Washington City Paper (October 13, 2017)

CITYPAPER Washington

Free Volume 37, No. 41 WAshiNgtoNCityPAPer.Com oCt. 13-19, 2017

housing: geNerAtiNg more AffordAble uNits 7 Politics: guN oWNers liNe uP for fireArms trAiNiNg 8 theater: slumlords oN the stAge ANd streets 27

The face of D.C.’s opioid overdose problem looks like older black men. P.14

By Candace Y.A. Montague

2 october 13, 2017 washingtoncitypaper.com

INSIDE 14 Tracks of Time The face of D.C.’s opioid overdose problem looks like older black men.

By Candace Y.A. Montague

Photograph by Darrow Montgomery

4 ChAtter

Arts

distriCt Line

23 History Lessons: Through its education efforts and community programming, the Prince George’s African American Museum and Cultural Center strives to be more than just a museum.

24 The Scene Report: What’s new in the world of local hip-hop and rap 26 Curtains: Klimek on Forum’s Love and Information and Constellation’s The Wild Party; Mills on Washington Stage Guild’s Widowers’ Houses 28 Short Subjects: Olszewski on Loving Vincent and Zilberman on The Florida Project

7 Housing Complex: D.C.’s affordable housing fund is in high demand and will focus on new construction over the next year.

8 Loose Lips: D.C.’s new concealed carry permit law has people lining up for training.

10 Loose Lips: Data reporting error speaks to deeper problems in school reform.

11 Indy List 12 Savage Love

food 19 Sweeten the Meal: Are full-time pastry chefs still an essential part of dessert in D.C.?

21 Pumpkin Splice: Ranking the region’s best and worst pumpkin-flavored food and drink 21 Are You Gonna Eat That?: Fruitive’s beet kraut probiotic shot 21 What’s in Stein’s Stein: 3 Stars’ Pounding Trees Double India Pale Ale

City List 31 City Lights: Catch Atlanta- and Tokyo-raised rapper MadeinTYO at The Fillmore on Friday.

31 Music 36 Theater 37 Film

38 CLAssifieds diversions 39 Crossword

On the cover: Illustration by Stephanie Rudig

washingtoncitypaper.com october 13, 2017 3

CHATTER

In which our readers express their feelings on ice cream brands

Darrow MontgoMery

A representative selection of comments on articles in last week’s issue: “D.C’s Department of Consumer and Regulatory Affairs Gets a Double Dose of Scrutiny”

By Andrew Giambrone

WELL FINALLY !!!! I’ve personally had the misfortune of having to deal with this agency reporting illegal construction by “developer” Prosperity Park Properties aka P3DC aka Sir Charles Martin. I am all but certain that DCRA & the “developer” are in bed together and somebody at DCRA is/was on the take issuing illegal construction permits. The IG report from this solidifies my belief, and I hope that appropriate action will be taken to punish the perpetrators and fix these type problems. —James Watson on washingtoncitypaper.com Welp, sounds like they’re picking on you, @dcra. Let’s make sure this doesn’t change anything. Never mind, I am sure it won’t. —1000CstNE on Twitter “Chain Retraction: Make These Five Swaps to Support Local Businesses”

By Laura Hayes We’ve been through this don’t go to Milk Bar ever. —Ryan Sims on Twitter For some of these, the suggestions are in mixed-income areas to go to expensive local businesses instead of low-cost chains. Doing things local and higher-quality understandably has higher costs but it’s worth considering whether District Doughnut is an affordable substitute for Dunkin Donuts … same for replacing Popeyes. These chains are accessible to a broad income range.

—Claire McAndrew on Facebook YES! Support Victoria Lai’s homegrown Ice Cream Jubilee! Uncorporate and lovingly local—and tasty.

—Brian Noyes on Facebook Or hit up Larry’s Ice Cream in Dupont. Family-owned and been around even longer than Jubilee (and had booze in some flavors that whole time, too). Best hole-in-the-wall ice cream place in the city.

—Allyson Harkey on Facebook Ohioan here. Jeni’s is good. I’ll buy a scoop there without guilt. All of these places are insanely expensive either way. —Jamie Carracher on Facebook Ok sure except Popeyes forever.

—Danielle M. Henry on Facebook

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LoCAL ADVERTISING: (202) 650-6937 FAx: (202) 650-6970, Ads@wAshIngtoncItypAper.com fiNd a STaff direcTory WiTh coNTacT iNformaTioN aT WaShiNgToNciTypaper.com VoL. 37, No. 41 oCT. 13-19, 2017 wAshIngton cIty pAper Is publIshed eVery week And Is locAted At 734 15th st. nw, suIte 400, wAshIngton, d.c. 20005. cAlendAr submIssIons Are welcomed; they must be receIVed 10 dAys before publIcAtIon. u.s. subscrIptIons Are AVAIlAble for $250 per yeAr. Issue wIll ArrIVe seVerAl dAys After publIcAtIon. bAck Issues of the pAst fIVe weeks Are AVAIlAble At the offIce for $1 ($5 for older Issues). bAck Issues Are AVAIlAble by mAIl for $5. mAke checks pAyAble to wAshIngton cIty pAper or cAll for more optIons. © 2017 All rIghts reserVed. no pArt of thIs publIcAtIon mAy be reproduced wIthout the wrItten permIssIon of the edItor.

4 october 13, 2017 washingtoncitypaper.com

IT’S

HAPPY HOUR AT THE ZOO!

Join us from 3 to 5 p.m. on the Panda Overlook at the Smithsonian’s National Zoo. Every Thursday–Sunday in September and October, you can enjoy food and beverage specials in a casual, one-of-a-kind outdoor setting (weather permitting)—all while supporting the Zoo’s mission to save species. Drink now, but feel good about it in the morning. nationalzoo.si.edu

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DistrictLinE

Investment Options

ularity of D.C.’s neighborhoods and the resurgence of private investment in all of them have put a lot of pressure on affordable housing and on District residents,” argues Elin Zurbrigg, the deputy director of Mi Casa, a nonprofit developer that worked on half a dozen projects getting HPTF money last fiscal year.

In that period, which ended on Sept. 30, the fund provided gap financing for 23 affordable housing projects in every part of the city except affluent Ward 3, where the cost The city allotted of development is higher due to zoning redevelopment funds restrictions and scarce land. More than to this property last half of these developments stemmed fiscal year from renters exercising their rights under TOPA. As Zippel explains, TOPA can be “a powerful tool for preventing displacement” because of these protections.

More than $67 million in HPTF money supported TOPA deals at multifamily buildings in the fiscal year that just ended. These deals included almost 830 affordable units in total, a huge jump from the far-smaller number of HPTF-financed TOPA units during the previous fiscal year.

In many instances, TOPA purchases depend on D.C. subsidies to get off the ground. Traditional lenders are hesitant to assume the risks and strict timelines for sales that go along with the law.

TOPA purchases also rely on strong tenant organizing amid conditions so bad that some renters may leave their buildings. “Almost all of the time,” Zurhousing investments of different varieties: brigg explains, “extensive deferred mainterental housing and homeownership as well as nance” is an issue, including outdated kitchpreservation and construction. This presents ens, bathrooms, and building systems.

And even if tenant associations are able to actrade-offs: Where should D.C.’s finite affordquire buildings through TOPA and HPTF monable housing dollars go, and to whom?

“We are laser-focused on both production ey, the process doesn’t always end there. Since and preservation in order to address our need DHCD accepts TOPA funding proposals on a for affordable housing, [and we know] that it rolling basis and HPTF dollars are limited, in is something that is not one or the other,” says some cases the department awards projects acquisition funds, but not hard renovation funds.

Donaldson.

“That puts tenants in a bit of a limbo,” says The fund has met trouble in the past. Last spring, the inaugural audit of the 16-year HPTF Sarah Scruggs, the deputy executive director revealed a history of mismanagement and inef- of MANNA, Inc., a nonprofit District developer. fective expenditures, including apartments that Although she praises Bowser’s investments in did not meet affordability requirements and in- affordable housing, Scruggs endorses the counconsistent enforcement of income levels. The cil’s legislation to raise the base level of funding audit also found that a significant amount of for the trust fund to $120 million per year.

“We think it’s more than needed and should data on projects was simply missing.

In one case, a developer didn’t create the 21 be supported by the executive,” she says. “It affordable units for seniors it’d promised to us- just comes down to the city having enough ing a 2007 D.C. loan worth $2 million. An Alex- funding to meet the need, so organizations andria-based LLC bought a building in Ward 4 can keep projects moving.”

For now, DHCD is just starting its internal for $1.2 million, but failed to occupy it with seniors and screen tenants for income limits, the budget process for fiscal year 2019, with D.C. audit found. (Most of the projects in the audit Council oversight hearings not occurring until early 2018. In the meantime, it’s administerprecede Bowser’s tenure as mayor.)

Despite such problems, the trust fund ing the fund as normal.

“There’s plenty of more work to do—plenty proves essential for keeping the District diverse. “The rapid disappearance of affordable of more buildings to save,” Mi Casa’s Zurbrigg rental stock combined with the increasing pop- says.

CP

D.C.’s affordable housing fund is in high demand and will focus on new construction over the next year.

By Andrew Giambrone AwAsh with gentrificAtion and a steady influx of well-to-do newcomers, the District is allocating more money than ever before toward affordable housing.

Over the past year, those investments have favored older buildings where current residents organize to identify developers to refurbish their properties. D.C.’s longstanding Tenant Opportunity to Purchase Act, which grants tenant associations the first right of refusal when a property is for sale, makes this process possible.

But after a year of honing in on preserving existing units, the city agency that doles out the funds for these affordable developments intends to change tack. The Department of Housing and Community Development says it will shift toward funding new construction instead of preservation over the next fiscal year, citing pressures to bolster the overall supply of below-market units in the District.

The main source of these funds, D.C.’s Housing Production Trust Fund, has received $100 million a year under Mayor Muriel Bowser’s administration. The money provides gap financing to developers in exchange for creating affordable units. (Gap financing is a portion of the total financing necessary to build or rehab a property.)

Of eight new projects announced last week that won $75 million in D.C. subsidies, five involve new construction, two involve tenantspearheaded preservation, and one involves homeownership opportunities. The developments are to create over 500 units of affordable housing for families who make from 30 to 80 percent of the area median income, or $33,000 to $88,000 a year for a household of four.

Yet, for the third year in a row, applicants to the fund asked for more money than was available. According to DHCD, the ratio of requests to awards was over three to one: Applicants asked for roughly $260 million, but DHCD granted $75 million.

Some housing advocates and nonprofit developers say officials wouldn’t have to make so many hard choices if the pot were bigger than it is now. Per capita, the HPTF is currently the largest such fund in the country. It is financed by dedicated revenue from deed transfer and recordation taxes, plus one-time infusions of

Darrow Montgomery

housing complex

capital at officials’ discretion.

“As the demand for new affordable housing increases, the amount of stress on our subsidies is only going to grow,” says Claire Zippel, an analyst at the D.C. Fiscal Policy Institute.

“Now that it’s clear there’s substantial demand for those funds, moving up from $100 million is necessary.”

A bill pending before the D.C. Council would raise the HPTF floor to $120 million a year through existing taxes, thereby lessening the need for additional annual budget appropriations. A hearing on the bill was supposed to be held on Oct. 19, but the council says it’s being rescheduled for a later date.

In addition, at Bowser’s request, the council earlier this year backed a new $10 million fund centered on preservation, which DHCD is still setting up. That fund would be matched by private dollars, and it was one in a series of recommendations last year by a mayoral “housing preservation strike force.”

Under Bowser’s administration, more than 50 projects have secured financing through the HPTF. That equates to more than $276 million in subsidies allocated and more than 3,300 affordable units planned.

DHCD Director Polly Donaldson, whom Bowser appointed in 2015, says officials must “take a balanced approach” to affordable

washingtoncitypaper.com october 13, 2017 7

DistrictLine Open Season

By Jeffrey Anderson Now that D.C. no longer requires a “good reason” to issue a concealed carry pistol license, what’s a law abiding, gun-owning citizen to do? According to Leon Spears, sign up to take his Firearms Safety Training Course.

“It’s been bananas,” says Spears, who was so inundated with calls that he slept in his office last Friday night. The day before, D.C. Attorney General Karl Racine announced he would not appeal a recent federal appeals court ruling that gutted one of the toughest gun laws in the country.

The ruling in Wrenn v. District of Columbia— and Racine’s decision not to appeal it—brings to a close an era in which the District has fended off persistent challenges to its gun laws. And it figures to shake up a system that until now has denied gun carry licenses to more than 70 percent of applicants.

Spears is in such demand that he opened up his I Street NW office on Sunday morning to a group of would-be gun licensees. Some are first-time applicants, and some have had previous applications rejected because they could not show sufficient reason to fear for personal safety, or couldn’t show that their job required handling large sums of money or valuables.

Under the new law, applicants will still have to undergo a criminal background check and put in two hours of range training, in addition to the 16-hour safety course that Spears and a limited number of firearm safety instructors offer. If they have been vetted already and denied for lack of “good reason” in the past, the process will be much quicker, Spears says.

The nine attendees are all male. Some are in their 20s or 30s, but most are older. Seven are black, two are white. One of those readily offers his name but asks that it not appear in this story because he has a “top secret” security clearance, he says, that makes his line of work sensitive. “I’ve been ID’d as a target and was advised by [government officials] to get a permit in Maryland already,” he says. “I want to be permitted from here to Florida, because that’s my range of activities, and I own property [down South].

LOOSE LIPS

“I’m not a hunter, and I’m not a gun nut,” he continues. “I had a friend who died in the Navy Yard shooting, and if he had been armed there wouldn’t have been such carnage that day. I’m sure of that.”

Spears, rumpled from the hectic weekend, is vibrant as he begins the class, which is abuzz with anticipation. “Let’s have a seat and we’re gonna be cooking with gas,” he says.

To say that Spears is a gun enthusiast would be an understatement. “I’m a gun guy,” he says. “I wake up every morning with one or two by my side, and I thank the Lord for waking me up.” Though he does not specify how many guns he owns, he stresses the importance of carrying a registration card at all times for every one of them in his possession. There are a couple dozen D.C. certified trainers, but he is the first concealed carry permit holder in the District and the sole proprietor of dcConcealedCarry.com.

He’s also somewhat of a Renaissance Man. He says he has degrees in Philosophy and English from Howard University, a Therapeutic Crisis Intervention certification from Cornell University, a Homeland Security Emergency Preparedness and Response graduate certificate from The George Washington University’s School of Engineering and Applied Science, and a Master of Science degree in Engineering Management, with a focus on Crisis & Emergency Risk Management.

He has worked as a clinical technician in the Johns Hopkins Hospital Emergency Department, and served as a volunteer firefighter for the Prince George’s County Fire Department, where he held an Emergency Medical Technician certification.

“Managing Tomorrow’s Consequences Today” is his firm’s motto.

Spears’ training session is part history lesson, starting with the District of Columbia v.

Heller case, which kicked off a decade of court challenges and rulings in 2008. That case was about the Constitutional right to “keep and bear arms,” he says. Heller established the right to “keep,” but lost on the right to “bear,” and then in 2014 Palmer v. District of Columbia succeeded on the latter, says Spears. A few months later, then-Mayor Vince Gray signed

8 october 13, 2017 washingtoncitypaper.com

Darrow Montgomery/File

D.C.’s new concealed carry permit law has people lining up for training.

D.C.’s most recent gun law into effect, thus beginning the round of challenges to the “good reason” provision that has been struck down.

“Now the burden is on the government to show why you can’t have a [concealed carry license], and not for you to show why you need one,” says Spears.

People are jaded because D.C. for so long has trampled on their Constitutional rights, Spears says, as he launches into a primer on the 16 exceptions to the new revised law. Government buildings, school campuses and adjacent parking lots, daycare centers, hospitals (or health care centers that provide “sensitive” services), public transportation, and places that serve alcohol are among the places where, under the law, members of the public cannot carry a concealed weapon, even with a permit. Some of these provisions come with caveats and contingencies, which several attendees appear familiar with. After a short while, hands begin to go up with questions about various scenarios.

Spears tells the class that once permitted they are the District’s “golden children,” vetted by the D.C. police, the Bureau of Alcohol, Tobacco, Firearms and Explosives, and the FBI. “You are deemed to be a natural, reasonable person— prudent, morally responsible,” he says.

His students depend on him for more than just the ABCs of gun safety and a certificate that allows them to apply for a concealed carry license. “My clients share very intimate details regarding abuse, background informa-

tion, and money routes, etc.,” he tells Loose Lips. “Many women, and men for that matter, have been robbed, attacked, etc., and they enjoy my confidentiality.”

Just over the Potomac River, in a small brick office building in South Arlington, James Wiggins Jr. provides a similar service that incorporates his own life experience and philosophy.

Wiggins is a former D.C. Fire and EMS Department medic who law enforcement officials enticed to attend the D.C. police academy in 1995 to provide gun safety training to recruits.

He became so proficient that the U.S. State Department recruited him in 2003 to teach security and protection to employees transitioning out of military positions and into civilian life. “My city taught me well,” says the native Washingtonian, who now splits time between the District and Houston, Texas. He has more than a dozen law enforcement agency patches on his gun vest and dozens of framed certifications, safety training and private investigator licenses, and commendations on the wall of his cramped office.

