Washington City Paper (October 26, 2018)

CITYPAPER Washington

Free Volume 38, No. 43 WashiNgtoNCityPaPer.Com oCt. 26–NoV. 1, 2018

THIS WEEKEND!

Running for Home

Formerly homeless and a fierce advocate for those who suffer the same, Jewel Stroman is running for public office. P. 10

By Morgan Baskin Photographs by Darrow Montgomery

2 october 26, 2018 washingtoncitypaper.com

INSIDE

ADveRTISeMeNT

COVER StORy: RUNNING FOR HOME

10 Jewel Stroman, an advocate for homeless families, sets her sights on elected office.

DIStRICt LINE 5 loose lips: The Council’s struggle to address racial and religious tensions 6 divine investigation: Attorney General Karl Racine investigates abuse by the Archdiocese of Washington.

SpORtS 7 carpe per diem: How NBA and G League players spend meal money on the road 8 the scoreboard 9 gear prudence

FOOD 15 night vision: Hospitality workers want the new “night mayor” to represent their values.

ARtS 17 fairest of them all: Superfine! wants to be the recurring art fair D.C. is looking for.

19 theater: Ritzel on Round House Theatre’s How I Learned to Drive and Theater J’s Actually 22 curtain calls: Klimek on Constellation Theatre Company’s Aida 24 galleries: Mills on the 2018 Arts in Foggy Bottom Outdoor Sculpture Biennial 26 short subjects: Zilberman on Bisbee ’17 and Olszewski on Studio 54 27 film: Gittell on the Immigration Film Festival

CIty LISt 29 32 32 36

Music dance theater film

DIVERSIONS 37 savage love 38 classifieds 39 crossword

DARROw MONtGOMERy 3000 Block oF mt. pleasant street nw, octoBer 22

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

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washingtoncitypaper.com october 26, 2018 3

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4 october 26, 2018 washingtoncitypaper.com

DistrictLine Religious Experience

The D.C. Council wants to find ways to deal with conflicts of race and religion, but their journey has not been an easy one.

The D.C. CounCil is at a tipping point. In a time of elevated racial and economic tensions, councilmembers are searching for a constructive way forward. They’re looking to prepare for future conflicts. But they’re stumbling along the way.

What was supposed to be a coming together of councilmembers and local faith leaders earlier this month devolved into an uneasy—and ultimately unresolved—exchange.

Council Chairman Phil Mendelson convened the breakfast meeting on Oct. 9 in order to establish a rapport between the Council and religious communities. Leaders from Jewish, Christian, Islamic, and Buddhist congregations, among others, attended.

The meeting came on the heels of Ward 8 Councilmember Trayon White’s March comment that the Rothschilds, a Jewish family, are “controlling the climate to create natural disasters they can pay for to own the cities.”

A reckoning for White and the Council as a whole has followed.

Questions of race and equity have also become a part of the at-large race between incumbent Elissa Silverman and her challenger, Dionne Reeder. And nationally, voices supporting white supremacy and anti-immigrant sentiment have grown louder under President Donald Trump.

“There will be other instances, for sure, in the future,” Mendelson says of issues involving racial and religious discrimination generally. “Not having a relationship with [local religious leaders] makes it more difficult for the Council to work with them when the problem emerges, whether it’s immigration, racism, anti-Semitism, or on pieces of legislation.”

The faith leaders, in other words, were to provide something of a moral compass as the Council is facing uncomfortable questions about how it should approach divisive issues of race and religion, and who has the authority to guide them.

Will they conquer these issues, or will time heal the wounds until they’re opened again?

Loose Lips

Over hot food, fruit, and coffee at the Wilson Building, the conversation swirled from issues around anti-Semitism to racism, Mendelson recalls.

Others in attendance most clearly remember the tensions between At-large Councilmember Silverman, who is Jewish, and Rev. Willie Wilson, of D.C.’s Union Temple Baptist Church, who is aligned with controversial Nation of Islam leader Louis Farrakhan.

Farrakhan has a history of making antigay and anti-Semitic comments. Last week, he compared Jewish people to “termites” at a gathering in Detroit. Facebook removed a clip of those statements for violating its rules on hate speech; Twitter has so far refused to take action. In the past, Farrakhan has preached a t W i l s o n’s church, and earlier this year, Silverman called for the Council to condemn Farrakhan’s message and says he should not be welcome in D.C. During the breakfast, Silverman recalls that W ils on qu estioned why the Council was focused on antiSemitism rather than “anti-blackism” and says he implied that she is not welcome at Union Temple. Others in attendance describe the exchange as tense and uncomfortable.

Union Temple is located in Ward 8, where the Nation of Islam has historical roots and has provided support for the area ranging from public safety to community service to instilling a sense of civic pride, The Washington Post has reported.

Wilson declined an interview with City Paper, but writes in an email that “everyone is welcome to attend Union Temple, and over the years, we have welcomed visitors of every ethnicity and religion through our doors, and

will continue to do so.”

As Silverman left the breakfast meeting, she says that Wilson approached her.

“We have to talk about this,” she recalls him saying.

“I told him, ‘I’m happy to do it. You know how to get in touch with me.’”

The tension between Silverman and Wilson has raised concerns for Ward 1 Councilmember Brianne Nadeau, the other Jewish councilmember, over whether to continue meeting with faith leaders and whether a governmental body is the appropriate vehicle for this discussion.

“If we’re really trying to understand one another enough to take action on issues that impact each other, then it’s not going to [get done with] breakfast and speeches,” she says. “Anti-Semitism and racism have existed for so much longer than you and I have been alive. The root causes of both are hatred and ignorance and you don’t solve those by having meetings in a government office building.”

Reeder, a local business owner who is challenging Silverman for her at-large seat on the Council, says it’s important for councilmembers to continue these difficult conversations with faith leaders.

“Whatever that meeting was, keep having them,” she says, adding that Wilson is someone she holds dear and who she at times has turned to for advice.

“I don’t think it’s ever going to be an easy conversation to have,” Reeder says. “I’ve heard a lot of things that are uncomfortable— mean things. But that’s the reality when you decide to put yourself on front street.”

Given the contentious nature of the recent Darrow Montgomery/File

By Mitch Ryals

meeting, Silverman, for her part, suggests that the faith leaders are not best equipped to guide the Council across these fault lines.

“I think they’re experts in their faiths and not necessarily in racial equity and social justice,” she says. “I just couldn’t take Willie Wilson being this moral authority anymore.”

Instead, Silverman suggests bringing in trained experts to facilitate discussions and trainings on implicit bias and institutional racism. She points to the Government Alliance on Race and Equity (GARE), which is doing similar work around the country.

Ward 5 Councilmember Kenyan McDuffie has been working with GARE since last year when he introduced a resolution encouraging D.C.’s elected officials to consider racial and economic equity in policy decisions.

Next year, he says, he’ll push for the development of a racial equity toolkit that will evaluate pieces of legislation to ensure they don’t disproportionately impact certain groups of people.

“When we truly move toward analyzing our work as a government through a lens of racial equity, social justice, and economic inclusion, people will benefit to a greater extent than they are today,” McDuffie says. “And they will see resources extending to the farthest reaches of the city more routinely.”

A similar effort is already underway in Takoma Park, Maryland.

“We’re looking at D.C., and some people say there’s a lot of displacement there,” says Takoma Park councilmember Jarrett Smith, who is leading the effort in the city just across the D.C. line. “I do not want to displace people, so how do I, as a councilmember, put policies in place to make sure that doesn’t happen? And that’s what we hope the research will bring. Education can go a long way.”

Mendelson says he anticipates scheduling another meeting between faith leaders and the Council in the next several months. He says part of the role of elected officials is to act as moral leaders when faced with difficult discussions.

“Sometimes it’s better to have the person who is making the objectionable comments in the room, to confront him or her as opposed to excluding people,” he says.

CP

washingtoncitypaper.com october 26, 2018 5

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DistrictLinE Divine Investigation Karl Racine officially launches probe into Catholic Church abuses in D.C., and victims can use a new online portal to report abuse.

By Matt Cohen Since July, when the Supreme Court of Pennsylvania ordered the release of a grand jury report that revealed the sexual abuse of at least 1,000 children at the hands of Catholic priests and the subsequent coverup of those assaults in six of the state’s dioceses, at least 13 states have launched their own investigations. Now the District of Columbia will do the same. Attorney General Karl Racine announced at Tuesday’s Mayor-Council Breakfast that his office has opened a probe into potential sexual abuse of children by the Roman Catholic Archdiocese of Washington.

During an August appearance on WAMU’s The Politics Hour, Racine indicated that his office was eyeing a probe of the archdiocese.

This was before D.C.’s then-archbishop, Cardinal Donald Wuerl, resigned from his post earlier this month after he was criticized for his handling and cover-up of sexual abuse claims while he was a bishop in Pittsburgh. In June, Wuerl’s predecessor in D.C., former cardinal Theodore McCarrick, was suspended and subsequently resigned from the College of Cardinals after he was accused of sexually abusing minors and adults while he was a priest in New York decades ago.

“While we generally don’t talk publicly about our confidential enforcement activity, I can report that our office has launched a civil investigation into whether the Archdiocese—which is a nonprofit institution—violated the District’s Darrow Montgomery/File

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Nonprofit Act by potentially covering up allegations of sexual abuse of minors,” Racine said in a statement provided to City Paper. “According to the law, nonprofits are required to work for a public purpose; if they are in fact covering up child sex abuse, that is clearly not in the public interest. Our investigation brings the count of states with open investigations to 14.”

It’s rare for a city official like Racine to launch a probe into the archdiocese because felony criminal cases are investigated by the U.S. Attorney’s Office. But Racine is able to investigate D.C.’s archdiocese because of the District law that gives his office subpoena authority over nonprofit entities. If Racine’s investigation uncovers any criminal activity, it will refer it to the District’s U.S. attorney, Jessie K. Liu, whose office yesterday opened a hotline where survivors of sexual abuse by a member of the clergy of any faith can share their experiences.

Separately, as part of its probe into the Archdiocese of Washington, Racine’s office has launched a website, www.ReportClergyAbusetoDCOAG.com, where survivors can report abuse.

Since the release of the Pennsylvania grand jury report, the Catholic Church has been scrambling to fix its scandal-laden image, with numerous dioceses releasing internal reports of sexual abuse allegations against its clergy. Last week, the Roman Catholic Archdiocese of Washington released a list of 31 clergy who have been “credibly accused” of sexually abusing children between 1948 and 1996. CP

Courtesy Conroy Zien

SPORTS

Constance Roberts, a 27-year-old college student from Gaithersburg, writes about how running has helped her get through difficult times in her life. She will run her first marathon, the Marine Corps Marathon, on Sunday. washingtoncitypaper.com/sports

Carpe Per Diem

By Troy Haliburton “What time does the plane leave tomorrow?” Jeff Green asks his teammates Austin Rivers and Markieff Morris as he heads for the locker room exit. It’s close to midnight on a Saturday evening inside Capital One Arena.

The Toronto Raptors had just given the Washington Wizards their second straight deflating loss of the season.

“11,” Morris replies.

“Nah, be there at 10:30. Plane leaving at 11,” says Rivers.

The following day, the Wizards board a team plane heading more than 2,000 miles to Portland, Oregon, to play the Trailblazers. In all, the team will spend 10 days away from the comforts of home on this five-game West Coast road trip. While the players are relaxing and watching NFL games on their cross-country flight, a team employee walks around to each player and hands them an envelope filled with $1,330—in cash—to cover their meal expenses for the trip.

Life in the NBA has its luxuries. The players, with their hefty salaries and jetsetting professional athlete privileges, fly on chartered planes while spending their nights in four- and fivestar hotels. But anyone who travels can understand that living on the road comes with logistical difficulties. When the average American travels for work, they often receive a per diem from their employer to cover travel and food expenses for the duration of the trip.

The NBA is no different.

The National Basketball Players Association collectively bargained with the league in 2017 to ensure that players receive $133 per day on the road for food expenses, which is the most of the nation’s four major professional sports.

Players are alloted $24 for breakfast, $37 for lunch, and $72 for dinner, a substantial jump from the $7 total the league issued in its first per diem in 1957.

Unlike most professionals, who have to file expense reports documenting each transaction and provide receipts for reimbursement when they travel for business, NBA players have no

BASKETBALL

such obligation and can spend their meal money any way they please.

Second year player Thomas Bryant enjoys the freedom that comes with getting an envelope of cold hard cash and not having to disclose what he does with the money. “Honestly, I pocket a lot of that money because they already provide food for us in a lot of situations,” he says. “I’m trying to spend this money going out and save up my game checks. Got to be smart with the money.”

He’s right. The team provides snacks throughout the week for home and away games. Peanut butter and jelly sandwiches, fruit, yogurt, and protein bars are readily available. A full spread of catered food greets the players in the locker room after games.

When the Wizards defeated the Trailblazers for their first win of the season, players dined, in the locker room, on brisket, rice, pasta, and broccoli that the team paid for before flying to Oakland, California.

Eating food in the locker room after the game is a quick way to pocket some portion of the $72 allotted to cover dinner expenses and can curb players’ appetites late at night, which is no easy task. Players often leave arenas around 11 p.m. and their bodies have been trained to reach peak energy levels in the evening. This means that players are getting back to their hotels close to midnight and risk falling into one of the traps of dining away from home.

“One of the mistakes I made early in my career was ordering too much room service,” says third year guard Tomáš Satoranský. “I was new to America and did not understand a lot about going out, so I would just spend a lot of my downtime in my room. This became

Stephanie Rudig

Wizards players make creative use of their travel cash.

bad for two reasons, because not only is most of the room service food not healthy, it’s also really expensive” Now that he is a seasoned player, Satoranský is more savvy about how he spends his money on food. When the team played their first road game in the preseason against the New York Knicks, Satoranský stopped by his new favorite inexpensive food option: Whole Foods. “I looked up the closest Whole Foods to the team hotel and just walked 10 minutes to get food from the hotbar,” he says. “It’s cheap and it’s healthy, so I love it.”

Satoranský considers himself a “foodie” and enjoys having quick options like Whole Foods, but he also likes trying out the occasional white tablecloth restaurants at which he can spend some of his meal expense mon-

ey. “A lot of times on the road it will be me, Ian [Mahinmi], and Jason [Smith] and we’ll pick a nice restaurant and go eat,” he says. “I love to go to cities like Los Angeles, Miami, and New York and just trying out the popular restaurants.”

When the trio paint the town on the road, don’t be surprised to catch Mahinmi, a native of France, attempting to introduce his teammates to some fine French cuisine.

Mahinmi, who left the game against the Trailblazers with back spasms, joined the Wizards on a four-year, $64 million contract in the summer of 2016.

Mahinmi doesn’t particularly need the $133 a day food allowance, but having it presents a new temptation for a man with a sweet tooth.

He has cut out sugar from his diet, helping him to lose weight, and he reads the nutritional facts on any purchase with the intensity of a dietitian.

“I’m a big-time chocolate guy,” he says. “Chocolate bars, all that stuff. I had to cut that off. I had to really give up the sugar. Nowadays, even if you go to Whole Foods, you look at the back of anything you grab, you are going to see sugar in it. There is sugar in everything.”

Devin Robinson, a two-way contract player with the Wizards’ G League affiliate, the Capital City Go-Go, does not have a multimillion dollar contract and stands to benefit the most from the NBA providing money for food.

The NBA devised the two-way contract last season as a way for teams to give emerging players the opportunity to play both in NBA and G League games, significantly increasing their earning power. A two-way contract player can earn up to $385,000 a season, a significant raise over the G League’s regular $35,000 but a far cry from the $20 million some established NBA stars can make.

Robinson eats on the team dime whenever possible and saves his per diem envelope for things that are important to him, like shoes and clothes.

“I like to pocket my money when I’m with the Wizards and buy something nice for myself, but it’s different in the G League. We only get $50 per day,” says Robinson, who played college basketball at Florida. He is careful with his money when he’s traveling in the G League.

“You try finding good food in Oshkosh, Wisconsin. In places like that, you leave to go grab something quick to eat like Chipotle or pasta and head straight back to the hotel,” he says.

One day, Robinson hopes to be in position to score a multimillion dollar contract. But until then, he’ll continue to supplement his income with his union-determined funds.

CP

washingtoncitypaper.com october 26, 2018 7

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.

Environmental Assessment (EA) For DC Water’s Proposed Potomac River Tunnel Project Open For Public Comment WASHINGTON, DC The District of Columbia Water and Sewer Authority (DC Water) is proposing to construct the Potomac River Tunnel project on lands administered by the National Park Service (NPS). To document compliance required for issuance of construction permits for the project, the NPS and DC Water are seeking public comments on an Environmental Assessment (EA) prepared pursuant to the National Environmental Policy Act (NEPA). The Potomac River Tunnel is a major component of DC Water’s Combined Sewer System Long Term Control Plan, also known as the DC Clean Rivers Project. The project would provide control for combined sewer overflow (CSO) outfalls along the Potomac River in Washington, DC. The project is needed to reduce CSOs that contribute to water quality impairment of the Potomac River and ultimately the Chesapeake Bay; and to comply with the 2005 Federal Consent Decree entered into by DC Water, the District of Columbia, the US Environmental Protection Agency, and the US Department of Justice, as amended January 2016. The proposed controls are estimated to reduce CSOs to the Potomac River by 93% by volume and limit their frequency from approximately 74 events to 4 events in a year of average rainfall.

