Washington City Paper (October 18, 2019)

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NEWS: THE STORY BEHIND D.C.’S BIG DIGITAL SIGNS 4 SPORTS: MYSTICS HAVE NO TIME FOR A PARADE 6 ARTS: A BALLET COMES TOGETHER IN 14 DAYS 12

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INSIDE

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COVER STORY: UNMUTED

8

Advocates and activists take different paths toward a common goal: preserving and expanding D.C.’s signature go-go sound.

DISTRICT LINE 4 Loose Lips: Documents detail Digi Media’s misdeeds and desires.

SPORTS 6 No Rest for the Cheery: Days after winning the WNBA championship, Mystics players are scattering across the globe to earn money in international leagues.

ARTS 12 Fast Dance: The Washington Ballet births a new ballet in less than three weeks.

14 Curtain Calls: Thal on Flying V Theatre’s Crystal Creek Motel and Klimek on Signature Theatre’s Escaped Alone 16 Speed Reads: Sarappo on Leslie Jamison’s Make It Scream, Make It Burn and Ottenberg on Sarah Blake’s The Guest Book 17 Short Subjects: Zilberman on Parasite

DARROW MONTGOMERY

CITY LIST 19 23 23 24

Music Books Theater Film

24 25 25 26

Crossword Savage Love Scene and Heard Classifieds

DIVERSIONS

On the cover: Anwan “Big G” Glover, photograph by Darrow Montgomery

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

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DISTRICTLINE LOOSE LIPS

Throwing Up Signs Recently unsealed documents show Digi Media’s scheme to skirt D.C.’s sign regulations.

Recently unsealed documents in a lawsuit brought by the D.C. Office of the Attorney General against a digital sign company reveal the company’s internal efforts to skirt the District’s signage restrictions. The documents, which were made public in late September, also reiterate ties between Digi Outdoor Media’s former CEO, Don MacCord, who is currently in federal prison for crimes related to his work at Digi, and his buddy, Ward 2 Councilmember Jack Evans.

Among the unsealed records is a one-page document written by MacCord that describes his previous success using Evans to help revise D.C. sign regulations “so that no other sign companies could come in and compete for locations or try to obtain new permits.” Ultimately, MacCord sought to profit off what he believed was a loophole in D.C.’s sign regulations that would allow his company to install LED advertisements around town.

“We were able to achieve a unanimous vote on the legislation and had the chairman of the financial committee, Council Member Evans, personally endorse our new sign program and become a strong advocate for what we are working on today,” MacCord wrote.

MacCord pleaded guilty in federal court in September 2018 to charges of conspiracy to commit wire fraud stemming from his role as Digi Outdoor Media’s CEO. The company later became a joint venture called Digi Outdoor Communications, then changed its name to Lumen Eight Media Group to distance itself from MacCord.

In April, MacCord was sentenced to 30 months in prison and ordered to pay about $1.4 million in restitution. He’s scheduled to be released in 2021, according to the Bureau of Prisons.

Evans is now the target of a federal law enforcement investigation related to his relationship with MacCord and clients of his private consulting business. A spokesperson for Lumen Eight tells LL the company will fully cooperate with all investigations and declined to comment further.

The civil lawsuit in D.C. has dragged on since August 2016. The attorney general’s office and Digi have each asked the judge to rule whether the company can keep the signs it already installed, and continue to put up more,

or whether they must be removed.

The OAG argues that Digi installed signs on the outsides of buildings without permits, tried to conceal its efforts—sometimes by literally covering them with vinyl sheets—and tried to cash in on MacCord’s relationship with Evans to “save the sign scheme and close the market to any competitors,” according to the office’s motion for summary judgment.

Digi (now Lumen), in its motion, argues that an exemption in the District’s building code for signs “within a building” allowed it to install the signs on the ex te ri o r o f buildings, as long as they were beneath an overhang or generally within the b u i l d i n g ’s footprint. The company also argues that a 2016 emerJack Evans gency rule that prohibited the company from installing its signs was not properly enacted.

The two sides will make their cases in court to Judge Florence Pan on October 28.

Darrow Montgomery/File

By Mitch Ryals

the oaG aRGues in court documents that MacCord was aware of the District’s sign restrictions as early as 2010. His strategy, the OAG believes, was to quickly install the signs around the District without applying for permits and hope the government didn’t notice.

If the D.C. Department of Consumer and Regulatory Affairs (DCRA), the agency in charge of issuing permits and enforcing signage regulations, tried to force him to take the signs down, MacCord would claim that he had property rights, giving him standing to sue the District, the OAG argues in court records.

“The Office of the Attorney General believes its case is strong because it rests on a straightforward reading of the sign code,” an OAG spokesperson writes in an emailed statement. “Lumen Eight actively concealed its actions to evade longstanding permitting requirements. We are confident the District will prevail in Court.”

4 october 18, 2019 washingtoncitypaper.com

In one portion of the unsealed records, D.C.’s then-acting Chief Building Official Jatinder Khokhar emailed Digi’s lawyer on Aug. 17, 2016, to ask that the company remove an LED display sign it had installed at 111 Massachusetts Avenue NW. If Digi failed to remove the sign, DCRA would do it for them and send them the bill, the building official wrote.

Digi’s lawyer, Edward Donohue, forwarded the request to MacCord, who wrote back: “Ed you need to let them know that we will bring every type of suit possible against them and that Douglas Jemal and Digi forbid them from setting foot on this property.” Jemal, a wealthy developer in D.C., owns the Massachusetts Ave. NW building through his company, “Jemal’s Darth Vader LLC.” (Generally, Digi installed signs after getting lease agreements from property owners.)

Less than 20 minutes later, MacCord forwarded the DCRA email to Evans and lobbyist David Wilmot.

“David and Jack, DCRA is getting very out of line,” MacCord wrote. “We need to get them to back off. Please read the email chain and let me know what you guys think.”

Evans, writing from his personal AOL email account, responded with instructions for MacCord to call his chief of staff, Schannette Grant.

“Will do Sir. See you Saturday,” MacCord replied.

Evans did not respond to LL’s emailed questions.

Six days before DCRA weighed in, MacCord and Digi cut a check to Evans’ private firm, NSE Consulting LLC, for $25,000—a scanned image of which is part of the unsealed materials.

The check is one of two that Digi gave to Evans, which were first reported by the Washington Post. Digi also issued Evans’ consulting firm 200,000 shares of stock in the company. Evans

has previously said he returned the checks and the stock, the Post reported.

On the same day that MacCord was fending off emails from DCRA, his associates were planning their installation schedule, which included working at night and on weekends, the unsealed emails show. The OAG argues in its motion that the after-hours work was a deliberate effort to avoid DCRA inspectors.

That strategy came right from the top. In response to an associate’s emailed question on Aug. 22, 2016, about how to respond to DCRA’s order to stop installing signs MacCord wrote “Ignore and get it up. Do everything after hours.”

By December 2016, Evans proposed emergency legislation that would have nixed the OAG’s lawsuit and grandfathered in MacCord’s signs. Evans later withdrew the bill when it failed to gain support.

Another piece of evidence the OAG uses to support its argument that MacCord and his company lobbied Evans in order to save the sign business is an email from Digi’s then-CFO Shannon Doyle asking the company’s employees to bundle campaign contributions for Virginia Democrat LuAnn Bennett, who lost to U.S. Rep. Barbara Comstock in the 2016 general election.

“David Wilmot and Jack Evans have asked that we each personally contribute as much as possible to this campaign,” Doyle wrote. “The ask is $1k and its short notice but really need to make it happen. Please fill out the attached sheet and overnight with check to Don at 500 L St NE Washington DC 20002. Thanks.” leGal tRoubles seem to have quelled MacCord’s monomaniacal desire to plaster D.C. with signs and get rich doing so. In March of 2019, before he was sentenced, MacCord wrote to US District Judge William Alsup to beg for mercy. In the letter, MacCord informed the judge of his small apartment and of his fall from digital sign mogul to Uber and Lyft driver.

He boasted of his early business success and compared himself to “a champion quarterback” who “had the gift of looking out over the entire landscape and spotting the winning play.”

MacCord’s letter shifted some blame to his alcoholic father, his abusive mother, and to an ex-wife, whose irresponsible spending, he wrote, drove his desperation for success. He also acknowledged that he forged documents, lied in a deposition with the Securities and Exchange Commission, and broke the law.

“I stand before you embarrassed and humiliated,” he wrote. “I broke the law and did harm to my investors and my family. I am shocked that I acted so recklessly when I have been blessed with so much. There is no excuse for my illegal actions and I am prepared to accept the punishment I deserve.”

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Kelyn Soong

SPORTS

It’s happening: The Washington Nationals are going to the World Series. washingtoncitypaper.com/sports

BASKETBALL

No Rest for the Cheery The Mystics don’t have much time to celebrate their title because many of them play overseas in order to make an adequate living.

One day after winning the WNBA championship, a bleary-eyed Emma Meesseman stood on the court at the Entertainment and Sports Arena in Ward 8 and thought about how she needed to pack.

Meesseman, the WNBA Finals MVP, had to board a flight back to her native Belgium the next day. She would then have a week or two to catch up with family and friends before going off to Russia where she competes for UMMC Ekaterinburg, a professional women’s basketball team she has played on since 2016.

“I’m used to it,” Meesseman says. “I’ve been doing it for a couple of years already.

We’ve had several championships in Russia we just don’t celebrate because everybody goes home ’cause we have a flight in the night. It’s kinda sad, but I’m used to it.”

This is the life of a WNBA player. The Mystics won their first championship in franchise history on Oct. 10, rallying from a halftime deficit to beat the Connecticut Sun, 89-78, in front of a sold-out crowd at home during a decisive Game 5. But instead of sticking around D.C. to have a parade in front of adoring fans, the Mystics returned to their home court on Oct. 11 for a mid-afternoon rally.

They didn’t really have a choice. Unlike many male professional athletes, WNBA players often have to play overseas during their league’s off-season in order to make an adequate living. In addition to Meesseman, six other Mystics players on the active roster will be flying to different countries to play for their respective foreign teams in the coming weeks. Natasha Cloud and Aerial Powers are headed to China, Ariel Atkins is playing in Australia, Kim Mestdagh will go to France, Myisha Hines-Allen is competing in South Korea, and Shatori Walker-Kimbrough will fly to Hungary.

“It’s really hard, and I think a lot of people don’t understand our world,” says Cloud.

“We play here for three or four months, possibly pushing that four-and-a-half mark. Then we got to go overseas right away. Their season has already started. When you’re talking about bringing in American players and paying them

Darrow Montgomery

By Kelyn Soong

Natasha Cloud an amount that you do, teams want you immediately … So a [fall] parade in any sense is not even possible. A parade isn’t [the city] not doing it for us, it’s us not being able to do it for the city. So it sucks.”

The Mystics plan to have a parade in the spring before next season and have been engaged in other activities this week. The team traveled up to New York City for an appearance on Good Morning America on Monday and Elena Delle Donne threw out the first pitch at Nationals Park on Tuesday night before the Washington Nationals beat the St. Louis Cardinals, 7-4, in Game 4 of the National League Championship Series to reach the World Series.

Cloud, who took a financial hit last season by staying in D.C. to do promotional work for the team’s Monumental Sports & Entertainment ownership group, doesn’t put any blame on the city, her team, or organizers for the quick celebration turnaround, but calls the situation “disappointing.”

According to the Washington Post, players made a base salary of between $39,000 and $115,000 for the season in 2018, before potential bonuses. Players can make more than 10 times

6 october 18, 2019 washingtoncitypaper.com

the maximum amount while playing overseas. In 2015, three-time WNBA champion Diana Taurasi accepted a $1.5 million offer from UMMC Ekaterinburg to sit out the WNBA season.

Last fall, the league’s Players Association voted to opt out of its collective bargaining agreement with the WNBA following the end of this season. The league named Cathy Engelbert as its commissioner in May, and the former Deloitte chief executive will play a pivotal role during labor negotiations. “My team and I are working very hard to bring in potential sponsors who share the same commitment as we do in growing women’s sports and lifting up women more broadly in society,” Engelbert told reporters last month before the WNBA Finals.

The league reportedly pays about 20 percent of its total revenue to players, while NBA players get about half of their league’s revenue. WNBA players like Las Vegas Aces guard Kelsey Plum have clarified that players aren’t asking for the same kind of pay as NBA players, but that they want a bigger cut of the league’s revenue, especially because players often need to compete year-round to make ends meet.

“It’s a toll,” Cloud says. “My body, it just went through a WNBA season in a Game 5 series, Game 4 semis. So I’m a little beat up right now. I’m fighting for two weeks with my [Chinese] team just to kinda sit down and allow my body to reset. But it’s tough. When you’re talking about why we’re fighting for equality and equal pay and opting out of our CBA, this is why, because we put ourselves in a situation that injuries are welcome in a sense. We try to take care of our bodies the best we can, but in order to be financially stable we need to go overseas and play.”

Kristi Toliver is expected to return to her role as an assistant coach with the Wizards this season. Toliver, who has won championships at the University of Maryland and with the Los Angeles Sparks, made only $10,000 last year for her work with the Wizards due to the team’s ownership structure, according to the New York Times. The WNBA had determined that Toliver’s pay needed to come out of the $50,000 WNBA teams are given to pay players for offseason work.

Details of her salary this year have not been released.

“It wasn’t an easy decision,” Toliver told the Times in December. “For me, I looked at the pros and the cons, the pros obviously being I get to rest my body, it being my first time in 10 years of not playing year-round, not going overseas. Obviously there are financial burdens that come with that, but this is also a very exciting opportunity that I want to take advantage of, being home, still being around the game, around the best players in the world, around the best coaches in the world.”

Powers, a Mystics forward, calls the quick turnaround after the WNBA season “very difficult” and believes WNBA players go overseas purely for financial reasons. She will travel back to Detroit, where she grew up, to see family for a few days before heading off to China to play for the Guangdong Vermilion Birds.

“All of the reasons are definitely financial,” Powers says. “I don’t think anyone just goes because we like it. It’s all financially, because it’s more beneficial for us.”

She envisions a different future for WNBA players—one in which the athletes have more power over their offseason schedules.

And maybe then they’d have time for a championship parade.

“Hopefully things turn around soon ’cause honestly, I feel like I can speak for everyone when I say if we had a chance to make more money like we make overseas here, most of us would not return overseas,” Powers says.

“And if we did, it would be more of our choice.

Right now it’s not our choice ... It’s something we have to do.”

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MUSICIANS, ACTIVISTS, ADVOCATES, AND SCHOLARS ARE ENERGIZING A MOVEMENT TO PRESERVE AND CELEBRATE THE MUSIC THAT MAKES THE CITY.

LONG LIVE GOGO

#DONTMUTEDC

—

Backyard Band

Un MUTED

by ALONA WARTOFSKY

8 october 18, 2019 washingtoncitypaper.com

photos by DARROW MONTGOMERY

T

he night Backyard Band played on the National Mall, the Eastern High School Marching Band and its graceful Lady Gems dance line led the Million Moe March down 7th Street NW. On that September night, Backyard Band leader Anwan “Big G” Glover and vocalist Leroy “Weensey” Brandon Jr. were among those marching against gun violence while advocating for statehood and unity across the DMV. Down on the Mall, activists—including the D.C. chapters of Black Lives Matter and the post-Parkland March For Our Lives—were out in force. Long Live GoGo, the same organization behind the remarkable Moechella rally four months earlier in May, presented the event. Once again, Backyard Band headlined, this time with cameos from rappers Wale and Pinky KillaCorn. Statehood coalition 51 for 51 distributed free T-shirts, but more folks wore various DontMuteDC tees. Weensey’s shirt read “Go-Go Been Here Way Before You.” Smaller than Moechella but approaching 2,000 people, the crowd ranged from wideeyed toddlers in strollers to elderly gentlemen who brought their own folding lawn chairs.

Young girls danced joyfully, pigtails flying, near teenage boys in locs who nodded to the beats, their phones held high. Before Backyard’s set, Long Live GoGo’s Justin “Yaddiya” (or just “Yaddi”) Johnson chatted up the audience with the seamless style he perfected during the months he spent emceeing the anti-Trump Kremlin Annex protests.

Yaddi: “In ya best Big G voice, can I get a Moechelllaaa?”

Almost everybody: “Moechelllaaa!”

