Washington City Paper (November 10, 2017)

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P. 8 Photographs by Darrow Montgomery

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INSIDE 8 The people issue Twenty-one of the region’s most interesting characters tell us what’s on their minds.

Photographs by Darrow Montgomery

4 Chatter

City List

distriCt Line

45 City Lights: Catch D.C. native and rising R&B star Kelela at U Street Music Hall on Thursday.

45 Music 50 Theater 53 Film

7 Garden Propriety: An urban agriculture enterprise run by returning citizens fights to grow.

food 40 Bar Exam: These bars and restaurants pay tribute to the food and feel of specific cities and states.

40 Top of the Hour: ANXO Cidery & Pintxos Bar’s halfpriced drinks and bites 40 What’s in Stein’s Stein: Solace Brewing’s Super Dope IPA

arts

54 CLassifieds diversions 55 Crossword

On the cover: Comedian Haywood Turnipseed Jr. Photo by Darrow Montgomery

43 Galleries: Cudlin on Lumia: Thomas Wilfred and the Art of Light at the Smithsonian American Art Museum

washingtoncitypaper.com november 10, 2017 3

CHATTER

Source Material

In which our readers learn and reflect on the dark history of a favorite park

Darrow MontgoMery

ReadeRs almost univeRsally loved Neil Flanagan’s epic story on the history of Fort Reno. Today the land is a park and the location of a well-loved D.C. summer concert series. A public school, Alice Deal Middle School is also on the site. But during the Civil War it was a fort where many freed and escaped slaves found work, and during Reconstruction it became a mixed-race community where black and white residents mixed like a checkerboard. Real estate developers and neighbors seeking a wealthy white enclave, however, used a plan for a park to push the thriving African-American community out of Fort Reno, even though the community fought to stay.

People who live or have gone to school near Reno had a lot to say about the article. Will Bien Duggan wrote on Facebook: “My fellow Deal and Wilson alumni: Y’all knew that Fort Reno was a mixed-race, low-income community razed to build our schools? I guarantee that this is more interesting than anything they taught us in D.C. history class.”

“A fascinating history of city planning, real estate, and segregation two blocks from where I live,” wrote Mark Donaldson on Twitter.

“Fantastic @wcp article about how early 20th century speculative gentrification shaped the neighborhood I grew up in,” echoed Nick Russell on Twitter.

Greater D.C. had thoughts, too. “Great article. Racist legacy of DC parks + planning is a major blind spot for white D.C.,” wrote Jamie Carrington on Twitter. On Facebook, Ché Lyons wrote “Some D.C. history. I love my D.C.” Flanagan, who is an architectural designer by day, grew up one block south of Fort Reno. He did intensive research with source material in archives across the city to get the full story. One archival source, the Chevy Chase Historical Society, emailed City Paper with great praise for the story, but also a concern. By the wording of the story, they felt it appeared their archives were private. In fact, CCHS is open and eager to welcome all researchers. City Paper reworded the paragraph online to clarify the point, and we are writing here to reinforce it.

—Alexa Mills

1500 Block of PennSylvania ave. nW, nov. 6

EDITORIAL

eDitoR: AlexA mIlls MANAgiNg eDitoR: cArolIne jones ARts eDitoR: mAtt cohen FooD eDitoR: lAurA hAyes City Lights eDitoR: kAylA rAndAll stAFF WRiteR: Andrew gIAmbrone seNioR WRiteR: jeffrey Anderson stAFF photogRApheR: dArrow montgomery MuLtiMeDiA AND Copy eDitoR: wIll wArren CReAtive DiReCtoR: stephAnIe rudIg iNteRNs: regInA pArk, jeAnIne sAntuccI CoNtRiButiNg WRiteRs: jonettA rose bArrAs, VAnce brInkley, erIcA bruce, krIston cApps, ruben cAstAnedA, chAd clArk, justIn cook, rIley croghAn, jeffry cudlIn, erIn deVIne, mAtt dunn, tIm ebner, jAke emen, noAh gIttell, elenA goukAssIAn, AmAndA kolson hurley, louIs jAcobson, rAchAel johnson, chrIs kelly, AmrItA khAlId, steVe kIVIAt, chrIs klImek, ron knox, john krIzel, jerome lAngston, Amy lyons, kelly mAgyArIcs, neVIn mArtell, keIth mAthIAs, j.f. meIls, trAVIs mItchell, trIcIA olszewskI, eVe ottenberg, mIke pAArlberg, noA rosInplotz, beth shook, QuIntIn sImmons, mAtt terl, dAn trombly, kAArIn VembAr, emIly wAlz, joe wArmInsky, AlonA wArtofsky, justIn weber, mIchAel j. west, AlAn zIlbermAn

ADvERTIsIng AnD OpERATIOns

puBLisheR: erIc norwood sALes MANAgeR: melAnIe bAbb seNioR ACCouNt exeCutives: renee hIcks, Arlene kAmInsky, ArIs wIllIAms ACCouNt exeCutives: chIp py, chAd VAle, brIttAny woodlAnd sALes opeRAtioNs MANAgeR: heAther mcAndrews DiReCtoR oF MARketiNg, eveNts, AND BusiNess DeveLopMeNt: edgArd IzAguIrre opeRAtioNs DiReCtoR: jeff boswell seNioR sALes opeRAtioN AND pRoDuCtioN CooRDiNAtoR: jAne mArtInAche puBLisheR eMeRitus: Amy AustIn

sOuThcOmm

ChieF FiNANCiAL oFFiCeR: bob mAhoney ChieF opeRAtiNg oFFiCeR: blAIr johnson exeCutive viCe pResiDeNt: mArk bArtel gRAphiC DesigNeRs: kAty bArrett-Alley, Amy gomoljAk, AbbIe leAlI, lIz loewensteIn, melAnIe mAys

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DistrictLine Garden Propriety

Laura Hayes

An urban agriculture enterprise run by returning citizens fights to grow.

By Laura Hayes and Andrew Giambrone The grill is going, the sun’s too warm for November, and some of the 32 plant beds still have vegetables worth picking.

“See how much peace and harmony there is right here?” Mushin “Boe Luther” Umar asks. Luther was born in an apartment at Richardson Dwellings, a public housing complex in Clay Terrace, just yards from this spot: the Dix Street Garden at 54th Street NE, also called the Soilful City Garden.

“You don’t hear about this,” he says. “Of course there’s the shooting and the killing, but look at the part you don’t see.”

The garden has benches made out of wood pallets, plastic crates that serve as planter boxes, and a partially enclosed shack built from recyclables. That’s where Luther grills hot dogs for anyone who assists with the upkeep.

“We’re trying to bait them into helping us fix this place up,” he explains.

Wallace Kirby is the other half of Hustlerz 2 Harvesters, a novel enterprise dedicated to urban agriculture east of the Anacostia River.

He and Luther are working to alleviate nutrition and employment disparities in Ward 7, much of which is considered a food desert.

So far, Luther and Kirby say, they’ve attracted between five and 10 people who regularly participate in their group as volunteers. But at the moment, the duo doesn’t have the same resources as other D.C. organizations combatting food in-

security. Both men are returning citizens.

“This is all made of throwaways, and they considered us throwaways,” Kirby says.

“We’re recycled,” Luther jokes.

Although the two only recently reconnected, their lives are intertwined. Kirby also lived in Clay Terrace and knew Luther’s uncle.

Mushin “Boe Luther recounts that his Luther” Umar mother was killed when and Wallace Kirby he was four, and others in the neighborhood, including Kirby, looked after him.

They both open up about their criminal pasts. “We were really deep into that subculture on the streets,” Kirby says. “Before we got into the drug game later, we were stick-up boys. We robbed banks, post offices, hotels, and brought the money back over here.”

When Luther and Kirby were released, they saw a community in need. “You have to look at how to address social factors in addition to food,” says Kirby. Agriculture, they figured, could provide living wages.

Hence Hustlerz 2 Harvesters. “Because really, what is a hustler?” Kirby says. “No more than a person engaged in entrepreneurship activities to better their economic situation.”

Two years ago, Luther, Kirby, and Mary C. Morgan, an advisory neighborhood commissioner, wanted to do something with a plot of land at the top of a hill in Marvin Gaye Park.

They found out it belonged to the D.C. Department of Parks and Recreation and learned about free DPR training in horticulture.

They enrolled in several courses and emerged with skills in urban gardening, composting, woodworking, and carpentry. Luther received additional training through the University of the District of Columbia in hoop house gardening, cooking, and nutrition.

“It was a garden that a nonprofit in the area had built and walked away from, which happens a lot in D.C.,” says Josh Singer, DPR’s Community Garden Specialist. “They worked with us to

reorganize the garden and use a community-first approach. It’s a huge community resource now, mainly because of Boe and Wallace.”

Now, the pair wants to empower others.

They’ve benefited from small donations from a variety of community organizations and recently applied for a UDC grant that would allow them to train 20 returning citizens in gardening and composting over two years.

But Luther and Kirby are frustrated by what they perceive as barriers to Hustlerz 2 Harvesters’ growth. Chief among them is another group in the area that also seeks to improve public parks.

Just down the hill from the Dix Street Garden are the Marvin Gaye Greening Center and the Riverside Healthy Living Center. Washington Parks and People, a nonprofit headed by Stephen W. Coleman, runs both facilities. (WPP is the nonprofit Singer referred to.)

Luther and Kirby say WPP’s spaces aren’t fully accessible to neighbors, and they’d like a shot at similar resources. “Give us the same opportunities y’all gave Steve Coleman,” Kirby says.

Originally founded in 1990 as Friends of Meridian Hill, a group that worked to beautify the 16th Street NW park and received a 1994 leadership award from then-President Bill Clinton, WPP has been involved in Marvin Gaye Park for almost 17 years. Yet despite its job-training programs and accolades, WPP has faced criticism from those who feel the group has effectively colonized Marvin Gaye Park and contributed to gentrification.

There’s tension between WPP and Hustlerz 2 Harvesters over who gets to use land in Ward 7, and how. It came to a head at a D.C. Council hearing on Oct. 20, when the council’s committee on finance and revenue considered a bill to exempt WPP’s “North Columbia Heights Green” at 11th Street and Park Road NW from property taxes.

(Unlike the public land WPP uses at Marvin Gaye Park, the group owns its Ward 1 land.)

Luther testified against the tax break for the Columbia Heights garden, calling WPP “property pimps” and saying “they haven’t been doing well by us at all” in Ward 7. Ecology activist Claudia Barragan also criticized WPP for its alleged lack of inclusiveness.

WPP was absent from the hearing. Committee chair Jack Evans said he wanted to

get to the bottom of Luther’s and Barragan’s concerns, and At-Large Councilmember Elissa Silverman offered to host a meeting.

That meeting occurred on Monday and lasted for more than an hour. While it was occasionally heated, both sides discussed how to resolve their antagonism. (City Paper observed the meeting on background.) They agreed to visit each other’s sites and check in with Silverman’s office after a month.

Kirby left the meeting hopeful about a resolution. He said Hustlerz 2 Harvesters is working toward 501(c)(3) nonprofit status with help from local food-equity organization Dreaming Out Loud. Without it, Kirby and Luther have been at a competitive disadvantage compared to other nonprofits that do urban farming, including WPP. Dreaming Out Loud founder Christopher Bradshaw says he considers Luther and Kirby strategic partners.

Coleman said WPP wants to continue to strengthen Ward 7 through sustainable urban agriculture and workforce development.

He attributed the friction between his group and Hustlerz 2 Harvesters to the notion that land-use in D.C. is a zero-sum game. “We can be a real driving force together,” he said, acknowledging there’s “certainly more work to be done” to build trust.

Hustlerz 2 Harvesters has a slate of projects they hope to tackle, especially if they make financial gains. One facet of their vision is a vertical garden that Luther is building, using the principles of permaculture. “We’ll have all these crates going all the way up and these PVC pipes will run down in between for watering,” he says.

He also hopes to finish a children’s research center where youth can learn to care for plants in soil-filled plastic crates. Because these containers are easy to build, Luther thinks he could sell them to D.C. schools. And since he cooks, he wants to add tables with umbrellas where people could eat, further establishing the garden as a community gathering place.

“In the summertime, we’re going to put a projector right here showing documentaries around urban agriculture,” Kirby says.

The pair’s next move is to deflate the tires of an ice cream truck they once ran and turn it into a resource center at the garden. They also dream of launching a mobile education center that would crisscross city farms and gardens.

“Our ancestors started the agricultural movement at Tuskegee University,” Kirby says. “They realized how far the distances were between the farms down there. People didn’t have the means to learn about new technology and agriculture until they came up with a mobile buggy to take knowledge to distant black farms. We’re following that trend.” CP

washingtoncitypaper.com november 10, 2017 7

If you let people talk long enough without interrupting them, they’ll probably tell you something interesting. During a normal week at Washington City Paper, we’re interviewing people to draw out facts or get information on specific issues and controversies. But once a year, our writers intentionally interview people with the hope that they’ll talk on end about their experiences as fellow residents of this region.

The 21 individuals in our fifth annual People Issue didn’t disappoint. Among the things we learned this year: why social media hashtags can lead to tangible societal changes, how one of D.C.’s most popular comedians teaches his kids about Russian expressionist painting, and the story of a legendary local jazz musician’s conversations with birds. Reading their words alongside their portraits, shot in our office by the inimitable Darrow Montgomery, gives you a sense of who these people really are.

This year, for the first time, you’ll also be able to hear our subjects. Over the next several weeks, longer versions of some of these conversations will be presented on the just-launched Washington City Podcast. (Listen and subscribe at washingtoncitypaper.com/podcast.) The interviews in the following pages have been edited for space and clarity, so we recommend absorbing them in both mediums. Even in uncertain times, these activists, artists, scholars, and planners make life in D.C. seem much more exciting.

—Caroline Jones Photographs by Darrow Montgomery 8 november 10, 2017 washingtoncitypaper.com

Best Dressed Caitrine Callison opened her elegant consignment store Secondi in Dupont Circle in 1986. When she decided to start her business, she says she was making $7,000 a year as a potter and didn’t even know how to pronounce “Givenchy.” But she put a mannequin and a small sign out on Connecticut Ave. NW, and customers came from the first day. More than 30 years later, they are still coming.

—Alexa Mills How did you get your start?

I had come from Eastern Market Pottery. And

What was your rent when you started?

I would say it was in the $1,200 range. It may have been less than that, but it seemed like all the money in the world, and they had me sign a 10-year lease, which would have put my sister, who was the co-signer, in the position to pay something like $100,000 if I reneged.

So you were really in it.

I was in it, but I was so naive. I didn’t realize how in it I was, and what it would have meant for her if things had gone down. But she never questioned me, she never breathed hard as far as I know. I’ve got a picture of her over there with these big braids from when she was 8 or 9. We’re Irish twins, so she’s always been my best fan.

What has changed over the past 30 plus years?

I remember having a lot of conversations, 10 years ago, about women in business suits walking around in those awful tennis shoes. I used to make most of my money selling suits. Really, that was like number one. Now I don’t sell a suit but maybe once or twice a week. What they’re buying now is dresses. Dresses, dresses, dresses—and designer purses. Which is a great surprise to me, how desirable these purses are, and that young women will spend money on purses.

But the thing I find consistent is that people come here because they want to touch and feel it, they want to try it on, they want to relax. Shopping is still a comfortable, hands-on sport. Stressful day at work? You can come here and browse, and just look around, and it’s nice for people. I think it connects people to a town. And I think instead of sitting at your computer ordering things, people are coming back to shopping.

And I don’t care what anybody says, that’s what I’m seeing.

in the winter months, when I couldn’t sell my pottery, I went and worked for a store called Clothes Encounters. And finally I was closing in on 30, and I said, “You know, I am really tired of being this poor.” And I went to my sister, and said, “Could I have a loan?” And she gave me, I think it was $14,000. That would be totally ridiculous to try and start a business now with that amount today, but I had a husband who supported me for a couple years before I started making money.

So that was 1986, and I began with 30 consignors. Now I have so many thousands, I don’t know how many thousands. But I’m getting mailed consignments from every state in the Union except South Dakota.

What is the best way to come into a consignment store?

The best way to come in is to think of it as a treasure hunt. If you’re coming in for something specific, that can be difficult, but we’ve had some major successes. One lady came in looking for an evening gown. She tried on something that I thought was a little ordinary on the hanger, but she put it on, and she looked so wonderful. And I said to her, “If I knew that that dress would look that good on someone, I would have charged six times the price.” And she told me she was taking it to a wedding in St. Petersburg, Russia. It was her coming for a specific, and there it was. But more than that, it’s the hunt for treasure.

Have you ever considered expanding?

Never.

Why? People have asked me to open stores everywhere. I would never do that. I love my life.

Business can gobble you up. I have a big circle of friends, I have a wonderful husband, and I really appreciate my time. And that’s made me love my business.

Tenant Titan Ruth Barnwell, 73, is the tenant association president for a group of buildings on some of the most contested land in D.C. The property is above the Congress Heights Metro station and across from the to-be-built Washington Wizards training facility. Barnwell’s tenant association and their preferred development partner, National Housing Trust-Enterprise, want to redevelop the land to include 180 to 200 units of affordable housing. But for-profit developers want the land, too. Mayor Muriel Bowser’s administration will effectively decide who wins this contest, as the city controls an adjacent parcel, 3200 13th Street SE, that developers need to complete any major redevelopment.

Landlord Sanford Capital bought the buildings several years ago and they fell into deep disrepair—to the point that D.C. Attorney General Karl Racine sued Sanford over the con-

ditions. That litigation is ongoing. Meanwhile Barnwell and the remaining tenants are fighting by staying in their homes. Their daily battle is living in intensely bad conditions.

—Alexa Mills What is it like to live in this property that’s nearly empty?

I don’t have a problem. I like the peace and quiet. It’s just me and my family. It’s great for me.

I’m sorry it’s like that, and that they’ve taken advantage of people. But I can last as long as I want, until the good Lord says, “Come on.”

When did you move to Congress Heights?

In 1982.

What was Congress Heights like in 1982?

It was beautiful, beautiful. The owner, he was on the property every day. The neighbors, we got along. We had cookouts. Just great neighbors. And whenever you needed repairs, the

washingtoncitypaper.com november 10, 2017 9

owner did it. And outside, the surrounding areas always stayed clean. We were never bothered with rodents or the piles of trash there are now.

those experiences?

Miami’s poorest neighborhood is the poorest large city neighborhood in the country. I thought, “Why is the community not getting the help it needs?” I found out they had [great] plans, but the people were broken. I realized you have to work on people first. That has to be the preface for community work.

What is your vision for the complex?