NOTICE OF AVAILABILITY

The NPS and DC Water are releasing the Potomac River Tunnel EA for a public review and comment period from October 25 to November 30, 2018. To view or download the EA, or to submit comments online, please visit the NPS project webpage at http://parkplanning. nps.gov/PotomacRiverTunnel. A hard copy of the EA can also be found at the following District libraries: Southwest Library, 900 Wesley Place SW

Comments may also be submitted in writing to:

West End Library, 2301 L Street NW

ATTN: Potomac River Tunnel EA

Georgetown Library, 3260 R Street NW

DC Clean Rivers Project Blue Plains Advanced Wastewater Treatment Plant 5000 Overlook Avenue, SW, Washington, DC 20032

Palisades Library, 4901 V Street NW

Please postmark your correspondence by November 30, 2018 for consideration.

The ongoing participation of the public is very important to the success of this project. We invite you to attend an open house to discuss the project with NPS and DC Water staff, get your questions answered, and learn more about the project and the EA. For more information or for individuals requiring special assistance at the meeting please contact DC Clean Rivers Project Public Outreach at (202) 787-4717 or by email at dccleanrivers@dcwater.com.

OPEN HOUSE Wednesday, November 14, 2018 6:00 p.m. - 8:00 p.m.

West End Library 2301 L Street NW, Washington, DC 20037

To learn more about the DC Clean Rivers Project, or the Potomac River Tunnel, please visit https://www.dcwater.com/cleanrivers or https://www.dcwater.com/projects/potomac-river-tunnel-project.

8 october 26, 2018 washingtoncitypaper.com

ElEctrifying AcostA Late in the game between D.C. United and New York City FC on Oct. 21, Luciano Acosta dribbled the ball up the field, sprinting past defenders with his lightning quick feet.

And before the New York defense could settle, he delivered a pinpoint no look pass with his back foot to a teammate.

The sold-out crowd at Audi Field let out a collective, “Oooohh,” at Acosta’s fancy footwork. One of United’s communications staff members sitting in the press box put his hands on his head. “What he did is indescribable,” he said.

This is what Acosta, the electrifying 24year-old Argentine playmaker, can do.

And if Wayne Rooney is the shiny new toy D.C. United fans didn’t expect they’d get, Acosta—or at least this version of him—is the hero the team and its most passionate fans have craved. In the 19 games he’s played since Rooney’s arrival in July, Acosta (who goes by the nickname “Lucho”) has tallied nine goals and 10 assists, including one of each in Sunday’s 3-1 victory, which clinched a playoff spot for United.

“Lucho was outstanding,” goalkeeper Bill Hamid told reporters after the game. “Second half of the season, you’ve really seen him come alive. It’s not easy for him. He gets kicked a lot.

He gets zoned in on a lot, but he keeps fighting. Even when he’s not doing too well, he keeps fighting, keeps pushing.

He has those moments where he just produces brilliance.” sEcond chAncE The Nationals regressed in manager Davey Martinez’s first season in charge, going from 97-65 in Dusty Baker’s final season to 82-80 and missing the playoffs. But the team’s front office is staying the course.

As expected, Martinez and his entire

staff will return in 2019, according a report by Chelsea Janes of The Washington Post. The report adds that Martinez will enter the second year of a threeyear deal and will be joined by hitting coach Kevin Long, pitching coach Derek Lilliquist, bench coach Chip Hale, first base coach Tim Bogar, bullpen coach Henry Blanco, and third base coach Bob Henley.

Martinez was often criticized for his handling of the bullpen and for the laid back atmosphere he created during spring training. (Who can forget the camels?)

But general manager Mike Rizzo appeared to confirm Martinez’s job security in September, telling reporters, “I haven’t considered any other scenario.” He added, “I think Davey has done a great job managing this team.”

Now, Martinez will officially have another chance to prove his case.

MEss on thE BoArds The story of the season for the Wizards, thus far, is rebounding. Really, really bad rebounding. Through three games (two losses and one win), Washington is last place in the league in rebound percentage—a stat that estimates the percentage of total available rebounds a team gets.

In the team’s season opener loss, the Miami Heat outrebounded the Wizards, 55-40. Two nights later, the Toronto Raptors finished with a 52-37 rebounding advantage. The Wizards even lost the rebounding battle in their win against the Portland Trailblazers, who had 70 (!) rebounds compared to Washington’s 54.

You get the idea.

It doesn’t help that center Dwight Howard has yet to play, and that Ian Mahinmi left the game against Portland with back spasms.

“It’s rebounding. Bottom line is rebounding,” coach Scott Brooks told reporters after the Heat game. “It’s fundamental basketball.”

—Kelyn Soong

TWB-Masters-Ad-WashCityPaper-7.083x10.458.pdf

Gear Prudence Gear Prudence: My wife and I have been looking to buy a place for the last four months. It sucked. But last week we finally won a bidding war! The place is great in all ways but one: I’m going to need to keep my bike in the hallway. I hate this—it’s clutter and a trip-hazard—but we can’t back out now. Am I going to resent this as long as we live there or will I eventually make peace with hallway bike storage?

—Homeowner Absolutely Lacks Location Dear HALL: That’s up to you. By not making bike storage the primary criterion in your house search and valuing unimportant things like neighborhood, size, and price, you’re stuck with a hallway bike and will just have to deal. Doubtless with some time, you’ll find the most unobtrusive place and you’ll grow accustomed, but since it’ll never really be out of the way, be smart. A well placed night light will keep you from smashing into it on the way to the bathroom in the middle of the night. Some temporary wallpaper can prevent scuffs on the wall from tires and handlebars. You’ll probably want to put down some kind of mat too, unless you plan to stop riding in the rain. If worse comes to worst, buy a junky minivan, park it out front, and keep your bike in the back. After all, a D.C. residential parking permit only costs $35 a year.

—Gear Prudence Gear Prudence: Halloween is coming up. Costume suggestions seem to be a yearly tradition. Lay them on me. —Ongoing Whimsical Endeavor Embarrases Newspaper Dear OWEEN: The Gear Prudence Halloween column is like the 50 States Ride. It happens every year, but doing it more than once seems completely unnecessary and more painful than you remember. And yet here we are!

As always, these foolproof costume suggestions are guaranteed to impress/baffle your bikey and non-bikey friends alike: • Wear a T-shirt in any gauche color scheme with literally any 4-letter word on it. You’re D.C.’s newest scooter company!

• Move backward the entire night. When you’re inevitably asked why, tell them you’re D.C.’s progress on Vision Zero.

• Celebrity costumes are always fun. Rock a long black wig, something with sequins and a bare midriff, and block a narrow sidewalk. Babe, it’s dockless bike Cher.

• A mummy, but with white bar tape. (This one could get expensive. And sticky.)

• Have a cow costume from a previous year?

Don it again and explain to everyone that you’re a future Brooks leather saddle.

Whatever you wear this Halloween, remember that it’ll be dark with tons of little people in the streets. Avoid a real fright by leaving the car at home—costumed kids distracted by candy could really benefit from fewer people driving, especially on this one night.

—GP

1

10/22/18

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washingtoncitypaper.com october 26, 2018 9

Running for Home Jewel Stroman has long fought for homeless families behind closed doors. Now, through a campaign to win a neighborhood-level political seat in Ward 7, she wants the public to notice, too.

By Morgan Baskin Photographs by Darrow Montgomery

10 october 26, 2018 washingtoncitypaper.com

On a narrOw sidewalk in Northeast D.C., sandwiched between a six-lane highway and a motel, Jewel Stroman is fielding calls.

The petite 30-year-old is frazzled. Phone in hand—she’s video chatting with an older black woman who looks gripped by pain—she’s simultaneously yanking her young son back from the curb along New York Avenue NE and flagging down acquaintances wandering out of the Quality Inn & Suites. A woman waits patiently at Stroman’s side. “Hold on,” Stroman says into the phone’s speaker. “I’m going live.”

Like Ward 8 Councilmember Trayon White, Stroman is a prolific user of Facebook to livestream her whereabouts, particularly when it comes to community activism. Tonight, in her striped orange beanie and hooded jacket, she’s broadcasting to her estimated 6,000 followers that she’s standing outside the motel, ready to take questions and hear their complaints. She has the tense look of a college student ready to burn down the establishment from the inside.

The motel’s façade is aglow with red and blue light from an ambulance parked by the entrance; in an adjacent parking garage, a domestic dispute rises to a crescendo. Tractortrailers and 18-wheelers speed with acute force just past its driveway, where a young boy, playing on his bicycle, nearly veers head first into the road. Parents drag reticent toddlers by the arm to the 7-Eleven across the street, playing Frogger with the traffic.

This Quality Inn––a $79-per-night motel that 48 percent of its TripAdvisor ratings say is either “poor” or “terrible”––is a de facto homeless shelter, acting as a crutch for the city’s plan to reconfigure how and where its most vulnerable population lives. D.C.’s Department of Human Services contracts rooms in the hotel for roughly $100 per night, or $3,000 per month, for each family staying in the building.

More than 460 homeless families stay in motels like these across the city, a number that includes about 1,000 children.

Stroman comes here regularly of her own volition, legal pad in hand, to talk to residents. She asks them if they’re encountering any problems with the condition of the motel, what they’d like to change about their case management, and how they’re doing, emotionally. She is, for many homeless families, a gatekeeper of their most sensitive personal information and a vessel for their most intimate stories.

She’s an empathetic ear, because for the last decade she’s been in and out of homelessness, too. In fact, Stroman has been on the receiving end of most of DHS’ homelessness prevention programs and housing subsidies––rapid rehousing, targeted affordable housing, transitional housing––and if she hasn’t, she likely knows someone who has. “There were a lot of odds I had to beat, and I had a lot of people telling me I was never going to be anything,” Stroman says of her early adult life.

Through social media and email, Stroman has proven herself the ultimate thorn in the side of anyone unable or unwilling to immediately connect homeless families to sup-

Jewel Stroman and Kim Lehmkuhl

port services. Usually that means messaging the staff at DHS, though members of the D.C. Council get their share of her communications. Her emails are unmissable, all studded with a number of distinct tics—punctuation separated from words, unfailingly polite in her use of honorifics but with no intention to back down from her positions. (“I will continue to raise my voice . I understand CFSA is offended by my righteous indignation . I will continue to hold media interviews and speak publicly [about] the ongoing harassment , slander and viciousness of this agency . Good day !” reads one recent email to the city’s child welfare agency.)

A quick email search shows that she has copied this reporter on no fewer than 97 email threads in the last six months alone. She says that’s a fraction of what she’s sent on the whole to city agencies, and estimates that she has personally connected more than 200 families to housing services in the last two years.

And in May, Stroman organized a protest march to DHS headquarters, sponsored by the Washington Legal Clinic for the Homeless, to challenge the District’s financial investments in rapid rehousing, a subsidy program for homeless families that typically ends after a year. (Advocates like Stroman say it’s a revolving door of poverty, forcing recipients back out onto the street when their subsidy runs out; DHS officials argue that no one program is a perfect fit for everyone.)

Her relentless advocacy has, if not totally won over, helped to prompt DHS in June to begin hosting monthly hour-and-a-half-long meetings between agency staff and its clients, where Stroman passes along crowd-sourced

complaints she receives from residents of, for example, the Quality Inn. One DHS employee points out that Stroman has been to only two of the six community meetings, while Dora Taylor Lowe, DHS’ communications chief, calls Stroman’s advocacy “instrumental in opening a dialogue between DHS and its clients.”

Some successes under her belt, Stroman is looking to level up, running to represent Advisory Neighborhood Commission 7B07 in Ward 7, where she now lives. The core tenet of her platform is a broad if unsurprising choice: Invest more, and smarter, in affordable housing. It doesn’t hurt Stroman’s case that she has a substantial network of thankful acquaintances who are more than willing to share their own experiences with her.

For Stroman, the question now is whether she can weave those stories into a compelling platform to win a seat more known for its petty, eye-rolling disputes than serious policy discussions.

So on this cold October night, amid the chaos of the FaceTime call and the parking garage fight and the incessant honking rush of traffic and her sweet, small, doe-eyed son toddling at her feet, she is aggressively advertising her presence at the Quality Inn, welcoming the slow trickle of people lining up to speak with her.

“I saw you were here on Facebook Live!” a Quality Inn resident named Olga Ooro tells her, chattering a mile a minute. “You are doing such good work here, it’s so important.” (Not everyone is so welcoming. The manager––a diminutive woman with a firm voice who identifies herself as Ms. Alexander––tells Stroman she can’t stand in front of the building if she’s

not a resident, forcing her onto the sidewalk.)

The first woman to approach Stroman introduces herself as Ms. Johnson, a 47-yearold mother of eight who has lived at the Quality Inn for close to a year. She almost immediately emphasizes that each person dealing with housing instability has faced different circumstances that led them to this Quality Inn, different obstacles in life preventing them from leaving.

“They think homelessness is the man sitting under the bridge with the bottle in his hand.

They think it’s K2. But this is homelessness,” Johnson says, gesturing to the motel, “they” referring to the general public. “I take my kids to school every day. I go looking for jobs.” Stroman stares on at her, pen poised over the legal pad secured in the crook of her arm. She urges Johnson to vote in the November election if she feels so passionately, but Johnson is disillusioned. “Will I vote? Hell no. I’m not voting for no criminals, no liars, no thieves,” Johnson says.

“We have to vote,” Stroman says, growing agitated, “this is how Trump got into office.”

It’s at this point that Johnson launches into an irate lecture about the 2000 election and Texas state officials cooking the books for Bush Jr. and voter suppression in the American South. “It’s no longer ‘we the people’ like it says in the Constitution,” Johnson says, before telling Stroman that there was a “secret” second constitution written in 1817 that the public doesn’t know about.

Her understanding of political life in this country, especially as it pertains to its black residents, has led Johnson to one conclusion about Stroman’s campaign for office. “Miss

washingtoncitypaper.com october 26, 2018 11

Jewel,” Johnson says, imploring, “you are wasting your time.” Stroman doesn’t blink.

She is used to people telling her she’s crazy. when she mOved to D.C. from her dad’s house in 2007 at the age of 19, with her first child, Stroman did so because it was cheaper than the Maryland suburbs she grew up in.

For emphasis: She moved to D.C. because housing was cheap.

Granted, she admits, the really great deals, like the $659 she paid monthly for a two-bedroom apartment on Brandywine Street SE, weren’t in the best neighborhoods. She notes that her place was just two blocks over from the home of Banita Jacks, the D.C. mother convicted in 2009 of murdering her four children and hiding their remains in her home for eight months.

Still, the apartment gave Stroman freedom.

Her father, who raised her alone after her mom died when she was 9, was overprotective, Stroman says, with extensive rules. She couldn’t wear shorts or skirts that were higher than her knees, couldn’t wear nail polish or earrings until she was 16, couldn’t stay out with friends after the street lights would flicker on. “I was always independent. And, honestly, I was dying to get out of my dad’s house. I was just like, ‘I’ve got to go be my own––be my own thing,’” Stroman says.

She was working in an AT&T call center in Virginia from 10 a.m. to 7 p.m., raising her oldest child while pregnant with her second.

Though it was the dawn of the 2008 financial crisis, her job paid well at $16 an hour. But the hours made it tough to take care of her kids, so she quit. “I didn’t have another job lined up. I thought, it’ll be easy to get another one.

It wasn’t,” she says, shaking her head. She got two months behind on rent for her apartment on Brandywine, and she was evicted from the first place that gave her real freedom.

So by the age of 23, with two kids, Stroman was living in shelters and transitional housing programs––first Valley Place, then Partner Arms and a shelter on Meigs Place NE. Partner Arms was operated by Transitional Housing Corporation, now called Housing Up, an affordable housing developer and support services network led for a decade by Polly Donaldson, now the director of D.C.’s housing and community development agency.

Stroman vividly describes being evicted by a case manager at Partner Arms, alleging that she was tossed out in the rain with a two-hour notice to vacate; Stroman believes it was retaliation for being the whistleblower of an alleged financial grifting scheme involving her caseworker and clients’ rent payments. Stroman’s daughter caught pneumonia from exposure, she recalls, and she spent the following weeks battling the eviction decision, taking calls from a judge in the Office of Administrative Hearings while sitting by her daughter’s hospital bed. (“The judge had gotten ahold of Polly [Donaldson] and was chewing her out.

She just said, ‘I’m so sorry that Ms. Stroman was put out, that’s not how we operate here at TCP,’ blah blah blah,” Stroman says.)