After the band’s set, as the activists packed up their tables, Big G stood on stage, where his lanky form seemed to tower almost as high as the obeliscal monument across the grass. He surveyed the dissipating crowd and leaned down to grasp a few outstretched hands.

“This was awesome, beautiful down here on the Mall—the shots, the people, the energy—everything,” he said. “I knew this could happen, but you never think that it will because how they try to mute us and put us in one little box in the corner. Just to have this happen and all these people come out and really enjoy the music. Like I tell people all the time, just give us a chance.”

A

s D.C.’s preeminent go-go act, Backyard Band is accustomed to playing multiple shows each week. But in all of its 28-year history, Backyard had not played on the National Mall or at the National Museum of African American History and Culture until last month, when they performed on a Thursday for the Million Moe March, and then four nights later at the museum as part of several days of extraordinary programming courtesy of DontMuteDC. Six months after Howard University senior Julien Bloomfield’s #Don’tMuteDC tweet captured the hearts of a populace fed up with being marginalized by gentrification, the movement that took its name and motto from that tweet continues the good fight. The first bat-

tle—versus residents of Shaw luxury high-rise The Shay, who tried to silence the go-go music usually playing outside a nearby store—was easily won. The speakers playing go-go remain right back where they belong outside Donald Campbell’s Central Communications, better known as the Metro PCS store, at 7th Street and Florida Avenue NW. Since then, the DontMuteDC movement has shown staying power and some tangible achievements. Longtime community activist Ron Moten and Howard University professor Natalie Hopkinson, whose book Go-Go Live: The Musical Life and Death of a Chocolate City details gentrification’s impact on D.C.’s African American population, are the leaders of DontMuteDC. (While the movement initially used the hashtag, now it’s generally dropped.

“This is bigger than a hashtag,” says Moten.)

DontMuteDC has directed its energies toward fighting the damage of gentrification and the region’s gross disparities in health care.

Concurrently, a separate group called Long Live GoGo, which Yaddi describes as being dedicated to “cultural sustainability and mobilization,” is taking on various social justice issues, including statehood, gun violence, and the school-to-prison pipeline. So far, Long Live GoGo’s Moechella, held at the Franklin D Reeves Municipal Center at 14th and U streets NW, remains the largest of the protests with an estimated turnout of 5,000 people.

Both movements have raised go-go’s national profile. National news outlets covered the early days of the Metro PCS protests, and the controversy was discussed on both New York and satellite radio. In June, even the BET Awards took note with a go-go medley featuring EU’s Gregory “Sugar Bear” Elliot and Rare Essence’s James “Funk” Thomas performing in front of a backdrop that read “Go-Go Madness #DontMuteDC.” Here, the movements are energizing the gogo culture in a variety of ways. Not only have they changed the way that the rest of the world views go-go, they have also changed the way the go-go community perceives itself. For decades, go-go has been a resilient and self-sufficient subculture that engendered a sturdy underground economy; in it, poor folks could operate a variety of black-owned businesses to provide for their families and send their kids to college. But with the advent of DontMuteDC, something has irrevocably changed. Now and moving forward, go-go represents cultural pride—and a defiant pushback against the forces of gentrification.

“Go-go has now been politicized,” says We Act Radio co-founder Kymone Freeman, who has long advocated on behalf of residents east of the river. “The mere act of wearing a T-shirt that says ‘Go-Go’ or ‘I Love Go-Go,’ or even just playing go-go is politicized. The art form is now seen as the rebellious drums against gentrification and displacement. We’ve seen this go all the way to the BET Awards, which is not known for their activism.”

Long Live GoGo’s Million Moe March took place on the same night, Sept. 19, that DontMuteDC held a “First Ladies of Go-Go” event at the Eaton Workshop downtown. The next

night, DontMuteDC followed up with “Battle of the Bands & BBQ: DC VS. NOLA,” a free event open to anyone who RSVPed, at the Gateway Pavilion at St. Elizabeths East Campus in Southeast. The lineup included Big 6 Brass Band of New Orleans, along with local acts Black Alley and Proper Utensils. That Sunday, Backyard played again, this time with a panel discussion preceding their performance: “The Sound of Chocolate Cities: Exploring Gentrification Through Music and Culture,” which compared the gentrification struggles of D.C., Atlanta, and New Orleans.

“With DontMuteDC, we are very targeted and specific about everything that we’re doing,” says Hopkinson. “The goal is to stop displacement, gentrification, and cultural erasure, so everything that we do is something that’s trying to address that, and we want to be really intentional.”

Since April, DontMuteDC leaders have held weekly public meetings at Check It Enterprises, the business and community development outfit on Martin Luther King Ave. SE, where Moten is a partner. They have organized multiple rallies supporting institutions like Southeast’s United Medical Center and the city’s last halfway house. They have helped the Smithsonian to archive the history of go-go and showcase the music. Their plans include the creation of a go-go museum as well as reintroducing comprehensive music education to the city’s public schools. DontMuteDC is also supporting Central Communications’ efforts to launch a go-go streaming service with upwards of 30,000 live recordings. Next month, DontMuteDC will present a Go-Go Awards event at Ballou Performing Arts Theater featuring tributes to the go-go stars who attended Ballou High School.

“Go-go has had movements before when hundreds of people came out and we had small victories,” says Moten. “This time, it caught on beyond the go-go industry. What happened for [Central Communications owner] Don Campbell was a much-needed victory, and it was symbolic… Now, everywhere in our community people are having meetings, trying to do something. There is resistance.” While the media narrative in the early days of the Metro PCS protests suggested that Bloomfield spontaneously tweeted about go-go being silenced outside the store, the truth is that she chose her words carefully. “To me, the word ‘mute’ just sounded right,” she says. “When I think of mute, it was like you see something is still there, but you’re not acknowledging it; you’re just completely cutting it out of the picture.”

Hopkinson agrees that “mute” is the perfect word to capture what decades of gentrification have done to go-go. “When you’re talking about muting go-go, you’re talking about muting voices,” she says. “We need a voice to proclaim, I’m still here. I exist. I have this culture that has roots in West Africa and AfroLatin rhythms. That’s so important, and it’s an easy way to remind people how strong and resilient black culture is, and that we’re not just going to go away.”

Long Live GoGo’s goals are presented somewhat differently. “We have a strong in-

terest in affordable housing, definitely statehood, and we’re always talking about violence, unity, and keeping things peaceful,” says Yaddi, who refers to himself as “an advocate, not an activist” and is planning a mayoral run in 2022. “We’re advocating cultural sustainability. We’re advocating for tomorrow.”

When both organizations planned conflicting events on the same night in September, neither chose to reschedule. But most in the community downplay any rivalry. After all, their goals are not so different.

“Both groups are working to leverage our political capital,” says WHAT?! Band leader Michelle Blackwell. “They’re both doing something that we should have done a long time ago: realizing that the go-go community can be a powerful constituency. We can be our own super PAC. We have a voice, and we can influence local politics in a very substantial way if we just put our minds to it.”

W

hen Chuck Brown created the go-go sound in the mid-’70s, his intention had more to do with creating a style that his audiences would dance to than any overt political messaging. As the gogo sound took over the city in the years that followed, most go-go was party music that served the important function of keeping young people off the streets.

Despite the scene’s proximity to the federal government, politics rarely entered the music, though oldheads may remember EU’s chant “There’s a bill up on top of Capitol Hill.” Still, go-go artists regularly brought crowds to annual Malcolm X Day celebrations in Anacostia. And many artists did address social issues, particularly the financial pressures prevalent in D.C.’s underserved communities. Rare Essence’s 1983 “Back Up Against the Wall” portrayed the rising desperation that comes when ends don’t meet. And the young members of the Junkyard band linked Anacostia’s hardships with Reaganomics; their 1986 “The Word” complained that “Reagan gave the Pentagon the food stamp money.”

Other go-go records, including Little Benny’s 1987 cautionary tale “Cat in the Hat,” took on drug use. Responding to the devastating homicide rate that accompanied the crack epidemic in the late ’80s, some of the music’s top stars collaborated on the anti-violence track “D.C. Don’t Stand for Dodge City.” In 1987, the Ad Hoc Committee to Save Go-Go campaigned against a curfew aimed at late-night shows, and in 1990, the D.C. Committee to Save Our Music advocated on behalf of the music, particularly focusing on radio airplay.

But here’s an awful truth: Even before gentrification picked up, go-go has been systematically censured over decades. Because of ignorance and racism, the distinctly African American genre was blamed for nearly everything that went wrong in impoverished neighborhoods. During the late ’80s when the crack cocaine epidemic wreaked havoc on cities across the country, the media, politicians, and police scapegoated go-go, unwilling or unable to determine the true causes of street violence.

There’s no denying that the music has

washingtoncitypaper.com october 18, 2019 9

Leroy “Weensey” Brandon Jr. at the National Museum of African American History and Culture

experienced a renaissance in the past decade. These days, it’s often included in official events around town, and Backyard even played the Kennedy Center last year. Still, the music continues to be targeted—with the District’s Amplified Noise Amendment that sought to silence street performers, as well as the Prince George’s County CB-18 Dance Hall Law that shuttered many go-go venues.

After continued systematic marginalization, the Metro PCS debacle seemed different.

For one thing, go-go won. And then there was something else, perhaps a perfect storm of Moten’s experience and expertise in navigating city government, Hopkinson’s informed and eloquent defense of go-go culture, and Yaddi’s social media savvy and deep connections with the younger generation. Also, this time many of the musicians seemed to be more actively engaged.

“The disruption of the go-go culture has awakened a sleeping beast,” says Charles Stephenson, co-author of The Beat: Go-Go Music From Washington, D.C. and an early manager for EU. As one of the organizers of Malcolm X Day and a founder of the late ’80s D.C. Committee to Save Go-Go, Stephenson has worked

Backyard fans at the National Museum of African American History and Culture on behalf of the music for decades. “Now the bands are more integral to the movement than we’ve seen in the past when go-go and politics intersected, and we’re seeing a lot of millenni-

10 october 18, 2019 washingtoncitypaper.com

als involved,” he says.

Stephenson hopes that this momentum will lead people to get out and vote. “People need to understand that not to do so is to acquiesce,

to allow gentrification to run right over them,” he says.

Chris Procter, 29, is one of those millennials who has stepped forward to support go-go culture. The founder and leader of bounce beat band TOB views the group’s participation in both Long Live GoGo and DontMuteDC events as an obligation. “We needed to be there standing up with our community, standing up for what we believe in,” says Procter.

Recently, Procter has added The Temptations’ 1971 protest song “Ball of Confusion” to TOB’s sets. “We’re seeing gentrification.

We’re seeing people dying, losing their lives.

People are stressed out,” Procter says. “Ron Moten taught me that I could use my popularity to uplift our community.”

Even with all these efforts in full swing, go-go still is regularly excluded. In May, Rare Essence collaborated with local rappers Lightshow and Noochie to release the track “Don’t Mute DC,” but local radio largely ignored the single.

And in August, the band celebrated its 40th anniversary with a free concert at Fort Dupont. The show attracted an audience of ap-

Blackwell is also looking to DontMuteDC to help solve another significant problem: A number of go-go artists have died remarkably young, possibly due to lack of adequate health care, including “Little Benny” Harley, Ivan Goff, and most recently, EU guitarist Valentino “Tino” Jackson. Blackwell believes DontMuteDC should examine this issue. She suspects that many of the artists who have died may not have had health insurance. “I’ve made it clear at these DontMuteDC meetings,” she says. “Gogo is not just going to be a means to an end. The artists and musicians need help as well.”

The view from the stage at the Million Moe March

B Florian Kroker

proximately 15,000, but where was the press?

A simple internet search of mainstream media yields nothing. Imagine any other local music group performing for an audience of that magnitude—would editors and producers consider that worthy of coverage? The District’s elites still regularly dismiss go-go culture, and that’s why these protests really matter. White Washington can ignore an audience of 15,000 in Southeast, but it cannot ignore Moechella shutting down the streets around the Reeves Center.

Rare Essence bandleader Andre “Whiteboy” Johnson believes that DontMuteDC’s injection of energy contributed to the Fort Dupont show’s turnout. “We’re hearing go-go blasting from cars like we did in the ’80s and ’90s,” Whiteboy says. “It’s too bad that it took an effort to mute one of the most famous and favorite go-go spots in town to raise awareness, but we are happy that the sound is pumping through the streets of D.C. again.”

According to Hopkinson, the continued survival of go-go is inherently political. “Everything about go-go is like it shouldn’t be there. That it shouldn’t actually exist; there shouldn’t be this industry that’s been around for more than 40 years providing jobs for people. There shouldn’t be something that has resisted mass culture, because hip-hop has really dominated youth culture,” she says. “Now is the time, while we have people’s attention, to institutionalize support for the music, provide support for the musicians and support the preservation of go-go.”

Many in the community are looking forward to what comes next. “Now that go-go is looked at as political, the question is whether it will become political,” says Freeman. “I challenge

so many of the artists … They need to look at themselves not as entertainers, but as leaders.

They need to educate themselves and inform the public. It’s not enough for them to bring an activist on in the middle of the set.”

“We’re at a crossroads now,” continues Freeman. “We have a lot of bands performing at political rallies. In fact, it’s gotten to the point that you can’t have a significant D.C. political rally without a go-go band performance.

That is an accomplishment, but we have to take it to the next level.”

L

ike most die-hard music fans, go-go folks love to debate the minutiae of the music. RE or BYB? Bounce beat or nah?

But one thing that is universally agreed upon is the value of public school music education. Music in the schools was a key element of go-go’s golden age of the late ’70s and ’80s, when the bands played multiple shows per week—sometimes three in a single night—and just about every neighborhood had a band.

School marching bands and orchestras fed well trained musicians to go-go groups. Donnell Floyd, who joined Rare Essence while he was still a student at Duke Ellington School of the Arts, was one of many high school musicians hired by area bands.

“Our go-go artists? They learned in public school. Government support of the arts was everything,” says Blackwell.

But funding for music in the school curriculum dried up during the late ’80s, a result of the decentralization of the management of school resources. Many high schools reduced arts programs. According to go-go historian Kato Ham-

mond, the impact on go-go culture was tremendous. “I strongly believe that those cuts played a part in the focus on percussion, where percussion became much stronger than any other instrument during the ’90s era, because the kids coming up could easily self teach themselves to play percussive instruments,” Hammond says.

DontMuteDC’s plan to help reintroduce a music curriculum in public schools may be its most crucial endeavor. “The only way this is gonna work is if we involve the youth,” says Go-GoRadio Live owner Nico Hobson. “The first thing we have to do is put music back in schools. If we can’t give the children a positive, creative outlet, how you gonna complain about children hanging out in the street? Music in the schools helps fully develop the brain and also gives kids options. We are limiting our children’s options, and that’s a sin within itself.”

While occasional programs like Teach the Beat offer valuable lessons on go-go’s history, they cannot replace quality music education.

Blackwell points out that enhanced music in the schools and other new public programs would be an all-around win. Summer programs could provide go-go artists with additional income during a time of the year when live shows typically slow down.

“Go-go artists and musicians are an untapped resource that can be utilized in summer youth programs or arts mentorship programs,” says Blackwell. “Families are coping with drugs and violence… and children are going through traumatic experiences.” She believes that go-go artists provide a positive outlet for young people. “We are perfectly capable of taking up the mantle.”

lackwell was one of the performers who participated at “The Ladies of Go-Go” at the Eaton Workshop the night of the Million Moe March. It comes as no surprise to her that during the performance, the hotel fielded a noise complaint from the condo across the street. Still, she is able to find a silver lining.

“One of the good things about gentrification is that we have some diversity in our audiences,” she says. The WHAT?! Band’s weekly Thursday shows at the Aqua often attract some white patrons. “They love go-go music,” she says.

On the other hand, some say there may be downsides to the go-go movements. Promoter Dawayne Nutt suspects that the rallies are keeping audiences away from weekly club dates. “What’s happening is that folks are going and supporting the events, but then they’re not coming out that week at all,” he says. “They’re thinking, ‘Oh, I can go see the band outside for free, so I’m not gonna pay the cover charge to see the band this week.’”

“DontMuteDC is great in terms of the messaging and getting the folks out, and those things are all fine and dandy,” adds Nutt. “However, they don’t translate in terms of building a fan base that’s coming out to support the bands.”

But so much is being gained.

