Washington City Paper (November 13, 2015)

CITYPAPER Washington

housing: old charge, new homelessness 10

food: a d.c. beer in china... and space?

19

GreeN SChEmE Free Volume 35, no. 46 WashingtonCityPaPer.Com noVemBer 13–19, 2015

Why did Muriel Bowser back the controversial political action committee FreshPAC? 7

By Will sommer

2 NOVEMBER 13, 2015 washingtoncitypaper.com

INSIDE

7 green scheme Why did Muriel Bowser back the controversial political action committee FreshPAC? by will sommer

4 chatter District Line

10 House Rules: How an old misdemeanor forced one man into homelessness 12 City Desk: Bikeshare changes, visualized 14 Unobstructed View 15 Gear Prudence 16 Savage Love 17 Buy D.C.

D.c. FeeD

19 Strange Brew: The story behind 888 Lucky Beer 22 Grazer: Let a local restaurant prepare your turkey 22 Are You Gonna Drink That? Mandu’s Roasted Corn and Leek Infused Soju 22 Underserved: Del Campo’s A Las Once

arts

25 Theater: The last two entries in Richard Nelson’s Apple Family Cycle, now at Studio, are quiet but resonant.

26 Arts Desk: Suggested sign upgrades for local museums 28 Short Subjects: Gittell on Spotlight and Olszewski on Victoria

30 Galleries: Capps on “Wonder” at the Renwick Gallery 32 Sketches: Shook on “Hidden Identities” at Art Museum of the Americas 34 Discography: Younger on GoldLinks’ And After That, We Didn’t Talk

city List

37 City Lights: The National Air and Space Museum highlights the “Art of the Airport Tower.”

37 Music 43 Theater 45 Film

46 cLassiFieDs Diversions

47 Crossword

“”

They’re really my conquesT arm, if you will. —Page 19

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CHATTER People Who Read People

In which we admit a blind spot

DaRRoW MontgoMeRy

Last week’s City Paper was devoted to 19 people who make D.C. great, including government officials, ball players, musicians, and advocates. While the majority of the reaction to the People Issue was positive, a comment left on our Facebook page highlighted a failing on the editors’ part. Because the text was not written by the person who posted the comment on the paper’s page, and the original text was not publicly available on Facebook, we won’t include the author’s name or quote the criticism directly.

But the critique is this: While the issue featured men and women who are black, white, and Asian, it did not feature a D.C. resident who is Latino. And in a city whose population is at least ten percent Hispanic, according to the most recent Census estimates, neglecting to feature at least one of the city’s many extraordinary Latinos was an oversight.

It’s a fair criticism. The editors selected the people to be featured from a long list drafted by the entire staff, and we promise to keep this criticism in mind next year.

Hot take. Jessica Sidman last week profiled chef Jeremiah Langhorne, who’s channeled some of his obsessions—with authentic mid-Atlantic cuisine, weekly foraging, and a circa-1897 Virginia cookbook, among others—into his new Shaw restaurant, The Dabney. Just as passionate was Just Cut It Out, who wasn’t having any of it: “It shouldn’t be ‘humbling’ to read a book. Just think much, much less of yourself and you’ll never have to worry about being humbled again. And then we won’t have to read those stupid, meaningless words every again. But thank jeebus he’s not a ‘zealot’--I frankly don’t give two shits about his rich-people problems and straw-man arguments. I’m sure our 19th century forebearers would be disgusted about over-pricing and unnecessary quackery, though I suppose they’d appreciate the absence of a monologue before being served THE FOOD THEY PAID FOR.” A 19th-century “forebearer” could not be reached —Sarah Anne Hughes for comment.

Want to see your name in bold on this page? Send letters, gripes, clarifications, or praise to editor@washingtoncitypaper.com.

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pUBLISHER EmERItUS: Amy Austin INtERIm pUBLISHER: Eric norwood EdItOR: stEVE cAVEndisH mANAgINg EdItORS: Emily q. HAzzArd, sArAH AnnE HugHEs ARtS EdItOR: mAtt coHEn FOOd EdItOR: jEssicA sidmAn CItY LIgHtS EdItOR: cArolinE jonEs StAFF WRItERS: AndrEw giAmbronE, will sommEr StAFF pHOtOgRApHER: dArrow montgomEry ONLINE dEVELOpER: zAcH rAusnitz CREAtIVE dIRECtOR: jAndos rotHstEin ARt dIRECtOR: lAurEn HEnEgHAn CONtRIBUtINg WRItERS: jEffrEy AndErson, jonEttA rosE bArrAs, EricA brucE, sopHiA busHong, Kriston cApps, rilEy crogHAn, jEffry cudlin, Erin dEVinE, sAdiE dingfEldEr, mAtt dunn, noAH gittEll, ElEnA gouKAssiAn, trEy grAHAm, lAurA HAyEs, louis jAcobson, AmritA KHAlid, stEVE KiViAt, cHris KlimEK, mAEVE mcdErmott, cHristinE mAcdonAld, mArcus j. moorE, justin moyEr, triciA olszEwsKi, miKE pAArlbErg, tim rEgAn, sofiA rEsnicK, rEbEccA j. ritzEl, bEtH sHooK, jordAn-mAriE smitH, mAtt tErl, tAmmy tucK, nAtAliE VillAcortA, KAArin VEmbAr, jonEllE wAlKEr, Emily wAlz, joE wArminsKy, micHAEl j. wEst, brAndon wu INtERNS: tAtiAnA cirisAno, cunEyt dil, frEddy rodriguEz dIRECtOR OF AUdIENCE dEVELOpmENt: sArA dicK SENIOR ACCOUNt ExECUtIVES: mElAniE bAbb, joE HicKling, ArlEnE KAminsKy, AliciA mErritt ACCOUNt ExECUtIVES: stu KElly, cHristy sittEr, cHAd VAlE sAlEs OpERAtIONS mANAgER: HEAtHEr mcAndrEws SALES ANd mARKEtINg ASSOCIAtE: cHloE fEdynA BUSINESS dEVELOpmENt ASSOCIAtE: EdgArd izAguirrE CREAtIVE SERVICES mANAgER: brAndon yAtEs gRApHIC dESIgNER: lisA dEloAcH OpERAtIONS dIRECtOR: jEff boswEll SENIOR SALES OpERAtION ANd pROdUCtION COORdINAtOR: jAnE mArtinAcHE SOUtHCOmm: cHiEf ExEcutiVE officEr: cHris fErrEll CHIEF FINANCIAL OFFICER: Ed tEArmAn CHIEF OpERAtINg OFFICER: blAir joHnson ExECUtIVE VICE pRESIdENt: mArK bArtEl LOCAL AdVERtISINg: (202) 332-2100 FAx: (202) 618-3959, Ads@wAsHingtoncitypApEr.com VOL. 35, NO. 46, NOV. 13–NOV. 19, 2015 wAsHington city pApEr is publisHEd EVEry wEEK And is locAtEd At 1400 EyE st. nw, suitE 900, wAsHington, d.c. 20005. cAlEndAr submissions ArE wElcomEd; tHEy must bE rEcEiVEd 10 dAys bEforE publicAtion. u.s. subscriptions ArE AVAilAblE for $250 pEr yEAr. issuE will ArriVE sEVErAl dAys AftEr publicAtion. bAcK issuEs of tHE pAst fiVE wEEKs ArE AVAilAblE At tHE officE for $1 ($5 for oldEr issuEs). bAcK issuEs ArE AVAilAblE by mAil for $5. mAKE cHEcKs pAyAblE to wAsHington city pApEr or cAll for morE options. © 2015 All rigHts rEsErVEd. no pArt of tHis publicAtion mAy bE rEproducEd witHout tHE writtEn pErmission of tHE Editor.

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Green Scheme

FreshPAC worked for Muriel Bowser—until it didn’t.

Darrow Montgomery

The Bowser-aligned PAC was shut down this week after it became a “distraction.”

By Will Sommer Just how deep did Mayor Muriel Bowser step in it with FreshPAC, the political fund designed to take in unlimited contributions and point them at D.C. Council races next year?

Seven councilmembers signed on to a bill aimed at trying to stop political action committees from taking in unfettered donations.

One of them, Ward 3 Councilmember Mary Cheh, turned a hearing on development deals into an interrogation of a FreshPAC donor. (The situation turned stranger still when the donor couldn’t remember who hit

him up for the $10,000 contribution.)

The Washington Post editorial board, usually supportive of Bowser’s Green Team, has run multiple editorials urging her to shut it down for her own sake. Post op-ed writer Colby King, meanwhile, fretted in print that the mayor was being mislead by her FreshPAC associates.

District attorney general and occasional Bowser rival Karl Racine, who began working on some anti-FreshPAC legislation of his own, says he’s been deluged with complaints about the PAC. “What they’re concerned about is the return of flagrant pay-to-play politics,” Ra-

cine said last week in a radio interview.

In the face of mounting opposition, Bowser ally and FreshPAC treasurer Ben Soto announced Tuesday night that they were shutting the operation down. It just wasn’t worth the “distraction.” Bowser didn’t comment.

When LL asked Bowser last week what she made of FreshPAC, she would only say that it was operating legally. That may have been true, but as the mayor jetted off to China with some of its donors while her administration payed out millions of dollars in contracting money to others, that official legality was kind of beside the point.

Indeed, Bowser’s attitude toward the creation of a mega-fund with her name on it by her associates shouldn’t be surprising: FreshPAC simply offered Bowser too much power in future Council races.

For LL readers who haven’t been following the closest thing Bowser’s administration has to a scandal, FreshPAC worried the mayor’s opponents on the Council because it could take in unlimited donations in years when it doesn’t support candidates. Since it didn’t exist in time to participate in April’s special elections, that meant FreshPAC operators were cashing huge checks.

One FreshPAC donor gave $20,000 in one contribution. The PAC raised more than $300,000, with plans to hit $1 million by New Year’s Day. “They seem to be gleeful and very pleased with themselves that they’ve come up with this scheme,” Cheh says.

To get an idea of how much $1 million could do in next year’s Council elections, look at April’s special elections for the Ward 4 and 8 Council seats: Bowser favorite Brandon Todd won handily in Ward 4 after spending more than $300,000; LaRuby May spent nearly as much (albeit winning by fewer than 200 votes). A $1 million war chest in 2016 could have allowed the Green Team to drop $300,000 in PAC money on a single race, in addition to whatever the candidates’ own campaigns (remember those?) spent.

Ward 2 Councilmember Jack Evans, who hasn’t signed on to the bill aimed at closing FreshPAC’s funding loophole, seems unlikely to attract a Green Team-funded challenger. Todd and May are both up for re-election, though, and Ward 7’s Yvette Alexander is cozying up to the Green Team as she faces a potential challenge from former Mayor Vince Gray.

Meanwhile, Bowser has all but anointed At-Large Councilmember Vincent Orange, who has moved closer to the Green Team in the face of primary challengers. At a press conference last week, Bowser declared Orange “our friend on the Council.”

(LL figures saying Orange is in “this thing of ours” would be too obvious.)

The lure of FreshPAC also offered Bowser an unprecedented mayoral weapon against recalcitrant councilmembers, like At-Large Councilmember David Grosso, up for reelection next November and one of the administration’s most vocal critics. Grosso co-in-

washingtoncitypaper.com NOVEMBER 13, 2015 7

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troduced the bill to kill unlimited donations.

And FreshPAC’s influence wasn’t designed to just affect councilmembers running again next year. A host of potential Bowser targets will be up for re-election in 2018, from Cheh to Council Chairman Phil Mendelson and Ward 5 Councilmember Kenyan McDuffie. Every FreshPAC Office of Campaign Finance filing would have been an implicit warning for those councilmembers: Go with the mayor on some critical votes, or we’ll start looking for your replacement.

Before a dollar of the money could be spent

wouldn’t spend an hour with Maya Angelou to come off like a nice guy.

Bowser lacks her mentor’s triathlon bike and pounding head vein, but she apparently shares the brutal political instincts of a man who booted Marion Barry’s wife out of her tennis center over a political dispute.

And the Council was getting ready to fire back. With the size of contributions in District politics more significant than ever, Mendelson asked participants at a recent hearing on development to come prepared with lists of candidates to whom they made donations.

FreshPAC simply offered Bowser too much power in future D.C. Council races. in a race, Cheh says there’s already a mood in the Wilson Building that FreshPAC raised the price for opposing Bowser on legislation.

“There’s something psychological going on up here,” Cheh says. “It’s soft, but I seem to detect it.”

When pushed, FreshPAC supporters and donors say vaguely that it’s aimed at helping the mayor’s “agenda.” When LL asked Bowser if she’s building this money machine to oust councilmembers, Bowser responded curiously.

“I’ve always supported sitting councilmembers,” Bowser said.

What Bowser wouldn’t say, though, is whether she plans to change her position next year.

The obvious side-step of the question reminds LL of Vince Gray at the height of the federal investigation into his mayoral campaign. But Bowser’s indifference to FreshPAC and other machinations from her Green Team pals recalls another mayor who didn’t care what people thought of him: Adrian Fenty.

In 2010, Fenty lost the mayoralty to Gray after irking practically every low-number license plate holder in town (and a whole lot of other people, too). This was a guy who

FreshPAC quickly became part of a bizarre nest between FreshPAC officials, Bowser staffers, and big money donors.

Two FreshPAC donors are on Bowser’s current trip to China, including Buwa Binitie, the developer who told Cheh he couldn’t remember who asked him for a $10,000 contribution. The Post ties FreshPAC donors to $70 million worth of city contracts.

WAMU reports that Soto sold a house to City Administrator Rashad Young when Young moved to the District. Then, a bank connected to Soto gave Young the loans he used to buy it. That means there’s close monetary ties between a guy who takes money from city contractors and the guy who oversees big city projects. What could go wrong?

In 2014, Bowser campaigned on a “Fresh Start” after Gray. But in her attempt to take over the Council, Bowser risked opportunities for Gray administration-style shenanigans.

Much of FreshPAC’s money will likely return in the form of regular contributions to Bowser-approved candidates. But Bowser’s willingness to play hardball at the Wilson Building, even if it means outraging alCP lies and critics alike, remains.

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Who Funded FreshPAC?

Whether you believe Mayor Muriel Bowser and her allies that FreshPAC was just a way to support her agenda, or whether you agree with her critics that it represented an attempt to stock the D.C. Council with friendly faces, the fund drew a strong list of

donors who do business in D.C. Forty-four percent of the $338,000 raised came from outside the District, and a similar amount came from corporations, LLCs, and PACs tied to companies (43 percent). Two big checks for $10,000 each came from outside the D.C. area (California and Georgia). Here’s a look at who was helping Bowser’s allies fund a political war chest. Each square represents $1,000. —Steve Cavendish Willco-affiliated Companies ($8,000).

This is a block of development companies which all share an address in Potomac with Willco, a longtime commercial real estate developer whose projects include the Mayflower Hotel renovation and numerous D.C. office buildings. Each company gave $2,000.

Keystone Plus Construction Corp. ($10,000) is a commercial construction company and frequent D.C. contractor, doing more than $200 million worth of work over the last two decades. The city sued Keystone in 2013 over the renovation of a nursing home.

FedEx Corporation PAC ($5,000) is the shipping giant’s political arm. FedEx is the title sponsor for the NFL franchise’s stadium in Landover, and CEO Fred Smith is a co-owner of the team.

Bowser has said she would like to bring the team back to the District, preferably in a new facility on the current RFK Stadium site.

Republic Properties ($10,000) is a real estate management and development company currently pitching a 15-story residential building in Southwest, one of only two in the District.

D.C. Hospital Association ($10,000) is the lobbying group for the city’s major hospitals.

Facchina Construction ($10,000) is a concrete and construction firm with projects throughout the region, including construction work for the airport authority and design work on the H Street–Benning Road NE streetcar.

First Veitch Street Corporation ($20,000) is the largest corporate donor. It has a registered address at the multi-million dollar, gated home of Jose Rodrigues, president of Fort Myer Construction, one of the District’s largest road contractors. Rodrigues has been an active political donor for decades and was one of Jack Evans’ biggest supporters in his run for mayor.

Robert Goodrich ($20,000) is FreshPAC’s largest single donor. He is a travel agent and board member of a local healthcare nonprofit. The Washington Post reported that Goodrich is also an investor in a 313-unit residential development near Union Market.