Quality Inn & Suites on New York Avenue NE Donaldson declined City Paper’s request for comment, but a spokesperson for Housing Up denies that Stroman was ever evicted from Partner Arms. “She was transitioned out of our program due to the change in her family composition, which made her ineligible for our transitional housing program,” the spokesperson says, adding that Housing Up helped place Stroman in another transitional housing program with a different organization. The spokesperson declined to comment on personnel matters regarding a former employee, but confirmed that the caseworker in question stopped working at Housing Up shortly before Stroman was notified about her program termination.

“I found that out then,” Stroman says of homeless families’ routine need to advocate for themselves, “that my story was just one of many.”

Public court records show that Stroman was charged between 2008 and 2016 with a string of misdemeanors, and in one case a felony, for threats to commit assault or for assault on a police officer. (The felony charge, in 2008, was filed as “prisoner escape.”) She typically received at least 180 days of jail time and courtordered anger management as a condition of her probation.

Stroman appealed the 2016 misdemeanor conviction in the DC Court of Appeals, arguing that during the arrest, when she was five months pregnant, the officers “dragged” and “kicked” her. She describes having a “busted lip and black eye.” The precipitating incident for Stroman’s arrest, according to her appellant brief, was an outstanding bench warrant for a $50 unpaid court fee discov-

12 october 26, 2018 washingtoncitypaper.com

ered while she was checking in to the United Medical Center’s domestic violence intake clinic.

During Stroman’s initial trial, she acknowledged resisting arrest, and described the anger and fear that led her to do so. (The Metropolitan Police Department officers involved alleged in court that Stroman attempted to bite and kick them.) “I kept saying, you know, can somebody call my husband or call my dad, please, and come and get my kids. Like I was begging, I was crying,” she said, according to a partial transcript presented in her appellant brief. “And the officer that just testified ... I will never forget this, she looked me in my face and said, ‘your kids will be okay, because CPS is coming for your kids, don’t worry about your kids.’”

The appeals court ruled against her in this case.

She recounts these events clinically, as if she knows she won’t be believed. “I’m just telling you all this because when people see ‘assault on a police officer,’” she says, “they don’t understand.”

As she navigated the system of homeless services in D.C., Stroman faced housing instability while pregnant and had multiple brushes with the District’s child welfare agency.

She has lobbied for more equitable social services in D.C. longer than much of the existing agency staff has even worked for the city. (“Ms. Stroman has been a vocal advocate for families since long before I got here,” says Larry Handerhan, Chief of Staff to DHS Director Laura Zeilinger.)

Stroman is now building her candidacy on the promise to champion the city’s poor-

est, and her campaign comes in the middle of a marked shift in the landscape of homeless services in D.C. Demolition on the campus of D.C. General, a former hospital that became the city’s largest family homeless shelter, hosting at its peak some 300 families—Stroman among them—began earlier this fall, capping years of similar promises made by previous mayors. Smaller, apartment-style homeless shelters are slowly opening across the city in every ward.

Mayor Muriel Bowser, meanwhile, boasts record investments into a “trust fund” for spending on affordable housing, and family homelessness has made a healthy decline over the last year. But the number of single homeless adults has increased since a 2017 point-intime count, and there are slightly more homeless people in D.C. today than there were five years ago. Data also indicate that the supply of deeply affordable rental homes actually dropped by nearly 12,000 units between 2006 and 2016, a period spanning the administrations of Anthony Williams, Adrian Fenty, Vincent Gray, and Bowser.

There is no easy narrative for the story of affordable housing in D.C., but Stroman’s point is this: While few argue against building new homeless shelters (though some have tried) or throwing more dollars at affordable housing, there has to be a bigger vision for the city that includes building equitably for long-time Washingtonians. It involves deciding who we’re building for.

Translating Stroman’s work and relationships into votes is another question entirely. The homeless move frequently, based on whole hosts of circumstances both posi-

tive and negative that are almost always out of their control, and it is hard to plan a life around that kind of instability. For many, like Ms. Johnson, feelings of betrayal preclude voting of any kind. Why bother when the system will only fail you?

Stroman is unlike most other political candidates in facing concerns like these. It’s hard to run a campaign predicated on geography when rootlessness marks many of your constituents’ lives. at her kitchen table in late September, Stroman is visibly tired. Her home is immaculate—tidy, spacious, speckled with baby toys— on a quiet tree-lined block on the eastern fringes of Ward 7. She’s living here with the help of a targeted affordable housing subsidy, a longer-term housing stabilization program run

by DHS. (Three weeks after this meeting, the heater will break when the weather turns cold, and she’ll have a days-long fight to get it re-

paired, looping in DHS on emails to her property manager.)

On this morning, she’s peering over the shoulder of Kim Lehmkuhl, a communications strategist and member of the D.C. area’s chapter of the Democratic Socialists of America, the left-wing political organization that has ballooned in both size and clout since Donald Trump’s election in 2016.

Metro DC DSA recently endorsed Stroman in her ANC race, and the organization has offered free campaign consulting services to the candidates it supports. It’s part of DSA’s effort to bring attention back to neighborhood-level political races—the places where, Lehmkuhl says, residents should have a say in deeper policy issues, “not, like, ‘this guy on my block is pissing me off.’”

On her laptop, Lehmkuhl has blown up one of Stroman’s flyers, and is advising the candidate to remove some of the photos layered in a thick collage to make room for punchy

one-liners about her platform, like promises to fight for the inclusion of more affordable housing in new development projects.

Stroman’s opponent, D.L. Humphrey, has campaigned on boosting “community safety,” and Lehmkuhl warns Stroman against making similarly generic statements. The two women discuss for some time whether to include a photo of Stroman smiling next to Bowser before finally settling on removing it. (“When I see a picture of you with Muriel, I’m like… but your positions are way better than hers!” Lehmkuhl yelps.)

“The role [of ANC] attracts a certain type of person––particularly the white, petty tyrant reactionary types who like to tell people ‘no,’” Lehmkuhl tells me some weeks later. (She adds, as an aside, that “the ANC down the street from me is in Barracks Row, and they [think] it’s OK to put people in prison for panhandling.”) But Lehmkuhl, who says she believes the DSA has “the best birds-eye view of who all these com-

“There is such a high burnout rate [for ANCs], because people have another job. It’s thankless.

You’re an elected leader with responsibility with a small amount of authority, and with very few resources.

It’s not for people who are looking for glamour.”

missioners are, and who needs to go,” considers Stroman “such a breath of fresh air,” referring to her as an “invaluable advocate.”

“She’s successful at helping people navigate the system,” says Brianne Nadeau, the Ward 1 councilmember who served for two terms as a commissioner in ANC1B, and who has met with Stroman to dispense campaign advice.

“There’s red tape, and one of things we do is help constituents cut through red tape. Jewel is one of them. I have a lot of respect for her work as an advocate.”

The admiration is mutual. Stroman loves— that’s her word, loves—Nadeau, who also chairs the Council committee responsible for overseeing homeless services in the District.

Stroman’s Facebook page is peppered with selfies of the two taken during coffee meetings, the pair smiling brightly.

She’s not so complimentary to pretty much any other political figure in D.C. On former mayor Adrian Fenty: “I think Fenty was awful.” On former mayor and current Ward 7 Councilmember Vince Gray: “I don’t know how he got to be a councilperson, other than the fact that he has a lot of money and political contacts.” On the landscape of D.C. politics, writ large: “I’m not really seeing anyone that I can be impressed with.” (Neither Fenty nor Gray responded to City Paper’s requests for comment. ) But she’s open about her willingness to say that to them directly—she’s been known to “chew them out” when she sees them in public, Stroman says, and knows that she can reliably find Gray at her neighborhood Safeway if she has grievances to air.

And during then-mayor Fenty’s 2010 bid for reelection, Stroman bumped into him on the street. As she tells it, she “grilled him,” asking “What are you going to do for the city?

You’re saying all these things to the cameras, well now the cameras aren’t here, so what are you going to do?”—before he hired her on the spot, she says, to work in constituent outreach. She spent the next month before the election knocking on doors and making calls for him. (“Also,” she adds, “I needed the money.”)

She does admire Ward 8 Councilmember Trayon White and the relationship he shares with voters, noting that several of the families she’s worked with have cited him as a positive force in their lives. Take even a cursory glance at his Facebook and Instagram accounts, and you’ll see what she means. I ask Stroman what she made of the criticism he received this year for perpetuating anti-Semitic conspiracy theories at a Council breakfast; Stroman was unaware of the incident and subsequent backlash.

For parts of the city with low voter turnout, the kind of political fervor White inspires is indispensable. Fewer than 12 percent of people in Ward 7 voted in June’s primary, still higher than Ward 8’s 8 percent. (“We’re talking about a quarter of the population of the District of Columbia—150,000 people—that don’t feel connected to the city,” Gray told The Post about his ward’s emotional investment in local politics.)

washingtoncitypaper.com october 26, 2018 13

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

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

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

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

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

14 october 26, 2018 washingtoncitypaper.com

“I am very skeptical of whether we can affect change a lot,” Lehmkuhl acknowledges.

“But I’m not willing to stop trying.” She’ll canvass for Stroman in the three weeks leading up to the election. there’s an element of physical dislocation to voters’ apathy, too: Just getting across the river can be a chore. One evening in early October, Stroman suggests meeting at a library near her house, adjacent to her kids’ school. At 6:15 p.m., it takes 20 minutes to drive four blocks across downtown D.C., the pavement awash in the red glow of brake lights.

The bus drives along Independence Avenue SE, past the Capitol building, past the Library of Congress, past the church with an electric sign that reads “the second Christian Jesus Jam,” and keeps going. The sky grows darker until all you can see is the glow of big white buildings, spotlights trained on American flags. The bus is never quite full.

Sitting in the library, it’s the first time Jewel is completely still––not transcribing stories from her clients or shouting into a megaphone, not editing a campaign flyer. Just sitting, elegant with high-waisted gray pants and her hands in her lap, polite but inscrutable.

The thing is, she admits, is that she is tired.

She gets three, maybe four hours of sleep a night. At only 30, she feels like she’s getting old. What nobody tells you about advocating, Stroman says, is “how hard it is to carry your own problems on top of everyone else’s.” (“There is such a high burnout rate [for ANCs], because people have another job. It’s thankless,” Nadeau says. “You’re an elected leader with responsibility with a small amount of authority, and with very few resources. It’s not for people who are looking for glamour.”)

Stroman now has seven children––ages 13, 11, 9, 5, 3, and 2, with her youngest turning 1 in just a few days. They appear to be her world.

Few topics agitate Stroman, but her kids are one of them. (Videos on Stroman’s Facebook page from several years ago show her driving around a Southeast street looking for a woman

who she said had made derogatory comments about her children.)

Look carefully, and her kids are what she repeatedly credits, in all of her correspondence with DHS, for caring at all about the heat going out in her home, or families sitting in the night without shelter.

They are also always present. Physically, sometimes––like her 5-year-old looking on solemnly as she talks to fellow mothers at the Quality Inn––but also in the stories she tells.

Stroman cracks a radiant smile when she says that her oldest daughter brags on her to friends, proud that she’s running for office. She talks about how she loves to help them read.

When she’s alone, and not taking care of them, she loves to write. Anything, really, but she turns most often to poetry and short fiction––writing about “the things that I’ve been through in my life,” she says. She also likes telling other people’s stories.

She writes songs, too. One is called “Blue Honor,” and it’s a searching three-minute ode to police brutality and the black lives lost at its hands. (“There’s very few people able to cut through that noise and say, ‘You have to listen to me,’” Lehmkuhl says of Stroman.) In it, Stroman name-checks a number of black Americans who died violently at the hands of police officers and in jail, including Michael Brown, Sandra Bland, and Eric Garner.

But at the beginning, the very first names you hear are those of young Emmett Till and Tamir Rice, boys murdered before their lives had even begun.

It reads, in part: It started out with Emmett Till back in ’55 Fast forward 2015 they killed Tamir Rice …

And they wonder why we rioted in Baltimore If ain’t nobody hearin’ us, then what the fuck we marchin’ for?

There her kids are, omnipresent. “I want them to learn how to have a voice, and not to be scared to use it,” Stroman says, reciting an oft-quoted line from Desmond Tutu about neutral parties picking the side of the oppressor. “I want them to not be scared to speak up for themselves, and for other people.”

CP

courtesy Eric Adjepong

DCFEED

D.C. will have a contestant on Bravo’s Top Chef this season. Chef Eric Adjepong competed in Kentucky and the show will air Dec. 6. He’s behind dinner party company Pinch & Plate and helped open Kith/Kin.

Night Vision

Laura Hayes

D.C.’s hospitality industry is hoping for a director of nightlife that favors its interests. Will it?

By Laura Hayes Bartender Zac Hoffman spent a recent Wednesday filling out his application to become D.C.’s first director of nightlife and culture. More than 100 people have applied to be the city’s so-called “night mayor,” a full-time job that will pay between $97,434 to $118,000 a year, according to the city’s job listing.

“We’ve seen the positive momentum of politically active restaurant employees in the last nine months and it shouldn’t end with that— we should keep going forward,” he says. Hoffman, who works at The Riggsby, testified in favor of the bill repealing Initiative 77 at a marathon September hearing. He recognizes that he might not be the best fit for the job, but wants the city to hire someone with hospitali-

young & hungry

ty industry know-how.

“When you’ve been in it, you have a different perspective,” Hoffman says. “The ins and outs of the trade are very nuanced. If you don’t live that life, you probably don’t have a very good grasp.”

Nightlife industry professionals want one of their own to become the nightlife director, and they’re counting on the individual who gets the job to advocate for bars and clubs’ interests. Given that the position falls under the purview of Mayor Muriel Bowser, who has advocated for the city’s hospitality and tourism industries, there is reason to believe the new director will do just that.

“The mayor has been super helpful to the industry over the last year,” says Fritz Brogan, who owns Hawthorne and two locations of Mission. “She helped us get open in Navy Yard early and was a huge advocate for small business.” She also pushed for the repeal

of Initiative 77.

Brogan attended the Oct. 18 event at The Park at 14th where Bowser signed the bill creating the office of nightlife and culture. Attendees wore glow necklaces and a Caribbean dance troupe performed. Before Bowser put pen to paper on the bill Ward 4 Councilmember Brandon Todd introduced, she addressed the impetus behind the new office and director.

“We’re over 700,000 people in D.C. now,” she told the crowd. “People are living in places where they didn’t used to live; they’re going to work in places where they haven’t worked before; we have new transportation options like Uber and Lyft that have to be accommodated... For all of us to be able to get along in the city we love, we need to be very intentional about these uses.”

The enacted law contains the words “complaint,” “concern,” or “issue” nine times. The director of nightlife will mitigate tension be-

tween residents and nearby nightlife venues as it relates to rats, trash, pooling vomit, traffic, and noise abatement.

“You’ve got businesses and residents needing to figure out how they’re going to get along in order to both benefit,” says Bowser’s deputy chief of staff Lindsey Parker. “We need somebody that knows D.C. and understands the history of these neighborhoods and the types of quality-of-life issues that older and younger generations are looking for and how we strike a compromise.”

Parker says the first year the nightlife director is in place, they’ll go on a “listening tour” to understand the 5 p.m. to 2 a.m. economy. Responsibilities mentioned in the job listing imply the nightlife director will be a liaison between lateoperating businesses and government agencies like the Alcoholic Beverage Regulation Administration (ABRA) and the District Department of Transportation to ensure policies and procedures are in place and being enforced.

The mayor’s office is already receiving some pushback, according to Parker. “Some residents are saying it’s another opportunity for business interests to get ahead of residents,” she says. “I fundamentally don’t agree with that.”

While Parker suggests the nightlife director will strike a balance between all stakeholders, nightlife establishment owners are looking for a friendly regulatory climate that benefits their bottom lines and positions the city to reel in more tax revenue from places that pulse late into the night. According the Restaurant Association of Metropolitan Washington (RAMW), D.C. restaurants did $3.8 billion in sales in 2017.

“We need someone who can connect all of the departments together, which hasn’t happened yet,” says Park at 14th proprietor Marc Barnes. “Everybody just points the finger at everybody else.” He wants the city to have his back when tackling underage drinking. Barnes says he confiscates anywhere from 40 to 100 suspected fake IDs per month.

Back in 2014, Barnes spent 11 hours in a jail cell for taking away and destroying a Liberian driver’s license and residence permit he believed were fake. He was charged with misdemeanor second-degree theft and destruction of property. “The venues get blamed for what’s taking place,” he says. “When did we blame banks for getting robbed?”

Barnes doesn’t think the city punishes underage drinkers to an appropriate extent.

“Look how much the city makes in tax revenue … but I don’t get a say or a vote?” he asks.

“Hopefully this will somehow get everyone a seat at the table.”

Mitch Mathis, who has been putting on

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DCFEED events at D.C. clubs since he was 17 and is opening his first restaurant on U Street NW, wants a nightlife director who is local, well-rounded, and empathetic. “A lot of times in nightlife, you only hear what you’re doing wrong and what’s coming against you,” he says. “Restaurants and clubs make the city so much money, but they’re still against you. Even the ANCs [Advisory Neighborhood Commissions]. The nightlife mayor could help bridge that gap.”

