Washington City Paper (October 19, 2018)

CITYPAPER Washington

Free Volume 38, No. 42 WashiNgtoNCityPaPer.Com oCt. 19–25, 2018

News: D.C. area ghost stories, rankeD 5 sports: evaluating D.C. uniteD’s new fielD 8 Food: top Chefs who shun restaurant life 15

HOMEWARD BOUND Among the Smithsonian’s vast collections are thousands of indigenous human remains, and their communities are bringing them back home. P. 10

By Kayla Randall

Photographs by Darrow Montgomery

2 october 19, 2018 washingtoncitypaper.com

INSIDE

ADVeRTISeMeNT

COVER StORy: HOMEWARD BOUND

10 Smithsonian staff members reunite human remains with indigenous communities.

DIStRICt LINE 5 local haunts: Ranking the region’s spookiest urban legends 6 loose lips: Are tensions between Mayor Bowser and Vince Gray relaxing?

SpORtS 8 field report: D.C. United leaders hope the Audi Field effect will endure.

9 the scoreboard

FOOD 15 switchin’ kitchens: Chefs find work outside traditional restaurant kitchens.

17 turn your duds into dollars this halloween: Costume contests at bars and restaurants offer big rewards.

17 veg diner Monologues: Mirabelle’s Root Cellar

ARtS 19 curtain calls: Ritzel on Synetic Theater’s Sleepy Hollow and Warren on Studio Theatre’s The Fall 20 short subjects: Gittell on Can You Ever Forgive Me? and Zilberman on Halloween 21 sketches: Devine on Andrea Limauro: Mare Nostrvm at IA&A at Hillyer

CIty LISt 23 26 26 27 28

Music books dance theater film

DIVERSIONS 29 savage love 30 classifieds 31 crossword on the cover: Jackie Swift of the National Museum of the American Indian

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

EDITORIAL

editor: AlexA mills Managing editor: cAroline jones arts editor: mAtt cohen food editor: lAurA hAyes sports editor: Kelyn soong city lights editor: KAylA rAndAll loose lips reporter: mitch ryAls housing coMplex reporter: morgAn BAsKin staff photographer: dArrow montgomery MultiMedia and copy editor: will wArren creative director: stephAnie rudig contributing writers: michon Boston, Kriston cApps, chAd clArK, rAchel m. cohen, riley croghAn, jeffry cudlin, eddie deAn, erin devine, tim eBner, cAsey emBert, jonAthAn l. fischer, noAh gittell, srirAm gopAl, hAmil r. hArris, lAurA irene, louis jAcoBson, chris Kelly, steve KiviAt, chris KlimeK, priyA Konings, julyssA lopez, nevin mArtell, Keith mAthiAs, pABlo mAurer, BriAn murphy, nenet, triciA olszewsKi, eve ottenBerg, miKe pAArlBerg, pAt pAduA, justin peters, reBeccA j. ritzel, ABid shAh, tom sherwood, mAtt terl, sidney thomAs, dAn tromBly, joe wArminsKy, AlonA wArtofsKy, justin weBer, michAel j. west, diAnA yAp, AlAn zilBermAn

ADvERTIsIng AnD OpERATIOns

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In September, Providence announced that in order to dedicate our resources toward creating a new healthcare model to keep health at the center and remove the obstacles and barriers to a healthy life for all, we will be transitioning out of all services. However our skilled nursing facility, Carroll Manor, and our primary care services, which includes our outpatient behavioral health, the Police and Fire Clinic, and our partnership with Catholic University, will continue serving D.C. residents.

The decision to close Providence Hospital was difficult.

However, the financial model by which Providence has served the community has been a struggle for years and is no longer sustainable. Discharges at the hospital have been declining over the past five years, and the District

4 october 19, 2018 washingtoncitypaper.com

of Columbia’s data show that the hospital is greatly underutilized. Further, studies have indicated that the greatest healthcare needs in the D.C. community include community-based care and care coordination.

Providence remains committed to our Mission and to serving the health needs of the District of Columbia, as we have done for more than a century and a half. To ensure that our Mission can continue, instead of investing in an underperforming hospital facility, we are committed to transforming Providence to support health and healthcare in new ways.

As we re-envision the new Providence, we continue to collaborate with and seek input from internal and external stakeholders, community leaders, and partners. We are actively engaging with members of the D.C. community to make sure that the services we provide will make a substantive impact on the health of the District. Providence has been holding internal listening sessions with our associates and attending community meetings to share information and hear thoughts about the future of Providence. We have

assembled teams representing associates and physicians to help define transition plans. We are regularly communicating with DC Health and, in partnership with the DC Hospital Association, we created workgroups with other local hospitals and healthcare institutions that meet regularly to ensure a smooth transition of services and patients.

In addition, we continue to work with our associates whose jobs will be impacted and we are committed to providing them with support for transitioning their roles with dignity and respect.

We recently committed to invest $30 million in the District and will have more plans to share as we continue to be committed to the important work of providing needed services within D.C. to address the social determinants of health. The new Providence will look to transform the way care is delivered in the District with a new community-focused perspective that addresses healthcare inequities and provides other types of needed services to improve health and wellness. The effort will sustain Providence while improving the health of our community for generations to come.

DistrictLine Local Haunts ‘Tis the season: The leaves are browning, there’s a chill in the air, and pumpkin spice has infiltrated entire grocery stores. With witching season upon us, you might be looking for a scare. In the D.C. area, a number of urban legends—from the famed Goatman to the real story behind The Exorcist—have been passed around over the years. But how scary are these stories, really?

Below, we ranked five of the most popular tales.

—Matt Cohen

The Curse of Moll Dyer Salem isn’t the only town with a dark past when it comes to witchcraft and falsely accused women. In the 17th century, a Leonardtown, Maryland, resident named Moll Dyer was accused of witchcraft and run out of town by her fellow neighbors.

Days later, her body was found frozen to a large stone. Today, the 875-pound boulder Dyer allegedly died on has been moved to the downtown area, in front of the Old Jail Museum. But does Dyer’s spirit still haunt the town?

Dive into City Paper’s 2017 feature on Moll Dyer to find out.

Spook Factor: 3/5 Pumpkins. Witches are scary, but what’s even scarier is the spirits of witches (or accused witches) wronged by their community.

Crybaby Bridge There is a bridge in Bowie that, according to legend, will cause your car to stall if you drive over it at night. That’s not all: The sound of a crying baby will draw you out of the car and, if you look over the bridge to the creek below, you might see a lifeless baby floating down the river. That’s pretty much it. The Crybaby Bridge urban legend isn’t unique to Bowie—similar urban legends are told in Ohio, Oklahoma, South Caro-

lina, Texas, and Utah. Would the real Crybaby Bridge please stand up?

Spook Factor: 1/5 Pumpkins. Like I’m supposed to be afraid of a crying baby?

Goatman The Goatman of Beltsville is perhaps one of the best-known urban legends in the area. According to legend, the Goatman was a science experiment at the Beltsville Agricultural Research Center gone wrong— DNA splicing that resulted in an axewielding half-man, half-goat abomination that terrorized rural parts of Prince George’s County. Over the years, the story of the Goatman has found its way into the pop culture lexicon, most notably as the an- tagonist in an issue of the short-lived (but nevertheless great) X-Files comic book series.

Spook Factor: 4/5 Pumpkins. I’m not saying the Goatman is real, but you’ll never catch me wandering around the woods of Beltsville, especially at night.

The Exorcist Before the Oscar-winning film by William Friedkin changed the course of horror cinema forever, there was the book by author William Peter Blatty. But Blatty’s book isn’t a complete work of fiction. Blatty says he drew inspiration from an old Washington Post article about the exorcism of a young boy just outside of D.C., and a recent book by Maryland writer and journalist Mark Opsasnick took a deep dive into the exorcism in Cottage City that inspired the

book and movie. Did it really happen? Well, that just depends on what you believe.

Spook Factor: 4/5 Pumpkins. I want to believe.

Bunny Man The legend of the Bunny Man is one that actually has some seeds of truth to it. It dates back to the early ’70s in Fairfax when reports surfaced

of a man dressed in a bunny costume threatening people with an axe. Of course, the story has been twisted and turned into a tale of a homicidal maniac who dresses as a bunny and attacks people with an axe around the Colchester Overpass in Clifton.

Spook Factor: 5/5 Pumpkins. I’m terrified of any adult who dresses in a bunny costume.

washingtoncitypaper.com october 19, 2018 5

AFRICAN STUDY

DistrictLinE

A study at NIH is recruiting healthy black African men and women to understand diabetes and heart disease risk in Africans.

Were You Born In Africa?

Must Be:

Please call (301) 402-7119 • http://clinicaltrials.gov Department of Health and Human Services • National Institutes of Health • National Institute of Diabetes & Digestive & Kidney Diseases

Get Inspired!

Make YOUR Next Step Count!!

Darrow Montgomery/File

• Born in Africa • 18-65 years old • Requires 3 visits • Compensation provided • Refer to study # 99-DK-0002

Deep Freeze It looked, for a moment, that a crack emerged in the strained relationship between the mayor and former mayor.

By Tom Sherwood Never miNd. For a moment this week, it looked like the deep political freeze between Mayor Muriel Bowser and Ward 7 Councilmember Vince Gray was thawing just a bit.

In a surprise, the mayor’s office announced that Gray would be joining Bowser Tuesday afternoon on a Ward 7 community walk in the Hillbrook neighborhood of Minnesota Avenue NE. But it turns out that while Bowser’s office had invited Gray, the former mayor (Bowser defeated Gray in 2014) had never responded and never intended to go, and furthermore didn’t know about the invitation. Bowser’s office says that the announcement “is on us. He never accepted,” and that they listed Gray in error.

The joint appearance announcement was a surprise because Gray still seethes over his 2014 loss to Bowser, which happened amid a U.S. Attorney investigation of Gray’s 2010 election as mayor. That probe ended with no charges against Gray, but Bowser rode the scandal to her election victory.

loose lips

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Gray, 75, decided against seeking a rematch with Bowser this year, and the mayor is heading toward easy reelection on Nov. 6. Some political observers say Bowser’s invitation to Gray was an effort to ease their relationship.

Bowser is pursuing a new hospital east of the Anacostia River—a goal that Gray has had for years. He is currently chairman of the Council’s Committee on Health.

Bowser could also use Gray’s support in getting the Washington area’s NFL team to build a new stadium at the team’s expense on the site of the old RFK stadium, which is also in Ward 7. Gray was among several speakers at a recent Bowser event breaking ground on three new athletic fields on land that has been paved parking lots for RFK. But none of the Wilson Building watchers City Paper spoke with could recall Bowser and Gray doing their own joint appearance.

Gray tells City Paper that he never even knew that Bowser’s office extended him an invitation on the walk. He says he had a prior commitment anyway. Gray also says that he’ll work with the mayor on any positive issues for Ward 7 regardless of what he still feels about his 2014 loss.

CP

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Darrow Montgomery/File

SPORTS

“This dream has been a long time coming…I want young ladies to know to dream big.

Anything is possible, so long you put in the work,” said Mystics star Kristi Toliver after being named an assistant coach by the Wizards. washingtoncitypaper.com/sports

Field Report

D.C. United has performed well since moving to Audi Field, but can the new home transform the franchise?

By Seth Vertelney D.C UniteD’s singUlar objective, pursued for more than a decade and talked up as a cure for all of the franchise’s ills, finally came to fruition this summer. The team hoped Audi Field, their new, state-ofthe-art stadium, would transform them from afterthought to sensation. Whether or not that will happen is an evolving process.

For years, the city’s Major League Soccer team tried to secure a new venue and finally escape the dilapidated RFK Stadium. And for years, its attempts fell short.

The franchise was stuck in a permanent loop of frustration: United was losing money through a substandard lease agreement, which prevented the team from spending on front office staff and the on field product.

That, in turn, kept the team from realizing sustained success and increased relevance in the D.C. market.

But eventually, with some funding help from the D.C. government, United was able to get the new approximately $500 million stadium it wanted. The 20,000-seat Audi Field opened July 14, and it was hardly a coincidence that the club debuted its other marquee addition on the same night.

Wayne Rooney, one of the greatest English players of his generation, represents the new era of D.C. United almost as much as Audi Field does. Long reluctant to spend big money on players, United lured the 32-year-old forward with a contract worth a reported $13 million over two-and-a-half seasons, while also paying an undisclosed transfer fee to Rooney’s former club, Everton.

With Rooney on board, the on-field results have improved. United, which had sunk to the bottom of the MLS Eastern Conference when Rooney signed, have surged into playoff contention thanks to a run of excellent matches at Audi Field. The MLS Cup playoffs are set to begin on October 31.

This seems to be a dream scenario for United. At last, the team has a home of its own with

Kelyn Soong

soccer

an icon of the sport leading the team into a new era of prosperity. But has the team finally broken through in D.C.? It depends on who you ask.

“It’s revolutionary,” D.C. United co-chairman and CEO Jason Levien tells City Paper.

“We’re on the radar in the DMV in a way that we haven’t been ever. It’s a new world we’re living in.”

According to Levien, one way to measure the change in interest around D.C. United is the increased amount of sponsorship requests from businesses compared to when the club played at RFK Stadium.

“I don’t want to get into specifics yet but we’ll be rolling out this offseason a level of interest that you’ll see in terms of different businesses that we’re going to partner with beyond Audi and Heineken and EagleBank and some of the ones that are most visible right now,” Levien says.

Another way to measure Audi Field’s impact is through attendance, and those results are mixed.

United’s announced attendance this season is up from RFK Stadium: an average of 18,722 fans have attended the club’s 14 home games at Audi Field compared to an average of 17,904 fans who attended games at RFK last season.

But the club has sold out just five of those 14

8 october 19, 2018 washingtoncitypaper.com

games at Audi Field, a lower figure than some might anticipate at a brand-new facility.

Levien, who says the attendance growth has been in line with his expectations, is optimistic that the numbers of fans through the gates will increase over time.

“This isn’t like a light switch where you turn on the light and everything changes in one instant,” he says. “I think we’re going to see over a very short window the escalation of interest.”

Should that escalation happen, it will likely be the result of a slow, methodical build rather than an instant tidal wave. After more than two decades at RFK, and a stuttering start at Audi Field that featured a frantic rush to complete the stadium and a feud with the club’s supporters’ groups, there is no other way.