Edwin Villegas ($10,000) is the CEO of Winmar Construction, which has built out numerous restaurant and retail properties in the District, including Le Diplomate, Shake Shack, NoPa Kitchen, Barcelona, and Farmers, Fishers, Bakers.

Fred Hill ($10,000) is president of a Bethesda-based consulting firm. Bowser recently nominated him to a seat on the Board of Zoning Appeals.

Phinis Jones ($10,000) is a developer and prominent Bowser fundraiser. He has been active in Ward 8 politics and was a strong supporter of Councilmember LaRuby May.

D.C. Maryland Virginia Other Corporate LLC

10 NOVEMBER 13, 2015 washingtoncitypaper.com

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DISTRICTLINE House Rules

By Nadia Pflaum A van pulls over on 16th Street NE and several young black men hop out. Walking by is Maurice Alexander, a lifelong Washingtonian in his sixties, on his way home from a friend’s house. Alexander watches the men from the van as they scoop up what looks like various electronics, discarded on the curb.

The van gets as far as the next stoplight before four white Metropolitan Police Department officers rush up on foot, hands on their guns. Alexander hears one of the men in the van yell, “What did we do?” The answer is shouted back: “Receiving stolen goods.”

“They got those off the ground,” Alexander protests, from the sidewalk. One of the cops gets in his face, tells him to mind his own business.

Alexander points his fingers back at the officer. He says, “I want to be a witness.”

And just like that, Alexander is in handcuffs, charged with “attempted threat,” a misdemeanor. He receives probation and ten days in jail.

Seven years later, all for pointing his fingers, Alexander found himself homeless.

Elliot Mincberg, an attorney with the Washington Lawyers’ Committee, says even minor brushes with the law leave ripple effects lasting far beyond when a fine was paid or sentence served, making it hard to get a job, housing, and other necessities. Public and assisted housing providers are allowed to screen applicants for their criminal histories, but Mincberg says it’s over-enforced and frequently far beyond the legal guidelines laid out in the Fair Housing Act. “It should have been over and done with,” he says of Alexander’s misdemeanor. “To say that that conviction should continue to have consequences on Mr. Alexander seven years later and literally render him homeless is a really bad thing.”

Alexander, now 69, had always had a home. He grew up in a large, corner house on the 1300 block of Maryland Avenue NE. He attended Federal City College (now the University of the District of Columbia) and obtained a paralegal certificate from George Washington University. He became active with civil rights causes and organizations that assist offenders returning to the com-

munity from prison.

Eventually, the only ones left in the family home were his elderly mother and aunt. Alexander’s brother took over the mortgage and Alexander moved in to take care of the relatives, obtaining a nursing assistant certification in 2005 and a home health care aide certification in 2008.

He and his brother made decisions before their elderly family members passed away. His brother would put the house on the market. As for Alexander, “Because I’m a very old person,” he says, winking, “the plan was I’d go to live in a senior citizens’ home and just live out the rest of my days.

I’m not so sure I wanted the responsibility of the house anyway.”

He applied for public housing with the District of Columbia Housing Authority well ahead of his aunt’s and mother’s passing, and was placed on a waiting list. When it came his turn, DCHA referred Alexander to properties owned by three rental property management companies, who each receive federal funding to provide subsidized housing. He submitted applications to all three last March, April, and May. They all denied him. “Criminal – Misdemeanor Conviction(s) or Pending Case,” read one such denial, from Capitol Gateway Family at 201 58th St. NE. Meanwhile, the family house was sold. Alexander’s brother moved to Chicago shortly after, in April 2014. Alexander scrambled to find a place to stay. “I had to sleep on people’s couches, in cars, under bridges, homeless shelters,” he says. “You know, I really went into a state of depression.”

One of the friends who hosted Alexander, Sherri Boulet, remembers the stress on Alexander at the time.

“He kept saying he didn’t want to be a burden to anyone,” she says. “I’m telling him, ‘You’re not a burden, you can stay here as long as you like.’ But pride, you know, a man’s pride. I wanted him to stay with me opposed to going to a shelter because you’ll be surrounded by strangers. You don’t want to close your eyes.”

Still, Alexander only stayed with Boulet for a couple of weeks. “The standstill with the housing people, it was just a mess,” she says.

Darrow Montgomery

A seven-year-old misdemeanor kept Maurice Alexander from accessing housing.

Maurice Alexander qualified for public housing, but was allegedly denied placement over an old “attempted threat” charge.

“I don’t know what took them so long and why they were being so difficult with him.”

At one point, he slept under the L Street Bridge.

“There’s a misconception about people under those bridges,” Alexander says, “them all being alcoholics and drug addicts. They’re people just like me. Only difference between me and them is that I had some idea of what to do, and wasn’t afraid, and was persistent enough.”

Alexander contacted Legal Aid of the District of Columbia, and attorney Rachel Rintelmann went to work filing appeals with each of the properties, asking for a hearing. “I sent letters explaining that federal law does not allow you to deny housing on this basis alone,” Rintelmann says. “We never heard from them, which is not terribly surprising but incredibly frustrating.”

Rintelmann also contacted each of the property managers, asking for copies of their Tenant Selection Plan, a document that HUD requires assisted housing providers to publish and make available to anyone who asks.

“In most cases, they didn’t know what a Tenant Selection Plan was,” Rintelmann says.

“When I got involved and started explaining it was required, then what they provided was either clearly not a plan or not consistent with what’s required by law. The one property that actually had one, they had clearly violated their own plan.

“It shocks the conscience that he’d be denied housing based on a seven-year-old misdemeanor.”

Rintelmann realized that Alexander’s case

was a perfect example for a report on collateral consequences of arrests and convictions Mincberg and the attorneys with the Washington Lawyers’ Committee were writing.

She made the introduction, and Mincberg included Alexander as a case study in the report. Then he went a step further, and filed a lawsuit on his behalf.

The lawsuit names A&R Management Inc., Edgewood Management Corp., and Community Preservation and Development Corp., the owners of the individual properties who allegedly left Alexander out in the cold.

Not named in the suit is the DCHA. It would be ideal if that agency could hold its contractors accountable for following Fair Housing Act laws, but that’s just too much to ask, Mincberg says: “It’s hard to fault them, at least in this case. After all, they did certify that Mr. Alexander is perfectly eligible for assisted housing.”

After six months of homelessness, DCHA managed to find Alexander a place to live: a DCHA-owned senior home on 4th Street NW. It’s safe, it’s clean; there’s a community garden, there’s a library nearby.

“Most people, when something like this happens, they’re so accustomed to it,” Alexander says. “They just say well, I’ll go to church and maybe Jesus will step in or something, I don’t know. But me, I get pissed off, man, because I knew it was wrong, I knew it was unjustified, and I needed someone to help.”

The case is pending, but the next time Alexander points his finger, it will be in U.S. CP District Court.

washingtoncitypaper.com NOVEMBER 13, 2015 11

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DISTRICTLINE

Tomorrow’s history today: This was the week D.C. was accepted into an international group for oppressed minorities due to lack of voting representation.

City Desk

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# of cyclists 142

Kate Rabinowitz is the founder of DataLensDC. Follow her on Twitter @datalensdc.

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Each year, on a weekday without rain sometime between May and July, a person stands at the exact same spot from 6 a.m. to 10 a.m. and again from 3 p.m. to 7 p.m. The District Department of Transportation sent this person to count cyclists. And if you look at those counts, they show that biking has become an option for a growing number of commuters.

All 37 locations where the counts took place experienced increases in number of cyclists from 2008 to 2014, and at more than half of the locations, the cyclist count more than doubled.

Growth varied dramatically across locations, with some experiencing increases of three fold or great and others remaining relatively static.

11th St

n the Upcycle

What do the surveys say about who is riding? While men make up the majority of riders across the District, their proportion differs greatly. In parts of Capitol Hill and Northwest, a third of cyclists were women, while parts of Northeast saw as much as 98 percent male ridership.

Female riders were also more likely to ride where there are bike lanes. Most of the locations with the slowest growth are in upper Northwest—a wealthier, older, and more suburban part of the city.

Both the number of cyclists and the number of collisions involving bikes have grown 80 percent from 2008 to 2012. That may sound like cycling is becoming more dangerous, but without the total cyclists over time to provide context, the relative danger can’t be determined.

But no matter how you look at the numbers, D.C. is becoming a bike town.— Kate Rabinowitz

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For a complete look at the data, go to washingtoncitypaper.com/go/cyclecount 12 NOVEMBER 13, 2015 washingtoncitypaper.com

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PUBLIC SERVICE COMMISSION OF THE DISTRICT OF COLUMBIA Notice of COMMUNITY HEARING AND PUBLIC INTEREST HEARING Formal Case No. 1119, In the Matter of the Joint Application of Exelon Corporation, Pepco Holdings, Inc., Potomac Electric Power Company, Exelon Energy Delivery Company, LLC and New Special Purpose Entity, llc for Authorization and Approval of Proposed Merger Transaction The Public Service Commission of the District of Columbia (“Commission”) hereby gives notice of a Community Hearing and a Public Interest Hearing to be held to consider the Non-unanimous Settlement Agreement filed on October 6, 2015.

The Community Hearing will convene Tuesday, November 17, 2015, at 10:00 a.m. in the Commission Hearing Room, 1325 G Street, N.W., Suite 800, Washington, D.C. 20005, for the purpose of allowing interested persons who are not parties to this proceeding and wish to comment on the proposed Non-unanimous Settlement Agreement to do so. Please note that representatives of organizations shall be permitted a maximum of five (5) minutes for oral presentation. Individuals shall be permitted a maximum of three (3) minutes for oral presentation. The submission of copies of written statements is encouraged by the Commission. Comments or statements can be submitted to: Brinda WestbrookSedgwick, Commission Secretary, Public Service Commission of the District of Columbia, 1325 G Street, N.W., Suite 800, Washington D.C. 20005, or by email at Psc-commissionsecretary@dc.gov on or before December 18, 2015, the date the record closes.

The Public Interest Hearing will convene on Wednesday, December 2, 2015, at 10:00 a.m. in the Commission Hearing Room, 1325 G Street, N.W., Suite 800, Washington, D.C. 20005, and continue on Thursday and Friday, December 3 and 4, 2015, respectively, if necessary. The purpose of the Public Interest Hearing is to determine if the proposed Non-unanimous Settlement Agreement is in the public interest pursuant to Section 130.11 of the Commission’s Rules of Practice and Procedure. Only parties in the case will be permitted to participate in the Public Interest Hearing.

The public interest hearing will be streamed live and archived on the Commission’s website, www.dcpsc.org.

14 NOVEMBER 13, 2015 washingtoncitypaper.com

Name Games

By Matt Terl

1770 Columbia Road, NW Washington D.C. 202.846.1934 www.CapitolHemp.com

Copies of the proposed Non-unanimous Settlement Agreement may be obtained by contacting the Office of the Commission Secretary, Public Service Commission of the District of Columbia, 1325 G Street, N.W., Suite 800, Washington, D.C. 20005 or by visiting the Commission’s website at www.dcpsc.org. The proposed Non-unanimous Settlement Agreement is also located on the Commission’s eDocket system in Formal Case No. 1119 and can be obtained at www.dcpsc.org.

UNOBSTRUCTEDVIEW In an apparent attempt to preemptively distract attention from a looming disaster in New England, the local football club last week managed to stir up yet another round of off-field facepalming. The source of this latest drama was a legal brief filed by the team’s counsel attempting to overturn the cancellation of six of their trademarks by a federal judge earlier this year.

What’s interesting is that, while the brief is at times a compelling piece of work, it manages to make almost as strong an argument for changing the name as it does for protecting it.

The legal arguments follow a few basic tracks: First, that the statute (from Section 2(a) of the 1946 Lanham Act) was inaccurately applied—that is, that it is meant to cover government speech, and a trademark registration is not government speech. Second, even if it did apply, it’s impossible to accurately determine what qualifies as disparaging. Third, the enormous delay between trademark registration and cancellation prevented the team from mounting a proper defense. Fourth, the trademarks were registered properly (and, incidentally, that not enough people consider the name disparaging). And, fifth, the doctrine of laches states that, basically, the petitioners didn’t act quickly enough from the time they became aware of the problem for their complaints to be enforced.

To disprove the assertion that a trademark is the equivalent of a government endorsement, the brief goes on to list a number of trademarks that “the Team believes are racist, or misogynistic, vulgar, or otherwise offensive.” And to the delight of sports bloggers, columnists, and the general Internet hivemind, the list includes such notable products as YID DISH, DIRTY WHOOORE CLOTHING COMPANY, MURDER 4 HIRE, GRINGO STYLE SALSA, WHITE GIRL WITH A BOOTY, and PARTY WITH SLUTS, among many, many others. You get the idea.

Goofy details aside, the filing is concerned with legal aspects like precedent and intent of the statute. But a decision overturned through a technicality would not in any way be a vindication of the name, so what really jumps out at me is the intense hair-splitting that goes on with regard to the term “disparaging.”

“The term ‘may disparage’ is hopelessly subjective, indefinite, and discretionary,” the brief notes. Even dictionary definitions,

it argues, “are themselves vague. MerriamWebster’s defines disparage as, inter alia, ‘to describe (someone or something) as unimportant, weak, bad, etc.’ … Terms like ‘bad’ do not meaningfully constrain the adjudicator’s discretion.”

Even amidst all the legalese and all the other avenues that the team is exploring to try to have this decision overturned and their name preserved, this is what it comes down to: What does “disparage” mean?

The problem is that, if you move away from the legal standard, “disparaged” is really an inadequate description of how the name’s opponents claim to feel. So is “offended,” another word that’s often used to characterize them.

I’ve written in the past about the feeling of being demeaned for cultural reasons, and it’s a visceral thing that no simple word can sum up, legally or practically. It is unmooring and demoralizing and upsetting and diminishing and belittling. Seeing this compressed into legal dickering over the badness of “bad” is frustrating.

It’s also, ultimately, beside the point: Even if the team name is outright hate speech, it is still protected under the First Amendment. It is probably not incumbent upon the government to force a change, and the team may well have made a compelling point to that effect.

That’s why the accuracy of “disparage” and “offend” is so important. If the team can tell themselves they’re just making people feel “bad,” it’s easier to continue using the name. And they will be the ones who have to make that change.

Fans of the team could help sway the decision, of course, and the brief provides another compelling reminder why they should—the team name really is just another corporate mark.

The brief compares it to GRINGO BBQ, CONTEMPORARY NEGRO, F’D UP, WHITE TRASH REBEL, and I LOVE VAGINA, but it’s also no different from PEOPLE’S DRUG, A&P GROCERS, DATSUN, and PRICE CLUB. Corporate marks change, even longtime regional mainstays. The attachment isn’t—or shouldn’t be—to the name. (There’s no small irony in the fact that the team’s stadium sponsor, FedEx, simply changed its name in the ’90s after decades of success.)

“It is simply a historical accident that the Team is the Washington Redskins rather than any other Native American sports mascot,” the brief notes.

A corporate mark that’s just a “historical accident” seems like an impossibly foolish thing to spend so much time and energy defending—for fans, team executives, and CP even lawyers.

Gear Prudence: I live in the suburbs and mostly ride on trails. This time of year, it’s dark during my commutes, especially on the trails, so I’ve invested in a really powerful and expensive bike light, which I view as a necessity if I want to keep riding all winter. However, I also want to be cognizant of the other riders on the trail and don’t want to blind anyone. What are some best practices that I can use to be a polite but still remain able to see? —Bought Right Illumination Gear, Helpfully Travelling Dear BRIGHT: It is right and proper for you to have spent the money on a sufficiently powerful bike light, especially if you’re riding through unlit woodsy trails in the gloom of winter. Too many area cyclists either skip the light entirely (which is reckless and discourteous) or use underpowered lights that cannot be relied upon to illuminate a forward path.

And while you could have just trained an owl to fly ahead and report back the mysteries of the dark, it probably makes more sense to buy a good light and use it responsibly.

Always set a bright light on a steady beam.

You are not a lighthouse—don’t flash. Secondly, point it down some rather than directly into the eyes of those riding toward you. It’s a bike ride, not an interrogation. And lastly, familiarize yourself with your light’s brightness adjustability. Most good lights have variable settings, so either get good at flicking to a lower setting when someone’s coming or save yourself the trouble and just screen the light with your hand for a second. The momentary reduction in vis—GP ibility shouldn’t hamper you much.

Gear Prudence: I got a flat tire last week and I fixed it—or at least I thought I did. When I went to check my bike again this morning after not riding it at all since I fixed it, the tire was flat again! I don’t get it. What gives?