Mathis wants the director to push for extended hours for clubs, allowing them to stay open until 3 a.m. on weekdays. “Not being able to serve liquor until at least 2:30 a.m. causes a lot of issues,” he says. According to Mathis, when people get to the club at 1 a.m. and have to leave an hour later they don’t have time to sober up before spilling out onto the streets, causing fights and car accidents. “I’m out every single night watching that,” he says.

Columbia Room owner Derek Brown believes having a nightlife director is a good idea so long as the job isn’t granted to somebody with no nightlife industry experience. “The number one problem that exists in terms of the mayor’s office or really D.C. governance and nightlife in general is communication,” he says. “Very often [the government] has smart programs and thoughtful approaches, but they’re not being publicized.”

He wants the nightlife director to address increased concerns around sexual violence and sexual harassment. There is language in the law that talks about sexual harassment training, and an ABRA spokesperson confirms that will be a part of the job. “Alcohol is becoming weaponized,” Brown says. “We need someone to set guidelines and enforce them. It’s such an issue right now, rape and rape culture, and so much of it comes out of bars and restaurants.”

But Brown also knows that the nightlife director will spend much of their time addressing issues between ANCs and businesses. “ANCs have problems with trash and noise and businesses want to be successful and don’t want to be hampered by NIMBY stuff,” Brown says.

John Guggenmos is both an ANC commissioner in single member district 2F02 and the owner of the bars Trade and Number Nine.

Before it closed this summer, he also co-owned Town Danceboutique. “I know what it feels like to be blamed for everything as an operator,” he says. “I also know what it feels like to live by a place that I wish wouldn’t be in existence.”

That said, he’s hoping for a nightlife director with real-life experience in restaurants and bars who isn’t a policy wonk and instead works to promote and protect nightlife. “You can legislate anything,” he says. “You can try to get a policy to find your way out of a problem, but if it’s not a real solution, it’s just more red tape … They have to really defend what we’re doing.”

Guggenmos’ establishments are gay bars, which he says have significant cultural value

in the District. “Years ago when I came here, that’s where you met people,” he says. “That’s where you exchanged ideas. That was the safe place.” When Town closed, Guggenmos received an outpouring of support that showed him the sentiment remains. “There are some great ANC commissioners that are really working hard to find a place for a venue like Town in Ward 1,” he says. “That’s the type of support I’m hoping that we get from this position.”

John Fanning, the commissioner of single member district 2F04, has lived in the Logan Circle and Shaw neighborhoods for much of the 34 years he’s been in D.C. “I recall that when I [first] lived in the neighborhood, we only had four liquor licenses and now we have 114, if not I’m not mistaken,” he says. In 2017, there were 2,267 restaurants in D.C., according to RAMW. This year only brought more growth in neighborhoods like The Wharf, Navy Yard, Petworth, H Street NE, Brookland, and Shaw.

Fanning seeks a nightlife director that provides mediation and recommendations regarding issues like noise, public space management, and sanitation services. Specifically, he hopes the nightlife director bears down on bars and restaurants that draw lines impacting public space usage.

Like Guggenmos, Fanning has competing interests. He currently works for the Department of Small and Local Business Development. The director of that department will play a role in the Mayor’s commission on nightlife and culture.

While Mayor Bowser and Councilmember Todd’s remarks at the party-like bill signing highlighted nightlife as an important component of D.C. that attracts visitors and conventions and enriches the lives of locals, not everyone is buying what the city is selling.

“I have very little excitement about it,” says Brian Miller, a former nightclub owner and the co-founder of Edit Lab at Streetsense, a hospitality industry-focused design agency.

“It’s not really a bill to help nightlife, it’s a bill to resolve complaints about nightlife.” He’s been studying the duties of other night directors in London, Amsterdam, and New York.

The “nachtburgemeester” in Amsterdam, for example, works for a private foundation, rather than the government. His duties include making sure nightlife is “lively, diverse, and inclusive” and recognizing that “the night should be stimulating and push boundaries.”

Miller wishes there was a greater cultural preservation component in the D.C. job instead of an emphasis on future development and the tensions tethered to it. “Town closed, the go-go scene is almost gone, but that doesn’t seem to be a problem for D.C. government,” he says. “There’s no cultural component here. It seems to be about making nightlife invisible to residents that aren’t a part of it instead of celebrating it.”

CP

CPArts

Local musicians and activists convene this weekend to address issues at the 2018 Music Policy Forum Summit. washingtoncitypaper.com/arts

Fairest of Them All

Superfine! attempts to launch an art fair with staying power for both artists and buyers.

By Stephanie Rudig ImagIne you’re a wealthy art lover looking for something new for your collection.

You might get on a private jet to swing by Art Basel in Switzerland or Frieze New York to pick up a Basquiat. Or maybe you have a relationship with a gallery, so you seal the deal ahead of the fair, and by the time the art-loving masses see the piece at market, it’s already technically off the market.

So it goes at the world’s biggest, most prominent art fairs. According to Artsy, last year the global art market topped $63.7 billion in sales, and it’s reported that dealers make as much as 46 percent of their annual sales at art fairs. But particularly at the big tent international fairs, the whole affair seems to exist mostly so the top tier of galleries can sell the top tier of (often dead) artists to the top tier of wealthy collectors, while everyone else gets to watch.

Emerging and outsider artists have long bristled against this model, creating satellite events and offshoots, some of which promise a lighter or more affordable fair experience.

Superfine!, which will host its first D.C. event next week, was born out of a similar frustration with the art world’s status quo. Until 2015, co-founder Alex Mitow was working in the restaurant industry, including owning his own spot in New York, but found he most enjoyed catering for arts spaces and events.

Around the same time, his partner and Superfine! co-founder, James Miille, was beginning to break into the gallery scene as a photographer—and discovering its pitfalls.

“If every artist was doing well and every gallery was doing well, I don’t think we’d have a place,” Mitow says. “Galleries are closing left and right and artists are perpetuating the starving artist thing. We saw an opportunity for everyone we work with to actually prosper.”

Superfine! now has offshoots in New York and Los Angeles and has since been named the best art festival in Miami by Miami New Times, a tall order when you’re surrounded by the biggest and boldest art gathering in the United States. Now, they’re launching their first D.C. event, and Mitow says, “To date, it’s our largest fair and the response has been great.”

the missing ingredient that would finally make the city a serious contemporary art center. Organizers from Art Miami mounted the much-reviled artDC fair, which was beset from the beginning by communication breakdowns and a dour setting thanks to the Washington Convention Center.

D.C. galleries were at the top of their game for artDC, facilitating thoughtful displays that boosted local artists. But despite the promise of international acclaim, the fair failed to attract much noteworthy art from outside the District. artDC’s website promised “modern, contemporary & cutting edge work of the highest quality,” but a DCist review of the fair described it as “an Artomatic with suits and stilettos”—a far cry from the desired effect.

For several years D.C. had no art fair, until (e)merge art fair was launched by gallerists Leigh Conner and Jamie Smith of Conner Contemporary Art, with Don and Mera Rubell, the legendary art collectors and transformers of Miami’s art scene, playing host. Though (e)merge was dreamt up by big art world players, it also had a funky and offbeat side.

The Rubells provided their Capitol Skyline Hotel for the venue, which offered the novelty of browsing art in hotel rooms and performance pieces conducted in the pool and parking garage. In a departure from most art fairs, which tend to segregate presentations of solo artists and galleries, (e)merge showed both, providing a platform for up-and-coming artists without gallery representation. (e)merge injected a jolt of energy into D.C.’s art world, quickly establishing itself as an essential event for the local arts scene. The fair was largely considered a success for both the participating artists and fairgoers, gaining a reputation for showing great performance art and nabbing acclaimed artist Ai Weiwei for the 2014 vetting “Forged in the Fire” by Brianne Lanigan (2017) committee. Then, in 2015, Conner and Smith announced that they’d be hitting the pause butHe’s optimistic that the success of Superfine! can be repli- ton that year, hoping to be back in a bigger venue in 2016. Such cated in D.C., a city that has struggled over the years to main- plans never, well, emerged.

Though Superfine! hails from out of town, they’ve taken tain a recurring art fair. great strides to connect with D.C.’s art community. Their exBack In 2007, when “creative” was still an adjective and one hibitor relations team began poking around the local market of D.C.’s best-known art offerings was the unjuried free-for-all well over a year ago to establish connections, and has worked of Artomatic, many seemed to think that a major art fair was with local organizations to supplement the programming durwashingtoncitypaper.com october 26, 2018 17

CPArts ing the fair, including a performance art series from Transformer and ASL tours of the fair conducted with Gallaudet University. More than half of the artists and galleries at the D.C. iteration are locals.

It also doesn’t hurt that some area artists were already somewhat familiar with the fair. Kelley Ellsworth manages her husband, artist Rogelio Maxwell, and says, “Our daughter visited Superfine! in Miami last year and thought it was the perfect venue for her dad’s work.” Dennis Crayon, a realist painter who works at Torpedo Factory, says “I went to Superfine! in New York and there was nice turnout and it was really nicely presented.”

Seeing evidence of the fair’s success elsewhere certainly helped persuade many artists and gallerists to sign on, but there’s no denying that desire for fresh fair in D.C.’s own backyard has helped Superfine! Crayon has previously avoided the hassle of decamping for other cities’ art fairs, but says, “I didn’t have to invest in traveling and storage and the hotel. I’m going to be able to just drive over, set up, then go home.”

Mixed media artist Brianne Lanigan twice took part in Superfine! Miami, once as part of a group showing with the New York gallery that exhibits her work, and once as a solo artist.

Despite being a D.C. native, Lanigan notes, “This is actually going to be my first big show in D.C.” In recent years, D.C.’s artists and galleries—lacking an art fair of their own—have been making the pilgrimage to Miami or New York to reap the benefits of big-name fairs. Han-

nah Sarfraz has found that showing at fairs like The Other Art Fair in Brooklyn to be a gratifying and lucrative experience.

“I’ve been constantly looking for something of this caliber in D.C.,” she says.

Adah Rose brings the work of many of the artists she shows at her Adah Rose Gallery to several art fairs annually. She finds it beneficial to participate in fairs each year around Miami Art Week. “There’s a lot of camaraderie with the exhibitors, I’ve learned a lot from my fellow gallerists being at the fairs,” she says.

Although art fairs can be valuable both for sales and forging connections, they can also be prohibitively expensive for individuals and smaller galleries. Superfine! offers booth space at rates considerably cheaper than most art fairs, and galleries and artists pay the same cost per square foot for booth space. On the affordability front, Superfine! appears to have been ahead of the curve by recognizing that exorbitant booth fees are squeezing out all but the most prominent galleries. Even art fairs like Art Basel have begun to offer tiered pricing to smaller galleries.

But it’s not just artists who can have a wallet-conscious experience at Superfine! The price point of the fair is designed to reach across income levels, and be accessible to more people.

Nothing on display will sell for more than $15,000, and 90 percent of the works shown will be under $6,000, considerably low figures in the contemporary art world.

“We’re trying to change that perception of what a collector is,” says Lauren Fairbanks, who works on the marketing team for Superfine! “You might be purchasing a painting for $5,000

or something that’s $100. You’re still a collector, you’re still supporting an artist.”

Not only is the work priced so that someone with a reasonable amount of disposable income might actually buy something, but as Mitow says, “Every artwork in the fair has a price on it, nothing is ambiguous. We don’t have any price upon request.” He’s hoping that this environment smooths out the awkward conversations around art pricing and lures in a crowd of more casual art lovers, who may or may not walk away with a work of art.

Since the goal is to cater to underserved markets of both collectors and art sellers, rather than to establish D.C. as a contemporary art capital, the proceedings may seem a bit more laid back than the typical art fair. Many in the art scene are eager for a centralized gathering of the city’s art community. Ksenia Grishkova, director of Touchstone Gallery says, “There’s quite a big group from D.C. and artists from D.C. It will be nice to see everybody in one place because we’re all so scattered across the city. There’s no specific area where you can find everybody.”

Rose, for one, is excited for the spectacle, but knows that D.C.’s art scene will be fine regardless of how Superfine! goes off. “It creates a really wonderful sort of buzz and ambiance, and there’s a celebratory feeling at art fairs,” she says. “But I think we already have a thriving, wonderful artist scene here in this city.”

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Memory Games

senting the uncle sympathetically. Dramaturgical notes in the Round House program caution against thinking he’s the center of the story. He’s not. But he is the center of a narrative that dominates Li’l Bit’s life for 10 years and haunts her for decades. That’s why he’s so dominant in the play. Peter O’Connor is well cast in the complex role of a PTSD-addled war veteran who takes advantage of his niece, and frankly, it helps that O’Connor is the only actor in the cast with limited local credits. He’s also nondescript: blandly attractive and slightly taller than average, with sandy hair. Audiences will find him tolerable and understand Li’l’ Bit’s reluctance to push away such a likeable guy. Of course she’d rather chat with him while he washes the dishes at family occasions, if her choice is “dry” or listen to running commentary on her developing breasts from Grandpa.

That said, she may already realize her uncle wants unhook her bra himself.

Li’l Bit’s relatives and classmates are played by three ensemble members identified as “chorus” members in the Greek tragedy sense of that word. Emily Townley, Craig Wallace, and Daven Ralston have fun with the ribald relations, delivering diversions like supporting characters in a Shakespearean comedy. (Incidentally, Townley just played one of those in Twelfth Night last year.)

The storytelling follows narrative arcs with varying chronologies under the clear direction of Amber Paige McGinnis. The script’s not perfect: At the play’s beginning, we’re told that in Li’l Bit’s family, people are nicknamed for their genitalia, hence “Uncle Peck” and her own moniker that supposed refers to the size of her vulva. It’s strange then that Townley, as Bit’s mother, later complains that she got knocked up as a teenager herself because no one told her “about the facts of life.” Perhaps she was confused by all the euphemisms?

McGinnis is helming a play on her largest stage yet, and deservedly so. She’s only misstepped by allowing too many characters to speak with a Southern accent. (Peck is from South Carolina, but there’s no reason for the rest of this Beltsville clan to have drawls.)

This is a sparse staging, with an expansive white backdrop bisected horizontally. That slit seems odd until the final moments of the play, when all the conflicting narratives come together with devastating clarity.

Ambiguous sexuAl Acts are the entire point of Actually, a play about what happens when a Princeton co-ed has second thoughts about sleeping with the hot guy from her Intro to Psychology class, and accuses him of rape in the aftermath. The play shares its he said/she said plot with Really, Really, Paul Downs Colaizzo’s powerful play about college, sex, and privilege that debuted at Signature Theatre a few years ago. But while that play focused more on questionable circumstances and colorful supporting characters, Actually is about the external review process—a Title IX investigation—and the internal review process for the only two characters onstage.

Actually is one of the best two-person plays I’ve seen in quite a long time. It premiered at Manhattan Theatre Club last year, and Theater J’s production (in Arena Stage’s Kogod Cradle, while the D.C. JCC undergoes renovations) is one of seven stagings across the country this season.

The opening is deceptive; you may think you’ve seen this play before and/or think you’ve seen these somewhat stereotypical characters before.

Jaysen Wright plays Tom, a black scholarship student who credits his success to an elementary teacher who took an interest in him after his dad walked out. Sylvia Kates plays Amber, the neurotic daughter of an overbearing, overly critical mom (She said I was “pretty enough,” Amber recalls early on) married to a lawyer. Wright and Kates each spend the entire play on one half of the stage, either speaking in soliloquy, quoting unseen characters, or speaking to each other. The dialogue is rapid fire, too fast at first. But Ziegler has a master plan. As in How I Learned to Drive, the recollections unspool in threads, and it turns out there’s more substance to Amber’s fear of the freshman 15 and jokes about Jewish sleepaway camp than we first think.

“Thomas Anthony!” she says, enraptured by the name of the guy who asks her to get ice cream. Her! It’s to the credit of Kates, director Johanna Gruenhut and Ziegler that her enthusiasm never comes off as melodramatic zeal.

For both characters, much more was at stake during the questionable encounter than the average Ivy League hook-up.

But Wright’s character never seems as fully realized, and that doesn’t seem to be his fault.

He’s saddled with too many underprivileged black kid clichés, and the ending of this 90-minute keg party potboiler simmers a bit too long.

Thankfully, as in How I Learned to Drive, there’s a flash of lucid symbolism at show’s end.

But it’s not only the stark, non-verbal resolutions that makeboth of these plays so satisfying: It’s that both explain why problematic sexual encounters are more than physical abuse.

They are about what horrible moments end up indelible in the hippocampus, and the strength it takes to live with those memories.

CP

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Two plays about sex and recollection resonate deeply with audiences.

How I Learned to Drive

By Rebecca J. Ritzel

How I Learned to Drive

By Paula Vogel Directed by Amber Paige McGinnis At Round House Theatre to Nov. 4

Actually

By Anna Ziegler Directed by Johanna Gruenhut At Arena Stage to Nov. 18 For Any AmericAn woman who has experienced sexual assault—or endured a terrible experience akin to it—there will always be life before Christine Blasey Ford’s testimony, and life after it.