The night Backyard Band played in the National Museum of African American History and Culture, the well dressed audience enjoyed a splendid buffet courtesy of the museum’s renowned kitchen. There was a celebratory mood in the air as folks posed for group pictures, and nearly everyone put down their plates when the band started its popular cover of Adele’s “Hello.” Several band members wore colorful, patterned shirts acquired last year during their historic trip to Ghana.

Like the band’s performances in Africa, the museum concert served as the highest affirmation for musicians who deserve so much more. Standing in the museum’s concourse atrium, Backyard timbale and conga player Keith “Sauce” Robinson imagined how his late parents would have experienced this night, and he thought about his children.

“Our accomplishments seem like they’re getting bigger and bigger,” he said. “Playing in Ghana gave me a great sense of pride. Our music is being respected in Africa, which is where the music started, and it’s being respected in the Museum of African American History. I feel a great sense of pride in our music. I felt that way before DontMuteDC, but that feeling is even greater now. I feel like I belong to something that’s special for generations to come.”

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washingtoncitypaper.com october 18, 2019 11

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D.C. author Sid Balman Jr. discusses the complexities of his debut novel Seventh Flag. washingtoncitypaper.com/arts

Fast Dance

Mary Scott Manning

An inside look at how a new ballet came together in 14 days

By Mary Scott Manning In mId-September, a sign posted on the notice board outside the Washington Ballet studio reads: “Please drop off pointe shoes and slippers to be dyed in the bucket near your dressing rooms by Friday, Sept 27th. Thank you!!”

Just weeks after the ballerinas’ traditionally pink satin pointe shoes are dyed bright red, the company will debut “RACECAR,” a fastpaced, 21-minute, John Heginbotham-choreographed ballet set to a percussion score.

The piece is part of The Washington Ballet’s season opener, NEXTsteps, a presentation of three original works meant to push the art form forward from Tchaikovsky to the 21st century.

Many ballet works performed today are familiar and faithful stalwarts, like Swan Lake,

Giselle, and The Nutcracker. With NEXTsteps, The Washington Ballet is doing something fresh—and taking a risk. As of Labor Day, “RACECAR” did not exist. The last of three pieces to be finished for NEXTsteps, it was choreographed in just 14 business days, from Sept. 3 to 20. From a stageside vantage point at a handful of rehearsals, the whirlwind creation of the ballet unfolds.

As a choreographer, Heginbotham is a hybrid. He studied concert dance at Juilliard and performed with modern dance company Mark Morris Dance Group for 14 years before founding his own, Dance Heginbotham. But his childhood ballet classes made him fluent in balletic vocabulary—pirouette, fouetté, tendu.

More often, though, his requests of the dancers are simple, visual, and in English: “It would be nice if that could look like a mechanical bull,” or “Make it more like a tem-

12 october 18, 2019 washingtoncitypaper.com

per tantrum.”

His corrections are gentle—“Can we do this?” and “Let’s try that”—characteristic of him and uncommon in classical ballet.

A choreographer typically takes the first few days to observe the dancers and choose the cast. Those who don’t make the cut eventually deduce as much. “You can kind of tell in the first few days who will be in it,” says Jessy Dick, a studio company dancer with The Washington Ballet.

But Heginbotham’s work involves two casts of 16 dancers. On Thursday, Sept. 5, most of the 35 dancers rehearsing in a practice room at the company’s Wisconsin Ave. NW location will perform in the final ballet. Heginbotham stands at the front, and all of the dancers stare at him, chess pieces waiting to be moved.

Upon his request, the dancers rise up on their toes, then come back to the floor with

quick, fluttering steps. “Can you just dirty it up,” Heginbotham asks. “Make it more sloppy, more violent.” The class laughs. Sloppiness is anathema to classical ballet. But they respond.

Heginbotham has long admired Julie Kent, artistic director of The Washington Ballet, former principal dancer at American Ballet Theatre, and all-around ballet legend. One Halloween, he dressed up as “Ghoulie Kent.”

During her 29-year tenure at ABT, Kent gained a reputation as a classical master. But her vision for this company is not simply to dance the canonical ballets. She wants to annually commission new works made in D.C., like “RACECAR.” The afternoon of Sept. 9, Kent watches as Heginbotham arranges 16 dancers in a circle and divides them into four groups. Each group follows the same choreographic pattern, but they start at different times. Space between the dancers expands and contracts by the half-second.

“Oh my God, it’s so complicated,” Kent says of the movements.

Choreographers usually map out a score mathematically, she explains. Behind even the simplest steps is a calculation of beats for the dancers.

There is choreography, and then there is costume design, another complex aspect of the endlessly revolving world that is building a ballet.

On Sept. 11, costume designer Maile Okamura visits the company. Okamura, who also performed with Mark Morris Dance Group, is a longtime Heginbotham collaborator.

Costume designers tend to “get the short end of the stick,” Okamura says. Choreographers want the freedom to make changes up until the performance itself. But changing the ballet—particularly who dances in which group—can change the costumes. Once production has begun, the whims of the dance maker become the headaches of the costume designer.

Okamura’s costume proposal for Heginbotham’s piece is four variations of white eyelet outfits, including Club Monaco jumpsuits and custom-made shirt-and-shorts sets. The quarter-inch-wide holes in the fabric reflect the hole punch sound in “Paper Melodies,” the eerie percussive composition serving as the work’s centerpiece. In addition to the sounds of a manual hole puncher, the sounds of a music box, old-fashioned hotel bells, and a ghostly chorus of voices are buried in the score.

When Julie Kent drops by the wardrobe room for a few minutes to say hello, wearing a white shirt dress and orange sneakers, she is unaware that her own outfit will find its way into the “RACECAR” costume design. After Kent leaves, Okamura decides her white eye-

let ensembles need bright shoes.

By Sept. 16, Heginbotham has scrapped the complicated circle from last week’s rehearsal.

“What I thought was going to be cool, it just, I don’t know,” he says. “It didn’t really look like… it didn’t look like anything.”

So, he introduces new choreography, an intimate pas de deux (dance of two), to dancers Tamás Krizsa and Sona Kharatian. The steps begin slowly and build to a gallop, in tandem with the music.

Heginbotham has the contours of the choreography laid out in his head. Kharatian and Krizsa should warily circle each other, then meet in the middle and lay their heads on the other’s shoulder.

“I’m just, I’m visualizing it like a toilet bowl,” Krizsa says.

“It is a swirl,” Heginbotham replies, smiling.

“He’s silly,” says Kharatian.

The choreographer holds his ideas loosely, working out the details, timing, and transitions alongside the dancers.

During a break, Washington Ballet marketing director Scott Greenberg asks Heginbotham, “What does this piece mean to you?”

This is critical knowledge for Greenberg’s team to start targeting ads, drafting press releases, and adjusting ticket prices. With the premiere in just over a month, promotion

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Heginbotham leads a rehearsal for “RACECAR.” needs to begin.

“To be honest, I don’t really know what this piece means to me,” Heginbotham says, trailing off.

On Sept. 19, the day before rehearsals end and Heginbotham returns to New York, the mood is light. The ballet is ready to be danced straight through for the first time. The ballet

master, Rubén Martín Cintas, sets up a tripod to film the rehearsal. Heginbotham takes a seat at the front, between the dancers and the mirror. “I’m, like, very nervous,” he says.

Nineteen minutes and 53 seconds later, the ballet ends—just short of his 21-minute target. The dancers are panting. Before leaving, each one approaches Heginbotham and

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thanks him, with a little curtsy or nod, a company practice.

During the next several weeks, Cintas stewards the ballet, fitting in a couple hours of practice each day between rehearsals for the upcoming performances of The Nutcracker. The dancers switch back and forth between classical pieces and this contemporary one, and the very different muscles, mindsets, and shoes required for each.

The women on the wardrobe team dye the dancers’ shoes red and rip the lining out of white Club Monaco jumpsuits, adding hems and stitches and straps.

Kent herself puts the finishing touches on “RACECAR.” Greenberg monitors ticket sales and ad spending, while Barbara Berti, the company’s public relations coordinator, sends out press releases and arranges for dance critics to attend opening night.

And finally, NEXTsteps will showcase the power and evolution of ballet at Sidney Harman Hall, from Oct. 23 to 27.

Back on Sept. 19, the dancers shine with sweat, their faces cherry blossom pink. After three weeks, “RACECAR” is nearly there.

“It doesn’t look like it,” says company apprentice dancer Victoria Arrea, “but we’re counting all the time.”

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washingtoncitypaper.com october 18, 2019 13

THEATERCURTAIN CALLS

ROOM TO GROW Crystal Creek Motel

Devised by Flying V Theatre Directed by Kelly Colburn, Robert Bowen Smith, Lee Liebeskind, Daniel Mori, Jason Schlafstein, Tonia Sina, and Aria Velz At the Silver Spring Black Box Theatre to Nov. 2 In storytellIng, the hotel has long served as a framing device for anthologies from Giovanni Boccaccio’s Decameron and Geoffrey Chaucer’s Canterbury Tales to the Duplass Brothers’ Room 104 on HBO. Theater troupes often use the same trope in developing evenings of short works––Flying V’s Crystal Creek Motel is the second time I have seen a company use this format of setting multiple stories in a single hotel room in the year-anda-half since my arrival in the District.

The central conceit is that the evening’s 12 stories take place over the 12 months between New Year’s Days 2003 and 2004––the year when Associate Artistic Director Lee Liebeskind lived in motels while touring with the National Players.

There are the expected neo-noir crime stories, romantic trysts, an addict on a binge, travelers seeking rest on the way home from a funeral or wedding, and comic skits, along with a pair of housekeepers (Erin Denman and Julieta Gozalo) cleaning up the messes in between. What Flying V brings to the format is a willingness to make things genuinely theatrical: Dance numbers break out, fantasy intrudes—and this keeps the evening mostly entertaining.

The ambition behind the show is great, and the performances are strong throughout, but few of the stories stick out beyond the note of a clever conceit. When, in “February” (directed

by Dan Mori), two wrestlers, the wiry Quincy Vicks and the buff James Finley, meet in Room 109 for a private match (choreographed by professional wrestling consultants Tim German and Joey Ibanez), it doesn’t take long to figure out that the body slams, holds, and throws are how these two grapplers find intimacy. It’s fun to watch, but the big reveal is nothing we haven’t figured out soon after they put their hands on each other. “August,” directed by Kelly Colburn, is an entertainingly macabre comedy featuring Paz López as “The Woman Who is About To Eat” and Linda Bard

in her recurring role as Debbie the food delivery worker, but the format doesn’t allow the story to have any consequences.

Of the show’s seven directors, Robert Bowen Smith seems to have the strongest sense of how to use choreography to tell a story and makes the most imaginative use of the set, as exemplified in “June.” It begins as a crime story about human trafficking, but becomes a tale of the trickster hero Coyote narrated in Spanish by López. (An English version of the text is included in the program.) Figures wearing Andrea “Dre” Moore’s exquisitely designed masks emerge from scenic designer Jos. B. Musumeci Jr.’s ingeniously concealed entrances, taking on the personae of owls, ravens, cacti, desperados, and the sunset, who inhabit a series of fantastical tableaux. If there is one piece from this show that contains the promise of great things should it ever be expanded into a longer, stand-alone play it is this one. Smith’s choreography and use of the set are also apparent in his other piece, “April,” in which a woman (Momo Nakamura), waiting for a reunion with an old flame, experiences a reverie about her younger self (Bard) and her lover (Vicks) as a modern dance trio.

Paul Deziel’s projections and Neil McFadden’s sound design reference the popculture and current events of 2003, that faraway yesteryear when mobile phones were merely phones, pagers were a status symbol, and peo ple still listened to music on compact discs and the radio, and McFadden is clued in to the entertainment value of malfunctioning technology. Yet despite the images from the Second Gulf War, the events of that year rarely relate directly to the stories, except obliquely in “October,” directed by Aria Velz, which features a young lesbian couple (Bard and Madeline Key) just a month before the Supreme Judicial Court of Massachusetts’ landmark decision in favor of marriage equality. Meanwhile, Amber Kilpatrick has given an appropriately dingy layer of paint to Musumeci’s set for Room 109, with its floor of aquamarine and goldenrod linoleum tiles and unglued brown carpeting.

While there is much to admire in the ambition, experimentalism, cast, and design team for Crystal Creek Motel, it is as important to tell an interesting story as it is to tell it in an interesting way. Sometimes a longer stay is better than full occupancy.

—Ian Thal 8641 Colesville Road, Silver Spring. $20-$40. flyingvtheatre.com.

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IT’S THE END OF THE WORLD. DO THEY KNOW IT? Escaped Alone

By Caryl Churchill Directed by Holly Twyford At Signature Theatre to Nov. 3 the horrors of the present moment may at last have outpaced those in the fevered imagination of Caryl Churchill, the prolific 81-year-old British playwright who for at least half her life has been without equal when it comes to formal daring. Escaped Alone, which first appeared at London’s Royal Court Theatre in 2016 and makes its D.C.-area premiere at Signature Theatre, is an apocalyptic primal scream that stymies the commercial calculus of theatergoing among its other riddles, running less than an hour long.

T h at’s m o re than sufficient time for you to become unmoored in the tempest of Churchill’s latest nightmare— well, not her latest; she’s written another half-dozen plays in the three years since this one—because she appears to have lost all patience with the conventional elements of drama like plot or character. She’s advanced into the realm of pure abstraction here, despite the serene setup: Three middle-aged women—Lena, Vi, and Sally— are chatting and occasionally singing at a garden tea party when a fourth, Mrs. Jarrett, happens by and decides to join them.

At regular intervals, the trio —Brigid Cleary, Catherine Flye, and Helen Hedman, all convincing as longtime acquaintances— will freeze in place and get tucked away behind a curtain as a mournful music cue plays and Mrs. Jarrett, played stoically by Valerie Leonard, steps through the fourth wall.

Standing in front of the curtain, Mrs. Jarrett unfolds to us an increasingly absurd sequence of apocalyptic events that have reordered the world—the Book of Revelations as translated by Dr. Seuss.

“Some of the cancers began in the lungs; others in the fingertips or in the laptops,” she intones. “Cars were traded for used meat.

Children fell asleep in class and did not wake up,” she continues later. Still later, she adds

“The illness started when children drank sugar developed from monkeys.” When she gets around to recalling the day the rice ran out and cell phones were distributed so the starving could watch videos of other people eating, those of us who have always shunned reality TV and cooking shows as dystopian abundance porn will feel briefly vindicated. But for me, at least, it’s a purely intellectual exercise.

You don’t feel the dread of these cascading calamities the way, for example, that anyone who saw Mr. Burns, a Post-Electric Play at Woolly Mammoth seven years ago or Oil at Olney Theatre Center earlier this year did.

Maybe Mrs. Jarrett has suffered too much to do more than bear disaffected witness. Her remove is clearly a choice rather than any inadequacy on the part of Leonard’s performance. Whether her monologues are prophecies or recollections of trials past is a mystery, as is why the end of the world has not, so much as we see, deprived these three women of any of their afternoon comforts. In the boxy diorama of Paige Hathaway’s backyard set, a plain old domestic one-act could be unfolding as the women discuss their families, their regrets, and their infirmities. Cleary, Fly, and Hedm a n h ave a warm rapport with one another; it’s pleasant to spend time with them and ups etting to c o n t e m p lat e them being devoured by subterranean mole-men or poached in boiling seas.

But here again, Churchill’s poetic ending of the world plays second fiddle to the one we may be living through.

Signature seems to have anticipated that a number of their patrons will emerge from this brief, barbed play confused and unsatisfied, and so they have invited the audience to stay for “Tea & Conversation” afterward, with the house supplying the tea, the biscuits, and some kindling for the conversation in the form of a promotional video for the show wherein director Holly Twyford and the members of the cast all praise Churchill’s longevity and brilliance and talk about how rewarding it was for them to try to make sense of Chuchill’s punctuation-free script.

The video also features comments from Studio Theatre founder Joy Zinoman, who has directed many Churchill plays, including Far Away and A Number, both, like this one, under an hour long. (Twyford performed in Zinoman’s 2004 production of Far Away.) Maybe these brief Churchill puzzles would be best produced in pairs, the better to fill one of the dwindling number of evenings we have left.

—Chris Klimek 4200 Campbell Ave., Arlington. $40–$90.

(703) 820-9771. sigtheatre.org.

Mozart meets Maurice Sendak and a little magic.