—Fixed, Left, Again Terrible Dear FLAT: Since you didn’t ride your bike or park it atop of pile of jagged rocks, old sewing needles, and broken glass bottles, you probably didn’t pick up a new flat in the fallow period. And unless you live with a practical joker or a saboteur, you can rule out deliberate malevolent human intervention. GP thinks that it’s one of a few culprits: Either some sharpness is still stuck in the tire and has once again punctured your tube, or your tube has some defect (this sometimes happens, especially around the valve stem). Or if you patched the old tube, your patch didn’t hold. Fix it again, but take a few extra minutes to figure out the cause this time or it’ll —GP keep happening.

Gear Prudence is Brian McEntee, who tweets @sharrowsDC. Got a question about bicycling?

Email gearprudence@washcp.com.

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SAVAGELOVE I’m a hetero guy in need of advice. Back in college, I met this girl. Suffice it to say she was into me but I had some shit to work through. So we ended up being a missed connection, romantically.

Despite that, we still became fast friends. I’m less awkward now, in large part because our friendship changed my life. We each married other people, and everything worked out great. Except I still love her. I think about her often, want to share things about my life with her, find myself wanting to rely on her when things are tough. I don’t know what to do with it. On one hand, she means an awful lot to me—she is the kind of friend that comes along once in a lifetime—and I know that I mean a lot to her. So this is a relationship worth protecting, even as asymmetrical as it is. On the other hand, these feelings are starting to seem kind of pathetic. We are barely part of each other’s lives anymore—do I even have a right to feel the way I do? I see three options, each of which is shit.

(1) Keep my feelings to myself and endure/enjoy a painful but deeply meaningful friendship.

(2) Disappear, either abruptly or gradually, with no explanation. Or (3) damn the torpedoes and bare my soul, which might painfully explode the relationship. After years of option 1, I am strongly leaning toward option 3—just blowing shit wide open and dealing with whatever happens.

—No Good At Acronyms You’re going to need a gay dude to act on the advice I’m about to give you—and not just any gay dude, NGAA, but the kind of gay dude who obsesses about Broadway musicals. And not just any gay dude who obsesses about Broadway musicals, but the kind of Broadway-musical-obsessed gay dude who has good taste. (Look through his record collection: If Joseph and the Amazing Technicolor Dreamcoat is in there and Mame isn’t, he does not have good taste.)

Okay, here’s my advice: Listen to the original Broadway cast recordings of Company, Follies, and A Little Night Music—music and lyrics, in all three cases, by Stephen Sondheim (peace be upon him). Yes, you can get all three recordings on iTunes, NGAA, but you need to

listen to them on vinyl, and you need to discuss these shows, and three songs in particular, with someone who already knows them by heart.

Hence the need for a gay dude with good taste in Broadway musicals and an extensive collection of original Broadway cast recordings— on vinyl. As any Broadway-musical-obsessed gay man will tell you: Epiphanies, insights, and breakthroughs come most reliably in moments of silence, i.e., when you have to flip the record over.

Here are the songs you need to pay close attention to: “Sorry-Grateful” from Company, “The Road You Didn’t Take” from Follies, and “Send in the Clowns” from A Little Night Music. (You might be a little too fragile for “Too Many Mornings” and “Losing My Mind,” both from Follies.) Listen over and over again—until you know the lyrics of all three songs by heart. Discuss what these songs mean with your new gay friend. Then you’ll —Dan Savage know what to do.

A friend of mine talks about his sex life almost constantly. Not quite like bragging, more matter-of-fact. For instance, out of the blue he will come out with this: “I was sitting in a bar and this broad looks at me and asks if I want to fuck. She had the tightest pussy I’ve ever had.” It just seems like conversation for him.

I’m baffled by this. What’s going on with him?

—Not So Talky I want to say something like this: “The amount of pussy and/or cock a man is actually getting exists in inverse proportion to the amount of pussy and/or cock a man brags about getting.”

But it ain’t necessarily so. (“It Ain’t Necessarily So,” Porgy and Bess, music by George Gershwin [PBUH], lyrics by Ira Gershwin [PBUH].)

I’ve known plenty of guys who bragged constantly about getting tons of ass, and they weren’t all liars. Almost every one of them, however, was deeply insecure—they bragged about the ass they were getting because they feared people saw them as guys who couldn’t —Dan get ass in a donkey storm.

16 NOVEMBER 13, 2015 washingtoncitypaper.com

If Joseph and the Amazing Technicolor Dreamcoat is in there and Mame isn’t, he does not have good taste.

I was stroking my partner and went for the lube, when he informed me that he prefers to have his handjobs sans lube. He says that lube is messy. For the past three years, he has raved about my handjobs and said my skills are professional level, and never once did he complain about the lube. I attempted to follow through, but all my old techniques didn’t work. I asked him to show me how, what he likes, and he said just do the same as I’ve always done. The sliding, gliding, twisting motions that I usually use, all with a reasonable amount of squeezing, just DO NOT WORK without lube. My hand stuck to the dampish skin and would not slide.

He says I am making a big deal out of nothing, but I am upset. One of the best tools in my sexual toolbox has just been rendered unusable.

—Sincerely Laments Obstructed Wanking

You need to listen to the original Broadway cast recording of Wicked, music and lyrics by Stephen Schwartz (PBUH). When Idina Menzel sings “Defying Gravity,” pretend she’s singing “defying aridity.” Apparently that’s your boyfriend’s superpower, or his cock’s superpower: aridity—“being without moisture, extremely dry, parched”—is no impediment to pleasure. And it’s not an uncommon superpower, SLOW. Lots of guys prefer lubeless handjobs.

So have your boyfriend jack himself off while you listen to Wicked, see what works for him, and then try not to make a big deal—try not to make any sort of deal—out of his handjob —Dan preferences going forward.

I usually like your advice, Dan, but I was dismayed when both you and Peter Staley got it wrong in your response to STATUS, the woman who was preparing to divorce her HIV+ husband after the revelation of another affair. You both seemed to think she was trying to get her husband sent to prison. I think she was trying to avoid that outcome! She wants her husband to tell the truth in therapy, but she’s concerned doing so will land him in prison. Here’s something else you both missed: When someone tells a therapist what they have already done, the reporting requirements are far less stringent than when a patient tells what they plan on doing. If a therapist believes a patient is likely to harm themselves or others in the future, the therapist may have to act. Patient confidentiality carries a lot of weight when it comes —Really Regular Reader to past actions.

You weren’t the only reader who came to STATUS’s defense. It’s possible Peter and I got it wrong—our familiarity with cases where vengeful exes abused reporting laws to go after HIV+ people may have colored our response. On the off chance I got it wrong, RRR, I’m going to need to be punished. It should be something that really hurts. Oh, I know: I’ll listen to the original Broadway cast recording of Joseph and the Amazing Technicolor Dreamcoat. Twice. —Dan Send your Savage Love questions to mail@savagelove.net.

BUYD.C.

Renwick Gallery

By Kaarin Vembar

This week, the Renwick Gallery celebrates their grand opening after two years’ of renovation.

The results are worth a visit, and items from their gift shop reflect the artistry of their collection.

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D.C.’s first cidery will have two locations: TruxTon CirCle and BrighTwood Park.

Read more at washingtoncitypaper.com/go/cider.

YOUNG & HUNGRY

Against the Grain The latest local beer brand eyes China... and outer space.

The first few emails from 888 Lucky Beer seemed like spam. But when another one arrived in late September, I finally clicked the link to its website, paugustin.com.

“Drink & Enjoy 888 Lucky Beers: Shipping Worldwide!!!” it reads in infomerciallike type. Below are photos of bottles, some with photoshopped labels, and a six-pack whose packaging depicts the White House and Washington Monument.

Scroll down and you’ll see the beer’s founder, Pierre Richard Augustin, in front of an American flag. Scroll further. There’s an ode to a tai chi teacher in China, an open letter to Barack Obama, and a promotion for shipping containers—20 pallets each—full of beer.

The company behind the beer calls itself AdMerk Corp., and there’s a photo of an imposing glass building at 20 F St. NW, labeled as its headquarters. Translate buttons are available for Chinese, French, Spanish, and Haitian Creole.

“888 Lucky Beer to be Sent Off Out to Space and Back to Earth,” reads another section of the website.

I emailed back to find out where the beer was available.

“Hello Mam Jessica,” began the robotic response, which included tidbits like “How to enjoy 888 Lucky Beer? Just pour 888 Lucky Beer a bit into a glass and let it settles. Then breathe in the aroma of the finest ingredients and take your first sip of the exotic flavor.”

Then a few hours later, after 3 a.m., a response in another email: “This is Pierre Richard Augustin, the owner of the brand 888 Lucky Beer,” it read. This one seemed real. “I am available to answer any questions.”

Augustin showed up at a Starbucks on K Street wearing a beige knit vest over a blue button-up and carrying a large bottle opener on his keychain. It turned out that my initial com-

Photographs by Darrow Montgomery

By Jessica Sidman

Pierre Richard Augustin has invested close to $100,000 in 888 Lucky Beer. munications were not with him, but with one of his three virtual assistants in the Philippines.

The Haitian-born 48-year-old man in front of me was apparently a former exporter and private detective who unsuccessfully ran for public office before going to China, where he was inspired to start a beer company.

Augustin tells me he left Haiti for boarding school in Paris when he was 10 years old, then moved to Brooklyn, New York in 1981. He says he has a Masters in Public Administration from

Suffolk University in Boston and an MBA from the University of Massachusetts Lowell. He says he ran an export business bringing fabrics and computer products from the U.S. to Haiti from 2002 to 2005 but stopped because of the country’s rash of kidnappings.

Augustin says his other past businesses included a security company that didn’t take off and a private detective company—both of which were licensed in D.C. as AdMerk Corp.

In 2014, Augustin, a father of four who lives in

Upper Marlboro, ran as a Democrat for a seat on Prince George’s County Council, but he earned only 613 votes and lost.

And now… beer?

Whereas most D.C.-area beer companies try to bolster their local cred, Augustin initially planned to sell his beer exclusively to China. “In 2017, that’s going to be the biggest beer market in the world,” he explains. The logistics haven’t exactly worked out yet, so Augustin decided to enter the local market. The company’s “headquarters” are actually a Capitol Hill conference center where he rents space for meetings.

Peabody Heights Brewery, a contract brewer in Baltimore, produces the beer based on a recipe that Augustin says he developed as a homebrewer. Right now, 888 Lucky Beer has just one style, an IPA, which launched in August. Future releases have names like Victory, Wealthy, Prosperity, and Dynasty.

A couple of weeks before meeting Augustin, I picked up a six-pack for $11.99 at Imperial Liquors near Farragut Square. The beer is available in a total of four D.C. liquor stores as well as three bars or restaurants. Augustin says he’s invested close to $100,000 in the company and will be looking for investors for future expansion.

Augustin spent a month in the Sichuan province of China last February and decided to launch 888 Lucky beer after experiencing the beer culture there. “They like Americana, so I wanted to offer something from the United States, especially something from Washington, D.C.,” he says.

During his trip, Augustin met a tai chi teacher name Jane King on an online travel forum called Chongqing Expat. She offered to teach him tai chi in order to practice her English. Augustin always wanted to learn kung fu as a kid.

Tai chi? Close enough. He was in.

Augustin showed me a bunch of photos of King and her family on his phone while telling me how touched he was by the way they welcomed him. The two met on Feb. 8, and knowing that eight is a lucky number for the Chinese, Augustin named the beer “888” in her honor.

But not wanting it to be mistaken as an Asian beer, he says he decided to put the White House and other D.C. landmarks on the packaging “to give it a local flavor.” The packaging also includes a blurb about the “secret formula” and how the Central Intelligence Agency and a list of 10 other global intelligence agencies “cannot find out our closely held private trade secrets.”

In D.C., at least, the beer hasn’t exactly taken off yet. An employee at North Sea Restaurant in Adams Morgan says they bought a

washingtoncitypaper.com NOVEMBER 13, 2015 19

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case but haven’t sold any yet. Meanwhile, Sudhouse co-owner Allison Farouidi says Augustin emailed her in September and asked if the U Street NW bar would host a tasting. She says she initially thought the emails were spam. Then, he started calling and calling. Finally, she agreed.

“People thought it was a really good IPA,” she says. But she didn’t end up keeping the product because it was a little too expensive and she found the branding to be, well, “weird.”

“He’s constantly going out of the country to do promotional tours. I don’t know, girl, it was just random,” she says.

Augustin also wants to open a brewpub or a brewery in D.C. with an “Asian flavor.” Last week, he sent an email imploring me to talk to two partners at Squire Patton Boggs law firm whom he’d met with “to discuss accessing up to $10 million from the DC Revenue Bond program” for his brewery. One of those attorneys, Alethia Nancoo, says it was a preliminary meeting to go over potential financing options. Augustin has not yet retained the law firm. Nancoo didn’t have much to share but says “it’s a great concept.”

In the meantime, Augustin still has his eyes set on the Asian market—and beyond. The tai chi teacher he met helped translate parts of his website into Chinese. He translated it into French and Haitian Creole, and he outsourced the Spanish to a translator he found online.

“We are positioned as a global brand,” Augustin says. “Yes, it is a local brand, but I’m going aggressively on the global market.”

To bolster this claim, Augustin says he recently travelled to Taiwan, where he says he met with nine food and beverage importers and distributors. His Filipino virtual assistants arranged the meetings with the help of a script that he created. “That’s my global outreach,” he explains. “They email the media, the buyers, the restaurants, the hotels, the grocery

stores in whatever city that we’re targeting…

They’re really my conquest arm, if you will.”

This week, Augustin says he’s in Shanghai as part of what he calls “the global tour of 888 Lucky Beer.” Next year, he wants to go to trade shows in Singapore and Japan.

In case none of this is far-reaching enough, there’s always outer space. Toshiba, for one of its commercials, sent a chair into the upper stratosphere. Why not do the same with beer? Initially, Augustin planned to get a weather balloon and other equipment to do it himself.

He even found a guy online who charged him $15 to create a “breaking news” video commercial about the launch.

But a logistical concern has temporarily foiled the beer’s lift-off: “I cannot guarantee that it will not fall within restricted airspace,” Augustin says. “It will be intercepted, and I’ll be in hot trouble.”

Now, he’s looking into using JP Aerospace, the same operation that sent Toshiba’s chair to the edge of space. The California-based company will send people’s stuff—from margaritas to bonsai trees—up 100,000 feet with a highaltitude balloon and take photos and video along the way. Space-bound voyages for small plastic boxes go for as little as $340. Augustin isn’t yet sure how much it would cost to send a whole beer bottle, but he’s not deterred.

Actually, he doesn’t seem to be deterred by the limitations of any of his ideas, no matter how wacky they might seem.

“The first people I talked to, they said ‘You don’t stand a chance against the big boys,’” Augustin says. “I wasn’t scared. It’s adventure. I like adventure. It’s a challenge.

CP I like challenges.”

Eatery tips? Food pursuits? Send suggestions to jsidman@washingtoncitypaper.com.

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DCFEED

what we ate last week:

Mornay sauce-filled gougères, $7.50, L’Hommage Bistro Francais. Satisfaction level: 3 out of 5 what we’ll eat next week:

Escargots in a blanket, $11, Convivial. Excitement level: 4 out of 5

Grazer

Big Bird

Order Deadline: Nov. 20 Pickup: Nov. 25 from 3 to 5 p.m., Nov. 26 from 9 a.m. to 12 p.m.

GeorGia Brown’s

Darrow Montgomery

Your standard Butterball can go for as little as 99 cents per pound. But for the big bucks (often more than $100), you can fake your home-cooking prowess with a free-range, restaurant-prepared bird. Here are six options for people who’d rather leave the brining or baking to someone else this Thanksgiving.

Check each restaurant’s website for additional details and order forms. —Jessica Sidman

Bidwell

1309 5th St. NE, bidwelldc.com Price: $115–$175 for 12–26 pound local, free-range roasted turkeys. Gravy, stuffing, and cranberry sauce are included.

Extras: Whipped Yukon Gold potatoes, glazed baby carrots, French green beans with toasted almonds, and more Order Deadline: Nov. 19 Pickup: Nov. 23 and 24 from 11 a.m. to 5 p.m., Nov. 25 from 9 to 11 a.m.