Listening to Ford’s emotional account of alleged assault at Brett Kavanaugh’s groping hands resurrected bad memories for many women. Whether you’ve been assaulted by a teenager struggling to thrust his penis through a one-piece bathing suit, or been held against your will by a drunk date, only able to break free after screaming and fleeing down a Metro escalator in panic mode, that lasting fear is real.

Ford’s testimony reverberated like earthquake tremors because she gave us a reason to reprocess men at their worst, and she explained why traumatic sexual experiences are so difficult to erase.

“Indelible in the hippocampus is the laughter,” the research scientist said, going on to place her prep school nightmare in the context of brain science. One has to hope that line long

outlives jokes about P.J. and Squi.

Two landmark plays about sex and recollection that were written “B.C.” (Before Christine) are now running on area stages, and resonate even more in the after-Ford era. To be sure, the familial child abuse depicted in Paula Vogel’s How I Learned to Drive is far more disturbing than the college hook-up gone awry in Anna Ziegler’s Actually. But both plays validate the churning emotions that empathetic observers are feeling in the wake of last month’s Supreme Court confirmation.

So go see them.

At Round House Theatre, Alyssa Wilmoth Keegan, a D.C. actress with an uncanny ability to go from disheveled mess to glamorous, uses her full chameleon powers in the role of Li’l Bit, the protagonist and narrator of How I Learned to Drive. Vogel’s semi-autobiographical play about growing up in a dysfunctional Prince George’s County family took home the Pulitzer Prize in 1998. It was disturbing then to see a play about a young girl abused by her uncle from the age of 9 until, as a freshman in college, she develops the self-possession to reject him. The play remains troubling, but it laid the groundwork for more graphic dramas about abuse to follow.

The time is right for Round House’s revival. After listening to Ford recount her own teenage horror, and the mix of shame and embarrassment she felt, it’s easier to empathize with Li’l Bit’s own conflicted reactions when she offers, as an adolescent, to meet with her uncle oneon-one once a week.

Male critics originally praised Vogel for pre-

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washingtoncitypaper.com october 26, 2018 21

TheaTerCurtain Calls

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THE COMEDY OF ERRORS

by William Shakespeare | directed by Alan Paul

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

–DC Theatre Scene

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

–MD Theatre Guide

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

UNLIKELY LOVERS Aida

Music by Elton John Lyrics by Tim Rice Book by Linda Woolverton, Robert Falls, and David Henry Hwang Directed by Michael J. Bobbitt At Source to Nov. 18

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

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Constellation theatre Company’s unofficial early-aughts Broadway reclamation project that has in recent years brought us superb close-quarters revivals of both hits like Avenue Q and worthy curiosities like The Wild Party now splits the difference between the two with Aida. Elton John and Tim Rice’s follow-up to The Lion King was inspired by a 1990s illustrated children’s book that was adapted from Verdi’s 1871 opera that was bastardized from ancient Egyptian history. John said his single greatest influence for the piece was his late friend Gianni Versace. Hey, success has many daddies. And four Tony Awards and a four-and-a-half-year run is success, even if Aida is, in less quantifiable metrics, not the greatest musical ever written, nor even the second-best musical ever written by Sir Elton John.

But if you look beyond its musical work, Constellation has frequently been an outfit that embraces difficult or obscure material for its performers to polish up, and that’s certainly the scenario here. Four actors whom director Michael J. Bobbitt has cast in Aida— Shayla S. Simmons as Aida, the Nubian queen who hides her royal lineage (but not her re-

gal bearing) from her Egyptian conquerors; Jobari Parker-Namdar as Radames, the arrogant Egyptian captain who presents her as a gift to his betrothed, Princess Amneris, but finds he can’t stop thinking about the Nubian woman he captured; Chani Wereley as Amneris, the inexperienced but not dumb princess; and Greg Watkins as Radames’ father Zoser, a disloyal member of the Pharaoh’s court—are multidimensional and magnetic even when made to sing songs that communicate less than their faces do. Watkins, in particular, should earn hazard pay (if not a Helen Hayes Award) for the way he gets through the limp reggae of “Another Pyramid” with his dignity intact. Simmons and Parker-Namdar blend well on “Written in the Stars,” a minor hit off the 1999 “concept album” that predated the Broadway show by a year, wherein this forbidden love duet was shared by Sir Elton and a 16-year-old LeAnn Rimes. Simmons and Paker-Namdar’s sexual chemistry is more convincing.

Design has always been another Constellation strength, by which I mean its designers’ choices are never mild. A.J. Guban’s set extends the pyramid motif even to the tiles of the floor and to a sort of latticework of triangles hung from the ceiling, while his nightclub lighting scheme favors blues and purples, the better to show off the gold accents in the floor and in Kenann M. Quander’s costumes. Musical director Bobby McCoy’s band is loud and urgent in the confines of the Source black box; they sound good enough that you wish Sir Elton had been moved to turn up the glam quotient in his mushy, midtempo rock score.

The cumulative effect is a sensory feast, but one that may leave you with a bellyache before it’s done.

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

Disrupting Craft: Renwick Invitational 2018 | Opens November 9 Four artists who are challenging conventional definitions of craft, infusing it with a renewed sense of purpose, inclusiveness, and activism.

17th and Pennsylvania Ave. | Free | AmericanArt.si.edu | @AmericanArt Clockwise from top left: Tanya Aguiñiga, photo © Coral von Zumwalt 2018; Stephanie Syjuco installing her exhibition CITIZENS at RYAN LEE gallery. Production still from the Art21 television series “Art in the Twenty-First Century,” Season 9, Stephanie Syjuco. 2018. © Art21, Inc. 2018; Sharif Bey with his work Louie Bones–Omega, 2017, earthenware, vitreous china, and mixed media, Collection of the artist. Photo by Devon Harper Gelhar; Dustin Farnsworth, photo by Ben Premeaux, courtesy McColl Center for Art + Innovation

VUSI MAHLASELA SAT, OCT 27, 8pm SIXTH & I

The South African living legend returns!

“A rare and mesmerizing musical mind [and] a voice that seems to have few limits” – Los Angeles Times Special thanks: Galena-Yorktown Foundation

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

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

TICKETS: WashingtonPerformingArts.org (202) 785-9727

GREAT PERFORMANCES AT MASON 2018/2019 SEASON

Daniel Hope and Friends Air-A Baroque Journey

Spectrum Dance Theater

Aquila Theatre

Friday, November 16 at 8 p.m.

Sunday, November 18 at 7 p.m.

A Rap On Race

Frankenstein

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

washingtoncitypaper.com october 26, 2018 23

GALLERIES

Masterpeace

An outdoor sculpture in a yard in Foggy Bottom produces frank conversations, and a bond between the artist and the host.

Darrow Montgomery

her that it was so long ago, and that these racists and fascists are raising their ugly heads again,” says OliverZhang. “It was just unimaginable for her that this was happening.”

Dixon has had his share of conversations, too. A few weeks ago he went to take down one of the hoodies because it was damaged, and a woman passing by simply thanked him.

“I’ve been able to have conversations that wouldn’t have normally occurred without the hoodies present,” he says.

Artist H e l e n Frederick, who selected Dixon’s sculpture and co-curated the exhibit with Peter Winant, has also had new conversations. She is the one who matched Dixon and Oliver-Zhang. The former had never had a piece in the Foggy Bottom Outdoor Sculpture Biennial, and the latter had never hosted one.

“They emailed me and asked me if I wanted to be a part of it,” says Oliver-Zhang. “And I said ‘Sure!’ I guess my yard is now clean enough more routinely that we’ve been selected.” She got an image of the hoodies, but they were black in the picture. She didn’t know what to expect.

“But when I saw these sculptures, it resonated with me right away,” she says. “Nehemiah is just a wonderful, wonderful person. He actually teaches kids art. He has been an avid advocate for social justice, and it really comes through in his artwork.”

On another day, in a separate interview, Dixon says: “Pairing with Julie was amazing. I knew immediately from meeting her and her husband, and finding out that she was a social justice advocate and what she does with her law practice—it just meant a lot.”

Dixon is from Southeast D.C. He has a studio at Red Dirt Studios in Mount Rainier, and through his company, Nonstop Art, he works

By Alexa Mills “They’re meanT To be ghostly, they’re meant to be haunting—the absence of a body where there should be one,” says Nehemiah Dixon III, the artist who created “Hoodie 1, 2 and 3.”

From a distance, the hoodies appear to be floating over a Foggy Bottom sidewalk. They’re big and hollow and the hoods are up. On the outside, the hoodies are a fading, weathered white; on the inside they’re black. Dixon produced all three from the same mold.

They have been posted up outside attorney Julie Oliver-Zhang’s home office for six months. “At first it was daunting because it’s very stark, it’s a very solemn piece,” she says. “My son saw it when he came back from school. He’s 5 years old, and he said, ‘Mommy, who put the ghosts in the yard?’”

Dixon’s three hoodies comprise one of 15 works in the 2018 Arts in Foggy Bottom Outdoor Sculpture Biennial, Absence & Presence. Each sculpture is by a different artist and stands in a different yard along a winding five-block route between 26th Street NW on the west and New Hampshire Avenue NW on the east.

The sculptures have stood outside Oliver-

Zhang’s office since late April—through a summer of relentless rain and national news.

Through three seasons, she has had countless conversations with the passersby who now linger in front of her otherwise unremarkable front yard.

“There was a law enforcement officer who I had a conversation with, and he said to me, ‘Just as you, a Chinese American, would feel unwelcome by a home that flew the Confederate flag in the South, I feel threatened and attacked. I would not come for your help when you have statues like this in front of your house,’” recounts Oliver-Zhang. “And there’s no judgement in this, in what he said to me. It’s just that we all have very different backgrounds, and that’s also the beauty of America. But we must reflect on what we are bringing to the table—our own experience, our own prejudice.”

On the other end of the response spectrum, a woman who walked by during Unite the Right 2, a white nationalist rally in August, told Oliver-Zhang about a time, some four decades ago, when the woman and her college girlfriends were driving through the South. The young women passed a car full of Klansmen with their white hoods on, and they screamed at the sight. “It was beyond

24 october 26, 2018 washingtoncitypaper.com

with developers to “create makerspaces in affordable housing communities,” he says.

He’s been making his hoodie sculptures for a few years now. The final verdict in the case against George Zimmerman, who shot and killed 17-year-old Trayvon Martin in the name of a “neighborhood watch,” inspired the work. Martin was wearing a hoodie when he died.

“You had lawmakers suddenly showing up on TV wearing a hoodie. You had, for a very brief moment, people wearing hoodies where they shouldn’t have been. It was a very nice tribute,” says Dixon. “I wanted to do more than a painting, I wanted to do more than a drawing. I wanted to examine how I felt, and how other people saw me. And visibility plays a part, intimidation plays a part.”

He first created black hoodie sculptures made from actual fabric. These hoodies, titled “Suits of Armor,” have had their own tour, appearing in Prince George’s African American Museum & Cultural Center, Galerie Myrtis in Baltimore, 39th Street Gallery in Brentwood, Maryland, Watergate Gallery in D.C., and at Busboys and Poets.

“My original goal was to make hundreds of these things and display them everywhere,” he says. (He is looking for the funding to accomplish that.)

To make the white version, Dixon created a plaster outer shell and then a silicon inner shell. “What you’re seeing is the casting result of fiberglass and resin,” he says. “I am making copies from a copy. It’s the negative of the hoodies.”

One of his inspirations was Jim Dine’s paintings of robes—the idea of “giving meaning to an item of clothing when it shouldn’t be there.”

Oliver-Zhang sees profound meaning in the sculpture. She immigrated to the United States at 10, and says, “I have always believed that I am an American, and that I am part of this grand melting-pot. I have never felt so foreign, and such an outsider, as I do now.”

From working with her immigrant clients, she sees a systematic, organized effort to push immigrants out of the U.S., to make conditions so hostile for them that they leave. She heard white nationalist leader Richard Spencer explain his vision for America in a radio broadcast, and she saw it as something that is coming true before her eyes.

“You make social policies and political policies so hostile that there is no redress for minorities, that it causes them to not want to be here because they’re being killed with no redress, with no remedy,” she says. “And that’s not America. That’s not justice. That’s a very dark place.”

She’s taken to thinking of the hoodies as guardian angels more than ghosts.

CP The 2018 Arts in Foggy Bottom Outdoor Sculpture Biennial, Absence & Presence, is on display until October 27.

Ragamala Dance Company

Photo by Three Phase Multimedia

Ranee Ramaswamy and Aparna Ramaswamy, Artistic Directors

Written in Water with live music A large-scale multi-disciplinary work with dance, music, text, and painting, Written in Water provides an allegory of human’s constant search for transcendence.

Enjoy a FREE pre-show Interactive Game-playing Experience utilizing the Indian board game that inspired the performance.

November 2 & 3 | Terrace Theater

And don’t miss...

Film Screening: The Unseen Sequence with Malavika Sarukkai November 8 at 7 p.m. | Family Theater

By M AT SM ART | Directed by KEN YATTA ROGERS Featuring RO BODDIE as Frederick Douglass and M ARNI PENNING as Susan B. Anthony

OCT 24 ‑NOV 25

Malavika Sarukkai Thari—The Loom

Tickets available at mosaictheater.org

November 9 & 10 Terrace Theater Photo by Shalini Jain

Kennedy-Center.org (202) 467-4600

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

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

washingtoncitypaper.com october 26, 2018 25

FilmShort SubjectS Bisbee ‘17

Stranger than Fiction Bisbee ’17

Directed by Robert Greene BisBee ’17 is the rare documentary that also succeeds as a provocative cinematic statement. A lot of nonfiction filmmaking looks and feels like a segment on 60 Minutes, with the usual mix of talking heads and archival footage. Robert Greene attempts something more ambitious than that: He looks at the darkest day in the history of an Arizona border town, and helps the townspeople understand it better through a dramatic recreation on its 100th anniversary. This is an active, participatory way of understanding the past, and the depiction of what happened is just as important as how everyone feels about it.

Bisbee, Arizona is about an hour southeast of Tucson, and thanks to its copper mines, it was once the richest city in the state. But after the last mine closed in 1975, the town has been stricken with poverty. Old-timers still insist that the mines will one day resume production, which is a convenient way to gloss over what happened in the town in July of 1917.

Seeing unrest among the mining workers, The Industrial Workers of the World (IWW) mounted a strike for better pay and working conditions. Rather than negotiate, the mining company ultimately had the local sheriff—along with 2,000 deputies—round up the “undesirables” in the city, load them into cattle cars, and transport them to New Mexico.

This event is known as the “Bisbee Deportation,” and the vast majority of the deportees were immigrants from Mexico or Eastern Europe. No one was ever convicted in connection to what happened.

Greene’s approach sounds simple, but gets more emotionally taxing as the film contin-

ues. He develops a relationship with Bisbee locals, including actors and people from mining families, and mounts a recreation of the deportation. The actual event is only a small portion of the film, so the rest of Bisbee ’17 involves locals confronting the past. Sometimes Greene’s technique borrows from magic realism: There are long, carefully choreographed tracking shots where one of his actors drifts from one part of the town to another, and the shifting costumes/backgrounds suggest they travel through time. Some locals talk about their ancestors, like one man’s great-grandfather who was permanently separated from his brother on the deportation. Of course, this film has an unmissable political subtext, and to the film’s credit, Greene’s interviewees come from all sides of the spectrum.

There are some faces and performances that are more memorable than others. One of the deputies is classically handsome—looking like a movie villain from the 1940s—and he gnashes the scenery like a deranged zealot. Another man has an open, friendly face: He starts as an apolitical participant, but you can see real fury in his eyes as he starts shouting union slogans. The key figure is the man who plays Harry Wheeler, the county sheriff in 1917, and while he does not question the deportation at first, the act of recreation gives him a change of heart. It is strange, even moving, to watch these ordinary people—many of whom are not trained actors—disappear into their roles.

All this unfolds like the infamous Stanford Prison Experiment, except Greene and his team are not pushing these people to their limits. Instead, the cumulative effect serves like group therapy, and an opportunity to reach greater common ground. Greene drifts between biopic and documentary techniques: He will show the action on the ground, then pull back so you can also see his camera operators who are in the fray. The actors certainly feel the cameras on them, but Greene does not want the audience to forget that artificial construct, either.

Greene is known for documentaries that

26 october 26, 2018 washingtoncitypaper.com

blur the line between nonfiction and narrative.

His last film was Kate Plays Christine, a psychological thriller about an actual actress who prepared to play Christine Chubbuck, a Florida newscaster who killed herself on camera in 1974. Bisbee ’17 is more ambitious than that film, but they both explore the implications of the observer effect: Like the actress playing Chubbuck, the acts of researching and internalizing are where the real drama takes place.

To Greene, the final performance is an afterthought, the culmination of folks who have already done the hard work of confronting the collective moral failures of their hometown.

It takes actual empathy and courage to walk a mile in another person’s shoes. It is unclear whether Bisbee ’17 will have any long-term effect on those who participate, but everyone involved certainly has a different view of history. History is not just something that happened a long time ago, but a collective trauma that we experience every day, in ways that are both concrete and invisible. —Alan Zilberman Bisbee ’17 opens Friday, at The AFI Silver Silver Theatre and Cultural Center.