The Magic Flute

His deadliest enemy is his jealous heart.

Otello

Photo by Cade Martin

Photo by Cory Weaver

November 2–23 | Opera House Music by Wolfgang Amadeus Mozart Libretto by Emanuel Schikaneder In English with Projected English Titles

Kennedy-Center.org (202) 467-4600

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

October 26–November 16 | Opera House Music by Giuseppe Verdi Libretto by Arrigo Boito, based on Shakespeare’s Othello In Italian with Projected English Titles Groups call (202) 416-8400

Kennedy-Center.org

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

(202) 467-4600

Major support for WNO is provided by Jacqueline Badger Mars.

David M. Rubenstein is the Presenting Underwriter of WNO.

Major support for WNO is provided by Jacqueline Badger Mars.

David M. Rubenstein is the Presenting Underwriter of WNO.

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

WNO’s Presenting Sponsor

WNO’s Presenting Sponsor

Generous support for WNO Italian Opera is provided by Daniel and Gayle D’Aniello.

Additional support for Otello is provided by the Dallas Morse Coors Foundation for the Performing Arts and the Dr. M. Lee Pearce Foundation, Inc

washingtoncitypaper.com october 18, 2019 15

BOOKSSPEED READS

CLOSE ENCOUNTERS Make It Scream, Make It Burn

By Leslie Jamison Little, Brown and Company, 259 pages LesLie Jamison, who became the face of a personal essay boom in 2014 thanks to her raved-about debut collection The Empathy Exams, returns to the form—and subject—that made her famous in the new essay collection Make It Scream, Make It Burn. It both builds on her previous work and undermines the foundation of her writerly project. It’s the story of a woman notoriously obsessed with empathy encountering and examining its limits.

Much of the book is made from essays the D.C.-born writer published over the last six years in places like Harper’s, The Atlantic, The New York Times, and The Atavist Magazine. In addition to writing confessional personal essays, she’s been working for years as a reincarnated New Journalist, uncovering the strange and often confusing dimensions of human life, whether it’s an obsession with a lonely whale, a belief in reincarnation, or a life lived online. The first of the book’s three sections, “Longing,” brings those pieces together to let Jamison reflect on how she’s written about her subjects. In its second essay, Jamison mentions a sentence written in Latin that she has tattooed on her arm. In English, it reads “I am human, nothing human is alien to me.” By the second section, she’s alone in Sri Lanka, standing among the ruin of its civil war, thinking about the sheer arrogance of that statement.

“Nothing human is alien to me” is something she’s begun to reconsider. Is it possible for nothing human to feel alien? Is that desirable? Jamison’s age, her whiteness, her upbringing, her gender—all of these qualities affect what is known and what is alien to her.

Luckily, in Make It Scream, she’s moved from writing with unearned authority about a universal womanhood (as she did in one of her most famous essays, “Grand Unified Theory of Female Pain”) to considering the limits of

her own sight. In one essay, she references the case of Percival Lowell, an amateur astronomer who claimed to see aliens on Venus and Mars, but whose telescope was actually showing him the shadows of the blood vessels inside of his eye. It’s an apt metaphor.

Even as she turns outward, Jamison has empathy for her younger self, the one who wrote all those feverishly intimate essays about her own pain, the one who got that tattoo proclaiming “nothing human is alien.” The most fascinating section of the book is the middle one, “Looking,” where she stops examining herself and begins examining writers and artists who have also struggled with observing and representing subjects truthfully—earlier in the book, she dwells on Janet Malcolm’s famous description of the journalist as a “confidence man.” Unsurprisingly, Jamison has a reverence for the ones who decide to entangle themselves on a real, messy, human level with the people they’re depicting.

She’s matured, and that means Make It Scream has less of the heightened drama and fewer of the emotional highs and lows of her previous collection. She’s not writing from inside the thick of pain anymore, and she’s no longer aching for connection. She’s becoming more comfortable on her side of the gap and ditching the drive to tear herself open in search of connection. But she’s still thinking about connection: The third section, “Dwelling,” is about the humility of sharing yourself and allowing yourself to be known. Love, she learns from her husband and their children, is less about falling and more about staying.

Notably absent from Make It Scream is the kind of confessional, painfully intimate writing Jamison’s readers have come to expect from her—she describes herself and her family in broad strokes. She reports on them much like she reports on the subjects she profiled for magazines, conveying their actions and their histories, but not much of their interiority. It’s a marked departure from the way she’s written about the people closest to her in the past, but it’s easy to read it as an evolution of her practice of empathy. Maybe part of the task of being trusted with the most vulnerable parts of another person is agreeing to leave them off the page.

—Emma Sarappo

16 october 18, 2019 washingtoncitypaper.com

CLASS MUTUAL The Guest Book

By Sarah Blake Flatiron Books, 486 pages sarah BLake’s The Guest Book, about three generations of the upper-crust New York Milton family, confronts immigration, the Great Depression, and racial integration, spanning decades from the 1930s to the present. The theme it takes up most relentlessly is Jewish assimilation into the WASP elite, examining these interrelations, intermarriages, and how Old Money gradually ceded ground to the children of immigrants.

Fittingly, a central character, Evie Milton, is a historian.

The story begins with Ogden and Kitty Milton buying an island off the coast of Maine in the 1930s. Ogden is an investment banker who does business in Berlin, which causes him to come into contact with Nazis, whom he intensely dislikes. His German associate Walser had a Jewish wife and has a Jewish son-in-law, Hoffman. The fate of Walser’s daughter, husband, and son, who must resist fascism, shadows the Miltons’ lives and haunts the gracious banker and his family.

Ogden is not the sort to be haunted by anything: “Milton made his way through the park, his lineage hanging lightly on his well formed limbs, the habit of knowing just what to do in any given moment having been passed down from generation to generation.” Unfortunately, “knowing just what to do” did not prepare him or any of his class for Nazi barbarity; it took years for them to realize they had to go to war against it.

The Hoffmans’ fate in Nazi Germany profoundly alters the Miltons in unpredictable ways that the author masterfully weaves throughout the narrative, making them question their own application of their code— “Everyone here could be trusted to behave as they had been raised. To be good, to be kind.

To think of others.” The past plagues the present as Blake’s characters begin to glimpse the volcanic events in their parents’ lives, of

which they were utterly unaware.

The novel also addresses the vital but ornamental role of women in the Old Money setting and how that changed from the ’30s to the ’70s. For the older generation, that role is clear. As one character explains it: “Every one of you knows the key to life is who you marry. If you set your sights on the right girl, you need never look back. Nothing is more important in a man’s life than the girl he chooses.” By the time Evie Milton attends college in the late ’70s, feminism has swept the country and changed the landscape for women, even Milton women.

The Miltons’ sense of entitlement based on class is adroitly drawn. The portrait is never heavy-handed, but it is frank and direct. The Miltons see themselves as the world’s quiet rulers, a view especially strong with the older generation. “Here were the inheritors of the earth, Kitty thought; the sense of solidity, of granite, of rightness and the force of permanence was everywhere around them. The world had been theirs so long, it was a given.” The Miltons and their cl a s s w i e l d e d power differently from contemporary elite smash and grab looters— they had a paternalistic sense of resp onsibility, without which, the mask falls.

T h e n o ve l’s clearly depicted characters, contemplating their genealogy and their mortality, are interwoven with these larger themes. As a historian, Evie has spent her career delving into the lives of the long dead. As a woman with a family tree that at times overwhelms her, again, she must focus on who is gone and her own mortality: “And why just then, why that moment was the moment in which she understood quite suddenly her own death, she couldn’t say. Simply she saw how he would miss her. She saw the middle-aged man he would become, struck dumb by the memory of this moment, of her beside him, his mother, asking about his day… She would have done anything to keep him from the hole where there used to be her face turned to his, listening.” This novel presents parenthood and loss, and the sorrow of every parent, contemplating their child’s future without them.

—Eve Ottenberg

FILMSHORT SUBJECTS

2019–2020 AN EVENING WITH

LEONID & FRIENDS PERFORMING

CHICAGO, EARTH, WIND & FIRE

AND BLOOD, SWEAT & TEARS

FRIDAY OCT

18

S irius XM PRESENTS

THE HIGHWAY

FINDS TOUR FEAT. HARDY

SUNDAY!

MAGPIE

W/ HUNTER PHELPS

45 ANNIVERSARY OCT 20 TH

HOST FAMILY Parasite

Directed by Bong Joon-ho There is jusT something about the house in the new Bong Joon-ho film Parasite. Its use of space is pristine, its windows are huge, and the lawn is perfectly manicured. It’s almost like a Frank Lloyd Wright-designed museum, except it also happens to be warm and inviting. The house allures one family so much, they go to great lengths to keep it. Their efforts unfold in a sly, comedic way, at least until the stakes turn deadly. Parasite is a masterful film, one that manipulates its audience in delightful ways. For all its cinematic powers, its rich thematic resonance is what will get under your skin.

The film won the top prize at this year’s Cannes Film Festival, and since then, audiences around the world have sung its praises. With all the excitement surrounding Parasite, discussions of the film have been muted because part of the film’s pleasures are its surprises. In fact, it is best you go in completely cold—but this review will not ruin any surprises.

The Kim family yearns to escape poverty.

They live in a cramped basement, and have so little space that the toilet sits perched on a shelf in their bathroom. Choi Woo-shik plays Ki-woo, a young man who receives an unexpected opportunity: His friend sets him up as an English tutor for the wealthy Park family.

Seduced by their wealth and gorgeous home, the rest of the Kims get in on the action. Father Ki-taek (Song Kang-ho), mother Chungsook (Jang Hye-jin), and daughter Ki-jung (Park So-dam) ingratiate themselves into the Parks’ lives.

Economic disparity is the subtext for the tension between the Kims and the Parks, although it is one-sided. The Parks have so much ease and privilege in their lives that they have no context for class struggle or resentment.

The Kims use that ignorance to their advantage by simply being good at their jobs, and the Parks are all too happy to let their guards

down. Part of what makes all this deception so fascinating is that the Kims are not bad people.

Parasite shows us how they act out of necessity, implying that other poor families in a stratified society would do the same thing.

Bong Joon-ho’s direction looks effortless, and he has tight control over the action and twists. It is inevitable that the Kims would have to fight for their new jobs, although the exact nature of the conflict is not something they could anticipate. The interiors of the house in Parasite are comforting, if a little clinical, so it is jarring when Bong upends that façade in an instant. He rearranges the story multiple times, so part of the fun is seeing how your sympathies might shift. The effect is similar to Hitchcock’s Psycho, but Parasite has far more characters who drive the plot forward. This is an incredibly suspenseful film, with characters desperately relying on a mix of luck and improvisation.

If you have seen the director’s previous films, you understand his ability to combine genres in unexpected ways. The Host is a monster movie and a family drama, while Okja unfolds like a fairy tale crossed with a globe-trotting environmental thriller. Parasite continues in that tradition, juxtaposing immaculate imagery with grimy sludge. Along with cinematographer Hong Kyung-pyo, he captures the elegance that defines the one percent, and the invisible line dividing them from the squalor in which everyone else must live. This clash sometimes leads to violence, and here it is never exploitative. Instead, Parasite uses violence as something necessary, a queasy form of release. Every twist in the final act carries a sense of inevitability, both in terms of character development and allegory.

Parasite is exciting and alive in a way that few films ever achieve. All of its elements— the natural performances, dense plotting, and staggering political implications—coalesce into an undeniably dizzying, provocative piece. Bong Joon-ho is one of the world’s most gifted filmmakers, and Parasite is his masterpiece.

—Alan Zilberman Parasite opens Friday at Landmark E Street Cinema and Landmark Bethesda Row.

SATURDAY

DAVID FINCKEL, cello WU HAN, piano FOUNDER’S DAY CELEBRATION

TUE, OCT 22

JUSTICEAID

FEAT. THE BAYLOR PROJECT

CHAMBER MUSIC AT THE BARNS

WED, OCT 23

MODERN WARRIOR LIVE

W/ ANA EGGE

THE BROS. LANDRETH: TOUR ’87

OCT 27

LIVE MUSICAL DRAMA OF A SOLDIER’S JOURNEY FROM COMBAT TO CIVILIAN LIFE

FRI, OCT 25

ELIANE ELIAS

W/ GUTIERREZ MEDEIROS

NOV 6

SAT, OCT 26

THE QUEBE SISTERS NOV 7

JOHN EATON

30TH ANNIVERSARY CELEBRATION NOV 10

TRACE BUNDY NOV 14

THE SILKROAD ENSEMBLE NOV 15 + 16

BRIAN NEWMAN NOV 20

AMY HELM NOV 21

ESCHER STRING QUARTET JASON VIEAUX, guitar CHAMBER MUSIC AT THE BARNS

NOV 22

AN EVENING WITH FAB FAUX PERFORM WHITE ALBUM SELECTIONS AND A SET OF FAVORITES FRI, NOV 1

NIGHT I

SAT, NOV 2

NIGHT II; 6:30pm & 9:30pm

REBIRTH BRASS BAND REBIRTH BRASS BAND FRI, NOV 8

ALL GOOD PRESENTS

CRIS JACOBS BAND & MIDNIGHT NORTH SAT, NOV 9

NEWMYER FLYER PRESENTS

THE LAST WALTZ TRIBUTE WED, NOV 13

JEFFREY KAHANE, piano

ALL GOOD PRESENTS

DEC 1

THU, NOV 14

CHAMBER MUSIC AT THE BARNS

RONNIE SPECTOR & THE RONETTES

BEST CHRISTMAS PARTY EVER! DEC 5 + 6

EILEEN IVERS

A JOYFUL CHRISTMAS

OCT 19

NORTH MISSISSIPPI ALLSTARS

ANTHONY B W/ NKULA FRI, NOV 15

FRANK SOLIVAN & DIRTY KITCHEN

W/ MAN ABOUT A HORSE

DEC 7 | 2 SHOWS!

SAT, NOV 16

AND MANY MORE!

TUES, NOV 19

YONDER MOUNTAIN STRING BAND W/ PIERCE EDENS AN EVENING WITH

WHOSE HAT IS THIS?

THEHAMILTONDC.COM washingtoncitypaper.com october 18, 2019 17

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

GIRLS GOTTA EAT

.....................................SAT JANUARY 11

On Sale Friday, October 18 at 10am

OCTOBER

THIS FRIDAY!

THIS WEEK’S SHOWS

NOVEMBER (cont.)

ALL GOOD PRESENTS

THIS MONDAY!

Perpetual Groove w/ Kendall Street Company F OCT 11 Sasha ...................................

Sloan Anthony Brown & w/ Winnetka Bowling League Small Town Murder This is a seated show. ....................................................

Su 13 group therAPy Early Show! 6pm Doors ....................Sa 23 Moonchild w/ Braxton Cook & Devin Morrison ..............................................

W 16 w/ Maurette Brown-Clark & Alex Cameron Will McMillan This is a seated show. M 21 Late Show! 10pm Doors ....................Sa 23

Josh Abbott Band

w/ Ray Fulcher ...........................Th 24

U STREET MUSIC HALL PRESENTS

La Dispute

w/ Touché Amoré & Empath.......Su 24

U STREET MUSIC HALL PRESENTS

Lost Frequencies (Live)

w/ Throttle & Ryan Farish Late Show! 10:30pm Doors ................F 25

HellBENT

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

bea miller

w/ Kah-Lo & Kennedi ..................M 28

Big Freedia

w/ Low Cut Connie......................Tu 29

Miami Horror

w/ Argonaut & Wasp ..................F 29

Alice Smith .............................Sa 30 DECEMBER

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

Pigeons Playing Ping Pong w/ lespecial Must purchase 2-Day Pass with 12/7 PPPP @ The Anthem to attend. .....F 6

Devendra Banhart Lucy Dacus

The Maine

w/ Twin XL & Nick Santino .............F 1

The Cinematic Orchestra

w/ Photay & PBDY ........................Sa 2

Chelsea Wolfe w/ Ioanna Gika

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

Mumiy Troll

Late Show! 10pm Doors ......................Su 3

Cavetown

w/ Field Medic & Spookyghostboy..M 4

ALL GOOD PRESENTS

w/ Haley Heynderickx Late Show! 10pm Doors ......................Sa 7

ALL GOOD PRESENTS

The Marcus King Band ........Su 8 Omar Apollo

w/ Alexander 23 & Silver Sphere Early Show! 6pm Doors .....................F 13

Riceboy Sleeps with Wordless Orchestra .......... OCT 28

X Ambassadors

Ingrid Michaelson All 9/24 9:30 Club tickets will be honored. w/ Maddie Poppe ............................. OCT 23

w/ Bear Hands & LPX ....................... OCT 29

Puddles Pity Party w/ Dina Martina Halloween Costume Contest!