“The enthusiasm and awareness of the club need to be rebuilt. It’s not just going to happen overnight,” says Jay Igiel, one of the leaders of D.C. United supporters’ group La Barra Brava. “For a lot of years they were just operating in standby mode because of the financial constraints of playing at RFK, so they lost some of the recognition and prominence they had in D.C. Building that up again isn’t going to happen overnight—but it is happening.”

It can be difficult for teams to find a spot in D.C.’s crowded sports market. Local fans

have the Nationals, Wizards, Capitals, Mystics, and the local NFL team, as well as various collegiate teams competing for their money and attention.

Levien believes there is a place in it for United, however. A Gallup poll earlier this year concluded that soccer is now tied with basketball for the second-most popular sport in the U.S. among fans between the ages of 18 and 34, which bodes well for a team in a metropolitan area like D.C. “I think we’re positioned well demographically among our young vibrant fan base, our diverse fan base, the kind of people that are moving into the DMV, I think we’re certainly in the ascendency,” he says.

But there is a limit to the ascent.

“Realistically I don’t see them ever leapfrogging the [’Skins], the Wizards, the Nationals or the Capitals,” says J.P. Flaim, a host of The Sports Junkies on 106.7 The Fan. “But D.C. United can definitely build that niche audience that will hopefully fill that stadium.”

The upcoming offseason may bring a lot of changes that could also play a role in the team’s future success.

D.C. United is in the process of rebuilding its front office, and more new additions are needed to ensure the team’s off-field goals are met heading into the 2019 season. Levien says the team is in the process of hiring soccer operations staff and plans to add “key hires” on the business operations side.

Two important contracts on the business side will expire at the end of the 2018 season: the club’s local broadcast deal with Sinclair, and its jersey sponsorship with Leidos.

“How those sponsorships change year in and year out will give us an idea of where the club is in terms of the profile of the sponsors—who bows out, who comes in, who’s the next jersey sponsor, that sort of stuff,” says Drew Hansen of The Washington Business Journal.

Fan interest will be key. Though the club does not comment publicly on season ticket numbers, a source familiar with the figures tells City Paper that D.C. United saw a 50 percent increase in season ticket sales from 2017, its final season at RFK, to 2018, the first year of Audi Field. Whether or not that momentum continues into 2019 will say a lot about the team’s longer term appeal.

There is, of course, another vitally important factor that will determine just how much D.C. United can break through in the market.

“There can definitely be a significant fan base and they can fill up the new stadium, but a lot of that has to do with winning,” Flaim says.

“D.C. likes winners.”

CP

T H E

S C OR E B O A R D

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

Wizards of the Preseason There’s a rule of thumb in pro sports that you shouldn’t take much stock in preseason results. A winning preseason record does not guarantee a successful regular season, nor does a poor preseason mean that the team is doomed.

But the Washington Wizards should head into their season opener against the Miami Heat with some confidence after going 4-1 over the week-anda-half-long preseason, which culminated in a 140-111 victory over the Guangzhou Long-Lions of the Chinese Basketball Association on Sunday, Oct. 12. Rookie Troy Brown Jr. filled his stat sheet with 21 points, eight rebounds, four assists, and two steals in 27 minutes of play.

Bradley Beal averaged 17 points per game in four preseason contests, while point guard John Wall finished with 15.2 points and 7.0 assists per game.

“Overall, it’s been a good training camp,” coach Scott Brooks told reporters after the final preseason game. “It’s a good way to close the preseason with everybody playing well.”

(For what it’s worth, the Wizards also went 4-1 in the preseason last year, and finished a disappointing eighth in the Eastern Conference.)

annually average The local NFL team is the definition of mediocre—or average, if you’re being generous. A week after being dominated by the New Orleans Saints, 4319, the team returned to FedExField on Oct. 14 and upset the Carolina Panthers, 23-17, to improve to 3-2 in the season and stay in first place in the dreadful NFC East.

As Dan Steinberg of The Washington Post points out, the team is 5-5 in its last 10 games, 10-10 in its last 20, and 28-28-1 over its last 57. Steinberg also notes in his Oct. 15 newsletter that Dan Snyder’s team is 9-5 as home underdogs since 2015, and 8-5 as home favorites.

“Seriously, even in a stupidly unpredictable league,” Steinberg wrote, the team is “a special brand of wacky.”

In this season and last, Washington has a 2-7 record after wins. Its next game is against the Dallas Cowboys on Oct. 21.

adjustment Period Life has been a little different for Capitals winger Tom Wilson since being suspended 20 games by NHL’s Department of Player Safety for an illegal check on St. Louis Blues forward Oskar Sundqvist during a preseason game.

He can still practice with the team but cannot go on road trips and is, in his own words, “surrounded by lawyers.”

Wilson, whose physical style of play has resulted in suspensions before, but none as long as his current ban, is not eligible to play until Nov. 21. His appeal hearing for the suspension is scheduled for Oct. 25 in New York.

“This is tough.

It’s a tough process, mentally for sure,” Wilson told reporters on Oct. 14.

“There’s a lot of ups and downs … but right now, I have to assume it’s going to be 20 games, and we’ll go from there and see what happens, but i just take it every day. I don’t want to get out of shape. I want to stay in shape. … I’m training like I am today expecting that maybe I’ll be in there tomorrow. I just have to have that mindset.”

The suspension, his fourth in 105 games, has also forced Wilson to consider changes to his game.

“The hitting aspect of the game is definitely changing a little bit, and I’ve got to be smart out there and I’ve got to play within the rules,” he told The Post’s Isabelle Khurshudyan. “And at the end of the day, no one wants to be in the situation that I’m in right now. I’ve got to change something because obviously it’s not good to be out and not helping your team.”

—Kelyn Soong washingtoncitypaper.com october 19, 2018 9

HOMEWARD The Smithsonian’s two repatriation offices are unraveling answers to the question of who owns the past.

By Kayla Randall

Photographs by Darrow Montgomery

National Museum of the American Indian’s Suitland collection An Army doctor snatched wool leggings from Sitting Bull’s body and stole a lock of his hair after he died in 1890. He gave his loot to the Smithsonian, and it ended up with the National Museum of Natural History, where it stayed for well over a century until, in 2007, the Smithsonian returned the leggings and hair to a descendant of the Native American leader.

Strolling through the National Museum of

Natural History and the National Museum of the American Indian, both on the Mall in D.C., it is plain that the Smithsonian is home to thousands upon thousands of the most precious items and sacred treasures in the world.

But to whom do they really belong?

The Smithsonian’s two repatriation offices are currently trying to figure that out, piece by piece. One office is at Natural History, and the other is at the American Indian museum.

10 october 19, 2018 washingtoncitypaper.com

Beyond objects, the Smithsonian has a collection that is incredibly sacred to indigenous populations. At a secure center in Suitland— well out of view of museum-goers—the institution keeps thousands of human remains, and many among them are indigenous individuals. Natural History counts about 30,000 human remains in its care, which includes native and non-native people. Thus far 6,219 remains of indigenous people have been ei-

ther repatriated or made available for repatriation to their ancestral homes. But that number goes up every year as the museum identifies more remains eligible for repatriation. American Indian has fewer than 200 human remains and has set a goal to reduce that number to zero.

The indigenous remains are from the world over—the U.S., Mexico, Ecuador, New Zealand, Australia—and their living descendants

BOUND

want them back.

The purpose of each repatriation office is to return sacred and funerary objects, and remains of individuals, back to the communities and people with whom they most belong.

“The phrase ‘who owns the past’ is a really common refrain in repatriation and in anthropology in general,” says Laurie Burgess, associate chair of the department of anthropology at Natural History. “Because in the past, the dominant culture of any given country has asserted their rights over remains and objects.

Now, that has changed completely and we recognize and celebrate the rights of indigenous groups.”

These individuals held in museum collections once lived, they once had names and families. The repatriation offices refer to them as people, remains, and individuals, never as “items” or “objects.”

But the reason the remains are in the collections in the first place, says Te Herekiekie Herewini, head of repatriation at the Museum of New Zealand Te Papa Tongarewa, is because of the mentality that people can be owned.

“Although slavery in the western world ended in most western countries around the 1860s, there was still the thought of scientists and western academics and people who worked in museums that indigenous remains

could be owned,” says Herewini. “That’s why they were taken, because people believed that they could own our ancestors and place them in museums. That’s what we’re actually trying to overcome, that idea of ownership. For me, it’s quite a sad situation where institutions overseas see that they still own human beings.”

In 2016, the National Museum of Natural History successfully repatriated more than 50 Māori and Moriori individuals to Te Papa in New Zealand.

“I was brought up in a small Māori community, and as a Māori person raised in a Māori family, I was raised with a Māori understanding of the world,” he says. “One of the understandings we are raised with is we offer honor and respect to our ancestors. This job of repatriating our ancestors located in overseas institutions fits well with my understanding of the world and with maintaining that connection with the ancestors, and bringing them home, to me, is the ultimate respect.”

The D.C. repatriation offices are dedicated to righting historical wrongs, just as they did in the case of Sitting Bull. Jackie Swift, who is Comanche and Fort Sill Apache, serves as the repatriation manager at NMAI. “It’s a human rights issue for native people,” Swift says. In terms of remains, she says, “They

cil in Alaska, when Smithsonian physical anthropologist Aleš Hrdlička stole the bones of 24 people from the area. She says her community has survived in the area for 8,000 proven years on salmon alone, since time immemorial. “He used a pickaxe to pick them out of the ice and out of the ground and he put them in boxes and labeled them and had them shipped on these big ships back to D.C.—ship and train and however else,” she says.

In 2014 she and the rest of Igiugig Village Council learned of the human remains, and in 2015 sent a formal repatriation request.

The next year, both her community and the Smithsonian conducted extensive research to determine the cultural affiliation of the remains. Salmon had written her thesis about Igiugig history while at Dartmouth College. “We were able to use my thesis as kind of a defense that they were our people,” she says. In July of 2017, Igiugig reached an agreement with Natural History, and in September, they reburied their community members. “They’re only about 150 years old, so they were no longer ancestors, they were actually relatives,” she says.

“They could’ve been my great-grandmother’s mother or sister.”

were people. At what point in time is it OK to say, ‘Yeah, it’s OK to dig up my mom’? How many years pass for that? What’s the standard requirement? When should I say I don’t care?

It gets back to humanizing this process. It’s a grotesque dehumanization and disrespect for native people.”

History is an indelible part of repatriation and the key to understanding it. According to Natural History repatriation manager Bill Billeck, during the 1800s and early 1900s archaeologists, anthropologists, and others working on excavations, primarily in village sites and sometimes in cemeteries, acquired many of the human remains and objects in the Smithsonian’s holdings.

Some took remains in the name of racism masked as science to try and prove that Native Americans were not the first people on the land, or that their skulls were smaller so therefore they were inferior to white colonists. “There were people who were filling skulls with buckshot to rationalize and justify white supremacy,” Swift says. “Then Francis Galton came over with his eugenics movement. And that was a pseudoscience trying to justify white superiority over everybody else.”

This was the case in 1931, says AlexAnna Salmon, president of the Igiugig Village Coun-

FederAl lAwmAkers creAted the 1906 Antiquities Act to protect archaeological sites from being looted—robbed of native items and also native remains. “Within that protection, it included native human remains alongside the pots,” Swift says. “So they were things. We were things back then.”

The government established the National Museum of the American Indian Act (NMAI Act) in 1989, and it directed repatriation of cultural items in the Smithsonian’s collections. Originally, the act covered only human remains and funerary objects and provided for repatriation upon a showing of cultural affiliation.

In 1990, the Native American Graves Protection and Repatriation Act (NAGPRA) required that indigenous groups be consulted whenever workers on archeological investigations encountered, or expected to encounter, remains and cultural items, or when people unexpectedly discovered such items on federal or tribal lands. The act describes the rights that both lineal descendants and native groups have with regard to the treatment, repatriation, and disposition of Native American human remains, funerary objects, sacred objects, and objects of cultural patrimony.

Amendments to the NMAI Act in 1996 modified it to extend coverage to sacred objects and objects of cultural patrimony based on NAGPRA’s standards.

These laws do not apply to privately held collections, and there is no official international repatriation law.

Swift says, “If you look at where we’ve come from—and we still have a long ways to go—but where we come from, it means a lot to have this legislation in place and it’s a little bit sad that we actually have to have this legislation in place if you look at basic human rights. But we do.”

Repatriation staffers work diligently, spend-

washingtoncitypaper.com october 19, 2018 11

indigenous communities—Australia, Canada. All countries are learning to actually develop meaningful relationships with indigenous communities.”

HumAn remAins And sacred objects living in private collections are another arena entirely. The U.S. laws do not apply to these collections, and the auctions that sell them are a free-for-all commodification of indigenous culture and heritage.

In early October the Association on American Indian Affairs, a Rockville-based nonprofit, publicly pushed back on an auction of cultural items. The organization, formed in 1922, advocates on behalf of Native Americans and helps tribes fight for repatriation, but has previously let tribes take the lead on whether they want to fight for their sacred objects and remains. Times have changed.

The association released a statement in response to a recent international auction in Paris at the EVE auction house. Without proper

Jackie Swift ing long hours researching the collections, looking at museum records, developing relationships with tribal representatives, and writing detailed reports. Indigenous ancestral remains and objects determined to be sacred or funerary are available for repatriation by request, but staffers must then vet each request and establish cultural affiliation with the requestors, consulting with indigenous communities through much of the process. Communities sometimes prepare ceremonies to mark successful repatriations and to finally lay their ancestors to rest.

“It’s a long-term commitment, rightfully so,” says Swift. “It’s been the most personally and professionally fulfilling work I’ve ever been a part of.”

But the decision to repatriate remains or objects is always the Smithsonian’s. If a tribe disagrees with a decision, they can appeal to an advisory external review committee, but the Smithsonian can reject the committee’s advice. Billeck says that only twice in almost 30 years has the external review committee reviewed a decision.

Repatriation can be a long, arduous journey. Sometimes, repatriation offices need more staff than they have. (The two offices combined currently employ 11 people.)

“Some repatriations are for just a few objects and human remains; some are for hundreds, and those are much more complicated for the tribe and for us,” Billeck says. “We have some of the biggest collections and the biggest repatriation responsibility.”

Repatriation can also be expensive for communities. Often, Herewini says, tribal groups must fund it themselves.