DiSco inFerno Studio 54

Directed by Matt Tyrnauer Certain elements of Matt Tyrnauer’s Studio 54 remain consistent throughout the documentary. The wattage of the club’s regulars.

The bravado of its owners. The hipness of the cultural moment it captured. But mostly you look at the photos and footage of its dancing clientele and suspect this comment was true for the bulk of them: “I was so high on drugs I really didn’t realize what was going on.”

That oblivion was the draw of Studio 54, a New York discotheque that solidified its renown in only 33 months of existence, from 1978 to 1980. According to one of its infamous coowners, Steve Rubell, everyone was “tired of being serious” after Vietnam and Watergate.

Another commentator points out that the club popped up “between the invention of the pill and the advent of AIDS.” Trans and gay peo-

ple were frequent patrons, with second co-owner Ian Schrager claiming everyone “felt safe.”

There’s a clip of Michael Jackson saying it was a place where you could forget your problems.

Rubell and Schrager couldn’t forget their problems, however, which were huge and of their own making. Studio 54 claims to be the first time the blemished backstory of the club has been told, with Schrager and others associated with it doing the honors. (Rubell, who had AIDS, died in 1989.) The lack of a liquor license was one issue; the owners simply got daily catering permits that allowed them to serve alcohol as they waited to become legit, but they had been cut off. A bigger sin was tax evasion, with the pair skimming the books to the tune of $400,000. The feds found cash and drugs hidden in the club, and Rubell and Schrager went to jail, though their sentences were shortened once they ratted out other clubs that had been taking some off the top, too.

Schrager provides the bulk of the commentary here, and it’s fun to relive the beginning and heydey of Studio 54 through his memories. He’s a charming host. But when he’s recounting the criminal part of its history, you want to throttle him for being so stupid. As the Studio 54 prosecutor in the case points out, Rubell and Schrager were skimming close to 80 percent of the club’s profits: “They were really pigs about it.” And their machismo was as legendary as their place, with Rubell frequently bragging about how much money they made and the pair even throwing themselves a party the night before they went to jail. “When I think of it now, it was so preposterous,” Schrager says.

“What were we thinking?”

Tyrnauer (Scotty and the Secret History of Hollywood) also interviews architects, designers, promoters, bartenders, and even a busboy from the club, all of whom provide entertaining first-person accounts of the good times as the director offers a staggering amount of visual history. You see the usual ’70s suspects: Warhol, Stallone, Minnelli, as well as a Pride Parade’s worth of drag queens. Inclusion seems to have been paramount. But the doc isn’t all about the highs: A late chapter focuses on the AIDS epidemic, with one person tearily commenting that “the loss was profound.”

More sadness comes when it’s revealed that Rubell was partially closeted, at least to his mother, who at the time of his death wondered why he’d never gotten married. It makes a remark from a reveler especially mournful: “I didn’t think the party was going to end.”

—Tricia Olszewski Studio 54 opens Friday at Landmark E Street Cinema.

FILM

Reform Immigration The Immigration Film Festival kicks off on Saturday with a spotlight on stories of women.

Of all the political issues that divide Americans these days—and there are many—immigration may be the most contentious. As a certain political party stokes xenophobia by exaggerating tales of immigrant violence and threats to the border, the other party finds itself incapable of combating these claims effectively. Meaningful policy reform was last attempted by Congress in 2013. It seems like a lifetime ago.

Changing hearts and minds on immigration reform should be the priority, and while that might be too much to ask of a local, two-day film festival, you have to start somewhere.

The Immigration Film Festival is the longest continually running festival showing narrative and documentary films that highlight the immigrant experience. Founded by the Washington Ethical Society, a humanist religious congregation, in 2014, the festival features 21 films (narrative and documentary) screening on Oct. 27 and 28.

The Washington Ethical Society, founded in 1944, sees the festival as a natural extension of its members’ values. “Connecting with immigrants is core for many religious communities,” says Amanda Poppei, Senior Leader of the Society. “Then you add in the fact that as a humanist community, our core values say that every single person has worth. Immigration is one of many issues in which we feel that current policies are not recognizing that worth.”

Film has a unique ability to put a human face on this issue that is more often than not used as a political weapon. According to Poppei, building relationships is the key to change in this area. “As people get into relationships with each other, the positions they think they hold begin to shift. Look at the movement for marriage equality and other rights for LGBTQ folks. People suddenly realized that their uncle, their niece, their sister, their brother was gay. You don’t suddenly discover that your uncle is an immigrant, so we have to show them these stories through film.”

Since its inception, the festival has shed light on a growing need for immigration-centric films. In 2015, only 50 films were submitted for selection. This year, there were 320 submissions, including many from local filmmakers.

One of the festival’s highlights is Five O’Clock Shadow, a short film from Bethesda-based filmmaker Sangeeta Agrawal. The seven-minute narrative highlights a tense argument be-

tween an Indian-American woman, who has just been the victim of racially tinged verbal abuse, and her more moderate husband. Anchored by terrific acting, the film takes viewers inside the hearts of immigrant characters who have internalized their own persecution.

Other films to look for include DACAmented, by D.C. native St. Clair Detrick-Jules, which allows nine DACA recipients to tell their stories directly to camera. They Call Us Maids portrays the challenging lives of immigrant home workers, but it uses luscious watercolor animation to bring their emotions to the surface, while Mi Migración uses stop-motion animation to show a butterfly’s migration, poetically isolating the beauty of the immigrant experience. The opening selection, The Long Ride, is a feature-length documentary about the historic Immigrant Workers Freedom Ride in 2003. The 2017 film has recently been updated by director and activist Valerie Lapin Ganley with new footage.

Although the issue of immigrant rights has been urgent for years, this year’s festival has a message that seems designed for our present moment. The theme is Stories of Women, with every film either made by a female filmmaker or featuring a female protagonist (and often both). “Women are the most vulnerable in their country of origin and hold responsibility for the safety of the family,” says Poppei. “When we are able to improve the lives of women internationally, you will get a hugely positive effect on the lives of children and the lives of their husbands.”

The slate of films is full of strong craft and thoughtful artistry, although some may disappoint viewers expecting sophisticated entertainment. Inherently didactic and simplistic, many of the entries seem better suited for thoughtful children than critically minded adults. Of course, attendees at this festival are more likely to be activists than cinephiles, so expectations will be properly gauged to hone in on the films’ messages rather than their form. Anyone who wants to more deeply engage on this critical issue will find a home at this festival.

—Noah Gittell The Immigration Film Festival runs from Oct. 27-28 at the Washington Ethical Society, 7750 16th St. NW. $6-$100. immigrationfilmfest.org.

Behind enemy lines are hearts just like yours.

Silent Night November 10–25 Eisenhower Theater

Music by Kevin Puts / Libretto by Mark Campbell

Kennedy-Center.org (202) 467-4600

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

Major support for WNO is provided by Jacqueline Badger Mars.

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

David M. Rubenstein is the Presenting Underwriter of WNO.

WNO’s Presenting Sponsor

washingtoncitypaper.com october 26, 2018 27

28 october 26, 2018 washingtoncitypaper.com

CITYLIST

An evening with

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Music 29 Dance 32 Theater 32 Film 36

THE BEATLES IN LOVE PLUS A SET OF FAVORITES NIGHT 1

Music

CITY LIGHTS: FRIDAY

FRIDAY

OCT 26

An evening with

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Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. NSO Pops: Andrew Bird with Gabriel Kahane. 8 p.m. $25–$119. kennedy-center.org.

PLUS A SET OF FAVORITES NIGHT 2

SATURDAY OCT

ELECtRONIC

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

Lee “Scratch” Perry and Subatomic Sound System. 9 p.m. $25–$30. rockandrollhoteldc.com.

27

SUN, OCT 28

SONNY LANDRETH

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

A Tribe Called Red. 11 p.m. $15–$20. ustreetmusichall.com.

TUES, OCT 30

LIVE NATION PRESENTS

FOLK

KANDACE SPRINGS

BlaCK Cat 1811 14th St. NW. (202) 667-4490. Dermot Kennedy. 8 p.m. Sold out. blackcatdc.com.

W/ MOVAKWEEN

JAzz

FRI, NOV 2

REBIRTH BRASS BAND

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

W/ ELLIS DYSON & THE SHAMBLES

ROCK

SAT, NOV 3

9:30 ClUB 815 V St. NW. (202) 265-0930. All Good Presents Twiddle. 8 p.m. $20. 930.com.

AN EVENING WITH

NIGHT II - 2 SHOWS

dC9 1940 9th St. NW. (202) 483-5000. YUNGBLUD. 8 p.m. Sold out. dcnine.com.

REBIRTH BRASS BAND

FillMore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Revolution. 8 p.m. $40. fillmoresilverspring.com.

SUN, NOV 4

I DRAW SLOW

W/ THE 19th STREET BAND

tHe HaMilton 600 14th St. NW. (202) 787-1000. The Fab Faux. 8 p.m. $44–$93.50. thehamiltondc.com.

FRI, NOV 9

Union Stage 740 Water St. SW. (877) 987-6487. Ballyhoo!. 8 p.m. $20–$35. unionstage.com.

FRANK SOLIVAN & DIRTY KITCHEN

WORLD

W/ THE HIGH & WIDES

BoSSa BiStro 2463 18th St NW. 202-667-0088.

Quatro na Bossa. 7:30 p.m. $10. bossadc.com.

SAT, NOV 10

SAtuRDAY

NEWMYER FLYER PRESENTS

THE LAST WALTZ TRIBUTE

CLASSICAL

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. NSO Pops: Andrew Bird with Gabriel Kahane. 8 p.m. $25–$119. kennedy-center.org.

ELECtRONIC

eCHoStage 2135 Queens Chapel Road NE. (202) 503-2330. Petit Biscuit. 9 p.m. $30. echostage.com.

GO-GO

Union Stage 740 Water St. SW. (877) 987-6487. Go Go Symphony. 7 p.m. $25–$30. unionstage.com.

HIP-HOP

Union Stage 740 Water St. SW. (877) 987-6487. JoJo Simmons. 12 p.m. $10. unionstage.com.

POP

U Street MUSiC Hall 1115 U St. NW. (202) 5881889. 9:30 Club Presents Rubblebucket. 7 p.m. $20. ustreetmusichall.com.

ROCK

9:30 ClUB 815 V St. NW. (202) 265-0930. All Good Presents Twiddle. 10:30 p.m. $20. 930.com.

9:30 ClUB 815 V St. NW. (202) 265-0930. All Good Presents Moon Taxi. 6 p.m. $28. 930.com. tHe HaMilton 600 14th St. NW. (202) 787-1000. The Fab Faux. 8 p.m. $44–$93.50. thehamiltondc.com.

NIGHT I

SUN, NOV 11

SOLD OUT

AN EVENING WITH

NSO POPS: ANDREW BIRD AND GABRIEL KAHANE

YACHT ROCK REVUE MON, NOV 12

AN EVENING WITH

Gabriel Kahane may be the first musician to go from playing at Jammin Java to playing with the National Symphony Orchestra in less than two months, but hopefully he won’t be the last. Kahane is among a growing group of artists who are taken seriously as both classical composers and folk singer-songwriters. Twenty years ago he may have been labeled a “crossover artist.” Now, he can simply be nebulous, straddling both worlds. This weekend, Kahane performs alongside the prolific whistling violinist Andrew Bird. Bird's song suite, “Time is a Crooked Bow,” was arranged and orchestrated by Kahane, and Bird performed it earlier this month with the uber-cool Los Angeles Philharmonic. Kahane joins the orchestra for his Ambassador Suite, and the night concludes with solos from both artists. Hopefully that includes the documentary-style songs from Kahane’s new album Book of Travelers, which he wrote while touring the country by Amtrak train, interviewing people in the wake of President Trump’s election. Andrew Bird and Gabriel Kahane perform with the National Symphony Orchestra at 8 p.m. at the Kennedy Center Concert Hall, 2700 F St. NW. $25-$119. (202) 467-4600. kennedy-center.org.

—Rebecca J. Ritzel

NIGHT II - SOLD OUT

YACHT ROCK REVUE FRI, NOV 16

ALL GOOD PRESENTS

THE TRAVELIN’ McCOURYS W/ THE DIRTY GRASS PLAYERS SAT, NOV 17

AN EVENING WITH

JOHN MEDESKI’S MAD SKILLET

THEHAMILTONDC.COM washingtoncitypaper.com october 26, 2018 29

Jazz

CITY LIGHTS: SAtuRDAY

Jason Moran

tHE FORt LARAMIE tREAtY

Artistic Director

KC Jazz Club

Songs of Freedom

Ulysses Owens Jr., Music Director, featuring Alicia Olatuja, René Marie, and Theo Bleckmann Sat., November 3 at 7 & 9 p.m.

Songs of Freedom explores three iconic voices of the 1960s—Joni Mitchell, Abbey Lincoln, and Nina Simone—and the complex ways in which they relate.

The United States is pretty lousy when it comes to Native American treaties: both in volume and in keeping them. Nation to Nation: Treaties Between the United States and American Indian Nations, a 4-year-old exhibition at National Museum of the American Indian, has a new addition. This weekend, the museum commemorates the 150th anniversary of the signing of the Fort Laramie Treaty with a display of portions from the actual 1868 treaty. The exhibition case fits 16 pages of the 36page treaty that sought to define the Dakota territories for the Sioux and bring peace between them and white settlers. The treaty comes on loan from the National Archives, and unlike other manuscripts on parchment, it may surprise some to see that this treaty is on blue-lined paper, similar to contemporary notebooks. While the paper lacks frayed parchment edges, the treaty itself frayed in 1877 when Congress seized parts of western South Dakota after discoveries of gold in the Black Hills.

Sometimes the word of the U.S. is little better than the paper it is written on. The treaty is on view to March 2019 at the National Museum of the American Indian, 4th Street and Independence Avenue SW. Free. (202) 633-1000. americanindian.si.edu.

—John Anderson

WORLD

KC Jazz Club

Miguel Zenón & Spektral Quartet: Yo Soy La Tradición Fri., November 16 at 7 & 9 p.m.

Jazz saxophonist, composer, bandleader, and educator Miguel Zenón is joined by Grammy®nominated Spektral Quartet to perform original compositions from his new album, an ambitious work inspired by the music and rhythms of his birthplace of Puerto Rico.

rHizoMe dC 6950 Maple St. NW. Transcendental Showcase with Falsa, Rumput Band, and Kamyar Arsani. 7:30 p.m. $10. rhizomedc.org. tropiCalia 2001 14th St. NW. (202) 629-4535. Los Gallos Negros with Radio Jarocho. 7:30 p.m. $20. tropicaliadc.com.

SuNDAY CLASSICAL

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. NSO Family Concert: Halloween Spooktacular. 2 p.m.; 4 p.m. $15–$18. kennedy-center.org.

ELECtRONIC

Union Stage 740 Water St. SW. (877) 987-6487. Kllo.

8 p.m. $15. unionstage.com.

ROCK

9:30 ClUB 815 V St. NW. (202) 265-0930. All Good Presents Moon Taxi. 7 p.m. $28. 930.com.

BlaCK Cat 1811 14th St. NW. (202) 667-4490. Roky Erickson. 7:30 p.m. $25. blackcatdc.com.

Jason Moran—James Reese Europe and The Harlem Hellfighters: The Absence of Ruin Sat., December 8 at 8 p.m.

Jason Moran presents the U.S. premiere of The Absence of Ruin, his salute to James Reese Europe.

The first African American bandleader, Europe created an international demand for jazz and ragtime, forever changing the world of music. Through new arrangements and stunning visual media, Moran will explore the groundbreaking artist’s deep musical catalogue.

Kennedy-Center.org (202) 467-4600

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

30 october 26, 2018 washingtoncitypaper.com

MONDAY CLASSICAL

Kennedy Center MillenniUM Stage 2700 F St. NW. (202) 467-4600. NSO Youth Fellowship Program.

6 p.m. Free. kennedy-center.org.

JAzz

BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Monika Herzig’s “SHEroes”. 8 p.m.; 10 p.m. $25. bluesalley.com.

POP

9:30 ClUB 815 V St. NW. (202) 265-0930. Jain. 7 p.m. $20. 930.com.

tuESDAY JAzz

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

Kandace Springs. 7:30 p.m. $20–$35. thehamiltondc. com.

ROCK

dC9 1940 9th St. NW. (202) 483-5000. Mom Jeans. 7 p.m. $15. dcnine.com. roCK & roll Hotel 1353 H St. NE. (202) 388-7625.

Lemuria. 8 p.m. $15. rockandrollhoteldc.com.

WORLD

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. Renée Fleming VOICES: Youssou NDOUR. 8 p.m. $29–$89. kennedy-center.org.

WEDNESDAY HIP-HOP

FillMore Silver Spring 8656 Colesville Road, Silver Spring. (301) 960-9999. Chief Keef. 8 p.m. $25. fillmoresilverspring.com.