My and the rest of the residents, our vision goes that we have safe, decent, affordable housing.

How about San Jose and Salt Lake City?

I worked for the Silicon Valley Community Foundation in San Jose. I find that all cities do master planning, but most are not coordinated on justice, equity, and affordability issues.

In Salt Lake, I saw what happens when landed money interests are involved. They have a different time horizon and make long-term investments. They spent billions on their downtown, with a focus on adaptability to account for change in 20 years.

Why do you stay?

I stay because it’s not right, number one. The other reason I’m staying is for my sisters and my brothers. Yes, I can leave. But after going through all this, and seeing the way that they treat the people, including myself, I just wasn’t having it. I prayed and I asked the Lord just what I was supposed to be doing.

Have you learned anything from this process?

I have learned a lot from this process. I learned that even the government can’t be trusted.

They come out into your community to tell you that they’re going to do this, they’re going to do that. And it sounds good. And you go ahead and vote. Then turn around, and you’re not getting what they promised. But what you’re doing is letting these slumlords and these developers come in here in these communities, and cheat people out of their rights because the people aren’t sure of their rights. And the developers are placing profit over people.

That’s what I’m learning. It’s like smile in my face, stab me in my back. One thing I’ve learned that is best—very important—is for people to stand up for their rights.

What impact do you think you’re having on D.C.?

I think the impact is going to be very good.

They think that they can build that Washington Wizards training facility, and they tell us that now we’ll have entertainment. I don’t need no goddamn entertainment. I need a roof over my head. That’s what people need.

We need to get people up off the streets and out from under the bridges.

I’ve spoken out. And I’ll keep on speaking out, and we let the mayor know—because she won’t meet with us—guess what, baby? We’re not going anywhere.

Is there anything else you would like to say?

I would like to say that the Congress Heights Tenant Association, our desire is that the mayor and Polly Donaldson at the D.C. Department of Housing and Community Development give us the property at 3200 13th Street SE. We’ve got one missing link that’s stopping us in our path, and that’s 3200 13th Street SE. It’s a vacant building which has a 40-year covenant for affordable housing. Give us that property, and our goal is to build 200 affordable units. These developers build these high rises out on H Street NE and everywhere else, with only 33 affordable units, or 12. We’re going to do 200.

Give us the property. Be for the people, not that profit.

Does D.C. have a long-range vision?

I will say yes. The developers I’ve met all have expressed long-term commitment to the city.

The right kind of commitment matters. Planning matters. Growth is important. But it depends on the right kind of growth, and the right kind of commitment to D.C. values. Not just on the government side, but on the [private] side, to get it right, and right for the longterm. We’re trying to do deep community reflection, and to be honest in how we articulate our mission.

That all sounds good. What needs fixing?

There needs to be an integrated narrative of what serves the common good. A lot of hard work by a lot of good people made the city good. The activist is as important as the tech worker. We are awesome, independent of the federal government. We need to internalize and codify and leverage that awesomeness to be more awesome and to realize a collective vision.

Open Space Planner When he was growing up, Eric Shaw dreamed of becoming the first black governor of California. That didn’t happen, but ambition and optimism are valuable traits for an urban planner nonetheless. Perhaps that’s one reason Mayor Muriel Bowser appointed him Director of the D.C. Office of Planning.

—Jeffrey Anderson You dreamed big as a child. What’s your family background?

I was born in Watts, and grew up in Richmond, which is near San Francisco. My dad is a social worker, and my mother is a late-inlife minister. I’m the oldest of three. My sister is a community organizer in Oakland, and my brother works for Fitbit.

Sounds like social consciousness runs in

10 november 10, 2017 washingtoncitypaper.com

the family.

Richmond has a high murder rate. My dad [who co-wrote the curriculum for black and male empowerment in the local school system] always told me, “You never know how lucky you are,” and, “Always stay conscious.”

How did you become a planner?

I was encouraged to go into planning by Michael Dukakis. I met him while attending UCLA and he was a professor there. He told me, “If you want to do public service, get a degree in something policy or outcome oriented, like education or public health. He wrote me a letter of recommendation for Harvard [School of Design], where I got a masters in planning.

You worked in numerous cities before you came to D.C. I worked in Miami, San Jose, and Salt Lake City.

What lessons did you take from

Are you talking about new school vis-avis old school D.C.?

We look different in different places. We need to showcase all of it. We look good where we are old, but we want to showcase our newer [features]. The true identity of D.C. places.

Describe a few of those places?

A partnership with the Anacostia Museum to re-build the first house purchased by a freed slave. A disco ball for the funk parade. A public art space outside Whitman-Walker Clinic.

Make it the gayest space possible.

Are you openly gay?

I am gay! I’m super gay, aren’t I? [Looks to assistant.] I’m gay and three-quarters.

Do you apply that spirit of openness to planning?

Being planning director, you have to function in an honest space. There are disparities throughout the city. Some [systems] may not function as well as others. A requirement of the job is to accept those realities and work to change them.

kids’ needs, their parents’ needs?

Think ab out what services libraries can provide to our most vulnerable populations.

How can libraries be this great equalizer in helping men and women who have gotten out of jail? How can we help parents understand the importance of early childhood literacy? How can we get immigrants the information they need to know about signing up for insurance?

We play a multitude of roles, and it’s my job to make sure that we’re thinking far enough in the future that we’re staying relevant, but also with profound respect with the core service that libraries provide.

Library Transformer Modernizing an institution full of relics from the past might be a daunting job for some, but Richard Reyes-Gavilan, executive director of the D.C. Public Library, thrives on the challenge. Ask not what you can do for your library, but what your library can do for you: Under Reyes-Gavilan, that’s the attitude of the new Martin Luther King Jr. Memorial Library.

—Regina Park What influences your approach to modernizing D.C.’s libraries?

The information landscape is changing so drastically now, it’s critical that libraries think about what relevance means as we move more into a digital age. As it stands, you still have an overwhelming number of people who associate libraries strictly with borrowing books. Which is great—that’s still the core of what we do and none of us can see deep into the future—but you get the feeling that that’s not going to be a sustainable service model. You look at parts of the world, like England, where you see libraries closing because their service model hasn’t evolved to include more of a focus on people.

My perspective is that we’ve got to make sure that libraries have shifted their focus from books to people, and what people need from third spaces. What do people need from a place that’s not work or home in terms of their cultural needs, their information needs, their

Why is the public library so interested in emerging technologies?

For decades now, probably going back to the mid ’90s, digital literacy and readiness have been core concepts for libraries for the simple reason that information has shifted from a print to a digital format. It’s important for people to know how to use these tools in order to make the most of this information.

Fast forward to maybe the last five years or so, and the scope of what digital literacy means is also changing. It wasn’t that hard at first. It was about, “How do I set up an email account?

How do I use Microsoft Office?” That would cover 90% of what people needed to do. But now, as technology itself is becoming more diversified and complicated and we’ve got more of a creative class moving to urban areas like D.C., people need to figure out ways to facilitate their success in the city. So if that is providing them a space to use a sewing machine and a laser cutter in a space that’s free of charge—provided they’ve taken a little bit of training—then that’s something that we feel we need to do.

In some ways it’s just a spin on what the library’s goal has always been: to create an informed citizenry. That’s the fundamental reason why we embrace things like emerging tech labs and other services that might expand upon the traditional definitions of literacy.

Are there any initiatives that you want to tackle in the future, but haven’t gotten to yet?

Creating an as-yet-unnamed center for the

study of Washington, D.C. Something that would help residents and visitors to the nation’s capital to learn more about the city, especially within the last 50 years. So it’s working with other local history repositories like the Historical Society of Washington, D.C., making sure we’re not duplicating what they’re do-

Restaurant Ringleader Kathy Hollinger has helmed the local trade association representing restaurants and supporting food service businesses throughout the meteoric rise of D.C.’s dining scene.

The Restaurant Association of Metropolitan Washington helps owners and operators with training, marketing, and navigating the regulatory environment, but many know RAMW best for its annual awards—The RAMMYs. Interfacing with so many restaurant owners and workers provides Hollinger with a bird’s-eye view of dining-related successes and shortcomings in the city. —Laura Hayes

ing, but also offering an incredibly rich series of programs, initiatives in schools, even trainings on issues around social justice— this whole center that really leverages Washington, D.C.’s unique place in this country. That’s just one idea that we will hope to implement over the next few years.

It’s been another huge year for D.C. dining.

Can you walk me through some of the major milestones?

We had a busy, exciting year. We’re still benefitting from continued accolades that D.C. and this region received in 2016. We were recognized in so many ways—Bon Appetit, Zagat, and the Michelin Guide. Restaurants have been able to experience the benefits of the buzz. And locally, we are an industry that’s 94 to 96 percent locally owned and operated, and that in itself is such a unique characteristic. You don’t see that really any other place around the country except maybe Austin.

We’ve also seen tremendous develop-

washingtoncitypaper.com november 10, 2017 11

ing something.

Sherry: Even me, when I went to a sip and paint night, I was nervous because I didn’t know what I was going to paint in one hour.

There’s a lot of pressure in art participation types of environments. With what we do, we try not to make it a pressure thing. People can pick and choose designs, and they don’t really have to get their hands dirty. And then they’re like “I helped make that!”

ment across our neighborhoods including The Wharf. I’m not saying there aren’t challenges, but we’re seeing so many restaurants that have opened. There’s continued excitement and buzz, and that buzz has been sustained even with changes in administration.

Any change in administration will take away a group of people and bring in a new group of people, which for a chef or restaurateur is a new opportunity to impress and also challenging because you may be losing four or eight years of your loyal diner group. We’ve sustained all of that.

What are some of the most interesting clients you’ve had or events you’ve done?

Frankie: Just recently we did the Freer-Sackler re-opening, IlluminAsia. There was a street food market at the same time as live painting, a concert. Every time we go out we try to innovate a little bit, change the game up. This time we brought a stencil lab. We brought spray paint and cut stencils so people could add on to their designs with lotuses and stuff like that.

You mentioned The Wharf. What is your first impression and can you predict whether or not we’ll see the success that seasoned restaurateurs are banking on?

It’s exciting to see locally grown restaurants down at The Wharf. You don’t always see that in a massive development project. Diners and visitors now have additional options in terms of neighborhoods they can visit to add to their overall experience while they’re in D.C. There are a lot of seats, there is some challenge around parking and getting down there. I raise this because it’s no secret, but to really challenge those who have the authority to figure out how to make sure there’s a perfect balance to ensure these developments succeed.

The talent down there is so incredibly, wizardly successful that they will be able to pull the audience and the diners to their restaurants.

We just have to be mindful of what else is happening around the city to make sure it all levels out again so people are dining throughout our great region.

The talk around the watercooler at every restaurant is staffing. Have any of your members come to you asking for advice?

Easily for the last five years since I’ve been at RAMW that has been the biggest issue. It has come to a head this last year. There’s this impression that this is the industry of opportunity, which it is, and restaurants provide more than 65,000 jobs in the city alone. But the challenge is we’re having a difficult time identifying a qualified workforce to push through the pipeline so that workers are able to benefit from this incredible industry that has opportunity for someone who may have little to no formal skills but who has the passion and hospitality disposition. We have been working with many organizations over the years trying to find what program needs to be put in place and properly funded to train people. Service is critical. Restaurants not only survive but thrive when you go in and your experience is exceptional.

What is the second largest issue?

It’s not the sexy stuff. It’s the minimum wage that keeps increasing. We’ve been happy and proud that this industry has been supportive of any increase, but our big issue is that there are these initiatives that are introduced but no consideration for catching up. We’re still catching up from the Affordable Care Act. Now the debate on tipping versus no tipping is coming back.

Traveling Screenprinters Frankie and Sherry Meneses first met at a New Year’s Eve party and were immediately drawn to each other’s creative energy. After an impromptu screenprinting party during which their friends and family came over and printed designs on every available surface in the house, they realized the mass appeal of screenprinting and decided to launch Soul & Ink. Now, they bring their printing equipment to live events to let screenprinting neophytes print their own shirts and posters. Their clients include 9:30 Club, the National Cherry Blossom Festival, and Smithsonian’s Freer and Sackler galleries.

—Stephanie Rudig

12 november 10, 2017 washingtoncitypaper.com

People don’t think of D.C. as that creative of a town. There’s a burgeoning creative economy, but there’s still a lot of squares here. What’s the reaction when you do these live screenprinting events?

Sherry: The great thing about live screenprinting is even if we’re doing something for a corporate client, like a logo, versus doing something for the Smithsonian where we’re getting highly creative, the process of live screenprinting is something that transcends age, income, nationality. So it’s been a positive reaction from most people, just out of curiosity because they don’t know what the hell that machine is.

Frankie: 90 percent have never seen it before, so they’re fascinated by the process. Some people, the squares, they don’t have art, so this is their chance to feel like they’re actually mak-

You have a pretty heavy social justice angle to what you do, and you work with a lot of nonprofits. How does that factor into Soul & Ink? Sherry: It’s just kind of ingrained in our souls.

Doing graphic design for causes we believe in was very important to us. Even before we started Soul & Ink, we knew so many art activists, so it’s part of a community that we’re engaged in anyways. With the new administration, things started getting more intense, and instead of feeling helpless about it we would rather put action into the community with our art. The closer we got to the inauguration, we started having more protest-oriented poster making. For the Women’s March, we collaborated with Republic Restoratives, which is an all women-owned distillery. And it was very poignant. People were really loving the idea that they could make these protest posters.

Frankie: It also opened up a dialog about what’s going on in the world. We were really just supervising but it was more like we were leading conversations.

Sherry: We did a big community oriented event at Bump ’n Grind. There were kids, adults, senior citizens, there was a lady with her baby in a carrier and she was screen printing with the baby’s feet dangling. That was really great, because that was during the time when people were just on Facebook being mean to each other, fear mongering. So when we had people out in the community in real life, they were all expressing how relieved they were to be doing something with this energy that they felt so nervous about. We started realizing we’re building this safe space for all ages where we can do something positive together.

Any person or institution in DC that could benefit from a Soul & Ink party?

Sherry: What is that music festival that happens on the mall, Landmark? We’re trying to put a bug in their ear. You hear that?

Frankie: We could do Barack and Michelle, one of their kids’ parties. Sasha’s graduation party.

Sherry: Pleeeease. We’d love that.

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It must have felt like a risk to be the first to serve a new kind of cuisine in D.C. Tell me about your Burmese food stall in Union Market that you run with your mom, Jocelyn LawYone, and partner, Eric Wang.

Eric and I met on OkCupid, but we weren’t a love match. I was like, “Oh, I have this crazy idea.” He was like, “Whatever you do it’s going to be successful, I want in.” Last year in October, we took him to Burma with us. It bonded the three of us. We’re trying something that most people in D.C. have never heard of. We still struggle with that. Now it’s a question of patience. Filipino food is having its moment. Many generations ago, it was Chinese food and Japanese food. I don’t know if in my lifetime Burmese food will be like that, but I do think we can be like Bobby Pradachith and his mom with Lao food. We’re part of a Burmese food movement that starts with making Burmese food accessible and also authentic to our multi-ethnic family experience.

Community Connector It can be hard to keep tabs on Simone Jacobson. The multipotentialite introduced the District to a Burmese dessert called falooda at Toli Moli, but the kitchen is only one planet in Jacobson’s professional orbit.

With her hip-hop dance troupe, she opened for The Roots; she’s made yoga more inclusive by leading classes everywhere from libraries to jail; and she’s contributed to massive events like IlluminAsia: A Festival of Asian Art, Food, and Cultures, which drew 50,000 visitors to the National Mall. Her motto is: Be kind, work hard, be excellent.

—Laura Hayes Your work life is a little non-traditional,

You are outspoken about issues you are invested in. If you had all of the resources in the world, what would you champion?

I fantasize about having enough money and influence to have influence over systemic changes. Jay-Z and Beyoncé for Father’s Day helped post bail for a group of men. That’s extraordinarily impactful, but it’s not getting to the root cause. The things I feel most passionate about are women and free education. This structure of credit and loans can impact us for the rest of our lives just because we’re trying to learn something is problematic. There are so many interconnected challenges. The U.S. needs national reconciliation around race. Is that reparations? Is that getting rid of all of the textbooks and starting over? I’d like to be a part of connecting and empowering groups of people to get to the root. It’s bigger than black and white, as a mixed race person. That’s why I write, and think, and act, and really care a lot about race, culture, and the arts as a means to elucidate those things. especially in a city as structured as Washington. Have you found a common thread in all of your entrepreneurial endeavors?

It’s funny you call it a career. I think of it as an “anti-career” or a “counter career.” I’m a Jill of all trades, master of none. I speak multiple languages, I have degrees in dance, French, and arts management. And I’m running a restaurant. It’s funny becase I’ve applied to traditional jobs but had a difficult time being hired. I’d apply to big arts institutions and not get a call back, but then a big project would come along and they’d call me.

I’ve built my reputation as a project manager—a person who can take a complex set of problems, find solutions, and bring people together. What clicked for me this year is that I’m a connector. I connect people, ideas, and resources.

14 november 10, 2017 washingtoncitypaper.com

How about locally, what do we need in D.C.?

There’s this idea of criticize by creating. I noticed as a student of yoga that there weren’t enough spaces where I felt comfortable and included. So instead of poking holes and criticizing others, I made this space. I lead the teacher training at Yoga District where there’s a module on diversity and community inclusion. I feel confident that the group will be better teachers because they have inclusivity at the front of their minds. I saw a Taoist quote recently: “Those who say it cannot be done should not interfere with those doing the work.” That has always been my driving force.

If it doesn’t exist, I will create it or find people and bring them together to create it.

Arts Ambassador A D.C. native whose stamp is seemingly everywhere in the local arts scene, Jamal Gray lives at the intersection of D.C.’s jazz, hip-hop, and activist communities. As a musician, Gray leads The Nag Champa Arts Ensemble and performs in Raygunomics and CMPVTR CLVB. His biggest contribution to the local arts community came this spring, when he helped open the Uptown Art House, a DIY community arts space in Cleveland Park.

—Matt Cohen

was young. It wasn’t until I was older when people started talking about Sun Ra and Pharoah Sanders when I was traveling and going to college and I’m like “Yeah, I met them cats before.” But then I’d sound farfetched, because I never really talked about that part of myself before. I took it for granted really, but it was naturally and innately around me. It’s not like I could escape it even if I wanted to.

That shows in the collaborative nature of your art and music. What draws you to these different collaborations and what do they mean to you as an artist?

I think part of it is knowing that I feel a responsibility to work in the same style as the groups I grew up listening to. Those great groups were big, and I want to pull from that. These artists were great because they could translate their work through multiple people. You could be a great soloist—that’s a whole thing—but to be able to move an ensemble. That can be translated different ways.

