineke, conductor Principal Pops Conductor Steven Reineke leads indie icons Andrew Bird and Gabriel Kahane with the NSO performing their music in an intimate orchestral experience. Kahane joins the orchestra for his Ambassador Suite, followed by Bird and the symphony performing his own music reimagined

by Kahane. The evening concludes with solo performances by these two acclaimed folk-rockers.

October 26 & 27, 2018 Concert Hall Kennedy-Center.org

Groups call (202) 416-8400

(202) 467-4600

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

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

AARP is the Presenting Sponsor of the NSO Pops Season.

Visit us at UNION MARKET | 1309 5th Street NE, Washington DC washingtoncitypaper.com october 12, 2018 17

San Francisco Ballet Helgi Tomasson, Artistic Director

East Coast Premieres from Unbound: A Festival of New Works “One of the world’s top ballet companies”

Sofiane Sylve and Tiit Helimets in Liang’s The Infinite Ocean, photo by © Erik Tomasson

—London’s The Sunday Times

October 30–November 25 Opera House Kennedy-Center.org (202) 467-4600 Theater at the Kennedy Center is made possible by

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

Two programs featuring works by some of today’s most in-demand choreographers, including Edwaard Liang, Trey McIntyre, Justin Peck, and Christopher Wheeldon, plus Kennedy Center debuts by choreographers Cathy Marston and David Dawson

October 23–28 | Opera House

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

Kennedy-Center.org (202) 467-4600

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

Kennedy Center Theater Season Sponsor

Support for Ballet at the Kennedy Center is generously provided by Elizabeth and C. Michael Kojaian.

18 october 12, 2018 washingtoncitypaper.com

CPArts

Over Exposed Select reviews from the Double Exposure Investigative Film Festival

By Alan Zilberman and Noah Gittell The Double exposure InvesTIgaTIve FIlm FesTIval—featuring films that celebrate and are about investigative journalism—exists in a state of a minor identity crisis. Documentary cinema is not the same thing as journalism: They have different sets of ethics, for one thing, and they balance newsworthiness and journalism differently. That tension is also what makes this festival so exciting: This crop of films has a propulsive, urgent quality, and they’re so much more than the latest Netflix binge you want to tell your friends about.

film

Watergate

Directed by Charles Ferguson You cannot fault Charles Ferguson for a lack of ambition. After tackling the Iraq War, the financial crisis, and climate change, Ferguson is back with a dense, thoroughly researched account of our country’s greatest political scandal. Unless you’re a history buff or recently listened to the Slate podcast Slow Burn, there is a good chance you do not remember the sheer scope and size of what happened. Watergate is nearly four-and-a-half-hours long, and Ferguson does not waste a second of that runtime.

He narrates the story, with a delivery that’s workmanlike and efficient. Here is a film that does not insult your intelligence, but also requires constant attention.

Ferguson takes a big risk to get inside the particulars of the conspiracy: He dramatizes Nixon’s infamous secret recordings with real actors. There are recreations where character actors play Nixon, Kissinger, Haldeman, Dean, Ehrlichman, and others. At first, this approach is almost distracting. These actors do not speak with the usual beats of a dramatic narrative, since the recordings mostly involve everyday meetings in the Oval Office. As the film continues, the actors become increasingly be-

lievable, and there is a nagging sense of the banality behind the administration’s corruption. This would not be possible by simply playing the tapes, since these scenes last for minutes and the recordings have low audio quality. In particular, the actor who plays Nixon (Douglas Hodge) avoids caricature and eventually provides a forceful performance that ranks alongside Philip Baker Hall and Frank Langella as one of the best.

Aside from the recreations, there is the usual mix of archival footage, visual aides, and interviews. The heavy-hitting interviews are from John Dean—the White House counsel who turned on Nixon—and a few lawyers from the Justice Department’s Special Prosecutor’s office. Without a sense of history, knowing that Nixon will resign at the end, this would be too overwhelming a story. There are cascading cover-ups, political betrayals, a blossoming constitutional crisis, Nixon’s eroding popularity, and a few international incidents along the way. Ferguson’s solution is simple: He keeps the film moving, with a justified sense of comeuppance as his North Star. He seems to agree with Elizabeth Holtzman, a Congresswoman who still maintains that Ford pardoning Nixon was a colossal mistake.

Holtzman’s reasoning about Ford’s error is that he unintentionally created a schism between the executive branch and everyone else. In other words, there is still a precedent in place for a President never seeing justice for whatever crimes they may commit. Ferguson is a left-leaning filmmaker, and he makes no secret about the parallels between Nixon and the current administration. In fact, the alternative title for Watergate is How We Learned to Stop an Out-of-Control President. This film suggests that dedicated journalists, lawyers, politicians, and a changing tide are what it takes. Just last week The New York Times published an account of Trump’s business dealings that would probably halt any normal administration in its tracks. The breaking points for these administrations are wildly different, yet Ferguson offers hope by reminding you that it once seemed impossible to topple Nixon, too.

(AZ) Wednesday, Oct. 10 at 7 p.m. at the National Portrait Gallery.

False Confessions

Directed by Katrine Philp False Confessions hinges on a terrifying fact that’s all the more scary for how many of us are likely ignorant of it: It’s entirely legal for the police to lie to you. The documentary by Katrine Philp explores this fact with admirable thoroughness: the ways detectives trick their suspects into signing a confession, the reasons an innocent person would confess to a crime

Anna Connolly’s debut album is hardly the beginning of her story.

washingtoncitypaper.com/arts they didn’t commit, and, perhaps most devastating, the longterm impact on those who sign false confessions, even those whose convictions are overturned.

Fundamental to the film’s impact are the police videos that show false confessions being extracted. These are long, unbroken shots in which we see the accused, often a young man, get psychologically abused until they break and do what the officer’s want. It’s compelling, heartbreaking cinema—these moments destroyed lives—and its contemporary relevance won’t go unnoticed. One of these videos is of Korey Wise, who served 13 years for sexual assault in the famous Central Park Five case that Trump notoriously weighed in on, taking out a full-page ad urging for the death penalty for the innocent boys.

Less successful is the film’s tracking of attorney Jane FisherByrialsen, as she meets with experts in preparing a retrial for another victim of false confession. Her work is admirable and important, but too many of her conversations—with experts and relatives of the victims—feel staged for the film’s purpose. Her central case also lacks any resolution, which may be an accurate depiction of the slow-grinding gears of justice, but it leaves the film, like its subjects, searching for an ending.

(NG) Saturday, Oct. 13 at 3 p.m. at the Naval Heritage Center.

Divide and Conquer: The Story of Roger Ailes Directed by Alexis Bloom

Most of Alexis Bloom’s Divide and Conquer feels at least half a decade too late. It’s a reasonably effective takedown of the late Fox News mogul Roger Ailes, but that’s hardly a monumental achievement. Ailes was forced out of his job after numerous allegations of sexual harassment surfaced, each one more horrifying than the last. He died a year after his ousting. The man took down himself.

There are a few good anecdotes scattered throughout the film, such as the time that Ailes bought the little newspaper in his adopted hometown of Cold Spring, New York, and used it for political gain. It’s a fascinating microcosm of his approach in business and in life, but the rest of the film takes a broader approach and ends up saying very little. It follows Ailes from his early days as Nixon’s media advisor during his successful 1968 presidential campaign to the meteoric rise of Fox News as a media giant. The film plays with different approaches—psychoanalyzing his childhood, identifying his influence on various political figures, comparing him to a Nazi—and the result is head-spinning.

But it finds its footing in the final third, when a political hit job morphs into a tale of biography turns into a tale of #MeToo-era empowerment. After Fox News journalist Gretchen Carlson accuses him of sexual harassment, numerous women follow suit, sharing experiences direct to Bloom’s camera that most viewers will never have heard before. Given how well the film has demonstrated Ailes’ pattern of harassment, intimidation, and abuse, these stories have a cathartic effect. A powerful man held accountable for harassment and abuse? Flaws aside, it’s just the story we need.

(NG) Saturday, Oct. 13 at 8:30 p.m. at the Naval Heritage Center.

Read more reviews from the Double Exposure Film Festival at washingtoncitypaper.com/arts. washingtoncitypaper.com october 12, 2018 19

TheaTerCurtain Calls

TWINNING AT ALL COSTS

The Comedy of Errors

The Comedy of Errors

By William Shakespeare Music and lyrics by Michael Dansicker Directed by Alan Paul At the Lansburgh Theatre to Oct. 28 Romantic comedy scholaRs will tell you that Shakespeare’s lighter works lend themselves very well to adaptation—for reference, please consider the twin teen totems of 10 Things I Hate About You and She’s the Man. The Bard’s work traditionally doesn’t line up as well with musical comedy, but Shakespeare Theatre Company’s song-filled adaptation of The Comedy of Errors begs audiences to reconsider that preconception.

The idea of turning The Comedy of Errors, one of Shakespeare’s earliest comedies and definitely his most farcical, into a musical did not begin with STC Associate Artistic Director Alan Paul. Rodgers and Hart turned the tale of mistaken identity and long-lost relatives into the musical The Boys from Syracuse 80 years ago. Paul’s production keeps Shakespeare’s original language intact and inserts original songs at regular intervals, giving the already zany show some extra oomph.

To briefly describe the zaniness: A young man, Antipholus, leaves his hometown of Syracuse with his loyal servant, Dromio, in search of the identical twin brother he was separated from as a baby. Five years into his quest, he lands in Ephesus, where, unbeknownst to him, his brother, also named Antipholus, lives with his servant Dromio’s identical twin brother, also named Dromio.

Confusion abounds, intimate partners are swapped, punishment is threatened, and in roughly an hour and a half from beginning to end, all the conflict is resolved.