Wiggins says he’s in it for more than the money. He saw the damage that guns can cause up close and personal as a medic with Fire and EMS. “I love my city,” he says. “I’m gonna train people in how to protect themselves out here in the streets. There’s some evil people out there, and criminals know that there’s just a 2 percent chance of running into

District

LinE a person who is armed.”

Since last Thursday, Wiggins says he has received more than a dozen calls and emails from people looking to sign up for his class, which he says is better than the competition because of what he has seen and done in the line of fire.

“I’ve seen people suffer,” he says. “I’ve had a gun stuck in my back. I’ve been shot at, but not hit. You gotta be a smart, responsible citizen. A gun is a tool. You have to know how to use it. Like a saxophone: Just because you play it, doesn’t make you a musician.”

Wiggins provides instruction to private citizens, retired cops, and armed security personnel, he says. His services include advising clients on what type of gun to purchase based on their individual needs and circumstances. “Now that the hoops and loops have been removed, and you meet the standard”— 21 years of age, law abiding with no criminal record, mentally competent—“you shouldn’t have a problem. Though if you got so much as an unpaid traffic ticket or child support due D.C. might try to come up with something to say you don’t have clean hands.”

Given his experience as a medic, Wiggins likes to say he’s in the “death business.” He says it has resulted in a sense of empathy. “If you graduate from the police academy, Fire and EMS and the Washington Hospital Center, you are the homeland security. You got psychology, social work, family counseling and life saving skills.”

He’s also a pretty good shot, having achieved a perfect score on multiple occasions, he says. “But avoiding confrontations is better than winning them,” says Wiggins.

“How do we avoid bad situations? We use situational awareness. We use our common sense to understand our environment.”

Wiggins conducts the gun range component of his training academy at Sharpshooters in Lorton, Virginia where military and police like to go. “It’s the closest range to the Pentagon,” he says. “But D.C. has to get one.

They’re letting too much money go to Virginia and Maryland.”

Wiggins demonstrates how to handle, check, and fire a weapon: “You are like a tripod,” he says, employing a photography metaphor, as he pulls back the slide of a Glock handgun to ensure the chamber is empty. He goes through the details of stance, grip, and posture.

“Keep the gun at eye level in front of you,” he says, “relax your shoulders, breathe normally.” Once you have the front and rear sights lined up and are ready to fire on your intended target, says Wiggins, “press the trigger slowly until the slack comes out, and then press all the way to fire.

“Then it’s like Humpty-Dumpty on the wall.”

CP washingtoncitypaper.com october 13, 2017 9

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Numbers Game

Data reporting error speaks to deeper problems in school reform. we talk about transparency, the less there is of it.”

Referring to the mess at Deal as “odd,” and It all began with good news. On August “untransparent,” Ward 3 representative to the 17, the D.C. Office of the State Superintenschool board Ruth Wattenberg, who also dent of Education touted gains from last year was hearing about the Deal matter for the first on the PARCC exam—short for Partnership time, says school officials for years have found for Assessment of Readiness for College and ways to lump scores of disadvantaged students Careers—for ecin with those of their more well-off counteronomically disparts who are progressing at a faster pace, thus advantaged stumuting the real progress of students most in dents in grades need of extra resources and assistance.

3 through 8. OSSE reported that those stu“The way in which OSSE reports the dents improved by 9.2 percentage points in scores—and the way in which all the educaEnglish language arts and 6.4 percentage tional institutions spin them—are misleading points in math in terms of their readiness to in multiple ways. When students who are not perform at the next grade level from 2016 disadvantaged get coded as disadvantaged, to 2017. as appears to be the case in many schools, the DCPS and Mayor Muriel Bowser chimed scores of disadvantaged students will seem in with upbeat press releases. But in midhigher than they genuinely are.”

September, according to school officials, Jack Jacobson, the Ward 2 representaThe Washington Post found a clerical error: tive to the school board, downplays the deal At Alice Deal, a well-attended, sought after at Deal as an isolated incident, but concedes, middle school, OSSE counted all students as “We continue to not serve the minority and economically disadvantaged, when in fact disadvantaged population and put resources many at that school are not disadvantaged at where they could do the most good. Ten years all. The mistake raised the aggregated scores after reform has begun, achievement that applied to lower income DCPS gaps persist at levels that are unacstudents, who already are improv“We’re not closing the gap, and we’re ceptable.” ing at a slower rate than their midJacobson denied knowledge of the dle and upper-middle class peers. not looking deeply enough at the data. Deal mistake when LL first called, but The error was significant enough that it inflated scores of disadvan- Student growth on test scores is being called back a short time later with details on the matter. Sources say all taged students throughout DCPS. fueled by demographics, not raising school board members received forThe Post did not report the error at mal notice of the error—after The Post the time. Instead, it informed OSSE, the achievement of those in need.” reported it. which claims to have discovered the For Weedon, it’s a matter of school error themselves just 48 hours earlier. After confirming the results, OSSE postOSSE claims it acted appropriately in the officials in the District not only owning up to ed corrected figures on its web page and in- Deal case. “We immediately worked to pro- mistakes such as the one at Deal, but of beformed education agency heads on September duce accurate and verified information,” says ing honest with the public about the true na27, according to a spokesperson. In reality, the Director of Communications Patience Pe- ture of reform. “I am deeply concerned about test scores of disadvantaged DCPS students abody. “We are not hiding anything. On the the lack of transparency and on-going lack of had improved, but by much less: 5.2 percent- contrary, we have been as transparent as pos- oversight of our public education systems, and age points in English language arts and 3.2 per- sible. In situations like this, it’s important for I wish the [school board] had more authority to centage points in math. those who it affects the most to learn about it support the changes our city needs to see,” he Meantime, DCPS updated its own data- first. In this case, DCPS and Deal leadership. says. “I’m more concerned that our education base and informed Deal and its stakeholder In addition to correcting the data quickly, we systems are continuing to fail our most vulnercommunity of the mistake. Neither OSSE nor communicated the update broadly on our able students. Until our education systems are DCPS took steps, however, to alert the gener- PARCC webpage, our results website, and in open and transparent, parents and community al public to the error—or the correction. That our education newsletter. We also communi- members will continue to mistrust them. The was left to The Post, which reported last week cated this to data managers at a training. We misleading use of data and the positive spin on that “economically disadvantaged students took a posture of transparency and will con- limited achievement gains continues to undermine efforts to give education reform the urstill made gains over the previous year but not tinue to do so.” as much as first reported because of the codLevy has to chuckle. “Ever notice the more gency that it needs.”

CP

By Jeffrey Anderson

loose lips

10 october 13, 2017 washingtoncitypaper.com

ing mistake.” (DCPS revised its original press release rather than issuing a new one, though it is not clear when.)

The Deal flub appears to be just that—a flub, with no causal link to the District’s growing achievement gap among black and white students. But it called attention to what many see as a longstanding misrepresentation of how economically disadvantaged students are performing on standardized tests, and it drew the ire of school board members and education observers who are tired of education leaders pushing a narrative that obscures an entrenched problem.

“We’re not closing the gap, and we’re not looking deeply enough at the data,” says Joe Weedon, Ward 6 representative to the D.C. State Board of Education, who did not know about the Deal error until getting a call from Loose Lips. “Student growth on test scores is being fueled by demographics, not raising the achievement of those in need.”

“Whom are we fooling?” asks Mary Levy, a respected budget expert who has been watching school officials fiddle with the way they report the data for years.

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SAVAGELOVE I’m a 25-year-old woman currently in a poly relationship with a married man roughly 20 years my senior. This has by far been the best relationship I’ve ever had. However, something has me a bit on edge. We went on a trip with friends to a brewery with a great restaurant. It was an amazing place, and I’m sure his wife would enjoy it. He mentioned the place to her, and her response was “NO,” she didn’t want to go there because she didn’t want to have “sloppy seconds.” It made me feel dirty. Additionally, the way he brushed this off means this isn’t the first time. I go out of my way to show him places I think they would like to go together. I don’t know if my feelings are just hurt—if it’s as childish as I think it is—or if it’s a reminder of my very low place in their hierarchy. I hesitate to bring this up, because when I have needs or concerns, they label me as difficult or needy. Is this part of a bigger trend I’m missing? Should I do anything to address this, or should I just continue to stay out of their business and go where I wish with my partner?

—Treated With Outrage I’m having a hard time reconciling these two statements, TWO: “This has by far been the best relationship I’ve ever had” and “when I have needs or concerns, they label me as difficult or needy.” I suppose it’s possible all your past relationships have been so bad that your best-relationship-ever bar is set tragically low. But taking a partner’s needs and concerns seriously is one of the hallmarks of a good relationship, to say nothing of a “best relationship ever.”

That said, I don’t know you or how you are.

It’s entirely possible that you share your needs and concerns in a way that comes across as—or actually is—needy and difficult. Our experience of interpersonal relationships, like our experience of anything and everything else, is subjective. One person’s reasonable expression of needs/concerns is another person’s emotionally manipulative drama. I would need to depose your boyfriend and his wife, TWO, to make a determination and issue a ruling.

That said, it’s a really bad sign that your boyfriend’s wife compared eating in a restaurant you visited with him to fucking a hole that someone else just fucked, i.e., “sloppy seconds.” It has me wondering whether your boyfriend’s wife is really into the poly thing. Some people are poly under duress (PUD), i.e., they agreed to open up a marriage or relationship not because it’s what they want, but because they were given an ultimatum: We’re open/ poly or we’re over. In a PUD best-case scenario, the PUD partner sees that their fears were overblown, discovers that poly/open works for them, embraces openness/polyamory, and is no longer a PUD. But PUDs who don’t come around (or haven’t come around yet) will engage in small acts of sabotage to signal their unhappiness—their perfectly understandable 12 october 13, 2017 washingtoncitypaper.com

It’s a really bad sign that your boyfriend’s wife compared eating in a restaurant you visited with him to fucking a hole that someone else just fucked.

ly over my time during the week could be a legitimate cause for concern, but going back to the previous girlfriend I saw only one night a week. I told my wife that I would break up with my girlfriend immediately. My wife is the most important person in my life, and I don’t want to do anything to hurt her. But my wife told me not to break up with my girlfriend. I don’t want to string my girlfriend along and tell her everything is fine, but my wife, who doesn’t want to be poly anymore, is telling me not to break up with my girlfriend. What do I do?

—Dude Isn’t Content Knowing Priority Is Crushingly Sad

unhappiness. They didn’t want to be open/ poly in the first place and are determined to prove that open/poly was a mistake and/or punish their ultimatum-issuing partner. The most common form of PUD sabotage? Making their primary partner’s secondary partner(s) feel uncomfortable and unwelcome.

That said, as you (probably) know (but if you don’t, you’re about to find out), poly relationships have all kinds of (sometimes incredibly arbitrary but also incredibly important) rules.

If one of the rules is “My wife doesn’t want to hear from or about my girlfriend,” TWO, then your restaurant recommendations are going to fall flat. Being poly means navigating rules (and sometimes asking to renegotiate those rules) and juggling multiple people’s feelings, needs, and concerns. You have to show respect for their rules, TWO, as they are each other’s primary partners. But your boyfriend and his wife have to show respect for you, too. Secondary though you may be, your needs, concerns, feelings, etc., have to be taken into consideration. And if their rules make you feel disrespected, unvalued, or too low on the hierarchical poly totem pole, you should dump them.

—Dan Savage

Your wife may want you to dump your girlfriend without having to feel responsible for your girlfriend’s broken heart, DICKPICS, so she tells you she’s miserable and doesn’t want to be poly anymore, and then tells you not to end things.

Or maybe this is a test: Dumping a girlfriend you didn’t have to dump would signal to your wife that she is, indeed, the most important person in your life and that you will prioritize her happiness even when she won’t. Or maybe she’s watched you acquire two girlfriends without landing a boyfriend of her own.

But there’s a middle ground between dumped and not dumped, DICKPICS: Tell your girlfriend what’s going on—she has a right to know—and put the relationship on hold. Get the house sold, get your ass to your wife, and keep talking until you figure out what is going to work for your wife going forward: completely closed, open but only to sexual adventures you two go on together, i.e., “playing together with others in private and in clubs,” or open with GFs (and BFs) allowed. Good luck. —DS

My wife said she didn’t care who I slept with soon after we met. At the time, I didn’t want to sleep with anyone else. But we eventually became monogamish—it started as me texting her a fantasy while I was at work, and that fantasy was waiting for me when I got home. It was fun, but it wasn’t something I needed. After a couple years of playing together with others in private and in clubs, she said she wanted to open our relationship. I got a girlfriend, had fun until the new relationship energy (NRE) wore off, and ended things. Then my wife got a great job on the other side of the state and I stayed behind to get our house into a sellable state. Right now, we see each other only on weekends. I also got a new girlfriend. The NRE wore off, but we still really like each other, and we’ve discussed being long-distance secondaries once the move is complete. Here’s the problem: Last night, my wife confessed to me that being in an open relationship was making her miserable.

Not just my current girlfriend, whose monopo-

I don’t know if I’m poly or not. I mean, Jesus H. Christ, this has been so difficult. How do I know when to go back to monogamy?

—Pretty Over Lusty Yearnings I don’t think you’re poly, POLY, because I don’t think anyone is poly. I also don’t think anyone is monogamous. Polyamory and monogamy aren’t sexual orientations, IMO, they’re relationship models. And if the polyamorous model is making you miserable, POLY, it might not be right for you. But you should ask yourself whether polyamory is making you miserable or if the people you are doing polyamory with are making you miserable. People in awful monogamous relationships rarely blame monogamy for their woes—even when monogamy is a factor—but the stigma against nontraditional relationship models, to say nothing of sex-negativity, often leads people to blame polyamory for their misery when the actual cause isn’t the model, POLY, it’s the people.

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

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The face of D.C.’s opioid overdose problem looks like older black men.

By Candace Y.A. Montague 14 october 13, 2017 washingtoncitypaper.com

Photograph by Darrow Montgomery

Cedric Carter

Tuesday nighTs aT the Chateau Remix are all the way live. The sound of go-go music pumping through the speakers is distinct and so D.C. It looks and feels like a throwback basement party, but it’s a mid-week jam for adults with special needs who are there to release some energy. In the DJ booth, Cedric Carter is spinning the records that keep everyone shaking to the beat on the dance floor.

As the last song winds down and the attendees file out the front door with their helpers, Carter and another worker start an informal call and response. “Next week! Next week!”

Carter thoroughly enjoys playing music for this group.

“Old dreams are awakening,” he reflects.

Carter has survived a 30-year addiction to heroin that took him and his loved ones through hell. He started using as a teen in the 1970s, but at 58 he says he has been on this side of sobriety for 12 years. And he is determined to stay clean. “I’ve always wanted to be a musician,” he says. “I played an instrument when I went to Shaw Junior High School. I followed Chuck Brown and the other popular groups and DJs in this town. Now I DJ. And it’s for a group of people I like doing it for.”

While other jurisdictions across the country grapple with opioid overdoses among their white residents, the District offers a unique perspective. The majority of opioid-related deaths in the city fit a select profile: male, between ages 50-59, and black, according to a 2017 report from the D.C. Office of the Chief Medical Examiner. america has a long-standing relationship with heroin. Historians trace its presence in D.C. as far back as the late 1930s, and by the 1960s heroin addiction reached epidemic status in the city. During that epidemic, a young Harvard-trained psychiatrist named Dr. Robert DuPont was working in the D.C. Department of Corrections. He found that nearly half of the men who came into the D.C. jail between 1968 and 1970 tested positive for heroin.

DuPont went on to serve as administrator of the city’s Narcotics Treatment Administration under Mayor Walter Washington and drug czar under Presidents Richard Nixon and Gerald Ford. He has been a professor at Georgetown’s medical school since 1980.

In 1972, DuPont authored a report titled “Where Does One Run When He’s Already in the Promised Land,” referring to people who had escaped the Jim Crow South for northern cities. He found that 13.5 percent of males born in the District in 1953 were addicted to heroin, that in “large sections of Washington” the addiction rates were double that, and that addiction was concentrated among young, lower class black men.

“The heart of the heroin epidemic in the 1970s was in a population of people who were born between 1945 and 1957. That group is the group that is now aging,” says DuPont. “The teenagers of the 70s have become 50 and 60 year olds. I’m amazed at the the tenacity of the problem.”

Cedric Carter is that teenager of 1970s D.C.

who is now between 50 and 60 years old, and though he has been beating heroin every day for more than a decade, many of his friends have not.

Reared in the Shaw neighborhood in the late 1960s by his mother and grandmother, Carter spent many days playing with friends and searching for his father, a numbers writer taking bets from people on 9th Street NW and reporting them to bookies. The good times were rolling in and out of the nightclubs along the U Street NW corridor. So were the drugs and alcohol. Many entertainers who came to perform at the Howard Theatre would spend their after hours in pool halls and clubs. Drugs were just a part of “the life.”

“It kinda started when I first had an experiment with drugs in 1970,” he says. “I was hanging out with my little friends and we started experimenting with marijuana. That went on from elementary to high school.”

During Carter’s 10th grade year at Cardozo High he dropped out of school and fell in with heavier, more addictive drugs. “That’s when my curiosity really took off,” he says.