I think Sun Ra wanted to translate that in ways outside of music, but it was so farfetched. And it still is far-fetched, the stuff he was talking about. It was kind of hard. But most of the people that I guess I studied, or was brought up on—that diet of artists and thinkers—were people that were thinking community minded. So, that’s just naturally how I would approach it.

Economic Wonk Yesim Taylor was recently engaged and living in Istanbul in 1994 when Turkey hit hard economic times. So she and her soon-to-be-husband came to the United States to get master’s degrees. Before they knew it, they had doctorates, children, and a mortgage. Twenty-three years later, Taylor, an economist, is executive director of the D.C. Policy Center, a businessminded think tank that is livening civic debate.

—Jeffrey Anderson What were your first impressions of the United States?

I went from Istanbul to Fairfax and I wanted to die. People ate dinner at six o’clock. This is when you are getting your nails done in Istanbul to [go] out. I was amazed by how suburban the place looked. Even in D.C., the low density surprised me.

What surprised you about American culture?

How easily people can say no. In Turkey you always say yes, even though you have no intention of doing something. Here it is more action-oriented.

What did you do after your Ph.D. in economics?

The path out of a Ph.D. program is academia, a think tank, or a nonprofit. My then husband said, “Yesim, get some experience in the private sector, go to the government, then do the think tank.” I followed his advice, and I fell in love with government.

You went to D.C.’s Office of the Chief Financial Officer. Doing what?

Preparing fiscal impact statements, looking at legislation, making a determination of how much it will cost, and whether we can pay for it.

This year you also helped open the Uptown Art House. How did that come about?

I got recommended for this position with the People’s Climate Movement. This was in the last week of March. They were like “We need a music coordinator for this march.” I had an interview maybe the day after I sent in my resume.

It turned out to be a really impactful thing.

The march happened April 29th. After that, they had this huge storage space in Cleveland Park. So we kind of took it over, myself and another organizer, Sebastian Tayac—he worked more on the side of logistics, but he had background in working with Standing Rock and indigenous rights and immigrant rights. It was like this big national movement passing the torch to us.

You’re kind of a product of the D.C. music scene. Your parents worked at WPFW, right?

They met there. My dad was a music programmer. My mom was doing mostly news and editorial stuff. At the time WPFW had a paper that I actually just found a copy of. I’m not sure how often it came out. It could’ve been a monthly thing, but it was like a ’PFW periodical. It had interviews with different cultural figures.

It was no more than, like, a four-pager. So, she was doing that, and that’s where they met, both working at WPFW. How has growing up surrounded by all that music influenced you?

Honestly, I think I took it for granted when I

How have you seen the music scenes in D.C. evolve over the years?

I think, if I was to look back to my first introduction to that world, it was WPFW. Jazz and justice was their thing. So for me, it was always like “We’re doing this for a purpose, it’s not necessarily for the money.”

But we’re all kind of in the space of creative entrepreneurship and you gotta think about that. It’s gotta be functional. D.C. is a place where our main industry is the bureaucracy. So as an artist, if you want to exist, you’d be wise to realize that you’re in service, and figure out who you’re going to serve, and figure out where the resources are that you need to serve those people. And then you can build purpose and purposeful art out of there. washingtoncitypaper.com november 10, 2017 15

Was it difficult working with the D.C. Council?

Oh yeah. You are saying no to people. They did not like me. There were times when we were rude with each other. Then the next day you have to work together. In the private sector there is no obligation to work together. You’ve got to be nice.

3.0. People think that because Moonlight won Best Picture that now we’re living in this postracial society. Like when Obama was elected, “oh, everything’s over.” I think the distinction here is we still haven’t had a whole bunch of Latinx movies, or Asian-American and Pacific Islander movies, or movies that really focus on the LGBT+ community, or movies that focus on First Nations folks, or those with a disability. So until, not just during awards season, but all year long, you can see a rom-com not starring Reese Witherspoon but an LGBT+ couple, until we get not just Patrick Stewart playing Professor Xavier—a disabled superhero—but we get an actual disabled actor or actress playing a superhero, there’s still a lot more work to be done. One movie or one year is not going to solve that.

How did you come to the D.C. Policy Center?

I was approached by the Federal City Council.

I had done analysis for the D.C. Tax Revision Commission under Mayor Anthony Williams.

The idea was to create a policy center, incubate it, and make it independent over time. My children were growing up, and I thought, I’m old enough now to take a new job.

What is the prevailing policy goal?

We care deeply about inclusive growth. A vibrant, strong economy is the only way to support the most vulnerable residents.

You have this wide-scoping knowledge of the industry. Do you feel like you have to become a student of the intersection of politics and race and pop culture?

Absolutely, and I’m happy to do that. I am still learning. And the best way to deal with negativity from folks who say, “oh, well #BET AwardsSoBlack or #NBASoBlack,” trying to counter my #OscarsSoWhite narrative is to deal with them from a very factual standpoint.

So, if someone says to me, “What’s your problem, you have the BET Awards,” I say, “Well, do you know that Eminem was a featured artist on the most recent BET Awards, and that Sam Smith actually won Best New Artist at the BET Awards?” When you just provide facts, without emotion, it makes it a lot easier to have conversations with people who are truly interested. The folks who just want to be negative, that’s one thing, and they can be easily dispensed with. But having the factual background is important for me to be able to speak intelligently on these issues.

How do you advance that?

We have published 85 studies. We’re networking with research organizations and advocates to change policy. We talk with the Council, the agency people. I joke that for 10 years I had to say no to the Council, but it’ll take them three years to figure out that they don’t have to listen to anything I have to say.

How’s your relationship with the D.C. Fiscal Policy Institute?

We’re friends. We agree on homelessness and funding for our most vulnerable residents. So there are common grounds. But our worldview is there is a limit to how much you can tax people.

What about the progressive movement?

We can work with, say, At-Large Councilmember Elissa Silverman, on workforce development. She cares about this issue, and returning citizens. We agree you cannot ignore returning citizens. The center is pragmatic. If you work with us on an issue, a small change may lead to big change.

Are there entrenched ideological differences?

Let’s say you believe minimum wage is a great thing. I can throw at you 55 studies showing how many low income people lost their jobs because of minimum wage and you would not change your opinion. Ultimately this is a city where we want to make change. So I don’t care much about ideological differences. It’s the messenger that counts, not the message.

Is there a spirit of optimism in your work?

Yes! If you’re a pessimist, you close shop and go work for somebody else. Look, I’m an economist, and we are optimistic people.

Look at how far this city has come. We’ve added 61,000 housing units and 60 million square feet of office space since 2000. We can expand and attract talent. By every metric things have improved. I think it’s just going to get better.

Internet Agitator From #OscarsSoWhite to #NoConfederate to #WOCAffirmation, April Reign is a movement-making machine. As the creator or cocreator of these viral Twitter hashtags, which led to tangible change, she’s spoken up and spoken out, making her voice known. After working for nearly 20 years as a lawyer, she’s now a public speaker and, in her words, “agitator and facilitator.”

—Kayla Randall

part of that is because I live here on the East Coast as opposed to the West Coast. From anecdotes from people who actually live in L.A., it’s like a huge thing all the time. The studios and networks are taking these issues into account, which they always should have been doing. Now, I just attempt to work on that worklife balance. The overwhelming response to #OscarsSoWhite has been positive. There’s been some negative, but it’s not anything I dwell on because I’ve got more work to do.

How have you dealt with the reaction to #OscarsSoWhite and how it’s changed your life?

I take it one day at a time. I don’t really get the high-level view of what’s going on, and I think

What are your thoughts on pushing forward with the movement?

It’s funny because 2018 is not going to be a good year for marginalized communities, so I definitely see it becoming #OscarsSoWhite

16 november 10, 2017 washingtoncitypaper.com

What is your opinion of the power of the hashtag? Do you feel like it wields power outside of social media?

The power is enormous. I don’t think it can be properly quantified. For #OscarsSoWhite, people have come up to me and said, “I would not have gotten into the Academy if it wasn’t for you or the hashtag.” In the last two years, the Academy has brought in the largest and most diverse classes ever. There’s a bazillion different hashtags that have made tangible, structural change. I think people are like, well you did this thing online but you’re not out there marching in the streets. For me, I know things are happening. I know that there are fellowships and grants and internships available in Hollywood that were not available pre-January of 2015. I use the platform that I have, and that happens to be on social media, to create change, to make the world a slightly better place. If you want to denigrate what it is that I do, that’s fine, but the receipts speak for themselves.

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Restaurant Patriarch Tony Cibel is the kind of guy who meets you and tells you that he’s got socks older than you. The patriarch of one of D.C.’s old school restaurant families consisting of his two sons, Nick and Dean Cibel, and his nephews, Greg and Glenn Casten, recently turned 80 and survived a heart attack. His namesake restaurant, Tony & Joe’s, opened in Georgetown’s Washington Harbor 30 years ago, but Cibel’s been operating businesses in D.C. even longer than that.

He’s had his hand in a Shell station, Barrel House Liquors (where he befriended Marion Barry), a carryout in Northeast called Soul Palace, and The Dancing Crab (a 40-year institution pop-

ular with the Washington football team). Cibel was even Fight Night’s original boxing ring announcer before passing the torch to Discombobulating Jones and Michael Buffer. Through all of his jobs, Cibel has gained an understanding of what it takes to keep a restaurant going for three decades.

—Laura Hayes How did you decide to open Tony & Joe’s in Georgetown?

Joe Rinaldi, my business partner, and I bought The Dancing Crab in 1981. We put in the upstairs malt shop. All the football players hung out there. Then Herb Miller, who bought Washington Harbor, came to me and said when they first built the harbor, “I want you

to put a Dancing Crab in here.” I said, “With multi-million-dollar condos, it’s not going to work here. You know, with the smell of those crabs. But how about Tony & Joe’s?” We’re the only original tenant in there.

What do you think of Washington Harbor today, with new restaurants like Fiola Mare?

Fiola Mare apparently is very successful. It’s not my cup of tea, but I’ve eaten there. Fifty dollars for a plate of spaghetti? But it’s good. Farmers Fishers Bakers has done well there. Sequoia just remodeled and they did a great job. That orange thing [Orange Anchor], they closed.

What does it take to last 30 years in this competitive market?

Good food and good service. We have a wonderful staff, including over 20 people that have been there 20 or 25 years. It’s like a big family. And I’m not a screamer or a yeller. The customer is always right. Sometimes you get mad.

My son Dean, who is at Tony & Joe’s, he’s terrific. He’s so good with these customers. A lot of them want something for nothing. “I didn’t like this, comp it,” they’ll say. Then why did you eat it? I don’t have the patience. I’d say, “Get out!” and then I’d be sued. But the secret is good food, good service.

I heard you dine out seven nights a week?

I go to the Prime Rib a lot. Buzz BeLer owns that. His brother Nick BeLer, who passed away 20 years ago, was my best friend. We had great times together. I was wild in my earlier years.

Now I’m glad I can just get up. But yeah, I eat out a lot at RPM Italian and The Palm.

Tell me about the early days. I know that then Post food critic Phyllis Richman wrote a review that put Tony & Joe’s on the map?

Here’s what happened. We had these investors and I had a couple of partners. And they spent all of this money. We were supposed to open in June, but didn’t until October. I’m sitting there and freezing thinking, “What the hell have I done?”

The investors spent $100,000 on advertising, and it was no good at all. Then Phyllis Richman came in and said, “Tony & Joe’s—a contender on the waterfront.” She gave us a magnificent review and that was it. And that cost nothing. I said to the other guys who I bought out, “Thanks for spending $100 grand, you jerks.”

Do you think restaurant reviews are still that powerful or have they lost their impact? Back then it was all you had, there were no blogs like Eater.

I don’t think they’re as as powerful as Phyllis was, but this guy [Tom Sietsema] is pretty powerful. He doesn’t like us. He gave a pretty good review to Ivy City [Smokehouse Tavern] but the last time he was at Tony’s he said, “Same old place blah, blah, blah.” I said, “I cry all the way to the bank.”

18 november 10, 2017 washingtoncitypaper.com

Immigrant Advocate Alida Garcia is the director of coalitions and policy at FWD.us, an immigration reform advocacy group backed by Mark Zuckerberg.

After leaving her job as an attorney in Los Angeles to work for the Obama re-election campaign, she remains an active voice in Washington for undocumented immigrants.

—Jeanine Santucci

lowing my heart and believing, at that time, that President Obama was going to try to legalize the 11 million undocumented people in the United States. So it just felt like it was where I needed to be.

Where does your passion for working on immigration reform come from?

I grew up in California. I’m Mexican-American. I am the descendant of many generations of farm workers. And you know the majority of the agricultural workers in the United States are undocumented. So I know rooted in my own origin story in United States is many generations of people who came to contribute here from Mexico. That’s really personal to me.

What does the undocumented population here in D.C. look like?

The undocumented population in D.C. is around 25,000 people. One thing that’s important to note is that in D.C., often immigration issues are talked about from a federal reform lens but in many ways are not internally reflected through what’s going on locally in the District and surrounding areas in Maryland and Virginia. There’s a large undocumented population from a variety of cultures. There’s a large presence of people from Bolivia in the region and El Salvador and Mexico. And they are impacted by these policies every single day.

Why did you decide to leave your job at a law firm and come to D.C.?

When I was a practicing attorney in Los Angeles, it was when President Obama was first running for president. And like many young people, I sort of saw a greater sense of purpose and community and started volunteering nearly full time. And after that it was sort of something I couldn’t let go. I was recruited out of my law firm into city government. And then from there recruited to work in the president’s re-election, which ultimately landed me in D.C. And so you know it was really about fol-

What can a D.C. resident do to advocate for immigrant rights considering that there is no voting representative?

Every day I go call Congress and I take a different representative. So yesterday I called Senator Rubio. The day before I called Senator Tillis, the day before that I called Paul Ryan.

It’s really frustrating to feel that I don’t have a representative to speak to on a daily basis about that issue. I want all the federal representatives who are voting members to know that this is urgent for Washington, D.C. residents.

There’s a lot of stuff you can do locally.

One thing is about just being a good person.

We interact with immigrants all day long but we don’t think about it in that context. Part of building a more welcoming society is making sure that we’re treating people throughout our day with dignity and respect, not just in political discourse. So for me as someone who’s going to work in an advocacy organization, I may get in an Uber with an immigrant driver in the morning and then I may go get a lunch at a salad place where, who is picking the vegetables in that salad? Many mothers in D.C. are able to pursue their careers because they have immigrant women in their households helping raise their children.

I think it’s really important that we break down the national issue that can be very toxic in its rhetoric. And just think about this in the simplest form: How are we respecting the people we interact with on a day-to-day basis who are contributing not only to our economy but to our collective happiness as people in our ability to live our dreams collectively?

Public Radio Champion By all accounts, Alicia Montgomery is a public radio legend. At NPR, she was the senior supervising producer of its acclaimed Code Switch project, and as editorial director at WAMU 88.5 for the past year, she contributed to the station’s huge gains in African-American and Latinx listenership. This month, she returned to NPR to help lead the Morning Edition team. Chalk her success up to her passion for the medium. It turns out Montgomery has been a self-proclaimed “public radio

junkie” since childhood—and she’s still dedicated to making the medium sing.

—Kayla Randall Where does your love for public radio come from?

My mom was one of those parents who just played it in every room of the house and on the car radio all the time. I’ve been listening since I was in seventh grade. My mom is one of those people who is all about, “We can make our world a better place, we can do it in small ways, we can do it in big ways, we have an obli-

washingtoncitypaper.com november 10, 2017 19

gation to do it.” When I tune in to public radio, it’s like a whole media organization that’s run kind of on those principles. Like everywhere, it’s not immune to jerks or jerky behavior, but you have a whole collection of people who think that the ultimate mission is to give people information and the stories and ideas that are going to help them make the world a better place. I hate to sound all crunchy granola, but it’s a spiritually invigorating place to be, where people are really jazzed about the First Amendment, and truth, and facts, and compassion. I loved it as a listener and I love it more and in a deeper way as someone who has the privilege and the good luck to be on this side of it.

How has the D.C. area informed your work?

Being at the member station here has been a way to combine my love for Washington and the Washington area with my love for public radio. I’m from here, I was born in the city, fifth generation, I grew up in Columbia, Maryland, I lived in the city as a young professional, and I live in Greenbelt now. I’m not going anywhere.

I love this place. It’s interesting to talk to people who have this sort of limited experience with what D.C. is and who’s here. I have great memories of my grandmother’s house that’s around the corner from the Shrimp Boat, and bopping around Dupont Circle trying to find brunch money.

Why do you think you and your team at WAMU have been able to make such a difference in increasing diversity?

The thing that I’ve been able to do, because of my history with the area, is know the strivers on Capitol Hill, the black families in upper Northwest and Anacostia, the do-gooder class of the nonprofits, and the folks who come here from other countries. I know someone and am close to someone in every single one of those communities. So, what I can do is advocate for all of them and reassure the reporters that when you go out to report on diverse communities it doesn’t mean you have to go out and do that story about how this group of people is being oppressed by that group of people. In order to demonstrate respect for people, you have to demonstrate their full humanity. Even when groups are in opposition to each other, that doesn’t mean there’s a set of villains and a set of heroes. Diversifying stories and storytelling is complicated, but I think that it’s a question of paying the same kind of attention to the folks outside of your bubble as you do to those who are inside your bubble.

In public media especially, we think that if we tell a good story, people are just going to find us. But if we haven’t been talking to those people for 20 years, then the idea that they’re just going to stumble on this story is wishful thinking. It’s not just that we tell the stories better, it’s that we reach out to the community and tap somebody on the shoulder. Whether that’s through social media or calling up community leaders, or staging an event in a library or community center, we say, “Hey, we’re listening to you and we want to hear from you.”

Metal Shepherd Through his booking imprint, Ripping Headaches, Hasan A is responsible for just about every metal show that comes through the District. The Baltimore native has booked metal shows in the DMV for more than seven years, and in that time, he’s transformed the region’s scene from one that most metal and extreme bands used to avoid into one of the East Coast’s most active.

—Matt Cohen How did you start booking shows in the D.C. area?

I saw that there were a lot of bands that would just skip over Baltimore or D.C. and I always wondered why. So I started reaching out to these bands— thanks to the power of the internet— and I would straight-up ask them “Hey, when are you guys planning to come through Baltimore or D.C.?”

And I would either get one of two answers: “We had a bad time in Baltimore or D.C.,” or “We don’t think it’s a viable market.” And I thought “huh, maybe I could do this, maybe I could put on these shows.” I’d seen other people do it and I talked to other people who put on shows, or who work at venues. So I decided “OK, maybe I could start doing this.” It started off small, and it just spiraled from there.