Centrolina

974 Palmer Alley NW, centrolinadc.com Price: $6.99 per pound for 10–12 pound oven-ready, cider-brined, free-range turkeys Extras: Roasted cauliflower soup, pumpkin ravioli with butter and sage, buttermilk biscuits, and more Order Deadline: Nov. 20 Pickup: Nov. 25th from 6 to 9 p.m., Nov. 26 from 8 a.m. to 1:30 p.m.

del Campo

777 I St. NW, delcampodc.com Price: $120 for 15–20 pound brined, seasoned, herbsmoked, trussed, and oven-ready turkeys with green chili purée and aji amarillo aioli Extras: Chapa bread stuffing, pumpkin risotto, chorizo, and more Order Deadline: Nov. 22 at 8 p.m.

Pickup: Nov. 25 until 10 p.m.

Hill Country

410 7th St. NW, hillcountrywdc.com Price: $210 for a 9–11 pound pit-smoked turkey with skillet cornbread, five sides, and one pie. For $300, you get a 14–16 pound turkey with skillet cornbread, eight sides, and two pies.

Extras: Texas toast stuffing, green bean casserole, cheddar mac and cheese, and more

Are you gonnA eAt that?

950 15th St. NW, gbrowns.com Price: $85 a 14–16 pound turkey (pictured) with one pint of gravy. Fried turkeys come with Creole seasoning and oven-roasted turkeys are brined in apple cider and rubbed with herbs.

Extras: Baked mac and cheese, Carolina gumbo, collard greens, and more Order Deadline: Nov. 23 at 5 p.m.

Pickup: Nov. 26 by 11:15 a.m.

Kapnos and Kapnos taverna

2201 14th St. NW, kapnosdc. com; 4000 Wilson Blvd., Arlington, kapnostaverna.com Price: $120 for a 14–16 pound spit-roasted turkey with coriander, dry mint, lemon zest, and lemonthyme gravy Extras: Greek spreads, duck confit and chestnut stuffing, spiced pear pie, and more Order Deadline: Nov. 22 Pickup: Nov. 26 from 10 a.m. to 12 p.m.

Drink

The Drink: Roasted Corn and Leek Infused Soju Price: $20 for a bottle

Where To Get It: Mandu, 453 K St. NW and 1805 18th St. NW; mandudc.com What It Is: Charm Soju Liquor infused with roasted corn and leeks. Beverage Manager Phil Anova coats ears of corn with butter, honey, salt, pepper, onion powder, and nutmeg before wrapping them in foil and throwing them on the grill. Once tender, he releases the corn from their aluminum cag-

es and tosses them back on the grill to kiss the kernels with flames and caramelize the honey. He then scrapes off the kernels and adds them to the soju, along with a disk of sliced leek.

The sweet and savory potion is infused for about three days before it’s strained and bottled.

22 NOVEMBER 13, 2015 washingtoncitypaper.com

What It Tastes Like: Anova is the first to admit it tastes like creamed corn. “I look at food I like to eat and find a way to make it into a drink,” he says. The grill imparts a slightly smoky, charred flavor.

The leeks are barely percepti-

ble, though their savory quality cuts through some of the sweetness of the honeyed corn.

Texture is as important as flavor with this soju. It’s milky and viscous, much like an unfiltered sake, and it coats the inside of your cheeks before it goes down.

The Story: Anova first experimented with soju infusions during Mandu’s street food pop-up series, Anju. He played it safe with cucumber back then, but now he’s far more experimental. His summer iteration featured watermelon and feta, and he’s planning something equally outside-the-box for winter, though expect the sweet and savory theme to continue.

—Laura Hayes

Underserved The best cocktail you’re not ordering What: A Las Once with Cristal Aguardiente, pineapple juice, lime juice, chicha morada, grilled lemon garnish Where: Del Campo, 777 I St. NW Price: $12 What You Should Be Drinking Many cultures like to get a little schnockered on anise-flavored alcohol—from ouzo in Greece and raki in Turkey to pastis in France. In Colombia, the anise-infused spirit is sugar cane-based aguardiente, the lead ingredient Del Campo’s A Las Once. Beverage Manager Tena Jahangosha combines it with fresh pineapple juice, lime juice, and chicha morada, a Peruvian syrup made by cooking purple corn down with cinnamon, sugar, and star anise. If the Cristal Aguardiente does the play-by-play in the cocktail, giving imbibers strictly what they need, the chicha morada provides color commentary by lending a dramatic purple hue and robust bouquet of baking spices.

Why You Should be Drinking It A Las Once was resurrected from Del Campo’s opening cocktail menu because it fits fall like a glove. They’re giving it another shot even though initial orders were slow thanks to esoteric ingredients. Despite all its ingredients, A Las Once doesn’t taste like your boyfriend got the bad Twizzlers at the movies. The licorice accent is faint; cinnamon and citrus dominate instead. Another reason to order this underserved drink is because it’s symbolic of Del Campo’s aims as a restaurant. Just like the the South American menu, A Las Once stirs together components from Colombia and Peru. “We can play all over the map,” Jahangosha says.

“People like to come in and try what’s original to us, so this is a great example of that.”

It also helps that it’s chef Victor Albisu’s mother’s favorite drink. “She doesn’t really drink, but when she does, that’s the one,” Albisu says. Trust mom, she knows best.

—Laura Hayes

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How Do You Like Them Apples?

The last two entries in Richard Nelson’s Apple Family Cycle are quiet but resonant.

Sorry Regular Singing

By Richard Nelson Directed by Serge Seiden At Studio Theatre to Dec. 13

By Chris Klimek Richard Nelson’s four Apple Family plays are what you might call hyper-contemporary. The story goes that Oskar Eustis, the artistic director of New York’s Public Theater, asked the prolific Tony-and-Olivier-Award-winning playwright Richard Nelson for a capital-P Political Play, maybe something about the wars in Iraq and Afghanistan. Nelson countered with a proposal to write something more intimate, albeit no less ambitious: a series of plays about a family talking politics—a clan of smart, argumentative New Yorkers and ex-New Yorkers (the setting is Rhinebeck, a village of 8,000 about a hundred miles north of Manhattan), but a family nonetheless.

Their conversations might reflect something of the national mood, if one believes in such things.

To provide some sense of occasion, each play was set on a day of historic or political note, and opened at the Public on the day in which it takes place. The last of them, Regular Singing, was set (and first staged) on Nov. 22, 2013. At the same time, 230 miles southwest, Studio Theatre began its repertory of the first two Apple plays, That Hopey Changey Thing and Sweet and Sad. They took place on Election Day 2010 and the 10th anniversary of the 9/11 attacks, respectively.

Now director Serge Seiden has reunited his dream-team cast from two years ago to reprise their roles as the elder members of the cantankerous but loving Apple clan. As with the first pair, these dramas take place entirely around the dining table of the house that middle-aged sisters Barbara and Marian (Sarah Marshall and Elizabeth Pierotti) share with their elderly Uncle Benjamin (Ted van Griethuysen), who was a well-known screen and stage actor before a heart attack forced him into retirement. In the years since, he’s begun to suffer from dementia. Again the plays unfold in something close to real time, although the sound of a chime will occasionally signal the passage of a few moments. The propitious occasions of Sorry and Regular Singing are, respectively, Election Day 2012 and the 50th anniversary of President John F. Kennedy’s assassination.

While the Apples—all bruised liberals, though Richard (Rick Foucheux), who works for the administration of Gov. Andrew Cuomo, is more disaffected than the rest—have plenty of time for the political, the matter before them in Sorry is more personal: It’s the very early hours of the day on which they will take Benjamin to an assisted-living facility, his func-

tionality and inhibitions having at last eroded beyond his nieces’ ability to manage. Eldest sister Barbara insists she’s still up to task, despite behavior from Benjamin that have the others fearing for her safety. He’s spied on her in the shower, and committed other offenses she refuses to discuss.

What makes the Apples’ decision more agonizing are Benjamin’s sporadic bursts of heartbreaking lucidity, even eloquence. He reads aloud from his own journal—one from which Barbara has selectively torn out pages—in a resonant voice, seeming to recognize neither the hand of the lines or the cogent insights they contain as his own. He never notes the date in his journal entries, but it’s evident some version of Benjamin, if not the one who spends most of the play slumped over in the corner, understands that his memory can no longer be trusted.

He’s trying to adapt to life with this nightmarish disease.

The play’s most contentious relationship is in Barbara’s pitiless attacks on the recently divorced Richard, who—in the diagnosis of his sisters, particularly in Regular Singing—buries himself in work to avoid processing his grief and rage over the dissolution of his marriage. His wife left him for another man, but the kids blame him for their breakup. How could that not be agonizing?

One of the great pleasures of Nelson’s writing is that he has endowed each Apple with all the curiosity and myopia of a real person. Jane (Kimberly Schraf), the author, is researching a book about privacy and when the expectation of it became (briefly) a part of life. The well-read Apples’ various interests, and sincere interest in one another, give Nelson license to fill their mouths with weird kernels of history that no doubt fascinate him: Jane reveals the dissolute secret history of Emanuel Leutze’s painting “Washington Crossing the Hudson.”

Richard tells the tale of the gruesome death of President-elect Franklin Pierce’s 11-year-old son in a bizarre train accident, right in front of his parents, just days before Pierce’s inauguration in 1853.

In Regular Singing, Marian’s ex-husband lays dying in a bedroom upstairs, attended by his mother, neither of whom we meet. Marian’s marriage to him could not survive the suicide of their 21-year-old daughter, a tragedy explored in one of the prior plays but only briefly alluded to here. Even so, she’s taken it upon herself to make the last months of his life as comfortable as possible. These considerations of mortality lead Barbara, a high school teacher, to share excerpts from her students’ ruminations on death. “One of the perks of being a teacher is you have people who will try to answer your questions,” she says.

Whether or not you’ve an appetite for a collective four hours of strangers’ family meals at the beginning of family-meal season is something only you can know. But the quiet brilliance of the writing and acting on display in this stirring pair of chamber dramas makes them urgent, if not essential.

The Public Theater has commissioned a new trio of real-time plays from Nelson for 2016. They’re about the Gabriels, the Apples’ neighbors in Rhinebeck. The first one opens in March; the last one, on Election Night. It will be interesting to see if Nelson can mine even more from this life-under-porous-glass approach.

CP I don’t have a reason in the world to doubt him.

1501 14th St. NW. $20–$81. (202) 332-3300. studiotheatre.org washingtoncitypaper.com NOVEMBER 13, 2015 25

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Arts Desk

Someone turned the last note from Fugazi’s final performance into an eight-minute drone track. washingtoncitypaper.com/go/ispentitall

Sign Language

Smithsonian’s National Museum of the American Indian

Photo via Flickr user Bill Holmes, Creative Commons license

CPARTS

In fact, the storied Smithsonian art gallery seems so excited about its renaissance that they’re trying just about everything to make it known that the new Renwick is not like the old Renwick. That includes a horrifically tacky addition to the famed “DEDICATED TO ART” inscription on its façade: A temporary (thank God) LED board above the inscription adds a caret sigthe future of

nifying the addition “the future of,” so that it now reads “DEDICATED TO ART.” In honor

^

of the Renwick’s not-so-subtle addition, we present other museums whose façades could use an upgrade.

—Matt Cohen and Kriston Capps

Photo Illustrations by Lauren Heneghan

After two years of renovation, the Renwick Gallery reopens Friday with a rejuvenated spirit.

Smithsonian’s National Air and Space Museum

Darrow Montgomery

Photo via Flickr userTerry (a), Creative Commons license

Hirshhorn Museum and Sculpture Garden

Photo via Flickr user OzinOH, Creative Commons license

26 NOVEMBER 13, 2015 washingtoncitypaper.com

Photo via Flickr user Peter Schultz, Creative Commons license

Smithsonian National Museum of Natural History

National Gallery of Art, East Building

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GREAT PERFORMANCES AT MASON VISIT US AT CFA.GMU.EDU

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A feast for the senses and the spirit! With Indian and Western instruments and featuring both traditional and contemporary Indian music, The Spirit of India presents Indian dance and music as never before. Add in songs from popular Bollywood films, a “Snake Charming” Dance, and more and you’ll see why this show has been a hit around the world! $48, $41, $29 ff

Chanticleer

Danú

SATURDAY, NOVEMBER 28 AT 8 P.M. Here at CFA, we don’t ring in the holiday season – we sing it in with a satisfying concert by twelve of the most masterful male voices on the planet. Famous for its lush harmonies and impeccable technique, Chanticleer offers a glorious performance of sacred songs, contemporary classics, and treasured carols.

“Luxurious perfection.” (Los Angeles Times) Join us for this Thanksgiving weekend “start-the-holidays” tradition. $54, $46, $32

SUNDAY, DECEMBER 6 AT 4 P.M. Music is an essential part of any Celtic Christmas celebration and this performance is no exception. County Waterford’s Danú offers up a festive concert of high-spirited Celtic holiday songs along with a fair share of storytelling, another longtime Irish tradition.

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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 13, 2015 27

FilmShort SubjectS The Newsroom Spotlight Directed by Tom McCarthy Pretty soon, they won’t make movies like Spotlight anymore, and that will be a shame. The true story of the Boston Globe’s investigation into child abuse in the Catholic Church is a winningly old-fashioned newsroom depiction in the vein of All the President’s Men or His Girl Friday. There are only so many of these left: Newspapers are perpetually on the verge of extinction, and when they go, the genre will also be lost to the digital dustbin. Films like Spotlight—a well-acted, workmanlike drama—are a rare breed these days; especially ones with a mid-range budget that relies on critical acclaim and word-of-mouth for the film to succeed financially (the Oscar buzz surrounding the film certainly helps, too).

So let’s celebrate the virtues of Spotlight while we can. Tom McCarthy’s superb film is not just set in the world of printed news, but it also functions as a thoughtful argument for its necessity. Michael Keaton plays Walter “Robby” Robinson, director of a Globe news department specializing in long, in-depth investigations. When the Globe brings in new Editor Marty Baron (Liev Schreiber) to boost revenue, Robinson worries that his department will be on the chopping block. He’s pleasantly surprised when Baron gives him the go-ahead to pursue a controversial story about abuse perpetrated by local priests— and worried about what might happen if it goes wrong.

The film deftly establishes the deep influence of the Catholic Church in the Boston community—McCarthy often frames his actors literally in the shadow of looming churches—but the biggest obstacles are internalized ones. Spotlight nails the insular nature of Boston, depicting a religious institution so intertwined with the city and its inhabitants that no one can bear to reckon with its horrible realities. Robinson and his team of reporters—played by Mark Ruffalo and Rachel McAdams—interview troubled victims, elderly priests, and sleazy lawyers (Billy Crudup and Stanley Tucci, both terrific) in search of the truth, but the film also turns its critical gaze inward. Throughout the film lies a looming fear that Robinson and his colleagues dropped the ball themselves—after all, these accusations had been floating around for years—and that one of the powerful institutions that kept this story buried all those years may have been the Globe itself.

How rare and satisfying it is for a film to enter into this type of dialogue within itself, examining with a close lens the very instruments it celebrates in order to make them stronger. This self-critical perspective is buttressed by Spotlight’s honest, no-frills nar-

Spotlight rative approach. McCarthy doesn’t offer any artistic flourishes, and he never cheats the audience; with very few exceptions, the film gives us information at the same time its protagonists receive it, a tactic that neatly aligns the viewers with the characters.

Similarly, the terrific cast serves the story first and for the most part, eschews the kind of showy acting that we typically see in issue dramas this time of year. There aren’t many big speeches or heart-rending glimpses into the characters’ personal lives. The subtle, egoless performances by the cast frees the audience up to invest in the facts of the story, which McCarthy insists take precedent over the characters. It’s easy to imagine that the real people on whom these characters are based would celebrate that choice, which is just another way that this stellar journalistic —Noah Gittell film honors the truth.

Spotlight opens Friday at E Street Cinema and Angelika Film Center at Mosaic.

UNbrokeN Victoria Directed by Sebastian Schipper With Victoria, the take is the thing. The third take, specifically. As anyone who’s heard about the movie already knows, Sebastian Schipper shot his fourth feature unbroken—his camera never cutting for two hours and 18 minutes as he tells the story of a young woman who gets mixed up in a stranger’s dirty deal. The film’s official synopsis boasts, “No cheap tricks. No expensive

28 NOVEMBER 13, 2015 washingtoncitypaper.com

ones, either,” a reference to Best Picture winner Birdman, whose apparent single take was a clever illusion.