Come dressed in your best! ............. OCT 31

THE BYT BENTZEN BALL AN EVENING WITH

D NIGHT ADDED!

MARIA BAMFORD

FIRST NIGHT SOLD OUT! SECON

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

LOS ESPOOKYS LIVE

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

PETE HOLMES w/ Jamie Lee - LIVE! THE NEW NEGROES FEAT.

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

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

ROXANE GAY:

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

Angel Olsen w/ Vagabon ............NOV 2 U Up? Live....................................NOV 4 9:30 CLUB SHOW SOLD OUT! 2ND

w/ Lady Lamb ......................................NOV 6

Kishi Bashi w/ Cicada Rhythm ....NOV 8 Judge John Hodgman Live ................................................NOV 10

Sasha Velour’s Smoke & Mirrors .................NOV 11 Mandolin Orange w/ Sunny War ....................................NOV 14

TIG NOTARO: B ut E nough A Bout Y ou

BenDeLaCreme & Jinkx Monsoon:

CALL YOUR GIRLFRIEND L ivE !

Robert Earl Keen -

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

NIGHT ADDED!

The New Pornographers

All I Want for Christmas is Attention .NOV 29

Countdown to Christmas w/ Shinyribs........................................DEC 6

• thelincolndc.com •

U Street (Green/Yellow) stop across the street!

Late Show! 10pm Doors ......................F 13

Samantha Fish

w/ Nicholas David .......................Tu 17

Daughters and HEALTH

Neon Indian w/ Sateen ...........Sa 16 Alice Merton w/ Raffaella ......Tu 19 Christone “Kingfish” Ingram .....................................Th 21 San Fermin w/ Wild Pink ..........F 22

Thievery Corporation

w/ Show Me The Body .................W 18

Turnover & Men I Trust

w/ Renata Zeiguer ......................Th 19 w/ The Archives ..........................Sa 21

GWAR

w/ Unearth & Savage Master .......F 27

The Pietasters

w/ Chreachies • Oison • The Fuss .Sa 28

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

It’s Jester Joke........................ OCT 18

Cautious Clay w/ Remi Wolf

SunSquabi w/ Goose .................F 8 Ra Ra Riot w/ Bayonne.............W 13 Wild Nothing

w/ Kate Bollinger .........................F 15

Jónsi & Alex Somers -

Bianca Del Rio -

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

ALL GOOD PRESENTS

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

NOVEMBER

AEG PRESENTS

AEG PRESENTS

930.com

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

!!! (Chk Chk Chk) w/ Den-Mate. Th OCT 17 Lust for Youth w/ Tuff Lover ..........F 18 Iya Terra w/ The Ries Brothers & For Peace Band .W 23 Maxo Kream w/ Q Da Fool & Slayter..F 25 Ruston Kelly w/ Donovan Woods....Sa 26 BJ the Chicago Kid w/ Rayana Jay & KAMAUU ...............Su 27 White Reaper w/ Nude Party & Wombo .................Th 31

Kindness ............................. F NOV 1 Futuristic w/ Ray Vans • Scribe Cash • Yonas • NoBigDyl ............................Su 3 Ayokay w/ Wingtip ........................Tu 5 Abhi The Nomad w/ Atwood ............F 8 Tiffany Young ............................Sa 9 Sinéad Harnett......................... M 11 Black Midi w/ Fat Tony .................W 13 Last Dinosaurs w/ Born Ruffians & Ginger Root ..............................Th 14

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

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

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

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

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR! 18 october 18, 2019 washingtoncitypaper.com

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

CITYLIST

THE MESSER CHUPS

Music 19 Books 23 Theater 23 Film 24

Music FRIDAY CLASSICAL

KATZEN ARTS CENTER AT AMERICAN UNIVERSITY 4400 Massachusetts Ave. NW. (202) 885-2787. The Gorenman Bach Project played by Yuliya Gorenman.

7:30 p.m. $10–$25. american.edu/cas/katzen.

ELECTRONIC

ECHOSTAGE 2135 Queens Chapel Road NE. (202) 503-2330. Joyryde & Valentino Khan. 9 p.m. $20–$30. echostage.com.

FUNK & R&B

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. NSO Pops: Nat King Cole at 100. 8 p.m. $29–$99. kennedy-center.org.

POP

9:30 CLUB 815 V St. NW. (202) 265-0930. Charli XCX. 8 p.m. $30. 930.com.

CITY LIGHTS: FRIDAY

QUOTIDIAN

Like Ralph Eugene Meatyard and Sally Mann, Alain Laboile uses his children as grist for meditative black-and-white photography in pastoral settings. Some images showcase Laboile’s design chops, such as “Sur un nuage,” in which a child is seen from directly above, their body resolved into a tight circle against a smoothly dappled floor. But as with the works of Meatyard and Mann, Laboile’s images possess an unsettling undercurrent, punctuated by dashes of nudity. The exhibit frames Laboile’s images as documenting the children’s “carefree games,” but that seems dubious, since he photographs in what the exhibit also calls a “giant outdoor studio” in which the photographer “controls space, time and lighting.” Indeed, the most telling image is one in which a child munches a (symbolic?) apple, where viewers can detect the faint reflection of Laboile’s omnipresent lens overlaying her head. The exhibition runs to Oct. 21 at Leica Store DC, 977 F St. NW. Free. (202) 7875900. leicacamerausa.com/washington.

—Louis Jacobson

THE ANTHEM 901 Wharf St. SW. (202) 888-0020. Bon Iver and Feist. 7:30 p.m. $46–$96. theanthemdc.com.

DC9 1940 9th St. NW. (202) 483-5000. Sub-Radio.

7:30 p.m. $12. dcnine.com.

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Doomsquad. 9 p.m. $10. songbyrddc.com.

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

Lust For Youth. 7 p.m. $17. ustreetmusichall.com.

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

Shura & Hannah Cohen. 7:30 p.m. $20–$30. unionstage.com.

CITY LIGHTS: SATURDAY

HOCUS POCUS

ROCK

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Pat McGee Band. 8 p.m. $37. wolftrap.org.

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Jimmy Thackery. 8:30 p.m. $22–$25. citywinery.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Steel Panther. 8 p.m. $27.50. fillmoresilverspring.com.

PEARL STREET WAREHOUSE 33 Pearl Street SW. (202) 380-9620. The Cactus Blossoms with Esther Rose. 8 p.m. $17. pearlstreetwarehouse.com.

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

VOCAL

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Christian Gerhaher and Gerold Huber. 7:30 p.m. $55. kennedy-center.org.

WORLD

MARKET SW 425 M St. SW. Cumbia Night with OvejaNegra and Leon City Sounds. 6 p.m. Free.

SATURDAY CABARET

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. A Night of Wonder. 7 p.m. $175–$1100. ampbystrathmore.com.

CLASSICAL

GUNSTON ARTS CENTER (THEATER ONE) 2700 South Lang St., Arlington. National Chamber Ensemble: Mozart Celebration. 7:30 p.m. $18–$36. nationalchamberensemble.org.

Dance, dance, dance until you die! Fans of the Halloween cult film Hocus Pocus will have a chance to do just that at the Smithsonian’s screening and after-viewing dance party. Kenny Ortega’s 1993 movie was not successful by any traditional metric—it currently has a Rotten Tomatoes critics approval rating of 33 percent and had a modest box office run. But Hocus Pocus has earned quite the following thanks to DVD sales, millennial nostalgia, a growing obsession with the so-called spooky season, and the film’s loveable (and oh-so-silly) plot. Bette Midler, Sarah Jessica Parker, and Kathy Najimy star as a trio of evil witches who are accidentally resurrected after 300 years (on Halloween, of course). The teenagers responsible for this chaos (Omri Katz and Vinessa Shaw) team up with a magical black cat to steal the coven’s book of spells and set things right.

Whether through its distinct 1990s cultural appeal or the quintessentially Halloween storyline, Hocus Pocus is sure to put a spell on you. The film screens at 3 p.m., 4:45 p.m., 6:30 p.m., and 8 p.m. at the National Museum of American History’s Warner Bros. Theater, 14th Street and Constitution Avenue NW. $8.50–$36. (202) 633-1000. americanhistory.si.edu.

—Sarah Smith

SAT, OCTOBER 19 $15ADV/$18DOS

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

washingtoncitypaper.com october 18, 2019 19

No better place to

enjoy Autumn

CITY LIGHTS: SUNDAY

the

ERIC LICHTBLAU

The story in Eric Lichtblau’s Return to the Reich: A Holocaust Refugee’s Secret Mission to Defeat the Nazis plays like a mashup of Captain America and Inglourious Basterds, and yet, against all odds, it’s true. Fred Mayer escaped Hitler’s Germany and moved with his family to Brooklyn in 1938. Soon after, he took a gig with the Office of Strategic Services, a precursor to the modern CIA, and returned to Europe to fight the Nazi menace. Mayer became a spy, a soldier, and a master of disguise, weaving his way through the war, posing as a German officer and a French prisoner of war to complete his missions.

In 1945, Mayer and his team helped to set the stage for a Nazi surrender. The cherry on top: There’s a happy ending. Mayer went on to live to the ripe age of 94 as a naturalized U.S. citizen. Lichtblau, a journalist who has reported for The New York Times, CNN, and The Intercept, will speak on Mayer and the new book at home in D.C. Eric Lichtblau speaks at 3 p.m. at Politics and Prose, 5015 Connecticut Ave. NW. Free.

(202) 364-1919. politics-prose.com.

—Will Lennon

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In the late 1960s and early 1970s, the Rolling Stones weren’t just wowing fans in the UK, Europe, and the U.S.—they were also making an impression in Zambia. There, singer Emmanuel Chanda got the nickname Jagari (a Zambian take on Mick Jagger), and beginning in 1971, he became a regional star with the band Witch. His group melded the Stones, Hendrix, James Brown, and psychedelia with Zambian elements. The band’s name was an acronym for “We Intend to Cause Havoc,” and for a period, they did—Jagari was jumping off balconies onto stages and wailing soulfully. But in 1977, as economic issues made getting gigs harder, he left the group to go back to school. The band continued on with new singers, first going disco, then turning to traditional Zambian kalindula music before calling it quits in the ’80s. After record collectors rediscovered the band’s music this century, some of them went looking for the group. Jagari converted to Christianity, had a stint in jail, and became a miner; his bandmates all died of AIDS. In 2012, Jagari, now the recipient of newfound international attention, returned to the mic with a new Witch, his powerful voice and the band’s songbook intact. Witch perform at 7:30 p.m. at Union Stage, 740 Water St. SW. $20. (877) 987-6487. unionstage.com.

—Steve Kiviat KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Drew Petersen. 2 p.m. $45. kennedy-center.org.

ELECTRONIC

Sonny Landreth & Cindy Cashdollar

11.11 Rhonda Ross & Rodney Kendrick

11.1

10.31 The Crank Crusaders

(of Alice in chains)

10.25

WITCH

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

Nightmare 2019. 5:30 p.m. $75–$130. theanthemdc.com.

JAZZ

GW LISNER AUDITORIUM 730 21st St. NW. (202) 9946800. Thanks for Giving Community Concert featuring Wycliffe Gordon. 6 p.m. $20–$25. lisner.gwu.edu.

POP

9:30 CLUB 815 V St. NW. (202) 265-0930. Bishop Briggs. 8 p.m. $30. 930.com.

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

Yung Bae. 10:30 p.m. $17–$20. ustreetmusichall.com.

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Hiroshima. 7:30 p.m. $49.50. birchmere.com.

FUNK & R&B

BLACK CAT 1811 14th St. NW. (202) 667-4490. Sneaks.

8 p.m. $12–$15. blackcatdc.com.

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

Raheem DeVaughn. 5:30 p.m.; 9:30 p.m. $50–$60. citywinery.com.

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. NSO Pops: Nat King Cole at 100. 8 p.m. $29–$99. kennedy-center.org.

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

ROCK

ATLAS BREW WORKS 2052 West Virginia Ave. NE, Suite 102. (202) 832-0420. Caustic Casanova Album Release at Atlas w/ Pimmit Hills, The Mantis!. 6 p.m. $8–$10. atlasbrewworks.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Candlebox. 8 p.m. $25. fillmoresilverspring.com.

PEARL STREET WAREHOUSE 33 Pearl Street SW. (202) 380-9620. The Mighty Pines with Alana Springsteen. 8 p.m. $12. pearlstreetwarehouse.com.

CITY LIGHTS: TUESDAY

WASHINGTON INTERNATIONAL HORSE SHOW

And now for something completely different: an international equestrian tour. For “horse people” in the D.C. area, there’s nothing better than hours and hours of jumping, hunting, and trick riding at the Washington International Horse Show (WIHS). For six days, Capital One Arena will play host to a cavalcade of professional, amateur, and junior hunting and jumping events, as well as an open Barn Night later in the week. The extravaganza features 500 top horses and riders competing for over $500,000 in prize money. WIHS kicks off on Tuesday with a daytime and an evening session. The former, which runs from 7 a.m. to 5 p.m., features the prestigious WIHS Children’s Hunter Championship, while the latter will include the Adult Hunter Championship and a “Sidesaddle over Fences” exhibition. If you want to indulge your inner stallion, this is the place to be. The Washington International Horse Show runs to Oct. 27 at Capital One Arena, 601 F St. NW. $2–$65. wihs.org. —Tristan Jung

CITY LIGHTS: WEDNESDAY

STIFF LITTLE FINGERS

Nicholas Hersh, conductor What’s punk rock’s birth year? 1977 has as strong a claim as any. In those days, London had The Sex Pistols, New York had The Ramones, and Belfast had Stiff Little Fingers. But where the Ramones and the Pistols sang to disaffected youth living in the dreary detritus of a Cold War, Stiff Little Fingers were forged in the fires of a hot one: Their debut album, Inflammable Material, emerged in the thick of The Troubles. They had staying power, and went on to inspire bands like Bad Religion and Rancid. Others, like Flogging Molly, The Pogues, and The Dropkick Murphys, would go on to carry the standard of Celtic punk that Stiff Little Fingers pioneered. The band is currently touring in celebration of the 40th anniversary of Inflammable Material; its music is still anthemic, every song like a call to arms. See the band some have called the “Irish Clash” in a classic D.C. punk space. Stiff Little Fingers perform at 7:30 p.m. at Black Cat, 1811 14th St. NW. $25–$30. (202) 667-4490. blackcatdc.com.

—Will Lennon

October 28 | The Anthem, 901 Wharf Street, SW Doors: 6:30 p.m. | Show: 8 p.m.

Tickets from $15 at theanthemdc.com BB&T is the Presenting Sponsor of the NSO at The Anthem.

washingtoncitypaper.com october 18, 2019 21

Photo: Don Flood (donfloodphoto.com) • Makeup: Mylah Morales, for Celestine Agency • Hair: Marcia Hamilton, for Margaret Maldonado Agency • Styling: Natalie and Giolliosa Fuller (sisterstyling.com)

Chained dogs suffer day in and day out.

They endure sweltering temperatures, hunger, and thirst and are vulnerable and lonely. Keep them inside, where it’s safe and comfortable.

CITY LIGHTS: THURSDAY

CLAUD

Singer-songwriter Claud Mintz, who now performs as Claud, started recording music in their dorm room at Syracuse University as Toast. Then, due to a reported “fear of being sued by Wonder Bread,” the artist changed their name. But this inside joke has only added to the mystique of Claud, who dropped out of college to focus on their professional music career. Claud adds a refreshing buoyancy to the indie scene, offering disco-driven, dream pop soundtracks for tender moments of heartache and unrequited love. As the nonbinary icon of the rejected and heartsick, they know the best way to get out of your feels is to get on the dance floor. Claud performs at 8 p.m. at Songbyrd Music House, 2477 18th St. NW. $13–$15. (202) 450-2917. songbyrddc.com.