“The community had a lot of PCP and angel dust. It was real big in the early 70s. Then we moved on to other substances like cocaine and heroin. In 1979 I really started to indulge in more heroin activity, particularly because of the way it made me feel. It was a downer. I didn’t have to worry about anyone bothering me. It took me away from reality. And because of that activity, I lost track.

I lost my focus. I didn’t want to do anything anymore.”

When the drugs got stronger, so did his urge to satisfy the addiction, and so did the turmoil his family suffered. Family members go through a myriad of emotional highs and lows.

And when the storm is over, if it is ever over, it leaves broken bonds in its wake.

“When I was really heavily involved with dope I had to find a way to support it,” he says.

“We steal from our families. A little bit of money, mama’s furniture, a television. I had to feed that addiction. I robbed my family of things. I robbed my mother and grandmother and family of their peace of mind. They were constantly worried about what’s going to happen to me.

That phone call. That knock on the door. I had my family members go as far as paying drug dealers off so they wouldn’t hurt me. That’s the ugly side.” Behind his stoic facial expression is deep regret. He knew it was wrong then, as he does now.

He tried to stop. Five or six times on his own by his count. In Carter’s mind, he could do it.

In reality though, he could not. In 2005 he hit the wall. “I went through D.C. General detox.

It’s the strangest thing. Everything at D.C. General is right there. We had the hospital. We had the jail. We had the detox. And we had the morgue. I had a choice to make. So I chose to go to building 12. I did the 7-day detox.” Detox led to Narcotics Anonymous which led to a 28day stint at the Samaritan Inns’ drug treatment center in Columbia Heights.

Carter credits God for his sobriety. “God put me in a place around folks that are just like me. We battle with the disease of addic-

tion. I got a sponsor and a network of people who have my best interest [at heart]. I stay away from the corner, the after hours places, and things of that nature. I just try to stay focused on what I need to get better. I never get well; I just get better.”

Now Carter bears witness to another side of addiction: losing friends. The “bad batch” that is stealthily infiltrating the drug supply on the streets is taking Carter’s friends out. He explains in low tone, “People that I used to use with are still using. I’ve had the opportunity to take some of them to their graves because of fentanyl. I just walked a friend of mine to his grave two months ago.”

Fentanyl, a synthetic opioid originally used to treat pain, is the substance cut into heroin in recent years that has killed so many across the nation. Although heroin can be cut with a number of substances, such as baking soda, over-the-counter painkillers, and rat poison, fentanyl is the deadliest of cuts. It is 30 to 50 times more potent than heroin and similar in color and texture, making is undetectable to the naked eye.

“These gentlemen who have been using for many years are teetering on this line of safety,” says Dr. Tanya A. Royster, Director of D.C.’s Department of Behavioral Health. “They know how much to use. They know when to use. They know where to get it.

“Now that these new things are introduced into the opioid supply, like fentanyl and some of the other synthetics, they are much more lethal and much more deadly.

So what they have been doing for the last 20 or 30 years is not necessarily safe. That’s our message to them: What you’ve been doing isn’t working anymore because the supply has changed.”

The Department of Behavioral Health has had its eyes on this problem for a long time, setting up prevention centers across the city and hotline numbers. Royster’s goal is to reach the users before fentanyl does. “We have two approaches to recovery,” she says. “One is abstinence, which is: Stop using or don’t start using drugs. The other is harm reduction. If you’re going to use a drug, use it in the safest, least harmful way—trying to reduce the amount of damage. So we try to make sure you have good healthcare. We make sure you have clean needles.

“Many of the the older black men are in the harm reduction category. We know that they’ve been using for a long time. They have been very clear that at this point in their lives, or at no point in their lives, have they been willing to stop using. So the strategy is, how do we keep them healthy and alive while we continue to encourage and support treatment?”

Harm reduction is a controversial option. It involves supplying addicts with clean needles for drug use and methadone, an opioid medication, to reduce withdrawal symptoms. Abstinence supporters say that this approach is complicit and counterproductive, while harm reduction advocates argue that it is a more effective method to treat addiction and that it decreases the rates of other comorbidities such as HIV and Hepatitis C infection.

washingtoncitypaper.com october 13, 2017 15

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As of fiscal year 2017, a total of 2,316 people are enrolled with one of D.C.’s three medication-assisted treatment providers contracted by the Department of Behavioral Health to dispense methadone and counseling services.

Out of that total, nearly 77 percent are 50 years of age or older.

Two years earlier, in 2015, D.C.’s Fire and EMS Department and DBH worked together to conduct the Heroin Screening, Brief Intervention, and Treatment Pilot Program, an effort to gather more information about the types of calls they received and how often they received them. The data they collected during two months in the summer of 2015 showed that 97 suspected heroin overdose patients had generated at least 1,032 EMS responses in D.C. over the prior eight years. The demographics of the patients showed that 66 percent were African-American males and that the median age was 55 years.

The men of Carter’s set may get swept up in current efforts to address today’s nationwide opioid crisis. President Donald Trump’s opioid task force recommends lifting the Medicaid provision that prohibits federal money from going to residential mental health and substance-use facilities with more than 16 beds. If realized, this could mean more help for black men.

The task force report states that only 10 percent of residential facilities use Medication Assisted Treatment, or MAT, even though it is broadly considered to be the most effective treatment for opioid users. This is a costly solution, given that a 30-day stay in a private residential facility runs about $15,000 on the low end and and can go for well over $30,000.

The D.C Council returned from summer recess ready to tackle this issue. First up: proposing legislation focusing on decriminalizing drug addiction. At the September 19th council meeting Councilmembers David Grosso and Vincent Gray co-sponsored three opioid-focused bills: the Safe Access for Public Health Amendment Act of 2017, the Opioid Abuse Treatment Act of 2017, and the Opioid Overdose Prevention Act of 2017. (For the latter two, additional councilmembers co-introduced the bills.)

The Safe Access bill would apply practices that reduced the spread of HIV and other diseases to the opioid crisis, expanding access to clean drug paraphernalia. Syringe exchanges would be allowed to distribute things like checking kits, which enable people to check drugs for fentanyl before using. The Opioid Abuse Treatment bill provides for hospitals and doctors to have better training on how to treat opioid addiction and to develop protocols for possible overdose cases. And under the Opioid Overdose Prevention Act, D.C. police officers would be equipped with naloxone rescue kits. Trained first responders can use naloxone to stop an overdose in progress, often saving a life.

The bills are currently in various committees and will be the subject of hearings and markups before they go before the Council for a vote.

Why Would anyone want to surrender to a drug that makes them sick, broke, and despised in their community? A drug that strips away their family, livelihood, and dignity. A drug that accelerates death.

For the men of Carter’s generation in D.C., it’s complicated. The reasons are diverse.

Some are like him—curious adolescents who got caught up in something more powerful than they expected. Others have lurking mental health conditions that are exacerbated by drug use. Still others picked up the habit while serving their country abroad. In all cases they have dealt with macro and micro aggressions as they move through the world. And now they have a self-medicating habit that helps them cope. They have made room in their lives for this habit.

Heroin users are often able to hide in plain sight. You don’t need to look on street corners or in homeless shelters to find them. You work with them. You attend church with them. They are workers and neighbors and friends. They are single men and women, married, parents and grandparents. Some are Vietnam veterans who never kicked the habit. Some are chronic pain sufferers who take hits just to function throughout the day. They may be working and attending family functions, albeit late or sleepy. But these people have a private, chemical-based habit that has, in many cases, been a part of their lives for decades.

Chronic heroin users in D.C. are very much like Carter: men past their prime looking to comfortably age in place in the only home they’ve ever known.

Ask a heroin user if he remembers overdosing, he will probably shrug that question off.

You could try asking if he has a drug problem, but chances are he will shrug again. He might shift the subject of the conversation to talk about his other physical ailments which lead him to use medications. He may want to address other things that bother him or prevent him from getting well again.

Here is where the gap between addiction and treatment widens. Concession means surrender, and on the streets men never surrender. Surrender is a sign of weakness. The street code is to die with your boots on. You don’t talk about the drugs, where they came from, how the game works, or admit that you need help. Your silence is your bond. Addicts live by this code. You can catch them nodding off, but according to them it’s not because of the dope. It’s because they worked late last night. Or the medication they take makes them sleepy.

Drugs are a stubborn and formidable foe—a song on repeat until someone rouses the DJ. Carter is awake. He has adjusted to the sober life by finding joy in being a grandfather and a mentor to the youth. “When I look back on it, I ain’t where I used to be,” he says. “I’m grateful I ain’t there anymore. I’ve always been a giver. If I get an opportunity to go out and help some other people, I do it. I believe in reaching down and pulling somebody up, but they gotta want it. They gotta want to stop using. Once they stop using, they’ll see that the opportunities are out there.”

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BENEFITING DISADVANTAGED DC-AREA YOUTH & YOUNG ADULTS

Friday, October 20, 2017 7:00pm 200 V Street, SW | WAshington, DC Tickets & Information: www.livingclassrooms.org

18 october 13, 2017 washingtoncitypaper.com

Clark Construction Ed Cohen & Charlene Barshefsky Edison Chouest Offshore Forest City Grosvenor Jack Hartzman Photography The Kaslow Family Charitable Trust

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The legendary Wailers, who rose to fame with Bob Marley, headline an incredible evening of celebration benefiting Living Classrooms’ innovative hands-on education and job-training programs supporting disadvantaged youth and young adults in the National Capital Region.

Featuring food & drinks from over 30 of DC’s best restaurants and an exciting live auction with a chance to win a trip to Jamaica--all on the beautiful DC waterfront!

DCFEED

Community members from Wards 7 and 8 and Councilmember Trayon White will walk two miles on Saturday while carrying heavy groceries from the Giant located at 1535 Alabama Ave. SE. This “grocery walk” aims to raise awareness of the grocery gap and food deserts across the river. The walk kicks off at 10 a.m. and finishes with a rally at the United Black Fund building at 11 a.m.

Sweeten the Meal

different items from a place that has a pastry chef,” Chin says. During lunch, diners point and choose from fine pastries on Mirabelle’s dessert cart such as a matcha yuzu mille crêpe or a dark chocolate crémeux.

Dedicated professionals are also likely to have more time and resources to build complex desserts. “It’s not just one item on a plate with maybe a sauce,” Chin continues. “The details come through a Aggie Chin lot more...the garnishes, the décor, all those things that you might not have time for or the desire to invest the time into, you see more with pastry chefs.”

“It’s important that you finish off an experience correctly,” says Amy Brandwein, chef and owner of Centrolina in CityCenterDC. That’s why her team includes Caitlin Dysart, who studied at The French Pastry School in Chicago. “Caitlin to me is not just my pastry chef. She’s also part of my management team and she helps keep a lot of balls rolling when I’m not here.”

In restaurant-market hybrids like Centrolina, a pastry chef has responsibilities in addition to the dessert menu. “A lot of times they’ll be doing value-added things that increase your margins,” Brandwein says. “We have a whole breakfast program. We have a whole pastry department.

I mean, it’s basically like a small pastry shop in the front,” she says.

Custom cake orders also fall under Dysart’s purview.

These additional roles can help to justify the salaries professional pastry chefs command. The figures vary wildly based on experience, scope of responsibilities, and size of the restaurant, but accordsee dessert at multiple properties. Each of these models has its pros and cons, but yields ing to Alex Levin, the executive pastry chef the same result—a satisfying, sugary end to for Schlow Restaurant Group, pastry chefs can earn anywhere from $40,000 (a green chef at your meal.

There’s a lot to be said for formally trained a small restaurant) to $150,000 (a veteran at a pastry chefs who specialize in the art of des- high-end hotel) annually.

Based on Levin and Chin’s impressions of sert. Mirabelle’s Aggie Chin, a graduate of L’Academie de Cuisine in Gaithersburg, says the industry, on average, an executive pastry the extra touches from a specialist make a dif- chef managing a team of pastry cooks earns ference for guests, whether it’s petit four ser- between $50,000 and $75,000.

Max Kuller, president of Fat Baby Inc. vice or a parting gift. The actual dessert menu restaurant group, says his pastry chef at Esmay also be more extensive.

“You might have only two or three or maybe tadio on 14th Street NW more than earns even four items from an executive chef who’s his salary. “Estadio to me is just a great modplaying the dual role, versus six, seven, eight el of how to use a pastry chef effectively and Darrow Montgomery

Are full-time pastry chefs still an essential part of dessert in D.C.?

By Lani Furbank A mAster pAstry chef is a sugar alchemist, crafting intricate, eye-catching creations and turning chocolate into sculptures and meringue into clouds. Though their desserts are still satisfying local diners, the future of the pastry chef in the contemporary restaurant world is not clear. The question of whether a restaurant should invest in a pastry program, separate from its savory operation, has more layers than an opera cake.

Young & hungrY

When restaurants struggled in the aftermath of the financial collapse, many in the industry predicted the death of dessert, claiming that the profit margins were too narrow and establishments simply didn’t care about a sweet finish anymore. Now, top-notch dessert offerings are coming back, but the landscape looks a bit different.

A quick survey of pastry programs in D.C. reveals a variety of circumstances. Some restaurants keep a full-time dedicated pastry chef on the payroll, while others saddle savory chefs with handling the sweet side of the menu too. Then there are restaurant groups who ask a single executive pastry chef to over-

washingtoncitypaper.com october 13, 2017 19

DCFEED smartly,” he says. “Without crunching the numbers, I can tell you it pays for itself. If I was worried about it, I probably would have crunched the numbers.”

Chef René Abarca manages the entire baking operation at Estadio, which includes everything from bread for bocadillos to pastries at brunch. “Even though the restaurant only has 80 seats in the dining room, there’s enough that keeps it so that René is a viable presence,” Kuller explains. Abarca also handles custom cake orders for the entire restaurant group, which also includes Proof and Doi Moi. For others, cost is a limiting factor. “There’s really no world where a restaurant my size has the budget for a salaried pastry chef,” says Espita Mezcaleria general manager Josh Phillips. “I think a chef that can do pastry is worth more, so I’d rather spend more on a chef so you get one unified menu.”

That’s what Espita did when they appointed Chef Robert Aikens as executive chef. He has years of experience doing double duty, so even though he only has a handful of desserts on the menu, they’re ambitious for a savory chef. “What we do is quite detail-oriented,” he says. “But we do have a couple of people here that I’ve sort of taken under my wing, and shown them how to go through the steps.”

Take Espita’s popular chocolate tostada—a cocoa and almond tortilla topped with candied cocoa nibs, chocolate peanut ganache, dark chocolate crémeaux, chocolate sorbet, and vanilla crema. “Our menu is cohesive right now,” Phillips says. “It’s one mind behind the whole thing.”

Chef Johnny Spero also appreciates the continuity that comes from one chef handling both menus. “When you have a pastry chef and a savory chef both working a kitchen, sometimes there’s a slight disconnect between those menus,” he explains. Spero plans to be a double agent when he opens Reverie early next year. “I’m a little bit of a control freak, so having my hands in everything makes it a little bit easier.”

The streamlined pastry program he has planned makes that possible. “We’re not going to have a huge crazy bread program and petit four service and all that, so it’s a much smaller tighter kind of program, so I’ll be able to keep control of it,” he says. When it comes to meal finales, Spero likes to surprise his guests: He once made a dessert with seaweed granita.

At District Winery’s restaurant, Ana, Chef de Cuisine Benjamin Lambert also leads the pastry program because he has a personal interest in the field. “It breaks up some of the day-to-day. It helps in a way to be creative on both sides.”

Ana’s general manager, Sean Alves, had left room in the budget to hire a pastry chef before he met Lambert. “I always want to jump at the opportunity to work with talented people, 20 october 13, 2017 washingtoncitypaper.com

and if I need to make sacrifices somewhere else in order to bring another talented mind onto the team, I’ll do that,” he says. Thanks to Lambert’s knack for pastry, he didn’t have to. “That obviously allowed us to do different things and reallocate that budget money into the production team, with him overseeing it.”

Alves says their situation is a perfect fit for the restaurant. “The pastry menu’s exactly where we want it to be. Four or five desserts, keeping them seasonal,” he says.

Schlow Restaurant Group’s Alex Levin bridges the gap between these two situations. Though he’s based in D.C., he travels to kitchens in New England and Los Angeles developing desserts and training staff. “I kind of actually think of myself as a bit of a nomad,” he says. A few of the far-flung restaurants within the group have salaried pastry chefs who execute Levin’s vision, while others in the District have pastry production cooks or sous chefs.

Sounding the alarm about the death of pastry seems melodramatic, but it’s clear the role of the pastry chef is changing. “It’s definitely not going anywhere,” Spero says. “It’s just finding a way to make sure that those pastry chefs have a place and they’re able to actually get paid what they’re worth.”

Chin says it’s all situational. “With fine dining, it’s really difficult to have one person focus on both...but in a lot of casual settings, I think it works fine because a lot of the dishes can be a little more rustic and easier to execute.”

Meanwhile, more and more bakeries, sweet shops, and ice cream stores are opening in D.C. This fact, combined with the evolving millennial dining style of hitting three bars or restaurants in one night makes Kuller understand the reluctance some operators feel about investing heavily in pastry. “You gotta look past that first level of just selling your five, six desserts at a time at the restaurant and say, ‘What other kind of value can we add,’” he says.