The Igiugig community paid for parts of their September 2017 repatriation. Flying in a priest for the reburial, building coffins and crosses, flying in an archaeologist, and other costs added up to around $15,000. The archaeology work alone was nearly $5,000.

They turned to their local and regional corporations for donations, which came to about $10,000. “I live in rural Alaska where it’s a dollar a pound to ship anything,” Salmon says.

“We could’ve done it for really cheap if we put them in our current graveyard, but it wouldn’t have been proper.”

Indigenous people, like all people, are not monolithic. Each tribal group, each community, must work at its own pace and in its own way. Sometimes the Smithsonian is prepared for repatriation, but the specific tribal community is not yet ready to receive ancestral remains.

Repatriation offices and indigenous communities everywhere must find ways to work through those challenges that come with rectifying hundreds of years of colonial inhumanity. And they are. Te Papa has been accepting remains from around the world, and it has successfully returned more than 400 Māori ancestors to the country. The Smithsonian has performed successful repatriations for decades, publishing annual reports on its activities.

In 2015, Natural History developed its own policy regarding international repatriation, focused on human remains, smoothing the path to its program returning individuals to New Zealand in 2016. Currently, the museum is in the process of repatriating Aboriginal remains to Australia.

12 october 19, 2018 washingtoncitypaper.com

“The law certainly doesn’t prohibit international repatriation, it just really governs domestic repatriation,” says Burgess. “But we decided it was time for the museum to start an international repatriation initiative. We know how complicated repatriation can be, and we really didn’t want to get involved in the cultural politics of another country so we leave it to the indigenous group and their government.

All they have to do is ask for it and we will automatically return remains.”

Te Papa is a model for how to successfully run a bicultural museum. One of its responsibilities as the national museum of New Zealand is to highlight challenging stories throughout the country, including the trading of ancestral remains and the colonization process. “By having a repatriation program based within our national museum—and we’re mandated by the New Zealand government and supported by Māori and Moriori communities—it allows our museum sector and our national museum to actually be part of the restitution of our ancestors and the reconciliation process,” Herewini says.

“Our museum is based on bicultural principles. We incorporate a Māori understanding of the world into our practices, we incorporate Māori conservation practices, we incorporate Māori ways of engaging with our community.”

This relationship is unusual, he says. “What I did work out when I was visiting institutions in the United States and Canada is that, in some situations, they don’t actively engage with their indigenous communities from the immediate area. But I think it’s a new thing for all museums in countries where they have

notice to tribal nations, the release says, the auction house placed 38 Native American cultural objects up for sale. (The auction house did not respond to a request for comment.)

“That is the first time that we have submitted a press release that takes the position that all collectors and auctioneers should be contacting tribes to establish provenance,” says Shannon Keller O’Loughlin, executive director of the Association on American Indian Affairs and a citizen of the Choctaw Nation of Oklahoma.

The release reads: “The Association strongly reaffirms that the commercialization of Native American cultural heritage violates all Tribal and customary laws, and that the possession of human remains and their burial items, sacred objects and objects of cultural patrimony, outside of their original communities are the result of theft, looting and illegal trafficking. The commercialization of Native American cultural heritage as ‘art’ or ‘antiquities’ are in large part due to the reality that U.S. laws do not sufficiently protect Native American cultural heritage from commercial trafficking. The Native American Graves Protection and Repatriation Act (NAGPRA) only protects Native American cultural items that have been illegally trafficked from a museum who has received federal funds, or a federal agency, since November 16, 1990. Those same items are not protected outside of these limitations.”

“For at least the last five years, they have been systematically auctioning Native Amer-

ican cultural items,” says O’Loughlin. “Even though they’re the same objects, the same sacred items that would be repatriated if they were with a federal agency, if a private person holds them, they’re commercial. So the law is kind of duplicitous—it finds that in certain circumstances these things are worthy of protection but not to end the commercial trafficking of these items.”

O’Loughlin says that indigenous antiquities from all over the world are often sold for “a pretty penny” in the U.S. and internationally in

places like France, Germany, England, Scandinavian countries, Austria, and Italy. Yet another auction featuring Native American cultural objects is set to take place in New Jersey soon, she says.

“Everything in Native American studies is dependent on history and understanding the context with which it operates today,” she says. “It was a history of colonization and expansion. As non-natives moved into Indian territories, they often cleared the land, took what was there, took what had been left from communities that had been stricken with disease or had been run out and murdered. They took their cultural items, unearthed their ancestors and burial items.

They kept things as souvenirs and began to commercialize these items.”

tive Americans, people who are indigenous to the United States, did not get citizenship until 1924.

Repatriation plays a part in the healing of deep, unending historical wounds. Getting back stolen ancestors and relatives is a step that truly matters on the long walk toward healing.

Herewini says that most museum staffs around the world have shifted to believing in repatriation. The culture has changed, albeit gradually. What he’s noticed since joining Te Papa in 2007 is a move from old school to

groups wanting to destroy them, put them in the ground and turn them to dust. There’s an opposition in our positions.” A little more than 30 years later, Ubelaker tells City Paper that he is not available for comment.

His point of view is not completely gone from museum culture. “We still have some old school people with antiquated ideas in the museum world,” Swift says. “But I would say the new normal is looking at native remains in a much more respectful way, that these are ancestors, these are people who at one time in life had a name, had brothers and sisters and

new school thinking. “That shift usually occurs when there’s a change in the staff, management, and senior leadership within an institution,” he says. “The old school thinking has retired. The new school has a different understanding of the world, a different connection with indigenous communities, and a different connection with how they perceive ancestral remains. It’s that new school thinking that actually is open to the idea of repatriation.”

Burgess says she saw the most pronounced shift in museum culture during the ’80s and ’90s. “I think in the beginning at some museums, it was so different from what was done in the past there was some early resistance,” Burgess says. “I think that quickly faded and now people just understand. When graduate students come out of school now, this is just the landscape where repatriation is the norm.”

Today, the Smithsonian no longer accepts indigenous human remains and no longer displays them—the institution doesn’t even allow photography of remains at this point. But there are still those anthropologists who view the loss of remains and the loss of sacred objects from museums as losses to learning.

In spring 1988, before the NMAI Act and NAGPRA, City Paper published a cover story about a struggle between the Smithsonian and the Blackfeet tribe of Montana, as well as other tribes, to receive ancestral remains. Smithsonian anthropologist Douglas Ubelaker told City Paper, in reference to remains, “We’re paid to look after them. I’m a curator, and there are well-meaning Indian

moms and dads.”

Laurie Burgess says that human remains are still important in learning. “We do support research on human remains and we have a very vibrant biological anthropology division here,” she says. “There’s things you can learn from studying remains about health, nutrition, demography, population, that you really can’t learn anywhere else. But it just has to be done in the right context.”

A few years ago, Natural History concluded the long run of Written in Bone, an exhibition that featured the bones of colonists in Jamestown, Virginia and St. Mary’s City, Maryland.

“It was wildly popular and completely uncontested because people of Euro-American descent, in general, don’t have an issue with the study of skeletal remains of people of their group,” Burgess says. “It showed the value of the study of human remains. But again this is not from a group without rights, not like people went into an indigenous community and took the remains.”

Now, it is the Smithsonian’s position that the two ideas can coexist, that scientific study is important and so are the rights of indigenous people. That coexistence is apparent at the National Museum of Natural History.

O’Loughlin, who is pressing for private individuals and groups, like auction houses, to stop selling and profiting from sacred and cultural items, says indigenous people will hold institutions accountable and seek what was wrongfully taken.

“We’ve always been here,” she says.

CP

From tHe trAil of Tears to the Battle of Little Bighorn to the life of Pocahontas, the National Museum of the American Indian aims to tell the full story of Native Americans—the

atrocities and indignities alongside the triumphs, accomplishments, and innovations.

But the atrocities and indignities have not ceased. So many are ongoing.

This month the Supreme Court upheld the implementation of a voter ID law in North Dakota that will hold Native Americans back from voting. The law requires voters to provide identification that includes their street address. Native Americans who live rurally or on reservations often instead use P.O. boxes, as some areas lack street addresses. Na-

washingtoncitypaper.com october 19, 2018 13

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Jonathan Thorpe

DCFEED

Todd Thrasher’s forthcoming distillery and tiki bar will have a menu of bar food from some notable chefs including Erik BrunerYang, Bryan Voltaggio, and David Guas. Tiki TNT should open next month at The Wharf.

Switchin’ Kitchens

Darrow Montgomery

A restaurant job isn’t the only place to turn a passion for cooking into a meaningful career.

By Laura Hayes “There are so many interesting new venues to get out there and do something that’s not that restaurant grind,” says Chris Spear. The caterer behind Perfect Little Bites launched a Facebook group in January that’s part job posting board and part support group for chefs that work outside of a traditional restaurant setting. Chefs Without Restaurants already has close to 500 members. “We’re helping people find a way to grow their businesses,” Spear says.

Given the food revolution that’s been ramping up over the past decade—where consumers have higher expectations and are more educated about what they’re eating—any place that prepares food, from schoolhouse to sporting facility, is under pressure to serve nutri-

young & hungry

tious meals that also please the taste buds.

This movement is ushering in fresh employment opportunities for culinary professionals who want to carve out unique niches, innovate, and get their food in front of diners they might not otherwise encounter.

Meet three of them.

The Football Feeder If you want to see D.C.’s football team revolt, don’t put them in front of the Dallas Cowboys.

Put them in front of something other than fajitas for Friday lunch. “A couple years back when we won the NFC East [division], we started to do fajita Fridays,” explains the team’s 30-yearold executive chef Connor McGuire. “We did it one week and we won. We didn’t do it the next week and we lost.”

An ongoing battle ensued, and it lasted two years. The players were superstitious and demanded fajita Fridays, while the

chefs prioritized variety. The players won. Every Friday during the season, the kitchen in the team’s practice facility in Ashburn smells and sounds like a Houlihan’s.

McGuire, who graduated from V i r g i n i a Te c h with a degree in consumer foods, once worked for late Chef Michel Richard at his eponymous Tysons Corner restaurant as well as at BLT Steak.

But when the opportunity came to serve as a sous chef for the Chris Headecker ’Skins, McGuire seized it. He stayed in that role for five years before being promoted to executive chef in July.

During the season he cooks for almost everyone on the payroll, from players and coaches to scouts and equipment managers. He typically feeds 80 to 100 people for breakfast, 100 to 150 for lunch, and about 35 to 40 people for dinner during the week.

If the team has an away game, McGuire will make the team breakfast plus mock Chickfil-A sandwiches for the road on Saturday. If the team plays at home he’ll cook breakfast on Saturday, and on Sunday he heads to FedExField to cook for Dan Snyder and others in the owner’s box. Days off are few and far between.

Scottish salmon is another dish McGuire has to serve once a week to placate players.

“Without the bones, just prepared salmon weight, we go through about 40 pounds,” he explains. Outside linebacker Ryan Kerrigan “always takes two or three plates of the fish op-

tion,” according to McGuire, who calculates that Kerrigan has one of the healthiest appetites on the squad.

Other than salmon and fajitas, McGuire won’t repeat a dish in any given month. And, the players aren’t scooping chow out of chafing dishes. Entrees such as Greek-style chicken breast with farro and dill-spiced carrots come plated.

McGuire doesn’t have nutritional requirements limiting his creativity, but he does work with a team dietician to ensure players are eating what they need when they need it.

“Monday and Tuesday after a game they’re recovering from the beating they took,” he says. “There will be more starchy carbs like sweet potatoes and heavier meats like steak and meatloaf.”

McGuire continues, “The challenge is trying to get giant children to eat food that they normally wouldn’t want to eat, so I have to balance healthy options with food that they’re comfortable with.” He’ll roast chicken until the skin practically snaps instead of frying it, for example.

The young chef was eager to leave the “unhealthy atmosphere” of restaurants behind him. “Everyone in this building has a goal to be healthier,” he says. “Even though I’m still doing long hours, it doesn’t feel like the drain of being in the restaurant kitchen where I’m trying to sneak a chicken finger.”

The Charter School Chef When students at Elsie Whitlow Stokes stream into the cafeteria this Thursday, they’ll get trays with sesame noodle salad, a hard boiled egg, roasted greens and red peppers, a peach cup, and milk. The Brookland charter school only serves meals cooked on the premises. “A select few schools do scratch cooking,” says head chef Chris Headecker. “[Other schools] don’t have a kitchen in the building. They might just have warming stations or kitchenette space because they outsource their food.”

The D.C. native who is half Brazilian and half Guyanese thought he wanted a career in criminal justice, but rechanneled his passion for helping by putting his childhood love of cooking to use. He graduated from Carlos Rosario International Public Charter School’s culinary program in 2010 and has been employed at E.W. Stokes ever since—advancing from intern to boss.

His alarm chirps at 3 a.m. so he can be in the kitchen by 4 a.m., ready for a day of preparing breakfast for 450 people, lunch for 750 people, and supper for 250 participants in the af-

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DCFEED ter school program. The school has students from Pre-K up through 5th grade, and staff often eat Headecker’s menu.

In dreaming up dishes like Peruvian tofu and taco casserole, Headecker must follow USDA dietary requirements, but he finds ways to stay on trend, like participating in Meatless Monday, and he lets loose on Friday by serving crowd-pleasing pizza or burgers.

Headecker apprenticed at restaurants and worked for catering company Kitchen Cray, but ultimately finds cooking at a school more gratifying. “For somebody that wants to continue cooking but the restaurant life isn’t for them, I’d consider coming into the school system,” he says. “A lot more schools are trying to switch to in-house cooking and they’re looking for chefs.”

Cooking for students can change their home life. “Some kids may never have had an avocado before, but with us exposing new foods to them at a young age, they can go and tell their parents or guardians and say, ‘Can we try to do this here?’” Headecker continues, “They’re here to learn, but they can’t learn if they’re hungry. The fulfillment factor is looking at these kids and teaching them new ways to eat.”

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Chef Drew Davis is one of 12 children.

“Growing up we had responsibilities to help out our parents,” he says. “I was chosen to help my mom out in the kitchen.” But the Army veteran, who is now just short of 50, didn’t make cooking his livelihood until five years ago. He says the military wouldn’t promote him to director in his field of biomedical engineering, forcing him to find an encore career.