Whereas Birdman’s visual tricks— whether cheap or expensive—along with its soundtrack lent a propulsive fluidity to its action, the effect in Victoria is more subtle—and, because of the temptation to follow the camera instead of the story, an arguably distracting gimmick. Yes, the cast and crew pulled off a remarkable technical feat, filming that final take (after one that was too robotic and another that was overzealous) between 4:30 and 7 one morning in Berlin, reportedly without blocking and obviously with little allowance for the actors to flub either their lines or movements. For this, cinematographer Sturla Brandth Grøvlen is given the first credit at the film’s close, and it’s well deserved.

But would Victoria still be successful without this conceit? It’s likely. The titular character, played by Laia Costa, is introduced exuberantly dancing alone in a strobe-lit club.

She’s a recent transplant from Madrid who doesn’t know anyone, so she decides to hang with a group of charming German guys she meets, despite the fact that they’re stealing a car as they make their introductions.

They goof around and drink beer on the streets while Sonne (Frederick Lau) flirts with the giggly and playful Victoria (who’s essentially a Spanish Amélie, if Amélie had a taste for bad behavior). When Victoria calls it a night so she can sleep some of it off before having to open a café at sunrise, Sonne accompanies her, and they share a moment after she plays a gorgeous piece on the café’s piano and reveals that, although it’s her dream

to play professionally, she was kicked out of a conservatory for not being good enough. As Sonne takes a call, Victoria sobs.

That call—and one of the guys’ blackout drunkenness—leads to Victoria agreeing to be the driver for what she only later discovers is a bank heist, one that former convict Boxer (Franz Rogowski) must pull off as a favor for protection he received while in prison. This romance is now a thriller.

Victoria is exhilarating from start to finish: In the beginning, you feel the rush of a night out and getting to know someone new, talking well into dawn. Then there’s the urgency of the heist, though that’s planted in the script: The robbery must take place that morning, and there must be four people involved. Of course, the crime itself is heart-stopping, even though you don’t see it; instead, the camera stays with Victoria in the stolen car, the tension coming from the unknown.

A few scenes in the film are held too long, as if Schipper wanted to maximize his cutfree marathon. But in general, these twoplus hours of real time zoom by; the setup, not necessarily the untouched camerawork, is inherently compelling as you wonder where Victoria’s new friendships will lead.

The cast is impressively natural—improvisation was encouraged—and Costa extremely appealing as an inquisitive and personable woman open to new experiences.

These ingredients are the bulk of what make Victoria entertaining and visceral; its single shot is more of an impressive asterisk, one that you forget about if your mind lets you.

—Tricia Olszewski Victoria opens Friday at Landmark Bethesda.

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PSYCHOANALYSIS IS BACK RICHARD SELDIN

“This compelling novel will hold you in its grip from beginning to end. Part mystery, part psychological thriller, Below the Line in Beijing is a terrific read and an auspicious debut by a gifted writer.”

—Dr. Theodore Jacobs, psychoanalyst, Clinical Professor of Psychiatry, Albert Einstein College of Medicine, and author.

“Readers of Saul Bellow’s literary classics of middle age and diminished powers will quickly appreciate the setting and concerns of this novel. The action in Below the Line in Beijing is largely internal and observational, but excels in its tone and approach. Steeped in the cultural atmosphere of China, the special circumstances of the Olympics, and the unique struggles of an aging man, Below the Line in Beijing is a solid recommendation for any who want a novel packed with introspection and cultural analysis.”

—D. Donovan, Senior eBook Reviewer, Midwest Book Review.

The novel’s plot line is fairly simple, though its structure, which includes dreams and fascinating footnotes, is atypical. When the book begins the narrator, a 61-year old, Federal Government attorney, awakens next to his wife, Sheryl, with an erection pressed against her thigh. Though initially pleased by his desire—he’s had little sexual interest in her for some time—he discovers it comes packaged with an inability to speak. This peculiarity further confounds him when he finds that, while mute in English, he can communicate in the foreign languages he knows. Although he can only guess at it, he connects the muteness to three unrelated matters: a quirky stuttering problem; powerful fantasies about hooking-up with young women; and fortuitously running into his friend, Jim, a philanderer and fashionista, after not having seen him for forty years.

As Freud’s talking cure requires talking and the narrator’s psychoanalyst, Isaac Lutansky, only speaks English, they agree to suspend their work. Soon thereafter the narrator and Jim travel to Beijing for the 2008 Olympics. While the narrator, a proficient Mandarin speaker and expert on things Chinese, expects to dominate their relationship in Beijing, Jim immediately takes over and leads them on a quest for young women.

Richard Seldin packs a lot into his well-written, fast-paced, novel about psychoanalysis, marital love and declining male sexuality. The book’s psychoanalytic orientation teems with unusual mental states—psychological muteness, an imagined playmate, a womanizing double and mind/body disturbances. In fact, this is one of the best novels about psychoanalysis I’ve ever read, and offers readers the pleasure of following a protagonist who thinks in a psychoanalytic way.

I won’t give the ending away, but will say that it is marvelously written. While the book’s most poignant erotic scenes might bring to mind Nabokov’s Lolita, its larger influence clearly is Freud. And right out of the Freudian book, the narrator’s story is one of a not-too abnormal mind gone awry and attempting to heal itself, both with and without Lutansky’s help.

For more of the review, see Richard Seldin’s website blog at www.richardseldin.blogspot.com Below the Line in Beijing was published by International Psychoanalytic Books - 256 pp. $19.95, paper; $7.99, Kindle. The book can be purchased at Politics and Prose, www.IPBooks.net, www.amazon.com and most retail bookstores washingtoncitypaper.com NOVEMBER 13, 2015 29

Galleries

Arts and Labor

After two years, the Renwick Gallery reopens with a splashy but superficial show of nine artists.

“Wonder” At the Renwick Gallery to May 8

By Kriston Capps Right in the middle of Jennifer Angus’ “In the Midnight Garden” is an octagonal cabinet. It’s an odd vintage find, but viewers might look right past it. It’s surrounded by a swarm: an installation of more than 5,000 insects pinned along the walls of the gallery. Glorious stag beetles, iridescent weevils, and sleek black cicadas line the room in bedazzling patterns that marry Arts and Crafts–era wallpapers with Día de los Muertos sugar skulls.

The walls are dyed carmine, a pigment also known as cochineal, a red reduction of boiled beetles.

“In the Midnight Garden” recalls the naturalist origins of encyclopedic art collections even as it summons the hallucinatory visions of Fred Tomaselli and Damien Hirst. The meticulous “In the Midnight Garden” by Jennifer Angus, 2015 magic on the walls seems to explode outward from the catalog drawers in the cards stacked by the thousands into towers center of the room. That old bolt-and-screw that resemble the exotic dirt stalagmites made cabinet is the realest thing on view in “Won- by mound-building termites. Donovan’s gender,” a welcome-back party for the Renwick erative sculptures are built by a small army of Gallery, now open to the public after an exten- assistants; read one way, her organic forms are sive two-year restoration. It’s one of a few de- a metaphor for the labor structure of the contails that feels right at home here. temporary art world (albeit an unintentional “Wonder” assembles nine contemporary one). The fact that the queen’s work is done by artists for a sprawling exhibit at the Renwick drones matters less (or not at all) in other conGallery. It’s a false start, a one-time special ex- texts. But for an art museum devoted to a trahibition before the permanent collection is re- ditional vision of craft, Donovan is a peculiar installed, in stages, in 2016. Someone who’d choice. What she does is the opposite of that. never stepped foot in the museum before Gabriel Dawe’s “Plexus A1” is another inwould think it was a kunsthalle, a temporary stallation that conflates the natural with the arproject space devoted to anything-goes art- tificial (a theme throughout “Wonder”). The works. But the Renwick holds to a more archa- piece is a hand-woven rainbow that evokes the ic mission: showcasing the best of American textile arts without drawing on any specific fabcraft and decorative arts. No, the museum’s ric tradition. While there may be some satiscurator-in-charge, Nicholas Bell, hasn’t taken faction to be had in knowing that “Plexus A1” leave of his senses. “Craft” just doesn’t really is not machine manufactured, it nevertheless mean anything. reads as digital, not analog—wondrous, but not Consider Tara Donovan’s “Untitled,” an- warm. Leo Villareal’s “Volume (Renwick)”— a other one of the nine gallery-sized installa- custom LED installation that replaces the chantions. This one is made from styrene index delier that normally hangs in pride of place at 30 NOVEMBER 13, 2015 washingtoncitypaper.com

the Renwick—is, well, a chandelier.

It’s tempting to say that “Wonder” does something subversive by breaking with a traditional understanding of craft, a label too often reserved for works made by women or nonwhites (namely textiles, ceramics, glass, and woodwork and metalwork). “Wonder” is rebellious in the sense that the exhibit confirms that craft is not a meaningful category for art.

Yet the show means to uphold the museum’s decorative-arts standard, not do away with it.

One bit of evidence is the smattering of uplifting quotes from historical figures (Albert Einstein, Emily Dickinson, John Stuart Mill) that appears throughout the museum. Dorky inspirational messaging is something the Renwick learned from its institutional big sister, the Smithsonian American Art Museum. It’s a sign that the Renwick Gallery still embraces an outmoded, affirmative concept of “craft,” expanding its definition just far enough to admit Instagram-ready spectacles from the overstock catalog for tepid post-minimalism.

“Wonder” is fantastically scaled, from the

six tons of willow saplings that make up Patrick Dougherty’s sprawling “Shindig” to the half-million pieces of reclaimed old-growth western red cedar used to replicate a hemlock tree for John Grade’s “Middle Fork (Cascades).” The show’s great strength is in finding diverse works that form monoliths from smaller bits. The one work that isn’t made of particles is, fittingly, a wave—a monumental fabric installation by Janet Echelman. The piece, “1.8”—the title refers to the 1.8 millionths of a second that the Earth’s 24hour rotation lost from the impact of the 2011 quake that prompted the tsunami that shook Japan—is a stunning woven canopy, a soaring seismographic reading suspended over the Grand Salon. It is awesome, but it is not moving. While almost every work in “Wonder” is sized to match the grandeur of the Second Empire–style building, few of them show any heart.

Even though Maya Lin’s “Folding the Chesapeake” also fills its appointed gallery, her piece feels lighter. Maybe it’s because the industrial fiberglass marbles that Lin uses to trace local waterways along the floor and walls manage to occupy the space comfortably.

It’s tough to read her installation as a map of any place in particular, even though it was drawn from NASA satellite imagery, but that frees up the viewer to imagine it as a simple, vaguely eco-supportive abstract drawing. Lin’s work and Chakaia Booker’s “ANONYMOUS DONOR” offer the most ambiguity in an otherwise didactic show.

After the party’s over, the Renwick Gallery will never look the same again. The museum seems to have leapt on the opportunity to defy all expectations and shake off its sometimes fusty reputation. Co-opting the crispest and cleanest contemporary art spectacles will definitely draw the crowds, and to be sure, Director Betsy Broun deserves them for marshaling a $30 million tip-to-tail restoration, half of it privately funded, for the building that once served as America’s first museum. Even if she did hang some obnoxious LED signs on the front of the building.

But as a novel argument about craft? This warm-up exercise misses the mark. “Wonder” is clinical, anodyne, ordered, sterile, inoffensive, antiseptic, market-ready, and safe, CP safe, safe.

1700 Pennsylvania Ave. NW. Free. (202) 6337970. renwick.americanart.si.edu

22 Sunday Square Dance

Enjoy an energetic evening of traditional Appalachian music from Leah Weiss (fiddle), Gary Wright (guitar), Kate Brett (banjo), and Kevin Enoch (bass) as well as square dancing with free instruction by Janine Smith from 5 to 7 p.m.

23 Xuejuan Dance Ensemble

The dance ensemble fuses Tibetan, Mongolian, Dai, Miao, Yang Ge, Uygur, and Chinese classical dance styles.

24 Sofya Melikyan

The Armenian-born pianist performs compositions by Khachaturian and other Armenian composers.

Presented in collaboration with the Embassy of Armenia.

EVERY DAY AT 6 P.M. | NO TICKETS REQUIRED*

25 Charm City Junction

The Baltimore-based quartet melds Old Time rhythms, foot-stomping Irish melodies, harddriving bluegrass, and three-part harmonies.

#MSTAGE365

NOVEMBER 15–30

26 Thanksgiving Day Swing Dance Party

with Gottaswing and Jive Aces

15 Community-wide Spiritual Sing

Led by Rev. Nolan Williams Jr., choirs and community participants from across the region come together for an evening of spirituals. Note: the call for participants is 4 p.m.

Presented in collaboration with NEWorks Productions.

Dance off that turkey! Free swing dance lessons begin at 6 p.m. followed by a free, evening-long dance party from 7 to 9 p.m.

27 The Lovejoy Group

Celebrate Billy Strayhorn’s legendary music in The Giant that Lived in the Shadows.

16 Crowns: A Chess-Inspired Album

Young artists perform hip-hop music and spoken word in this showcase of selections from Crowns, followed by a talk-back with the producers and MCs who took part in the project.

Part of East River Jazz’s Strayhorn Centennial Celebration Series.

28 The Harry Bells

Experience a horn-and-percussion-driven tribute to the music of Harry Belafonte, in addition to arrangements of holiday classics.

Presented in collaboration with Words Beats & Life.

17 Tamaki Kawakubo and Ryo Yanagitani

This violin and piano duet overture program features music by Kreisler, Sarasate, Manuel de Falla, Tchaikovsky, and others.

29 Peacherine Ragtime

Society Orchestra

Enjoy a night of ragtime orchestra accompaniment with two screenings of classic Harold Lloyd silent films: Get Out and Get Under (1920) and Never Weaken (1921).

Presented in association with S&R Foundation.

18 Congressional Chorus

A multidisciplinary performance, including dance, that celebrates the emotions and seasons of our lives.

19 Ana Šinkovec Burstin

The pianist plays Lebic’s Impromptus, Beethoven’s Sonata in A major, Chopin’s Barcarolle, and Scriabin’s Sonatas No. 4 and No. 10.

Presented in collaboration with the Embassy of Slovenia.

25th Anniversary Film with Live Orchestra

30

©1990 Twentieth Century Fox

*Unless noted otherwise

James A. Johnson Young Artist Series: In Song: Celebrating Youth Voices

This showcase features exemplary, local young singers.

26 Jive Aces

ect

rf The pe

G SG IVIN THAN K E N D WE E K ent!

20 Suricato

Five jazz musicians from Bogota use voice, guitar, bass, trombone, and drums in a diverse and balanced musical style.

v

family e

Presented in collaboration with the Embassy of Colombia.

21 NSO Prelude

Members of the NSO play Beethoven’s Sextet and Schubert’s String Quartet No.13 “Rosamunde.”

FOR DETAILS OR TO WATCH ONLINE, VISIT KENNEDY-CENTER.ORG/MILLENNIUM. The Millennium Stage was created and underwritten by James A. Johnson and Maxine Isaacs to make the performing arts accessible to everyone in fulfillment of the Kennedy Center’s mission to its community and the nation.

Additional funding for the Millennium Stage is provided by The Isadore and Bertha Gudelsky Family Foundation, Inc., The Meredith Foundation, The Morris and Gwendolyn Cafritz Foundation, Dr. Deborah Rose and Dr. Jan A.J. Stolwijk, U.S. Department of Education, and the Millennium Stage Endowment Fund.

The Millennium Stage Endowment Fund was made possible by James A. Johnson and Maxine Isaacs, Fannie Mae Foundation, James V. Kimsey, Gilbert† and Jaylee† Mead, Mortgage Bankers Association of America and other anonymous gifts to secure the future of the Millennium Stage.

Kennedy Center education and related artistic programming is also made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.

PLEASE NOTE: There is no free parking for free performances.

November 27 & 28 | Concert Hall

DAILY FOOD AND DRINK SPECIALS 5–6 P.M. NIGHTLY • GRAND FOYER BARS

TA K E M E T R O t o t h e F o g g y B o t t o m / GWU station and ride the free Kennedy Center shuttle departing every 15 minutes until midnight.

GET CONNECTED! Become a fan of KCMillenniumStage on Facebook and check out artist photos, upcoming events, and more!

The Kennedy Center welcomes persons with disabilities.

ALL PERFORMANCES AND PROGRAMS ARE SUBJECT TO CHANGE WITHOUT NOTICE.