Dysart sees diners’ fascination with restaurants as a boon for pastry chefs. “The public is more interested in what goes into a restaurant: the products, the people, the chef, the story,” she says. “Having a pastry chef or a pastry program is part of that as well. People expect a better cocktail program from restaurants. I think they also expect more from desserts.”

Levin agrees. “D.C. I think is leading right now in the trend of resurging pastry chefs and pastry programs,” he says. “There’s a lot of really great places to go see pastry chefs doing their thing.”

He’s also pleased to eat great dessert. “Every time I go out to dinner somewhere and I see a really great dessert, whether it’s an executive chef who makes it or whether it’s an executive pastry chef who makes it, or anyone for that matter, I’m not surprised anymore.” CP

DCFEED Grazer

what we ate this week: Calabrese breakfast with sunny side up farmer’s eggs and ‘nduja pork sausage spread on palladin bread, $16, Centrolina brunch menu.

Satisfaction level: 4 out of 5. what we’ll eat next week: Clams “Casino” with chorizo, roasted red peppers, croutons, and parmigiano reggiano, $15, Whaley’s.Excitement level: 4 out of 5.

Pumpkin Splice

Are You Gonna Eat That?

Trick

TreaT

Rina Rapuano

In October, everything is pumpkin flavored. Some restaurants appropriately use America’s go-to gourd while others gratuitously fold in pumpkin for no good reason. We’ve ranked the dishes below, found at bars and restaurants around town, from trick to treat.

—Tim Ebner The Dish: Beet kraut probiotic shot Where to Get It: Fruitive, 1094 Palmer Alley NW; (202) 836-7749; fruitive.com Local 16’s Pumpkin Pizza.

Local 16 (1602 U St. NW), best known for its bottomless mimosas, serves a topping-heavy pizza with pumpkin and potatoes, making the pie way too starchy and dry.

Astro Doughnuts & Fried Chicken’s Pumpkin Pie Doughnut.

Holy sugar fix. Astro (1308 G St. NW) goes overboard filling a doughnut with pumpkin pastry cream, then sealing it with pumpkin spice glaze.

If that’s not enough, orange sugar and icing make this dish way too sweet.

Au Bon Pain’s Pumpkin Croissant.

Oh dear God. Au Bon Pain (multiple locations) is peddling croissants stuffed with pumpkin filling and topped with cinnamon sugar. Somewhere, a Frenchman is crying.

What’s in

Stein’s Stein

PUB Dread’s David S. Pumpkins Cocktail.

Pumpkin spice lattes (#PSLs) are for posers.

PUB Dread (1843 7th St. NW) creates a cocktail that’s rich in flavor and complexity—a mix of rums, sherry, pumpkin, spice, and coconut.

Michael Stein

nate this ale. A slightly sweet initial taste transitions into a juicy mid-palate leading to a bitter and dry finish. At 8 percent alcohol by volume, this thick sipper should be respected, not pounded.

Beer: Pounding Trees Double India Pale Ale Person: Meth Gunasinghe, Brewer Hometown: Vienna, Virginia Price: $16.50 per four-pack of pints Taste: Golden colored with copper highlights, jammy and honey aromas domi-

Price: $3.95

City Tap House’s Pumpkin Burrata Bruschetta.

It’s the most unlikely duo of fall. Creamy burrata pairs perfectly with the gourdy goodness of roasted pumpkin at City Tap House (901 9th St. NW).

Story: Meth Gunasinghe cut his teeth at Caboose Brewing Co. in Vienna, Virginia, working his way up from bussing tables in the brewery’s restaurant to serving and bartending. He eventually landed a management position.

As his interest in beer production grew, he began to volunteer in the brew house, working with Caboose head brewer Chris Mallon. He then started working at 3 Stars Brewing Company, the District’s second largest brewery, and a few months ago was promoted from assistant brewer to brewer.

RareSweets’ Pumpkin Cocoa Bourbon Cake.

Stick a fork in this cake because Meredith Tomason of RareSweets (963 Palmer Alley NW) bakes a dessert that’s subtly rich, slightly boozy, and complemented with a delicate touch of pumpkin spice.

Initially Gunasinghe couldn’t wrap his head around the amount of beer 3 Stars brings to market. “I started at baseball season and then seeing the pallet go out to Nats Park was mind blowing,” he says. One of the most rewarding parts of being a brewer at 3 Stars, Gunasinghe says, is having friends who are able to enjoy his work at a game.

Diversity in the brewing industry has improved according to Gunasinghe, who is Sri Lankan. Though the consumer base looks more diverse, he says the production side is still dominated by white men.

“I have yet to meet another Sri Lankan brewer,” he says.

Where to buy: 3 Stars Brewing Company, 6400 Chillum Place NW; (202) 6700333; 3starsbrewing.com —Michael Stein

What It Is: Most juice bars stick with cold-pressing fruits and veggies in their purest form, but the tastemakers at Fruitive—a juice bar in CityCenterDC that’s based in Virginia Beach—had a revelation while doing research one day.

The result is a wild fermented homemade kraut made with beets, carrots, local cabbage, ginger, turmeric, kale, cold-pressed apple juice, and Celtic sea salt. It ferments for 10 to 14 days before being juiced. Fruitive also sells a juice shot made with kimchi.

What It Tastes Like: If you need a probiotic shot, you’re probably not in it for the flavor. But this one is not entirely unpalatable. Fans of the earthy funkiness of sauerkraut and kombucha might enjoy this gem-colored health boost. There’s an inherent tartness, too, thanks to the green apple juice. It’s got a very strong flavor, though, and isn’t for those with delicate palates.

The Story: Master juicers recognize the health and gastrointestinal benefits of adding fermented, probiotic bacteria strains into their daily drink routines.

The claim is that this fermentation adds a jolt of energy in the morning and aids digestion after a meal. It’s a very complicated scientific process that involves phrases like “salt tolerant wild bacteria” and “converted into acetic acid by wild vinegar yeasts.” But it’s not just the juice shop making these claims. Registered dietitian Rebecca Scritchfield also recommends fermented foods and drinks as a helpful hangover cure—second only to not over-imbibing in the first place. And unlike other juices, which are extremely perishable, these can hang out in the fridge for a couple of weeks.

—Rina Rapuano

washingtoncitypaper.com october 13, 2017 21

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

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

NEA JAZZ MASTER RON CARTER TRIO OCTOBER 27 AT 7 & 9 P.M. | TERRACE THEATER

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

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

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

GREAT PERFORMANCES AT MASON CFA.GMU.EDU

Romance-Sensuality-Drama. Dance!

Exhilarating work!

PILOBOLUS Shadowland

FRIDAY, OCTOBER 13 AT 8 P.M.

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Impeccable and thrilling

So much fun to see!

TANGO BUENOS AIRES The Spirit of Argentina

THE MARTIAL ARTISTS AND ACROBATS OF TIANJIN

SATURDAY, OCTOBER 14 AT 8 P.M.

China Soul

Arrive early and enjoy a free class led by dancers from Tango Mercurio! Advance RSVPs required.

FRIDAY, NOVEMBER 3 AT 8 P.M. ff SATURDAY, NOVEMBER 4 AT 2 P.M. AND 8 P.M. ff

DOUG VARONE AND DANCERS

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

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

TICKETS 888-945-2468 OR CFA.GMU.EDU 22 october 13, 2017 washingtoncitypaper.com

Located on the Fairfax campus, six miles west of Beltway exit 54 at the intersection of Braddock Road and Rt. 123.

History Lessons Through its education efforts and community programming, the Prince George’s African American Museum and Cultural Center strives to be more than just a museum.

By Laura Irene

wood was established in 1998 with the purpose of creating a museum for North Brentwood. After becoming a 501(c)(3) nonprofit organization and working with state, county, and town officials to open a museum, Friends of North Brentwood officially changed its name to the Prince George’s African American Museum and Cultural Center in 2007, and in 2010, construction began on the museum.

In the seven years since the museum opened, it has established itself as a unique community space that preserves Prince George’s County’s rich cultural history. But what makes it such an asset to its community is the work the museum and its staff do beyond its structural walls.

Laura Perez, the director of education and programs, and Dr. Synatra Smith, the education coordinator and scholarin-residence, work on the museum’s partnership with Prince George’s County Public Schools. They reach more than 60 schools across the system, working with students from pre-

In March, poet M. Nzadi Keita led a book discussion at the Prince George’s African American Museum and Cultural Center. She asked audience members to talk about women in their lives that inspire them.

The request led to tears and laughter, but mostly a rare honesty shared between strangers. I had no intention to tell a personal story among people I didn’t know in a museum I’d never been to, but I did, and felt extremely grateful to be a part of it. That’s exactly the experience that the staff and board of directors at the Prince George’s African American Museum and Cultural Center strive to offer.

Situated in the heart of the Gateway Arts District in North Brentwood, the PGAAMCC isn’t just a museum, it’s a home—a place to go back to and remember where you came from and what your ancesSynatra Smith tors survived. and Laura Perez With tireless leadership and advocacy for the voiceless, the staff of the PGAAMCC continues to build what they describe as a museum without walls—a space to have thoughtful and empowering conversations.

“Our mission is to amplify the voices of folks in [Prince George’s County] and connect those voices to the world at large,” says Chanel Compton, the vice chair of development and former executive drector of the PGAAMCC. “When people think of [Prince George’s County] they think of politics or negative media instead of the good work that is being done. We are a platform for those voices.

We want to help make [Prince George’s County] a major destination for why this area is so unique. We have tremendous networks of academics and activists but you don’t ever hear enough about them.”

museums

the prInce GeorGe’s African American Museum and Cultural Center, as it stands today, opened in 2010, but its origins date back to 1991. That’s the year that the North Brentwood Historical Society formed with the initial task of creating an oral history project that “documented and celebrated the rich cultural heritage of the first municipality in Prince George’s County incorporated by African Americans,” the museum’s website states.

From the oral history project, the Friends of North Brent-

kindergarten to high school to bring multicultural education— specifically black art, history, and culture—into classrooms. In addition, they offer professional development training for educators, using the museum as a resource for the classroom.

“We give the youth the tools to advocate for themselves,” says Smith, who brings black popular culture into classroom discussions. “[These students] are in a unique situation where the schools they attend are predominantly youth of color but their ed-

washingtoncitypaper.com/arts

ucators are not. The youth get put in situations in the classroom where they are made to feel less than. While maybe not always intentional, it happens, perpetuating white supremacy. ... I don’t want them to feel that they cannot challenge authority in the classrooms, especially when it feels dangerous.”

“There is a lot of traumatic work being done in classrooms particularly in history, science, and English where there are not a lot of people of color being highlighted,” Smith adds. “This does something to a student. When that is all that they learn throughout their entire schooling, they don’t feel like they really belong in the classroom. I want them to have the tools to say, ‘Actually I do belong and this is why. My culture is valuable and this is why. We are magical people and this is why.’”

Perez agrees, noting how most public schools only really devote a month to teaching black history.

“It’s great to have a month to celebrate something but it can feel very compartmentalized,” she says. “We are trying to make connections that last year-round.” as the sMIthsonIan National Museum of African American History and Culture celebrates its one-year anniversary, the staff of the PGAAMCC is finding its niche.

“With the rise of the Smithsonian National Museum of African American History and Culture, we see how important community museums are,” Compton says. “We are all telling a tapestry of stories. It’s pushed us to articulate in new ways who we are and why we matter. It’s only an opportunity. Our mission is to preserve, celebrate, and present Prince George’s African-American history and culture.”

And the PGAAMCC works hard to accomplish that mission: Their program calendar is stacked with events.

The museum kicked off this month with its Rated PG: Black Arts Festival, the first woman-centered festival in the county. It celebrated female artists throughout the Diaspora with a full day of musical performances, panel discussions, an artists market, and a film screening. On Oct. 19, the museum will host a panel discussion with artists included in its current exhibition, Tell the Truth About Me. Additionally, the museum plans to expand its building and add a 10,000-squarefoot black box theater.

All of which makes the museum’s fundraising more impressive: In 2015, the museum raised more than $100,000 through fundraising and grants, and this summer it launched a major campaign to raise $30,000 in contributions.

“At one point Prince George’s had the largest population of enslaved African Americans in the state of Maryland, but today we have the largest population of affluent African-American communities,” Compton says. “It’s really a national and international model for black mobility. We preserve that history through our collections department and further illustrate that history and connect our local story through our programming and education.”

CP Darrow Montgomery

CPArts

At the National Academy of Sciences, Diane Tuft presents photographic postcards from the edge of climate change.

washingtoncitypaper.com october 13, 2017 23

CPArts Arts Desk

James Wolf’s violin howls at the moon in the new music video for his track “Refuge.” washingtoncitypaper.com/arts

and Chris Gotti, who made Ja Rule a superstar and were instrumental in the careers of Jay-Z and DMX, selected Boogiie Byrd’s song “We Need” to lead the soundtrack for their highly rated BET show TALES. Boogiie Byrd also has three other tracks on the compilation album Irv Gotti Presents TALES The Playlist: “Troy’s Theme,” “Good Die Young,” and “My Time,” a collaboration with Fitted Circle. Murder Inc. may have struck gold with Byrd. He’s a dope, versatile artist who can change flows with the best of them. He can give you calculated cool on “We Need” then switch up and reveal his frenetic genius on “Murda Murda”—an amped-up single he released earlier this year.

RIYL: 21 Savage, Travis Scott, Shy Glizzy

The Scene RepoRT

What’s new in the world of local hip-hop and rap.

—Sidney Thomas

Brain rapp, Roller Coaster Dope Music Village

Mike D’Angelo, G.O.N.E MHG/Cash Money Records

Chelly the MC, “Northeast Baby” Self-released

G.O.N.E., the latest mixtape from Mike D’Angelo, is 22 songs of unbridled lyricism. Thematically, D’Angelo doesn’t shy away from his rough upbringing growing up in the Edgewood section of northeast D.C. Much of the subject matter examines the hardships of D.C. street life. But D’Angelo doesn’t excessively glorify the negative experiences—he tells his life stories in a straightforward yet colorful manner. He vividly explains how he survived and excelled without becoming a victim to that environment. On the nostalgic “Make A Wish,” D’Angelo warmly remembers how his mother made ends meet even during tough financial times: “We were so poor I would never get a gift/ Mama right behind me with a candle and it’s lit/ Said the world is yours then gave me a kiss/ Singing happy birthday go head make a wish.”

RIYL: YG, The Game, Fat Trel

It’s been a good year for local female musicians—and Chelly The MC is up next. She was born and raised in the Mayfair/Paradise neighborhood, and her infectious new song “Northeast Baby” leaves no doubt about what side of town she represents. Chelly picked up the mic at age 15 and didn’t look back.

Her fiery bars, vibrant personality, and magnificent red hair distinguish her in the crowded field of D.C. rappers. When Chelly was younger, she was known for hanging out around the Minnesota Avenue Metro station. But now as one of the area’s most promising young artists, her time is spent more productively: in the studio recording new music, shooting videos, or writing fresh material. It doesn’t matter how famous she becomes, or how far she travels from home, Chelly will never forget where she came from—she’ll always be a “Northeast Baby.”

RIYL: Remy Ma, Dej Loaf

24 october 13, 2017 washingtoncitypaper.com

Brain Rapp dropped his new EP Roller Coaster on August 16—the official date of “National Roller Coaster Day,” and he created a tightly woven project brimming with crisp wordplay and clever punchlines. The roller coaster is used conceptually throughout the seventrack EP as a metaphor for the ups and downs and twists and turns we face in our everyday lives. Brain Rapp takes us on a thrilling expedition as he examines the meaning of his existence intellectually, artistically, and romantically. By the final song, “Thanks For Riding,” he arrives at the proper conclusion: “On a quest for a connection who has the WiFi to lend?/ ’Cause in the end all that really matters is family and friends.”

RIYL: Lupe Fiasco, Andre 3000, Oddisee

Boogiie Byrd, “We Need” Murder Inc. Records D.C. rapper Boogiie Byrd is a key member of the new Murder Inc. Records roster. Legendary hip-hop producers Irv

tarica June, “selfie” Self-released Tarica June fearlessly uses her music as a platform to address social issues. Her 2016 song “But Anyway” was a sarcastic takedown of D.C.’s gentrification dilemma. And this year her new single “Selfie” is a joyous self-empowerment anthem about the politics of black hair. The lyrics are aimed at people of color who go overboard conforming to the European standard of attractiveness. But she isn’t throwing malicious shots at the insecure females who wear blonde wigs.

“Selfie” is an inspirational hip-hop song that celebrates the innate beauty every woman is blessed with at birth. No snapchat filters are necessary, the chorus says it all: “I love my selfie just how I am/ No perm, no weave, no bleaching, no ma’am.”

RIYL: Rapsody, J. Cole, India.Arie

Listen to these albums at washingtoncitypaper.com/arts.

Co-presented with

Orchestra dell’Accademia Nazionale di Santa Cecilia - Rome Sir Antonio Pappano, conductor

Martha Argerich plays Prokofiev Iconic pianist, classical music legend, and recent Kennedy Center Honoree Martha Argerich returns to D.C. for an inspired concert with the famed Italian orchestra conducted by Sir Antonio Pappano.