Davis first made a name for himself selling tamales after they were a hit at a retirement party. “It got to the point where every weekend, I was hawking tamales out of the trunk of my car in a Starbucks parking lot near Fort Belvoir.” The business took off. Davis says Whole Foods put his tamales in 10 stores over the course of six months. But he grew tired of losing the percentage of sales the grocer was taking, and pivoted to direct-to-consumer sales at area farmers markets. He went to culinary school with the help of the GI Bill.

More recently Davis, a self-proclaimed beer snob, carved out a niche for himself selling food at bars, breweries, and other businesses only serving alcohol. His first client was at Iron Horse Taproom downtown. “People were clearing out because the Caps game would start and people wouldn’t sit for three hours if they knew they weren’t going to eat,” he says.

In came Davis with pans of food.

When the Iron Horse Taproom partnership ran its course, Davis expanded into Fair

Winds Brewing Company in Lorton, Virginia; Tucked Away Brewing Company in Manassas, Virginia; and One Eight Distilling and Supreme Core Cider in D.C. His menu ranges from Mexican street tacos and Philly cheesesteaks to beer-boiled bratwursts and sliders. No item costs more than $10, and he always makes vegan or vegetarian options. He calls his business Brew Food DC and personally takes on five or six gigs a week.

After ramping up too quickly at first, Davis says he’s settled into a rhythm. “I wanted to be at every brewery, and spread myself really thin,” he admits. “I should have been more selective with my hiring.” Now, he says, he can make a good living and he’s having fun. “It’s like going to a different party every night and half of the time, I feel like I’m the guest of honor because I show up and people are like, ‘The taco man is here!’ For anyone in the foodservice industry, this is one of the best gigs out there. No stress. No drama.”

CaTerer Chris spear of Chefs Without Restaurants doesn’t argue that there’s a exodus of chefs trading in restaurant jobs for cooking professionally in other realms. “I’m 42 and married with kids, but there’s always going to be 18- to 25-year-old single people who want to work in restaurants,” he says. Spear does miss having a full kitchen of peers around him when he’s preparing food, but ultimately he values the flexibility and control his catering business brings him in terms of menu creation and scheduling.

The community at large is realizing restaurants aren’t always the right fit for someone who wants to turn a passion for cooking into a meaningful career. Liz Reinert, the director of workforce development for DC Central Kitchen, helps culinary job training students find work after graduating from a 14-week, intensive culinary arts and career readiness training course. Cohorts typically have students who are returning citizens or individuals who have experienced trauma or substance abuse.

Reinert prioritizes jobs like working for DC Central Kitchen’s school food program, and working in hotels and cafeterias. “All of those kinds of jobs are good because they’re Monday through Friday,” she says. Work-life balance can be critical for recent graduates. “Outside restaurant placements are something I desire for them because there’s a lot more structure … some restaurants are just really fast. People aren’t ready for it.”

She continues, “I’m trying to get away from part-time work, and a lot of restaurants tend to be real part-time,” adding that many students think working for “a hot chef in the hottest new restaurant” is the only option. “There are so many exciting things for them to do.”

CP

DCFEED

what we ate this week: Bucatini all’amatriciana with tomato, guanciale, red onion, and pecorino, $21, Officina. Satisfaction level: 3 out of 5.

Grazer

what we’ll eat next week: Kung Pao chicken wings with red chili peppers, Sichuan spices, and scallions, $8 for six, Archipelago. Excitement level: 4 out of 5.

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

By Laura Hayes You didn’t spend hours shredding your sequined high school dance costumes and sewing them back together to make a Glow-inspired female wrestler outfit for nothing. This city throws some generous Halloween costume contests that offer prizes from $5,000 cash to a trip to the Caribbean. Here are various events where you can win big, ordered from most lucrative to least.

Where: Howard Theatre (620 T St. NW) When: Oct. 28 (Doors open at 5 p.m. for the 7:30 p.m. show) Prize: $5,000 for best throwback costume; $3,000 for best duo or group costume; $1,000 for best female costume; and $1,000 for best male costume.

This party featuring a live performance from Trina caps off Howard University homecoming. Admission starts at $20.

Where: Abigail (1730 M St. NW) When: Halloween (10 p.m. to 2 a.m.)

Prize: $2,500 Abigail is a new nightclub hosting a Halloween bash with an American Horror Story theme. There will be an open bar from 11 p.m. to midnight. The cover charge is $20 unless you sign up for the event in advance at dtnation.com and arrive before 11 p.m.

Where: BlackFinn Ameripub (1620 I St. NW) When: Oct. 27 (9:30 p.m. to 2 a.m.)

Prize: Grand prize trip to the Caribbean and runner-up prizes such as dinner for two on The Odyssey, tickets to a New Year’s Eve gala, and Blackfinn gift cards.

BlackFinn is hosting the Things to Do DC Hal-

loween party. The costume contest is divided into three categories: scariest, prettiest, and most original. General admission tickets to attend are $20.

Where: Hawthorne (1336 U St. NW) When: Halloween (8 p.m. to 2 a.m.)

Prize: Open bar for 50 friends.

Hawthorne’s Boos and Booze party will have a DJ, heated rooftop, and drink specials including $5 beers and $7 drinks and shots. The prize will be awarded to the best group costume.

Where: The Park at 14th (920 14th St. NW) When: Halloween (Starts at 8 p.m.)

Prize: First place is $500 toward bottle service and $500 cash; second place is $250 toward bottle service and $250 cash; and third place is $100 toward bottle service and $100 cash.

The celebration is dubbed Park at 14th’s Nightmare on 14th Street.

Where: Nellie’s Sports Bar (900 U St. NW) When: Halloween (Starts at 8 p.m.)

Prize: Grand prize is $250, and other prizes include gift cards to Vida Fitness, Hawthorne, Shaw’s Tavern, and more.

Nellie’s will run two costume contests on Halloween: one for the person wearing the best Rocky Horror Picture Show look and another for the best costume overall. The party kicks off at 8 p.m. with a showing of The Rocky Horror Picture Show followed by a drag performance and costume contest at 10 p.m.

Where: The Brighton (949 Wharf St. SW) When: Halloween (Check in from 5-8:30 p.m., winner announced at 9 p.m.)

Prize: $250 cash prize plus a $100 bar tab The Brighton’s Halloween party celebrates the 1980 flick The Fog, but costumes do not need to reflect the theme.

Laura Hayes

Turn Your Duds Into Dollars This Halloween

Mirabelle’s Root Cellar

Where: Republic (6939 Laurel Ave., Takoma Park) When: Oct. 27 (10 p.m. to 1 a.m.)

Prize: First place gets a $200 gift certificate to any Black Restaurant Group restaurant; second place gets a $100 gift certificate; third place gets a $50 gift certificate.

The theme of Republic’s DJ-fueled Halloween party is DECADES.

Where to Get It: Mirabelle, 900 16th St. NW Price: $19

Where: Le Diplomate (1601 14th St. NW) When: Halloween (Starts at 9 p.m.)

Prize: $200 gift certificate for dinner for two at Le Diplomate.

Look forward to a DJ, drag performances, and a lip sync contest.

Where: Barrel (613 Pennsylvania Ave. SE) When: Oct. 27 (8 p.m. to close) Prize: $100 gift card.

Though the theme of Barrel’s party is “It’s Tricky ’80s” costumes don’t have to be inspired by that decade.

Where: Studio 52 (1508 Okie St. NE) When: Oct. 26 (9 p.m. to 1:30 a.m.)

Prize: $75 for first place; $50 for second place; $25 for third place.

Studio 52 is hosting a silent Halloween party. When guests arrive they’ll receive a wireless headset to listen to one of three channels of music. Tickets range from $25 to $60 on Eventbrite.

Where: The Ugly Mug (723 8th St. SE) When: Oct. 27 (8 p.m. to 2:30 a.m.)

Prize: $50 gift cards This Barracks Row bar is hosting a Boos and Brews party with drink specials.

What It Is: Three tiers of root vegetable salads featuring various preservation techniques. The top of the wooden box is striped with pickled carrots and shaved celery in a Seedlip vinaigrette with chopped herb stems and whole sprigs of fresh herbs. Chef Keith Bombaugh says that this layer represents the end of summer, when gardens are still vibrant. Lift the lid to find the second compartment filled with carrots pickled in lime juice and cooked with sesame, yuzu, and soy before being air-dried to create a wrinkled effect meant to be reminiscent of the first frost. The third and final box contains salt-roasted beets, grilled endive, whipped blue cheese, and a brown butter crumble. Bombaugh hopes the white dusting on top of the beets suggests the dead of winter when the ground is covered in snow.

The Story: Root cellars are typically dark, damp underground dens with specific temperature and humidity requirements. Farmers stock them with root vegetables and other garden treasures to be eaten throughout the colder months. Many of the roots Bombaugh uses in this dish are the vegetables that do well in root cellars, including carrots and beets. He hopes the three-tier box evokes the feeling of climbing down a steep set of stairs into a root cellar.

Why Even Meat Eaters Will Like It: Salads don’t typically come with a story.

This dish is fun to pull apart and restack with your hands. It features classic combinations like carrots and raisins and beets and blue cheese, but with some unique twists. Bombaugh spent time at molecular gastronomy powerhouse Alinea in Chicago where presentation is paramount, and it shows.

—Laura Hayes

washingtoncitypaper.com october 19, 2018 17

VUSI MAHLASELA

EDGAR MEYER, ZAKIR HUSSAIN & BÉLA FLECK

SAT, OCT 27, 8pm SIXTH & I

SAT, NOV 10, 8pm LISNER AUDITORIUM

The South African living legend returns!

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

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

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

Special thanks: Abramson Family Foundation

TICKETS: WashingtonPerformingArts.org (202) 785-9727

FACTS ABOUT JUNE

June is a 9 year old Saluki mix with moderate energy.

She is very fit and active and does not fit the mold of a “regular” senior dog! She gets along with most dogs if properly introduced. She has lived with two other dogs without issues for her entire life.

She was recently surrendered by her owners when children were introduced into the home and she became fearful and anxious of them once they became toddlers and the noise increased. She would do best in an active home without young children because she is very nervous of them and will snap if she cannot get away from them and is cornered. She would also do best in a home with a confident owner as she is professionally trained and knows many commands, but needs guidance to continue her good manners. This is a very nice dog - just not a dog for children. She lived with her owners for 9 years and was only surrendered because the dynamics of the house have changed with the kids and she had to spend the majority of her time isolated from the kids. She loves to play with her favorite tennis ball and is both crate and house trained. June is a sweet and playful dog who can’t wait to get a new lease on life!

MEET JUNE!

Please contact Rural Dog Rescue www.ruraldogrescue.com to complete an application or visit us at the adoption event this Saturday from 12-2 at Howl To The Chief 733 8th Street SE, DC.

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PROFESSIONAL IN-HOME PET SITTING

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

WWW.SITAPET.COM BONDED INSURED

FOLLOW COMMUNITY

S H O W CA S E

Friday, October 19, 6–8 p.m. | Free

It’s local bands and local beer!

Luce Unplugged 18 october 19, 2018 washingtoncitypaper.com

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

Presented with the Washington City Paper.

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

CPArts

Listen to new music from April + Vista, Team Familiar, and other local bands. washingtoncitypaper.com/arts

Pushing Plays

Two productions based on well known stories ask audiences to reconsider their beliefs.

Sleepy Hollow

Adapted by Nathan Weinberger Directed by Paata Tsikurishvili At Synetic Theater to Nov. 4 Ichabod crane the gangly schoolteacher has got nothing on Ichabod Crane the jock frat boy.

Synetic Theater, Washington’s leading (and only) interpreter of literary works without the words that made them classics, has tackled Sleepy Hollow for Halloween. The resulting show is phenomenal, full of spooks and sex and murderous machismo.

If that sounds like a slight departure from Washington Irving’s original legend, well, who the hell cares?

There are plenty of other Sleepy Hollows populated by goofy prudes and pumpkin heads.

The Synetic production stars Vato Tskurishvili, the brawny son of company co-founders Paata and Irina Tsikurishvili, as the lucky Ichabod who gets the girl in Irving’s fictional upstate New York hamlet. But McLean Jesse’s Katrina Van Tassel, who Irving described as a blooming coquette wearing short petticoats, is no docile lass who sits around tatting doilies. McLean’s Katrina knows she’s a catch, but she’s also a spitfire, anxious to go looking for the marauding ghost herself. Sadly, the search reveals just as much about her husband’s violent streak as it does the Hessian, known to many as the Headless Horseman.

Katrina discovers Ichabod’s moral failings through a flashback which depicts his encounter in the woods with the Hessian soldier and his wounded horse. According to Irving, the soldier was killed years before during the American Revolution. Synetic smartly condenses to the action, and has Ichabod behead the mercenary himself. (Nathan Weinberger wrote the libretto.) The flashback scene is skillfully woven into the 90-minute show, and is a prime example of Synetic’s knack for finding new theatrical tricks to tell old stories, with bonus points for empowering female characters in the process. In Sleepy Hollow, the innovations include puppetry, a treadmill, and casting a ballet dancer in the role of the horse.

Many artists affiliated with Synetic hail from former Soviet republics. Maryam Najafzada performed in Azerbaijan’s national ballet company, and while she’s not a technical virtuoso, she’s ideal as an anthropomorphic equine. Choreographer Irina Tsikurishvili, a classically trained dancer herself, uses ballet’s precise movement vocabulary to set Najafzada apart from the humans, and convey the ethereal connection between the Hessian and his mount.

The homosapiens aren’t too shabby either. In a celebratory tavern scene near the show’s opening, four couples whirl about executing the same jumps-into-lifts that you might see professional dancers perform at the Kennedy Center, but are here interspersed with early American folk-dancing.

Sleepy Hollow The Revolutionary War victory party gives both Ichabod and his rival, Brom (Justin J. Bell), a chance to woo Katrina. The less brash, better man loses out, but at least viewers get a great (but fully clothed!) sex scene out of this marriage.

Ichabod was, in Irving’s text, “tall, but exceedingly lank, with narrow shoulders, long arms and legs.” Vato Tsikurishvili, by contrast, has the body of an NFL running back. To consummate the marriage he bench-presses Jesse, who arches her back with pleasure mid-lift.

Fight scenes are equally athletic, with plenty of gymnastics for Ichabod, Brom, and Scott Turner, as the headless Hessian who sprints through the forest on a treadmill. When the ensemble surrounds Najafzada to create a much more intimidating horse through means of puppetry, the effect is awe-inspiring, the best thing since War Horse.