David and Alice Rubenstein are the Presenting Underwriters of the NSO. Additional support for the 2015-2016 NSO Pops Season is provided by The Honorable Barbara H. Franklin and Mr. Wallace Barnes.

KENNEDY-CENTER.ORG (202) 467-4600

Tickets are also available at the Box Office. Groups call (202) 416-8400.

KENNEDY-CENTER.ORG (202) 467-4600 Tickets are also available at the Box Office. Groups call (202) 416-8400. washingtoncitypaper.com NOVEMBER 13, 2015 31

GalleriesSketcheS Altered StAteS “Hidden Identities: Paintings and Drawings

by Jorge Tacla” At Art Museum of the Americas to Jan. 31

“Splendid Staging! Saturday Night Live spirit and hyperactive energy!”MONTREAL GAZETTE

Original script Greg Kramer - Director Andrew Shaver

DAVID ARQUETTE as Sherlock Holmes JAMES MASLOW as WATSON RENEE OLSTEAD as LADY St. JOHN

ON STAGE NOV. 17-22 WARNER TheatRE

OPENS TUESDAY

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sherlockholmesonstage.com Produced by Starvox EntertainmenT in association with June Entertainment

32 NOVEMBER 13, 2015 washingtoncitypaper.com

Jorge Tacla’s recent paintings are hard to approach. Literally. The Chilean artist’s experiments in technique are best viewed from close up and at an angle: light washes of color over “Hidden Identity 27 B” canvas, passages of impasto where oil

by Jorge Tacla, 2012 mixes with wax, calligraphic waves carved into paint. Yet as with a photomosaic, in works that often invoke the human body it’s only from a distance that the imagery— without showing it. mostly buildings, sometimes figures—begins The technique is best observed in “Hidden to crystallize.

Identity 59,” which presents an aerial view of Both perspectives are critical to “Hidden the Pentagon. A geometric rendering of the Identities,” Tacla’s latest exhibition now on building is distorted by waves in oil paint and view at the Art Museum of the Americas. wax that run vertically across the canvas, disThe show comprises a few dozen paintings in rupting the building’s architecture like ripples oil and cold wax, along with a wall of draw- might a reflection on water. The image points ings on notebook paper. The paintings depict to the precariousness of a national symbol— buildings, interiors, and people trapped in Tacla notes that he depicted the building in the dystopian aftermath of some physical or ruins years before 9/11—as well as the mallepsychic trauma. Structures appear reduced to ability of collective memory. rubble or bombed out; figures languish in the The global conflicts explored in “Hidmidst of chaos. Such images may feel acute- den Identities” also have a personal dimenly familiar to the contemporary eye, but it’s sion for Tacla. Central to this body of work is Tacla’s treatment of materials that challenges what he calls “the relationship between vicour understanding of them. tim and aggressor.” Take “Hidden Identity Born in Santiago in 1958, Tacla grew up 81, 78, 79,” a foreboding triptych consistduring one of the most volatile periods in ing of a rumpled bed, a portrait of a womSouth American history, when a wave of U.S.- an, and a river scene. The work was inspired backed military dictatorships seized power by Marcia Merino, a Chilean left-wing acthrough violent coups. In Chile’s case, it was tivist who was captured, tortured, and subin 1973 when General Augusto Pinochet and sequently became an informant for the secret his military junta instituted a repressive au- police. For Tacla, she symbolizes both victhoritarian regime. tim and traitor—a dual identity which trauTacla, who left Santiago for New York in ma made possible.

1981, considers the coup a transformative Tacla’s fascination with psychoanalysis also moment for his life and art, but for the most comes out in his “Notebook” series, a grid part he invokes it only indirectly. The works of 66 works on paper. The drawings are the on view instead focus on the universal as- result of a series of Skype conversations Tapects of trauma and how it can rewire the hu- cla conducted with an art historian, a psychiman psyche. Much of Tacla’s imagery comes atrist, and a philosopher during his Rockefrom photos that he’s found or received from feller Foundation residency in Italy. In them, friends around the world. The works make Tacla undertakes a series of graphic experireference to contemporary disasters ranging ments that meld poetry and gesture in a way from 9/11 and the Oklahoma City bombing to that recalls exquisite corpse, another Surreairstrikes on civilians in Gaza and the ongoing alist game. conflict in Syria.

Still, Tacla’s show is a quiet one. Unlike some The resulting cityscapes, mostly modest in of the great Southern Cone artists of the previsize and rendered in a narrow range of blues ous generation, who took on political violence and grays, have a sketchy, ethereal quality— with bold and subversive conceptual projects, like blueprints from a dream. Forms emerge Tacla prefers to be more subtle. The approach from blotches and smudges of color, as if the here is still potent—the spectacle of devastachance result of some Surrealist experiment. tion as hazy and inescapable as memory.

—Beth Shook Really, they’re the product of Tacla’s unusual technique of working the surface of paintings with cold wax. Tacla says he uses wax because 201 18th St. NW. Free. (202) 370-0147. it recalls the vulnerability of flesh, evidenced artmus@oas.org.

A classic moral struggle.

An iconic contemporary composer.

A uniquely American opera.

STRIKES THE FOLGER “REMARKABLE...

HEART MOST DEEPLY”—The New York Times

THEATRE

2015/16 SEASON

Photo of Wayne T. Carr (Pericles) by Jenny Graham.

BEGINS TOMORROW!

NOVEMBER 13–DECEMBER 20

202.544.7077 | www.folger.edu/theatre

L CON AST D CER .C. TE VER !

Anonymous 4 Bruce Molsky, fiddle 1865 Sun, Nov 22, 7pm Sixth & I Historic Synagogue

Photo by Cade Martin

SHAKESPEARE’S EPIC ADVENTURE TALE

Soloman Howard as Dr. Martin Luther King Jr.

PHILIP GLASS / CHRISTOPHER HAMPTON

APPOMATTOX LIMITED ENGAGEMENT!

After 30 years and 20 acclaimed albums, the beloved vocal quartet Anonymous 4 is about to retire—but not before one final D.C. concert with Washington Performing Arts. In the intimate setting of Sixth & I, the women of “A4” are joined by master fiddler Bruce Molsky for 1865, bringing to life songs from the North and South in the dawn of the postCivil War era.

Made possible by the Abramson Family Foundation and BB&T Wealth.

COMING SOON: Sang-Eun Lee, cello (Nov 18) • Jazz at Lincoln Center Orchestra (Dec 12) • Alyson Cambridge, soprano (Jan 20) Spectrum Dance Theatre (Jan 30) Orchestre National de France (Jan 31) • Budapest Festival Orchestra (Feb 15) AND MANY MORE!

November 14–22 | Opera House In English with Projected English Titles | Titles may not be visible from the rear of the orchestra.

Francesca Zambello, Artistic Director Major support for WNO and Appomattox is provided by Jacqueline Badger Mars.

David and Alice Rubenstein are the Presenting Underwriters of WNO. WNO acknowledges the longstanding generosity of Life Chairman Mrs. Eugene B. Casey.

General Dynamics is the Presenting Sponsor of WNO’s 2015-2016 Season.

WNO’s season is presented with the support of Daniel and Gayle D’Aniello.

Appomattox is a production of the Clarice Smith Opera Series.

Additional support for Appomattox is provided by John and Cynthia Gunn.

KENNEDY-CENTER.ORG (202) 467-4600

TICKETS:

WashingtonPerformingArts.org (202) 785-9727

Tickets are also available at the Box Office. Groups call (202) 416-8400.

KENNEDY-CENTER.ORG (202) 467-4600 Tickets are also available at the Box Office. Groups call (202) 416-8400. washingtoncitypaper.com NOVEMBER 13, 2015 33

MusicDiscography NothiNg Left to Say And After That, We Didn’t Talk GoldLink Soulection, 2015

Bohemian Caverns Tuesdays Artist in Residency

Federico Peña T OC

@LivNightclub

DC’s Legendary Jazz Club

Established in 1926 2001 11th ST NW - (202)299-0800

Big Chief of Congo Square

Donald Harrison Fri & Sat

Fri Oct 30 Sun Ra Arkestra Marshall Allen th

&

under direction of

DJ Underdog

Oct 23rd & 24th

Mark Meadows Fri & Sat

Oct 30th & 31st

Chad Carter

Elhae Vibes

Sun Nov 1st

Matvei Sigalov Thur Nov 5

th

presented by WERC

Oct 29th

Suricato Thur Nov 19 The Funky Bohemian Caverns Knuckles No1v Jazz Orchestra & Higher Hands 1 th

th

Mondays @ 8pm

"This group is something special." ~ Mike West (CityPaper)

www.BohemianCaverns.com

The Hello?! Tour &

Key!

Special Guests

34 NOVEMBER 13, 2015 washingtoncitypaper.com

Nov 12th

www.LivDC.com

In the description of GoldLink’s breakout mixtape, there’s a quote from author and pastor Rob Bell: “The moment God is figured out with nice neat lines and definitions, we are no longer dealing with God.” The line was fitting for that project from the Virginia rapper, the aptly titled The God Complex, but with the arrival of GoldLink’s debut album, And After That, We Didn’t Talk, the quote seems more like foreshadowing than a descriptor; a note to self more than a declaration.

The God Complex introduced the world to GoldLink’s signature future bounce, a style characterized by rapid-fire rhymes over beats that land more in the realm of disco or dance than hip-hop. But on And After That, GoldLink doubles down on his denial of those “nice neat lines and definitions.” Make no mistake, the future bounce is there: It’s in the euphoric melodies and Jersey-club-inspired production of lead single “Dance On Me,” the industrial synths on “Spectrum,” and the retro soul on standout “Unique”—the latter two of which were produced by GoldLink’s brother in bounce and Virginia native, Louie Lastic.

It would’ve been easy to ride his signature sound straight to the bank, but he opted to vacate his comfort zone, stretch and swallow nearly every era of contemporary R&B from Soulquarians-style neo soul (“Late Night,” “See I Miss”) to an ultramodern vein that loosely resembles Frank Ocean (“Palm Trees”). In its pithy 35 minutes, And After That pushes whatever limits may have been set forth by its predecessor. GoldLink knows that his audience has grown, and as he told Pitchfork in a recent interview, he’s looking to include them all.

It’s not just the sound, though. And After That sees GoldLink opening up in ways that were only hinted in fleeting seconds on the mixtape, which makes sense: In the year and a half since The God Complex’s release, he’s traveled the world. He’s captured a spot on the XXL Freshman list and joined the ranks of tastemaker outfit Soulection. But during that time, there’ve been moments when it seemed like GoldLink was still trying to figure out who he was and what he wanted to be. Or maybe his refusal to neatly fit in a box was complicating things. Either way, he’s

comfortable in his own skin now or, perhaps, he’s simply become more convincing.

Vulnerability and spirituality reign from start to finish, but that’s a given on an album about heartbreak with an image of a bloodsmeared Jesus wearing a crown of thorns on the cover. There’s anecdotes about miscarriages, the woes of fame and his family, all insulated by the religion instilled in him by his minister mother. It peaks on “Zipporah” with a brief interlude featuring his mother’s voice demanding he get up and go to church.

He opens the verse angry and urgent in an unfiltered stream of questions and confessions. “Black and young and a fuck up/ I want to prove this to you/ That I can be more than a boy/ But a father with you/ I wish I could change/ But God you made me this way” he muses, only to appeal to the Lord for some help before surrendering on the other side.

“Go find you a better man/ And go have that baby boy/ And make him a better man.”

Elsewhere, on the shimmering “New Black,” he takes hip-hop to task, demanding his counterparts stop lying in their verses and glorifying negative things lest death be the result. It feels a little awkward considering GoldLink has certainly rapped his own share of lyrics that could warrant criticism in the era of Black Lives Matter. But if it comes with the introspection exhibited on And After That, who better to level such a demand than someone straddling that same fence? That’s a recurring theme here: He spends as much time repenting as he does convicting, both, others and himself—a savior of sorts in need of his own savior.

The album as a whole is challenging in this way. At times, it feels good; it’s scathingly smart and occasionally sexy. But in other places, it drifts into shameless obscenity: Most of the women are still bitches, and anyone can still get popped. It’s enough to make you wonder which version of GoldLink is the real one.

—Briana Younger

washingtoncitypaper.com NOVEMBER 13, 2015 35

36 NOVEMBER 13, 2015 washingtoncitypaper.com

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CITYLIST Friday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Wild Child, Royal Canoe. 10 p.m. $20. 930.com. blaCk Cat 1811 14th St. NW. (202) 667-4490. Fuzz.

9 p.m. $15. blackcatdc.com. linColn theatre 1215 U St. NW. (202) 328-6000.

Steve Hackett. 6:30 p.m. $45–$65. thelincolndc.com.

Songbyrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. The Sea Life, Triathalon, Laughing Man. 9 p.m. $10–$12. songbyrddc.com. tropiCalia 2001 14th St. NW. (202) 629-4535.

Aztec Sun, Margo Valiante. 8 p.m. $10. tropicaliadc.com. u Street MuSiC hall 1115 U St. NW. (202) 5881880. Nada Surf. 7 p.m. $30. ustreetmusichall.com.

Funk & R&B blueS alley 1073 Wisconsin Ave. NW. (202) 337-4141. Jonathan Butler. 8 p.m. & 10 p.m. $50. bluesalley.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700.

Kung Fu, Consider The Source. 9 p.m. $15. gypsysallys.com.

Martin luther king Jr. MeMorial library 901 G St. NW. (202) 727-0321. Black Masala. 12 p.m.

Free. dclibrary.org/mlk.

Jazz kennedy Center terraCe theater 2700 F St. NW. (202) 467-4600. Dorado Schmitt and the Django Festival All-Stars. 7 p.m. & 9 p.m. $30. kennedy-center.org.

Mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. The Kevin Cordt Quartet. 8 p.m. Free. mrhenrysdc.com.

MuSiC Center at StrathMore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Chuck Redd & Friends. 8 p.m. $25–$55. strathmore.org.

Zoo bar 3000 Connecticut Ave. NW. (202) 2324225. Sookey Jump Blues Band. 9 p.m. Free. zoobardc.com.

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located next door to 9:30 club

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2047 9th Street NW

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howard theatre 620 T St. NW. (202) 803-2899.

Pablo Alboran. 8 p.m. $39.50. thehowardtheatre.com.

classical atlaS perforMing artS Center 1333 H St. NE. (202) 399-7993. Cyro Baptista & Banquet of the Spirits. 8 p.m. $20–$28. atlasarts.org.

CITY LIGHTS: FRIDAY

IT’S A WONDERFUL LIFE: A LIVE RADIO PLAY The increasingly early onset of Christmas-themed music and films may annoy those wanting to postpone the holiday season and just enjoy November, but if you’re one of those who just can’t wait, Washington Stage Guild provides the perfect fix: It’s a Wonderful Life interpreted as a 1940s radio broadcast. The cast (playing a group of voice actors and an inventive sound-effects man) and an impressive pile of props come together to tell the story of George Bailey and his discovery of self-worth. In Joe Landry’s adaptation, audiences will hear actual radio ads from the era, helping them imagine what it would be like to hear the program broadcast nationwide. Bailey’s maudlin request to never have been born sounds much less dreary in this behind-the-scenes take on the action. The play runs Nov. 12 to Dec. 6 at Washington Stage Guild, 900 Massachusetts Ave. NW. $40–$50. (202) —Freddy Rodriguez 582-0050. stageguild.org.

barnS at wolf trap 1645 Trap Road, Vienna.

(703) 255-1900. Kuok-Wai Lio and Zoltan Fejervari, pianists. 7:30 p.m. $35. wolftrap.org.

Vocal aMp by StrathMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. Storm Large. 8 p.m. $30–$45. ampbystrathmore.com.

saturday

Funk & R&B blueS alley 1073 Wisconsin Ave. NW. (202) 337-4141. Jonathan Butler. 8 p.m. & 10 p.m. $50. bluesalley.com. howard theatre 620 T St. NW. (202) 803-2899.

Angie Stone. 7:30 p.m. $42.50. thehowardtheatre.com.