POP

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

9:30 Club Presents Chase Atlantic. 7 p.m. $15. ustreetmusichall.com.

ROCK

9:30 ClUB 815 V St. NW. (202) 265-0930. Jake Shears.

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

WORLD

BoSSa BiStro 2463 18th St NW. 202-667-0088. District of Raga. 8:30 p.m. $10. bossadc.com.

tHuRSDAY CLASSICAL

goetHe-inStitUt WaSHington 1990 K St. NW, Suite 03. (202) 847-4700. Chamber Music at Noon. 12 p.m. Free. goethe.de/washington.

Kennedy Center ConCert Hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Gaffigan conducts Russian Masterpieces. 7 p.m. $15–$89. kennedy-center.org.

ELECtRONIC

Union Stage 740 Water St. SW. (877) 987-6487. Zimmer. 8 p.m. $15. unionstage.com.

FOLK

dC9 1940 9th St. NW. (202) 483-5000. Michael Nau & The Mighty Thread (Cotton Jones). 8 p.m. $12–$15. dcnine.com.

THIS WEEK’S SHOWS ALL GOOD PRESENTS

Twiddle (F 26 - w/ Bumpin’ Uglies) (Sa 27 - Late Show! 10:30pm Doors) .......... F OCT 26 & Sa 27 ALL GOOD PRESENTS

Moon Taxi w/ Moon Hooch (Sa 27 - Early Show! 6pm Doors) 2-Night Ticket Available ....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

NOVEMBER (cont.)

Allen Stone w/ Nick Waterhouse ....................W 21 Hot in Herre - 2000s Dance Party

U STREET MUSIC HALL PRESENTS

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

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

with DJs Will Eastman & Ozker Visuals by Kylos ........................F 23

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

DISTURBED

w/ Three Days Grace ............................................. FEBRUARY 21

On Sale Friday, October 26 at 10am AEG & I.M.P. PRESENT

PANIC! AT THE DISCO

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

Ticketmaster

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

STORY DISTRICT’S TOP SHELF ...SAT JANUARY 19

LP

........................................................................................................... FEBRUARY 19

A U R O RA w/ Talos .......................................................................... MARCH 10 On Sale Friday, October 26 at 10am

A Dance Party with DJ lil’e ..Sa 24

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

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

U STREET MUSIC HALL PRESENTS

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

ALL GOOD PRESENTS

Fleetmac Wood:

Rhiannon’s Revenge… A Halloween Disco Late Show! 10pm Doors ....................Sa 3 D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

DECEMBER

St. Lucia w/ SHAED & The Colonies ............Tu 6

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

U STREET MUSIC HALL PRESENTS

MAX w/ Bryce Vine & EZI

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

Midland w/ Desure

ALL GOOD PRESENTS

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

Marcus King Band w/ Ida Mae ...................................Th 6 Neal Brennan This is a seated show. ........................Sa 8 BenDeLaCreme & Jinkx Monsoon:

AN EVENING WITH

Chris Robinson Brotherhood . F 9 Brett Dennen w/ Erin Rae

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

To Jesus, Thanks for Everything! Jinkx & DeLa This is a seated show. Su 9

Papadosio w/ LITZ

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

THIS THURS/FRI/SAT!

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

Edie Brickell & New Bohemians ................NOV 3 Inside Netflix’s The Staircase & Making a Murderer: Fabrications, Lies, Fake Science, and the Owl Theory feat. David Rudolf and Jerry Buting Moderated by NPR’s Carrie Johnson .NOV 5

#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

Jackson Galaxy - Host of Animal Planet’s

My Cat from Hell ...................NOV 21

Esperanza Spalding ..............DEC 1 AEG PRESENTS Adam Conover .........................DEC 2

Richard Thompson Electric Trio w/ Rory Block .......NOV 8 Jewel - Handmade Holiday Tour w/ Atz, Atz Lee, Nikos Kilcher ..............DEC 6 Ólafur Arnalds ........................NOV 14 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

Gang of Youths w/ Greta Ray .M 10 Phosphorescent w/ Liz Cooper & The Stampede..... Tu 11

Ty Segall (Solo Acoustic)

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

D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

& Del Suelo .................................Tu 20

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

AEG & I.M.P. PRESENT

All the Divas -

U STREET MUSIC HALL PRESENTS

Randy Rogers Band w/ Parker McCollum ....................F 16 Wild Nothing w/ Men I Trust ..Su 18 The Dead South w/ The Hooten Hollers

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

Thievery Corporation w/ The Suffers ..............................F 14 Cat Power ................................Su 16

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

Gus Dapperton w/ Beshken ...M OCT 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

Yeah, But Still Podcast with Brandon Wardell and Jack Wagner ..Tu 6 Justin Courtney Pierre w/ Pronoun ..F 9

• 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!

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 washingtoncitypaper.com october 26, 2018 31

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

CITY LIGHTS: SuNDAY

OMAR EPPS AND EtAN tHOMAS

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

Tix @ Ticketmaster.com 800-745-3000

26

PHIL VASSAR DELBERT McCLINTON

27

TOM PAXTON & The DonJuans

Oct 25

LIVE MUSIC | BOURBON | BURGERS

OCTOBER TH 25 CURLEY TAYLOR & ZYDECO TROUBLE INCLUDING ZYDECO DANCE LESSONS! F 26

CORY HENRY & THE FUNK APOSTLES

SU 28 HUMAN COUNTRY JUKEBOX FEATURING JACK GREGORI (FROM NBC’S THE VOICE) AFTERNOON SHOW! 1PM DOORS SU 28 SOUTHWEST SOUL SESSIONS w/ ELIJAH BALBED & ISABELLE DE LEON TU 30 OFF THE RAILS

NOVEMBER TH 1

BILLY F GIBBONS

F2

CRIS JACOBS BAND w/ JONATHAN SLOANE TRIO

SA 3

DAVY KNOWLES

SU 4

DANIELLE NICOLE

T6

TOR MILLER

W7

WIL GRAVATT

TH 8

THE MIGHTY PINES w/ JORDAN AUGUST

F9

THE MAIN SQUEEZE w/ HAMISH ANDERSON

SA 10 AZTEC SUN RECORD RELEASE w/ REED APPLESEED SU 11 AMERICANA NIGHT FEATURING BEARCAT WILDCAT TWO TON TWIG TH 15 CEDRIC BURNSIDE F 16

HAPPY BIRTHDAY NEIL YOUNG FEATURING DANGER BIRD

SA 17 BIG SANDY & HIS FLY-RITE BOYS w/ ROCK-A-SONICS SU 18 RUBY VELLE & THE SOULPHONICS KISS & RIDE FEATURING CARLY HARVEY W 21 CHUCK BROWN BAND

w/Dave Chappell & Tommy Lepson

28

An Evening with

KATHY MATTEA

Nov 1

The Stars from

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

MIPSO & FRIENDS

4

"DARK HOLLER POP

w/10 String Symphony

REVISITED"

PETULA CLARK Billy 8 THE OUTLAWS Crain Band 9 OLETA ADAMS 11 CHRIS BOTTI 7

13

An Evening with

GEORGE WINSTON Lily 14 JOSHUA RADIN Kershaw 18 PAULA POUNDSTONE 19 BONEY JAMES 23 THE SELDOM SCENE & DRY BRANCH FIRE SQUAD Jones 24&25 CHARLES ESTEN Point 26, 27,28 Melissa Etheridge 'The Holiday Show' plus your favorites!

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

7

pearlstreetwarehouse.com

8

33 PEARL ST SW DC •THE WHARF

9

FOLLOW US @PEARLSTREETLIVE

BEBEL GILBERTO SARA EVANS "At Christmas" CHERYL WHEELER & JOHN GORKA

32 october 26, 2018 washingtoncitypaper.com

Actor Omar Epps is known to many as the star of such black classics as Love & Basketball, Juice, and The Wood— and to network television audiences as a diagnostic team member on House. But he’s also an author, and Sunday, groundbreaking Anacostia Arts Center bookseller MahoganyBooks will host his book talk.

There, he’ll discuss his new memoir From Fatherless to Fatherhood with NBA veteran, radio show host, activist, and author Etan Thomas. Epps, born and raised in Brooklyn, documents in the book his road to stardom, recollecting his childhood, sharing the struggles of manhood, and chronicling the unending journey of fatherhood. It’s an ode to daddy issues and how to solve them. Etan Thomas also gave special attention to the topic of fatherhood in his 2012 book, Fatherhood: Rising To The Ultimate Challenge. Together the pair are well suited to tackle the multi-faceted topic, and it’s refreshing to have such well known voices do so. There is an overflow of books, forums, and spaces devoted to motherhood, but forums on fatherhood seem few and far between. Epps and Thomas are here to represent. The talk begins at 3 p.m. at the Anacostia Arts Center, 1231 Good Hope Road SE. $30. (202) 631-6291. anacostiaartscenter.com.

—Malika T. Benton

FuNK & R&B BlUeS alley 1073 Wisconsin Ave. NW. (202) 3374141. Jonathan Butler. 8 p.m.; 10 p.m. $50–$55. bluesalley.com.

HIP-HOP tHe antHeM 901 Wharf St. SW. (202) 888-0020. WuTang Clan. 8 p.m. $85–$125. theanthemdc.com.

ROCK U Street MUSiC Hall 1115 U St. NW. (202) 588-1889.

9:30 Club Presents Ezra Furman. 7 p.m. $18. ustreetmusichall.com.

Dance

CoMpany Wang raMirez: Borderline Sébastien Ramirez and Honji Wang return to the Clarice after their sold-out performance last year, presenting their new acclaimed program Borderline. Clarice Smith Performing Arts Center. Stadium Drive and Route 193, College Park. Nov. 1. 8 p.m. $10–$40. (301) 405-2787. theclarice.umd.edu. 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. 26. 7:30 p.m.; Oct. 27. 7:30 p.m.; Oct. 28. 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. anaStaSia Based on the animated film of the same name, the tour of this dazzling Broadway production from the Tony-winning creators of Ragtime makes its way to D.C. In Anastasia, a young orphan uncovers secrets about her past when two con men take advantage of her resemblance to the presumeddead duchess Anastasia. Kennedy Center Opera House. 2700 F St. NW. To Nov. 25. $49–$149. (202) 467-4600. kennedy-center.org.

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

JOIN US FOR

VALET & SECURE PARKING aVAILABLE

HAPPY HOUR 5PM-7PM, M-F

RESTAURANT | BAR | MUSIC VENUE | FULLY FUNCTIONING WINERY | EVENT SPACE 1350 OKIE ST NE, WASHINGTON DC | CITYWINERY.COM/WASHINGTONDC | (202) 250-2531

OCT 25

OCT 26

OCT 26

OCT 28

OCT 29

Richard Marx

Enter the Haggis

Jenny & The Mexicats

An Evening w/

In The Wine Garden

John Sebastian

Acoustic Alchemy

OCT 31

OCT 31

NOV 1

OCT 1

NOV 2-3

Rasputina

w/ Amelia White In The Wine Garden

Jim Lauderdale

Reckless Kelly

w/ brianna lane In The Wine Garden

antje duvekot

dar williams

NOV 4

NOV 5

NOV 6

NOV 6

sarah dash:

jennifer knapp

obie bermudez

(two shows!)

An Evening w/

jd souther

“A Tribute To Aretha Franklin: Queen Of Soul”

in the wine garden

w/ ocho de bastos

w/ antigone rising

NOV 7

An Evening w/

Jackopierce

* BECOME A CITY WINERY VINOFILE MEMBER *

EXCLUSIVE PRESALE ACCESS, WAIVED SERVICE FEES, complimentary valet & MORE!

WASHINGTON,

Saturday, October 27 & Sunday, October 28 D.C.

10 A.M. to 5 P.M. YARDS PARK @ CAPITOL RIVERFRONT

TICKETS ON SALE NOW! craftybastardsdc.com November 5 at 8 p.m. | Concert Hall Kennedy-Center.org (202) 467-4600

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

washingtoncitypaper.com october 26, 2018 33

CITY LIGHTS: MONDAY

Frankenstein: the Movie score live perForMance with FilM

Friday, oct. 26 at 8:30 p.M. saturday, oct. 27 at 2 p.M. AFI Silver Theater and Cultural Center 8633 Colesville Road Silver Spring, Md.

City Paper CB 10-26 and 27.indd 1

10/15/2018 15:21:41

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

washingtoncitypaper.com/ calendar

"ROY ORBISON"

Alvin and the Chipmunks. The keytar. The Microsoft Zune. Musical history is littered with examples of superfluous technological breakthroughs. Now, rock ’n’ roll scientists have released their most unnecessary innovation yet: Hologram Roy Orbison. Though the Rock & Roll Hall of Famer died in 1988, he has been resurrected as a 3D hologram and sent out on a cross-country tour, which stops at MGM National Harbor on Monday for a concert that is intriguing and terrifying in equal measure. Accompanied by a live, non-simulated orchestra, “Orbison” will “sing” selections from his catalog of songs about love, sorrow, heartbreak, and other human emotions. “Between songs you will clap your hands numb as he interacts with the other musicians and reacts to you in the audience,” the press material promises. Can a hologram be lonely? Does a hologram lust after attractive female pedestrians? These are questions for theologians, and not for me. Suffice it to say that the concert betokens a nightmarish future in which spectral, undead Boomer rock icons sell out auditorium shows in perpetuity while flesh-and-blood musicians scramble for jobs as backups to a goddamn laser ghost. Happy Halloween! “Roy Orbison” performs at 8 p.m. at MGM National Harbor, 101 MGM National Ave., Oxon Hill. $45–$58.18. (844) 346-4664. mgmnationalharbor.com.

—Justin Peters

CITY LIGHTS: tuESDAY

CIRCA SuRVIVE

Circa Survive are one of the most dynamic alternative bands the genre has had the pleasure of claiming. Frontman and vocalist Anthony Green brings the band’s legions of fans poetic lyricism and trance-inducing melodies. Accompanying the moody king are bandmates Colin Frangicetto and Nick Beard, with Brendan Ekstrom (who once walked off stage to stop sexual harrassment in the audience) shredding strings and Steve Clifford killing the prog metal drum kit. Hailing from the suburbs of Philadelphia, the band reached their break in 2005 with their debut album Juturna, largely inspired by the film Eternal Sunshine of the Spotless Mind. Circa Survive lovers can expect a setlist that covers favorites from indie jams “Lustration” and “Tunnel Vision” to shit-talking gems like “Never Tell A Soul” and “Premonition of the Hex.” This tour is expected to be one of the band’s last before they go away for a spell—at least according to Anthony Green’s tweets. Come dance with the boys. Circa Survive perform at 7:30 p.m. at the Fillmore Silver Spring, 8656 Colesville Road, Silver Spring. $27.50. (301) 960-9999. fillmoresilverspring.com.

—Mikala Williams

34 october 26, 2018 washingtoncitypaper.com

Big river: tHe adventUreS oF HUCKleBerry Finn Based on Mark Twain’s classic novel, Roger Miller’s Tony-winning musical sets The Adventures of Huckleberry Finn to a bluegrass and country score.

This school production is directed by Thomas W. Jones II, George Mason’s Professional Artist in Residence. George Mason University Center for the Arts.

4373 Mason Pond Drive, Fairfax. To Oct. 28. $15–$30.

(888) 945-2468. cfa.gmu.edu. 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.

CITY LIGHTS: WEDNESDAY

GREATER WASHINGTON, DC NATIONAL COLLEGE FAIR Saturday, November 3

2 p.m. – 5 p.m.

Walter E. Washington Convention Center Free and open to the public, NACAC fairs connect you to hundreds of colleges and universities in one location. Join us at a National College Fair (NCF) or Performing and Visual Arts College Fair (PVA) in your area:

WASHINGTON, DC

PERFORMING AND VISUAL ARTS COLLEGE FAIR

Sunday, November 4

1 p.m. – 3:30 p.m.

Ronald Reagan Building and International Trade Center

#nacacfairs

REGISTER FREE FOR AN NCF AT WWW.GOTOMYNCF.COM OR REGISTER FREE FOR A PVA AT WWW.GOTOMYPVA.COM

NACAC National College Fairs are a program of the National Association for College Admission Counseling.

LEVAR BuRtON READS LIVE

You should spend this Halloween on the Reading Damn Rainbow! I can’t think of anything warmer or fuzzier than LeVar Burton reading great stories, Reading Rainbow style. If you didn’t watch Burton’s long-running PBS children’s show growing up, it’s not too late. The show is all about encouraging kids to read (take a look, it’s in a book; you can go anywhere) and fostering basic knowledge, and it’s still iconic. Not gonna lie, I have the theme song on a Spotify playlist— it’s a solid bop. Burton has played a host of important characters throughout his career, like Kunta Kinte in Roots and Geordi La Forge in Star Trek: The Next Generation. But host of Reading Rainbow is forever his most exceptional. Burton now has a podcast to continue the show’s legacy, so ’80s and ’90s kids, rejoice. Here’s a chance to relive our not-so-distant childhoods. The podcast, LeVar Burton Reads, is a sort of Reading Rainbow for grown-ups in which he hand-picks and reads short fiction for you to get lost in. This Wednesday, he’ll be reading live at the Lincoln Theatre. Sometimes the stuff we loved in our youth doesn’t hold up when we experience it as adults. But reading, in all its glory, for children or adults, in any format, is still as significant as it always has been. LeVar Burton reads at 8 p.m. at the Lincoln Theatre, 1215 U St. NW. $35–$100.