October 25 at 8 p.m.

Concert Hall Special thanks: Jeanne W. Ruesch

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

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

RobeRt e. PaRilla PeRfoRming aRts CenteR

2017-2018 College Performing arts series Based on Greg Kotis’ book of the same name Music and lyrics by Mark Hollman and Greg Kotis

October 11–13, 2017, 8 p.m., October 14, 2017, 2 p.m.

Winner of three Tony Awards, Urinetown the Musical is the hilariously touching tale of love, greed, and revolution. With songs like “Follow Your Heart,” “The Privilege to Pee,” “Run Freedom Run,” and “We’re Not Sorry,” this show is one not to be missed.

Tickets are $10 Regular, $8 Seniors, and $5 Students with Student ID Montgomery College • 51 Mannakee St., Rockville, Maryland 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301 washingtoncitypaper.com october 13, 2017 25

TheaTerCurtain Calls Love and Information

INFORMATION OVERLOAD Love and Information

By Caryl Churchill Directed by Michael Dove At Silver Spring Black Box Theatre to Oct. 21 Caryl ChurChill is one of the most imaginative and tireless playwrights of this century or the last, having published six plays in her soon-to-be-concluded eighth decade alone. Her body of work goes back to the 1950s and has been well-served here in D.C., particularly by Studio Theatre, which has staged a half-dozen of her unfailingly provocative riddles. In her 1979 sexualityand gender-scrambling masterpiece Cloud 9, which got a sublime production at Studio last year, the playwright made unusually specific demands as to how the show was to be cast.

In 2012’s Love and Information, by contrast, Churchill is so hands-off I’m not even sure it’s appropriate to credit her as the show’s sole author. Her script specifies no characters, only lines of dialogue. Who’s speaking these words and the context in which they’re said is the prerogative of the director and the cast, who also enjoy substantial (albeit not unlimited) freedom to decide the sequence in which they perform these roughly 60 scenelets. Each one is a micro-melodrama, the climactic instant of a story that otherwise remains hidden from our view. Some are micro-microdramas, where we witness an attempt at human connection so ordinary most writers wouldn’t bother trying to examine it. Churchill’s rough aim, I think, is the same as Charlie Brooker’s in his Black Mirror TV anthology — to rebut the omnipresent implication that making ourselves consenting vessels of a data stream that never, ever pauses is in any way good for us or for the world. The form of her piece calls out how fragmented our perception of our sur-

roundings has become.

I’m going to go out on a limb and suggest that theater folk, people who regularly turn off their iPhones for three waking hours, are not the cohort that most needs to hear this alarm.

But we’re the ones Churchill can reach. Early on, she wrote original plays for radio and TV, but she hasn’t done that in 40 years. Her most recent teleplay—The After-Dinner Joke, from 1978—bears more than a passing structural resemblance to Love and Information.

Forum Theatre artistic director Michael Dove, who leads this production, is an unabashed Churchill fan—he’s done five of her plays—and has cultivated an impressively varied stable of performers over the course of his company’s 13 seasons. His bench of ringers is more diverse by race, gender, and age than most others in the region. It’s not surprising that he’d want to throw these actors (and two assistant directors) at one of Churchill’s most forbidding scripts to create Forum’s biggest gambles yet: 14 actors inhabiting something like 100 characters, all of them unnamed, over the course of about 100 minutes.

The result doesn’t have the scope or emotional heft of Forum’s marvelous, Dove-directed Passion Play of two and a half years ago or its minimalist Angels in America from 2009, but in the sheer number of people involved, it’s an epic. But for all the prodigious talent in evidence, it still left me a little cold. There has always been a clinical quality to Churchill’s writing, but here especially, she seems to observe her subjects from a remove: “Lord, what fools these mortals be,” to quote one of her English forebears. Maybe the notion that none of us are very different from one another after all is intended as some cosmic expression of sympathy, but it doesn’t feel that way.

Perhaps it’s just the velocity and staccato rhythm of the thing. Having fifty-some blackouts in a show has the effect of making it feel very long, even though it isn’t. Set designer Andrew Cohen divides the audience into halves, each one staring at the other across the expanse of the Silver Spring black box Forum has occupied for eight years. Banks of video

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screens overhead featuring projections by Patrick Lord contribute to the sense of merciless, impersonal noise and chaos.

If nothing else, these little samples of life—declarations of love, a physician giving a patient the long odds of her survival over time, bits of gossip whispered semi-audibly among neighboring office workers—really show you who can act. (In this case, everyone.) Choosing which individual vignettes to mention really just amounts to playing favorites: It probably won’t help you at all if I tell you how much I loved Jade Jones’ work in a scene about a woman who reacts to potentially devastating news in a surprising way, or the perfect comedic button on a vignette where Shpend Xani is deliberating whether to move away or to stay put and Emily Whitworth is trying to influence his decision. See how maddening it is to talk in vagaries? Churchill is right that we all crave connection. I yearned to connect with these characters for longer than 105 seconds at a time. That’s not hyperbole. I did the math.

—Chris Klimek 8641 Colesville Road, Silver Spring. $30–$35.

(301) 588-8279. forum-theatre.org.

audience close enough to feel the performers’ sweat. Andrew Lippa’s Jazz Age grindfest The Wild Party sustains the athletic choreography (by Illona Kessell) and crack musicianship (Walter McCoy is the music director) of those hits in a piece of material that’s more akin to the obscure fare on which Constellation built its reputation. Weirdly, it’s one of two musicals first produced in 2000 that took its inspiration, and its title, from the same Joseph Moncure March narrative poem written in 1928. (Lippa’s Off-Broadway version is most remembered, if it is, for starring a preWicked Idina Menzel.) It tells of Queenie and Burrs, a torch singer and a clown, respectively, who enjoy a torrid connection until both their eyes wander. They throw a shindig to spice things up. Queenie finds a new lover in Mr. Black and Burrs finds a gun.

Well, no one is here for the plot. But Lippa’s songs—a pastiche of blues, jazz, and gospel— make a terrific platform for Farrell Parker and Kari Ginsburg (as Queenie and Kate, a party girl who’s high on more than just the bathtub punch) to slink their stockings off and sing their hearts out, and for designers Tony Cisek (the gilded set), A.J. Gruban (lights), and Erik Teague (costumes) to juxtapose Gatsbian exThe Wild Party

PARTY ANIMALS The Wild Party

Book, Music and Lyrics by Andrew Lippa Based on the poem by Joseph Moncure March Directed by Allison Arkell Stockman At Source Theatre to Oct. 29 Constellation theatre Company has turned itself into a musical powerhouse over the last few years with strong productions of Avenue Q and Urinetown. The cozy dimensions of the Source Theatre place the

cess with addiction and poverty in Queenie and Burrs’ Manhattan apartment. It’s all smoking jackets and highball glasses and garters and “getting away with moiduh” accents until someone gets hurt, and someone has to get hurt so the show can end. The ladies in the large cast tend to overpower the fellas, vocally and in terms of stage presence. Ian Anthony Coleman seems a little bit too milquetoast to win over Parker’s jaded singer, and Jimmy Mavrikes’ Burrs is never volatile enough to be truly scary. But it all sounds and looks great. Who cares if you actually believe it?

—Chris Klimek 1835 14th St. NW. $25–$55. (202) 204-7741. constellationtheatre.org.

Widowers’ Houses

STAIRwAY TO HELL Widowers’ Houses

By George Bernard Shaw Directed by Laura Giannarelli At Undercroft Theatre to Oct. 22. the third and final act of Widowers’ Houses opens with beautiful Blanche in a long and shimmering white dress. Though she’s at home with her father rather than standing on the altar, her clothes foreshadow her fate. Whatever hope the audience might be reserving for her former fiancé to prove he has a backbone begins to dissipate.

The young man in question, Harry Trench, made a show of his morals in the previous act.

When he found out that Blanche’s father was a massive slumlord, he asked her to give up her family’s wealth and live off his small income as a condition of their marriage. But she denied him out of both pride and her dominating love of money.

D.C.-area theatergoers should see Widowers’ Houses with their eyes open to the present. George Bernard Shaw’s play about London in the 1890s rings true for D.C. in 2017—not in feeling, but in fact. Widowers’ Houses is hardly a love story. In swaths of London people were living in desperate slums while others—namely the characters of this play—were either getting rich off the backs of the poor or unknowingly earning interest off said slum properties.

I do not know whether those getting rich off of D.C.’s slums are indulging in romance among their set, but I do know that many District residents live in conditions comparable to what Lickcheese, a character in Widowers’ Houses, describes.

Veteran Washington Stage Guild performer Steven Carpenter plays Lickcheese, who first comes on stage as a destitute property manager desperate to squeeze an ounce of mercy out of Sartorius, Blanche’s father and “the worst slum landlord in London.” Lickcheese has spent 24 shillings to repair stairs

that were so broken, three tenants fell and hurt themselves.

In reporting on D.C. landlord Sanford Capital this year I had a similar conversation with tenants regarding a set of stairs at Tivoli Gardens, a property near Fort Totten. They cited injuries and said they called an ambulance for one child who fell on the stairs. Those residents didn’t have a Lickcheese to fix the problem.

In the fictional case, Sartorius castigated Lickcheese for the expenditure, fired him, and turned him out of his mansion. But Lickcheese rebounds by the final act, and returns to the house of Sartorius in new togs and as a new man. He has monetized his knowledge of the slums and gone into business as consultant and a scout.

He comes back to Sartorius with a business proposition.

Sartorius’ own story informs his actions.

He grew up in a slum, and his mother “stood at her wash-tub for 13 hours a day and thought herself rich when she made 15 shillings a week.” When Sartorius sees that Lickcheese came out of poverty he is happy enough. And perhaps he’d be happy enough for any man or woman strong enough to rise out of the horror houses he maintains. “Oh, I hate the poor,” his daughter Blanche says. Sartorius doesn’t hate the poor, though he doesn’t mind them suffering for his benefit.

Or his daughter’s. Madeleine Farrington plays a convincingly tempestuous Blanche.

Scott Harrison plays a convincingly goodhearted Harry, at least for the first two acts. But their relationship is convincing only on the level of lust. Maybe that’s appropriate, given that it’s the love of money—not life—that dominates Widowers’ Houses.

By the end of the story the slumlord himself is the only person who proves to be operating under a clear moral code, however repugnant that code may be. Trench, it turns out, has been unknowingly making interest money off of Sartorius’ property. He agrees to marry Blanche, signaling his willingness to let his wife, his money, her money, and 1892 London itself dominate him.

In D.C., the tenants of Tivoli Gardens organized with the help of an organization called Housing Counseling Services. Nonprofit developer MANNA, Inc., whom the tenants chose as their preferred purchaser through D.C.’s Tenant Opportunity to Purchase Act, bought the buildings from their slum landlord Sanford Capital in August.

Emergency repairs are underway.

—Alexa Mills 900 Massachusetts Avenue. $25–$60.

(240) 582-0051. stageguild.org.

October 19 & 20 | Family Theater Join American comedy institution The Second City for a night of laughter that pays tribute to a far greater and more beloved American comedy institution, Mark Twain.

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

Comedy at the Kennedy Center Presenting Sponsor

Tickets also available at the Box Office.

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

washingtoncitypaper.com october 13, 2017 27

FilmShort SubjectS Loving Vincent

Starry Sight Loving Vincent

Directed by Dorota Kobiela and Hugh Welchman The besT Thing by far about Loving Vincent is its medium: Each frame was hand-painted with oil colors so vivid it’s difficult to look away. The worst thing by far about Loving Vincent, at least emotionally, is that it does little to dispel the tortured artist mythos, though really that theory is wound around Vincent van Gogh himself.

The plot is also a concern. Written by Jacek Dehnel along with directors Dorota Kobiela and Hugh Welchman, the film imagines a young man, Armand (Douglas Booth), who’s tasked by his postmaster father (Chris O’Dowd) to deliver a posthumous letter from van Gogh (Robert Gulaczyk) to his younger brother, Theo (Cezary Lukaszewicz), a year after van Gogh’s death. Armand thinks this is a waste of time because van Gogh was a waste of a man. But he travels to the French town in which the artist spent his last days anyway, and after talking to a couple of people, experiences a 180-degree change in attitude. Suddenly, Armand must know the details and put the letter in the right hands.

From then on, the filmmakers play fast and loose with what is known about van Gogh and his death. They posit relationships, moods, intentions, and even if the possibility that another person actually shot the painter. Some interviewed by Armand drew a rosy portrait.

Per his paint supplier (John Sessions): “With Theo’s support, there was no stopping him…

And I finally thought, this is a story that will end well.” (Theo supported Vincent financially and encouraged him to pursue art in his late 20s.) Then there was his doctor’s housekeeper: “He was evil,” recalls Louise (Helen McCrory). “That nutcase.” Whether the doctor’s daughter (Saoirse Ronan) had a relationship with him was another mystery, even though

Armand spoke to the woman several times.

One unusual choice the filmmakers made is drawing the characters to resemble the actors. Because much of the cast isn’t well-known, it usually isn’t a distraction. O’Dowd was easy enough to hide underneath a postmaster’s cap and a giant beard.

But with Ronan you can’t help thinking: Did they have to make her face so puffy?

Using 100 painters to paint each frame, however, was not a misstep. Van Gogh’s most famous works are animated, and it’s fun to recognize paintings such as “Cafe Terrace at Night” and watch characters move through them. Flashbacks, some photorealistic, are in black and white. All are beautiful.

But the beauty comes at the price of van Gogh’s melancholia. You see him sobbing in bed, writing to Theo that “days seem like weeks” to him, and telling his doctor after he shot himself (or, in this fantasized scene, after he was shot) that “maybe it was better for everyone.” You ache for the artist, yet wonder if anyone would have been able to talk him off the ledge. Considering he sold only one of his more than 800 paintings while he was alive, that likely would have been a tough sell. Too many thought like Armand had before his journey, rather than after, at which point he improbably says, “What I’m wondering is if people will appreciate what he did.”

—Tricia Olszewski

them converge in heartbreaking ways.

Disney World can be the source of a kid’s most cherished memories, yet sprawl and hardship can infect the area beyond the parks.

The majority of The Florida Project takes place in a motel nearby Disney World, where an adjacent helicopter pad helps rich tourists skip the traffic. The helicopter is a nagging reminder for those who live at the motel, who would not dare dream of such luxury. A young woman named Halley (Bria Vinaite) lives there semi-permanently with her daughter Moonee (Brooklynn Prince), who is about eight.

Moonee’s days unfold without much supervision: When the film starts, she and her best friend Scooty (Christopher Rivera) are spitting on a car for the hell of it. Halley does not think much of the prank, since she treats Moonee more like a sister than a daughter. The only consistent adult man in anyone’s life is Bobby (Willem Dafoe), the motel manager who empathizes with his guests but has his job, too.

Baker films the motel and surrounding area with oversaturated, gorgeous light. Many of the exteriors are painted in pastels—the motel is a muted shade of pink—and the kids wander over to an ice cream stand that looks like a giant orange. For the first stretch of The Flor-

and he plays against type simply by portraying an ordinary, decent man).

The fissures in Moonee’s world are not immediately apparent to her, so they affect her life for reasons she cannot possibly understand. We learn more about Halley, too, seeing how her hands-off parenting style is harmful to a rambunctious kid like her daughter, who needs structure.

Prince’s performance is fearless: Her character has the instinct of someone who has experienced too much pain and rejection, so she lashes out whenever anyone dares to question her choices. Baker never judges Halley, or any of the characters, and instead films their heightened desperation with unwavering empathy. Along with co-screenwriter Chris Bergoch, Baker sugarcoats the children’s playtime, not the drama. Sometimes the transgressive scenes are funny, like when Bobby tries to convince an elderly woman to put her top back on. Soon the comedy gives way to harsh reality, and then there are scenes of sudden violence, filmed with simple, matterof-fact brutality.

The Florida Project is not just a downer, although parts of it are harrowing. The young lead actors are funny and vivacious, speaking

The Florida Project

Loving Vincent opens Friday at the Avalon Theatre.

Child’S Play The Florida Project Directed by Sean Baker

The innocence of childhood can have a conservative streak to it. Kids are perfectly happy with their lives, no matter how bad it gets, as long they do not deviate from routine. It’s not just that children do not know better; they also lack the experience to see beyond what’s in front of them, and how some routines can be corrosive. This tension is at the center of The Florida Project, the remarkable new drama from Sean Baker. This film is a testament to the perseverance of children, and an affecting portrayal of modern poverty. Baker starts by keeping these stories separate, only to have

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ida Project, the camera is below the waistline of the children, giving the effect that they are always looking upward, gazing in wonder at the world around them. Moonee and Scooty soon recruit Jancey, another kid, played by Valeria Cotto, and through this inseparable trio we start to see how the motel forms a community and economy based on favors and mutual need. All the parents take turns babysitting, while Halley gets free meals from The Waffle House, where Scooty’s mother is a server. This routine suggests a constant state of play, with Bobby acting as a hapless buffoon more than a professional.

As The Florida Project continues, Baker cracks the idyll he created for his young heroes.