Jazz

Rock

kennedy Center terraCe gallery 2700 F St. NW. (202) 467-4600. Lynne Arriale, Carla Cook, Grace Kelly. 7 p.m. & 9 p.m. $26–$30. kennedy-center.org.

eChoStage 2135 Queens Chapel Road NE. (202) 503-2330. James Bay. 6 p.m. $30. echostage.com.

countRy

pyraMid atlantiC art Center 8230 Georgia Ave., Silver Spring. (301) 608-9101. Carter Thornton, Tom Carter, Janel Leppin. 7:30 p.m. $10. pyramidatlanticartcenter.org. u Street MuSiC hall 1115 U St. NW. (202) 5881880. Family of the Year. 7 p.m. $18. ustreetmusichall.com.

gypSy Sally’S 3401 K St. NW. (202) 333-7700.

Town Mountain, Driftwood. 9 p.m. $14. gypsysallys.com.

Folk 9:30 Club 815 V St. NW. (202) 265-0930. Yonder Mountain String Band, Henhouse Prowlers. 5 p.m. $27.50. 930.com.

washingtoncitypaper.com NOVEMBER 13, 2015 37

SKY AD PAGE Hip-Hop

Funk & R&B

kennedy Center MillenniuM Stage 2700 F St. NW. (202) 467-4600. Top Notch 2015. 6 p.m. Free. kennedy-center.org.

blueS alley 1073 Wisconsin Ave. NW. (202) 337-4141. Jonathan Butler. 8 p.m. & 10 p.m. $50. bluesalley.com.

opeRa

Jazz

george MaSon univerSity Center for the artS 4400 University Drive, Fairfax. (703) 993-2787.

Virginia Opera presents La Bohème. 8 p.m. $48–$98. cfa.gmu.edu.

MuSiC Center at StrathMore 5301 Tuckerman Lane, Bethesda. (301) 581-5100. Chucho Valdes. 7 p.m. $28–$58. strathmore.org.

classical kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Gianandrea Noseda, conductor, and James Ehnes, violin. 8 p.m. $15–$89. kennedy-center.org.

Vocal atlaS perforMing artS Center 1333 H St. NE. (202) 399-7993. The S Show. 5 p.m. & 8 p.m. $20–$35. atlasarts.org.

sunday Rock

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

Wand. 7:30 p.m. $12. blackcatdc.com.

Songbyrd MuSiC houSe and reCord Cafe 2477 18th St. NW. (202) 450-2917. Sean Barna, yOyA, Louis Weeks, ROM. 8:30 p.m. $10. songbyrddc.com.

countRy birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Lee Ann Womack. 7:30 p.m. $35. birchmere.com.

WoRld boSSa biStro 2463 18th St NW. 202-667-0088.

The Fourth Stream, The Rogue Collective. 8:30 p.m. $10. bossadc.com. tropiCalia 2001 14th St. NW. (202) 629-4535. Faiz Qaderi. 6 p.m. $50. tropicaliadc.com.

opeRa george MaSon univerSity Center for the artS 4400 University Drive, Fairfax. (703) 993-2787.

Virginia Opera presents La Bohème. 2 p.m. $48–$98. cfa.gmu.edu.

Gospel kennedy Center MillenniuM Stage 2700 F St. NW. (202) 467-4600. Community-Wide Spirituals Sing. 6 p.m. Free. kennedy-center.org.

CITY LIGHTS: SATURDAY

LA BOhèmE Of the operas that appeal to non-opera fans, few are more enticing than La Bohème. Puccini’s timeless tale of how romantic it is to be young and broke in the city (until suddenly you’re old, sick, and broke and it sucks) is immediately relatable for anyone who’s lived in a shitty group house well past the point in life at which you thought you’d have your own place and a real job. Then there’s the sweeping music and eye-popping sets that lend it more of a Broadway musical feel than that of a traditional opera (it was, of course, the inspiration for Rent). As a crowd-pleaser, La Bohème is a sure bet for opera companies, and the Virginia Opera is no exception: It was the first opera the group ever staged, and this is the seventh production of it they’ve mounted. Director Kyle Lang and conductor Adam Turner lead a young cast and tweak the setting a bit, to Paris 1939, on the eve of war, giving the group house melodrama a heightened sense of dread. The opera runs Nov. 14 to Nov. 15 at George Mason University’s Center for the Arts, 4400 University Drive, Fair—Mike Paarlberg fax. $48–$90. (866) 673-7282. vaopera.org.

38 NOVEMBER 13, 2015 washingtoncitypaper.com

washingtoncitypaper.com NOVEMBER 13, 2015 39

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sa 28 mousey thompson & the james brown experience 7719 Wisconsin Ave., Bethesda, MD (240) 330-4500 Two Blocks from Bethesda Metro/Red Line Free Parking on Weekends 40 NOVEMBER 13, 2015 washingtoncitypaper.com

CITY LIGHTS: SUNDAY

ChUChO VALDéS In 1975, Cuban pianist Chucho Valdés established Irakere, a big-band group he’d formed two years earlier, as the official vehicle to express all his musical ideas. The son of acclaimed bandleader Bebo Valdés, Chucho picked up his musical skills from his dad, recordings, and a stint at the Havana Music Conservatory. His compositions for Irakere are accordingly diverse: keys, horns, strings, percussion, and occasional vocals incorporated into jazz, AfroCuban folklore, and dance music. Thanks to his formal training, Chucho also found room for some fast-fingered classical runs. Now, in a program entitled “Chucho Valdés: Irakere 40,” Chucho’s current group, The Afro-Cuban Messengers, will perform both Irakere favorites and newer songs. Early iterations of Irakere featured trumpeter Arturo Sandoval and alto saxophonist Paquito D’Rivera, who became big name jazz acts in the States, so audiences can expect a similarly brassy showcase this time around. Chucho and the band will shift back and forth from song sections with swinging polyrhythms to ones with flashy solos, bursts of noisy brass, head nodding percussion, ritual chants, and warm, comforting melodies. Chucho Valdes performs at 7 p.m. at the Music Center at Strathmore, 5301 Tucker—Steve Kiviat man Lane, North Bethesda. $28–$58. (301) 581-5199. strathmore.org.

Monday Rock

eChoStage 2135 Queens Chapel Road NE. (202) 503-2330. All Time Low, Sleeping With Sirens. 6 p.m. $43.45. echostage.com.

Jazz birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Acoustic Alchemy. 7:30 p.m. $35. birchmere.com.

Hip-Hop kennedy Center MillenniuM Stage 2700 F St. NW. (202) 467-4600. Words Beats & Life. 6 p.m.

Free. kennedy-center.org.

tuesday Rock

9:30 Club 815 V St. NW. (202) 265-0930. Chris Robinson Brotherhood. 7 p.m. $25. 930.com. blaCk Cat 1811 14th St. NW. (202) 667-4490.

Priests, Shopping, Puff Pieces. 7:30 p.m. $15. blackcatdc.com. eChoStage 2135 Queens Chapel Road NE. (202) 503-2330. Andrew McMahon in the Wilderness,

New Politics, The Griswolds. 6 p.m. $38.30. echostage.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700.

Zach Deputy. 8 p.m. $12–$15. gypsysallys.com.

Jazz barnS at wolf trap 1645 Trap Road, Vienna.

(703) 255-1900. Madeleine Peyroux. 8 p.m. $42–$45. wolftrap.org.

WoRld gw liSner auditoriuM 730 21st St. NW. (202) 994-6800. Youssou N’Dour. 8 p.m. $35–$75. lisner.org.

classical kennedy Center MillenniuM Stage 2700 F St. NW. (202) 467-4600. Tamaki Kawakubo, Ryo Yanagitani. 6 p.m. Free. kennedy-center.org. laMond-riggS neighborhood library 5401 South Dakota Ave. NE. (202) 541-6255. The Rogue Collective. 7 p.m. Free. dclibrary.org/lamond.

Wednesday Rock

aMp by StrathMore 11810 Grand Park Ave., North Bethesda. (301) 581-5100. The Yardbirds. 8 p.m. $31.50–$54. ampbystrathmore.com.

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CITY LIGHTS: mONDAY

“ART OF ThE AIRPORT TOWER” As your plane takes off from Reagan National Airport, you’re treated to a miniature tour of D.C. Out the window, you see iconic spots like the Jefferson and Lincoln memorials, the Washington Monument, and Capitol Dome, as well as lesser known (though equally impressive) spots like the National Cathedral and the old stone buildings of Georgetown University. Before you even leave the ground, however, there’s another architecturally significant structure to consider: the César Pelli and Associates–designed air traffic control erected in 1997. The National Air and Space Museum highlights 50 similar feats of engineering and their important functions in its latest exhibit, “Art of the Airport Tower.” While many towers are simple slabs of concrete that match Brutalist airports built in the ’60s and ’70s, newer constructions look and function much better than their predecessors. The tower at Edinburgh’s airport features a double helix design that almost resembles a Christmas ornament but also works as a drainage channel, while Birmingham, England’s airport features heated windows that help to increase visibility. There’s no way to decrease the noise of a working airport but a crash course at this exhibit might make visitors more sympathetic. The exhibition is on view daily 10 a.m. to 5:30 p.m. at the National Air and Space Museum, Independence —Caroline Jones Avenue and 6th Street SW. Free. (202) 633-2214. airandspace.si.edu.

Thursday, November 12

MIKE wEsTCOTT BaNd

feat. Jay Turner & Jean-Paul Gaster {soulful deep Rock} Friday, November 13

TEN FEET Tall

{Funk - Blues - soul - Covers} Thursday, November 14

HüsBaNd

{original melodic pop with a 60’s and 70’s influence} Tuesday, November 17

barnS at wolf trap 1645 Trap Road, Vienna.

(703) 255-1900. Suzanne Vega, Duncan Sheik. 8 p.m. $55–$60. wolftrap.org.

3Rd TUEsdaYs GROOvE OPEN JaM sEssION

birChMere 3701 Mount Vernon Ave., Alexandria.

(703) 549-7500. Three Dog Night. 7:30 p.m. $69.50. birchmere.com.

Wednesday, November 18 - OPEN MIC NIGHT!

blaCk Cat baCkStage 1811 14th St. NW. (202) 667-4490. Exodus, Jail Solidarity. 7:30 p.m. $15. blackcatdc.com.

hosted by stealing liberty {Greatful dead & Jam Band} hosted by Phil Kominski

Thursday, November 19

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{Roots Rock, alt Country, Blues} Friday, November 20

FIlM aT ElEvEN

{60’s, 70’s, 80’s & 90’s covers}

Funk & R&B u Street MuSiC hall 1115 U St. NW. (202) 5881880. Mary Lambert. 7 p.m. $20. ustreetmusichall.com.

Saturday, November 21

electRonic

{Blues Rock Covers and Originals}

boSSa biStro 2463 18th St NW. 202-667-0088.

Tigers Are Bad For Horses, The Bulldog Alley Alley Cats. 9:30 p.m. $5. bossadc.com.

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Tuesday, November 24

4TH TUEsdaYs JaZZ / FUsION OPEN JaM hosted by Pulp Fusion {Open Jam}

Jazz ManSion at StrathMore 10701 Rockville Pike, Rockville. (301) 581-5100. Dan Roberts. 7:30 p.m. $17. strathmore.org.

w w w. v I l l a I N a N d s a I N T. C O M 42 NOVEMBER 13, 2015 washingtoncitypaper.com

Mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. Capitol Hill Jazz Jam. 8 p.m. Free. mrhenrysdc.com.

Folk gypSy Sally’S 3401 K St. NW. (202) 333-7700. The Stray Birds, The Honeycutters. 8:30 p.m. $12–$15. gypsysallys.com.

WoRld gw liSner auditoriuM 730 21st St. NW. (202) 994-6800. Paco Pena. 8 p.m. $30–$50. lisner.org.

thursday Rock

barnS at wolf trap 1645 Trap Road, Vienna.

(703) 255-1900. Suzanne Vega, Duncan Sheik. 8 p.m. $55–$60. wolftrap.org. blaCk Cat 1811 14th St. NW. (202) 667-4490. !!!, Stereolad, Heavy Breathing. 7:30 p.m. $16–$18. blackcatdc.com. gypSy Sally’S 3401 K St. NW. (202) 333-7700.

Randall Bramblett Band, Patrick Sweany Band. 8 p.m. $12–$14. gypsysallys.com.

countRy hill Country live 410 7th St. NW. (202) 5562050. Cory Morrow. 9:30 p.m. $20–$25. hillcountrywdc.com.

Mr. henry’S 601 Pennsylvania Ave. SE. (202) 5468412. By & By. 8 p.m. Free. mrhenrysdc.com.

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U.S. GIRLS

MON, NOVEMBER 16TH

Meg Remy is putting all of herself out there. With her new album, Half Free, the unapologetically feminine and emotionally complex artist behind U.S. Girls presents a soundtrack that almost every woman can find relatable. Remy somehow makes grinding, screeching pleas sound like gentle, beckoning whispers and lumbering, sleepy opening tracks sound like a call to arms. In Remy’s world, it’s all emotions and second thoughts. She’s not afraid to put a song like the attacking “Woman’s Work” as Half Free’s last word or sing phrases like “and now I’m gonna hang myself from the family tree” on “Sororal Feelings,” a track about marrying a man who had previously slept with her sisters. This honesty isn’t foreign to longtime listeners, but on Half Free, it’s laid barer than ever before. Compared to U.S. Girls’s sleepy, melodic cries, opening act Elampi presents similar themes of confusion and muddled whispers, as her French vocals weave around deep organs, sprawling synths, and even laser beams. If you don’t understand exactly what Elampi says, don’t worry: Both Elampi and Remy can make their points in any language. U.S. Girls perform with Escape-ism and Elmapi at 9 p.m. at Comet Ping Pong, 5037 Connecticut Ave. NW. $12.

—Jordan-Marie Smith (202) 364-0404. cometpingpong.com.

classical kennedy Center ConCert hall 2700 F St. NW. (202) 467-4600. National Symphony Orchestra: Jiri Belohlavek, conductor, and Igor Levit, piano. 7 p.m. $15–$89. kennedy-center.org.

ManSion at StrathMore 10701 Rockville Pike, Rockville. (301) 581-5100. ETHEL. 7:30 p.m. $30. strathmore.org.

theater

akeelah and the bee A young girl growing up in Chicago challenges herself to succeed and winds up competing in the Scripps National Spelling Bee, but will she be prepared enough to beat competitors from around the country? Charles Randolph-Wright directs the world premiere of this play adapted from the popular film of the same name. Arena Stage.

1101 6th St. SW. To Dec. 27. $55–$90. (202) 4883300. arenastage.org. the apple faMily CyCle Two years after Studio presented the first two plays in Richard Nelson’s

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washingtoncitypaper.com NOVEMBER 13, 2015 43

UPTOWN BLUES

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series about a family experiencing changes in contemporary America, the company presents the final two plays. In Sorry, set on Election Day 2012, the siblings come together to move their uncle into an assisted living facility and discuss their reactions to the political and personal changes in their lives. In Regular Singing, as the siblings hold a vigil for one of their own, they remember the 50th anniversary of the JFK assassination and reflect on the past halfcentury of American history. Studio Theatre. 1501 14th St. NW. To Dec. 13. $20–$71. (202) 332-3300. studiotheatre.org. avenue Q Constellation’s actors break out their puppetry skills in this lively musical about a young college graduate and the eccentric monsters, humans, and friends he makes in his new neighborhood. Allison Arkell Stockman directs this production written by Robert Lopez and Jeff Marx. Constellation Theatre at Source. 1835 14th St. NW. To Nov. 22. $20–$45. (202) 204-7741. constellationtheatre.org.

Cake off Sherri L. Edelen stars in this new play about a bake off with a one million dollar prize and the tough competitors aiming to take home the dough. Expect a production full of flour, sugar, and bitter batter battles. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 22. $40–$96. (703) 8209771. signature-theatre.org.

CITY LIGHTS: WEDNESDAY

mARY LAmBERT

Although she’s often recognized as the sonic gal pal to Macklemore and Ryan Lewis, after writing and singing the gorgeous hook on their monster hit single “Same Love,” Mary Lambert is no sidekick: She’s a bonafide leading lady with legitimate poetic chops. After going toe-to-stilettoed-toe with Madonna when they teamed up to sing “Same Love” at the 2014 Grammys’ epic same-sex marriage ceremony, Lambert’s debut solo single, “She Keeps Me Warm,” hit No. 2 on the iTunes singer/songwriter charts. Not one to be confined to a single genre, Lambert broadened her range with “Secrets,” a track from her Heart on My Sleeve album that hit No. 1 on Billboard’s dance chart. Lambert also aims to share her reality with listeners by posting poems on her website, starting a #MarySecrets postcard campaign (similar to PostSecrets) to help fans share their insecurities, and promoting body positivity online. Mary Lambert performs with Youth Slam Team at 7 p.m. at U Street Music Hall, 1115 U St. NW. $20. (202) 588-1889. ustreetmusichall.com.