There’s no fake blood in Sleepy Hollow, and the detached heads are abstracted enough to be grotesque but not gross. (The show is likely appropriate for kids 10 and older.) There’s just one element not effectively deployed to keep the audience in early American fright-night mode, and that’s the original music composed by Konstantine Lortkipanidze.

The show begins with Lortkipanidze alone in the headless horseman costume at an onstage piano, playing a variation on the Dies Irae, a medieval funeral chant referenced by many classical composers. The sonata sets the mood well, as do the chipper tunes for the colonial tavern scene. If he had stuck to those idioms rather than subbing in cinematic action hero music later on, this Sleepy Hollow would hold together even better as a beautiful horror story. Instead, the score sounds haphazard at times, and way too generic during the fight scenes. But at least when the lone horseman returns to the piano at show’s end, Synetic gives us an image that’s the stuff theatrical legends are made of.

—Rebecca J. Ritzel 1800 South Bell St., Arlington. $15–$60. (703) 824-8060. synetictheater.org.

The Fall

Created by the company Curated by Ameera Conrad and Thando Mangcu Facilitated by Clare Stopford At Studio Theatre to Nov. 18 Maybe cecIl rhodes got a passing reference in your childhood history books. Maybe you recall, after dredging the remaining memories of your world history class, as this reviewer did, his desire to connect Cairo and Cape Town, and the celebration of his imperialist ways. History books do have a way of distorting the past. Rhodes is better remembered as a colonialist and a thief, and best not celebrated at all.

That’s what students at the University of Cape Town argued in the 2015 #RhodesMustFall movement—a movement that sought to decolonize education in Cape Town. Over the course of 10 months, students and activists worked to remove an on-campus statue of Cecil Rhodes and, later, change education financing.

Despite their differences, the seven students in The Fall (played by the stellar company of Ameera Conrad, Sizwesandile Mnisi, Zandile Madliwa, Sihle Mnqwazana, Cleo Raatus, Oarabile Ditsele, and Tankiso Mamabolo) agree on a strategy to topple the statue of Rhodes. The deliberations are occasionally funny— at one point, one student unconvincingly advances the classic “they can’t arrest us all” theory—but mostly emotional, as the students try to channel their rage toward something productive.

Throughout the play, the cast deliver interstitial monologues giving voice to the students’ innermost thoughts and fears, often set to the singing, chanting, and clapping of the other six actors. These speeches give The Fall the feel of a live oral history, as the students grapple with their youth, role in history, and experiences as black people in South Africa. In a small theater and on a sparsely decorated stage, these moments are The Fall’s most powerful.

Once the statue falls, the movement threatens to fracture, as the students grapple with their ideological differences. Female students call the men out (rightly) on their patriarchal ways, and class and sexuality come into conflict. It’s a bit like a crash course on intersectionality, and that The Fall never feels like a sociology lecture is a testament to its razor-sharp cast, most of whom also created the play.

The production feels completely and comfortably modern.

From the way the students interact with one another to the way they handle their phones, it all felt very familiar to this reviewer, who graduated from college one year before the events of The Fall. Indeed, seeing a play that takes young people and their concerns so seriously has proven more cathartic than I expected in the days following the show.

The Fall will mean different things to different audience members. For some, it will make an educational and entertaining evening. Others will feel seen and heard. While almost everyone will leave The Fall examining some facet of privilege or oppression in a new light, many people don’t need to be educated on truths too long lived and known.

What, then, is something all viewers, no matter their lived experience, can take from this show? Anger, maybe. A recognition of its validity, the strength to direct it toward evil, and the power to maintain it, even after the lights fade.—Will Warren 1501 14th St. NW. $20–$55. (202) 32-3300. studiotheatre.org. washingtoncitypaper.com october 19, 2018 19

FilmShort SubjectS

Can You Ever Forgive Me?

Second Act Can You Ever Forgive Me? Directed by Marielle Heller

When a beloved comic actor makes their first attempt at a dramatic role—a turn as inevitable as the sunrise—they usually opt for a very specific type of character: one who is socially repressed but, over the course of the film, breaks out and learns to embrace life. It’s a soft landing spot for comedians in that it uses the audience’s expectation of their buffoonery to create tension. It’s a shortcut, essentially, and the kind Melissa McCarthy thoroughly avoids in her first attempt at drama, the terrific Can You Ever Forgive Me? Instead of relying on her comedic persona, she approaches the complicated role of Lee Israel with the same commitment and humbleness that has defined her great comic work in films such as Bridesmaids and Spy. Lee is a successful writer of celebrity biographies, who is struggling to make ends meet. We’re told that, despite her success, no one wants to work with her. After we see her insult a book seller and ambush her agent, who won’t return her calls, at a party, we understand why. McCarthy is a force of anger in these scenes, but she never once goes for the cheap laugh. After just a few minutes of screentime, you’ll stop expecting her to.

Lee’s fortune changes when she discovers an unpublished letter of vaudeville star Fanny Brice tucked into the cover of an old book. Its sale nets her some much-needed cash, so she decides to forge a Noel Coward letter from scratch. Delighted by the compliment that it is perceived as authentic, she forges ahead, taking on more famous and inimitable voices. She writes letters from Dorothy Parker, Lillian Hellman, Katherine Hepburn, and Judy Holliday. Each letter constitutes its own writing challenge, and a criminal enterprise that brings some excitement to her otherwise hermit-like lifestyle.

Still, under the steady hand of director Marielle Heller (The Diary of a Teenage Girl), neither the film nor McCarthy’s performance suc-

cumbs to the temptation of joy. Even when things are going well for Lee, the film’s bluesy tone portends the inevitable downfall. Can You Ever Forgive Me? is set in a dreary, cold mid-’90s New York that feels more like the city’s crimeridden ’70s. It takes place in seedy bars, dingy basement bookstores, and dirty apartments.

Even when Lee makes a boisterous friend, a former colleague (Richard E. Grant) whose dedicated efforts to making irresponsibility attractive are crumbling with his advancing age, their drunken revelries are staged as fantasy, with jazzy saxophones on the soundtrack and a little extra pink in their cheeks. In this world of booze and books, a little fiction goes a long way.

It’s a thoughtful and probing film, even if, in the final third, Can You Ever Forgive Me? does succumb to a few Hollywood contrivances.

Lee’s downfall and her redemption have an air of unearned inevitability. Lee’s letters eventually draw suspicion, and the FBI begins to investigate her. The walls close in. There is a well delivered courtroom monologue by McCarthy that feels designed for her Oscar clip. There is even a sick cat, Lee’s pet, used to humanize her. These elements feel too neat for a film characterized by its commitment to unvarnished truths, but to be honest, none of it bothered me much. Much like its protagonist, the film’s occasional missteps in its attempts at survival are, well, easy enough to forgive.

—Noah Gittell Can You Ever Forgive Me? opens Friday at Landmark E Street Cinema and Landmark Bethesda Row Cinema.

SlASh And leArn Halloween

Directed by David Gordon Green Michael Myers is one of the first truly implacable horror villains. No matter how far you run, how well you hide, or how much you hurt him, he will just keep coming after you. And unlike the Terminator franchise, there is no

20 october 19, 2018 washingtoncitypaper.com

apparent motive or reason behind his killing.

Those qualities are front and center in Halloween, the latest sequel to the beloved John Carpenter slasher movie. Unlike the other sequels that focus on Druid cults or Michael’s psychology, director David Gordon Green and his screenwriters modernize what made the original such a popular, suspenseful success. Along the way, they also stumble into an intriguing meditation on the nature of evil.

It has been 40 years since Michael Myers (Nick Castle) terrorized Haddonfield, Illinois, and killed three people. Now he lives in an asylum where his doctor (Haluk Bilginer, taking over the Donald Pleasence role) is obsessed with him. Myers has never once spoken, to the chagrin of the doctor and two English podcasters (Jefferson Hall and Rhian Rees) who confront him with the infamous mask. Myers escapes after a disastrous transfer from the asylum to a more secure facility, and soon he is back on the prowl in Haddonfield. This time, however, Laurie Strode (Jamie Lee Curtis) is ready for her foe. Packing an impressive arsenal in her remote home, she prepares for a final showdown with Myers while protecting her estranged daughter Karen (Judy Greer) and granddaughter Allyson (Andi Matichak).

At first, David Gordon Green may seem like an odd choice for this material. He is primarily known for art films like George Washington or comedies like Pineapple Express, but he slips

and situations grounded. The action unfolds over Halloween night, with Allyson going to the school dance with her boyfriend. The choice of making Laurie single-minded in her hatred of Myers, to the point that she alienates everyone else, is a plausible one (Curtis is terrific in the role, not sugarcoating Laurie’s failures and reminding us why she was once an effective scream queen).

Green’s background in independent film serves him well, as does the screenplay assist from McBride, a comic actor who is known for his brash, vulgar characters. There are several funny scenes in Halloween, and they’re all grounded in character. There is a terrific comic riff between a babysitter and the foul-mouthed kid she’s watching, and their rapport is so good they almost deserve their own movie together.

And during the film’s climax, somehow there is a protracted conversation about sandwich purity. This focus on idiosyncrasy is a welcome reprieve from the dour world-building frequently found in slasher movies, and it’s astonishing it took this long to find filmmakers who really understood that audiences get more scared when they care about who gets killed.

Between the podcasters and a psychologist who thinks he can find the key to unlocking Myers, Halloween is a critique of our obsession with crime. Sometimes there is just no understanding someone, and accepting evil for what it is—banal, cruel, unflappable—is the first step

Halloween

into the horror genre easily. In fact, the setup/punchline structure of a joke is somewhat similar to the suspense/release trope we find in these kinds of films. There are many, many sequences where we watch innocent victims go about their night, with Myers stalking them in the distance, and part of the film’s joy is the ways in which he springs into gory action. The script—co-written by Green along with Danny McBride and Jeff Fradley—mixes questionable character choices with plausible ones. If you see Halloween in a theater, part of the joy is how everyone will groan as someone wanders down the wrong hallway, or when the crowd falls into tense silence.

Rather than expand the mythology of the films like the sequels attempted with mixed success, this Halloween keeps the characters

to hindering its allure. There are some twists in this film that are a rebuke of previous sequels, with the ones directed by Rob Zombie receiving the most attention. In fact, John Carpenter’s involvement in this film—he produced it and co-wrote an update of the film’s iconic score— further suggest Green understands these characters better than his predecessors.

As Michael undergoes his rampage, murdering people in ways that are both blunt and creative, there is a macabre, borderline respectful method to his madness. His constant silence reasserts him as a great existential villain, so this Halloween follows the original 1978 fright-fest into the horror cannon.

—Alan Zilberman Halloween opens Friday in theaters everywhere.

GALLERIESSketcheS

Sea Change Andrea Limauro: Mare Nostrvm At IA&A at Hillyer to Oct. 28

voyage at sea, death, and arrival). Limauro is also indebted to ancient Roman mosaics; even in his purely acrylic work, there is a glittering flatness compounded by the minuteness of brushstrokes and complex values, recalling carefully placed tesserae. In the final two stations of Limauro’s narrative, “death” takes a much more somber color palette and “arrival” does not illustrate a successful passage but a metaphor for the inevitable destination that humanizes us all, regardless of national affiliation.

It isunclear whether Limauro’s use of photographic images within the paint are a substitution for skill or the appropriation of recognizable material in order to conjoin art with the everyday, mediated world. It’s a more conceptual approach than narration, which seems to be Limauro’s strategy otherwise. Nevertheless, he seeks to invest viewers’ full empathy into the migration crisis, ending with a splitscreen video as a coda to the exhibition.

On the right of “Club Med,” partiers dance with all the expected decadence of rich young people on a yacht. On the other, crying children are rescued to safety from an inflatable raft. It would seem heavy-handed, if Italy’s right-wing politicians hadn’t recently shut ports to migrant rescue ships, with lives reported lost at sea almost weekly. Limauro’s work is well researched and necessarily emphatic, an urgent consideration of the Mediterranean as our modern mass grave.

—Erin Devine

Mare NostrvM, Latin for “our sea,” takes the deadly migration of refugees across the Mediterranean as its theme. Andrea Limauro employs interrelated traditions of Western art to sanctify the crisis as a great tragedy, and that serves to position his own identity. Originally from Rome, Limauro divides his series into four “chapters” best “read” in sequence, much like the iconological frescoes found in chapels of Renaissance Italy. While following the works’ narrative order, viewers may also be reminded of the Stations of the Cross, or the series of images in a Catholic Church that follow the moments along Jesus’ path toward crucifixion (Limauro references this, again in its Latin, as “via crucis”).

It begins with four paintings on war, the normative factor by which so many refugees are compelled to embark on their lifethreatening journey across the sea. In “The Fourth Punic War,” Limauro infuses tiny images of ancient Carthaginian ships with the contemporary cargo of crowded refugees, and sends them across a bubbling pattern of blue-green toward Italy. As clever as this 9 Hillyer Court NW. Free. (202) 338-0325. picture is, laden with broad areas of iconiciz- athillyer.org. ing gold leaf, the first painting in this chapter, “I can see you,” stands out in the exhibition.

Both menacing and beautiful, the dichotomies of its flatness and depth , texture and color, image and pattern, complete a strong representation of compositional arrangement.

Gold leaf, the language of sacred icons, is used throughout each chronological miniseries (war, “The physical impossibility of death in the mind of the privileged”

by Andrea Limauro (2018)

© 2018 & TM LUCASFILM LTD. ALL RIGHTS RESERVED © DISNEY. Presentation licensed by Disney Concerts in association with 20th Century Fox, Lucasfilm Ltd. and Warner/Chappell Music.

Star Wars: The Empire Strikes Back (film with live orchestra) National Symphony Orchestra Steven Reineke, conductor

Music by John Williams

October 23–25 | Concert Hall

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 David M. Rubenstein is the Presenting Underwriter of the NSO. AARP is the Presenting Sponsor of the NSO Pops Season.

washingtoncitypaper.com october 19, 2018 21

THIS WEEK’S SHOWS

Capital One Arena • Washington, D.C.

Jonathan Richman

featuring Tommy Larkins on the drums!