Halley lost her job as a stripper, so she struggles to come up with weekly rent. A creepy old man tries to talk with the kids and Bobby handles it with remarkable tact (Dafoe is the only recognizable actor among a cast of unknowns,

with unaffected charisma and honesty. Baker eschews the precocious wisdom that many filmmakers give their younger characters. In fact, the conversations between Moonee and Scooty seem so natural that it’s not entirely clear how adults could have written such pitchperfect dialogue for characters that young.

But for all its empathy and verisimilitude, the final scene of The Florida Project may divide audiences. Baker abandons low-key realism for low-key fantasy in a fanciful sequence that ignores the fate of many characters. It’s easy to write off the scene as a cop-out, and yet there is a deeper tragedy that informs the saccharine nature of the film’s final minutes. Moonee cannot see beyond her irrevocably broken routine, and so the limits of her imagination are all she has left.

—Alan Zilberman The Florida Project opens Friday at Landmark E Street Cinema.

A N A C O S T I A A RT S C E N T E R OCTOBER CALENDAR A RT O P E N I N G S I N H O N F L E U R G A L L E RY A N D V I V I D S O L U T I O N S G A L L E RY (new location!)

DC QUEER 13 & 14 T H E AT R E F E S T I VA L OCT.

OCTOBER 13 @ 7:00 PM OCTOBER 14 @ 10:00 PM $20 - $50 1231 GOOD HOPE RD SE

DCQTF is back with 2 Nights of Extraordinary Performances from 6 amazing and diverse playwrights.

OCT.

19

F O O D A S A RT B Y A RT- D R E N A L I N E C A F E OCTOBER 19 @ 7:00 PM - 11:00 PM

1231 GOOD HOPE RD SE

$20 - $50 OCT.

20

NEGLECTED WEED B Y A L B U RT S E X H I B I T I O N : OCTOBER 20 – NOVEMBER 25 OPENING RECEPTION OCTOBER 20, 6 – 9 PM FREE

THE ENDURING PROJECTION B Y B I L LY C O L B E RT OCTOBER 20 – NOVEMBER 25 FREE

2208 MARTIN LUTHER KING JUNIOR AVE SE

F I N D M O R E AT: A N A C O S T I A A RT S C E N T E R . C O M / E V E N T S G E T S O C I A L W I T H U S @ A N A C O S T I A A RT S Anacostia Arts Center, Honfleur Gallery & Vivid Solutions Gallery are all projects of ARCH Development Corporation, a nonprofit dedicated to the revitalization of Historic Anacostia.

COMMUNITY

Friday, October 13, 6–8 p.m.

S H O W CA S E

It’s local bands and local beer!

Explore thousands of artworks while listening to DC bands Poppy Patica and Keeper. Free tasting with Three Stars Brewing Company.

Libations and snacks available for purchase at the bar.

Luce Unplugged

Presented with the Washington City Paper.

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

washingtoncitypaper.com october 13, 2017 29

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CITYLIST Music 31 Theater 36 Film 37

Music

CITY LIGHTS: FRIDAY

FRIDAY COuNTRY

Capital One arena 601 F St NW, DC. Tim McGraw & Faith Hill. 7:30 p.m. $69–$252. capitalonearena.monumentalsportsnetwork.com.

Hill COuntry BarBeCue 410 7th St. NW. (202) 556-2050. Cash’d Out. 9:30 p.m. $15. hillcountrywdc.com.

ElECTRONIC

SOngByrd MuSiC HOuSe and reCOrd Cafe 2477 18th St. NW. (202) 450-2917. Shoffy. 8 p.m. $13–$15. songbyrddc.com. u Street MuSiC Hall 1115 U St. NW. (202) 588-1889.

Manila Killa. 10:30 p.m. $12. ustreetmusichall.com.

FOlk

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

David Grisman Bluegrass Experience. 8 p.m. $35–$80. thehamiltondc.com. linCOln tHeatre 1215 U St. NW. (202) 888-0050.

Blind Pilot. 8 p.m. $35. thelincolndc.com.

HIp-HOp

fillMOre Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Madeintyo. 8 p.m. $20–$65. fillmoresilverspring.com. rOCk & rOll HOtel 1353 H St. NE. (202) 388-7625.

The Underachievers. 8 p.m. $20–$25. rockandrollhoteldc.com.

JAzz

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rachelle Ferrell. 8 p.m.; 10 p.m. $82–$87. bluesalley.com. twinS Jazz 1344 U St. NW. (202) 234-0072. Larry Brown Quintet. 9 p.m.; 11 p.m. $27. twinsjazz.com.

ROCk

9:30 CluB 815 V St. NW. (202) 265-0930. Against Me!.

8 p.m. $25. 930.com. aMp By StratHMOre 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Martin Barre. 8 p.m. $30–$40. ampbystrathmore.com.

BarnS at wOlf trap 1635 Trap Road, Vienna. (703) 255-1900. Tommy Castro & The Painkillers. 8 p.m. $25–$30. wolftrap.org.

BirCHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. 10,000 Maniacs. 7:30 p.m. $35. birchmere.com. dC9 1940 9th St. NW. (202) 483-5000. The Courtneys. 7 p.m. $14. dcnine.com. u Street MuSiC Hall 1115 U St. NW. (202) 588-1889.

Susto & Esmé Patterson. 7 p.m. $20. ustreetmusichall.com.

WORlD

trOpiCalia 2001 14th St. NW. (202) 629-4535. Los Wembler’s de Iquitos. 8:30 p.m. $15–$20. tropicaliadc.com.

SATuRDAY ClASSICAl

kennedy Center COnCert Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Tchaikovsky’s “Pathétique” Symphony. 8 p.m. $15–$89. kennedy-center.org.

MADEINTYO

When it was time for Malcolm Davis to pick a rap name, he opted for MadeinTYO, pronounced “Made in Tokyo,” as a tribute to the Yokosuka naval base where the military brat spent his formative years. But as far as his music is concerned, he is all Atlanta. Everything he has released since his breakthrough in 2015 has shared the hallmarks of his adopted hometown: bare-bones lyrics, infectious hooks, and “skrrt skrrt” adlibs sprinkled over bass-heavy trap beats laced with video game synths. His biggest hit, the laidback “Uber Everywhere,” is this simple formula at its best, and his modest boasts—taking Uber everywhere and smoking pre-rolled joints—were achievable and thus relatable. The success of “Uber Everywhere” has taken the 25-year-old to higher levels of fame (XXL named him a member of its 2017 Freshman Class), but he’s stayed true to the formula that got him there. MadeinTYO performs at 8 p.m. at The Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $20–$65. (301) 960-9999. fillmoresilverspring.com.

—Chris Kelly

ElECTRONIC

JAzz

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

TOKiMONSTA. 10:30 p.m. $20. ustreetmusichall.com.

kennedy Center terraCe tHeater 2700 F St. NW. (202) 467-4600. Lee Konitz at 90. 7 p.m.; 9 p.m. $30–$39. kennedy-center.org.

SOngByrd MuSiC HOuSe and reCOrd Cafe 2477 18th St. NW. (202) 450-2917. Skylar Spence. 8 p.m. $10–$12. songbyrddc.com.

FuNk & R&B

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rachelle Ferrell. 8 p.m.; 10 p.m. $82–$87. bluesalley.com.

tHe HaMiltOn 600 14th St. NW. (202) 787-1000. Kat Wright & The Indomitable Soul Band. 8 p.m. $12–$17. thehamiltondc.com.

twinS Jazz 1344 U St. NW. (202) 234-0072. Larry Brown Quintet. 9 p.m.; 11 p.m. $27. twinsjazz.com.

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

Quinn XCII. 7 p.m. $15. ustreetmusichall.com.

9:30 CluB 815 V St. NW. (202) 265-0930. Drew Holcomb & The Neighbors. 8 p.m. $25. 930.com.

ROCk

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CITY LIGHTS: SATuRDAY

BluES TRAVElER

Let me tell you a story about the time John Popper, lead singer and harmonica wizard of the band Blues Traveler, flipped me off on Twitter. It begins with Buzzfeed reporter Katie Notopoulos who, in 2014, referenced a vague memory about an embarrassing rumor involving Popper on Twitter. According to a recent Daily Beast story, a man named Forrest Rutherford responded to Notopoulos with some snarky jokes, not expecting Popper himself would ever read them. Little did he know that Popper—who tweets from the Blues Traveler handle—obsessively searches for anyone talking shit about him—and retaliates. For years, Popper and Rutherford were engaged in a nasty internet battle that recently ended with Popper maliciously doxxing Rutherford. I read the story about this incident and tweeted it out, noting the alarming overuse of emojis by Popper on Twitter. Sure enough, Popper found the tweet and replied with a middle finger emoji. This is your chance to troll Popper IRL and see if he’s as combative in person as he is online. Blues Traveler performs with Los Colognes at 8 p.m. at The Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $30. (301) 960-9999. fillmoresilverspring.com.

—Matt Cohen

antHeM 901 Wharf Street SW, DC. Kaleo w/ZZ Ward, Wilder. 8 p.m. $40-$55. theanthemdc.com.

tra: Tchaikovsky’s “Pathétique” Symphony. 2 p.m. $15–$89. kennedy-center.org.

BirCHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Poco. 7:30 p.m. $39.50. birchmere. com.

MClean Old fireHOuSe. Matt Haimovitz. 2 p.m. $14–$20. mcleancenter.org.

BlaCk Cat 1811 14th St. NW. (202) 667-4490. Everything Everything. 8 p.m. $20–$25. blackcatdc.com. fillMOre Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Blues Traveler. 8 p.m. $30. fillmoresilverspring.com.

VOCAl

HyltOn perfOrMing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. Manassas Chorale: A Hylton Home Companion II. 7:30 p.m. $18–$20. hyltoncenter.org. kennedy Center eiSenHOwer tHeater 2700 F St. NW. (202) 467-4600. Leslie Odom Jr. 8 p.m. $49–$125. kennedy-center.org.

SuNDAY ClASSICAl

Baird auditOriuM at natiOnal MuSeuM Of natural HiStOry 10th Street and Constitution Avenue NW. (202) 633-3030. The Emerson String Quartet. 6 p.m. $50–$65. residentassociates.org.

HyltOn perfOrMing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. Keyboard Conversations with Jeffery Siegel. 2 p.m. $25–$42. hyltoncenter.org. kennedy Center COnCert Hall 2700 F St. NW. (202) 467-4600. National Symphony OrchesWashington DC City Paper 10-13-17.indd 1

32 october 13, 2017 washingtoncitypaper.com

9/28/17 10:44 AM

tHe warne BallrOOM at tHe COSMOS CluB 2121 Massachusetts Ave NW, DC. Ensemble 4.1. 4 p.m. $20–$40. phillipscollection.org.

FOlk

tHe HaMiltOn 600 14th St. NW. (202) 787-1000. The Steel Wheels. 7:30 p.m. $15–$34.50. thehamiltondc.com.

HIp-HOp

SOngByrd MuSiC HOuSe and reCOrd Cafe 2477 18th St. NW. (202) 450-2917. Joyner Lucas. 8 p.m. $15–$50. songbyrddc.com.

JAzz

antHeM 901 Wharf Street SW, DC. Trombone Shorty & Orleans Avenue. 8 p.m. $37-$57. theanthemdc.com.

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Rachelle Ferrell. 8 p.m.; 10 p.m. $82–$87. bluesalley.com. twinS Jazz 1344 U St. NW. (202) 234-0072. Felix Peikli & Joe Doubleday’s Showtime Band. 8 p.m.; 10 p.m. $22. twinsjazz.com.

ROCk

dC9 1940 9th St. NW. (202) 483-5000. Weaves. 8 p.m. $12–$14. dcnine.com. fillMOre Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Blue October. 8 p.m. $26. fillmoresilverspring.com.

Capital One Arena • Washington, D.C.

JUST ANNOUNCED!

SAM SMITH

.................................................. JULY 3

On Sale Thursday, October 12 at 10am Ticketmaster

THIS WEEK’S SHOWS

Drew Holcomb & The Neighbors w/ Lewis Watson ..........................Sa OCT 14 Julien Baker w/ Half Waif & Petal (Solo) ..................................................... Tu 17 Hamilton Leithauser w/ Courtney Marie Andrews ..................................... W 18

Echostage • Washington, D.C.

Flying Lotus in 3D

w/ Seven Davis Jr & PBDY...NOVEMBER 5

2135 Queens Chapel Rd. NE • Ticketmaster

OCTOBER

NOVEMBER (cont.)

Hope Sandoval & The Warm Inventions w/ Holy Wave Early Show! 6:30pm Doors ..............Th 19

Hippo Campus w/ Remo Drive . M 13

U STREET MUSIC HALL PRESENTS

What So Not x Baauer w/ Kidd Marvel

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

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

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

FIRST NIGHT SOLD OUT! SECON

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

NOVEMBER

HENRY ROLLINS - TRAVEL SLIDESHOW ....JANUARY 15

Yonder Mountain String Band w/ The Last Revel ........................F 17 Bleachers w/ Bishop Briggs & Amy Shark ..Sa 18 Strike Anywhere & City of Caterpillar w/ Battery • Worriers • Big Hush . Th 21 The Pietasters w/ Bumpin’ Uglies

ALL GOOD PRESENTS

THE WOOD BROTHERS

w/ Van William ...................................... FRI FEBRUARY 9

On Sale Friday, October 13 at 10am THIS FRIDAY!

ALL GOOD PRESENTS

Keller Williams’ Thanksforgrassgiving feat.

Larry & Jenny Keel, Jeremy Garrett, Danny Barnes, Jay Starling .....Su 25

Cut Copy w/ Palmbomen II ........W 29 AN EVENING WITH

ALL GOOD PRESENTS

Cabinet w/ WOLF! feat. Scott Metzger ......F 3 Ariel Pink w/ Gary War & Clang Quartet .......Su 5 The Mountain Goats w/ Mothers .........................M 6 & Tu 7 Josh Abbott Band ....................W 8 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

The Lone Bellow w/ The Wild Reeds ......................Sa 11 ALL GOOD PRESENTS

Campfire Caravan w/ Mipso • The Brothers Comatose •

THE BIRCHMERE PRESENTS

Colin Hay w/ Chris Trapper .......... OCT 21 Lucinda Williams feat. a Performance of Sweet Old World .. OCT 30 Pop-Up Magazine .........................NOV 1 FIRST NIGHT SOLD OUT! SECOND NIG

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

DECEMBER

AN EVENING WITH

David Rawlings ............................DEC 6 Robert Earl Keen’s Merry Christmas From The Fam-O-Lee Show .........DEC 7 NEW YEAR’S EVE AT LINCOLN THEATRE!

White Ford Bronco:

DC’s All 90s Band ..................... DEC 31 Max Raabe & Palast Orchester .APR 11 THE BYT BENTZEN BALL

Priests w/ Blacks Myths & Mellow Diamond . F 1 NPR Music’s 10th Anniversary

AN EVENING WITH

Jungle ..........................................M 4

ALL GOOD PRESENTS

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

MURRAY & PETER PRESENT

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

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

Concert and Party .....................Sa 2

The Mavericks ...........................NOV 18

Matt Bellassai This is a seated show. ......................Th 7 Wolf Alice ....................................F 8 Gary Numan w/ Me Not You Early Show! 6pm Doors ....................Sa 9

A Drag Queen Christmas .......NOV 26

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

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

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

Yann Tiersen .................................. DEC 5 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

STEEZ PROMO PRESENTS

Bear Grillz

Late Show! 10pm Doors. ...................Sa 9

Mogwai w/ Xander Harris ........Su 10 AN EVENING WITH

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL Susto & Esmé Patterson ..........F OCT 13 Nai Palm ............................................ Th 19 The Fleshtones .................................. F 20 Black Pistol Fire w/ Black Foot Gypsies ........................... Sa 21 Yumi Zouma w/ She-Devils ............... Tu 24 LÉON w/ Wrabel .................................. Su 29 Shout Out Louds .............................. Tu 31 Phoebe Ryan w/ MORGXN ............ Th NOV 2

SPEND NEW YEAR’S EVE WITH

SPOON

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

The Lil Smokies ........................Su 12

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

Blind Pilot w/ Charlie Cunningham . OCT 13

HT ADDED!

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

NEW MEDIA TOURING PRESENTS

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

w/ The Stray Birds .......FRI JANUARY 26

First Aid Kit

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

U STREET MUSIC HALL PRESENTS

Louis the Child w/ Opia & Win and Woo .............Th 26 Bad Suns w/ Hunny & QTY .......Su 29 Iration w/ Fortunate Youth

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

ALL GOOD PRESENTS

930.com

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

Dhani Harrison w/ Summer Moon ....... Tu 7 Wax Tailor - Solo Set w/ Dirty Art Club .W 8 Foreign Beggars ................................ Th 9 Orgone .................................................. F 10 Sahbabii w/ Nessly • T3 • 4orever New Date! All 8/17 tickets honored. ................ Sa 11

The Shadowboxers ......................... Su 12 Cousin Stizz w/ Swoosh & Big Leano ... M 13

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

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

9:30 CLUB BOX OFFICE HOURS are 12-7PM Weekdays & Until 11PM on show nights. 6-11PM on Sat & 6-10:30PM on Sun on show nights.