And there’s a scene here! It’s not like you were putting on shows and no one was coming out.

Yeah. Baltimore and D.C. has a rich history of metal, punk, and extreme music. I’m not the only one. D.C. has a history of it: There were places like The Hung Jury bar, The Bayou, and Phantasmagoria that would put on, if we look back on it, legendary metal shows. A lot of touring acts would come through, and it would all be DIY shows. There’s always been that history here, and there’s always been that need for it.

Like who?

Deceased is a mainstay. They’ve always been a mainstay of this area. And I know King Fowley from Deceased used to put on a lot of shows in the area back in the ’80s and ’90s. I would say other important D.C. bands are... of course Pentagram, The Obsessed. The Obsessed being a huge one. I talked to a lot of people from other parts of the country or world and they know The Obsessed, they know Pentagram, and they know this area because of those bands and because of the history here.

Why do you think those bands and that scene doesn’t get as much credit in D.C.’s

20 november 10, 2017 washingtoncitypaper.com

history of music?

I feel like a lot of those bands haven’t put themselves out there to have their stories documented and reported on. A lot of these metal bands, they’re just kind of secretive sometimes, and a lot of these underground acts, they just tend to keep things under the rug. I also think a lot of journalists or writers haven’t really given metal or extreme music in the area the same chance as hardcore or punk.

What’s the hardest thing about booking shows in D.C.?

Really just getting the people out there, getting them interested. Making sure all the pieces fit, whether it be ensuring the bands have everything they need to perform, the venue is situated and

set up. Word of mouth, too: If people know about the show, that’s always the difficult part.

In D.C., I’d say, there aren’t a lot of legitimate venues that want to put on heavier shows. And it kinda has to do with… it’s a business, they want to bring people out, and it’s a niche market.

I’ve definitely relied a lot on the DIY venues, or the bars and spaces that want to give heavy music a chance, such as The Pinch, Slash Run, Atlas Brew Works, various house spaces or restaurants around D.C. I’ve definitely appreciated the owners, or the people that manage these spaces giving that music a chance, and seeing that there is a demographic out there that want to come out and support these bands and support the venues and businesses that these shows are at.

washingtoncitypaper.com november 10, 2017 21

Omnipresent Illustrator If you don’t already own one of watercolor illustrator Marcella Kriebel’s vibrant foodbased prints, you’ve probably seen them for sale in local shops or hanging in your friends’ apartments. She also hosts workshops where she teaches watercolor painting, often using subjects grabbed from the farmers market outside her studio in Brookland. Her evocative drawings of food and her love of preparing it come together in her soon-to-be-released second cookbook, Comida Cubana: A Cuban Culinary Journey.

—Stephanie Rudig What about D.C. inspires you and keeps you here working as an artist?

I think a lot of people are critical of the transient nature, but I kind of like it because it is this mass convergence of different people from all over the place. It keeps the culture kind of fresh. But in the same regard, it’s been fun to be part of the wave of entrepreneurs starting their own businesses and really putting down roots. I think I feed off of a lot of other creatives, and also small business owners who are coming up with creative ways to grow their business, but then also market it. Ultimately it’s the community. It’s both the people that pass through here and the people laying down roots that I’m inspired by.

Your second cookbook is coming out soon. Why did you decide to focus on Cuban food in particular?

For a lot of Americans, me as well, it was a very enchanting place.

Prior to visiting, it was like a place that was so close and yet so far. I had never been there prior to this book concept. Similar to my last book, I’m not an expert in these things, but I love to learn all about food and take you on that journey with me.

The research was so fun because it wasn’t something I was an expert in, but I got to learn about it and record that process in the visual way that I do. So why Cuba?

Because I had never been there, and I was inspired to learn about people and places through their culinary rituals and food traditions.

It’s kind of wild to think about. But you’re right, there’s a lot.

Have you ever been surprised to see them hanging somewhere?

I’m always surprised! I’m always delighted.

For me, I love when people do different combinations. It’s meant to be this mix and match.

When people get to curate their own selection, that’s when the distinct fun stuff starts to hap-

pen. When people are putting sardines and figs next to an artichoke or, you know, heirloom tomatoes with the heart beets and brassicas or something. A lot of people are like, she’s the girl who draws the vegetables. But there’s so much more! I made a point this summer to make sure I had some heavy hitters in the junk food category. Now we’ve got bacon burger, hot dog, ice cream, waffle cone, pizza slice. So not just the vegetable girl.

Was it different working on the second book opposed to the first?

The last book was mostly recipes and less of my voice. Although it very much feels like my voice because it’s all hand drawn, there wasn’t as much storytelling in the last one as this one.

The beginning of each section in the book has a little story. It’s a huge process to do it entirely yourself, from research, interviews, design, layout, actual artwork, the test kitchen. So there’s a lot of steps. Doing these two books is a great reflection of my interests because of my interest in anthropology and learning about people through food. Food is always a wonderful bridge into anyone’s life. You can talk about preferences, traditions, sourcing things, all kinds of different things.

Do you have a favorite food?

My very favorite food? That’s very hard. I love pickled foods, pretty keen on most things pickled. My brother’s smoked salmon and lox. Any cured fish.

It seems like everybody I know owns a print of yours. What’s it like to be one of D.C.’s most ubiquitous artists?

It’s strange. I mean I’m honored to think that hundreds of my prints grace the walls of many many apartments and row homes in the city.

22 november 10, 2017 washingtoncitypaper.com

Antiracism Educator Ibram X. Kendi is an author and the founding director of American University’s new Antiracist Research and Policy Center, launching in 2018.

His book, Stamped from the Beginning: The Definitive History of Racist Ideas in America won a National Book Award. When he’s not fighting racism, the recent D.C. transplant enjoys taking advantage of the city’s many vegan restaurants.

—Will Warren

The word that catches my eye in the title of the book is “idea.” It’s The Definitive History of Racist Ideas in America, I’m wondering why is the emphasis on ideas and not just racism?

I wanted to show the ways in which racist ideas, which I ended up defining as any idea that suggests a racial group is superior or inferior to another racial group in any way, have affected the course of history and the way history has affected the course of these ideas. And I wanted to distinguish between racist ideas and racist pol-

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Independent artists from the D.C. area and others from all over the country (and even one from France!) are sure to hit it out of the park—Nationals Park, that is! Moving to this venue for the festival’s 14th year allows room for more vendors, so we have more than 200 artists and craftspeople ready to sell their goods and interact with shoppers on Saturday, Nov. 11 and Sunday, Nov. 12. Hours are 10 a.m. to 5 p.m. both days.

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More than 90 first-time vendors are participating, along with perennial favorites like Rocks and Salt (in their 10th consecutive year!) and Stitch & Rivet (in their 9th consecutive year!). You’ll find wide-ranging categories of goods beginning at the entrance of the main level and throughout the concourse, including fine art, housewares, paper goods, stationery, body products, packaged artisanal food, jewelry, craft kits, clothing, leather goods, and so much more. Event beneficiary Guatela, whose core mission is empowering indigenous women artisans in Guatemala, will be on site bringing the work of skillful weavers directly to conscientious shoppers.

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We look forward to kicking off the holiday season with you at Crafty Bastards and we hope that you leave with plenty of one-of-a-kind creations from the best independent artists and craftspeople. Thank you for joining us and supporting the creative community!

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CRAFTY BASTARDS PREVIEW 2017 Winthrop Clothing Co. Winthrop Clothing Co. caters to dog lovers by creating quality handmade clothing and accessories for their furry pets. The designer Nia-col Lee makes everything from leashes, hoodies, sweaters, t-shirts, bow ties, ties, and bandanas for dogs. She’s involved in the whole process start to finish from sourcing materials, designing, creating, and photographing all of the items. Every item is handmade with love locally in the DC area.

BeNice shop BeNice.Shop is a sticker (and more!) store that encourages equality and empowerment, and makes it easy to make a statement on your water bottles, laptops, torsos, and walls. Our products — vinyl stickers, prints, patches, shirts, pins, and postcards — feature bright original designs with unique messages of protest and positivity, like “CEO of my Lady Business” and “Let Me Be Perfectly Queer.” Proceeds from each sale benefit important progressive organizations like Planned Parenthood, EMILY’s List, the Trevor Project, and the ACLU.

26 november 10, 2017 washingtoncitypaper.com

Herb Angel

Herb Angel Herb Angel provides seasonally inspired, high-quality, small-batch herbal products to nourish body and soul, as well as an eclectic array of interesting plants.

Tiny Anvil Tiny Anvil jewelry references armor, talisman, simple tools and instruments of measurement that provide the wearer with a sense of grounding and protection.

Tiny Anvil’s designer, Erin McNally, plays with themes of structure and decay, utility and cosmology, the natural world and the industrial world, and overall, simplicity, resulting in jewelry that is both bold and every day wearable. Earrings, bracelets, necklaces and rings incorporate geometric simplicity mixed with etched illustration and unique semiprecious stones. All jewelry is hand made in Western Massachusetts out of brass, copper, sterling silver and semiprecious stones.

Elizabeth Benotti Handmade Ceramics

Elizabeth Benotti Handmade Ceramics is a collection of porcelain wares for the everyday. Each piece is handmade by pinching, slip casting or wheel throwing in her New Hampshire studio. Finger impressions, brush strokes and etchings narrate Elizabeth’s process. All are unique in their replication.

Tiny Anvil

Elizabeth Benotti Handmade Ceramics

washingtoncitypaper.com november 10, 2017 27

Harper Macaw Harper Macaw is a DC-based fine chocolate maker on a mission to turn chocolate into a force for rainforest conservation. They source cocoa beans directly from agroforestry plots in Latin America, primarily in Brazil’s Amazon and Atlantic Rainforests; two of the planet’s most threatened biomes. Harper Macaw partners with rainforest reserves by donating a portion of every purchase toward land conservation and stewardship programs. Every bar restores and protects 30 square feet of rainforest.

Yinibini Baby Yinibini Baby makes handmade baby and toddler clothing for boys and girls. Based in Northeastern Washington, DC, the line uses non-toxic ink, domestically-sourced organic cotton, and other eco-friendly materials. The Reversible Organic Cotton Bib is the most popular piece in the line due to its ability to last from infancy to toddlerhood, and absorbs everything from drool to smashed peas. Designer/Owner Soyini George draws inspiration from her youth in Guyana as well as her daughter’s childhood.

Bright Beam Goods We make high quality and hand-crafted treasures, both playful and elegant—things that make us smile!

Our products range from housewares to games to puzzles, but each is dreamt up and developed from start to finish in our workshop in Austin, TX.

Familytree Familytree is a creative studio that produces art prints and paper products. Our products could most easily be classified as retro or vintage style illustration screen prints, giclee prints and more. Our newest project “50 States of Beauty” is an ambitious art series that highlights the natural landscapes of America and what makes each of the 50 states unique. The series will also include select cities across America.

Familytree

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Close Call Studio as a brand is all about making work that brings playfulness, joy, and humor to your home.

The greatest priority is to be kind to the planet, humans, and animals in every aspect. All sourced materials are consciously curated and are completely recycled/reclaimed (even the felt used is made out of post consumer plastic bottles), vegan, and fair trade.

Products range from prints, stationary, home decor, baby items, holiday decor, and cat toys.

jennyjen42 I create freehand machine drawn and felt appliqué native plant and bird themed accessories and house wares, made of organic cotton and up-cycled materials. I’ve added a new series of “Pussy Bites Bites GrumpyTrumpy” catnip toys using the same materials and drawing methods.

Fritz & Fräulein Fritz & Fräulein is a sustainable fashion, tech, travel & home accessories brand, creating each item from authentic vintage & sustainable materials. Handmade in our Brooklyn studio, we make functional accessories for your modern life with an emphasis on design, detail & quality.

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Fritz & Fräulein washingtoncitypaper.com november 10, 2017 31

Katherine Watson

Katherine Watson

I make block printed paper goods and textiles, printed with original hand-carved linoleum blocks inspired by floral and geometric patterns. My products include cards, art prints, paintings, and home goods with a variety of hand-printed patterns.

Kicheko Goods Meaning “smile/laughter” in Swahili, Kicheko Goods is a socially conscious brand that designs and makes distinctive pieces which invest in education. Founded in 2014 by Sarah Bayot, Kicheko’s concepts are created in small batches and inspired by geometry, nature, creative conversations and travel. Kicheko’s aesthetic shares an unrefined boldness, sophisticated earthiness and playful simplicity. Staple ingredients are metals, wood, tine, fiber and stone. Collaborative in nature, Kicheko has partnered with TOMS and the NMWA on exclusive products for their collections and shop. All pieces are made by hand with certain elements outsourced to specialty artisan groups and small manufacturer.

Better Than Jam

Kichecko Goods

Better Than Jam

I am a hands-on textile designer and seamstress.

My first love is screenprinting, but recently added the dyeing process. Working with foraged natural dyes, using shibori techniques, and experimenting with fun new styles, my process has become more time consuming, but so enjoyable. With my freshly dyed textiles I dive into the surface design, laying my imagery down with large silkscreens. Once set, the fabric is ready to create into a final piece and I decide whether to make clothing, accessory, bags, or a home good. Each piece is one of a kind.

Out of Print

My work explores the interplay between individual identity and community. Creating prints using shaped intaglio copper plates that I make through a process of drawing, etching, and sawing, I can tell different stories. These prints are then embellished with painting, drawing, sewing, and collaging to create unique works of art that explore different ideas.

Common themes in my work that reference identity and community are memory, domesticity, career, home, health, and societal norms.

bubbledog My number one goal is for my work to put a smile on your face. I like to work with bright colors and strive to achieve clean, modern designs that also have a warm, friendly feel. From chihuahuas in disguises to ice cream cones in a sprinkle storm, my ideas first come to life on paper before being refined on my computer. For my sewn items, the patterns, color choices, cutting, sewing, and stuffing are all done by me. From screen-printed shirts & prints, to hand sculpted figurines, to hand-sewn pillows & purses, I hope to make something for everyone!

32 november 10, 2017 washingtoncitypaper.com

Out of Print

bubbledog washingtoncitypaper.com november 10, 2017 33

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icies. And I think when people say racism, some people are just talking about racist ideas, some people are just talking about racist policies, but I think I wanted to show that really, when you think about racism, you’re talking about the marriage of racist policies and racist ideas.

services to more than people who were doing prostitution. Now we talk about the sex trade and sex work, recognizing that for a lot of people, sex work is their job. We haven’t necessarily come up with another explanation for what those four letters could stand for.

I’m sure you get tired of talking about the book. Do you?

Actually, I don’t. I think one of the reasons why I wanted to write this book is because I think race and racism is such a huge problem. And it’s such a huge problem many of us don’t want to talk about it. And one of the reasons why we don’t want to talk about it is because we don’t have the language to talk about it or even the knowledge to speak about it. And we also do not know the ways in which it is literally affecting our lives right now.

Do you think most people understand what “harm reduction,” HIPS’ type of work, is?

I think harm reduction is gaining in understanding and popularity. When you say “harm reduction,” people think syringe exchange.

HIPS approaches harm reduction as a philosophy toward life and public health. It acknowledges that behaviors exist on a spectrum of risk and we help people choose safer behaviors. That can be about drug use, or sex work, or learning to manage your money so you’re not as forced to go out on the streets.

People will tell you what’s working for them and what’s not.

Is the Center going to be educating students who are taking classes through the Center or is it going to be something broader?

All of the above. We’re gonna have these research teams. And these teams are gonna be made up of annual groups of scholars, journalists, policy experts, and advocates, and each of these advocates, journalists, policy experts, and scholars are gonna have the ability to teach courses at AU. And so clearly students will be able to learn through literally being involved in these projects, but then we have an anti-racist education project that’s going to seek to create curricular materials that either people can use or that they can come to AU to realize like, “OK, how, as a teacher, do I pursue my work from an anti-racist standpoint?

From the standpoint of a social worker, from the standpoint of a preacher.” And so we want to figure out ways to assist many of these different groups of people, so they understand how to pursue what they already do from a more antiracist standpoint.

What’s the tone and tenor been like on campus [after two incidents this year where white supremacist imagery and icons were displayed on AU’s campus, the more recent of which occurred on the same night Kendi introduced the Antiracist Research and Policy Center]?

I mean, there was of course a range of feelings. Generally, students and even non-students were concerned and fearful about what happened, about what could happen. And they do not feel as if they’re being defended by the president. If anything, they feel the president is inciting this. You had other students who feel that AU hasn’t gone further enough in sort of challenging its own racist issues, and so, for some of them, they decided to blame the institution, which was surprising to me because these types of people tend to want to harass institutions that they feel are a threat to them.

And those institutions that are a threat to them are actually sort of striving to eliminate discrimination. I just tried to connote to the students and to the larger AU community that this is emblematic of what happens when you start making progress. When you break down barriers, that leads to a bitter backlash.

How is HIPS tackling D.C.’s opioid epidemic?

Times now are scary and interesting. D.C. is definitely seeing an overdose crisis like the rest of the country. But our affected population is mostly aging people of color who have injected drugs all their lives and are potentially more prone to fatal overdoses.

D.C. did the right thing in expanding needle exchange. HIPS would like to see the same for naloxone, so the lifesaving drug is available to everyone who might be able to reverse an overdose. We just don’t feel like there is support from the city at the levels there should be.

I think there hasn’t been the uproar around naloxone access specifically because of who the victims are.

Public Health Warrior Cyndee Clay has worked at HIPS—a nonprofit that serves drug users, sex workers, and other vulnerable groups—since she was an undergraduate at the University of Maryland. She’s fought Congress on increasing access to clean syringes, and she’s pushed the District to provide naloxone, an antidote that reverses the effects of opioid overdoses. In 2018, HIPS will celebrate its 25th anniversary and its third year at 906 H St. NE. —Andrew Giambrone What services does HIPS provide?

We have a medical room on site four days a week, a full drop-in center that has a computer lab, showers, laundry, and support groups.

Everything from making sure you have clean

clothes to safer drug-using and sex materials to support finding housing. We like to think of ourselves as the safety net for people who don’t have a whole lot of other places to go.

How do you build relationships with clients?

We get a lot of referrals from word of mouth.

We also have an extensive mobile services program through our van. We’ve been out on the streets between 11 p.m. and 5 a.m. for the past 25 years, reaching people who engage in the sex trade. We provide syringe access in farflung areas of the city.

What are the origins of the name HIPS? HIPS was formed in 1993 as Helping Individual Prostitutes Survive. We dropped the meaning of the acronym because we expanded our

Many HIPS clients are gendernonconforming. What challenges does this group face?