Early Show! 6:30pm Doors. 14+ to enter. ............................................................. SA OCT 20 STEEZ PROMO PRESENTS

Black Tiger Sex Machine w/ Kai Wachi • Al Ross • Lektrique Late Show! 10pm Doors ................................... SA 20 Big Thief w/ The Range of Light Wilderness & .michael. .............................. SU 21 We Were Promised Jetpacks w/ Hurry Up ........................................... TU 23 OCTOBER

NOVEMBER (cont.)

ALL GOOD PRESENTS

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

Moon Taxi w/ Moon Hooch .............Sa 27 & Su 28 Jain w/ Drama ............................M 29 Jake Shears (of Scissor Sisters)

“ANNIE”-THEMED HALLOWEEN COSTUME CONTEST! First prize wins two tickets to every 9:30 show in Nov/Dec 2018! w/ SSION & Sammy Jo ..............W 31

NOVEMBER U STREET MUSIC HALL PRESENTS

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

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

Early Show! 6pm Doors ...................Sa 10

Fleetmac Wood:

T ADDED!

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

MAX w/ Bryce Vine & EZI

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

Midland w/ Desure

This is a seated show. ......................Tu 13

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

A Dance Party with DJ lil’e ..Sa 24 ALL GOOD PRESENTS

Sister Sparrow & The Dirty Birds ................Tu 29 Kurt Vile & The Violators w/ Jessica Pratt ............................F 30

D SHOW ADDED!

FIRST SHOW SOLD OUT! SECON

BERT KREISCHER

Late Show! 9:30pm Doors ................................ MARCH 14

NORM MACDONALD

....................................................... MARCH 21

THE BYT BENTZEN BALL COMEDY FESTIVAL OPENING NIGHT FEAT.

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

Elle King w/ Cordovas ...................NOV 2 AN EVENING WITH

#ADULTING with Michelle Buteau

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

Cameron Esposito, Rhea Butcher, & Friends ... OCT 27 LIVE NATION PRESENTS Stay Tuned with Preet Bharara with special guest Chuck Todd .........NOV 15

Edie Brickell & New Bohemians ................NOV 3 Jackson Galaxy Inside Netflix’s The Staircase - Host of Animal Planet’s My Cat from Hell ...................NOV 21 & Making a Murderer: AEG PRESENTS Fabrications, Lies, Fake Science, and the Owl Theory Adam Conover .........................DEC 2 feat. David Rudolf and Jerry Buting Moderated by NPR’s Carrie Johnson .NOV 5 Jewel - Handmade Holiday Tour w/ Atz, Atz Lee, Nikos Kilcher ..............DEC 6 Richard Thompson Electric Trio w/ Rory Block .......NOV 8 Ingrid Michaelson Trio Ólafur Arnalds ........................NOV 14 - Songs for the Season ......... DEC 12 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

DECEMBER

Minzy ...........................................Su 2 Polo & Pan ................................Tu 4 Kodaline w/ Ocean Park Standoff .................W 5 ALL GOOD PRESENTS

Marcus King Band w/ Ida Mae ...................................Th 6

Late Show! 10pm Doors ......................Th 8

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

N E K O C A S E .........................................................................SAT JANUARY 26

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

Toro Y Moi w/ Dizzy Fae ...........M 12 Ty Segall (Solo Acoustic)

Rhiannon’s Revenge… A Halloween Disco Late Show! 10pm Doors ....................Sa 3 D NIGH FIRST NIGHT SOLD OUT! SECON

ESPERANZA SPALDING ...................................SAT DECEMBER 1

Papadosio w/ LITZ

Colter Wall...............................W 28

U STREET MUSIC HALL PRESENTS

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

ALL GOOD PRESENTS

Cursive w/ Meat Wave & Campdogzz ..........F 2 Early Show! 6pm Doors.....................Sa 3

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

Ticketmaster

On Sale Friday, October 19 at 10am

Allen Stone w/ Nick Waterhouse ....................W 21 All the Divas -

Ekali w/ 1788-L & Jaron

PANIC! AT THE DISCO

AEG PRESENTS

AN EVENING WITH

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

U STREET MUSIC HALL PRESENTS

AEG & I.M.P. PRESENT

930.com

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

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

Trevor Powers w/ CORMAC ROTH ................... F OCT 19 Low Cut Connie w/ Ruby Boots • &more (Chill Moody & Donn T) ....................Su 21 Alexandros .............................. M 22 Oh Pep! Late Show! 10:30pm Doors ...W 24 Rubblebucket w/ Diet Cig & Star Rover ..................Sa 27

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

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

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

HAPPY HOUR DRINK PRICES impconcerts.com AFTER THE SHOW AT THE BACK BAR! 22 october 19, 2018 washingtoncitypaper.com

Gus Dapperton w/ Beshken .......... M 29 Chase Atlantic w/ Cherry Pools & R I L E Y................W 31 Ezra Furman w/ Omni .......... Tu NOV 1 The Twilight Sad .......................Sa 3 The Lemon Twigs w/ Jungle Green .Su 4 Brandon Wardell Live w/ Chase Bernstein ..........................M 5

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

930.com

CITYLIST

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

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

Tix @ Ticketmaster.com 800-745-3000

CANDY DULFER 21 OTTMAR LIEBERT & Luna Negra 22 SAMANTHA FISH Skribe 25 PHIL VASSAR 26 DELBERT McCLINTON

Oct 18

Music 23 Books 26 Dance 26 Theater 27 Film 28

Music

CITY LIGHTS: FRIDAY

w/Dave Chappell & Tommy Lepson

FRIDAY

27

HIp-Hop

28

9:30 Club 815 V St. NW. (202) 265-0930. Tank and the Bangas & Big Freedia. 7 p.m. Sold out. 930.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Lil Xan. 8 p.m. $27–$87. fillmoresilverspring.com.

4

opERA

w/10 String Symphony

PETULA CLARK Billy 8 THE OUTLAWS Crain Band 9 OLETA ADAMS 11 CHRIS BOTTI

u Street muSiC HAll 1115 U St. NW. (202) 588-1889.

Mark Farina. 10:30 p.m. $10–$15. ustreetmusichall.com. u Street muSiC HAll 1115 U St. NW. (202) 588-1889.

9:30 Club Presents Trevor Powers. 7 p.m. $15. ustreetmusichall.com. union StAge 740 Water St. SW. (877) 987-6487. All Good Presents Psycho Killers. 9 p.m. $15–$25. unionstage.com.

13

blACK CAt 1811 14th St. NW. (202) 667-4490. Tvvat Snot. 7 p.m. $10–$12. blackcatdc.com. blACK CAt 1811 14th St. NW. (202) 667-4490. Guided

by Voices. 8 p.m. $32–$35. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. The North Country. 7 p.m. $10. dcnine.com. gypSy SAlly’S 3401 K St. NW. (202) 333-7700. Animal Liberation Orchestra. 9 p.m. $18. gypsysallys. com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

GLORIETTA. 8 p.m. $22–$25. rockandrollhoteldc.com.

WoRLD

dC9 1940 9th St. NW. (202) 483-5000. Mike Yung. 7 p.m. $15–$50. dcnine.com.

JAzz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Dee Dee Bridgewater. 8 p.m.; 10 p.m. $60–$65. bluesalley.com.

THE KILLERS

An Evening with

GEORGE WINSTON Lily 14 JOSHUA RADIN Kershaw 16&18 PAULA POUNDSTONE 19 BONEY JAMES 23 THE SELDOM SCENE & DRY BRANCH FIRE SQUAD 24&25 CHARLES ESTEN 26, 27,28 Melissa Etheridge

RocK

FunK & R&B

REVISITED"

7

pop

9:30 Club 815 V St. NW. (202) 265-0930. Black Tiger Sex Machine. 10 p.m. $22. 930.com.

MIPSO & FRIENDS

"DARK HOLLER POP

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

ELEcTRonIc

The Stars from

Bellydance, Burlesque & more!

Kennedy Center terrACe gAllery 2700 F St. NW. (202) 467-4600. KC Jazz Club: Odean Pope. 7 p.m. $20–$35. kennedy-center.org.

SATuRDAY

KATHY MATTEA

THE COMMITMENTS Jordan 2 DAVID BROMBERG BIG BAND Tice 3 RAVEN'S NIGHT 2018

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Dee Dee Bridgewater. 8 p.m.; 10 p.m. $60–$65. bluesalley.com.

tropiCAliA 2001 14th St. NW. (202) 629-4535.

Colombian Music Showcase : Kombilesa Mi (Colombia) and La Marvela. 8 p.m. $12–$15. tropicaliadc.com.

An Evening with

Nov 1

JAzz

georgetown univerSity mCneir Auditorium 37th and O streets NW. (202) 687-0100. Turning Jewels Into Water. 1 p.m. Free. georgetown.edu.

TOM PAXTON & The DonJuans

'The Holiday Show' plus your favorites!

Burt Lancaster began his entertainment career as a circus acrobat, but an injury forced him to look for less physically demanding work. So it’s perhaps apt that, in his 1946 screen debut, The Killers, he uses his commanding physique to play a broken man. Lancaster stars as a gas station attendant known as the Swede who’s murdered soon after we meet him. Director Robert Siodmak adapted Ernest Hemingway’s short story for this quintessentially fatalistic noir, which keeps Lancaster in shadows before flashbacks plot out the Swede’s tragic demise.

The AFI Silver’s Noir City DC Festival continues with a double bill of killers: This classic will be shown with a 1964 adaptation of the same film directed by Don Siegel (who would go on to make the Clint Eastwood classic Dirty Harry) and starring John Cassavetes and, in his last film role before he ran for governor of California, Ronald Reagan. The films screen at 7:30 p.m. at the AFI Silver Theatre and Cultural Center, 8633 Colesville Road, Silver Spring. $8–$15. (301) 495-6700. afi.com/silver.

—Pat Padua

29

An Acoustic Evening with

SHAWN COLVIN 30 PURE PRAIRIE LEAGUE & FIREFALL Dec 1

Newmyer Flyer Presents A Tribute to

LITTLE FEAT 3&4 ROBERT GLASPER 5 A PETER WHITE CHRISTMAS with RICK BRAUN & EUGE GROOVE

washingtoncitypaper.com october 19, 2018 23

blACK CAt 1811 14th St. NW. (202) 667-4490. The Damned. 7 p.m. $28–$30. blackcatdc.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

White Ford Bronco. 7:30 p.m.; 11 p.m. $25. rockandrollhoteldc.com.

CITY LIGHTS: SATuRDAY

union StAge 740 Water St. SW. (877) 987-6487. All Good Presents Honey Island Swamp Band. 11:30 p.m. $12. unionstage.com.

WoRLD

AnACoStiA ArtS Center 1231 Good Hope Road SE. Flash of the Spirt Festival: Anacostia Arts Center Matinee. 2 p.m. $10. anacostiaartscenter.com.

RocK

9:30 Club 815 V St. NW. (202) 265-0930. Big Thief. 7 p.m. $20. 930.com. u Street muSiC HAll 1115 U St. NW. (202) 5881889. 9:30 Club Presents Low Cut Connie. 7 p.m. $15. ustreetmusichall.com.

MonDAY FunK & R&B

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

Freer gAllery oF Art Jefferson Drive & 12th Street SW. (202) 633-1000. Hafez Kotain and Ensemble. 7:30 p.m. $6. asia.si.edu.

RocK

SunDAY

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

Garbage. 8 p.m. $55. thelincolndc.com.

JAzz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Dee Dee Bridgewater. 8 p.m.; 10 p.m. $60–$65. bluesalley.com.

opERA

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

pop

dC9 1940 9th St. NW. (202) 483-5000. Mr Twin Sister.

8 p.m. $14. dcnine.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Lily Allen. 8 p.m. $35–$105. fillmoresilverspring.com.

dC9 1940 9th St. NW. (202) 483-5000. The Life And Times and Spotlights. 8 p.m. $12–$14. dcnine.com.

u Street muSiC HAll 1115 U St. NW. (202) 588-1889.

9:30 Club Presents Alexandros. 7 p.m. $40. ustreetmusichall.com. union StAge 740 Water St. SW. (877) 987-6487.

Stones Throw Presents Jerry Paper, Kiefer, Prophet, and Stimulator Jones. 8 p.m. $15–$18. unionstage. com.

TuESDAY cLASSIcAL

Kennedy Center ConCert HAll 2700 F St. NW. (202) 467-4600. NSO Pops: Star Wars: The Empire Strikes Back. 7 p.m. $34–$149. kennedy-center.org.

Kennedy Center terrACe tHeAter 2700 F St. NW. (202) 467-4600. Fortas Chamber Music Con-

CITY LIGHTS: SunDAY

pLAYInG cHAnGES

The long shadow of New Orleans jazz trumpeter Wynton Marsalis is everywhere in Playing Changes, jazz critic Nate Chinen’s analysis of the current state of the genre and its development. The iconic trumpeter and educator is an overt presence in the book’s first three chapters, which focus varying lenses on his strict-constructionist agenda and how it directly shaped every corner of the jazz world. But if Marsalis himself only makes scattered cameos in the remainder of Playing Changes, his impact quietly permeates Chinen’s discussions of jazz education, new technologies, and the continuing influence of M-Base, hip-hop, and world music. Playing Changes is in many ways the story of how jazz developed around—and in reaction to—the vision that Marsalis executed. Still, that he is hidden in the book behind so many other names and ideas shows both the scope of that development, and Chinen’s views thereof. Chinen will be in conversation with NPR’s Lauren Onkey to discuss those views and more. Nate Chinen speaks at 7 p.m. at Politics and Prose, 5015 Connecticut Ave. NW. Free. (202) 364-1919. politics-prose.com.

—Michael J. West

opERA

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

pop

union StAge 740 Water St. SW. (877) 987-6487.

Lawrence. 7 p.m. $20–$30. unionstage.com.

RocK 9:30 Club 815 V St. NW. (202) 265-0930. Jonathan Richman featuring Tommy Larkins. 6:30 p.m. $25.

930.com. tHe AntHem 901 Wharf St. SW. (202) 888-0020. Joe Russo’s Almost Dead. 8 p.m. $45–$65. theanthemdc.com.