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

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

930.com washingtoncitypaper.com october 13, 2017 33

rOCk & rOll HOtel 1353 H St. NE. (202) 388-7625.

Cults. 8 p.m. $21–$23. rockandrollhoteldc.com.

dC9 1940 9th St. NW. (202) 483-5000. Dead Rider. 9 p.m. $12. dcnine.com.

VOCAl

SixtH & i HiStOriC SynagOgue 600 I St. NW. (202) 408-3100. Atlas Genius. 8 p.m. $20–$23. sixthandi. org.

BarnS at wOlf trap 1635 Trap Road, Vienna. (703) 255-1900. Cheyenne Jackson. 8 p.m. $45–$55. wolftrap.org.

EILEN JEWELL

W/ MISS TESS

THURSDAY OCT

12

DAVID GRISMAN BLUEGRASS EXPERIENCE W/ CIRCUS NO. 9 FRIDAY

OCT 13

SAT, OCT 14

KAT WRIGHT & THE INDOMITABLE SOUL BAND W/ KARIKATURA

SUN, OCT 15

THE STEEL WHEELS W/ THE HONEY DEWDROPS TUES, OCT 17

AN EVENING WITH

HOLLY BOWLING

WED, OCT 18

SiriusXM PRESENTS: THE HIGHWAY FINDS TOUR

HIGH VALLEY

W/ ASHLEY McBRYDE AND ADAM DOLEAC THURS, OCT 19

MEDICINE TRIBE PRESENTS

NAKHO: MY NAME IS BEAR

W/ 1000 FUEGOS AND CHRISTINA HOLMES FRI & SAT, OCT 20 & 21

2 NIGHTS AN EVENING WITH THE FAB FAUX THE BEATLES 1966-1967 & 1969-1970 SUN, OCT 22

MARTIN SEXTON TRIO

kennedy Center eiSenHOwer tHeater 2700 F St. NW. (202) 467-4600. Leslie Odom Jr. 8 p.m. $49–$125. kennedy-center.org.

O C TO B E R F 13 S 14

INCOGNITO 7 & 10PM CARL’S RARE ROAST BEEF BAND 8PM SU 15 A TRIBUTE TO THE MUSIC OF GERALD LEVERT, DONNY HATHAWAY AND MORE 7:30PM

W 18 THE FIX 8PM TH 19 THE SIDLEYS AND THE ERIC SCOTT BAND 8PM F 20 WAYNE LINSEY HOWARD HOMECOMING CONCERT 8PM SU 22 A TRIBUTE TO THE MUSIC OF STEPHANIE MILLS, CHAKA KHAN AND ARETHA FRANKLIN 7PM W 25 JANSEN & COMMON GROUND FEATURING DELFEAYO MARSALIS AND DUANE EUBANKS 8PM TH 26 TOM JOYNER PRESENTS FRIENDS WITH BENEFITS COMEDY SHOW 7 & 10 PM S 28 JOE CLAIR & FRIENDS COMEDY SHOW 7 & 10PM SU 29 BILLY GILMAN 7:30PM T 31 HALLOWEEN SPOOKY TUESDAY W THE VI-KINGS AND THE DCEIVERS 7:30PM

ALL GOOD PRESENTS

MELVIN SEALS & JGB

W/ SWEET LEDA Feat. RON HOLLOWAY SAT, OCT 28

RECKLESS KELLY

W1 F3 T7 TH 9

W/ CHRIS BERARDO & THE DesBERARDOS WED, NOV 1

A BENEFIT FOR SONGWRITING WITH SOLDIERS AND BOULDER CREST RETREAT

FEAT. DARDEN SMITH, RADNEY FOSTER, AND MARY GAUTHIER THURS, NOV 2

DEL McCOURY BAND

WORlD

HOward tHeatre 620 T St. NW. (202) 803-2899.

Felipe Pelaez. 8 p.m. $49–$449. thehowardtheatre. com. natiOnal gallery Of art weSt garden COurt 4th Street and Constitution Avenue NW. (202) 8426941. Dali Quartet with Orlando Cotto. 3:30 p.m. Free. nga.gov.

TuESDAY FOlk

SOngByrd MuSiC HOuSe and reCOrd Cafe 2477 18th St. NW. (202) 450-2917. Angelo De Augustine. 8 p.m. $10–$12. songbyrddc.com.

JAzz

BirCHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Boney James. 7:30 p.m. $75. birchmere.com.

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Michael Bowie’s BLAST. 8 p.m.; 10 p.m. $42. bluesalley.com.

MONDAY

ROCk

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

YehMe2. 8 p.m. $10–$20. ustreetmusichall.com.

antHeM 901 Wharf Street SW, DC. LCD Soundsystem. 8 p.m. $61.75-$81.75. theanthemdc.com.

FOlk

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

7:30 p.m. $22–$25. blackcatdc.com.

ElECTRONIC

BirCHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Peter White & Marc Antoine. 7:30 p.m. $39.50. birchmere.com.

ROCk

9:30 CluB 815 V St. NW. (202) 265-0930. PVRIS. 7:30 p.m. $27–$30. 930.com.

9:30 CluB 815 V St. NW. (202) 265-0930. Julien Baker.

8 p.m. $20. 930.com.

dC9 1940 9th St. NW. (202) 483-5000. Vita and the Woolf. 9 p.m. $10–$12. dcnine.com. tHe HaMiltOn 600 14th St. NW. (202) 787-1000.

Holly Bowling. 7:30 p.m. $10–$25. thehamiltondc. com.

antHeM 901 Wharf Street SW, DC. Phoenix. 8 p.m. $45-$55. theanthemdc.com.

rOCk & rOll HOtel 1353 H St. NE. (202) 388-7625.

Propagandhi. 8 p.m. $20–$25. rockandrollhoteldc. com.

BlaCk Cat 1811 14th St. NW. (202) 667-4490. Truckfighters. 7:30 p.m. $20. blackcatdc.com.

VOCAl

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Johnny A. 8 p.m.; 10 p.m. $42. bluesalley.com.

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

Kali Uchis. 7 p.m. $20. ustreetmusichall.com.

CITY LIGHTS: SuNDAY

N OV E M B E R

W/ REBECCA HAVILAND & WHISKEY HEART SUN, OCT 27

waSHingtOn natiOnal CatHedral 3101 Wisconsin Ave. NW. (202) 537-6200. Cathedral Choral Society: Mozart’s Requiem. 4 p.m. $25–$80. nationalcathedral.org.

SOngByrd MuSiC HOuSe and reCOrd Cafe 2477 18th St. NW. (202) 450-2917. Mimicking Birds. 8 p.m. $12–$14. songbyrddc.com.

GABRIELLE STRAVELLI 7:30PM JESSE COLIN YOUNG BAND SETH KIBEL’S “SONGS OF SNARK AND DISPAIR” JEANETTE HARRIS & SPECIAL GUEST CECE PENISTON

JUST ANNOUNCED MON, DEC 4 - LARRY CARLTON 8PM http://igg.me/at/bethesdablues 7719 Wisconsin Ave., Bethesda, MD

(240) 330-4500 www. BethesdaBluesJazz.com Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends

THEHAMILTONDC.COM 34 october 13, 2017 washingtoncitypaper.com

lESlIE ODOM JR.

Leslie Odom Jr. has seen his star rise tremendously in the past couple years. Hamilton will do that to you. His leaping, dancing, belting turn as Aaron Burr in the hit Broadway musical netted him a 2016 Tony Award for Leading Actor in a Musical. That same year, he somehow found time to re-release his self-titled solo jazz album and give a show-stopping performance at the Kennedy Center Spring Gala’s Marvin Gaye tribute. Now, he’s taking his talents back to the Kennedy Center, this time to the Eisenhower Theater as part of Renée Fleming’s “VOICES” concert series. “VOICES” is a particularly apt series for Odom to be a part of, as his is velvety smooth, a malleable force to be reckoned with. Fleming says of Odom, “Leslie is a consummate, elegant artist, and this is a performance not to miss.” We couldn’t agree more. Leslie Odom Jr. performs at 8 p.m. at the Kennedy Center Eisenhower Theater, 2700 F St. NW. $49–$125. (202) 467-4600. kennedy-center.org.

—Kayla Randall

CITY LIGHTS: MONDAY

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

Sept 12

MINDI ABAIR & THE BONESHAKERS 14 POCO featuring Rusty Young w/Tish Hinojosa

15

WMAL Free Speech Forum

featuring Chris Plante, Larry O’Connor, Mary Walter, Vince Coglianese with special guests Sebastian Gorka & Joe DiGenova!

16 20

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

AL STEWART “Year of the Cat” Classic Album Concert

22

The Incredible Dr. Pol may seem like a pleasurable reality show to binge, but the numbers don’t lie: It is Nat Geo Wild’s most popular show. In March, the show celebrated its 100th episode. There’s no guilt to that pleasure. Veterinarian Dr. Jan Pol is the fascinating Dutch figure behind the show, traversing central Michigan to treat animals from horses to cows to the occasional reindeer. Pol is a hands-on vet—not relying on expensive new machinery to get the job done, but instead choosing to stick his own hands into a horse’s mouth to perform makeshift dental surgery, and hop into a trailer by himself to anesthetize fighting alpacas. He’s casually treated more than a half million animals, and people love watching him do it. Pol is bringing his dope mustache and accent to D.C., presenting an evening full of behind-the-scenes looks and insane stories. There may even be a pig or chicken involved. Who knows what could happen? It is The Incredible Dr. Pol, after all. Jan Pol speaks at 7:30 p.m. at the Gilbert H. Grosvenor Auditorium, 1600 M St. NW. $25. (202) 857-7700. nationalgeographic.org.

—Kayla Randall

“Guitar Tango”

with sp guests The

24&25 26

Empty Pockets

BRIAN McKNIGHT An Acoustic Evening with

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

27

SUZANNE WESTENHOEFER

28

80th Birthday Bash!

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

WEDNESDAY ClASSICAl

liBrary Of COngreSS COOlidge auditOriuM First Street and Independence Avenue SE. (202) 7075507. Ensemble Signal and Steve Reich. 8 p.m. Free. loc.gov.

FOlk

SOngByrd MuSiC HOuSe and reCOrd Cafe 2477 18th St. NW. (202) 450-2917. Tall Heights. 8 p.m. $12–$15. songbyrddc.com.

JAzz

BarnS at wOlf trap 1635 Trap Road, Vienna. (703) 255-1900. Troker. 8 p.m. $20–$22. wolftrap.org.

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Cowboys & Frenchmen. 8 p.m.; 10 p.m. $37. bluesalley.com. twinS Jazz 1344 U St. NW. (202) 234-0072. John Kocur. 8 p.m.; 10 p.m. $22. twinsjazz.com.

ROCk

9:30 CluB 815 V St. NW. (202) 265-0930. Hamilton Leithauser. 8 p.m. $25. 930.com. antHeM 901 Wharf Street SW, DC. LCD Soundsystem. 6:30 p.m. $61.75-$81.75. theanthemdc.com.

BirCHMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Los Straightjackets. 7:30 p.m. $45. birchmere.com. dC9 1940 9th St. NW. (202) 483-5000. Racquet Club.

9 p.m. $12–$15. dcnine.com.

WORlD

BlaCk Cat 1811 14th St. NW. (202) 667-4490. Sinkane. 7:30 p.m. $18. blackcatdc.com.

kennedy Center terraCe tHeater 2700 F St. NW. (202) 467-4600. Japanese Connections featuring Kazunori Kumagai and Yumi Kurosawa. 7:30 p.m. $25–$49. kennedy-center.org.

THuRSDAY COuNTRY

BirCHMere 3701 Mount Vernon Ave., Alexandria.

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

ElECTRONIC

9:30 CluB 815 V St. NW. (202) 265-0930. What So Not x Baauer. 10 p.m. $25. 930.com.

FOlk

dar COnStitutiOn Hall 1776 D St. NW. (202) 6284780. Kjarkas. 8 p.m. $45–$80. dar.org. linCOln tHeatre 1215 U St. NW. (202) 888-0050.

Vance Joy. 8 p.m. $55. thelincolndc.com.

FuNk & R&B

BlueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Anthony Walker & Friends. 8 p.m.; 10 p.m. $42. bluesalley.com.

ROCk

9:30 CluB 815 V St. NW. (202) 265-0930. Hope Sandoval & The Warm Inventions. 7 p.m. $30. 930.com. dC9 1940 9th St. NW. (202) 483-5000. Pet Symmetry.

8:30 p.m. $12. dcnine.com. fillMOre Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Ministry + Death Grips.

8:30 p.m. $35. fillmoresilverspring.com. tHe HaMiltOn 600 14th St. NW. (202) 787-1000.

Nahko. 7:30 p.m. $29.75–$34.75. thehamiltondc.com. rOCk & rOll HOtel 1353 H St. NE. (202) 388-7625.

The Weeks. 8 p.m. $15–$18. rockandrollhoteldc.com.

www.blackcatdc.com @blackcatdc

OCTOBER SHOWS THU 12 FRI 13

SHAWNLarryCOLVIN and Her Band Campbell & Teresa Williams sp guests

Nov 1

ACOUSTIC ALCHEMY

2 An Intimate Evening with Fado Superstar

MARIZA & Special Friends Daryl 3 DELBERT McCLINTON Davis 4 PAT McGEE BAND 5 OLETA ADAMS 7 BELA FLECK & ABIGAIL WASHBURN 8 EL DeBARGE

VAGABON A NIGHT OF DARK ARTS WES SWING / GULL / HAND GRENADE JOB / ALBERT BAGMAN

FRI 13

NATE STANIFORTH

SAT 14

EVERYTHING, EVERYTHING

An Evening with

21

DR. JAN pOl

PETER WHITE & MARC ANTOINE

1811 14TH ST NW

REAL MAGIC TOUR

SAT 14

RIGHT ROUND

SUN 15

HALLOWZINE

80S ALT POP DANCE NIGHT

MON 16

TRUCKFIGHTERS

TOADIES WED 18 SINKANE TUE 17

THU 19

DRUNK EDUCATION

FRI 20 BROOKLYN NIGHTS AT BLACK CAT

NATALIE PRASS

WILDHONEY / DEN-MATE (21+) SAT 21 SUN 22 FRI 27

KING KRULE (SOLD OUT) WOLF PARADE (SOLD OUT)

RECORD

PAPERHAUS RELEASE

SAT 28 FYM PRODUCTIONS PRESENTS:

HALLOWEEN DANCE PARTY

MON SEPT 16

TRUCKFIGHTERS

The Birchmere Presents

COLIN HAY

with Chris Trapper

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

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

The Birchmere Presents

LUDOVICO EINAUDI

“Essential Einaudi”

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

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

WED SEPT 18

SINKANE

TAKE METRO!

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

TO BUY TICKETS VISIT TICKETFLY.COM

washingtoncitypaper.com october 13, 2017 35

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

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

VOCAl

aMp By StratHMOre 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Paula Cole. 8 p.m. $30–$40. ampbystrathmore.com.

WORlD

CITY LIGHTS: TuESDAY

BarnS at wOlf trap 1635 Trap Road, Vienna. (703) 255-1900. Paco Peña. 8 p.m. $35–$45. wolftrap.org. liBrary Of COngreSS COOlidge auditOriuM First Street and Independence Avenue SE. (202) 7075507. La Santa Cecilia. 8 p.m. Free. loc.gov.

MuSiC Center at StratHMOre 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Sergio Mendes. 8 p.m. $29–$69. strathmore.org.

600 beers from around the world

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

OCTOBER 12TH

COMEDY HOUR

PRESENTED BY ORAL HENERY

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

HEXWORK

A SPELLBINDING BURLESK REVUE

DOORS AT 8PM, SHOW AT 9PM OCTOBER 14TH

COMEDY PRESENTED BY TOMMYTAYLORJR. DOORS AT 8PM, SHOW AT 9PM OCTOBER 15TH

SUNDAY COMEDY

PRESENTED BY RUDYWILSON

DOORS AT 5:30PM, SHOW AT 6:30PM OCTOBER 16TH

DISTRICTTRIVIA AT 7:30PM

COMICSAND COCKTAILS SPONSORED BY FANTOM COMICS AT 6:30PM

OCTOBER 17TH

CAPITAL LAUGHS OPEN MIC COMEDY AT 8:30PM

OCTOBER 18TH

BROKEN DIAMONDS OPEN MIC COMEDY AT 8:30PM

DISTRICTTRIVIA AT 7:30PM

OCTOBER 19TH

SMASHED:COMEDYAND STORYTELLINGABOUT SEX DOORS AT 7PM, SHOW AT 8PM OCTOBER 20TH

DCWEIRDO SHOW

DOORS AT 8PM, SHOW AT 9PM

HAPPY HOUR ATTHE BIER BARON

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

Theater

tHe adventureS Of peter pan Synetic Theater takes on the story of the boy who won’t grow up and his merry company of followers in this production full of high-flying acrobatics and one very sinister pirate.