Despite D.C. having good laws on the books around trans identity and protections, it gets a lot harder to put our money where our mouth is when we’re talking about what jobs are available for trans people, who historically have been blocked out of traditional employment because of transphobia. The city has shown a lot of lip service, but it’s dropped the ball in providing education, jobs, and housing.

We’re asking people to stop criminalizing trans people. For example, laws against sex work are utilized to tell trans women they have to get out of certain neighborhoods. These laws create cycles of incarceration for trans people. That’s why we support an anti-exploitation bill currently before the D.C. Council.

What pulled you into this line of work?

When I found out there was this agency that was not judging people and was providing help and services, that made so much sense to me. Like many people, I had experiences as a young person with drugs and transactional sex. I was just astounded there was a place like HIPS.

washingtoncitypaper.com november 10, 2017 35

Street was really influential in just being calm. Like, you know what, it ain’t that bad.

It’s rough out here but focus, listen. At the time I was doing meditation, so comedy and consciousness were coinciding. I felt that thing I always wanted to do awakening.

Conscientious Comedian Haywood Turnipseed Jr. came to the D.C. area in 1995, when he was stationed at Andrews Air Force Base. Now the Air Force veteran and comedian spends his days working in telecommunications at the National Gallery of Art and his nights entertaining local audiences with his ruminations on gentrification and children’s television. He lives in Congress Heights with his wife and kids.

—Caroline Jones What got you into the D.C. comedy scene?

At my last telecom job, I got laid off. We had just had our newborn and we had just bought the house. At the time, I was just dabbling, doing it here and there. My wife was like, “If you really want to give this thing a shot, now might be the time.” Plus childcare is expensive. It was going to cost us more to find somebody to come in and take care of our kid than it was for me to sit home and collect unemployment.

While you were starting out, were your kids particularly influential?

Oh yeah, definitely. I was working with them during the day and it was like watching Sesame Street, then going and talking about Sesame Street. I had just gotten laid off so I was a little bit angry. I wasn’t ticked off totally, but I was just like, “Hey, man, what is the world? What’s going on when you can’t keep a gig?” Sesame

ery angle. That’s what D.C. is, it’s the uberrich with some of the poorest people I’ve ever seen. That whole juxtaposition kind of keeps me in balance.

D.C. in and of itself forces me to be honest. These audiences are people who are looking to change America. So thank you. They

helped us legalize marijuana in this city. That only happened when more young Caucasians moved to the area and actually were involved in the voting process. That’s the truth. When that happened, they helped us legalize marijuana and helped raise my property value.

Win-win!

Do you like raising kids in D.C.?

Yeah. I’m a big museum-head but we don’t have to pay. I work at a museum.

My kids watch that show Little Einsteins.

We’ll see a Chagall painting on Little Einsteins and then we can show it to them in real life. You can’t beat that. It’s a culturally diverse area, it’s an economically diverse area, and it’s educationally diverse. On all levels you have some of everything that a kid could want.

Plus you have the fun. We live near THEARC and over there, the Washington Ballet always does The Nutcracker, so I’ve taken my kids to see that. It’s actually Frederick Douglass having a party, so they get to go see the Frederick Douglass House but then they get a piece of that history as well. It’s not just his story anymore— now it’s our story. Everything I grew up hearing from my leaders and my elders and those folks that influenced me, I get to share with my children.

A lot of your comedy comments on the diversity of D.C. What do you think of D.C. audiences? Are they a little too uptight?

They’re smart. The majority of the people who come out to comedy shows in this area are younger folk who are really here to change the world. It’s a political town and they come here to work, so that’s the mindframe. When I go up and I do something that’s throwing what they do in their face, I do get the “Oh, hey, I’m here to help you.”

I’m like, “OK, now this is where we have a conversation.” If you don’t realize that our struggles are in decline, then you’re not really helping my struggle, you’re actually hindering my progress.

In general, the audiences tend to get that because I have a different vibe that I come with. I try to be more friendly. If you’re cool with poking fun at yourself, it’s not a big deal.

In this town, you better have a sense of humor. These people will attack you from ev-

36 november 10, 2017 washingtoncitypaper.com

Resistance Songwriter Six years ago, Elena Lacayo traded her highpowered job as an immigration advocate at the National Council of La Raza (now known as UnidosUS) for a guitar. She started the band Elena & Los Fulanos, a largely acoustic project dedicated to exploring her Nicaraguan and American roots, and released her debut album, Miel Venenosa, in 2014. Lacayo’s music resonates throughout D.C. for its ability to intersect cultures

(she sings in both English and Spanish), honor traditions from Latin America, and give a voice to communities who aren’t often heard.

—Julyssa Lopez How your music has evolved since you released your first album, Miel Venenosa?

I think a lot of artists go through this, where you look back at the thing that you made and you critique it quite a bit. I’m very proud of Miel Venenosa. I thought it was a really good album for a first shot and it was definitely built around

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me being a solo singer-songwriter. But the more I listened to it, the more I was like, “Oh next time I can do this different kind of thing.” I’m a little more confident in the decisions I make now, and I think “This is a good idea and I’m going to stick with it” instead of being all insecure about it. So much of that is because I’m getting more recognition from my peers and other people and I think our project has moved to a different stage. It’s no longer incubating.

The last album had a couple of things that sounded Latin, but it didn’t have those essential elements, the way this one does. But I think that’s what culture is—that’s essentially what it means to be from a place. It’s not about what you seek out, it’s about what’s already in you that comes out.

cause I had been so used to not only recording sessions, but performing all over New York—in great halls, in great clubs. To come to Washington, D.C., my only opportunity to work as a French horn player would be in the symphony. And that’s great, I did a lot of symphony work in New York and Europe, but there was no opportunity to get a position in the National Symphony Orchestra here, so there wasn’t really a lot of work for a French horn player in Washington, D.C. Fortunately, I became what they call a multiinstrumentalist, so I was able to work as a flutist and a percussionist in my own group. But I didn’t get the excitement that I had in New York, playing with musicians like Sun Ra for nine years, and ’Trane, and all those cats. I missed that, I really did.

A lot of your music is focused on traditions from Latin America, specifically Nicaragua. What do you do to ground the music in tradition and history to keep it authentic?

The question has always been “How do I integrate things in a way that feels honest and real to the project?” I know a lot of people do resistance music and a lot of people do cultural music, and I want to make sure what I do comes off authentic, well-grounded and wellinformed in tradition. I wouldn’t call myself an expert, but I know how to respect the cultures and traditions I’m referencing, and hopefully I can bring in people who don’t know what these things are.

How has your background as an immigration advocate played a role in your music?

I come from the activism world and so after I quit the job at NCLR, I felt like I wasn’t doing anything radical enough. There was a part of me that was like, “I’m doing this thing and it’s a little self-oriented and it requires a lot of self-promotion.” That’s totally essential and part of the game, but there was a part of me that wondered what I was giving back. It didn’t feel radical enough to me.

And then the election happened, and suddenly, it felt like the world around me had shifted and we were doing something radical, promoting culture and cultural understanding. It had a different significance in this context.

I wrote an article a while ago on living two cultural identities, and this white woman comes up to me, someone who I wouldn’t think would connect with the article. And she said, “I totally identified with that—I was raised Christian and Jewish, and I felt so torn by these identities.” That’s exactly the kind of moments I hope my music inspires. We’re all complicated and have these unique experiences that form who we are, and you can’t know these things unless you have conversations and ask questions respectfully and engage people. You can’t know what people have been through by the way they look.

It’s exciting to think that hopefully some of that is coming across in the music, and I feel like it’s making an impact, especially now. It feels more important now.

How did your time in Africa inspire you musically?

I spent time in Africa in a village. I didn’t live in the cities, I lived very, very, very far into the forest in a small village. No running water. No electricity. I was in a mud hut. The only light at night was the moon and the stars, and I got into nature. That’s really what happened. I began to be educated into the music that happens in the forest. I got very close to the sounds of animals, and birds, and insects, and village musicians who learned from nature themselves. And I got a whole different understanding about the laws of nature.

Jazz Legend For the past 20 years, Robert Northern III, the 83-year-old jazz legend known to the music world as Brother Ah, has told tales on his weekly radio show on WPFW about his life as a session French horn player for all the greats—John Coltrane, Miles Davis, Don Cherry, Thelonious Monk, Sun Ra, and countless others. When leading his own ensembles, however, Brother Ah is known for his spiritual and meditative take on jazz, which recently found a new audience thanks to a reissue of his catalogue from the New York-based record label Manufactured Recordings.

—Matt Cohen You’ve lived in D.C. for decades, but you’re originally from The Bronx by way of North Carolina. What brought you to D.C.?

A woman. I’ve always loved Washington, D.C.

38 november 10, 2017 washingtoncitypaper.com

When I used to go on the road, everybody in the bus would say they couldn’t wait to get to Washington, D.C. because of the food, and the culture, and all of that. I loved the architecture. It’s just a beautiful city.

But I met a beautiful woman in Tanzania. I spent my summers in Africa starting in 1972.

And she had moved to Africa, to Tanzania, and I was on the faculty at that time at Dartmouth College and Brown University. She came back to Washington, D.C. to get her Ph.D. at American University. And so I’d come down on the weekends and visit her from Brown University. And when I left Brown University after nine years, I moved here.

You lived in New York in the ’50s and ’60s, working as a session musician. What was it like for you to transition from that jazz scene to D.C.?

Well, in that way, it was disappointing. Be-

In your opinion what animal makes the most beautiful music?

I would say birds. I literally got into a conversation with birds with my flute. I was in the middle of the forest and the birds were having a conversation. You can follow their call-and-response—they were really talking!

And I took my flute out and I jumped in. And they stopped, to listen to me. And once I kept playing, they heard me and we had a threeway conversation!

When I got back to America, I got a call from the curator of mammals at the Washington Zoo. He called me and says “Brother Ah, I’ve heard about your experiences with birds in Africa. We have a problem. The Stanley blue cranes are almost extinct and we have them at the zoo and they won’t lay an egg. So will you come down and help us?”

So I came down during the afternoon and I set up my musical instruments outside the cage and I studied the birds. And I realized that what’s happening is that the female would not lay an egg unless she does a crane dance. It’s the male bird that has to inspire her to do the dance before she lays an egg.

So I listen to the male bird and I got his melody and I got his rhythm. About an hour later, I became the male bird and I played all his stuff, and she began to dance! So the next morning the curator called me. He said “Brother Ah! You’re in the paper! Did you read the paper?” I said “What do you mean?”

And he said “The bird laid an egg!”

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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 november 10, 2017 39

Bar Exam Maryland: Free State Bar 501b G St. NW; (202) 601-7216; freestatebar.com Free State may not have a kitchen to crank out Baltimore’s famous pit beef, but they do sell packaged snacks that will remind you of summers at the beach in Maryland, like Otterbein’s Cookies and Fisher’s Popcorn. “We always have the orange crush on the menu and hand squeeze the oranges,” co-owner Hilarey Leonard says. She’s referring to Maryland’s signature cocktail that typically combines OJ, vodka, triple sec, and lemon-lime soda. The bar’s signature shot should also speak to Baltimore natives. It features Viryta, a Lithuanian honey liqueur. “There’s a big Lithuanian population in Baltimore,” Leonard explains. Her husband and business partner Brian Leonard grew up drinking it. Free State’s spirits list includes booze from Maryland, like Lyon Distilling’s rum, and the bar offers $2 off Maryland beers during Ravens games.

Top of the Hour Where: ANXO Cidery & Pintxos Bar, 300 Florida Ave. NW; (202) 986-3795; anxodc.com

Grazer

In D.C., it seems like many of the people you meet are originally from somewhere else. Three restaurants and bars that opened in 2017 pay homage to a specific city or state, hoping to lure transplants in for a taste of home or introduce folks from other places to traditional fare without a trip. Head here to get out of town, if only for a drink.

—Laura Hayes

Wisconsin: RARE Steak & Seafood/The Tavern at Rare 1595 I St. NW; (202) 800-9994; raresteakandseafooddc.com Ask for the Wisconsin Old Fashioned at this establishment, which has a casual first floor tavern and an upstairs steakhouse, and you might get an explainer from your server. That’s because it swaps out more traditional bourbon or rye for Korbel brandy, combined with either soda water, Sprite, or sour mix. “It’s not drunk anywhere outside of Wisconsin,” says Justin Abad, the director of operations. “It’s a sugar bomb.” At the tavern you can also try cheese curds and a soul-satisfying plate of sliced Wisconsin brats mixed with pickled cabbage and creamy spaetzle. The only disappointment is the beer list because, save for Miller, there’s not much in the way of Wisconsin brews.

Drink specials: Half-off select cider, wine, beer, and vermouth Jenny Splitter

Food specials: Half-off all pintxos (Basque-style bite-sized snacks)

funky cider fermented with the yeast from the apples themselves. All of the pintxos are half-off too, and with prices ranging from $1 to $2.50, you can def-

40 november 10, 2017 washingtoncitypaper.com

Boston: Dirty Water 816 H St. NE; (504) 296-6180; dirtywaterdc.com Named for the song played after Red Sox victories at Fenway Park, Dirty Water is a temple to Boston sports. Sam Adams Lager drafts and Narragansett tall boys are $4 whenever the the Bruins, Red Sox, Patriots, or Celtics are playing on the bar’s 10 televisions. When no one’s playing, you can still get New England beers like Harpoon IPA on the cheap and you can pair them with a warm cup of clam chowder this winter. Don’t be alarmed if you hear a big honk from time to time. Budweiser rigged the bar with a goal horn.

“Every time the Bruins score a goal, the horn goes off,” says owner Chris DeFelice.

“We don’t even have to hit a button, it’s hooked up via Wi-Fi.” Half the bar is exposed to the elements on a patio where DeFelice encourages patrons to play beer pong and flip cup, creating what he hopes is a true sports bar atmosphere.

initely fill up. Highlights include montaditos, or mini sandwiches, like baby beets with sour cream and pine nuts.

The sides and snacks, though not half off, are still reasonably priced, so you can round out your meal with a bowl of fried pig ears ($5) or, for the less adventurous, Brussels sprouts with serrano ham ($6).

refreshing cider fermented with sauvignon blanc yeast, or, for sour beer lovers, opt for the sidra natural, a tart and

Hours: 5 p.m. to 6:30 p.m. Mondays through Fridays

Pros: If you’ve been wanting to give cider a try, ANXO’s happy hour is the place to do it. Four of their ciders are half-priced during happy hour, as is a small selection of beer, wine, and vermouth. Try the cidre blanc, a bright and

what we’ll eat next week: Nasu dengaku with local eggplant, yuzu miso, chili-lime vinaigrette, sesame seed, candied pumpkin seed, and scallions, $12, Himitsu. Excitement level: 4 out of 5.

Cons: The menu features a whole lot of cider and anchovies, so if you can’t stand either, or you don’t like snacks served on toast, ANXO may not be the spot for you. Also, while happy hour pricing is currently available on the patio, deck, and downstairs bar, the interior space is fairly narrow, so when winter descends, ANXO’s happy hour may start to feel a bit cramped.

—Jenny Splitter

What’s in

Stein’s Stein Courtesy of Bridgette Turner

DCFEED

what we ate this week: Foie gras PB&J with house-made madeleines, concord grape, and celery, $17, Bresca. Satisfaction level: 4 out of 5.

Beer: Solace Brewing’s Super Dope IPA Person: Bridgette Turner, Lead Brewer Hometown: Fairfax, Virginia Price: $8 per draft Taste: This well balanced beer has an aroma of tangerine, pungent pine, and overripe fruits. A candied orange sweetness accompanies bitter tastes of pith. A substantive mouthfeel and medium body give way to a dry finish. It’s deceptively smooth at 7% ABV. It’s a Goldilocks beer: far from thin, far from thick, just right.

Story: When brewers at DC Brau, 3 Stars, and Atlas tell you they’re impressed with Solace’s IPA, you keep an eye out for Super Dope. The ale is brewed by Bridgette Turner, a rockstar in the D.C. region despite being in the brewing world for only five years.

Turner got her start at Beltway Brewing Company in Sterling, Virginia. Beltway specializes in brewing other breweries’ beers, like Grimm Artisanal Ales. Some weeks, Turner would brew five different recipes in as many days. “Not only do you have one shot to get the beer the customer wants, but it has to be perfect in quality and perfect in flavor so you have to impress the very first time if you want them back.”

She moved from Beltway to the Tampa Bay Brewing Company before moving back to the D.C. area to help launch Solace. She’s still cleaning kegs but she’s also filling kegs, brewing, cellaring, and running operations. Turner has her hands in literally every aspect of the process. “I make the wert and I pitch the yeast and I do all the regular brew-day things.”

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The Edge of the Universe 2017-2018 College Performing Arts Series Players 2 present

Mystery School

Love & Lust Classifieds My Are Back aMeriCa:

Perspectives on the American Dream

Remember these?

November 8–11, 8 p.m.

November 12, 2 p.m.

Montgomery College student artists will come together to present what American Dream means to them through music, dance, and theatre performance.

by Paul Selig featuring Nora Achrati “. . . highly recommended . . .”

--MDTheatreGuide.com “. . . such powerful performances . . .”

--DCMetroTheaterArts.com

See UniversePlayers2.org

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

Tickets are $10 Regular, $8 Seniors & $5 Students w/ ID

ROBERT E. PARILLA PERFORMING ARTS CENTER

Montgomery College • 51 Mannakee St., Rockville, MD 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301

washingtoncitypaper.com

WASHINGTON CITY PAPER College Perfomring Arts Series My aMerica

If you’re tired of Tinder, bummed out by Bumble, or lost in Match malaise, City Paper is here for you.

We’re planning a limited edition, print-only, love and lust classified ads section in late November, just in time for the holidays. Go to washingtoncitypaper.com/love to find true love or an A+ tryst. It costs you $5 for a two-week ad run.

42 november 10, 2017 washingtoncitypaper.com

Call Angie Lockhart with any questions.

Angie Lockhart Publicist Robert E. Parilla Performing Arts Center Montgomery College 51 Mannakee Street Rockville, MD 20850 phone 240-567-7538 fax 240-567-7542

CPArts

The Washington National Opera tries valiantly to make Alcina an exciting opera. washingtoncitypaper.com/arts

Light in the Box

Nearly half a century after his death, Thomas Wilfred’s radical light-based art works are finally getting the exhibition they deserve.

Lumia: Thomas Wilfred and the Art of Light At the Smithsonian American Art Museum to Jan. 7, 2018

By Jeffry Cudlin Thomas Wilfred ThoughT that the art of the future ought to look like the view through a spaceship window.