A story this manic and tightly paced requires a cast of playful and disciplined actors, and Paul has assembled one here. As Antipholus of Syracuse and Antipholus of Ephesus, Gregory Wooddell and Christian Conn carry much of the action. Their respective Dromios, Carson Elrod and Carter Gill, provide most of the play’s physical comedy.

The supporting cast, a combination of STC regulars paying tribute to retiring artistic director Michael Kahn and game newcomers, push the play over the top. Veanne Cox, dressed like an elegant Mediterranean widow, leads the way as Adriana, Antipholus of Ephesus’ wife who unknowingly pursues her husband’s twin. Her mix of austerity and lust results in comic moments throughout the evening. Skewing more manic is Sarah Marshall, who plays the local healer, Dr. Pinch, with the

zeal of Benny Hinn.

While the main characters stick to the script, Paul has expanded the presence of minor characters in his adaptation. Playing the courtesan, Eleasha Gamble, best known for her work in musicals, gets a jazzy songand-dance number and the evening’s best costume. (A hearty round of applause for costume designer Gabriel Berry, who has managed to make a porcupine costume into something delightfully smutty.)

Matt Bauman, John Cardenas, and Justin G. Nelson form a Greek chorus of sorts, playing a constantly rotating series of merchants, nuns, and police officers. They duck behind the walls and buildings of James Noone’s set, peek through windows, and change costumes at an astonishing pace (44 times between the three of them, according to STC).

The songs Michael Dansicker composed for this production don’t always land—in particular, the one that opens and closes the show— but a giddy, well executed tap number featuring the three of them reminds the audience why similar numbers are remembered so fondly in classic 20th century musicals.

A quick physical comedy seems like the perfect distraction from these dark times, and yet the Bard has managed to squeeze some heart into the script. The reunion of a family that has been separated for decades feels tender, not forced or cheesy, and the search for connection that runs through the play grounds it in reality. Having D.C. acting legends Nancy Robinette and Ted van Griethuysen play the Antipholi’s parents certainly helps.

“After so long grief, such felicity,” Robinette declares in the play’s final scene. For 100 minutes, that felicity exists within the safe confines of the Lansburgh Theatre. —Caroline Jones 450 7th St. NW. $44–$118. (202) 547-1122. shakespearetheare.org.

20 october 12, 2018 washingtoncitypaper.com

ALL OuT Of LOve La traviata

By Giuseppe Verdi Libretto by Francesco Maria Piave Directed by Francesca Zambello At the Kennedy Center Opera House to Oct. 21 What can one say about any production of La traviata? It’s among the most famous and overperformed operas in the canon. Even if you haven’t seen it, you’ve heard it, at least “Libiamo ne’ lieti calici,” the bouncy waltz from Act I. It’s a standard for all opera singers, and a showcase role for sopranos. It’s a safe bet for opera companies, a reliable seat-filler, and entry level opera for newbies, which is why it’s often a season opener, as it is for the Washington National Opera this year. It takes a lot to make a traviata memorable, and Francesca Zambello’s new production for WNO does not.

To her credit, it’s a fine interpretation of Verdi’s silly, tragic earworm. One way to make a traviata stand out is to take a big risk and make it awful; Zambello certainly doesn’t do that. Her vision has a couple minor tweaks—an early 20th century setting for a story originally set in mid-19th century Paris; an opening that places the title character, Violetta, on her deathbed narrating her life.

Neither are particularly novel, but they contribute to a cinematic feel to the opera. La traviata may have inspired the film Love Story, but as mawkish love stories go, this production echoes the epic conceit of The English Patient.

Indeed, props go to lighting designer Mark McCullough for anchoring this production’s

best innovation, the use of light to turn Verdi’s opera at different times into a movie or painting on stage. There are freeze frames, slow motion, and fade ins and outs from scene to scene. Singers cloaked in darkness and illuminated from below give the illusion of a Dutch master portrait. It’s a simple but effective trick that suffuses the story with heightened tension and dread.

It’s too bad it’s an extremely stupid story, but that can’t be helped. It’s a doomed romance across class lines in which the heroine is further doomed by Mysterious Opera Disease. Verdi wasn’t the only opera composer to write about disease, or even tuberculosis—Puccini’s Mimi in La bohème is another famous opera consumptive—but he was the most fixated on it, writing nine operas that involved physicians. It also betrays the composer’s fixation on the sexual mores of his time: Traviata means “fallen woman,” more specifically mistress or high end prostitute, though it vaguely references a broad range of behavior Victorian society deemed sinful. That may have included the unmarried relationship of Verdi and his partner, the soprano Giuseppina Strepponi.

Strepponi’s stand-in is tubercular courtesan Violetta, who falls in love with rich kid Alfredo whose overbearing father—stop me if you’ve heard this one—disapproves of their relationship. There’s also a love triangle and, wouldn’t you know it, things don’t end well for anyone. As Violetta in WNO’s A cast (Jacqueline Echols has the role on Oct. 14 and 20), Venera Gimadieva takes on a famously challenging role that shifts from drunken exhilaration to lovesick passion to just plain sick debilitation with a pleasingly flute-like, though at times yelping, soprano. Tenor Joshua Guerrero comes off a little weak as Alfredo, while brassy baritone Lucas Meachem demonstrates good vocal range as Alfredo’s father, Giorgio. It’s a company debut for all three, and all do a competent if not spectacular job, occasionally straining with pitch and timing.

The latter hiccup can be attributed more to conductor Renato Palumbo, who does take an innovative approach to the opera, an innovation that can be called conducting it too fast. Most of the time Palumbo speeds through Verdi’s score, leaving little room for error among the singers. At other times, the orchestra is languid and reserved; Palumbo seems to equate dramatic tempo changes with drama. It’s disjointed and not the most effective approach. But at the very least, it’s a unique take on a famous score opera fans have heard many times before. It may not be what keeps them coming back, but with La traviata, it doesn’t matter. There will always be another.

—Mike Paarlberg 2700 F St. NW. $25–$300. (202) 467-4600. kennedy-center.org.

VUSI MAHLASELA

EDGAR MEYER, ZAKIR HUSSAIN & BÉLA FLECK

SAT, OCT 27, 8pm SIXTH & I

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The South African living legend returns!

Three renowned virtuosos unite at the crossroads of jazz, bluegrass, and traditional Indian music.

“A rare and mesmerizing musical mind [and] a voice that seems to have few limits” – Los Angeles Times

Special thanks: Dan Cameron Family Foundation, Inc.; Gordon and Lisa Rush; Honorary Patron: His Excellency Navtej Sarna, Ambassador of India

Special thanks: Abramson Family Foundation

TICKETS: WashingtonPerformingArts.org (202) 785-9727

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Bill Scherman & Holly Joyner FIRST MATE: Ed Cohen & Charlene Barshefsky Carl M. Freeman Foundation Forest City Fort Lincoln New Town Corp.

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GREAT PERFORMANCES AT MASON 2018/2019 SEASON

Comañía Flamenca Eduardo Guerrero Flamenco Pasión

Friday, October 12 at 8 p.m.

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Chamber Music Society of Lincoln Center Saturday, October 13 at 8 p.m.

EN AR JO TS Y A AT LL CF THE A!

Daniel Hope and Friends

L.A. Theatre Works

Steel Magnolias Sunday, October 14 at 7 p.m.

This performance is also at the Hylton Performing Arts Center on Sat., Feb. 9 at 8 p.m. Information at HyltonCenter.org.

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Air-A Baroque Journey

Friday, November 2 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 12, 2018 21

GALLERIESSketcheS

Ghost story Rachel Whiteread

At the National Gallery of Art to Jan. 13, 2019 “Ghost” is one of the great artworks of the 20th century, a breakthrough in the most tactile sense of the word. Rachel Whiteread’s 1990 sculpture is a plaster cast of a modest London living room. Imagine that the air inside a Victorian parlor turned to solid stone: “Ghost” is the petrified hulk that would be revealed once the walls were stripped away.

Whiteread’s negative impression of the interior setting bears brushes of soot where she cast the inside of the fireplace—a Dickensian flourish that runs through her work.

“Ghost” announced Whiteread as a sensation, the smartest in the class of Young British Artists that seized the art world in the ’90s.

Whiteread’s process involves turning architecture into art by rendering everyday voids as inverted solids. With “Ghost,” she flips space inside out, uncovering a severe Brutalist bunker within an anonymous commonspace. Three years later, she took the gesture to its logical conclusion by casting the interior of an entire London home slated for demolition, igniting a storm of controversy that ended with the eerie monument’s destruction.

Within that three-year span is an entire career’s worth of discovery. “House” (1993) might have served as the culmination of the artist’s trajectory, had she not arrived at this masterpiece at just 30 years old, which is also when she won the prestigious Turner Prize. Rachel Whiteread, a survey now on view at the National Gallery of Art, shows how she has carried that practice from such great heights (sometimes to diminishing returns). Despite their heavy presence, Whiteread’s sculptures work best when they register as fleeting ideas.

As with other artists working in the post-minimalist mode, repetition is key in Whiteread’s work. For her “Torso” series, she cast the empty insides of a hot-water bottle in various materials, from rubber to concrete to pink dental plaster. These variations on a theme emphasize the associative nature of her work: She elevates everyday objects, transforming commodities into craft. In making works like “Untitled (Wax Torso)” (1992), her process is simultaneously mythic and methodical—a transubstantiation of one substance into another and a controlled experiment in materials.

Yet a gloom lingers over her work, despite its magical alchemy. As Rachel Whiteread proceeds through the galleries, her casts reach into every part of the home. From resin negatives of clawfoot bathtubs to plaster molds of mattresses, she recreates a living space from its dead air.