VOCAL

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

JOE BONAMASSA LIVE IN CONCERT

RACHEL M. SCHLESINGER CONCERT HALL AND ARTS CENTER 4915 East Campus Drive, Alexandria. (703) 323-3000. Alexandria Choral Society: The Spheres. 7:30 p.m. Free–$20. nvcc.edu.

WORLD

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Jesse Cook. 6:30 p.m. $42–$47. wolftrap.org.

EAGLEBANK ARENA 4500 Patriot Circle, Fairfax.

(703) 993-3000. Rahat Fateh Ali Khan. 8 p.m. $39– $500. eaglebankarena.com.

NATIONAL MUSEUM OF THE AMERICAN INDIAN 4th Street and Independence Avenue SW. (202) 6331000. Lakota Music Project with the South Dakota Symphony Chamber Ensemble. 2 p.m. nmai.si.edu.

SUNDAY CLASSICAL

GEORGE MASON UNIVERSITY CENTER FOR THE ARTS 4373 Mason Pond Drive, Fairfax. (888) 9452468. Jeffrey Siegel. 7 p.m. $26–$44. cfa.gmu.edu.

KENNEDY CENTER CONCERT HALL 2700 F St. NW. (202) 467-4600. NSO Family Concert: Halloween Spooktacular. 2 p.m.; 4 p.m. $15–$18. kennedy-center.org.

ELECTRONIC

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

Nightmare 2019. 5:30 p.m. $75–$130. theanthemdc.com.

FOLK

BARNS AT WOLF TRAP 1635 Trap Road, Vienna. (703) 255-1900. Magpie. 7 p.m. $22–$24. wolftrap.org.

BIRCHMERE 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Dar Williams and Susan Werner. 7:30 p.m. $45. birchmere.com.

FUNK & R&B

BETHESDA BLUES & JAZZ 7719 Wisconsin Ave., Bethesda. (240) 330-4500. Band Of Roses. 7 p.m. $30. bethesdabluesjazz.com.

PEARL STREET WAREHOUSE 33 Pearl Street SW. (202) 380-9620. Cory Henry & The Funk Apostles. 8 p.m. Free–$30. pearlstreetwarehouse.com.

HIP-HOP

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. Dobre Brothers. 5 p.m. $29–$599.99. thestatetheatre.com.

POP

AMP BY STRATHMORE 11810 Grand Park Ave., North Bethesda. (301) 581-5100. AMP Pajama Jam: Gustafer Yellowgold. 5:30 p.m. $12–$15. ampbystrathmore.com.

DAR CONSTITUTION HALL 1776 D St. NW. (202) 6284780. Darci Lynne & Friends. 3 p.m. $27.75–$47.75. dar.org.

GW LISNER AUDITORIUM 730 21st St. NW. (202) 9946800. Peter Bence. 8 p.m. $29.50–$100. lisner.gwu.edu.

22 october 18, 2019 washingtoncitypaper.com

—Casey Embert

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

ROCK

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Rhett Miller. 7:30 p.m. $25–$35. citywinery.com.

PIE SHOP DC 1339 H St. NE. (202) 398-7437. Lavender. 8 p.m. $12. pieshopdc.com.

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

Sam Fender. 7 p.m. $20. ustreetmusichall.com.

VOCAL

DAR CONSTITUTION HALL 1776 D St. NW. (202) 6284780. Darci Lynne. 6 p.m. $25.75–$49.75. dar.org.

WORLD

KENNEDY CENTER TERRACE THEATER 2700 F St. NW. (202) 467-4600. Pan American Symphony Orchestra: Forever Piazzolla. 7:30 p.m. $55–$65. kennedy-center.org.

MONDAY FUNK & R&B

9:30 CLUB 815 V St. NW. (202) 265-0930. Anthony Brown & Group Therapy. 7 p.m. $20. 930.com.

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Sabrina Claudio. 8 p.m. $29.50–$125. fillmoresilverspring.com.

POP

DC9 1940 9th St. NW. (202) 483-5000. Juan Wauters.

8 p.m. $12–$15. dcnine.com.

ROCK

SONGBYRD MUSIC HOUSE AND RECORD CAFE 2477 18th St. NW. (202) 450-2917. Jimmy Whispers. 7 p.m. $10–$12. songbyrddc.com.

WORLD

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

W.I.T.C.H. 6:30 p.m. $20. unionstage.com.

WASHINGTON NATIONAL CATHEDRAL 3101 Wisconsin Ave. NW. (202) 537-6200. Lakota Music Project.

7:30 p.m. $10–$40. nationalcathedral.org.

TUESDAY HIP-HOP

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

Young Thug & Machine Gun Kelly. 8 p.m. $50–$249. theanthemdc.com.

JAZZ

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

POP

9:30 CLUB 815 V St. NW. (202) 265-0930. Oliver Tree.

7 p.m. $25. 930.com.

ROCK

SIXTH & I HISTORIC SYNAGOGUE 600 I St. NW. (202) 408-3100. Foy Vance. 8 p.m. $25–$28. sixthandi.org.

WORLD

EAGLEBANK ARENA 4500 Patriot Circle, Fairfax.

(703) 993-3000. MANÁ. 8 p.m. $100–$725. eaglebankarena.com.

WEDNESDAY ELECTRONIC

9:30 CLUB 815 V St. NW. (202) 265-0930. Sofi Tukker.

6 p.m. $31. 930.com.

FUNK & R&B

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

Macy Gray. 8 p.m. $40–$45. thehowardtheatre.com.

POP

FILLMORE SILVER SPRING 8656 Colesville Road, Silver Spring. (301) 960-9999. Dermot Kennedy. 8 p.m. $29.50. fillmoresilverspring.com.

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

Ingrid Michaelson. 8 p.m. $55. thelincolndc.com.

UNION STAGE 740 Water St. SW. (877) 987-6487. In Real Life. 8 p.m. $25–$99. unionstage.com.

ROCK

BLACK CAT 1811 14th St. NW. (202) 667-4490. Stiff Little Fingers. 7:30 p.m. $25–$30. blackcatdc.com.

PEARL STREET WAREHOUSE 33 Pearl Street SW. (202) 380-9620. Maggie Miles. 6 p.m. Free. pearlstreetwarehouse.com.

RHIZOME DC 6950 Maple St. NW. Gold Dime, Insect Factory, and Panini Girlfriend. 7 p.m. $10. rhizomedc.org.

STATE THEATRE 220 N. Washington St., Falls Church.

(703) 237-0300. Mat Kearney. 7 p.m. $30–$35. thestatetheatre.com.

WORLD

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

Iya Terra. 6:30 p.m. $20. ustreetmusichall.com.

THURSDAY COUNTRY

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

POP

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

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

Wrabel and Billy Raffoul. 8 p.m. $15–$30. unionstage.com.

ROCK

CITY WINERY 1350 Okie St. NE. (202) 250-2531. Jackopierce. 6 p.m. $22–$35. citywinery.com.

DC9 1940 9th St. NW. (202) 483-5000. Sports Team. 8 p.m. $12–$14. dcnine.com.

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

Rata Blanca. 6 p.m. $43. thehowardtheatre.com.

WORLD

MANSION AT STRATHMORE 10701 Rockville Pike, North Bethesda. (301) 581-5100. Josanne Francis & Chao Tian. 7:30 p.m. $24. strathmore.org.

Books

ALICE GORMAN Gorman discusses Dr. Space Junk Vs. the Universe: Archaeology and the Future. Politics and Prose at The Wharf. 70 District Square SW. Oct. 23 7 p.m. Free. (202) 488-3867.

AZRA RAZA Raza will discuss The First Cell: And the Human Costs of Pursuing Cancer to the Last. Politics and Prose. 5015 Connecticut Ave. NW. Oct. 20 5 p.m.

Free. (202) 364-1919.

BEN CRUMP Crump will discuss his book Open Season: Legalized Genocide of Colored People. Politics and Prose. 5015 Connecticut Ave. NW. Oct. 24 7 p.m.

Free. (202) 364-1919.

CURDELLA FORBES Howard University professor Curdella Forbes celebrates the release of her novel A Tall History of Sugar. Busboys & Poets 14th and V.

2021 14th St. NW. Oct. 21 6:30 p.m. Free. (202) 3877638.

ERIC LICHTBLAU Lichtblau will discuss his book Return to the Reich: A Holocaust Refugee’s Secret Mission to Defeat the Nazis. Politics and Prose. 5015 Connecticut Ave. NW. Oct. 20 3 p.m. Free. (202) 3641919.

ERICA WRIGHT Wright, a prolific crime writer, will discuss her first standalone novel Famous in Cedarville.

Kramerbooks & Afterwords Cafe. 1517 Connecticut Ave. NW. Oct. 22 6:30 p.m. Free. (202) 387-1400.

Emmylou Harris • Jackson Browne Steve Earle • Patty Griffin • The Mastersons Thao Nguyen • David Pulkingham Emmylou Harris • Jackson Browne SteveEmmylou Earle • Patty • The Browne Mastersons HarrisGriffin • Jackson Thao David Pulkingham Steve EarleNguyen •Harri Patty •Griffin • The Mastersons Emmylou s • Jackson Browne Thao Nguyen • David Pulkingham

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

JAMES STAVRIDIS Admiral Stavridis will discuss his book Sailing True North: Ten Admirals and the Voyage of Character. Politics and Prose. 5015 Connecticut Ave. NW. Oct. 21 7 p.m. Free. (202) 364-1919.

JAMI ATTENBERG Attenberg will discuss her new novel All This Could Be Yours. Politics and Prose at Union Market. 1270 5th St. NE. Oct. 24 7 p.m. Free.

(202) 364-1919.

JEANETTE WINTERSON Winterson will discuss her book Frankissstein. Politics and Prose. 5015 Connecticut Ave. NW. Oct. 23 7 p.m. Free. (202) 364-1919.

JONATHAN SAFRAN FOER IN CONVERSATION WITH LIBBY CASEY In We Are the Weather, the bestselling author of Eating Animals asserts that saving the planet from climate change will involve a reckoning with humans’ reluctance to sacrifice immediate comfort for the sake of the future—and it all starts with what we eat for breakfast. Sixth & I Historic Synagogue. 600 I St. NW. Oct. 23 7 p.m. $22–$48. (202) 408-3100.

NIC STONE Stone will discuss his new novel Jackpot and his other books, Odd One Out and Dear Martin.

Politics and Prose at Union Market. 1270 5th St. NE. Oct. 22 7 p.m. Free. (202) 364-1919.

PAUL FREEDMAN Freedman will discuss his new book American Cuisine: And How It Got This Way. Politics and Prose. 5015 Connecticut Ave. NW. Oct. 19 3:30 p.m. Free. (202) 364-1919.

PICO IYER Iyer will discuss his new book A Beginner’s Guide to Japan: Observations and Provocations and his book Autumn Light: Season of Fire and Farewells.

Politics and Prose. 5015 Connecticut Ave. NW. Oct. 19 6 p.m. Free. (202) 364-1919.

SUNDAY KIND OF LOVE READING & OPEN MIC Hosted by Rasha Abdulhadi, this month’s featured poets are Kathi Wolfe and Cyree Jarelle Johnson. Be sure to bring a poem to share at the open mic. Busboys and Poets–14th & V. 2021 14th St. NW. Oct. 20 5 p.m. $5.

(202) 387-7638.

TED GIOIA Gioia will discuss his book Music: A Subversive History. Politics and Prose. 5015 Connecticut Ave. NW. Oct. 22 7 p.m. Free. (202) 364-1919.

THOMAS CHATTERTON WILLIAMS Williams will discuss his book Self-Portrait in Black and White: Unlearning Race. Politics and Prose at The Wharf. 70 District Square SW. Oct. 24 7 p.m. Free. (202) 4883867.

TIM O’BRIEN O’Brien, the author of The Things They Carried, will discuss his new book Dad’s Maybe Book.

Politics and Prose. 5015 Connecticut Ave. NW. Oct. 18 7 p.m. Free. (202) 364-1919.

TIMOTHY EGAN Egan will discuss his book A Pilgrimage to Eternity: From Canterbury to Rome in Search of a Faith Politics and Prose. 5015 Connecticut Ave. NW. Oct. 20 1 p.m. Free. (202) 364-1919.

Theater

CANDIDA In the George Bernard Shaw play, a poet and a preacher both love the same woman—and both are baffled by her ultimate choice. Washington Stage

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

Tix @ Ticketmaster.com

Oct 17

GOAPELE Morgan 18 LEE ANN WOMACK Wade Solitary Thinkin’ Acoustic Tour

HIROSHIMA 40th Anniversary Tour!

19

November 5, 2019 • 8pm • warner theatre

Produced by

20 22

November 5, 2019 • 8pm • warner theatre Tickets at Ticketmaster.com November 5, 2019 • 8pm • warner theatre

Produced by Produced by

DAR WILLIAMS SUSAN WERNER

Tickets at Ticketmaster.com

Tickets at Ticketmaster.com

INCOGNITO

with special guests MAYSA and DEBORAH BOND

23

In the

!

SAM BUSH BAND & THE TRAVELIN' McCOURYS

24

The Voice of The Moody Blues

JUSTIN HAYWARD

'All The Way & More Tour!' with Mike Dawes

LAWRENCE JACKSON Jackson will discuss his new book Yes We Did: Photos and Behind-The-Scenes Stories Celebrating Our First African American President. Politics and Prose at The Wharf. 70 District Square SW. Oct. 22 7 p.m. Free. (202) 488-3867.

MIKE GIGLIO Giglio will discuss Shatter the Nations: ISIS and the War for the Caliphate. Politics and Prose.

5015 Connecticut Ave. NW. Oct. 19 1 p.m. Free. (202) 364-1919.

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

STEPHANIE MILLS 27 BRUCE COCKBURN Nov 1 DELBERT McCLINTON 2 RAVEN'S NIGHT 2019 3 OLETA ADAMS 4 SUPERCHUNK “Foolish” A 25th Anniversary Acoustic Show 25&26

The Warner Theatre

TheSat. Warner Theatre, Nov. 16, 2019, 7:30pm Nov. 16,Sat. 2019, 7:30pm Tickets at Ticketmaster.com • chakakhan.com

On Sale Now at Ticketmaster.com chakakhan.com

Presents

presents

Educating the public and empowering the homeless one newspaper at a time.

Street Sense

THE WAILIN' JENNYS 11 MARCUS MILLER 13 THE GIBSON BROTHERS and ROB ICKES & TREY HENSLEY 6

14

An Evening with

THE FLATLANDERS

Joe Ely, Jimmie Dale Gilmore, Butch Hancock

15,16 17 19

PAULA POUNDSTONE CARMINHO ‘Portugese Fado Star!’

SIERRA HULL and NOAM PIKELNY & STUART DUNCAN 21 GAELIC STORM 20

22&23

Where the Washington area’s poor and homeless earn and give their two cents

Pick up a copy today from vendors throughout downtown D.C. or visit www.streetsense.org for more information.

An Evening with

CHRIS BOTTI

HERMAN'S HERMITS featuring PETER NOONE 25 BONEY JAMES 29 THE SELDOM SCENE & DRY BRANCH FIRE SQUAD 24

washingtoncitypaper.com october 18, 2019 23

Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Oct. 20 $25–$50. (240) 582-0050. stageguild.org.

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

DISENCHANTED! Poisoned apples. Glass slippers.

Who needs ’em?! Not Snow White and her posse of disenchanted princesses in the hilarious hit musical that’s anything but Grimm. Forget the princesses you think you know – the original storybook heroines have come to life to set the record straight. Disenchanted won the Outer Critics Circle Award for “Outstanding Off-Broadway Musical,� has played to soldout houses around the globe, and now Creative Cauldron presents the regional premiere. Creative Cauldron. 410 S Maple Ave, Falls Church. To Oct. 27 $20– $35. (703) 436-9948. creativecauldron.org.

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

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

(703) 820-9771. sigtheatre.org.

EVERYBODY Branden Jacobs-Jenkins revisits the 15th century play Everyman in a production where the main role is assigned by lottery among a small cast of actors. Lansburgh Theatre. 450 7th St. NW. To Nov. 17. (202) 547-1122. shakespearetheatre.org.

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

THE HAUNTING OF HILL HOUSE This play, based on the 1959 novel by Shirley Jackson, follows three strangers who are invited to join a mysterious Dr. Montague in a spooky house on a hill. The Little Theatre of Alexandria. 600 Wolfe St., Alexandria. To Nov. 9 $21–$24. (703) 683-0496. thelittletheatre.com.