Shortly after World War I, the Danish-born troubadour decided to hang up his lute and start wowing audiences with swirling colored lights. He built an organ-like instrument that used levers, mirrors, and tungsten bulbs to transform the concert hall into “a fantastic dream ship,” as he once described it, “capable of traveling through space with the speed of thought.”

Wilfred dubbed his instrument the Clavilux; with it, he launched lumia, a silent, timebased eighth art of pure light. He gave his first lumia performance in New York in 1922 and eventually toured Europe, immersing audiences in shifting, aurora-like fields of color.

The hype for these concerts was intense: A poster for a 1926 show promised “an achievement that will rank among man’s greatest.” But despite his love of self-promotion and spectacle, Wilfred saw himself more as an inventor than a performer. “In time,” he wrote in a 1947 essay, “we shall have lumia virtuosi who can sweep the spectators off their feet with masterly interpretations of a composer’s work. But first the Johann Sebastian Bach of lumia must appear on the scene. Let us hope he is at least a high school student at the moment.”

But his Bach never arrived. By the 1950s, Wilfred was selling scaled-down light machines to collectors and stage lighting gadgets to theater companies. And while he successfully courted key patrons—in 1963, the Museum of Modern Art commissioned “Lumia Suite, Op. 158,” a 6-by-8 foot piece that remained on continuous view until 1980—his work increasingly looked out of place in the art world.

By 1971, three years after Wilfred’s death, New York Times critic John Canaday suggested lumia had died with him. “[Wilfred’s] scientific control was impressive,” Canaday wrote, “but the fact that his light and color motifs are most easily (and accurately) described as ‘effects’ makes one wonder whether all the science was worth the end result. The lumia screens are fascinating to watch—for a while. But that is the end of it.”

Nearly half a century later, Wilfred’s abortive eighth art has been resurrected. Organized by the Yale University Art Gallery and currently on view at the Smithsonian American Art Museum, Lumia: Thomas Wilfred and the Art of Light features 15 lightbased pieces created between 1928 and 1968. The show hums with Wilfred’s fully restored original disks of colored glass, curved panels of polished metal, and wonky antique lamps

and actuators, many rescued from dusty boxes and disrepair.

Returned to their former glory, these contraptions fill the darkened galleries of SAAM with wobbly space jellyfish and slowly churning nebulae.

Galleries

“Unit #86” by Thomas Wilfred (1930) Sadly, little evidence survives of Wilfred’s 1920s performances; they’re represented by drawings, diagrams, and lumia scores, written in white ink on black paper to make them legible in the dark. Instead, the show focuses on smaller works: early prototypes for light-generating home appliances and framed rear-projection screens for galleries.

“Unit #86” from the Clavilux Junior (First Home Clavilux Model) series (1930) demonstrates how Wilfred schemed for a while to sell the Clavilux as a household item. In the belly of “Unit #86,” a glass record covered in hand-painted, snake-y orange, blue, and green shapes spins; lights project these shapes onto a curved cardboard screen. Undulating bands of color travel up the left and right margins of the cardboard; organic blobs morph and spin in the center. The tempo and intensity can be altered via a hand-held controller.

The art deco cabinet housing the mechanism is handsome, but the action onscreen feels undercooked. Wilfred’s device may

have prefigured a future of remote-controlled glowing screens, hypnotizing families in their living rooms, but it’s not surprising that the Clavilux-as-home-entertainment never took off.

Wilfred also designed machines for museums. In his 1950 piece, “Counterpoint in Space, op. 146,” wisps of light glide like glowing smoke across a rear-projection screen, rising, turning, and dissipating. Colors shift from yellow and green to violet and red; apparitions stretch and collapse. The piece can hold viewers for long, contemplative stretches awaiting a resolution that never comes: “Counterpoint” runs for over 44 hours before the sequence of motions repeats.

While Wilfred claimed to be the future of art, “Counterpoint” seems old-fashioned, even for the 1950s. A chunky 24-by-20 inch oak frame with an engraved brass nameplate surrounds the small frosted screen—not unlike a fusty old landscape painting.

In 1952, Wilfred’s framed pieces were featured alongside works

by Mark Rothko, Jackson Pollock, and Clyfford Still in MoMA’s 15 Americans exhibition. While all three painters created giant canvases with flat, all-over compositions, Wilfred crafted small illusionistic windows into fictive worlds of cosmic goop. Wilfred did interact with these artists—Pollock attended Clavilux recitals—but setting lumia in the context of modern painting only underscored its quaintness.

Career retrospectives often suggest that great artists develop one big idea through phases of creativity that follow one another organically. Wilfred doesn’t fit this model, and ends up seeming a bit like a huckster. At first, he sold lumia as a concert medium; then he tried to make it the basis for an unsuccessful form of ur-television; finally, he turned it into a luminous, kinetic analog for painting.

Light and intermedia artists have acknowledged Wilfred, but his inclinations toward space fantasy are durably unfashionable. It’s easier to connect him to the explosions of color in Disney’s 1940 film Fantasia or the pulsating energy of The Joshua Light Show at the Fillmore East in the 1960s than to the minimalist tendencies of Light and Space artists like James Turrell or Robert Irwin. No wonder Canaday didn’t know what to do with him.

Rather than address the history of an established medium, he invented his own. Rather than connect to his peers, Wilfred waited for followers to flock to him.

Despite all of this, in the presence of Wilfred’s refurbished works, it’s impossible not to admire his irrational commitment to his craft. Wilfred intuitively understood big changes in science, popular culture, and our relationship to technology, and he responded to them in a novel way. His art historical pedigree may not make sense, his Bach is presumably never coming, but at SAAM, his spaceship windows offer a view onto something like beauty.

CP 8th and F streets NW. Free. (202) 633-1000. americanart.si.edu. washingtoncitypaper.com november 10, 2017 43

44 november 10, 2017 washingtoncitypaper.com

CITYLIST Music 45 Theater 50 Film 53

Music

CITY LIGHTS: FRIDAY

FRIDAY CLASSICAL

ClariCe Smith Performing artS Center Stadium Drive and Route 193, College Park. (301) 405-2787.

UMD Wind Orchestra: Pioneers. 8 p.m. $10–$25. theclarice.umd.edu.

COUNTRY fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Eli Young Band. 8:30 p.m. $25. fillmoresilverspring.com.

Songbyrd muSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. The Reverend Peyton’s Big Damn Band. 8 p.m. $15–$18. songbyrddc.com.

FOLK

the hamilton 600 14th St. NW. (202) 787-1000.

Frank Solivan & Dirty Kitchen. 8 p.m. $17.25–$39.75. thehamiltondc.com.

FUNK & R&B

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

Orgone. 6 p.m. $15. ustreetmusichall.com.

HIP-HOP

muSiC Center at Strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Black Violin. 8 p.m. $26–$68. strathmore.org.

JAzz

barnS at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Red Baraat. 8 p.m. $30–$35. wolftrap.org. blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $62–$67. bluesalley.com. hylton Performing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. Jazz 4 Justice. 8 p.m. $15–$20. hyltoncenter.org. tWinS Jazz 1344 U St. NW. (202) 234-0072. Project Natale. 9 p.m.; 11 p.m. $27. twinsjazz.com.

ROCK

dC9 1940 9th St. NW. (202) 483-5000. A. Savage. 7 p.m. $12. dcnine.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Overcoats. 8 p.m. $15–$18. rockandrollhoteldc.com.

SATURDAY CLASSICAL

hall of muSiCal inStrumentS at the national muSeum of ameriCan hiStory 14th Street and Constitution Avenue NW. (202) 633-3030. Axelrod String Quartet. 7:30 p.m. $66–$85. residentassociates.org. kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Borrowed from Baroque. 8 p.m. $15–$89. kennedy-center.org.

COUNTRY

hill Country barbeCue 410 7th St. NW. (202) 556-2050. Sleepy LaBeef. 9 p.m. $20. hillcountrywdc.com.

FOLK

barnS at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. George Winston. 3 p.m.; 8 p.m. $40–$45. wolftrap.org.

NATIONAL PRESS CLUB BOOK FAIR

I’ll let you in on a secret: This is the easiest way to knock out your Christmas shopping. As a present, books can come off a little lazy. Unless you’ve sniped some rare edition off eBay, a book tends to scream “I drove to Barnes & Noble on Christmas Eve.” But if you’re giving a signed book, that changes everything. For all your touched recipient knows, you’ve been thinking about this for months! Instead of haunting every Politics and Prose reading, though, you can do it all at the National Press Club Book Fair. Sally Quinn’s going to be there signing copies of her new spiritual memoir. For foodies, Washington restaurant magnate Ashok Bajaj’s Rasika book is on sale. There are political options for every shade of cable news dad—E.J. Dionne will be there, along with Bob Schieffer, Greta Van Susteren, and Joshua Green, who wrote the definitive book on Steve Bannon. If you have a weird cousin, get the Washington Post’s David Weigel to sign his prog rock book. You’ll be a Christmas hero. The National Press Club Book Fair begins at 5:30 p.m. at The National Press Club, 529 14th St. NW., 13th Floor. $10. (202) 662-7500. press.org.

—Will Sommer

HIP-HOP fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Macklemore. 8 p.m. Sold out. fillmoresilverspring.com. u Street muSiC hall 1115 U St. NW. (202) 588-1889.

Sahbabii. 7 p.m. $15. ustreetmusichall.com.

JAzz amP by Strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Dave Kline Band & Veronneau. 8 p.m. $25–$35. ampbystrathmore.com. blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $62–$67. bluesalley.com.

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

John McLaughlin/Jimmy Herring. 8 p.m. $45-$65. thelincolndc.com. tWinS Jazz 1344 U St. NW. (202) 234-0072. Project Natale. 9 p.m.; 11 p.m. $27. twinsjazz.com.

ROCK

the anthem 901 Wharf Street SW, DC. Tegan and Sara. 8 p.m. $50.50-$76. theanthemdc.com. blaCk Cat 1811 14th St. NW. (202) 667-4490. Lee Ranaldo with The Messthetics. 8 p.m. $18. blackcatdc.com.

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

(703) 237-0300. Tusk: Fleetwood Mac Tribute. 9 p.m. $20. thestatetheatre.com.

washingtoncitypaper.com november 10, 2017 45

CITY LIGHTS: SATURDAY

WASHINGTON JEWISH MUSIC FESTIVAL

Simone Baron and David Buchbinder have never worked together onstage before. But for this festival gig they will be collaborating, doing cross-cultural compositions drawn from klezmer, jazz, contemporary classical music, and Afro-Cuban sounds.

Baron, a festival artist-in-residence who lives in the D.C. area, is a pianist and accordionist who has performed with Brazilian and chamber music groups. Buchbinder, a trumpet player based in Toronto, has played with a number of bands including the Flying Bulgars and the Jewish-meets-Cuban ensemble Odessa/Havana. Buchbinder will likely bring noisier, jazzy horn work and sections with uptempo Caribbean percussion and Baron will add her brand of occasionally discordant violin, accordion, and piano. Together, expect the two artists to combine their unique styles, creating a sound fresh to the ears. Simone Baron and David Buchbinder perform at 7:30 p.m. at the Edlavitch D.C. Jewish Community Center, 1529 16th St. NW. $15–$18. (202) 777-3241. wjmf.org.

—Steve Kiviat

VOCAL hylton Performing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. American Festival Pop All-Stars. 4 p.m. Free–$15. hyltoncenter.org.

SUNDAY

FELIX CAVALIERE’S RASCALS 50th Anniversary Tour November 17, 2017, 8 p.m.

Mega hits include “Good Lovin,” “I’ve Been Lonely Too Long,” “Groovin’,” “How Can I Be Sure,” “A Girl Like You,” “A Beautiful Morning,” and “People Got to Be Free.”

CLASSICAL hall of muSiCal inStrumentS at the national muSeum of ameriCan hiStory 14th Street and Constitution Avenue NW. (202) 633-3030. Axelrod String Quartet. 7:30 p.m. $66–$85. residentassociates.org. kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. The Mariinsky Orchestra. 7 p.m. $45–$115. kennedy-center.org. the Warne ballroom at the CoSmoS Club 2121 Massachusetts Ave NW, DC. Van Kuijk Quartet. 4 p.m. $20–$40. phillipscollection.org.

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

The Shadowboxers. 7 p.m. $20. ustreetmusichall.com.

JAzz blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Roy Hargrove. 8 p.m.; 10 p.m. $62–$67. bluesalley.com. muSiC Center at Strathmore 5301 Tuckerman Lane, North Bethesda. (301) 581-5100. Irma Thomas & Friends. 4 p.m. $28–$69. strathmore.org. tWinS Jazz 1344 U St. NW. (202) 234-0072. Levon Mikaelian. 8 p.m.; 10 p.m. $22. twinsjazz.com.

Tickets are $60, $50 Regular; $50, $40 Faculty, Staff, & Seniors; & $45, $35 Students w/ID

Discounted tickets must be purchased in person with valid student or staff ID.

ROBERT E. PARILLA PERFORMING ARTS CENTER 2017-2018 Guest Artist Series

Montgomery College • 51 Mannakee St., Rockville, Maryland 20850 www.montgomerycollege.edu/pac • Box Office: 240-567-5301 46 november 10, 2017 washingtoncitypaper.com

ROCK dC9 1940 9th St. NW. (202) 483-5000. The Coronas. 9 p.m. $12–$14. dcnine.com. the hamilton 600 14th St. NW. (202) 787-1000.

Doyle Bramhall II. 7:30 p.m. $15–$40. thehamiltondc. com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

David Bazan. 8 p.m. $20. rockandrollhoteldc.com.

MONDAY JAzz

barnS at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Herb Alpert & Lani Hall. 8 p.m. $55–$65. wolftrap.org. blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Jazzmeia Horn. 8 p.m.; 10 p.m. $42. bluesalley. com.

ROCK

roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Alex Clare. 8 p.m. $25. rockandrollhoteldc.com.

VOCAL

fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. Haley Reinhart. 8 p.m. $20–$60. fillmoresilverspring.com.

WORLD

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. The Paco De Lucia Project. 7:30 p.m. $39.50. birchmere.com.

TUESDAY CLASSICAL

hylton Performing artS Center 10960 George Mason Circle, Manassas. (703) 993-7759. The Washington Saxophone Quartet. 1:15 p.m. $27. hyltoncenter.org.

FUNK & R&B

Songbyrd muSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. R.Lum.R. 8 p.m. $15–$18. songbyrddc.com.

GO-GO

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. The Jo-Go Project. 8 p.m.; 10 p.m. $37. bluesalley.com.

JAzz

barnS at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. Herb Alpert & Lani Hall. 8 p.m. $55–$65. wolftrap.org.

ROCK

9:30 Club 815 V St. NW. (202) 265-0930. Silversun Pickups. 7:30 p.m. $45. 930.com.

VOCAL

blaCk Cat 1811 14th St. NW. (202) 667-4490. Luna. 8 p.m. $25. blackcatdc.com.

national gallery of art WeSt garden Court 4th Street and Constitution Avenue NW. (202) 8426941. The Crossing. 3:30 p.m. Free. nga.gov.

fillmore Silver SPring 8656 Colesville Road, Silver Spring. (301) 960-9999. The Used. 7:30 p.m. $37. fillmoresilverspring.com.

THIS WEEK’S SHOWS D NIGHT ADDED!

FIRST NIGHT SOLD OUT! SECON

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

Mipso • The Brothers Comatose • The Lil Smokies .................... Su 12 Hippo Campus w/ Remo Drive ........................................................................ M 13 NOVEMBER

DECEMBER (cont.)

ALL GOOD PRESENTS

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

& The Players Band ......................F 24 ALL GOOD PRESENTS

Keller Williams’ Thanksforgrassgiving feat.

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

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

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

Lucius

JUST ANNOUNCED!

ALL GOOD PRESENTS

DECEMBER

The Blasters ...................................Su 3

Jungle ..........................................M 4 TEEV PRESENTS

Hadag Nahash with

special guest Hanan Ben Ari ...W 6 NEW MEDIA TOURING PRESENTS

Matt Bellassai This is a seated show. ......................Th 7 No Scrubs: ‘90s Dance Party

with DJs Will Eastman and Brian Billion .........................F 8

Gary Numan w/ Me Not You Early Show! 6pm Doors ....................Sa 9

Victor Wooten Trio feat. Dennis Chambers &

Bob Franceschini ...................Sa 16

Puddles Pity Party .....................NOV 17

Municipal Waste w/ NAILS • Macabre • Shitfucker .Su 17 Up and Vanished Live This is a seated show. .....................M 18

ALL GOOD PRESENTS

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

Henry Rollins Travel Slideshow .......................... JAN 15 Majid Jordan ................................ JAN 23

MURRAY & PETER PRESENT

A Drag Queen Christmas .......NOV 26 ALL GOOD PRESENTS The Wood Brothers

STEEZ PROMO PRESENTS

Yann Tiersen .................................. DEC 5

Ookay .........................................F 22

AN EVENING WITH

OTHERFEELS PRESENTS NEXT UP II FEAT.

Tony Kill • Echelon The Seeker • OG Lullabies • Dawkins • U STREET MUSIC HALL PRESENTS

Flosstradamus .....................Th 28

David Rawlings ............................DEC 6 Merry Christmas From The Fam-O-Lee Show .........DEC 7

with Steve Morse, Rod Morgenstein, Allen Sloan, Andy West, and Steve Davidowski) ..................MAR 7

AN ACOUSTIC EVENING WITH

AEG PRESENTS

and Wade Bowen...................... DEC 13

NEW YEAR’S EVE AT LINCOLN THEATRE!