For “CONTENTS” (2005), Whiteread cast the

“Ghost” by Rachel Whiteread (1990) exterior of boxes she found around her home and studio, creating cubes and prisms in white plaster, her signature. After the death of her mother, she cast some of the boxes she discovered and remembered from her childhood. Negating the personal value of a cherished box of ornaments by tracing its outline in neutral tones is a way of grieving. It’s a process of giving form to the cloud of conflicting and inaccessible emotions that follow a parent’s death. This series culminated in “Embankment” (2005), a warehouse’s worth of polyethylene-cast boxes she installed in the Tate Modern’s monumental Turbine Hall—a depiction, perhaps, of the overwhelming scale of her loss.

Some of Whiteread’s work strays from this focused thinking about memory. More recent works, including casts of windows and doors in clear resin, are more literal (and colorful).

They can’t hope to follow “Untitled (Domestic)” (2002), an immense and unsettling plaster cast of the negative space of a stairwell, although they too suggest barriers that can’t be crossed. Color isn’t all bad in Whiteread’s work. One gallery assembles smaller sculptures—casts of cans and other sundries on shelves—that showcase a delightful range of pastels. In the context of this show, these are positive works, in the sense that they build up to something more, something different, than a reflection of a familiar object.

22 october 12, 2018 washingtoncitypaper.com

Whiteread’s stolid stairwell stands sentry in the East Building’s open atrium. “Ghost” probably belongs there, too: Her monument is too cramped in the galleries, which show the limitations of a museum better suited for hanging pictures. Concrete, resin, and other industrial surfaces cry out for the dapple of natural light. (“Ghost”—a gift to the National Gallery from Glenstone, the private contemporary art museum in Potomac, Maryland—is usually installed in pride of place in the East Building’s atrium, as pictured.) Nevertheless, the show, curated by the National Gallery’s Molly Donovan with Tate Britain’s Ann Gallagher, is an ideal survey, arranged roughly chronologically with a few loopde-loops to highlight specific themes.

Only impressions remain of Whiteread’s very best artwork, her house-sized negative image of a home, which was always meant to be temporary but fell victim to a zealous not-in-my-backyard campaign in a matter of weeks. The survey includes historical footage of “House” as well as “Monument” (2001), her contribution to London’s Fourth Plinth, the site of an ongoing contemporary art series.

This invitational asks contemporary artists to erect a sculpture (in lieu of a grand equestrian statue) on an empty plinth in Trafalgar Square.

Whiteread cast the plinth itself in transparent resin, installing it upside down to form a mirror image. “Monument” is both winking and

moody, a piece that might inspire a viewer to snicker or mourn.

One gallery in the East Building assembles a collection of ever-more-mundane casts by Whiteread, from inversions of teaspoons to the negative space occupied by high-heeled shoes. Alongside sketches, these artifacts ground her as a disciplined documentarian (and something of a magpie). The gallery offers a revealing and surprisingly playful sliceof-life view of an artist who from her very start has worked in sweeping strokes.

It’s only fitting that Whiteread’s arc proceeds from masterpiece to marginalia. She relishes in such inversions, flipping inside out and bending backward forward. Rachel Whiteread reveals an artist who works, well, sculpturally. She has pursued a concept of negative space as if she were gradually revealing the figure within a block of marble. Of course, it’s the space without that she makes her medium.

And in that realm, she’s asking big questions about art, about knowledge, about epistemology and ontology. Even in its philosophy, Whiteread’s work runs in an opposite direction: using a postmodern strategy to suss out Platonic forms. At its best, Whiteread’s work teaches us how to look.

—Kriston Capps 6th Street and Constitution Avenue NW. Free.

(202) 737-4215. nga.gov.

Companhia de Dança Deborah Colker Dog Without Feathers (Cão Sem Plumas)

Mason Bates’s KC Jukebox

Future Folk

Folk traditions fuse with contemporary sounds for one evening in an immersive, designed space, featuring performances by King Creosote, Pulitzer Prize-winner Caroline Shaw, and The Dover Quartet.

October 18 at 7:30 p.m. | Atrium

Since founding her own company in 1994, Brazilian director/choreographer Deborah Colker has been inspired by her experiences as an athlete to combine physically daring feats with visually striking designs—and redefine the rules for what can and can’t be done in the world of dance.

October 18–20 Eisenhower Theater Kennedy-Center.org (202) 467-4600

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.

Kennedy-Center.org (202) 467-4600

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540

KC Jukebox is presented as part of The Irene Pollin Audience Development and Community Engagement Initiatives.

washingtoncitypaper.com october 12, 2018 23

FilmShort SubjectS

Space Oddity First Man

Directed by Damien Chazelle

Book and lyrics by Howard Ashman Music by Alan Menken Directed by Mark Brokaw Choreography by Spencer Liff Musical Direction by Joey Chancey

Starring

Megan Hilty

Josh Radnor

James Monroe Nick Cordero Iglehart

Lee Wilkof

with Amber Iman, Amma Osei, and Allison Semmes

October 24–28 | Eisenhower Theater Kennedy-Center.org (202) 467-4600 Theater at the Kennedy Center is made possible by

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

Groups call (202) 416-8400 For all other ticket-related customer service inquiries, call the Advance Sales Box Office at (202) 416-8540 Kennedy Center Theater Season Sponsor

24 october 12, 2018 washingtoncitypaper.com

Additional support is provided by The Blanche and Irving Laurie Foundation.

The Triumph of Damien Chazelle’s First Man is that it makes you question the fate of Neil Armstrong. Not consciously, of course— conspiracy theorists aside, everyone knows that Armstrong did live to walk on the moon.

But from the opening scene to subsequent pre-Apollo 11 missions, Chazelle communicates the danger. We first see Armstrong in what seems to be a tin can, the camera tight on his face. Or what can be glimpsed of his face: His head is rattling around at warp speed as we hear creaks and groans and whooshing and his heavy Darth Vader breaths. Then, quiet. The command center radios the problem: “Neil, you’re bouncing off the atmosphere.”

You don’t know what this means exactly, but it sounds pretty bad.

There are several more of these noisy, terrifying scenes before Armstrong gets his payday; the more staid moon landing feels almost anticlimactic as a result. (It’s not, ultimately, but we’ll get to that later.)

In between, Chazelle and writer Josh Singer (Spotlight) keep things appealingly lowkey, though that reportedly is reflective of the astronaut himself. At the beginning of the film—after that jangly exploit—Armstrong (Ryan Gosling) is caring for his toddler daughter, who’s fatally ill. She’s not long for this world, and after she dies, he throws himself into rocketing away from this world whenever he can, too.

Neil’s wife, Janet (Claire Foy), gets increasingly concerned. Even the test missions are dangerous, and the couple have attended many funerals. Apollo seems crazy. But Armstrong is an ace and NASA keeps him busy, ul-

timately making him mission commander of that lunar trip. As he’s packing for Apollo— avoiding goodbyes and perhaps not confident in “see you later”s—Janet confronts him and makes him tell his sons that he may not come back. The younger boy doesn’t quite grasp his inferences. But his older one knows what’s up.

If the worst happens, anger is going to mix with his grief.

Chazelle’s first two features, 2014’s Whiplash and 2016’s La La Land, have readied him to take on a special-effects-laden blockbuster… just kidding. Those films couldn’t be more different, with Chazelle seemingly following the Ang Lee path of directing. This is also the first film he hasn’t written; Singer’s script is based on a book by James R. Hansen. Unlike the similar Gravity, however, Chazelle largely eschews effects of launches for closeups of astronauts and gauges, along with walls of sound.

It’s only as the film gets into its later chapters that the director lets the skies open up.

For the moon landing, Armstrong and pilot Buzz Aldrin (a terrifically brusque Corey Stoll) near their destination in silence, which at first seems to subtract the danger they face but ultimately serves to highlight the momentousness of the occasion. There are no cheers from Houston. (Also: no American flag, which Chazelle has caught some flak for.) The director’s bouncing camera and zooms-in on the actors on Earth, however, are less affecting.

Gosling’s Armstrong is someone whose motivation wasn’t country or bravery but escape from grief, though emotion rarely rises to the surface. Foy mostly underplays here as well; her Janet instead watching her quiet husband with quiet intensity. The undercurrent is almost always tense—risky innovation is like that—but lest you think frequent loaded stillness is dull, rest assured: There’s more than enough clattering in those rockets to make up for it.

—Tricia Olszewski First Man opens Friday in theaters everywhere.

COMMUNITY

S H O W CA S E

Friday, October 19, 6–8 p.m. | Free

It’s local bands and local beer!

Luce Unplugged

October’s Showcase will feature the ambient, synthesized tunes of Aaron Leitko and the “maximal minimalism” of Boat Burning’s experimental rock. Free beer tastings (ages 21+) provided by 3 Stars Brewing. Additional beverages and small snacks available for purchase.

Presented with the Washington City Paper.

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

THE COMEDY OF ERRORS

by William Shakespeare | directed by Alan Paul

“FABULOUS...plenty of hijinks with a splash of Broadway.”

2018-19 SEASON

–DC Theatre Scene

“COMEDIC GENIUS...a romp of pure fun.”

–MD Theatre Guide

“FUN...a rollicking good time.”

–DCist

“UPROARIOUS...this Comedy of Errors delivers with virtuosity.”

–DC Metro Theater Arts

BSO PULSE FEATURING

“BRILLIANT...an evening of music, farce and folly.”

–The Georgetown Dish

& MEMBERS OF THE

B A LT I M O R E SYMPHONY ORCHESTRA

THU, OCT 25, 8:30 PM BSO Pulse is back for the fourth season — bringing together the worlds of classical music and indie artists onto one stage!

D.C. native Kelela embodies contemporary R&B, blending jazz influences and progressive electronic music to create an entirely new sound. With collaborations that include Solange and The Gorillaz under her belt and praise from The New York Times and Pitchfork (Best New Music), Kelela is an artist you will not want to miss.

Photo of the cast of The Comedy of Errors by Scott Suchman.

Join us in the lobby at 6 pm for live music by DDM, happy hour drink specials and food from our favorite Baltimore spots.