JITNEY A Pittsburgh jitney station—a symbol of community stability—is threatened on all sides by a stagnant neighborhood with no jobs and encroaching gentrification. Arena Stage. 1101 6th St. SW. To Oct. 20 $76–$95. (202) 488-3300. arenastage.org.

KID PRINCE AND PABLO Kid Prince and Pablo reimagines Twain’s The Prince and the Pauper in a kidfriendly, modern, hip-hop version. Kennedy Center Family Theater. 2700 F St. NW. To Nov. 3 $20. (202) 467-4600. kennedy-center.org.

LITTLE SHOP OF HORRORS Seymour Krelborn is a shy floral assistant—until he discovers Audrey II, an amazing plant that makes him famous. There’s just one downside: Audrey II has an unfortunate taste for blood. Constellation Theatre at Source. 1835 14th St. NW. To Nov. 17 $19–$55. (202) 204-7741. constellationtheatre.org.

LITTLE SHOP OF HORRORS In Little Shop of Horrors, Seymour Krelborn, a meek floral assistant in the Skid Row neighborhood, pines after his co-worker Audrey.

He brings in big business for the flower shop when he discovers a rare plant, whom he names “Audrey II,� that, as it turns out, feeds on human flesh. Constellation Theatre at Source. 1835 14th St. NW. To Nov. 17 $19–$55. (202) 204-7741. constellationtheatre.org.

PARIS! THE SHOW Paris! The Show, performed entirely through French song and dance, follows Françoise (StÊphanie Impoco), a small town girl who dreams of moving to Paris to become a famous artist. On her journey to success she becomes friends with Edith Piaf (Anne Carrere) and falls in love with a bohemian painter living in the Pigalle quarter of Paris, Charles Aznavour (Jules Grison). GW Lisner Auditorium. 730 21st St. NW. To Oct. 22 $50–$70. (202) 9946800. lisner.gwu.edu.

RIGHT TO BE FORGOTTEN A young man makes a mistake at 17 that haunts him years later, because the internet never forgets—so he goes on a crusade to erase the event that puts him up against the biggest tech companies in the world. Arena Stage. 1101 6th St.

SW. To Nov. 10 $72–$95. (202) 488-3300. arenastage.org.

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

STORMY WEATHER The Tempest is retold from the perspective of Sycorax—Caliban’s mother and Ariel’s mistress—through Billie Holiday’s music, creating an immersive story about colonization and subjugation.

Atlas Performing Arts Center. 1333 H St. NE. To Oct. 27 $21–$46. (202) 399-7993. atlasarts.org.

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

THEORY Mosaic Theater Company presents Theory, a play where a young professor tests the limits of free speech in her classroom—and ends up in a digital catand-mouse game, fearing for her life. Atlas Performing Arts Center. 1333 H St. NE. To Nov. 17 $20–$65.

(202) 399-7993. atlasarts.org.

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

WEST BY GOD Set in the Appalachia region of West Virginia, West By God follows the stories of two families, illuminating the divide between urban and rural life experiences and the various prejudices that go along with it. Jeremy Skidmore directs this production, the name of which is based on a local saying that means West Virginia is the will of God. Keegan Theatre. 1742 Church St. NW. To Oct. 20 $30–$50.

(202) 265-3767. keegantheatre.com.

Film

ZOMBIELAND: DOUBLE TAP A group of survivors move into the American midwest after a zombie apocalypse. Starring Woody Harrelson, Emma Stone, and Jesse Eisenberg. (See washingtoncitypaper.com for venue information) GEMINI MAN An aging hitman has to battle his younger clone. Starring Will Smith, Mary Elizabeth Winstead, and Clive Owen. (See washingtoncitypaper.com for venue information) LUCY IN THE SKY An astronaut’s life on Earth feels too small after what she saw in space. Starring Natalie Portman, Jon Hamm, and Zazie Beetz. (See washingtoncitypaper.com for venue information) JOKER Batman’s greatest villain gets an origin story in this feature. Starring Joaquin Phoenix, Robert De Niro, and Marc Maron. (See washingtoncitypaper.com for venue information) PAIN & GLORY A film director has to reckon with his past when his life comes apart. Starring Antonio Banderas, PenÊlope Cruz, and Cecilia Roth. (See washingtoncitypaper.com for venue information) THE ADDAMS FAMILY The creepy and kooky family goes on more misadventures. Starring Charlize Theron, Finn Wolfhard, and ChloÍ Grace Moretz. (See washingtoncitypaper.com for venue information) MALEFICENT: MISTRESS OF EVIL Maleficent and her goddaughter Aurora are pulled apart by Aurora’s upcoming wedding. Starring Angelina Jolie, Elle Fanning, and Michelle Pfeiffer. (See washingtoncitypaper.com for venue information)

24 october 18, 2019 washingtoncitypaper.com

PUZZLE LETTER BANKING

By Brendan Emmett Quigley

In a letter bank, solvers use all of the given letters as many times as needed to make a longer word or phrase. For example, the letters of TOUCAN serve as a letter bank for ACCOUNTANT.

1 NBCUniversal's parent company 8 Prom purchases 15 Grounded?

16 Unbreakable Kimmy Schmidt actor 17 Five-armed ocean creature 18 First nation to hold elections over the internet 19 MODERNLY 21 Problematic, as merch.

22 "Ayup," in Amiens 23 Feline in constellations 24 Bother consistently 26 Firm 29 Urban blanket 32 Prop used in the first electricity test 33 Congresswoman who was once a bartender, briefly 35 Employed 37 NASTIER 40 It's everybody you disapprove of

41 23andMe material 42 Sharpen, as shears 43 Difficult problem 45 Worthwhile object 49 Annoying copycats 51 Dorm party breakeruppers: Abbr.

53 Gastropub glassful 54 "Is that the best you've got?"

55 INTRODUCE 60 "I'm buying this round, the same?"

62 "Darn right that happened" 63 Like high stakes poker 64 Placed side by side 65 Starting position?

66 Hesitate, verbally

1 The universe and everything 2 With the leadoff man retired

3 Real bully 4 Law firm job 5 Pretentious and then some 6 Bathroom partition 7 Game that 2048 liberally ripped off 8 Spun wax 9 Lover boy's flower 10 ___ nous 11 On Becoming a God in Central Florida channel, for short

12 Clean up 13 Airline that sponsors the clubs Real Madrid, Paris Saint-Germain, and Arsenal, to name a few 14 Hurt 20 Request at the deli 25 Japanese dogs 27 One singing to the cops 28 Fielding who co-hosts The Great British Baking Show 30 Giant Mel 31 Steel 34 Cheater's paper 36 Singer ___ Del Ray 37 "Don't tell me that!"

38 Like shorter golf sessions 39 Abilene-toAustin dir.

40 Some holy men 44 Lifts 46 Didn't dance around the truth 47 Storybook girl who lives in New York's Plaza Hotel 48 TLC member 50 Jerk 52 Impressive feat 56 Rider's rope 57 Deco illustrator born Romain de Tirtoff 58 Pakistani's language 59 Amphibian in a witch's cauldron 61 Some people wait for it

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SAVAGELOVE

I’m a Seattle local who basically grew up reading your column. I think you’ve always given really sound advice, so I’m reaching out. My boyfriend and I have been together for two years. We started out poly, but I was clear from the start that when I fall in love with someone, I lose all attraction to anyone other than that one person. I fell in love with him, and we decided to be monogamous. But I know he’s still attracted to other people, and it makes me feel like ending the relationship. I love him like I’ve never loved anyone else, but because he doesn’t feel the same way I do on this subject, I don’t believe he loves me at all.

I don’t feel like I can bring it up with him, because it will just make him feel bad for something he probably can’t control, and I don’t think I can make him love me. But I also feel like I’m wasting my time and living a lie. Help!

—Heartbroken Over Nothing

This thing about you—how being in love with someone renders you incapable of finding anyone else attractive—that’s pretty much a unique-to-you trait. The overwhelming majority of even the blissfully-in-loves out there still find other people attractive. And you should know that if you grew up reading my column. You should also know that a monogamous commitment doesn’t mean you don’t want to fuck other people, HON, it means you’ve promised not to fuck other people. We wouldn’t have to make monogamous commitments if sincere feelings of love extinguished all desire for others.

Since no one is ever going to love you in precisely the same way you love them—since no one else is ever going to meet the impossible standard you’ve set—every person you fall in love with will disappoint you. Every potential love arrives pre-disqualified. You meet someone, you fall in love with them, they fall in love with you, you are not attracted to others, they still are, you have no choice but to dump that person and start all over again. Lover, rinse, repeat.

Zooming out: People who create impossible standards for romantic partners—standards no one could ever hope to meet—usually don’t want to be in committed relationships but can’t admit that to themselves. We’re told good people want to be in committed relationships, and we all want to think of ourselves as good people. So someone who doesn’t want a long-term commitment either has to think of themselves as a bad person, which no one wants to do, or has to redefine for themselves what it means to be a good person, which can be hard work. But there’s a third option: set impossible standards for our romantic partners.

And then, when all of our romantic partners fail to meet our impossible standards, we can tell ourselves we’re the only truly good person as we move through life breaking the hearts of anyone foolish enough to fall in love with us.

So while my hunch is that it’s not your partner who is incapable of loving you, HON, but you who are incapable of loving him, you’re free to prove me wrong. One way we demonstrate our capacity to truly love someone is by believing them when they say they love us. That’s step one. Step two is accepting that someone’s love for us is legitimate even if they don’t experience or express love in precisely the same way we do.

—Dan Savage

whoever cleaned out the apartment or house quietly disposed of the porn. And that’s what you should do. If you’re concerned about your dad’s porn “going to waste,” dispose of it in a conspicuous manner, e.g., drop it off at a recycling center in open boxes or clear bags. Maybe a worker or someone else making a dropoff will spot the porn and decide to rescue it from the pile. And, hey, my condolences on the death of your father.

—DS

My father passed away recently. I received a contract to sell his house, and soon I’ll have to clean the place out. My question is this: What to

I went on Grindr just before Xmas last year, this handsome dude messaged me, and we ended up hooking up at his place. It was apparent from the get-go that this was no regular hookup.

We didn’t even have sex. We just kissed and talked and cuddled for six straight hours. Sounds perfect, right? Well, at about hour five, in the middle of this surprisingly deep conversation, he said something that made my head spin. I asked him how old he was. “Twenty-one,” he replied. Holy shit.

He asked how old I was. “Fifty.” Neither of us had our age on Grindr. He looked about 30 to me. He said he thought I was in my late 30s. It was basically love at first sight for us. After nine months of trying to keep a lid on our feelings, he moved away and found a guy close to his own age, which I strongly encouraged. Before they became an official couple, we went on a goodbye walk, which was full of love and tears. We agreed to do the “no contact” thing for one month (he thought three was extreme). But here’s my issue: I’m in love with him. I’ve been incredibly sad since we last spoke about three weeks ago. It’s a week until the agreed upon day when we can say hi if we want to, and I don’t want to. I can’t.

I have to let him go. I know he’s going to want to talk, but I’m afraid if I have any contact with him, it will set me back and I won’t want to stop. It’s taken all my willpower to not contact him so far. My question: How do I let him know I don’t want any further contact without hurting him?

—Impossible Love Sucks

“If you’re concerned about your dad’s porn “going to waste,” dispose of it in a conspicuous manner, e.g., drop it off at a recycling center in open boxes or clear bags. Maybe a worker or someone else making a drop-off will spot the porn and decide to rescue it from the pile. And, hey, my condolences on the death of your father.” do with a dead relative’s porn? I don’t want to keep it, I don’t want to waste it by just putting it in the trash, I can’t donate it to the library. There’s nothing especially collectible in it, so eBay is out.

Maybe someone would buy the lot of it on Craigslist, but I’m not entirely clear what the legalities are for selling secondhand porn out of the back of a car, let alone what the potential market might be. I mean, how many folks are looking to buy a deceased elderly man’s former wank bank? I’m certain I’m only the most recent in a long line of folks to find themselves in this situation. Any advice for finding the porn a new home, or is it a bad idea to even try? Added difficulties: smallish town, Midwestern state, and I’m his only living family member.

—Rehoming Inherited Pornography You would be in the same predicament if you had lots of living family members. I have an enormous family—lots of aunts and uncles, countless cousins—and “Who wants the porn?” isn’t a question I’ve ever heard asked at an elderly relative’s wake. And that can’t be because none of my elderly relatives had porn stashes; the law of averages dictates that at least one and probably more dead Savages (RIP) had massive porn stashes, which means

Call the boy, ILS, ask him to meet up, and tell him you made a mistake. Yes, you’re a lot older, and the age difference may be so great that you two aren’t going to be together forever. But maybe you’re perfect for each other right now. A relationship doesn’t have to end in a funeral home with one person in a box to have been a success. If you have three or four great years together before the window in which your relationship makes sense closes, ILS, then you had some great years together.

People get it into their heads that they can’t enter into a relationship unless they can picture it lasting “forever,” when really nothing is forever. To quote the great James Baldwin: “Love him and let him love you. Do you think anything else under heaven really matters?” —DS Email your Savage Love questions to mail@savagelove.net.

Scene and

Heard Renaissance, October, 2019 About An hour away from the District, people can time travel. It happens every year. They don armor and guzzle mead, and kindly refrain from brandishing their weapons. They clomp in many-buckled boots through a small medieval town, splitting turkey legs with friends and trying their hands at games of chance and skill. Knives and axes clang unceremoniously and unsuccessfully off of wooden targets. Cries of “huzzah,” “m’lord,” and “m’lady” mingle in the air.

Welcome to the Maryland Renaissance Festival.

In a sea of impressive costumes—knights, queens, rapscallions, scoundrels, wenches, and jesters—one person stands out. For one thing, he is green. He wears a viridescent bodysuit and sports a green mask that covers half his face and extends over his head. Hoop earrings dangle from its false ears. He has painted his exposed skin green as well, and has all manner of fur, leather, and bone accessories. He has embraced the event with fervor, and it hugs him back.

He’s also one of the few channeling something monstrous instead of heroic. He looks like an ogre, and he’s waiting in the line at a crêpe and coffee stand.

It’s one of the last days of the festival, and a sunny, clear afternoon. Curious first-timers are taking advantage of a last chance to see what Revel Grove is all about, and longtime fans are soaking in the last moments of this year’s recreation of that bygone era.

The ogre’s food is ready now. The cashier greets him by his all-too-human name and gives him his order.

—Will Warren Will Warren writes Scene and Heard. If you know of a location worthy of being seen or heard, email him at wwarren@washingtoncitypaper.com.

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

washingtoncitypaper.com october 18, 2019 25

W. Giffen who died on 11/22/2013, without a Will and will serve withAdult . . . . . . . . . . . . . . . . . . . . . . . 42 Total relaxation Asian out Court Supervision. best relaxation service All unknown Auto/Wheels/Boat . . . . . . .heirs . . . and . 42 in town friendly clean heirs whose whereBuy, Sell, Trade . . abouts . . . . . are . . .unknown . . . . . . . . environment provide best service possible Marketplace . . . . shall . . . .enter . . . .their . . . appear . . 42 9 AM- 11PM please call ance in this proceed202 658 9571 Community . . . . . ing. . . . Objections . . . . . . . .to . such . 42 appointment shall be Employment . . . . filed . . . with . . . .the . . Register . . . . 42 Health/Mind . . . . of . .Wills, . . . .D.C., . . . .515 . . .5th . . .

SUPERIOR COURT Street, N.W., Building OF THE DISTRICT OF . . . A, Body & Spirit . . .3rd . . .Floor, . . . .Washing . . . . 42 COLUMBIA ton, D.C. 20001, on or Housing/Rentals . . . . .4/3/20. . . . . . Claims . . . 42 PROBATE DIVISION before 2019 ADM 001003 against the decedent Legal Notices . . . . . . . . . . . . . . . . 42 Name of Decedent, shall be presented to Harry Music/Music Giffen a/k/a Harry a Row .the . .undersigned . . . . . . . . with . . 42 W. Giffen. Name and copy to the Register of Pets . . . . . .Paul . . . . . Wills . . . .or . .to . the . . .Register . . . 42 address of Attorney F. Riekhof, Esquire, 111 Real Estate . . . . . of . .Wills . . . with . . . .a .copy . . . to 42 Rockville Pike, Suite the undersigned, on or 975, Rockville SharedPike, Housing . before . . . . .4/3/20, . . . . . or . . be . 42 Suite 975, Rockville, forever barred. Persons Services . . . . . . . . believed . . . . . . to . .be . .heirs . . . or 42 MD 20850.