The Dead Milkmen w/ Mindless Faith ...........................F 5 Boat Burning: Music for 100 Guitars w/ Visuals by DC guerrilla

w/ The Stray Birds ........................... JAN 26 Dixie Dregs (complete Original Lineup

Robert Earl Keen’s

Kip Moore, Randy Rogers,

JANUARY

White Ford Bronco:

Bianca Del Rio ........................... MAR 15 Max Raabe & Palast Orchester ...................APR 11

DC’s All 90s Band ..................... DEC 31 • thelincolndc.com • U Street (Green/Yellow) stop across the street!

projectionist Robin Bell .............Su 7

The Wombats w/ Blaenavon & Courtship .............M 8

9:30 CLUB PRESENTS AT U STREET MUSIC HALL

AN EVENING WITH

The Disco Biscuits Ticket included with purchase of tickets to

Foreign Beggars ........................ Th NOV 9 Stop Light Observations ............ F DEC 1 Orgone w/ Threesound .......................... F 10 Allan Rayman ..................................... Sa 2 Sahbabii w/ Nessly • T3 • 4orever Uno The Activist & Thouxanbanfauni New Date! All 8/17 tickets honored. ................ Sa 11 w/ Warhol.ss ........................................... Th 5 The Shadowboxers ......................... Su 12 Busty and the Bass ........................... Th 7 Cousin Stizz w/ Levi Carter & Big Leano ..................... M 13 Rico Nasty .............................................F 8 Bully w/ Aye Nako ................................. W 15 Shamir w/ Partner ................................ F 15 Arkells w/ Irontom .............................. Sa 18 Alex Aiono ..................................Sa JAN 20 Sheppard ............................................ M 20 Rostam w/ Joy Again .......................Th FEB 1 Moonchild .......................................... Tu 21 Mod Sun ................................................. M 5 Maximo Park Gabrielle Aplin w/ John Splithoff ......... Su 25 w/ Active Bird Community ..................... Tu 28

1/13 The Disco Biscuits @ The Anthem..F 12

ALL GOOD PRESENTS

STEEZ PROMO PRESENTS

Collie Buddz w/ Jo Mersa Marley & The Holdup ..............................M 15

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

SPEND NEW YEAR’S EVE WITH

Bear Grillz

(Acoustic) w/ Ethan Gruska (Solo) ............. FRI MARCH 23

On Sale Friday, November 10 at 10am

FootsXColes • Sugg Savage .Sa 23

Priests w/ Blacks Myths & Mellow Diamond . F 1 Reverend Horton Heat w/ Big Sandy • Dale Watson •

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

Hiss Golden Messenger .....M 11

MANY MORE SHOWS ON SALE!

9:30 CUPCAKES

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

The White Buffalo w/ Suzanne Santo ........................W 13 Angel Olsen w/ White Magic...Th 14

SPOON

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

930.com

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

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

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

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

HAPPY HOUR DRINK PRICES

AFTER THE SHOW AT THE BACK BAR!

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

930.com washingtoncitypaper.com november 10, 2017 47

CITY LIGHTS: SUNDAY

IRMA THOMAS

It was but a few songs that solidified Irma Thomas as the Soul Queen of New Orleans. On the highest-charting of those, “Wish Someone Would Care,” she uses her powerhouse Baptist church-developed voice to stretch syllables on her own plea for affection. Thomas had perfected the art of infusing her experiences—she’d been divorced twice before the age of 20 and had battled with a record company over royalties—into emotional lyrics. Thomas’ sultry ballad “Ruler of My Heart” didn’t reach the top of the pop chart, but it furthered her star status with New Orleans R&B fans thanks to her particular brand of blues. In the half a century since her early success, Thomas has had to work a day job and flee several hurricanes, but her forceful and fervent voice remains. She will be joined by members of New Orleans jazz vets Preservation Hall and gospel outfit the Blind Boys of Alabama. This bevy of soulful musicians will tug on your heartstrings as you're grooving. Irma Thomas performs with members of Preservation Hall and the Blind Boys of Alabama at 4 p.m. at the Music Center at Strathmore, 5301 Tuckerman Lane, North Bethesda. $28–$68. (301) 581-5100. strathmore.org.

—Steve Kiviat

VOCAL

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Bruce Cockburn. 7:30 p.m. $49.50. birchmere.com. kennedy Center terraCe theater 2700 F St. NW. (202) 467-4600. Barbara Hannigan & Reinbert de Leeuw. 7:30 p.m. $39. kennedy-center.org.

WORLD

JAzz blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Chelsey Green Project. 8 p.m.; 10 p.m. $42. bluesalley.com. tWinS Jazz 1344 U St. NW. (202) 234-0072. Joe Vetter Quartet. 8 p.m.; 10 p.m. $22. twinsjazz.com.

the hamilton 600 14th St. NW. (202) 787-1000.

Habib Koité & Bamada. 7:30 p.m. $30–$49.75. thehamiltondc.com.

ROCK

WEDNESDAY

roCk & roll hotel 1353 H St. NE. (202) 388-7625.

Hot Snakes. 8 p.m. $26–$30. rockandrollhoteldc.com.

9:30 Club 815 V St. NW. (202) 265-0930. The Revivalists. 8 p.m. $32. 930.com.

BLUES

Songbyrd muSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Omni. 8 p.m. $10–$12. songbyrddc.com.

COUNTRY

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

Bully. 7 p.m. $18. ustreetmusichall.com.

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

JOHNNYSWIM. 8 p.m. $35. thelincolndc.com. birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Lyle Lovett & John Hiatt. 7:30 p.m. $110. birchmere.com.

velvet lounge 915 U St. NW. (202) 462-3213. Elizabeth II. 8:30 p.m. $8. velvetloungedc.com.

ELECTRONIC

THURSDAY

kennedy Center atrium 2700 F St. NW. (202) 4674600. Mason Bates’s KC Jukebox: Mouse on Mars.

7:30 p.m. $25. kennedy-center.org. u Street muSiC hall 1115 U St. NW. (202) 588-1889.

Hayden James. 10:30 p.m. $15. ustreetmusichall.com.

FOLK

amP by Strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. The Cocuzzi Courtet. 8 p.m. $25. ampbystrathmore.com.

48 november 10, 2017 washingtoncitypaper.com

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

JOHNNYSWIM. 8 p.m. $35. thelincolndc.com.

CLASSICAL

kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Tastes of Italy, France & Spain. 7 p.m. $15–$89. kennedy-center.org. manSion at Strathmore 10701 Rockville Pike, North Bethesda. (301) 581-5100. Sonnambula. 7:30 p.m. $30. strathmore.org.

PURCHASE BY NOVEMBER 15TH TO SAVE UP TO 15%

• Player meet and greets

• Watch a Nationals mascot Home Run Derby

• Clinics with Nationals players and coaches

• Hear a winter or baseball-themed story, read by a Nationals player

• Make a snow fort, participate in the steal home challenge and take batting practice

• Feel like you’re tubing the slopes on The Slider

nationals.com/Winterfest

Choose your 3-game ticket pack and receive a limited edition Washington Nationals Elf on the Shelf® ornament.

Order by December 15th to receive your ornament by December 23rd*.

TICKET PACK #1 vs. ARIZONA DIAMONDBACKS • SATURDAY, APRIL 28 vs. SAN FRANCISCO GIANTS • SUNDAY, JUNE 10 vs. ST. LOUIS CARDINALS • TUESDAY, SEPTEMBER 4

TICKET PACK #2 vs. PITTSBURGH PIRATES • MONDAY, APRIL 30 vs. PHILADELPHIA PHILLIES • FRIDAY, JUNE 22 vs. NEW YORK METS • SATURDAY, SEPTEMBER 22 SOME RESTRICTIONS APPLY. LIMITED TIME OFFER. ONE ORNAMENT PER ORDER. MINIMUM 2 PACKS PER ORDER.

nationals.com/Holiday washingtoncitypaper.com november 10, 2017 49

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

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

Tix @ Ticketmaster.com 800-745-3000

Nov 9

MORRIS DAY & THE TIME 12 PAULA POUNDSTONE 13 THE PACO DeLUCIA PROJECT Flamenco Legends by Javier Limon

14

BRUCE COCKBURN (Band)

17

WALTER BEASLEY

Unit 3 Deep

18 “Hammer & Nail 20th Anniversary Show!”

PAUL THORN BAND with Alice Drinks The Kool-Aid

KATHY MATTEA

19 feat. Bill Cooley “The Acoustic Living Room” Song & Stories 20

THE STANLEY CLARKE BAND

THE SELDOM SCENE & DRY BRANCH FIRE SQUAD

24

DAVID BROMBERG QUINTET 27 NATHAN PACHECO 30 THE MARSHALL TUCKER BAND 25

Dec 1

“Honky Tonk Holiday”

BILL KIRCHEN & TOO MUCH FUN with special guest COMMANDER CODY 2 CHERYL WHEELER & JOHN GORKA 3 BLOOD SWEAT & TEARS featuring BO

BICE

w/ Chrissi Poland

HOT TUNA (Acoustic) The 6 STEVE EARLE & THE DUKES Mastersons 7 AARON NEVILLE “Holidays & Hits” 5

DAR WILLIAMS LUTHER RE-LIVES 7th Annual Holiday Concert

8&9 10

CHAKA

KHAN IN CONCERT! Fri. Nov. 24 • 8pm

LEDISI

Tix @ Ticketmaster.com 800-745-3000 Info @ Birchmere.com 703-549-7500

KIRK FRANKLIN

w/PJ Morton

THE REBEL THE SOUL & THE SAINT TOUR

SATURDAY NOV. 25 • 7:30PM DAR CONSTITUTION HALL

TICKETS ON SALE NOW AT TICKETMASTER.COM OR CALL 800-745-3000

50 november 10, 2017 washingtoncitypaper.com

birChmere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Lyle Lovett & John Hiatt. 7:30 p.m. $110. birchmere.com.

Weinberg Center for the artS 20 West Patrick Street, Frederick. (301) 600-2828. The Steel Wheels.

7:30 p.m. $26.75–$31.75. weinbergcenter.org.

ELECTRONIC

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

Ekali. 10:30 p.m. $15–$20. ustreetmusichall.com.

FOLK

amP by Strathmore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Stephen Wade. 8 p.m. $25–$35. ampbystrathmore.com. dC9 1940 9th St. NW. (202) 483-5000. Elliott BROOD. 8:30 p.m. $14. dcnine.com.

FUNK & R&B

CaPital one arena 601 F St NW, DC. Janet Jackson.

8 p.m. $37–$500. capitalonearena.monumentalsportsnetwork.com. u Street muSiC hall 1115 U St. NW. (202) 588-1889.

Kelela. 7 p.m. $25. ustreetmusichall.com.

JAzz

blueS alley 1073 Wisconsin Ave. NW. (202) 3374141. Robert Gambarini. 8 p.m.; 10 p.m. $47–$52. bluesalley.com.

OPERA

CatholiC univerSity of ameriCa 620 Michigan Ave. NE. (202) 319-5000. The Old Maid and the Thief and Doctor Miracle. 7:30 p.m. $5–$20. cua.edu.

ROCK

9:30 Club 815 V St. NW. (202) 265-0930. The Revivalists. 8 p.m. $32. 930.com. barnS at Wolf traP 1635 Trap Road, Vienna. (703) 255-1900. California Guitar Trio. 8 p.m. $25–$30. wolftrap.org. blaCk Cat 1811 14th St. NW. (202) 667-4490. The Drums. 8 p.m. $20. blackcatdc.com. roCk & roll hotel 1353 H St. NE. (202) 388-7625.

The Frights. 8 p.m. $18. rockandrollhoteldc.com.

WORLD

milkboy arthouSe 7416 Baltimore Ave, College Park. Rahim AlHaj. 8 p.m. $10–$30. milkboyarthouse. com.

Theater

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

Synetic Theater at Crystal City. 1800 South Bell St. , Arlington. To Nov. 19. $20–$60. (866) 811-4111. synetictheater.org. annie The family-favorite musical about a redhaired orphan and the rich businessman she charms fills Olney’s mainstage during the holiday season.

Featuring favorite songs like “Tomorrow” and “It’s a Hard Knock Life,” this production is directed by Jason King Jones. Olney Theatre Center. 2001 Olney-Sandy Spring Road, Olney. To Dec. 31. $37–$84. (301) 9243400. olneytheatre.org. antony and CleoPatra Robert Richmond returns to the Folger to lead the company’s production of the Bard’s drama about the romance between a Roman ruler and an Egyptian queen. As the forces of love and politics pull the title characters apart, both must decide to put themselves or their countries first. Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Nov. 19. $35–$75. (202) 544-7077. folger.edu. the book of mormon The long-running Broadway musical about two Mormon missionaries who wind up angering an African war lord returns to the Kennedy Center for another engagement. Featuring songs like “Hello!” and “I Believe,” this comedy currently stars Gabe Gibbs and Conor Peirson. Kennedy Center Opera House. 2700 F St. NW. To Nov. 19. $59–$199.

(202) 467-4600. kennedy-center.org. a ChriStmaS Carol Veteran local actor Craig Wallace takes on the role of Scrooge in this popular musical adaptation of Charles Dickens’ tale about kindness and holiday cheer. Celebrating more than 35 years as a Ford’s holiday tradition, Michael Wilson’s

CITY LIGHTS: MONDAY

JAzzMEIA HORN

Jazzmeia Horn’s voice is like the cosmos. It is strong, rich with earthy tones, and unrelenting.

Listening to her, especially on her new album, A Social Call, is like hearing the very land we trod upon sing of its weariness, the wisdom of its longevity, and all the beauty, pain, and heartbreak it has seen over a thousand generations. There is something eerily familiar about her music, like the comforting yet confusing embrace of a long forgotten friend. But Horn can untether that voice in a gospel cry of heavenly joy. On A Social Call, and recent tours, she synthesizes spoken word, spirituals, jazz standards, and her own world-weary but resilient compositions into a vocal style that cuts right to the soul. Backed by swinging instrumentation that imparts a mix of blues and gospel to every note, her performances are sure to lift your spirits and banish your troubles.

Jazzmeia Horn performs at 8 p.m. and 10 p.m. at Blues Alley, 1073 Wisconsin Ave. NW. $31. (202) 3374141. bluesalley.com.

—Jackson Sinnenberg

CITY LIGHTS: TUESDAY

ELIJAH BALBED

On the shortlist for the title of D.C.-est thing ever: a band that fuses jazz and go-go. It’s so D.C., in fact, that it feels like it should be incredibly obvious, and yet it actually took a uniquely talented and hardworking artist, tenor saxophonist Elijah Jamal Balbed, to put the pieces together as The JoGo Project. Balbed is a well known, hard-swinging commodity, and a highly acclaimed one to boot (not least

by Washington City Paper). He’s also an alum of the final iteration of the Chuck Brown Band, which seems to have some cache around these parts. In short, he’s a professional groove maker, and that’s the core principle that makes this brand of fusion possible. Well, that and a host of fellow veterans of both scenes who have recently recorded the One for Pops EP, the release of which they’re now celebrating. The JoGo Project performs at 8 p.m. and 10 p.m. at Blues Alley, 1073 Wisconsin Avenue NW. $26. (202) 337-4141. bluesalley.com.

—Michael J. West Horton Foote. Jane Squier Bruns stars in this produc-

adaptation is directed by Michael Baron. Ford’s Theatre. 511 10th St. NW. To Dec. 31. $22–$92. (202) 3474833. fords.org.

tion that opens Quotidian Theatre’s 20th season.

a Coffin in egyPt As her life nears its end, a 90-year-old small town widow reflects on the events that changed its course in this drama from playwright

4508 Walsh St., Bethesda. To Dec. 17. $15–$30. (301)

Quotidian Theatre Company at The Writer’s Center.

816-1023. quotidiantheatre.org.

washingtoncitypaper.com november 10, 2017 51

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

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

CITY LIGHTS: WEDNESDAY

N OV E M B E R TH 9 600 beers from around the world

& SPECIAL GUEST

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

NOVEMBER 10TH

TRACY HAMLIN 8PM F 10

ANN HAMPTON CALLAWAY SINGS

ALMOST LADIES NIGHT PRESENTED BYTOMMYTAYLOR

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DOORS AT 8PM

NOVEMBER 11TH

SMASHED:A NERDYAND DIRTY COMEDY SHOW

S 11

CONYA DOSS & SPECIAL GUEST TERI TOBIN 8 PM

DOORS AT 7PM, SHOW AT 8PM NOVEMBER 12TH

TASTE OF NEUROSCIENCE DOORS AT 6:30PM, SHOW AT 7:30PM PROFSAND PINTS LECTURE SERIES: “BOTS,TROLLS,ANDTHE FAKE NEWS” WITHALAN ROSENBLATT OF JOHN HOPKINS UNIVERSITY

SU 12 BRIAN BLADE & THE FELLOWSHIP BAND 8 PM M 13

NOVEMBER 13TH

"WHAT EVERY GARDENER SHOULD DO INTHE FALL," WITH CHEAXUM,DIRECTOR OFTHE CENTER FOR URBANAGRICULTURE ATTHE UNIVERSITY OFTHE DISTRICT OF COLUMBIA AT 6PM

TH 16 LOOSE ENDS FEATURING JANE EUGENE 7/10 PM F 17

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JOE CLAIR & FRIENDS

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TRIVIA NIGHT AT 7:30PM COMICSAND COCKTAILS PRESENTED BY FANTOM COMICS AT 6:30PM

NOVEMBER 14TH

CAPITAL LAUGHS OPEN MIC COMEDY

SU 19 A’NGELA WINBUSH 7:30 PM W 22 RARE ESSENCE 8 PM F 24

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KINGDOM OF COLORS

You’ve seen the commercials for the new iPhone X. It can use your face as a password to unlock its screen, it’s got a camera upgrade, and just look at the beautiful colors on its screen.

The surreal artwork on display in those commercials was inspired by French filmmaker Thomas Blanchard, and now you can see his work up close and personal at ARTECHOUSE’s Kingdom of Colors exhibit. Using state-of-the-art, immersive 270-degree wall projections, the space will feature Blanchard and artist Oilhack’s work with paint, oil, and liquid soap accompanied by a soundtrack from composer Leonardo Villiger. The film is shot with macro lenses, allowing for extremely close videography resulting in a hypnotizing, exploding rainbow universe of color. The exhibit is on view to Nov. 26 at ARTECHOUSE, 1238 Maryland Ave. SW. $8–$15. artechouse.com.

—Jeanine Santucci

Crazy for you The songs of George and Ira Gershwin are reimagined by playwright Ken Ludwig in this musical about a banker, assigned to shut down a small-town theater, who decides to revive it instead.

Featuring favorite songs like “I’ve Got Rhythm,” “Nice Work If You Can Get It,” and “Someone to Watch Over Me,” this musical, arriving at Signature in time for the holidays, is directed by Matthew Gardiner. Signature Theatre. 4200 Campbell Ave., Arlington. To Jan. 14. $40–$108. (703) 820-9771. sigtheatre.org. emilie: la marquiSe du Chatelet defendS her life tonight Playwright Lauren Gunderson tells the story of the acclaimed French physicist who spent her career answering questions of both the head and the heart, trying to determine whether love or philosophy should govern her actions. WSC Avant Bard Acting Company member Sara Barker stars as Emile on this area premiere directed by Rick Hammerly. Gunston Arts Center, Theatre Two. 2700 South Lang St., Arlington. To Nov. 12. $10–$35. (703) 418-4808. wscavantbard.org. lady day at emerSon’S bar & grill Set in a seedy Philadelphia jazz club four months before Billie Holiday’s death, this musical revue serves as a biography of the infamous singer and a cautionary tale.