ORDER TODAY! EXTENDED TO NOVEMBER 4

ShakespeareTheatre.org 202.547.1122

Sponsored by Michael R. Klein and Joan I. Fabry.

Resturant Partner:

MADE POSSIBLE BY THE WALLACE FOUNDATION • MEDIA PARTNERS: WTMD, BALTIMORE MAGAZINE BEVERAGE SPONSORS: THE BREWER’S ART, NATIONAL BOHEMIAN BEER, BOORDY VINEYARDS

JOSEPH MEYERHOFF SYMPHONY HALL TICKETS FROM $25 AT BSOMUSIC.ORG/PULSE • 410.783.8000

washingtoncitypaper.com october 12, 2018 25

26 october 12, 2018 washingtoncitypaper.com

CITYLIST Music 27 Theater 31 Film 32

Music

CITY LIGHTS: FRIDAY JOHN LLOYD YOUNG

FRIDAY

NOV 8

CLASSICAL

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

ELECTRONIC

9:30 Club 815 V St. NW. (202) 265-0930. U Street Music Hall Presents What So Not. 10 p.m. $25. 930. com. u Street MuSiC Hall 1115 U St. NW. (202) 588-1889.

The Midnight. 10 p.m. $18–$20. ustreetmusichall.com.

NICOLE ATKINS NOV 14

FUNk & R&B

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rachelle Ferrell. 8 p.m.; 10 p.m. $70–$75. bluesalley.com. tHe HaMilton 600 14th St. NW. (202) 787-1000.

Antibalas. 8 p.m. $20–$25. thehamiltondc.com.

HIp-HOp

dC9 1940 9th St. NW. (202) 483-5000. Busty and the Bass. 8 p.m. $15. dcnine.com.

JAzz

Hylton PerforMing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. Metropolitan Jazz Orchestra. 8 p.m. $28–$46. hyltoncenter.org.

OpERA

Kennedy Center oPera HouSe 2700 F St. NW. (202) 467-4600. Washington National Opera: La traviata. 7:30 p.m. $25–$300. kennedy-center.org.

pOp

linColn tHeatre 1215 U St. NW. (202) 888-0050.

Eric Hutchinson & The Believers. 8 p.m. $25. thelincolndc.com.

ROCk

9:30 Club 815 V St. NW. (202) 265-0930. Murder By Death. 6 p.m. $20. 930.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625. lovelytheband. 7:30 p.m. $18. rockandrollhoteldc. com.

ERIC HUTCHINSON & THE BELIEVERS

RED BARAAT

Hometown-boy-made-good Eric Hutchinson is back in the DMV (he grew up in Takoma Park) with his band The Believers to promote his brand-spanking new fifth studio album, Modern Happiness. While this current album has all the soulful, upbeat hallmarks of Hutchinson’s singer-songwriter reputation, he’s added the special sauce of bringing his touring band into the studio with him. This choice leads the album to a much more lush and epic sort of sound than previous releases. That lushness is sure to fill The Lincoln Theatre with the kind of energy fans are used to from a Hutchinson live show—with a dose of extra-energized instrumentals. There’s certainly a demand for a bit of modern happiness these days in D.C., and it’s a nice gift for Eric Hutchinson to give back to the city that raised him and cultivated his voice. Eric Hutchinson & The Believers perform at 8 p.m. at The Lincoln Theatre, 1215 U St. NW. $25. (202) 888-0050. thelincolndc.com.

—Diana Metzger

pOp

union Stage 740 Water St. SW. (877) 987-6487. All Good Presents Perpetual Groove and Kung Fu. 9 p.m. $23–$40. unionstage.com.

FOLk

Hylton PerforMing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. A Tribute to the Music of Motown. 8 p.m. $35–$50. hyltoncenter.org.

Kennedy Center MillenniuM Stage 2700 F St. NW. (202) 467-4600. Syria to Egypt featuring Takht Al-Nagham and Lubana Al-Quntar. 6 p.m. Free. kennedy-center.org.

SATURDAY CLASSICAL

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

NOV 9 + 10

HOT RIZE TH

40 ANNIVERSARY TOUR NOV 17

CHRIS SMITHER NOV 30

THE VERVE PIPE LINDA EDER

ELECTRONIC

boSSa biStro 2463 18th St NW. 202-667-0088.

Julia Patinella and Andreas Arnold with La Magadalena. 7 p.m. $10. bossadc.com.

RONNIE SPECTOR & THE RONETTES

JAN 12

State tHeatre 220 N. Washington St., Falls Church.

(703) 237-0300. ZOSO - The Ultimate Led Zeppelin Experience. 9 p.m. $17–$20. thestatetheatre.com.

WORLD

DEC 1

eCHoStage 2135 Queens Chapel Road NE. (202) 503-2330. Malaa. 9 p.m. $25–$30. echostage.com. linColn tHeatre 1215 U St. NW. (202) 888-0050.

The Milk Carton Kids. 8 p.m. $40–$125. thelincolndc. com.

FUNk & R&B

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rachelle Ferrell. 8 p.m.; 10 p.m. $70–$75. bluesalley.com. tHe HaMilton 600 14th St. NW. (202) 787-1000.

Antibalas. 8 p.m. $20–$25. thehamiltondc.com.

HIp-HOp

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

9:30 Club Presents Azizi Gibson. 7 p.m. $15. ustreetmusichall.com.

OpERA

Kennedy Center oPera HouSe 2700 F St. NW. (202) 467-4600. Washington National Opera: La traviata. 7:30 p.m. $25–$300. kennedy-center.org.

ROCk 9:30 Club 815 V St. NW. (202) 265-0930. The Record Company. 8 p.m. $25. 930.com. tHe antHeM 901 Wharf St. SW. (202) 888-0020. Goo Goo Dolls. 8 p.m. $50–$95. theanthemdc.com. blaCK Cat 1811 14th St. NW. (202) 667-4490. Joyce Manor. 8 p.m. $20. blackcatdc.com.

State tHeatre 220 N. Washington St., Falls Church.

(703) 237-0300. Melodime. 9 p.m. $15–$18. thestatetheatre.com. union Stage 740 Water St. SW. (877) 987-6487. All Good Presents Perpetual Groove and Kung Fu. 9 p.m. $23–$40. unionstage.com.

JAN 25

THE MONTOSE TRIO VIENNA TO PRAGUE

CHAMBER MUSIC AT THE BARNS

MAR 8

STEPHEN KELLOGG APR 18

OMARA PORTUONDO ONE LAST KISS TOUR APR 23 + 24

AND MANY MORE!

WOLFTRAP.ORG

washingtoncitypaper.com october 12, 2018 27

CITY LIGHTS: SATURDAY

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

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

Tix @ Ticketmaster.com 800-745-3000

Oct 12&13 14

THE WHISPERS KEIKO MATSUI WYNONNA

17

& The Big Noise

CANDY DULFER 19 STEPHANIE MILLS 21 OTTMAR LIEBERT & Luna Negra 22 SAMANTHA FISH Skribe 18

24

An Evening with

LYLE LOVETT & ROBERT EARL KEEN 25 PHIL VASSAR 26 DELBERT McCLINTON w/Dave Chappell & Tommy Lepson

27 28

TOM PAXTON & The DonJuans KATHY MATTEA The Stars from

THE COMMITMENTS 2 DAVID BROMBERG BIG BAND 3 RAVEN'S NIGHT 2018 Bellydance, Burlesque & more!

4

MIPSO & FRIENDS

"DARK HOLLER POP

w/10 String Symphony

REVISITED"

PETULA CLARK 8 THE OUTLAWS 9 OLETA ADAMS 10&11 CHRIS BOTTI 7

13

An Evening with

GEORGE WINSTON Lily 14 JOSHUA RADIN Kershaw 16&18 PAULA POUNDSTONE 19 BONEY JAMES 23 THE SELDOM SCENE & DRY BRANCH FIRE SQUAD 24&25 CHARLES ESTEN 29

JEWELL W/ HILLFOLK NOIR THURSDAY

OCT 11

ANTIBALAS W/ GORDON STERLING AND THE PEOPLE FRIDAY OCT

12

SAT, OCT 13

AN EVENING WITH

THE ENGLISHTOWN PROJECT SUN, OCT 14

MORGAN JAMES W/ ERIC SCOTT TUES, OCT 16

SLATE PRESENTS

SLOW BURN LIVE IN DC WED, OCT 17

An Evening with

Nov 1

EILEN

An Acoustic Evening with

SHAWN COLVIN 30 PURE PRAIRIE LEAGUE & FIREFALL 28 october 12, 2018 washingtoncitypaper.com

ALL GOOD PRESENTS: AN EVENING WITH

JJ GREY

THURS, OCT 18

JOHN NEMETH W/ JOSH CHRISTINA FRI, OCT 19

THE JERRY DOUGLAS BAND SAT, OCT 20

LEAN ON ME: JOSÉ JAMES

CELEBRATES BILL WITHERS WED, OCT 24

TAKE ME TO THE RIVER

FEAT. DIRTY DOZEN BRASS BAND, IVAN NEVILLE, GEORGE PORTER JR, BIG CHIEF MONK BOURDREAUX, AND MORE AN EVENING WITH THE

NIGHT I

FAB FAUX: THE BEATLES IN LOVE PLUS A SET OF FAVORITES

SAT, OCT 27

AN EVENING WITH THE

Shakespeare’s rarely produced comedy Measure for Measure is enjoying a short run at the Kennedy Center this week, and it's presented in Russian with “no more scenery than you could pack in a U-Haul.” And yet, in his review of its previous showing, Chicago Tribune critic Chris Jones was full of praise for its storytelling. Moscow’s Pushkin Theatre and the British troupe Cheek by Jowl first staged Measure for Measure together in 2013. In addition to lengthy runs in each company’s home city, the production has toured all over the world, from Australia to Denmark. Now it’s D.C.’s turn to host the international collaboration, which recasts the comedy as a contemporary spy thriller, complete with a Duke who could be Lenin, Gorbachev, or Putin. Thankfully, many of the original Russian cast members are still touring with the show, so the real-life KGB-types haven’t gotten to the actors yet. Declan Donnellan directs the critically hailed production, with design and projections helmed by Nick Ormerod. The show runs to Oct. 13 at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $19–$75. (202) 467-4600. kennedy-center.org.