Synetic Theater at Crystal City. 1800 South Bell St. , Arlington. To Nov. 19. $20–$60. (866) 811-4111. synetictheater.org. antOny and CleOpatra Robert Richmond returns to the Folger to lead the company’s production of the Bard’s drama about the romance between a Roman ruler and an Egyptian queen. As the forces of love and politics pull the title characters apart, both must decide to put themselves or their countries first. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Nov. 19. $35–$75. (202) 544-7077. folger.edu. are yOu nOw, Or Have yOu ever Been... Set in the days before Langston Hughes was forced to testify in front of Joseph McCarthy and the Senate Permanent Subcommittee on Investigations, this play follows his turmoil as he attempts to write a poem to mark the event. Developed by Carlyle Brown, this play is directed at MetroStage by Thomas W. Jones II. MetroStage. 1201 N. Royal St., Alexandria. To Nov. 5. $55–$60. (703) 548-9044. metrostage.org. deatH Of a SaleSMan Arthur Miller’s classic tale about capitalism, family, and the American Dream comes to life in a new production at Ford’s, directed

by Stephen Rayne. Local favorite Craig Wallace stars as Willy Loman, with Kimberly Schraf as Linda Loman.

Ford’s Theatre. 511 10th St. NW. To Oct. 22. $15–$62.

(202) 347-4833. fords.org. tHe effeCt Connie and Tristan become quickly enamored with each other after meeting. They can’t keep their hands off one another but is it love or is it a side effect of the new drug they’re taking in a clinical trial? David Muse directs Lucy Prebble’s comedy about romance and the impact of Big Pharma on our daily lives. Studio Theatre. 1501 14th St. NW. To Oct. 29. $20–$55. (202) 332-3300. studiotheatre.org. eMilie: la MarquiSe du CHatelet defendS Her life tOnigHt Playwright Lauren Gunderson tells the story of the acclaimed French physicist who spent her career answering questions of both the head and the heart, trying to determine whether love or philosophy should govern her actions. WSC Avant Bard Acting Company member Sara Barker stars as Emile on this area premiere directed by Rick Hammerly. Gunston Arts Center, Theatre Two. 2700 South Lang St., Arlington. To Nov. 12. $10–$35. (703) 418-4808. wscavantbard.org. i’ll get yOu BaCk again A young woman, adrift in the world without any major plans, decides to sit in as the bass player in her late father’s psychedelic rock band and learns about her past and music history in the process in this world premiere play from Sarah Gancher. Tony nominee Rachel Chavkin directs this lively comedy full of original music and ‘60s sentimentality. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Oct. 29. $36–$65.

(240) 644-1100. roundhousetheatre.org. lOve and infOrMatiOn Caryl Churchill’s play, a series of interactions, conversations, and revelations between more than 100 characters, opens Forum’s 14th season. Michael Dove directs this rumination on the nature of human interactions. Forum Theatre at Silver Spring Black Box Theatre. 8641 Colesville Road, Silver Spring. To Oct. 21. $18–$38. (301) 588-8279. forum-theatre.org. tHe lOver and tHe COlleCtiOn Michael Kahn directs a pair of Harold Pinter one-acts to open the Shakespeare Theatre Company season. In The Lover,

36 october 13, 2017 washingtoncitypaper.com

IRON CHIC

While Manitoba’s Propagandhi has spent its career focused on authoritarian hypocrisy and the body politic, Long Island’s Iron Chic primarily concerns itself with more internal conflicts. The band plays the type of heart-wrenching, gut-busting melodic punk intended to exhaust the lungs and sprain the pointing fingers of its fervent devotees. Composed of a gaggle of older punks who spent their youths screaming in basements, Iron Chic evokes the melancholic afterglow of adulthood. Its songs wrestle with the passage of time and newfound expectations and responsibilities, and though this message may sound a bit weighty, it is packaged within sweeping sing-alongs that help soften the palpable existential angst. Expect crying in one’s Pabst Tallboy. The band has been teasing a new album for years, and the show acts as something of an unofficial record release since its SideOneDummy Records debut, You Can’t Stay Here, will finally arrive on October 13. Iron Chic performs with Propagandhi at 8 p.m. at Rock & Roll Hotel, 1353 H St. NE. $20–$25. (202) 388-7625. rockandrollhoteldc.com.

—Matthew Siblo

CITY LIGHTS: WEDNESDAY

HAMIlTON lEITHAuSER

Hamilton Leithauser’s rock scream and pop croon have been on display since the early 2000s, most notably with the Walkmen, but it sounds best on the 2016 album I Had a Dream that You Were Mine, a collaboration with ex-Vampire Weekend musician Rostam Batmanglij. The songwriting and stellar instrumentation perfectly showcase Leithauser’s gravelly vocals. The catchy “A 1000 Times” starts off with him trilling delicately before he shifts into a raspier, yearning tone. Other songs travel back in rock history but manage to stay modern. “Rough Going (I Won’t Let Up)” includes doo wop backing vocals, handclaps, and a Vampire Weekend-like chorus, while “In a Black Out” evokes Leithauser fave, Leonard Cohen. Rostam and the string section won’t be at 9:30, but hometown guy Leithauser, who went to St. Albans School in D.C., will be, and his adept skills can still capture the spirit of these intricate compositions. Hamilton Leithauser performs at 7 p.m. at 9:30 Club, 815 V St. NW. $25. (202) 265-0930. 930.com.

—Steve Kiviat

ple, the couple next door, and one very contentious fence. Blake Robinson directs this comedy, a co-production with Minneapolis’ Guthrie Theatre. Arena Stage. 1101 6th St. SW. To Oct. 22. $56–$91. (202) 4883300. arenastage.org.

CITY LIGHTS: THuRSDAY

SOttO vOCe Love transcends all borders in Pulitzer Prize-winner Nilo Cruz’s passionate and lyrical Sotto Voce. A young Cuban man’s research into the fate of the S.S. St. Louis leads him to a reclusive writer who refuses to talk about the ship of Jewish refugees that fled Nazi Germany only to be denied entry into both Cuba and the United States. As he strives to uncover the mysteries she’s hiding, an old romance is relived and a new one blossoms. This dreamlike sonata explores the plight of the refugee, the resilience of love, and the sensuality of imagination. Directed by José Carrasquillo. Theater J. 1529 16th St. NW. To Oct. 29. $24–$69. (202) 777-3210. theaterj.org. tHe wild party Enter a den of debauchery and passion while watching this musical about love affairs and alcohol set in Prohibition-era New York.

Based on a poem by Joseph Moncure March and written by Andrew Lippa, the musical is directed at Constellation Theatre Company by Allison Arkell Stockman. Constellation Theatre at Source. 1835 14th St. NW. To Oct. 29. $25–$55. (202) 204-7741. constellationtheatre.org.

Film

Blade runner 2049 Ryan Gosling stars as a young blade runner who discovers secrets that lead him to a former blade runner: Harrison Ford’s Rick Deckard, the original film’s central character. Co-starring Jared Leto and Robin Wright. (See washingtoncitypaper. com for venue information) tHe fOreigner After his daughter is killed, an earnest businessman seeks vengeance and justice.

Starring Jackie Chan, Katie Leung, and Mark Tandy.

(See washingtoncitypaper.com for venue information) Happy deatH day A college student must continuously relive the day of her murder until she finds out who killed her. Starring Jessica Rothe, Israel Broussard, and Ruby Modine. (See washingtoncitypaper. com for venue information) Mark felt: tHe Man wHO BrOugHt dOwn tHe wHite HOuSe Liam Neeson stars as Mark Felt in this true story about the man who helped Washington Post journalists Bob Woodward and Carl Bernstein uncover the Watergate scandal under the name “Deep Throat.” Co-starring Diane Lane and Tony Goldwyn. (See washingtoncitypaper.com for venue information)

CARDI B

Cardi B has redefined the recipe for self-made women in 2017. Born and raised in the Bronx, Cardi B abandoned all notions of a typical glow up to become an Instagram sensation, a reality television bombshell thanks to her stint on Love & Hip Hop: New York, and now, an Atlantic Records-signed rapper. After losing her job as a cashier and being fed up with living at her boyfriend’s bed bug-infested house, Cardi B turned to stripping when she was 19. Her wildly successful yet short-lived career as a dancer was marked by her sassy Instagram rants in which she candidly taught women how to brush off haters and fuckboys, leverage your flaws into fame, and be about that “shmoney.” Then, Cardi B quit stripping at 23 to focus on her burgeoning rap career, which birthed this year’s speaker-rattling hit summer anthem “Bodak Yellow” and BET awards for Single of the Year and Best New Hip-Hop Artist. Now, Cardi can add a legendary accomplishment to her name: The first female rapper with a solo number one single since Lauryn Hill’s “Doo Wop (That Thing)” in 1998. Cardi B performs at 9 p.m. at Echostage, 2135 Queens Chapel Road NE. $48.40. (202) 503-2330. echostage.com.

—Casey Embert a couple methodically plans out their extramarital affairs. The Collection follows a jealous husband as he investigates whether his wife had a fling with her coworker during an overnight trip to Leeds. Lansburgh

Theatre. 450 7th St. NW. To Oct. 29. $44–$118. (202) 547-1122. shakespearetheatre.org. native gardenS Local playwright Karen Zacarias takes on neighborhood disputes in her latest play, which follows the conflict between pregnant cou-

MarSHall Chadwick Boseman stars as a young Thurgood Marshall, the first African-American Supreme Court Justice, as he navigates an early-career case. Co-starring Sterling K. Brown and Josh Gad. (See washingtoncitypaper.com for venue information) tHe MOuntain Between uS Idris Elba and Kate Winslet star as two strangers who become stranded after a plane crash and are then forced to fight for their lives in the snowy mountain wilderness. Costarring Beau Bridges and Dermot Mulroney. (See washingtoncitypaper.com for venue information) My little pOny: tHe MOvie The ponies must rally together to combat the dark forces that threaten Ponyville in this movie based on the popular television show My Little Pony: Friendship is Magic. Starring Uzo Aduba, Emily Blunt, Kristin Chenoweth, and Liev Schreiber. (See washingtoncitypaper.com for venue information) prOfeSSOr MarStOn and tHe wOnder wOMen Luke Evans stars as psychologist William Moulton Marston in this true story about how he created the iconic comic book character Wonder Woman.

Co-starring Rebecca Hall and Bella Heathcote. (See washingtoncitypaper.com for venue information)

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Contents: Adult . . . . . . . . . . . . . . . . . . . . . . . 38 Auto/Wheels/Boat . . . . . . . . . . . 39 Buy, Sell, Trade Marketplace . . . . . . . . . . . . . . . . . 38 Community . . . . . . . . . . . . . . . . . . 39 Employment . . . . . . . . . . . . . . . . . 38 Health/Mind . . . . . . . . . . . . . . . . . . . .

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Classified Ads Print & Web Classified Packages may be placed on our Web site, by fax, mail, phone, or in person at our office: 734 15th Street, NW Suite 400 Washington, D.C. 20005 Commercial Ads rates start at $20 for up to 6 lines in print and online; additional print lines start at $2.50/ line (vary by section). Your print ad placement plus up to 10 photos online. Premium options available for both print and web may vary.

Adult Services Pretty 28 year old. Full body massage. Open 10am-6pm. Call 571-286-9484. Virginia.

TS COFFEE - hot black sweet and creamy just how you like it. 770294-4290.

Legals SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2017 ADM 001045 Name of Decedent, Michele Laverne Reynolds, Name and Address of Attorney, Rashida I. Sims, 1218 Barnaby Terr., S.E., SE Washington, DC 20032. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Mikal J. Reynolds, whose address is 1218 Barnaby Terr., S.E., Washington, DC 20032 was appointed Personal Representative of the estate of Michele Laverne Reynolds who died on May 12, 2017, without a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 3/28/2018.

Claims against the decedent shall be presented to the undersigned with a copy to the Register of Wills or to the Register of Wills with a copy to the undersigned, on or before 3/28/2018, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 9/28/2017 Name of Newspaper and/or periodical: Washington City Paper/ Washington Law Reporter Name of Person Representative: Mikal J. Reynolds TRUE TEST copy Anne Meister Register of Wills Pub Dates: Sept 28, Oct 5, 12.

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.

Legals

Rooms for Rent

Education

D.C. BILINGUAL PUBLIC CHARTER SCHOOL NOTICE: FOR REQUEST FOR PROPOSAL

Rooms for rent in Cheverly, Maryland and College Park.

Shared bath. Private entrance.

W/D. $750-$850/mo. including utilities, security deposit required. Two Blocks from Cheverly Metro. 202-355-2068, 301-7723341.

Invitation for Bid Food Service Management Services Rocketship Education DC Public Charter School

D.C. Bilingual Public Charter School in accordance with section 2204(c) of the District of Columbia School Reform Act of 1995 solicits proposals for vendors to provide the following services for SY17.18: •IT Maintenance & Repair Services •Computer IT Support Services Proposal Submission A Portable Document Format (pdf) election version of your proposal must be received by the school no later than 4:00 p.m. EST on Monday, October 23, 2017.

Proposals should be emailed to bids@dcbilingual.org No phone call submission or late responses please. Interviews, samples, demonstrations will be scheduled at our request after the review of the proposals only.

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

Rooms for Rent Capitol Hill - H St. NE Corridor - Furnished Rooms Available: Short-term or Long-term.

The space includes: free utilities, free WiFi, W/D, and Kitchen use. Rental amount is just - $1,100/month! Near major bus lines, Trolley, and Union Station - visit my website for details and pictures www.TheCurryEstate.com and/or call Eddie @ 202-744-9811.

Business Opportunities PAID IN ADVANCE! Make $1000 A Week Mailing Brochures From Home! No Experience Required.

Helping home workers since 2001! Genuine Opportunity. Start Immediately! www.AdvancedMailing.Net

Computer/Technical Information Technology Project Manager (Multi Openings w/National Placement out of Loudoun County, VA). MS in either, Comp’s, Eng’g, Info Systems, IT, Mngmnt, Business or related fi eld. Foreign educ equiv accepted. Any suit combo of educ, training or exp accepted. Although no exp req’d candidate must have coursework or internship in Info Tech Project Mngmnt; Info Systems Infrastructure; Info Systems Analysis; & Comp Systems Architecture. Able to travel/relocate to unanticipated client sites as needed. 9-5, 40 hrs/wk. Salary $111,654Yr. Send resume & Ref# ITPM-0417 to Asta CRS, Inc. 44121 Harry Byrd Hwy, Suite 230, Ashburn, VA 20147[maps.google. com] or resumes@astacrs.com.

Asta CRS, Inc. is EOE M/F/V/D

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Rocketship Education DC Public Charter School is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/ or CACFP supper meals to children enrolled at the school for the 2017-2018 school year with a possible extension of (4) one year renewals. All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifi cations outlined in the Invitation for Bid (IFB) such as; student data, days of service, meal quality, etc. may be obtained beginning on October 13, 2017 from Larisa Yarmolovich at (860) 235-4459 or lyarmolovich@ rsed.org: Proposals will be accepted at 2335 Raynolds Place, SE Washington DC, 20020 on November 8, 2017 not later than 4:00 PM All bids not addressing all areas as outlined in the IFB will not be considered.

Financial Services Over $10K in Debt? Be debt free in 24 to 48 months. No upfront fees to enroll. A+ BBB rated. Call National Debt Relief 844-8315363.

Clothing/Jewelry & Accessories Like New-Professional Gold/ Silver Coin Bra and Belt Belly dance Costume-$100. Large coins-bra-size 40D, belt size 42 inches, adjustable. Like New. Great for belly dancing or Halloween. From Egypt. It originally cost 200, Please call/text Joy at 202-333-1576. Cash only and or best offer.

Garage/Yard/ Rummage/Estate Sales

HUGE SALE THEATRICAL INVENTORY 3 Days ONLY - Columbus Weekend October 7, 8, 9th 9am-4pm Morgan Co. Self-storage 10925 Valley Rd. Berkeley Spgs.

WV Costumes-Props-Vintage-Military-Children’s costumes-FabricHats-Hat boxes-Formals-Lighting-Mics-Sound & Electrical.

Donations considered.

Cash and CC only. Must haul same day. Email: divalynch@ aol.com

Miscellaneous NEW COOPERATIVE SHOP! THINGS FROM EGPYT AND BEYOND 240-725-6025 www.thingsfromegypt.com thingsfromegypt@yahoo.com SOUTH AFRICAN BAZAAR Craft Cooperative 202-341-0209 www.southafricanbazaarcraftcoo perative.com southafricanba z a ar @hotmail. com WEST FARM WOODWORKS Custom Creative Furniture 202-316-3372 info@westfarmwoodworks.com www.westfarmwoodworks.com 7002 Carroll Avenue Takoma Park, MD 20912 Mon-Sat 11am-7pm, Sun 10am-6pm “Foreign Service Agent,” Teen Book Ages 12-19, by Sidney Gelb. www.barnesandnoble.com, 1-800-843-2665. Order today!

HUGE MULTI-FAMILY YARD/ BAKE SALE on Sat. 10/14 from 10-2 at 3526 Mass. Ave. NW, DC. Furniture, electronics, toys, books, household and lots more.

GREAT DEALS!! Rain or Shine.

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FIND YOUR OUTLET. RELAX, UNWIND, REPEAT CLASSIFIEDS HEALTH/MIND, BODY HUGE BENEFIT MULTI-FAMILY YARD/BAKE SALE @3526 & Mass.

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RELAX, UNWIND, Flea Market every Fri-Sat 10am-4pm.

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