—Diana Metzger

a ChriStMaS Carol For more than 30 years, Ford’s Theatre has welcomed the holiday season with a production of Dickens’ tale of cheer and forgiveness. Local actor Edward Gero returns to play everyone’s favorite miser, Ebenezer Scrooge. Ford’s Theatre. 511 10th St. NW. To Dec. 31. $44–$91.

(202) 347-4833. fordstheatre.org. the Cripple of iniShMaan A disabled young boy living in 1930s Ireland vies for a chance to appear in a big Hollywood movie alongside the rest of his neighbors and aims to impress the casting directors in this black comedy from Irish playwright Martin McDonagh. Atlas Performing Arts Center. 1333 H St. NE. To Nov. 29. $35–$45. (202) 399-7993. atlasarts.org. the dealer of ballynafeigh When his boss’ niece ends up in a coma after taking some bad drugs, Billy is tasked with taking out the guy who sold her the stuff. But soon, his mission involves his ma taking a ride along, his boss chasing him down, and the cash going missing. Abigail Isaac Fine directs Irish playwright Rosemary Jenkinson’s drama. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Nov. 14. $25–$36. (703) 892-0202. keegantheatre.com. girlStar Part reality competition, part fairy tale, this musical focuses on the lengths people will go to for fame. When a popular record producer transforms her long lost niece into an international pop star through some unconventional means, they’re forced to consider the limits of success and how far they’re both willing to go. Signature Theatre. 4200 Campbell Ave., Arlington. To Nov. 15. $40–$96.

(703) 820-9771. signature-theatre.org. harvey A man insists on including his best friend, an enormous invisible rabbit, in all his activities, forcing his friends and family to deal with the aftermath in this lively, Pulitzer Prize-winning drama by Mary Chase. 1st Stage. 1524 Spring Hill Road, McLean. To Dec. 20. $15–$30. (703) 854-1856.

1ststagespringhill.org. an iriSh Carol The Keegan gang revives its popular Irish adaptation of Dickens’ holiday tale, featuring a pub owner called David instead of a banker called Scrooge. Keegan Theatre at Church Street Theater. 1742 Church St. NW. To Dec. 31. $20–$40.

(703) 892-0202. keegantheatre.com. it’S a wonderful life: a live radio play The classic holiday tale about hard work and forgiveness is transformed into a 1940s radio play in this holiday production. Actors collaborate with a sound effects man to tell the story of George Bailey, his family, and his guardian angel, Clarence. Washington Stage Guild at Undercroft Theatre. 900 Massachusetts Ave. NW. To Dec. 6. $40–$50. (240) 582-0050. stageguild.org.

44 NOVEMBER 13, 2015 washingtoncitypaper.com

kiSS Me, kate Cole Porter looks to Shakespeare’s The Taming of the Shrew for inspiration in this joyful musical about a leading man who winds up co-starring alongside his ex-wife and the fellow castmembers whose lives revolve around them. Among the popular songs from this musical are “Another Op’nin’, Another Show,” “Tom, Dick, or Harry,” and “Too Darn Hot.” Sidney Harman Hall. 610 F St. NW. To Jan. 3. $20–$108. (202) 547-1122. shakespearetheatre.org. oliver! Arena’s artistic director Molly Smith directs this musical adaptation of Charles Dickens’ classic novel about an industrious orphan and the friends he meets in London. Classic songs from this show include “Consider Yourself,” “Where is Love?” and “Food, Glorious Food.” Arena Stage. 1101 6th St. SW. To Jan. 3. $64–$99. (202) 488-3300. arenastage.org. periCleS Joseph Haj, known for directing the Folger’s 2010 production of Hamlet, returns to tell the tale of the prince who gets washed out to sea, chased by a wicked king, and meets the love of his life, only to lose her again. Celebrated Shakespearean actor Wayne T. Carr stars in the title character.

Folger Elizabethan Theatre. 201 E. Capitol St. SE. To Dec. 20. $35–$75. (202) 544-7077. folger.edu. rodgerS + haMMerStein’S Cinderella Handsome princes, wicked stepsisters, and glass slippers come together in this timeless musical about the power of true love and pumpkin carriages. Memorable songs from this musical treatment include “Impossible; It’s Possible” and “In My Own Little Corner. National Theatre. 1321 Pennsylvania Ave. NW. To Nov. 29. $58–$98. (202) 628-6161. nationaltheatre.org.

SMartphoneS Two couples addicted to revealing their every thought on social media begin to lose their cool while trapped on the estate of an eccentric friend in this absurdist play by Emilio Williams.

Flashpoint Mead Theatre Lab. 916 G St. NW. To Nov. 15. $20–$40. (202) 315-1306. culturaldc.org.

SonS of the prophet In this dark comedy by Stephen Karam, a man is forced to deal with his father’s death in a freak accident involving a plastic deer, an event that sends his life into a tailspin. From incompetent insurance providers to eccentric co-workers, he’s forced to take on all these tasks while holding on to his own sanity. Theater J. 1529 16th St. NW. To Dec. 20. $15–$67. (202) 518-9400. theaterj.org.

Fri & Sat, Nov. 13 & 14 at Midnight!

IN JAPANESE WITH ENGLISH SUBTITLES!

Buy Advance Tickets Online

tickets.landmarktheatres.com

Find out what ToDo Today online.

CITY LIGHTS: ThURSDAY

Winter Trailer Night 2015

EThEL

MON. NOV. 16, 7-9pm • West End Cinema, 2301 M Street, NW

It’s hard to believe that nearly 20 years have elapsed since ETHEL first became the weird new classical music ensemble on the block. It was 1998 when violinist Ralph Farris and cellist Dorothy Lawson co-founded a string quartet, named it after someone’s grandma, and started plugging in their instruments. It wasn’t quite Dylan at Newport, but it was close. ETHEL paved the way for many classical music ensembles—Brooklyn Rider, Time for Three, and the Deviant Septet—to defy all sorts of concert hall conventions. The program ETHEL has planned for the Strathmore mansion seems almost quaint compared to some of the group’s other projects, like collaborations with Todd Rundgren and stints as the TED Conference’s house band, but it should also stir listeners’ spirits. The lineup features ETHEL’s arrangement of Ennio Morricone’s Oscar-nominated score for The Mission, as well as songs from Jeff Buckley’s seminal album, Grace. Hallelujah, ETHEL. Keep it coming. ETHEL performs at 7:30 p.m. at the Mansion at Strathmore, 10701 Rockville Pike, —Rebecca J. Ritzel North Bethesda. $30. (301) 581-5199. strathmore.org.

war of the newtS Natsu Onoda Power presents her new play, about a newly discovered amphibian species that can be trained to use tools, as part of the Czech Embassy’s Mutual Inspirations festival.

Davis Performing Arts Center at Georgetown University. 3700 O St. NW. To Nov. 21. $7–$18. (202) 687-3838. performingarts.georgetown.edu. winnerS and loSerS Two friends engage in lively debates about whether certain cultural icons (Kanye, the Berlin Wall, goat cheese) are winners or losers, a casual game that turns serious as their discussion topics begin to touch on privilege and class issues. Canadian performers James Long and Marcus Youssef star in this production they also created.

Woolly Mammoth Theatre. 641 D St. NW. To Nov. 22. $35–$68. (202) 393-3939. woollymammoth.net. world builderS Two schizophrenia patients interact while participating in a clinical trial and fall in love while they fight to hold on to the fantasy worlds they’ve come to know in Johnna Adams’ play about unconventional romance and the lengths we’ll go to for love. Woolly Mammoth Theatre, Melton Rehearsal Hall. 641 D St. NW. To Nov. 21. $30–$35. (202) 393-3939. woollymammoth.net.

Tickets: $5 at the door at 6pm Includes FREE film promo item giveaways, DVDs & posters.

Presented by the Washington, DC Film Society • www.dcfilmsociety.org

“SHEER JOY IN CINEMATIC FORM, Full Of Fine Actors Giving Rich Performances With Endlessly Layered Characters.”

Scott Mendelson,

career after he ruins it with diva-like antics in this drama directed by John Wells. (See washingtoncitypaper.com for venue information) the CooperS Four generations of a n love family come together for their annual Christmas Eve celebration and encounter random visitors and unexpected events that derail the party, only to be reminded of the reason for the season. Starring Diane Keaton, John Goodman, Ed Helms, and Marisa Tomei. (See washingtoncitypaper.com for venue information) My all aMeriCan A young man wins a scholn arship to the University of Texas and leads the football team to a winning season, only to face an injury and the greatest challenge of his life in this film from the creator of Rudy and Hoosiers. (See washingtoncitypaper.com for venue information)

100% TOP CRITICS

our brand iS CriSiS A political crisis management consultant arrives in South America to help install a new leader, only to be thwarted along the way by rivals, in David Gordon Green’s film adapted from the documentary of the same name. (See washingtoncitypaper.com for venue information)

FilM

SpeCtre Daniel Craig stars in another James Bond thriller, this time involving an evil organization that Bond must take down. (See washingtoncitypaper. com for venue information)

this inspiring film adapted from Hector Tobar’s book Deep Down Dark. Starring Antonio Banderas, Rodrigo Santoro, and Juliette Binoche. (See washingtoncitypaper.com for venue information)

Suffragette Carey Mulligan and Meryl Streep star in this historical film about early activists in the feminist movement, who turned to violence in order to earn equality. (See washingtoncitypaper.com for venue information)

burnt Bradley Cooper stars as a chef with a bad attitude who must figure out a way to save his

Film clips are written by Caroline Jones.

the 33 The true story of the Chilean miners n trapped underground for 69 days is told in

FILMTRAILERS! CRITICS! GIVEAWAYS! Check out what Hollywood has in store as we preview trailers for this winter’s most anticipated releases. Join film critic Tim Gordon for a lively discussion AND vote on the trailers.

EXCLUSIVE ENGAGEMENTS START

FRIDAY, NOVEMBER 13

WASHINGTON, DC Landmark’s E Street Cinema (202) 783-9494

BETHESDA ArcLight Bethesda (301) 365-0213

FAIRFAX Angelika at Mosaic (571) 512-3301

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Legals Subcontracting opportunity for certifi ed DBEs, MBEs, & WBEs with Fort Myer Construction for District Department of Transportation’s Oxon Run Trail Rehabilitation Project. Solicitation # DCKA-2015-B-0062. Trades needed: Aggregate, Excavation, Utilities, Site Concrete/Concrete Paving, Landscaping, Pavement Marking, and Electrical.

Subcontracting Quotes Due: 11/17/15. For more info, contact Kyle McPherson at bids@ http://www.washingtoncifortmyer.com or 202.636.9535. typaper.com/ Visit fortmyer.com for upcoming solicitations.

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Achievement Prep PCS (APrep) is seeking competitive bids for Accreditation Services for its public charter school network, including but not limited to: guidance on the establishment of necessary accreditation teams; assessment and evaluation of curriculum and instruction with necessary accreditation tools; analysis of all relevant data from accreditation protocols, surveys, and curriculum and instruction evaluations; and organization of the site-visit process including: building readiness, organizing travel plans, and preparing school staff. Scope of work includes selecting an accrediting body approved by the DC Public Charter School Board.

KINGSMAN ACADEMY PUBLIC CHARTER SCHOOL - REQUEST FOR PROPOSALS. Seeking competitive proposals for special education services and program consultation. For the RFP, email procurement@kingsmanacademy.org. Deadline for submissions is 5:00 pm on Monday, November 16, 2015. No phone calls please.

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SAFE SPACE

By BrEndAn EmmEtt QuiglEy 1

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9 Scale with no sharps and flats 10 May baby, maybe 11 Plaque holder?

14 60 Minutes regular 20 Progressive rival 21 Where Mead worked 23 Taqueria freebie 25 Period leading up to Easter 29 Like a buff guy 30 Ocean off Philly: Abbr.

31 Scotch turn off 33 Footnote note 34 One of the Mikes on sports radio’s “Mike & Mike” 35 Could have escaped 36 Totally common 37 Not that common 40 Scares but good 41 One wet behind the ears 42 Nipple halo 43 Sports org. whose latest champ is the San Jose SaberCats 44 London insurance giant 46 “Oh ___, you’ve done it again!” (Cartoon catchphrase) 47 Certain NCO’s 51 Activity that’s got you covered?

53 Spreading tree 56 Lagunitas selection

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Across 1 Screws up 5 “Writing’s On The Wall” singer Smith 8 Part of a book 12 In ___ of 13 Event for a corsage 15 Cracking a mirror on Friday the 13th, say 16 Minuteman, e.g.

17 Money spent on a backpacking trip, perhaps 18 Hometown on Glee 19 Reminds how a song goes, maybe 22 Game played with matchsticks 23 Off the wall 24 In solitary 26 Bother, after a while 27 “Pork fat rules” celebrity chef 28 2015 World Cup winner

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29 Rafting area 32 Weighing nearly nothing 38 Heating system component 39 Director DuVernay 40 Escargot 43 Electric guitar wood 45 Daily allowances 48 Disabled vehicle light 49 Have to pay back 50 Murder, e.g.

52 Instrument with silver-plated keys 54 Brunch order 55 “When nine hundred years old you reach, look as good you will not” speaker 57 Display total pwnage 58 Dwell (on) 59 Two-fold 60 Clothes line?

61 El Capitan, e.g.

62 Eye inflammation

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Down 1 QB who throws to Odell and Victor 2 Quality of Alfredo sauce or chocolate mousse 3 Op-ed, often 4 Meeting of the minds 5 Hurl invectives 6 One of the ABC Islands 7 Ending of some children’s stories 8 Hilary or Bernie, for short

G O T H S

A P H I D

L K A I I N G O E R S

O N R Y E

N S E E W A T S O E U E P A N T N O D U S F S L O A H U N S I E X

Financial Services ATTENTION BUSINESS OWNERS – Get up to $250K of working capital in as little as 24 Hours. (No Startups) – Call 1-800-426-1901

Education Ingenuity Prep is seeking the following special education services: Counseling, Speech/Language, Occupational, Physical Therapy.

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C L E A V E

A S P I R E

M E T R E S

A T T A

T R O Y

H Y P E

T E R E G E X O N

continental movers local and long distance big jobs small jobs $80 x hour x two men since 1995 family business 202 438 1489 301 340 06 02 cmora53607@msn.com www.continentalmovers.net Green Movers. Local and out of state, residential and commercial.

Bulk Trash Removal. 240-8822663. Movers for hire. Pick up and delivery service available. www. green-movers.net

The 6th Handmade Holiday Craft Fair at TC Williams High School will take place on Saturday November 21, 3330 King St. Alexandria, VA. This free event will run from 10 am - 4 pm and will host over 50 local vendors, concessions, raffl es, and live music. Join us for this amazing event to shop local and support a great cause! http://jenmoshier.wix.com/tcwcraftfair

Miscellaneous

KILL BED BUGS! Harris Bed Bug Killers/KIT Available: Hardware Stores, Buy Online/Store: homedepot.com

Cars/Trucks/SUVs

AIRLINE CAREERS begin here – Get started by training as FAA certifi ed Aviation Technician. Financial aid for qualifi ed students.

Job placement assistance. Call Aviation Institute of Maintenance 800-725-1563

Conscious Film Night in Bloomingdale! D.C. Premier of “The Doctrine of Discovery Unmasking the Domination Code” Time to get real about the real story of “Thanksgiving” A First Step Towards Reconciliation, Peace and Healing of the Land.

Film Followed By Group Healing Circle Fri 11/20 8:00-10:30PM at Samsara House 2023 $10/$5 consciousfilmnight14.eventbrite. com

Musical Instruction/ Classes

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Sales/Marketing

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General DC Scholars Public Charter School Board of Trustees Meeting. 11/17/2015. 4:00pm-6:00pm at DC Scholars Public Charter School, 5601 East Capitol Street SE, Washington DC 20019.

ELECTRONICS

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Events

Moving & Hauling

General

November Calendar of Events at SAMSARA HOUSE 2023 in Bloomingdale, Highlighted by “HEALING HEARTS AT WOUNDED KNEE, How to End Violence, Racism and Genocide by Healing Humanity’s Collective Trauma at its Roots.” View Calendar, Show Up http://bit.ly/ NOV2015EVENTS

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Twitter: @wacdtf

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