—Rebecca J. Ritzel

WORLD

MilKboy artHouSe 7416 Baltimore Ave, College Park. Neguinho da Beija-Flor. 7 p.m. $35.00. milkboyarthouse.com.

SUNDAY

AN EVENING WITH

FRI, OCT 26

MEASURE FOR MEASURE

NIGHT II

FAB FAUX: THE BEATLES IN ROCK PLUS A SET OF FAVORITES

SUN, OCT 28

SONNY LANDRETH TUES, OCT 30

LIVE NATION PRESENTS

KANDACE SPRINGS

CLASSICAL

duMbarton oaKS 1703 32nd St. NW. (202) 3396401. Poulenc Trio. 7 p.m. Free. doaks.org.

COUNTRY

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

ELECTRONIC

blaCK Cat 1811 14th St. NW. (202) 667-4490. CloZee. 7:30 p.m. $18–$20. blackcatdc.com.

FUNk & R&B

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rachelle Ferrell. 8 p.m.; 10 p.m. $70–$75. bluesalley.com. tHe HaMilton 600 14th St. NW. (202) 787-1000.

Morgan James. 7:30 p.m. $17.25–$39.75. thehamiltondc.com.

HIp-HOp

tHe antHeM 901 Wharf St. SW. (202) 888-0020. NF Perception Tour. 8 p.m. $40–$90. theanthemdc.com.

OpERA

Kennedy Center oPera HouSe 2700 F St. NW. (202) 467-4600. Washington National Opera: La traviata. 7:30 p.m. $25–$300. kennedy-center.org.

ROCk

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

THEHAMILTONDC.COM

MiraCle tHeatre 535 8th St. SE. (202) 400-3210.

Union Stage Presents Martin Barre Band (of Jethro Tull). 7:30 p.m. $35. themiracletheatre.com.

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

Young Rising Sons. 8 p.m. $16–$18. rockandrollhoteldc.com. u Street MuSiC Hall 1115 U St. NW. (202) 588-1889.

9:30 Club Presents White Denim. 7 p.m. $20. ustreetmusichall.com.

WORLD

boSSa biStro 2463 18th St NW. 202-667-0088.

Night of the Living Shred. 7:30 p.m. $10. bossadc.com.

MONDAY CLASSICAL

duMbarton oaKS 1703 32nd St. NW. (202) 3396401. Poulenc Trio. 8 p.m. Free. doaks.org.

FOLk

dC9 1940 9th St. NW. (202) 483-5000. Mikaela Davis.

8 p.m. $13–$15. dcnine.com.

OpERA

Kennedy Center oPera HouSe 2700 F St. NW. (202) 467-4600. Washington National Opera: La traviata. 7:30 p.m. $25–$300. kennedy-center.org.

ROCk

u Street MuSiC Hall 1115 U St. NW. (202) 5881889. 9:30 Club Presents Django Django. 7 p.m. $30. ustreetmusichall.com.

TUESDAY FOLk

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

7 p.m. $40. 930.com.

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Roberto Pomili Trio. 8 p.m.; 10 p.m. $25. bluesalley.com.

Capital One Arena • Washington, D.C. JUST ANNOUNCED!

MUMFORD & SONS

- A ground-breaking new show in the round w/ Maggie Rogers ..............FRI DECEMBER 14 On Sale Friday, October 12 at 9am AEG & I.M.P. PRESENT

PANIC! AT THE DISCO

THIS WEEK’S SHOWS

w/ Two Feet ............. JANUARY 20

Ticketmaster

Bob Moses w/ Mansionair & Navbox .....................................................TH OCT 11 Murder By Death w/ William Elliott Whitmore & Tim Barry

Merriweather Post Pavilion • Columbia, MD

Early Show! 6pm Doors ............................................................................................ F 12

THIS SATURDAY - FREE EVENT!

U STREET MUSIC HALL PRESENTS

What So Not w/ Chrome Sparks (DJ Set) Late Show! 10pm Doors ..................... F 12 The Record Company w/ Madisen Ward and the Mama Bear ................... Sa 13 Lucero w/ Brent Cowles ................................................................................ Su 14 Passenger .................................................................................................... Tu 16 Atmosphere w/ deM atlaS • The Lioness • DJ Keezy .................................... W 17

M E R R I W E AT H E R 2 0 1 8 • Experiences in Art + Sound .OCT 13 For more info, visit opusmerriweather.com

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

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

OCTOBER

NOVEMBER (cont.)

Jonathan Richman

U STREET MUSIC HALL PRESENTS

Ekali w/ 1788-L & Jaron Early Show! 6pm Doors.....................Sa 3

featuring Tommy Larkins on the drums!

Early Show! 6:30pm Doors. 14+ to enter. Sa 20

U STREET MUSIC HALL PRESENTS

Late Show! 10pm Doors ..................Sa 20

BERT KREISCHER ......................................................................... MARCH 14

JESS GLYNNE

......................................................................... FRI APRIL 5

On Sale Friday, October 12 at 10am

Late Show! 10pm Doors ....................Sa 3 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

Big Thief w/ The Range of Light Wilderness & .michael. ..............Su 21 We Were Promised Jetpacks w/ Hurry Up .............Tu 23 ALL GOOD PRESENTS

Twiddle (F 26 - w/ Bumpin’ Uglies) .F 26 & Sa 27 ALL GOOD PRESENTS

Moon Taxi w/ Moon Hooch .............Sa 27 & Su 28 Jain w/ Drama ............................M 29 Jake Shears (of Scissor Sisters) w/ SSION HALLOWEEN COSTUME CONTEST! First prize wins two tickets to every 9:30 show in Nov/Dec 2018! .......W 31

NOVEMBER U STREET MUSIC HALL PRESENTS

Soulection’s The Sound of Tomorrow feat. Andre Power •

Joe Kay • Devin Tracy • J. Robb • Andres Uribe .............................Th 1

Cursive w/ Meat Wave & Campdogzz ..........F 2

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

...................................................................... SAT FEBRUARY 9

AEG PRESENTS

Fleetmac Wood

STEEZ PROMO PRESENTS

Black Tiger Sex Machine w/ Kai Wachi & Lektrique

JOE JACKSON

St. Lucia w/ The Colonies ..........Tu 6 U STREET MUSIC HALL PRESENTS

MAX w/ Bryce Vine & EZI

Early Show! 6pm Doors.....................Th 8

Midland w/ Desure Late Show! 10pm Doors ......................Th 8 AN EVENING WITH

Chris Robinson Brotherhood . F 9 Brett Dennen w/ Nick Mulvey

Early Show! 6pm Doors ...................Sa 10 ALL GOOD PRESENTS

Papadosio w/ LITZ

Late Show! 10:30pm Doors ...............Sa 10

Toro Y Moi w/ Dizzy Fae ...........M 12 Ty Segall (Solo Acoustic) This is a seated show. ......................Tu 13

Randy Rogers Band w/ Parker McCollum ....................F 16 Wild Nothing w/ Men I Trust ..Su 18 The Dead South w/ The Hooten Halllers & Del Suelo .................................Tu 20

THIS FRIDAY!

Richard Thompson Eric Hutchinson & The Believers Electric Trio w/ Rory Block .......NOV 8 w/ Jeremy Messersmith .................... OCT 12 Ólafur Arnalds ........................NOV 14 AY!

THIS SATURD

LIVE NATION PRESENTS The Milk Carton Kids w/ The Barr Brothers ....................... OCT 13 Stay Tuned with Preet Bharara with special guest Chuck Todd .........NOV 15 Elle King w/ Cordovas ...................NOV 2 Jackson Galaxy AN EVENING WITH - Host of Animal Planet’s Edie Brickell My Cat from Hell ...................NOV 21 & New Bohemians ................NOV 3 AEG PRESENTS Inside Netflix’s The Staircase Adam Conover .........................DEC 2 & Making a Murderer: Jewel - Handmade Holiday Tour Fabrications, Lies, Fake Science, w/ Atz, Atz Lee, Nikos Kilcher ..............DEC 6 and the Owl Theory feat. David Rudolf and Jerry Buting Moderated by NPR’s Carrie Johnson .NOV 5

Ingrid Michaelson Trio - Songs for the Season ......... DEC 12

THE BYT BENTZEN BALL COMEDY FESTIVAL OPENING NIGHT FEAT.

Phoebe Robinson with special guest Tig Notaro Early Show! 5:30pm Doors ......... OCT 25

#ADULTING with Michelle Buteau

and Jordan Carlos ...................... OCT 26

Cameron Esposito, Rhea Butcher, & Friends ... OCT 27

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

Allen Stone w/ Nick Waterhouse ....................W 21

930.com

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Azizi Gibson Django Django w/ The Shacks........ M 15 w/ Jez Dior & Akeem Mimiko......Sa OCT 13 SCARLXRD w/ Amazonica ............Tu 16 White Denim w/ Rotem ...............Su 14 Trevor Powers w/ CORMAC ROTH ...F 19 • Buy advance tickets at the 9:30 Club box office • 930.com

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

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

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

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

930.com washingtoncitypaper.com october 12, 2018 29

CITY LIGHTS: SUNDAY

CITY LIGHTS: MONDAY

COROT: WOMEN

Tucked off next to one of the serene gardens in the National Gallery of Art is Corot: Women. The exhibition pays close attention to master landscape artist Jean-Baptiste-Camille Corot’s works that were rarely seen outside his studio during his lifetime. These paintings are not his famous landscapes, but rather figures—exclusively of women from the mid-1830s to the early 1870s. On every exhibition wall, there are paintings of women in costumes or in nothing at all, divided into three categories: costumed single figures, nudes, and allegorical studio scenes.