24 october 19, 2018 washingtoncitypaper.com

LILY ALLEn

After a few years out of the spotlight, Lily Allen returned this year with the one-two punch of a new album, No Shame, and a memoir, My Thoughts Exactly. The English singer-songwriter has plenty to talk about—her children, the dissolution of her marriage, her substance abuse issues, a terrifying ordeal with a stalker—and both the album and the book are forums for the fearless audacity that put her on the map in the first place. On No Shame, Allen fights back against the same tabloids and social media that helped forge her career, but at a high personal cost, singing on “Come On Then:” “I feel like I’m under attack all of the time… Why do you scrutinize my every move? And what exactly are you trying to prove?” Musically, Allen had a bit to prove after the creative misfire of 2014’s Sheezus, an album that she says gave her an “identity crisis.” On No Shame, Allen went back to basics, with understated productions that draw from reggae and electro-pop, and—most importantly—put Allen at the forefront as she reclaims her narrative.

Lily Allen performs at 8 p.m. at the Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $35.

(301) 960-9999. fillmoresilverspring.com.

—Chris Kelly

CITY LIGHTS: MonDAY

JOHN

NEMETH W/ JOSH CHRISTINA THURSDAY

MICKY & THE MOTORCARS FRIDAY, NOV. 9

OCT 18

the

$15/ADV $20/DOS

JERRY DOUGLAS

BAND FRIDAY OCT

19

SAT, OCT 20

LEAN ON ME: JOSÉ JAMES CELEBRATES BILL WITHERS WED, OCT 24

AN EVENING WITH

TAKE ME TO THE RIVER

MounTAIn MAn

With their quiet harmonies, Mountain Man invoke images of a stream barely burbling, a campfire’s coals gently glowing, and your favorite t-shirt. The trio of Amelia Meath (the voice of pop duo Sylvan Esso), Molly Erin Sarlé, and Alexandra Sauser-Monnig, who became critical darlings after 2010’s Made The Harbor, have returned after eight years with another record, Magic Ship, of delicate and often a cappella Appalachian folk. While the harmonies feel worn and familiar, Magic Ship doesn’t feel old as its rhythms and themes are rooted in more modern times.

Fans of Sylvan Esso will recognize the similarities between the groups’ work. Meath’s, Sarlé’s, and Sauser-Monnig’s voices blend and bristle with one another in ways that make one wonder how people could be so close. For the listener, it’s a sense of intimacy and awe. In a relentlessly noisy world, Mountain Man turn down the volume and huddle close. Combine that with Sixth & I and you’ll be able to find sanctuary for at least one Monday night. Mountain Man perform at 7:30 p.m. at Sixth & I Historic Synagogue, 600 I St. NW. $25. (202) 408-3100. sixthandi.org.

—Justin Weber

certs: Kalichstein-Laredo-Robinson Trio. 7:30 p.m. $45. kennedy-center.org.

FoLK

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Graeme James. 8 p.m.; 10 p.m. $22. bluesalley. com.

blACK CAt 1811 14th St. NW. (202) 667-4490. Kikagaku Moyo. 7:30 p.m. $15. blackcatdc.com. dC9 1940 9th St. NW. (202) 483-5000. Saints of Valory. 8 p.m. $13–$15. dcnine.com.

WEDnESDAY cLASSIcAL

Kennedy Center ConCert HAll 2700 F St. NW. (202) 467-4600. NSO Pops: Star Wars: The Empire Strikes Back. 8 p.m. $34–$149. kennedy-center.org.

NIGHT II

AN EVENING WITH THE

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

SUN, OCT 28

SONNY LANDRETH KANDACE SPRINGS

pop

u Street muSiC HAll 1115 U St. NW. (202) 588-1889.

9:30 Club Presents Oh Pep!. 10:30 p.m. $15. ustreetmusichall.com.

9:30 Club 815 V St. NW. (202) 265-0930. We Were Promised Jetpacks. 7 p.m. $20. 930.com.

SAT, OCT 27

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

TUES, OCT 30

pop

RocK

NIGHT I

AN EVENING WITH THE

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Jacqui Naylor. 8 p.m.; 10 p.m. $24. bluesalley. com. u Street muSiC HAll 1115 U St. NW. (202) 588-1889.

9:30 Club Presents Jeremy Zucker. 7 p.m. $15. ustreetmusichall.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Jessie J. 8 p.m. $35. fillmoresilverspring.com.

FRI, OCT 26

JAzz

HIp-Hop

u Street muSiC HAll 1115 U St. NW. (202) 588-1889.

Blockhead. 7 p.m. $10–$15. ustreetmusichall.com.

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

RocK

LIVE NATION PRESENTS

FRI, NOV 2

REBIRTH BRASS BAND

W/ ELLIS DYSON & THE SHAMBLES

SAT, NOV 3

AN EVENING WITH

NIGHT II - 2 SHOWS

REBIRTH BRASS BAND SUN, NOV 4

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

I DRAW SLOW

blACK CAt 1811 14th St. NW. (202) 667-4490. Wavves and Beach Fossils. 7:30 p.m. $25. blackcatdc.com.

FRI, NOV 9

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

NIGHT I

FRANK SOLIVAN & DIRTY KITCHEN

W/ THE HIGH & WIDES

union StAge 740 Water St. SW. (877) 987-6487.

Hand Habits. 8 p.m. $13–$15. unionstage.com.

★

THU 10/18 DHARMASOUL BAND FRI 10/19 THE DRUNKEN HEARTS SAT 10/20 DENNIS JAY + TEX RUBINOWITZ $10/$15 TUE 10/23 JONNY GRAVE THU 10/25 BOB LOG III + LARRY & HIS FLASK $16/$20 FRI 10/26 HARPER AND THE MIDWEST KIND SAT 10/27 SCOTT KURT / HALLOWEEN!!

TUE 10/30 ROXY ROCA THU 11/1 ROANOKE FRI 11/2 THE WOODSHEDDERS SAT 11/3 CORY MORROW $20/$25 MON 11/5 THE 4ONTHEFLOOR TUE 11/6 TERRY KLEIN THU 11/8 MAYBE APRIL $12/$15 FRI 11/9/ MICKY AND THE MOTORCARS $15/$20 SAT 11/10 JUSTIN TRAWICK BAND W/ ADAM HOOD $12/$15 TUE 11/13 PRESSING STRINGS HILL COUNTRY BARBECUE MARKET

410 Seventh St, NW • 202.556.2050 HillCountry.com/DC • Twitter @hillcountrylive

WoRLD Kennedy Center millennium StAge 2700 F St. NW. (202) 467-4600. Kurbasy. 6 p.m. Free. kennedy-center.org.

★

THEHAMILTONDC.COM

Near Archives/Navy Memorial [G, Y] and Gallery PI/Chinatown [R] Metro washingtoncitypaper.com october 19, 2018 25

THuRSDAY cLASSIcAL

“A lovely, haunting meditation on human connection”

Kennedy Center ConCert HAll 2700 F St. NW. (202) 467-4600. NSO Pops: Star Wars: The Empire Strikes Back. 8 p.m. $34–$149. kennedy-center.org.

New York Times

Kennedy Center terrACe tHeAter 2700 F St. NW. (202) 467-4600. Vocal Arts DC presents Hyesang Park. 7:30 p.m. $55. kennedy-center.org.

JAzz

blueS Alley 1073 Wisconsin Ave. NW. (202) 3374141. Najee. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

pop

dC9 1940 9th St. NW. (202) 483-5000. Hey Ocean!. 8 p.m. $15. dcnine.com.

RocK

tHe AntHem 901 Wharf St. SW. (202) 888-0020. Nick Cave & The Bad Seeds. 8 p.m. $60–$100. theanthemdc.com.

Fillmore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Descendents, Teenage Bottlerocket and Ruth Ruth. 8 p.m. $35. fillmoresilverspring.com.

Hill Country live 410 7th St. NW. (202) 556-2050.

Bob Log III and Larry and His Flask. 9 p.m. $16–$20. hillcountrywdc.com.

PERFORMED IN COMPLETE COLLABORATION WITH THE AUDIENCE BY 600 HIGHWAYMEN // WRITTEN AND DIRECTED BY ABIGAIL BROWDE AND MICHAEL SILVERSTONE OCTOBER 23 – NOVEMBER 4 WOOLLY MAMMOTH THEATRE COMPANY

WOOLLYMAMMOTH.NET // 202-393-3939 // #WOOLLYFEVER

WMTC_CityPaper_10.18.indd 1

WoRLD

Hill Center At tHe old nAvAl HoSpitAl 921 Pennsylvania Ave. SE. (202) 549-4172. Kurbasy. 7 p.m. $15. hillcenterdc.org.

Books

KwAme AlexAnder Best-selling poet and author Kwame Alexander talks about his new book Swing, about two best friends who, as personal and social tension increases around them, decide to use their voices for the greater good. One More Page Books.

2200 N. Westmoreland Street, No. 101, Arlington. Oct. 19. 4 p.m. Free. (703) 300-9746. mAx boot Max Boot discusses his new book The Corrosion of Conservatism, the story of how he abandoned the conservative ideology in the wake of Trump’s campaign. Politics and Prose at The Wharf.

70 District Square SW. Oct. 23. 7 p.m. Free. (202) 4883867. meg medinA Meg Medina signs and discusses her book Merci Suarez Changes Gears, a middle grade coming-of-age novel about a young girl struggling to navigate sixth grade. One More Page Books. 2200 N. Westmoreland Street, No. 101, Arlington. Oct. 19. 7 p.m. Free. (703) 300-9746.

Dance

dog witHout FeAtHerS (Cão Sem plumAS) Adapted from the poem of the same name, Compan-

CITY LIGHTS: TuESDAY

10/9/18 11:50 AM

EXpERIMEnTS In SounD MEDITATIon

How often do you think about sound? Or, to put it differently: Have you ever thought about the way we perceive sound in a mindful way? The legendary experimental composer Pauline Oliveros changed the way we listen in more ways than you think. Beyond her towering musical accomplishments, Oliveros pioneered a new way to listen to music and sound that combines mindful listening skills with meditative techniques through her ideas of deep listening, “an aesthetic based upon principles of improvisation, electronic music, ritual, teaching and meditation.”

Over the course of the past six weeks, Layne Garrett, one of the region’s most innovative and out-there improvisational musicians, has been leading an ongoing workshop on Oliveros’ Sonic Meditations—25 text-based instructions to teach people the ways of deep listening and sonic awareness. Some of the instructions are as simple as focusing on an environmental sound and attempting to mimic its pitch, while the more advanced techniques include instructions on how to telepathically transmit a sound into someone else’s brain. Whichever the exercise, no experience is necessary to attend this ongoing workshop which teaches you new sonic ways of experiencing the world around you. The event begins at 7 p.m. at Rhizome DC, 6950 Maple St. NW. $5–$10. rhizomedc.org.

—Matt Cohen 26 october 19, 2018 washingtoncitypaper.com

Jazz

CITY LIGHTS: WEDnESDAY

Jason Moran

DoRIE GREEnSpAn

If your latest Great British Bake Off binge has made you want to learn to bake, do yourself a favor and pick up a book by Dorie Greenspan. The photos of completed dishes will make you drool and her detailed instructions are pretty much foolproof, so long as you remember to take the pan out of the oven. Greenspan’s joie de vivre and spritely energy emanate from every page and remind you of one of her former collaborators: Julia Child. Like Julia, she’s upfront about how hard it is to not eat something that smells divine immediately after it comes out of the oven, and encourages those following her recipes not to take themselves too seriously. Making dessert should be fun, after all! This fall, Greenspan is touring the nation in support of her 13th cookbook, Everyday Dorie, a collection of more than 100 of her favorite simple recipes, like meatballs and shepherd’s pie. In D.C., she’ll speak with Bonnie Benwick of The Washington Post’s food section at Politics and Prose’s Union Market location. If the talk makes you hungry—let’s face it, it will—plentiful snack options are just a few steps away. Dorie Greenspan speaks at 7 p.m. at Politics and Prose at Union Market, 1270 5th St. NE. Free. (202) 544-4452. politics-prose.com.

—Caroline Jones

hia de Dança Deborah Colker’s Dog Without Feathers illustrates the way of life in the Capibaribe River Region of Brazil. Kennedy Center Eisenhower Theater. 2700 F St. NW. Oct. 19. 8 p.m.; Oct. 20. 8 p.m. $29–$79. (202) 467-4600. kennedy-center.org. eASt CoASt premiereS From unbound: A FeStivAl oF new worKS The San Francisco Ballet presents the East Coast premieres of the programs from San Francisco’s Unbound festival, which features the innovative new works of some of today’s most acclaimed choreographers. Kennedy Center Opera House. 2700 F St. NW. Oct. 23. 7:30 p.m.; Oct. 24. 7:30 p.m.; Oct. 25. 7:30 p.m. $29–$129. (202) 4674600. kennedy-center.org.

Theater

ACtuAlly Theater J presents the timely story of Tom and Amber, two college freshmen who find themselves in a Title IX hearing after a casual hookup doesn’t go as planned. This production is directed by Johanna Gruenhut and written by Anna Ziegler. Arena Stage. 1101 6th St. SW. To Nov. 18. $30–$69. (202) 4883300. arenastage.org.

AidA Constellation Theatre Company presents Elton John’s epic musical, based on the opera of the same name. It follows the forbidden love story of the Nubian princess Aida and Ramades, the Egyptian captain who enslaved her people. Constellation Theatre at Source. 1835 14th St. NW. To Nov. 18. $25–$55. (202) 204-7741. constellationtheatre.org. beetlejuiCe This new Alex Timbers-directed musical, adapted from Tim Burton’s 1988 film, makes its world premiere prior to Broadway. With music by Eddie Perfect and a book by Scott Brown, Beetlejuice tells the story of a quirky teenager who moves into a house haunted by its deceased owners and an elusive trickster demon. National Theatre. 1321 Pennsylvania Ave. NW. To Nov. 18. $54–$114. (202) 628-6161. nationaltheatre.org.

born yeSterdAy Set in the 1940s, this Broadway play tells the story of Billie Dawn, the naive girlfriend of a Washington tycoon who fights back against his corrupt political schemes. This regional production is directed by Aaron Posner and stars Kimberly Gilbert and Edward Gero. Ford’s Theatre. 511 10th St. NW. To Oct. 21. $20–$62. (202) 347-4833. fords.org. tHe Comedy oF errorS Shakespeare Theatre Company presents this zany farce about two sets of twins, each with the same name. The production is directed by Alan Paul. Lansburgh Theatre. 450 7th St. NW. To Oct. 28. $44–$102. (202) 547-1122. shakespearetheatre.org. tHe FAll Written by seven student activists who helped dismantle the statue of Cecil Rhodes at the University of Cape Town, The Fall grapples with race, class, history and power in the aftermath of Apartheid through song and dance. Studio Theatre. 1501 14th St. NW. To Nov. 18. $20–$55. (202) 332-3300. studiotheatre.org.