Featuring songs like “God Bless the Child”, “My Man” and “Strange Fruit,” this production is directed by Lanie Robertson. Rep Stage at Howard Community College. 10901 Little Patuxent Parkway, Columbia. To Nov. 19. $10–$40. (443) 518-1500. repstage.org. mean girlS Tina Fey, Jeff Richmond, and Nell Benjamin team up to turn the classic 2004 high school comedy into a stage musical, which makes its preBroadway debut in D.C. Featuring a cast of theater veterans including Kate Rockwell, Taylor Louderman, and Kerry Butler, the show is directed by Tony winner Casey Nicholaw. National Theatre. 1321 Pennsylvania Ave. NW. To Dec. 3. $68–$178. (202) 628-6161. nationaltheatre.org.

my name iS aSher lev Based on the acclaimed novel by Chaim Potak, playwright Aaron Posner’s play tells the story of a young man coming of age in post-war Brooklyn, who is determined to become an artist at any cost. Despite facing disapproval from his family, Asher finds a connection between the art world and the ultra-religious community he lives in.

1st Stage. 1524 Spring Hill Road, McLean. To Dec. 17. $15–$33. (703) 854-1856. 1ststagetysons.org. nina Simone: four Women The civil rights anthems of jazz and soul vocalist Nina Simone come to life in this play that follows the artist’s reactions to the tumultuous events of the 1960s. Through songs like “Mississippi Goddam” and “To Be Young, Gifted, and Black,” audiences learn about Simone and American history in the same evening. Christina Ham directs this drama starring Arena regular Harriet D. Foy. Arena Stage. 1101 6th St. SW. To Dec. 24. $56–$91.

(202) 488-3300. arenastage.org. nothing to loSe (but our ChainS) Second City performer Felonius Monk mines his own life for experience in this comedy show that chronicles his journey from incarcerated criminal to corporate drone to comedian and actor. He’s joined on stage by a company of Second City comedians. Woolly Mammoth Theatre. 641 D St. NW. To Dec. 31. $20–$69. (202) 3933939. woollymammoth.net. the PaJama game Union conflicts are never as thrilling or romantic as they are in this musical set at the Sleep-Tite Pajama Factory. When the superintendent falls in love with the head of the grievance committee, all sorts of drama ensues, as does plenty of dancing. Alan Paul directs Arena’s annual fall musical that features songs like “Steam Heat” and “Hernando’s Hideaway.” Arena Stage. 1101 6th St. SW. To Dec. 24. $65–$120. (202) 488-3300. arenastage.org. the real ameriCanS Playwright and journalist turns 100 days of traveling through America in a small van into this one-man show that shares information

GOTHAM AWARDS NOMINATION

D.C.’s awesomest events calendar.

CITY LIGHTS: THURSDAY

KELELA

BINGHAM RAY BREAKTHROUGH DIRECTOR AWARD

MAGGIE BETTS

“EXCELLENT.” -Justin Chang, LOS ANGELES TIMES

MARGARET QUALLEY JULIANNE NICHOLSON

Since Kelela dropped DIANNA AGRON Washington City Paper original file: Adobe In her first mixtape, Cut MORGAN 4 Me, in 2013, critics Wed, Nov. 8, 2017 SAYLOR and fans alike have atMADDIE 1/12 H (4.666” x 1.603”) Non-SAU CMYK HASSON tempted to define her LIANA vibe. Future R&B? InLandmark Theatres/EP LIBERATO dustrial pop? Sensual AND MELISSA electronic dance muLEO washingtoncitypaper.com/ sic? Kelela offered a calendar better definition in a recent interview with WRITTEN AND DIRECTED BY WWW.SONYCLASSICS.COM Vulture, in which she MAGGIE BETTS asserted that her muEXCLUSIVE ENGAGEMENTS sic is a place “primarily for black girls to get washingtoncitypaper.com their life, but everyone WWW.NOVITIATEMOVIE.COM else can come to the party too.” As an Ethiopian-American womFri & Sat, Nov. 10 & 11 at Midnight!

555 11th Street NW an occupying a historWashington, DC 20004 • (202) 783-9494 ically white space in WASHINGTON CITY electronic music—and THU 11/9 in America as a black woman—her sound is inherently nebulous and complex. And it’s through 1/12 PG. (2.25" X 3.371" her music that she can really unpack the intersectionality of her sound and personal politics. Take Me Apart, her debut album six years in the making, isn’t overtly political, but a radical act noneALL.NVI.1108.WCP theless in the way she thrusts vulnerability, tenderness, and sexuality in the face of institutional hostility. On Take Me Apart, Kelela reflects on her own experiences with heartache, hookups, FEATURING LIVE SHADOW CAST and new love as a way to provide the roadmap for women—especially black women—to finally SONIC TRANSDUCERS! fall in love with themselves. Kelela performs with Lafawndah at 7 p.m. at U Street Music Hall, 1115 U St. NW. $25. (202) 588-1889. ustreetmusichall.com.

—Casey Embert

NOVITIATE

NOW PLAYING

about the people he met along the way. As he learns about the goals and political actions of these new friends, he also learns more about the nation’s diversity. Presented in repertory with Draw the Circle. Atlas Performing Arts Center. 1333 H St. NE. To Dec. 20. $20–$65. (202) 399-7993. atlasarts.org. a Short SerieS of diSagreementS PreSented here in ChronologiCal order English playwright Daniel Kitson comes to D.C. to create a unique, site- and time-specific piece for Studio audiences consisting of bits of conversations, squabbles, and discussions. Studio Theatre. 1501 14th St. NW. To Nov. 25. $20–$25. (202) 332-3300. studiotheatre.org.

St. niCholaS Conor McPherson’s dramatic monologue opens Quotidian Theatre’s season in repertory with A Coffin in Egypt. Steve Beall stars as the Dublin drama critic who encounters vampires when he follows an actress to London. Quotidian Theatre Company at The Writer’s Center. 4508 Walsh St., Bethesda. To Dec. 17. $15–$30. (301) 816-1023. quotidiantheatre.org. toP girlS To celebrate a promotion at work, Marlene hosts a dinner party with significant women from history. Caryl Churchill’s award-winning drama looks at the roles women have played over time and how Marlene rises to the top of her field. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Dec. 2. $35–$45. (202) 265-3767. keegantheatre.com. tWelfth night When Viola crashes on the coast of Illyria and disguises herself as a page to Duke Orsino, she kicks off a rollicking tale of love, romance, and mistaken identity. Director Ethan McSweeny leads Shakespeare Theatre Company’s production of this classic comedy which features one of the Bard’s most memorable heroines. Sidney Harman Hall. 610 F St. NW. To Dec. 20. $44–$118. (202) 547-1122. shakespearetheatre.org. viCuña & an ePilogue Originally presented in 2016, this drama follows an Iranian tailor as he makes a suit for a real estate magnate-turned-political candidate preparing for a presidential debate. This time, the play is performed with a new epilogue that chronicles events from Election Night. Atlas Performing

Arts Center. 1333 H St. NE. To Nov. 26. $20–$65. (202) 399-7993. atlasarts.org.

Film

a bad momS ChriStmaS The bad mom gang returns to rebel against gender expectations and to have some holiday mischief in this sequel to Bad Moms.

Starring Mila Kunis, Kristen Bell, and Kathryn Hahn.

(See washingtoncitypaper.com for venue information) daddy’S home 2 Mark Wahlberg and Will Ferrell return as family-oriented father and stepfather, this time dealing with their own eccentric fathers during the holidays, in this sequel to Daddy’s Home. Co-starring John Lithgow and Mel Gibson. (See washingtoncitypaper.com for venue information) laSt flag flying Military veterans reunite to bury one of their sons, a Marine killed in Iraq. Starring Bryan Cranston, Laurence Fishburne, and Steve Carell. (See washingtoncitypaper.com for venue information) murder on the orient exPreSS A detective must solve a murder mystery on board a train before the suspect kills again. Starring Kenneth Branagh, Judi Dench, and Michelle Pfeiffer. (See washingtoncitypaper.com for venue information) novitiate A nun-in-training struggles with the complexities of her own ideology and sexuality. Starring Margaret Qualley, Julianne Nicholson, and Dianna Agron. (See washingtoncitypaper.com for venue information) thor: ragnarok With a little help from his friends, Thor must fight powerful villain Hela to stop the destruction of Asgard. Starring Chris Hemsworth, Cate Blanchett, and Mark Ruffalo. (See washingtoncitypaper.com for venue information)

THIS WEEKEND!

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Body & Spirit . . . . . . . . . . . . . . . . . 55 Housing/Rentals . . . . . . . . . . . . . 54 Legal Notices . . . . . . . . . . . . . . . . 54 Music/Music Row . . . . . . . . . . . . . 54 Pets . . . . . . . . . . . . . . . . . . . . . . . . 55 Real Estate . . . . . . . . . . . . . . . . . . 54 Shared Housing . . . . . . . . . . . . . . 54 Services . . . . . . . . . . . . . . . . . . . . . 54

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SUPERIOR COURT OF THE DISTRICT OF COLUMBIA PROBATE DIVISION 2015 ADM 1198 Name of Decedent, Colleen R. Prince, Name and Address of Attorney, Donna Clemons-Sacks, Esq. 1700 Rockville Pike, Suite 400, Rockville, MD 20852. Notice of Appointment, Notice to Creditors and Notice to Unknown Heirs, Micha S. Hayes, whose address is 13909 Manchester Road, Upper Marlboro, MD 20774 was appointed Personal Representative of the estate of Colleen R. Prince who died on August 11, 2015, with a Will and will serve without Court Supervision. All unknown heirs and heirs whose wherabouts are unknown shall enter their appearance in this proceeding. Objections to such appointment shall be filed with the Register of Wills, D.C., 515 5th Street, N.W., Building A, 3rd Floor, Washington, D.C. 20001, on or before 5/2/2018.

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Motivated D.C. residents who HEALTH/MIND, BODY want to learn the electrical trade and have a high school & SPIRIT diploma or GED as well as

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Adams Morgan/Petworth First Month ‘s Rent free. 1BR with den condo, fully renovated, secure building, granite kitchen, new appliances, W/D, DW, CAC. Metro 1 block away, Safway across the st, assigned parking, $1775/mo.

Ready now. NO PETS. If properly maintained rent will not increase (ask for details). 941 Randolph St. NW. 301-775-5701.

a little bit about us…

Power Design is one of the top electrical contractors in the U.S., committed to our values, to training and to giving back to the communities in which we live and work.

Catering Invitation for Bid Food Service Management Services Sustainable Futures Public Charter School Sustainable Futures Public Charter School is advertising the opportunity to bid on the delivery of breakfast, lunch, snack and/or CACFP supper meals to children enrolled at the school for the 2017-2018 school year with a possible extension of (4) one year renewals. All meals must meet at a minimum, but are not restricted to, the USDA National School Breakfast, Lunch, Afterschool Snack and At Risk Supper meal pattern requirements. Additional specifi cations outlined in the Invitation for Bid (IFB) such as; student data, days of service, meal quality, etc. may be obtained beginning on October 27, 2017 from Lauren Bryant at lbryant@sfpcsdc or 706-825-2003.

Proposals will be accepted at 1500 Harvard Street, NW, Washington, DC 20009, ATT: Lauren Bryant on November 20 2017 not later than 2 p.m.

All bids not addressing all areas as outlined in the IFB will not be considered.

Financial Services Over $10K in Debt? Be debt free in 24 to 48 months. No upfront FIND OUTLET. fees to YOUR enroll. A+ BBB rated. Call National Relief REPEAT 844-831RELAX, Debt UNWIND, 5363.

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Visit powerdesigninc.us/ careers or email careers@ powerdesigninc.us!

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

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

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Legals

Antiques & Collectibles

Miscellaneous NEW COOPERATIVE SHOP!

COMIC CON Frederick Maryland Sunday November 12 10am-4pm Frederick Md. Clarion Inn Event Center 5400 Holiday Dr 21703 (next to the Francis Scott Key Mall) Gold, Silver, Bronze and Modern Age Comic Books, Nonsports Cards of all types including Pokemon and Magic, Super Heroes Toys, Statues, Jewelry & Prints, Pulps,Anime,Original Art, Pop Toys and Hobby Supplies for all your collecting needs. Plus An AWESOME Artists Alley and Cosplay Too. Admission - $5; 12 & under Free shoffpromotions.com

THINGS FROM EGPYT AND BEYOND 240-725-6025 www.thingsfromegypt.com thingsfromegypt@yahoo.com SOUTH AFRICAN BAZAAR Craft Cooperative 202-341-0209 www.southafricanbazaarcraftcoo perative.com southafricanba z a ar @hotmail. com WEST FARM WOODWORKS Custom Creative Furniture 202-316-3372 info@westfarmwoodworks.com www.westfarmwoodworks.com 7002 Carroll Avenue Takoma Park, MD 20912 Mon-Sat 11am-7pm, Sun 10am-6pm

Bands/DJs for Hire WE BUY VINTAGE....

Hi Fi STUFF Specializing in amplifi ers, receivers, turntables, speakers, Lp’s and related items. We come to you when possible. 50 years in this area, paying top $$$!

Please call and leave msg.

301-881-1327 Friday, November 10th 2 Yards Sale 300 Blk Jefferson St NW 9-5:00pm Rugs,Glassware/Crystal,HandmadeCrocheted-Afghans,Books & lots of stuff

FIND YOUR OUTLET. RELAX, UNWIND, REPEAT Get Wit It Productions: ProfesCLASSIFIEDS sional sound and lighting available for club, corporate, private, HEALTH/MIND, wedding receptions, holiday BODY & SPIRIT events and much more. Insured, http://www.washingtcompetitive rates. Call (866) 531oncitypaper.com/ 6612 Ext 1, leave message for a ten-minute call back, or book online at: agetwititproductions.com

Garage/Yard/ Rummage/Estate Sales Flea Market every Fri-Sat 10am-4pm. 5615 Landover Rd. Cheverly, MD. 20784. Can buy in bulk. Contact 202-355-2068 or 301-772-3341 for details or if intrested in being a vendor.

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NEW AUTHORS WANTED! Page Publishing will help you self-publish your own book. FREE author submission kit! Limited offer! Why wait? Call now: 888231-5904

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54 November 10, 2017 washingtoncitypaper.com

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48 Band whose second letter is 1 Time in the tub usually written 5 Feel funky backward 8 Some online 52 A-Rod’s babe admins 53 ___Duke (Hunter 14 Double entendre S. Thompson’s 16 Like some grins alter ego) 17 Attack verbally 54 Saginaw Bay lake 18 Blast onto, as 55 “Time to act!� the scene 58 Like some pans 19 “It takes all ___�

60 ___Green, 20 Threw a curve Scotland 22 Corner key 61 Five-star 23 Afterthoughts 62 Glide 24 Equal, to Etienne nonchalantly 26 Brit. title of 63 When Arbor respect Day is observed: 27 Some grunts Abbr.

28 Guiding belief 64 Takes in 30 Hits gently, as a window Down 34 Apse spot 1 Former Alaskan 37 Hip-hopper’s capital headgear 2 “There’s ___ 38 “Yo, dude,� tp://www.washingtoncitypaper.com/ every crowd� formally 3 Chess champion 39 Do another Viswanathan ___ soundtrack 4 Middle East 40 Powder-covered people footwear 5 Singer Lee ___ 42 Meals where Womack four questions 6 They’re read are asked at carousels 43 Tigger’s creator 7 “Toora ___...� (Irish 44 Female kid lullaby syllables) 45 Crematorium 8 City grid lines holder 9 “___be surprised�

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11 Rebuttal’s position 12 Jam band from Vermont 13 Match up, as Dropbox files 15 hein cooler 21 Certain in one’s mind 24 Das Schicksal ist ___mieser Verrater (The Fault in Our Stars in German) 26 Sank, as a putt 27 Dead Souls novelist Nikolai

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Events 9th Annual South African Bazaar â&#x20AC;&#x153;One-of-a-kindâ&#x20AC;? Holiday Gifts SA Art/Stunning Beaded Crafts Zulu Baskets/Jewelry/Home Decor/Traditional Attire Saturday, November 11 10am-6pm

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Silver Spring Civic Building Great Hall/One Veterans Plaza Corner of Fenton St. & Ellsworth Dr, SIlver Spring, MD southafricanba z a ar @hotmail. com w w w.SouthAfricanBazaarCraf t Cooperative.com FREE ADMISSION!!

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Moving? Find A Helping Hand Today COMIC CON Frederick Maryland Sunday November 12 10am-4pm Frederick Md. Clarion Inn Event Center 5400 Holiday Dr 21703 (next to the Francis Scott Key Mall) Gold, Silver, Bronze and Modern Age Comic Books, Nonsports Cards of all types including Pokemon and Magic, Super Heroes Toys, Statues, Jewelry & Prints, Pulps,Anime,Original Art, Pop Toys and Hobby Supplies for all your collecting needs. Plus An AWESOME Artists Alley and Cosplay Too. Admission - $5; 12 & under Free shoffpromotions.com

General

Looking to Rent yard space for hunting dogs. Alexandria/Arlington, VA area only. Medium sized dogs will be well-maintained in temperature controled dog houses. I have advanced animal care experience and dogs will be rid free of feces, flies, urine and oder.

Dogs will be in a ventilated kennel so they will not be exposed to winter and harsh weather etc. Space will be needed as soon as possible. Yard for dogs must be Metro accessible. Serious callers only, call anytime Kevin, 415- 8465268. Price Neg.

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WHEN: Sunday, 26 Nov 2017 Time: 9amâ&#x20AC;&#x201D;5pm WHERE: 101 MGM National Avenue, National Harbor MD 20745 CALL: (240) 535-5480 COST: $10 PARKING: FREE Private Staunton Family Collection with decades of various World Artists ~ Unusual & Unseen that will marvelously accessorize your home or personal collection.

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CONTACTS for this event are: Art Curator: Ms. Rita Lassiter Phone: 703-829-7782 E-mail: ignitebroker@gmail.com Mr. Staunton: 240.535.5840 cbstaunton1@icloud.com

COMIC CON Frederick Maryland Sunday November 12 10am-4pm Frederick Md. Clarion Inn Event Center 5400 Holiday Dr 21703 (next to the Francis Scott Key Mall) Gold, Silver, Bronze and Modern Age Comic Books, Nonsports Cards of all types includhttp://www washingting Pokemon and Magic, Super oncitypaper.com/ Heroes Toys, Statues, Jewelry & Prints, Pulps,Anime,Original Art, Pop Toys and Hobby Supplies for all your collecting needs. Plus An AWESOME Artists Alley and Cosplay Too. Admission - $5; 12 & under Free shoffpromotions.com

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