Rather than reflecting society’s expectations of female beauty at the time, Corot mirrored the “psychological presence” of each subject. The women are painted reading, gazing, dreaming, and thinking, allowing a peek into their innermost spaces as beings and showcasing their quiet beauty and strength. And his decision to let his style stray away from his age’s expectations helped lay the foundation for the exquisite painters to come. Thanks, Corot. The exhibition is on view to Dec. 31 at the National Gallery of Art, 6th Street and Constitution Avenue NW. Free. (202) 737-4215. nga.gov.

—Malika T. Benton

OpERA Kennedy Center oPera HouSe 2700 F St. NW. (202) 467-4600. Washington National Opera: La traviata. 7:30 p.m. $25–$300. kennedy-center.org.

WEDNESDAY BLUES

blaCK Cat 1811 14th St. NW. (202) 667-4490. Black Joe Lewis & The Honeybears. 7:30 p.m. $25. blackcatdc.com.

FUNk & R&B union Stage 740 Water St. SW. (877) 987-6487.

Union Stage and Songbyrd Present Doja Cat. 8 p.m. $15–$65. unionstage.com.

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

JAzz blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Juanito Pascual’s New Flamenco Trio. 8 p.m.; 10 p.m. $25. bluesalley.com.

OpERA Kennedy Center oPera HouSe 2700 F St. NW. (202) 467-4600. Washington National Opera: La traviata. 7:30 p.m. $25–$300. kennedy-center.org.

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

Little Dragon. 8 p.m. $35. rockandrollhoteldc.com.

THIS GUN FOR HIRE AND THE THREAT

The AFI Silver’s annual Noir City DC Festival is back, and this year every program is a double bill. Monday’s headliner is This Gun For Hire, a 1942 thriller based on a novel by Graham Greene in which a woman named Ellen (Veronica Lake) is a nightclub singer engaged to a detective lieutenant (The Music Man’s Robert Preston). On a fateful train ride to Los Angeles, she meets Raven (Alan Ladd), a handsome assassin, and drama ensues. Alan Ladd was only fourth-billed, but his performance as a cool, tough-talking killer made him a star, and his chemistry with Lake led to three more film noir appearances for the pair. Packed with double-crosses, unlikely coincidences, and a little homoerotic subtext, this densely plotted crime drama is one of the classics of the noir genre. The film is shown with the 1949 noir The Threat, about a killer (Charles McGraw) who escapes from Folsom Prison and seeks revenge on everyone who helped put him there. Noir movies from the 1940s—the perfect way to celebrate Spooktober. The films screen at 7:30 p.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$15. (301) 495-6700. afi.com/silver.

—Pat Padua

CITY LIGHTS: TUESDAY

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

9:30 Club Presents Alice Merton. 7 p.m. $20. ustreetmusichall.com.

ROCk tHe antHeM 901 Wharf St. SW. (202) 888-0020.

Death Cab For Cutie. 8 p.m. $55–$95. theanthemdc.com. dC9 1940 9th St. NW. (202) 483-5000. Pile. 8 p.m. $12–$14. dcnine.com. fillMore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Johnny Marr. 8 p.m. $35–$57. fillmoresilverspring.com. tHe HaMilton 600 14th St. NW. (202) 787-1000. JJ Grey. 8 p.m. $28–$48. thehamiltondc.com.

WORLD boSSa biStro 2463 18th St NW. 202-667-0088.

Balkan Beltway: A Balkan Music Showcase. 8:30 p.m. $10. bossadc.com.

THURSDAY CLASSICAL

freer gallery of art Jefferson Drive & 12th Street SW. (202) 633-1000. Rolston String Quartet.

7:30 p.m. $6. asia.si.edu.

HIp-HOp u Street MuSiC Hall 1115 U St. NW. (202) 588-1889.

9:30 Club Presents Masego. 10 p.m. $20. ustreetmusichall.com.

30 october 12, 2018 washingtoncitypaper.com

BROCkHAMpTON

A couple weeks ago, the number one album in the U.S. was from a boy band. But it wasn’t by 5 Seconds of Summer or One Direction or even a millennial nostalgia act like Backstreet Boys: it was Iridescence, the major label debut by Brockhampton. And while they’ve playfully called themselves a boy band, Brockhampton isn’t what you might expect from the term. Instead, the diverse dozenplus collective of rappers, singers, producers, and artists met on a fan forum dedicated to Kanye West. Plus, they don’t sound like the pristine, overproduced boy bands of the past. Instead, they bound between noisy rap firestarters and moments of string-swept introspection. There’s plenty of both on Iridescence, and the trilogy of 2017 albums that preceded it, making Brockhampton one of the most urgent and vital acts not just in hip-hop but pop music writ large. Remaking the image of the boy band isn’t easy, but Brockhampton want it that way. Brockhampton perform at 9 p.m. at The Anthem, 901 Wharf St. SW. $39.50–$59.50. (202) 888-0020. theanthemdc.com. —Chris Kelly

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Dee Dee Bridgewater. 8 p.m.; 10 p.m. $60–$65. bluesalley.com. tHe HaMilton 600 14th St. NW. (202) 787-1000.

YolanDa Brown. 7:30 p.m. $15–$39.75. thehamiltondc. com.

OpERA

Kennedy Center oPera HouSe 2700 F St. NW. (202) 467-4600. Washington National Opera: La traviata. 7:30 p.m. $25–$300. kennedy-center.org.

pOp

tHe antHeM 901 Wharf St. SW. (202) 888-0020.

CHVRCHES. 8 p.m. $41–$56. theanthemdc.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

Little Dragon. 8 p.m. $35. rockandrollhoteldc.com.

ROCk

dC9 1940 9th St. NW. (202) 483-5000. TTNG. 8 p.m. $18–$20. dcnine.com.

WORLD

boSSa biStro 2463 18th St NW. 202-667-0088.

Money Chicha and Tribu Baharu with Leon City Sounds. 9:30 p.m. $10. bossadc.com.

Theater

aCtually Theater J presents the timely story of Tom and Amber, two college freshmen who find themselves in a Title IX hearing after a casual hookup doesn’t go as planned. This production is directed by Johanna Gruenhut and written by Anna Ziegler. Arena Stage. 1101 6th St. SW. To Nov. 18. $30–$69. (202) 4883300. arenastage.org. aida Constellation Theatre Company presents Elton John’s epic musical, based on the opera of the same name. It follows the forbidden love story of the Nubian princess Aida and Ramades, the Egyptian captain who enslaved her people. Constellation Theatre at Source. 1835 14th St. NW. To Nov. 18. $25–$55. (202) 204-7741. constellationtheatre.org. aMeriCan revolution Using a cast of only seven actors in 21 square feet of space, Chicago’s awardwinning Theater Unspeakable tells the story of the American fight for independence. Kennedy Center

Jazz

Family Theater. 2700 F St. NW. To Oct. 14. $20. (202) 467-4600. kennedy-center.org. beetlejuiCe This new Alex Timbers-directed musical, adapted from Tim Burton’s 1988 film, makes its world premiere prior to Broadway. With music by Eddie Perfect and a book by Scott Brown, Beetlejuice tells the story of a quirky teenager who moves into a house haunted by its deceased owners and an elusive trickster demon. National Theatre. 1321 Pennsylvania Ave. NW. To Nov. 18. $54–$114. (202) 628-6161. nationaltheatre.org.

Jason Moran Artistic Director

Crossroads Club

Mwenso & the Shakes

born yeSterday Set in the 1940s, this Broadway play tells the story of Billie Dawn, the naive girlfriend of a Washington tycoon who fights back against his corrupt political schemes. Ford’s Theatre. 511 10th St. NW. To Oct. 21. $20–$62. (202) 347-4833. fords.org. tHe CoMedy of errorS Shakespeare Theatre Company presents this zany farce about two sets of twins, each with the same name. Lansburgh Theatre.

450 7th St. NW. To Oct. 28. $44–$102. (202) 547-1122. shakespearetheatre.org. tHe fall Written by seven student activists who helped dismantle the statue of Cecil Rhodes at the University of Cape Town, The Fall grapples with race, class, history and power in the aftermath of Apartheid through song and dance. Studio Theatre. 1501 14th St. NW. To Nov. 18. $20–$55. (202) 332-3300. studiotheatre.org.

How i learned to drive Round House’s production of this Pulitzer-winning play is directed by Amber Paige McGinnis and written by Paula Vogel. This timely story chronicles one woman’s struggle to break free from the cycle of sexual abuse and come to terms with her traumatizing memories. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Nov. 4. $48.40–$67. (240) 644-1100. roundhousetheatre.org. if i forget This acutely personal play tells the story of a Jewish D.C. family agonizing over whether to sell their 14th street home after their mother has died and their father is in need of full-time care. If I Forget is directed by Matt Torney and written by Dear Evan Hansen Tony-winner Steven Levenson. Studio Theatre. 1501 14th St. NW. To Oct. 14. $20–$80. (202) 3323300. studiotheatre.org. labour of love Fresh from London’s West End, this new comedy traces the ups and downs of leftwing politics in Britain over the past two decades.

Labour of Love is directed by Leora Morris with an Olivier-winning script by James Graham. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Oct. 28. $49–$74. (301) 924-3400. olneytheatre.org.

Saturday, October 27 at 9 p.m.

Atrium

Charismatic singer and bandleader Michael Mwenso’s new high-energy troupe merges the highest form of raw talent while commanding a strong blues essence through African and Afro-American music and the stylings of Fats Waller, Muddy Waters, James Brown, and many other legends.

All tickets are general admission—standing room only.