How i leArned to drive Round House’s production of this Pulitzer-winning play is directed by Amber Paige McGinnis and written by Paula Vogel. This timely story chronicles one woman’s struggle to break free from the cycle of sexual abuse and come to terms with her traumatizing memories. Round House Theatre Bethesda. 4545 East-West Highway, Bethesda. To Nov. 4. $48.40–$67. (240) 644-1100. roundhousetheatre.org.

King joHn This historic Shakespeare play dramatizes the life of King John of England, who wages war on France after the King Philip demands that he renounce the throne. Directed by Aaron Posner, this production features Kate Eastwood Norris as Philip the Bastard and Holly Twyford as Constance. Folger Shakespeare Library. 201 E. Capitol St. SE. To Dec. 2. $42-$79. (202) 544-7077. folger.edu. lAbour oF love Fresh from London’s West End, this new comedy traces the ups and downs of leftwing politics in Britain over the past two decades.

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

Artistic Director

Crossroads Club

Mwenso & the Shakes

Saturday, October 27 at 9 p.m.

Atrium

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

All tickets are general admission—standing room only.

Kennedy-Center.org

Groups call (202) 416-8400

(202) 467-4600

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

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OCT 18

OCT 18

OCT 19

OCT 19

OCT 21

Ari Hest

“Strange Conversation”

Mandy Barnett In The Wine Garden

Carl Palmer’s ELP Legacy

It Came From the ‘70s Superflydisco

miki howard

OCT 22

OCT 23

OCT 23

OCT 24

OCT 24

Parsonsfield & Sawyer Fredericks

Pokey LaFarge (Solo)

scrapomatic

The Wind + The Wave

An Acoustic Evening w/

In The Wine Garden

In The Wine Garden

John Hiatt

OCT 25

OCT 26

OCT 26

OCT 28

OCT 29

Richard Marx

Enter the Haggis

Jenny & The Mexicats

John Sebastian

An Evening w/

Acoustic Alchemy

(two shows!)

In The Wine Garden

In The Wine Garden

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The deepest parts of our ocean world contain some of the most awe-inspiring insights that our planet has to offer. Thanks to extensive research conducted by acclaimed scientists and researchers, we are now able to take a glimpse into the possible oceans of other planets. At the Gilbert H. Grosvenor Auditorium on the campus of the National Geographic Museum, four experts— oceanographer and National Geographic Explorer-at-Large Robert Ballard, National Geographic Explorer and NASA scientist Kevin Peter Hand, and Woods Hole Oceanographic Institution scientists Chris German and Julie Huber—are speaking about the wonders of the ocean and how they connect to greater mysteries. Join in the discussion of who and what else exists alongside us in the universe, and discover what puzzles and uncertainties are currently driving scientific curiosity and studies of the amazing oceans—entire universes unto themselves. We might not be alone after all. The talk begins at 7:30 p.m. at Gilbert H. Grosvenor Auditorium, 1600 M St. NW. $25. (202) 857-7700. nationalgeographic.org/dc.

—Malika T. Benton

LittLe Shop of horrorS The Kennedy Center presents this classic dark musical comedy as the latest in its Broadway Center Stage series. The story follows Seymour Krelborn, a humble floral shop assistant who discovers a sentient plant that feeds on human blood. Kennedy Center Eisenhower Theater.

2700 F St. NW. To Oct. 28. $59–$199. (202) 467-4600. kennedy-center.org.

Film

Bad timeS at the eL royaLe Seven strangers, each with their own secrets, meet at a rundown hotel in which over the course of a night they will have a chance at redemption. Starring Dakota Johnson, Chris Hemsworth, and Jon Hamm. (See washingtoncitypaper.com for venue information) BeautifuL Boy Steve Carell and Timothée Chalamet star as a father and son whose relationship experiences trials and tribulations as the son struggles with drug addiction over many years. Co-starring Maura Tierney and Amy Ryan. (See washingtoncitypaper.com for venue information) firSt man Legendary astronaut Neil Armstrong prepares for the space mission that led to him becoming the first person to walk on the moon. Starring Ryan

28 october 19, 2018 washingtoncitypaper.com

Gosling, Claire Foy, and Jason Clarke. (See washingtoncitypaper.com for venue information) GooSeBumpS 2: haunted haLLoween A mischievous talking dummy wreaks havoc and brings ghoulish friends to life on Halloween. Starring Wendi McLendon-Covey, Jack Black, and Madison Iseman.

(See washingtoncitypaper.com for venue information) haLLoween Jamie Lee Curtis reprises her role as Laurie Strode, this time coming to her final confrontation with serial killer Michael Myers. Starring Judy Greer and Andi Matichak. (See washingtoncitypaper. com for venue information) the happy prince Flamboyant writer Oscar Wilde suffers through his last days in exile while looking back on his life and times. Starring Rupert Everett, Colin Firth, and Emily Watson. (See washingtoncitypaper.com for venue information) a Star iS Born An aging musician helps to launch the career of a struggling singer and subsequently falls in love with her. Starring Bradley Cooper, Lady Gaga, and Sam Elliott. (See washingtoncitypaper.com for venue information) Venom After journalist Eddie Brock becomes infected with the powers of a symbiote, he struggles to release its bloodthirsty powers in the form of alterego Venom. Starring Tom Hardy, Riz Ahmed, and Michelle Williams. (See washingtoncitypaper.com for venue information)

SAVAGELOVE I have a secret: For the past three months, I’ve been attending a local Jacks club (a men-only masturbation event). As someone recovering from sexual abuse, I find the party to be safe, therapeutic, and just sexy fun. I feel like I need this! Unfortunately, I spotted one of my employees at last week’s event. Although I’m openly gay at my workplace, being naked, erect, and sexual in the same room as my employee felt wrong. I freaked out, packed up, and departed without him seeing me (I hope). I’m his manager at work, and I feel that being sexual around him could damage our professional relationship. It could even have dangerous HR consequences. I realize he has every right to attend Jacks, as much right as me, but I wish he weren’t there. I want to continue attending Jacks, but what if he’s there again? Frankly, I’m terrified to discuss the topic with him. Help!

—Just A Cock Kraving Safety

“I hate to say it, but now that JACKS knows his employee attends these events, he really has to stop going,” said Alison Green, the management consultant behind the popular Ask a Manager advice column (askamanager.org) and the author of Ask a Manager: How to Navigate Clueless Colleagues, Lunch-Stealing Bosses, and the Rest of Your Life at Work.

And why do you have to stop going to your beloved JO club?

“In an employment relationship where he’s in a position of power,” said Green, “JACKS has a responsibility to avoid any remotely sexual situation with an employee.”

Green also strongly advises against pulling your employee aside and working out some sort of shared custody agreement—you get Jacks to yourself every other week—because initiating a conversation with a subordinate about when and where he likes to jack off would be a bad idea. She also doesn’t think you can just keep going in the hopes that your employee won’t be back.

“If he continues to attend and it got back to anyone at their workplace, it would be really damaging to his reputation—not the fact that he was at the event to begin with, but the fact that he continued to attend knowing an employee was also participating,” said Green.

“It would call his professional judgment into question, and it’s highly likely that HR would freak out about the potential legal liability that arises when you have a manager and a subordinate in a sexual context together.”

It seems crazy unfair to me that you should have to stop going to parties you not only enjoy, JACKS, but that have aided in your recovery. And Green agrees—it isn’t fair—but with great power (management) comes great responsibility (avoiding places where your employees are known to jack off ).

“It’s never going to feel fair to have to drop out of a private, out-of-work activity just because of

your job,” said Green. “I’m hoping it’s possible for JACKS to find a different club in a neighboring town. Or he could start his own club and offer a safe haven for other managers hiding out from potential run-ins with employees—Jacks for Middle Managers or something!”

While I had Green’s attention, I asked her about other sorts of gay social events that might toss a manager and an employee into a sexual context—think of the thousands of men who attended the Folsom Street Fair in San Francisco last month. Gay men (and others) walk around in various states of undress or dress up, and a lot of flirting, groping, and more goes down. Should gay men in management have to skip events like Folsom lest they run into men they supervise?

She only checks in with you about your boundaries to see if they’ve crumbled yet? This isn’t how someone opens up a marriage, unless that someone isn’t interested in staying married.

“Public events are different from private clubs,” said Green. “A private club is more intimate, and a public event is, well, public. And it’s not reasonable or practical to expect managers to entirely curtail their social lives or never attend a public event. But a private club that’s organized specifically and primarily for sexual activity is in a different category.”

However, gay managers who run into employees at events like Folsom or circuit parties shouldn’t ogle, hit on, or photograph their employees.

“If someone who reports to you is in a sexual situation,” said Green, “you should keep moving and give them as much space as you reasonably can.”

I’m going to give myself the last word here: You’ve been attending that JO club for months and saw your employee there only once, JACKS, so I think you can risk going back at least one more time. I would hate to see you deprived of release (and see your recovery set back!) if your employee was there only that one time.

Follow Alison Green on Twitter @AskAManager.

—Dan Savage My husband and I are visiting Italy right now.

We decided to try out the local hospitality and have had two bad hookups. Both of us knew early on in the encounters that we weren’t enjoying it, but we didn’t know how to extricate ourselves.

What is the proper way to end a failed hookup

with minimum insult/hurt to the third person?

—Texans Seeking Amore 1. The unvarnished truth: “We’re sorry, but we aren’t really feeling it.”

2. The little white lie: “Oh, my goodness. I think the clams we ate earlier were off. I’m so sorry, we’re going to have to call it a night.”

—DS My wife recently came out as bisexual after spending time with a woman who awakened her feelings. I suspected for a long time that my wife was probably bisexual, so I had no issues telling her to explore this side of her sexuality. My only caveat for opening our marriage was that I wasn’t comfortable with her entering into a relationship with another man. This pissed my wife off, she told me I was being irrational, we fought about it, blah blah blah. Fast-forward a few weeks. My wife swiped right on a guy on Tinder and then checked in with me to see if the boundaries had shifted. I have a hotwife-type fetish, so I gave her the okay to swap sexy texts and we agreed on a possible threesome. It didn’t pan out, my wife was bummed, we moved on. She has started chatting up other guys on Tinder. Nothing has happened yet between them, but I feel like I’m being pulled ahead of where I’m comfortable in exploring an open marriage. I’m not opposed to simple hookups, but a separate relationship with a man? The intimacy and affection parts bug me. How do you acclimate to this kind of adjustment? Or do I throw the brakes on and reverse?

—Personally Feeling Fearful Today So you gave your wife permission to explore her bisexuality—with other women—and she jumped on Tinder and started swiping right on men? Even though you’d told her that wasn’t something you were comfortable with? And it now appears that your wife doesn’t just want to have sexual experiences with women and men (but mostly with men), but relationships with other women and men (but mostly with men)?

And she only checks in with you about your boundaries to see if they’ve crumbled yet?

This isn’t how someone opens up a marriage, PFFT, unless that someone isn’t interested in staying married. So you’re going to need to hit the brakes and get some clarity from your wife. You’re willing to open your marriage up to allow for outside sexual experiences, preferably ones you get to take part in (hot-wifing scenes, threesomes), but you’re not interested in polyamory—that is, you don’t want your wife to have a boyfriend. If a boyfriend is what she wants, and she’s unwilling to compromise and can’t negotiate with you in good faith, you don’t want to be her husband.

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

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Representative of the estate of Dorothy Mae Shaw who died on June Adult . . . . . . . . . . . . . . . . . . . . . . . 42 The DC Public Charter 30, 2017, without a Will School Board (DC and . will Auto/Wheels/Boat . . .serve . . . .without . . . 42 PCSB) gives notice Court Supervision. All Sell, . . . . . . .heirs . . . and . . . heirs . . . of its Buy, intent to holdTrade . . unknown a public hearing on whose whereabouts are Marketplace . . . . . . . . . . . . . . . . .

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PCSB will hold a vote on Register of Wills, D.C., 11/21/2018. more . . . 515 Body For & Spirit . . . . 5th . . .Street, . . . . .N.W., . . 42 info on all applicaBuilding A, 3rd Floor, Housing/Rentals . . . . . . . . .D.C. . . . . 42 tions please visit www.

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ADM 000788 . . . . . . . before be Name of Decedent, forever barred. Persons Dorothy Mae Shaw. believed to be heirs or Notice of Appointment, legatees of the decedent Notice to Creditors and who do not receive a Notice to Unknown copy of this notice by Heirs, Anthony Johnson, mail within 25 days of whose address is 1629 its publication shall so Trinidad Ave., NE, inform the Register of Washington, DC 20002 Wills, including name, was appointed Personal address and relation-

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FILE NUMBER 271941) HAS DISSOLVED EFFECTIVE NOVEMSUPERIOR COURT BER 27, 2017 AND HAS FILED OF THE OF DISTRICT OFOF ARTICLES DISSOLUTION COLUMBIA DOMESTIC FOR-PROFIT CORPROBATE DIVISION PORATION WITH THE DISTRICT 2018 ADM 000938 OF COLUMBIA CORPORATIONS DIVISIONof Decedent, Name Laura Elayne Wilson.

ANotice CLAIMof AGAINST TRAVISA Appointment, OUTSOURCING, INC. and MUST Notice to Creditors INCLUDE THE NAME OF THE Notice to Unknown DISSOLVED CORPORATION, Heirs, T. WilINCLUDEFlorence THE NAME OF THE son, whose address is CLAIMANT, INCLUDE A SUMMA36238 North View, RY OF THE FACTSGull SUPPORTING Long Neck, DEBE19966 THE CLAIM, AND MAILED TO 1600 appointed INTERNATIONAL DRIVE, was Personal SUITE 600, MCLEAN,of VAthe 22102 Representative estate of Laura Elayne ALL CLAIMS Wilson whoWILL diedBEonBARRED July UNLESS A without PROCEEDING TO 11, 2018, a Will ENFORCE THE CLAIM IS COMand will serve without MENCED WITH IN 3 YEARS OF Court Supervision.

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