Notice of Appointment, Notice to legatees of the decedent Creditors and Notice to who do not receive a Unknown Heirs, Carol copy of this notice by Anne Giffen, whose mail within 25 days of address is 12622 Farnell its publication shall so Drive, Silver Spring, MD inform the Register of 20906 was appointed Wills, including name, Personal Representaaddress and relationtive of the estate of ship. Date of first Harry Giffen a/k/a Harry publication: 10/3/2019

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Name ofFlirt, Perand date!Representative: Talk to sexy real singles sonal in your area. Call now! (844) Carol Anne Giffen 359-5773 TRUE TEST copy Nicole Stevens Acting Register Legals of Wills Pub Dates: October 3, 10, 17. GIVEN NOTICE IS HEREBY THAT: SUPERIOR COURT INC. TRAVISA OUTSOURCING, (DISTRICT OF COLUMBIAOF DEOF THE DISTRICT PARTMENT OF CONSUMER COLUMBIA AND REGULATORY AFFAIRS PROBATE DIVISION FILE NUMBER 271941) HAS 2019 ADM 000694 DISSOLVED EFFECTIVE NOVEMName of Decedent, BER 27, 2017 AND HAS FILED Jerlene Notice ARTICLES J. OFAbbott.

DISSOLUTION OF of Appointment, Notice DOMESTIC FOR-PROFIT CORto Creditors PORATION WITHand THE Notice DISTRICT to Heirs, OF Unknown COLUMBIA CORPORATIONS DIVISION Buckman, Angelita whose address is 712 A7thCLAIM StreetAGAINST SE, AptTRAVISA 102, OUTSOURCING, DC INC. MUST Washington, 20003 INCLUDE THE NAME OF THE was appointed Personal DISSOLVED CORPORATION, Representative of the INCLUDE THE NAME OF THE estate of INCLUDE JerleneAJ.SUMMAAbCLAIMANT, bott died on May RY OFwho THE FACTS SUPPORTING 12, 2019,AND without a Will THE CLAIM, BE MAILED TO 1600 will INTERNATIONAL DRIVE, and serve without SUITE 600, MCLEAN, VA 22102 Court Supervision.

All unknown heirs and heirs ALL CLAIMS WILL BE BARRED whose whereabouts UNLESS A PROCEEDING TO are unknown shall ENFORCE THE CLAIM IS COMenter MENCEDtheir WITHappearIN 3 YEARS OF ance in thisOF proceedPUBLICATION THIS NOTICE ing.

Objections to SECTION such IN ACCORDANCE WITH appointment be OF 29-312.07 OF THEshall DISTRICT filed with the Register COLUMBIA ORGANIZATIONS ACT. of Wills, D.C., 515 5th Street, N.W., Two Rivers PCSBuilding is soliciting A, 3rd Floor, Washingproposals to provide project manton, D.C. 20001, on or agement services for a small conbefore 4/17/20. struction project.

For a Claims copy of the RFP, pleasethe email procurement@ against decedent tworiverspcs.org.

Deadline shall be presented to for submissions is December 6, 2017. 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 4/17/20, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name,

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26 october 18, 2019 washingtoncitypaper.com

address and relationship. Date of first Legals publication: 10/17/2019 DC SCHOLARS PCS - REQUEST Name of Newspaper FOR PROPOSALS – Moduand/or periodical: lar Contractor Services - DC Washington Paper/ Scholars Public City Charter School Daily solicits Washington proposals for a Law modular Reporter. of Percontractor to Name provide professional sonal Representative: management and construction services to Buckman construct a modular Angelita building to house four classrooms TRUE TEST copy Nicole and one faculty offi ce suite. The Stevens Acting Register Request of Wills for PubProposals Dates: (RFP) specifi cations can be obtained on October 17, 24, 31. and after Monday, November 27, 2017 from Emily Stone via comD.C. BILINGUAL PUBmunityschools@dcscholars.org.

LIC CHARTER All questions shouldSCHOOL be sent in NOTICE: FORNoREwriting by e-mail. phone calls regarding FOR this RFP will be acQUEST PROcepted. Bids must be received by POSAL 5:00 PM on Thursday, December D.C. Bilingual Public 14, 2017 atSchool DC Scholars Charter in ac-Public Charter School, ATTN: Sharonda cordance with section Mann, 5601 E. Capitol St. SE, 2204(c) of the District of Washington, DC 20019. Any bids Columbia School Reform not addressing all areas as outAct 1995 solicits lined of in the RFP specifi cations will proposals for vendors to not be considered. provide the following services for SY19.20: Apartments for Rent * Security 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 Friday, October 25, 2019.

Proposals should be emailed to bids@dcbilinMust see! Spacious semi-furgual.org nished 1 BR/1 basement No phone call BA submisapt, Deanwood, $1200. Sep. ension or late responses trance, W/W carpet, W/D, please. Interviews, kitchen, fireplace near Blue Line/X9/ samples, demonstraV2/V4. Shawnn 240-343-7173. tions will be scheduled at our request after the Rooms for Rent review of the proposals only.

Holiday Special- Two furnished rooms for short or long SUPERIOR COURT term rental ($900 and $800 per OF THE DISTRICT month) with access to OF W/D, WiFi, Kitchen, and Den. UtiliCOLUMBIA ties included.DIVISION Best N.E. location PROBATE along St. Corridor.

Call Eddie 2019HADM 000912 202-744-9811 for info. orLesvisit Name of Decedent, www.TheCurryEstate.com lie A. Hoegberg. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Kathryn F. Baumann, whose address is 12755 Ordway Street, NW, Apt

307, Washington, DC 20008Construction/Labor was appointed Personal Representative of the estate of Leslie A. Hoegberg who died on August 8, 2019, with a Will and will serve without Court Supervision.

POWER DESIGN NOW HIRAllING unknown heirs and ELECTRICAL APPRENTICESwhose OF ALLwhereSKILL LEVheirs ELS! abouts are unknown shall enter their appearaboutinthethis position… ance proceedDo Objections you love working with ing. to such your hands? Are you interappointment shall beand ested in construction filed with theanRegister in becoming electrician? ofThen Wills, D.C., 515 5th the electrical apprentice Street, Building positionN.W., could be perfect for A,you!

3rd Electrical Floor, Washingapprentices are D.C. able to20001, earn a paycheck ton, on or and full benefi ts while learnbefore April 3, 2020. ing the against trade through firstClaims the decehand experience. dent shall be presented

to the undersigned with what we’re looking for… a Motivated copy to D.C. theresidents Register whoof Wills thetheRegister want or to to learn electrical oftrade Wills with a copy to and have a high school the undersigned, diploma or GED as on well or as reliableApril transportation. before 3, 2020, or be forever barred. a little bitbelieved about us… to be Persons PowerorDesign is oneofofthe the heirs legatees top electrical contractors in decedent who do not the U.S., committed to our receive copy of values, toa training andthis to givnotice bytomail within 25 ing back the communities days of its publication in which we live and work. shall so inform the Regmoreof details… ister Wills, including Visit address powerdesigninc.us/ name, and recareers or email lationship.

Date careers@ of first powerdesigninc.us! publication: 10/3/2019 Name of Newspaper and/or periodical: Washington Financial City Paper/Daily Services Washington Law ReDenied to Reporter. Credit??

Name ofWork Personal pair Your Credit ReportKathryn With The Representative: Trusted Leader in Credit Repair.

F. Baumann Call Lexington Law for a FREE TRUE TEST copy Nicole credit reportActing summary & credit Stevens Register repair consultation. 855-620of Wills Dates: 9426.

JohnPub C. Heath, Attorney at October 10,Lexington 17.

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SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2019 ADM 000868 Whole Foods Commissary Auction Name of Decedent, DC Metro Area Rose Glascoe. Name Dec.address 5 at 10:30AM and of At1000s Rena S/S Tables, Carts torney L. Strauss, & Trays, 2016 Kettles up 15204 Omega Drive, to 200 Gallons, Urschel Suite 210, Cutters & Rockville, Shredders inMD 20850.

Notice of cluding 2016 Diversacut Appointment, Notice to 2110 Dicer, 6 Chill/Freeze Creditors andRack Notice to Cabs, Double Ovens & Ranges,Heirs, (12) Althea Braising Unknown Tables,whose 2016 (3+) Stephan Hinds, address is VCMs, 5809 3rd30+ StreetScales, NE, Hobart 80 qt Mixers, Washington, DC 20011 Complete Machine Shop, was appointed Personal and much more! View the Representative of the catalog at estate of Rose Glascoe www.mdavisgroup.com or who died on April 7, 412-521-5751 2003, without a Will and will serve without Garage/Yard/ Court Supervision.

All Rummage/Estate unknown heirs and Sales heirs whoseMarket whereabouts Flea every Fri-Sat are unknown 10am-4pm.

5615 shall Landover Rd. enter Cheverly,their MD. appear20784. Can buy ance this proceedin bulk.inContact 202-355-2068 ing.

Objections such or 301-772-3341 for to details or if intrested in being ashall vendor. appointment 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 4/10/20. 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 4/10/20, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name,

address and relationship. Date Miscellaneous of first publication: 10/10/2019 NEW COOPERATIVE SHOP! Name of Newspaper and/or periodical: FROM EGPYT THINGS Washington City Paper/ AND BEYOND Daily Washington Law 240-725-6025 Reporter.

Name of Perwww.thingsfromegypt.com sonal Representative: thingsfromegypt@yahoo.com Althea Hinds TRUE copy Nicole SOUTHTEST AFRICAN BAZAAR Craft Cooperative Stevens Acting Register 202-341-0209 of Wills Pub Dates: www.southafricanbazaarcraftcoo October 10, 17, 24. perative.com southafricanba z a ar @hotmail.

SUPERIOR COURT com OF THE DISTRICT OF COLUMBIA WEST FARM WOODWORKS PROBATE DIVISION Custom Creative Furniture 2019 FEP 000118 Date 202-316-3372 info@westfarmwoodworks.com of Death March 7, 2019 www.westfarmwoodworks.com Name of Decedent, Ralph Moody Hall, 7002 Carroll Avenue Notice of Appointment Takoma Park, MD 20912 of Foreign Personal Mon-Sat 11am-7pm, Representative Sun 10am-6pm and Notice to Creditors Brett Hall, whose address is Motorcycles/Scooters 2710 Whispering Oaks, Rockwall, 75087 2016 SuzukiRexas TU250X for sale.

1200 appointed miles. CLEAN. Just serwas Personal viced. Comes with ofbike Representative thecover and saddlebags.

Asking $3000 estate of Ralph Moody Cash Hall,only. deceased, by the Call 202-417-1870 M-F between Rockwall County Court 6-9PM, or weekends. for Rockwall County, State of Texas on Bands/DJs for Hire September 11, 2019.

Service of process may be made upon Juanita F. Ferguson, 1376 C Street NE, Washington, DC 20002 whose designation as District of Columbia agent has been filed with the Register of Wills, D.C. Get Wit It Productions: ProfesThe decedent owned sionalfollowing sound and District lighting availthe of able for club, corporate, private, Columbia real property: wedding receptions, holiday 310 East Capitol Street, events and much more. Insured, N.E., Washington, D.C. competitive rates. Call (866) 53120002, Lot 4 in Sq. 786 6612 Ext 1, leave message for a Being Condominium Unit ten-minute call back, or book onlettered A and Parking line at: agetwititproductions.com Unit numbered P-5 in Colcord Condominium.

Announcements The decedent owned District of Columbia Announcements - Hey,perall you lovers of erotic Claims and bizarre sonal property. romantic fi ction!

Visit www. against the decedent nightlightproductions.club may be presented to and submit your stories to and me Happy the undersigned Holidays! James K. West wpermanentwink@aol.com

filed with the Register Events of Wills for the District of Columbia, 515 5th ChristmasN.W., in Silver Street, 3rdSpring Floor, Saturday, December 2, 2017 Washington, D.C. 20001 Veteran’s Plaza within 6 months from 9:00 a.m. to 7:00 p.m. the date of first publicaCome celebrate Christmas in tion of this notice. the heart of Silver Spring at our Date of firstonpublication: Vendor Village Veteran’s Pla10/10/2019 za. There will be shopping, arts Name offor Newspaper and crafts kids, pictures with Santa, and entertainment and/ormusic periodical: to spread holidayCity cheerPaper/ and more.

Washington Proceeds from the market Daily Washington Law will provide a “wish” toy for children Reporter in need. Join us at your one stop Name of Person Represhop for everything Christmas. sentative: Brett Hallcontact For more information, TRUE Futsum,TEST copy Anne Meister info@leadersinstitutemd.org or Register of Wills call 301-655-9679 Pub Dates: Oct. 10, General 17, 24 Looking to Rent yard space for All related descenhunting Alexandria/Arlingdants dogs. of Dr. James ton, VA area only. Medium sized Gibson A.K.A. “Guinea dogs will be well-maintained in Jim” of Savannah temperature controled dog housSound, es. I have Eleuthera, advanced animal care Bahamasand please experience dogs will be rid contact Richard Love free of feces, flies, urine and oder.

Dogs will be in a ventilated kennel at drjamesgibsonbaso they will not be exposed or to winhamas@gmail.com ter and harsh weather etc. Space (305) 528-6645 will be needed as soon as possible. for dogsteacher must be Metro TheYard French accessible. Serious callers only, will instruct students call anytime Kevin, 415- 846on French 1, 2 & 3 5268.

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Looking for phone number, email address, and other contact information for an uninsured motorist who rear ended my vehicle on Monday, September 30, 2019 at approxi-

mately 10:00 a.m., on 14th Street, NW at the intersection of Rhode Island Ave. Her name is Katelyn Nichole King, birthdate 7/6/1994, and her drivers license was issued in North Carolina.

SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2019 ADM 000845 Name of Decedent, Mary M. McAuliffe. Notice of Appointment, Notice to http://www.washingtonciCreditors and Notice to typaper.com/ Unknown Heirs, James A. Schreiber, whose address is 9450 Old Jones Lane, Dunkirk, MD 20754 was appointed Personal Representative of the estate of Mary M. McAuliffe who died on 7/31/19, with a Will and will serve without Court Supervision. All unknown heirs and heirs whose whereabouts 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 4/17/20. 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 4/17/20, or be http://www.washingtoncityforever barred. Persons paper.com/ 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: 10/17/2019 Name of Newspaper and/or periodical: Washington City Paper/ Daily Washington Law Reporter. Name of Personal Representative: James A. Schreiber TRUE TEST copy Nicole Stevens Acting Register of Wills Pub Dates: October 17, 24, 31.

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address, and relationship.

Date of first publication: 10/3/2019 Washington City Paper Rosemary Tate Personal Representative TRUE TEST COPY Nicole Stevens Acting Register of Wills

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William W Crocker Decedent NOTICE TO UNKNOWN HEIRS Rosemary Tate, whose address is 761 Quebec Place, N.W., Washington, D.C. 20010, is the personal representative of the estate of William W. Crocker who died April 15, 2002 without a will and will serve without court supervision. All unknown heirs and whose whereabouts are unknown. Claims against the decedent shall be presented to the undersigned on or before 12/26/2019 or forever be barred. Persons believed to be heirs to 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,

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Subcontracting opportunity for certified MBEs & WBEs with Fort Myer Construction for DC Water, Solicitation #160021 Small Diameter Water Main Replacement 13A. Work includes 1.23 miles of water mains from 3”-12”, piping, valve installation, site concrete, paving, E&SC, etc. Subcontracting Quotes Due: 11/11/19. Must submit Subcontractor Approval Request form w/ quote.

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FIREFEST is a chance for Beltsville Volunteer Fire Department to bring out the nearby community to celebrate a day filled with food, fun, and education.

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Best of all, it is completely FREE! We have rebranded the open house to be a sleeker version of what we had before, and we are expecting record crowds this year. Residents, community leaders, church members, parents, students, business owners, and service providers will all be in attendance.

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The information for the event: Date: Sunday, October 20, 2019 Time:12:00 pm - 4 :00 pm Place: 4911 Prince Georges Ave, Beltsville, MD 20705

washingtoncitypaper.com october 18, 2019 27