Kennedy-Center.org

Groups call (202) 416-8400

(202) 467-4600

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

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CITY LIGHTS: WEDNESDAY

JABARI ASIM

Whether he is teaching classes full of writing students or reflecting on specific cultural moments in his own essays, Jabari Asim forces his audiences to think. Take, for example, his 2009 book What Obama Means … for Our Culture, Our Politics, Our Future. By examining the influence of black orators and activists who preceded Barack Obama, Asim is able to explain how Obama became both a president and a cultural icon. His new book, We Can’t Breathe: On Black Lives, White Lies, and the Art of Survival, comes at a much darker time in American history, as we grapple with an openly racist president, and police officers and self-appointed vigilantes with their fingers constantly on the triggers of their guns. In it, Asim chronicles centuries of black survival and persistence and challenges “self-styled liberals” to speak out forcefully against the oppression they see and are complicit in. “It’s time to replace the timid discourse of pragmatic centrism with the aggressive language our situation requires,” he writes. As anger over the devolution of America continues to simmer, Asim’s discussion of the book with The Washington Post’s Wesley Lowery comes at exactly the right time. Jabari Asim reads at 7 p.m. at Solid State Books, 600 H St. NE. Free. (202) 897-4201. solidstatebooks.com. —Caroline Jones

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Record Release Show In The Wine Garden

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GAME CHANGE

We all love elephants. The world’s largest land mammal is everyone’s favorite behemoth onto which we project our affection for the idea of the gentle giant. We love to watch them lumber around the Serengeti in search of watering holes, their young marching alongside them. But what has humanity’s relationship with elephants historically been? And what is that relationship like now that we are acknowledging on a large scale that elephants, which scientists fear may go extinct, are in clear and present danger? These are the questions Game Change: Elephants from Prey to Preservation, a new National Museum of Natural History exhibition, seeks to answer. Through rare books, photographs, manuscripts, artwork, and other items dating from the 1800s to today, including a modern elephant radio collar, the exhibition chronicles the elephant’s journey from big game trophy to the subject of conservation efforts. Once, Americans were enamored with big game hunters treating animals like elephants as conquests, hunting them as sport. Now, a global preservation community actively tries to combat poaching and protect elephants. Learn how the game has changed. The exhibition is on view to Feb. 1, 2020 at the National Museum of Natural History, 10th Street and Constitution Avenue NW. Free. (202) 633-1000. naturalhistory.si.edu.

—Kayla Randall MeaSure for MeaSure Directed by Declan Donnellan, this adaptation of Shakespeare’s classic is presented in Russian with English subtitles and tells the story of the struggle for justice that ensues when a judge sentences a young man to death for getting a woman pregnant. Kennedy Center Eisenhower Theater. 2700 F St. NW. To Oct. 13. $19–$75. (202) 4674600. kennedy-center.org. turn Me looSe This John Gould Rubin-directed play traces comic genius Dick Gregory’s rise to fame as the first black comedian to utilize racial comedy, risking his safety in the process. Arena Stage. 1101 6th St. SW. To Oct. 14. $56–76. (202) 488-3300. arenastage.org.

Film

bad tiMeS at tHe el royale Seven strangers, each with their own secrets, meet at a rundown hotel in which over the course of a night they will have a chance at redemption. Starring Dakota Johnson, Chris Hemsworth, and Jon Hamm. (See washingtoncitypaper.com for venue information) beautiful boy Steve Carell and Timothée Chalamet star as a father and son whose relationship experiences trials and tribulations as the son struggles with drug addiction over many years. Co-star-

32 october 12, 2018 washingtoncitypaper.com

ring Maura Tierney and Amy Ryan. (See washingtoncitypaper.com for venue information) firSt Man Legendary astronaut Neil Armstrong prepares for the space mission that led to him becoming the first person to walk on the moon. Starring Ryan Gosling, Claire Foy, and Jason Clarke. (See washingtoncitypaper.com for venue information) gooSebuMPS 2: Haunted Halloween A mischievous talking dummy wreaks havoc and brings ghoulish friends to life on Halloween. Starring Wendi McLendon-Covey, Jack Black, and Madison Iseman.

(See washingtoncitypaper.com for venue information) tHe old Man & tHe gun Robert Redford stars in this true story of a 70-year-old man who mounts an escape from San Quentin and performs a string of heists. Co-starring Sissy Spacek and Danny Glover. (See washingtoncitypaper.com for venue information) a Star iS born An aging musician helps to launch the career of a struggling singer and subsequently falls in love with her. Starring Bradley Cooper, Lady Gaga, and Sam Elliott. (See washingtoncitypaper.com for venue information) venoM After journalist Eddie Brock becomes infected with the powers of a symbiote, he struggles to release its bloodthirsty powers in the form of alterego Venom. Starring Tom Hardy, Riz Ahmed, and Michelle Williams. (See washingtoncitypaper.com for venue information)

SAVAGELOVE I was involved with a straight man who enjoys crossdressing and taking explicit photos. The problem is that the props he uses belong to his three children, all under age 12. For example, he dressed up as a slutty schoolgirl and wore his daughter’s backpack. He dressed up as a slutty cowgirl and posed with his son’s stuffed horse. He even had the horse eating his “carrot.” I told him he should not use his children’s things as props. He believes that his children will never see the photos, so no harm will come of it. I’m horrified at the thought of these kids (perhaps as adults) stumbling over these pictures. He posts them on Instagram and Facebook, so they aren’t private and he can’t control where they go. It’s one of the reasons I ended the relationship. Is there anything I can say to him?

—Canceled Definitely Promising Relationship Over Photo Sessions You told him what he’s doing is wrong, you explained the enormous risk he’s running, and you dumped him, CDPROPS. You could take one last run at it and try to explain that his children finding these photos isn’t one of those “lowrisk, high-consequence events,” i.e., something that’s unlikely to happen but would be utterly disastrous if it did. (Think of the super volcano that is Yellowstone National Park erupting or a deranged, racist billionaire somehow managing to win a US presidential election.) Nope, if he’s posting these photos online, at least one of his children will stumble over them—or one of their friends will. (“Hey, isn’t this your dad? And your backpack?”) Your ex needs to knock this shit off, and will most likely need the help of a mentalhealth pro in order to do so.

—Dan Savage My parents were married for almost 40 years—and on paper, things seemed fine. They rarely fought and were an example of a strong, monogamous marriage until the day my mother died. Recently, I found writings by my dad revealing he had several casual encounters with men over the course of their marriage. Do I tell him I know? We are close, but sex isn’t something we usually discuss. What should I do with this information, if anything?

—A Deeply Upsetting Lie That Scalds When you say their relationship seemed fine “on paper,” ADULTS, what you mean is their relationship was decent and loving. Well, now you know it wasn’t perfect—but no relationship is. Your mother is dead (I’m sorry for your loss), and either she made peace with this fact about her husband long ago or she never knew about it. Either way, no good will come from confronting your father about the handful of dicks he sucked decades ago.

—DS I’m a 47-year-old virgin straight man. What advice can you give me on losing my virginity?

—Wanting And Hoping There are lots of 40-year-old-and-up women

out there who are virgins—they write in, too— so putting “middle-aged virgin seeks same” in your personal ad wouldn’t be a bad idea. Find someone in your same situation, WAH, and treat her with kindness, gentleness, and patience—the same as you would like to be treated.

—DS

His children finding these photos isn’t one of those “low-risk, highconsequence events,” i.e., something that’s unlikely to happen but would be utterly disastrous if it did. (Think of the super volcano that is Yellowstone National Park erupting or a deranged, racist billionaire somehow managing to win a US presidential election.)

I’m married and poly, with one partner in addition to my husband. My partner has a friend-withbenefits arrangement with a woman he’s been with since before we met. The FWB is not poly, but she’s always known my partner is. She has always insisted they’re not a couple, but he knows she would be hurt if she found out he was with someone else, so he has avoided telling her he’s now also with me.

I don’t like being someone’s secret. My husband knows I’m with someone else and is fine with it. If my partner’s FWB felt the same, I wouldn’t see a problem. But this feels oddly like I’m helping my partner cheat on his FWB, even though they’re “not a couple” (her words). So it’s not cheating… is it?

—Pretty Obviously Lost, Yeah

It’s not cheating—it’s plausible deniability.

Your partner’s FWB would rather not know he’s seeing anyone else, so she doesn’t ask him about his other partners and he doesn’t tell. Accommodating his FWB’s desire not to know about other partners—doing the DADT open thing—does mean keeping you a secret, POLY, at least from her. If you’re not comfortable with that, you’ll have to end things with your partner.

—DS I’m scared of two things. (1) I’m scared that if I break up with my girlfriend of four years, I will be throwing away the best thing I will ever have because I’m scared that I don’t love her in the way she deserves (in the way people say you will “just know” about) or because we have normal relationship problems and both have our own mental-health issues. (2) I’m also scared that if I don’t break up with her, I am keeping her in a relationship that is not good because of my fear of never finding someone as good as her, and we would both actually be happier with someone else.

—Scared Of Being Alone

1. Nobody “just knows,” SOBA, and everyone has doubts—that’s why commitments are made (consciously entered into) and are not some sort of romantic or sexual autopilot that kicks in when we meet the “perfect” person. We commit, and recommit, and forgive, and muddle through—but when we’re asked about our relationships, we tend to lean on clichés like “It was love at first sight,” “I just knew,” “The One”—clichés that often fill others with doubt about the quality of their relationships.

2. Get on iTunes and download the original Broadway cast recordings of Company, Follies, and A Little Night Music. Pay particular attention to “Sorry-Grateful,” “The Road You Didn’t Take,” and “Send in the Clowns.”

—DS If I write you a letter asking for advice and don’t want it published, even anonymously, will you answer? —Keeping It Confidential, ’Kay? While I can’t respond to every letter I receive, KICK, I do sometimes respond privately. Just one request: If you send a letter that you don’t want published, please mention that at the start. I will frequently read an extremely long letter—so long that I start making notes or contacting experts before I finish reading it—only to discover “please don’t publish this” at the bottom. If a letter isn’t for publication, please mention that at the beginning. I promise that doing so increases your chances of getting a private response.