(202) 888-0050. thelincolndc.com.

—Kayla Randall washingtoncitypaper.com october 26, 2018 35

CITY LIGHTS: tHuRSDAY

Melissa

McCarthy

Wu-tANG CLAN

This November, Wu-Tang Clan will celebrate the 25th anniversary of Enter the Wu-Tang (36 Chambers), the group’s first and best album. Now older than most of the rappers on the Billboard charts, the album is a time capsule that sounds very much of its time, but with a vitality and all-killer-no-filler assembly that still makes it an exciting spin. With his sonic fingerprints— mixing samples of dusty soul records and grindhouse kung fu flicks—and his talent for assembling one of the best pound-for-pound collections of rappers of all-time, Wu mastermind RZA has left an indelible mark on hip-hop. Featuring RZA, GZA, Ol’ Dirty Bastard, Method Man, Raekwon, Ghostface Killah, and the rest of the crew, Wu-Tang created the template for the hiphop collective, teaching groups like Odd Future and Brockhampton how to assemble like Voltron and then divide-and-conquer the music industry. And while the last few years have seen the Wu drop subpar albums and get mixed up with pharma villain Martin Shkreli, the anniversary of 36 Chambers is a perfect chance for Staten Island’s finest to revisit their crowning achievement.

Wu-Tang Clan performs at 8 p.m. at The Anthem, 901 Wharf St. SW. $85–$125. (202) 888-0020. theanthemdc.com.

—Chris Kelly

Exclusive Engagement Starts Friday, October 26 Washington City Paper MENDELSSOHN’S FRIDAY 10/26 SYMPHONY 1/4PG (4.666”) X 5.141” 1 ALL.CANYOU.1026.WCP NO. 3 “SCOTTISH” #

cello concerto by Jessica Krash (world premiere)*

TM

*Featuring Cellist Tanya Anisimova

Selections from West Side Story and On the Town SATURDAY, NOV 3 AT SCHLESINGER CONCERT HALL 7:00 PM pre-concert chat with Jessica Krash and Maestro Ross 8:00 PM concert

SUNDAY, NOV 4 AT GEORGE WASHINGTON MASONIC MEMORIAL 2:15 PM As the Baton Swings with Maestro Ross 3:00 PM concert

7 0 3 . 5 4 8 . 0 8 8 5 www.alexsym.org 36 october 26, 2018 washingtoncitypaper.com

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. 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. long Way doWn In this world premiere production, D.C. native Jason Reynolds’ bestselling book comes to the stage. The story follows fifteen-year-old Will, who sets out to avenge his brother Shawn’s fatal shooting but is interrupted by a series of unexpected visitors.

Kennedy Center Family Theater. 2700 F St. NW. To Nov. 4. $20. (202) 467-4600. kennedy-center.org.

Film

Can yoU ever Forgive Me? Melissa McCarthy stars in this true story as a celebrity biographer who begins to use her writing to deceive audiences. Costarring Richard E. Grant and Dolly Wells. (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) HUnter Killer When the Russian president is kidnapped by a rogue general, an American submarine captain teams with Navy SEALs to come to the rescue. Starring Gerard Butler, Gary Oldman, and Michael Nyqvist. (See washingtoncitypaper.com for venue information) joHnny engliSH StriKeS again Spy Johnny English is forced out of retirement after a master hacker’s cyber attack uncovers the identities of all the other spies in Britain. Starring Rowan Atkinson, Olga Kurylenko, and Michael Gambon. (See washingtoncitypaper.com for venue information) Mid90S A 13-year-old living in ‘90s Los Angeles befriends a group of skateboarders and must navigate both his troubled home life and life with his new friends over the course of a summer. Starring Sunny Suljic, Katherine Waterston, and Lucas Hedges. (See washingtoncitypaper.com for venue information) WildliFe An only child witnesses his parents’ marriage fall apart in small town 1960s Montana. Starring Carey Mulligan, Jake Gyllenhaal, and Ed Oxenbould.

(See washingtoncitypaper.com for venue information)

SAVAGELOVE Hi, Dan: I am a homosexual young adult seeking advice about kitten play. I find it very intriguing, and I’m wondering where to start. It’s a turn-on when someone calls me kitten, but I’m not sure how to express my kink or desire for kink play to the person or persons I am into. Any advice would be appreciated.

—Constructive Advice Thoughtfully Sought

Hi, CATS: I am a homosexual not-so-young adult without much advice to offer where kitten play is concerned. I’ve encountered plenty of gay puppies in the wild—at various leather/fetish events—but I’ve seen only one fetish kitty in my lifetime, and she was a queen. (A female cat is called a queen, a male cat is called a tom, and a group of cats is called a glare. #TheMoreYouKnow!)

But Amp Somers, who hosts the kink-friendly sex-ed show Watts the Safeword, assures me that gay kitties are definitely a thing.

“Kitten play is a subcategory of the ‘animal role-play’ or ‘pet play’ kink,” said Somers. “It is a form of domination and submission in which someone gets into the head space of an animal they are role-playing and takes on its characteristics—be it with gear (masks, tails, collars) or by acting out the mannerisms of their animal. Most importantly, and this goes for all proper pet players, there are no actual animals involved in this play.”

Puppy play is the most common form of pet play—by far—and it’s very popular among younger gay kinksters. (Please don’t confuse gay pups or kitties with gay bears or otters. The former is about role-play and fetish; the latter is about body type, affirmation, and community.) But what accounts for the popularity of pet play among younger kinksters?

“This sort of play allows someone to get into kink easily with or without a partner and in a playful manner,” said Somers. “Pet play allows players to get their feet wet in the BDSM world without having to visit a dark dungeon, get tied up, or engage in anything a newer kinkster might find intimidating. It’s a great entrylevel kink.”

As for expressing your kink, CATS, that’s something you’re going to have to work out on your own.

“I imagine CATS already has an image of what kitten play looks like to them, and I bet it differs from what I might imagine my own pet play would look like or even from what readers imagine a kitten player to look like,” said Somers. “Is CATS a domesticated lazy kitten who lies in the sun? A curious, well-trained, docile cat responsive to cuddles and treats? Or are they a rambunctious, bratty, independent stray?”

To find your way into the kink scene, Somers recommends getting online.

“That’s how I first found pet play,” he said.

“Sites like kitten-play.com offer in-depth writ-

ten pieces by players, links to resources, and forums where people like CATS can educate themselves. Other sites like FetLife or Facebook provide more private groups to ‘meet’ others, ask more in depth questions, find local get-togethers, and make friends to socialize with. Or if they prefer video content, YouTube has a number of creators (like ‘Scream Kiwi’) who talk about their kinks in a fun, educational, and personal way. And once CATS feels comfortable in their own identity and has defined what they want out of this play, they will be able to really communicate to their partner(s) what they’re into and what they want out of kitten play.”

Check out Amp Somers’ show—Watts the Safeword—at youtube.com/WattsTheSafeword, and follow him on Twitter @Pup_Amp. —Dan Savage

Bosses and profs shouldn’t flirt with their students and underlings, of course, but gay bosses and profs are free to look for dick on dating apps.

I’m a gay male, and one of my good friends has put me in a strange position. The friend has been married to his husband for 15 years, and they are allowed to “play.” I have no desire to be in an open relationship, and I don’t think my boyfriend does either. I occasionally go over to this friend’s house right after work to buy weed, and he’s always alone when I come by. He joked about answering the door naked and then did it. (He told me he was going to, but I honestly didn’t think he would do it.) I was extremely uncomfortable, and he knew it. The last time I went over, he was naked again— and this time, he jerked off to completion in front of me. He asked me to join in, and I told him I couldn’t because I hadn’t discussed anything like this with my boyfriend. I’m supposed to go over again tomorrow, and he asked me to come by early because his husband would be getting home from work early that day. This leads me to believe that the husband would not be okay with this. I haven’t said anything to his husband or my boyfriend because I don’t want this to become a huge mess and I hoped my palpable discomfort would put an end to it. Any thoughts on how I should handle this nicely to make it stop without hurting his feelings?

—Undressed Naked Friend Really Is Engineering Needless Drama Your “good friend” is an asshole, UNFRIEND.

He’s violating a whole bunch of social norms— chiefly the don’t-jerk-off-to-completion-infront-of-other-people-without-their-enthusiastic-consent norm (aka the Louis C.K. Career in Comedy Memorial Norm)—and relying on your adherence to other social norms (avoid being rude, defuse don’t confront, spare others’ feelings) to get away with violating you as well. This asshole is sexually harassing you, and you haven’t told him to stop in unambiguous language.

The only reason you’ve given him for not whipping it out yourself is that you haven’t “discussed anything like this with [your] boyfriend.” He has self-servingly interpreted your reason for not joining in like this: “He wants to, and maybe he will after he has a ‘discussion’ with his boyfriend.” I’m sorry, UNFRIEND, but you’re going to have to be blunt: “You have to knock this shit off. It’s disrespectful, it’s nonconsensual, and it’s pissing me off.” Don’t worry about hurting his feelings—he obviously doesn’t care about your feelings—and find a new weed dealer.

—DS I have a follow-up question on your advice for JACKS, the gay manager who ran into an employee at a JO party. Alison “Ask a Manager” Green told him he couldn’t go to these parties anymore. A distinction was made between sexual situation encounters between bosses and those they manage in “private clubs” (the JO club) or at “public events” (Folsom Street Fair). My question is about Grindr/Scruff/Growlr/etc. Are these more like “private clubs” or “public events”? In part, my question stems from being a professor and having seen students and colleagues on these apps. I feel like I should not be reading the profiles of students in my department (who are mostly graduate students). I am also troubled by my colleagues appearing on these apps—from the perspective that this seems to be a sexually oriented space and there is the power differential between faculty and students.

—Basics Of Sexual Spaces

PODCAST Every week City Paper reporters interview someone that helps tell the story of D.C. Subscribe at washingtoncitypaper. com/podcast or wherever you get your podcasts.

Dating apps are the new gay bars—more than 75 percent of same-sex couples met online— so telling gay bosses or college profs they can’t go on dating apps because their gay male students or underlings might be on them means condemning gay bosses and profs to celibacy. Bosses and profs shouldn’t flirt with their students and underlings, of course, and it might be a good idea to block ’em when you spot ’em—so you won’t be tempted by their profiles/torsos and they won’t be tempted by yours—but gay bosses and profs are free to look for dick on dating apps.

—DS Email your Savage Love questions to mail@savagelove.net. washingtoncitypaper.com october 26, 2018 37

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COLUMBIA ACT. SHINING Two Rivers STARS PCS is soliciting MONTESSORI ACADproposals to provide project manEMY PUBLIC agement services forCHARTER a small conSCHOOL struction project. For a copy of the RFP, please email REQUEST FORprocurement@ PROtworiverspcs.org.

Deadline for POSAL submissions is December 6, 2017.

Shining Stars Montessori Academy Public Charter School solicits proposals for the following: * Special Education and Therapeutic Services Providers and Services * Special Education Assessment (to include Adaptive and Assistive technologies) * Speech and Language Pathology Services * General Contractor *Institutional Advance-

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ment (to include PR/ Legals Communications and Fundraising) DC SCHOLARS PCS REQUEST * Montessori and GenFOR PROPOSALS – Modueral Academic Support lar Contractor Services - DC Services (to include Scholars Public Charter School Curriculum solicits proposals for a modular Development, contractor to provideAssessprofessional ment Support, management and Data construction services to construct a modular Analysis, Professional building to house four classrooms Development and and one faculty offi ce suite. The Training) Request for Proposals (RFP) * Real Property Support specifi cations can be obtained on Full RFP available by and after Monday, November 27, request.

Proposals 2017 from Emily Stone via comshall be emailed as PDF munityschools@dcscholars.org. documents no later than All questions should be sent in 5:00 on Tuesday, writing PM by e-mail.

No phone calls regarding this 6,RFP will be acNovember 2018. cepted.

Bidsprocurement@ must be received by Contact: 5:00 PM on Thursday, December shiningstarspcs.org 14, 2017 at DC Scholars Public Charter School, ATTN: Sharonda CARLOS ROSARIO Mann, 5601 E. Capitol St. SE, PUBLIC CHARTER Washington, DC 20019. Any bids SCHOOL not addressing all areas as outREQUEST FOR PROPOSlined in the RFP specifi cations will ALS not be considered.

Market Study of Potential Students Apartments for Rent The Carlos Rosario Public Charter School is looking to solicit bids for a market study that will help us better assess where potential students are, how we can reach them more effectively, and to develop innovative new programs that Must see!these Spacious semi-fursupport learners. nished 1email BR/1 your BA basement Please proapt, Deanwood, $1200.

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SUPERIOR COURT Auctions OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2018 ADM 000788 Name of Decedent, Dorothy Mae Shaw.

Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Anthony Johnson, whose address is 1629 Trinidad Ave.,Commissary NE, Whole Foods Auction Washington, DC 20002 DC Metro Area was appointed Personal Dec. 5 at 10:30AMof the Representative 1000s ofS/S Tables, Mae Carts estate Dorothy & Trays, 2016 Kettles up Shaw who died on June to 200 Gallons, Urschel 30, 2017,& without a Will Cutters Shredders inand will serve cluding 2016 without Diversacut Court All 2110 Supervision.

Dicer, 6 Chill/Freeze unknown heirs andOvens heirs Cabs, Double Rack & Ranges, (12) Braising whose whereabouts are Tables, 2016 (3+)enter Stephan unknown shall VCMs, 30+ Scales, their appearance in this Hobart 80 Objections qt Mixers, proceeding.

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Claims Sales against the decedent Flea Market every Fri-Sat shall be presented to Rd. 10am-4pm.

5615 Landover the undersigned Cheverly, MD. 20784.with Can abuy copy the Register of in bulk.toContact 202-355-2068 Wills or to theforRegister or 301-772-3341 details or if intrested being aa vendor. of Willsinwith copy to the undersigned, on or before 4/11/2019, or be forever barred. Persons believed to be heirs or legatees of the decedent who do not receive a copy of this notice by mail within 25 days of its publication shall so inform the Register of Wills, including name, address and relationship.

Date of first publication: 10/4/2018 Name of Newspaper and/or periodical: Washington City Paper/ Daily Washington Law Reporter Name of Person Representative: Florence T. Wilson

TRUE TEST copy Miscellaneous Anne Meister Register of Wills NEW COOPERATIVE SHOP! Pub Dates: October 11, 18, 25.

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Bus, Trolley, and Union com Station subway. Cost $1100/month visit WEST FARM WOODWORKS TheCurryEstate.com Custom Creative Furniture for more details or Call Ed202-316-3372 info@westfarmwoodworks.com die-202-744-9811. www.westfarmwoodworks.com Rooms for rent in 7002 Carroll SE DC nearAvenue PennsylTakoma Park, MD 20912 vania and Branch Ave. Mon-Sat 11am-7pm, Furnished/unfurnished, Sun 10am-6pm Nonsmoking. Metro accessible.

Includes Motorcycles/Scooters W/D, internet, off-street parking andTU250X utils. $6502016 Suzuki for sale.

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house 12-4 PM Saturday Events and Sunday (10/27-28).

1135 Columbia Road, Christmas in Silver Spring N.W., 973-207-6463 Saturday, December 2, 2017 Veteran’s Plaza This 1 bedroom in 9:00 a.m. to 7:00 p.m.

Columbia Heights Come celebrate Christmas in has all the amenithe heart of Silver Spring at our ties needed forVeteran’s fine PlaVendor Village on urban Beautifularts za. Thereliving. will be shopping, renovated, hardwood and crafts for kids, pictures with Santa, and entertainment floors,music intercom system, to spread holidayUtilities. cheer and more. $1400.00+ Proceeds from the market will Fernando Yepes @ provide “wish” toy for children (202) a362-9441 Ext. in need. Join us at your one stop 16 or Mrs. Antezana shop for everything Christmas.

(202)362-8078 For more information, contact Futsum, Available immediinfo@leadersinstitutemd.org or ately! $800 per month, call 301-655-9679 300 Sqft’ bedroom in Brookland, NE,General non-smoking, no pets, Looking to Rent yard space shared amenities, closefor hunting dogs.first Alexandria/Arlingto metro, months ton, VA area only. Medium sized rent and security dogs will be well-maintained in deposit temperaturerequired controled for dog housmove-in.

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1 Mid-back muscle 4 Indian living abroad 8 Martial art discipline 14 "Hadn't thought of it that way" 15 Court leg up 16 Raging full on 17 Trash collector 18 Hog's office supplies?

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28 Compost heap material 29 Illinois city on the Fox River 33 Swell body 35 Gave to the church 40 Pretentious 41 Rent-a-mob practitioners?

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Across

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washingtoncitypaper.com october 26, 2018 39

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