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

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OCTOBER W 10

JOEY DOSIK w/ CYOA

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BENEFIT FOR THE AMERICAN SIDS INSTITUTE FEATURING HEATHER’S HEADACHE, BLAME IT ON JANE

SU 21 CHARLEY CROCKETT w/ HAINT BLUE W 24

QUINN SULLIVAN w/ SWAMPCANDY

TH 25 CURLEY TAYLOR & ZYDECO TROUBLE F 26

CORY HENRY & THE FUNK APOSTLES

SU 28 HUMAN COUNTRY JUKEBOX FEATURING JACK GREGORI (FROM NBC’S THE VOICE) AFTERNOON SHOW! 1PM DOORS SU 28 SOUTHWEST SOUL SESSIONS w/ ELIJAH BALBED & ISABELLE DE LEON

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BILLY F GIBBONS

F2

CRIS JACOBS BAND w/ JONATHAN SLOANE TRIO

SA 3

DAVY KNOWLES

SU 4

DANIELLE NICOLE

T6

TOR MILLER

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2019 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 Request for Proposaln(RFP) such as; student data, days of service, meal quality,

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

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

For more information please visit www.washingtoncitypaper.com

34 october 12, 2018 washingtoncitypaper.com

etc. may be obtained Legals beginning on October 12, 2018 from Tasliym DC SCHOLARS PCS REQUEST Lester at 804.986.8097 FOR PROPOSALS – Moduor tasliym.lester@monular Contractor Services - DC mentacademydc.org Scholars Public Charter School

solicits proposals for a modular Proposals will beprofessional accontractor to provide cepted at 500 management and 19th construction services toNE. construct a modular Street, Washington, building to house classrooms DC 20002 onfour November and2018 one faculty offi ce suite.

7, not later thanThe RequestPM. for Proposals (RFP) 5:00 specifi cations can be obtained on All bids not addressing and after Monday, November 27, all areas as outlined 2017 from Emily Stone via comin the RFP will not be munityschools@dcscholars.org. considered.

All questions should be sent in writing by e-mail. No phone calls regarding this RFP will be acSUPERIOR COURT cepted.

BidsDISTRICT must be received OF THE OFby 5:00 PM on Thursday, December COLUMBIA 14, 2017 at DC Scholars Public PROBATE DIVISION Charter ADM School,000788 ATTN: Sharonda 2018 Mann, 5601 E. Capitol St. SE, Name of Decedent, Washington, DC 20019. Any bids Dorothy MaeallShaw. not addressing areas as outNotice ofRFP Appointment, lined in the specifi cations will Notice to Creditors and not be considered.

Notice to Unknown Heirs,Apartments Anthony Johnson, for Rent whose address is 1629 Trinidad Ave., NE, Washington, DC 20002 was appointed Personal Representative of the estate of Dorothy Mae Shaw who died on June 30, 2017, without a Will and will serve without Court Supervision. All unknown heirs and heirs Must see!

Spacious semi-furwhose whereabouts are nished 1 BR/1 basement unknown shallBAenter apt, Deanwood, $1200.inSep. entheir appearance this trance, W/W carpet, W/D, kitchproceeding.

Objections en, fireplace near Blue Line/X9/ to such appointment V2/V4. Shawnn 240-343-7173. shall be filed with the Register of Wills, D.C., Rooms for Rent 515 5th Street, N.W., Building A, 3rd Floor, Holiday SpecialTwo furWashington, nished rooms forD.C. short or long 20001, or before term rentalon ($900 and $800 per 4/11/2019.

Claimsto W/D, month) with access WiFi, Kitchen, and Den. Utiliagainst the decedent ties included.

Best N.E. location shall be presented to along H St. Corridor.

Call Eddie the undersigned with a 202-744-9811 for info. visit copy to the Registerorof www.TheCurryEstate.com Wills or to the Register of Wills with a copy to the undersigned, on or before 4/11/2019, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a

copy of this notice by Construction/Labor mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: POWER DESIGN NOW HIR10/4/2018 ING ELECTRICAL APPRENTICES of OFNewspaper ALL SKILL LEVName ELS! periodical: and/or Washington City Paper/ aboutWashington the position… Law Daily Do you love working with Reporter your hands? Are you interName Repreested of in Person construction and sentative: T. in becoming Florence an electrician?

Wilson Then the electrical apprentice TRUE TEST position couldcopy be perfect for Anne you! Meister Electrical apprentices are able to a paycheck Register ofearn Wills and full benefi ts while learnPub Dates: October 11, ing25. the trade through first18, hand experience.

SUPERIOR COURT what we’re looking for…

OF THE DISTRICT OF Motivated D.C. residents who COLUMBIA want to learn the electrical PROBATE DIVISION trade and have a high school 2018 ADM 000938 diploma or GED as well as reliableoftransportation.

Name Decedent, Laura Elayne Wilson. a little bit us…

Notice ofabout Appointment, Power to Design is one ofand the Notice Creditors top electrical contractors in Notice to Unknown the U.S., committed to our Heirs, T. Wilvalues,Florence to training and to givson, whose address is ing back to the communities 36238 View, in whichNorth we live Gull and work.

Long Neck, DE 19966 moreappointed details… Personal was Visit powerdesigninc.us/ Representative of the careers email Elayne careers@ estate oforLaura powerdesigninc.us!

Wilson who died on July 11, 2018, without a Will and will serve without Court Supervision.

All Financial Services unknown heirs and heirs Denied Credit??

Work to Rewhose whereabouts pair Credit Report are Your unknown shallWith The Trusted their Leaderappearin Credit Repair. enter Call Lexington Law for a FREE ance in this proceedcredit report summary & credit ing. Objections to such repair consultation. 855-620appointment shall be at 9426. John C. Heath, Attorney filed with the RegisterLaw Law, PLLC, dba Lexington of Wills, D.C., 515 5th Firm.

Street, N.W., Building A, 3rd Floor, WashingHome Services ton, D.C. 20001, on or before 4/4/2019. Claims Dish Network-Satellite against the decedentTelevision Services. Now Over 190 shall be presented to channels for ONLY $49.99/mo! the undersigned withFREE a HBO-FREE for one year, copy to theFREE Register of Installation, Streaming, Wills or to the Register FREE HD. Add Internet for $14.95 Wills1-800-373-6508 with a copy to aofmonth. the undersigned, on or

before 4/4/2019, or be Auctions 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 Foods first publication: Whole Commissary Auction 10/4/2018 DC Metro Area Name of Newspaper Dec. 5 at 10:30AM Washand/or periodical: 1000s City S/S Paper/WashTables, Carts ington & Trays, 2016 Kettles up ington Law Reporter to 200 Gallons, Urschel Name Person RepreCuttersof & Shredders insentative: Florence T. cluding 2016 Diversacut Wilson 2110 Dicer, 6 Chill/Freeze TRUE Cabs,TEST Doublecopy Rack Ovens & Ranges, Anne Meister(12) Braising Tables, 2016 (3+) Stephan Register of Wills VCMs, Scales, Pub Dates:30+ October 4, Hobart 80 qt Mixers, 11, 18.

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Bus, Trolley, and Union Cheverly, MD. 20784. Can buy Station subway.

Cost in bulk. Contact 202-355-2068 $1100/month visit or 301-772-3341 for details or if intrested in being a vendor. for TheCurryEstate.com more details or Call Eddie-202-744-9811.

Rooms for rent in SE DC near Pennsylvania and Branch Ave. Furnished/unfurnished, Nonsmoking. Metro accessible. Includes W/D, internet, off-street parking and utils. $650850/mo. with amenities. $575-$775/mo. without amenities. 202-2712704.

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15 16 17 19 20 21 22 24 26 27 33 36 37 38 39 40 41

42

Hoops assist Big boom maker Close the gap British prep school Relating to the ear Cryptocurrency whose name is a numeric prefix Area for hammers?

Safe boats Supper club, maybe?

Trashy-news site Olive-skinned Talk Like A Pirate Day chortle Not much to look at Expel a cupcake?

Noble gas Gather some wool Short person's note Sole problem Go "pop" "Didn't hurt a bit" "Much ___ About Mousing" (Tom and Jerry cartoon) Clears a level?

43 Mini calendars 44 Ursine caution?

47 American Horror Story rating 48 Spouts off 52 Visits 55 Sober ___ judge 56 Writer / comedian Peyser 57 Hot rock 58 Bit of holly used in a bartender's drink?

61 ASUS rival 62 What verbs and nouns must do 63 Mario ___ 64 It's a job 65 Hourglass figures?

66 Eithne BhraonĂĄin's stage name

Down

1 Insatiable star ___ Ryan 2 Literary Calvino 3 It goes on for weeks 4 Liberal arts subj.

5 Rick and Morty creator Dan 6 Word on the street

1 5 10 14

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7 Spaniard's gold 8 Staffs 9 Unleashed anger toward someone 10 Lip-curling faces 11 "Let's start drinking!"

12 Egyptian cross 13 Prying 18 Actor Suplee 23 Gelatinlike base 25 Clarinet's cousin 28 Japanese truck maker

29 Really play the guitar 30 Frankfurt's state 31 Christian cross 32 Some laughs 33 Literary skipper 34 Took an Uber 35 Rub in 39 He was crucified beside Jesus 40 Its catalog has more copies printed annually than the Bible 42 Vinyl label nos.

43 "Beat it" 45 Place to leave one's home for a while?

46 Nibbles 49 Houston resident 50 Each possible 51 "Always Comfortable" sloganeer 52 Picnic tubful 53 Snack served with cabbage, maybe 54 In which you might assume the position 55 Improved, as cheese 59 Coffee holder 60 Men's name that's is 75% of 40-Down

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